Lapas attēli


Abbott, Eleanor, Style of, 61
Adams, Leslie, 165
Allen, Grant, so
Anderson, Arnold M., 53
Author, A Disgruntled (“Frank Danby”), 150
Author's Diary, The, West, 180
Authors, Financial Beginnings of, 46
Bancroft, Alberta, 89
Barnes, Charles R., 53
Barton, George, A Great Novel Dissected, 129
Beers, Henry A., 23.
" Ben Bolt," How Written, II
Blake, Winifred Ballard, 79
Book Reviews, 13
Books, The Significance of, Ramsdell, 99
Brisbane, Arthur, 24
Browning, Robert, 120
Burgess, Walton, Common Errors in Writing Cor.

rected, 17, 33, 49, 64, 77, 133, 149 ; Hughes, 161, 177
Business Fiction, Room for, 58
Caine, Hall, 41, 120
Carey, Will Gage, 23
Carruthers, Mazie V.. 118
Cipher, Conquering John Wesley's, 172
Coleridge, Samuel Taylor, 120
Collins, Wilkie, 54
Collins's “ The Moonstone ” Dissected, Barton, 129
Common Errors in Writing Corrected, Burgess, 17,

33, 49, 64, 77, 133, 149, 161, 177
Concordance Making, 186
Copyright, Are Letters ? 123
Copyright by Corporation, 7
Copyright Law, The New, 52, 65
Crawford, Francis Marion, 91, 120
Current Literary Topics, II, 26, 44, 58, 92, 109, 123,

137, 156, 170, 184
Danby, Frank, 150
D'Annunzio, Gabriele, 42
Darwin, Charles, 91
Dell, Floyd, 24,
Detectives in Fiction, 138
Dialogue in Fiction, 150
Dictionary, Studying the, 109
Dramatists, Practical Pointers for, 157
DuBois, Mary Constance, 8
Duryea, Anna Sturges, 107
Earnings of Novelists To-day, 124
“ Eastman, Lyman,” 24
Editor and His Audience, The, “W. T. L.," 117
Editorial, 6, 20, 38, 52, 78, 88, 106, 116, 134, 150, 164, 182
Editorial Judgment, Fallibility of, 134
Editorial Liberties with Copy, 173
Editorial Talks with Contributors, XXXI., by the

Editor of the Sketch Book, 102
Editorial Work on Manuscripts, 135
Editors, A Study of, Parker, 97
Editors and Contributors, 164
Editors, Dealing with, 134
Editors' Responsibility for Review Books, 20
Encouragement for the Down-hearted, 89
Encouragement for Young Writers, 116
English as She Is Wrote, 46
Elsie Books, The, 38
Evans, Larry, 151
Fiction, A Higher Standard Needed in, 27
Fiction, Detectives in, 138
Fiction, Dialogue in, 150
Fiction, Fashions in, 26
Fiction, Room for Business, 58

Fiction Writers, Rules for, 125
Financial Beginnings of Authors, 46
Fine Writing, 38
Fitch, Clyde, 153

Fitch, Clyde, The Writing of Plays, 3
Fitzgerald, Edward, 25
Flaubert, Gustav, 55
Fyles, Vanderheyden, 151
Garis, Howard R., 119
Gilder, Richard Watson, 183
Goldsmith, Oliver, 56
Goochi, Frances Pusey, 107.
Gould, George M., Borderland Studies (r), 14
Grammar, The New, 93
Hale, Edward Everett, Style of, 123
Hanscom, Elizabeth Deering, The Friendly Craft

(r), 14
Hardy, Thomas, 108
Haste, Richard A., 135
llaultain, Arnold, 8
Hayne, Paul H., 10
Heath, F. R., Manual of Language Lessons (r), 13
Hewlett, Maurice, 154
Heyliger, William, 165
Hibbard, Edith, 9
Higginson, Thomas Wentworth, Words That Burn,

Historian's Task, The, 7
Hobart, Sarah D., 152
Hope, Anthony, A School for Novelists, 81
“ Hope, Laurence," 121
Howard, Mary Barrett, 40
Howells, John M., 89
Huglies, Edward B.. Common Errors in Writing

