Young writers have trouble in stopping at the right place. They should learn, as soon as possible, that to drag on after the logical ending has been reached spoils the best of stories. It is just as bad to stop before arriving at the true end. In other words there is only one place for the ending of a story, and in no case can it be shifted without ruining the idea that has obtained throughout the theme.
There are certain steps in the development of story-writing that should be followed if the best results are to be obtained. The first assignment should require only the writing of straight narrative. The Arabian Nights Tales and children's stories represent this type of writing and will give the teacher valuable aid in the presentation of this work. After the students have produced simple stories resembling the Sinbad Voyages, they should next add descriptions of persons and places and explanations of situations to develop clearness and interest in their original productions. Taking these themes in turn students should be required to introduce plot incidents that complicate the simple happenings and divert the straightforward trend of the narrative. Now that the stories are well developed in their descriptions, expositions, and plot interests they should be tested for their emotional effects. Students should go through their themes, and by making the proper changes give in some cases a humorous and in others a pathetic or tragic effect. These few suggestions are given to emphasize the facts that no one conceives a story in all its details in a moment of inspiration, and that there is a way of proceeding that passes in logical gradations from the simplest to the most complex phases of story writing.
Franklin and Stevenson knew no rules for writing other than to practice incessantly on some form they wished to imitate. Hard work is the first lesson that boys and girls must learn in the art of writing, and a systematic gradation of assignments is what the teacher must provide for his students. Walter Besant gave the following rules for novel writers. Some of them may be suggestive to writers of the high school age, so the list is given in its complete form. "(1) Practice writing something original every day. (2) Cultivate the habit of observation. (3) Work regularly at certain hours. (4) Read no rubbish. (5) Aim at the formation of style. (6) Endeavor to be dramatic. (7) A great element of dramatic skill is selection. (8) Avoid the sin of writing about a character. (9) Never attempt to describe any kind of life except that with which you are familiar. (10) Learn as much as you can about men and women. (11) For the sake of forming a good natural style, and acquiring command of language, write poetry."
SHORT-STORY LIBRARY
BOOKS FOR REFERENCE:
American Short-Stories, Charles Baldwin, Longmans, Green, & Co.
A Study of Prose Fiction, Chapter XII, Bliss Perry, Houghton, Mifflin Co.
Composition Rhetoric, T.C. Blaisdell, American Book Co.
Forms of Prose Literature, J.H. Gardiner, Charles Scribner's Sons.
Materials and Methods of Fiction, Clayton Hamilton, The Baker and Taylor Co.
Principles of Literary Criticism, C.T. Winchester, The Macmillan Co.
Short-Story Writing, C.R. Barrett. The Baker and Taylor Co.
Specimens of the Short-Story, G.H. Nettleton, H. Holt & Co.
Story-Writing and Journalism, Sherwin Cody, Funk & Wagnalls Co.
Talks on Writing English, Arlo Bates, Houghton Mifflin Co.
The Writing of the Short-Story, L.W. Smith, D.C. Heath & Co.
The Philosophy of the Short-Story, Brander Matthews, Longmans, Green, & Co.
The World's Greatest Short-Stories, Sherwin Cody, A.C. McClurg & Co.
The Short-Story, Henry Canby, Henry Holt & Co.
The Short-Story, Evelyn May Albright, The Macmillan Co.
The Book of the Short-Story, Jessup and Canby, D. Appleton & Co.
Modern Masterpieces of Short Prose Fiction, Waite and Taylor, D. Appleton & Co.
The Short-Story, Brander Matthews, American Book Co.
Writing the Short-Story, Esenwein, Hinds, Noble & Eldredge.
A Study of the Short-Story in English, Henry Seidel Canby, Henry Holt & Co.
COLLECTIONS OF SHORT-STORIES:_
American Short-Stories, Charles S. Baldwin, Longmans, Green, & Co.
Great Short-Stories, 3 vols., William Patten, P.F. Collier & Son.
Little French Masterpieces, 6 vols. Alexander Jessup, G.P. Putnam's Sons.
Short-Story Classics (American), 5 vols., William Patten, P.F. Collier & Son.
Short-Story Classics (Foreign), 5 vols., William Patten, P.F. Collier & Son.
Stories by American Authors, 10 vols., Charles Scribner's Sons.
Stories by English Authors, 10 vols., Charles Scribner's Sons.
Stories by Foreign Authors, 10 vols., Charles Scribner's Sons.
Stories New and Old (American and English), Hamilton W. Mabie, The Macmillan Co.
World's Greatest Short-Stories, Sherwin Cody, A.C. McClurg & Co.
The American Short-Story, Elias Lieberman.
THE FATHER 2
By Björnstjerne Björnson (1838-1910)
The man whose story is here to be told was the wealthiest and most influential person in his parish; his name was Thord Överaas. He appeared in the priest's study one day, tall and earnest.
"I have gotten a son," said he, "and I wish to present him for baptism."
"What shall his name be?"
"Finn, – after my father."
"And the sponsors?"
They were mentioned, and proved to be the best men and women of
Thord's relations in the parish.
"Is there anything else?" inquired the priest, and looked up. The peasant hesitated a little.
"I should like very much to have him baptized by himself," said he, finally.
"That is to say on a week-day?"
"Next Saturday, at twelve o'clock noon."
"Is there anything else?" inquired the priest,
"There is nothing else;" and the peasant twirled his cap, as though he were about to go.
Then the priest rose. "There is yet this, however." said he, and walking toward Thord, he took him by the hand and looked gravely into his eyes: "God grant that the child may become a blessing to you!"
One day sixteen years later, Thord stood once more in the priest's study.
"Really, you carry your age astonishingly well, Thord," said the priest; for he saw no change whatever in the man.
"That is because I have no troubles," replied Thord. To this the priest said nothing, but after a while he asked: "What is your pleasure this evening?"
"I have come this evening about that son of mine who is to be confirmed to-morrow."
"He is a bright boy."
"I did not wish to pay the priest until I heard what number the boy would have when he takes his place in the church to-morrow."
"He