8 VIBWPOINT cagtijerseg es Major Character Limived Viewpoint - ‘The Multiple Viewpoint. Minor Character Limited View Chapter One @ THE BEGINNING. .....-.6.+00+++ soe 60 Story Beginning. or ae oa \ 10 THE MIDDLE. Scene. : ‘Transition «| Proportion. Plashbaek - Gimmick a M1 THEBNDING. ‘The Black Moment Understanding Short Story rote communication in which the writer uses ineginery ehateo {Ss and an ivenind confit station (che ple) tn oto provide che reader wih a vicarious experience ot the toa situs. fion."” Allan W. ekbert defines short sory as "more than 8 mood or description.” "He says that tis & tevis of ewnts Thich crosie a sitvation necessitating a distinct soltion” which, sas, refers to the plotted story. He adds, “ftemenber,ecch 1 limes ‘The term “short story” ie mislead Theme «as * ort story" is misleading, For instance, any news ‘he Gimmick aos i e's ster asthe eo net 5 story & ie snot the shor story inthe magazin sense. The word Type of Bnding “shor” isnot short aftr al and the tam story” doesnot Con Po Sania ooo vey definite meaning ‘The Young Devils Making it mote invled an ati alo tow in broad ae fesenes sense, (Na matier how long ity stil te not the kind of show. ee eidad ‘ory used in the magarine see, Tho Retest... Renee ast hat Is Short Story? ‘The Boy in the Roor | Ransbd | Bisshort try, sins is rbit nthe 19th canter, hs emegped ee ai | malor thersry fom; its development in the hands of ifed ‘Love Mo, Love My Child | nd ppc walters bo vased thet single definition i inncew- aulyis ' | ae Aen i is Vida { thal and Yermon define shott story as a “form of } | vnStory Forme an Teciques facet ofa short story mus, of nezesity, be part ofthe all-ncom- passing plot.” 1 le atce, “Plot to Sel,” Herbert Montgomery mentions an old but workable detnition of short story a8 an interesting theracor faced by a problem tat sppear impossible to lve but trentualy solves the problem by hs own efforts.” Refecing to a unplotied story, another water remarks “=the work of fietion i concentrated and often elites torn, pendent for ils success on feling and sugpeton.” ‘Mavian Gavin, a succesfl waiter of aor. stries in various magazines and books, welts: "A short story ie not a tick. It i people, real people eaveht fa moment of tut, exaggerated, pethape, bot il uh” “Joyce Carol Ones holds that ashore story ie designed to re surect a event which hes already beeome history and wil never he undentood untes is relied, edramatized. In short, sho ‘hil thatthe reader sus lem something through experience and, atthe same tine, hav the pleasure of roading the story tbat Seeks out the meaniig of Ife that hidden To be legming Something,” says Adstotle, “i the eblet hutnan pleasure, and twhen a short sony works tx Ge bet stoves can, we lara mote, Inevocabiy more, of what men and women ea do snd suffer, of vwhat that doing and suffering can mean,” ‘Asked to define short story, Flannery O'Connor idsteps the question by calling t"inepted by the dev” and then obliges Donal by saying tha it snot a joke, nor an snevote neither & Iypic shaped i prose nora reported inldent or eae history els none of thee things,” she say, “becase ft hasan ext dimension ‘and T think this extra dimension comes abot wen the writer puts us fn the middle of some fm action and shows Teese iluminated end outlined by mystery.” "Po aet hime invaved inthe human sedon ofthe story, the reader mist expeence the “extredimension"ot fetion, a hat Hs O'Connor plies. ‘This proces, according td. Bronows is fuming. new experiences Into hnoviedge. Agr: sucess de- Bends on mang the reeder fet the iumedhsey and inet ‘Yendered experience in the world of imaginations. Fer when a ‘character hes gone though on caustal experienc, the seader i= ‘ets on himost what 1 woul be lke Yo be Inthe shoes ofthat poroa. ‘The tender identifies hime with the character ant on" ders hoir he would hae behaved under the sine lp 2 ‘To make the reader root for a character depends upon an author's ability to create 2 situation, and such ability rales, in juin, on the quality of his experience. Tf the author's experience thas been intense, as woll as extensive, and if chat expesence fxs Deen refined and brought into harmony with the discipline of at, then the outcome is likely to produce » good story, provided he has the language. ‘The Differences Between Short Story and the Ai Numerous ticles today use such fitional techniques as con- ‘ict, suspense, dialogue, description, end so on, By using conflict and description, alleles present ideas and msteral in such a wey 15 to produce deamatic and emotional effects Lile short stories, stiles use dislogue to sare several functions, including its use aid characterization and keep the elements of ection and back stound go at the same time. Also, both forms use pace fo creo suspense, For exemple, Dic Callaghan's article in the December, 1970 lssue of Mon's Conguesl, “How The Jungle Goddess Led Me'To A Portune In Emeralds,” has borrowed several fletion techniques, Indeed, « great many articles today use fletion techniques, Aware of it, Mts. Kitk Polking, “help” column editor of the Writer's Digest, writes, “I ean’ thinks of an element, bayond the author's ‘own imagination, that separates the short story from the stile, fd the fact, of course, thatthe story i not (necesealy) te, With fletion techniques common in both forms, the atile ittes from the short story in that the former eanot show the lnner principles of lite asfction does. Anathor difference is that the ariel deals with focts~actual people, actual places and actual happenings. A short story may be based on fact, but its preton- ted as fietion; that is, a creation of the vite’ imagination, Ifa shortstory writer keeps closer to facts, he will be getting away ‘rom the boundary of ficten I one wishes to valte come war explolts of a hero, a elorful and interesting personality, around whom the story wearesimagi- nary happenings, the result wil be a short story of fiction, How- ‘ver, if the writer takes an episode inthe hero's ife~gatheredfrom some old veteran who had partiepatod in the daring rescue of a highrenking officer-and use the material to portray” particular tru act of courage and bravery, this would peodtes en article,Story Forms and Techniques ‘Short Short Ve. Short Story uth some magazines today sill wsleome shortahot sores Sat auton eying hey cnet be te a any ove tat Yee the dog, “Short Mons sso we supe ending. Ano Type, adopted by the shorechot story i bean sary fo Cited eating, dane fn quick broad sree. THe spe of ending, foo, bemployed income show love, Vet, otbersbot ods iv consasgns tht do‘aot permit he abort sho to imate Beau for is ending the shor ory may eather up the oo ends af the damats and emotional thea that dangle rom the be sng nought mil, " These diferonesbetvoan the short shor and the shor story ote tel taken! a compesiton. While Dh the Storer andthe longer tales hae the laments of pie and ss nt designed to sna wader otra, th short sory some Eine contains nonsezentie whch should not be allowed in the Sortahod ston. Wik gerd lo poling and hazactraton, tol is sndal fn the shower yar Ie stony shoul be froten around one cit charsclr and one sete unl or ttog, Ine oat story shouldbe bull around wot more than he Charter (at leat one of hota lly ound) aad tee tees, depending pea th nd and lng ofthe story. “Another dtfoence thatthe st show opens witha bet Intodctory arate of one peep, sometne vo, Asinge dentece wl da On the olker hand, he icoduction of th hort lows much longs especially te maitre story. the Idle of ashoreahor sor, he complications, the ei, sd the ‘omen! of deci ste etaprace into a sng iy tome. The Body of th longer yam lows ful eaiment of complication Scoot and te anf econ i which he viewpoint chalet fea io eta of the mes at fl, pang him et the moment of denen. ° “hs to the fog,» svt short usualy rune rom a mninam of 1000 to ame 3800 words sea’ 2,00 to 10,000 Morde of the longer shar form. Por instance, Payboy requ: thoreehorts of 1,600 to 1,500 wor and shot ones of 2000 fo T0000 words; whe Redbool publishes shoreshors rm 3400 00 words ota thar i no bard ind fst als govesing length, Tt te dex Por eramvle, inthe Het of Litt and “Lite Pub: Tetons ot the Waler® Market for 1075, Coo Review magatne 4 Undrtedig Ser oy ‘equi short stoves with the length from 1,000 io 4,900 words Wille Oui Afeaeine publishes short storer wom S00 to Ga6b Words Alo, Isted ot page 182 ofthe sane book, The Drags sapiine prefer shor. stv of les then 1000 ven Hons, length is not much a diferente between the two literary thay forms; Ie only a malier of magazine segusementa tometer Another dittrence concormn the drama uni the oy of ne, the abi of piace, and the nity of action, Toe be septation ts bt ie he Co us te f action i cosine (oan haut or fs, en the longest ene wee The plae shoul be 3 specie ocd. The non, motivated by 4 sage problem, his tine for minor ecumenies Aious shortahoit sores donot monopelite thee tule, the hone yem my allow more tine and sey if ceed, fo te sion Of problem ac forthe development of the pou datetaany backers, sade on ‘The Ditfrencs Between Shor Story and the oval Length may not constitute the difference beiween short story and the novel. Joyce Carol Oates aiters that “there is no pan ticular length, certainly, to the short stony or to the now.” She says that “any short story can become a novel, and any novel «an be converted back into a short story ot into a poem. In today’s magazines, we will find. out that some editors Prefer short stories of from 1,500 to 6,000 words. Other editors prefer longer stories. For instance, Cosmopolitan publishes short Stories from 4,000 to 6.000 words, Modern Love Stories and Real Confessions, another magazines, print short stories trom 4,000 10 8,000 words; while Secrets, & magazine published by Dauntless Bools, Jac, publishes stories ranging from 2,000 ¢9 10,000 words, ‘The length, indeed, varies trom a few hundred to sovetal thousand words! In the book, Approaches to the Shor! Story, ‘Joseph Conrad's “The Secret Sharer” is included whieh consis of approximately 17.400 words. Louis H. Leiter, Hevary eae, calls ita novel. In the same book, Washington Irving’ sort stoty, “The Legend of Sisepy Hollow," ie also found. lis length 's ahout 14,000 worts, “Yet, the bool is said to be a compilation of short stories. Considering the length, it is » bit eomfosing because there faze magazines today thet rum noveloies in only 12,000 wards, OF even shortes. Irving's “The Legend of Slecpy Hallow,” wheth: 5story Forn an Teimigues cer it be a skotch o a short story, is certainly much longor than Some of the novelettes published in the magszines. Of course, ther maguaines publi short stovies of only 200 words. Th fact, fhe short story ia lts briefest form borders on the aneedote which fsa litle stocy that unmasks @ person's foibl, tat, humor anc courage; stdin is Tongest form, a short story may even be longer then a noveletia, which, of couse, is unconventional In either the short story of the novel, the writer males his characters and their experiences more charming than inthe actual lite to attract the reader's interest, and to bring out meaning that iz hidden. This ls done by overeoloring of characterization, situ tions and complications. ‘This isto put under focus the predom- nant impression about people, their motivations, concepts, and tnvironmment. Out of this amplified or exaggerated impresion nf life, the novelist or short-story writer has caused the theme to emerge, which ie the rewer’s non-fietional conclusion shout life efter some people in either the short story or the novel have hhad exporieness that comment upon life, "The theme of the novel starts to grow withthe fis chapter ‘and is full-blown before bal! way of the work, The theme in the ‘hort stoxy oftentimes comes at the end of the climax, if tis 2 Surmmary of what che msin character has learned from the incident he his exzodenced. "The principal difference between short story and the novel js in the genoral structure in that a shor. story is compressed, Himited in time, plece, and action, with resrcted character deli- feations, "The novel, on the other hand, which ean have plots and subplots, may cover longer length of time, greater latitude of ae- tions, with the scene being lid in many places, permitting it to hhave detailed portrayal of realized character and variety of eino tions. Action that & complex, thoroughly motivated and fully fuetted at length, finds suitable place in the novel; while action that is simple, tending to produce unique ot single eect,” is sulted to the short story. ‘Stating it m other words, the place ofthe novel is likened to ‘a eisrely tp through a fascinating