{"1": {"fulltext": "", "height": "4196", "width": "2652", "jp2-path": "practicalauthors00reev_0001.jp2"}, "2": {"fulltext": "Glass\\nL\\nGopightN\\nCOPYRIGHT DEPOSIT.", "height": "3818", "width": "2387", "jp2-path": "practicalauthors00reev_0002.jp2"}, "3": {"fulltext": "", "height": "3818", "width": "2387", "jp2-path": "practicalauthors00reev_0003.jp2"}, "4": {"fulltext": "", "height": "3818", "width": "2387", "jp2-path": "practicalauthors00reev_0004.jp2"}, "5": {"fulltext": "PRACTICAL\\nAUTHORSHIP.\\nBY.\\nJAMES KNAPP REEVE.\\nA work designed to afford writers an in-\\nsight into certain technical, commercial and\\nfinancial aspects of the profession of letters as\\nfollowed by the general writer for current\\npublications.\\nCINCINNATI\\nTHE EDITOR PUBLISHING CO\\n1900.\\n1", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0005.jp2"}, "6": {"fulltext": "TWO copies\\nMbrary\\nReg-is\\n^\\\\\\\\n1\\ncopykight\\nThe Editor Publishing company\\nsecond co; j y.", "height": "4056", "width": "2387", "jp2-path": "practicalauthors00reev_0006.jp2"}, "7": {"fulltext": "CONTENTS.\\nPage.\\nCHAPTER I. 1\\nLiterary Beginnings Preparation for Literary\\nWork The Writer s Relations with Editors\\nShort Story and Verse Writers The\\nMany Avenues for Literary Employment\\nStudying the Varied Needs of Publications\\nWhy Manuscripts are Rejected Causes\\nof Failure Editing one s own Mss.\\nCHAPTER II. 19\\nLiterature as a Profession Industry and Busi-\\nness Acumen Needful for Success -Practice\\nPerfects The Mind Developed and\\nStrengthened by Application Writing for\\nPractice Study for Condensation Models\\nfor Style\u00e2\u0080\u0094 What Writers Should Read\u00e2\u0080\u0094\\nThe Matter More Important than the Man-\\nner Hours for Work The Writer his own\\nEditor.\\nCHAPTER III. u\\nEditors the Friends of Writers Their Conside\\nation for new Aspirants Help Editors by\\nDoing your Work Properly How to Prepare", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0007.jp2"}, "8": {"fulltext": "li CONTENTS\\nPage.\\nand Send your Ms. Don t Send Needless\\nLetters Type Copy is Preferred The Nom-\\nde-plume Don t Presume on Editors.\\nCHAPTER IV. 59\\nTools of the Craft Studying the Dictionary\\nList of Valuable Text Books Keeping Clip-\\npings for Reference Scrap Books Note\\nBooks Files of Journals The Subject\\nBook.\\nCHAPTER V. 75\\nA Stepping Stone The Training Valuable for\\nFuture Literary Work Newspaper English\\nThe Newspaper a Daily Magazine Divis-\\nion of Labor Necessary Qualities for a Re-\\nporter How to Write a News Story Val-\\nuable Knowledge and Acquaintance Fa-\\nmous Correspondents Compensation The\\nReporter s Field Examples of Reportorial\\nWork.\\nCHAPTER VI. 91\\nThe Short Story\u00e2\u0080\u0094 Model Short Stories\u00e2\u0080\u0094 The\\nNew Writer Welcome Qualities of the Suc-\\ncessful Short Story Love Stories Always\\nPopular Action Length Sad Stories not\\nDesired True Stories not Good Fiction\\nRapid or Slow Composition Fashions in\\nFiction Statements of Publishers Needs\\nTimeliness in Fiction.", "height": "3818", "width": "2387", "jp2-path": "practicalauthors00reev_0008.jp2"}, "9": {"fulltext": "CONTENTS in\\nPage.\\nCHAPTER VII. 112\\nThe Literary Hack\u00e2\u0080\u0094 His Wide Field\u00e2\u0080\u0094 Gold-\\nsmith s Description The Knowledge and\\nAbility Required How Large Incomes are\\nEarned Various Lines of Work Draw-\\nbacks Analysis of Income.\\nCHAPTER VIII. 127\\nThe Specialist What he has Accomplished in\\nOther Fields His Place in Literature\\nWhat he may Achieve The Varied Lines\\nfor the Specialist The Training of the\\nSpecialist.\\nCHAPTER IX. 136\\nThe Descriptive Article Qualities Necessary\\nto a Descriptive Writer The Wide Field\\nfor his Work Newspapers and Magazines\\nuse such Articles Subjects Found on Every\\nHand and in Every-day Life.\\nCHAPTER X. 144\\nVerse-writing Young Writers Incline toward\\nPoetry Amateurs Deluge Editors with\\nPoor Verses Offerings Greatly in excess of\\nDemands The Market Limited The Sort\\nof Work Wanted Prices Paid.", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0009.jp2"}, "10": {"fulltext": "iv CONTENTS\\nPage.\\nCHAPTER XI. 156\\nThe Trade Journal\u00e2\u0080\u0094 A Profitable Field\u00e2\u0080\u0094 Qual-\\nifications of an Industrial Writer How to\\nBegin with such Work List of Industrial\\nJournals that Buy Material Correspon-\\ndence for Trade Journals Fashion and\\nCommercial Work.\\nCHAPTER XII. 166\\nThe Humorist Joke-writing as a Profession\\n\u00e2\u0080\u0094An Important Branch of Literary Work\\nThe Heights and Depths of Humorous\\nWriting The Publications that use Hu-\\nmor What They Want and What they Pay.\\nCHAPTER XIII. 177\\nThe Agricultural Press Good Training Ground\\nfor New Writers Branches of Work Allied\\nto Agriculture Practical Work at a Pre-\\nmium Partial List of Agricultural Jour-\\nnals.\\nCHAPTER XIV. 185\\nJuvenile Work Sometimes Considered as Good\\nPractice Talent Required to Produce Good\\nWork Leading Juvenile Publications The\\nClass of Material Used by Them Other\\nFields for Juvenile Work List of Publica-\\ntions.", "height": "3818", "width": "2387", "jp2-path": "practicalauthors00reev_0010.jp2"}, "11": {"fulltext": "CONTENTS v\\nPage.\\nCHAPTER XV 204\\nThe English Literary Market American Writ-\\ners for English Journals A Wide Field for\\nGood Material Obtain and Study English\\nJournals A List of Publications that Pay\\nfor Contributions The Matter of Postage\\n(The following short chapters, XVI to XXVII inclusive, are ed-\\nitorials written by the author for his journal at various times;\\nand are given place here as they seem to carry in condensed form\\njust the information that writers would seek under these heads.)\\nXVI Choosing a Market 212\\nXVII The Typewriter 217\\nXVIII Preparing Copy 223\\nXIX The Question of Timeliness 226\\nXX Sydicates 232\\nXXI The Ethics of Postage 236\\nXXII A Neglected Field 239\\nXXIII Articles of Information 242\\nXXVI The Literary Critic 245\\nXXV The Value of Work 248\\nXXVI The Profession of Authorship 254\\nXXVII The Writer of Travel 265\\n*XXVIII Song Words and Hymn Writing 271\\nXXIX Don ts For Writers 285\\n\u00e2\u0096\u00a0Contributed by Prof. Will Earhart.", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0011.jp2"}, "12": {"fulltext": "BY-vs\\nJAMES KNAPP REEVE.\\nVawder s Understudy A study in Platonic Affec-\\ntion. Cloth. 16 mo. 75c.\\nU A clever book A bright, able, readable book.\\nCincinnati ComT\u00e2\u0080\u0094 Tribune.\\nThe Three Richard Whalens. Cloth, 16 mo. 75c-\\n44 As good a story of adventure as one would care to\\nread The English is excellent, and the reader\\nis carried along with a swing that is commendable.\\nThe description of the battle with the pirates\\nis an excellent piece of work, as good in its way as\\nAnthony Hope s famous description of the fight for\\nthe King s life in the Castle at Zenda.\\n\u00e2\u0080\u0094Post-Express, Rochester, N. Y.", "height": "3818", "width": "2387", "jp2-path": "practicalauthors00reev_0012.jp2"}, "13": {"fulltext": "CHAPTER I.\\nAt the\\nthreshold.\\nLITERARY BEGINNINGS PREPARATION FOR LITERARY\\nWORK THE WRITER S RELATIONS WITH EDITORS\\nSHORT STORY AND VERSE WRITERS THE\\nMANY AVENUES FOR LITERARY EMPLOYMENT\\nSTUDYING THE VARIED NEEDS OF PUBLICATIONS\\nWHY MANUSCRIPTS ARE REJECTED CAUSES\\nOF FAILURE EDITING ONE S OWN MSS.\\nThorough preparation for literary\\nwork is most desirable; but how few, in\\ndetermining to enter upon a literary\\ncareer, give to this any thought or at-\\ntention. The young man or woman\\njust out of school, the woman of fashion,\\nthe weary housewife, the professional\\nman or the man of business, may con-\\nclude that he or she possesses undev el-\\noped literary talent, and forthwith\\nprepares to enter the arena. We say\\nprepares, but rather the entry into\\nthe arena is without preparation of any\\nsort. The tyro does not understand\\nwhy he is not as competent to write for\\neditors and for the public as Jones, who\\nappears to be successful in that line,\\nwhom he knows well and is very certain\\nis no smarter than himself. That point", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0013.jp2"}, "14": {"fulltext": "PRACTICAL AUTHORSHIP\\nLiterature\\nto be studied\\nas a\\nprofession.\\nThe\\nliterary worker\\nand\\nthe editor.\\nof view may be correct, but lie overlooks\\nthe fact that Jones has served an ap-\\nprenticeship of many years. The be-\\nginner should ask himself if he is willing\\nto do the same, and if not, would better\\nresign his literary ambitions at once.\\nWhen the time arrives that men and\\nwomen, who wish to become writers\\nwill look upon the idea exactly as they\\nwould upon that of becoming a black-\\nsmith, or an artist, or an opera singer,\\nthere will be fewer incompetents knock-\\ning at editorial doors. When they real-\\nize that training is all important, that\\nsuccess is to be expected only after this\\ntraining, and as the result of concen-\\ntrated effort and experience; that any\\nother success is phenomenal and unusual;\\nand that this course pursued with great\\npatience, allied to some amount of in-\\nherent aptitude and ability will bring\\na measure of success, then writing will\\nbe a less sad business all around.\\nThat a literary worker is upon an\\nespecial^ high and isolated plane of in-\\ntellectual life, separate from and above\\nall those whose professions have called\\nthem into other paths for their life\\nwork, is a false idea; and the earlier in a\\nwriter s career that his mind becomes\\nfreed from such an impression the better\\nwill he fare in his intercourse with the", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0014.jp2"}, "15": {"fulltext": "PRACTICAL AUTHORSHIP\\nManuscripts\\nare\\nmerchandise.\\nworld in general and with editors in\\nparticular.\\nAnd here at the outset we strike the\\nkey-note of our whole subject\u00e2\u0080\u0094 The\\nEditor! for it is the editor, in general\\nand in particular, who must be con-\\nsidered at the very beginning by one\\nembarking upon the career of a writer\\nfor the press. Make a study of the edi-\\ntor and his needs, make it the business\\nof your life to understand them, and\\nyou will at least have entered on the\\nright road.\\nThat manuscript which to its author\\nrepresents a labor of love and the in-\\nspiration of genius is among editors a\\npurely commercial commodity. A liter-\\nary publication, to succeed, must have:\\nFirst, reading matter, for which it must\\npay. Second, advertisements, for which\\nit is paid. Now here is an example in\\ncause and effect. The circulation of the\\nmagazine will depend on the interest the\\npublic takes in the reading matter; and\\nthe advertising will depend upon the\\ncirculation so acquired. Therefore, it is\\nthe object of every editor to set forth a\\ntable of contents that will appeal to the\\nlargest possible constituency. If jour\\nstor}^ or poem or essay will help him\\ntoward this end, then he wants it and\\nis willing to make you due compensa-", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0015.jp2"}, "16": {"fulltext": "4 PRACTICAL AUTHORSHIP\\ntion. If it will not help him toward\\nthis end he does not want it, at any\\nprice nor under any circumstances.\\nThere you have the whole thing in a\\nnut-shell. Its value depends upon how\\nmuch he thinks it will profit his publica-\\ntion. Of course he may err in his judg-\\nment, but he is very likely to know\\nmuch more about it than you do, or\\nthan can any man whose experience has\\nnot been acquired in an editorial chair.\\nIt is well to realize also that the law\\nof supply and demand governs the\\nmanuscript market, as it does the mar-\\nket for every other article of commerce,\\nwhether the product of genius or of\\nbrawn. One publication in the United\\nStates is said to receive 15,000 manu-\\nscripts annually. It can use at the\\nThe law of most two hundred and fifty. Another\\nsupply receives about the same number, some\\nfifty manuscripts daily. Its monthly\\nissues contain an average of less than\\nthirty articles; hence there remains daily\\nan over supply of at least forty-eight\\ncontributions which, regardless of merit,\\nmust be returned to their authors. Not\\nwholly regardless of merit, either! The\\nfact may be accepted that the really\\npoor material is certain to go back.\\nAll the other has a chance. The better\\none has made his work, the better its\\nand\\ndemand.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0016.jp2"}, "17": {"fulltext": "Plan\\nPRACTICAL AUTHORSHIP 5\\nchance for being one of the two accepted\\nout of the fifty.\\nWe have known young writers, or\\nrather those who are ambitious to be-\\ncome writers, but are not yet quite in\\nthe ranks, to ask editors what they\\nshould write about! Editors do not\\ncare in the least what you shall write\\nabout. If you are not sufficiently im-\\npelled toward some one thing, some one\\nyour own work ceirtra l thought or idea, some one branch\\nof literary work to take that up and\\nstudy it, and evolve from it something\\nof consequence, you would better not\\nattempt to write at all. If you have a\\ndistinct trend toward any line of\\nthought, and can express yourself clear-\\nly thereupon in good form, then jonr\\nwork is indicated plainly enough.\\nAs a rule, letters of the sort indicated\\nabove, are not answered. They signify\\nthat the writer has no conception of\\nwhat literary work really is, no train-\\ning, no ideas, and not very much com-\\nThe mon-sense. It is not the business of\\neditor s an editor to select topics and give them\\nbusiness. ou as a SC tt 00 i mas ter may to his class\\nin composition; but it is his business to\\nexamine that which is offered, and select\\nsuch as best meets the needs of his\\npublication.\\nThe average young writer inclines first", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0017.jp2"}, "18": {"fulltext": "PRACTICAL AUTHORSHIP\\nFiction\\nand poetry\\nthe lines toward\\nwhich\\nyoung writers\\nincline.\\ntoward fiction. The short story has\\nmore devotees than all other lines of\\nliterary effort combined; but it is also\\nworth noting that the short story fills\\na considerable space in the great major-\\nity of periodicals. Yet while avenues\\nfor the publication of the short story\\nare practically unlimited, the offerings\\nof such material are always greatly in\\nexcess of editors needs. The really good\\nshort story is constantly in demand,\\nand it may safely be asserted that the\\nwriter who can produce such is assured\\nof a hearing; but poor short stories\\ndeluge every editorial office in the coun-\\ntry; and if you can only do the poor or\\nmediocre story you would better let it\\nentirely alone.\\nNext to story writers in number\\nstand the poets. Verses, we will not\\ndignify them by the name of poetry, are\\na nuisance in the offices of all classes of\\npublications. Silly, senseless, imperfect\\nrhyming, sent out by would-be poets\\nwho do not understand the first elements\\nof prosody, and who are too ignorant\\nof their attempted vocation even to be\\nable to qualify themselves by study,\\nmake up the vast bulk of these offerings.\\nFar better would it be to consign all\\nsuch effusions to the waste-basket,\\nrather than squander postage and need-", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0018.jp2"}, "19": {"fulltext": "PRACTICAL AUTHORSHIP 7\\nlessly trouble editors. But that there is\\na demand for good verse, as for all other\\ngood literary material, is true, and in\\nanother place we shall recur again and\\nat more length to this subject.\\nThe avenues into which the young\\nwriter may direct his talents, provided\\nhe has versatility as well as ability, are\\nalmost beyond number. A few of them\\nThe many may be indicated as follows:\\navenues for the The agricultural press offers the widest\\nwriter. scope for writers who understand the\\nprocesses of skilled husbandry, of horti-\\nculture, of floriculture, or who are\\nfamiliar with any of the aspects of rural\\nlife. The student of natural history has\\nfor his field almost every journal in the\\ncountry, for there are few editors who\\nare not alert to place before their read-\\ners informing articles upon the wonders\\nof the universe. One who understands\\nthe use of tools, who knows how ores\\nare mined and smelted, how leather is\\ntanned, how cotton is ginned and baled\\nand pressed, who has information re-\\ngarding any practical and prosaic in-\\ndustry of our daily life, may find an\\navenue for what he has to say upon it\\nin the trade or technical journal or in\\nthe columns of the newspapers. The\\nhousewife -who understands the care of\\na window garden, the making of delicate", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0019.jp2"}, "20": {"fulltext": "8 PRACTICAL AUTHORSHIP\\nconserves, the refined arts of housewifery,\\nmay speak upon these things through\\nthe various household and domestic\\njournals, and in the special department\\ndevoted to the affairs of the household,\\nwhich is a feature of many newspapers\\nand magazines.\\nThe teacher, through the pen and the\\npress, especially by aid of the educa-\\ntional journals, can find a larger school\\nthan that afforded by the occupants of\\nthe benches in his school -room. Through\\nthe religious journals the preacher can\\nreach a vaster congregation than ever\\nassembled within sound of human\\nvoice. The man who rejoices in out-of-\\ndoor life, in the strength and skill of leg\\nand arm, in the use of gun and rod, may\\naudience tell of the life that he knows best, through\\nthe various journals devoted to the\\nsportsman. Nor will the leading mag-\\nazines look upon his work askance, es-\\npecially if it is accompanied by good\\nmaterial for illustration. The humor-\\nist, the man whose profession it is to\\nlook upon the bright side of life, who\\ncan evolve a quip or a joke from the\\ncommon affairs of the day, is welcomed\\nby the editors of our comic journals, and\\nhas a place reserved for him in many of\\nour most sedate publications. The trav-\\neler who ventures far afield may, in the", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0020.jp2"}, "21": {"fulltext": "PRACTICAL AUTHORSHIP 9\\npages of our best magazines, in the\\ncolumns of the daily newspapers and\\nthrough almost every journal that is\\npublished, tell of his journeyings and\\nadventures in the strange nooks and\\ncorners of this round earth.\\nThe manner in which a writer may\\nchoose his work has been indica-\\nted. If he is sufficiently versatile to\\nwork along many lines, and if suffi-\\nciently practical to work with a definite\\npurpose, so that he does not fritter away\\nhis energies, his task of earning at\\nleast a livelihood from literature should,\\ncomparatively, be an easy one. Whether\\nhe will do more than this depends upon\\nhis force and the amount of gray matter\\nWhat the writer in his brain. A lazy man will not accom-\\nma y plish much in an y walk of life. As to\\naccomplish 1\\nthe rest a man may be a traveler and\\na writer of travel, and able to tell clearly\\nand intelligently of that which his eyes\\nhave seen. If he can do so much, he will\\nprobably be a welcome space writer\\nuxjon the newspapers and acceptable as a\\ncontributor to the minor magazines.\\nBut if he can adorn his subject with the\\ncharm and graces of style which made\\nthe work of the lamented Theodore\\nChild the envy of lesser men who aspired\\nto be writers of travel, he may hope both\\nfor fame and ample financial emolu-\\nments.", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0021.jp2"}, "22": {"fulltext": "Model\\n10 PRACTICAL AUTHORSHIP\\nIn passing, it may be said that no\\nbetter models of this class of work can\\nbe found than the articles upon the far\\ntravel* work. East, written by Theodore Child and\\nEdwin Lord Weeks, and published in\\nHarper s Magazine within the last few\\nyears.\\nHaving chosen one s line of work, the\\nnext step will be to determine the publi-\\ncations for which one will endeavor to\\nfit this work. It is not often wise, ex-\\ncept for the man of genius or already\\nfamous author, to write at random.\\nWe mean by this, to put oneself at work\\non any article, of any style or length,\\nupon any topic which may come to\\nmind, without first having a more or\\nless definite idea of one or more publica-\\ntions for which it might be especially\\navailable. For instance, one might be\\na definite aim an enthusiastic sportsman. His incli-\\nnation and information might suggest\\nto him that he prepare an article upon\\ntarpon fishing along the Florida coast.\\nBut if he has no idea of publications\\nwhich use articles of that character, he\\nwould better not waste his time writing\\none. Further, such an article, of 1,500\\nto 2,500 words, might be acceptable to\\na newspaper. If exceptionally well done\\nit might run to 4,000 or 5,000 words,\\nand be acceptable to one of the illus-", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0022.jp2"}, "23": {"fulltext": "PRACTICAL AUTHORSHIP 11\\ntratecl magazines. But if the writer\\noverlooked only this one point of length,\\nand, being a close strident of the pisca-\\ntorial art, permitted his inclinations free\\nplay to the extent of embellishing his\\narticle with erudite information, with\\nscientific dissertations upon the species,\\nwith a technical analysis of the various\\nrods and reels and tackles to be used in\\nthe pursuit of this exceedingly gamy\\nfish, and so elaborated his article to\\n10,000 or 15,000 words, he would pro-\\nbably seek in vain for a publisher.