(e) Weighing of how much A.'s perception of the relations between B. and C. is to be dénouement, and how much, more or less, known.
12. Main character's "solution" or vision of what course he will take.
13. The fourth character's "break into" things, or into a perception of things,
(a) Actions of an auxiliary character, of what would have been low life in old Spanish or Elizabethan drama. This character affects the main action (as sometimes a "gracioso" [servant, buffoon, Sancho Panza] affects the main action in a play, for example, of Lope de Vega's).
(b) Caution not to let author's interest in fascinating auxiliary character run away with his whole plan and design.
(This kind of restraint is precisely what leaves a reader "wanting more"; which gives a novel the "feel" of being full of life; convinces the reader of an abundant energy, an abundant sense of life in an author.)
14. Effects of course of the action on fourth main character and on the others. The scale being kept by the relation here not being between main character and one antagonist, but with a group of three people, relations "different" though their "point" is the same; cf. a main character vs. a Rosenkrantz and Guildenstern, or "attendant lords." James always has half an eye on play construction; the scene.
(a) The second auxiliary character brought out more definitely. (This is accidental. It might happen at any suitable point in a story wherever needed.)
(b) Act of this auxiliary person reaches through to main action.
15. We see the author determining just how bad a case he is going to make his villain.