scenery. ‘The main character ‘may take his time and enjoy looking atthe beautiful things around fim, although he mows thet he f on his way for «specifi puc- pose with inhecont trouble, He may wander off his way, without Ivory about losing time. He is conscious of the mounting euro ity while excitement sirges through him. But now and then, he is 6 Undestaning Stor Soy antepatig eootiot or aeady has gotten into it andi to get out of the coroplicaion ® Sean ee Tn the show story, tbe prion taking the Journey honed tone being it ont urgent min. nening ues & huny from one definite place to another as to avoid delay. The Itt inparant factor tine and how to bat in Seale chive his ful Deal th cbeerrane of sgn ot ange and Preautions on bis perlows way where oppaions ore foc feed gating Co the end ofthe oaey inthe faster an eh ‘Way lbs ain cbjective. There not enough time for detourChapter Two Types of Short Stories Schema hie aie opens ovarian meeee ees obser n: ‘An experimental sons in other words, i ust shah that Cake Seton aes 8 Type: of Short Storie by this untamilse literary form, a profesor call experimental te- tion as mere class exercisos and not yet ready for publication, 1€ is, therefore, quite prematur to include experimental work of ‘etion in the present classitieation of shot stores, In bis book, Writing Populer Fetion, Dean Rt. Koonte men tions two broad types of modern fition; namely, “catego” and “mainstream.” The first includes sience tition, tantesy, mye. tery, suspense, Gothic, Wester, and erotica, Iti ether ‘called fategory ox genre fiction for the convenience of editor, publish $3 booksellers, and reviewors who must easy fetlon te late fields of intorest for would-be readers, ‘The second type is kages & mainstream fiction whic, like category fiction, hes beginning, ‘middle, and ending but is not included in any one of the oe ovis. The gente fiction places its major stress on mood, strong plot, lett motivation, plenty of action, and exotic backgrounds 7 hag its ancestors in the works of Poe, Kipling, Stovenson,O. Henty and other. Edenr Allan Poe is famous for his fantasies and toys, levies" Mazk Twain channels his efforts into adventutesuspesse and, sometimes, fantasy. Rudyard Kipling and Robert Louie Ste- fenson wate adventure and romance full of action. Stevenson's ‘Sie de Maletroit’s Door,” for instance, isan innocent tale of ott venture and romance, ‘The distortion of ro ‘ests thatthe author fas created a world of fantasy, Poe's “The Tell-Tale Heart” is.a fantastic horcor tle which rhigves the singe, unified effect of total madness that is imglieh, ly affirmed by the storyteller im his nations Trt ~ nervous ~ very, very dressy nervous t had boon end am tt why wll you sy that am mat The dkewe ec, ened my canes ~ nat dstoyed not dled them Hear nen, ‘nt med? Harkan! and cbeowe how hsthily = how ety an ‘al youth wht story. Poe is unsurpassed in evoking an intensely dominant mood Sf honor in the treatment of setting and atinosphere, "The onere ing description of “The Fall of the House of Usher for era {teates a mood of deadening anxiety, which foreshadows Geno? ‘ying events to follow: whole of» dull, dark, end rounds dey in he nen he oud hung oporesiay lve th busing sone cn horaber, through sings lady diary test of country; and et lngth found myc ode ‘hades of evening drow on, within aw ofthe manent He ot User ,story Fin and Teaiquee ‘Theough this mastery of evoking the mood of horir, Poe has contributed the fiat detective story: “The Murder in the Rue Morgue.” 1. Henry hes lai stress upon plot. One of his stories, “The Fumished Room,” has is impact upon its twist ending. ‘On the other hand, waiters of the second type, the “inain stream,” include Exneat Hemingway, Chekhor, Henry James, and host of others, Hemingway's “The Killers” depends un the sim Jie dislogue and the concise descriptions of setting to achieve the Zonee of Impersonal brutality. Anton Chekhov's “The Lady With the Pet Dog”, isan emotional experience that needs no interpreta- tion; sel i its meaning, ‘The movements of Naturalism, Realism and Regionalism or tory of “local color,” have widespretd influence on Titrature cousses in colleges in America untl the erly 1960's; while inthe Philipines, sueh influence still prevails, though i is now waning. “College protesots have looked down their noses at gene fc- ‘ton, despite is popular weiter ike Bdgar Ries Bueroughs, famous for his “Perzan” lan Flemming, author of “James Bond thelr, ‘Alistair Maclean, who has written “The Sting,” and other eele- ‘rated category writes. Many colleges in the United States, how- fer, have now introduced iteratuee courses on science fiction. “The Differences Between Science Fletion and Fantasy SSience fietion, which is @ lterary att form, dais with im- fagined charecters and 1 fabricated problem set off in another pla- fet or on this earth many years in the future, observing sientfic fationele. It differs from fantory in that the iatter dels with ma ple or the supernatural without reasonable scientific explanation, Fantasy is lst televant Lo our world than stieneafletion. "The moment the waiter explains how and why the pre-teen ‘age gil has felon into the clutches of demonie pestession, as in ‘The Bxorcis, how she might have escaped from such misery, ot how the demon exist, the work ceases to be a fantasy. Fantasy i an escapist literary form which does not need scientific under Sanding: ii divoreed from eeaity and basks in the reeder's faith, ‘willingness 1 believe in make-believe - “As to the soting, both forms of fetion are fxGquenty st in unfamiliar places otter than tho real world, Both have bizare Situations and. grotesque Incidents, people with non-human char- factors, Yet ouch has a different label 10 Types of Shon Storer terpenes of spend me the tracing of background wether he ory st 1¢ alternate worlds story, and, finally. ‘the journey through & Scape lan oo fiction story aia ne ere is the epie fantasy which combines sword aad sorcery Tt Bw gn Js the mor fein, crime ts commitiod with dhe tier’ idostity not known; then the story unflte bata done ¢ fetes of les toward tho soition. ‘The hws action totaal he criminal is te whole dramati focus fn the ene climax, Teens wath de slain spprohended forthe ee, In spent, however, the vn uty Known othe sre ‘The sory mons chases and skiemishs, "The exitemont comes [rem the tudor ‘anticipation of the physieal confrontations botween the lead char. Aeter and the antagonist. ‘This tales plac atthe end of the stooy, Another diference is that the mystery story opens: wilh crime. Oftentimes, itis not followed by other murders. The hero, stars to uncorer the mystery lling. On the eootery, the ss te knelt nino of sit uit nd A oe, tes efor Tn ther words, there slut in myer ean = there is anticipation, vane Suspense sores are laid by the role ofthe viewpoin enna Set Dopular involving coutresionan,"niemations ings Sect agent, rst of pled prison ete Another s-ype suspense isthe detective tory which Is full of excameee nStory Forme and Tecbioues Other subtypes include storias of crime, sudden terror, war, ‘xiventare, and so forth Marlowe's “Operation Breakthrough” is an example of & crime story. David Quemads's “The Executione:” is worthy of mention as sudden terror story. “The Reteez,” authored by ths researcher, serves as typieal example ofa war story Gothie Romance, Another Ganre Fiction Gothic ‘shows some sloments in common vith th mastry story, a it frequontly introduces a crime with the vllain's identity sri unl he ctv fomenertoc et Gliese ten bles suspense in that the roader's interest is ereated not eo much by fights and chases es by anticipation of suin, Some supematu- ral incidents may be allowed to occur In the Gathie, and such may not be construed as natural happening or treks ofthe antagonist ‘nonce, Gothie bases some similarities to fantasy Gothic employs plot formula at al times. tts heroin, usally an orphan, goas toa strange place ~ often an old, slaomy house to ‘work as nurse, sccretary, or any job in a well-to-do family. The hneroine deals with distrustful charaelers and then gots involved in ‘kind of mystery, earthly or supernatural, having to do with the death of someone. A mystery plot develops with the growth of romance between the heroine and her master, ia widower oF an lunmartied man; or between her and one of the young men in the household or inthe household of a neighbor. Making wse of her obvious character fault, she is made to sufter come sort of night- smarish and eovere tra ‘More often thar’ not, Gothic hss melodramatic tone Ja a {eminine sense. Here, the melodrama does nol comme out of eom- ‘at with foes chasing each other, nor of violent fist Tights; it roms ‘out of female hopes and fears, Js heroine rust be somewhat shy, emotional, and sexually inexperienced who cries and trembles yet likes to be loved, caressed and wooed by the man of her ‘choice. Gothic has moderate pace; there is 20 humy. Interest iows from tho anticipation of the heroine's disaster which never Despite the tact that Gothic harcine is cut out by following «8 formula, like the plot, she does not posses static personality ‘throughout the story because she must change and mature through ‘experience, This i imperative, for Gothie mst invavialy promise ‘mariage or have the dovelopment of romance between heroine BR “ps of Shor Stories and hero, But the siory shall never contain sexual contact, either explicit oF imped Ts Western Storiae Set sguns the backaround of the Old. weit, Western stories take plac in the yous batveen 1965 and 1888" Weems car tox! stories and contain thw old eutoms, se, cont ae le es and dy ody chores ofthe ps, 2 woraiory, Waters ofen portye the steve between food ad eri, at lat inthe ony opening, Tengen, ee technique, of chatacterzation tht wseies the dure ee ae ar Son's simplicity ad geri verninliude’ Ghai Western ‘begins ‘with a well descrind era wot 1000 hile the lant 100% bad. Ae the story unter ae Brotagonstdepenerctes and seduces is former tne echoes the other hand the antagonist graally becomes aks eee and ls stay evil than he wat the ouieh AU chee fad of the sty the eo inal the foc of ihe rndee aa although the reader snow avare hat both the hero ead era ose z00d and ei ‘The theaie philosophy of the Wastem i tha a good man cannot completely presewe Kk male suaiy anaes evi he wil shed off some of In cet tosurtee, Bese bad man doesnot camaln bad ina place that har some food iy of character developmen beeen he harcae ae Ca romance andthe er inthe esr, alhough ine Westie a lone, together withthe weer approach, & more mekeeae than in the Gothic, ee mired Most cite, Wastem sory ix set egnint the background Where lesa and 'ortoral authority waste Compe tee nal i ed to ara, Rich rnches tangled wih toc og gious compation, mined the sheap herders are We enh dividuals "The town was under ihe ap of the few eee te 4p such situation an outa, who rade the erston eae es el anche and wen he way, ie of all ua ous aces imiable. He cau be segnded ot asta edit nee Something of al hero ~ e mebal of eda forte ee heat alo be cied Inigo lt ype. Bena hae age sien Western plot types. One nike acreen ses hich th hero isa marl, sent ors dopa meee BStory Form and Teabigues Other subtypes include stories of erime, sudden terros, war, adventure, and so forth ae Marlowe's “Operation Breakthrough” is an example of crime story. David Quemada's “The Executioner” is worthy of mention as sudden terror story. “The Retreat,” authored by this researcher, serves as typical example of a wat story Cothie Romance, Another Gare Fiction ehie shares some slemenis in common with te mystery flog a it equ atoduces a eat eas ene ‘rth unt the elite tne near he en Cothi als een Ses re th al rel tel nn math ‘ahs and cha by ancpation of win, Sone sipemate 1 ltdents ay be lowed to ccurin tn ie tnd sh ey pos grt tat appre or ls ofthe ete enc, Gothic br some smilies easy 4 Gothic employs plot formula at all times, Its heroine, usually sm ompha, gona os nang place often amo, laomy hone to ‘oan, sceretary or any job ina wel-todo family. The Heroine deus with dtl caret and then gave in ‘kindof mystery, eatly or spernturl, having to do withthe death of someone, A mysiry plot develope wit tbe growth of romance betwoun the heroine snd hor ase, ra widower ot an thimarted manor between he and one of the young men in he household or lathe hoteshold ofa neighbor. aking we of he Cbvious character fat she tad to sulle some sot fight Dah snd eevee tl ‘More ollen than not, Gothic has milodramade tooe in x feminine eee Here, the mlodraa doesnot sme tof cone bet with foes chatogeach other nor of vin fie ght grows Gut of fee hopes sad four “A herine st be some shy, motional, and