illicit love affair. Here, whatever ideas are illustrated are illustrated naturally by life rather than by making over life to illustrate an idea.

I fear I cannot make this point too strong, that the biggest work is that in which the author sees most deeply and feels most truly his characters, irrespective of whether they are what the world would call good or bad. On a single page, Edmund in "Lear" sets forth more eloquently all the arguments in favor of love-children than all the treatises written by modern sex radicals, while on the other hand Portia and Brutus give us an unexampled picture of married life. Which of the two did Shakspere personally believe in? We do not know, nor do we need to know. He was not desirous of giving us guides toward conduct in the narrower sense. His concern was to present life to us touched by the magical wand of art.

The novelist can dwell lovingly on details. He can indulge himself in discursions if they are related to his novel. He can let time flow almost the way it does in life. If he is

of a temperament that does not like the large, loose, leisurely novel, he can have a closely-knit novel, full of incidents, objective action, ingenious climaxes. If he is tired of the novel beginning with the birth of the hero, he can pick up the hero in early manhood or middle age. In "The Sacred Fount" Henry James wrote a full-length novel about a week-end party. In "Ulysses" James Joyce wrote a 700,000-word novel covering twentyfour hours in time. It took him seven years to write the novel, during which time he read no other book, fearing he would be affected by it, and as soon as it was published, Ulysses" was suppressed because it treated sex frankly, though without allure. If Joyce had treated sex in a veiled way with a leer, he could have sold his novel to some popular magazine and made an enormous amount of money out of it, and it would never have been suppressed. What is the moral thing for a writer to do?

NEW YORK, N. Y.

Richard Bowland Kimball.

(To be continued.)

An article should deal authoritatively with facts, that is, it should be an exposition. An essay may deal speculatively with either facts or theories. It should play about them and throw light upon them from as many angles as possible. An article is impersonal. In it the writer should set down, without intruding his personal opinion, all the facts he has been able to verify. An essay is, primarily, a personal expression of opinion. It should reflect the writer's personality. As soon as the writer ceases to record facts and begins to philosophize upon the state of things, to suggest improvements and forecast future developments, he oversteps the bounds of the article and becomes an essayist.

Many of the articles in current magazines

are mixed specimens, in which the writer sets forth facts and then proceeds to elucidate them from his own point of view. Such handling may be permitted to competent writers, but it is dangerous for the inexpert, and the literary artist should be able to detect the mongrel.

A year or two ago there was a craze for "painted photographs." Some of the results achieved were satisfactory enough. They made "pretty pictures," but the artist scorned them and the photographer regarded them as "good photographs spoilt."

An article that turns into an essay, or an essay that collapses into an article is a "painted photograph." Beware of it.

THE WRITER is published the first of every month. It will be sent, postpaid, for $1.50 a year. The price of Canadian and foreign subscriptions is $1.62, including postage.

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The publication office of THE WRITER is Room 46, 244 Washington street, but all com. munications should be addressed :

THE WRITER PUBLISHING CO.,
P. O. Box 1905, Boston, 6, Mass.

the high school at West Springfield, Mass.:

Think how wonderful radio is!
While near the horn we linger,
We turn a knob to left or right,

And hear a beautiful singer.

And then we turn another knob,

That brings a band of jazz;

The magic of it holds us there. What charms our radio has!

Two notable sentences have appeared recently in print. One of them is from an article on Sleep, by Dr. Sir Frederick Mott, in the London Lancet. It reads :

Seeing that every sensation and every mental image or engram leads to a reflex activation which may be apparent or not according to the influence of positive or negative inhibition; to every sensation and image or perception there must, in consequence of this reflex motor action, result a corresponding kinaesthetic or postural excitation of afferent stimuli flowing along proprioceptive neuronic systems from muscle spindles, tendons, bones, and joints which, combined with associated labyrinthine sensations, form a sensory continum which is intimately integrated with the exteroceptor sensory continuum on the one hand and the motor continuum on the other.

The other is the opening sentence of the Augusta (Ga.) Journal's story of the total eclipse of the sun, written by Earl L. Bell:

An iridescent glow, pale purple and almost eldritch in its delicate sungleamed coloring, enveloped Augusta Saturday morning as the adumbrations from Earth's satellite, the icy-crenate moon, then edging its atrous disc across the face of the Great Luminary, partially obscured the light of the nascent day.

