reader's attention at once and forecasts subsequent happenings. In
every case this first incident must have in it the essence of the end
of the story and should be perfectly logical to the reader after he
has finished the reading. A story in which the setting is emphasized
can well begin, with a description and contain a number of
descriptions and expositions, distributed with a sense of propriety
throughout the theme. A good method to use in the opening of a
character story is that of conversation. An excellent example of a
sharp use of this device is Mrs. Freeman's _Revolt of Mother_, where
the first paragraph is a single spoken word.

Every incident included in the story should be tested for its value in
the development of the theme. An incident that does not amplify
certain phases of the story has no right to be included, and great
care should be used in an effort to incorporate just the material
necessary for the proper evolution of the thought. The problem is not
so much what can be secured to be included in the story, but rather,
after making a thorough collection of the material, what of all these
points should be cast out.

The ending must be a natural outgrowth of the development found in the
body of the composition. Even in a story with a surprise ending, of
which we are tempted to say that we have had no preparation for such a
turn in the story, there must be hints--the subtler the better--that
point unerringly and always toward the end. The end is presupposed in
the beginning and the changing of one means the altering of the other.

Young writers have trouble in stopping at the right place. They should
learn, as soon as possible, that to drag on after the logical ending
has been reached spoils the best of stories. It is just as bad to stop