Judith Gap journal. [volume] (Judith Gap, Mont.) 1908-19??, 1913-09-05
wIheirStory
Ended
By LOUISE B. CUMMINGS

They were walking in garden. The
roses We're in full bloom; consequently
you must know that it was June.
II wish you would tell me how you
write these stories." she remarked. II
can't understand how you take per-
sons. make them talk and do things
just as If they were real"
Anybody who tries can do it." he
replied.
Il couldn't write line"
Suppose you try. I'll help you.
Take for your characters persons you
know"
"Who. for instance?"
"Well. there's Ferguson"
"And YOU"
II don't think you can make any
thing interesting Of me. but you are
welcome to use me- That's two men.
Now you need either one or two girls.
Since this is your first story. perhaps
you had better confine yourself to a
few characters. One girl will do. She
shall be the heroine"
"1s it to be love story?"
w VAls SCS, Il AllIA VI JUNC SlOVy.
'What girl Of my acquaintance shall
l take for the heroine?''
yourself. You'll do very WELL"
"Oh. dear: I'm afraid l shall not be-
have myself heroically."
1.-THE heroine of a story is not al
ways heroic. The words hero and
heroine were used for the leading
male and female characters in stories
when it was the fashion to make them
possess every human heroic trait.
Then as a counterpart there was al
ways n villain-man or woman-whose
evil acts noble persons were obliged
to counterfeit. Our story will be a
plain. uneventful love tale"
"Who is the heroine, as you call her.
in love with?"
"Your question brings us to an ele-
ment that is always of assistance In
holding the interest Of story-curiosi-
ty. It may be we'll in this case to con-
ceal her feelings from the reader for
time"
"She has only two men to choose
from. you and Mr.. Ferguson"
"There may be another who will en-
lCr III IuG CllulNA-0OAC VIC uOS u0CAA>
toned till then-who will be a sur
prise"
IFS he to be a surprise to you and
Mr.. Ferguson"
! Hell be a surprise to me, for the
indications are in favor Of Ferguson"
"What do you mean by that?"
ut is difficult of explanation. but
will try. When an author sets out to
tell story it is like one moving to-
ward an object so distant that he can't
make 1t out 1t may turn out to be a
house or n windmill orr
IAN elephant"
"Just So Now. the story in the au.
thor's mind is like that object. He
may suppose it to be windmill. and
as he nears it, despite his preconceived
notion, 1t may turn out to be-
IAN elephant"
II see you understand my demonstra-
ton perfectly"
partly. Do you refer to an ordi-
nary elephant or white one?"
"Why do you ask that?''
II was thinking that II the heroine
took either of the characters she might
GET
Something she didn't want?'
There was no reply to this. He did
not seem pleased with the way the
story was getting on. In fact, he look
ed very glum. She plucked rose that
leaned toward her from "its lovely
companions" and handed It to him.
Quite likely this was to encourage him
to go on with the construction Of the
story. It brought about the change In
him abe desired.
III you're going to introduce third
man to come in and take the heroine
at the end Of the story l suppose we'd
better settle on who he Is to be-"
"What need Of that?" she asked.
"Well. you see. in story making you
must suggest family what you're 60
ing to do. The man should be in the
story. but you don't need to give away
the fact that he's to win the heroine in
the end"
"But If we name some one We'll
know that he's n dark horse. and It
will spoil the story for U.s."
ut wouldn't spoil it for me-"
"In other words. you take no interest
In whom the heroine marries."
There was slight tinge Of reproach
in her tone as she said this.
mot ut ALL" he FASTENED to reply.
"When l read other persons stories,
not my own. I always look ut the end
10 see how it all turns OUT
But this is your story. isn't it,"
"And yours?"
1.-The lady. believe. has the privilege
Of hearing the mans part Of the story
before she tells her part"
Not when they are collaborating.
They must work together They would