Lapas attēli

Magazines, Profanity in, 124

Manning, Jacolyn Van Vliet, The Writer's Barrel, 97

Manuscript Preparation, 180

Maxwell, W. Kee, 118

Meredith, George, 139

Merrill, Mabel S., 72

Middleman in Letters, The, Cross, 83

Montague, Margaret Prescott, 23

Morgan, Gerald, 150

Munford, Josephine Underwood, 7

Myers, J. S., i he Importance of Accuracy in Writ.

ing, 65

Names of Characters in Fiction, 154

Necrology, 10, 32, 48, 64, 80, 96, 112, 123, 144, 160, 176,


News and Notes, 14, 31, 47, 63, 79, 95, III, 127, 143,

159, 174, 187

Newspaper Men, Training, 42

Newspaper of the Future, The, 135

Newspaper Pay Locals, 44

Newspaper Writer's Union, A, 20

Viven, Frederick, 182

Norris, Kathleen, 10

Note-Book. The Daily, Gidley, 18

Novel, Marketing a, 92

Novelist, The Mission of the, 156

Novel of the Future, The, 44

Novelist's Requisites, The, 27

Novelists. Journalist, 94

Novels Without Endings, 60

Novel Writing and Serial Writing, 91

Noyes, Alfred, The Obscurity of, 36

Onward, Christian Soldiers, Story of, 43

Opera, Writing an, 157

Page, Thomas Nelson, 24

Park, William Ldward, Stories That Are Not Stor-

ies, 146
Parker, Sir Gilbert, 73
Participles, As to tlie L'se ol, 12
Patterson, Antoinette De Coursey, 7
Personal Gossip About Wuthors, 8, 23, 39, 58, 72, 88,

106, 119, 137, 151, 166, 183

Phrases, l'nnecessary, 91

Phillpotts, Eden, 89

Plagiarisın, 1 Noted (ase of, 169

Play, How a Successful One Was Made, 107

Plays Now Written for Women, 157

Playwright, I chance for the Unknown, Wallace, i

Playwrights, Advice to, 142

Playwriting, Fashions in, og

Playwriting. To Succeed in, 28

Plot, Relation of to Story, 171

l'ocm, Highest Price for a, 91

Poetry, Composing on the Typewriter, 86

Poetry, Does It Pay ? 37, 71, 91, 153, 184

l'oetry, New, 170, 186

Poetry, Prices Paid for 153

Poetry Shop, A, 29

Poetry, What It Is, 36

Poets and the Public, 29

Poet's Bank, I, 125

Poets. Preying on, 184

Potter, David, 182

Potter, Ilarriett Spofford, 88

Prose, In Behalf of Rhythmic, 123

Publisher's Reader, The, Winter, 99

Publishers, How H. (. Wells Deals With, 90

Publishers' Contracts, 148

Rea, Ida Katherine Williams, 7

Read, Marion Pugh, 58

Reade. Charles, Struggle for Recognition, 59

Reader. The Publisher's, Winter, 99

Rending 15 Inspiration for Writing, 77, 85

Rejection Forms, 157

Rejection, Why a Writer Should Not be Discour-

aged bv, 101

Rhymes. The Slavery of, 77

Rhythmic Prose, In Behalf of, 123

Ridsdale, William B., 22

Ritchie, Robert Welles, 7, 135

Ror, V'ingie E., 118

Roeder, Ralph, 38

Said, The Use of, 41

Saxby, Charles, 136

Scott, Sir Walter, 43, 169

Seed, H, G., A School for Writers, 17

Sentence Openings, 116

Sentences, l'se Short, 186

Serial Writing and Novel Writing, 91

Shiori, Marion, 165

Short Story Writing, 49, 60, 129, 146

Should Writers Read ? Stewart, 85

Sienkiewicz, Henryk, 139, 183

Solenberger, Ella Morrow, 118

Song Writers and Publishers, 121

Spelling, Good, and Good Writing, 5
Springer, lleta Campbell, 39
Springer, Thomas Grant, 39
Stewart, Anne Bigony, Should Writers Read ? 85,

