Short Story Writing, Charles Raymond Barrett [cool books to read .TXT] 📗
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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,
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