\\nThis indicates plainly that the writer\\nshould be a student not only of the top-,\\nics upon which he would write, but of\\nall publications as well which use mate-\\nrial of the sort that he proposes to\\nfurnish. Of course a writer can hardly^\\nbe a subscriber to all the leading period-\\nicals of the day r the expense of such a\\nmethod of securing this information\\ncurrent would make rather too serious an\\npublications. inroad upon his earnings. But, if pos-\\nsible, he should visit frequently the pe-\\nriodical room of a large library, and\\nthere at least glance over all the publi-\\ncations upon its tables. To do this once\\nor twice a y^ear would hardly suffice.\\nThe changes in the publishing world are\\nconstant,and periodicals suffer from the\\nsame vicissitudes to which other\\nStudy", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0023.jp2"}, "24": {"fulltext": "12\\nPRACTICAL AUTHORSHIP\\nRejected\\nmanuscripts\\na part of the\\nexperience\\nof ail.\\nbranches of trade are liable. Maga-\\nzines come and go, and that which is\\nto-day shall not be to-morrow. At\\nleast once a month the writer should\\nrefresh his information and memory re-\\ngarding the avenues for publication.\\nOne of the most disheartening exper-\\niences for the literary beginner is\\nthe return of manuscripts with the\\nlittle slip which explains nothing\\nbeyond the fact that that partic-\\nular manuscript is not wanted by\\nthe particular editor to whom it has\\nbeen offered.\\nIt requires some time for a young\\nwriter to understand that this is a reg-\\nular part and process of the business\\nof authorship. One who always\\ntakes the rejection of a manuscript to\\nimply that his offering is unworthy, or\\nwho feels that it is intended as a mark\\nof discouragement, has an entirely\\nwrong view of the matter. We have\\nknown promising writers to give up all\\nattempts at literary work, only because\\nthey could not endure such slings and\\narrows of an untoward fortune. Some\\nof these, had they persisted, would un-\\ndoubtedly in the course of time have ac-\\ncomplished much good work.\\nA great many attempts have been\\nmade to explain why editors use such", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0024.jp2"}, "25": {"fulltext": "PRACTICAL AUTHORSHIP 13\\na very noncommittal rejection form, and\\nwhy it is almost impossible to get them\\nto make any comment at all upon a re-\\njected manuscript. The usual rejection\\nslip runs something like this:\\nThe editor regrets that the enclosed\\nmanuscript, which has been kindly sub-\\nmitted for use in his magazine, is not in\\nline with its present needs. With thanks\\nfor the courtesy of permitting us the\\npleasure of its perusal, we are,\\nThis tells one absolutely nothing.\\nYour manuscript may be wholly worth-\\nless, it may be the product of ignorance,\\nor of crass stupidity; or it may be the\\nhighly finished product of an intelligent\\nbrain material in every way worthy of\\npublication, even worthy of place in\\nthat particular journal to which it was\\n\\\\mu offered. Ii it belongs in the former cat-\\nWhy causes\\nof rejection are egory, the editor is too courteous to ex-\\nnot explained. plain its shortcomings. Ifhedidso,he\\nmight wound the feelings of one whom\\nhe certain^ does not care to wound, or\\nmight involve himself in correspondence\\nor controversy. An editor who ven-\\ntures upon the criticism of any manu-\\nscript is very apt to hear from the\\nwriter again, and so be placed under\\nthe necessity of explaining his strict-\\nures. Very few editors have the time to\\ngive from their duties to such personal", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0025.jp2"}, "26": {"fulltext": "14 PRACTICAL AUTHORSHIP\\ncorrespondence. And the editor rightly\\nargues it is not his business to pose as a\\ncritic except so far as may concern the\\nwants of his own publication. He even\\nmay be no better judge of the needs of\\nother publications than is the writer of\\nthe stor\\\\^ or article. For this reason he\\nsometimes ventures to close his note of\\ndeclination with the courteous hope\\nthat the rnaterial offered will be found\\nin line with the needs of some other\\njournal.\\nIf the manuscript belongs in the sec-\\nond category, it is then not a question\\nof merit but of availability. The ar-\\nticle or story may be thoroughly good,\\nbut not of the sort that is used by that\\nReasons magazine. Or it may be of the right\\nfor non- sort, but not timely. Or it may be of\\navailability. r jg^ t sort an( j timely, but something\\nelse, which covers the same ground,\\nmay already have been accepted, some-\\nthing which, in short, has pre-empted\\nthe place that this might have had.\\nIt may be some balm to the over-sen-\\nsitive j^oung writer to know that most\\nof those who afterward became great\\nwriters, passed through the same ex-\\nperience of editorial declinations. Mr.\\nHowells has told us how he hoped to\\nbe a poet, and how^ his verses came\\nback. Mr. Kipling s Plain Tales were", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0026.jp2"}, "27": {"fulltext": "PRACTICAL AUTHORSHIP 15\\nrefused by a publishing house which\\nmeij well pride itself upon the few mis-\\ntakes of that sort made in its long and\\nhonorable career. The writer who can\\nsay honestly that he has never known\\nthis particular form of discouragement\\nin the whole course of his career would\\ncertainly be an exception, and any who\\nwould venture upon such a statement\\nwould, we fear, not be generalry credi-\\nted by those who know the ins and outs\\nof the literary life.\\nBut while we recognize the fact that\\ndeclinations are a part of our lot, we\\nare all willing to dispense with these as\\nfar as possible. The one thing that will\\nhelp toward this end more than all\\nStudy to others provided of course one has\\navoid failure. worthj mater ial to offer-is to learn to\\nplace one s work in the right directions.\\nMany a heartache may be avoided if the\\nyoung writer will give good heed to this\\nsuggestion.\\nIncompetence and carelessness are\\ntwo chief causes that operate toward\\nthe failure of writers.\\nRegarding the first of these not much\\nis to be said\u00e2\u0080\u0094 at least not much that is\\nworth sa\\\\4ng here. For if one is illiter-\\nate or lacking in mental qualifications\\nand it sometimes happens that such an\\none will show atendencv to immortalize", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0027.jp2"}, "28": {"fulltext": "16\\nPRACTICAL AUTHORSHIP\\nWriters\\nmay be their\\nown tutors,\\nhimself in print\u00e2\u0080\u0094 the best thing that\\ncan be done is to show him gently, but\\nspeedily and firmly, the error of his\\nways.\\nBut granted that one has a fair know-\\nledge of English, at least average men-\\ntal qualifications, and some ability in\\nthe way of expression, there still re-\\nmains the great stumbling block of\\ncarelessness to be avoided.\\nReverting again to incompetence, we\\ndo not wish to be understood as imply-\\ning that this cannot to some degree be\\novercome. If one s education has been\\nneglected in youth, study and applica-\\ntion in later life may do much to remedy\\nthe evil. Writing is in itself an educa-\\ntor, and one who writes much and\\nwrites carefully will find himself gradu-\\nally correcting errors and shortcomings.\\nOne who sets himself out to improve\\nwill meet with encouragement and will\\ndeserve success.\\nBut one who is already gifted with\\nthe required attributes of a writer, yet\\nthrough carelessness fails to do the\\nbest possible, does not deserve much\\neither of sympathy or help. Careless-\\nness in a writer is the one thing which\\neditors will not look upon complacently.\\nA manuscript which does not present a\\nneat and legible appearance cannot com-", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0028.jp2"}, "29": {"fulltext": "PRACTICAL AUTHORSHIP\\n17\\nThe duties of\\nthe editor\\nand of\\nthe writer.\\nmend itself. No matter how good\\nthe material may be, the editor will\\nreason, and rightly, that this would-be\\ncontributor has but a slight regard for\\nhis chosen art.\\nCarelessness in punctuation, in the\\nuse of capitals, in the choice of words,\\nand in the formation of sentences, means\\nthat much labor is entailed upon the\\neditor if the article is accepted and\\nprinted. From the manuscripts that\\ncontinuahV drift into editorial offices it\\nwould seem that some writers are still\\nof the opinion that it is the business of\\nthe editor to edit. This is not often\\nthe case. The province of an editor\\nnow-a-days is to examine authors man-\\nuscripts and to select those that will\\nbest meet the needs of his journal.\\nThe editor is usually a busy man. If\\nhe should select for each number of his\\njournal two or three or four manuscripts\\nthat require careful editing throughout,\\nhe would find that this labor encroached\\nseverely on the time demanded for other\\nduties. So he has come to reason that\\na writer should practice his art as per-\\nfectly as possible. The latter should not\\ndepend upon the editor to discover his\\nlapses, nor to amend them, but he\\nshould be his own editor.\\nWhen the manuscript leaves the", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0029.jp2"}, "30": {"fulltext": "18 PRACTICAL AUTHORSHIP\\nauthor s hand it should be ready for the\\nprinter. This will go a long way\\ntoward insuring its acceptance. It is\\nsimply a statement of fact to say that\\neditors are constantly returning many\\nmanuscripts that in all probability- were\\notherwise acceptable, only because a\\nglance has shown that to edit them\\nproperly would require more time and\\nlabor than they were warranted in\\ngiving.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0030.jp2"}, "31": {"fulltext": "CHAPTER II.\\nA look\\nahead.\\nLITERATURE AS A PROFESSION INDUSTRY AND BUSI-\\nNESS ACUMEN NEEEFUL FOR SUCCESS PRACTICE\\nPERFECTS THE MIND DEVELOPED AND\\nSTRENGTHENED BY APPLICATION WRITING FOR\\nPRACTICE STUDY FOR CONDENSATION MODELS\\nFOR STYLE WHAT WRITERS SHOULD READ\\nTHE MATTER MORE IMPORTANT THAN THE MAN-\\nNER HOURS FOR WORK THE WRITER HIS\\nOWN EDITOR.\\nIt has been well said that literature\\nis a good crutch but a poor staff. Freely\\ntranslated, this means that the writer\\nshould not often, especially at the very\\noutset of his career, hope to make liter-\\nature his sole employment, nor to secure\\na livelihood from its practice as a pro-\\nfession. No matter what success one\\nmay meet -with at the beginning, it is\\nnot less true in this than in the voca-\\ntions of the artist and the statuary,\\nthat art is long. In this as in other\\nlines of work where men must toil, and\\nwin their way by force and persistence,\\none must serve an apprenticeship, and\\nby constant practice grow in his pro-", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0031.jp2"}, "32": {"fulltext": "20 PRACTICAL AUTHORSHIP\\nfession;this practice not seldom extends\\nthrough a lifetime before one finds that\\nhis chosen and loved occupation will\\nafford him a satisfactory sustenance,\\nand so obviate the necessity of employ-\\ning any portion of his time in other and\\nless congenial pursuits.\\nWe have but to look over the history\\nof letters in modern times to discover\\nthat many, even of those who have\\nbeen classed as great among writers,\\ndid not live by the pen alone. We know\\nA glance that Hawthorne was glad to have his\\nat the friend Pierce give him a place in the Sa-\\npast. i em cus -j om house, and thus relieve him\\nfrom the strain and burden of depend-\\ning wholly upon the magic pen that\\ncreated the Marble Faun and the Scar-\\nlet Letter, to provide for the necessities\\nof life in his modest household. Lamb,\\ngentlest and quaintest among English\\nessayists, has told humorously of the\\npurgatory of that high stool at his desk\\nin the India House, where the pen that\\ngave to us the immortal Essays of Elia\\nwas employed upon the dull pages of\\nheav3 r ledgers. These instances could\\nbe multiplied without end, and it is well\\nthat the young writer who fondly ima-\\ngines that glory and riches are to reward\\nhis first successful effort, should keep\\nthem in mind.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0032.jp2"}, "33": {"fulltext": "Grind steadily\\nat the\\nmill.\\nPRACTICAL AUTHORSHIP 21\\nBut there is another and more favor-\\nable side to the picture, for it is true\\nthat the steady, plodding worker, es-\\npecially the one who combines business\\nacumen with average literary skill and\\nadaptability, may by constant applica-\\ntion secure to himself an income as\\nsatisfactory, if not as regular, as the\\nsame application and ability would se-\\ncure for him in other walks of life. The\\ntrouble is, however, that few writers\\nwill labor so steadily at their tasks as\\nthe government employee must at his\\ndesk, or as the business man will in his\\nown counting-house. The fancy that\\none is a child of genius and is not sub-\\nject to the bounds and measures that\\ncompass ordinary mortals, may to some\\ndegree account for this. Whatever the\\nreason, it would be difficult to find\\namong the younger literary workers\\none who honestly obeys Eugene Field s\\nfamous prescription for success Eight\\nhours steady work every day. Some\\nwait for the mood, for inspiration. Then\\nif the inspiration does not come they\\nfancy that they have free license for a\\nday or a week away from that work\\nwhich should be pursued systematically\\nand conscientiously for a certain num-\\nber of hours, six days in the week.\\nThe incipient genius who does not", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0033.jp2"}, "34": {"fulltext": "22 PRACTICAL AUTHORSHIP\\nwish to be thus bound may point to the\\nfew who leap at once fully equipped in-\\nto the arena of letters, and who receive\\nthere and then such prompt and com-\\nplete and substantial recognition that\\ntheir path is ever after one of flowery\\nease. But these are only the exceptions\\nwhich prove the rule. The real genius,\\nhe who accomplishes literary success in\\nThe this manner, appears once in an hundred\\nrarity of years or less. Such rare exceptions do\\nnot lessen in any manner the force of\\nthe argument that ease and skill in\\ncomposition, literary technique, concise\\nand dramatic expression, the knowledge\\nof what is wanted and of how to do\\nthe things that are wanted, in short all\\nthings that are worthy, are acquired\\nby application.\\nIt matters little what especial direc-\\ntion one s work may take, first efforts\\nwill have a certain crudeness which can-\\nnot be got rid of by criticism alone, or\\nby the study of models, or by any aid\\noutside oneself. It is not to be denied that\\ncriticism and advice may help, but only\\nto the extent of directing the writer to-\\nward the paths in which he may best\\nhelp himself.\\nLongfellow was a poet from his\\nyouth. The poetic instinct w^as early\\nand strongly developed in him, j^et in", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0034.jp2"}, "35": {"fulltext": "PRACTICAL AUTHORSHIP 23\\nhis mature years lie would have been\\nglad to consign to oblivion much that\\nhis pen had given to the world before he\\nhad schooled himself b} assiduous ap-\\nplication and so perfected himself in the\\ngentle art which he had chosen.\\nPractice perfects! We do not question\\nthis in any physical matter. Xo one\\npretends to perfection in any handicraft\\nuntil a long apprenticeship has been\\nserved. The painter goes to school and\\nlearns, by patiently following the work\\nof the master, all the details of his art,\\nbeginning with the mixing of the pig-\\nLearning ments. But the writer\\nthe use of The young writer sometimes thinks\\nwords. it beneath him to pay any attention to\\nsuch small details as the mixing of the\\npigments. Words are the writer s jDig-\\nments, and these he must study to learn\\ntheir value, their color, their weight,\\ntheir force, and how they may be blend-\\ned into that harmonious whole that\\nmakes the perfect sentence. The words\\nare all before us, as the colors are\\nall before the painter. But unless\\nwe know how to mix the pigments,\\neither in literature or in art, the results\\nwill be ever crude and unsatisfactory.\\nBut the writer, you say, cannot al-\\nways have a master! True. In such\\ncase let him then be his own preceptor.", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0035.jp2"}, "36": {"fulltext": "24 PRACTICAL AUTHORSHIP\\nLet him write and destroy and write\\nagain. Not always the same thing, but\\never new ideas, new scenes, new charac-\\nters should be taken, and with the pen\\nclothed with new literary form. Thus\\nwill be acquired facility and diversity.\\nBut if one may have a master, let him\\nfollow the method of Maupassant, who\\ntoiled for seven j^ears in the stud}^ of his\\naccepted master, writing little stories\\nthat were written only to be destroyed.\\nMonth after month, year after year he\\nsubmitted his work to the master, only\\nto be told that it was not yet sufficient.\\nArT example But when he did come to his own, what\\nfrom the marvelous things did he give to the\\nFrench. world! Within the space of a few years\\nthree hundred short stories and feuille-\\ntons, masterpieces of the art of telling a\\nstory or drawing a picture in the least\\npossible space! What a reputation he\\nmade, and how soon it was all done\\nfor! for poor Guy de Maupassant, when\\nhis fame had but begun to bourgeon,\\ndied ,in a madhouse, because the brain\\nhad been overwrought with its marvel-\\nous creations.\\nA young story writer often looks for-\\nward with positive dread, fearful that\\na time will come when all his stories\\nwill have been told. Sometimes he en-\\ndeavors to forecast the future, and is", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0036.jp2"}, "37": {"fulltext": "PRACTICAL AUTHORSHIP\\n25\\nA\\ndrawback\\nto\\nidleness.\\nperplexed that he can see no new images\\nrising upon the palimpsest of his brain,\\nto be set forth by him upon the written\\npage. The knowledge that all the\\nstories particularly all his stories\\nhave been told, comes upon him with\\nappalling realnw. Such fears occur\\nmost often during a period when crea-\\ntive work has been suspended. We be-\\nlieve that all writers of fiction will agree\\nthat the longer the creative faculties\\nhave thus been in disuse the stronger\\nand more real and present becomes this\\nhaunting fear. The writer questions if\\nhe will ever again be able to conjure\\nthose fancies which once came so readi-\\nly at his bidding. Imagination seems\\ndead, and all those anw visions which\\nonce were so wont to delight him and\\nto beckon him on toward fresh fields of\\ntrial and accomplishment, are now\\nvanished utterly. Even those whom\\nthe world is apt to regard as its most\\nfacile writers of stories sometimes find\\nthemselves almost in despair because of\\nsuch thoughts. But when once again\\nthey are really at their work, the images\\nof their fancy, the brain-children in\\nwhich they so delight, arise more quick\\nand fast than ever.\\nIt may be that there was difficulty in\\ngetting the fountain started again;", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0037.jp2"}, "38": {"fulltext": "26 PRACTICAL AUTHORSHIP\\nthought may have appeared sluggish,\\nand the first attempt was perhaps form-\\nless and unsatisfactory; but the next\\nwas better and more easily done, and\\nso with the next and the next and the\\nnext, until ideas fairly tumbled over one\\nanother, so rapidly and so eagerly did\\nthey press for utterance. The writing\\nof a single story may start a train of\\nthought that will bring forth a dozen\\nothers as rapidly as the}^ can be put up-\\non paper. The more stories one writes,\\nthe more will be conjured forward from\\nthe recesses of the brain where they\\nSomething have lain hidden.\\nto write It is thus that work ever develops the\\nabout. mind and the imagination. The writer\\nwho has his harness steadily on is never\\nat a loss for something to write\\nabout. Such a plaint as this is the\\nsign-manual of the writer who has not\\nyet learned the first lesson in his literary\\nprimer. If you must search and cudgel\\nyour brain for something to write up-\\non, you may be pretty certain that\\nwhen the thing is done it will prove to\\nhave been not very well worth the do-\\ning. Real, earnest writers, they who\\nare thoroughly in the work, find their\\ndifficulty to be of quite another sort;\\nso many topics continually press upon\\nthem that their trouble is to pick and", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0038.jp2"}, "39": {"fulltext": "Writing\\nPRACTICAL AUTHORSHIP 27\\nchoose from such an embarrassment of\\nriches.\\nWhen the thought-waves have been\\nstarted by actual application to the\\ntask in hand, let them come as the\\nwater flows from a fountain that is\\noverfull. Do not be afraid of writing\\ntoo much, but do have a wholesome\\nfor practice f ear \u00c2\u00b0f offering too much for publica-\\nonly. tion. Write all that you can; put upon\\npaper every thought that is in your\\nmind; then scrutinize closely, destroy\\nthat which does not seem to be of your\\nvery best, and put aside until it has\\ntime to ripen that which you may think\\ngood.\\nLet there be no cessation in your\\nwork. It will be more difficult to get\\nstarted again, than, having once be-\\ngun, to keep right on. Do not be afraid\\nof an accumulation of manuscripts. A\\nwriter is hardly seriously in the field un-\\nless he has an half hundred manuscripts\\nof various sorts ready for and seeking\\ntheir proper avenues for publication.