The Happy Ending, 149

Stories That Are Not Stories, Park, 146

Stories, The Recipe for Canadian, 91

Story, Relation of the Plot to the, 171

Story, Short, Technique of, 60

Story Writing, The Art and Business of, Fosdick, 49

Story, The End of the, 82, 149, 152

Story, What Makes One Great, 158
Story Writing, Description in, Younglove, 129
Style, Good, Not a Miere Matter of Words, 185
Style, Henry James's Later, 41
Swinburne, Nigernon C., 24
Symonds, Harriet Whitney, 8
Taylor, Anne Veland, 136
Technique and the Short Story, 60
Thomas T. J., 165
Titiis, Harold, 183
Translations. Essentials in, 44
Trollope, Inthony, 183

Typewriting, The Effect of, Benton, 35

Untermeyer, Louis, 136

Van Campen, Helen, 150

Vocabulary, Increasing One's, 155,
Wallace, David H., Chance for the Unknown

Playwright, 1
Walsh, Ford, The Happy Ending, 82
Jalsh, John U., 119
Walter, Eugene, 124
Waverley Novel Discovery, A, 43
Weeks, Le Roy Titus, 137
Wells, L. G., II, Method of Dealing With Pub.

lishers, 90

White, Stewart Edward, 151, 167

Whitman, Allrich's View of, 170

Widdemer, Margaret, 72, 183

Wilde, Oscar, 140

Williams, Howe, 166

Trinter, Calvin, The Publisher's Reader, 99

Word. The Latest Literary,” 25

World's Work, Naming the 155

Writer's Notebooks, A, 168

Writers, Earnings of, 156

Writers, Flints to Young, 60

Writers. How Some Great Ones Have criticised

(thers. Atkinson, 115

Writers, Limiting the Scope of, 141

Writers of the Day, 5, 21, 37, 57, 71, 87, 105, 117, 135,

149, 165, 181

Writers. School for, Seed, 17

Writers, Warning to, 116

Writing, Arnold Bennett's Views on, 110

Writing. Art of

Writing as a Business, 61

Writing. Importance of Accuracy in, Myers, 65

Writing, Importance of Clearness in, 86

Writing, Nautical Blunders in, 168

Writirg, Reading as Inspiration for, 77, 85

Writing. Records in, 12+

Writing Under Difficulties. 269

Yard. Robert Sterling. 89

Younglove, Emma, Description Which Carries the

Story Forward, 129

[ocr errors]


[ocr errors]

ment and the reports of fortunes gained by

playwrights are destined to disappointment,

for no sanctum of fame and fortune is quite

so carefully guarded from the struggling

writer that of the theatre manager.

Yet, strange to relate, the manager really

does want plays. He objects, however, to

getting them from the unknown writer.

In no other field of endeavor does success

breed success to such an extent, and in

ninety-nine cases out of a hundred a writer

must have a foothold before his play is even

read. Those myths about manuscripts being

picked out of the pile by managers are still

myths, for, as a matter of fact, plays are

not found in that

It has been said

that a manuscript sent in to a manager by

mail has only about one chance in three

hundred of reaching the big man at all, and

a much smaller chance of ever going into

rehearsal. One reason is that so many

people are sending plays to managers that

the mere task of weeding out the manu-

script is herculean in proportions. Any one

who has the entrée of a producer's office

is inclined to agree with him that the joke

about 90,000,000 playwrights has its serious

side. Then, in these days of competition and

expert publicity, the name of a successful

playwright has a value on the billboards

that helps a new play immensely, and the

production has much better chances of a

favorable reception. But the great danger

of the system is that as soon as a playwright

is established he loses the incentive to do

his best work, and standards drop. The

writer who stands ready to follow the dic-

tates of a commercial manager will write

plays similar to those that have succeeded.

Any art, particularly one like playwriting

that verges on business, needs the continual




infusion of new blood, but that infusion is almost stopped by the present system.

The great need of the American drama for years has been a means for the unknown dramatist to secure a foothold. He requires that, not only to reach the ultimate goal of production, but even to get a hearing ; and now an organization has been formed to provide that very foothold for the unknown dramatist. The organization, known as the National Federation of Theatre Clubs, has as the first of its avowed principles the contriving of ways and means to aid in producing plays which appeal to the judgment of intelligent people, to afford authors and actors enlarged opportunities for coming before the public, and to bring worthy works to the notice of producing managers through trial performances instead of manuscripts.”

