Short Story Writing

Excerpt: ..."As all hope for Joseph has fled, I ought to marry some one else, and make most of what I have. There is Thomas Malloy, who loves me almost as well; however, my affection for him is not very great, but I think I shall unite my life with his, and do my best to make myself and the world around me happy." Her mind, moved by an emotion of a noble heart, caused her to make the last remark. Soon they were married, but there was no happiness 138 in life for her; for the one she lived for was gone, and had carried off her affection with him. Returning to the war we find that Joseph was not killed in the battle but was taken prisoner by the enemy. There is a questionable sort of beginning, which might be called dilatory, that consists in carrying the literary aspect of the essential facts to the extreme, and making them occupy a deal more valuable space than is rightly theirs. This is generally the method of a past school of short story writers, or of the writers of to-day who are not yet well versed in the technique of their art. Of this class Washington Irving is a great example. In "Rip Van Winkle" and "The Legend of Sleepy Hollow" he devotes to the introduction almost as much space as a writer to-day would give to the whole tale. He is so skillful in gently urging the narrative along, while he introduces new essentials and interpolates literary but non-essential matter, that in neither story can one exactly fix the bounds of the beginning; but in each a modern story teller would combine the first ten paragraphs into one introductory paragraph. I do not mean to say that this is a fault in Irving: if it is a fault at all it belongs to his time; then, too, these tales were supposed to be written by the gar 139 rulous antiquarian, Diedrich Knickerbocker; but their discursive style is not in vogue to-day, and is therefore to be avoided. As an awful example of the extent to which this dilly-dallying may be carried, let me introduce the following: The train...