Chapter I: Wish Incidentally to Thank You for Your Share in Making Life (3)

Edwards fell silent. What was there in the work he had done which made it impossible to put "John Milton Edwards" on the title page of his most ambitious effort? Were the nickel novels and the popular paper-backs to rise in judgment against him? He could not think so then, and he does not think so now.

"Why don't you write up your experiences as an author?" inquired the editor a few moments later. "You want to be helpful, eh? Well, there's your chance. Writers would not be the only ones to welcome such a book, and if you did it fairly well it ought to make a hit."

This suggestion Edwards adopted. Having the courage of convictions directly opposed to the noted editor's, the other one he will not accept.

The reflections of 1910 began to bear fruit in 1911. With the beginning of the present year Edwards gave up the five-cent fiction, not because--as already stated in a previous chapter--he considered it debasing to his "art," but because he needed time for the working out of a few of his dreams.

Presently, as though to confirm him in his determination, two publishing houses of high standing requested novels to be issued with their imprint. He accepted both commissions, and at this writing the work is well advanced. If he fails of material success in either or both these undertakings, by the standards elsewhere quoted and in which he thoroughly believes, the higher success that cannot be separated from faithful effort will yet be his. And it will suffice.

Even in 1910 Edwards had been swayed by his growing convictions. Almost unconsciously he had begun shaping his work along the line of higher achievement. During 1911 he has been hewing to the same line, but more consistently.

Edwards has demonstrated his ability to write moving picture scenarios that will sell. But is the game worth the candle? Is it pleasant for an author to see his cherished Western idea worked out with painted white men for Indians and painted buttes for a background? Of course, there are photoplays enacted on the Southwestern deserts, with real cowboys and red men for "supers," but somewhere in most of these performances a false note is struck. One who knows the West has little trouble in detecting it.

This, however, is a matter of sentiment, alone. The nebulous ideas most scenario editors seem to have as to rates of payment, and the usually long delay in passing upon a "script," are important details of quite another sort. And, furthermore, it is unjust to throw a creditable production upon the screen without placing the author's name under the title. Of right, this advertising belongs to the author and should not be denied him.

In 1910 a moving picture concern secured a concession for taking pictures with Buffalo Bill's Wild West and Pawnee Bill's Far East Show, and Edwards was hired to furnish scenarios at $35 each. He furnished a good many, and of one of them Major Lillie (Pawnee Bill) wrote from Butte, Montana, on Sep. 2;

"Friend Edwards:

I saw one of the films run off at a picture house a few days ago
and I think they are the greatest Western scenes that I have ever
witnesed--that is, they are the truest to life. I had a letter from
Mr. C---- yesterday, and he thinks they are fine.

Your friend,
G. W. Lillie."

For a time Edwards thought his faith in the moving picture makers was about to be justified. But he was mistaken. He received a check for just $25, which probably escaped from the film men in an unguarded moment, and no further check, letter or word has since come from the company. The proprietors of the Show had nothing to do with the picture people, and regretted, though they could not help the loss Edwards had suffered.

When the moving picture writers are assured of better prices for their scenarios, of having them passed upon more promptly and of getting their names on the films with their pictures, the business will have been shaken down to a more commendable basis. Possibly the film manufacturers borrow their ideas of equitable treatment for the writer from some of the publishing houses.

The "hack" writer, in many editorial offices, is looked down upon with something like contempt by the august personage who condescends to buy his "stuff" and to pay him good money for it. Perhaps the "hack" is at fault and has placed himself in an unfavorable light. Writers are many and competition is keen. Among these humble ones there are those who have suffered rebuff after rebuff until the spirit is broken and pride is killed, and they go cringing to an editor and supplicate him for an assignment. Or they write him: "For God's sake do not turn down this story! It is the bread-line for me, if you do."

Did you ever walk through the ante-room of a big publishing house on the day checks are signed and given out? Men with pinched faces and ragged clothes sit in the mahogany chairs. They have missed the high mark in their calling. They had high ambitions once--but ambitions are always high when hope is young. They are writing now, not because they love their work but because it is the only work they know, and they must keep at it or starve (perhaps _and_ starve).

