Roald Dahl via Getty Images
Roald Dahl via Getty Images

Read a Previously Unpublished Chapter of Charlie and the Chocolate Factory

Roald Dahl via Getty Images
Roald Dahl via Getty Images

Roald Dahl's beloved book, Charlie and the Chocolate Factory, celebrates its 50th birthday this year—and yesterday, The Guardian has posted a fun treat for its fans: a previously unpublished chapter from an early draft of the book. "The Vanilla Fudge Room" was discovered among Dahl's papers after he died; according to The Guardian, it was "deemed too wild, subversive and insufficiently moral for the tender minds of British children."

"The Vanilla Fudge Room" would have been chapter five, and in it, Charlie—accompanied by his mother, not his grandfather—and a few other kids head with Wonka to the Vanilla Fudge Room, where "there was an actual mountain, a colossal jagged mountain as high as a five-storey building, and the whole thing was made of pale-brown, creamy, vanilla fudge." Naturally, two disobedient children get into some trouble after deciding—against Wonka's wishes—to ride the wagons the workers were using to transport fudge:

"Crazy old Wonka!" shouted Wilbur Rice, and the two boys ran forward and jumped on to one of the waggons as it went by. Then they climbed up and sat right on the top of its load of fudge.

"Heigh-ho everybody!" shouted Wilbur Rice.

"First stop Chicago!" shouted Tommy Troutbeck, waving his arms.

"He's wrong about that," Mr Willy Wonka said quietly. "The first stop is most certainly not Chicago."

"He's quite a lad, our Wilbur", Mr Rice (Wilbur's father) said proudly. "He's always up to his little tricks."

"Wilbur!" shouted Mrs Rice, as the waggon went shooting across the room. "Come off there at once! Do you hear me!"

"You too Tommy!" shouted Mrs Troutbeck. "Come on, off you get! There's no knowing where that thing's headed for!"

"Wilbur!" Shouted Mrs Rice. "Will you get off that … that … my goodness! It's gone through a hole in the wall!"

"Don't say I didn't warn them," Mr Wonka declared. "Your children are not particularly obedient, are they?"

"But where has it gone?" Both mothers cried at the same time. "What's through that hole?"

"That hole," said Mr Wonka, "leads directly to what we call The Pounding And Cutting Room. In there, the rough fudge gets tipped out of the waggons into the mouth of a huge machine. The machine then pounds it against the floor until it is all nice and smooth and thin. After that, a whole lot of knives come down and go chop chop chop, cutting it up into neat little squares, ready for the shops."

You can read the whole chapter here; also make sure to check out The Guardian's excellent piece on the history of Charlie and the Chocolate Factory's publication.

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See the Secret Paintings Hidden in Gilded Books
YouTube/Great Big Story
YouTube/Great Big Story

The art of vanishing fore-edge painting—hiding delicate images on the front edges of gilded books—dates back to about 1660. Today, British artist Martin Frost is the last remaining commercial fore-edge painter in the world. He works primarily on antique books, crafting scenes from nature, domestic life, mythology, and Harry Potter. Great Big Story recently caught up with him in his studio to learn more about his disappearing art. Learn more in the video below.

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11 Secrets of Romance Writers
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iStock

Some readers may snicker at book covers featuring aerobicized men and titles like The Firefighter’s Woman or The Bull Rider’s Christmas Baby. But if it weren’t for the steamy, escapist fantasy of romance novels, a healthy portion of the publishing industry would cease to exist: According to the Romance Writers of America (RWA), romantic fiction brings in $1.08 billion annually and accounts for 13 percent of all fiction sales in the marketplace.

What keeps readers coming back for more? We asked some of the genre’s top authors for insight into the “secret baby" trope, why pen names are necessary, and the one rule of romance that can never, ever be violated.

1. THEY WEAR PERIOD CLOTHING.

Novelist Shelley Adina (A Lady of Resources, A Lady of Integrity) writes historical, Amish, and steampunk-themed fiction, just a few of the many sub-categories that appeal to niche audiences. To better understand her characters, Adina dresses in period outfits to gather what she calls “tactile details.”

“I like to feel how a heroine would feel in the clothes,” she says. “I’ve been laced into a proper corset and you realize what kind of dance steps you can do, or why a lady’s back never touches a chair—a tight corset won't allow it."

2. THE REASON THEY USE PEN NAMES ISN'T WHAT YOU THINK.

Covers of two romance novels by Shelley Adina
Shelley Adina

The authors of romance novels don't use pen names out of embarrassment. Adina (a.k.a. Adina Senft) says that pseudonyms—many authors have more than one—help readers compartmentalize writers who generate multiple series. “People who read Amish fiction may not read steampunk,” she says. Another, bigger reason: Bookstore software can use “kill orders” on authors who don’t sell a certain number of titles. If they fall below parity, retailers will automatically stop ordering more copies from that author. “If that happens,” she says, “you have to reinvent yourself with a new name.”

