At the present time there is great opposition to the fairy story. Personally, I have never found that any child has been hurt by fairy stories, if they are the right kind. I think there are many old fairy tales that might well be left out of children's literature, but to condemn all fairy tales because of a few which give the child a distorted view of life and people, does not seem fair. My pity goes out to the child from whose life Santa Claus, Mother Goose, and all other lovable, if mythical characters have been taken. How dull and colorless will be his existence!

The fairy story, carefully written, is a wonderful stimulant to the imagination. Patience, love, kindness, control of temper, obedience, and a thousand other virtues may be taught through the fairy tale.

5. How do you get the child's point of view?

This is not a difficult thing to do, if we go about it in the right way. Forget for a little while that you are more than six years old. Go back with me a few years, and let's compare the stories we liked best. Let's ask ourselves what it was in them that we liked best. Child nature does not change with time. The things that we liked, the children we write for will like. After we have made a note of these things, let's get acquainted with some of the neighborhood children. If we are not fortunate enough to have children in our own homes, we might very profitably get a group of little neighbors together for the afternoon, and after we have learned from them their likes and dislikes, "make up" the stories, and tell them to the group before writing them out. If the group approves, our story is surely a success. Just one child may like or not like it, but the opinion of the group is well worth the effort. Listen to the things children talk about among themselves, and even make notes here and there.

6. What does a child like to hear about in his stories?

and girls, and animals, especially the smaller animals. I believe the mouse is the greatest favorite, although the chicken, the rabbit, the cat, etc. follow close behind. In each case the child likes them to display the same characteristics as himself, get into the same troubles, and have punishment meted out as are his punishments. Animal stories stand a better chance of being accepted for publication, if well written, than any other type. On the other hand, animal stories are the most apt to be attempted by the beginner; therefore they win a bad name from the publisher.

7. How do you find material?

There are, of course, many ways of getting material for your stories. Eventually, each writer evolves his or her own method. Watch the children around you. Study their habits, good and bad. I once knew a small boy who always wanted to hear what the grown-ups were saying, especially after he was in bed. This gave me an idea for an animal story. Just what does it bring to your mind? The story was told to the youngster, with the success that had been hoped for, and later accepted by one of the weeklies. Another never-ending source of story material may be found in the Mother Goose rhymes. Look over some of the pictures in the book of Mother Goose, or read over the rhymes, and ask yourself the question, "What made Bopeep lose her sheep?" or "Why did the mouse run up the clock, and what happened when he did this?" You will be surprised at the amount of material you will be able to find through these simple rhymes. Into these may easily be woven health stories for children.

8. What is the difference in stories for the five and six year old?

to meet his need. He requires more vital elements in his stories. He begins by his sixth year to ask for stories with at least a true foundation. History, Indian tales, hero stories appeal to this age. Those who would write for the six year old have a still larger field, in the simplifying of the old stories to meet his need. In undertaking to rewrite or simplify Bible stories, great skill and a thorough knowledge of the Bible is needed, in order to give all the beautiful truths contained and still make them comprehensible to a six year old.

9. What is the matter with most of the nature stories?

The answer lies in a few words. Most of

them are told in a colorless, insipid way, with little or no action in them. In order to hold the child's interest, stories must be woven around the facts in nature. This is a difficult task, but well worth while. Bees, birds, flowers, all may with care be written about so that the child readers will not forget them.

10. Should there be a plot in a child's story?

This varies with the age for which you are writing. For the story written with the child under six in mind, there is no need for plot. The small child cannot carry one thread of plot throughout the story. Have a simple climax, not exciting enough to tax the child's mind, but sufficient to hold his interest, and by all means have a pleasant ending.

"I have no artistic instincts. I am incapable of that elegant, cold-hearted thinking out of which the finest literature comes. I could never paint a landscape with the pigment of mere words, but I have what may be called a sanguine temperament toward nature and receive my best inspirations from scenes in the open, to be sketched into copy with any words that pop up, as one uses symbols to convey unspeakable meanings.

"I am merely explaining the process of intoxication I have practiced as a writer, tanked up on the glory of God; never doing any thinking of my own; always getting inspiration from one source or another on the out

side; borrowing my own thoughts from every man, the wind, Moses, and the prophets; setting love, hope, faith down to such a tune, helter-skelter, and calling it a 'book.' And invariably I 'got by' with it, for no reason that I can think of, unless it is that many people prefer to have their aspirations doled out to them in some kind of literary powders, and their emotions recited to them in the golden words of another person, rather than hunt the wind and the stars for the cue to themselves."

