"It's a long story. I don't think I could make it all clear in five or seven minutes--and that's all the time you have to spare nowadays." "Do I seem as bad as that?... But I know literally nothing about it yet, you see, except what I've just extracted. Idleness is bad for able-bodied persons, including women. Does that state your point of view--approximately?" "Precisely." "And how are you developing it this time? I mean--with a working-woman as your central figure?" "No--principally with a woman who has nothing to do--and reacts accordingly." "Oh!... That's what you mean by a difference of approach, I suppose? She's married?" "No--that's the trouble." "You are dreadfully mysterious. How _does_ she react?" "Of course, she marries." "Then it's not a story of work at all?" "Hardly at all. It's an old-fashioned romance." "I see--told from a new-fashioned point of view?" Charles laughed. "The description was suggested to me--very recently. Up to a point, it fits. You see, I'm still learning." "You know," said Mary, after a step or two, "you like to picture yourself as one who can't be restrained from talking about himself and his work, on the smallest provocation. In reality ... Tell me honestly, do you object to being cross-examined this way?" His gaze kept straight ahead. "By you?--oh, no. Of course, I ... I've wanted to tell you my story some day." "Then I'll continue my quiz now. I know it's usually a stupid question to ask--but have you decided on a title yet?" But that happened to be the one thing he did not care to tell her now. "You can't fix the title till you're done, you know," he evaded lightly. "A story changes so. But I have a sub-title in mind ..." She asked if his sub-title was a secret, and he said no. "I'd thought of--'A Comedy of Temporary Spinsters'--something like that," said the author, and, unseen, colored abruptly. "That's _good_!" Mary exclaimed after a moment. "It suggests--so much! Temporary Spinsters.... Only--I hope you don't mean to be cruel to your heroine?" "Oh, no." They turned into Olive Street. "And by the way," said Charles, "she's not my heroine--only my central figure." "Oh! Is there a distinction? Then will there be two women in this book?" "Of course--a common principle of writing. Your central figure--in a character story--needs the comment of contrast, you know--of a--a foil." "I hadn't thought of that. You had only one woman in 'Bondwomen,' you see.... And the contrast--she'll be as different as possible--a working-woman, I suppose?--a Permanent Spinster! That's interesting, I think--a study in contrasting types. Now--by my catechism--I really begin to get an idea--" "Do you? I don't know. There are points--there are points--which I've never been able to settle yet, myself."