3. THEY’LL DIGITALLY REVISE THEIR WORK AFTER PUBLISHING IT.

The analog publishing model has traditionally been one of permanence: Once a book is in print and in readers' hands, there's no going back. But romance novel readers are a very particular clientele with certain expectations about how they’d like their protagonists to behave—and the self-published digital distribution model that's popular within the genre allows for a little customization. Author Heather C. Leigh (the Famous series) found that out when her first books featured a heroine who was a little too acerbic. “My first three books sold well, but there were critiques that my female lead was too sarcastic,” she says. “I understood and took it out. I don’t mind making work better based on feedback.”

4. COVER MODELS OFTEN LOSE THEIR HEADS.

The covers of two romance novels by Heather C. Leigh
Heather C. Leigh

Despite seeing hundreds of new titles published every month, the romance genre still manages to find new ways to visualize their shirtless male protagonists. In many cases, though, the beefcake winds up getting decapitated. “A lot of times, the man will be turned away or cut off at the forehead,” says author Eliza Night (The Conquered Bride series). “Readers want to imagine his looks in their own mind.” Grooming is also a necessity. “I had a cover with chest hair once. My readers did not like it.”

5. THEY HAVE BONUS SCENES.

Self-published authors (who make up about two-thirds of the total romance e-book revenue on Amazon) spend much of their time marketing their work. To help maintain interest from their existing readership, some send out email newsletters with updates on new titles and include exclusive passages that can enhance the experience of a previous book. “My first book was about an actor who had to do a love scene with a woman he hated,” Leigh says. “It was never going to be in the book because that was from his girlfriend’s point of view, but I got a chance to write it as a bonus.”

6. THEY WANT READERS TO BECOME WRITERS.

While resources for aspiring writers of all genres are plentiful, the romance field makes an exceptional attempt to recruit new talent. Industry interest group RWA doubles as a conduit between established writers and novices, hosting conferences and panels on the best ways to break in. “We don’t live in a competitive hierarchy,” Adina says. “There are so many readers with so many diverse tastes. It’s a big community where we support one another.”

7. THEY GET HELP FROM THE AMISH.

An Amish woman walking in a field
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While the Amish sub-genre has received media attention for its peculiarity, Adina doesn't believe it's so unusual: She says readers are attracted to a pastoral environment “without having to leave their wired-up house.” For accuracy’s sake, the author has enlisted an Amish reader to vet her titles for details. The popularity of the books “mystifies them,” she says. “They don’t understand the interest. They just hope the books might be able to point people to God.”  

8. THE “SECRET BABY” TROPE IS A READER FAVORITE.

Readers like resourceful women and skilled, wealthy love interests—and they especially like it when the former keeps their baby a secret from the latter. “The trope is that the hero and heroine have an affair, she gets pregnant, never tells him, and he comes back around five, 10, or 20 years later and finds out,” Adina says. “Reunion stories are popular. It’s the appeal of a responsible man.”

9. THEY’RE HISTORY GEEKS.

The cover of a romance novel by Eliza Knight
Eliza Knight

Knight cringes at the idea romance authors do little more than transcribe their own lurid fantasies. A self-described “history geek,” she travels frequently for research into Scottish history. “Most of us who write history nerd out on it,” she says. While once writing about a zeppelin-riding heroine, Adina jumped into one that offered rides over Silicon Valley to see how it would feel. She also got her motorcycle license for the same reason. “We’re serious about it,” Adina says. “We’re not sitting around in housecoats with barking Pomeranians.”

10. THEY’D APPRECIATE NOT BEING ASKED ABOUT THEIR SEX LIFE.

Many romance authors have at least one story to tell about people in their private life finding out they write for the genre and subsequently losing any sense of boundaries. “Strangers have asked me, ‘Do you test out scenes before you write them?’” Leigh says. “It’s like they lose a filter. It’s not real life. J.K. Rowling isn’t a wizard.”

11. THERE’S ONE RULE THAT CAN NEVER BE BROKEN.

While writing instructors invariably have all kinds of techniques for nourishing a story, the romance genre spells it out in an unequivocal manner. According to the RWA, nothing can be considered a “romance novel” without a central love story (naturally) and what authors have come to refer to as the Happily Ever After ending, or HEA. “Romance is a courtship story,” Adina says. “Readers expect the bond will be created at the end of the book. If not, it’s Nicholas Sparks or Romeo and Juliet. It would be like having a mystery where the detective doesn’t solve the case.”

This story originally appeared in 2016.

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