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It argues that authors do not simply write for themselves or for an abstract mass audience, but for an intimate “Man in the Armchair,” creating a relationship that is tested through readers’ responses such as letters. 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does the document define as its subject?","Question",{"text":112,"@type":113},"It focuses on the short story in general as a form and literary genre, not on any particular short story or writer.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the writer-reader relationship function in short story writing?",{"text":117,"@type":113},"The writer creates with a specific implied reader in mind, often described as the “Man in the Armchair,” and the relationship is communicated through private artistic exchange rather than public performance.",{"name":119,"@type":110,"acceptedAnswer":120},"Why is brevity important to the short story?",{"text":121,"@type":113},"Brevity affects the writer-reader relationship by increasing the writer’s chance to secure the reader’s full attention, shaping both reception and the form of the work.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},427844,1791461002,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":46,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":143,"read_time":144},2336478945635,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","Teachingthe  \nShort StorybyWallace Stegner  \n# Teaching the Short Story\n\nby  \nWALLACE STEGNER  \n/  \nMEDIA CENTER  \nPN3385  \n,S8  \nDepartment of EnglishUniversity of CaliforniaDavis,California 95616Fall,1965  \nTIIInois Wesleyan UnTv.LIbrarTesBloomington,I1limois 61701  \nThe Department of English,University of California,Davis,ini-tiated the Davis Publications in English in 1965 under the direction ofWilliam Van O'Connor,department chairman from 1963-1966.Publicationand distribution of the monographs are a part of the departmental programin the training of students and teachers of English.The policy of theeditorial board is to make available information on topics in Englishwhich are of general interest,with emphasis on materials which can beof practical value in the teaching of language,literature,and composition.  \nIn the first number of the series,Grammar Instruction Today,Professor Wayne Harsh of the Davis English faculty summarizes the ap-proach to language study offered by a combination of the theories andmethods of descriptive linguistics,traditional grammar,and generativegrammar.In this,the second monograph,Wallace Stegner,Professor ofEnglish and Director of the Creative Writing Program at Stanford Uni-versity,discusses the style and structure of the short story.  \nIn the third publication,Professor Sarita G.Schotta suggests thematerials and methods of recent linguistic studies which are useful inteaching students who,because of social or economic reasons,havedifficulty learning Standard English.  \nIn the fourth monograph,Professor Elliot L.Gilbert of the DavisEnglish Department traces the development of the novel as a literarygenre,pointing out how the form and content of the novel were influencedboth by the ideas which were current and by the literary genres whichwere popular in the historical periods during which the novel saw itsmajor development.  \nIa the fifth monograph of the series,An Approach to ModernPoetry.Mr.K.L.Goodwin discusses some of the major influences onBritish and American poetry written in the twentieth century.Mr.Good-win,Senior Lecturer in English at the University of Queensland,Austra-lia,is the author of Tbe Influence of Ezra Pound,published in 1966 byOxford University Press.  \nPrice:$.50  \nSixth Printing  \n# Teaching the Short Story¹\n\nOur subject is the short story-not any particular short story,orany particular kind of short story,or the short stories of any particularwriter,but the short story in general,as a form,as a literary genre.Onediscussing this subject should speak as to readers;and yet one with along habit of writing and teaching writing most naturally approaches thediscussion from the writer's end,not the reader's.His interest is asmuch in the technical and often slippery means by which a story attainsits effect as in the effect itself;moreover,writer and reader are notseparate entities,but mutually indispensable parts of a process.What isat stake is an aesthetic experience,an act of artistic communication.  \nNot even the most mob-despising and disengaged writer writesonly for himself,only for expression.But only the most commercial anddebased of writers consciously writes for some special audience,class,group,or magazine.What generally happens is that a serious writerwrites to please himself and some other vaguely-conceived individualwhom Frank O'Connor refers to as the Man in the Armchair-somebody atonce intimate and casual,and by definition single,alone,who can followand understand and appreciate what he is saying.There is no testingthis relationship except as individual readers write letters-the ordinaryfate of a writer is proverbially that of a man who drops a feather intothe Grand Canyon and waits for the crash.Unlike singers,orators,poetswho read their work aloud to visible audiences,and unlike the oral storytellers of societies without printing,the writer of stories(or of novels,for that matter)never sees the whites of his audience's eyes.He prac-tices a private,not a public,a","cbCaipU7CJXa2J4J","https://ap.wps.com/l/cbCaipU7CJXa2J4J","pdf",1963786,"English","# Teaching the Short Story\n## 1. The Story: Literary Type or Genre","[{\"question\":\"What does the document define as its subject?\",\"answer\":\"It focuses on the short story in general as a form and literary genre, not on any particular short story or writer.\"},{\"question\":\"How does the writer-reader relationship function in short story writing?\",\"answer\":\"The writer creates with a specific implied reader in mind, often described as the “Man in the Armchair,” and the relationship is communicated through private artistic exchange rather than public performance.\"},{\"question\":\"Why is brevity important to the short story?\",\"answer\":\"Brevity affects the writer-reader relationship by increasing the writer’s chance to secure the reader’s full attention, shaping both reception and the form of the work.\"}]","Teaching the Short Story | PDF",1790644948,31]