_The Dominant Features_: Fannie and George kill Ned. Fannie and
Mollie escape to Pennsylvania. Later George joins them. He falls in
love with the girl. The mother’s power returns. Occasion throws the
girl with George. At his protests, Mollie understands he is trying to
“make a fool of her,” as he has of her mother, Fannie. She runs from
him. The incident of the storm. Mollie later finds Fannie and George.
She (evidently) kills them. Long years after, she tells her story.
She dies.
_Presentation_: The details as just suggested are woven in the lurid
narrative Mollie tells Mrs. Pollard and Mrs. Reeves. Study the
details--they are the essential “story”--and observe how skillfully
the author has rearranged them. To illustrate, he necessarily begins
with what formed the final step in the series above. What is the
reason for the _incoherent presentation_ of the story Moll tells?
Mark out the steps in the plot, Initial Incident, and so on to the
Dénouement, using the scheme found throughout this book.
SETTING. What is the locale of Mrs. Pollard’s home? Is this setting
in any way a part of the plot, or does it merely provide background
for Moll’s story? Is it near the setting of the rehearsed narrative?
Why does the thunderstorm form an essential part of the setting? How
are the weather, the time of day, and the place harmonized in the
atmosphere or mood of the entire narrative?
CHARACTERS. What characteristics of Mrs. Pollard and Mrs. Reeves make
them especially desirable, for story purposes, as listeners?
In what ways is the portrait of Moll given? What is the significance of
the fact that she is _introduced_ by her “unearthly cry”? (Page 369.)
The main image of her person is given (page 371) as “the tall and thin
but heavily framed figure of an old woman.” Is this picture emphasized,
for cumulative effect, or is it left to stand alone? Are Moll’s first
words well calculated, as her initial speech? Why?
Through Screamer Moll’s story, the story of an insane woman, Fannie and
George appear striking in certain details; dim in others. Is this both
a necessary fact, under the circumstances, and also better for the
author’s purpose? Describe Fannie.
DETAILS. Mr. Kline used the rehearsed method of telling the main story
as an unconscious effort, no doubt, to heighten the effect of legend,
of “something by and gone, all shadowy as recalled.”
Where, in the finished story, does the author first sound his legend
idea?
Why does he introduce the thunderstorm? Even if Moll had not died,
would it have had logical place in the story? That is, would the
repetition of the storm scene cause a reaction from her crazed brain
which would impel her to speech? Does the duplication of the storm (the
one of the inner story echoed by the one of the setting) increase the
totality of effect?
Why is the place of emphasis (the end) given to the finding of the two
skeletons?
What are the chief sound effects? Are they in harmony or contrast?
GENERAL VIEWS OF MR. KLINE. He thinks Mr. Braithwaite is right. “The
only test of a short story is, ‘Has the writer something interesting
to say, and does he say it in a manner to interest me?’” (See, by
way of comparison, Mr. Donn Byrne’s statement.) Mr. Kline further
believes that the great writers have never had to thrash the air with
“plot”--“from Hawthorne and Poe and Bret Harte, from Balzac and Gautier
and Maupassant, from Tolstoy and Turgenev and Dostoievsky, down to our
own O. Henry.” According to his statement and illustrations, how is he
probably considering the word plot? What difference is there between
plot invention and plot presentation? Does De Maupassant show skill in
arranging the plot _order_ in “The Necklace”? What would have happened
to the story had he not created the surprise? What would be the loss
in these stories of O. Henry had he not carefully constructed his
plot--“The Gift of the Magi,” “A Double-Dyed Deceiver,” “The Furnished
Room”?
Mr. Kline thinks that the only way to learn to write is to write and
keep writing, under wise and kindly criticism of course. And he adds
that if one can be severe and honest enough one’s own criticism is
best. “To be a real writer, one must master himself, master the world,
and master his art.”