The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1908-11-22
BY MEREDITH NICHOLSON
Author Of SThe House of n Thousand Candles

would be money in a story writer's pocket 70
know Just how new ideas caught on the mag
nations wireless mast In my don't
know how have found the plots for such stories
have written The gods that pass our plots are tickle
favors. Whom they love they may visit IN sleep,
witness Stevenson's confession touching the
genesis of "Dr. Jekyll and Mr.. Hyde"
At the risk of appearing ridiculous-and an author
make confession. preposterous though the thing
be: My most novel ideas, and those have been the
most profitable when worked out. come to me
when shaved comments obvious.
why doesn't the man serve the cause Of hterature
by cultivattng whiskers? or His stun tastes like
asked distinguished psychologist not long ago II
he could account for the fact that my poor imagination
liveest NOW my face, and he replied
promptly that the mind in all departments is at its
best in the morning hours Immediately after sleep
This is plausible enough the face OF II. tho
shaved face to speak but the fact Is that always
shave at 6 o'clock in the evening. AS don't know
anything about It, and II I knew how to pull
ideas of the void should not be unselhsh
to give away the secret But am quite serious In
saying that the plots Of two Of stories that have
enjoyed the greatest popularity came to me while
shaved and often find new Ideas titles and chapter
headings running through my mind while performing
this solemn
Before begin a story must see the end Of it. or
something at least that corresponds third act in
dents comparatively easy If you have strong.
dramatic incident TO lead up to. 1 speak now OF
stories written frankly to entertain and making
serious appeal-of stories, not novels In proper
Characterization not important IN the
minor of fiction but in real novels dealing sobery
with definite aspects or ufe Characterization Is or
course the main thing. Balzac, the great master
didn't do it while shaving. either. And yet.
proof of the felicity formulating a philosophy IN
these. it to that
bers individuality OF the Three Musketeers IN
tales quite clearly as one remembers their
strenuous adventures.
To make that have "a real climax-an enec-
third act-I usually begin by writing that
tcuar chapter oil a story first II 1t doesn't
strong enough base story 1t by and look
for subject to desk at o'clock each
morning about nine months in the year. but that
doesn't that 1 produce every day On
many days start though may know exactly
what do II look a quotation
likely to go idng over books. The worst foe
have is a copy of Quiller-Couch's Oxford Book OF
Verse;" which my fellow townsman, DIR. James A
Reilly gave me several years ago. That wonderful
anthology has eaten many a morning for me- On
other days play with work, writing and rewrtt-
ing some paragraphs the sheer fun OF It. have
never written than thousand words a day at
my blythes write first draft by hand, then get
typewriter tear 1t to pieces get another copy
and so on for half dozen times If need be- i have
never attempted but one story, and this still
have my possession. and have no intention Of
publishing it offering II for publication have
rewritten throughout at least % times and still
hope to keep on working at it for good many
written and published three books.
have just been looking the notes made from
time to time while planning The Little Brown Jug
at Kildare" find that started that work
with my third act curtain" my eye
changed nearly all the subordlnate incidents make
copous notes, I rarely refer to them as
story that's really going to be story develops a
power of its own feeds itself 1t as II moves
when once it's adopted and tested by the writing OF
the crucial chapter.
While writing I never any fiction. but stick
poetry history and criticism. Then part OF my
mer rereadsmos of Balzac; just my last
lap with George Meredith