Corra Harris, THE HAPPY PILGRIMAGE. (Houghton Mifflin Company)

ROBERT HILLYER VIRGINIA C. LINCOLN

WILLIAM M. TANNER BERTHA W. SMITH

O recent event in the literary world has

N°

cast a wider shadow than that of the passing of Thomas Hardy, who, before he died in England January 11th, in his eightyeighth year, was the acknowledged leader among the world's living men of letters. The growth of his popularity as a novelist in even the past quarter-century is an indication of the tremendous change of attitude on the part of the reading public toward fiction. To the general prudery of Nineteenth Century literature, Hardy brought a disdain for tradition and a viewpoint that was at once highly unconventional, yet withal dignified and sincere. He determined to write of his world as he saw it, a struggling, imperfect world of opposing forces. And he told of it in an unforgettable way, never optimistic, seldom cynical, but with an insight and sympathy that made even defeat an achievement in his characters. He stands as an example of the success to be attained from writing of the world one knows, (in his case, the Wessex world), with close observation, keen understanding, and careful characterization. Perhaps beyond any novelist, Hardy demonstrated the rich and vital material to be found in the lower and middle classes. He had an amazing talent for discovering the magnificence of apparently trivial and lowly lives. To Hardy nothing was small. He sensed drama in slight incidents. It is strange that this instinct for the dramatic did not lead him into the theatre. It is interesting to speculate as to whether, had he

been born in Twentieth Century America, Hardy would have become an O'Neill of the theatre. Perhaps we are fortunate, however, that drama did not occupy his attention, since he might not have found time to write the matchless descriptive passages in which he excelled.

There is rejoicing in Cambridge these days because of the announcement that Robert Hillyer will teach the course at Harvard known as English 5, which Dean Briggs and Professor Charles Townsend Copeland, who has just retired, together made famous. English 5 is one of the most popular courses taught at Harvard; it is one which was taken by many modern writers, including Heywood Broun, John Dos Passos, E. E. Cummings, Stewart Mitchell, and S. Foster Damon. To quote a critic, "If one were to go through the list of men who studied therein under either Dean Briggs or 'Copey,' it would read very much like a literary 'Who's Who.' Some observers go so far as to say that it is one of the most important influences upon modern American writing there is. Mr. Hillyer's scholastic and literary record is such that no one need fear that with the retirement of 'Copey' the influence of English 5 will wane." And readers of THE WRITER know what valued help Harvard students will receive from our Poetry Editor - without whose knowledge, by the way, we are printing this notice.

Editor, the Forum:

I enclose a sheet of paper that was attached to some mss. received in this office last week. (Editor's note: The paper enclosed measures 5 x 8 inches, and contains these words: "To the Editorial Office Force-Take Good Care of Me! Put your receiving stamp here, not on My Manuscript. Don't Pin this manuscript. Don't Refold and crease differently. Use This for all pencil marks and KINDLY RETURN manuscript in first class condition. Stamped Return Envelope Enclosed.") You might present it in THE WRITER, omitting the name and address that are on it, for the information of your readers. The idea is good; the execution poor.

This is a trade paper. The organization is divided into a Business Department, Advertising Department, Book Department, Editorial Department and Circulation Department. The amount of mail received daily is enormous and it is all opened and stamped by girls who attach envelopes to the letters, etc. and hand them to the Business Manager, who attends to the distribution.

The receiving stamp is placed wherever the girls see a space large enough, and when free lance writers who send mss. to the Editorial Department have their mss. returned with a receiving stamp on the first page, they object. Some of them write letters to the Editor as though he were to blame, instead of their ignorance of business being the cause of the blemish.

The enclosed sheet was taken from a mss. which unfortunately was stamped on the face because a cheaply paid young girl, opening and stamping several hundred letters and packages in an hour, has no time, even if she were possessed of a great deal

Editor, the Forum:

of intelligence, to read what is printed on a slip of paper attached to the mss. by a clip.

My advice to the writer, when returning his mss., was to use a cover sheet the size of the mss. sheets and print his request to the office force on that instead on a 5 by 8 in. sheet.

Many writers appear to think that mail addressed to The Editor goes to him without being opened. It may in some offices but not in ours, or in any offices in which I have been employed. In fact, in a great many offices mail addressed by name to employees is opened and if they object they may walk out and hunt another job. In our office personal mail is held sacred, but mail addressed impersonally to The Editor, Business Manager, Advertising Manager, etc., is opened in the office of the Business Manager and distributed. Thousands of readers address all communications to the Editor, even when they really should go to some other official.

I have done, still do, much free lance work and always put a cover sheet, for protection, on my mss. In the center of this sheet is my name and address, so that my rejected mss., which is considerable, is always in conditon to be mailed to another place without it's being necessary to retype the first page (or sheet). It is only necessary to put on a clean cover sheet, the returned one being useful as a record, for it bears the receiving date stamp of the publication that rejected it.

If you print this letter, in whole or digested, kindly omit my name and the name of the publication of which I am editor. They are unessential, the advice to writers about cover sheets being the thing to which I wish to call attention. New York City.

