nd, Romain, 28, 192.

Romance, 182.

Romanticism, 182, 199.

Scarlet Letter, The, 29, 32, 92, 182, 203, 204.

Scott, Sir Walter, 52, 88.

Sea-Wolf, The, 71, 75, 76.

Selection, 22.

Self-culture, 24.

Sense and Sensibility, 182.

Senses, employment in description, 117, 120, 121.

Seriousness, 31.

Setting, 152.

Setting, description of, 118.

Sex, 33.

Shakespeare, William, 157.

Ship That Found Herself, The, 198.

Short story, 18, 38, 43, 87, 193.
Definition, 165.
Two types, 166.
Dramatic short story, 166.
Atmospheric short story, 166.
Origins, 167.
Unity and singleness of effect, 168.
General technique, 172.
Characterization, 172.
Interest and simplicity, 176.
Complexity, 177.
Coherence, 179.
Compression, 181.

Significance of matter, 205.

Simplicity, 188.

Simplicity of plot for short story, 176.

Sincerity, 31.

Situation (see Plot).

Situation and dialogue, 128.

Social question, 26.

Speech, 105.
Potency, 124.
Mechanical distribution, 125.
Naturalness, 126.
Direction, 126.
Dialect, 127.
Situation, 128.
Resources to meet demands of situation, 130.
Style, 132.
Verbs of utterance, 133.
Speech for its own sake, 134.
Creative process, 135.

Spelling in dialogue, 143.

Stage, conventions of, 170.

Stevenson, Robert Louis, 13, 39, 44, 52, 53, 55, 56, 82, 89, 90, 93,
96, 99, 110, 137, 139, 144, 145, 149, 153,
155, 158, 161, 162, 169, 174, 179, 182, 188,
191, 192, 200.

Story types, 165, 166.
Conception and execution, 37.
Utility to know types, 38.
Novel and romance, 38.
Short story, 38.
The three types, 39.
Emphasis, 39.
Three elements of story, 39.
Character, 40.
Incident, 42.
Atmosphere, 45.
Other types, 46.
Short Story and compression, 44.

Story, distinguished from tale, 49.

Story, ways to create, 39.

Style, 82, 90, 97, 137.

Suppression, 101.

Suspense, 100, 101.

Sympathy, 88, 148, 149.

Tale, 39, 43, 49, 165, 207.

Tanglewood Tales, 93.

Tarkington, Booth, 71.

T. B., 76.

Technique, na