Kitabı oku: «The Fiction Factory»

THE WRITER

TO THE READER

It was in 1893 that John Milton Edwards (who sets his hand to this book of experiences and prefers using the third person to overworking the egotistical pronoun) turned wholly to his pen as a means of livelihood. In this connection, of course, the word "pen" is figurative. What he really turned to was his good friend, the Typewriter.

For two years previous to this (to him) momentous event he had hearkened earnestly to the counsel that "literature is a good stick but a poor crutch," and had cleaved to a position as paymaster for a firm of contractors solely because of the pay envelope that insured food and raiment. Spare hours alone were spent in his Fiction Factory. In the summer of 1893, however, when his evening and Sunday work brought returns that dwarfed his salary as paymaster, he had a heart to heart talk with Mrs. John Milton Edwards, and, as a result, the paymaster-crutch was dropped by the wayside. This came to pass not without many fears and anxieties, and later there arrived gray days when the literary pace became unsteady and John Milton turned wistful eyes backward in the direction of his discarded crutch. But he never returned to pick it up.

From then till now John Milton Edwards has worked early and late in his Factory, and his output has supported himself and wife and enabled him to bear a number of other financial responsibilities. There have been fat years and lean – years when plenty invited foolish extravagance and years when poverty compelled painful sacrifices – yet John Milton Edwards can truly say that the work has been its own exceeding great reward.

With never a "best seller" nor a successful play to run up his income, John Milton has, in a score and two years of work, wrested more than $100,000 from the tills of the publishers. Short stories, novelettes, serials, books, a few moving picture scenarios and a little verse have all contributed to the sum total. Industry was rowelled by necessity, and when a short story must fill the flour barrel, a poem buy a pair of shoes or a serial take up a note at the bank, the muse is provided with an atmosphere at which genius balks. True, Genius has emerged triumphant from many a Grub street attic, but that was in another day when conditions were different from what they are now. In these twentieth century times the writer must give the public what the publisher thinks the public wants. Although the element of quality is a sine qua non, it seems not to be incompatible with the element of quantity.

It is hoped that this book will be found of interest to writers, not alone to those who have arrived but also to those who are on the way. Writers with name and fame secure may perhaps be entertained, while writers who are struggling for recognition may discover something helpful here and there throughout John Milton Edwards' twenty-two years of literary endeavor. And is it too fair a hope that the reader of fiction will here find something to his taste? He has an acquaintance with the finished article, and it may chance that he has the curiosity to discover how the raw material was taken, beaten into shape and finally laid before his eyes in his favorite periodical.

John Milton Edwards, in the pages that follow, will spin the slender thread of a story recounting his successes and failures. Extracts of correspondence between him and his publishers will be introduced, and other personal matters will be conjured with, by way of illustrating the theme and giving the text a helpful value. This slender thread of narrative will be broken at intervals to permit of sandwiching in a few chapters not germane to the story but en rapport with the work which made the story possible. In other words, while life goes forward within the Factory-walls it will not be amiss to give some attention to the Factory itself, to its equipment and methods, and to anything of possible interest that has to do with its output.

And finally, of course John Milton Edwards is not the author's real name. Shielded by a nom de plume, the author's experiences here chronicled may be of the most intimate nature. In point of fact, they will be helpful and entertaining in a direct ratio with their sincerity and frankness.

"A LITTLE GIFT"

 
A little gift I have of words,
A little talent, Lord, is all,
And yet be mine the faith that girds
An humble heart for duty's call.
 
 
Where Genius soars to distant skies,
And plumes herself in proud acclaim,
O Thou, let plodding talent prize
The modest goal, the lesser fame.
 
 
Let this suffice, make this my code,
As I go forward day by day,
To cheer one heart upon life's road,
To ease one burden by the way.
 
 
I would not scale the mountain-peak,
But I would have the strength of ten
To labor for the poor and weak,
And win my way to hearts of men.
 
 
A little gift Thou gavest me,
A little talent, Lord, is all,
Yet humble as my art may be
I hold it waiting for Thy call.
 

September 20, 1911.

John Milton Edwards.

I

AUT FICTION,

AUT NULLUS.

"Well, my dear," said John Milton Edwards, miserably uncertain and turning to appeal to his wife, "which shall it be – to write or not to write?"

"To write," was the answer, promptly and boldly, "to do nothing else but write."