Yours is a publication devoted to "writers," and as I understand the term, it is applicable not only to creators of literature but also to the vast army of contestants of which I happen to be a unit. As a contestant, I beg to submit the following, believing it may be of interest to many of your readers who also are contestants.

tain strange circumstances which tended to prove that nation-wide contests involving several thousands of dollars in cash prizes were being juggled in an unscrupulous manner by dishonest individuals and concerns. It was learned there were several sources from which, for a few dollars, those "in the know" might obtain correct answers and solutions before the close of the contest. These agencies, it was affirmed, advertised both in the public prints and by direct personal solicitation, calling the attention of contestants to leading contests then running, and offering lists of "words," or whatever might be required, for sums ranging

Shortly after the close of a large contest conducted recently by The New York Evening Graphic, the same newspaper published several articles in exposé of what were termed "the contest syndicates." Investigation had revealed cer

from one to three or four dollars. Thus anyone receiving such solicitation might purchase a "list" in plenty of time so that he might enter it in the contest and with little or no personal effort win a handsome prize.

Incredible as it may seem, this condition of affairs is true! I myself have several times seen such advertisements, and I have received several post cards. It is obvious that a great many contestants receiving such cards would readily invest the small sum asked, on the chance of winning one

Editor, the Forum:

of the larger prizes, and it is further obvious that a large number of the solutions submitted would be approximately the same. When such circumstances as these attend the conducting of a large contest, what chance have the judges of deciding honestly who and who is not deserving of a prize? Indeed, what chance has the inexperienced contestant of winning one-without a "list?" Frank Kenneth Young.

Traverse City, Michigan.

Much has been written about manuscript records and many and varied are the ways of keeping them; but in all my readings I have yet to discover a method simpler than my own.

A small oak filing box keeps all the necessary data. The alphabet cards are discarded. Three heading cards, "IN," "OUT," and "SOLD," take their places. Blank cards are kept in the back.

A card is made out for each manuscript. Under the "OUT" are filed cards whose manuscripts are in transit. Under the "IN" are those cards whose manuscripts have been weighed and found wanting, editorially speaking. These are resting briefly at home until the next mail goes out. "SOLD," ah!

The cards themselves need no diagram and dictionary for explanation. Across the top goes the title of the manuscript. Beneath that, the typewhether short story, article, lyric, jokes, or what not. Also the number of words, price of postage

Editor, the Forum:

(when this has been determined) and any other advisable information. Next the dashes of my abused old typewriter draw a line clear across. Immediately beneath this, in one line spaced generously, are the words, “Magazine,' "Sent," "Returned." Under each of these headings goes the name of the magazine which enjoys (?) the privilege (?) of scanning my worthy (?) efforts; the date said manuscript went forth to revolutionize the world, and finally the agony column when, dejectedly it returns like Mary's little lamb.

That is all, except my carbon copies of manuscripts which are marked on their backs with their titles and are kept in a folder, while their twins, the originals, see America first.

My manuscripts do not get lost, I know where they are and how long they have been there, the number of trips each effort has made, and where NOT to send it again. Cincinnati, Ohio.

"Don't let the editor know you are a beginner" seems to be the motto of many writers. In spite of all that has been written to the contrary, an impression still prevails that an editor looks with prejudice at every manuscript by an unknown writer. Wonderful and various are the maneuvers resorted to that the story or article may carry that much desired appearance of an "experienced hand;" and chief among these is "studied carelessness" or often unstudied carelessness.

I cannot believe that any writer loses by scrupulous attention to neatness and the various "little things." It may be that the genius succeeds in spite of carelessness in the preparation of manuscript, but you can be assured that he is not any more welcome in the editorial sanctum because of it. And whatever may be the allowance accorded the "already arrived," it is beyond question that an unknown author enhances his chances by dressing his brain child attractively. With so many manuscrpts coming into an office daily, it is not reasonable that an editor will give much attention to careless, slovenly work, unless it has already been contracted for or is signed by an irresistible Make all your mistakes on the side of over-care, and rest assured that your story, if it is

name.

Myrl Edwards McMahan.

worthy, will not be rejected because it is "amateurishly neat."

We all know that an envelope bearing return address should be enclosed for the return of the story if it proves unacceptable; but do not make the mistake of placing the manuscript in this inside envelope, or even under its flap. If you do, and the package gets damp en route, the flap will seal tightly. Always be sure to prepay the postage fully.

If you are short of envelopes, or for any other reason wish to enclose stamps alone, the best way is to leave them unattached. But since this is not the general custom, many stamps are thrown away with the discarded envelopes. My favorite plan is to ask the stamp salesman for the outer line of stamps. These, you know, are accompanied by an equal number of "blank" stamps. There is always a little mucilage on the edge of the blanks - just enough for the purpose. With your desk scissors, cut away most of the blank paper, leaving only the gummed part, about an eighth of an inch. Now you have ample surface for attachment to your letter or manuscript without touching the mucilage on the stamp itself, and the latter is easily ripped away at the line of perforations between it and the blank. Some magazines, notably Motion Picture