A taxicab flings madly up to the door in front, and a stylishly clad gentleman floats in at the hall door and across the ante-room to the girl at the desk. They exchange pleasant greetings and the girl punches a button that communicates with the private office of the powers that be.

"Mr. Oswald Hamilton Brezee to see Mr. Skinner."

Delighted mumblings by Mr. Skinner come faintly to the ears of the lowly ones. The girl turns away from the 'phone.

"Go right in, Mr. Brezee." she says. "Mr. Skinner will see you at once."

Mr. Brezee's "stuff" has caught on. Dozens of magazines are clamoring for it. Mr. Brezee vanishes and presently reappears, tucking away his check with the careless manner of one to whom checks are more or less of a bore. He passes into the hall, and in a moment the "taxi" is heard bearing him away.

The lowly ones twist in their chairs and bitterness floods their hearts. Like the author of "Childe Harold," Brezee awoke one morning to find himself famous. These others, with the dingy Windsor ties and the long hair and pinched faces never awake to anything but a doubt as to where the morning meal is to come from.

After hours of waiting in the ante-room, checks are finally produced and passed around to the lowly ones and they fade away into the haunts that know them best. Next pay-day they will be back again, if they are alive and have been given anything to do in the meantime.

Is _this_ game worth the candle? What shall these men do with their "little gift" but keep it grinding, merciless though the grind may be? They cannot all be Oswald Hamilton Brezees.

Before a young man throws himself into the ranks of this vast army of writers, let him ponder the situation well. If, under the iron heel of adversity, he is sure he can still love his work for the work's sake and be true to himself, there is one chance in ten that he will make a fair living, and one chance in a hundred that he may become one of the generals.

The Factory returns for 1910 and for part of 1911 are given below. Edwards believes that, in its last analysis, 1911 will offer figures close to the ten-thousand dollar mark--but it is a guess hedged around with many contingencies.

1910:
54 nickel novels @ $60 each, $3240.00
Short story for Munsey's, 75.00
Short story for The Blue Book, 40.00
Novelette for The Blue Book, 200.00
Moving picture, Essanay Co, 25.00
Short story for Gunter's, 40.00
Short story for Columbian, 15.00
Paper-book rights, 200.00
Serial story for Scrap Book, 400.00
Moving picture, 25.00
--------
Total $4260.00

Part of 1911:
5 paper-book rights, $ 500.00
Serial for All-Story, 400.00
Novelette for Adventure, 250.00
Serial for The Argosy, 250.00
Novelette for The Blue Book, 200.00
Short stories for The Blue Book, 150.00
Short story for Harper's Weekly, 75.00
Serial for "Top-Notch," 150.00
--------
Total, $1975.00

George Ade asked an actress, who was one of the original cast of "The
County Chairman," to whom he had just been introduced, "Which would
you rather be--a literary man or a burglar?" It is related that the
actress, who was probably as excited as Ade, answered, "What's the
difference?" And this is supposed to be a humorous anecdote!

* * * * *

The man who tells stories, sometimes fiction and sometimes stories,
about the Harper publications, evolves the following realistic story
about "The Masquerader," originally published in _The Bazaar_. Well,
it seems that one morning, the editor sat her down and found the
following letter, which is truly pathetic and possibly pathetically
true: "You may, and I hope you have, some little remembrance of my
name. But this will be the very oddest letter you have ever received.
I am reading that most clever and wonderfully well-written novel,
'The Masquerader.' I have very serious heart trouble and may live
years and may die any minute. I should deeply regret going without
knowing the general end of that story. May I know it? Will be as
close as the grave itself if I may. I really feel that I may not live
to know the unravelling of that net. If I may know for reason good
and sufficient to yourself and by no means necessary to explain, may
I please have the numbers as they come to you, and in advance of
general delivery?" The editor sent on the balance of the story, but
it was never revealed whether it made the person well again or not.
Edwards imagines that the whirl of action in books would not be good
for the heart--or, for the matter of that, the soul.

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.

