The Plot Thickens. Lisa Surridge

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       Fig. 3.3. Du Maurier, chapter initial for Wives and Daughters (Gaskell), part 14

       Fig. 3.4. Du Maurier, chapter initial for Wives and Daughters (Gaskell), part 10

       Fig. 3.5. Du Maurier, chapter initial for Wives and Daughters (Gaskell), part 15

       Fig. 3.6. Du Maurier, illustration for Wives and Daughters (Gaskell), part 3

       Fig. 3.7. Du Maurier, chapter initial for Wives and Daughters (Gaskell), part 12

       Fig. 3.8. Du Maurier, illustration and chapter initial for Wives and Daughters (Gaskell), part 17

       Fig. 3.9. Du Maurier, illustration and chapter initial for Wives and Daughters (Gaskell), part 16

       Fig. 3.10. Du Maurier, chapter initial for Wives and Daughters (Gaskell), part 7

       Fig. 3.11. Du Maurier, illustration and chapter initial for Wives and Daughters (Gaskell), part 13

       Fig. 3.12. Millais, illustration for Mistress and Maid (Craik), part 1

       Fig. 3.13. Millais, illustration for Mistress and Maid (Craik), part 3

       Fig. 3.14. Millais, illustration for Mistress and Maid (Craik), part 10

       Fig. 3.15. Millais, illustration for Mistress and Maid (Craik), part 2

       Fig. 3.16. Millais, illustration for Mistress and Maid (Craik), part 9

       Fig. 3.17. Millais, illustration and chapter initial for Small House (Trollope), part 1

       Fig. 3.18. Millais, illustration and chapter initial for Small House (Trollope), part 2

       Fig. 3.19. Millais, illustration and chapter initial for Small House (Trollope), part 3

       Fig. 3.20. Millais, illustration and chapter initial for Small House (Trollope), part 8

       Fig. 3.21. Millais, illustration and chapter initial for Small House (Trollope), part 15

       Fig. 3.22. Millais, illustration and chapter initial for Small House (Trollope), part 16

       Fig. 3.23. Millais, illustration for Small House (Trollope), part 14

       Fig. 3.24. Millais, illustration for Small House (Trollope), part 12

       Fig. 3.25. Millais, illustration and chapter initial for Small House (Trollope), part 17

       Fig. 4.1. McLenan, illustration for The Woman in White (Collins), part 1

       Fig. 4.2. McLenan, illustration for The Woman in White (Collins), part 26

       Fig. 4.3. McLenan, illustration for Great Expectations (Dickens), part 13

       Fig. 4.4. Du Maurier, illustration for Mokeanna (Burnand), part 2

       Fig. 4.5. Du Maurier, illustration for The Notting Hill Mystery (Adams), part 1

       Fig. 4.6. Du Maurier, illustration for The Notting Hill Mystery (Adams), part 2

       Fig. 4.7. Du Maurier, illustration for The Notting Hill Mystery (Adams), part 3

       Fig. 4.8. Du Maurier, illustration for The Notting Hill Mystery (Adams), part 5

       Fig. 4.9. Du Maurier, illustration for The Notting Hill Mystery (Adams), part 7

       Fig. 4.10. Du Maurier, illustration for The Notting Hill Mystery (Adams), part 8

       Fig. 4.11. William Small, illustration for Griffith Gaunt (Reade), part 1

       Fig. 4.12. Small, illustration for Griffith Gaunt (Reade), part 3

       Fig. 4.13. Small, illustration for Griffith Gaunt (Reade), part 8

       Fig. 4.14. Small, illustration for Griffith Gaunt (Reade), part 4

       Fig. 4.15. Small, illustration for Griffith Gaunt (Reade), part 7

       Fig. 4.16. Small, illustration for Griffith Gaunt (Reade), part 5

       Fig. 4.17. Small, illustration for Griffith Gaunt (Reade), part 9

       Fig. 4.18. Small, illustration for Griffith Gaunt (Reade), part 6

       Fig. 4.19. Henry Woods, illustration for The Law and the Lady (Collins), part 1

       Fig. 4.20. Small, illustration for The Law and the Lady (Collins), part 2

       Fig. 4.21. Sydney Hall, illustration for The Law and the Lady (Collins), part 13

       Fig. 4.22. Hall, illustration for The Law and the Lady (Collins), part 12

       Fig. 4.23. Hall, illustration for The Law and the Lady (Collins), part 15

       Fig. 4.24. Hall, illustration for The Law and the Lady (Collins), part 25

       Fig. 5.1. Du Maurier, illustration for his Peter Ibbetson, part 1

       Fig. 5.2. Du Maurier, tailpiece for his Peter Ibbetson, part 6

       Fig. 5.3. Du Maurier, illustration for his Peter Ibbetson, part 1

       Fig. 5.4. Du Maurier, illustration for his Peter Ibbetson, part 2

       Fig. 5.5. Du Maurier, illustration for his Peter Ibbetson, part 2

       Fig. 5.6. Du Maurier, illustration for his Peter Ibbetson, part 2

       Fig. 5.7. Du Maurier, illustration for his Peter Ibbetson, part 5

       Fig. 5.8. Du Maurier, illustration for his Peter Ibbetson, part 3

       Fig. 5.9. Du Maurier, illustration for his Peter Ibbetson, part 1

       Fig. 5.10. Du Maurier, title page for his Peter Ibbetson, vol. 1

       Fig. 5.11. Du Maurier, book cover for his Peter Ibbetson, vol. 1

       Fig. 5.12. Cruikshank, illustration for Jack Sheppard (Ainsworth), part 1

       Fig. 5.13. Cruikshank, illustration for The Tower of London (Ainsworth), part 5

       Fig. 5.14. Thackeray, illustration for his Vanity Fair, part 1

       Fig. 5.15. Robert Seymour, illustration for Pickwick Papers (Dickens), part 1

      Acknowledgments

      We acknowledge with gratitude the financial support of the Social Sciences and Humanities Research Council of Canada, which funded much of our travel and research assistance, and of the University of Victoria (UVic), which provided early seed funding for this project as well as a publication grant to bring it to press. We also thank the editors of Victorian Studies for granting us permission to reprint sections of our article “The Plot Thickens: Toward a Narratological Analysis of Illustrated Serial Fiction in the 1860s” (vol. 51, no. 1 [2008]: 65–101).

      In preparing the images for this book, we received assistance from many librarians and digitization experts, whom it is a pleasure to thank: Christopher Coutlee at the Toronto Reference Library; Mike Meade at the University of New Brunswick Libraries; Jeff Papineau at the Bruce Peel Special Collections, University of Alberta; Sue Plouffe at the Dana Porter Library, University of Waterloo; Paul Adair and Mark Simmons at Culture Perth and