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The French Academy has awarded the Grand Prix de Littérature of 10,000 francs, "destined to recompense a poet or a prose writer for a single work or for several works of lofty inspiration and of remarkable form,” to Comtesse Mathieu de Noailles for sum of her poetical work," and the Prix de Roman of 5,000 francs, 'destined to recompense a young prose writer for a work of imagination or lofty inspiration," to Pierre Villetrad de Prunières for his novel, "Monsieur Bille dans la Tourmente."

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Alfred A. Knopf has published a new and finally revised edition of "The American Language," by H. L. Mencken.

"Forty Odd Years in the Literary Shop," by James L. Ford (E. P. Dutton & Co.), is a volume of memoirs, the result of Mr. Ford's connection with the journalistic and literary world of New York.

"My Maiden Effort," being the personal confessions of 125 well known American authors, with an introduction by Gelett Burgess, is published by Doubleday, Page, & Co.. for the benefit of the Authors' League fund for needy authors.

Among the books about Dante, brought forth by his recent anniversary, are "Dante : the Poet," by Cesare Foligno (Oxford University Press); "The "The Cryptography of Dante," by Walter Arensberg ( A. A. Knopf ); "Stories from Dante," by Susan Cunningham (F. A. Stokes & Co.); "Dante: Poet and Apostle," by Ernest H. Wilkins (University of Chicago Press); "The Portraits of Dante," by Frank Jewett Mathew, Jr. (Princeton University Press ); and "Dante." edited by the National Dante Committee (New York: J. P. Kennedy & Sons ).

A "Life of Louise Imogen Guiney," by Alice Brown, is published by the Macmillan Company.

"Victor Hugo," by Marie Duclaux (Henry Holt & Co.), is a new volume in the Makers of History Series, giving an account of the author's life and a study of his work.

"The Seer of Slabsides," by Dallas Lore Sharp (Houghton Mifflin Company ), is a reissue of a brief study of John Burroughs as author, naturalist, and philosopher.

"Reviews and Critical Papers," by Lionel Johnson, edited, with an introduction, by Robert Shafer (E. P. Dutton & Co.), includes discussions of "The Light that Failed," "The Wrecker," Marcella," William Morris's "News from Nowhere," John Davidson's "Ballads and Songs," and Meredith's "One of Our Conquerors."

"John Ruskin, Preacher, and Other Essays," by Lewis H. Chrisman (The Abingdon Press), includes essays on Thomas Carlyle, John Greenleaf Whittier, Jonathan Edwards, and "The Biglow Papers."

"The Art Appeal in Display Advertising," by Frank Alvah Parsons, is published by Harper & Bros.

"The Social Philosophy of Carlyle and Ruskin," by Frederick Williams Roe, is published by Harcourt, Brace, & Co.

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"Mend Your Speech," "Who? When? Where? What?" and Punctuation and Capitalization," are three handbooks on the use of English, compiled by Frank H. Vizetelly, and published by the Funk & Wagnalls Company.

"Essays on English," by Brander Matthews (Charles Scribner's Sons ), includes "Is the English Language Degenerating?" "What is Pure English ?" "The Latest Novelties in Language," "A Confusion of Tongues," and "The Advertiser's Artful Aid."

Anatole France relates the memories of his earliest years, under the title "La Vie en Fleur," in a series of chapters, beginning in the Dial (New York) for October and to be continued.

A memorial library to Joyce Kilmer is to be erected at Campion College, Prairie du Chien, Wisconsin.

H. B. Marriott Watson died in London October 30, aged fifty-seven.

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The Writer's Directory of Periodicals.

The information for this Directory, showing the manuscript market and the manuscript requirements of many publications, has been gathered directly from the editors of the periodicals, and is strictly up to date.

The second printing of the Directory, which is constantly being revised and enlarged, began in THE WRITER for February. 1916, and a five-years' subscription beginning with February, 1917, will give the Directory complete, together with much other valuable matter. The third printing is progress.

now

in

Before submitting manuscripts to any publication, it is advisable to secure a sample copy.

