“Look at me,” said Dawe, “for your answer.  Now don’t put on that embarrassed, friendly-but-honest look and ask me why I don’t get a job as a wine agent or a cab driver.  I’m in the fight to a finish.  I know I can write good fiction and I’ll force you fellows to admit it yet.  I’ll make you change the spelling of ‘regrets’ to ‘c-h-e-q-u-e’ before I’m done with you.”

Editor Westbrook gazed through his nose-glasses with a sweetly sorrowful, omniscient, sympathetic, skeptical expression—­the copyrighted expression of the editor beleagured by the unavailable contributor.

“Have you read the last story I sent you—­’The Alarum of the Soul’?” asked Dawe.

“Carefully.  I hesitated over that story, Shack, really I did.  It had some good points.  I was writing you a letter to send with it when it goes back to you.  I regret—­”

“Never mind the regrets,” said Dawe, grimly.  “There’s neither salve nor sting in ’em any more.  What I want to know is why.  Come now; out with the good points first.”

“The story,” said Westbrook, deliberately, after a suppressed sigh, “is written around an almost original plot.  Characterization—­the best you have done.  Construction—­almost as good, except for a few weak joints which might be strengthened by a few changes and touches.  It was a good story, except—­”

“I can write English, can’t I?” interrupted Dawe.

“I have always told you,” said the editor, “that you had a style.”

“Then the trouble is—­”

“Same old thing,” said Editor Westbrook.  “You work up to your climax like an artist.  And then you turn yourself into a photographer.  I don’t know what form of obstinate madness possesses you, but that is what you do with everything that you write.  No, I will retract the comparison with the photographer.  Now and then photography, in spite of its impossible perspective, manages to record a fleeting glimpse of truth.  But you spoil every denouement by those flat, drab, obliterating strokes of your brush that I have so often complained of.  If you would rise to the literary pinnacle of your dramatic senses, and paint them in the high colors that art requires, the postman would leave fewer bulky, self-addressed envelopes at your door.”

“Oh, fiddles and footlights!” cried Dawe, derisively.  “You’ve got that old sawmill drama kink in your brain yet.  When the man with the black mustache kidnaps golden-haired Bessie you are bound to have the mother kneel and raise her hands in the spotlight and say:  ’May high heaven witness that I will rest neither night nor day till the heartless villain that has stolen me child feels the weight of another’s vengeance!’”

Editor Westbrook conceded a smile of impervious complacency.

“I think,” said he, “that in real life the woman would express herself in those words or in very similar ones.”