\\nThe athlete makes himself still more\\nstrong and stipple by constant exercise.\\nThe pugilist trains and hardens himself\\nrigorously for the conflict. The builder\\nand the machinist toil and perfect them-\\nselves in the details of their trades. The\\npainter and the sculptor grow continual-", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0039.jp2"}, "40": {"fulltext": "28 PRACTICAL AUTHORSHIP\\nly, by the accomplishment of each succes-\\nsive task, in the power of expressing\\ntheir ideas in form and substance.\\nAmong all men, it seems that the\\nwriter alone hopes to evolve out of his\\npoor little egg-shell of a brain, at once,\\nwithout practice, application, or train-\\ning, something that the world shall\\nthink of value.\\nThe earliest productions of a writer\\nusually deserve the flames nothing\\nmore, Because editors return them as\\nunavailable onh^ shows that editors\\npj rs have a modicum of worldly wisdom. A\\nproductions writer who is discouraged by such re-\\nnot often fusal, and who is unwilling to take it as\\nvaluable. a hint that he has yet somewhat to\\nlearn before he becomes perfect in an art\\nin which the greatest of the world have\\nstriven, deserves only failure.\\nMuch reading, if done conscientiously\\nand observantly, in itself constitutes\\nan excellent means of training and\\neducation for the writer. But it must\\nbe kept in mind that Reading maketh\\nthe full man, and writing,\\nthe exact man. So no matter how\\nmuch one may read, the best result in\\nits effect upon his own work will not be\\nobtained unless he also writes much.\\nWrite constantly and carefully. Write,\\neven though you have no thought of", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0040.jp2"}, "41": {"fulltext": "PRACTICAL AUTHORSHIP 29\\npublication, in order that yon may see\\nhow your thoughts and ideas look\\nwhen expressed- in words. Get them be-\\nfore you in good type copy, then read,\\nrevise, and amend, until each thought\\nand each sentence stands clear and con-\\ncise. Strive for absolute perfection in\\nthe choice of each word and in the con-\\nstruction of every phrase.\\nAmong the things that one may write\\nfor practice rather than for publication\\nare: Short critiques of books read; or\\na synopsis of a paragraph or chapter of\\na book, or of an article or short story.\\nugges ions -g^ practicing this conscientiously one\\nmay gain much toward succinctness.\\nmr In preparing such briefs give the con-\\ntents, the vital essence, of the paragraph\\nor chapter or story read, and nothing\\nmore. After it is written, revise and\\ncut out every superfluous word until\\nyou have a compact, but clear and in-\\ntelligible, resume. In doing this it is\\nwell to choose for subjects the work of\\nmasters in the various walks of litera-\\nture. Ruskin may be chosen for style,\\nAddison for clearness, Thackeray for\\nsarcasm, Kipling for originality and\\nstrength, and Macaulay for the com-\\nbination of elegance and strength.\\nBacon, who said that he would make\\nall knowledge his, said also of books as", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0041.jp2"}, "42": {"fulltext": "30 PRACTICAL AUTHORSHIP\\nfollows: Some books are to be tasted,\\nothers to be swallowed, and some few\\nto be chewed and digested. Henry\\nWard Beecher said: I read for three\\nthings: First; to know what the world\\nhas done in the last twenty -four hours\\nand is about to do to-day: second; for\\nthe knowledge which I specially want\\nto use in my work: and third; for what\\nwill bring my mind into a proper\\nThe uses mood.\\nof books to For a writer all these things are im-\\nwriters. portant. He should read to keep pace\\nwith the world s work, he should read\\nto increase knowledge, and he should\\nread to bring his mind into that state\\nwhere it will best be able to perform\\nthe work which is demanded from it.\\nBeecher further said that he never read\\nfor style, although he thought that one\\nmight do so profitably. He commended\\nHerbert Spencer s essay on style as the\\nyqtj best one that he knew, and advised\\nyoung people to get it, read it and\\npractice it. Beecher stated that he\\nread Burke for fluency, and that he ob-\\ntained the sense of adjectives out of\\nBarrow.\\nDr. Macaulay once remarked that\\nwhen he was a boy at college he read\\nenthusiastically, but at the foot of qyqtj\\npage he stopped and obliged himself to\\nV,", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0042.jp2"}, "43": {"fulltext": "PRACTICAL AUTHORSHIP 31\\ngive an account of what he had read on\\nthat page. In this manner he early\\nformed the habits of attention and\\nmemory.\\nIn regard to reading current publica-\\ntions Webster said: The magazine is a\\nstorehouse, a granary, a cellar, a ware-\\nhouse in which anything is stored or\\ndeposited. Johnson said: These papers\\nof the day have uses more adequate to\\nthe purposes of common life than more\\npompous and durable volumes! And\\nLamartine said: Before this century\\nshall run out journalism will be the\\nwhole press. Mankind will write their\\nAbout books day by day, hour by hour, page\\nreading by page.\\ncurrent These opinions are too true and too\\nimportant to be passed by thoughtless-\\nly. The magazine and the newspaper\\nof to-day have their message for the\\nwriter, and may as rightly exert their\\ninfluence upon his formative period, as\\nthe accepted classic.\\nThe majority of readers prefer writ-\\nings in which the language is simple. It\\nis a distinct literary achievement to\\ncouch strong, expressive thoughts in\\nsimple language and yet make them\\neffective.\\nProfessor Bancroft says: To attain\\nclearness a writer must have definite", "height": "4186", "width": "2555", "jp2-path": "practicalauthors00reev_0043.jp2"}, "44": {"fulltext": "A few\\nwords about\\nstyle.\\n32 PRACTICAL AUTHORSHIP\\nthoughts and then express his thoughts\\nin language that his readers may un-\\nderstand as he understands it. The\\nwords of the wise are few and well\\nchosen. Scan every sentence, then con-\\ndense your sentence into clauses, your\\nclauses into phrases, your phrases into\\nw^ords; and if you really do not need\\nthe words blot them out.\\nRuskin says: When I was young if\\nI thought anybody s house was on fire\\nI said: Sir, the abode in which you\\nprobably passed the delightful years of\\nyour youth is in a state of inflamma-\\ntion, and people called me a good writer\\nthen; now they say I cannot write at\\nall because I say: Sir, your house is on\\nfire.\\nYoung writers often request those\\nwho have won their spurs in literature\\nto recommend certain books, or courses\\nof reading and study, that may be pur-\\nsued as an aid to literary style and ease\\nof expression. In reply the novice is\\nusually told to read u the best authors.\\nThe very wealth of material included\\nin this comprehensive answer makes it\\ndifficult to know where to begin. The\\none who advises along such lines is en-\\ntirely safe, for no harm can result. The\\nmore one reads the best books, and the\\nwork of the great masters of literature,", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0044.jp2"}, "45": {"fulltext": "The\\ncompany\\nPRACTICAL AUTHORSHIP 33\\nthe better will he be equipped for any\\neffort toward which he may turn his\\nhand; not only for the literary trade,\\nbut he will be a fuller and richer and\\nmore competent man for every detail of\\nlife.\\nThe company of the great thinkers is\\nin itself a liberal education; but no\\nwriter has ever been made through their\\nstudy alone. If a young writer should\\ntake the work of any single one of the\\nmasters, and study it with a view to\\nthe element of style, he would run the\\nof the great very serious risk of becoming a mere\\nthinkers. imitator. Style, as applied to litera-\\nture, is an intangible but not imper-\\nceptible something. Each man must\\nhave it for himself. It must be innate,\\nnot acquired. It cannot be taught nor\\nconveyed. True, it may be enriched,\\nimproved, made more perfect by con-\\nstant and careful application; but it\\nmust be original or it is of no value.\\nSwift long ago said that proper\\nwords in proper places make the true\\ndefinition of st}de. This explanation may\\nbe broadened by adding that style is\\nsuch use of language in the expression\\nof thought as exhibits the spirit and\\nfaculty of an artist. Swift s definition\\nmight apply most properly to the\\nsimple style which is direct and unorna-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0045.jp2"}, "46": {"fulltext": "34\\nPRACTICAL AUTHORSHIP\\nMatters\\nto be\\nconsidered.\\nmerited. The wider one that we have\\ngiven would find a most complete\\nexemplar in the work of Ruskin.\\nThe study of the masters of style and\\nexpression may perhaps be most valu-\\nable by observing closely that which\\nthey do not do, rather than the converse.\\nThe careful reader may readily ascertain\\nin this manner that the style of a great\\nwork consists in the avoidance of\\nhyperbole, needless adjectives, redun-\\ndant phrases, repetition, tautology.\\nClearness and meaning are best arrived\\nat without these. One element of style\\nconsists in the choice of just the one\\nright word where various synonyms\\nwould serve more or less perfectly the\\naim of the writer.\\nBut style of expression is not the only\\nthing to be considered. Unity and\\nsequence in composition are matters\\nwhich the young writer often does not\\nunderstand nor does he understand\\nthe necessity of understanding them.\\nThere is a proper point at which to be-\\ngin an article or story. There is a pro-\\nper sequence of events to follow, and\\nthere is a proper place at which to end.\\nIn reading and study observe these\\nthings, and look upon that which is\\nwritten, in order to determine the man-\\nner in which it is written to decide", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0046.jp2"}, "47": {"fulltext": "PRACTICAL AUTHORSHIP 35\\nfor yourself whether this be good or\\nbad.\\nYes, the advice may safety be given to\\nread the great masters. But read not\\nonly those who are great in style, but\\nthose as well who are great in ideas\\nand invention and the construction of\\nplot. For first of all a writer must\\nStudy have ideas, and he must then have con-\\nmethods as well struction, before his need of style will\\nas style. come into play. Do not make the mis-\\ntake of putting the last requisite first.\\nWe all have known writers who could\\nconstruct clean and well-rounded\\nsentences, but who had absolutely\\nnothing to say; to advocate for such\\nthe studjr of style, would beholding out\\nto them an ignis fatuus.\\nAmong models of construction, Hugo\\nand Thackeray stand in the first rank;\\nfor models of stymie, Ruskin and Kings-\\nley; yet there are an hundred others\\nwho may be read with profit by the\\nyoung writer. The writer who posses-\\nses a style of his own will perhaps\\nnever be harmed by reading slipshod\\nwork, because he will immediately feel\\nrepulsed by it, and will endeavor to\\nmake his own method as great a re-\\nmove from it as possible; but the read-\\ning of good work understandingly will\\nhave a tendency constantly to perfect\\nand broaden him.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0047.jp2"}, "48": {"fulltext": "A word\\n36 PRACTICAL AUTHORSHIP\\nMuch is said against the current\\npublications of the day, yet they may\\nstill be considered most excellent guides\\nfor the young writer. The matter\\nwhich they contain may not always be\\ngood, yet it is almost always carefully\\nfor our current edited. While the style may not al-\\npublications. ways appeal to the purists, yet it is\\nmodern; it is what our editors and\\npublishers to-day are accepting; and\\nthe editors and publishers are the\\ncritics, nay, the court of last resort,\\nwhom we must have before our mind s\\neye in our work if we care to reach the\\neye and ear of the public.\\nIf your literary work is to be any-\\nthing more than play, the following of\\na whim, or the employment of idle\\nmoments, have as regular hours for it\\nas you would for any other serious un-\\ndertaking which was to be xoursued\\nfrom day to day.\\nPreferably the morning hours should\\nbe given to literary composition. It is\\nthen that the brain is clearest, the mind\\nmost active, and the physical qualities\\nmost capable of endurance. The fact\\nshould not be lost sight of that health\\nand strength a sound body housing a\\nsound mind are wonderful factors in\\nliterary success.\\nThere are some writers so constituted", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0048.jp2"}, "49": {"fulltext": "Acquire\\nthe\\nPRACTICAL AUTHORSHIP 37\\nthat they can rise superior to circum-\\nstances and work whenever and wher-\\never the opportunity offers. Others\\nclaim that their best work is done at\\nnight, after the activities of the day are\\nfinished. But probably anyone who\\nwill give the matter an unprejudiced\\ntrial will admit that no other hours or\\nmethods are so favorable as to\\nhabitually employ the morning for\\nliterary composition.\\nNail yourself to a chair and bend to\\nwork! Go to work, my brother, go to\\nwork habit. work! Stick to your work and you\\nwill succeed! These were the words of\\nJoel Chandler Harris to a young man\\nwith literary ambitions. The young\\nman said that he would put this advice\\ninto practice, so he went away at once\\nand purchased a handsomely carved\\ndesk, a revolving chair and a ream of\\npaper; then he nailed himself to the\\nchair and bent to the work, for two\\nweeks. At the end of that time he\\nsaid: Well I ve been there two weeks\\nbut the work won t come; it s no go, I\\ntell you. Do you know anybody who\\nwants to buy a roller top desk and a\\nrevolving chair?\\nThat is the method of some would-be\\nyoung writers. They make elaborate\\npreparations for the work which it is not", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0049.jp2"}, "50": {"fulltext": "38\\nPRACTICAL AUTHORSHIP\\nin them to do. Two weeks of effort to-\\nward the accomplishment of a life task!\\nMr. Kipling wrote: No man s ad-\\nvice is the least benefit in our business,\\nand I am a very busy man, Keep on\\ntrying until jovl either fail or succeed.\\nThe eminent scholar and church his-\\nComments torian, Dr. Philip Schaff, used to say of\\nof the himself: I have not genius; lam sim-\\nmasters. ply a hard worker, and what I am I\\nowe to God and to constant applica-\\ntion, keeping my wits about me.\\nSamuel Smiles said: Genius without\\nwork is certainly a dumb orator; and it\\nis unquestionably true that the men of\\nthe highest genius have invariably been\\nfound to be amongst the most plodding,\\nhard working, and intent men, their\\nchief characteristic apparently consist-\\ning simply in their power of laboring\\nmore intensely and effectively than\\nothers.\\nWilliam Dean Howells said recently\\nthat hard work in literature made what\\nthe world calls genius with a brain of\\ncourse to begin with.\\nThe method of giving utterance to our\\nthought is always a matter for serious\\nconsideration, a matter of great impor-\\ntance, but not of the first importance.\\nIf this were true, it would resolve itself\\ninto an admission that manner is more", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0050.jp2"}, "51": {"fulltext": "PRACTICAL AUTHORSHIP 39\\nthan matter. But before the necessity\\nfor elegance and clearness of expression,\\nthere must be substance. There must\\nbe a thought to express before thought\\ncan properly be applied to the manner\\nof expression. So, in counseling a begin-\\nner in literature, the one who would\\nlay first and greatest stress upon\\nBe certain the manner of expression would put him\\nthat you have upon the wrong road. Attend first and\\nsomething chiefly to the matter. Be very certain\\nto say. that you have something to write,\\nsomething that is worthy of all the\\nthought and care that you can give it\\nin your effort to provide the proper\\nform of expression. Dress has its proper\\nplace in the adornment of literature, as\\nin the adornment of the individual. But\\nto make dress a matter of more impor-\\ntance than the mind and soul of the\\nwearer is to put the infinitely lesser be-\\nfore the infinitely greater.\\nTo a large extent the style is the man.\\nIndividuality there must be in anyone\\nwho has am-thing to say that is w or thy\\nof being said. So having the thought,\\nthe brain and the mental powers which\\nmust exist for original work of any\\nforce, there will also be a certain indi-\\nviduality of style in which to clothe the\\nthought. Or if there is not this style,\\nor if at the first it be rugged and un-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0051.jp2"}, "52": {"fulltext": "40 PRACTICAL AUTHORSHIP\\nformed, practice in the art of expressing\\nthe thought will in time bring about\\nthe form of expression that is suited\\nbest of all to the matter which you have\\nto commtmicate.\\nLiterature is hardly a thing to be\\nstudied by itself. The young writer\\nmay not go far wrong if he begins to\\nstudy for his life work by studying life\\nReal life itself. All true literature must be\\nth o e f f0Undati0n founded upon the life that exists or has\\nexisted. Gain first a knowledge of this\\nin one or many of its varied phases, and\\nyou have somewhat upon which to\\nbuild. To take a modern instance, Mr.\\nKipling s wonderful success has been\\nbased upon his knowledge of life and\\nmen. This is the very foundation rock\\nof his great reputation. He never errs\\nin truly depicting the people whom he\\nattempts to portray. Having the abil-\\nity to do this, the style really matters\\nlittle. In Mr. Kipling s case it has often\\nbeen rough and unformed. Yet with\\nhim, as with Carlisle, the rough, inher-\\nent style of the man was just that best\\nadapted to the matter which he had to\\nset forth.\\nAnd a writer s style will grow with\\nhis growth. What matter whether it is\\nthis or that at the beginning, if only it\\nwill form in the crucible of time and use,", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0052.jp2"}, "53": {"fulltext": "PRACTICAL AUTHORSHIP 41\\neven as the rough diamond forms tinder\\nthe skillful touch of the lapidary. It is\\nnot expected that a writer will stand\\nstill at the point at which he has begun.\\nIf this were so there would be little\\nhope in our literature. What he can do\\nat the beginning is of little moment,\\nonly so it shows that he has that in\\nhim which may serve as a foundation\\nupon which to work, and which gives\\npromise of being worthy the effort re-\\nquired to bring it to a worthy develop-\\nment.\\nThe writer for current publications\\nmust be constantly a student of style in\\na certain somewhat narrow and limited\\nsense. The style which he must partic-\\nularly display, in order to obtain ready\\nacceptance for his work, is that style\\nwhich is the vogue of the day and of\\nthe publications to which he would con-\\ntribute. This may be considered as\\nputting a low estimate and improper\\nconstruction upon the quality of style,\\nas that is meant in reference to litera-\\nture in its largest aspects. But we are\\nconsidering literature now somewhat in\\nits commercial aspect, and are treating\\nof the things which the writer must do\\nin order to pave the way for success in\\nan especial line. He must observe con-\\ntinually the character of the work used,\\nday.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0053.jp2"}, "54": {"fulltext": "42 PRACTICAL AUTHORSHIP\\nand regard that as a criterion of the\\ncharacter of the work desired.\\nFine wri ting is one of the greatest\\nobstacles in the way of acquiring style.\\nThe day of fine writing for itself has\\npassed. Neither editors nor publishers\\nlonger look favorably upon the writer\\nfine writing who ornately builds up phrase upon\\nis not phrase and paragraph upon paragraph\\npopular. without arriving rapidly toward a defi-\\nnite end. It is upon the work of such\\nwriters that the editorial blue pencil is\\nused without mercy.\\nIt is not always nor even often pleas-\\nant to have one s manuscript returned\\nas unacceptable, but occasionally such\\nreturns are of the very greatest value to\\nthe writer, especially- if he can look be-\\ntween the lines of the editor s polite and\\nnon-committal refusal and discover\\nthere that the reason for the return has\\nbeen an excess of this fine writing, up on\\nwhich he lavished such great pains.\\nThe story which contains one good\\nscene, two or three characters acting in\\na circumscribed environment, and a dra-\\nmatic climax, has perhaps been spread\\nthrough 6,000 or 8,000 words. If,\\nwhen the story has been returned a\\ndozen times and the fact has begun to\\ndawn upon the writer that there must\\nbe something radically wrong with it,\\nhe would himself edit the manuscript", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0054.jp2"}, "55": {"fulltext": "PRACTICAL AUTHORSHIP 43\\ncarefully, mercilessly cutting out the\\nflights of fancy, the super-graceful touch-\\nes, the fine phrasing that seems to him\\nso very fine, and in reducing it one-half\\nleave the story itself untouched but\\ntold now with infinitely more vigor and\\naction he would doubtless find it more\\nacceptable to editors and the reading\\npublic and more profitable to himself\\nthan it ever could have been when told\\nat its previous and needless entire\\nlength.