(a) The hinge of the thing is not to be the effect of A. on B. or of B. on A.; nor of A. on C. or of C. on B.; but is to be due to an effect all round, of A. and B. and C. working on each other.
(b) James's care not to repeat figures from earlier novels. Not a categoric prohibition, but a caution not to sail too near the wind in this matter.
(c) A care not to get too many "personally remarkable" people, and not enough stupid ones into the story.
(d) Care for the relative "weight" as well as the varied "tone" of the characters.
(We observe, in all this, the peculiarly American passion for "art"; for having a system in things, cf. Whistler.)
(e) Consideration how far one character "faces" the problem of another character's "character."
(This and section "d" continue the preoccupation with "moral values" shown in James's early criticism in "French Poets and Novelists.")
8. Definite "joints"; or relations of one character to another finally fitted and settled.
This brings us again to point 5. The character, i.e., the main character definitely "faced" with the situation.
9. The consequences.