Short Story Writing by Charles Raymond Barrett (inspiring books for teens .TXT) π
Excerpt from the book:
what has been said it is evident that the short story is artificial, and to a considerable degree unnatural. It could hardly be otherwise, for it takes out of our complex lives a single person or a single incident and treats that as if it were complete in itself. Such isolation is not known to nature: There all things work together, and every man influences all about him and is influenced by them. Yet this separation and exclusion are required by the conventions of the short story; and after all, there is always the feeling, if the characters are well handled, that they have been living and will continue to live, though we have chanced to come in contact with them for only a short time.
It is this isolation, this magnifying of one character or incident, that constitutes the chief difference between the novel and the short story.[8] In the novel we have a reproduction of a certain period of real life: all the characters are there, with their complex lives and their varying emotions; there are varied sce
Read free book Β«Short Story Writing by Charles Raymond Barrett (inspiring books for teens .TXT) πΒ» - read online or download for free at americanlibrarybooks.com
Download in Format:
- Author: Charles Raymond Barrett
- Performer: -
Read book online Β«Short Story Writing by Charles Raymond Barrett (inspiring books for teens .TXT) πΒ». Author - Charles Raymond Barrett
href="@public@vhost@g@gutenberg@html@files@20526@[email protected]#Page_183" tag="{http://www.w3.org/1999/xhtml}a">183.
Fantastic Tale, 31.
Fantasy, 19.
Fashions in short stories, 226.
Fiction: founded on fact, 78;
verisimilitude in, 87;
life in, 88;
derivation of characters in, 94;
names in, 105;
surprise in, 170.
Figures of speech, 195.
"Fine writing," 193.
First person narrative, 122-125.
Foreign words and phrases, 196.
Genius: value of, 209;
dependence on, 214.
Ghost Story, 30.
Grammar: disregard of, 204;
faults of, 219.
Greek unities: observance of, 47;
in "Ambitious Guest," 48.
Happy ending, 185.
Hawthorne, Nathaniel: influence on short story, 11;
his didactic stories, 28-30.
Hero: description of, 96, 97, 98-102;
importance of, 103;
as narrator, 122-125;
an animal or a thing, 126-128.
Humor, 20;
attempted, 111.
Humorous Story, 38.
Imagination, 51.
Imaginative Tale, 27.
Individuality: influences style, 189;
cultivation of, 205.
Inspiration: value of, 212-214;
dependence on, 214;
creation of, 214-216.
Instructive Story, 35.
Irving, Washington: influence on short story, 11;
used narration within narration, 131;
used dilatory beginning, 138.
Italics, 191, 201.
Kipling, Rudyard: made hero an animal, 127;
used prefatory beginning, 142.
Length: of short story, 17;
of title, 75;
of beginning, 132, 146;
of climax, 172;
of conclusion, 182.
Letters: narration by, 125;
accompanying MSS., 229;
of recommendation, 230.
Local Color, 156.
Love Element, 18.
Mailing MSS., 228.
Material, acquisition of, 84, 210-212.
Methods of Narration, 119-131.
Moral Story, 28.
MSS.: preparation of, 216, 218, 228;
submitting, 222-227, 229-233;
letter with, 229;
record of, 232.
Manuscript record, 232.
Names: of characters, 105;
in fiction, 105;
of places, 145.
Narration: methods of, 119, 131;
natural, 120;
impersonal, 120-122;
unity in, 122;
in first person, 122-125;
by letter or diary, 125;
by an animal or a thing, 126-128;
by multiplicity of narrators, 128;
within narration, 129-131.
Nature, influence of, 143.
Newspapers, material from, 84.
Nonsense Story, 38.
Novel: short story a school for, 12;
compared with short story, 23;
influence of, 150, 155, 175.
"Or" in title: sensational, 72-74;
too long, 75.
Padding, 156;
in conclusion, 184;
defined, 202.
Parable of the Times, 35.
Parts, 149.
Phrases: stereotyped, 192;
foreign, 196.
Plausibility: in use of facts, 89;
in "Ambitious Guest," 92.
Plot: necessity of, 17;
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,
Free e-book: Β«Short Story Writing by Charles Raymond Barrett (inspiring books for teens .TXT) πΒ» - read online now on website american library books (americanlibrarybooks.com)
Add a comment
Comments (0)