(Continued from November WRITER.) Touchstone (M), 118 East 35th st., New York. $4.00; 35c. Mrs. Mary Fanton Roberts, editor. Publication discontinued, July, 1921. Town and Country (Tri-M 389 Fifth ave., New York. $6.00; 25c. H. W. Wigham, editor.

An illustrated society journal, devoted to the fields of art, drama, amateur sports, society,

country houses, and country club life. Town Topics (W), 2 West 45th st., New York, $8.00; 20c. Zinn Gould, managing editor. Manuscripts should be addressed: Editor, Town Topics.

A society paper using fiction, poems, skits, and jokes. Fiction must be within 3,000 words. Does not buy photographs, and pays the middle of the month following month of publication. Trained Nurse and Hospital Review (M), 38 West 32d st., New York. $2.00; 25c. Charlotte A. Ailsens, editor; A. Sumner Rose, directing editor. Uses professional articles dealing with nursing, hospital, and public welfare subjects, preferring to have them not over 1,800 words. Buys photographs. Uses no fiction. Pays on publication. Absorbed the Nurse, January, 1918. Travel (M), Robert M. McBride Company, 9 West 16th st., New York. $4.00; 35c. Coburn Gilman, editor.

Uses only travel articles. Especially wants well-written articles on remote parts of the world. Sets length limit at 5.000 words, and buys photographs, particularly those which are remarkable

in some way.

Treat 'Em Rough (A Magazine for Fighting Men and Their Backers) (M), 220 West 42d st., New York, $2.40; 20C. Frank Bradv. editor; Arthur Guy Empey, Managing Publisher.

Name changed to Uncle Sam. Publication now discontinued.

True-Story Magazine (M), 119 West 40th st., New York. 20c. John Brennan, managing editor.

First issue, May, 1919. A magazine based on the saying "Truth 1S stranger than fiction."

Features short stories, novelettes, and serials based on incidents in life, which can be substantiated by the writer.

Twilight Hour (M), 2926 Sacramento st., St. Joseph, Missouri. $1.00; 10C. Charles M. Street, editor.

Now the Midwest Bookman, Kansas City, Mo, (THE WRITER'S Directory, April, 1921 ). Uncle Sam's Boy (M), Box 4, Station N, Cincinnati, Ohio. $1.00; 10C. Roe S. Eastman, editor; Robert E. Hewes, assistant editor.

Publication discontinued, August, 1919. U. S. Air Service Magazine (M), Munsey Building, Washington, D. C. $3.00; 25c. Earl N. Findley, formerly Capt. A. S., editor.

The official publication of the Army and Navy Air Service Association. Is edited by officers of the Army and Navy, and the greater part of the articles printed are by officers and former officers of the Air Services of the Army, Navy, and Marine Corps contributed without charge. Uses stories on aeronautical subjects; articles on aeronautics in its numerous phases; poetry and humorous verse having the flying machine as the theme; and a few aeronautical jokes. Sets length limit at from 3,500 to 4,000 words; seldom buys photographs; and does not pay for con. tributions.

Universalist Leader (W), 359 Boylston st., Boston. $2.00; 5c. Frederick A. Bisbee, D. D., editor.

Payment for manuscripts is made only in case of previous and special contract.

Unpopular Review (Q), Henry Holt & Company, 35 West 3zd st., New York. $2.50; 75c. Henry Holt. editor.

Name changed to Unpartizan Review. Publica tion suspended, June, 1921.

Up-to-Date

Farming (S-M), Indianapolis, 50c.; 2c. Frank M. Chase, assistant editor.

Ind.

Uses articles giving agricultural news and farm experiences, suitable for readers in Indiana and adjoining states; actual farm experiences written by farmers, and articles written about actual farmers. Prints по fiction at present. Sets length limit at 2,000 words, but prefers manuscripts to be shorter. Buys photographs, and pays on publication, which is usually soon after acceptance.

