INDEX

Action: implied by plot, 45;

of characters, 102; advanced by speech, 107; advanced by preliminary climax, 177.

Adjectives, 197.

Adverbs, 198.

Allegory, 29.

"Ambitious Guest, The:" as paradigm, 46;

observes unities, 48, 150-152, 154; "elemental" or "true" plot of, 58; "theme" of, 58; "skeleton" or "working plot" of, 59-61; facts in, 90-93; characters in, 97; compression of dialogue in, 115; beginning of, 134, 146; scene of, 144; suspense in, 162; preparation for climax in, 167-169; climax of, 172, 183; conclusion of, 183; text of, 234-249.

Author, intrusion of, 120-122.

Balance, 160.

Beginning: crucial test, 132, 146 148;

length of, 132; introduces foundation facts, 132-138; dilatory, 138-140; prefatory, 141; locates scene, 143, 145; best method of, 146.

Best twelve American short stories, 24.

"Bookish" conversation, 109.

Burlesque, 39.

Chapters, 149.

Characters: names of as titles, 72, 76;

necessity of, 94; based on fact, 94; composites, 95; descriptions of, 96, 98-102; characteristics of, 97, 102; appearance of, 97; active, 102; few, 103; interest in 104; names of, 105; speech of, 106-116; models, 118.

Character Sketch, 32.

Character Study: defined, 32;

Dialect Story related to, 33; plot of, 48.

Classification of Short Stories: use of, 26;

Tale, 27; True Story, 27; Imaginative Tale, 27; Moral Story, 28; Fable, 28; Story with a Moral, 29; Allegory, 29; Weird Story, 30; Ghost Story, 30; Fantastic Tale, 31; Study in Horror, 31; Character Study, 32; Character Sketch, 32; Dialect Story, 33; Parable of the Times, 35; Instructive Story, 35; Story of To-day, 36; Story of Ingenuity, 36; Story of Wonder, 37; Detective Story, 37; Humorous Story, 38; Nonsense Story, 38; Burlesque, 39; Dramatic Story, 39-41.

Climax: how estimated, 161;

preparation for, 161-170, 177-179; logical and inevitable, 165; anticipated, 166, 169; too obvious, 166; in "Ambitious Guest," 167-169; in stories of premonition, 169; as a test, 171; defined, 171; length of, 172; proper, 172; position of, 173; ends suspense, 174; not tragic, 175-177; preliminary, 177-179; "false" or "technical," 179-182; coincident with conclusion, 183.

Collections of short stories, 41-44.

Commonplaces: in title, 71;

not literary, 86; in dialogue, 110, 112-114; in style, 191-195.

Conclusion: defined, 171;

length of, 182; coincident with climax, 183; padded, 184; conventional, 185-188.

Conversation: see Dialogue.

Crane, Stephen, style of, 200.

Criticism, 222, 231.

Curiosity, 161.

Denouement: see Climax and Conclusion.

Description of characters, 96, 98-102;

of scene 143, 145.

Detective Story: defined, 37;

plot of, 48.

Dialect, 117.

Dialect Story: defined, 33;

as literature, 116.

Dialogue: advances action, 106;

modern use of, 107; natural and interesting, 108; "bookish," 109; commonplace, 110, 112-114; attempted humor in, 111; unimportant, 115; in Dialect Story, 116-118; introduces foundation facts, 134.

Diary, narration by, 125.

Dickens, Charles: search for types, 78;

intensified characters, 96; names of characters, 105.

Didacticism: inartistic, 157;

veiled, 158.

Double titles: sensational, 72-74;

too long, 75.

Drama: tendency toward, 107;

influence of, 175.

Dramatic Story: defined, 39;

in Form, 40; in Effect, 40.

Editor: method of approaching, 223, 228;

needs of, 224, 225-227; letter to, 229, 230; opinion of, 231; rejection by, 232, 233.

Elaboration of facts, 89.

Elemental Plot: defined, 58;

in "Ambitious Guest," 59.

Element of Surprise: defined, 162;

genuine, 165.

Element of Suspense: defined, 161;

relief of, 162-164, 177-179; ended by climax, 174.

End: see Conclusion.

Epistolary form, 125.

Epoch of the Short Story, 12.

Fable, 28.

Facts: source of plots, 50;

in fiction, 78; acquisition of, 78, 84; familiar, 80; unfamiliar, 80, 81; about society, 81; historical, 82; utility of, 84; use of, 86, 87; not strange, 86; plausibility of, 89; suppression and elaboration of, 89; in "Ambitious Guest," 90-93; characters based on, 94; introduced in beginning, 132-138.

False Climax, 179-182, 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, 199.

Working Plot: defined, 59;

in "Ambitious Guest," 59-61; use of, 62.

Transcriber's Notes

Page

• Sceptre changed to Spectre 30

• Rappocini's changed to Rappaccini's 30

• practise changed to practice 40

• Girard changed to Gerard 42

• centres changed to centers 48

• accident, changed to accident. 54

• Rickshaw changed to 'Rickshaw 77

• egregriously changed to egregiously 96

• supernumeries changed to supernumeraries 103

• Higinbotham changed to Higginbotham 178

The use of hyphens, and "practised" on Page 89 and "unpractised" on Page 129 have been retained as in the original despite some inconsistencies.