I. THE DIFFERENT KINDS OF SHORT STORIES
II. GENERAL OUTLINE OF METHOD OF WRITING
III. MATERIAL FOR SHORT STORIES
IV. THE CENTRAL IDEA
V. THE SOUL OF THE STORY
VI. CHARACTER STUDY
VII. THE SETTING OF A STORY
PART SECOND
THE GENERAL PRINCIPLES OF FICTION
I. THE DIFFERENCE BETWEEN THE SHORT STORY AND THE NOVEL
II. HOW TO OBTAIN A GOOD COMMAND OF LANGUAGE
III. NARRATIVE, DESCRIPTION, AND DIALOGUE
IV. HARMONY OF STYLE
V. PLOT CONSTRUCTION
VI. IMAGINATION AND REALITY
VII. THE USE OF MODELS IN WRITING FICTION
VIII. CONTRAST
IX. MOTIVE
X. WHAT MAKES A STORY WORTH TELLING
XI. HOW TO OBSERVE MEN AND WOMEN .
XII. THE TEST OF ABILITY
XIII. CONCLUSION
APPENDICES
EXAMPLES
I. THE NECKLACE
II. A STORY RE-WRITTEN
III. A SHORT HISTORY OF MODERN ENGLISH FICTION
Most young writers imagine, when they first think of writing
stories that one writes well or ill by nature, and if one does not write well
in the first place, improvement is a matter of chance or the working out of
inherent ability in some blind way. That the art of story writing is something
that can be learned seems not yet to have suggested itself very practically to
authors or critics. Yet Maupassant studied seven years with Flaubert before he
began to print at all, with the result of a very obvious, skill, and this
suggests the possibility that others also can learn the art. But any writer,
young or old, who has gone to an acknowledged master of literature in order to
get instruction, knows how Iittle practical assistance is commonly
obtained.
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