Adventure, The Ridgway Company,
Spring & Macdougal Streets, New York City,
1911--1 novelette. $ 250.

All-Story Magazine, The F. A. Munsey Co.,
175 Fifth Ave., New York City,
1904--1 serial. 225.
1905--2 short stories, 1 serial. 255.
1906--2 serials. 950.
1908--3 serials. 1,000.

American Press Association,
45 & 47 Park Place, New York City,
1905--2 short stories. 30.

The Argosy, F. A. Munsey Co.,
175 Fifth Ave., New York City,
1900--1 serial. 250.
1901--1 serial. 200.
1902--1 serial. 250.
1903--1 novelette, 4 serials. 1,050.
1904--1 short story, 1 novelette, 4 serials. 975.
1905--3 serials, 1 novelette. 925.
1906--2 serials. 600.
1911--1 serial. 250.

Boston Globe, Boston, Mass.,
1897--1 short story. 4.

Boyce's Monthly, Chicago, Ills.,
1901--1 short story. 10.

Banner Weekly, The, Beadle & Adams, New York City,
1889--1 short story. 4.

Blue Book, The, Chicago, Ills.,
1907--1 novelette. 220.
1908--2 novelettes. 400.
1910--1 short story, 1 novelette. 240.
1911--1 novelette, 3 short stories. 350.

Chips, Frank Tousey's Publishing House,
New York City,
1901--1 short story. 4.

Chatter, 12 Beekman St., New York,
1890--1 short story. 5.
--1 short story. 5.

Chicago Inter-Ocean, Chicago, Ills.,
1898--1 article, space rates. 2.50

Chicago Record, Chicago, Ills.,
1897--1 short story. 5.
1898--1 short story. 7.
--1 short story. 4.
1901--1 short story. 6.

Chicago Daily News, Chicago, Ills.,
1898--1 short story. 3.
1899--1 short story. 3.50
1899--4 short stories. 14.50
1901--1 short story. 5.

Chicago Blade, Chicago, Ills.,
1891--2 articles, space rates, 1 short story. 10.

Chicago Ledger, Chicago, Ills.,
1891--3 serials. 120.
1892--2 serials. 55.
1896--1 serial. 50.
1904--1 serial. 75.
1905--2 serials. 80.
1906--2 serials. 100.
1907--1 serial. 75.

Columbian Magazine, New York City,
1910--1 short story. 15.

Demorest's Monthly, New York City,
1899--1 article. 5.

Dillingham Co., G. W., New York City,
1903--royalties. 96.60
1906--royalties. 10.20
1908--royalties. 1.50
1909--Cloth book rights. 100.

Detroit Free Press, The, Detroit, Michigan.
1889--1 short story. 8.
--1 short story. 7.
1890--2 serials. 203.
1889--2 short stories. 23.
1891--1 short story, space rates. 95.
1892--6 short stories. 48.50
1893--1 short story. 10.
1894--1 space rate. 20.
1895--1 space rate. 22.
1896--1 short story. 1.50
1899--2 short stories. 7.
1900--1 short story. 3.

Essanay Film Manufacturing Company,
Chicago, Illinois.
1910--M. P. scenario. 25.

Figaro, 170 Madison St., Chicago,
1890--1 space rate. 30.
1891--1 space rate. 90.
1892--1 space rate. 10.

Frank Leslie's Popular Monthly,
110 Fifth Ave., New York City.
1897--1 short story. 8.

Gunter's Magazine, Street & Smith, New York City.
1910--1 short story. 40.

Harper's Weekly, New York City.
1911--1 short story. 75.

Illustrated American,
1123 Broadway, New York City.
1896--2 verses. 10.

Kellogg Newspaper Co., The A. N.,
71-73 W. Adams St., Chicago.
1903--1 serial. 115.

Life, New York City.
1897--1 short story. 3.

Ledger Monthly, Ledger Building, N. Y.
1899--1 short story. 10.

Lubin Mfg. Co., Philadelphia, Pa.
1910--M. P. scenario 30.

Ladies' World, The, New York City.
1890--2 short stories. 8.
1891--1 verse. 2.
--1 verse. 2.
1892--2 verses. 4.
1894--1 verse. 2.
1898--1 short story. 2.

