Short

“ Pupils sometimes ask whether they should use long sentences or short sentences. This question is really answered in the preceding paragraph, for a simple sentence is usually shorter than a complex or a compound sentence. The fact is that what we like is variety. Until you are more experienced in composition, it will be well for you, in general, to use comparatively short sentences,—that is, sentences of not more than twenty-five or thirty words. ”

“ What national and racial customs intensify the setting?
“To me, a narrative that has for its aim to interest the reader in its plot is an anecdote, be its plot ever so thick. A narrative that aims to interest the reader in a slice of palpitating life—the joys or sorrows of people—be its plot ever so thin, I call it a short story.”—Benjamin Rosenblatt. ”

“ Significance of whole in short. Certainly a concentration of interest in the short. Short is efficacious. Long means rest; short is the center of things. Long, an effortless activity; short, a more strenuous activity. When complex fillings are introduced, subject is helped out; does not have to put so much into the short division. In simple line, subject introduces the concentration. In complex figures the concentration is objectified. In equal division subject has little to do with it; the unequal depends on the subject—it calls for appreciation. ”

“ Since a proposition should be announced in as few words as can be used, without sacrificing brevity to clearness, short sentences serve best for this purpose. As changes in the direction of the development of a thought should be quickly indicated, a short sentence is generally used for transition. And as at times when the mind is under a stress of strong feeling, or the action of a story is rapid, all explanatory matters are cut away, the barest statements in shortest sentences serve best to express strong emotion and rapid action. ”

“ I have defined the short-story, and this statement may serve to crystallize the foregoing. “A short-story is a brief, imaginative narrative, unfolding a single predominating incident and a single chief character; it contains a plot, the details of which are so compressed, and the whole treatment so organized, as to produce a single impression.” ”

“ Short-hand, an art, as I have been told, known only in England, may perhaps be thought worth the learning, both for dispatch in what men write for their own memory, and concealment of what they would not have lie open to every eye. ”

“ It seems to me that there is a tendency, in discussing the art of short story writing, to confuse manner and matter, and to conclude that the story with a big, sombre theme must necessarily be superior, as a work of art, to the story which is lighter in subject and treatment. ”

“ Hawthorne's Rappaccini's Daughter. Finally the present day dawned and with it what we call the short-story.
The short-story—Prof. Brander Matthews has suggested the hyphen to differentiate it from the story which is merely short and to indicate that it is a new species [1] —is a narrative which is short and has unity, compression, originality, and ingenuity, each in a high degree. [2] The notion of shortness as used in this definition may be inexactly though easily grasped by considering the length of the average magazine story. ”

“ If an author is anxious for fullness, let him use long sentences; if he aims at clearness, let them be short. If he is beating about for truth, his sentences will be long; if he deems he has found, and wishes to communicate it to others, they will be short. In long sentences you see processes; in short, results. Eloquence delights in long sentences, wit in short. Long sentences impress more at the time; short sentences, if nervous, cling more to the memory. ”

“ That is excessive than which nothing can be greater; that is short than which nothing is shorter. I do not regard the greatness of any pain from which, by reason of the shortness of its continuance, I shall be delivered almost before it reaches me. ”

“ In the character short-story the author’s method is more complicated, for the whole mechanism of the story—introduction, plot, dialogue, and conclusion—are designed to show us the characters under stress of emotion and the results of that emotional arousement. We learn the characters of the characters—for there is a distinction here—by seeing how they act upon each other, how they solve problems, how they meet the crises of life—what effect trouble or joy has upon them—and the final outcome of it all. ”

“ While short words are necessary for force and vigor, it may be very desirable at times to use longer and less familiar words to bring out the finer shade of meaning. A subtle distinction cannot be ignored simply because one word is shorter than another. ”

“ But this world is not for the weary, and in the long-run it is the new and variant that matter. I refuse altogether to recognise any hard and fast type for the Short Story, any more than I admit any limitation upon the liberties of the Small Picture. ”

“ Life is too short for brevities—for details. I save time by thinking, if you can call it thinking, en masse—in generalities. For instance, I think of people frequently but always as a species. I wonder about them. ”

“ With the form of the short-story fairly worked out, the next development is to be noted in the tone and subject matter. Local color became particularly evident, humor became constantly more prominent, and then the analysis of the working of the human mind, psychologic analysis, held the interest of some foremost writers. ”

“ A short story is the result of its own inherent brevity. A naturally long story, it is true, may be shortened materially by mere rhetorical compression, but it cannot be rendered a short story thereby, for the short story develops its fewer incidents with as much rhetorical elaboration as the novel or romance develops its many happenings. ”

“ Some writers use short sentences, others long and complicated sentences. In comparing recent authors with those of two or three centuries ago, it will generally be found that shorter sentences are now more frequent. This brevity and simplicity of predication has resulted in greater clearness. But the constant use of short, simple sentences produces a disagreeable monotony.
Sentences are rhetorically distinguished as loose, periodic, and balanced. A loose sentence is one in which the meaning is complete at one or more points before the end. ”

“ By its nature it can be finished before the impulse is over. There is time to weigh every word of it, attend to the rhythm of every sentence, adjust the delicate balance of the various parts, and there is the thrilling consciousness of unity. Instead of the climax being months off, there it is at hand to be reached in a few glad hours. So, far from being an unconsidered trifle, the short story is a work of intense consideration, and as far as our poor words can matter, of profound importance. ”