\\nThe employment of useless adjectives\\nand of synonymous words in descrip-\\ntion are two cardinal sins of voting:\\nwaiters, and ones that most frequently\\ncall for the use of the blue pencil. The\\nintroduction of matter that is not rel-\\nevant, and with many the tendency to\\npreach, are other common faults\\nwhich often mar the otherwise good\\nwork of young writers.\\nIn editing or revising one s own work,\\nit should always be kept in mind that a\\nword which is not necessary, which will\\nnot help forward the story, or which\\nwill not throw added light upon the\\nscene, should be ruthlessly given over\\nto the blue pencil. Take that story\\nwhich you have just completed and pol-\\nish it by this rule, and after you have\\ndone this, be honest with yourself, and\\nsee if it is not better than it was before.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0055.jp2"}, "56": {"fulltext": "CHAPTER III.\\nEDITORS THE FRIENDS OF WRITERS THEIR CONSID-\\nERATION FOR NEW ASPIRANTS HELP EDITORS\\nBY DOING YOUR WORK PROPERLY HOW TO PRE-\\nPARE AND SEND YOUR MS. DON T SEND NEED-\\nLESS LETTERS TYPE COPY IS PREFERRED THE\\nNOM-DE-PLUME DON T PRESUME ON EDITORS.\\nWe have known certain writers who\\nwere quite confident that all editors\\nwere in league against them and bound\\nto prevent them having any opportu-\\nnity to prove their quality to the public.\\nP t This question might be argued at\\nabuse the considerable length, but it is not worth\\neditors. while. Editors are in need of writers\\njust as much as writers are in need of\\neditors. The relations between them\\nshould be, and usually are, most friend-\\nly. Perhaps if either could do without\\nthe other, it would be the writers rather\\nthan the editors. The writer can go to\\nsawing w^ood for a living, (or if of the\\ngentler sex, to baking bread, or sewing\\nbuttons on shirts) and so manage to\\nkeep soul and bodj^ together without\\nthe editor s assistance. But without", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0056.jp2"}, "57": {"fulltext": "PRACTICAL AUTHORSHIP\\n45\\nA chance\\nfor all new\\nwriters.\\nthe writer s aid the editor cannot fill\\nthe pages of his newspaper or the col-\\numns of his magazine, and as the ma-\\njority of people are prejudiced against\\nreading old things over and over, he\\nwould soon have to give up the fight.\\nThe very worst thing that can hap-\\npen to a j^oung writer is to gain the\\nimpression that editors do not want\\nhim to succeed. The truth of this is\\ndirectly to the contrar}^. If he has a\\nspark of genius or talent ihej are glad\\nto assist him in any maner that they\\nmay be able to toward its development.\\nThey know very well that life is short\\nand that the public is fickle. The fa-\\nvorite writer of to-day ma} r be in his\\ngrave to-morrow, or if still out of it, the\\npublic may conclude that they have had\\nenough of him and cry for someone new.\\nAnd if one editor cannot supply this de-\\nmand, another may, and the one who\\nfails must go to the wall. The writer\\nof this can himself testify to many\\nwords of encouragement and kindly\\nacts of assistance given him by editors\\nof various publications, when he first\\nbegan to send out his manuscripts for\\nacceptance. A word of criticism here,\\nof suggestion there, enabled him at\\ntimes to better his work, to send it into\\nthe right channels, or to turn his atten-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0057.jp2"}, "58": {"fulltext": "46 PRACTICAL AUTHORSHIP\\ntion to certain tilings that editors\\nwanted done and that he was able to\\ndo for them.\\nThe ignorant, incompetent and care-\\nless cannot expect great consideration,\\nfor it is apparent at a glance that they\\nwill never accomplish anything, and\\neditors would not be justified in encour-\\naging such to continue along a path\\nwhere they were certain to meet w4th\\nfailure.\\nHaving made up your mind that the\\neditor is well disposed toward you, it\\nA chapter then becomes your duty to do all that\\nof hints for be- you can to make his work easy, and to\\nginners, further him in his laudable intentions\\ntoward you. That you may help to-\\nward such an end, this chapter will be a\\nmiscellany of hints of what writers\\nshould and should not do in their inter-\\ncourse with editors.\\nNever roll your manuscript. Send it\\nflat, if a bulky manuscript; or folded, if\\na small one. Rolled manuscripts are a\\nnuisance in any office, and many editors\\nfeel justified in throwing such into the\\nwaste-paper basket without opening\\nthem. If an editor tries to read a rolled\\nmanuscript, the sheets curl up and run\\nall over his desk, and sometimes all over\\nthe office. If it has to be returned to\\nthe author, it requires five or ten min-", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0058.jp2"}, "59": {"fulltext": "Make ready\\nPRACTICAL AUTHORSHIP 47\\ntrtes to get it into compact shape and\\nsecurely wrapped and pasted. All edi-\\ntors, since the beginning of time, have\\nwarned contributors against the prac-\\ntice of rolling manuscripts, yet there are\\nsome who still persist in doing this.\\nSuch deserve absolutely no considera-\\ntion from editors.\\nIn sending any manuscript that is to\\nbe returned by mail, enclose with it an\\nenvelope of proper size and shape, ad-\\ndressed and fully stamped. Until writers\\nfor the return throughout the world unite upon the\\nof your Ms. use of paper cut to a certain size, and\\nagree to fold their manuscripts in a\\ncertain manner, editors can hardfy be\\nexpected to keep on hand a sufficient\\nvariety of envelopes to meet all require-\\nments. So unless you send the proper\\nenvelope, do not growl if your manu-\\nscript is refolded and creased and soiled,\\nin a laudable endeavor to put it up\\nsecurely for the return trip in such\\nwrapper as may be at hand.\\nTake at least ordinary precaution to\\nguard against the loss of r our manu-\\nscript. Write your name and address\\nplainly upon the envelope, with a return\\nrequest to the postmaster. Newspapers,\\nmagazines and publishing firms may\\nfail, or they may change their address.\\nThe above precaution will insure the", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0059.jp2"}, "60": {"fulltext": "48 PRACTICAL AUTHORSHIP\\nreturn of r our manuscript and save you\\nloss of time, worry, correspondence, and\\noften the loss of the manuscript itself.\\nWrite your name and address in the\\nupper left hand corner of the first page\\nof your manuscript. Then an editor is\\nnot put to the trouble of keeping your\\nletter and your manuscript together,\\nbut has before him, in compact form,\\nall the information that he needs.\\nNever send your manuscript under\\nMaking one enclosure and letter of notification\\nthe editor s under another. If you do, the editor is\\nwork easy. u Q -j-j ie aim0 yance and trouble of\\nhaving to match up the two, and pos-\\nsibly of keeping one upon his desk until\\na delayed mail brings in the other.\\nIt is a good plan to indicate upon the\\nfirst page the number of words con-\\ntained in your manuscript. It is not\\nnecessar\\\\^ to make an exact count of all\\nyour words, but count the words in\\nseveral lines and then multiply their\\naverage by the total number of lines.\\nThis will assist an editor to determine\\njust how much space in his publication\\n3^ our story or article will require if ac-\\ncepted; and length adaptabilit} to the\\nrequirements of a certain space is often\\nan important factor toward acceptance.\\nDon t send your manuscript to-day,\\nand write an impatient note day after", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0060.jp2"}, "61": {"fulltext": "PRACTICAL AUTHORSHIP 49\\nto-morrow to know if it will be accep-\\nted. Give the editor time. He may\\nhave an hundred manuscripts upon his\\ndesk when yours arrives, and these are\\nentitled to prior consideration. In the\\nlargest and best regulated editorial of-\\nfices, a manuscript requires about three\\nor four weeks to run the gauntlet of\\nThe evils proper consideration. If you do not\\nof impatience. r t\\nnear from your work within a month,\\nsend a polite note of inquiry. But im-\\npatience in this respect never pays.\\nEditors have sent home many a story\\nthat might have been accepted, rather\\nthan go to the trouble of stating that\\nit was still under consideration, and\\nthe reasons which might lead to its\\nfinal acceptance or rejection. And man y\\na story has been recalled by too impa-\\ntient authors just as the editor has\\ncome to a favorable decision regarding-\\nit.\\nNever ask an editor to examine a\\nmanuscript upon which you have not\\nexhausted the final effort. Do not ex-\\npect him to waste his time reading a\\nmanuscript that you know is not as\\ngood as you can make it. Bear in mind\\nthat he has plenty of others upon his\\ndesk, the product of past masters in the\\nart of literature, who have left nothing\\nundone that their knowledge of the", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0061.jp2"}, "62": {"fulltext": "of type copy.\\n50 PRACTICAL AUTHORSHIP\\ncraft can suggest to make the work\\nperfect. It is easier to see faults in the\\nwork of others than in our own. So if\\na mote is perceptible to yourself, do not\\ndoubt that the editor will find a beam.\\nIf 3^ou can see a slight blemish, he will\\ndiscover a larger one. So consider that\\nthe time y^ou put upon revision, copying,\\ncorrecting and perfecting your work, is\\nbetter spent than any other.\\nOffer nothing but type copy for edi-\\ntorial inspection. Type copy is more\\neasily 1 read than even the best pen\\nAdvantages script. It presents the thought in clearer\\nform, so that it may be grasped at a\\nglance. An editor does not expect to\\nread a manuscript from the first word\\nto the last in order to determine if it be\\nacceptable. It is his custom to glance\\nat the beginning, then at the end, and\\nthen take a dip into the middle. If these\\ntastes whet his appetite for more, he or\\nan assistant will later read it carefully,\\nand at leisure. From the type copy\\nthese samples may be quickly taken,\\nand the editor may tell without any\\nwaste of time whether the work is good\\nenough to warrant father considera-\\ntion. So accustomed are all editors\\nnow-a-days to type copy, that pen script\\nstands but a poor chance for accep-\\ntance in competition with it.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0062.jp2"}, "63": {"fulltext": "PRACTICAL AUTHORSHIP 51\\nFor ordinary mamuscripts to be sent\\nby mail the best size of paper to use is\\na sheet 8V2 by 11 inches. This should\\nManuscript be a clear white, firm in texture, and\\npaper. no -j- -j- 00 neav y. A linen paper is to be\\npreferred. Hea\\\\w paper makes a need-\\nless^ heavy postage account. Paper\\nthat is very light and thin is difficult to\\nhandle and does not stand the wear\\nand tear of many journe\\\\^s.\\nUpon a sheet of the size named a mar-\\ngin of one inch should be reserved on\\nthe left side, and an equal space at the\\ntop and bottom. This is for the use of\\nthe editor in case he finds it necessary\\nto edit the manuscript before sending\\nit to the printer. A typewritten manu-\\nscript should be double spaced. Such\\nan one is much easier to read and to\\nedit than single spaced copy.\\nUnderscore all foreign words. But\\nprior to this may properly come the\\nsuggestion to use as few foreign words\\nas possible. The editor of one of the\\nWrite leading newspapers of the country once\\nplain English. wrote to a contributor that he would\\naccept nothing in which foreign phrases\\nor words were introduced, if there was\\nan English equivalent by which the\\nmeaning could be made plain. Never\\nintroduce such words and phrases for\\neffect, nor to show vour learninof.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0063.jp2"}, "64": {"fulltext": "52 PRACTICAL AUTHORSHIP\\nWriters have been known to send a\\nnote about as follows with a manu-\\nscript submitted for acceptance:\\nu DeaeSie:\\ntk If you cannot use the enclosed manu-\\nscript, please throw it in the waste basket.\\nNow this is not only bad taste but\\nbad policy. If you do not value 3^ our\\nSet a proper own work sufficiently to desire it re-\\nvalue on your turned, in case it should not meet the\\nwor k- needs of a certain publication, and if\\nyou do not estimate its money value as\\nbeing as great as that of the postage\\nstamps that would be required for its\\nreturn, do not think an editor will care\\nsufficient^ to print it much less pay\\nfor it. Manuscripts submitted in such\\nmanner will never see the light of publi-\\ncation through the columns of any rep-\\nutable journal. In such cases editors\\nwill be apt to consider your work at\\nyour own valuation, and do with it as\\nyou have suggested.\\nA nom-de-plume is an affectation and\\nThe is not calculated to impress an editor\\nnom-de-plume. favorably. There is no more reason\\nwhy a writer should sign a fictitious\\nname to his work, than for a painter to\\ndo so with his canvases or for John\\nSmith to |Dut the name of Roderick Ran-\\ndom over the store where he sells pork\\nand molasses. And why should a ficti-\\ntious name be used? If your work is", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0064.jp2"}, "65": {"fulltext": "PRACTICAL AUTHORSHIP 53\\ngood you certainty desire for it all the\\ncredit you can possibty gain; and if it is\\nbad, stand up manfully and take the\\nblame and resolve that yon will do bet-\\nter and merit less criticism in the future.\\nDon t try to get behind a cloak.\\nThere was a time when the nom-de-\\nplume was in favor, but now-a-daj^s it\\nhas rather come to be regarded as the\\nsign-manual of the amateur, and of a\\nvery amateurish amateur at that. One\\nof the principal objections that an edi-\\ntor has to it is that it gives him two\\nnames to keep track of, one to use in\\nhis correspondence and accounts, the\\nother in his proof sheets. And as we\\nhave elsewhere remarked, editors are\\nnot searching for contributors who\\nmake them needless trouble.\\nYoung writers are of course always\\nanxious to see their work in print, and\\nsometimes trouble editors unreasonably\\nDon t after they- have received a notification\\nhurry the Q f acceptance, b} r asking for information\\nas to the exact date of publication. Nine\\ntimes out often an editor cannot tell,\\nuntil just about the time for the mag-\\nazine to go to press, exactly what will\\ngo in and what will be left out. Many\\nthings are to be considered in making\\ntip each number. Among them,season-\\nableness, variety, story, descriptive ar-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0065.jp2"}, "66": {"fulltext": "54 PRACTICAL AUTHORSHIP\\ntide, essay, poem, etc., and perhaps\\nmore than all else, length. Sometimes\\nan article or story may be in type and\\nthe proofs read with the intention of us-\\ning in a certain number, }^et because just\\nthe right space is not to be had it may\\nbe crowded out month after month.\\nLeave as little editing for the editor\\nThe editor a s you can. Study closely the pages of\\nwill not do your well e dited magazines. Observe their\\nmethods of punctuation, learn the art\\nof correct paragraphing, understand the\\ncorrect use of quotation marks, and\\nmake use of the knowledge thus ac-\\nquired. If you do not attend to these\\nmatters the editor must if he accepts\\nyour manuscript before it can go to\\nthe composing room. Do not leave this\\nwork for the editor because you think\\nhe knows best how it should be done.\\nEditors are busy men, and we have\\nknown manuscripts that w T ere other-\\nwise acceptable to be returned solely on\\nthis account. The editor will not do\\nthe work that the writer should do es-\\npecially if he has ready to his hand an-\\nother manuscript that is properly\\nfinished.\\nNever presume upon the kindliness\\nand courtesy of editors. Never weary\\nintrude person- 1\\nff them by excessive correspondence. Do\\na I affairs. rr\\nnot intrude your family anairs upon", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0066.jp2"}, "67": {"fulltext": "PRACTICAL AUTHORSHIP 55\\nthem, nor beg them to accept an article\\nbecause you need the money. A news-\\npaper or a magazine is not an eleemosy-\\nnary institution. Its editor is looking\\nfor the very best things that he can get,\\nand it is his duty to consider nothing\\nexcept the interest of his magazine and\\nits readers.\\nDo not send to an editor a number of\\nmanuscripts at one time. This is apt\\nto give the impression that you have a\\nlot of unsalable stock and that you\\nare endeavoringto unload on him. Even\\nSeparate if you are satisfied there may be some-\\nthe wheat from thing good among them, you have no\\nthe chaff. right to throw upon a busy- man the\\nburden of reading a lot of material that\\nhe cannot possibly want, upon the\\nchance of finding one thing that will\\nmeet his needs. He will feel that you\\nshould have separated the wheat from\\nthe chaff yourself. The majority of ed-\\nitors are so constituted that when they\\nfeel themselves imposed upon in this\\nway they will bundle up the entire con-\\nsignment and send it back without even\\nattempting to discover if there be one\\ngood thing among it all.\\nWhatever happens, keep on good\\nterms with the editors. Even if your\\nmanuscript is sent back all tattered\\nand torn after it has been held six", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0067.jp2"}, "68": {"fulltext": "Editors\\nconsider but\\none thing.\\n56 PRACTICAL AUTHORSHIP\\nmonths for examination, take the mat-\\nter philosophically. Reason to yourself\\nBe that the editor wanted to use it, but\\nphilosophical. found that he realty could not and that\\nsome careless office boy, and not him-\\nself, is responsible for its dilapidated ap-\\npearance.\\nDo not on any account expect especial\\nconsideration. If you are a woman, do\\nnot presume upon your sex. If you are\\nyoung, strive with all your might and\\nmain not to let the editor guess it. If\\nyou are ill, go to the doctor, but don t\\nwrite the editor that your manuscript\\nis not just as good as you would have\\nmade it if you had been well. Remem-\\nber that the personality of the writer is\\na matter of absolutely no importance\\nto the majority of editors. What is\\nw anted is printable, available copy that\\ndoes not require too much editing\\nnews, fresh articles, good stories.\\nWe have known kindly editors to re-\\nturn stories with the suggestion that\\nthey should be cut. When the writer\\nreceives such a suggestion from one who\\nhas practical knowledge regarding the\\npoints which help to make or mar the\\nstory, he will be wise to observe it, and\\nsuch observation will be to his own\\nprofit Editors will not do this cutting\\ndown, no matter how good the story", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0068.jp2"}, "69": {"fulltext": "PRACTICAL AUTHORSHIP 57\\nmay be. If the writer does not learn\\nto prepare his material properly there\\nwill be slight chance for its acceptance.\\nExperienced writers have learned to do\\nAvoid away with the redundant and the super-\\nredundancy, fluous: to use but one word, where one\\nwill serve, rather than three; to use no\\nsuperlatives, no unnecessary description,\\nno useless talk about characters, but to\\nhave them speak for themselves. There\\nis no more serious error in story writing\\nthan to talk about one s characters, in-\\nstead of having them tell and act their\\nown story upon the page and before\\nthe reader s eye. Excess of narrative\\nand description will kill any stor\\\\ r\\nAmong the many helpful criticisms\\nwhich kindly editors have thrown out\\nKindly hints. for the help of young writers we have\\ncome across the following: One wrote\\nto a contributor who had submitted a\\nshort story for the children s page of a\\nweekly paper: k This story, though\\nwritten about a boy, is not written for\\na boy. What could have been more\\nsuggestive than this, showing to the\\nwriter at once that the manner was not\\nin keeping with the matter?\\nIn regard to a story in which the\\nauthor had at the beginning wandered\\nrather aimlessly, and had gone too far\\nabout in the effort to arrive at the", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0069.jp2"}, "70": {"fulltext": "58 PRACTICAL AUTHORSHIP\\nstory, the editor wrote: It is inter-\\nesting, but I kept waiting to find out\\nwhat it was all for. Did he do enough to\\nTravel V J f\u00c2\u00b0 r coming so far?\\nstraight to your Another wrote that a description of a\\ncertain industry was too much diluted\\nby the dialogue. It was spoiled by\\nhaving too much matter not pertinent\\nto the subject.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0070.jp2"}, "71": {"fulltext": "CHAPTER IV.\\nTOOLS OF THE CRAFT STUDYING THE DICTIONARY\\nLIST OF VALUABLE TEXT BOOKS KEEPING CLIP-\\nPINGS FOR REFERENCE SCRAP BOOKS NOTE\\nBOOKS FILES OF JOURNALS THE SUBJECT\\nBOOK.\\nTextbooks are the writers tools. One\\nText books. cannot be too well equipped with the\\nimplements of his craft.\\nThe general contributor to the press,\\nthe man who makes writing the busi-\\nness of his life, and follows all its lead-\\nings with the same assiduity with which\\nthe business man follows the leadings\\nof trade and commercial life, must not\\noverlook such aids.