defined, 45;
implies action, 45;
simple and complete, 47;
observes Greek unities, 47;
importance of, 48;
in _Character Study_, 48;
in _Detective Story_, 48;
plot-germ, 49;
test of, 50;
derivation of, 51;
freshness of, 52, 57;
phases of 52-56;
hackneyed, 57;
"elemental" or "true," 58;
"theme," 58;
in "Ambitious Guest," 58-61;
"skeleton" or "working," 59-61;
relation to title, 66, 67, 68;
effects surprise, 165;
effects climax, 166, 179.
Poe, Edgar Allan: first recognized short story, 11;
influence on short story, 11;
originated _Story of Ingenuity_, 36.
Poetry, quoted, 194.
Preliminary Climax, 177-179.
Premonition, stories of, 169.
Price of short stories, 227, 229.
Punctuation, 200, 220.
Quotations, 194.
Realism, 21.
Religion: not literature, 159;
influence of, 160.
Revision, 216-221.
Rhetoric: disregard of, 204;
faults of, 219.
Romanticism, 21.
Scene: location of, 143, 145;
importance of, 144;
presentation of, 144.
Sensationalism: in title, 72-74;
in style, 190, 192.
Sentences, 199.
Short Story: first recognized, 11;
history of, 11;
masters of, 11, 12;
an American product, 12;
epoch of, 12;
school for novelist, 12;
defined, 15-17;
plot of, 17, 47-63;
length of, 17;
love element in, 18;
ingenuity and originality in, 19;
"touch of fantasy" in, 19;
tends to comedy, 20, 46;
realism and romanticism in, 21;
technique of, 22;
artificiality of, 22;
compared with novel, 23;
best twelve American, 24;
classification of, 26-44;
collections of, 41-44;
unity in, 47, 149-155;
title of, 64-77;
facts in, 78-93;
characters in, 94-118;
methods of telling, 119-131;
beginning of, 132-148;
body of, 149-170;
parts and chapters in, 149;
influenced by novel, 150, 155, 175;
padding in, 156;
local color in, 156;
didacticism in, 157-160;
proportions of, 160;
climax of, 161-182;
suspense in, 161-164;
surprise in, 162, 165;
conclusion of, 182-188;
style of, 189-208;
labor in writing, 209-221;
marketing of, 222-233;
criticism on, 222, 231;
timeliness of, 225-227.
Skeleton Plot: defined, 59;
in "Ambitious Guest," 59-61;
use of, 62.
Slang, 197.
Spelling, errors in, 220.
Stereotyped phrases, 192.
_Story of Ingenuity_: compared with _Imaginative Tale_, 27;
defined, 36;
_Humorous Story_ related to, 38.
_Story of To-day_, 36.
_Story of Wonder_, 37.
_Story with a Moral_, 29.
_Study in Horror_, 31.
Style: importance of, 189;
a matter of individuality, 189;
appropriate, 189;
qualities of, 190;
commonplace, 191;
stereotyped phrasing, 192;
"fine writing," 193;
quotations, 194;
figures of speech, 195;
foreign words and phrases, 196;
good English, 197;
slang, 197;
flowing, 198;
ease of expression, 199;
compression indispensable, 201;
padding, 202;
not exhaustive, 203;
acquisition of, 204-208.
Suppression: of unimportant facts, 89;
of unimportant dialogue, 115;
of irrelevant matter, 155.
Surprise: see Element of.
Suspense: see Element of.
_Tale_, 27.
Technical Climax, 179-182, 183.
Test of good story: title, 64;
beginning, 132, 146-148;
conclusion, 171.
Theme: defined, 58;
in "Ambitious Guest," 58.
Timeliness: seasonal, 225;
fashionable, 226.
Title: test of story, 64;
influences sale, 64-66;
"text," 66, 76;
relation to plot, 66;
apt, 67;
specific, 68-70;
attractive, 71;
name of character as, 72, 76;
sensational, 72-74;
new, 75;
short, 75;
from principal object, 77.
Tone Color, 199.
"Touch of Fantasy," 19.
True Plot: defined, 58;
in "Ambitious Guest," 59.
_True Story_, 27.
Typewritten MSS., 228.
Unity, 149-155.
_Weird Story_, 30.
Wilkins, Mary E.: her moral stories, 160.
Words: foreign, 196;
misuse of, 197;
choice of, 199.
Working Plot: defined, 59;
in "Ambitious Guest," 59-61;
use of, 62.
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| TRANSCRIBER'S NOTES |
| |
| Page 30 Sceptre changed to Spectre |
| Rappocini's changed to Rappaccini's |
| Page 40 practise changed to practice |
| Page 42 Girard changed to Gerard |
| Page 48 centres changed to centers |
| Page 54 accident, changed to accident. |
| 77 Rickshaw changed to 'Rickshaw |
| 96 egregriously changed to egregiously |
| 103 supernumeries changed to supernumeraries |
| Page 178 Higinbotham changed to Higginbotham |
| |
| The use of hyphens, and "practised" on |
| Page 89 and "unpractised" on Page 129 have |
| been retained as in the original despite some |
| inconsistencies. |
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End of Project Gutenberg's Short Story Writing, by Charles Raymond Barrett