Writer's Digest: How to Write Short Stories (1921)

 

Chapter I. Common Sense in Viewing One's Work. 

Chapter II. The Necessary Mental Equipment. 

Chapter III. Finding Time and Material. 

Chapter IV. Hints for Equipping The Shop. 

Chapter V. Common Business Sense in Meeting the Market. 

Chapter. VI. The Great Art of Story Writing: Construction. 

Chapter VII. The Great Art of Story Writing : Style. 

Chapter VIII. The Great Art of Story Writing: Adaption of Style to Material. 

Chapter IX. The Great Art of Story Writing: The Element of Suspense — Viewpoint. 

Chapter X. The Great Art of Story Writing: Characterization. 

Chapter XI. The Great Art of Story Writing : Plots. 

Chapter XII. Using Acquaintance as Material. 

Chapter XIII. The Author's Personal Responsibility. 

Chapter XIV. The Editors. 

 Chapter XV. Criticism. 

Chapter XVI. Help from Other Writers. 

Chapter XVII. When You're Tempted to Shut Up Shop.

Chapter XVIII. The Business of Writing — A Summing Up.

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 Fiction Writing Tips Article Index Page

A Manual of the Short Story Art by Glenn Clark

 

A Manual of the Short Story Art 

by 

Glenn Clark

 

 Overview

This 1922 how-to textbook, intended for teachers and students, includes exercises to get a writer started; lessons in visualization, dialogue, and theme; a list of thirty-six plot situations; and, as examples, short stories by Anthony Hope, Gertrude Hamilton, Edna Ferber, O. Henry, Beatrice Walker, and Wilbur Daniel Steele.

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The Contemporary Short Story: A Practical Manual by Harry Baker Turner

The Contemporary Short Story: A Practical Manual

 

by Harry Baker Turner

 

 

 FOREWORD BY OLIVIA SALTER

In an era where attention spans are dwindling and time is a precious commodity, the art of storytelling has found a natural home in the realm of the short story. These concise yet powerful narratives have the ability to captivate readers, immersing them in a world of imagination within a limited space.

Harry Baker Turner's The Contemporary Short Story: A Practical Manual serves as an indispensable guide for both aspiring and seasoned writers, providing a comprehensive toolkit to craft compelling short stories that resonate with readers. With a wealth of knowledge gained from his vast experience as a writer and educator, Turner deftly navigates the intricacies and nuances of the short story form, offering valuable insights and practical advice at every turn.

This manual is not merely a theoretical exploration of the short story but a hands-on, practical resource that empowers writers to develop their skills and master the craft. Turner's approach is both rigorous and accessible, as he imparts indispensable wisdom on various aspects, from generating ideas and creating well-rounded characters to refining dialogue and crafting effective plot arcs. Through clear and concise examples, he demonstrates how each technique can be harnessed to produce impactful and thought-provoking stories.

What sets The Contemporary Short Story apart is Turner's keen understanding of the evolving literary landscape. He acknowledges the changing tastes and preferences of modern readers, addressing contemporary themes and pushing the boundaries of traditional storytelling. Turner's emphasis on diversity and inclusivity is commendable, encouraging writers to explore a multitude of perspectives and voices, opening up a rich tapestry of narratives that reflect our multifaceted world.

Furthermore, Turner recognizes that writing is not a solitary endeavor. He offers valuable advice on seeking feedback, collaborating with editors, and navigating the publishing industry, providing invaluable guidance for writers looking to take their work to the next level. His encouragement for writers to cultivate resilience and perseverance serves as a reminder that the journey of crafting a short story is one of constant learning and growth.

As I delved into the pages of The Contemporary Short Story: A Practical Manual, I found myself immersed in a treasure trove of knowledge and inspiration. Turner's passion for storytelling is evident in every chapter, urging writers to push their boundaries and embrace the limitless possibilities of the short story form.

Whether you are an aspiring writer seeking to embark on this captivating journey or an established author looking to refine your skills, Harry Baker Turner's manual is a must-have resource in your literary arsenal. So dive in, explore the magic of the short story, and let Turner's guidance illuminate your path towards crafting stories that will linger in the hearts and minds of readers for years to come.

