For the curious, the rest of the types:

Use the time of a total stranger in such a way that he or she will not feel the time was wasted.

Give the reader at least one character he or she can root for.

Every character should want something, even if it is only a glass of water.

Every sentence must do one of two things—reveal character or advance the action.

Start as close to the end as possible.

Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.

Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

The greatest American short story writer of my generation was Flannery O'Connor (1925-1964). She broke practically every one of my rules but the first. Great writers tend to do that.

>>Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

This, too, is the problem with movies and TV shows today. They worry so much about offending anyone they lose the interest of everyone. When was the last time you laughed hard and out loud?

> Give the reader at least one character he or she can root for.

I've been noticing for a while now this is missing in most modern tv shows. It makes the show feel pointless.