I was in New Zealand some three years ago, when a travelling manager whom I ran across in the course of my wanderings asked me if I happened to have such a thing as a new and original drama about me. I confessed that I had a scheme for a drama in my mind (the manager confessed himself to be singularly anxious to produce it), and I undertook to finish it and to see it through rehearsal. It will be observed that none of the usual difficulties which lie in the way of the ordinary pretender to dramatic fame obstructed my progress. There was no question of suitability--no thought of excellence or the reverse. The travelling manager had anything to gain and nothing to lose by the production of a piece from my hand. It meant no more than the trouble of rehearsing; and if the thing failed, it failed and there an end; and if it succeeded, the manager stipulated for half profits wherever the piece might be produced. He has not, so far, retired from business. In the innocence of my heart I promised that the piece should be ready for rehearsal in three weeks' time, and I set to work with the greatest vigour, burying myself for the first week at Gisborne, a weird and lonely seaside town where there has as yet been no whisper of a railway, and where the steamers which ply along the coast may or may not call for the traveller, according to the weather. If I may say so of myself without immodesty, I am a rapid and assured workman. All my best work has been done at a tremendous pace. I turned out 'Joseph's Coat' in thirty-six sittings, a chapter at a sitting. 'Val Strange,' a work of equal length or nearly, was written in as many consecutive days. 'Aunt Rachel,' the one work of mine which may outlive me by a score of years, was written at such a pace that a copying clerk would have some ado to transcribe it in the time. Its three last chapters were written between sunset and sunrise in the midst of as tragic interruptions as ever befell the writing of comedy anywhere.