Vanity Fair (M), Condé Nast, 19 West 44th st., New York. $3.50; 25c. Frank Crowninshield, edi

tor.

Uses short satirical articles which must be humorous bearing on the fads and interests of modern-day life, centering around Broadway and Forty-second street, New York, Buys general articles of limited range, a little poetry, a few plays (written to be read rather than acted), and (very seldom) a short story. Buys photographs if they are very good and exclusive use can be obtained, and pays usually on publication. Violin World (M), 141 West 42d st., New York. $1.50; 15c. August M. Gemünder, editor.

An educational journal, published in the interest of string instruments and their players. Prints anything of interest to violinists. Vogue (B-M), Condé Nast, 19 West 44th st., New York. $5.00; 35c. Edna Woolman Chase, editor.

Uses non-fiction articles on subjects of interest to smart women; decoration and travel articles. especially if well illustrated, and an occasional poem. Buys photographs, of travel and society; sets length limit at from 2,000 to 3,000 words; uses no fiction; and pays on acceptance.

ADDITIONS AND CHANGES. Apropos (M), 3230 Locust st., Saint Louis, Mo. $10 a year (with auto club membership ); 35c. Sam Hellman, editor.

Formerly Motor Vogue. Uses automobile notes for the driver, and non-technical articles concerning automobiles; short stories; short playlets; humorous verse, and jokes, all with an automobile slant. Sets length limit at 2,500 words; does not buy photographs; and pays one cent a word. Prefers fiction that is light, breezy, and humorous.

Capital Magazine (M), 1347 L st., N. W., Washington, D. C. N. Bryllion Fagin, editor; John Chase Ferrell, managing editor.

Vol. I., No. 1,

January, 1922. A high-class magazine, using short stories, poems, essays, general articles, skits, plays, and storiettes. Payment on publication.

Hiker (M), 526 Griswold st.. Detroit, Michigan. $2.00; 25c. Frank J. Potter, Ph. D., editor.

A magazine with a national circulation, mainly among men. Prefers fiction to treat of military or ex-service men, the National Guard, or any allied army stories of the world war. Prints short stories, general articles, and juvenile matter. and foreign and national news items, but no serials, novelettes, poetry, or jokes. Sets length limits at from 5.000 to 10,000 words, and pays usually after publication.

Musical Classic (M), South Bend, Indiana. $1.00; 10C. M. G. Casteel, editor.

Uses manuscripts relating to music, song-writing, and the essential, yet general, topics which encompass the art of music. Prints general articles; short stories, poetry; and humorous verse; but no serials, novelettes, plays, or jokes. Buys musical, theatrical, and motion-picture depart ment matter, Sets length limits at from 1,200 to 2,400 words. Does not buy photographs. Prefers fiction to treat of drama or comedy of a musical nature.

The third printing of this Directory-enlarged and revised-was begun in THE WRITER for March, 1917. Back numbers can be suppli ed. A five years' subscription beginning

A MONTHLY MAGAZINE TO INTEREST AND HELP ALL LITERARY WORKERS

BOSTON, DECEMBER, 1921.

VOL. XXXIII.

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Up in the wilds of Canada, among a wilder bunch of girl campers that I was guiding among the lakes of Algonquin Park, was evolved a game that did much to help my subsequent story plotting. Hence I pass it on. "I Don't Believe It," we called the game.

The job that my partner and I had was a sort of glorified guide-tutor combination. For three or four days at a time we would go out in two canoes with three girls from the camp and a councilor, to paddle and portage through the park; and naturally at evening, when the tents were pitched, the canoes drawn up, and a fire blazing, one of the girls would be sure to demand a story. So the game originated. Not being a story teller, I adopted the role of maker of puzzles. I was to begin with a fact that all of them knew something local

and build from the truth to fiction. When the audience thought they detected the seam in the fabric, they were to shout, "I don't believe it!" and if I had been yarning, the story had to be done over again.

