Thumb-nail Classic Prize Offer, 238 Trade Journalism, Editorial Survey of, 86 Typewriters, Vacuum Cleaner for, 23 Verse-Making, An Exercise in, Mitchell, 198 Work Your Idea to the Limit, Peel, 113 Writer, The, Enlargement of, 132 The fourth printing of this Directory - which is constantly being revised and enlarged - began in THE WRITER for July, 1922. The information for it, showing the manuscript market and the manuscript requirements of the various publications listed, is gathered directly from the editors of the periodicals. Great pains are taken to make the information ac curate and the Directory complete. Before submitting manuscripts to any publication, it is advisable to secure a sample copy. (Continued from December WRITER.) Prints articles of general trade interest con cerning the actual business practice of success- ful furniture merchants stories concerning "the other man's way.' Few manuscripts pur chased unless accompanied by photographs of window and floor displays, etc. Buys many photographs, but prints no fiction, no verse, and no jokes. Sets length limit at from 500 to 1,200 words, and pays one cent a word on publication. Furniture Manufacturer & Artisan (M), Periodical Uses technical articles of interest to facturers of furniture, their superintendents__and foremen, preferably within 2,000 words. Buys photographis. Does not use fiction. Pays after All-Sports Magazine (M), 14 East Jackson boule- Vol. I., No. 1 May, 1924. Uses general ar ticles, short stories, poetry, humorous verse, and jokes, but no novelettes, serials, plays, or juve- nile matter. Buys matter for departments de- voted to motoring, trapshooting, hunting, where to go, and fishing. Sets length limit at 10,000 words, and buys photographs in large quantities. Fiction should relate to sporting topics, and be suited for the American gentleman, with lots of action and vigor. Pays from one cent to five Arrival (M), 402 Los Angeles Railway Building, Eleventh st. and Broadway, Los Angeles, Calif. A monthly magazine edited and published by members of the California Authors' Club from members, each striving to publish his best work. The work wanted is general and is approved for publication by the secretary of the club. Boston Grocer and Provision Dealer (M), Lock A trade magazine for grocers and meat dealers, using articles giving actual plans or methods used by such dealers in reducing expenses or in- creasing trade. Sets no length limit on manu scripts, and buys photographs. Time of payment Commonweal (W), Calvert Publishing Corpora- tion, 25 Vanderbilt ave., New York. $10; 20c. Vol. I., No. 1 November 12, 1924. Uses general articles, short stories, poetry, and hu- morous verse, but no novelettes, serials, jokes, plays, or juvenile matter. Sets length limit at 2,500 words, except for articles published in two or more parts. Buys brief editorials, and, very occasionally, photographs. Prefers fiction to be brief, without the usual magazine "plots." Pays National Humane Review (M), 80 Howard st., Al- bany, N. Y. $1.00; 10c. Leopold L. Wilder, Uses articles of humane character, particu wayward and delinquent children, whether int the shape of general articles, or short stories. Also uses poetry, humorous verse, jokes, and juvenile matter. Sets length limit at 2,000 words Buys photographs, and pays on publication. Progressive Grocer (M), 912 Broadway, New York. G. K. Hanchett, managing editor. A journal for grocers, published by the Trade Division of the Butterick Publishing Com pany, going to 50,000 of the best retail grocers in the country. Likes short articles, of from 100 to 1,500 words, describing success methods, win- dow displays, sales stunts, hints, and ideas; also articles dealing with principles and practices in the grocery retail field. Photographs are pecally welcome, and a poem with the grocery store atmosphere is used occasionally. The magazine is always in the market for good jokes. Pays on acceptance, at the rate of from one cent to two cents a word for manuscripts, True Adventure (M), Fiction House, Inc., 461 Eighth ave., New York. $2.00; 20c. J. B. Kelly, Uses stories, of from 3,000 to 6,000 words; feature stories, of from 8,000 to 12,000 words; and The third printing of this Directory was begun in THE WRITER for March, 1917. Back numbers can be supplied. A set of the numbers from January, 1918, to date, giving the Directory complete, with additions and changes bringing everything up to date, and much other valuable matter, will be sent for five dollars; with a year's subscription added, Sentences Rhetoric The Sketch. - In our first talk we found