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176, 188

Mason, Walt, 92
Mavity, Nancy Barr, 90
Meigs, Cornelia, 140
Metropolitan Magazine, Fiction in, 119
Miller, J. Corson, 44
Motion Picture Rights, 69
Mott, Frank Luther, Current Conditions in the

Short Story Market, 130
Movies, Writing for the, 155
Moving Pictures, William Allen White's Exper:

ience with, 53
Mundy, Talbot, 140
Music Publishers and Composers and Lyric Writers,

Deadlock Between, 70

Music, Society for the Publication of, 27

Necrology, 16, 32, 48, 64, 80, 96, 112, 128, 144, 160,

News and Notes, 15, 31, 47, 63, 95, 79, 111, 127, 143,

159, 176, 187

Newspaper, What Making a Fifty-page Means, 61
Newspaper Work as Training for Novel-writing, 68,

109

Newspaper Work, Fitness for, 124

Norton, Brayton, 108

Note-taking, Advantages of, Kulzick, 67

Note-taking, Good Rule for, 6

Novel, The Shortest Chapter in a, 86

Novelist, Art of the American, 93

Novelist on Novel-writing, A, 60

Novelist, The Responsibilities of the, 155

Novelists, Maturity Needed by, 29

Novel-writing, Newspaper Work as Training for, 68,

109

Novels, Publishing in Paper Binding, 68

Owen, Jennie S., Publicity Work for Schools, 82

Ozaki, Madame Yukio, 44

Paper, Technical Terms, 149

Penwritten Manuscripts, Prejudice Against, 148

Personal Gossip about Authors, 91, 140, 169

Pitz, Henry C., 108

Podhaski, Harold F., Trade-Journal Writing as

Profession, 5

Plagiarism, 28
Plots for Juvenile Stories, 85
Poetry and Doggerel, Difference Between, 21
Poetry and Verse, Difference Between, 53
Poetry, Publishing, 84
Poets, An Editor's Tip to, 27
Poet's Own Valuation of His Work, A, 52
Poole, William C., Writing as a Side-Line for Min-

isters, 115

Porter, Rebecca N., 26

Porter, Verne Hardin, What the Editor of the

Cosmopolitan Wants, 114

Prints, A Way to Copy, II
Prize Competitions, Hancock, 165
Prize Offers, Concerning, Gest, 81
Publication. Unprofitable, 27
Publicity Work for Schools, Owen, 82
Publisher, How Not to Write a Letter to a, 101

Publishers' Difficulties. 100

Publishing at the Author's Expense, 149

Public Library, New Services of, 77

Queries, 7, 53, 69, 101, 149

Work, 85

Short Stories, Tingling Ones Wanted, 171

Short Story, The American, 28

Short Story Market, Current Conditions in the,

Mott, 130

Sketches of Writers, Temple Bailey, 133

Song Poems, Not in Demand, 101

Song-Poem Sharks, 132

Stanley, Wallace P., 53.

Stevens, A. Borden, Thinness and Point in Manu-

scripts, 53

Storrs, Marguerite Lusk, 44

Stories, Appeal for Pleasant, 118

Stories. Unwholesome, 149

Story-Construction, Practice in, 180

Story with Two Endings, A, 60

Stott, Roscoe Gilmore, Artificial Stimulants for

Writers, 97

Syndicating, 69

Tarkington, Booth, 141

Trade Journals Want Facts and Ideas, Bentley, 113

Trade-Journal Writing as a Profession, Podhaski, 5

Trollope's Popularity, Anthony, 70

Type, The Point System, 149,

Typewriting Manuscripts, Rules for, 164

Typewriting, Tips about, 119, 165

Urner, Mabel Herbert, 171

Value of One's Work, Appraising the, 85

Verse, Children's, Gaylord, 131

Verse, Self-instruction in Reading, It Aloud, 148

Verse Writers, Suggestions for, Graham, 83

Wallingford, L A., A Literary Enlightenment, 4

Walton, Ednah, Literary Clearance Sales, 145

Walton, Emma Lee, 90

War Stories Barred, 133

Watson, Virginia, 108

West, Roscoe S., Writing for Construction Publi-

cations, 178

White, William Allen, Experience with Moving

Pictures, 53

Winslow, Thyra Samter, 27

Words, Color, Littell, 33

Words, Estimating the Number of, 69

Words, Fashions in, , 109, 133

Words, Words, Words, McFarling, 3

Wrath, Caleb, 91

Writer, Detecting a, Remont, 17

Writers, Artificial Stimulants for, Stott, 97

Writers, Brief Suggestions to, Huling, 65

Writers of the Day, 26, 44, 59, 74, 89, 107, 140

Writing as a Side-Line for Ministers, Poole, 114

Writing, Fashions in, Downie, 98

Writing Name, Choosing Your, Bird, 163

Writing, Self-Consciousness in, Ellingson, 161

Writing, Thinness and Point in, 21, 53

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YAL XXXII

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A MONTHLY MAGAZINE TO INTEREST AND HELP ALL LITERARY WORKERS.

Vol. XXXIII.

BOSTON, JANUARY, 1921.

No. I.

ENTERED AT THE BOSTON POSTOFFICE AS SECOND-CLASS MAIL MATTER.

