GENERAL CONSIDERATIONS
In casting about for a story the writer should regard chiefly the intrinsic merits of each idea that comes to him. But when he has pitched upon his theme or plot, and approaches the task of construction and elaboration, he should change his viewpoint and strive to view his conception with the cold eye of a reader. A reader has nothing to go upon except what the writer sets down, and realization of the fact will lead the writer in construction to provide for every matter essential to give the story full appeal. Unless it is developed completely, it will fail to impress one who has no knowledge of the conception except that imparted by the writer's words. Nothing essential can be omitted or slighted without risking failure. On the other hand, nothing unessential can be brought out without obscuring the real story. Careful construction and elaboration of the initial idea is necessary before writing, that the author may have his hands free for the difficult task of execution, and in construction the writer should occupy the detached position of a reader when estimating what should be developed and what suppressed.
CHAPTER VI
EXECUTIVE TECHNIQUE OF NARRATION
Mode of Narration—First Person Narration—Variation—Advantages—Disadvantages—Plausibility—Third Person Narration—Advantages—Avoidance of Artificiality—Consideration of Length—Maintenance and Shifting of Viewpoint—Attitude of Author—Style—Product of Technique—Congruity of Manner—Story of Action—Fantasy—Story of Character.
After conceiving and elaborating his story, the writer must approach the task of expression. The two preliminary matters to be settled are the mode of narration and the manner or style for which the story calls. Though preliminary, they are most properly treated as part of executive technique.