A number of my friends were, at this time, rather annoyingly directing my attention to the great popular successes of several other American writers, whose tales were, I felt, the most contemptible _pastiche_, without the slightest pretense to originality, and having neither form nor style. It was in some bitterness of spirit that I resolved to try my hand at a story that should be a story and nothing else. Nor should I storm the capitals of imaginary kingdoms, but set the scene on my own soil. Most, it was clear, could grow the flowers of Zenda when once the seed had been scattered by Mr. Hawkins. Whether Mr. Hawkins got his inspiration from the flora of Prince Otto’s gardens, and whether the Prince was indebted in his turn to Harry Richmond, is not my affair. I am, no doubt, indebted to all three of these creations; but I set my scene in an American commonwealth, a spot that derived nothing from historical association, and sent my hero on his adventures armed with nothing more deadly than a suit-case and an umbrella. The idea is not original with me that you can make anything interesting if you know how. It was Stevenson, I believe, who said that a kitchen table is a fair enough subject for any writer who knows his trade. I do not cite myself as a person capable of proving this; but I am satisfied that the chief fun of story-telling lies in trying, by all the means in a writer’s power, to make plausible the seemingly impossible. And here, of course, I am referring to the story for the story’s sake,--not to the novel of life and manners. My two earliest books were clearly too deliberate. They were deficient in incident, and I was prone to wander into blind alleys, and not always ingenious enough to emerge again upon the main thoroughfare. I felt that, while I might fail in my attempt to produce a romantic yarn, the experience might help me to a better understanding of the mechanics of the novel,--that I might gain directness, movement, and ease.