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type of manager is to blame. We've been it is an association of ideas — the more abtrying to draw away from the old conditions stract and metaphysical, the less important for some time, but they would n't let us. the situations become ; the ideas are conNow there is springing up a class of young veyed in dialogue briefly - plot formulates play brokers who are forcing the managers

itself in obedience to types. to accept the plays that the public wants, and I generally, always, if possible, have in not only wants, but needs. These are the mind some definite effect I hope to produce men who are doing more than any one else on the mind of the reader, unless there is a to uplift the stage — and they're going to sensational scenic feature where there is no succeed, too.

reason for the writing apart from its immeI don't care for the fact that they don't diate influence on the spectator's feelings, like my plays over in England. They're certainly not on his reasoning faculties. dead, passé, archaic over there. This is the Indirectly I take my characters from real country where the big problems of the world life. One forms an idea from a particular have got to be worked out — this country and generality in type — for instance, right here, where we've got Jew, Irishman, Ready Money Rider in “ The Lion and the Frenchman, German, Italian, Russian, and Mouse" might be one particular millionaire ; black man all fighting for existence. And in it was intended to be a composite. Anton the solving of these problems the stage is Von Barwig, in “The Music Master," was going to play a very great part.

an old musician I knew in London. Every play that I've written has been I write every day from eight till one — written with a deep, underlying purpose in

afterward — nor before. I write, mind. I don't know whether or not the whether I have inclination or not — but work public has recognized that purpose — I hope I must — 700 or 800 words a day, to which they have — but at all events it has been are added 1,000 more in alteration and addithere just the same. In that respect there tion to those of the previous day. Of course are a whole lot of other young playwrights obstacles arise. Of course characters balk; just like me. We're just the pioneers in the and when they do you can depend on the field, though. But after we're gone and for- writer balking, too. gotten - as we will be — there will spring There is no law forcing these conditions — up men who will perpetuate the work and they happen or they don't happen ; it dewill be great.

pends on the inner necessity. If the ground And so, as I said at first, I don't know is well laid, things go smoothly, if not — how I write my plays. I write them because not. The motif of a play or its formulative the times demand them — because I have to.

stage is largely dependent on the unceasing Charles Klein : If I am writing a melo- concentration of the author. He wants an drama or a play frankly for the purpose of idea - it comes to him, how or why I know theatric effect, I make the characters sub- not ; but here is the idea, and this depends sidiary to the working out of situation ; but largely on inspiration - or it ought to. To in the prese: tation of a social problem – in clothe it depends on technique, the author's a picture of conditions — the characters con- good taste in selection, characterization, control the sitriation ; sometimes a character struction, etc. ; in fact, the work of playsuggests an idea, sometimes the idea the

writing is so largely interdependent that I character. It depends on the initial impulse, really don't know where one fault leaves off and this in turn depends on the exigency or and the other begins. necessity of the requirements.

I think it's a great mistake for an author A condition of social life to-day presents to write just what he thinks the public wants, a problem. The problem suggests the means for they don't know what they want (they for working itself out, and the characters want whatever is good), and if one's work most likely to bring out the pro and con of is too largely influenced by the momentary the problem are selected. The situation then taste of the public, he is apt to be influenced follows the story, which by this time is sug- to such an extent by the latest success that gested by the characters ; in its final analysis he may be accused of lack of originality.

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The need of using the hyphen in compound adjectives is illustrated by the misprinted phrase a cement mixing trough," and also by the statement of a famous hunter that he was never really happy until he “had killed a man eating tiger."

THE WRITER PUBLISHING CO.,

88 Broad street, Room 414, P. 0. Box 1905.

Boston, Mass.

statement.

A critic in the London Saturday Review, after declaring that the late William Ernest Henley was not a great writer, either in prose or in verse, goes on to say :

“ His well-known quatrains, 'Out of the night that. covers me,' admirable as

a piece of epigram, falt short of poetry by their very directness. Their ex. cellence, in fact, is purely a prose excellence, the rhyme and metre notwithstanding. Only the greatest poets can invest with magic a piece of ethical

Compare the quatrains with Wordsworth's The World is too much with us, and their prosaic quality is at once evident. There is all the difference in the world between the passion of an instinctive poet and the utterance, however terse and strong, of the talented writer. We commend these lines – perhaps the most familiar of Henley's verses – to the close consideration of all who admire them as poetry, for they make a fair test of his merit in this direction.”

Here is the plain statement that true poetry cannot be direct. There would seem to be room for discussion on this point.

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Milton affirmed that the simple and sincere” manner must pervade all good writing, whether poetry or prose.