To the unknown dramatist that sounds almost too good to be true, but it is true, nevertheless. The National Federation, organized in May with forty members, now has about twelve hundred members. It has met with such a degree of success that it is now producing plays at the rate of about one a month. With a splendid organization the officers are all experienced in theatrical matters — business has been systematized so that all the plays put on have been artistic successes, and they now bid fair to become financial successes. From the point of view of the author, he has everything that he could ask for, a hearing in New York at a recognized theatre, and if the play does not catch the public fancy, either the author or the public is to blame.

At the meetings of the Federation which come in between productions, it is interesting to hear the playwrights who are to have their work produced tell how they tried in vain to get a hearing from commercial managers. Henry Irving Dodge, author of “The Higher Court,” which was produced at Maxine Elliott's Theatre, October 6, is a man with gray hairs who has been striving for recognition many years.

After a performance before members of the Federation the play was given by request at two matinees in the Lyric Theatre, and the public was given an opportunity to buy seats. The

play then confirmed the favorable impression made at the initial performance.

The Road to Arcady," by Edith Sessions Tupper, produced at the Berkeley Theatre, November 25, and it ran a week and a half. The next production was delightful comedy, “ His Wife by His Side," written by Ethelyn Emery Keays of Great Neck, L. I. Mrs. Keays, who is the wife of Dr. Frederick Keays, and the president of the Vassar alumnae association, tried about four plays on the regular managers, but did not get a hearing.

All indications now point to a most successful future for the National Federation in doing a work that is genuine philanthropy, for all of us will agree that it is philanthropy to give the unknown author his opportunity. The credit for the success of the Federation is due in large part to the calibre of the men and women who comprise its membership and board of officers. In the list of members are the names of Henry W. Savage, W. A. Brady, David Belasco, Augustus Thomas, and many other well-known figures in the theatrical world. The president is Sydney Rosenfeld, the playwright, and the secretary is Frederick F. Schrader, playwright, librettist, and editor of the New York Dramatic Mirror.

It was from the experience of years that Mr. Rosenfeld spoke when he said in an interview in the New York Times recently : "A poet may not find a publisher for his verses, but the cost of printing his verses and issuing them is sufficiently small to enable him in the majority of cases to publish his poems himself. So it is to a certain degree with the novelist, the painter, and even the composer. But for the dramatist there is no end but the stage, a stage director, costumes, scenery, and an auditorium, even if he cannot obtain an audience. All these he must really command before he can really put his art to the test, and how many playwrights can afford this? Practically none ! Then how can the dramatist be a dramatist, how can he even learn how to improve on a previous failure?

We are going to help him out of his difficulty. We are banded together in a crusade to proWe are

duce the unknown dramatist's plays before the eyes of the manager.

' And there comes in an important point. We act in opposition to no one.

We are on everybody's side. We stand with the playwright, the manager, and the playgoer. We help the playwright by visualizing his play for the manager. We help the manager by saving him the trouble and expense of producing a play with the risk that, when acted, it may prove a gross failure compared to the great success that it prophesied when read in manuscript. And we help the playgoer by giving him a good play at lower prices.

“We aim above all things to be democratic. To insure absolute impartiality, all manuscripts that are submitted must be anonymous. In place of an author's name a motto must appear, but after the accept

ance of the play by the Federation the author's name will be made public, unless he objects. Then the committee that reads the plays will be changed as soon as it has accepted a play. This is to keep clear of the ruts of prejudice, to keep new points of view. We are very optimistic. already successful. The main thing is to make the public realize that our work is important, in the artistic world — perhaps the most important work that has been taken up of late years. Every additional member means so much more power for us to wield, so much more influence for the revivifying of the theatre. We have already had to enlarge our offices in the Knickerbocker Theatre Building several times. We want at least ten thousand members for the Federation. And we'll get them." New YORK, N. Y. David H. Wallace.


“Can it be possible” and “It need not necessarily be” are tautological phrases that cannot be defended.

Brevity is the soul of wit, but it is possible to be too brief. Even exigencies of space did not wholly justify the editor who, to reduce a story to the length desired, condensed the last few paragraphs into a single sentence. This is the way it read : “Von Berken took a small glass of whiskey, his hat, his departure, no notice of his pursuers, a revolver out of his pocket, and finally, his life.”

England has a parcels post, but in the United States the law provides for a parcel post, so that the use of “parcels

parcel” in speaking of it is not a matter of taste, as many people think. post is in harmony with “letter mail.”