“ The exclamatory and interrogative sentences, of which amateurs use so many, under the mistaken impression that they lend vivacity and vividness, should be totally eschewed. They offend against almost every principle of the short story, and they have nothing to recommend them. Usually they are irrelevant and inartistic asides by the author. The proper sentence structure for the bulk of the short story is the simple straightforward declarative sentence, rather loose, of medium length, tending to short at times to avoid monotony and give vividness. ”

“ The end of a short story comprises the climax and the conclusion. The climax is the chief surprise, the relief of the suspense, or the greatest relief, if there is more than one; it is the apex of interest and emotion; it is the point of the story; it is really the story. The conclusion is the solving of all problems, the termination of the narrative itself, and the artistic severing of all relations between narrator and reader. ”

“ Of such is the American short story of to-day—the germ of American literature to come.—Bret Harte, The Rise of the Short Story, Cornhill Magazine, July, 1899.
He expounds an important half-truth which has been too much neglected: that as being is greater than seeming, appearances are often deceitful; under the most repellent exterior a soul of goodness may exist. ”

“ If you undertake to tell a short story, go about it in a workmanlike manner: don't begin scribbling pretty phrases, and trust to Providence to introduce the proper story, but yourself provide the basic facts. If you do not begin correctly, it is useless for you to begin at all. ”

“ Since the short story is a story, at least, it may be divided and classified, like all stories, into stories of character, stories of complication of incident, and stories of atmosphere, that is, into stories which emphasize or stress the element of personality, the element of incident, or the element of setting. ”

“ We are told that all writing is a process of elision, but no one seems to go further and say that short-story writing is the process of ‘hitting the high spots’ plus the art of making the intervals between the ‘high spots’ not only interesting but of such a quality that the ‘high spots’ do not seem strained and unnatural. I find that this is mostly done by the turn of a sentence, or by an apparently adventitious aphorism, or a paragraph of general comment. ”

“ The first lecture says, or tries to say, that, life being very short, and the quiet hours of it few, we ought to waste none of them in reading valueless books; ”

“ It does not satisfy me, and I wish that the general reader, with whom the fault lies, could be made to say why, if he likes one short story by itself and four short stories in a magazine, he does not like, or will not have, a dozen short stories in a book. ”

“ It is enough to say that the short story most certainly is a distinct literary form, in that it is brief enough to be read at one sitting and embodies a plot or dramatic problem, which is not true of the tale. ”

“ So strong is the tendency of the short story toward simplicity that even figures of speech are to be avoided. This does not mean that we are care [196] fully to discard any expression which savors of the figurative: such a thing would be absurd, for literature and everyday speech abound in figurative language which passes current unquestioned. But figures which are introduced simply for literary effect are unnatural, and so are to be avoided. They are really digressions, excrescences—beautiful enough in themselves, perhaps, but assuredly adding no beauty to the narrative. ”

“ There is a tendency nowadays to give a mere outline of a story—so to condense it, so to make it swift, that the narration amounts to merely an outline without the flesh and blood of the true short-story. In other words, there is a tendency to call a scenario of a much longer story—for instance the outline of a novelette—a short-story. ”

“ The psychological study is the most difficult because the most penetrating of all short-story forms, and in consequence the most rare in its perfect presentation. To show the processes of reasoning, the interplay of motive, the power of feeling acting upon feeling, and the intricate combinations of these, calls for the most clear-sighted understanding of man, and the utmost skill in literary art, lest the story be lost in a fog of tiresome analysis and discussion. ”

“ Very slowly and deliberately they enunciate each word and syllable with long-drawn emphasis, punctuating their sentences with pauses, some short and some long. It is almost an effort to follow a story of any length—the beginning often becomes cold before the end is reached. ”

“ From the mere fact that a word is short it does not follow that it is always clear, but it is true that nearly all clear words are short, and that most of the long words, especially those which we get from other languages, are misunderstood to a great extent by the ordinary rank and file of the people. ”

“ Your first sentence should plunge your reader into the action of your story. Leave your descriptions until you have interested him; then what would have bored him at first will prove only a pleasing explanation of the situation. In the ideal short story, the descriptions are sifted in so adroitly that there is no lagging of movement.
Don't begin your story by having a beautiful maiden wondering if her lover is true. Don't begin by saying that the heroine, dressed in well-fitting clothes, makes a handsome picture. Don't begin by presenting a girl who is reviewing her past life. ”

“ Much of this misuse of words is due to ignorance, but more to carelessness or laziness; in any case you can detect your faults if you seek for them, and you should take immediate steps to correct them, with the help of a dictionary, or a rhetoric, or both.
The style of the short story should be easy and flowing, so that it shall be pleasant reading. Good ideas may be expressed in good language and still be afflicted with a nervousness or stiffness of style that will make the work difficult of perusal, and so lessen its power to hold the reader. ”

“ There is much, too, in going to your work regularly, even as a carpenter to his bench; for the mental processes that produce good short stories are capable of cultivation and control; and, like all functions of the brain, they approach the nearest to perfection when they fall into something of a routine of habit. ”

“ As a short-story of situation, this narrative achieves that concentration found in Barrie’s “Half Hour” Plays. It may be studied as all the preceding examples have been studied, but attention is called to
Skill in Presentation.
1. In the suspense, (a) the reader senses a tragedy, but has not all the details until the end of the first seven or eight hundred words, (b) the reader waits the news of Jim’s death. ”