John Milton wanted her to say that, and yet he did not. Her conviction, orally expressed, had all the ring of true metal; yet her husband, reflecting his own inner perplexities, heard a false note suggesting the base alloy of uncertainty.

"Hadn't we better think it over?" he quibbled.

"You've been thinking it over for two years, John, and this month is the first time your returns from your writing have ever been more than your salary at the office. If you can be so successful when you are obliged to work nights and Sundays – and most of the time with your wits befogged by office routine – what could you not do if you spent ALL your time in your Fiction Factory?"

"It may be," ventured John Milton, "that I could do better work, snatching a few precious moments from those everlasting pay-rolls, than by giving all my time and attention to my private Factory."

"Is that logical?" inquired Mrs. John Milton.

"I don't know, my dear, whether it's logical or not. We're dealing with a psychological mystery that has never been broken to harness. Suppose I have the whole day before me and sit down at my typewriter to write a story. Well and good. But getting squared away with a fresh sheet over the platen isn't the whole of it. The Happy Idea must be evolved. What if the Happy Idea does not come when I am ready for it? Happy Ideas, you know, have a disagreeable habit of hiding out. There's no hard and fast rule, that I am aware, for capturing a Happy Idea at just the moment it may be most in demand. There's lightning in a change of work, the sort of lightning that clears the air with a tonic of inspiration. When I'm paymastering the hardest I seem to be almost swamped with ideas for the story mill. Query: Will the mill grind out as good a grist if it grinds continuously? If I were sure – "

"It stands to reason," Mrs. Edwards maintained stoutly, "that if you can make $125 a month running the mill nights and Sundays, you ought to be able to make a good deal more than that with all the week days added."

"Provided," John Milton qualified, "my fountain of inspiration will flow as freely when there is nothing to hinder it as it does now when I have it turned off for twelve hours out of the twenty-four."

"Why shouldn't it?"

"I don't know, my dear," John Milton admitted, "unless it transpires that my inspiration isn't strong enough to be drawn on steadily."

"Fudge," exclaimed Mrs. Edwards.

"And then," her husband proceeded, "let us consider another phase of the question. The demand may fall off. The chances are that it WILL fall off the moment the gods become aware of the fact that I am depending on the demand for our bread and butter. Whenever a thing becomes absolutely essential to you, Fate immediately obliterates every trail that leads to it, and you go wandering desperately back and forth, getting more and more discouraged until – "

"Until you drop in your tracks," broke in Mrs. Edwards, "and give up – a quitter."

"Quitter" is a mean word. There's something about it that jostles you, and treads on your toes.

"I don't think I'd prove a quitter," said John Milton, "even if I did get lost in a labyrinth of hard luck. It's the idea of losing you along with me that hurts."

"I'll risk that."

"This is a panic year," John Milton went on, "and money is hard to get. It is hardly an auspicious time for tearing loose from a regular pay-day."

John Milton and his wife lived in Chicago, and the firm for which John Milton worked had managed to keep afloat by having an account in two banks. When a note fell due at one bank, the firm borrowed from the other to pay it. Thus, by borrowing from Peter to pay Paul, and from Paul to pay Peter, the contractors juggled with their credit and kept it good. Times were hard enough in all truth, yet they were not so hard in Chicago as in other parts of the country. The World's Columbian Exposition brought a flood of visitors to the city, and a flood of cash.

"Bother the panic!" jeered Mrs. Edwards. "It won't interfere with your work. Pleasant fiction is more soothing than hard facts. People will read all the more just to forget their troubles."

"I'm pretty solid with the firm," said John Milton, veering to another tack. "I'm getting twelve hundred a year, now, with an extra hundred for taking care of the Colonel's books."

"Is there any future to it?"

"There is. I can buy stock in the company, identify myself with it more and more, and in twenty or thirty years, perhaps, move into a brownstone front on Easy street."

"No, you couldn't!" declared Mrs. Edwards.

"Why not?"

"Why, because your heart wouldn't be in your work. Ever since you were old enough to know your own mind you have wanted to be a writer. When you were twelve years old you were publishing a little paper for boys – "

"It was a four-page paper about the size of lady's handkerchief," laughed John Milton, "and it lasted for two issues."

