Will Irwin: I never had any formal instruction in story writing except the expert coaching of Gellett Burgess in collaboration with whom I wrote my first two books of fiction, and later the criticisms of my wife who is a better technician than I.
Charles Tenney Jackson: As to "classroom, correspondence, text-books on writing," I am innocent of all of 'em. Never had any, read any.
Frederick J. Jackson: No classroom course on writing fiction. No books. Correspondence course, yes. In 1913 a complete course from an editor. I sent him thirty or forty stories. He returned them all and had so little to do in those days that he sent a letter criticizing or commenting upon each story. He made a bull's eye with each shot of criticism. I made a hell of a lot of mistakes, but never made the same one twice. The letters of this bird kept me interested in writing, made me keep on, thereby ruining the makings of a live-wire press agent or advertising man. I sold a lot of the stories he returned, mostly due to the hints he dropped.
Did this help beyond the elementary stages? It did. It made me determine to learn the writing game so that some day I could make the above-mentioned editor apologize when returning a story. Something over one hundred and sixty magazine and picture stories sold is his pupil's record so far. The said pupil considers that he is still serving an apprenticeship in the writing game. If he works hard enough he may be able to graduate by the time he's thirty-five.
Mary Johnston: No.
John Joseph: Have had no "classroom" or other instruction, except such as I have received from kindly disposed editors. And these little notes are highly prized, believe me.
Lloyd Kohler: About four or five years ago I subscribed to the —— course of the —— Correspondence School. However, I don't believe that I sent in over two or three of the lessons. I was in the Navy at the time, and whoever has been in the "outfit" knows that the average sailorman is lucky if he can write a letter home occasionally. However, I think that I digested pretty thoroughly ——'s book on the short story. Since that time I have read a great number of books on fiction writing. There is no doubt but what they serve a very great purpose, but there must be a natural talent for the work first—of that I am satisfied.
A word as to genius and talent. One chap has said that genius is hard work, or words to that effect. I don't agree. For instance: I might study music for fifty years and at the end of that period I'm well satisfied that I wouldn't even be able to extract a harmonious note from a jew's-harp. On the other hand, I believe that if there is such a thing as genius, it is merely a combination, or the result of a combination, of talent (every-day natural talent) and a capacity for hard work. If a fellow has a natural talent, plus a capacity for darned hard work, he's got the "makin's" for genius.
Harold Lamb: One classroom course in short story-writing, after I had had a good deal published—and filled space for the newspapers, bless 'em, and been part editor of a trade journal. I could not hear anything the professor said, but at the time his book was good reading. Beyond the elementary stages it helped a good deal. In clearing up ideas before beginning work, and following the thread when a story was begun. (I think I missed a lot by not studying it more closely, being certain at the time that I knew more than editors or professors.)
Sinclair Lewis: Yes, classroom in Yale—that only (no books, etc.). Classroom of NO value at all.