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 | 1554 Days Ago
The Short Story a Technical and Literary Study by E. A. Cross, (Ethan Allen), (1914). The Short Story is a literary form as distinct as the novel or epic poem and almost as uniformly true to its technical type as the ballade or sonnet. This book is written for the numerous readers who enjoy the best short stories in the magazines, in the hope that it may be an aid to them in getting at the meaning of these stories through an understanding of their construction. One who occasionally reads poetry may get some pleasure from the reading of a poem composed in one of the standard poetic forms without knowing anything about the kinds of lyrics, but the reader who understands the technic of the sonnet or ballade derives an added pleasure from reading poems in these forms when he is aware that the author's meaning, his theme, has been embodied skillfully in an exquisite fixed form. An observer who is acquainted with the details of architecture delights in looking upon a finished structure, beautiful, stately, well adapted to its intended use, in which he recognizes a conformity to the laws of construction, an embodiment of historic lines in the decoration and total effect, and the successful conquest of difficulties in order to accomplish the result in the standard technical requirements of architecture.
 | 1554 Days Ago
The Contemporary Short Story, a Practical Manual by Harry Torsey Baker, ( 1916). A distinguished British critic, Professor Hugh Walker, remarks: "There is no other form of literature in which America is so eminent as in the writing of short stories." This dictum alone is sufficient justification for introducing a course in this subject into every college in the land. Not only is a better understanding and appreciation of the finest short stories fostered by such a course, but not a few students find themselves able to write tales that are accepted by reputable American periodicals — if not during their undergraduate years, at any rate shortly afterward. Writing fiction for the magazines is both an art and a business. This volume accordingly aims to teach promising young authors, whether in or out of college, how to write stories that shall be marketable as well as artistic. It attempts to state succinctly, and as clearly as may be, some fundamental principles of short-story writing. These principles are based upon somewhat extensive reading of short fiction in English, both classic and contemporary; of a pretty large number of manuscripts submitted to important periodicals; and of most of the critical works on the short story. Many of the pages are written from the editorial standpoint. I have not attempted to set up an impracticable ideal on the one hand, nor to concede too much to the lower range of popular taste on the other.
 | 1554 Days Ago
The Art of the Short Story by Carl Henry Grabo, (1913). The principles of narrative structure, which I have set down here, are for the most part true of the novel as well as of the short story, though for conciseness and clearness I have discussed their application chiefly to the latter. They are, most of them, commonly enough held, though in my college work I have felt the need of a book which should collect and relate them in simple, orderly, and yet comprehensive fashion. The material is scattered, and the amateur writer cannot easily find it.
 | 1554 Days Ago
From Fact to Fiction by Edmund Ware Smith, (1946). This book is a collaboration between a writer and a teacher of writing. Its plan developed in the seminar room, to which the teacher had invited the writer to talk to students about the composition of stories. For the subject of his talk, the writer chose one of his own stories, described its origin and development, explained the problems it posed and the devices he used to overcome them or to gain certain effects. Then he read the story aloud. In the concluding period of the seminar, the teacher discussed the wider generalities implied in the writer's preface and in the story itself. The method may be likened to a sandwich — a story between two slices of comment. Students tell us that the method is good. We think, therefore, that the book may be helpful to people who wish to write professional fiction, and that it may offer teachers a fresh and effective means of presenting some of the techniques in the writing of short stories. We do not believe that emphasis on "formula," as such, is of much use to the beginning writer. On the other hand, we do strongly believe that learning to write stories, like learning any other highly skilled craft, requires close and painstaking attention to technique. The long quotation in Chapter III explains more fully our attitude toward the writing of magazine fiction. Great thoughts and delicate perceptions are not enough unless one learns to fashion something from them.
 | 1554 Days Ago
Short Stories in the Making: a writers' and students' introduction to the technique and practical composition of short stories, including an adaptation of the principles of the stage plot to short story writing. By Robert Wilson Neal (1914).
 | 1565 Days Ago
The Writing of the Short Story by Lewis Worthington Smith (1902). Elements of the Story.--This little volume is meant to be a discussion of but one of the various forms that literature takes, and it will be first in order to see what are the elements that go to the making of a narrative having literary quality. A story may be true or false, but we shall here be concerned primarily with fiction, and with fiction of no great length. In writing of this sort the first essential is that something shall happen; a story without a succession of incidents of some kind is inconceivable. We may then settle upon incident as a first element. As a mere matter of possibility a story may be written without any interest other than that of incident, but a story dealing with men will not have much interest for thoughtful readers unless it also includes some showing of character. Further, as the lives of all men and women are more or less conditioned by their surroundings and circumstance, any story will require more or less description. Incidents are of but little moment, character showing may have but slight interest, description is purposeless, unless the happenings of the story develop in the characters feelings toward which we assume some attitude of sympathy or opposition. Including this fourth element of the story, we shall then have incident, description, character, mood, as the first elements of the narrative form.
 | 1582 Days Ago
Fictional Narrative Elements (Short Story) Fiction is constructed from the following 6 components • Characters - Main characters, minor characters, & character development • Dialogue - Reveals character; advances plot • Setting - time, place, mood, & atmosphere • Plot - six basic plots with a centralrnconflict ; plot motivation; setbacks • Point of View - Fist person, third person • Beginnings, Transitions, and Endings
 | 1583 Days Ago
Short Story Writing: A Practical Treatise on the Art of the Short Story. This book is an attempt to put into definite form the principles observed by the masters of the short story in the practice of their art. It is the result of a careful study of their work, of some indifferent attempts to imitate them, and of the critical examination of several thousands of short stories written by amateurs. It is designed to be of practical assistance to the novice in short story writing, from the moment the tale is dimly conceived until it is completed and ready for the editor's judgment.
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