e should not plan to
narrate in detail until a main event is reached. The beginning writer
seems very often to be afraid to narrate in general terms, even where
the story demands no detail, and the fault probably arises from a vague
feeling that the reader will not accept the author's say-so, but must be
"shown." To an extent, that is true. However, where the matter is of
transition, merely to forward the mechanical progress of the story,
detailed narration is distortion. It will inevitably cause loss of
suspense and interest.

Realization of the relative importance to the story of each of its parts
will give the writer the standard whereby to distribute its space. In
writing the short story the preservation of proportion is most
essential; there is so little space at hand that two words cannot be
wasted in detailed narration where more general narration will suffice,
and it all comes under the reader's eye so nearly at one moment that any
disproportion in the treatment of events of equal importance will be
detected. In the novel, lack of proportion may be a more secret fault,
but it will have its effect.

GENERAL CONSIDERATIONS

In casting about for a story the writer should regard chiefly the
intrinsic merits of each idea that comes to him. But when he has pitched
upon his theme or plot, and approaches the task of construction and
elaboration, he should change his viewpoint and strive to view his
conception with the cold eye of a reader. A reader has nothing to go
upon except what the writer sets down, and realization of the fact will
lead the writer in construction to provide for every matter essential to
give the story full appeal. Unless it is developed completely, it will
fail to impress one who has no knowledge of the conception except that
imparted by the writer's words. Nothing essential can be omitted or
slighted without risking failure. On the other hand, nothing unessential
can be brought out without obscuring the real story. Careful
construction and elaboration of the initial idea is necessary before
writing, that the author may have his hands free for the difficult task
of execution, and in construction the writer should occupy the detached
position of a reader when estimating what should be developed and what
suppressed.

FOOTNOTES:

[C] In discussing the principles of construction it is obviously
impossible to illustrate the text by quotation, for just construction
could be shown only by repri