Commenting on a reference to the imperfect rhyme in Emerson's stanza,

By the rude bridge that arched the flood,
Their flag to April's breeze unfurled,
Here once the embattled farmers stood

And fired the shot heard round the world, Professor Mitchell, who contributes the article "A Tip for Rhymesters," to this number of THE WRITER, says: "It's curious, is n't it, how the poets have sometimes taken the liberty of rhyming to the eye instead of to the ear. Another notable example is that of Kents in his famous sonnet, 'The poetry of earth is never dead,' in which he makes 'dead' rhyme with mead.' But the greatest sin any poet ever committed for the sake of a rhyme was

the solecism perpetrated by Byron in his sublime verses on the ocean when he used 'lay' for 'lie.' And what is the explanation of this? Pure laziness?"

The mail received by the poetry editor of a big newspaper is not monotonous. Sometimes, for example, he gets a letter and a poetic gem like this :

Dear sir Enclosed find Poem of which I have wrote an am sending you for your inspection to see if it is suitable for publications and I also wish you would give me information on how poems or songs are accpted and how much is Fayed for writeing them I suppose it depends on the song or poem what they bring. The Ship that was Guided Safely to the Old New England Shore. Verse I.

The blue waves were mountain high upon the

ocean

When a large vessel looked like a rowboat upon that mountain of blue,

In that large vessel there is a sweetheart that will return to you

Some one that will guide you safely through the roads of life and help me remember the one that was true.

Verse 2.

The rains they may beat,

The winds they may blow against the Cabin door But the true one feels that the ship will be guided safely to the shore of old New England

'Tis there I will stay and roam no more.

Verse 3.

The night was dark, the wind was high
The old bough pitched towards the sky
The Captain said, without a sigh "I will reach

the shore or die

His words were bitter and cold, but his heart was brave and strong

He knew it wouldn't be long before he would reach the shore.

THE MANUSCRIPT MARKET.

[This information as to the present special needs of various periodicals comes directly from the editors. Particulars as to conditions of prize offers should be sought from those offering the prizes. Before submitting manuscripts to any periodical, writers should examine a copy of the magazine in question.]

The Paine Publishing Company ( 15 East Fourth street, Dayton, Ohio) which publishes educational books, primary material, en

tertainments, plays, and general school supplies, desires to get in touch with successful writers for high schools, clubs, et cetera. Just now the company is in the market for strictly high-class three-act plays, preferring mainly comedy. The company buys manuscripts outright.

Good Looks Merchandising (243 West Thirty-ninth street, New York) is interested in stories about toilet-goods departments in department stores, drug stores, and beauty parlors. Stories should contain from 500 to 1,500 words, and should discuss the management, buying, selling, advertising, and display activities of actual stores. Payment is made on acceptance, at the rate of one cent a word.

The New Yorker (25 West Forty-fifth street, New York) buys all kinds of satirical and humorous material, varying in length from a paragraph up to 1,200 or 1,500 words.

McNally's Bulletin (81 East 125th street, New York), a book of comedy for vaudeville and dramatic performers, published twice a year by William McNally, is in the market for farce comedies, suitable for theatrical performances using seven or more characters. Farces must be original and snappy, with plenty of action, and may contain from 4,000 to 6,000 words, although those not exceeding 4,000 words are preferred. Payment is made on acceptance, at rates varying from a dollar a hundred words to a dollar a thousand words.

Field and Stream (45 West Forty-fifth street, New York) is always in the market for good outdoor material-hunting, fishing, and camping stories, and practical articles on these subjects, not exceeding 3,000 words. Good illustrations are almost essential, and payment is made on acceptance, at one cent a word upward.

The Smart Set (119 West Fortieth street, New York) is in the market for realistic short stories, of from 3,000 to 7,000 words, dealing with love, adventure, success, or a combination of the three. Although the Smart Set is a first-person magazine, it is not

The True Story Magazine, True Romances, and Dream World (1926 Broadway, New York) use only first-person stories, printing them unsigned. Stories should tell themselves, avoiding padding, but including all interesting facts. Names of characters and places may be changed, but if the story is some one else's experience, it should be written in the first person. Manuscripts submitted to any of these magazines are considered for all the Macfadden publications, illustrations are made in the Macfadden studio, and payment is made at the rate of two cents a word.

