Emulating Mark Twain’s Writing Style

His name was Samuel Langhorne Clemens, but we know him by the name of Mark Twain, an American author, famous not only for humour but also for his amusing colloquial style based on an American cadence. Mark Twain changed the way people thought about writing as he replicated ordinary, rural speaking. In Chapter 2 of Tom Sawyer, young Tom speaks in what appears uncultured language as he tries to convince another boy to do the fence painting for him:

“It’s got to be done very careful; I reckon there ain’t one boy in a thousand, maybe two thousand, that can do it the way it’s got to be done.” (Twain)

Writing in such an ordinary, spoken language is one of the most sophisticated tasks of an author.

If writers are to emulate Mark Twain’s writing style, they must first determine whether they would like to depict characters from Twain’s Mississippi River region or another English-speaking region. The main point is to capture how people speak casually. Twain’s remarkable writing style was different from that of other writers in his day because he chose to write the way people in his region spoke. However, residents of the United Kingdom appreciated his style, inviting him there to entertain them.

Capturing natural speech while making it enjoyable is not an easy task. Most readers are surprised to discover that writing the way people talk is an art form more difficult than academic writing. To do so, one must answer two fundamental questions described in this article. Then he or she can apply four techniques to achieve the goal of effectively using colloquialisms in fiction books.

Firstly, one should ask himself where the protagonists in his novel reside and where they were born.

Although one’s characters might not be based on real people, they must have a personal background, also known as history. Personal history is essential if the writer wishes to depict their natural way of speaking. If one would like her characters to sound like Mark Twain’s characters, they could come from the midwestern state of Missouri or live near the Mississippi River, which runs along the border of Missouri (By the way, the Mississippi River runs through ten states altogether). If the storyteller is not very familiar with how people speak in that region, it might be better to write in a dialect or accent that she knows well. Choosing characters from other English-speaking parts of the globe would work just as well and be entirely original. For instance, one might choose characters from Australia, where people are known for telling outstanding jokes that delight readers or one could place his characters in New York City.

Secondly, writers should ask themselves about the educational background of their protagonists.

There are many non-traditional ways of receiving life’s education–besides the brick-and-mortar school. Perhaps one’s characters attained education in the streets, on the Internet, or through other real-life experiences. Living in a particular neighbourhood, being part of a unique family in the theatrical profession, or being the daughter of a well-known truck driver are all experiences that impact the way one’s characters think and express themselves. Characters face challenges such as homelessness, having a second chance in life, or falling in love. Such unique, non-traditional characters bestow readers with profound messages that enlighten. Dishonest characters depict how not to behave as well as foolishness. Furthermore, numerous characters slur their words or use the contractions typical of spoken English.

Once the author has answered those two essential questions (previously mentioned) pertaining to the characters’ backgrounds, he or she can proceed to follow four necessary steps:

Step 1 Authors should first become familiar with the vocabulary and jargon of the period in which their story’s characters live, most easily accomplished if they write about modern times or a period not so far in the past, given that they have some expertise in mundane language. Typically, the most successful stories emerge when people write about what they observe around them.

Although masterful writing about the distant past can be accomplished, it is not easy to write about Medieval England while only having experienced modern life in Ohio or California. If one chooses to write about a distant period from the past, she will need to do some research and, if possible, read some books from that period. A character in America in 1950 might use the word “swell” to describe something she likes, whereas the same character in 2020 typically says “great”.

The following are some words that were commonly used in the 1940s: dame (a woman); a geezer (an old person); an eager-beaver (an enthusiastic person); and cheesy (cheap).

Here are some words that were popular in Mark Twain’s time: to fetch (to get something and bring it back); to reckon (to be of the opinion); ornery (difficult to deal with); seedy (disreputable); and yonder (over there).

Step 2 It is advisable to read some books or see some movies that are set in the period about which one would like to write. Make notes with vocabulary that one might use in one’s story. If the writer encounters some words that do not seem to belong to the period in which the story takes place, he can do some research into the etymology of the words to see when they first came into use. Listen to recent terminology that is used on TV and consider how language evolves. For instance, many new expressions like “social distancing” and “super-spreader” came into use after the COVID-19 crisis.

Step 3 Consider the linguistic register of the characters in one’s story. Do they use a formal or informal tone? Perhaps they speak with an informal tone most of the time while using a formal tone in some situations. The chronological age of the characters also influences their verbal expressions and mannerisms. An older adult might use some expressions that differ from those of a teenager. A street gang member communicates differently than a university student. Having characters with different linguistic registers who encounter one another creates a fascinating contrast.

Step 4 Read some fictive books by Mark Twain for inspiration. It is said that writers should read many books by the author that they wish to emulate. There is much that one can learn merely from observing an author’s style, and this knowledge of rhythm and tone can be applied to one’s writing based on the 1800s or other periods. It can inspire science fiction writing in which authors create new words used in a fictive future environment.

As Aunt Polly amusingly says in Chapter 4 of Tom Sawyer:

“Oh, Tom, you poor thick-headed thing, I’m not teasing you. I would not do that. You must go and learn it again. Don’t you be discouraged, Tom, you’ll manage it — and if you do, I’ll give you something ever so nice. There, now, that is a good boy.” (Twain)

Polly’s language is not academic jargon. Instead, it exemplifies Polly’s natural rhythm based on everyday speech as she begs Tom to learn. Her speech is similar to that of elders who talk to children, even today. The main element that fictive conversation must have, no matter what period it depicts, is a compelling and amusing conversation with a delightful rhythm and tone.

Laura Gail Sweeney, Ed.D., enjoys writing and helping others improve their knowledge of the English language. Her interests include writing, art, philosophy, psychology, and various cultures. She is a down-to-earth observer of life around her. Her books, including a book about writing, can be found on Amazon’s websites and on the sites of other great booksellers.