McClure's Newspaper Syndicate, The,
116 Nassau St., New York City.
1901--2 short stories, 2 serials. 295.
--1 serial. 200.

McC's Monthly, Detroit, Michigan,
1898--2 short stories. 10.

Munsey's Magazine, New York City,
1896--1 short story. 10.
1904--1 short story. 40.
1910--1 short story. 75.

New York World, New York City,
1894--1 short story. 5.64
1897--2 short stories. 15.02
1898--1 short story. 4.68
1899--1 short story. 5.50

Overland Monthly, 508 Montgomery St., San Francisco,
1897--1 short story. 10.

Ocean, F. A. Munsey Co., New York City,
1907--1 serial. 450.

People's Magazine, The, Street & Smith,
New York City,
1906--1 serial. 200.
1907--1 serial. 250.
1908--2 serials. 600.

Popular Magazine, The, Street & Smith,
New York City,
1904--2 novelettes. 265.
1909--1 serial. 200.

Puck, Keppler & Schwartzmann,
Puck Building, New York City,
1891--2 short stories. 20.
1892--1 short story. 5.
1893--2 short stories, 1 verse. 14.
1896--1 short story. 6.
1897--2 short stories, 1 verse. 22.
1899--2 short stories. 17.

Railroad Man's Magazine, F. A. Munsey Co.,
New York,
1906--2 serials. 700.
1907--1 serial. 500.
1908--2 serials. 650.
1909--2 short stories. 70.

Red Book, Chicago, Ills.,
1906--1 short story. 75.
1909--1 short story. 40.

Scrap Book, F. A. Munsey Co., N. Y. C.,
1905--1 serial. 200.
1908--1 serial. 300.
1910--1 serial. 400.
1911--1 serial. 400.

Saturday Times, The, Chicago, Ills.,
1907--1 serial. 60.

Southern Tobacco Journal, Winston, N. C.,
1897--1 verse. 2.

Short Stories, Current Literature Pub. Co.,
New York City,
1891--1 short story. 5.
1898--2 short stories. 10.
1900--2 short stories. 30.

San Francisco Chronicle, San Fran.,
1896--1 short story. 6.

Saturday Night, James Elverson Pub.
Philadelphia, Pa.,
1890--1 serial. 75.
1891--1 serial, 8 short stories. 166.
1892--5 short stories. 10.
1893--1 serial, 5 short stories. 160.

Truth, 203 Broadway, New York City,
1893--1 short story. 3.50
1897--7 short stories. 57.

Top-Notch Magazine, Street & Smith,
New York City,
1911--1 serial. 150.

Translation Rights, 1908. 40.

Vitagraph Company of America, The,
Brooklyn, N. Y.,
1909--M. P. 10.

Wayside Tales, Detroit Monthly Publishing Co.,
Detroit, Mich.,
1901--3 short stories. 23.
1902--2 short stories. 35.
1903--1 short story. 15.

White Elephant, Frank Tousey's Pub. House,
New York City,
1897--2 short stories. 30.

Western World, Chicago, Ills.,
1900--2 serials, 7 short stories, 1 space rates. 308.80

Woman's Home Companion, New York,
1905--1 serial, space rate. 205.

Yankee Blade, Boston, Mass.,
1890--2 short stories. 20.
1891--3 short stories, 2 verses. 13.
1893--1 short story. 6.50
--1 short story. 4.

Powers Company, New York City,
1910--M. P. 25.

Street & Smith, New York City,
1909--34 issues "Motor Boys" 2,550.
1908-- 7 paper-book rights. 700.
1909--21 paper-book rights. 2,100.
1910-- 2 paper-book rights. 200.
1911-- 5 paper-book rights. 500.

Dodd. Mead & Co., New York City,
1904--Cloth book rights. 200.

