THE STARTING-POINT. Mr. Benefield states that it has been so long since
he wrote “Miss Willett” that the processes of growth have gone out of
his memory. He is sure, however, that the story had its origin in a
show-window exhibit on a street in New York, where a negro woman of a
most evil expression used to demonstrate a folding bed. “I probably
noted the exhibit in a book, left it for weeks or months and then one
day when I needed an idea I opened the note-book, turned over the
pages, stared at the scribbled note, and the elements of the story as
written floated to the center of consciousness and joined in a more or
less rough but complete whole. After that it was merely a matter of
chiseling it into shape.”--_Barry Benefield._
The expression “floated to the center of consciousness” seems to imply
an inspirational writing force, much as does Mrs. Pulver’s statement,
“My crew will come to me ready named, ready behavioured” (see page 169).
The striking relation between Mr. Benefield’s original idea and his
subsequently developed story is one of contrast. It is noteworthy that
_character_ dominates in each; incident is subordinate.
THE DEVELOPMENT. The principle of suggestion, by which this author has
conveyed more than he could express, works powerfully. Observe the
first effect created by the face of the sculptured Christ. “She noticed
that the long white dress of the infant,” etc. (page 40). What are
succeeding effects?
THE ACTION. Miss Willett’s fortunes are in the descendant at the
beginning of the story. Where do they take a turn? Is this dramatic
climax motivated by the influence of the face? (“Yesterday you had
nothin’; to-day you got everything.” This speech clinches, for the
reader who prefers the mystical interpretation, the influence of the
sculptured Jesus. To the non-mystical reader, this logic alone is
satisfactory: loss of job had meant an unconscious spur, the spur of
desperation, with unanticipated success.) What is the sequel to the
day’s success which marks Miss Willett’s continued interest in the
face behind the green-slatted window? State in order the steps leading
to the discovery. What is the climax of action? Does it constitute a
surprise for the reader as for Miss Willett? What is the dénouement?
With the dénouement, dawns the realization of what underlying theme?
THE MAIN CHARACTER. According to the mystical interpretation the chief
character is the sculptured figure. Otherwise, Miss Willett is the
principal. According to the two interpretations, the two become active
and passive, reciprocally.
What is the fundamental impression you receive of Miss Willett’s
physical person? What, to a writer, is the advantage in choosing a
very large or very small person as a main character? Recall classic
examples. Note all references to Miss Willett’s big blondeness, and
study the economy with which she is kept before the reader.
DETAILS. Where is the gray kitten first mentioned? What is the value,
to the plot, of this introduction?
Glance over the narrative for words of color, light, and sound. Which
are predominant? The effect on the story and on its verisimilitude?
Color-value of the red geranium with its single flower? Value for
effect of reality?
Study the easy manner in which the setting is given to the reader.