Olivia Salter

03/11/2022

 

CONTENTS

CHAPTER PAGE

I. Originality: Kinds and Methods 1

II. Common Faults 43

III. Structure 84

IV. Character vs. Plot 140

V. Style and the Classics 176

VI. How Magazines Differ 203

VII. A Magazine Office from the Inside 233

Appendix 249

Suggestions for Beginners 249

Test Questions 253

A List of American Fiction Magazines 255

A Few Books on the Short Story  257

A List of Representative Short Stories 258

Index 265

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The Short Story a Technical and Literary Study

by 

Cross, E. A. (Ethan Allen), b. 1875

 

Description

Excerpt from The Short Story: A Technical and Literary Study

The technic of the Short Story, as it is written today by the best of its masters, is quite definite ln its essential features and yet so flexible in the non-essentials as to give to the careless reader the impression of lawlessness. The purpose of the book, then, to be a little more specific, is to point out those technical features of the Short Story which are generally recognized by the best writers, and to prepare the reader for the variations in form which the flexibility in the non-essential parts admits, and yet to make clear the fact that there is such a thing as The Technic of the Short Story, the understanding of which opens up the possibilities of comprehension and enjoy ment just as the perception of the technical elements of other forms of literary art, of architecture, or of music increases the sweep of one 's appreciation of an ode, a public building, or a symphony.

In the preparation of this book there has been no effort made to get together a manual for the beginner in the writing of short stories. A number of these already exist. But it is possible that the analysis of the structure of the short story from the reader's point of view may be helpful to the beginner in writing by clarifying his no tions about the handling of plot, theme, suspense, and the other elements of technic.

The historical development of this form of art has been touched only superficially. The author's purpose has been to exhibit the story as it is now. We all recog nize in these days of exact biological calculation that heredity has much to do with the living youth who flour ishes among us; and so, to a certain extent, it is with a literary form. In an attempt to keep the peace with the literary scientists and at the same time to avoid any long delay in getting at the serious business of the book a short paragraph has been devoted to each of the more important branches of the family tree of the Short Story.
 

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Short Story: its Principles and Structure by Evelyn May Albright

 

The Short-Story, its Principles and Structure    

 by Evelyn May Albright , 1880-1942       

 

FOREWORD BY OLIVIA SALTER

The art of storytelling has captivated and enchanted humanity since time immemorial. In its many forms and genres, the power of narrative has the ability to transport readers to different worlds, evoke emotions, and offer profound insights into the human experience. Among the diverse literary forms, the short story holds a unique position, capable of delivering a potent impact within a concise narrative framework.

Evelyn May Albright's insightful work "The Short Story: Principles and Structure examines the intricacies of this captivating literary form, offering a comprehensive and insightful exploration into its principles and structure. With a deep ardor for the craft, Albright delves into the essence of the short story, unraveling its secrets and illuminating the techniques that bring these narratives to life.

Albright's dedication to understanding the short story as a distinct art form is apparent throughout the pages of this remarkable book. Drawing upon her extensive knowledge and experience, she expertly analyzes the fundamental components of a short story, from its plot and characters to its narrative structure and thematic implications. Through Albright's masterful exploration, aspiring writers and literature enthusiasts alike will gain valuable insights that can enhance their appreciation and understanding of this captivating genre.

"The Short Story: Principles and Structure" serves as an invaluable guide for both aspiring and seasoned writers, providing a roadmap to craft compelling narratives within the constraints of brevity. Albright's lucid explanations and practical advice enable writers to grasp the essential techniques needed to create captivating short stories that resonate with readers on a profound level. With her guidance, writers can learn to harness the power of concise storytelling and evoke lasting emotions in their audience.

Beyond its utility to aspiring writers, Albright’s work also appeals to readers who seek a deeper understanding and appreciation of the short story. By dissecting the principles and structure that underpin these narratives, readers can uncover the intricate craftsmanship that lies beneath the surface. Albright's exploration of different literary styles, themes, and character development offers readers a fresh lens through which they can analyze and interpret the stories they encounter, enriching their own reading experiences.

"The Short Story: Principles and Structure" is not merely an academic treatise but a passionate testament to the beauty and power of the short story. Evelyn May Albright's eloquent prose and profound insights make this book an engrossing read for anyone who appreciates the written word. Whether you are a writer looking to hone your skills or a reader seeking a deeper connection with this rich and nuanced genre, this book is an indispensable resource that will both educate and inspire.

As we embark on this journey through the world of the short story, let us be guided by Albright's expertise and artistry. May her words ignite our creative spirits and kindle our love for the enchanting realm of the short story.