"Well," insisted his wife, "you've been writing stories more or less all your life, and if you are ever a success at anything it will be in the fiction line. You are now twenty-six years old, and if you make your mark as an author it's high time you were about it. Don't you think so? If I'm willing to chance it, John, you surely ought to be."

"All right," was the answer, "it's a 'go.'"

And thus it was that John Milton Edwards reached his momentous decision. Perhaps you, who read these words, have been wrestling soulfully with the same question – vacillating between authorship as a vocation or as an avocation. Edwards made his decision eighteen years ago. At that time conditions were different; and it is doubtful whether, had he faced conditions as they are now, he would have decided to run his Fiction Factory on full time.

"An eye for an eye."

A writer whose stories have been used in the Munsey publications, Pearson's and other magazines, writes:

"How is this as an illustration of timeliness, or the personal element in writing? – I went in to see Mr. Matthew White, Jr., one day with a story and he said he couldn't read it because he had a sore eye. I had an eye for that eye as fiction, so I sat down and wrote a story in two hours' time about an editor who couldn't read any stories on account of his bum lamp, whereby he nearly missed the best story for the year. Mr. White was interested in the story mainly because he had a sore eye himself and was in full sympathy with the hero. I took the story down and read it aloud to him, selling it, of course. The story was called, 'When the Editor's Eye Struck.'"

(Talk about making the most of your opportunities!)

The Bookman, somewhere, tells of a lady in the Middle West who caught the fiction fever and wrote in asking what price was paid for stories. To the reply that "$10 a thousand was paid for good stories" she made written response: "Why, it takes me a week to write one story, and $10 for a thousand weeks' work looks so discouraging that I guess I'd better try something else."

Poeta nascitur; non fit. This has been somewhat freely translated by one who should know, as "The poet is born; not paid."

II

AS THE TWIG

IS BENT

Edwards' earliest attempt at fiction was a dramatic effort. The play was in three acts, was entitled "Roderigo, the Pirate Chief," and was written at the age of 12. The young playwright was Roderigo, the play was given in the loft of the Edwards barn, and twenty-five pins was the price of admission (thirty if the pins were crooked). The neighborhood suffered a famine in pins for a week after the production of the play. The juvenile element clamored to have the performance repeated, but the patrons' parents blocked the move by bribing the company with a silver dollar. It was cheaper to pay over the dollar than to buy back several thousand pins at monopoly prices.

In 1881 "Simon Girty; or, The Border Boys of the West" was offered. The first performance (which was also the last) was given in Ottawa, Kansas, and the modest fee of admission was 5 cents. The play was very favorably received and might have had an extended run had not the mothers of the "border boys" discovered that they were killing Indians with blank cartridges. Gathering in force, the mothers stormed the barn and added a realistic climax to the fourth act by spanking Simon Girty and disarming his trusty "pards."

Shortly after this, the musty records show that Edwards turned from the drama to narrative fiction, and endeavored successfully to get into print. The following, copied from an engraved certificate, offers evidence of his budding aspirations:

Frank Leslie's

BOYS' AND GIRLS' WEEKLY

Award of Merit

This is to certify that John Milton Edwards,

Ottawa, Kansas, has been awarded Honorable

Mention for excellence in literary composition

New York, Oct. 30, 1882. Frank Leslie

This "honorable mention" from the publisher of a paper, which young Edwards looked forward to from week to week and read and re-read with fascination and delight, must have inoculated him for all time with the fiction virus. Forthwith he began publishing a story paper on a hektograph. Saturday was the day of publication, and the office of publication was the loft of the Edwards' barn. Even at that early day the author understood the advantage of holding "leave-offs"¹ in serial work. He was altogether too successful with his leave-offs, for his readers, gasping for the rest of the story and unable to wait for the next issue of the paper, mobbed the office and forced him, with a threat of dire things, to tell them the rest of the yarn in advance of publication. After that, of course, publication was unnecessary.

It was a problem with young Edwards, about this time, to secure enough blank paper for his scribbling needs. Two old ledgers, only partly filled with accounts fell into his hands, and he used them for his callow essays at authorship. He has those ledgers now, and derives considerable amusement in looking through them. They prove that he was far from being a prodigy, and reflect credit on him for whipping his slender talents into shape for at least a commercial success in later life. Consider this:

Scene III.

