In reading, as well as in writing, we may profitably keep in mind the following directions for telling a story:

1. Secure unity of effect. Choose material that will bring out the point you wish to emphasize. Reject whatever does not make some contribution to the end in view.

2. Secure coherence. Be sure that one part leads up to another; that the various parts are as closely connected as the links in a chain.

3. Secure emphasis and force, a. The beginning should arouse an intelligent interest in what is to come. Such interest may be gained in two ways: (1) by giving an explanation that will prepare the reader for subsequent narration; or (2) by fixing his attention on something decidedly suggestive of what is in store.

b. See that your narrative has proportion. Condense the unimportant details in order that you may have sufficient space for whatever you wish to emphasize.

c. The good story-teller knows how to keep his listeners in suspense. A study of "Ivanhoe" and other novels of Scott, and careful listening to men whose audiences seldom weary, will help us to a wise use of this means of emphasis.

d. The skillful introduction of conversation often increases the interest.

e. The ending must count. A story should not only make continual progress; it should grow in interest up to the very end. We should tell it so that when we have reached the "climax," - when the interest is at its height, - there will be little or nothing more to say. Sometimes the climax comes after a gradual preparation; sometimes it is all the more effective because it comes unexpectedly.

Exercises

501. Tell the story of one of the following narratives: "The Vision of Sir Launfal," a canto of "The Lady of the Lake," "The Man Without a Country," "The Fall of the House of Usher," " The King of the Golden River," or one of these stories in "The Sketch-Book": (1) the Captain's story in "The Voyage"; (2) "Rip Van Winkle"; (3) the adventures of Ichabod Crane in "The Legend of Sleepy Hollow." First write a brief plan.

502. Write (1) the opening paragraph of the story as you have told it; (2) the closing paragraph.

503. Write the story. Consider the value of conversation, and if you use any, see that it is to the point and neatly introduced. Be prepared to criticize your story, using the suggestions in Exercise 486.

504. Be prepared to tell the class a story that you consider joyful, pleasant, or gloomy.

505. Be prepared to tell the class in your own words a story suggested by the following list:

1. A Classic Myth.

2. Dick Whittington and his Cat.

3. Jack the Giant Killer.

4. Puss in Boots.

5. An Original Fairy Tale.

6. A Wild Animal.

506. Reproduce in writing an interesting and lifelike conversation you have heard. Perhaps the following topics will be suggestive:

1. Two Women on a Street Car.

2. Buying a Ticket.

3. Meeting an Old Acquaintance.

4. Ordering from the Grocer.

507. Be prepared to tell the class an improbable story from Jules Verne, Poe, Kipling, or any other well-known author.

508. Bring to class a copy of an incident in which the movement is rapid.

509. Make an outline of a short story (see subjects under Ex. 477, p. 268), being careful to have a definite conclusion. Tell the first half of your story to the class. They may then write what they consider suitable endings, and these may be compared with yours.

510. Write accounts of an incident from two points of view. These suggestions may be helpful:

1. A man hit by an automobile. His version of the affair and the chauffeur's.

2. A disputed touchdown. Opinions given by the captains, the referee, a spectator the boy who made the play.

3. The circus parade as it looked to a boy, a girl, an old man, a clown in the circus.

511. Give a brief oral account of the life of the most interesting person you know.

512. Tell briefly the history of your school.

513. Make a plan of one of the four stories suggested by these words:

1. One or two strokes of a spade upturned the blade of a large Spanish knife, and as we dug farther, three or four loose pieces of gold and silver coin came to light. . . .

We now worked in earnest, and never did I pass ten minutes of more intense excitement.

2. It was done. Whether right or wrong, it was done.

3. "I want my happiness!" at last he murmured, hoarsely and indistinctly, hardly shaping out the words. "Many, many years have I waited for it! It is late! It is late ! I want my happiness! "

4. What was I to do to pass away the long-lived day ?

514. Write the story in full.

515. Write whatever any one of the following extracts suggests:

1. "Do you," she said, "believe in dreams ?" "That is a question I can't answer truthfully," I replied, laughing. "I don't really know whether I believe in dreams or not."

2. The voice of Mrs. Peters, her next-door neighbor, came back in response: "It's me. What's the matter, Marthy ?"

"I'm kinder used up; don't know how you'll git in; I can't git to the door to unlock it to save my life."

3. On drawing it to the surface, we were much surprised to find it a long pistol of very curious and outlandish fashion, which, from its rusted condition, and its stock being worm-eaten and covered with barnacles, appeared to have lain a long time under water.

4. "Nephew," said he, after several efforts, and in a low, gasping voice, "I am glad you are come. I shall now die with satisfaction. Look," said he, raising his withered hand and pointing - "look in that box on the table: you will find that I have not forgotten you."

5. To make assurance surer, I got upon my hands and knees, and crawled, without a sound, towards the corner of the house. As I drew nearer, my heart was suddenly and greatly lightened.

6. He had plenty to do the next hour. [Rapid movement.]

7. "I love anything that's old: old friends, old times, old manners, old books, old wine; and, I believe, Dorothy (taking her hand), you'll own I have been pretty fond of an old wife." [Slow movement.]

516. Get one of the best story-tellers you know to tell you a story, or recall one that you have already heard. Write as well as you can what you learned from the way in which it was told.

Keep in mind such questions as these: Was the narrator hurried? deliberate? Did he make the most of his material? Did he omit unimportant details? Did he keep you guessing about the outcome of the story? If so, how? Was the ending one that is easy to remember?'

517. Write an original story (five hundred to one thousand words). It may be based on fact, but you are to furnish the plot and the details. See that it is true to life. The following subjects may prove suggestive:

1. My First Skate.

2. A Real Ghost.

3. My Last Bicycle Trip.

4. An Amusing Object.

5. A Day's Rest, or Amusements on an Idle Day.

6. A Lost Child.

7. A Lazy Boy's Adventure.

8. With a Veteran of the Civil War.

9. The Greatest Event in American Naval Annals.

10. A Great Satisfaction.

11. A Curious Coincidence.

12. No Laughing Matter.

13. A Bird's Bravery.

14. The Interrupted Lecture.

15. The Coming of the Stagecoach.

16. A Spelling Match.

17. The Critical Inning.

18. A Hermit.

19. A Faithful Horse.

20. An Observant Dog.

518. Assume that you are to send the story just written to a friend to criticize, and write a letter to accompany it, giving your reasons for your choice of subject. (See that your letter is correct in form).