In both articles, each author tries to share their point of view, or theory, on the story. Edgar Allen Poe's view is very pessimistic towards the novel and other forms of long fiction, while BM Ejxenbaum takes a more analytical approach. Poe writes, "The novel certainly requires what is called prolonged effort, but this is a question of perseverance." , and has only a collateral relationship with talent.'; Is the main difference between short story authors and novel writers that novel writers are simply untalented, highly successful people? Indeed, it takes talent to be able to convey a story with little or no construction, character development, or falling action, but it also takes talent to do so, and the effort you put into a work, like a novel, is your talent, and is directly related through thought and emotional drive. Ejxenbaum uses much less opinion in his explanation of the different styles of short fiction and novels. The novel is based on a story, or on travels, while the short story, which generally has a more fundamental form, is based on folklore and anecdotes. The story must be written on the basis of a contradiction or contrast and carries with it the weight of the story in the ending. The action of a novel falls before the ending, followed by a falling action. Poe talks about unity of effect, and how it is not appreciated or understood by the common mind, but also how it is important to the story that the central effect is to gravitate towards the end. This ending has to make sense with everything that came before. Ejxenbaum quotes Poe several times to give an idea of ​​how Poe created his unique and famous effects and moods. Poe was a master at creating effects, in most cases mysterious and dark, that drove his poems and short stories. But he was also a storyteller, and like any good storyteller, he invents plots. And with those plots it forms its moods and its effects. Ejxenbaum summarizes this idea with: 'The particular attention given to the unexpected in the ending and, connected to it, a story structured on the basis of an enigma or an error that retains the meaning of the plot's engine until the end. '; The effect cannot exist without the plot, and the plot cannot exist without the effect.