Every reputable publishing house employs a number of readers, whose duty it is to read manuscripts independently the one of the other. These readers are not always staff-workers, but sometimes are literary advisors or experts upon whom the publisher may call at any time for the expression of opinion on the payment of a special honorarium. In the publisher's own office, however, there are usually two or more readers to whom manuscripts are submitted, and on whose judgment the publisher either arrives at a decision or calls for further reports, and submits all the reports received to his associates in business, for the purpose of determining finally whether or not his house shall undertake the publication. At such a meeting the opinions of the men who sell his books for him usually have weight with the publisher. They are practical men, practical in their knowledge of the selling qualities of books. If a traveling salesman is in town his opinion is sought also, and even those of the mail and shipping clerks, whose duties keep them in touch with the popular demand. It is at just such a conference as this that the possible selling qualities of a book are thoroughly considered, and it is seldom that a judgment is faulty that is based upon such points as are brought out there.

In the words of the author of "A Publisher's Confession," the following is the usual course pursued with a manuscript: "A first reader-a man of all-round general knowledge of books, and he ought to be a man full of hard common sense, common sense being worth more than technical literary knowledge-the first reader examines the manuscript. If it be a shop-worn piece of commonplace work, obviously hopeless, he may not read it from preface to end, but he must say in his written report whether he has read it all. Whether he condemn or approve it, it is examined or read by another reader. If both these condemn it as hopeless, the publisher declines without more ado." Seldom indeed are mistakes made with manuscripts that have been read by two readers, both of whom declare them to be worthless.

ON THE VALUE OF ADVERTISING

Even after a publisher accepts a manuscript all is not plain sailing for him. Many a wellwritten book has fallen flat because it has not caught the public fancy. The author says, naturally: "Advertise and catch it." The publisher may advertise in an endeavor to do so and create a demand, but if the public says "No!" he might as well try to stem the flow of Niagara as to ad

vertise in the hope that he can compel an unwilling public to accept his wares. It is a fallacy to believe that advertising, even tho it be on a broad scale, will assure the success of a book. It may help a little, but that is about all it can do. Besides, advertising costs money, "big money," and unless each advertisement repays its cost by sale, and shows a margin of profit, to advertise is simply to drop money into the ocean.

Authors almost invariably believe that the publisher who spends most money in advertising sells most books. This is far from the case, and the point can not be better illustrated than from practical experience. Some years ago a certain publisher who advertised loudly and widely made it his practise to print daily in the newspapers "We publish a new book every day in the year." The catch-line was fascinating; it brought the publisher some authors and many would-be authors. But after a few years the business went into the hands of a receiver; it never recovered from the shock. This publisher was the victim of over advertising.

ADVERTISING THAT HELPS

The personal element has much to do with the success of a book, especially if it be a book of fiction. Books sell by being talked about, not

only among the author's friends but in outer circles. In many respects a book is like a play. Many people go to the theater without the least idea of the plot of the play they are going to see. Of course the play has been criticized, but in these days of theatrical trusts dramatic criticisms count for little, while the personal element counts for much. If you see a play and are pleased with it you bubble over with enthusiasm about it, you tell your friends; they go, and they in turn enthuse, tell their friends, and step by step the success of the play is assured. It is much the same with a book; but to be successful nowadays outside the field of reference books, the author who wishes to write must have a story to tell, and he must tell it straight from the shoulder, and with as few interlardments to interrupt the narrative as possible. Men and women who read fiction to-day read it chiefly for pastime or diversion; as a rule, they do not care to be hampered at every step with page after page of scenic description, no matter how vividly penned. They want action and a good plot, ingeniously developed, to maintain their interest in the story. Authors who contemplate entering into the field of fiction should remember this: as sure as brevity is the soul of wit, so sure is action the strength of a story.

While the fiction-reading public wants action, it does not want too much action in too short a time. Action can be overdone-has repeatedly been overdone. An example of this is provided by a recently published novel. Here are the performances of the hero in one chapter only: "His countenance fell"; "his voice broke"; "his heart sank"; "his hair rose"; "his eyes blazed"; "his words burned," and "his blood froze!" Remember, "Enough is as good as a feast."

BEWARE OF LIBEL

In works treating on topics of the day, or in those in which the personal element predominates, authors should take great care to avoid offensive personalities, or references that may be construed as libelous, for no publisher will accept the responsibility of disseminating insinuations for which he might become liable at law. HOW TO AVOID COPYRIGHT INFRINGEMENT

Great care should also be exercised by authors who cite from the writings of others. To avoid the possibility of a suit for the infringement of copyright, an author who wishes to quote from the work of another should first obtain his permission (or that of his publisher) to do so. If