Harte & Perkins, New York,
Nickel Novels: $ 23,964.44
1893-- 4 @ $ 50 each,. 200.
1894-- 3 @ $ 50 each,. 150.
--31 @ $ 40 each,. 960.
1896--24 @ $ 40 each,. 960.
1897-- 2 @ $ 40 each,. 80.
1898--16 @ $ 40 each,. 640.
1899--38 @ $ 40 each,. 1,400.
1900--51 @ $ 40 each,. 2,040.
Completing story. 20.
1901--10 @ $ 30 each,. 300.
-- 8 @ $ 50 each,. 400.
--16 @ $ 40 each,. 640.
1902--31 @ $ 40 each,. 1,240.
1903--44 @ $ 40 each,. 1,760.
1904--26 @ $ 40 each,. 1,040.
-- 4 @ $ 50 each,. 200.
1905--10 @ $ 50 each,. 500.
1906--18 @ $ 50 each,. 900.
1907--33 @ $ 50 each,. 1,650.
1908--45 @ $ 50 each,. 2,250.
1909-- 9 @ $ 60 each,. 540.
1910--54 @ $ 60 each,. 3,240.
Ten-Cent Novels:
1893--13 @ $100 each,. 1,300.
1894--10 @ $100 each,. 1,000.
1895-- 2 @ $ 40 each,. 100.
Serials for "Guest:"
1894-- 2 @ $300 each,. 600.
-- 2 @ $500 & $400 900.
1897-- 1. 300.
1895-- 2 @ $300 & $200. 500.
1898-- 2 @ $300. 600.
1899-- 1. 300.
1906-- 1. 250.
1907-- 1. 300.
Juvenile Serials:
1893-- 2 @ $100 & $75. 175.
1894-- 1. 175.
1894-- 1. 100.
1901-- 4 @ $100 each,. 400.
1902-- 4 @ $100 each,. 400.
Miscellaneous:
1897-- 4 magazine sketches. 40.
-- 1 magazine sketches. 6.16
1900--10 trade-paper sketches. 100.
1901-- 9 trade-paper sketches. 90.
1902-- 1 trade-paper sketch. 10.
-----------
Total $ 65,859.60

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 WRITER'S BOOK $2.50
_Compiled by William R. Kane._

PRACTICAL AUTHORSHIP 1.50
_By James Knapp Reeve._

1001 PLACES TO SELL MMS 1.00
(_The American Writer's, Artist's
and Photographer's Year Book_)
_in its ninth edition_.

POINTS ABOUT POETRY .60
_By Donald G. French._

RHYMES AND METERS .50
_By Horatio Winslow._

THE FICTION WRITER'S
WORKSHOP .50
_By Duncan Francis Young._

HOW TO WRITE A SHORT STORY .50

THE EDITOR MANUSCRIPT
RECORD (loose leaf) .50

ESSAYS ON AUTHORSHIP .25

THE WAY INTO PRINT .25

THE EDITOR COMPANY

RIDGEWOOD, NEW JERSEY

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.

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THE EDITOR COMPANY

RIDGEWOOD, NEW JERSEY

Transcriber's Notes:

Italics are represented with _underscores_, bold with =equal signs=.

Inconsistent and occasionally inaccurate capitalization/italicization of publication titles are retained from the original.

Retained some archaic/unusual spellings from the original (e.g. "grevious," "Omniverous").

Retained inconsistent spellings from the original where different writers used different word variations (e.g. "installment" in the main text vs. "instalment" in a quoted letter). Inconsistent spellings within the same context have been normalized as noted in detail below.

Retained some inconsistent hyphenation from the original (e.g. viewpoint vs. view-point).

The original text contained several instances of "he" / "be" confusion. These have been corrected and are noted below. They are not the result of OCR errors; they are present in the original typography.

Page 10, normalized indentation before "The modest goal, the lesser fame."

Page 15, changed double to single quotes around "When the Editor's Eye Struck" and added missing end double quote.

Page 21, changed "ocassion" to "occasion." Normalized second appearance of "sewer-pipe" to include hyphen. Changed "Ewards" to "Edwards" ("first story for which Edwards").

Page 30, removed duplicate "by" from "spoiled by just such a slip."

Page 35, italicized _nom de plume_ (in sentence about _Boy's Story Paper_) for consistency with all other appearances in the text.

