an ounce. Whatever you have done has been under the name of Burr, so Burr you had better remain." I did. My other names are lost, buried like my past, and, like my past, sometimes come to haunt me in the form of an old friend who entered my life before the Burr period. I hide behind Jane Burr. I am not Jane Burr. I am Rosalind Guggenheim but then, what does it matter? I believe if you have a short, clear, impressive name that people will remember, then it is better to use it. If you have a long, dreadful-sounding, confusing name, that no one will remember, or a name that carries with it positive associations in the public mind, whether good or bad, then you should not use it. Jane Burr. CHRISTENED BY GLORIFIED BEINGS · "B. M. BOWER" My choice of the pen name "B. M. Bower" was not deliberate. When I wrote "Chip, of the Flying U?" I signed my name "Bertha M. Bower" being then married to Mr. Bower. Gilman Hall, then with Ainslee's, wrote me that my stories were men's stories, written from a man's point of view, and that the editorial staff believed it would be a mistake to let the public know that the author was a woman. They suggested the noncommittal signature of "B. M. Bower," and I consented. Editors, in my estimation, were glorified beings but little lower than the angels, and their desire was my law. They are still glorified beings, to me, though I do sometimes muster courage to argue with them. "B. M. Bower" stuck, of course, and the public believed me a man. When I married Bertrand W. Sinclair I very naturally wished to drop the "B. M. Bower." I tried to use "B. M. Sinclair" instead, but it would n't stick as "B. M. Bower" did. I was then told by the glorified beings in the editorial office that "B. M. Bower" was a trademark, and its value should not be thrown away in cold abandonment. I have therefore remained "B. M. Bower" to such an extent that I am known far and wide as "Bower," and no friend or foe thinks of calling me anything save just "Bower." I have decided that, so long as a woman must change her name when she marries or remarries, pen name is the easiest way out for a woman writer. My formal cognomen has become complicated, and the simplest formal signature I can attain is Bertha M. SinclairCowan ignoring the legal insert of Bower. If a writer's name is a trademark, it should not be changed for personal reasons, and marriage is personal. The Glorified Beings were kinder than they knew when they christened me "B. M. Bower." I have had it made a trade name so that it is legal in every respect, and I find it convenient. HAS BROUGHT USEFUL CRITICISM My original reason for using a pseudonym was that I happened to be myself a publisher, and that my position in the publishing business therefore seemed to me to be equivocal. By the use of a pseudonym and a literary agent I succeeded for nearly three years in concealing my personal identity. When this concealment was no longer possible, I continued the use of the pseudonym partly be Bertha M. Sinclair-Cowan. "HOLWORTHY HALL" cause it had then a certain value as a trademark, and partly because it saved me a great deal of annoyance. I received very few false compliments, and very little mechanical praise. Even today, I am able to journey around the world as an ordinary citizen without being subjected to the unfounded remarks which many people, if they knew my other identity, would feel constrained to pay me, with or without sincerity. As it is, whenever I do happen to meet some one who knows that Mr. Porter is also Mr. Hall, I have a satisfaction disproportionately great. Aside from the original technical reasons for taking a pen-name, I am convinced that for myself this was wise, because it has indirectly brought me an amount of adverse criticism which otherwise I might have lacked, and without which I might not have worked so diligently. I used four or five different pen-names before I hit upon that of "Holworthy Hall," which was the name of the senior dormitory in which I lived at Harvard. IT ENTIRELY DEPENDS ON THE AUTHOR The pseudonym "Marjorie Bowen" was chosen for me, and not by me. I was just sixteen when my first published book was written, and to please the publisher, as well as to give a definite girlish atmosphere to the advertisement of the work, with my mother's sanction the name "Marjorie Bowen" was used. The name Bowen is an old family name of my mother's, her father being Moravian Bishop of Jamaica, and since the first settlement of the Moravian Church in England my ancestors have been connected with it. Personally, I do not like pseudonyms, and would have much preferred to have "Margaret Harold E. Porter. "MARJORIE BOWEN" Campbell," which was my name then, attached to the book. Later "Marjorie Bowen" did not seem to fit, as a goodly number of my works are serious historical novels, but I fear the name will now always be attached to my work, as, of course, the publishers will have it as a selling asset. As to the wisdom of using a pseudonym, it entirely depends on the author. If one's name is pleasing to the ear and easy to say, by no means use a pseudonym, especially if one's own name is in keeping with the type of literature the author is giving to the