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Updated: May 1, 2025
=Short-Stories That Are Not Brief.= But if there exist many brief tales which are not short-stories, so also there exist certain short-stories which are not brief. "The Turn of the Screw," by Henry James, is a short-story, in the technical sense of the term, although it contains between two and three hundred pages. Assuredly it is not a novelette.
But in the short-story of action, on the other hand, the plot may be sufficient unto itself, and the characters may be the merest lay figures. The heroine of "The Lady or the Tiger," for example, is simply a woman not any woman in particular; and the hero of "The Pit and the Pendulum" is simply a man not any man in particular.
Having selected his effect the author of a short-story should confine his attention to producing that, and that alone. He should stop at the very moment when his preëstablished design has been attained; and never during the progress of his composition should he turn aside for the sake of a lesser effect not absolutely inherent in his single narrative purpose.
As has been already stated, a short-story theme, however fine, can only be converted into good art by the suppression of whatever is discursive or ungainly, so that it becomes integral and balanced in all its parts; and by the addition of a stroke of fantasy, so that it becomes vast, despite its brevity, implying a wider horizon than it actually describes; but, in excess of these qualities, there is a last of still greater importance, without which it fails the power to create the impression of having been possible.
Frank R. Stockton's famous tale, "The Lady or the Tiger?", ends with a question which neither the reader nor the author is able to answer; and Bayard Taylor's fascinating short-story, "Who Was She?", never reveals the alluring secret of the heroine's identity.
Poe was the first American short-story writer. Others had written stories that were short, but he was the first to recognize the short-story as having a form and an aim all its own. Moreover, he was willing to admit the public to his laboratory and to explain his process, for he discounted inspiration and emphasized craftsmanship.
Only One Best Way to Construct a Short-Story Problems of Short-Story Construction The Initial Position The Terminal Position Poe's Analysis of "The Raven" Analysis of "Ligeia" Analysis of "The Prodigal Son" Style Essential to the Short-Story.
Furthermore, it demands a mastery of style, "the verbal magic that recreates for us what the imagination has seen." But, on the other hand, "to write a short-story requires no sustained power of imagination"; "nor does the short-story demand of its author essential sanity, breadth, and tolerance of view."
This is an illustration of a popular type of the short-story. The movement from beginning to end is swift and urgent; something important is happening all the time. Description is reduced to the minimum, and where it is used does not impede the action. The local color of a great newspaper office in a large city contributes to the impression of orderly activity and haste.
His taste is often defective, as is that of Burns on occasions. This is a fault which might be expected in a man of his training; but the vigor and essential worth of the matters which he relates are beyond all question. He did not always know where to begin his short-story, or where to terminate.
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