Short Story Writing | Page 5

requirements are recognized and observed by masters of the art, I would ask you to consider the following list, which The Critic selected from nearly five hundred submitted in competition for a prize which it offered for a list of the best twelve American short stories:
"The Man Without a Country," Edward Everett Hale.
"The Luck of Roaring Camp," Bret Harte.
"The Great Stone Face," Nathaniel Hawthorne.
"The Snow Image," Nathaniel Hawthorne.
"The Gold Bug," Edgar Allan Poe.
"The Murders in the Rue Morgue," Edgar Allan Poe.
"The Lady, or the Tiger?" Frank R. Stockton.
"The Legend of Sleepy Hollow," Washington Irving.
"Rip Van Winkle," Washington Irving.
"Marse Chan," Thomas Nelson Page.
"Marjorie Daw," Thomas Bailey Aldrich.
"The Revolt of Mother," Mary E. Wilkins.[10]
FOOTNOTES:
[Footnote 2: "The Short Story," by Frederick Wedmore. Nineteenth Century, Mar., '98.]
[Footnote 3: "How to Write Short Stories." An interview with F. Hopkinson Smith in the Boston Herald. Current Literature. June, '96.]
[Footnote 4: Robert Barr in "How to Write a Short Story; A Symposium." The Bookman. Mar., '97.]
[Footnote 5: "The Philosophy of the Short-story," by Brander Matthews. Lippincott's. Oct, '85.]
[Footnote 6: "Magazine Fiction and How Not to Write It," by Frederick M. Bird. Lippincott's. Nov., '94.]
[Footnote 7: "The Art of Fiction," by Gilbert Parker. The Critic, Dec.,'98.]
[Footnote 8: In many respects the art of the short story and the novel are so closely allied that I have been able to reenforce my observations with magazine articles which were meant to apply primarily to the novel.--THE AUTHOR.]
[Footnote 9: "How to Write Fiction." Published anonymously by Bellaires & Co., London.
Part I, Chapter I.]
[Footnote 10: "The Best Twelve American Stories." The Critic. Apr. 10, '97.]

II
SHORT STORIES CLASSIFIED
The treatment demanded by any particular story depends more upon its class than upon the tale itself; a story which recounts an actual occurrence is much less exacting than one which attempts to depict manners; and, in general, the more the writer relies on his art, the more difficult is his task. It is therefore both possible and profitable to separate short stories into definite groups and to consider them collectively rather than as units. This classification is based chiefly upon the necessity of a plot, the purpose or aim of the narrative, and the skill and care required for its successful treatment. It is crude and arbitrary from a literary standpoint, for a good short story is capable of being listed under several different classes, but it serves our practical purpose. Each story is placed according to its dominant class; and the classes are arranged progressively from the simplest to the most difficult of treatment. The examples are presented only as definite illustrations; there is no attempt to classify all short stories, or all the stories of any particular author.
I. THE TALE is the relation, in an interesting and literary form, of some simple incident or stirring fact. It has no plot in the sense that there is any problem to unravel, or any change in the relation of the characters; it usually contains action, but chiefly accidents or odd happenings, which depend on their intrinsic interest, without regard to their influence on the lives of the actors.
(a) It is often a genuine True Story, jealously observant of facts, and embellished only to the extent that the author has endeavored to make his style vivid and picturesque. Such stories are a result of the tendency of the modern newspaper to present its news in good literary form. The best illustrations are the occasional contributions of Ray Stannard Baker to McClure's Magazine.
(b) It may, however, be an Imaginative Tale, which could easily happen, but which is the work of the author's imagination. It is a straightforward narration of possible events; if it passes the bounds of probability, or attempts the utterly impossible, it becomes a Story of Ingenuity. (See Class VIII.) It has no love element and no plot; and its workmanship is loose. The best examples are the stories of adventure found in the better class of boys' and children's papers.
II. THE MORAL STORY, in spite of the beautiful examples left us by Hawthorne, is usually too baldly didactic to attain or hold a high place in literature. Its avowed purpose is to preach, and, as ordinarily written, preach it does in the most determined way. Its plot is usually just sufficient to introduce the moral. It is susceptible of a high literary polish in the hands of a master; but when attempted by a novice it is apt to degenerate into a mess of moral platitudes.
(a) The Fable makes no attempt to disguise its didactic purpose, but publishes it by a final labelled "Moral," which epitomizes the lesson it conveys. In Fables the characters are often animals, endowed with all the attributes of men. It early lost favor because of its bald didacticism, and for the last century has been practiced only occasionally. To-day