Page 36, added missing colon to paragraph above "We are in a hurry for this series."

Page 43, changed double to single quotes around "Dalton's Double."

Page 46, changed two instances of "villian" to "villain" for consistency with the rest of the text (in sentence including "female villain").

Page 47, changed "pubilc" to "public" ("their reading public") and "succeding" to "succeeding" ("succeeding issues").

Page 48, changed "be felt elated" to "he felt elated."

Page 58, removed stray single quote after "9 o'clock in the evening."

Page 67, changed "decended" to "descended" and "prepetrator" to "perpetrator."

Page 68, changed "rememberance" to "remembrance" for consistency ("livid remembrance").

Page 69, changed "For day's while" to "For days while."

Page 71, there appears to be a missing word in "that it very humorous" but this error comes from the original.

Page 72, changed "entirely" to "entirety" ("satisfactory in its entirety") and "word was deturned" to "word was returned."

Page 74, changed "saticfactory" to "satisfactory" ("price was not satisfactory").

Page 77, changed "responisble" to "responsible" ("it was responsible for").

Page 82, "Mr. Perkins write:" appears to be an error, but it comes from the original. Changed "manusccript" to "manuscript" ("quality of the manuscript").

Page 83, changed "installemnts" to "installments" ("first two installments").

Page 90, if there is supposed to be special formatting in the example following "he did it thus," it is not present in the original book; nothing unusual has been lost in translation to digital format here.

Page 91, changed "Is seems poor policy" to "It seems poor policy."

Page 92, changed "lettters" to "letters" ("letters on a typewriter").

Page 97, changed double to single quotes around "The Man from Dakota."

Page 100, added missing open quote before "misfortunes never come singly."

Page 103, Changed "be" to "he" in "he faced a steadily brightening prospect".

Page 108, added missing space after comma in "November 19, 1904."

Page 118, moved comma from before " to after " in 13". Changed "must he high" to "must be high."

Page 120, added missing open quote before "Your last story, No. 285."

Page 122, changed "particluarly" to "particularly" in "not particularly encouraging." Changed "Edward's hope" to "Edwards' hope."

Page 126, changed "damm" to "damn" in "damn it utterly."

Page 127, changed "Edward's product" to "Edwards' product."

Page 141, removed unnecessary apostrophe after "Edwards" in "to Edwards it is a delightful confusion."

Page 143, added missing apostrophe to "Edwards' first advice" and removed unnecessary apostrophe from "which Edwards consulted."

Page 147, changed "Dilema" to "Dilemma" in "I shall require a single copy of 'The Billionaire's Dilemma.'"

Page 148, changed open double quote to single quote in "your short story: 'The Shadow of the Unknown.'" Changed "ficticious" to "fictitious" in footnote.

Page 149, changed open double quote to single quote in "'The Shadow of the Unknown,' writes the publisher."

Page 156, changed "royalities" to "royalties" ("Dillingham, last royalties").

Page 160, changed "bettter" to "better" ("anything of a bettter quality").

Page 162, changed "lettter" to "letter" ("letter saying they could pay").

Page 169, added some commas to 1910 table for consistency.

Page 170, changed "sometmes" to "sometimes" ("sometimes stories, about the Harper"). Changed double to single quotes around "The Masquerader."

Page 171, added missing colon after "How "Bob" Davis hands you a Lemon:"

Page 173, added missing close quote after "reasonable share of the royalties."

Page 175, corrected chapter number from XXII to XXVI and corrected double comma after "Sept. 20, 1889."

Pages 176-180, normalized some punctuation within the table of publications (but still retained some inconsistencies). Deleted partial totals and "brought forward" entries at page boundaries. Did not attempt to correct some apparent mathematical errors. Changed "Philadeljhia" to "Philadelphia" and corrected "senario" to "scenario" in entry for Lubin Mfg. Co.

Advertisements, changed "AUHORSHIP" to "AUTHORSHIP" in "ESSAYS ON AUTHORSHIP."

End of Project Gutenberg's The Fiction Factory, by John Milton Edwards