\\nLet us begin at the beginning. A dic-\\ntionary is all important. No matter\\nhow much you may pride yourself upon\\nyour ability to spell correctly, you will\\ncome upon words that will make you\\nhesitate. Have at your hand a diction-\\nary that is a standard Webster s In-\\nternational is probably the best for\\nAmerican writers, and consult it when\\neven the shadow of a suspicion that", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0071.jp2"}, "72": {"fulltext": "PRACTICAL AUTHORSHIP\\nThe\\nvalue of the\\ndictionary.\\ntreasury of\\nwealth.\\nVaried\\nuses for the\\ndictionary.\\nyon may not be absolutely right crosses\\nyour mind.\\nThere is an ancient joke about an old\\nlady who replied to the question; Have\\nyou ever read the dictionary? with,\\nYes, but I did not find much connec-\\ntion in the story.\\nThere is not very much connection in\\nthe story, to be sure; yet one who\\nwill read the dictionar} 7 in the\\nright way will find it a treasury of\\nstoried wealth. One of the most thor-\\noughly educated men whom it was ever\\nthe writer s privilege to know would\\nnever read without an open dictionary\\nat his hand. Whether the reading was\\nfor a few unoccupied moments, or the\\nserious work of the day, the dictionary\\nwas ready for constant consultation.\\nHe was a man whose name was not\\nwidely known to the public, yet at his\\ndeath the New York Tribune said: One\\nof our most learned men has gone.\\nWithout doubt his great learning was\\nin part due to this steadfast habit of\\nusing the dictionary as his constant\\ncompanion.\\nThere are men who find profit by\\nmaking the dictionary their companion\\nof every spare moment. One may not\\ncare to read it through from the first\\npage to the last, but by turning its", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0072.jp2"}, "73": {"fulltext": "PRACTICAL AUTHORSHIP 61\\nleaves one will constantly come tip on\\nitems of information that are worth\\nadding to the sum total of one s know-\\nlege. Xot merely is the dictionary of\\nworth to aid in finding the definition of\\nwords or to verify doubtful spelling,\\nbut often the writer finds that it helps\\nhim to the choice of words, to select\\nthe one which has just the right shade\\nof meaning, or the synonym which is\\nwanted to enable him to avoid repeti-\\ntion. Familiar ity with the dictionary\\nhelps one vastly to find just what is\\nwanted, without wasting time in the\\nsearch.\\nThe enlargement of his vocabulary is\\na thing toward which the writer should\\nalvays work. He should not search\\nfor uncommon and obscure words, but\\nshould endeavor to have at his corn-\\nEnlarge mand always the largest assortment of\\nyour vocabu- plain, simple Saxon words, which will\\nar y enable him to convey the strongest im-\\npressions in the briefest and simplest\\nmanner. All the words that one can\\nneed or use are within the covers of this\\none book of which we are speaking, and\\nit is not beyond the x^ower of any mod-\\nerately endowed person to secure an\\nintimate working knowlege of the ma-\\njority of them.\\nShould you not possess a practical", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0073.jp2"}, "74": {"fulltext": "62 PRACTICAL AUTHORSHIP\\nand thorough knowledge of grammati-\\ncal rules, acquire it. An understanding\\nof any English grammar from cover to\\ncover is a beginning. Supplement this\\nwith such a work as Reed Kellogg s\\nLanguage Lessons; follow this with\\nRhetoric any late author. For a kno w-\\nlege of choice of words have Ayer s\\nVerbalist at hand. For synonyms there\\nis nothing to compare with Roget s\\nThesaurus.\\nUse your dictionary not only for or-\\nthography but for definitions. Know\\nthe precise meaning of every word that\\nyou use. Have a standard work on\\nProsody, and upon St\\\\de. Buy as ma-\\nny volumes of the subjoined list as your\\npurse will permit; and you may be rea-\\nsonably certain that the more of them\\nyou possess, the weightier will your\\n|3urse be in the end.\\n500 Places to Sell Mss. $1.00\\nManuscript Record 1.00\\nSome Crabb s English Synonyms 1.25\\nEverybody s Writing Desk Book 1.00\\nSoule s English Synonyms 2.25\\nElements of Composition Rhetoric (Waddy) 1.15\\nThe Rhymester: or, The Rules of Rhyme 1 00\\nWalker s Rhyming Dictionary 1.50\\nOutlines of Rhetoric (Genung) 1.15\\nHow to Write Clearly (Abbott) .60\\nA Practical Course in English Composition\\n(Newcomer) .90\\nA Treatise on English Punctuation (Wilson) 1.15\\nPunctuation and Other Typographical Matters\\n(Bigelow) .50\\nvaluable books.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0074.jp2"}, "75": {"fulltext": "PRACTICAL AUTHORSHIP\\n63\\nHow some\\narticles are\\nprepared.\\n_ Errors in the Use of English (Hodson) 1.50\\n-Words and their Uses (White) 2.00\\nFamiliar Quotations (Bar tie t) 3.00\\nRoget s Thesaurus 2.00\\nThe Encyclopedia Brittanica and Ap-\\npleton s American Encyclopedia are\\ninvaluable reference books for the hack\\nwriter or miscellaneous contributor. By\\nthe aid of one or both of these, one may\\nat odd times work up articles which,\\nthough perhaps nothing more than pot-\\nboilers, are not to be despised for the\\naddition they make to the annual\\nincome. Historical and biographical ar-\\nticles, antiquarian articles and travel\\narticles are not infrequently worked\\nup by experts in this manner, with no\\nother aids than the above, and without\\nstirring beyond the walls of their study.\\nOther valuable reference books for\\nwork of this sort are Brand s Popular\\nAntiquities; Hone s Every Day Book,\\nand Chambers Book of Holidaj^s. The\\nlatter will be found especially useful in\\npreparing articles which have to do\\nwith our various holidays, such as\\nChristmas, Easter, etc.\\nClippings and a systematic method\\nof keeping same where they can be eas-\\nily consulted when wanted, should be\\npart of the furnishing of every literary\\nworker s study, and rank with note-\\nbooks in importance.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0075.jp2"}, "76": {"fulltext": "64\\nPRACTICAL AUTHORSHIP\\nClippings\\nand their ar-\\nrangement.\\nThe\\nabused scrap-\\nbook.\\nIt will be found impossible, however,\\nto keep all clippings that one may pos-\\nsibly desire for future use. Sometimes\\nthe matter of which the writer desires to\\nkeep track cannot be clipped, as it is\\na portion of the contents of some book\\nor set of magazines, which may not\\nbe marred; or the clipping may in-\\nvolve so much material that it would\\nonly cumber a file.\\nTo avoid such difficulties it is advisa-\\nble to have a handy method of filing\\nreferences. Then when reading, where-\\never one comes upon any item of infor-\\nmation that may be of value in future\\nwork, a note may be made of the book\\nor magazine in which it is to be found.\\nIf a book, put down the title, author,\\nand name of publisher, in case you\\nshould at an y time find it advisable to\\npossess a copy. Then make memoran-\\ndum of the page upon which the para-\\ngraph of especial interest is to be found,\\nand write down with it as a cue the\\nwords with which it begins. Collate all\\nthis information in a small blank book,\\nwhich should be fully indexed so that\\nyou may turn at once to references upon\\nany subject.\\nThe scrap book also fills an impor-\\ntant place. But a scrap book may be\\nof utility, or it may be a nuisance of", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0076.jp2"}, "77": {"fulltext": "PRACTICAL AUTHORSHIP 65\\nthe first rank. A miscellaneous lot of\\nclippings thrown into a scrap book in\\nno order at all are of very little service\\nwhen they happen to be needed. And a\\nwell ordered collection of clippings is in-\\ndeed a rarity.\\nPerhaps the best scrap books are not\\nscrap books at all, but filing cases,\\nwhere ever\\\\^thing under one head or\\ntreating upon one subject may be kept\\nTo file together and overhauled at will. These\\nPP g filing cases may be very simple and in-\\nexpensive. A series of stout envelopes\\nof uniform size will do as well as any-\\nthing. These should be arranged in\\nalphabetical order (with some brief of\\ntheir contents on the outside) and put\\ninto a case in which they will fit nicely\\nand methodically. By this system the\\nmatter is always indexed, and every-\\nthing upon one subject is in one place.\\nQuite as important as the informa-\\ntion that a clipping may contain is\\nsometimes the knowledge of where the\\nclipping came from. A slip of paper at-\\ntached to each clipping should record\\nthis information.\\nEvery person who as a vocation, or\\nonly as an avocation writes for pub-\\nlication, should have a note book con-\\nstant^ at hand. New ideas come to\\nus at all sorts of odd times, and many", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0077.jp2"}, "78": {"fulltext": "66 PRACTICAL AUTHORSHIP\\nof them are lost because there is no def-\\ninite place ready at the moment in\\nwhich to jot them down. The memory\\nis a treacherous thing in such cases and\\nnot to be depended upon.\\nThe value of this ever ready note-book\\nmay be shown by a single illustration.\\nWe all know howfleeting is the memory\\nof a dream. The most startling vision\\nof the night, one that wakes us tremb-\\nling with affright, and that seems so\\nindelibly stamped upon the palimpsest\\nof the brain that it will never pass into\\nnothingness, has often by morning\\nvanished utterly.\\nA writer whom we know was\\nUtilizing awakened in the night by a terrible\\nfantas}^ that had taken possession of\\nhis brain. So gruesome and yet so real\\nwas it that its literary value appealed\\nto him at once. But knowing the\\ntransitory nature of these impressions\\nhe was afraid to sleep without at least\\nrecording the outline, from which the\\nwhole scene might be articulated at his\\nleisure. So a light was struck, and\\nwith pencil and pad in hand, the notes\\nwere jotted down. In the morning it\\nwas but a slight task to construct a\\nstory which sold at the first intention.\\nWithout the notes jotted down at the\\nmoment when the vision was most real\\ndream.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0078.jp2"}, "79": {"fulltext": "The habit\\nPRACTICAL AUTHORSHIP 67\\nit is doubtful if the story could have\\nbeen written. The motto, Secure the\\nshadow ere the substance fades, should\\nbe ever present in the mind of the\\nwriter.\\nMy friend, said the great Russian\\nwriter, Gogol, if you wish to do me the\\ngreatest favor that I can expect from a\\nChristian, make a note of every small\\ndaily act and fact that you may come\\nacross anywhere. What trouble would\\nit be to you to write down every night\\nof observation, n a sor diar}^ such notes as these:\\nTo-day I heard such an opinion ex-\\npressed; I spoke with such a person, of\\nsuch a disposition, such a character, of\\ngood education or not; he holds his\\nhands thus or takes his snuff so in\\nfact everything that yon see and notice\\nfrom the greatest to the least. It was\\nthis habit that resulted in it being said\\nof him that no other author had so\\nmuch the gift of showing the reality of\\nthe trivialities of life, of describing the\\npett}^ ways of an insignificant creature,\\nof bringing out and revealing to his\\nreaders infinitesimal details which\\nwould otherwise pass unnoticed.\\nAn author s note books, properly\\nkept, may be a mine of information, of\\ninspiration, and of compensation. Al-\\nmost chief among the note books, in", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0079.jp2"}, "80": {"fulltext": "68 PRACTICAL AUTHORSHIP\\npractical value, w T ill be that in which is\\ncollected and collated property informa-\\ntion regarding the methods and needs\\nof various publications. There is one\\nstandard handbook which furnishes\\nsuch information in a compact form,\\nthe manual entitled 5oo Places to Sell\\nMss. But changes among publica-\\ntions are constant, failures are occurring\\nalmost daily, and new publications start\\nKeep u p like weeds in a garden. To keep\\ntrack of events, track of all these changes is part of a\\nwriter s business. Unless he does it he\\ncannot use his material to the best ad-\\nvantage. He will find himself sending\\narticles to publications that have gone\\nout of existence; while other journals\\nwill be starting up and drawing about\\nthem a staff of writers and he will\\nawake too late to the fact that he has\\nmissed a profitable market; still other\\njournals are changing their style and\\nmethods, so that material which would\\nhave been acceptable to them yesterday\\nwill not be to-morrow.\\nThe rejection slips and notes of refusal\\nreceived by writers are not as a rule\\npleasant or valued communications.\\nYet where these slips contain a hint of\\nthe needs of the publication, or where\\nsome kindly editor has penciled a hasty\\nbit of information, they should be kept", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0080.jp2"}, "81": {"fulltext": "PRACTICAL AUTHORSHIP\\nStudy\\ncurrent\\npublications.\\nFiling\\ninformation.\\nas a matter for future reference and in-\\nstruction.\\nSo far as can be done, writers should\\nseethe various literar\\\\ r journals at no\\ngreat intervals of time. If one can, at\\nleast semi-annually, collect sample cop-\\nies of them, and file them in such a\\nmanner that they can be referred to\\neasily, thei^ will prove of great assist-\\nance. In looking them over one will\\nrun across certain suggestions as to\\ntheir needs which are not told in plain\\nwords. In the multiplicity^ of journals,\\na mental note of such things is apt soon\\nto escape one. It is far better to jot\\ndown briefly such matters, and place\\nthem where the notes can be consulted.\\nAn indexed note book we consider best\\nfor such a purpose. Then upon one page\\nor under one heading may be gathered\\nall the information concerning any par-\\nticular j ourn al\\nIf one prefers a home-made method\\nfor filing information, rather than to\\nuse the note-book, the following sug-\\ngestions from a writer ma}^ be of benefit:\\nTake a number of sheets of foolscap\\nand fold them twice from the bottom\\nup. Then write the name and publish-\\ner s address of each of the periodicals at\\nthe top of the folded sheet, using one\\nsheet for each periodical. In this man-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0081.jp2"}, "82": {"fulltext": "70\\nPRACTICAL AUTHORSHIP\\nInformation\\nto be\\ncollated.\\nPrepare\\nyour stock in\\ntrade.\\nner you can file them away together,\\nand in a moment find the one you wish\\nto consult. On the inside write in con-\\ndensed form all the scraps of informa-\\ntion you run across.\\nSuch a record may contain informa-\\ntion along the following lines; Period-\\nicity of publication (weekly, monthly,\\netc.); different lines of work used (fiction,\\narticles, poems, etc.); character of arti-\\ncles, and whether illustrated or not; the\\ncharacter of the fiction, (whether some-\\nwhat sensational, love stories, adven-\\nture, etc.); length of stories and articles;\\nprices paid, (which knowledge must be\\nexperimental); whether the publication\\npays on acceptance or on publication;\\nhow long it requires to pass upon man-\\nuscripts; whether it pays for verse; etc.,\\netc.\\nA writer who has never made use of\\nsuch a record kept up systematically for\\na year can have little idea of the amount\\nof practical information that will thus\\nbe gathered, and of the many times he\\nwill refer to it when preparing or send-\\ning off contributions.\\nThe writer who intends to make a\\ndefinite occupation of literature in\\ngeneral should prepare to-day for work\\nthat he may wish to do ten years from\\nnow. In other words, he must be ac-", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0082.jp2"}, "83": {"fulltext": "PRACTICAL AUTHORSHIP 71\\ncumtilating material, adding to his\\nstock in trade, or some day he will find\\nthat he has suddenly run out of\\nthe elementary substance from which\\nto build.\\nA man who sets himself down at his\\ndesk in the morning to write a stor\\\\^ or\\narticle, with no well considered plan re-\\ngarding it, with no motif or incident or\\nexperience or bit of knowledge that he\\nhas churned over and over in his mind\\nagainst its possible use at this time,\\nwill have a very poor chance of doing\\nanything worth while.\\nOn the other hand, if he can refer to a\\nsubject book, in which he has put down\\nAdvantage from time to time subjects which it has\\nthen seemed to him might some day serve\\nhis needs, and if he has from time to\\ntime referred to these, thought them\\nover, and formulated some method for\\ntheir use, it will not be a difficult thing\\nnow to select one of them and soon be\\nin the full swing of composition along\\na well considered path.\\nA subject book may be divided into\\ndifferent sections and each of these de-\\nvoted to an entirely different line of\\ntopics. One ma}^ be for fiction, in which\\ntitles or motifs alone are to be set\\ndown, leaving suggestions for the work\\nwhich will go into the story, to be en-\\nbook.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0083.jp2"}, "84": {"fulltext": "72 PRACTICAL AUTHORSHIP\\ntered at the proper place in other note-\\nbooks. Other sections may be devoted\\nto headings for essays, geographical\\nand historical sketches, feature articles,\\npoems, practical articles, etc.\\nWhen preparing for work it may de-\\npend largely upon the mood as to the\\nThe mood me \u00c2\u00b0f subjects that will most commend\\nand itself to one. Having thus determined\\nthe topic. whether one will devote this particular\\nmorning to writing a story or to work-\\ning upon some practical or historical\\narticle, it will be comparatively easy to\\nselect the topic that will just fit in\\nwith the present mood of work.\\nThe choice having been made, other\\nnote-books and clipping files will be\\nbrought into play, and work which\\notherwise would be a thankless task\\ngoes on merrily and swimmingly.\\nIn a subject book it is quite probable\\nthat many topics will be put down\\nwhich will never be used. There will be\\na constant process of selection on the\\npart of the writer, and after a time the\\npages will show the survival of the tin-\\nfittest. Yet a writer who has for years\\nmade use of such a subject book\\nstates that it is a constant surprise to\\nhim to find what a very large percent-\\nage of the subjects set down therein\\nhave eventually proved available. He", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0084.jp2"}, "85": {"fulltext": "PRACTICAL AUTPIORSRTP 73\\nalso states that the fact was self-evident\\nthat almost all of those set down upon\\nthe earlier pages of the book had been\\nworked, while comparatively few of the\\nlater subjects had as yet proven of\\npractical utility-. This undoubtedly sig-\\nnified that those themes which have\\nbeen in the mind for a considerable\\ntime and which have constantly recur-\\nred as the pages of thebook were turned\\nover each day in the search for a topic,\\nare the ones upon which one can most\\nreadily work. Thus it is clearly shown\\nPrepare that those who produce miscellaneous\\nnow for future contributions for current publication\\nwork. should not depend wholly upon the sub-\\njects that may come to mind only as\\none goes to his desk, but that all should\\nendeavor to prepare ahead for the task\\nwhich is inevitably to be done. It has\\nbeen very well said that in this manner\\nwe get the advantage of unconscious\\ncerebration as well as that of deliberate\\nattention in our reading and thought\\nto such topics as we have thus set\\napart for future labor.\\nThe subject book may be abused as\\nwell as used. Nothing should be set\\ndown therein which does not contain\\npossibilities. Consider well before you\\ndevote a line to a topic which may only\\nprove a burden and an annoyance.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0085.jp2"}, "86": {"fulltext": "74 PRACTICAL AUTHORSHIP\\nIn using it for the purpose of selecting\\na subject it will be the height of folly to\\nendeavor to take up the subjects in the\\norder in which they have been set down,\\nThings as if you are bound to begin at the top\\nto consider of the firgt page and wr j te straight\\ndown the register. But leaf back and\\ntopic. b\\nforth and consider the material as it\\ncomes again and again before the eye,\\nfrom the point of view of present\\navailability, timeliness, knowledge of\\nthe theme, present vividness, and adap-\\ntability to the mood of the hour. In\\nthis way it may be found that a subject\\nwhich was last week obscure and unat-\\ntractive to a degree, is now clear and\\nattractive and full of suggestion.\\nThe very fact of having a subject no-\\nted down for possible use will direct\\none s attention toward it, and informa-\\ntion which may be in line with the topic\\nwill apparently gravitate toward one\\nunsought.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0086.jp2"}, "87": {"fulltext": "CHAPTER V.\\nA STEPPING STONE THE TRAINING VALUABLE FOR\\nFUTURE LITERARY WORK NEWSPAPER ENGLISH\\nTHE NEWSPAPER A DAILY MAGAZINE DIVIS-\\nION OF LABOR NECESSARY QUALITIES FOR A\\nREPORTER HOW TO WRITE A NEWS STORY\\nVALUABLE KNOWLEDGE AND ACQUAINTANCE\\nFAMOUS CORRESPONDENTS COMPENSATION THE\\nREPORTER S FIELD EXAMPLES OF REPORTORIAL\\nWORK.\\nThe work of the newspaper reporter\\nis not often considered among the\\nj^g higher or more enticing branches of lit-\\nnewspaper erary endeavor. Most of the reporter s\\nreporter. work is performed hastily, his copy is\\nprepared while the presses are waiting,\\nand there is little time to infuse any lit-\\nerary spirit into his work even though\\nhe has the ability.