t must
be learned, each for himself. However, I am not concerned in this place
with executive technique, or even with constructive technique, and
whatever hints can be given as to the creation of atmosphere would be
out of place. My object is merely to state the fundamental types of
story and the necessity that the writer recognize the true character of
his conception, that he may develop it with emphasis properly laid.

Other types of story exist, but the lines between them are not drawn by
the inherent character of the art of fiction. The love story, for
instance, may be told with emphasis on character, on incident, or on
atmosphere, and the placing of emphasis determines its artistic
character. The technique of conception is concerned only with
fundamental types, and the sole object of its mastery is to give the
writer knowledge of the essential artistic character of each of his
conceptions, that he may work with a definite aim in development. My
object is not to discuss or analyze pedantically, for the sake of the
analysis itself, but simply to state the importance of discovering the
basic fictional character of the idea, that it may be properly expanded.
Strict constructive and executive technique of course require separate
treatment.

FOOTNOTES:

[A] One might expand here on the distinction that in the story stressing
character it is the particular persons who interest the reader, while in
the story of plot his interest centers in the events, and the people of
the story are followed less as individuals than as the human focal
points whereon the events take effect. Such fine analysis is tempting,
but of little use, for any story is a compact unity of the three
elements.

CHAPTER IV

CONCEPTIVE TECHNIQUE: PLOT AND SITUATION

Definition of Plot--Character and Plot--Dramatic Value of
Plot--Complication--Interest--Plot as Problem--Three
Basic Themes--Conflict Between Man and Nature--Conflict
Between Man and Man--Conflict Within the Same Man--
Arrangement of Elements of Plot--Climax--Major Situations--
Situation and Plot.

The plot of a story is its heart and essence. This is obviously true in
the case of the strict story of plot, and it is very curiously true in
the case of the story of character or of atmosphere. For in the story
which lays emphasis on personality, the evolution or degeneration of the
particular trait which has been selected for presentation is the real
sto