Rolland, Romain,28,192.Romance,182.Romanticism,182,199.Scarlet Letter, The,29,32,92,182,203,204.Scott, Sir Walter,52,88.Sea-Wolf, The,71,75,76.Selection,22.Self-culture,24.Sense and Sensibility,182.Senses, employment in description,117,120,121.Seriousness,31.Setting,152.Setting, description of,118.Sex,33.Shakespeare, William,157.Ship That Found Herself, The,198.Short story,18,38,43,87,193.Definition,165.Two types,166.Dramatic short story,166.Atmospheric short story,166.Origins,167.Unity and singleness of effect,168.General technique,172.Characterization,172.Interest and simplicity,176.Complexity,177.Coherence,179.Compression,181.Significance of matter,205.Simplicity,188.Simplicity of plot for short story,176.Sincerity,31.Situation (seePlot).Situation and dialogue,128.Social question,26.Speech,105.Potency,124.Mechanical distribution,125.Naturalness,126.Direction,126.Dialect,127.Situation,128.Resources to meet demands of situation,130.Style,132.Verbs of utterance,133.Speech for its own sake,134.Creative process,135.Spelling in dialogue,143.Stage, conventions of,170.Stevenson, Robert Louis,13,39,44,52,53,55,56,82,89,90,93,96,99,110,137,139,144,145,149,153,155,158,161,162,169,174,179,182,188,191,192,200.Story types,165,166.Conception and execution,37.Utility to know types,38.Novel and romance,38.Short story,38.The three types,39.Emphasis,39.Three elements of story,39.Character,40.Incident,42.Atmosphere,45.Other types,46.Short Story and compression,44.Story, distinguished from tale,49.Story, ways to create,39.Style,82,90,97,137.Suppression,101.Suspense,100,101.Sympathy,88,148,149.Tale,39,43,49,165,207.Tanglewood Tales,93.Tarkington, Booth,71.T. B.,76.Technique, natural approach to,16.Technique, object of,51.Thackeray, William Makepeace,28,54,58,187,191,192.Thematic story,40.Theory of fictionStory and tale,197.Realism the method,199.Realism the artistic dogma,199.Short story,200.Interest,201.Power of real problems of life,203.Test of merit,204.Aim of executive artistry,206.Verisimilitude,207.Significance of plot,208.Thirty-Six Dramatic Situations, The,62.Thrawn Janet,158.Toilers of the Sea, The,52.Tolstoi, Leo,192,195.Tom Jones,28,192.Tone,82,132.Tragedy,157.Transition,103,104,105.Trollope, Anthony,182.Turgenieff, Ivan,146.Ugliness,89.Unities, dramatic,168.Unity of short story,201.Vanity Fair,54,58,187.Verisimilitude,84,92,106,107,115,118,119,120,123,143,207.Verne, Jules,204.Victorian novelists,191.Viewpoint,86,116.Virginians, The,191,192.Vividness,98,101,110,114,119.V. V.'s Eyes,134.War and Peace,192.Warden, The,182.Weir of Hermiston,91.Wells, H. G.,204.Wit, in dialogue,127.Without Benefit of Clergy,44,68,120.Worth of matter,33.Writer of fiction.Critical faculty,22.Cultivation of genius,23.Observation and information,24.Open-mindedness,25.Attitude toward life,25.Prejudice and provincialism,26.Social question,26.Reading,26.Imagination,29.Wuthering Heights,94.