J. B. – We made a pretty good haul that time, Jim.

B. J. – Yes, I'd like to make a haul like that every night. We must have got about $50,000.

J. B. – Now we will go and get our boots blacked, then go and get us a suit of clothes, and then skip to the West Indies.

Here a $50,000 robbery had been committed and the thieves were calmly discussing getting their boots blacked and replenishing their wardrobe (one suit of clothes between them seems to have been enough) before taking to flight. Shades of Sherlock, how easily a boy of 12 makes business for the police department!

Or consider this gem from Act II. The aforesaid "J. B." and "B. J." have evidently been "pinched" while getting their boots blacked or while buying their suit of clothes:

J. B. – We're in the jug at last, Jim, and I'm afraid we'll be sentenced to be shot.

B. J. – Don't be discouraged, Bill.

Enter Sleek, the detective.

Sleek. – We've got you at last, eh?

J. B. – You'll never get the money, just the same.

Sleek. – We'll shoot you if you don't tell where it is like a dog.

Then here's something else which seems to prove that young Edwards occasionally fell into rhyme:

 
Oh, why cut down those forests,
Our forests old and grand?
And oh, why cheat the Indians
Out of all their land?
Enclosed by civilization,
Surrounded they by towns,
Calmly when this life is done
They seek their hunting-grounds!
 

John Milton Edwards has always had a place in his heart for the red man, and another for his country's vanishing timber. He is to be congratulated on his youthful sentiments if not on the way they were expressed.

In 1882 the Edwards family removed to Chicago. There were but three in the family – the father, the mother, and John Milton. The boy was taken from the Ottawa high school and, as soon as they were all comfortably settled in the "Windy City," John Milton made what he has since believed to be the mistake of his career. His father offered him his choice of either a university or a business education. He chose to spend two years in Bryant & Stratton's Business College. His literary career would have been vastly helped had he taken the other road and matriculated at either Harvard or Yale. He had the opportunity and turned his back on it.

He was writing, more or less, all the time he was a student at Bryant & Stratton's. The school grounded him in double-entry bookkeeping, in commercial law, and in shorthand and typewriting.

When he left the business college he found employment with a firm of subscription book publishers, as stenographer. There came a disagreement between the two partners of the firm, and the young stenographer was offered for $1,500 the retiring partner's interest. The elder Edwards, who would have had to furnish the $1,500, could not see anything alluring in the sale of books through agents, and the deal fell through. Two years later, while John Milton was working for a railroad company as ticket agent at $60 a month, his old friend of the subscription book business dropped in on him and showed him a sworn statement prepared for Dun and Bradstreet. He had cleared $60,000 in two years! Had John Milton bought the retiring partner's interest he would have been worth half a million before he had turned thirty.

The fiction bee, however, was continually buzzing in John Milton's brain. He had no desire to succeed at anything except authorship.

Leaving the railroad company, he went to work for a boot and shoe house as bill clerk, at $12 a week. The death of his father, at this time, came as a heavy blow to young Edwards; not only that, but it brought him heavy responsibilities and led him seriously to question the advisibility of ever making authorship – as he had secretly hoped – a vocation. His term as bill clerk was a sort of probation, allowing the young man time, in leisure hours, further to try out his talent for fiction. He was anxious to determine if he could make it a commercial success, and so justify himself in looking forward to it as a life work.

The elder Edwards had been a rugged, self-made man with no patience for anything that was not strictly "business." He measured success by an honorable standard of dollars and cents. For years previous to his death he had been accustomed to see his son industriously scribbling, with not so much as a copper cent realized from all that expenditure of energy. Naturally out of sympathy with what he conceived to be a waste of time and effort, Edwards, Sr., did not hesitate to express himself forcibly. On one occasion he looked into his son's room, saw him feverishly busy at his desk and exclaimed, irascibly, "Damn the verses!"

Young Edwards' mother, on the other hand, was well educated and widely read; indeed, in a limited way, she had been a writer herself, and had contributed in earlier life to Harper's Magazine. She could see that perhaps a pre-natal influence was shaping her son's career, and understood how he might be working out his apprenticeship. Thus she became the gentle apologist, excusing the boy's unrewarded labors, on the one hand, and the father's cui bono ideas, on the other.

The Chicago Times, in its Sunday edition, used a story by young Edwards. It was not paid for but it was published, and the elder Edwards surreptitiously secured many copies of the paper and sent them to distant friends. Thus, although he would not admit it, he showed his pride in his son's small achievement.

