The novel is the only major literary genre whose origins and development we have been able to watch in detail. It also seems to be the only genre whose development depended more on the customers than on the makers. Richardson, who wrote Pamela because he noticed how popular a continuous story in the form of letters could be; Fielding, who exploited Richardson's success in his parodistic Joseph Andrews; Scott, who produced innumerable historical romances, gamely trying to match demand with supply; Dickens, who accidentally struck a gold mine with the first chapters of The Pickwick Papers; Dostoevsky, who made extensive use of the conventions of popular, sensational novels—all are typical of the way the novel evolved. In other literary forms the discrepancy between merits and rewards, creativeness and popular expectations, and originality and response has been so frequent as to become proverbial. But this is not true of the nineteenth-century novel, where it is unusual to find a writer like Stendhal, who gained his reputation only after his death.