
Blanche Colton Williams’s brief study treats “In Berlin,” identified here as a work by Miss O’Reilly, as an example of concentrated short-story construction rather than retelling its fiction. Williams argues that the piece begins near its climax, applying a familiar principle for increasing intensity. She distinguishes its focus on a single dramatic moment from a fuller incident and notes that its extremely short composition—about 125 to 150 words—builds toward that moment. The analysis directs students to imitate such forms to understand material selection, climax, and the benefits and limits of economy. It also refers readers to a handbook discussion of anecdote and incident.
By Blanche Colton Williams · First published 1919 · Genre: Literary Analysis, Literary Criticism, Non-Fiction · 132 words
"In Berlin" is a _tour de force_ of short-story construction. Miss O'Reilly has followed the well-known principle of beginning near the climax, that the story may gain intensity. The result is excellent for this one principle. But the whole composition of 125 or 150 words in reality plays up a single dramatic moment -- not a single Incident.
The advantage to the student in reproducing similar "dramatic moment" stories will be to show the value of material in magnitude and worth, to teach him to appreciate climax, and to feel the advantages -- and the disadvantages -- of economy.
Read Chapter III in "A Handbook on Story Writing," describing and illustrating the Anecdote and the Incident.
Blanche Colton Williams · In Berlin · Miss O'Reilly · short-story construction · dramatic moment · climax · narrative economy · anecdote and incident · story-writing instruction · opening near the climax
In Berlin is listed on Textopian as an essay by Blanche Colton Williams, dated 1919 CE.
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