From the boot and shoe house young Edwards went back to the railroad company again; from there, when the railroad company closed its Chicago office, he went to a firm of wholesalers in coke and sewer-pipe; and, later, he engaged as paymaster with the firm of contractors. Between the coke and sewer-pipe and the pay-rolls he wedged in a few days of reporting for The Chicago Morning News; and on a certain Friday, the last of February, he got married, and was back at his office desk on the following Monday morning.

The first story for which Edwards received payment was published in The Detroit Free Press, Sept. 19, 1889. The payment was $8.

In April, the same year, the Free Press inaugurated a serial story contest. Edwards entered two stories, one under a nom de plume. Neither won a prize, but both were bought and published. For the first, published in 1891, he was paid $75 on Feb. 2, 1890; and for the second, published a year later, he was paid $100.

With the opening installment of the first serial the Free Press published a photograph of the author over a stickful of biography. On another page appeared a paragraph in boldface type announcing the discovery of a new star in the literary heavens.

The spirit of John Milton Edwards swelled within him. He feasted his eyes on his printed picture (the rapid newspaper presses had made a smudge of it), he read and re-read his lean biography (lean because not much had happened to him at that time) and he gloried over the boldface type with its message regarding the new star (he was to learn later that many similar stars are born to blush unseen) and he felt himself a growing power in the world of letters.

Verily, a pat on the back is a thing to conjure with. It is more ennobling, sometimes, than a kingly tap with a swordpoint accompanied by the words, "I dub thee knight." To the fine glow of youthful enthusiasm it opens broad vistas and offers a glimpse of glittering heights. Even though that hand-pat inspires dreams never to be realized, who shall say that a little encouragement, bringing out the best in us, does not result in much good?

And in this place John Milton Edwards would make a request of the reader of fiction. If you are pleased with a story, kindly look twice at the author's name so you may recall it pleasantly if it chances to come again under your eye. If you are a great soul, given to the scattering of benefactions, you might even go a little farther: At the expense of a postage stamp and a little time, address a few words of appreciation to the author in care of his publisher. You wist not, my beloved, what weight of gold your words may carry!

From the summer of '89 to the summer of '93 Edwards wrote many stories and sketches for The Detroit Free Press, Puck, Truth, The Ladies' World, Yankee Blade, Frank Leslie's Popular Monthly, Chatter, Saturday Night, and other periodicals. In 1890 he was receiving $10 a month for contributions to a little Chicago weekly called Figaro; and, during the same year, he found a market which was to influence profoundly a decade of work and his monetary returns; James Elverson paid him $75 for a serial to be used in Saturday Night.

Undoubtedly it was this serial that pointed Edwards toward the sensational story papers. A second serial, sold to Saturday Night, Oct. 21, 1891, brought $150; while a third, paid for July 20, 1893, netted a like amount. These transactions carried the true ring of commercial success. Apart from myth and fable, there is no more compelling siren song in history than the chink of silver. Edwards, burdened with responsibilities, gave ear to it.

The serial story, published in the Free Press in 1891, had made friends for Edwards. Among these friends was Alfred B. Tozer, editor of The Chicago Ledger. Through Mr. Tozer, Edwards received commissions for stories covering a period of years. The payment was $1.50 a thousand words – modest, indeed, but regular and dependable.²

From 1889 to 1893 Edwards was laboring hard – all day long at his clerical duties and then until midnight in his Fiction Factory. The pay derived from his fiction output was small, (the Ladies' World gave him $5 for a 5,000-word story published March 18, 1890, and The Yankee Blade sent him $13 on Jan. 10, 1891, for a story of 8,500 words), but Edwards was prolific, and often two or three sketches a day came through his typewriter.

Early in 1893, however, he saw that he was at the parting of the ways. He could no longer serve two masters, for the office work was suffering. He realized that he was not giving the contracting firm that faithful service and undivided energy which they had the right to expect, and it was up to him to do one line of work and one only.

"Slips and Tips"

One of Mr. White's authors who had never been in Europe set out to write a story of a traveller who determined to get along without tipping. The author described his traveller's horrible plight while being shown around the Paris Bastille – which historic edifice had been razed to the ground some two centuries before the story was written! The author received a tip from Mr. White on his tipping story, a tip never to do it again.