The same idea is contained in the saying of Vauvenargues : “In order to know if a thought

The need of accuracy in punctuation is illustrated again by the discovery that, be

is new, one has only to express it quite the payments should be only for a limited simply.” Nietzsche says : “ The misfortune time. After that, by a close approach to of lucid writers is that people think them common agreement, his exclusive rights exsuperficial, and consequently take no trouble pire, and anybody who thinks his books will in reading them ; while the chance for ob- sell has the privilege of printing them. For scure writers is that the reader has to labor

years past the tendency in civilized countries hard in order to understand them, and credits has been slowly to extend the author's them with contributing the pleasure that he monopoly, and thereby to increase his derives from his own diligence.”

emoluments. It may be, therefore, that an unlimited copyright will come at some time

in the future, but at present it seems rather Andrew Lang wishes the world to under- like an idle dream, and Mr. Clemens doubtstand that he is industrious and not above less knows that in his new corporation he detail work, however little he may like it. It will leave to his heirs little more than a basis is better, he thinks, to be a novelist than an

for lawsuits, which they can hardly hope to historian. The latter, he says, “may make win." money enough to pay his typist — and consider his labors !” Mr. Lang adds :

The New York Sun tends to take the I speak feelingly — indeed, sorely — having written an historical book of about the length of a com.

ground that limited copyright is justifiable. mon novel. There are some fifteen hundred refer- " In the case of the Mark Twain incorporaences to 'anthorities,' as my printer ingeniously mis- tion," it says, “a legal experiment is conprinted the word. First, I put them into the manu

templated. The explanation has been offered script as they occurred, and then twice compared

that when the pen name is the property of every mortal one of them with the volumes and pages to which they referred. Then they were all a perpetual corporation, Mr. Clemens's heirs typed separately, and were again verified for the third

will be in a position to enjoin perpetually the time. Then they were printed and verified for the

publication of all of the Mark Twain books fourth time, in print, which yields six thousand

not authorized by the Mark Twain Comcases of looking up a passage. After all, it is certain that some numerals will be wrong, and then the critic pany.' If this could be done, should we not will come and raise an outcry."

witness a general assumption of pen names by authors who cared not a straw for im

mortality, and would not authors and their Mr. Clemens's move in creating the Mark

heirs enjoy an absolute monopoly in spite of Twain Corporation, with a view to securing

the copyright law? We fancy that it would to his family and heirs the profits of publish

not be long before the legislature intering his books after the copyrights on them

vened.” have expired, has aroused general interest. The New York Times doubts the efficacy of the scheme. “As the law stands," it says,

On the other hand, Mr. Clemens's literary “ we cannot see that the Mark Twain Corpo- agent, Ralph W. Ashcroft, thinks that the

Mr. Ashration will serve the designed purpose of giv- corporation scheme will work.

croft says : ing to Mr. Clemens and his heirs and their heirs perpetual and exclusive power to draw “ Mr. Clemens has been troubled for a year by the

knowledge that the copyright of his works would profit from his books. It is not easy to say

soon expire, and that strangers instead of his own why they should not have it, but somehow

kin would read the financial benefit from his literary there seems to be a general feeling in all

works. He has been in consultation with Mr. Hobbs countries that the author is in some way or and myself practically every week. We finally hit on degree different from other producers, and the plan of incorporating the Mark Twain name

itself. We believe that when this name is the propwhile it is admitted nowadays that he should

erty of a perpetual corporation, Mr. Clemens's heirs be paid for his work, if it be worth buying,

will be in a position to enjoin perpetually all publi. with the admission goes an assumption that cation of the Mark Twain books not authorized by

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

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

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

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

176, 188 Newell, Maude Woodruff, 119 News and Notes, 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, A 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 of, 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
Riley, James Whitcomb, 57
Roberts. Lloyd, 108
Rudyard, Charlotte Louise, 119
Sardou Play, Plot of a, 26
Sawyer, Walter Leon, 9
School for Novelists, A, Hope, 81

115
Shall and Will, Use 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
Sinith, 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, Booth, 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, A Lesson in, Lauriston, 86
Verse, The Record Price for. 126
Vogel, Arthur E., Editorial Talk, 102
Walter, Eugene, The Writing of Plays, 4
Ward, Mrs. Humphry, 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
“ 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

Wit, 93

A MONTHLY MAGAZINE TO INTEREST AND HELP ALL LITERARY WORKERS.

Vol. XXI.

BOSTON, JANUARY, 1909.

No. 1.

ENTERED AT THE BOSTON POST-OFFICE AS SECOND-CLASS MAIL MATTER.

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eye simply because he does not know his

market. CONTENTS :

And this is costly. Leaving out the quesMARKETING 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 . 8

thing unsalable, and you begin to wonder " NEWSPAPER ENGLISH” Edited .

8

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

8

This is the most natural feeling in the world, Mary Constance Du Bois, 8 – Arnold Haul. tain, 8 - Edith Hibbard, 9- Walter Leon

but very often the story would have found a Sawyer, 9 - Effie Smith, 10- Emerson Tay

home long ago had its author but taken the lor

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 “ Ben Bolt " Was Written, II- The

gard them as being very poor stuff indeed. Pigeon-hole Snare, 12 - Literary Questions 13 Every writer should make it a point to see Book Reviews

at least a certain number of magazines each LITERARY ARTICLES IN PERIODICALS

month. All of these cannot be read thorNEWS AND Notes .

15

oughly 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

of the publication can be gained, and a little Nowadays, with almost every magazine in

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 use 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. And

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

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