小說的基本內容講述的就是人物在這裡／那裡發生的故事和心情，路線是連通此處與他處的過道。小說中的路往往充當輔助性、次要性的空間，最基礎的功能是串場或後景。儘管路徑在敘事文學裡的核心地位不如定點來得明顯，依舊有不少家喻戶曉的精采故事是發生在路途中的。究竟什麼樣的小說會反客為主，將主要故事發生場所設置在道路上，為什麼？以下將先簡單說明作為輔助空間的路線在小說中的基本功能，接著再重點探討以途中作為主要空間的台灣小說通常會有哪些書寫主題或特徵。如此，方能對小說中路線的功能有較通盤而清晰的理解。

The basic content of the fiction is to tell the characters’ encounter and feeling from one point to another, and the line is the path through here and there. The road, what I also called line in this essay, usually is a subordinate or supplemental space, serving as linking or background, of the story. Although its position is less important than the point, the line occasionally serves as the main space in a few famous stories. What kinds of stories choose the line to be the main space instead of the point? Why? This paper will explain the fundamental function of line in the fiction, then to explore in details the themes and characteristics of Taiwanese fictions which locate the main space on the road. In so doing, we could have an explicit whole picture of the usage of line in the fiction.