the use of the shortest, tersest sentences to express the
absolutely essential. Dependent clauses disappear; either the
sentences are simple, just one sharp statement, or they are made of
coordinate clauses with no connectives. Every weight that could clog
the story is thrown away, and it runs with the swiftness of the
thought. At such a time it would be a waste of good material to
introduce beautiful descriptions or profound philosophy. Such things
would be skipped by the reader. Everything must clear the way for the
story.

Slowness.

What has been said of rapidity will indicate the answer to the second
question. Slowness of movement is obtained by introducing long
descriptions, analyses of characters, and information regarding the
history or customs of the time. Sentences become long and involved;
dependent clauses abound; connective words and phrases are frequent.
Needless details may be introduced until the story becomes wearisome;
it has almost no movement.

Very closely connected with what has been said above is another fact
concerning movement. Strip the sentences as you may, there are still
the verbs remaining. Verbs and derivatives from verbs are the words
which denote action. If other classes of words be taken out, the ratio
of verbs to the other words in the sentence is larger. Shorter
sentences and an increased ratio of verbs mark the passages in which
the movement is more rapid. In "Baa, Baa, Black Sheep" the sentences
average twenty-five words in the slower parts; in the intenser
paragraphs the sentences have an average of fifteen words. Poe's
"Gold-Bug" changes from thirty-eight to twenty-one. Again, Stevenson's
essays have a verb to eight words, while the fight at the round house
has a verb to about five and a half words. One of Kipling's stories
starts in with a verb to eight and a half words, and the climax has a
verb in every four words. These figures mean that as the sentences are
shortened, adjectives, adverbs, phrases, connectives, disappear.
Everything not absolutely necessary is thrown away when the passage is
to express rapid movement.

No person should think that, by eliminating all dependent clauses,
cutting away all unnecessary matters, and putting in a verb to every
four words, he can gain intensity of expression. These are only
accompanying circumstances. Climaxes are in the thought. When the
thought moves rapidly, when things are being done with a rush, when
the climax has been r