At first I rarely progressed far, but in the course of the summer I found that I was getting farther and farther from reality to ro

No. 12.

mance, and began to realize that I was using a Spartan method to teach myself verisimilitude.

Each story, starting with a grain of truth, had to be developed into an interesting narrative that would be accepted by the group about me, and this was splendid training in the art of writing fiction.

Since I came home I have found that the same method of story-plotting is successful, and that if I endeavor constantly to make written fiction plausible to magazine readers I make it acceptable to editors. If, while a writer is composing, he is continually expecting that some one may shout, "I don't believe it!" he will consider more carefully what he is writing, so that if there is a weak spot he will be the first one to detect it. That, of course, means keeping the manuscript in the workshop until the thin places have been reinforced and strengthened by enough background and motivation to prevent detection. Amid the snapping of the spruce boughs in a campfire a kind of hypnotic blanket is often cast over the reasoning minds of the auditors; but there is no mystery, no romance, to blind a reader when the spruce of the woods is put before him in the form of printed paper.

One great fault with many of the manuscripts rejected by editors is their lack of plausibility. Most frequently this is due to examples of improbable coincidence. It might happen, of course, that just as the heroine is in imminent danger, the hero, supposed to be a hundred miles away, should appear to save her, but the strain on the reader's credulity is great, and he is likely to cry mentally: "I don't believe it!" and lay the story down. It is not impossible that the letter picked up by a neglected waif in the street should give him the address of his long-lost father, but it is exceedingly improbable. It is no defence for the author to say, referring to an improbable

incident: "That is based on an event in real life of which I have personal knowledge." If the story is not plausible, the reader, who knows nothing of the incident in real life, will say: "I don't believe it !" just the same. In the tendency of people to their "I don't

believe it" criticism lies a constant challenge to a story writer. Make them believe it! He who can take the utterly unbelievable and make it credible has proved his right to the title of artist. Willis K. Jones.

STATE COLLEGE, Penn.

WRITING FOR CONSTRUCTION PUBLICATIONS.

Writers who correspond for construction publications do it for the money there is in it, and it is indeed a certain method of having a bit of ready cash regularly coming in. To some, it may be only drudgery; to others, it is highly interesting. To say the least, this kind of work is a paying preparation for better things.

In order to get appointed as a correspondent for from one to ten such publications, it is necessary, of course, to get into communication with the editors of the many varied journals of this type now being issued. Where you are located will have considerable weight in causing the editor either to accept or reject your proffer of a regular newsletter. Also, if you happen to be situated so as to have access to a large amount of advanced construction news, you are almost certain to find a market for your information. But if you can send in only a few inches of news a month, it will hardly pay you or the publication to bother with it. On the other hand, it is possible to make up your lack of live local news, if you can see from half a dozen to twenty country weeklies and can clip items from them and rewrite them satisfactorily.

If you are able to see quite a number of newspapers, you can send in what you have rewritten, in brief form, and the editor will use it, if he has not already secured the same information from some other source; but if, in addition to seeing a large number of newspapers, you are living in a city of from twenty thousand population up, and can personally interview architects and engineers and others, you are indeed fortunate. You ought to be

able to earn a comfortable sum each month; you will find other information that you can sell to various trade journals.

The main thing in writing construction news is accuracy and briefness. The editor who constantly has to edit down your stuff finally gets to the point where he does n't eye your regular letter so favorably. He sees that you are trying to put over a long string of stuff, and he blue-pencils his revenge.

Construction news is divided into three general classes, all of which interlock, more or less. These are:

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3. Bond news Concerning issues of bonds to pay for proposed improvements of a public nature.

Representatives of construction periodicals get this kind of news mostly by personal calls on architects, engineers, contractors, or city officials. Newspaper reports can be "run down," and it is usually an easy matter to find out to whom a certain contract was awarded.

Thus you can become a construction news reporter on your own hook, so to speak, and you can always find plenty to write about if you are where anything of the kind is happening, and if you go after the right news energetically.

You send in your material, each item on a separate piece of paper, once a week, as a rule,

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