sexeally inexperienced who eis and temlee Yet likes to be loved, caresed and. wooed by she meh of her Ghotce. Gothic has tcderate pace; there 20 bury. Interest {Bows frm the sntiepmtion ofthe heroine's isser hich never ee ite the fact that Gothic heroine is cut out by following 4 formu, lke the pot, she doesnot poses state pesonlty throughout te wor Besse she ut change and sate trough expec Thiet perio, for Goth mis ively promise ‘awiage or have the development of romance betvean bering 2 “Types of Short Stories and hero, But the siory shall never contain sexual contact, either explicit or implied ‘Western Stories Set aunt the bacaround of the Old Wei, Wester sort te lace inthe years bates 1569 ang 1058, Wessen ci Lal sts an conan denen ee ae slr rand tat eh fb pied ‘ery, Waterson potaye est tween fad and vi a i nth story opening’ engl ene, techniun of charsetreaton tat Tees the me a war son snp and ges it yrnaiaee hes Weta becn ih a wel Gecbod ere ae et whe the lin w 100% ba. Aste soy uae oe eee Fotgoitdegneates td educs as rome eee thy ther bid the ntgonit gtaly Sec a tod Is ayo thane waa the coon AL See fa th orth lh aca ee llhough th wade now avare tat both te heseaed ees ester ood and wi The thea lsopy ofthe Wester i that «good man cannot Comply pee he inf ery 8 a gu he wil shod off tome of in ater soe eet Badman dot not emai Ut na pase tat hasan ene he vil cat off some of iif be vats ating Te oe iy of character detent Bleed ee tomate andthe lo nth Wernher tone, foster withthe urs appouth & mone eee tonne Gute Mont ‘often, Waxen sory I st gin the backround whew loca an teri autho wea cosas ee tal td to are, Rh ann enged sa eck Gout compeiton, mined the hao herders we erate aidan "he town wan unter te gripe ete eee ip mh stuaton on ale, who red the weno eae "Eh rancher and wen heap fo of ll gusu eal aces rable He cou be rgd nok anaes io ee Semahing of lt bero- seymbol of Cando fla Westen on alk be claidintocome lt ren eee, ‘or az even Wester plot types "One tke Meee whl th hero ira mn, sen aarp ek 3Story Fors an Teche hat an outlaw forits hero. ‘Then there is the “cattle rmge story" about sheep herders in conflict with catle- ‘men, eattemen v= droughts or fighting ageinst each other, ot fo cing other eattle range problems, Another Western plot typr the “opening-thecWild West story” which deals with the journey of SS wagon tran across the continent with the boss ofthe wagon at the hero, Still another plot type'is the “bate of titans story” ‘concerning 2 contiet between tyo tich, powerful ranchers of the (Old West with the more rirtuous head of the family a the hero. ‘The lat type of Western plotting is about the 'eavalry and Indian ory” im which he cavalry is oftentimes the parccutor of the InaassedIndian=the blameless vitim. ‘The Exotica Brotica is, in general, divided into the "Big Sexy Story” and the "Rough Sexy Story.” ‘The main difterence between the two isin the tone and use of language. The Big Sexy Story uses « yelined” manner of describing @ bedroom scene that delights the trent majority of readors who assume they are uninterested in the Techerous passages of the story. Furthermora, the BigSexy Story hha the tone which is shy, toying with eiyle and “Teaning” in presenting a tinly velled package of ezoliea. The Rough Sexy Story, on the contrary, uses no dieguise, dercbing the bedroom faction at length clewdy and in vivid detall: its tone is honest, Srsightforwaed, daving and obteusvely provoking "the Big Sexy Story welcomes over-vatten sene to give vay to “literary content” of to avold the words that could picture the scene clonty and dizectly. To ilustrake the Big Sexy Story, Dean Roonte provides this example: A Rta sald twerds her pao, sho fale tik che 20, the the churning of dak wares, 1 hat as a mindless mt moving moving warren ard ll at nce And she cied ut, Sut softer han te sen when ris Sou te tsk, more ete satt ery of watr on sod, ling, sting, foi, racking vp and ov a Tat ey ung beck ta bli up an ath gl, exploding, huderng in this kind of fiction, the strength of language allowable va: tee from year to year, and readers, who want to go abreast with the Inest trond, must continue zeading the magazines thet publish trotiea As the Big Saxy Story I kind of gostipy, it tends to ex ‘eee moral coruption and sexual permissiveness considered 95 4 orm in midlosns subui. Naturly, br so hea ings a town dororcheting on hs wile cho tcahes ches inf on ter hushed bene beng a nymphets ane Sy vay tom ter pac at See oe ha should be no asa of Soe mpage aid ad oat Iba dvs astm Tease tat te Popo oft type of say stom the anne The ty hband sould alae He Sin ed oe cai te Minto enducear estes ea tent bec ens eel Bat Sacer nae Baton” OF coun, eaten nigh chee eee, Es emote a Sa ape: ot feel aot be song: oth ay have sina problem tat i sbtul is nave. os eeangl, Be ne Dal caste: may bes cellag Pong {Sine sa ental ature Bodh kine ate Scoot of cumata.” ke uh So on ee rin, cong twin wh eset coud deportes owing he hrs eo Be ee oat Arsalan hn deal these noe. ese it beBig Scy Ston, ih evenness 6Chapter Three Forms of Stories Story fom citer secoring to the atsknde toward the story ideas, tow they ere developed and presented, othe Way they ae bagd in Itevry are writer ma nee some ory rs Bs cme, ale plot, nd, by leting thom gro, make them ust cut ful'ofsgieantsheaing Or the eas Tay fost be Allowed to prot fem a premise, wth asmpl eth to oman. frat, but says using conic as emening gent to propa ation Bath story form, ence flly developed, need lution. On the tes, wee te ory cee spi om n oon ence, nage actual ey may be ven the chance to (rpandicorang to plan not rot by evoking single feeling 19 Cite n the reader domatie orton eer Sometimes, the controlling intention ofthe story may be in, the tom of chavactr mination. Quality stores ae using sueh fetion technique. ‘Ths resorts to sublet, and the confit esual- Wy takes ace a the set fa le trom the character tals ‘The stragae ie more mental than physic Tn sharp contrat to tho conte nthe quality story, the pulp ox category fiction offers more interesting conflies, fll of fst Sd explosive physical actions. Although the “erary aitorat fe sil reactant to accept the lata form of ition, iteannct be ini ati is ore popular in the woHd of eterno today. Wot too many wader, for iastance, know James Joyce 18 | i i | | A Portrait of the Artist as a Young Man; but millions of peoole throughout the world have known of Tarzan ot James Bond ‘The Flotted Story In a wellstructured story, plot is inuerwoven with other story tlements to compromise with the unity of the whole. Plot is also integeally related to the characters in the story, because itis con venient to communicate some ideas through them. Such ideas oured into plot stricture may be the story purpose or theme ‘hich is projected threugh the ation Ifa short slory has 2 well hidden plot structure, the reader may think i is without plot, yet itis there; it iso sktfully cons trusted thal at first reading the story aeems to be nothing more than an incident. But after reveading the story, the framework ‘becomes visible with the element of plot present In Miss Marian Gavin's story. Tiger in the Living Room,” {n the July, 1956 issue of Cosmopolitan, a man is shown sleeping fn a couch in the living room, while his wite i sitting and looking down at him. ‘The stoty, approached from subjective viewpoint, takes place in the heroine's mind. No prope to speak of. Iti truly a slim story. And yet all the elertents of story are not lack ing. It has the probiom, the various aitempte to resolve‘, the ten lative solutions, the ginmick, the decision point, and, lastly, the “moment of revelation” whote the Beroine sees herstlf and the situation inthe right focus. Thisis followed by her decison, then the reward In the mainstream, especially in the quality story with sub- jective treatment, action tends to be slow. This fs due to the plot structure, In category fiction, plot is strongly structured at the sacrifice of other ingredients that are set aside in offhang fashion, Fast action is always noeded where a haro hes 1 terious problem fn the gente fiction, When the hero attempts to solve his problem, he plunges deeper into danger; eamplication f getting worse from his own efforts to solve the problem, growing worse in kis evry attempt at solution until, finaly, he i forced by eireumstances to lear a bitter leson about tho situation where he isin. Them he sees himself in the right focus and understands the truth from hich he must choose to get out ofthe moss, tstlly through vio Tenee. A typical example of this kind of plot stzucture is Robert F. Dorr’ “Terror in ‘hailand,” published in November, 1964 atory Form an Teigaes sve of Men (o Man. Iisa myrtarysuspense type of story ‘A hized thug eiempis on the life of the here la Bangkok whee ison mison to the jungle nes Ravong, Thailand. Sub Yued, he hug squeal that shined By the antagonist who wart eco the ht in dle Hens, the one plea! whore fores meta fore; an the recltion takes place itm the’ wtggonit i subdued in bloody violence. Such the Suteom of the nature of th eharctrs involved, es demanded by the plot srt A Shor Story From a Promise s hore airy can be developed fom premise. ‘This premise it Siply soneline explanation ofthe soy. As he story de Tope evey lino mst ure he prem. ‘Te bremar nod not ve tobe uniteal eth. ate sent wil fo, longa can be Proved by the story wees, fhe peice thould have them elanentst cone, character, 2 soliton out, the basso all stories, makes every story inee ting. Te would be dll fsding there would be no eoafiet in nly cncunte berweesantagoniaie characte To repeat he flooludon ot the pemio, az one ofthe thee siemens, ca be rove bythe a Pm ovale, bes synopsis ply story, “The Reba,” sit te proms ha "asl problem lowed to wow becomes Sieg e ‘A mother has a small problem, as her little boy wants 2 toy un, “ihe mother males ond agstt i lloving the problem Ercontir te pew much leper, ke rllg a snowball dowa a SowdnifFianly, a the bight of the confit, hon she Cel thar shame and guit and wory all t one Good Into her she fies nfo wat er nal son want, The story bas sic vol Hoo are a fo paragrape lesing toto the resolution of he prente: om wanted 1 nt flow tech ot pil ta uae sod gt preg at om a Iie Cov ral nd owe ei hia Senin cw seeng Se coud ary ge ent eh SS ng te fang open rh bye om Spang on te ty om he cid pte hs op i twa she lle and B "lia Mes Les ooked cmp alle ones, ora ‘et oreo hid ny igi “By 8 toy gun forms, Man” she boy sl btwn sos Shot ul” te moh sae, Toe et ead a her salt, Inuphtr rau an il ke waves, Core ut sme of them lnuged ler ted Miss Le nhs 00 ‘ora rela er four. lansing srcund her hand ti old Jing the boy's arm, she sw he pupl eyes focued pn hare it lining er with ine gut she had natn, She ser rein fame Tn front ofthe pupil and er fallow tech, the mother had no hice butt paneer son so shat he would stop ring and 0 home, Cora suey felt detested end we, I al her ‘rangth had been rained out f bar wele being, With trembling hand, she fumble ets her bap epaned ited produce pape Bil "Then, stooping oro er son ad merouly thrurog ot ‘the ekp paper money, Cora haatd her word hich event ht Instant ad not pass hor. "ney, here's the money forthe toy gun" Coraspoke. Het voice funded ow ane moti Marian Gavin, writer of many short stories, offers this format for short story: “Part One ~ state problem, establish hero, plant the wlimate solution along with The Arifil Device, Patt two ~ hero acts on problem; problem acts on hero, Setbacks and go- forwards. Just before decision point, bring out Device. "Third Port ~ decision made, Dark side of Device still turned to hero, ‘Then suddenly there & the bright. side I it a reward stony. If itis a punishment story, tho dark side eontinues to fate the hero, Or else the bright side turns and the hero sees it, but it i out of teach and gone from him forever.” ‘The Unplotted Story ‘here ate stories which, despite creul_daeetion, do not show lotsa, "he negli sho sos and ae Considered aceptaie form of ftion, slong at they howe fa {filled some other criteria, ee ‘An unpoted story doesnot nee plot, for it depends on its 9Story Foems and Taciniguer emotions! or dramatic effects from the way ideas and materials fe presented. Such Kind of story relies on specific emotion treated in the reader by presenting an incident, intresting situs fr emotional experience. However, the story has predoml- ‘nant mood or fesling; every word sed init is deliberately diooted toward producing that effect. “As Once We Were,” by Florence Jane Soman, Hlustrates the hort story which doss not depend on plot, for its ideas are de signed to bring about emotional effects. The story begins by