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The United States Circuit Court of Appeals at Cincinnati has handed down a decision that the broadcasting by radio of a copyright musical composition without permission is an infringement of copyright. Officials of the American Society of Composers, Authors, and Publishers at 56 West Forty-fifth street, New York, hail the decision as a great victory." "It settles the rights of authors and composers to control their own work," says Julius C. Rosenthal, general manager of the society. Sixty-nine American broadcasting stations paid the society fees of approximately $34,000 last year for the privilege of using the works of members.

The publication in book form of “Edgar Saltus the Man," by his widow, Marie Saltus, will be postponed until fall, to allow for the serial publication of the manuscript. In the mean time, Mrs. Saltus will be glad to get any copies of letters from her late husband or any interesting facts about him. Her present address is Hotel Mark Twain, Hollywood, Calif.

The two latest volumes in the Writers of the Day series published by Henry Holt & Co. are "H. G. Wells," by Ivor Brown, and "Bernard Shaw," by Edward Shanks. Previous volumes are "Anatole France," by W. L. George; "Arnold Bennett," by F. J. Harvey Darton ; Rudyard Kipling," by John Palmer; "Joseph Conrad," by Hugh Walpole ; 'Thomas Hardy," by Harold Child; and "Henry James," by Rebecca West.

"William Blake in This World," by Harold Bruce, is published by Harcourt, Brace, & Co.

"Mr. Pepys," by J. R. Tanner, is published by Harcourt, Brace, & Co.

"James Branch Cabell," by Carl Van Doren, is published by Robert M. McBride & Co.

"The Men Who Make Our Novels," by Charles Baldwin, is published by Dodd, Mead, & Co.

"The Political Novel: Its Development in England and in America," by Dr. Morris Edmund Speare, is published by the Oxford University Press.

"An Atlas of English Literature," by Clement Tyson Goode and Edgar Finley Shannon, is published by the Century Company.

The Macmillan Company has removed to its new building, 60 Fifth avenue, New York, and is sending out a booklet entitled "The Authors' Book," a revised and enlarged edition of its 'Notes for the Guidance of Authors," first published a quarter of a century ago. The first part of the booklet gives a description of the new building and information about the Macmillan Company. The second part, headed "Notes on the Making of a Book," gives suggestions about the preparation of the manuscript, submitting the manuscript, copyright and other legal considerations, matters of style, and proof-reading, with a glossary of terms used in book-making, and a list of signs used in reading proof and a fac-simile of a proofsheet corrected.

Harold K. Guinzburg, formerly of Simon & Schuster, and George S. Oppenheimer, for several years advertising and publicity manager for Alfred A. Knopf, have founded a publishing business, to be known as the Viking Press.

The Atlantic Monthly has acquired an interest in the Youth's Companion, and the new board of directors will include Ellery Sedgwick, president of the Atlantic Monthly Company, and MacGregor Jenkins, treasurer. No important changes in the policy of the Companion are contemplated.

The publication of McClure's Magazine is resumed with the May issue.

The Crowell Publishing Company, which publishes the American Magazine, the Woman's Home Companion, Collier's, Farm and Fireside, and the Mentor, has removed to 250 Park avenue, New York.

Mrs. Frances Trego Montgomery died in Hong Kong, China, April 7, aged sixty-seven.

Either

Where do you send your stories? you plan and write them, having a particular market in view at the time; or you write first and then search for the publication to which the story seems suited. Is it best to have a definite market in mind before beginning a story? Is this always true? And why?

All will agree that one must have some sort of marketing plan, that one cannot submit stories to whatever publication first comes to mind. To follow this plan would be like aiming at no market at all. Writing first and selecting suitable markets afterward is an improvement, for it is aiming in the general direction of some target or other; but to decide on a definite market previous to the writing, is to fasten one's eye, attention, or effort on the very bull's-eye.

Well enough it is to take great pains in finding suitable markets for completed stories, but

No. 6.

better still to find those markets before writing the story. Why? And through what channels does a story pick its perilous way from author to destination? Who, in short, is the consumer?

Liken a story to a commodity. You, the writer, are the manufacturer. You have de cided to produce something, and to sell it. Right here we may stop for a moment. To serve art and other higher considerations, one ought, of course, to write for the pleasure of it, for the help it may give to others, or for the satisfaction one may gain from an artistic production; but that is outside the question. Most folks write for the purpose of selling ; and that is the proposition at hand. And so, you, the manufacturer, have resolved to produce and sell. What should be your first consideration? To make sure that there will be a demand for your product somewhere. That proved, you should do your utmost to manufacture a fine product. And finally -and of greatest importance you should consider how and to whom you will sell. Though your product — your story — be needed, though you turn out a fine piece of goods, it will be worth nothing unless you know to whom it can best be sold. And how shall the sale be brought about quickly and easily? If a story has worth of theme and subject, is entertaining or instructive, and is well written requirements with which all are familiar — there remains the final and most vital consideration of putting the goods on the market. In short: Who is your consumer? And how shall you get his business?

Do you sell to the magazines? Are they your consumer? No. Is the editor your ultimate goal? Again, no. Who, then, must you always bear in mind when planning to manufacture and market your wares? In the busi

How can this be effected? Naturally by seeing that your product — your story — is suited in every way to the particular group of readers; and that gives three definite considerations which will bring about the "consummation to be desired." To sell your manuscript, through the middleman, to the consumer, see that it has (1) attention value; (2) reader interest; and (3) reader confidence. These requirements have less to do with technique primarily than with broader, more general, truths. It is a business proposition, of manufacturing and selling ; and business rules will serve it best.

Having found just what your particular consumer needs, is interested in, or prefers gaining these facts through a study of the middleman and his Exchange — be sure that title, opening, style, and construction are so attractive that they will gain attention value for your story. This point is general, for all stories, aimed at whatever group of readers, should seek attention through attractive titles, openings, and all the rest.

Reader interest, the second consideration, becomes more particular, however. Now it is

that is,

the consumer. To be sure, every reader in any group is interested along certain general lines; but your particular consumer has special interests. How do you know? By noting with which middleman he deals, at what Exchange he trades, and what lines he buys, what sort of a magazine your consumer reads, and what its editorial policies are. Thus, pack your story with materials that will interest this particular group of readers. Not merely detective stories for detective and mystery publications, sea stories for magazines of the sea, and so on, but the questions of style, length, sex, especially of particular types of characters, certain locales and tones and moods and settings all these should be weighed carefully by the writer if reader interest is to be gained.

The third point - reader confidence is the writer's most valuable asset. Just as a manufacturer is "made" if the trade has absolute confidence in him and his product, so the writer need never worry again if editor and reader clamor for his stories, knowing that they are four-square. And what is this confidence in a writer's stories? It is the reader's knowledge and the editor's that there is no sham, no false note, no dashed-off effect, in the story. The feeling of certainty that every fact can be relied on; and that workmanship is true, and characterization sound. In short, reader confidence is gained only by the author who has served; struggled; kept relentlessly to the straight, hard road of truth, of fact, of unwavering determination to put the best he has into every paragraph, and to allow nothing but truth, pure and fine, to exist in his stories.

Then will the consumer demand more of that product from the middleman; and when readers call for certain brands, editors move quickly and powerfully to fill their shelves. If a writer finds that his product is popular, he may know it has a fine, upstanding qualification. So long as he continues to produce the same quality of goods and service, his business will increase. Nothing need be said about consumers with distorted tastes, and manufacturers that produce goods to meet this demand. They have chosen that class of trade.