\\nHis contributions form an important\\npart of the make-up of the daily issues\\nof the great organs of news and public\\nopinion, yet that which he contributes\\nis rarely signed and so he has no oppor-\\ntunity to make his personality known\\nto the reading public. Yet notwith-\\nstanding these difficulties and draw-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0087.jp2"}, "88": {"fulltext": "His\\n76 PRACTICAL AUTHORSHIP\\nbacks, there are a few men who have\\nmade the obscure post of the reporter\\na stepping stone to the higher walks of\\nliterary life.\\nIn some ways the training that the\\nreporter receives in the ceaseless and\\noften unpleasant grind of newspaper\\nwork, is of the highest value. It teaches\\ntraining by the hi m to think and act quickly and to\\nblue pencil. seize unerringly the salient points of a\\nstor^r. He will turn toward dramatic\\nforms of expression naturally, realizing\\nthat in the brief space allotted to him\\nin the columns of his journal, that which\\nhe has to say needs to be said effective-\\nly. Condensation, the doing away with\\nredundant verbiage, the uselessness of\\nfine writing, are all borne in upon him\\ndaily by the editorial blue pencil which\\nruthlessly cuts down his half column to\\na compact stick-full.\\nA reporter upon a great newspaper\\ncomes into close contact with many\\nphases and conditions of life. Tragedy in\\nits deepest hues is constantly before\\nhim. The under side of the world be-\\ncomes to him an open book. The ma-\\nchinations of political life are laid bare\\nbefore him. All these aie material for\\nthe story writer and the novelist of the\\nfuture. As an illustration, we may take\\nthe work of a young magazine writer,", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0088.jp2"}, "89": {"fulltext": "PRACTICAL AUTHORSHIP\\n77\\nThe\\nnewspaper\\nas a\\ntraining school,\\nMr. Walter Barr, which is just now at-\\ntracting attention. It probably would\\nbe impossible for anyone to write stor-\\nies dealing with practical politics as\\nhis recent ones do, unless he had been\\nthrough the school of the reporter.\\nIt is objected that the newspaper does\\nnot form a good training school for the\\nserious literar\\\\ T worker, as its methods\\ndemand the subversion of style to the\\npractical everyday needs of journalism.\\nNewspaper English has become a by-\\nword, yet some of the most carefully\\nedited of our metropolitan journals con-\\ntain no word or phrase or sentence that\\ncan be cavilled at hy the most discrimi-\\nnating critic. Such a journal is the New\\nYork Sun, under the careful editorial\\nmanagement of Mr. Paul Dana, a wor-\\nthy successor to his father. Such was\\nthe New York Evening Post under\\nWilliam Cullen Bryant, and such has\\nalways been The New York Tribune;\\nand other journals throughout our\\ncountry are almost equally deserving\\nof honorable mention in this respect.\\nPerhaps certain careful writers and\\ncritics would have an intellectual awak-\\nening could they see the stringent rules\\nin some newspaper offices for the guid-\\nance of their writers. Slang and collo-\\nquialisms are prohibited, and lists are", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0089.jp2"}, "90": {"fulltext": "78 PRACTICAL AUTHORSHIP\\nmade of words that must not be used.\\nOther lists show forms of spelling that\\nmust be adhered to. Others show\\nwords that must be avoided in describ-\\ning certain things, for the simple reason\\nthat they have been overworked in\\nnewspaper use.\\nWhen we consider that a single issue\\nof some of our larger newspapers con-\\ntains as much reading matter as one of\\nA the standard magazines, and that this\\ndai| y is all written, put into type, proofread,\\n8 printed, and put into circulation within\\ntwenty-four hours, it seems little short\\nof the marvelous that there is so little\\nto cavilat. We fancy that if some of\\nour magazine editors who decry this\\nsame Newspaper English were for\\nonce compelled to get up an issue of\\ntheir magazine in so short a time, the\\nediting would be very much less careful\\nand correct than it is on the average\\nnewspaper.\\nThe dail^- newspaper is a great news\\nmachine, of which the reporter is but\\none of the component parts a cog of\\nthe great system of wheels b\\\\ r which it\\nmoves. Yet without this important\\ncog this daily record of current events\\ncould not exist. The public at large is\\napt to consider the reporter chieffy as\\nan interviewer who goes about with", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0090.jp2"}, "91": {"fulltext": "PRACTICAL AUTHORSHIP 79\\nunlimited cheek prying into the concerns\\nof other people. We regret that there\\nis some foundation to warrant this\\nassumption, for certain journals of the\\nsensational order make a special feature\\nof such work. Yet one who forms his\\nopinion of a reporter and his work upon\\nsuch scant premises will go very far\\nwrong.\\nA large metropolitan daily must of\\ncourse have a very large staff of report-\\ners in order to cover rapidly the whole\\nfield of possible incidents and happen-\\nThe work i n g s an d secure every item of news so\\nof a reporter. that no rival journal may in the morn-\\ning congratulate itself upon a scoop.\\nIn such offices the work is systematized,\\neach reporter having his especial assign-\\nment: one will be detailed for society,\\nanother for railroad, one each for sport-\\ning, police, fires, courts, etc. There may\\nbe, even upon the most conservative\\njournal, one whose special facult} T is\\ninterviewing, and whose regular detail\\nis for such work. But while each may\\nthus have his special assignment, he\\nmust be ready to execute any branch of\\nreportorial work, and be ready for any\\nemergency of the hour, before he can be\\nconsidered thorough in his trade.\\nEssential qualities for a reporter are\\ntact and foresight. The latter is an", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0091.jp2"}, "92": {"fulltext": "80 PRACTICAL AUTHORSHIP\\nattribute difficult to develop; the best\\nreporters are those with whom it is\\ninherent. Reporters have been known\\nwho have had news items evolve be-\\nfore their very eyes, yet who did not\\nrecognize them as such. A man of this\\nclass will not advance very rapidly nor\\nvery far in his profession.\\nUpon securing a position where j^ou\\nhave an opportunity to show if y^ou\\nhave in you the stuff of which reporters\\nare made, the first thing will be to re-\\nceive from the city editor an assign-\\nment. He may order you to visit the\\nhotels and examine the registers for\\nimportant arrivals Or at the moment\\nRapid there may be an alarm of fire and he\\nworkers w yj sen( j y OU ff to V y your qualities in\\nthat line. Or he may send you into the\\nslums to investigate the circumstances\\nof last night s murder, or into the more\\naristocratic quarters of the city to pick\\nup the crumbs of the latest salacious\\nscandal. Whatever your assignment is,\\ncover the ground as rapidly as possible,\\nand keep in mind that as soon as you\\narrive at the office your duty is to pro-\\nduce your copy with the least pos-\\nsible delay. Speed is the ever present\\nwatchword for the workers upon a\\ndaily newspaper.\\nUpon arrival at the office your", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0092.jp2"}, "93": {"fulltext": "How\\nto write\\nnewspaper\\nPRACTICAL AUTHORSHIP 81\\nmaterial will probably be in the form of\\nbrief, rough notes; the reporter who un-\\nderstands his work does not try to\\nwrite out his article while he is upon\\nthe scene. The notes, however, should\\nbe in consecutive and orderly arrange-\\nment, so that when the start at the\\nwrite-up is made, the material will\\nstory. fall naturally into the three parts the\\nintroduction, the story itself, and the\\ndetails. The introduction should con-\\ntain the gist of the event or incident,\\nand it should be sufficiently plain and\\ncomprehensive to furnish a busy or\\nhasty reader a fair knowledge of the\\nhappening. Even though the editorial\\nblue pencil has condensed the news of\\nthe day to apparently the smallest pos-\\nsible compass, there are yet busy men\\nwho do little more than read the head-\\nlines and skim over the introduction to\\neach article.\\nAfter the introduction comes the tell-\\ning of the principal incidents. Then fol-\\nlow the details, which may be particu-\\nlarized to such length as is warranted\\nby the importance of the subject matter\\nitself. These details are for people who\\nhave plentj^ of time to read and who\\nare not satisfied until they know all\\nthat can be told of the latest murder,\\nelopement, marriage in high life, railway", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0093.jp2"}, "94": {"fulltext": "importance.\\n82 PRACTICAL AUTHORSHIP\\naccident, hotel holocaust, death of a\\npublic man, meeting between two great\\npoliticians, bank robbery, or whatever\\nmay be the particular news the reporter\\nhas covered.\\nA new man upon a paper is handicap-\\nped if he is a stranger in the city. In\\nsuch a case the first thing for him to do\\nis to make a study of the especial locali-\\nAcquaintance ties in which he mav be expected to\\nA tte l\u00c2\u00b0_ f firSt work The greater his knowledge of\\nthe city and its people, the more likely\\nwill he be to come upon important\\nitems of news on his own account, and\\nthe more able will he be to cover rapid-\\nly and fully any assignment that may\\nbe gi^en him. He should lose no op-\\nportunity to enlarge his circle of ac-\\nquaintance, especially among prominent\\npeople and those who figure in public\\naffairs. Some of our most successful re-\\nporters have been those who were\\nenabled to win the confidence and\\nfriendship of men high in part} r or\\nnational councils. Often such friend-\\nship has been the means of enabling\\nthem to secure exact information re-\\ngarding most important public events\\nfar in advance of their contemporaries.\\nIt is needless to say that a man who\\nwill secure such friendships must him-\\nself be worthy of them. He must be,", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0094.jp2"}, "95": {"fulltext": "PRACTICAL ALTHORSHIP\\n88\\nWhat\\na newspaper\\nreporter may\\naccomplish\\nfirst, absolutely honest and faithful to-\\nward his friend; a senator, or a cabinet\\nofficer will not be quick to accept a\\nnewspaper man upon terms of intimate\\nfriendship unless he can rely with ab-\\nsolute certainty upon the judicious\\nquality of such friendship. He must\\nknow that the newspaper man will not\\nmake use of any information unless it is\\nperfectly understood between them\\nthat he is at liberty to do so.\\nThis sometimes places the newspaper\\nworker in a position where he must\\nbattle between conscience as represented\\nby fidelity to his friend, and conscience\\nas represented by fidelity to his profes-\\nsion and to the journal upon which he\\nis emplo\\\\^ed. But a man who once\\nviolates a confidence of this sort is ab-\\nsolutely at the end of his career in this\\nline of work.\\nWithin recent years we have witnessed\\nsome of the finer and greater things\\nthat a newspaper reporter may accom-\\nplish, if he has in him the elements of\\nsuccess. Richard Harding Davis, who\\nbegan his literary career as a newspa-\\nper reporter, has represented some great\\njournals at such events as the corona-\\ntion of the Czar, at St. Petersburg; the\\njubilee of Queen Victoria at London;\\nand was a privileged on-looker and", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0095.jp2"}, "96": {"fulltext": "84 PRACTICAL AUTHORSHIP\\nparticipant in the brilliant and danger-\\nous episodes of the Spanish-American\\nwar. Julian Ralph, who began his\\ncareer as a reporter on the New York\\nSun, and has since shown his literary\\nquality in book and magazine work,\\nwent through the Chinese-Japanese War\\nas the representative of American jour-\\nnals. A newspaper reporter happened\\nto be at Apia in the interests of the New\\nYork World when the terrible hurricane\\nof 1891 swept down upon the assem-\\nSome bled war vessels of three nations, and\\nhappy chances. destroying them did much to bring\\nabout peace. A newspaper man was on\\nthe City of Paris a few years ago when\\nshe was disabled in mid-ocean, and when\\nthe whole world waited for days for\\ntidings of the great ship and its treas-\\nure of human lives. This newspaper\\nman sent the first news back to the\\nworld by getting ashore in a small boat\\nas the ship neared the Irish coast, mak-\\ning his way to a cable station, and wir-\\ning back to New York several columns\\nof description of the accident and of\\nassurances of safety.\\nThe compensation of a metropolitan\\nreporter depends largely upon his abil-\\nity. If he is paid on space, he may be\\nable to earn anywhere from $25 to $75\\nper week. It will take a pretty bright", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0096.jp2"}, "97": {"fulltext": "PRACTICAL AUTHORSHIP 85\\nman, and one who is an inchistrious and\\nsteady worker, to reach the latter fig-\\ntire. In the early days of metropolitan\\njournalism all the members of the staff\\nwere salaried men. Now certain writ-\\ners receive salaries, while others are\\npaid on space that is, for the work\\nThg which the3 r do and which actually\\ncompensation finds its way into the paper. Young\\nof reporters are usually put upon a salary\\nreporters. f 10 to $15 a week. The pay of a\\nspace writer depends upon the paper\\nthat he serves as well as upon the\\namount of work that he performs. The\\nprices prevailing in New York are gen-\\nerally the highest in the United States.\\nThe leading papers there vsly $8 to $10\\nper column for news. It is on record\\nthat in a few instances reporters have\\naveraged $125 a w^eek, which is more\\nthan the salary of the average manag-\\ning editor.\\nOutside the ministry there in no pro-\\nfession in which one may get so many\\nglimpses into the workings of the human\\nheart as by doing staff or assignment\\nwork on a great newspaper. The only\\npossible exception to this generalization\\nmay be found in the profession of the\\nphysician. But the physician does not\\nin fact have so varied an experience,\\nalthough in some lines he may delve", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0097.jp2"}, "98": {"fulltext": "8K PRACTICAL AUTHORSHIP\\nmore deeply. It is his business to mend\\nthe gaps which he finds existing, with-\\nout exploring causes further than they\\nmay affect disease and its cure. But the\\nreporter, while exploring the same re-\\ngions and investigating the same troub-\\nles, makes it his business to learn about\\nthe predisposing causes, whether they\\nare medical or not.\\nThe news gleaner may turn from a\\nscene of domestic trouble to the gaie-\\nties of fashionable life, from business\\nThe meetings of executive bodies, where he\\nreporter as a has a clear insight into the actions and\\nstudent of motives of men who control great af-\\nfairs, to the police courts, which furnish\\nhim with abundant stories of the\\nstrange things a depraved mind will ac-\\ncomplish, and with light upon the un-\\nder-half of the world. He hears not only\\nthe opinions of one minister, but the\\ncreeds of all religions. He reads the\\neffect of the play on the audience, from\\nballet dances to The Sign of the\\nCross. He is not an idle spectator,\\nbut he is after facts, and looks below\\nthe surface of things, and stores in his\\nmind a wonderful and infinite variety\\nof pictures that are realistic, portraying\\nlife as it is, and which may well furnish\\nthe basis for the great novel that he in-\\ntends sometime to write.\\nlife.", "height": "4247", "width": "2709", "jp2-path": "practicalauthors00reev_0098.jp2"}, "99": {"fulltext": "style.\\nPRACTICAL AUTHORSHIP 87\\nThe duties of the reporter call for\\nquick and varied perception and ready\\nexecution afterward His writing should\\nbe plain, direct, and instantly under-\\nstandable. It may be in a degree pic-\\nturesque, humorous, and all that, but\\nthese traits are not elemental. The\\nreader of a daily journal differs from the\\nR ortorial reader of the novel or of magazines, in\\nthat he does not care at all who writes\\nthe record of an event to which he is\\ngiving his attention, provided he sees\\nand seizes the meaning of it on all sides.\\nThis is the manner in which the writer\\nis bound to present it. What the reader\\ndoes care for is that an incident, an oc-\\ncurrence, an event, shall be stated in a\\nspirit and st}de that harmonizes with\\nthe matter in hand, and that all at-\\ntempts at ornamentation or heighten-\\ning shall be effective by increasing the\\ninterest and deepening the impression.\\nNo matter how fine the work ma}^ be,\\nif it does not help toward this end, the\\nreporter is not accomplishing his es-\\npecial mission.\\nTo apply for a position on a news-\\npaper without having a very definite\\nidea of the particular work which you\\nwant to do, and that you are satisfied\\nyou can do, will rarely result profitabry.\\nWe would suggest to one about to ap-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0099.jp2"}, "100": {"fulltext": "88 PRACTICAL AUTHORSHIP\\nply for such a position to prepare a list of\\nseveral subjects which he considers time-\\nly and which he would like to write up.\\nPut the titles of these proposed articles\\ninto comprehensive form. Write them\\nout in a way to show just what you\\npropose to work up and present in the\\nHow finished article. The best way to do\\nto secure a this is by means of complete head and\\nposition. sub-heads. This will give the manag-\\ning editor an insight into your article\\nthat mere statement by you could not.\\nHave with you a half dozen such pre-\\nsentations of subjects, and consider\\nyourself fortunate if the manager finds\\none or two among them that he thinks\\nmay fit his needs. If he does this, he\\nwill give you an assignment to write\\nupon them, with a promise to accept\\nthe article or articles if satisfactory.\\nNow it depends upon your ability to do\\nthe work in a style and manner which\\nwill meet the needs of this particular\\nnewspaper.\\nTo illustrate the manner in which\\nthese memorandums should be prepared\\nfor presentation to the editor, we will\\ngive some examples taken from a single\\nissue of the New York Sun. The first is\\nan interview with the wife of the\\nwarden of Sing Sing prison.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0100.jp2"}, "101": {"fulltext": "PRACTICAL AUTHORSHIP 89\\nMRS. SAGE S PRISON WORK.\\nExperiences That Fall To The Lot\\nOf Few Women.\\nRecollections of Two Women Who\\nWere Condemned to Die in Sing\\nSing Prison Maria Barberi s Im-\\nprovement\u00e2\u0080\u0094Mrs. Place s Last Da\\\\^s\u00e2\u0080\u0094\\nMale Convicts Who Retain Love\\nfor Their Mothers.\\nExamples ie nex t s foreign correspondence\\ndated Munich, April 12. Of course we\\ndo not mean to suggest that The Sun\\nwould present anything as foreign cor-\\nrespondence that did not in truth come\\nfrom over seas, but an article of this\\nsort may be written in New York or\\nChicago as well as elsewhere by any\\nperson who possesses the requisite in-\\nformation. The headings show very\\nclearly about what subject matter is to\\nfollow.\\nMARRIAGES IN GERMANY.\\nA Business System That Works Well\\nIn Practice.\\nGerman Husbands not Ideal from\\nthe American Standpoint A Dowry\\nfor the Bride One Prerequisite\\nMatches Made by Advertising Re-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0101.jp2"}, "102": {"fulltext": "90 PRACTICAL AUTHORSHIP\\nstrictions as to Marriage Placed on\\nArmy Officers.\\nA start in newspaper correspondence\\ncan often be made by writers living in\\nrural districts, who will send items of\\nnews to their nearest city papers. Items\\nof general interest such as local happen-\\nings and personals concerning persons\\nNewspaper cor- Q f prominence, accounts of fires, rail-\\np road wrecks, robberies, murders, sui-\\ncides, failures in business, damage to\\nproperty by storms, etc., will be gladly\\nreceived and paid for by metropolitan\\njournals not too far distant, and es-\\npecially by such as circulate in the ter-\\nritory from which such correspondence\\ncomes.\\nCounty papers also like correspon-\\ndents in subtirban villages, and will\\nusually pay enough to warrant one in\\ngiving some attention to the work.\\nFor these latter journals, items of local\\ninterest are desired, and personals\\nabout people, of a class which the\\nmetropolitan journal would not con-\\nsider of importance.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0102.jp2"}, "103": {"fulltext": "CHAPTER VI.\\nTHE SHORT STORY MODEL SHORT STORIES THE NEW\\nWRITER WELCOME QUALITIES OF THE SUC-\\nCESSFUL SHORT STORY LOVE STORIES ALWAYS\\nPOPULAR ACTION LENGTH SAD STORIES NOT\\nDESIRED TRUE STORIES NOT GOOD FICTION\\nRAPID OR SLOW COMPOSITION FASHIONS IN\\nFICTION STATEMENTS OF PUBLISHERS NEEDS\\nTIMELINESS IN FICTION.\\nIn the field of the short story exists\\nthe widest possible opportunity for\\nwriters both new and old. Short stor-\\nies are used by the vast majority of\\npublications of all classes. While one\\nmay easily reckon up the number of\\nThe journals that are in the market for ser-\\nshort story. ials, for essays, and for certain other\\nlines of work, it is almost impossible to\\nestimate those which use the short\\nstory, to a greater or lesser extent.