fving at once the clue to the single emotion the author wants to crake ‘A very sontimental woman, Kate Faigchild, admitted to. ¢ fiend, “Tm a pushover for love songs and weeny movies, I'm a flower presser, aloveleiter- keeper, a snapshot saver.” ‘The author builde up from the beglaning of her story toward the viewpoint character’ emotional experiance. ‘Miss Soman has Chosen an ordinary wie eeized by a strong emotion with which ‘the reader can empathize, making him eager to follow her through ‘the story and shere vieaiously with nostalgic longing to recapture tine vue night of he ft date with the man she has martid, ‘Throughout the story, the author keeps on portraying the wife ‘entertaining such dream. ‘As she sat hare, 2 quae fating of tanging ited on wer ef ome slony the 8 yor thy ware talking ‘Sonu par of hr fa Gen ured up and arded, and nom, ‘Sec, dhe ranted to have beck, waned o loa ht “neil pst epi, to tous and sire eet she hed oat it Sip sy spin, tbe lot forever. ‘The husband, an understanding msn, doe: not object to his wife's going back to the sume “litte place” whore they want fi teon years ago for a few beers, Of couse, he accompanies his svite; end the woman wears the same blue dioss she wore on the « the dress iso tight. Soon they go Bich of tht fst date "The story has certainly no conflict, no complication, and has, therstore, no solution; But the story does not nosd them. ‘The author intends to ereate in the reader a specie single emotion And she suocaeds ix doing it ““The Vista,” by Mrs. Kerima Polotan Tuvera, is another un- plotted shott story that depends for ils effect and emotional im- pact on being so well wtten and go candid in rendering the foal- 20 Ings of the spinster. In spite of irs. Tuvere's lawless prose, veaders with the story to have more depth and mote mca What the story Tasks, of cousa, is compensaced by the effect of emotional experience it has created, for th author hes det ined the fecling she wants to evoke; and then, withthe combing. tion ofstteam-otconstiousnes,interorimoncloge, and objective aration, she tugs at the emotion af her readers consistently by dalibertely diecting the words of her sary toward that effec, bringing the siory to an end witha note of both anguish and se lease that deeply moto every sensitive reader. Here is the concluding part of the story ‘mht acre, Mis Mia yeung dre ted fin to ‘sein montrour inthe Fon at hh murseming Me {in but aso tent and ening must gt one he Sa wy ath had moved an bch eit a nd Behe hd loco ht dy a wndat aba cat Se tic od out se woe i ta fate ks me ‘in sining devel an he toed tin shoes te stein dak ce toma tn With the uso of her superb, fuont proce, the writer has evoked on the reader the single emotion tht the heroine fel, leaving che reader with a smile im bis eyes andthe thought of opt ss haunting his memory. 2Chapter Four The Story Plotting : 0. Hey har tone ‘he tery wt of Pos, Kinin = BeeE ea CAEL hn hsm Pe Me compl et wore, cuted by Hawn ffs 2 {ind scltion ,, he is dragged into the bottom of the pit tnd ey ily aut st dt cho wD Sauk ps ." TT ec aes solo os dt snc on ae The Pot OO’ plot starts with an intersting character who is in conflict ‘tith another or meets an obstacle that seems insurmountable; vet" ciomieharemal Pot vas according tothe type of story. For example in 2 ‘Tho Story Platting characee’s concer how to get from one point to another, with the environment or Nature 2: the main wlain, The plot in a eon fecsion story may be the dramatic siuctute in which the heroine, ‘who has a law, commits sin, suffers then repent; het problem iy. hhow 10 reform;\or she may'be placed in «tough sation, even though without asi, where she struggles ¢o cope with the sua tion, so that at the end, she may beoome in tome way wiser, mor mature, and happier. ‘The commercial story hot smple plot in which tha hero's problem & either to eliminate an opponent, avert a disaster, or overcome an obstacle, ‘In every plot stuetvte just mentioned, problem or eomplice- tion is always present because itis the outcome of erties! situa tion. ‘And situation, in the language of Evic Heath, “might eptly be called a stato of circumstances wherein the principal charactor ‘r characters are placed in a ‘predicament’ or dilemma.” Here ‘s.asimple illustration of e deamatie situation: sn Bron, a ramp vet ane er wliout man, hat ‘ape from the tow jal whera he ha isn detsned. At soe tins and pollen ee hunting hi, be eo ong a high "oad, ‘Them hs oes a manip down ie ann wal whore In hang: by hs ges. doesnot know whe the ren “On, God bls is elle! im elms He than lamers himsl¥ down on s Big vine to eeu the man, (On th elif Tome he stars down onthe face cf detective © ‘Denny Doyle's aes. Doyle he ben tnt aut atest Bro, 'A mnie fing of pity sn fer im Brown, Fos God's sakes eanot jst un gery and ese Doyen te i ‘ll od. ut Dany Doyle ea tre fo lin' adore Wil Ine seu the detectin who wl fon set Rin? ‘Such is a situstion o: “predicament” in which Jim ie tom bet- ween leaving the detaetive alone to his fate, ox helping hina out for God's sake. Being a religious man, Jim is confronted with en inner coullict between service for God’ and love for his freedom In- eed, he has slid into a dilemma ~ faced sith a situation! The ‘moment the charactor fecas with a dramatic situation, he i con fronted with a conflict; and the stronger the confit, the stronger the plot ‘What is plot? Eric Heath defines plot ss“n deamatie premise growing out of which the charsstars move through one oF mot Situations to a elimax and solution.” OF course plot, especialy in 8 pulp story, requires that motive, stated or implied, propels a sarees to ‘move and moet an opponent, He mut therefore 23Bac Font ma ren . Teoede to ch bn enemy, tough th dat ttre do sing ST br sentra neteaing chet Ste Nance sy interesting chores, George Towel, soca ce aren prs af ght eat ei we alot recan. (Ge fr raya cdo to a Fe aaa tii ee conic between cance) As Foe eae he tr on sway to oe, he pet et See ore non ate ap bape wile had ee Bene een ea te Enviado wis oot Pee ceti iy Rs maiogs Sf nyo he abn oi se aad a Wipe a tosblo, he 0 cn Mie altnet voto no plot, Inded sone the eames of ie ° mee Ber in the March, 1955 issue of The Writer, Amelia Blizabeth Wold fa aching anton ow ae ene wher owe de dace at pot Heer on me met aig oh of rein ance MAREN The aca yang eat en a rice ee ah Sa er tam un pate oat Mt a in oo a Saat atresia, Tow tor oat! Flesh penloceeenerineentinery eta et ranch ee a te te apn tae Sess nae cnn He fom on rt at, Mutua ftom "ein type, Te psi met, Ty ti ee Trein's get borers be tees Tae mare ere mas or ar eed faa Ten noes Ove es a anaorareten te ome tea ey toed Sin coan, e seeker ton te oer (oe tS, at toe ae bw 9 the novel, Micky whan wt tng tho rst he no solely "Sane yada a oe at oop eas mn oer nv we eg nthe ws ch la pn The Sear Aion, As stated shor, simply It tho carat gto wotk om ho call hi ploing Miss Walden’s method of plotting is vight, By putting to antagonistic persons together, conflict Is expected which is the ‘moving fore of plot stricture, Hexbort Montgomery defines plot ss “the plan, design o¢ Dlueprint fora story.” In his book, Insight, Joeaph V. Landy, Sl, says that “plot is to the story what a skeleton ie to a man or as ahileet’s Blueprint to a skyseraper.” Tn harmony with these definitions, Gordon Dewey, 4 member of the stat of “Palmer Institute of Authorship,” outlines 2 base dlagram on story plot. ting, as follows: APROTAGONIST, with ets DOMINANT TRAITS, har an urnent DESIRE, which &opoced by |AN ANTAGONIST, This combinasion of Dis verte Ones lan retin ‘CONFLICT, whieh comes to aha in s ‘ORISIS,in'which the Prteganst mist put forth his sree ‘for or sbanden hope for sehiovng ts Dei, Tle Gry fuse he CCLIRAX, in which tho Protagonist ist Dominant Tet incon epithe Aogont din CONCLUSION, the Protaponst ihr deinily cs “aty ise what bo snl dete ‘The Contr ‘To repeat, conflict is the essence of plot; it is the energy that ‘keops the charzetors moving from the start ofthe story to fs con- clusion. Confit, strug, fight .. . theae words moan ostentilly the same shen used in the technique of fiction wiiing. “The basic combinations of conflict ae: 1)Physieal conflict ~ a physical ste, a fist or gun fight, @ Datile, s volleyball gime, ot eny event of sports, or man egal ‘man, Ina broad sense every confit ise fight; but not all coniet is physical 2) Inne: eontlit a story of decision in which the viewpoint chavecter has a problem which he alone must solve, The solution § lett to him, and he must reach it by mating s decision ~ wtlly 8 choice betwean two alternatives. In exercising his elciee con ‘ict results untit the decison is made ns or de %—- Story Forms ana Techniques '8)Conflict with nature ~ suvival in which man’s endurance, courage, stongo) and resources aze pitted against some suc thing aslo, earthquake, ood, drought, famine, ete. Paul Justia Stam's story, “Survive,” provides an example of man’s confit with nature,” Set against a colorul, exotic locale, the viewpoint Gharcter is trapped with a broken leg, miles away from nearest ihoman being with fd supply ranning out. ‘The shiful use of confit can help shape the kind of story. For example, in « quality sory the conflet is toned down. Yet beneath the iss intense conflict, the undedying mesning busts es fn outgrowth of symbolism oF suggestveness; as quality story fonds to be sophieited nd subtle "mn Joyce Carol Oster “The Feychosnalytical Love Affair.” he viewpoint character seems blind tothe signticance of the iste in contict whichis more ofan undereurene than an outward phy seal strugdle, ‘while the antagonist tends to be metaphorical. In trery encounter between the tro, conflict i only hinted and lest Gramatized. But then, when the protagonict has finally seen clea. Iy the issuss involved, another eonlit between the two ides of Wis charscter takes on ® new fou. However, tf less sgniicant tow than the new dimension it has given ~ the shedding of Hit tn the mesnings of life which are hidden, although such is a reflec- tion onthe author's satphilosophy toward lit In « pulp stor, the conlct between the protagonist and the antagonist is conveniently physieal. The meeting of to opposing Torces in a big scene (a scene that produces conflict) isa show of pile force and exiting drama seene, packed with atin, As'an illustration, one of the big scenes ofthis researcher's novel, “Four Days in Hel” wil ere asan example han diy sored Moua's hans fmbig wih 2 fife ae thing pant ts ade cus in a Eg fom he Feuroman leap, lminy bet ped vn Mauro flowed Nis rife posed mancingy in Ni hend sir moved baka ot to goed tk ofthe eoanet en pet base, He ft a suen wings of pense aking névanap of he seston Mure thre he tis sight a the moment my eovehed tow fore breakthvough- Tne ise ant on Sims sour, ‘tte osama trea sank dept ito he wo, mmr naa be ues Mau es Sas Ltt tt The weet emer, sre pode {we with oseaghe sgh 0 lyse diay tl 2% The Stn Floting Wat wit Halon abo ot ‘Mauo ck ped od Jy fellows hi, bing sme tctand gt puta Ts ve Mut ad ih Meet ond bate» taht ony’ chin tat sat fm sprig tothe {ound Jy si norsk out tough he low ny ocd ifr. Nour's sho ung to and, yl to it Sy Shins Bot Simm robe wh Bosh Sone Tn yond had sper Masrolndnd on hs back “my fot ontop of he oppeont» i te sure was iat a nny hh Soyo i eign {erouh eters thos whe ome low acs ea tls Tho sick stories, with cotlct i big soenes kept under eon tuo, produce restraining oftects and tond to provide sublety and sophisleation; for slick stores try to mingle with the quality fie- tion. A slick story oftentimes eatie with i the stigma of using stereotyped characters ~ every delineation of them stems fom Stak ee: ee th words ad pho dae chew ver, magazines publish sick stories ting contemporary lan ‘nd Was to make them upondste and go abreast with lays people and their present problem. rise A ood story usualy stats with « cont; every conic has 4 peak. The miter of confit posts wl depend pen the Kind of or tf th, ores ey st of che ot stmosphere need nt be tghdy plots. A lek story wth Keng of 3,000 or 4000 rons may ave tye or ir coh eal although i tay vay hae one, On the contrary, 2 goed ‘edt day of 6009 teste et athe bat op ard che mest dramatic prt of the sory. Ashore pulp Yarn of 2,500 words can get along with a sing Me sme where the hooting his back facgg gun he walls nthe ee cf te Boron the shor say, “Phe Bos of Money" “mone Win you" un a ome, "You beer exer tirbon Teta pl out 28 tm He welch, ong whit Athy beled sh te tr og er boy wea ete ss Ol ed me “ai sed ert wns 1‘Story Form an Tstniquer “Down the ie." ha sad, mosoning with his chin. “We toad ine bor en he aft? “Aznin, Gens werd drove far nto me | knew tht th aft ceutd hrdly cary tes ponone and, withthe boon the a ni emo peson coud de, What | Shon thought wo Bot the Shr fd Sng evvn am cold not be eed by suming Thad in ming that Ben weal eer kl me o ese me baie tou the ines wala bh me tf The way Be res wen evemerd rom the cave and sw hi wife Bldg my mr ‘ined me otomaon be oc ih | aviod he met box on my sgh shoulder where bs anced i Stan nepoed Bars Rand ‘hatha he ere. The 30 fl off the manson, bute sedcnl lee up fom the PeeSonofbte!” Ban ald ot wie, hats he ma?