Kitabı oku: «The Fiction Factory», sayfa 11
XXV
EXTRACTS
GRAVE AND GAY,
WISE AND OTHERWISE
Cigars on the Editor:
"The berth check came to me this morning. I suppose the cigars are on me. At the same time, there is another kind of check which you get when you buy your Pullman accomodation at the Pullman office in the station. It was that which I had in mind. I suppose the one you enclosed is the conductor's check. I don't believe I ever saw one before."
How "Bob" Davis hands you a Lemon:
"The first six or seven chapters of 'Hammerton's Vase' are very lively and readable – after which it falls off the shelf and is badly shattered. Everybody in the yarn is pretty much of a sucker, and the situations are more or less of a class. I think, John, that there is too much talk in this story. Your last thirty pages are nothing but.
What struck me most was the ease with which you might have wound the story up in any one of several places without in anyway injuring it. That is not like the old John Milton of yore. You used to pile surprise upon surprise, and tie knot after knot in your complications. But you didn't do it in 'Hammerton's Vase' – for which reason I shed tears and return the manuscript by express."
How Mr. White does it:
"I am very sorry to be obliged to make an adverse report on 'The Gods of Tlaloc.' For one thing the story is too wildly improbable, for another the hero is too stupid, and worse than all the interest is of too scrappy a nature – not cumulative. You have done too good work for The Argosy in the past for me to content myself with this… When I return Aug. 9, I shall hope to find a corking fine story from your pen awaiting my perusal. I am sure you know how to turn out such a yarn."
A tip regarding "Dual-identity":
"The story opens well, and that is the best I can say for it. I put up the scheme to Mr. Davis and he expressed a strong disinclination for any kind of a dual-identity story." – Matthew White, Jr.
How Mr. Davis takes over the Right Stuff:
"We are taking the sea story. Will report on the other stuff you have here in a day or two. In the meantime, remember that you owe me an 80,000-word story and that you are getting the maximum rate and handing me the minimum amount of words. You raised the tariff and I stood for it and it is up to you to make good some of your threats to play ball according to Hoyle. It is your turn to get in the box and bat 'em over the club-house. And remember, I am always on the bleachers, waiting to cheer at the right time."
How Mr. White lands on it:
"'Helping Columbus' pleases me very much, and on our principle of paying for quality I am sending you for it our check for $350."
During the earlier years of his writing Edwards made use of an automatic word-counter which he attached to his Caligraph – the machine he was using at that time. He discovered that if a story called for 30,000 words, and he allowed the counter to register that number, the copy would over-run about 5,000 words. At a much later period he discovered by actual comparisons of typewritten with printed matter just the number of words each page of manuscript would average in the composing-room. From his publishers, however, he once received the following instructions:
"To enable you to calculate the number of words to write each week, we make the following suggestions: Type off a LONG paragraph from a page of one of the weeklies that has been set solid, so that the number of words in each line will correspond with the same line in print.
When you have finished the paragraph you can get the average length of the typed line as written on your machine, and by setting your bell guard at this average length you will be able to fairly approximate, line for line, manuscript and printed story.
A complete story should contain 3,000 lines. Calculating in this way, you will be able to turn in each week a story of about the right length. Our experience shows us that the calculated length of a story based on a roughly estimated number of words usually falls short of our requirements, and although to proceed in the manner suggested above may involve a little extra work – not above half an hour at the outside and on one occasion only – by it alone are we convinced that you will strike the right number of words for each issue."
"Along the Highway of Explanations":
"I cannot see 'The Yellow Streak' quite clear enough. You whoop it up pretty well for about three-quarters of the story, and then it begins to go to pieces along the highway of explanations." – Mr. Davis.
Concerning the "Rights" of a Story:
"Unless it is otherwise stipulated, WE BUY ALL MANUSCRIPTS WITH FULL COPYRIGHT." – F. A. Munsey Co.
And again:
"The signing of the receipt places all rights in the hands of the Frank A. Munsey Company, but they will be glad to permit you to make a stage version of your story, only stipulating that in case you succeed in getting it produced, they should receive a reasonable share of the royalties."
The Last Word on the Subject:
"Mr. White has turned over to me your letter of October 12, as I usually answer letters relating to questions of copyright. I think, under the circumstances, if you want to dramatize the story we ought to permit you to do so without payment to us. The only condition we would make would be that if you get the play produced, you should print a line on the program saying, – 'Dramatized from a story published in The Argosy,' or words to that effect." – Mr. Titherington, of Munsey's.
Paragraphing, Politics and Puns:
"Your paragraphs are pretty good, so far. But SHUN POLITICS AND RELIGION in any form, direct or indirect, as you would shun the devil. And please don't pun – it is so cheap." – Mr. A. A. Mosley, of The Detroit Free Press.
Climaxes, Snap and Spontaneity:
"We don't like to let this go back to you, and only do so in the hope that you can let us have it again. The sketch is capitally considered, the character is excellent, the way in which it is written admirable, the whole story is very funny, and yet somehow it does not quite come off. The climax – the denouement – seems somewhat labored and lacks snaps and spontaneity. Can't you devise some other termination – something with more 'go?' This is so good we want it to be better." – Editor Puck.
Novelty and Exhilarating Effect:
"We have no special subject to suggest for a serial, but would cheerfully read any you think desirable for our needs. The better plan always is to submit the first two installments of about four columns each. Novelty and exhilarating effect are desirable." – Editor Saturday Night.