that words are We will now pass to a brief consideration why, whether he has a weakness for paren- We shall find that while every author has a natural predilection for a certain type of sen. - If we wish to be forceful we are apt to in- clauses. If we dip into Walter Pater we shall see how careful he is to reproduce a perfect picture in words of the picture in his mind. He is deliberate and conscientious. We can almost fancy him going to imaginary pigeonholes of phrases and clauses and carefully picking out the right ones. It is said that Pater wrote English as if it were a dead language and irreverent persons have remarked that his work sounds like it. Carlyle is impatient and headlong. He goes at a sentence the way a dog digs up a buried bone, careless of whom he spatters, and as the bone is at the end of the digging, so Carlyle's meaning is often not reached until the end of the sentence true climatic and periodic sentences, almost of German construction, with the meanings snapped out at us at the end. To be successful we must have infinite variety. It is an ascertained psychological fact that nothing will hold our attention long unless it changes. The reason we can sit watching an open fire indefinitely, or the sea, is because there is constant motion. Monotony is the cardinal sin to be avoided in writing and with our various sentence forms this is very easily done. We have long sentences, short sentences, the declarative sentence, the interrogative sentence, and the exclamation. We have simple sentences, complex and compound. We have the balanced sentence, which produces an impression of grace and clarity, the sentence abounding in antitheses, for which Victor Hugo is famous, giving us the strength of contrast. We have the sentence that rises to a climax, the sentence that holds its meaning to the end, and the loose sentence, in which the author adds something as an after-thought. In these talks I shall not deal with figures of speech directly. You can find a description of them in any rhetoric. The simile and the metaphor are the most common and the most useful. The other figures often sound old-fashioned to our ears, and when used at all are used unconsciously. It would be interesting if a Carlyle or a De Quincey, coming back, should submit to a modern professor of English some of his prose that had served as examples in old-fashioned text-books on literature. I am sure the mod ern professor would blue-pencil the work as over-expressive and flowery. We have become restrained in our rhetoric and even in our prose rhythms. More than ever our literary art is an art that conceals art. The whole tendency of modern writing is toward simplification, conciseness, and the vividness of the most direct appeal. In fact many of the most advanced writers disregard even the traditional sentence forms and tend toward broken rhythms and even the use of single words in the primitive method of children to which I have referred above. This is the rhetorical spirit of the times, and I want you to realize that you will have all the liberty in the world after you have tried your wings a little. In our last talk we learned that in actual writing we must get started promptly, form habits of regularity, not take our work so seriously that it will bring a train of paralyzing fears. We wrote a description and for purposes of illustration we imagined that we all wrote a description of the same scene an Italian street fair. I now ask you to use one of your descriptions as the setting for an incident, or write a new description with an incident in it, whichever you prefer. Again for purposes of illustration we shall utilize our street fair. We shall suppose that at the proper place in the description a young Italian with a pretty gesture makes love to an Italian girl. We hear perhaps a phrase or two of the soft Tuscan dialect. The Italian girl smiles, accepts the present her lover offers her, and it is obvious to the onlooker that in accepting the present she has accepted him. What have we written? We have a setting, we have characters, we have conversation, we have action, we have a successful love affair. Have we a story? I think we shall all agree that charming as this might be, it does not constitute a story in any sense. It might be made into a sketch, for a sketch in literature is like a sketch in art. The artist goes out with a sketch-book. A landscape, a face in a crowd or a huddle of houses interests him and he jots it down the mere barest suggestion, but to him that sketch is more interesting often than the finished picture. It suggests to him the whole |