chapter  5
18 Pages

Telling the Dramatic Story

Orson Welles undoubtedly would have agreed that the images of a narrative film, whether visual or aural, should, like the language of a novel or short story, serve to illuminate the tale. Rust Hills, in his excellent book on writing the short story, elaborates on a similar point: “A successful short story will thus necessarily show a more harmonious relationship of part to whole, and part to part, than it is usual to find in a novel. Everything must work with everything else. Everything enhances everything else, inter-relates with everything else, is inseparable from everything else-and all this is done with a necessary and perfect harmony.”1