public. Mrs. Arthur Long. INADVISABLE UNLESS THERE IS SOME SPECIAL REASON In my early twenties I went on the stage, and decided that Benjamin-my own name was not a good name for a (possible) juvenile lead, and so I called myself "Lewis Melville." "Lewis" is my own Christian name, and I do not know how I came to choose "Melville" — perhaps it sounded nice. When I published my first book, the biography of Thackeray, in 1899, I thought I might as well use the name by which I was then already known to a considerable number "LEWIS MELVILLE" of people. I have come to the conclusion that a pseudonym is inadvisable unless there is some special reason, because, to take my own case, many people know me as Benjamin who have no idea that I am "Melville” — and consequently take no earthly interest in the works of "Lewis Melville." If my books were published over my own name, these people would be curious at least once. - Lewis S. Benjamin. FAIRER CRITICISM GOT UNDER A PEN NAME "RALPH CONNOR" The use of a pseudonym has two advantages: It gives a certain freedom to a writer in the handling of his literary material; and the work stands more completely on its own merit, apart from any advantage or disad vantage that his personality might offer. As a matter of fact, I have the feeling that a man's work receives fairer criticism if it is put forth under a pen name. Many years ago when I was doing missionary work in the mining camps of Western Canada, I was discouraged over the appropriation made by a certain missionary committee, and went to my friend, the editor of the Westminster, published in Toronto, who told me to push a campaign for mission funds through the columns of the paper. I agreed to write an article, but my friend urged that it be done in story form, and I wrote what is now the first chapter of "Black Rock." The signing of my real name might have provoked criticism from the mission board, and the story might not have been considered as in keeping with the conventions of the clerical calling, but what should it be signed? At the last minute the question was sent to me at Winnipeg, and I wired back, "Sign sketch Cannor." "Cannor?" said my friend the editor. "Cannor will never do; it would betray the face of a mask. But why Cannor? Perhaps the operator made a mistake. Should be Connor. But he must have a Christian name. 'Ralph?' 'Ralph Connor' will do." And so it was, although, as I wrote the editor, I really meant "Cannor." And "Ralph Connor" it has been ever since. Charles W. Gordon. NO ADVANTAGE IN A PSEUDONYM I selected a pen name under which to write fiction, in order to keep the work entirely separate from my newspaper writing. There TH "BRUNO LESSING" is really no advantage in a pen name that I Rudolph Block. can see. The Manuscript Market HIS 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 PICTORIAL REVIEW - Pictorial Review Building, New York, needs short fiction, not exceeding 8,000 words. Any good story that is dramatic and not too psychological, if it is well written, will interest the editors, and they are particularly anxious to get humorous tales and the lighter society stories. The length of the story does not affect the price paid by the Pictorial Review, and the idea that many writers have that they will receive twice as much for a long story as for a short one is entirely wrong. of from 3,000 to 7,000 words, and two- and three-part stories, of from 12,000 to 24,000 words. The Smart Set reports within two weeks and pays three cents a word upon acceptance. MUNSEY'S MAGAZINE-280 Broadway, New York, wants some good novelettes, of any length from 15,000 to 40,000 words. POPULAR RADIO-627 West Forty-third street, New York, needs immediately short articles, ranging from fifty words to 5,000 words, that convey practical information of real helpfulness to radio amateurs and to broadcast listeners. The magazine is also in the market for articles that describe new and important inventions within the field of radio, new and significant laboratory theories of radio phenomena as evolved by eminent scientists, articles that tell of new and significant laboratory experiments, and articles that tell of new and unusual applications of radio or of radio apparatus. MOTOR BOAT-10 East Thirty-ninth street, New York, does not print fiction, but is always in the market for real stories of actual cruises. THE BLACK MASK-45 West Forty-fifth street, New York, wants stories, of from 3,000 to 30,000 words, of detective or detectivemystery type. The requirements are realism, logic, plausibility, and convincingness. People must talk, act, think, and react exactly as such people would logically talk, act, think, and react under the circumstances described. Mr. Cody, the editor, says he particularly does not want love stories, even of the detective or detective-mystery type; stories of a girl detective or secret service operator; stories in which bright young cub reporters solve crime mysteries which have proved too difficult for the most experienced and capable men of the detective force; or straight Western stories, although he is very anxious to obtain good detective stories of a realistic kind in which at least a part of the action takes