A man who is not born with the
novel-writing gift has a troublesome time of it when he tries to
build a novel. I know this from experience. He has no clear idea of
his story; in fact he has no story. He merely has some people in
his mind, and an incident or two, also a locality. He knows these
people, he knows the selected locality, and he trusts that he can
plunge those people into those incidents with interesting results.
So he goes to work. To write a novel? No— that is a thought which
comes later; in the beginning he is only proposing to tell a little
tale; a very little tale; a six-page tale. But as it is a tale
which he is not acquainted with, and can only find out what it is
by listening as it goes along telling itself, it is more than apt
to go on and on and on till it spreads itself into a book. I know
about this, because it has happened to me so many times.
And I have noticed another thing:
that as the short tale grows into a long tale, the original
intention (or motif) is apt to get abolished and find itself
superseded by a quite different one. It was so in the case of a
magazine sketch which I once started to write—a funny and fantastic
sketch about a prince and a pauper; it presently assumed a grave
cast of its own accord, and in that new shape spread itself out
into a book. Much the same thing happened with "Pudd'nhead Wilson."
I had a sufficiently hard time with that tale, because it changed
itself from a farce to a tragedy while I was going along with
it—a
most embarrassing circumstance.
But what was a great deal worse was, that it was not one story, but
two stories tangled together; and they obstructed and interrupted
each other at every turn and created no end of confusion and
annoyance. I could not offer the book for publication, for I was
afraid it would unseat the reader's reason. I did not know what was
the matter with it, for I had not noticed, as yet, that it was two
stories in one. It took me months to make that discovery. I carried
the manuscript back and forth across the Atlantic two or three
times, and read it and studied over it on shipboard; and at last I
saw where the difficulty lay. I had no further trouble. I pulled
one of the stories out by the roots, and left the other one—a kind
of literary Caesarean operation.
Would the reader care to know
something about the story which I pulled out? He has been told many
a time how the born-and-trained novelist works. Won't he let me
round and complete his knowledge by telling him how the jack-leg
does it?
Originally the story was called
"Those Extraordinary Twins." I meant to make it very short. I had
seen a picture of a youthful Italian "freak" or "freaks" which
was—or which were—on exhibition in our cities—a combination
consisting of two heads and four arms joined to a single body and a
single pair of legs—and I thought I would write an extravagantly
fantastic little story with this freak of nature for hero—or
heroes—a silly young miss for heroine, and two old ladies and two
boys for the minor parts. I lavishly elaborated these people and
their doings, of course. But the tale kept spreading along, and
spreading along, and other people got to intruding themselves and
taking up more and more room with their talk and their affairs.
Among them came a stranger named Pudd'nhead Wilson, and a woman
named Roxana; and presently the doings of these two pushed up into
prominence a young fellow named Tom Driscoll, whose proper place
was away in the obscure background. Before the book was half
finished those three were taking things almost entirely into their
own hands and working the whole tale as a private venture of their
own—a tale which they had nothing at all to do with, by
rights.
When the book was finished and I
came to look around to see what had become of the team I had
originally started out with—Aunt Patsy Cooper, Aunt Betsy Hale, the
two boys, and Rowena the light-weight heroine—they were nowhere to
be seen; they had disappeared from the story some time or other. I
hunted about and found them—found them stranded, idle, forgotten,
and permanently useless. It was very awkward. It was awkward all
around; but more particularly in the case of Rowena, because there
was a love-match on, between her and one of the twins that
constituted the freak, and I had worked it up to a blistering heat
and thrown in a quite dramatic love-quarrel, wherein
Rowena scathingly denounced her
betrothed for getting drunk, and scoffed at his explanation of how
it had happened, and wouldn't listen to it, and had driven him from
her in the usual "forever" way; and now here she sat crying and
broken-hearted; for she had found that he had spoken only the
truth; that it was not he, but the other half of the freak, that
had drunk the liquor that made him drunk; that her half was a
prohibitionist and had never drunk a drop in his life, and,
although tight as a brick three days in the week, was wholly
innocent of blame; and indeed, when sober, was constantly doing all
he could to reform his brother, the other half, who never got any
satisfaction out of drinking, anyway, because liquor never affected
him. Yes, here she was, stranded with that deep injustice of hers
torturing her poor torn heart.
I didn't know what to do with
her. I was as sorry for her as anybody could be, but the campaign
was over, the book was finished, she was sidetracked, and there was
no possible way of crowding her in, anywhere. I could not leave her
there, of course; it would not do. After spreading her out so, and
making such a to-do over her affairs, it would be absolutely
necessary to account to the reader for her. I thought and thought
and studied and studied; but I arrived at nothing. I finally saw
plainly that there was really no way but one—I must simply give her
the grand bounce. It grieved me to do it, for after associating
with her so much I had come to kind of like her after a fashion,
notwithstanding she was such an ass and said such stupid irritating
things and was so nauseatingly sentimental. Still it had to be
done. So, at the top of Chapter XVII, I put in a "Calendar" remark
concerning July the Fourth, and began the chapter with this
statistic:
"Rowena went out in the back yard
after supper to see the fireworks and fell down the well and got
drowned."
It seemed abrupt, but I thought
maybe the reader wouldn't notice it, because I changed the subject
right away to something else. Anyway it loosened up Rowena from
where she was stuck and got her out of the way, and that was the
main thing. It seemed a prompt good way of weeding out people that
had got stalled, and a plenty good enough way for those others; so
I hunted up the two boys and said "they went out back one night to
stone the cat and fell down the well and got drowned." Next I
searched around and found old Aunt Patsy Cooper and Aunt Betsy Hale
where they were aground, and said "they went out back one night to
visit the sick and fell down the well and got drowned." I was going
to drown some of the others, but I gave up the idea, partly because
I believed that if I kept that up it would arouse attention, and
perhaps sympathy with those people, and partly because it was not a
large well and would not hold any more anyway.
Still the story was
unsatisfactory. Here was a set of new characters who were become
inordinately prominent and who persisted in remaining so to the
end;
and back yonder was an older set
who made a large noise and a great to-do for a little while and
then suddenly played out utterly and fell down the well. There was
a radical defect somewhere, and I must search it out and cure
it.