™ “The woman Bald her most shut. At we waked Gov he sna Bon mainte Sans tom ht we who now ted behind “tom yore song to shot me once Iv lose ths box con the vat" 38810 Ge arm vole hy ais you ay th” “acute he afte ary te the fw.” “Maye yu've gun aN" Ite now obrious thatthe hero has nowhere to go. In time of iis, as where a man isin physical conlit with another, to meet ‘wth violence is the way to safety, It is now tims forthe hero to listen to his inner voice that will dictate to him the mest precau- lous steps ho shal take co save his ie, ‘The action i fast, bringing the hero to the exitical point or final peak of the conflict which is called climax or turning point of the story where both the protagonist andthe antagonist are facing uch other. Tt isthe most dramatic part of the story that precipi fates the retolution, the turning of the table in an unexpected onoument. ‘The sequence, as in “The Box of Money,” brings the climax with upbeat implication or postive note of optimism. ‘ere isthe eontinuation of the story: emcee tum etd sof unr dent contanc, it ng forthe seston. If out tar and ron ey sey Me ld shot inet the bale | Sought Bard = panto ste ny fall Whan 1 finally got t the rvrban, sw the rr nd thus I could sree by sming. taacn fuel otek tnd deeiéad to somble my We on It Stepping onthe raft | 13 Sans ee of the Box wl I ald the other edb ts 3 hand 28 ‘he Sony Potting ecard seat ma tld Be, “ous my, Sera th bon wal doe hr td be a se “luce the en sexual? “Wot” si. My voice simost drowned in Sune’ ‘angus oat or er. " “Shut wi” Ben shouted iia "Sonate" "icy took my hand ofthe box that yee once and oad downwai. Ina ran ffr to paver an Bon tid to ald the box wth stat han ad sek oe hand holding the rover The 38 fl ef ho beta ved into th sven 1 swum doumatieun wi Ue hoe fhe ‘wa in hich the box was ew Bt nt do ‘erly hs Bo we eno tte dad rnc of flan ny eras the ateam 1 gt ho oft bos el alld it anto the tink of he tre whieh spemed he io see th sana the var ke AS | stoped onthe allan to, ttesing to Suse's quit fle. tereing, my Hah hand lg the Bont saw Ben Sing urd, nly oting the wort Elonced Be bone {eth of ia Branch vo tat | cut we beth honed When de ating fo hve, sted hart hr nn, Heo oun 2 ws eared » Wide enoyby tw cen haniey ttt en the fn tee toward th sien ty eo ae la hip of he bx ich nat fond en ei 11 wee aging it long the src Than! ee Ie de ce. Then ued he bo ‘ota |S en aiming oar me soap opt tock ort the sizeof his hee. elding Wins he od bi tsi eck th eter eo he eo Td v8 eo wi heres Sely habe nde tn oe huey cate ford ie wa {r= mney aed ny ih ten eae When gt to the rat stopped eocsegnr ber he fn Tete Peed a pesengr be and fae "hee that in es than ap wold eo there {9 2 te mayor sa tum ver he many wh ava sony 1 on the raf" Son yale, “you lousyChopter Five People in the Stories Tt is amazing that characters in flction appear to be very much alive doing acts realistically, ven more realistic that in real life itsel. This iusion is a great techaleal achievement, as great as the performance of the magician’s tick. Commenting on those ‘yo distinct arts, Sean O'Faolain waites:| “But there is one great Aiffeence between the two ilusions. It i the height of the maci- ian’: art to make people sppear to disappear. Tt is the height of ‘the writer’s ait to make people appeat to appeer Tn Mary Deasy’s “Yesierdey, Saturday, Tomorow” (Red- book, October, 1969), the characters are reel people, placed in real situations with real eonfits. ‘Te first conflict starts fom the ‘wrong facet of the heroine's zat. Fist she loses her twenty-dolar Bil on account of her earslesiness, resulting to her delay. When, Ther husband asks her why she has been delayed, she becomes very rude and even bosty. They quareel, Left alone in the house, the hheroine makes up her mind to act in a nice way the moment her husband raters eo eto compensate forthe wrong she has done. ‘The story ends on «positive note, the heroine is expected to learn ‘rom her sad experiance. People te Stsce Round Charseter To create the impression of plausibility, the author portrays the heroine in the story with the good and bed inside her. Bat he also possesses some redeeming qualities in her life to explain hhor bad behavior. OF the characters in the story, xhe heroine has all the dimensions of a living person, not mesaly an ides of a character. She i a living individual expable of contradictory acts and thoughts. With the proper motivation she i teady to act and ‘obey the laws of life. In othar words, the heroine fa tovind char acter, capable of surprising in «logis, convincing way, Accord: ing to Blizabeth Bowen, an Anglo-lrish novelist, “It it in being een to be eapable of alternatives that the ebararter beeuines {In “The Killers,” Ernest Herningway has presented fully eal: ized characters who come alive for the readers, They appear capable of alternatives. “On account of the sense of intpersonal brutality, Nick Adams fels his confidence shattered and illusions killed. Hie may get out of town fer good, find some peste some ‘where, even without faith, or stick to the one he has just rejected George may remain in town. Clear physial description i one of the various techniques used to exéate living characters. In “Canterbury Tales,” Chaeer has achieved living charactas by using vivid physical descriptions. He has sliced Miller away trom other charactors when he poinis to the wart on the tip of Millers nose, “And at the point of his nose,” Chaucer writes, “a wart he had, and hereon Stood a sott ‘tuft of his, reds the bristles ina sows ext.” Such descriptive line has, indeed, separated Miller from the est of his companions, He alone among the pilgrims sports such & wart with bas sprouting oni, Rosenthal and Yarmon remark: “itis not necessary that the character actually perform sunprisingly. act alternatively, or bo tore by contradictions, But he should he presented so clearly that the reader is convinced he could, if he wished and ifthe eireums. lances were otherwise, act in an entirely different manner.” lear presentation of character is enhanced hy showing authentic Sukground which includes all the Hite tidbits lke the way a Person dresses, his mannerisms, and incidental side characters, If the setting is in France, for instance, where people speak French, to incorporate a flavor of French in the stony takes the background more realistic. In Jules Archer’ “The Phony.” 31F a Connapaten, te shor Mend tis wok» Fee cee doe oot wi to war hs hinds” eg nth be we reas Pa Se caeman oasis Fee acne wey tee, Fi a Be cee Sen a for safety. Of covrse, itis oversimplified; but it eertainly shows cr Bo ce cet wtoe ater re New op eatin ez Lene ee flinting in the sun; the other has his back touching aguinst a con- ie in eg a a oe Siuddeniy, Leonard leaps toward the dangerous man, seizes the * Sey. me eee a Sere pee 2 oy oe Se creme ee pace foe oa Le eto ho ia BrP rth Sa tiene a npr ran a a a a Se ct a ote eee i et ee a Ha a2 Poop he Stoves the ah to the bone” ‘The author jist dramatizes his viewpotnt charter, but never slap a fegon hin Embodiment and Exagoeration Jn somo_ aries, there a characters who last the sens of life, or they do not breathe al all Inshore stoves charactors Should always be alive. How to bring charecte to he, Maran Garin gies this adie “There's only one thing to do: Apply ati rexpetion; Iathe Into i Bs vng breath of ite fom youll your person al experiance with lie, your knowledge of hope, teas, lore, hate, fappines.™ ‘Given tes and blood, with ll such emotion, the character 4 embodied. He bern to lve. ‘To make ths character capable of altematives if gon proper motivation, he mist have his wealtees fs well as his stengh, including his redeeming quality. A water, Who has developed iniaey with uch character may allow this Shatactr to step into emi and hae nell Commusion ‘ith him. Real empathy reques ths of wsiter ‘Then the weer "ay have fll contol over this parealrcharacie and make him tet exageestedly to ve the story thematic ipafieance,alitenery tiement which emerges a te reeult ofthe eonlit beteen good and eri, or the conflict between svotratng forces. Embodiment inches inept charenaton an cole! of hich ie int tion ofthe story comes out. Without exaggeration, embodiment i “meaningless. oil Bxaggeration i the fictonal prt of fetion it stip rom the siudents of lerature th schooloom myth that edi must be irae to life. However, exasperation istestetod only f the we of anakiag the characiem and the things thst appen to thm more siting than in eel lite Ie serves bro purpose; namely, Yo cap {tne tho rosters interest and to minke the heme ove saiieat With the mothe of exaggerating chatactczaton, completions a situations, the dominant impresions about the characters Wl be Brough ato sharp focus, out of which the thene is made meh Nee Senquo' “The Sommer In Nick deaquin’s “Tue Sumner Sole,” Plippines FREE PRESS, November 24, 1951 the heroine's fushand, who exals on the floor lke a big agonized lizard jst Yo vin peace i his “ite, i cevtainly a very intresting chacacter an ined, fs the Gautcome of en exaggeration. Would the dgnitied prod man in teal fe actin so strange a manner 2s feral down on the loot 38- Story Forms and Teciaust ‘upon order of his young wite, and, with-his arms and legs, work Ha way 2eross the floor toward her then kiss hor sole and feel okie? Fortunately for the biliant author, th literary tochnique Of “exaggeration” somes to his rescue to seve him from ridicule Gnd humiliation. Out of this exnggerstion, the author succoeds im bringing into focus the weakness of the horoine’s husband, to have become the slave of love, where the irrational triumphs over the rational in man. "The weiter has his insight into the truth about character and life, but, to eal attention to it, he mst exaggerate to mak the charectet, moze interesting. If Honore de Balzze, in his “Old GGrandet,” just says that the character is acquisitive, it generates Ter intowst. So, in portraying a ich and avaricious man on his deathbed, Balzac’ exaggerats by making him react almost buck fo life at the advance of the crucifix toward him by the priest, because the crucifix is made of gold. Reader Identitication Yesterday's heroine was virtuous, with blue eyes, as Blue as the cloudless sky; her checks were us red asthe rose. A hero of the past was usually fall, dark and handsome, with eutly bait and "broad. shoulders; he walked in virtue, too. ‘Times have changed. Today's intelligent readers demand another type of char acter, one with whom they can identify. ‘They doubt the incor ruptiblity of yeaterday’s hero or heroine; and they doubt, too, ‘wlither there could be anyone as handsome asthe hero. ‘A woman reader will outright reject & heroine with bis, ‘short legs; ot one with « harelip. Likewise, male readers have no interest in very uely characters. A compromise has been reached Tn tho language of Peg Bracken, “. .. writer have solved the problem = not with the faint praise which dans, but with the faint dam which praises.” ‘This ip how Judith Allen in hor “Tho Summerot the Yes: ‘No Gil” deserbes one of hor characters: A tall, heavy set boy wearing aT shit and jeans stood there watching her.” And bout the heroine, Allen wiles: “She thought thet bully mater- fala made her look less skinny.” In the same story but in another page of the July, 1975 lave of the Redbook, the author describes ‘the horoine again: “Dear Abby, I am a gawicy, baekvwaed and un- evelopod git of sixteen who' never bean out with a boy, let lone been kissed ry Teenage female renders may be aba to Went ih heroin Bonga ny note ens a eh Beat to-ge fis lve to a Sanden eet he HS tote cna leng with nl ely If the heroine loses her money because of carelessness, az. ts naaed itary Bea's “Vontdny Satna tet Could « adr Menliy withthe caer nh ak ee, Ac ‘court pathy? "tn her ane he Conese Pa Bing ei ap ha ype car fet yeh incl Bat arnt ened Motivation Te, nak cater tly ale, napond Go it hanannatue snd become conscious soit the'vay he ae oe tale wate Iake tse of moti with plas wh eee teh fis unde the sven cumstances ete tein eae, ft the ian min hee ebvious eben a ae ee Sith type af don neds cas and blero aaa ens te doubt inthe edor in meinen Fiction, to mee Gites