Many books have been written on fiction technique, and the chief excuse for the present addition to the number is the complexity of the subject.
Its range is so wide, it calls for so many and so different capacities in one attempting to discuss it, that a new work has more than a chance to meet at least two or three deficiencies in all other treatments.
I believe that the chief deficiency in most works on fiction technique is that the author unconsciously has slipped from the viewpoint of a writer of a story to that of a reader.
Now a reader without intention to try his own hand at the game is not playing fair in studying technique, and a book on technique has no business to entertain him.
Accordingly, I have striven to keep to the viewpoint of one who seeks to learn how to write stories, and have made no attempt to analyze the work of masters of fiction for the sake of the analysis alone. . .
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