Yet that is precisely the sort of misleading advice that is not infrequently given to story writers. Many an author has wasted months on a bad novel, when he could have used the same idea in a good short story; many a short story has spoiled an idea that might have served for a ballad or an elegy, or a musical comedy—not because there was any incongruity in the ideas themselves, but because the author failed to follow his natural bent.
But, whatever form a young writer uses, it is his first duty to master the technique of that form, to familiarise himself with its entire history, to learn not only how the best authors have used that form in the past, but also how the modern generation is modifying it to-day. I am continually amazed at being asked by beginners, "Isn't it better for me to read as little as possible of contemporary books? Am I not in danger of losing my originality if I fill
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