Boy Life (Box 5, Station N, Cincinnati, Ohio) can use some football and basket-ball stories, suitable for boys of high school age, for which payment will be made at the rate of one-half cent a word. Paul Lappin is now editor of Boy Life.

Fiswoode Tarleton (Box 114, Arlington, Mass.) is editing a new annual volume, to be called "The Best Adventure Stories of 1925," to be published by the Four Seas Publishing Company, of Boston, and will be glad to have writers of adventure stories that have appeared in magazines or newspapers send him copies of their printed work. All writers of stories included in the volume will have a share in the royalty. Mr. Tarleton's magazine, the Modern Review, has suspended publication until fall.

The Siebel Publishing Corporation (32 West Twentieth street, New York) is in the market for high-grade detective or adventure stories, and specialty books of such a nature that they permit exploitation in special fields.

Travel (7 West Sixteenth street, New York) is overcrowded with material at pres

ent. Edward Hale Bierstadt, the managing editor, says that he does not like the flat descriptive article, preferring something that has a direct focal interest. As an example, an article on the Chinese stage is more desirable than an article merely on Pekin. All articles must be fully illustrated, and should! not exceed 5,000 words.

The Boy Citizen (Printing Crafts Building, Fort Wayne, Indiana) wants material for the Boy Citizens' League Department, short athletic articles, short editorials, and feature stories of interest to boys. Manuscripts should not exceed 300 words, and payment will be made on publication, at from one-half cent to one cent a word.

The Menorah Journal (167 West Thirteenth street, New York) is most anxious 10 have short stories, sketches, poems, etc., written in a light vein on Jewish themes. The magazine does not want dialect, and it does not desire ghetto fiction.

The principal need of Everygirl's, the magazine of the Camp Fire girls (31 East Seventeenth street, New York ), is for vivid, wellwritten fiction for girls of about sixteen. Stories of mystery and of adventure are particularly wanted, and the editor is not averse to a love interest if it is carefully handled. Stories of from 10,000 to 15,000 words, which can be divided into instalments of about 5,000 words each, can also be used. The magazine does not buy verse or pictures. Payment is made three weeks after acceptance, at varying

rates.

Illustrated Mechanics (1411 Wyandotte street, Kansas City, Mo.) wants some illustrated articles of a general scientific nature, dealing with the latest developments in science, invention, the radio, and similar subjects.

The Fiction House (461 Eighth avenue, New York), publishers of Action Stories, True Adventures, and North-West Stories, is particularly in need of short humorous stories cowboy humor and the rough humor of the likable vagabond adventurer. Rough, dramatic he-man type of cowboy stories, of

from 5,000 to 6,000 words; adventure-action novelettes dealing with colorful dramatic adventure in the South Seas, the African diamond mines, or the Far West and the West, of from 10,000 to 12,000 words; and short novels, of from 40,000 to 50,000 words, for serial publication, of two types - one dealing with westtern and northern adventure with romantic interest, and the other dealing with straight cowboy adventure are also wanted.

Omar Hite, the managing editor of the Christian Herald (Bible House, New York), reports that he is buying little during the summer, as the magazine is overstocked on almost all lines. In the fall, however, he will be in the market for a serial of about 40,000 words, and a few short stories.

Real Detective Tales (1050 North La Salle street, Chicago) is in the market for dramatic short stories, not exceeding 4,000 words, humming with tense action and suspense-vivid, thrilling stories in which every word counts. Mr. Baird, the editor, says that, of course, all stories for the magazine must be of the detective or mystery type, and that he is particularly interested right now in stories with a western background, such as "The Gila Men," now running serially in the magazine.

The Associated Good Samaritans, Cora May Culver, National Executive Secretary, Salina, Kansas, issue two papers - the Good Samaritan (monthly) and Humanity's Call (weekly) -and for these they are in the market for original stories taken from life depicting the ravages of famine, disease, fire, flood, earthquakes, etc. stories that reveal in appalling figures the great suffering caused through such destructive agencies. They would also like modified press items bearing on these subjects, and statistical facts. Stories should contain from 500 to 3,000 words. One good serial on these topics each instalment containing some account of heroic rescue and relief, acts of mercy, kindness, or charity - can also be used.

Ellis Howard Shimp (421 Clark street, Cambridge, Ohio) asks THE WRITER to an