A beautiful example of the split infinitive is given in the politician's promise : "If elected, I can and do assure the voters of

Ward Six that my aim and object will be to honestly and efficiently, to the best of my ability, represent them in all matters coming before said Board pertaining to the needs of Ward Six and the welfare of the entire city.

The newspaper headline, Queen of Norway Goes Under the Knife,” is a striking example of bad taste.

A displayed advertisement of a 14-k Gold Lady's Watch ” would be criticised in Denver or Chicago, but it is particularly painful to see one in a Boston paper. However, perhaps it is not as bad as the Glencoe (111.) Record's advertisement: “For sale : A three-horned lady's side saddle.”

“ Anthracite" is not an adjective, but a noun, meaning a hard, compact variety of mineral coal, differing from bituminous coal," so that the common phrase, “anthracite coal,” is manifestly wrong. CAMBRIDGE, Mass. Edward B. Hughes.

[ocr errors]


“ Parcel

[ocr errors]
[ocr errors]
[blocks in formation]

to subscribers who are more than a year in arrears, unless there has been a payment or a request for renewal and a definite promise of payment. Subscribers for The WRITER, therefore, are asked to look at the address label on the wrapper of the magazine. If the date on the label is earlier than January, 1912, it is necessary for them to send a remittance, or a request to continue sending the magazine, with a definite promise of payment. Will subscribers kindly give this matter their immediate attention ?



The Writer is published the first day of every month. It will be sent, postpaid, One Year for ONE DOLLAR.

All drafts and money orders should be made payable to The Writer Publishing Co. Stamps, or local checks, should not be sent in payment for subscriptions.

The WRITER will be sent only to those who have paid for it in advance. Accounts cannot be opened for subscriptions, and names will not be entered

on the list unless the subscription order is accompanied by a remittance.

The American News Company, of New York, and the New England News Company, of Boston, and their branches, are wholesale agents for The WRITER. It may be ordered from any newsdealer, or direct, hy mail, from the publishers.

Not one line of paid advertisement will be printed in The WRITER outside of the advertising pages.

Advertising in The WRITER costs fifteen cents a line, or $2.10 an inch ; seven dollars a quarter page ; twelve dollars a lialf page ; or twenty dollars a page, for one insertion, remittance with the order. Discounts are five, ten, and fifteen per cent. for three, six, and twelve months. For continued advertising payments must be made quarterly in ad. vance.

Contributions not used will be returned, if a stamped and addressed envelope is enclosed. THE WRITER PUBLISHING CO.,

88 Broad street, Room 416, P. 0. Box 1905.

Boston, Mass.

An ingenuous author, advertising in a New York paper for a publisher, modestly says of his manuscript :

“ The little book is philosophical and sociological in its nature, but it is not of the esoteric, unpopular type. It is devoted to a propaganda, a sane and intensely practical one, which the author believes is, in its essence, the refinement of common sense.

The book's appeal will be widespread, and it will have a wide sale. These are not the mere optimistic beliefs of a writer enthusiastic over his own work.

Convincing proof of their soundness is available." If the publishers neglect this opportunity they will have only themselves to blame.

[blocks in formation]

Another golden opportunity for publishers is offered in this letter received by a Chicago mail order house :

Gentlemen. I have written a novel which some of my friends wishes me to have it published. and I have been requested to write you up. on this subject. as you hold a line of interesting books. and trust you will reply soon. and On what terms you would except it. If it be excepted at all. Its. A Story of great love. and great Suffering of a Duke that. loved the Duchess Governess. at first sight. the Governess was sent from the castle. and after several years of longing and onxiety. she were taken to London Saciety, by a wandering Brother of wealth. which the Duke and Governess loved each other a gan at first sight. This book have the title of three difference selections. The mark you have cut in my heart are deeper then any furrow that have ever been plowed. Or the title can be. With all his faults I love him Still. Or She is mine until death Each of these titles are suitable for the book. Yours very truly,"

Short practical articles on topics connected with literary work are always wanted for The Writer. Readers of the magazine are invited to join in making it a medium of mutual help, and to contribute to it any ideas that may occur to them. The pages of THE WRITER are always open for any one who has anything helpful and practical to say. Articles should be closely condensed ; the ideal length is about 1,000 words.


The post-office regulations now forbid the sending, at second-class rates, of periodicals

Strange as it may seem, the editor of the Bellman felt constrained to decline the

« iepriekšējāTurpināt »