abandon it in discussion in
favor of situation. The latter suggests more nearly the requisite idea
of persons keyed for struggle. In particular, plot carries too many
connotations of mere complication, which is not one of its essential
qualities.

CHAPTER V

CONSTRUCTIVE TECHNIQUE OF NARRATION[C]

Importance--Plot and Situation--Spiritual Values of Story--
Order of Events--Introduction--Primary and Secondary Events--
Climax--Naturalness--The End--Preparation--Proportion--
General Considerations.

A story is the relation of what certain persons did in certain places
and under certain conditions of existence, and in its broadest aspect
the art of narration includes the description of persons and delineation
of character, the depiction of scenes, and the suggestion of atmosphere.
But these matters bulk so large in themselves as to call for separate
treatment. My purpose here is to discuss constructive technique, how the
bare story, a succession and progression of events, should be planned
and built up before writing. The problem is constructive, not executive,
and should be considered and settled, within limits, before setting pen
to paper.

In fact, much of the technique of fiction writing concerns matters of
conception and construction. Giving the story its verbal flesh after it
is thoroughly mapped out in mind in accord with the canons of the art is
in truth a more or less simple matter to the writer who has any command
of language and literary facility. The result may not be a
masterpiece--which is a significant idea, justly elaborated, and
perfectly told--but it will possess one of the elements of a story
worthy to live. The trouble is that so many writers set about the task
of expression when all they have in mind is the merest germ of an
undeveloped idea or story, and then are forced to wrestle with
construction and with language at one and the same time. Each task is
great enough for the undivided attention of the ablest artist. I believe
that in the end the constructive task is pretty well done, but that the
more strictly literary task to give the conception verbally perfect
expression is usually somewhat slighted. We have so many well conceived
and elaborated stories, and so very few so perfect in expression that
they deserve to live, a fact indicating that construction can be learned
by nearly all, though literary power seems to be incommunicable. The
proper attitude for the begin