Corrected, 161, 177 ; keeping the Typewriter

Clean, 19
Hugo, Victor, 166
Kaufman, Herbert, 24
Kelly, Eleanor Mercein, 79
King, Elsie Casseigne, 119
Klein, Charles, The Writing of Plays, 5
Kortrecht, Augusta, 89
Lauriston, Victor, o Lesson in Typewriting, 86
Lawless, D. C., 53
Learning to Write, 93
Lecky, W. E. H., 166
Letters, Are They Copyright ? 123
Letters, Beginning and Ending, 141
Literary Articles in Periodicals, 14, 30, 46, 62, 79, 94,

109, 127, 143, 158, 174, 186
Literary Borrowing, 185
Literary Coincidence, A Suggestive, 58
Literary Style, Getting a Good, 45
Literary Questions, 13
Love-Theme in Poetry and Prose, The, West, 113
Macaulay, a Great Artist, 142
McElvary, Robert C., 40
Mackay, Constance D'Arcy, 152
Mackaye, Percy, The Writing of Plays, 3
MacLeod, Della Campl •11, 136
Macquoid, Katharine S., 43
Magazine Stories, Stage Rights in, 21
Magazines, “ Mr. Dooley on the, 170
Manuscript, Editoria

Liberties with, 173
Manuscript, The Strange Story of a, 92
Manuscripts, Disfigurement of, by Editors, 8
Manuscripts, Editorial Work on, 135
Manuscripts, Marketing: Wonderly, i
Manuscripts, Prices Paid for, 184
Manuscripts, Selling by Sample, 78
Manuscripts, Timely Delay in Deciding on, 164
Marketing Manuscripts, Wonderly, I
Mark Twain Corporation, The, 7
Mark Twain's, A Lapse oʻ, Shafter, 115
Marshall, Edward, 152
Marshall, Randolph, 24
Martin, Florence, 165

Mendès, Catulle, 56
Meredith, George, 108
Meredith as Judge of Januscripts, 156
Meredith, George, Defects of, 109
Miller, Joaquin, 136
Mitchell, Dr. S. Weir, 10
Munroe, Kirk, 136
Myers, F. d., forms of Thought, 35 ; How Novels

Begin, 145
Necrology, 16, 32, 48, 64, 80, 96, 112, 128, 144, 160,

176, 788
Newell, Maude Woodruff, 119
News and Votes, 15, 31, 47, 62, 80, 94, 110, 128, 143,

159, 174, 187
Newspaper English, 20, 28, 78, 92, 126
“ Newspaper English Edited, 8, 39, 53, 107, 135,

151, -165
Newspaper Writers, Suggestions for, 123
North, Lawrence, 90
Novel, I Great, Dissected, Barton, 129
Novel-writing and Play-writing, 127
Novel-writing, Compensations of, 59
Novelists, A School for, Hope, 81
Novelists To-day, Earnings of, 124
Novels, How They Begin, Myers, 145
O and Oh, Use and Punctuation of, 30
Oppenheim, James, 184
Oppenheim, E. Phillips, 56
Parker, A. E., A Study of Editors, 97
Parker, George L., 166
Parody, 61
Payment After Publication,” 137
Personal Gossip About Authors, 10, 24, 41, 54, 90, 108,

120, 136, 153, 166, 183
Pier, Florida, 40
Pigeon-Hole Snare, The, 12
Pitzer, R. C., 40
Play and the Novel Contrasted, The, 59
Play-writing, Zangwill, Mackaye, Fitch, Tarkington,

Walter, Klein, 2
Play-writing and Writing Novels, 127
Play-writing, Hints About, 124
Play-writing, Making a Scenario, 106
Play-writing, Profits of, 141
Playwrights, A Queer Competition for, 134
Playwrights. The Untried, 158
Plot, The Story of a, 61
Plot of a Sardou Play, The, 26
Poetic Diction and Prose, On, 140
Poetry, Clarity in, 29
Poetry, Must True - Be Obscure ? 6
Poetry, The Possibilities of, 27
Poetry, What Is ? 44
Poet's Work, The, 126
Prices Paid for Manuscripts, 184
Profits of Writers, 59, 60, 124, 141
Pulitzer, Joseph, Editorials of, 172
Punctuation, Importance oí, 6
Punctuation, Origin of, 30
Queries, 39
Ramsdell. Leila R., The Significance of Books, 99
Reade, Charles, 167
Reid, Elizabeth, 153
Rewards of Authors, 59, 60, 88, 124, 141, 171, 182, 184
Ridsdale, Percival Sheldon, 53
Rilev. James Whitcomb, 57
Roberts. Lloyd, 108
Rudvard, Charlotte Louise, 119
Sardou Play, Plot of a, 26
Sawyer, Walter Leon, o
School for Novelists, I, Hope, 81

