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Tables of Contents for Writing in General and the Short Story in Particular
Chapter/Section Title
Page #
Page Count
Introduction
vii
The Short Story, as against the Novel and the Sketch
1
4
Character and Action
5
2
Fixed Action, as against Moving Action
7
3
As the Story Begins and Ends
10
3
Loss of the Last Chance to Change
13
1
Recognizing the Crucial
14
3
Naming the Moment
17
2
``Epiphany'' as a Literary Term
19
5
The Inevitability of Retrospect
24
2
Enhancing the Interaction of Character and Plot
26
1
Techniques of Foreshadowing
27
6
Foreshadowing and Suspens
33
4
Techniques of Suspense
37
1
Mystery and Curiosity
37
1
Conflict and Uncertainty
38
2
Tension and Anticipation
40
3
``Agreement'' in Character and Action
43
2
Movement of Character
45
2
The Character Shift, as against Movement of Character
47
2
Slick Fiction, as against Quality Fiction
49
4
Moving Characters, as against Fixed Characters
53
3
The SEries Regulars, as against the Guest Stars
56
2
Types of Character
58
3
Types as Exceptions
61
1
Type Characters, as against Stock Characters
62
3
The Dichotomous Stereotype
65
2
Differentiating from Types
67
3
Knowing a Character
70
4
Motivation
74
2
The Stress Situation
76
4
The Importance and Unimportance of Plot
80
2
Plot in a Short Story, as against Plot in a Novel
82
4
Selection in Plot
86
6
Scenes
92
3
Plot Structure
95
3
Beginning
98
6
Midding
104
2
Ending
106
2
Sequence and Causality
108
1
The Frame, as against the Flashback
109
3
Pattern in Plot
112
5
Choice as Technique
117
3
Point-of-View Methods
120
4
Limitations and Advantages in Point of View
124
4
When Point of View is ``Wrong''
128
2
The ``Question'' of Point of View
130
5
Point of View and ``Involvement''
135
5
The ``Moved'' Character and Point of View
140
5
The Focusing Power of Point of View
145
4
Monologues, and the Pathological First person
149
5
Irony and Point of View
154
4
Setting
158
4
Style
162
3
Theme
165
6
The Short Story and the New Criticism
171
7
The American Short Story ``Today''
178
13
Afterword: Writing in General
191