place in the West. THE BOB EDWARD'S PUBLISHING COMPANY -Box 218, Minneapolis, Minn., announces that its Calgary Eye-Opener magazine is in the market for funny stories, jokes, and epigrams. A minimum of five dollars will be paid for funny stories and jokes, and a minimum of two dollars for epigrams. Verse will be accepted with the minimum at the discretion of the editor. wrestling, weight lifters and weight lifting, strong men and how they became strong, and the feats of strength they have accomplished. TWO WORLDS-500 Fifth avenue, New York, wants short stories of an unusual nature. MOVING PICTURE STORIES 168 West Twenty-third street, New York, wants firstperson love stories, treating of young love. THE UNIVERSAL TRADE PRESS SYNDICATE 522 Fifth avenue, New York, is in the market for brief stories, of from 750 to 1,000 words, about sales people in retail stores, preferably department stores, who have made a conspicuous success of their work. Further details about writing these stories may be obtained from the news editor, T. A. Gallagher. THE POETRY FOLIO-5704 Darlington road, Pittsburgh, Penn., a monthly four-page journal of poetry and poetics, containing 170 lines of verse and 2,000 words of prose, the first issue of which will appear in March, with a circulation limited to 150 copies, will be an attempt to present fine work in its most beautiful and most fitting format. The magazine is edited by Stanley Burnshaw and Milton Kovner, and solicits poems, short reviews, and prose on poetry subjects. THE MOTOR CAMPER AND TOURIST — 53 Park place, New York, has so much material on hand that it will be out of the market for six months. January, is a revival of the former Stratford Monthly. The magazine will be devoted largely to poetry and to the best fiction, both original and translated. As in the past, the publishers will award every four months until further notice a prize of $100 for the best poem printed in the magazine during those four months. There is no limitation as to style, subject, or length. The first of this series of prizes will be awarded in May, 1926. Prize Offers and Awards MOTOR BOAT-10 East Thirty-ninth street, New York, offers prizes of $200, $50, and $25 for the best stories of outboard motor cruises. Other stories which are accepted will be paid for at regular space rates. Stories should be limited to 3,000 words, and should be accompanied by photographs illustrating the boat and the principal features of the cruise. Fiction is not desired. The editor says: "What kind of a boat did you have, and how many people went along? Did you keep a log? Did you take a camera and get lots of pictures of your companions, the boat, and the places visited? If so, tell us about how you did it; where you went; how long it took; what your arrangements were for sleeping; how you did your cooking; how much you carried in the way of supplies; how big the boat was, what was her type, row boat, canoe, or skiff, and who built her?" - THE MASSACHUSETTS SOCIETY FOR THE PREVENTION OF CRUELTY TO ANIMALS 180 Longwood avenue, Boston, offers a prize of fifteen dollars for the best one-act play, suitable for production by grammar-school children, and intended to illustrate kindness to animals. Manuscripts should not exceed 2,000 words, and the number of characters should not be less than six nor more than twenty. Manuscripts should be written on one side of the paper, with the author's name and address at the top of the first page, and should be accompanied by an addressed and stamped envelope. The contest will close March 15, and the winning manuscript, if found suitable for the purpose, will be published in the "Humane Exercises for the Use of Teachers on Humane Day in Schools (April 16, 1926). ZIFFS Fifth avenue and St. Charles road, Maywood, Illinois, wants drawings, either humorous or artistic, and offers prizes, as follows: First prize, a contract with Ziff's Magazine for $1,000 worth of work, to be delivered at space rates during a period of one year after the contest closes; second prize, a $500 contract; third prize, a $250 contract; fourth prize, a $100 contract; and fifth prize, a $50 contract. With each contract shall go a written guarantee to give the five winners public announcement and free space publicity in Ziff's and a personal letter of introduction to the art editors of ten of the largest humorous publications in the world. Five additional prizes, consisting each of a full course ($100) in a National School of Humorous Illustration, will be given. Drawings may be in pencil, pen, dry brush, wash, or any other medium, and return postage should be sent. The contest will close September 25. THE REVIEW-published by the Young Men's and Young Women's Hebrew Association, S. E. Corner Broad and Pine streets, Philadelphia, does not pay for contributions but offers annually a series of prizes. The present contests, which will close April 1, are the Joseph Sundheim Short Story prizes of $50 and $25; the Simon Stern Memorial Essay prizes of $50 and $25, the Milton C. Stein Memorial One-Act Play prizes of $50 and $25, and the Poetry prizes of $35 and $15. In each contest the first prize is open to the public generally; the second prize is |