dep sa ppchloge (ered Bassin ya nth the reader ay not be let se anoparnds aed Nee tole to fathom for hie ‘i lvers, thaw charter rotations may be anyon o tee ny preteen ate ame ot love ~ «univer enoion~'b ted te tsthaton en oul, gat be owed to efor ache oo ath to pbeh he hwo wh ls Hs fr oe tore pod sane fr reas In the short story, "Love Me, Love Bly Child” (Philppines FREE PRESS, Febuary 71, 197) lowe © rity Seen Hat, the hero pantly submits hint te Keats kes small boy. ng to fy te hte et mele eae ee nee aries fo vin beth the boy and Ke weoters Seas Summ Sissy Nie oaquin love w ska asada he spe ota i hkovia fund Mast Nooo "The moive in any war sory is eric toons county, a though ao supplemented wr the motiaon efaahegane rai of sr arn che sample of ahs $Smetines; and wiser i he mote eh a ‘quently result the reaction of a chuecter to the sales coe, rest huctr to te sua co 35= = Sry Form andTeshnigues For example, if the main character in “The Old Shoes" is suspicious of his wife, he goos infor the truth. Whatover be his ‘mote, the action of the plot comes through the emotional dct ion of the character. When psychologieally sound motivation is employed, the reader ean soe the exterior feturo, as wll asthe ‘mental processes, of the character's personality. This may lead fgaln to the inditidualization of the character, cepable of surpris- ing in a believable way. A digvtfed, proud man may humble himsolr like a crawling lizsed, as is dramatized in Nick Joaqui’s “The Summer Solstice,” if by such at ho will win back peace with his young beautiful wife. Ifa meek and shy mocher is ealled upon to defend the fe of her babs, she may fight lke a lioness. To make it more convincing, the mother’s inner traits ike her ability to fight, must be subtly planted in the early part of the story, Detore employing such inner traits inthe conflict "To make characte come to life and appear like lving per sons capable of experiencing feelings and emotions and make them att according to their motivations, thelr weaknesses must be te ‘ealed, including their strengths, by showing all sides of hel: ches- acter traits. Meredith and Fitegeeald, in thee article “Themes in the Traditional Novelist these traits as follows + General Traits, (These are the nationalist, regional, and group traits of e character formed by heredity, envioa- ‘ment, Ifo’ work, social role, and soon.) Physical Traits. (These are the phsyeial traits expressed inthe bodily make-up of a peson.) 8. Personal Traits. (These are traits found in the socal or ethical aspect of character: stingines, greed, pty, ete.) 4, Emotional Traits. (These are teits of the mental or psy- chological make-up of character: optimistic, ay, ete.) Introduction of Minor Cheractor Tm introducing a minor character in the story, the author only” Yefers to him so that the continuity of thought relating to the fetion ofthe plot may not be interrupted, even though the charae- tev’ relationship to the other established. To make it plausble, it must be shown that hls minor characteris also affected by the problom. Erik BrosKe, in his “Teaser,” provides a good example: ‘any even though i yf had Bean gently snoring sn i ‘ght. He woe being vory coef. They had beon mae tan 36 Fes na Ste sb an eat tn, Ate the neucton oh wit by eee, i menos gin he econ te though i evict Ca, 7 suomo-omscoue nthe mil of ese ae th ing des rein the toy ol obese eka set ah ating bate sddeee ee sroused, the suspicion fades ou ‘Segue the sueon fades out, And the minor shancters pat year and tenight, for the fin nother woman. And gh Io‘Chapter Six Description going thos told fans bean eerie sl sp weithin ie fot Ee eae ety need ps oe sain uot Seka ek kot hE aps The et hear es i il ek noe ay te cred, ih ea ens oy be ope or illusion of reality. As experience cannot be communist Sea ado Sees pe emt etehs (efentautonscactehey cana ooiiat Bain von mapas These — Sere ie a a eect oeblna te ole ore Sr eta hs res ‘he enpenene wich heh ene Though wih he we of ne 38 onrinion uage, As Gril Connoy sas, “Sty... sx lationship btwcon tet’ mesa of fon td he ulchea agers ae tent." It is certainly the most distinctive spect of the witary 4, 8 what Soan O'rolsin means when ho wiley le Santee abject that an wits ile hnsele At ts sufae, sige is cgncemed with words and thet tune: Yon within the sentence, "“The dfareee breveon the erst Hat word andthe right word ie wally alge mate, Us aera ference betwaen the ihtsingug and the Ipatting,” ne Mack Twa, ‘Whatoer be the ss, the wer mute asa o> bing the seades closer to the pemcnal viton, He must oe temps" as Conrad saa, "to make you hey, to tke sorte Before all ele to make you sve” Ifthe weer eansot de tie with his split he cannot make a creek wo abled fo cxedble people ~ then his sty a detent “To lt the tener ste, hear, or fel snot sn easy tae. The iter’ eso tool ii own cognition of va, we aoa ‘is Senoes ad Intellect, whieh he must communicate withthe ee of lnginge at hs command. I he a cilial eraioman, coy ottray vid pictures and create living ehuelces he ell yale ft the paseo the story and stop into the minds of ie ade, Fe wl d tho things thzough hn tool = the words which tone letra. (Am megs” wites Bsa Pound, “is that which pasnts an inuletal ‘ad ‘emotional compen ia an inaan of ne ae {word plete which give oth measag and feiog tneagh a senses, The water can produce moremn! of is taoee Senes eyes snes the following Complex images, Under te upseing tebe tm th withing wee ht ley a twey reat tig pric lion eta nevig od eta ae ‘he juxtaposition of movement, count an ealor produces ‘alin ites The we of metenhor (“sing up thes peescnee lerntion and onomatopoeia whiopenay water erect “writhing weeds” “iit langily") contasing mcton (i dee" Pupoveling” sing up" “uptuming the singe sentence is supec tray achirenen. Suck BOE pee ofthe slit waiter who can ae he wor immortal Willem Somerset Mahar, Bngish water and damatis, 4s “Ot Human Bonde," © reminded ot iid ores a hones crs the spinster govern 9- 4 story Fors and Teshiqus ‘She ha ere Blak eyes end her nove was shy autine: in pre she hor somewhat the ook of bd of pe, But fall {for she mar proposal out noe ihe re Bi snd (ort war that she wer belly pondered. Another way of creating image is through impressionistic technique, of which Anton Chekhov i ls master. One method i fo present some seene or emotion in its salient features with litle tention to detail. Here isan example of a sentence from Chek- for’s “The Seagull”: “The broken bottle-nck- glitters on the dam fd the millwheel casts black shadow .. .." This certainly port aye a moonlight night, and H. D. Bates eas it “iterary impres- floniam of the highest order.” Tr A Portrait of the Artist ar a Young Mon, James Joyce depiotssuncso thus: 1 valid entgh lt up fn the gy sont of wt where spa vor vt ambeysc._ nthe dtanen slong tha couse of te owtlowing Lify sender mars flecked he sy and, more Tanti te dim sie of te ty ny pron in hae Sometimes, impressionism is used where emotion and chavee- fer may be porttayed with the use of detall that may be bret and fesential but often of great intricacy and elaborateness intended {to achieve vividness, colorfulnes, or effectiveness moze by evoling Subjective and sontory impressions than by recreating or teprcsent- fing an objective reality. Hee is an example from the Portal ees dr ad with 9 look of lnguor, ware opening tis yer ae rakednest ye to hi, rea, watt, oforous end TWisilimiedenflded him ke a shining coud, enol hin Tike water witha laut; and Uke oeoud of vapour o he trot curoant spate quid ets of speech, sys ‘hte amon of myrtery, lowed forth over his ran As is shown, it isa portrayal of shadowy characters of man and a woman in the aet of lovemaking, but the woman sueakingly * exists only in the mind of Stephen, surging from subeonscious to the level of conselousness but without finding the man’s I ‘hich depiction by the use of detail but bret is colorful and inti tate whore subjective and sensory impressions mre being evoked in the young man's mind. Other waters sugaest thal, aside from fis mixture with the sream-of conselousnes,impressioniam could be further echieved when the deesnption of seenes or characters is blended with the narrative and would reappear often enough to remind the teader of the character's postion in space. ‘The mo- i 40 Deseo ddem impressionists seek to express the immed see neni ‘press the immediate impressions of Blending Descripsion with Action A sly of sot one ant etl hm eves an ries pula in mages today restr nd a Bdge ihm 18 practice to lump descriptions in long windy passage letting th oer wade trough hem, aut oftague sue igs ay, "Gln Por Fes Seu, 1075 ‘gu of Hapa Mie, os Fone aia ape 3 9 hacion god asa wanes ihe anes daa Soe mid foal feo el hand oy ha Be fal pret insist ony poor sy ae ah alle nei ep." sto he nod are parts of the action in the story, Here is aehine Powe daciten tis harcas Oem how han hau Ae ping ar agi ot awit i ery woodman’ ore aed lewit pulled up hls wocn pant ea, retain ong nish, sh sit ne ites. = eenee tan Zee of making snebing more within the des tion i taeable to East Hemingway's syle Tho landcape 9 be tion inthis pata tom ienngwe aaa Ye wee gong hugh taming county with rook Mi Seon don it te Hl. The gre ent phe ‘ist, Now ce we mont hier See sas wind Sng eos 2h eas whe nd yan ee nr Set thee tril SH he Deco h Bhymenrhers sor or, “the Gu Si,” Deemer he Philippines FREE PRESS, here ai La hurd 0 he mtetoa, wating rou te ‘25 hi fw matog white len "Te meer Seed eed f res The suerte sbout el a = feat nd th ond wort scouting Tha tn had cline by mow to rma Bee ‘elped Lita to the motorboat whew she toed os Senet wet ces clung aha body ads diping witha ener ‘The description is, indeod, blended into the action of the “aary Forms on Tec onan the we of verbs atively produces the ison: the water [eitedercond their logs, the srt ered about thee its; the Serer tearing tthe fas, tho snd went toting up on thelr Hae the see ad climbed -. + Th luton c! movement cata Tpit bythe aie of de author pose. Whil sare ofthe Sy erin, he reve can ete white splashes of eee DIC- Giusy no moving fot of the crete o can 0 to, te tet ol sce water Tom tht legs thee weit andthe gs et Trae dor clings to her body. A good cesription makes se ofthe three ere enoter part fom the sme story: Aceh fin ad Fonte ant rate of he sb stot Then ping eu th saber bo 2 Sst’ sity nny wie nerds Bon shed i br We he ictses hha usando he hs be Ioands penn ath Tito senenece, tho rade an hear some footsteps and the “ue of thas. Soon he ser the enemy and shares withthe mo- Gan of he Tewpomt character, Otter deceptions fncudag Serosphere and mood for instance, are caeuly ntespexed ftrougwout the story to supply the action and dalogue With ens- foment needed "The tel practice by authori vo desrbe the character the monert ek insoducod, ine Cverie Salis” tis show the author bring or the fit Sime his viewpoint cheratr on the Saee He Be tet bara ants be Ne rig shoulder He breed out Rely and his chest ested Tie bellows, There war huge redness his ook, yet he me aged tose when te au Lita wk to te door dd vend In ee Sooreapss tovey git of aigoen. But she wor Tait Town on fo fac rahe tance nn st he queria olde "The changing mood ~ from lished sobriety to geniality ~ ‘and the hero’ outstanding festures are transated into wors Tike cavcators the water its the extraordinary trom the frdinary to Take vivid impression on the viewpoint character. A ‘chest heaving like a bellows ie indeed extraordinary, which is fur. ther magnified by saying, “there was huge tedness in his look.” ‘Yet ie sinies upon seeing 2 lovely gel in the doorway. He & ex1- tainly an unforgettable character. 