\\nSome daily papers make a special feature\\nof a short story in each issue; thus a\\nsingle one of them affording a market\\nfor three hundred and sixty-five stories\\nin the course of a year. Almost all the\\nmetropolitan newspapers use short sto-\\n91", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0103.jp2"}, "104": {"fulltext": "92 PRACTICAL AUTHORSHIP\\nries in their special Sunday editions, but\\nsometimes these are supplied under a\\nsyndicate contract. The weekly literary\\njournals, the monthly magazines, and\\nthe syndicates, are short story buyers.\\nThen all the household journals use\\nthem, and class and trade journals af-\\nford a limited market. In these latter\\ncases journals devoted to agriculture,\\nfor instance, use stories of farm life.\\nMusical journals use stories having a\\nmusical motif, etc. Of course the supply\\nis illimitable, but the demand is so large\\nand so constant that it may fairly be\\nsaid that any short story, correctly\\nwritten, and having a definite motif qxlA.\\ndevelopment, may find place if one will\\nbe persistent in sending it the rounds.\\nBut there are short stories and short\\nstories. The highest development of\\nthem may be seen in such instances as\\nExamples Poe s Gold Bug, (the best example of\\nof the best. the treasure story which our litera-\\nture affords) and Kipling s Brushwood\\nBoy. In the latter, which is a story of\\nperhaps not more than five thousand\\nwords, the complete life story of two\\ncharacters is told. Not only this, but\\nwith vivid characterization, description,\\nsplendid style, imagination, the elements\\nof adventure and danger, affection and\\nsentiment, such as are rarely found even", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0104.jp2"}, "105": {"fulltext": "PRACTICAL AUTHORSHIP\\nNew writers\\nnot discrimina-\\nted against.\\nwithin the compass of a two volume\\nnovel. Competent critics have pro-\\nnounced this one of the best examples\\nof the short story to be found in the\\nEnglish language. The other extreme\\nof the short story may be found in the\\ncolumns of some of the so-called family\\nstory papers, which pander to the\\nintellectual needs of the half-educated\\nclasses.\\nThe writer of the short story natur-\\nally hopes to find acceptance with the\\nleading monthly magazines. Publica-\\ntion in these means liberal compensa-\\ntion, and the bringing of one s name\\nand talents before the most liberally\\neducated and most appreciative por-\\ntions of our reading public. In com-\\nmenting upon the needs of these jour-\\nnals it will perhaps not be out of place\\nfor us to correct at the outset an er-\\nroneous impression largely prevalent\\namong young writers. This is to the\\neffect that the editors of the leading\\nmagazines are prejudiced against them,\\nand in favor of writers who already\\nhave an established reputation.\\nA little reflection should convince any-\\none of the folly of this. All of these now\\nfamous writers -were once new writers,\\nand were as eagerly seeking for recogni-\\ntion as any of the beginners of to-day.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0105.jp2"}, "106": {"fulltext": "94 PRACTICAL AUTHORSHIP\\nIt would not be difficult to discover\\namong them many who found recogni-\\ntion in the first instance at the hands of\\nthese most exclusive editors. New blood\\nand new material have been and are\\nbeing watched for all the time. A\\nwriter who has something new to say,\\nor who can say an old something in a\\nnew way, provided both the matter and\\nthe manner be good, will have no\\ntrouble to obtain a hearing from the\\nbest journals.\\nIt is true that we see more work from\\nEditors recognized writers than from amateurs\\nwatching for in their pages. That is because the\\nnewjaient. older writers do the best work. They\\nhave had training and experience. They\\nknow how. Once in a generation, per-\\nhaps, a new writer leaps fully equipped\\ninto the arena. He has material and\\nmanner. His st}de, inherent, is perfect.\\nHe does not need the discipline of years,\\nof criticism, of the rejection of his man-\\nuscripts. But the majority of writers\\nmust serve an apprenticeship before\\nthey can hope to become master work-\\nmen. Do not become discouraged be-\\ncause of this. It is only what is expected\\nin all other trades and professions, in\\nall the arts and sciences. Why should\\nthe writer alone expect to be exempt?\\nBut to go back to the short story.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0106.jp2"}, "107": {"fulltext": "PRACTICAL AUTHORSHIP 95\\nPerhaps you remember the line: Stor\\\\-!\\nGod bless you, I have none to tell.\\nThere are too many would-be story\\nwriters that are in the same case. Then\\nlet us affirm as the first principle,\\nthat one must be certain that he has a\\nstory to tell, before he can expect to tell\\nThe his story. Again, be certain the story\\nelements of a you have to tell is worth the telling.\\nstory. j n it there must be a definite tale, one\\nthat possesses some vital element of in-\\nterest. There must be action, and if\\nthere is a plot it should be clear and\\ndistinct. The writer should see its end\\nfrom the verj r beginning. Otherwise he\\nwill be apt to drift on and on in an end-\\nless maze of words, in his fruitless en-\\ndeavor to evolve a climax.\\nThere must be something^ the story.\\nIfinastory of 3000 words you have\\none situation that will set the nerves\\ntingling and cause the blood to course\\nmore quickly through the veins, one\\nsituation that will stir the emotions\\nand cause the reader to take a livelier\\ninterest in the joys and sorrows of the\\ncreatures of jour imagination, you have\\nat least the elements of a good story.\\nThis situation, the strongest in your\\nstory, should be at the close, and the\\nentire action should lead up to it with\\ndefinite purpose and cumulative effect.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0107.jp2"}, "108": {"fulltext": "PRACTICAL AUTHORSHIP\\nThe\\nmanner makes\\nthe story.\\nTell the story\\ndirectly.\\nIt has been said, and not without\\ntruth, that all the stories have been\\ntold. Perhaps it is true that the whole\\ngamtit of human emotions has been run.\\nBut there are new combinations to be\\nmade, of scenes, characters, motives,\\nand passions. It is the skill with which\\nthese component elements are handled\\nthat will prove the ability of the story\\nwriter. The only thing that the author\\ncan contribute which will be wholly or-\\niginal and his own, wall be the style\\nthe manner. In this we will find the\\nman himself, the force and character of\\nhis own personality.\\nIt would be almost impossible to name\\nthe various classifications of the short\\nstory. There is the historical story, the\\nstory of contemporaneous life, the story\\nof adventure or of incident, the instruc-\\ntive story, (written obviously for the\\nsake of the moral), the story of emotion\\nand passion, and, best and most popu-\\nlar of all, the good old-fashioned love\\nstory. It is of this that editors and\\nreaders never tire.\\nIn telling the short storj- it is import-\\nto get in medias res at one. Strike the\\nkeynote at the beginning, with no un-\\ncertain touch. Have action at the out-\\nset if possible, and continue it right\\nthrough the story. The short stor} r will", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0108.jp2"}, "109": {"fulltext": "Consider\\nPRACTICAL AUTHORSHIP 97\\nnot bear much descriptive work, no\\nmoralizing, no explanation regarding\\nyour characters. Have your characters\\nexplain themselves and their relation to\\neach other hj speech and action. Do\\nnot even describe their personal appear-\\nance. If this must be given at all, let\\nit be made a portion of the dialogue.\\nFrom this let your readers draw the\\nportraits for themselves.\\nThe length of the short story is an im-\\nportant factor toward its success. As\\na rule, no short story that is to be used\\nthe leneth ln a sm e number of any publication\\nshould exceed 6,000 words; this wall\\nmake a.bout eight pages of any of the\\nlarger magazines if without illustra-\\ntions, and with illustrations, of course\\nmore space will be occupied. For the\\nhousehold and domestic journals, sto-\\nries may run anywhere from 1,500 to\\n5,000 w r ords. For the literary weeklies\\n2,000 to 3,000 words is a fair length.\\nFor syndicate or newspaper use about\\n3,500 words is the extreme length, and\\nfrom this down to 1,000 or 1,500 wrords.\\nAll other things being equal, a stor}^\\nwhich does not run to the maximum\\nlength permitted, stands the best chance\\nof acceptance; for with shorter stories,\\nan editor may use in each number of his\\npublication two or three instead of one,", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0109.jp2"}, "110": {"fulltext": "98 PRACTICAL AUTHORSHIP\\nand so make up with greater variety,\\nand with material that will fit varied\\ntastes.\\nSuccess in short story writing after\\none has good material depends much\\nupon business abih4w. A short story\\nwriter should possess recent copies of\\njournals of all classes that use such\\nwork. He should study them carefully,\\nand from what they have used judge\\nwhat the\\\\^ will probably like to use in\\nthe future. Study the length and style.\\nFit your A journal that is using in each number\\nstory to your a half dozen stories of 2,500 or 3,000\\nmedium, words each, will not be likely to make\\nup future issues with two stories of\\n8,000 or 9,000 words each. A news-\\npaper that uses every day a sketch of\\n1,000 or 1,500 words will not vary its\\nrule to use your story of 5,000 words.\\nThe journal that makes a specialty of\\nstories of incident and adventure will\\nnot care for stories of domestic life. The\\nreligious journals will not accept stories\\nthat are not of wholesome tone and\\nwhich cannot be read in the family circle.\\nThe average young writer seems to\\nturn instinctively toward the sad and\\ntragic aspects of life, when he dips into\\nfiction. Tragic stories amount to full}^\\nninety per cent of all the fiction offered\\nfor sale. Thus it can readily be under-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0110.jp2"}, "111": {"fulltext": "error.\\nPRACTICAL AUTHORSHIP 99\\nstood that editors who desire to give\\nvariety to their pages are all the time\\nseeking anxiously for stories that will\\nshow the lighter and brighter phases of\\nhuman nature. As these are in such a\\nminority they^ are correspondingly diffi-\\ncult to secure. One who can write such,\\nof thoroughly strong, virile qualities, is\\ncertain of a market, of appreciation, and\\nof compensation from the outset.\\nA curious error that many young\\nwriters fall into is that of laboriously\\nA assuring editors that the story- they have\\nprevalent submitted for use in their fiction de-\\npartment is a true story. Now what\\nan anomaly is this! Stop and think a-\\nbout it for a moment. You are suppos-\\ned to be writing a work of fiction, not\\na narrative of events that have really\\nhappened. Do you think it will com-\\nmend your work to an editor to say to\\nhim that your imagination is so slight\\nthat you cannot do that which you\\nclaim to have attempted, but that you\\nwere compelled to fall back lamely upon\\na mere something that you had learned\\nor observed?\\nIt is quite right to use suggestions\\nIrom real life, or even incidents in their\\nentirety, for the purpose of embellishing\\nyour story. But to put especial stress\\nupon the fact that y r our characters or", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0111.jp2"}, "112": {"fulltext": "100 PRACTICAL AUTHORSHIP\\nsituations, or sometimes the stories en-\\ntire are drawn from life, will prejudice\\nyour case before the court. Your story\\nceases to be a story in anything but the\\nnewspaper sense when you make it\\nmerely a narrative. That it is true,\\neven though it has the semblance of fic-\\ntion, does not make it any more im-\\npressive to the editor, who has long\\nsince learned the truth of the adage\\nthat there are more strange real things\\nthan the imagination ever has coined.\\nLet your story be a coinage from the\\nL e t brain, or a development from your ob-\\nyour fiction be servation and knowledge of life. Then\\nfiction. submit it on its merits, not seeking by\\nany comment or explanation to give it\\nan interest that is not inherent. The\\neditor will not set your explanation be-\\nfore his readers even if he accepts your\\nstory; and it is from the readers point\\nof view as well as from his own that he\\nwill pass judgment; and sometimes\\nhe will not believe your statement that\\nit is true, but will be so obtuse as to\\nthink that jon are only trying to excite\\nhis interest by adventitious efforts.\\nIt is not always, nor indeed often a\\nrecommendation to an editor to say\\nthat the story which you offer him has\\nbeen produced without effort and with-\\nout thought, and in the briefest time", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0112.jp2"}, "113": {"fulltext": "PRACTICAL AUTHORSHIP 101\\nconsistent with the amount of mere\\nmanual labor that has been performed\\nupon it. We know that some writers,\\nvery young writers, hold contrary\\nopinions. We have in our possession\\nletters in evidence of this fact, and we\\nare adding to that collection every\\nday. One which came to hand not\\nlong ago was a curiosity. It stated\\nThe that: While* at breakfast I decided to\\noff-hand story, write a story. I did not know what it\\nwould be about. Immediately upon\\nleaving the table I went to my desk,\\ntook pen and paper, and wrote steadily\\nuntil noon. The result I hand you, a\\ncompleted story of about 5,000 words. 5\\nIt is not necessary to state here what\\nsort of a story this was which was\\ncomposed and written in such an off-\\nhand manner. But we wish to make\\nsome comments upon the method,\\nwhich may serve as a warning to\\nwriters who think that the ability to\\nperform such a task in such a manner,\\nwhether that performance be good or\\nbad, is a mark of genius. The very\\nworst point in this example is that our\\ncorrespondent determined to write a\\nstory, and set about executing his pur-\\npose, without having any idea as to\\nwhat the story would be about.\\nGood stories are not written in this", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0113.jp2"}, "114": {"fulltext": "102 PRACTICAL AUTHORSHIP\\nway. The very first requisite for a story\\nis an idea. The better the idea, and the\\nmore clearly and concisely it is worked\\nout before penis put to paper, the better\\nthe story will be. It is not necessary\\nthat the idea should even be kin to in-\\nspiration. We are not very great be-\\nlievers in inspiration. It is true that\\noccasionally an idea comes to a writer\\nlike a flash of lightning, revealing to\\nhim in the imperceptible molecule of\\ntime that lies between two passing\\nseconds, a picture which, if he can suc-\\nceed in putting into words, will be wel-\\ncomed by editors and will do much to\\nput him forward in his career.\\nThe idea for the story may be at the\\ncertain of an outset only a fragment. It may be but\\nidea. an isolated situation; or a striking in-\\ncident, or a condition of life, or the re-\\nlations between two beings; or it may\\nbe a partially evolved plot, which is but\\nthe skeleton, the frame-work upon which\\nthe story must be built with all the care\\nand skill of which one is master. This\\nrequires a little time. It can hardly be\\ndone while you are annihilating your\\nmorning coffee and roll. Of course there\\nare many instances of rapid accomplish-\\nment of good work. Rasselas is one\\nthat will occur to all. But we beg to\\nsuggest that the brain of the great lexi-\\nBe", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0114.jp2"}, "115": {"fulltext": "PRACTICAL AUTHORSHIP 103\\ncographer has not descended to many\\nof us.\\nA more modern instance and one less\\nwell known, and it is perhaps needless\\nto say one less worthy, was Mr. Frank-\\nfort Moore s production of The Sale of\\na Soul; a story of some 35,000 words,\\nwhich the author assures us was done\\nin eight days. However, The Sale of a\\nRapid vs. slow Soul is a very good story; yet we do\\ncomposition. not cite this to the earnest literary\\nworker as an example which it would\\nbe wise for him to emulate.\\nRather let us call r our attention to\\nI the Va^Jima Letters of the great-brained\\nand great-souled Stevenson. Therein he\\ntells with what infinite painstaking,\\nwith what severe self-criticism, with\\nwhat doubting if after all the thing\\nwere good, he built up those stories\\nwhich have enchanted and held captive\\nthe most intelligent readers of both\\nhemispheres. Three days work over a\\nnewspaper letter; sixty days devoted to\\nthe writing of 40,000 words, and think-\\ning that he has then done well even to\\nhave done so much, after days and days\\nof toiling and of spoiling white paper,\\nonly to say at last, that he thinks he\\nhas a frame-work upon which he may\\nlater build when he is more in the mood.\\nIt is certain that different men must", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0115.jp2"}, "116": {"fulltext": "104 PRACTICAL AUTHORSHIP\\nwork in different ways, and there are\\nmany who accomplish good work with\\nremarkable rapidity. There are others\\nto whom composition is slow and to\\nwhom every line comes with labor.\\nNeither the one way nor the other is a\\ncertain mark of genius. The statement\\nof methods by which work is produced\\nwill not alone commend it. But if any\\nword will help with an editor, it is the\\nhonest statement that the work is a\\ngrowth, the result of toil, of loving and\\npainstaking effort.\\nTo go back to Stevenson. He states\\nthat he once worked two days on a.\\nsingle page, and afterward felt that he\\nA should have worked three days upon\\nconscientious it. Yet he adds that he does not think\\nworker. ne could be accused of idleness. It was\\nhis rule to work six, or seven, or eight\\nhours a day; and then to spend much of\\nthe balance of his waking hours in plan-\\nning and in sowing seed which would\\nbring fruit later.\\nThe hours that are given to reflection\\nare often the best hours of the writer s\\nworking day. Out of nothing nothing\\ncomes. He who rises from the break-\\nfast table, saying to himself: I will\\nwrite a story to-day; and knowing\\nnot what the story will be, having made\\nno preparation for it, having given no", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0116.jp2"}, "117": {"fulltext": "PRACTICAL AUTHORSHIP\\n105\\nFashions\\nin\\nfiction.\\nEditors\\ncontrolled by\\ntheir readers.\\nthought to it, will be apt to produce a\\npoor thing.\\nFashions in fiction are subject to con-\\nstant change. Editors do not often set\\nthe fashion, but they keep close watch\\nupon the whims and changing fancies\\nof their readers, and endeavor to supply\\nthe demand for something new as soon\\nas that demand makes itself evident.\\nThis being true, it is incumbent upon\\nthose who write to give watchful con-\\nsideration to the question, What does\\nthe editor want? By doing this one\\nmay be able to drive more directly\\ntoward the goal than would otherwise\\nbe the case.\\nOf course it is better to sell a story at\\nthe second or third or even twentieth\\nintention than not to sell it all. But\\ninfinitely better than this is it to under-\\nstand the needs of editors so well that\\none may not have to waste great quan-\\ntities of patience and postage stamps\\nupon each story before finally getting it\\nplaced.\\nA journal may be in want of stories\\nand advertise that fact abroad; yet it is\\nnot so much stories in general as stories\\nin particular that are wanted. Stories,\\nafter certain models, may be had galore\\nfor the asking. But if the editor recog-\\nniezs a distinctly new trend in the tastes", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0117.jp2"}, "118": {"fulltext": "106\\nPRACTICAL AUTHORSHIP\\nof his readers, it is the stories that will\\nsatisfy this taste that he is seeking. The\\nwriter who with the editor can see this,\\nwant and fill it, is the writer who will\\nsucceed.\\nA few years ago we saw the public\\ntaking rapturous^ to stories of dialect.\\nChanges e sure n man J \u00c2\u00b0f them were to be\\nin public taste, found plot, good character sketching,\\nthe attributes that go to make the story\\nthat all the world likes. Yet these were\\nobscured in a mass of dialect that after\\na little became very tiresome reading\\nand to-day the dialect story can hardly\\nbe sold. Then we had the etching,\\nwhich was often a character sketch in\\nminiature; and we had the story of\\nanalysis, and the problem storj^; and\\nto-day all these have made room again\\nfor the story of plot and denouement.\\nIn telling the short story, felicity of ex-\\npression is desirable, and fidelity to life\\nwhich is another name for realism.\\nBut these of themselves are not suffi-\\ncient. Back of the method of telling is\\nthe story that is told.\\nStatements The editors of a few of our publica-\\nof editorial tions are very definite in explaining to\\nneeds. would-be contributors what they desire.\\nMunsey s Magazine says: We want\\nstories. That is what we mean stories,\\nnot dialect sketches, not washed out", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0118.jp2"}, "119": {"fulltext": "PRACTICAL AUTHORSHIP\\n107\\nCheerful\\nstories in\\ndemand.\\nstudies of effete human nature, not\\nweak tales of sickly sentimentality, not\\npretty writing. This sort of thing in\\nall its varieties comes by the car load\\nevery mail. It is not what we want,\\nbut we do want fiction in which there is\\na stor\\\\^, action, force, a tale that\\nmeans something, in short a story\\nThe Harpers give this summary of\\nconditions that seem to them to be of\\nessential importance in fiction.