Saddling and Bridling Pegasus:
"We are very much in need of a short Xmas poem – from 16 to 20 lines – to be used at once. Knowing your ability and willingness to accomodate at short notice, I write you to ask if you can get one to us by Saturday of this week, or Monday at latest. I know it is a very short time in which to saddle and bridle Pegasus, but I am sure you can do it with celerity if any one can." – Editor The Ladies' World.
Carrying the Thing too Far:
"We regret that we cannot make use of 'The Brand of Cain,' after your prompt response to our call, but the title and story are JUST A LITTLE BIT too sensational for our paper, and we think it best to return it to you. It is a good story and well written, but we get SO MUCH condemnation from our subscribers, often for a trifle, that we are obliged to be very careful. Only a week or two ago we were severely censured because a recipe in Household Dep't called for a tablespoonful of wine in a pudding sauce, and the influence of the writer against the paper promised if the offense were repeated." – From the editor of a woman's journal.
And, finally, this from Mr. Davis:
"We are of the non-complaining species, ourself, and aim only to please the mob. Rush the sea story. If it isn't right, I'll rush it back, by express… Believe, sir, that I am personally disposed to regard you as a better white man than the average white man because you a larger white man, and, damnitsir, I wish you good luck."
XXVI
PATRONS AND
PROFITS FOR
TWENTY-TWO YEARS
On the 20th of this month (September, 1911) it will be just twenty-two years since Edwards received payment for his first story. On Sept. 20, 1889, The Detroit Free Press sent him a check for $8. On that $8 the Fiction Factory was started.
Who have been the patrons of the Factory for these twenty-two years, and what have been the returns?
A vast amount of work has been necessary in order to formulate exact answers to these questions. Papers and other memoranda bearing upon the subject were widely scattered. During Edwards' travels about the country many letters and records were lost. The list that follows, therefore, is incomplete, but exact as far as it goes. More work was realized upon, by several thousands of dollars, than is here shown. For every item in the record Edwards has a letter, or a printed slip that accompanied the check, as his authority. The errors are merely those of omission.
Titles of the material sold will not be given, but following the name of the publication that purchased the material will be found the year in which it was either published or paid for.
The finest music in the room is that which streams out to the ear of the spirit in many an exquisite strain from the hanging shelf of books on the opposite wall. Every volume there is an instrument which some melodist of the mind created and set vibrating with music, as a flower shakes out its perfume or a star shakes out its light. Only listen, and they soothe all care, as though the silken-soft leaves of poppies had been made vocal and poured into the ear. —James Lane Allen.
When William Dean Howells occupied an editorial chair in Harper's office, a young man of humble and rough exterior one day submitted personally to him a poem. Mr. Howells asked:
"Did you write this poem yourself?"
"Yes, sir. Do you like it?" the youth asked.
"I think it is magnificent," said Mr. Howells. "Did you compose it unaided?"
"I certainly did," said the young man firmly. "I wrote every line of it out of my head."
Mr. Howells rose and said:
"Then, Lord Byron, I am very glad to meet you. I was under the impression that you died a good many years ago."
ADVERTISEMENTS
Announcement
In addition to "The Fiction Factory," The Editor Company are publishers at Ridgewood, New Jersey, of The Editor, (The Journal of Information for Literary Workers), which has been published solely in the interests of writers for eighteen years, and of the following books:
THE EDITOR
If you write, or if you have an itching to write, we want to talk to you.
The Editor, we may explain, is "The Journal Of Information For Literary Workers." It is not at all pretentious, and not at all dull. It is a matter-of-fact little magazine, always filled with good, readable articles on the technique of writing. Sometimes they are contributed by authors and sometimes by editors.
We aim to show our patrons, so far as such things may be taught, how to write fiction, poetry, articles and the like, and then how to sell them, provided they are up to the standard demanded by editors. We have been assured so many times that it wearies us, that our magazine has been the lever that pried open the editorial doors of pretty nearly every publication in the country. In addition to our articles we present our Literary Market department in which we list monthly the complete report of editorial needs, announcements, policies, changes, prize-contests, etc. This enables the writer to keep his finger on the magazine pulse; he knows what to write, when to write it, how to write it, when to submit it, what payment will be made, and countless other points. Authors such as George Allan England, who is selling regularly to McClure's, Red Book, Bohemian, etc., have been good enough to say that this department alone is worth the subscription price. Now add to the foregoing a spice of good verse, bright editorial comment, and you'll know why every editor and very nearly every author of note sends his writer-friends to us.
Why you can't write and do without the authors' trade-journal! You will always find something between the covers of the magazine that drives you to work, that spurs you to greater efforts, that puts you on the high road to success.
We pride ourselves on the fact that The Editor is a good, live text-book. It is a pretty sort of a teacher, you know, who never sees an educational journal; new methods and systems are cropping out constantly. And no writer – we leave this to you – likes to send a manuscript to a magazine that suspended a few months ago; nor allow an article to go unread that may cover just the point on which his or her rejections cling. The writer wants hints, helps, and as many of them as possible; everybody does. There is no magazine that better meets this want than The Editor.
We've succeeded in pleasing and making famous the promising writer-folk of this country since 1894. Mayn't we have you?
