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tural approach to, 16. Technique, object of, 51. Thackeray, William Makepeace, 28, 54, 58, 187, 191, 192. Thematic story, 40. Theory of fiction Story 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. Transcriber's Note: Spelling and punctuation have been preserved as in the original publication except for the following changes: Page 24 less obvious, but, curiously enough, is is _changed to_ less obvious, but, curiously enough, is Page 25 familiartiy with life, which cannot be brushed up _changed to_ familiarity with life, which cannot be brushed up Page 28 Christrophe," "War and Peace," much of Thackeray's _changed to_ Christophe," "War and Peace," much of Thackeray's Page 33 and deficiences before writing is necessary to make _changed to_ and deficiencies before writing is necessary to make Page 37 Incident--Archtypal Character--Short Story and _changed
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