2 Don Mary Dene introduces the her omit ERY tees tn hin in “Yeo, St, wt ey when woe bag foe he een hor eyes on the dappled blus snd gen and rust ot the Sere ter morning, Cul around Wsker, ne arm fang eee ts ‘Peaceful de and fall of his breathing. cho hed Isin for s whi Ftaning to te word extide te window, tan hed burned fet tes eeeer ints ang, ar boc wd wed i soap "Wher we do today?” seal Dasroton By Sugden 2 ead ar era the ade us months bo see" teshniqu dows not ean toward photons eal phe conta dares inet tesa See: Aan by sagen” whch he employ seing fost lta ay sboration between the writer and the veader. ‘The secret i ‘such method is selectivity. - ws Hore fsan exae Theyre et beng on te from tha crescent moon, Jien wat cite looking Beck st ber over Ris chotder Sha a ie Supying one tnd, teins ba test ore Ife, it wiht sey Rom he ene cen Mit.he iyo backround ead header Gen imag wo anything ond ee ve than wat hea sagt i eter wos act ny dhe renter clits teen impli bythe plier Samoa wihout ene aoa ing love soy exp forthe Bg Sexy Sony or exten pga at than a eatalgue of tie eey moment ME loguent ite eter an of een by veton: nota, dy Water ding tom the tg of ta nt awn nt we iy sh ei mo ona Aaa thing on. The voor ania’ wade te het Sones Shaking, ith move intosty om. The roo ning saan Son Sait hw nr aro a a ak iti Sn so sgl Sry¥ sory Forms ane Technigus ‘Another example’ ‘Soden in the cin In ferent ze, wre hundreds of books dtcned by the eomy ster Hamer, Ast, Plato ~ the ‘Thore might be other ancients among tho mouldy heaps of wasted books; but the reader, going over such passage, would right aey collaborate. with the author and imagine so many more aa ‘Sents than what fs being suggested. By giving three examples then fellow up by the suggestion ‘all che ancients” is certainly very Affective method to Teed the readers to imagination (ther Mathods of Descrintion Most male readers like the witing style that.is “Ioan, clean, tnd convincing.” "The desetiption of characters inthe stories pub~ fEbed In Action for Men, for instance, shows fest movement by ting spare prose, Writing about 2 plane colliion, Bill Francois (prote the beginning of his oviginal manuscript this way ‘Ae he sound of sirplane engines drummed sexs the Clinton cous Air Fores ave In Soehvoustern Ohi, Se. liom H ea je ae won shout to make Nis 13th partchute iumb, ‘hs roan beet shoved I inside th Blot of Bis ‘The editor of the magizine who got Me yam rote him ack, the becnninys too sow, Getto the heart ofthe ation seiko tint few parogpthen, i you need Co use a Csh-back.” ‘his was how Franeos rewrote te same Dasege equa Fir Cos ition H, Kroner dt pana croup no MR Rleale St wind te ney dries eae mete the quer ofthe sumium sin of he oe yng oncrlupare trough ulna tei vient ea in th fs vsion she een ving fo bond the plan, ln the tevsnd version, th srgeat thee on board the sierat that is ying in bad weather. ‘From a different angle, when describing # character's state of mind or vention to story events he use of undesstement te eflecive than wordy sernes” For instance, deseipion of = nurvou craters overdone in this pene: ch + ting han, Jy wed th a ee anced te nad eit Behr About he weed Ma SOU ats son ie von tf, ho ws nove 4 fast version, the sergeant is shown + Dee be mht ous ei gi og body. He nervously aged the sofa of hi shit: ten, sing ana cenenet marl ae eet IS an i i es ane fing teseeses corte ine iene ate temtung han tht strewn He wer ceeeaia oe Streetlight hase em ours cat ot ee Te rol are been utr ope suhag ey: Sy igh nee sage tao worn wie mane eae Tear ue say Noe pes ‘hit dung toi ain. a locad the baton ot Ne ee inated et esata nay on Sam ome eee nee Ace to chants dais of mind if wl dealopd i som,‘ aig ie hs Wy eta ower thee na petal ted wh eng i ct elaine domo Sane nace aioe ding # chances monet et a ee forinstane fe hs bye tage fm sledge th tenis CoE lod ate wih el for ent ad itnction sould bo made betwen ecole les ping. Peg nese vag. hl corpo es nto leon the slog, hes ar ea ae ones of dcdpan oat witcha ea se hnon ach woul be cob. pdi” fag sth ty owe in or «tao as pel te cher ort ry be wel hehe De se simupe Hn fart fa iG il ce my of ts ots le 45¥ Chapter Seven The Dialogue A ent nen wm pl i Owl Are ite ete oe Ae Boosie Sect e ecrttcs Ber ete eye ean oie 2D ae ra eee ges sen is nN a so ceircaet Sa aia ait Be re cit a lr mike a ce EES cote tener tomes ind retin ear aba datas spittle Seta epg Serbia tester pe OOS ade iran aercm tb Coe prea meet 6 The Distowe lea ew, 1s au I lg hea” “Lets go back tothe panion no. '¥e got on ote of et vf Soon ~In aie wha” eh ale Ie dck?™ As illustrated, each charectar's bit of dialogue consists a par ssriph, together with the description of one of the charsctor’s voice and his gesture. After the writer has stared the dialogue between the two characters, with identities being established, the dialogue is like a ping-pong ball vlleying back and forth over tie net between the two characters, In actual lie, dialogue is (requenty indirect, sometimes sis Jess, full of commentary and amenities, But in te short stony, ‘since the art requires selectivity, dialogue should be divect to the ‘olnt in line with the specific objective to laep the elements of action and background go atthe same time while aiding character: zation. For example, hore is a convetstion between a doctor snd his patient: Now San wstched the doctor's ayes go ont the lst page of the chart. “Ml, she doctor sid ray, “thre ee indlonion of 2 Ho let his sentanes dangle end lok at Ja is at “hina ae toe indientons about” Jeun asked. Then she {Sate her fee taut, And na moon vee he spoke. "ty gsr ffestd wrth te ance?" Fora bret moment the doctor sat in tes, “According tothe findings hee ‘eh te ehart. “And it's « hopeless ese, n't 2" Jean inguin, her soe Into dct’ ays did nt wares ‘he doctor fll int agen, banking Me ees, face home is isst for deus word "ay do you ste to Au humane die Dont the H my cae 3 hopes on” Js went on, “yeu don't how ode fom me “Ag top, it sume extant tooo" the doctor tld “How many months would 1 five from nou?" she asked sly. "One mont a ll files. Than He fumtied a eho truth, Doe? Sean si ar “ier Forms and Technique, sMaye. ut you dont he to spl New dru ae bing ascot fon tine to time.” Yow doctor’ yes had pity for In this dislogue the reader lesrns thatthe woman is sutTeing ‘trom cancer of the lungs in advance stage. Also, che reader leams Of the vomen's boldness while her doctor was hesitant to inform her about her sickness. In other words, characterization is done fhrouzh the dialogue, including the speakers’ emotions; and, at the sime time, the unfolding of the story is uninterrupted.’ In fact, the dialogue advancos the plot action of the story. ‘A good quality of dialogue reveals the manner in which « charaeier speaks, the words he ls using; likewise, images and mood fmust ft the pewon who is talking, Here isan example from _Anthur Heisecmnan’s"Sehachtmann’s Calf” ‘Ye, ll, 2" shoe tha man. He had he espera and ineredlout manner of partens unssustomed {0 speaking on the tlre eid Zimmer canting hime “Dae, yu ra to coms ove no “Pha vl tl eho you ma” “bee Brahnics eng and It al ang. Doz I¢ won't come for some divine reson. She's buen at ft snes noon, {nd te blood comer from her nose now.” "0 foals ice Te bai dames ot ets dla ene icity and Teney. A food Csogse should erysalin station Evel aad charsiertton snd show alien background it Tutt te mene isttion, "Dos, ou ready to come ‘ver now?,” ves an authentic dossier on the way an unschooled * country man speaks. “Hence, the dialogue is oftentimes chatty, tolloguil, and ungrammatiea ~ depending upon the kind of char fcieralking, A shatp dialogue between charactors moves the story fast. /As an example, here is a sharp dialogue from Thomas tion, Mistor Bane" sid the man atthe eat rage. ‘avisnTosked around. The gaeman wie fst Woking ‘ovr bealns: born" sod Avalon, "Igo tsk in the ete, ond by the 48 The Distgse “ou drone al the wy in art forthe pepe?” “Va 1 pisk up some ater hn, ta” Lie down ths stot snd I almost didn't Bother” sid Bane SH you can ase the paper you're slams 10 it don’ ven eo why Lordr i ai, guess es alslanted soy “Thanks very much,” wid Avalisn. “t appreciate 1” be reached int soot “Forget "sald Games. “Ite he dama thing. tar to wt rads seon wf to Sead “Realy ins,” Avalon holding ov 5 eons Bape monsidGnoes tie sr se it in gts. "Thi be» omuibuin tn You ee ‘The dialogue relieves the descriptive prote by dramatiing the encounter betveen Avalian snd counéryman Barnes iis eae, 4 the rhythm of the story. A short story filled with heavy, nae tive paragraphs sls interesting If not too boring to tne wader Emest Hemingway's “The Killes” has achieved the conse af tm personal brutality through the ettective uso of dialogue, Alco, emotional dilogne can intensify the eontlet between characte, a in thede paragraphs from Robert Dorr’ “Terror in Thaland” “ow shout i" Benner vice cme ftom below. “t dont {s: Yat comin! I'm ging 1 short Yur gin saat one ae Nz YOU "he Yank yl bac. “Uns you want to ‘Den’ lay ames up there hae th Hiepowes =" "a haw the money!” Reber alld bask ‘stan, Genact! Listen rv gsc. You eam shoot the gt ‘but you cant ito frm down heal hear ile shot i suing to bum very lee of itech ofore you cn da anyihing ‘To give a more varied tone, the lines “Benedict's voice came ‘rom below” and “the Yank yelled back,” which are examples of Indirect dialogue, are mixed with diet dialogue. The intensified conflict has sharpened the contrast, too. ‘The line “If T heat & title shot I'm going to burn every pleoe of this cash bofore you ‘ean do anything about i!” creates suspense by letting the reader ‘wonder wether the hero will bum the money. In fact, the whole 43¥ ry Fore me Tchige Jods the reader's intrest inthe coming events whether Ae Sftan wl shoot the gil or whether the hero wl be able to fubdue the vii. Tn his article, “The Uso of Dialogue,” Bonnie Golightly sys thatthe se of "he eid” or “che eld” inthe dialogue can work fone without soy tition of, for instance, he sad Jokdngy.” ihad Dean B, Koonte caution tat there fe no need to seach for fynonyie to replace the word “tld.” For variants in pure dis Toque, the following wil suffice in any eave: rplied, insisted, ‘Shed, ellos. In emotional dlalogua, whore foree is sequied, frates uae these common words wale, xed, howled, screed Bowe exits and welts call melodramatic te use ofthe words lie these: gueped,belched shelled, conjectured, or ejaculated Golightly cals *Talacious‘utage” inthe calogue'the following: Don't tll me," tho sahed. "They bore me," he sneered. The vrters of such ero, sys Colighty, do not exe the differance Getveen adjective and adverbs. Although dhe use of “seid” “implied, the action verb “sighed” of “sneered” should not be used ‘saubstsute for tho word “Sad.” Monologue and interior Monologue ‘As the word implies, monologue involves_only. one character reaking alone, unlike the dialogee which requires at least so racttrs. Monologue fs sometimes employod by some writers to Gramatice a sitution rather than dofine it in narative paragraph “Hewes an example from Paul Justin Stam’s "Survive": “IE i “isn't for you, I wouldn't be in thls mes,” he sid angrily. Yot he character talked fo no one but himselt In Hemingway's The Old Man ond the Sea, the old Cuban fisherman is alone fishing out at sea. Talking to himself slone Seems inevitable to relieve himself of tome loneliness, anxiety, or ther feeling surging through him. At the same time, this affords * the watr the opportnity to pour Into his story vaety of tone ot lee his lo narafve prose. Aa example, ere are to ‘areas fom The Old an andthe Se: he bet otha eo ot Fe hee, sng ah ies Hay anor wit Uva hed Wes cee ice ine bore Tort ie ean gry. ‘his aso bait oxtin fe enna be mon eee eae on ishwoldcomeonbemd tems But BENS toes Sten A fio fih snot et 0 Dione fan wld 2% hire tt hin opt mts ‘Strength now. Chvist, I did not now he wis so big.” " FH I huh fe oe AA mance coming of on shor sentence, tk the one used by Ful Jatin Slam, thay bo celle Bere se Coats ftom The Old Man and the Sea, where the monologue conse ot to pstagnphs, the reader's credulity ising) ooh See snarl for aan to hep on talng don eke ii" Movalogue ay be CsSted into too see ner iocmonolague® and “steamafconsiccae thee consous thoughts thet siddenly arcs canbe preemee eoe fon [of intedormonsogie.” Like tne mombione ieee "onolog is instantaneous, pencnalzed and intense Nast oy tmaments of hey ante sibel Bae ee tee oe Ge sor eatenets from "Survie" He ey her Poke es the gotinge This" hab “Tunica ae ‘The use of quotation mats for iter mosclogue ptan- 1, The word “thought” oF ts euivdent sive tee oe Pronoun that rters tthe ower ofthe though cach wed fe cine "Sk tr etn quot th comme ether = mOncogue or taloge: maecoeae sone ‘petkar is alne; and alogu, if the sata enie fe oneens the, “The dotnet beeen aoncogse an incatoes cron while, both a penonaze, Instastaeous and consis thowhis, depends upon, wheiher the giotel wen oo spoken by the ther alone to Rima’ ey fet eae clous unspoken thoughts. one Theleeeed brim of mancloneigaegmstconiou ut which Is defined as" Lowing af thoughts iat are eh Ge level of mind where the individual becomes awars cf thom ‘Te use at such technique oeteames he Sate of sg ‘zee wd el of nao fm or nde we ie ny Wty see ond method of prewntingshancter gue tae a ie detest, tha it earths pretense eas from the shronlopel sequence of ssa an oe enables the quality of a given state of mind to be investigated so omplitaty by menas of paring to thlr end the teens eo ‘Shocitons and sugeslont, tat we Uo nt need teat 51r story Forms snd Teeniques to make the potential betare we can see the whol Gno of the purposes of employing this technique isto remove tho