A few years back I went on a binge reading Cornell Woolrich. I can't remember exactly what got me started. Maybe it was noticing Alfred Hitchcock's classic film, Rear Window (1954), was based on a story by him.
I focused on reading his novels and was disappointed. For instance The Bride Wore Black is written in four parts, each part a complete story. The stories are linked (the bride goes from one adventure to the next), but I wasn't learning much about the structure of a novel.
Recently at the library I ran across a nice old collection of short stories entitled Ten Faces of Cornell Woolrich, edited by Ellery Queen (1965), and decided to give them a try. I've really enjoyed them and have learned a lot about what Woolrich is most famous for, suspense.
More than any writing I can think of, these stories make me want to know what happens next. They do it by saying, in effect, "He set out to do this. Then this happened." So now what will he do? And as soon as he works around the problem, something else happens or someone else shows up.
In some instances, a story almost becomes a technical exercise in multiplying twists and turns while remaining credible. "Steps Going Up" is one such, in my opinion. But mostly the stories also make us care about the protagonist, by making him an underdog, or by making her a righteous avenger. "The Man Upstairs," I think, is especially good in this regard.
Woolrich is also famous for inventing and adopting motifs that made him "the Poe of the twentieth century" according to his biographer, Francis M. Nevins: "the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story,"
So I have to conclude that, like Flannery O'Connor, his genius was for the short story. He was lucky to live through a time when that's where the money was.