raph-Writing. point. It may be necessary, ts (as a large building or an ber to change his point of view, hich he follows should be clearly each change should be given to expression as, "Passing now to , etc." But a wider meaning is point of view, when we say that m the point of view of a careless, i tic observer; or from the point or the reformer, or the teacher; ring to the spirit or bias of the nt of view of any description that he has read: hich to view the school building; the changes in ed in describing a winding avenue, or the course ufactory. In the wider sense of the term, what on of Elizabeth (Short History of the English tion of Wouter van Twiller (History of New 's description of the Happy Valley (Rasselas, ion of Details. nces the selection of details. sen which are most suggestive ing described, and while enough d picture, those details will be tend to bring out the writer's as the writer saw. reader see - be, the points to select for hose which the object to be ith other objects of the same is peculiar. of any (7) Sequence and Gr The order in which the details a mined largely by the character of th this order may be modified by the 1 In describing a material object the effect produced upon the observer a rally comes first: the impression of g beauty, gloom, or brightness, as the color, as this is one of the first the general plan, shape, and size, as t comprehensive outline into which he they are mentioned; finally, the m ment, furnishings, and use. Lesser de only so far as they are peculiar or are picture, and they will be presented in nection with some of the main head by themselves, will be used to illustr of the object described, such as conve use, ornamentation, or plainness. See, also, what is said under 'outlining the subject,' Sketches (pp. 56-60). (8) Helps to Descr The object of description being to mentally what the writer saw actuall to a large degree a matter of conveyi parisons, similes, contrasts, epithet, & are the natural means resorted to f impressions from one to another and in effective description. Feelings a rally associated with objects of th effect produced upon the mind of the ob presence of the object. Subjects for longer essays in description may be selected tions of a useful exercise in reporting will be found in App (b) THE NARRATIVE E A narrative is the presentation in lan related events occurring in time. Des an object as it appeared at a single mom tion represents it as undergoing change involves some description; a history, fo much descriptive matter; but here, as narration, the descriptive matter is me explanatory, and is kept subordinate to t reciting events as they occur, one after a (1) Province and Kin The field covered by narration is larg raphy, history, fiction, and a large clas simplest kind is represented by the b there is but one main character, whose fo through life. Akin to biography, in tre native and fanciful themes, such as ""] Life of a Bank-note." History and ficti themes, and the interest is carried along (2) Selection of a Subj Here, as in description, there is grea originality in the choice of a subiect. But it is generally unwise for him to jects in imaginative and historical reading and protracted thought justif A list of subjects suitable for shorter articles in narı C 2. (3) Outlining the S In narratives of a simple form in main character, and in which the in single line, the critical points of tim the outline structure and the main The narrative of a personal adventu trate. If the adventure is worth rec center of interest, a culminating poi narrative looks forward. This fact s points for a single outline of such an main heading will include the events center of interest; the next will stan to the critical point of the adventure of interest; and the third will incl sion, or explanation. Naturally, the placed in the order of time, and once the lesser details will arrange thems headings to which they respectively Certain more abstract narratives ment and different planning. Take, of themes represented by subjects o tory of the Ballot Reform Movemen Poetic Spirit in Robert Burns. He of the History or of the Growth are and after being arranged in the order they are set down as the main hood must yield. In such themes, it is often line of cause and effect and arrange the belong to it, in the time order as sub-he line of cause and effect with its selected This is the method, too, of some of our of all novels. Specimen outlines in narration are given in Appendix A analysis, including practice in discovering the outlines fro gested in Appendix E. (4) Unity and Selectio As in description, so in narration th view (in the larger sense of that term) selection of details and his manner of The fact that a narrative is told implies peculiar, individual, and unique intere the rule for the selection of details. D from the ordinary give character to a na the most important setting. There is e nity for detecting and using peculiar cha rative than in descriptive writing: it is t often happens, and much is made of this fiction. Ability and willingness to omit usual and common, that the attention m is unique and peculiar, are discernible in good story-teller. The culminating poin narrative distinction, is kept in view all ing is admitted which does not carry the towards it. This point furnishes the c narrative. When it is reached the reas nes, it is often best to take up one d arrange the selected events that rder as sub-heads; then a second th its selected events, and so on. f some of our best histories and iven in Appendix A 12. An exercise in rhetorical ring the outlines from narrative articles, is sug y and Selection. narration the writer's point of of that term) will influence his his manner of presenting them. s told implies that it possesses a unique interest. This indicates of details. Details which differ racter to a narrative and require . There is even more opportu g peculiar characteristics in narriting: it is the unexpected that made of this fact by writers of gness to omit or curtail what is e attention may be held to what discernible in the work of every minating point, which gives the t in view all the time and nothnot carry the narrative forward nishes the center of unity to a reason is apparent for iously (5) Sequence and The narrative writer sees clearly see) the end for which all the inci to which they all contribute. This of sequence: That sequence of ever occurrence stated is necessary to t of its successor. In simple narrati undivided, this rule is easy to follo tives, such as the novel and the his to secure because of the fact that s lines of interest must be kept up. cases show his sense for sequence ing facts and events. One line of forward to a point at which all the then another will be brought to the A new start will then be taken to t and this process will be repeated point is reached. In the historic meeting-places are indicated and e which prepare for the new start. facts is by periods of time and b period being fixed by the writer wi mination. (6) Suspense and This topic applies mainly to a plot, and to an extensive history. narrative of either kind will inv suspense and movement. Suspen of the narrative and movement acc advisable just before the culminat |