In both articles, each author tries to share their point of view or theory on the short story. Edgar Allen Poe's view is very pessimistic toward the novel and other forms of long fiction, while BM Ejxenbaum takes a more analytical approach. Poe writes: “The novel certainly requires what we call sustained effort, but it is a matter of perseverance. , and has only a collateral relationship with the talent.'; Is the main difference between short story and novel writers simply that fiction writers are simply untalented overachievers? Indeed, it takes talent to be able to convey a story with little or no build-up, character development, or waning action, but it also takes talent to do it, and the effort you put into a work, like a novel, is your talent, and it is directly linked to thought and emotional motivation. Ejxenbaum uses much less opinion in his explanation of the different styles of short fiction and those of novels. The novel is based on a story or on travels, while the short story, generally more fundamental in form, is based on folklore and anecdotes. The short story should be written on the basis of contradiction or contrast and carries the weight of the story at the end. The action of a novel takes place before the ending, followed by descending action. Poe speaks of the unity of effect and how it is not appreciated or understood by the common mind, but also of the importance to the story that the central effect manifests itself. gravitate towards the end. This finale must make sense with everything that has come before. Ejxenbaum cites Poe several times to provide insight into how Poe created his unique and famous effects and moods. Poe was a master at creating an effect, in most cases an effect of mystery and sadness, which motivated his poems and short fiction. But he was also a storyteller and, like any good storyteller, he forms plots. And with these intrigues he shapes his moods and his effects. Ejxenbaum summarizes this idea as follows: "The particular attention paid to the unexpected in the finale and, linked to this, a story structured on the basis of a riddle or an error which retains the meaning of the spring of the plot until the very end. '; The effect cannot exist without the plot, and the plot cannot exist without the effect..