Olivia Salter 

03/11/2022

Short Story: its Principles and Structure by Evelyn May Albright, (1907). The aim of this book is not to trace the origin or the development of the short-story, but to set forth some standards of appreciation of what is good in storywriting, illustrating by the practice of the masters as contrasted with amateurish failures : this with the view of rousing the student to a more lively interest in his eading, and of awakening such a wholesome spirit of self-criticism as shall enable him to improve his own workmanship, should he feel called to write. It is expected that one who undertakes to study or to write short-stories will become acquainted at first hand with the masterpieces of this art. With this in view, a reading-list has been appended, roughly classified in parallel arrangement with the topics studied in the text. The list includes, besides a number of stories generally recognized as great, a fairly representative selection from recent magazines. It is the author's belief that not only the masterpiece but the story which is moderately good can be made a profitable study in construction for the beginner. But it has been the aim to lay due stress, within the text, on those elements of greatness which distinguish the masterpiece from the average short-story. I. Introductory - II. Gathering Material - III. The Motive as the Source op Plot - IV. Plot - V. Mechanism - VI. Unity of Impression - VII. The Title - VIII. Characterization - IX. Dialogue - X. The Setting - XI. The Realistic Movement - XII. The Element of Fantasy - XIII. The Emotional Element - XIV. The Spirit of the Author      

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The Elements of the Short Story 

Edited by Edward Everett Hale (Jr.), Fredrick Thomas Dawson

The Elements of the Short Story by
Edward Everett Hale and Fredrick Thomas Dawson, (1915). The legend of Sleepy Hollow, by W. Irving.--Rip Van Winkle, by W. Irving.--Irving as a story writer.--The great stone face, by N. Hawthorne.--Ethan Brand, by N. Hawthorne.--Hawthorne as a story writer.--The fall of the house of Usher, by E. A. Poe.--The murders in the Rue Morgue, by E. A. Poe.--Poe as a story writer.--The diamond lens, by F.-J. O'Brien.--The man without a country, by E. E. Hale.--The outcasts of Poker Flat, by F. B. Harte.--Some recent stories. 

I. The Legend of Sleepy Hollow. .
.Washington Irving - 

II. Rip Van Winkle Washington Irving - 

III. Irving
as a Story Writer - 

IV. The Great Stone Face. . .Nathaniel Hawthorne 

V.  Ethan Brand . . .Nathaniel Hawthorne - 

VI. Hawthorne as a Story Writer -
 

VII. The Fall oe the House of Usher .Edgar Allan Poe - 

VIII. The
Murders in the Rue Morgue. Edgar Allan Poe - 

IX. Poe as a Story Writer -

X. The Diamond Lens - Fitz-James O'Brien - 

XI. The Man Without A Country . . . Edward Everett Hale - 

XII. The Outcasts of Poker Flat. .
.Francis Bret Harte. - XIII. Some Recent Stories
 

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Hints on writing short stories by Charles Joseph Finger

Hints on Writing Short Stories

by Charles Joseph Finger

Hints on Writing Short Stories by Charles Joseph Finger (1922). In the first place, there must be Sincerity. Without that nothing can be done. Sincere work will be good work, and sincere work will be original work. With sincerity, you will have honesty and simplicity, both of which are cardinal virtues in the literary man. Also, with sincerity there will be courage. You know, as well as I know, that when you meet an in- sincere man, you detect him at once. Were you ever deceived, for instance, by the rounded periods of some political rhetorician? Perhaps for a moment you may have been carried away in spite of your better sense, but, certainly, the effect was not lasting. Examining yourself, you will certainly remember that before you could persuade others, you had to be thoroughly convinced of the essential right of the thing itself. In the same fashion then, you must be persuaded of the truth of that which you wish to be accepted when writing. I do not speak of controversial matters. I write of fiction. You must have so thoroughly identified yourself with your characters that they are as living creatures to you. Then only shall they be living characters to your readers. If you have read the Pickwick Papers and have learned to know and love Samuel Pickwick, you will know exactly what I mean. In that character, the young Charles Dickens lost himself. In creating Mr. Pickwick he was entirely sincere. He watched the character grow from a somewhat simple-minded old gentleman to a lovable, jolly fellow to meet whom you would walk half round the world. Pick- wick was real to Dickens; therefore he is real to us. Observe this too; he had his faults. Mr. Pickwick would not have been considered rna good or a moral character to many of the “unco guid” of today. He often drank too much. Had there been nation wide prohibition in England in his day, he would certainly have drunk home brew with Ben Allen and Bob Sawyer exactly as he went to prison for conscience sake. He and his companions enjoyed the pleasures of the table too well for latter day tastes. He was obstinate on occasion, just as I am obstinate. Had Dickens been insincere, he might have been tempted to sponge out the bad spots in his character. But then he would have given us something that was not a man. The truth is that we want something of the sensuous and the gross in those about us. None of us want to live with angels and saints. So we reject instinctively as impossible and unpleasant, those perfect, etherealized creations some times found in stories — those returns all compounded of nobility, courage, beauty, generosity and wisdom which insincere writers try to foist upon us. They do not ring true. We detect their hollowness just as we detect the hollowness of the flamboyant boastings of the political orator.

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