Chapter 11 鈥淭he Claverings鈥? Listening to Jenn was like communing with the Ghost of Caballo Blanco. 鈥淚t鈥檚 weird how muchyou sound like a guy I met in Mexico,鈥?I told her. 鈥淚鈥檓 heading down there in a few weeks for arace he鈥檚 putting on with the Tarahumara.鈥? 澳客网彩票 Chapter 11 鈥淭he Claverings鈥? 鈥榃hy of their becoming sisters. I am no match-maker, thank God, but really the way in which Mr Silverdale introduced his sister to Alice, why, I have never seen anything like it. 鈥淭his is my Helper, Margaret,鈥?he said, or perhaps it was Martha: I could not quite catch the name. 鈥淭his is my dear Helper (that was it) and I couldn鈥檛 do without her.鈥?What do you say to that?鈥? Charles looked at him with some shadow of the pity he had seen to-day in Norah鈥檚 eyes. This is one of the most powerful exercises we do in myseminars, but even without supervision you can turn itinto a force to be reckoned with! In writing a novel the author soon becomes aware that a burden of many pages is before him. Circumstances require that he should cover a certain and generally not a very confined space. Short novels are not popular with readers generally. Critics often complain of the ordinary length of novels 鈥?of the three volumes to which they are subjected; but few novels which have attained great success in England have been told in fewer pages. The novel-writer who sticks to novel-writing as his profession will certainly find that this burden of length is incumbent on him. How shall he carry his burden to the end? How shall he cover his space? Many great artists have by their practice opposed the doctrine which I now propose to preach 鈥?but they have succeeded I think in spite of their fault and by dint of their greatness. There should be no episodes in a novel. Every sentence, every word, through all those pages, should tend to the telling of the story. Such episodes distract the attention of the reader, and always do so disagreeably. Who has not felt this to be the case even with The Curious Impertinent and with the History of the Man of the Hill. And if it be so with Cervantes and Fielding, who can hope to succeed? Though the novel which you have to write must be long, let it be all one. And this exclusion of episodes should be carried down into the smallest details. Every sentence and every word used should tend to the telling of the story. 鈥淏ut,鈥?the young novelist will say, 鈥渨ith so many pages before me to be filled, how shall I succeed if I thus confine myself 鈥?how am I to know beforehand what space this story of mine will require? There must be the three volumes, or the certain number of magazine pages which I have contracted to supply. If I may not be discursive should occasion require, how shall I complete my task? The painter suits the size of his canvas to his subject, and must I in my art stretch my subject to my canas?鈥?This undoubtedly must be done by the novelist; and if he will learn his business, may be done without injury to his effect. He may not paint different pictures on the same canvas, which he will do if he allow himself to wander away to matters outside his own story; but by studying proportion in his work, he may teach himself so to tell his story that it shall naturally fall into the required length. Though his story should be all one, yet it may have many parts. Though the plot itself may require but few characters, it may be so enlarged as to find its full development in many. There may be subsidiary plots, which shall all tend to the elucidation of the main story, and which will take their places as part of one and the same work 鈥?as there may be many figures on a canvas which shall not to the spectator seem to form themselves into separate pictures. Chapter 31 Chapter 11 鈥淭he Claverings鈥? She raised her eyes for a half-second.