Scott's * Lady of the Lake," External Nature in,

Younglove, 50
Sembower, Alta Brunt, 107
Shafter, Julia Lawrence, A Lapse of Mark Twain's,

Shall and Will, l'se of, 139
Short-Story Contest, New York Herald, 116
Short Story, Selling the, Smith, 82
Short-Story Writer's Income, A, 88
Sienkiewicz, Henryk, 168
S:nith, Effie, 10
Smith, Mark, Selling the Short Story, 82
Spelling. Simplified, 151
Stage Rights in Magazine Stories, 21
Standard Literary Phrases, 92
Stedman, Edmund Clarence, 43
Sterrett, Frances R., 90
Stevenson, Robert Louis, 57
Stoddard, Charles Warren, 168
Story, How Started, 29
Stott, Roscoe Gilmore, 54
Style, Edward Everett Hale's, 123
Style, Eleanor Abbott's, 61
Style, Getting a Good Literary, 45
Stuart, Eleanor, 54
Tarkington, Booth, 168
Tarkington, Boothi, The Writing of Plays, 4
Taylor, Emerson, 10
Tennyson, Alfred, 137, 155, 168
Thought, Forms of, Myers, 35
Towndrow, Grace Eleanore, 153
Triolets, How to Write, 39
Typewriter, The, and Autographs, 106
Typewriter, Keeping It Clean, Hughes, 19
Typewriting. Lesson in, Lauriston, 86
V'erse, The Record Price for, 126
Vogel, Arthur E., Editorial Talk, 102
Walter, Eugene, The Writing of Plays, 4
Ward, Mrs. Humpliry, 170
Warner, Charles Dudley, II
Weir, F. Roney, 41
Wesley, John, Conquering His Cipher, 172
West, Alwin, An Author's Diary, 180 ; The Love.

Theme in Poetry and Prose, 113
Wharton, E. A., 166
Whitman, Walt, 121
Wickham, Harvey, 153
Wilde, Oscar, 57
Winchell. Ernestine, 120
Winter, John Strange, 155
Wit, 93
* Wizard of Oz," How Written, 29
Wonderly. W. Carey. Marketing Manuscripts, i
Words Commonly Used, 186
Words That Burn, Higginson, 103
Write, Learning to, 93
Writers, A Scheme to Swindle, 164
Writers, Encouragement for Young, 116
Writers, Financial Reward of English, 171
Writers of the Day, 8, 23, 40, 53, 79, 89, 107, 118, 135,

151, 165
Writers, Rules for Fiction, 125
Writing as a Profession, 45
Writing Because One Must, 88
Writing for Writing's Sake, 44
Writing. Pretentious, 45
Wynn, Ray, 136
Younglove, Emma,

External Nature in Scott's
“ Lady of the Lake,” 50
Zangwill, Israel, The Writing of Plays, 2


Vol. XXI.


No. 1.



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“ Ben


eye simply because he does not know his

market. CONTENTS:

And this is costly. Leaving out the quesJARKETING MANUSCRIPTS. W. Carey Wonderly

tion of postage both ways and envelopes THE WRITING OF PLAYS. Israel Zangwill, Percy two each time a manuscript is sent out - the

Mackaye, Clyde Fitch, Booth Tarkington, Eugene continual returning of a story or article Walter, Charles Klein

again and again by magazine after magazine EDITORIAL

will tell in time upon the stoutest heart. Importance of Punctuation, 6 - Must True Poetry Be Obscure ? 6 -- The Historian's The story which you once hailed with enTask, 7- The Mark Twain Corporation, 7- thusiasm becomes weak and commonplace, a Disfigurement of Manuscripts by Editors .

thing unsalable, and you begin to wonder “ NEWSPAPER ENGLISH” EDITED

whether you have any real talent, aiter all. WRITERS OF THE DAY

This is the most natural feeling in the world, Mary Constance Du Bois, 8 - Arnold Haultain, 8 – Edith Hibbard, 9- Walter Leon but very oiten the story would have found a Sawyer, 9 - Effie Smith, 10 – Emerson Tay- home long ago had its author but taken the

proper care to learn where it would receive PERSONAL Gossip ABOUT AUTHORS

a ready welcome. Manuscripts sent out in Paul H. Hayne, 10 – S. Weir Mitchell, 10 –

haphazard fashion seldom come to any good. Charles Dudley Warner CURRENT LITERARY Topics

