However, Fielding ignores many traditional cliches that are part of the sex-comedy farce, which causes him to lose out on emphasising any moral purpose.
[11] The idea of using letters to extort money became well known after George Packer, a shipbuilder, was threatened during September 1730.
Newspapers began to report on various attempts at extortion and London was filled with general concern over the letters.
According to Thomas Lockwood, removing The Letter-Writers from the billing "was a forced decision, made necessary because the afterpiece was dragging down the programme—not an easy accomplishment, where the programme was headed by The Tragedy of Tragedies"[14] Allardy Nicolls believes that, in regards to The Letter-Writers, "Of all eighteenth century farces, Fielding's is perhaps the best".
[15] Robert Hume disagrees with Nicoll's assessment and instead believes that the play's "gimmick is a good one" but it "is ineptly handled".
[8] F. Homes Dudden notes how The Letter Writers is truly a farce unlike Fielding's other works, but he points out that the play "was too conventional to excite much interest.
"[16] The Battesins believe that "Slight as it is and unsuccessful, The Letter-Writers is worth noting for the clarity with which it exemplifies certain characteristics of Fielding's work as a comic author.
"[1] Harold Pagliaro believes that "Despite the happy idea of the husbands' letters and the possibilities they generate, the play misses as farce or burlesque, because the outrageous behaviour we have been promised, at least implicitly, never comes to pass.