By Robert Patten, John Bowen
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Extra resources for Palgrave Advances in Charles Dickens Studies (Palgrave Advances)
He took a piece of paper about seven inches by nine inches, divided it in half, wrote the number of the part on top, tentatively put down the three chapters of the part on the right hand side and ideas for the contents of those chapters on the left, and did so for every part. Then as he wrote he jotted ideas for future developments, tried out possibilities for the current number, and wrote in what in fact he incorporated when the manuscript went to press. These “number plans” demonstrate Dickens’s careful planning and immense inventiveness.
With four illustrations by Seymour. 27 But in the case of Pickwick, despite the omnium gatherum title a few things were speciﬁc enough both to constrain and to direct Dickens’s creative energies. His prose would stand alongside illustrations. He needed to compose a certain number of lines or pages of type each month. The work was scheduled to run for twenty months, beginning at the end of March when the ﬁrst part, dated April 1836, would go on sale. And he needed to write enough ahead to accommodate the production schedules of the artist, publishers, compositors, printers, binders, shippers, and retail outlets.
Serial ﬁctions were likened to trains and other moving vehicles, thrusting forward, terminating in suspense or publishing in parts 33 temporary resolution time after time, and tracking the young protagonist’s battle to win a place for himself, and to marry. These were concepts easily mapped onto male patterns of pleasure. 61 Thus serials answered male fantasies, rocketing forward, propelled by suspense, heroes and heroines in danger, and domestic arrangements under assault. They enacted female desires, as, at the end of individual parts and the novel as a whole, serials rebirthed nurturing worlds.
Palgrave Advances in Charles Dickens Studies (Palgrave Advances) by Robert Patten, John Bowen