In fact, after a time their parent comes to reHow

Was Written, II - The gard them as being very poor stuff indeed. Pigeon-hole Snare, 12 — Literary Questions

Every writer should make it a point to see BOOK REVIEWS

at least a certain number of magazines each LITERARY ARTICLES IN PERIODICALS NEWS AND NOTES.

month. All of these cannot be read thoroughly or dissected page by page, but a

glance at the table of contents, a knowledge MARKETING MANUSCRIPTS. of the names of contributors will help out

wonderfully. In this way the general motif Vowadays, with almost every magazine in

of the publication can be gained, and a little

further study will show you that while all of the country using short stories, at least one

them use short stories, the 'short stories or two in a single issue, it would seem that

themselves in the different magazines are as the aspiring author would have a compara

different and as wide apart as the poles themtively easy time of it in marketing his wares.

selves. And he would have, did he but study his

It is not enough to know that Harper's, market a little more closely.

the Smart Set, the Argosy, and the Red The broker, the actor, even the corner

Book short stories. They do - but grocer gives time and attention to the market

what a wonderful difference between them ! wherein he would earn a livelihood, but the

A Smart Set story would never do for the author for the most part contents himself

Argosy, and a Red Book story would be with writing a story and then sending it off,

equally out of place in Harper's.

And yet haphazard, to his “favorite magazine," or to

each story is good in its own way, the difsome journal he knows only by repute.


ference resting in the secret that they are of nine times out of ten he fails to hit the bull's- a different type. Therefore, how can a per

Copyright, 1909, by William H. Hills. All rights reserved.

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son hope to find an acceptance with a magazine he does not know simply because he has been told that the magazine in question uses short fiction ? The story, and often it is a good enough tale of its kind, meets failure principally because its author does not know the markets.

And very often, after having his fond hopes dashed to the ground, the aspiring author will go off in a corner by himself and talk of “pull with editors." This is all foolishness. It is not yet three years ago since I sold the Smart Set my first story, and before that I had not had published so much as a poem” in a college paper. Since then I have sold to thirty different publications, and to their editors my name must have meant literally nothing at all. There is no such thing as "pull with editors"; that much I will declare until I am hoarse.

If a writer will but think, when his brain child is returned to him with the politelyworded rejection slip, which in most cases tells nothing, that the fault lies not so much with the story as with the market to which he has offered it, if he will but study his markets anew, select a magazine whose stories ring with the same rhythm as does his own, if he will do this, then, unless I am very much mistaken, a letter of acceptance will more than repay him for the time spent in selecting his market.

Misfit manuscripts are not happy accidents at best, and a Smart Set tale wandering into the Argosy office is very much a case of a fish out of water. The result is inevitable, but a man who studied his markets would never make so stupid a mistake. Both publications use very excellent stuff of their kind, but the two magazines are not twin brothers,

Indeed, it seems to me, and it must surely appear the same to all thoughtful authors, that enough cannot be said about marketing manuscripts. It should be gone over again and again, until every person who writes or who ever hopes to write will see the importance of studying the various magazines, and noting wherein they differ. For individuality is the secret of a successful magazine.

There are so many, many really good stories that even now are wandering over the face of the earth, outcasts and ashamed, when an anchorage could be found for them did their authors spend but half the time in looking up a market that they did in naming the heroine. Chance may bring you an acceptance once, twice, but unless you know your markets, and until then, you can never hope to make a place for yourself in literature. Plot, method, character, all of these are essential to successful writing, but equally as great, if indeed not greater, is – to know your market !

IV. Carey Il'onderly. BALTIMORE, Md.



Prominent playwrights were asked by the New York Times some pertinent questions about writing plays. They were asked about the source of their inspiration ; their object, if they had any : their method of working out their themes ; the source of their plots ; the selection of "types" ; the obstacles encountered; the hours of work; the time spent in producing the finished product ; and many other suggestive points the public is curious over. Following are their own descriptions of their methods :

Israel Zangwill : How do I write my plays ? Really, it is hard to tell. Still, considering the matter from a psychological standpoint, it presents

interesting phases. The play I am bringing out now is the result of three years' observation and study. I am president of the Jewish Territorial Organization and the Jewish Immigration Regulation Department. It is with the work of those societies that I have been latterly concerned.

Naturally, in the pursuance of this work,

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