of the proposed events; though I remember that one of the most lifelike of
my personages (Madge, in the novel "Garth") was not even thought of until
the story of which she is the heroine had been for some time under
consideration.

Speaking generally, I should suppose that the best novels are apt to be
those that have been longest in the novelist's mind before being committed
to paper; and the best materials to use, in the way of character and
scenery, are those that were studied not less than seven or eight years
previous to their reproduction. Thereby is attained that quality in a
story known as atmosphere or tone, perhaps the most valuable and telling
quality of all. Occasionally, however, in the rare case of a story that
suddenly seizes upon the writer's imagination and despotically "possesses"
him, the atmosphere is created by the very strength of the "possession."
In the former instance, the writer is thoroughly master of his subject; in
the latter, the subject thoroughly masters him; and both amount
essentially to the same thing, harmony between subject and writer.

With respect to style, there is little to be said. Without a good style,
no writer can do much; but it is impossible really to create a good style.
A writer's style was born at the same time and under the same conditions
that he himself was. The only rule that can be given him is, to say what
he has to say in the clearest and most direct way, using the most fitting
and expressive words. But often, of course, this advice is like that of
the doctor who counsels his patient to free his mind from all care and
worry, to live luxuriously on the fat of the land, and to make a voyage
round the world in a private yacht. The patient has not the means of
following the prescription. A writer may improve a native talent for
style; but the talent itself he must either have by nature, or forever go
without. And the style that rises to the height of genius is like the