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IN

PERIODICALS

solutely hopeless material every magazine of

recognized standing receives. By this I CONTI 'S:

mean illiterate manuscripts, written badly, AN EDITOR'S TALK ABOUT EDITORS. A Magazine spelled badly, written on lined note-paper, Editor

often in bad English, wholly without paraWords, Words, Words. Lloyd McFarling A LITERARY ENLIGHTENMENT. L. A. Wallingford graphing. They are apt to be accompanied Trade-JOURNAL WRITING

PROFESSION. by a note to the effect that the author is very Harold F. Podhaski

poor and needs money, and would gladly sell EDITORIAL

Good Publishers Do Read Manuscripts, 6

the story cheap, and, please, won't the editor Rule for Note-taking

6 try to like it? LITERARY SHOP TALK

Handling letters of this kind is one of the The Unpublished Kipling Story, 7

most painful tasks that can come up in the Universal Lyceum and Booking Bureau, 7 -

course of editorial work. Thackeray, I beTo California Writers QUERIES

lieve, has an essay on this subject. It may THE MANUSCRIPT MARKET

seem heartless to send a mere rejection slip CURRENT LITERARY Topics

in response to such a plea, but on the other William McFee Gets Encouragement, 11

hand, since one hesitates to say bluntly A Way to Copy Prints, il Regular Hours for Brain Workers

“ Your work is hopeless," a letter of any Book Reviews

kind gives encouragement in itself. In the LITERARY ARTICLES

vast majority of cases, therefore, a speedy News AND NOTES

rejection and the hope that a course of rejec

tions may in time prove discouraging, is all AN EDITOR'S TALK ABOUT

that lies in the power of an editor. EDITORS.

Of a very different type are the stories that

editors receive from old ladies – charming, Editors seem very unpopular. Before I cultivated old ladies. One can fairly see was an editor I did not think much of them

them telling their little family story or joke myself. Now, however, having studied the

to a circle of admiring friends, and hear the subject from every point of view, I think I

admiring "Oh, Mrs. Brown! How perfectly am qualified to discuss this subject impar- delightful! You should send that to a magatially.

zine - indeed you should !" And Mrs. The manuscripts upon which editors must Brown writes out her pet story in her pretty, pass are, like everything else in the world,

old-fashioned handwriting – it is usually a divided into three classes good, bad, and

nice little story, too, but evidently just what indifferent. Of these, the latter greatly pre- it is – the work of a delightful and cultidominate, and every editor has, accordingly, vated woman who has never done anything the ill-will of all their authors, to whom he is of the kind before. And writing, as very few forced, in more or less diplomatic methods,

people seem to realize, to be good requires to give his opinion of their work.

a finish that practice and practice alone can It is amazing how great an amount of ab

give. Mrs. Brown being the sort of person

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she is, it is obviously impossible to say to times causes an editor qualms of conscience. her : "You charming person,

The answer to this, of course, may be that sorry to hurt your feelings," so we mail an- “Mrs. Jones' Second Husband ” was an acciother rejection slip — and we hate to do it. dent. These things' do happen sometimes,

There is one class of persons, however, to you know. The aim of a magazine is not to whom it is a real pleasure to send rejection publish more mistakes, it is to publish the slips, and for their benefit a harassed editor best work it can get. Compare your rejected wishes at times that slips might be worded story with an average story in the United more harshly than they are. This class is States Magazine, and don't feel hurt unless composed exclusively of young men, and they you cannot, honestly, see any points in which run to poetry. The poetry is intended to be the majority of the accepted stories are not amusing, but is always cheap and often vul- superior to yours. Faults do glare dreadfully gar. It is accompanied by a note to this

in print. effect : "I am sending you some stuff which Next comes the last class of stories I dashed off. . . If you like this kind of those that get in. Roughly speaking, they are junk, let me know, as I can send it to you till not more than one per cent. of those we ediyou get tired of it.” Leaving out of con- tors read. Most of them come from agensideration the tact involved in seeking to cies, or from authors the editors know. This tempt an editor with "junk" — which is, I as- is not because “pull” counts. It is simply sume, an effort of modesty — there are, with- because successful authors are successful as out doubt, some 100,000,000 other people in the result of long practice, which has brought the United States who could write it equally them in touch with the personnel of the ediwell. If the authors would only not send it torial offices. As for the agencies, those of in with such patronizing assurance !

the better class get an author a hearing beThese are a few of the more striking varie- cause they will not attempt to sell stories that ties of the worthless manuscripts, from the do not come up to a certain standard. Their magazine editor's point of view. Such backing means that a story is a good one. manuscripts are so fundamentally hopeless Agencies which do not do this are more of a that the question of the values of the ideas hindrance to an author than a help. embodied in them, or the method of their And if editors are funny things, authors treatment, does not arise.

are funny, too. We love them and need Next come the manuscripts which, like the them, but they are funny. They complain gentleman in Mr. Kipling's poem, can be as- because their manuscripts are returned to signed to neither Heaven nor Hell. They are them too promptly ; they complain because of two kinds stories which have no par- their manuscripts are kept too long. If you ticular idea but which are well written, and want anything from an editor it would seem stories which are not well written but are the part of wisdom to treat him kindly, at based upon a good idea.

least until you are sure you are not going to Usually, nothing can be done with stories get it ; but “treat 'em rough

appears to be in the first of these divisions. If a story is the motto of many authors. I especially renot based upon a good idea, no amount of member one letter ( which came, I admit, good writing will pull it through. Stories of after a rejection ) from a gentleman in Oklathe second class, however, can occasionally homa who described himself on his letterbe rewritten by the author in accordance head as a “ Literary Artist.” He told with criticisms by the editor, and pulled into what he thought of us in the plainest lanthe acceptable class. These are the manu- guage for eight long pages, ending with the scripts which call forth objurgations from information that he was rapidly becoming unsuccessful authors. "I read 'Mrs. Jones' famous (in proof of which he enclosed a Second Husband' in the United States Maga- laudatory editorial from a paper which I will zine for September," they write. “My story here designate as the Kansas State Farmer ), is every bit as good as that " -- which some- and that the time was, thank God, speedily

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