Many books have been written on fiction technique, and the chief excuse for the present addition to the number is the complexity of the subject. Its range is so wide, it calls for so many and so different capacities in one attempting to discuss it, that a new work has more than a chance to meet at least two or three deficiencies in all other treatments.
chnique of the two forms.
Unfortunately, a discussion of the peculiar technique of the short story cannot confine itself to this difference without failing to clear away the many misconceptions that becloud the subject. A good deal has been written on the short story, and, since there is really not very much to say, a good many writers have been led into nonsense. With so much misconception in the air, I have felt that it would be useful to state a tenable theory of the short story, and have attempted to do so in the chapter on the form. The matter will be found there and cannot be reproduced here, but brief statement of the argument will complete the foretaste of the book.
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. But the trul
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