bactiee between the reader and the charactor. In other words, the use ofthis tachnigue enables the reader to enter into the mind the character. For instance, James Joyee writs “The pide o tat dim image brought beck to is mind te ignty of te oon he had rend Croush is boyhood hen mused aon tet which he had so often thought 0b Bs Jtny and when the mest had coma fr hit obey the ell Ihe hed trad ide, obeying 3 wey stint. Now tine Iny Showean hn ot of ecaten wld ner nai Wis bod In James Joyee's A Portrait of the Artist as a Young Aton, Jong paragraphs of pure streamof-eonsciousnoss are abundant Here is another example of streamofconstioumess from the | Portrait, sprinkled witha polypioton: “Then he wonder atthe vaguerst of hs wonder, 3 te ee motene of ecw al foo what hs ha biker imaged ie rey, ot the fal ld ubich 0 many Yes of oar ahd ‘Satna ns of Nm when neta tne ae revoctle et thie teen to and fore, in sine and eee, i cm. ‘The action goat far back to the charactr’s very cay life ot | in his childhood, then swings back to the future. Although the tetion tse mch ‘wider range, it exists only in the conscious mind of the character and, during the unfolding of such mental acton, the physical movement is acvsted. The uso of streamof-com sciousnest, therefore, mskes the physial action statie within the | story ira. ‘Short stories published in magssines today are rarely using steoamotconselousness alone in a paragaph. ‘The stesrro- consciousness is given only in small doses, sparingly interpolated fn tho story and mixed in the objective narzation. For example, here is ¢ paagraph fom Judith Allen’, “The Summer of tho ‘Yee Gin” y ‘She head is vole ue dens know what he mas seying. She sept on waking. That other pt woul have sre hin bak, ‘he thoudShe wouldnt Ra Ser lad Or fsbo Rad Ban, Sherd haw own what to de abost Thar wer thing you fess sappoted 10 37 C0 Keep thing kath rom happenin. ‘ir wat had she done? She's pracesly sid, "Let po fot the cave and make aU” And then she'd fee ike sm mb by when Ho 12 rp on 52 reader identifies processes, For sme ideas in different methods "t wonder whether my Bl dest st en me, istogn! "Lwondor wether my Blue dees ght on me" Nine tld felt GCE Spt sur Heme ch ele” one ton wander water my eds tht on me ins ‘hough fs uae Fl nay ane mach we” Ov ‘tcemeedona) ing wend whether her Bae dass ss Stone, wt oa lyin hr mach hal. Boma consumes! Nina ed or out ot (Ossie nari) nthe, with tc, she wl 83 For Turther elatifcation, hero ar simple dlusteations of five techniques of presenting thought processes by dealing with theche. storys narated isthe ints maely, viewpoint ofthe for. of viewpoint namely The hie andthe tion and te deree of = Menno ed Mo qos the abject ‘onde he story ites mal te render into the mid ieee Sef aot Shvacer it more thea te, ie Sho among oF be ethos the vewpoi ‘wll have only one the character il be 1s the decision «sto narrate the story, cr 49 tell the motives of other characters, unless they contss to him, ‘The good point inherent in this device lies in the ease with prhich the hero can casly be given subjective estment and ean be made sympathetic to whom the reader will identify. “As the author concentrates his attotion to this major character, indivn, ualization is possible which can make the character alive, “An: ther good point here i that this veiwpoint allows continuty, pro Vides immedicey and dramatic suspense, Since the viewpoint shataeter is on the scene at al times to solve his problem the decisions he makes will cause new complications. "To mak it Possible, he must have no definite knowledge, or even ignotent, of the teal situation; but the roader is well informed about it Which is called “dramatic izony; and this ean be etective. ‘This viewpoint is eiapiable to firs or thied person. ‘The choice of using the first person pronoun or the third dopones pon the author's preference and the emphasis on character ‘ation, Some water like to wo the ist person asthe viewpeiet character because they can write emotionally in fact they oes ory as a vehicle to communica thelr emotions As «tesla fan author may use the viewpoint cheraeter in the fist penod to project his mental image and feelings Hore is an example of paragraphs trom 2 short story told {tom the ft person protagonist narator, published in Febrascy, 1968 issue of True Experience dking home that ight tier coed the stor, lt ce sin. | Sous gating ove te nan, an than “Mary Yardley.” Ob, maybe tis cn bel Like boy trceng of fre, I thought, ve 2 cance fo mate eT cold in y's love, hea toh . To otthat ight, hed tote fen. roe a te 2s uta both dla and her mother were In the kitchen, on ~ you're home sary, ra't you? Dinner ie't ‘ue sey yor "she bags inher smooth lee, "I deo care. 1 want to tte yeu” The words tumbled {tom my lips without consis: thought. They mos hane tee, walog thr for aon, ony ne, ull fll bac 8 tp. era “Have you gone stk reving mea?” ‘Tho story is told in the fist porson from the statt to the fs nish. ‘There is no shifting of viewpaint to something ouside of obs ‘servation of the protagonist nenator. Other miter do not Like to se repaned slowly. 5“Story Farms and Technics a se fist person os it sounds eg; and where a characteris up- ped Uo be conservative, they prefer Ihied pen pronoun. Hete “are paragraphs from “Cruise of the Marsh Rose” by Glynn Crou- “Gace plied in Argo) " Lanes stood at the wiheet, looking for‘ard over the cabin top, sotty pat te nm prety of an oF ore at ce scene tinge, coming ashe OF ope rsa sd spat oe oar of ae sod vic wa persion 06, es, cary ose Heys sot bln ule pan, i re esha, oh ie Tie arog noose fd # tioned mov Rng Sai, ors for in econ “ough te ope hye csi es Yona standing the noe viewpoint is | __ The dramatized singe major carats limited owpoit i the rst common ed y sory wate oda. The mato, ter inthe fiat orm the Ud pean, the protagonist of Theta her the ho ote heroine. The drab to Bis tiewpou he ited range within whch ttl the story, whic, Ee reson why novels prefer to use te “multiple viewpoint | the muttipie Viewpoint — Nakile viewpeine, Is also nown 8 “shiting” or “One "cient viewpoint” which maybe “modified” or “pure.” In both ve ure snd died rnisintvewpomi the sathor ents the “Tints of all charecton, switching from protagonist to antagonist _Tolrin, ot any charter any thes the reader shares "with the thoughts and feelings of the characters. The main i "ence between the pure and modified omniscient viewpoint is t 2'the pure omniscient vewpoine, the ation is arested by the “Suhr To comment on his charcters, and be may adrss bis | comments to his reader; something like this: ruling Bean oe, Smmy inte 8 nas gett Coty owt You inca, but 8 roce may roll off fringing with ft your sudden Sox a nm myer . ‘This viewpolnt wes exploited by writers inthe late 1800s. ‘The ynites Who Used full ornsrent viewpoint have these days {out Get renders Beeaae of thee syste lumsines, Today, 1 Shatnte we mnodied omniscient viewpoint in which the author | Rover sop to delec his sons or comments diet to the Mader Howevet, most short story writes shun the a of Ca Viewpoint, omniscient viewpoint for economy of words which otherwise would have been wasted in teanstioning trom one viewpoint to the next Some story witers have recently tied on dual viewpoint Az author, for instance, views the unfolding of story events from the characters involved in the same. problem thet causes these character to solve it jolly. In other vord, tere ae two story threads coming from diferent places whieh wl one ‘verge at one common point in the solution of the story. This asually happens when the story ls unfolded through ay inter view at the statt; the interviewer isthe viewpoint character fi, Bicturing the person interviewed forthe rear, and, fins, Bo tells par of his stony to the reader. As an example, her ate Daragraphs from this researchers book, The Indomilobs; "How di you manag to gt aay the?” Terry inguie “One ight pole huded i my hol room’: Bara oped “teed fo seta igh fos noe stached, Th nt ed 4a blog watched bythe Joe. I was avid to goto bat staon he fatning ming nd at» d fo Son ig Data want on tling hi sor. When hear sowt to bord 4 bus strange edged clos Yo him and wiper, “Fane ima." Wh te elm, Date took a bs toward Sun Mig At {his tine, many cian wate rated by te Jpanee nat {he uble market: and Den tout was why we le {5 plas = to be hed, toa But ner the ble Maret ie Son ies ier deed down the bused cat of fs ge, Daz, hs unknonn companion, ad the pone goto or Asay and sured say tna to Hews The mort me Imam Daza shi cosaion re siting se the ee ede, icing down into the schnes of te med, Bet ‘ere safe by now “ Before Daza and Tomy mect, the story is told from Teirys Point afew. When the interview bas started, Dace thes over to ‘iewpoint se narrate, ‘good example ofa short story told in “dual wowpeint "is Gextrue Schweitzer's “My Chid is Mising” published in Good Housekeeping, ‘The story is about a boy who ls mising a che result ofthe mother's neiigonce. ‘The story i fi tld hows the Sepa of the rer ed ines the boy's other then the viewpoint switches to the mother who poe os talling et Story uninterrupted. om a 81; I ee | : { : story Foums nd Tecbicuss Minor Character Limited Viewpoint ‘The minor chatecter narrator may be in the frst or thisd Bie eS PS ee ae cnet ce ce oa The eit ie ws hor lth the ipa ering he hi, Tr sun He mart ve ten a nen he asp es Sb of th ew fe forsee for he es mal os eee felt ae sw” Honea ese nein de ic bd pstd sp of paper tote ower part of dhe Kt Shot apr, ten cv and ity gan Te Sn teked Neen eg yee fy Mam, my oy a canbe gentler” ed my tn. Awe tooo oor ; in i oe a i on me sve" Boies, the Hind of chao! ee {ve dy ety at tho sar of the story. The nazetor 58 ew yaled.n th aoe dais sonic wh the autor al son, “Somewhere in the sory, se fe making suggeione fore Major characte o taka hs cou of acon bese the Mons ‘ll sha with th major characters tmp ‘A vation of the obteret ‘or minor charter viewpoint e the implied narrator. ‘The tory tle doesnot Hntfy Sse #1 yet the reader fel thatthe sory nga by an oboe but its no inthe author objective vewpant in wish ike ee tor dapeonalsed and th aetthe wises we hese na and eam from the actions of the ehercton, En the reeied aratog vewpolat,tbjecivereportoal meld ised hr oak, tion Techniques ‘Thet So, Lowe Boggues swe te ‘sample which stl trom implied arcaor ews From the moment Suzannah Bue began to put har pans fr lowe ito ation, the wes heed for rouble th Zack Willan {he ne ston, recurfly bsg tam and ory Mt alt, hu fllon yeaming to become chool principal, dghenng ‘is ep fat, i's no wander thing got ut of hand Most everybody In Valley fiuret tt high Spied ily wes ely 10 ump the cor at hs fat coportniy “That opportu ee On Stunt Nig st he high schoo In the implied narrator viewpoint, as chown in Miss Boggs" ilusteetion, there is only: mental event but no physi) action; hence, the story told from such viewpoint is static. On the other hand the objective author viewpoint deals directly withthe chat acter’ behaviors and physical action, ‘The ace of the story is fest and interesting. In this paragraph from "The Kills,” The action is fast Oside the srcight shone though the be bance of woe ‘Mick lad up tho stat bal the corrects sno ted 1 the meet stelight down # idestist “Fhe howe op he Foe nas Hines roominghowe [Mok walled 0 the two steps nd pute the bell. A woman cae tthe doo, Jn the objective author viewpoint, as In “The Kies,” scene ls tictly behaviors. Tho vender late a chante mene tal Proc oul i ate o won Sah vawpest es the desmaite method, unite the mplsd hanater Seen in which the uthor pots into the stan hs ert evee ane the reportrial type of discomse, although tented subject 59! i i i if i Chapter Nine The Beginning ere eae ees enone Sreirk aria rans oftiiaonerae ae chats each ie-aa ete cee aoe ee eee ees moeeces wae sas ian es Ss, 60 roblem being intro- | The Baining Robert Edmond Alte’ “Big Mouth” has this beginning [Heresy hd jst got his on soma good in the tenor a ‘ucling aroun thar, whee 2 namsiehipoed coffee pot letped off these any il rounds en lint tnd Tot In just two sentences the hero is intzoduced, with a hint of trouble he is facing. ‘The local is established, tos’ Jasess bunch of gun slingors attempt on Hardesty’ ite?” “Whe id it?" “Why?” These questions leep out of curtsltyra eure readet continues reading. He has been siveady hooked, Rafael Sabatini, an Italian novelist in English, bogins his ‘Searamnouche with this sentence ie was born with the git of luge and sane hat the Sabatin's effective bosinaing can cortuinly catch the read: rs ove and stir interest in him. Tsk Broskets “Tergat® eat, longer opening

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