\\n1. A well developed plot.\\n2. Good characterization.\\n3. Good, vigorous English.\\n4. A moral tone.\\n5. A happy or artistic ending.\\n6. A well selected title, perhaps one\\nwhich would arouse curiosity.\\nWe have alluded elsewhere to the fact\\nthat the cheerful story is the one that\\neditors are most glad to consider. The\\neditor of a leading publication for the\\nyoung returned a story with the com-\\nment that it could not be accepted as it\\nwas so very sad, and she did not like to\\ntry the feelings of her young readers\\nwith it. The wisdom of such a decision\\ncannot be questioned.\\nAnother editor in commenting upon\\nthe question of editorial needs, states:\\nIt depends largely upon an editor s\\nconstituency, of course. But every-", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0119.jp2"}, "120": {"fulltext": "108\\nPRACTICAL AUTHORSHIP\\nRomance\\nor\\nrealism.\\nMr. Bonner\\nstandard,\\nwhere, I think, truth to life and a human\\ninterest, is the first demand. Realism is\\nthe fad of the moment, but romance will\\nstruggle with realism, and the most pro-\\nsaic narrative must have something of\\nthe light that never was on sea or land\\nto make it attractive. The author, like\\nthe actor, must dress for the footlights.\\nThe novelist who fails to touch a chord\\nvibrating with human sympathy will\\nnever please the editor, who, poor body,\\nfeels vicariously always the throb of\\nthe people s pulse.\\nIn stating that the author must dress\\nfor the footlights we touch again upon\\nthe matter of using true stories. Aside\\nfrom the fact that the true story is\\nnot properly a piece of fiction, is the fact\\nthat it would be extremely difficult to\\nfind a true story or an exact narrative\\nthat had the proper artistic ending that\\nwould make it adaptable to editorial\\nneeds. That is why the author must\\ndress for the footlights.\\nWe have had during recent years de-\\ncidedly too much of the erotic in fiction.\\nHappily this spasm has passed, and\\nwhile it lasted it was confined mainly to\\npublications of a minor grade. But it\\nmay be w r ell for both writers and editors\\nto remember the standard that was set\\nup by Mr. Bonner when he began the", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0120.jp2"}, "121": {"fulltext": "PRACTICAL AUTHORSHIP 109\\npublication of The Ledger. His ideal\\nreader was an imaginar\\\\^ old lad\\\\ r with a\\nfamuV of daughters tip among the Ver-\\nmont hills; and everything considered\\nfor publication was with the question:\\nWould the old lady want her daughters\\nto read this? 1 It would certainly be well\\nfor some writers to keep a similar old lady\\nin mind. For while some peculiar inter-\\nest of style or matter may give passing\\nnotoriety to a piece of fiction too highly\\nspiced, the American public and the\\nAmerican editor as a whole prefer the\\nwholesome.\\nIn fiction, the timely is also to be con-\\nsidered. Timeliness in literature is sup-\\nposed to be a necessary adjunct, mainly,\\nto the article, essay, editorial, etc. But\\nTimeliness in fiction, whatever falls in with the in-\\nin fiction. teres t of the hour is especially welcome.\\nThis is particularly true of publications\\nwhich give limited space to fiction, pub-\\nlishing but one or two stories in each\\nissue.\\nOne of the syndicates said: Whatever\\nwe use in the way of fiction will be in\\nthe shape of stories not exceeding 2,000\\nwords in length, containing a definite\\nplot, pathetic and humorous situations\\nand treated in the m ost artistic manner\\nAnother syndicate says: Stories must\\nbe full of action and of perfect moral\\ntone.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0121.jp2"}, "122": {"fulltext": "110 PRACTICAL AUTHORSHIP\\nFrom the editorial views here pre-\\nsented, we may gather that the present\\neditorial want in fiction is, in brief: A\\nplot, plenty of action, a health}^ whole-\\nsome tone, strong characterization,\\nvivid interest and artistic treatment.\\nThe brain of the story writer should\\nbe like the sensitized plate of the camera.\\nAll situations which come under his\\nThe habit observation should be photographed\\n\u00c2\u00b0f instantly and without effort upon this\\nobservation. brain; and in such clear and orderly\\narrangement that they may be called\\nforth and used whenever the need occurs.\\nThe habit of observation should be\\nbrought down to the final analysis. In\\nlooking at a landscape one should see\\nnot onljr that the earth is green and the\\nsky blue, but he should see the details of\\nthe |3icture: the kinds of grasses, the fo-\\nliage of the trees, the tones of the color\\nof the sky; the whole should be there so\\nthat a word picture could be painted;\\nnot at length, but with those swift dis-\\ntinct touches that make it real. If one\\nsees a woman, he should see at once her\\ndress, her facial characteristics, her car-\\nriage, whether her hair be brown or blue,\\nher eyes green or black. He should ob-\\nserve the quality of her voice, so that he\\ncan reproduce it to the reader. Charac-\\nters never appeal to the reader as faith-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0122.jp2"}, "123": {"fulltext": "PRACTICAL AUTHORSHIP 111\\nful portraits unless the writer has put\\ninto them some attributes which have\\ncome under his observation in actual\\npeople. Perhaps some of the greatest\\ncharacters of fiction, characters which\\nhave lived and become household words,\\nhave been portraits itipart, if not in\\nwhole.\\nIn regard to the technique of the\\nshort story, it cannot be too much em-\\nphasized that conversation should play\\na most important part. A professor of\\nTechnique Rhetoric and English Language in one\\nand of our leading universities said lately\\nthat the story of the future would be\\nmade up almost entirely of conversa-\\ntion. Write your story as long as you\\nplease, he said, then substitute con-\\nversation for description wherever you\\ncan. Another, commenting upon\\nmethod in short story work said: It is\\nnot necessary to say that a woman is a\\nsnarling, grump}- person. Bring the old\\nlady in and let her snarl\\nmethod.", "height": "4247", "width": "2639", "jp2-path": "practicalauthors00reev_0123.jp2"}, "124": {"fulltext": "CHAPTER VII.\\nTHE LITERARY RACK HIS WIDE FIELD GOLD-\\nSMITH S DESCRIPTION THE KNOWLEDGE AND\\nABILITY REQUIRED HOW LARGE INCOMES ARE\\nEARNED VARIOUS LINES OP WORK DRAW-\\nBACKS ANALYSIS OF INCOME,\\nThe literary hack is a sort of all-trades\\njack; and in this he has the advantage\\nover any writer along special lines, in\\nthat he can thus make use of every thing\\nthat comes to his net. All sorts of ma-\\nterial are of utility to him, and by their\\naid he can employ profitably ever} r mo-\\nment of time that he wishes to give to\\nA wide field. n s desk. He can also vary his work as\\nhe will, and get that relaxation which\\ncomes quite as much from varying\\none s employment as from absolute\\nidleness. He has the advantage of al-\\nways being able to keep an immense\\nnumber of articles in the field, and so\\nma}^ look confidently each day for ac-\\nceptances and the consequent practical\\nemoluments in the shape of paj^ments\\nfrom editors.\\nProbably the beginner would be sur-\\n112", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0124.jp2"}, "125": {"fulltext": "PRACTICAL ALTHORSHIP 113\\nprised to learn how wide a field the lit-\\nerary hack, if he is competent, may\\noccupy. Take a score of journals of the\\nday, and look over their tables of con-\\ntents. Throw aside the stories and see\\nhow many different classifications may\\nyet be made of the articles contained in\\nthe lot. And, aside from the articles\\nwhich are the product of specialists, any\\none of them may have been written by\\nany well informed literary worker.\\nEver since Goldsmith immortalized\\nthe woes of the literary hack, the\\nworld has had before its eyes a picture\\nof a distressed author working drearily\\nin a garret chamber, haunted by bailiffs,\\ndeserted by friends, often cold, ragged\\nand hungry:\\nWhere the Red Lion peering o er the way,\\nInvites each passing stranger that can pay;\\nWhere Calvert s butt and Parson s black cham-\\nGolrismith pagne\\nuomsmun Regale the drabs and bloods of Drury Lane\\nind the literary There, in a lonely room, from bailiffs snug,\\nlk The muse found Scroggin stretched beneath a rug;\\nA nightcap deck d his brows instead of bay,\\nA cap by night, a stocking all the day.\\nPerhaps Goldsmith need not have\\nbeen a literary hack had he husbanded\\nthe earnings of his pen with a little\\nmore care and common sense; but his\\nfailing was one that is common to\\nmany men of genius a habit of trusting\\ntoo implicitly to the morrow to care for\\nitself. By his pen he earned large sums,", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0125.jp2"}, "126": {"fulltext": "114 PRACTICAL AUTHORSHIP\\nand spent them lavishly. He was al-\\nways either in debt to his publishers and\\nhis friends, or swimming npon the crest\\nof a momentary wave of opulence.\\nYet Goldsmith was hardly a literary\\nhack, in the sense that the term is now\\nused. He was too much a creature of\\nmoods to fasten himself to the methodi-\\ncal work of our modern all-round\\nwriter.\\nThe literary hack of the latter portion\\nof the nineteenth century is one who is\\nable to turn his hand and his pen to\\nthe widest variety of work. The whole\\nfield of newspaper and magazine jour-\\nnalism is his; and in the interim of writ-\\ning ing short stories, articles of travel, in-\\nmodern terviewing the latest lion of the hour, or\\nhack. composing a sheaf of couplets and quat-\\nrains, or a sonnet upon sweetness and\\nlight, he turns his attention to produc-\\ning a problem novel or a new story of\\nadventure to rival Treasure Island.\\nHis occupation, his place in the liter-\\nary scale, and more than all else, his\\nemoluments, have recently been the sub-\\nject of some discussion in the periodical\\npress. It is claimed on the one hand\\nthat he is still Goldsmith s rival in the\\nmatter of duns and make-shifts, and that\\nsuch must ever be the case of a literary\\nworker who has no definite connection", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0126.jp2"}, "127": {"fulltext": "PRACTICAL AUTHORSHIP 115\\nwith any publication or publishing\\nhouse, but who must depend upon the\\ncold chance of any editor s favor for the\\nwherewithal to compensate his landlady\\nfor the current week s board and lodg-\\ning. On the other hand, it is alleged\\nthat the competent hack-writer is the\\nonly literary worker who is removed\\nfrom the harassing fear of never being\\nable to make both ends meet.\\nThere are arguments both for and\\nagainst the occupation of the hack-\\nwriter. He is the distinct opposite of the\\nspecialist. He must needs be a more vers-\\natile man than the latter, but in the na-\\nture of things he is rarely so thorough or\\nWhat so well informed upon any particular\\nthe hack-writer line. To be eminently successful he must\\nmust be. be broadly educated;perhaps not so thor-\\noughly grounded in the knowledge of the\\nschools as in knowledge of the world.\\nHe must possess in the widest degree\\nthat general information which comes\\nfrom omnivorous reading, from travel,\\nand from association with all sorts and\\nconditions of men, combined with a keen\\ninsight into human nature, the ability\\nto keep jDace with the progress of the\\nworld, with new literature, the develop-\\nment of the arts and sciences, sociologi-\\ncal and metaphysical questions. He\\nmust have the ability to gather this in-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0127.jp2"}, "128": {"fulltext": "llti PRACTICAL AUTHORSHIP\\nformation as he runs, and, if not thor-\\noughly to digest it, yet to store it away\\nin his mind in such an orderly manner\\nthat it may be instantly accessible when\\nneeded.\\nThe qualities which go to make the\\ncompetent and successful editorial writer\\nupon a great newspaper are much the\\nsame as those which are demanded in\\nthe hack-writer; except that the former\\nmust often have the ability to go further\\nbeneath the surface, more into the causes\\nof things, and into their effect; the hack-\\nwriter touches matters more upon the\\nsurface and, as a rule, writes more for\\nthe entertainment of the reader than for\\nhis instruction.\\nAs an example of his range of work\\nwe will cite the career of a well known\\nNew York journalist who is by his own\\nSome confession a hack-writer. He disclaims\\nexamples of his any higher purpose in following his pro-\\nwork, fession than to meet the needs of the\\nhour and the demands of editors. His\\nname is signed to work in a dozen cur-\\nrent publications at this moment upon\\nour desk In one, an illustrated monthly\\nof the highest class, he has a short story\\nof some 6,000 words. It is a good story\\nthat goes without saying or it would\\nnot have been admitted to the pages of\\nthe periodical in question\u00e2\u0080\u0094 yet to the", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0128.jp2"}, "129": {"fulltext": "PRACTICAL AUTHORSHIP 117\\nreader who is also a writer and who,\\nin consequence, reads between the lines\\nto discover the method of the author,\\nit bears evidences of being a manufac-\\ntured story. The story does not show\\nthe qualities which contribute in any\\nmanner toward making a great story.\\nIt is, on the contrary, rather upon the\\norder of newspaper work than of mag-\\nazine work It is rapid in its m o vement\\nbright in its conversations, but in char-\\nacter drawing, in atmosphere, in the\\nqualities which appeal most to the heart\\npot-boiler and the brain, it is clearly deficient.\\nstory. However, it serves its purpose well, that\\npurpose being none other than to draw\\na check for an hundred dollars, or per-\\nhaps for half as much more, from the\\ntreasury of the publisher. A writer of\\nno greater reputation, but one who\\nwould have written this story less after\\nthe hack-writer s manner, and more after\\nthe manner of the careful, conscientious\\nand competent literary worker, might\\nhave received $250.00 or $300.00 for it.\\nThe difference in price would have been\\ndue to the difference in quality, not to\\nquantity. And it may interest some of\\nour readers to know that a writer\\nwhose name was the fancy of the hour,\\nmight have received $500.00 or even\\nmore from the same publication for a\\nstory of equal length.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0129.jp2"}, "130": {"fulltext": "118\\nPRACTICAL AUTHORSHIP\\nA\\ndrawback.\\nHis work\\nsometimes su\\nperficial.\\nThis is one drawback in the career of\\nthe acknowledged hack-writer; he can\\nnever expect to receive the very highest\\nprices for his work. However good the\\nwork that he turns out, occasionally\\nmay be, he will never reach a place\\namong the exalted few who receive\\nfancy prices. He becomes well known\\nbut never famous. Editors are always\\nglad to examine his work, for they\\nknow that he understands their needs\\nwell enough to avoid troubling them\\nwith anything that is clearly unavail-\\nable for their particular use. This does\\nnot mean that his articles are always\\naccepted at the first intention, but he is\\nalways accorded a respectful hearing.\\nThe next place that we find his name\\nis in a domestic publication of high\\nrank, signed to an article in which are\\ndiscussed the nutritive food value and hy-\\ngienic qualities of certain foods generally\\nseen upon our tables. He does not go\\nvery deeply into the matter, and per-\\nhaps at times a scientist or a chemist\\nmight be able to pick flaws in his state-\\nments. But he has read up on the mat-\\nter to good purpose, and as his training\\nhas taught him that an error is worse\\nthan a crime, you may be reasonably\\nsure that his article will bear all ordi-\\nnary tests for accuracy.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0130.jp2"}, "131": {"fulltext": "PRACTICAL AUTHORSHIP 119\\nIn a daily newspaper we find an inter-\\nview signed by him, the subject being a\\nfamous statesman making his first visit\\nto this country. In this, aside from the\\nwork of the interviewer proper, he has\\ngiven us a succinct but comprehensive\\nreview of the life and career of the\\nstatesman. He not only knows the\\nordinary facts of his histo^, such as\\nmay be gleaned from any encj^clopedic\\nor biographical article, but he is familiar\\nwith the measures he has advocated,\\nAs an the principles for which he stands, the\\ninterviewer. great speeches he has made, the men\\nwith whom he has been affiliated, as\\nwell as those to whom he has been\\nplaced in opposition. Perhaps it was\\nonly because the writer possessed\\nsuch comprehensive information that\\nhe was able to get an audience with the\\ndistinguished visitor and draw him into\\nthe conversation which enabled him to\\nso well serve the needs of his paper. If\\nhe had been a tyro, or if he had not\\nbeen able to show himself at least no\\nstranger to the distinguished man s\\ncareer, the latter would probably have\\nbrought the audience to a quick termi-\\nnation.\\nOther articles from the same hand are:\\nIn the Steerage of an Ocean Liner;\\nCoffee Growing in Mexico; (both", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0131.jp2"}, "132": {"fulltext": "120\\nPRACTICAL AUTHORSHIP\\nHis\\nemoluments.\\nIndustry\\nis needful\\nthese articles evidently worked up from\\nold note books of travel); an article on\\nthe Chinese Quarter of New York,\\nand so on ad infinitum Estimating the\\nvalue of the whole by our knowledge of\\ncurrent market prices for such work, we\\nwould judge that the output for the\\nmonth returned to this fortunate hack-\\nwriter probably four hundred to five\\nhundred dollars.\\nThis will seem to the general writer\\nto be above the average monthly com-\\npensation of even those who are most fa-\\nvorably regarded in editorial sanctums.\\nThis is true, yet we have reason to be-\\nlieve that this particular writer does\\nnot fall far short of this average month\\nafter month and year after year. This\\nis better compensation than can be ex-\\npected by even the most favored writer\\nwho confines himself to one or two pub-\\nlications or to a single line of work. It\\nwould, too, require an extremely suc-\\ncessful book to return as much in royal-\\nties as this writer will earn within a\\nyear.\\nIt is quite possible that this is an ex-\\nceptional hack-writer. Yet we know\\nothers who do an equally varied line of\\nwork, and who receive quite as good\\nprices. If their total earnings do not\\namount to so much it is either because", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0132.jp2"}, "133": {"fulltext": "A\\nmediocre\\nPRACTICAL AUTHORSHIP 121\\nthey do not apply themselves so indus-\\ntriously, and so produce as much work,\\nor because they do not study their mar-\\nket to equal advantage, and so fail to\\nreach the maximum money reward.\\nAn unpleasant feature of the profession\\nof the hack-writer is that it is utterly\\ndestructive to any high or legitimate\\nliterary ambition. The writer soon\\ncontents himself with producing work\\nof a mediocre quality, and such ambi-\\ntion as he may have had at the outset\\nto excel in any particular line, or to\\nworker produce work which will live, is lost in\\nthe desire to keep himself well repre-\\nsented in many publications and to\\ngather in all the shekels possible from\\nsuch work.\\nThere is another class of hack-writers\\nwho are deserving of rather more sym-\\npathy. These are men who are special-\\nists along some particular line, but\\nwhose income from such work is not\\nsufficient to provide for their needs; so\\nthey devote a portion of their time to\\nthe journalistic hurly-burly, in order to\\nmake it possible to do that which is\\nnearest their hearts. They look with\\nmore or less disgust upon the stories\\nand articles which are merely pot boil-\\ners, and are annoyed when they find\\nthat they have become better known to", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0133.jp2"}, "134": {"fulltext": "ladder.\\n122 PRACTICAL AUTHORSHIP\\nthe public by these than b}^ the work\\nwhich is the main purpose of their lives.\\nYet if one will be a hack-writer, let\\nhim make tip his mind to become a\\nthoroughly competent one, to take his\\nplace at the head of the procession. To\\ndo this, as we have already said, one\\nmust constantly be acquiring informa-\\ntion. Bear in mind that there is no item\\nGet to of information, no matter how trivial\\nthe top of the rnaY seem at the moment, which may\\nnot eventually be wanted in your work.\\nRead and observe continually. Keep\\nposted upon all questions of the day.\\nFamiliarize yourself with history, biog-\\nraphy, read travel work, and travel\\nwhenever the opportunity presents.\\nKeep note books and be methodical\\nabout arranging your information in\\nsuch shape that you may find it when\\nwanted.\\nThe hack-writer, and in fact writers\\nof all classes, will find it of the utmost\\nvalue constantly to make clippings\\nfrom newspapers and periodicals, and\\nto file these methodically. But to the\\nhack-writer more than to any other will\\nthese be of value. Some of the most\\nsuccessful men in this line of work have\\nsuch voluminous files of magazine and\\nnewspaper clippings as constitute a com-\\nplete current history of various subjects.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0134.jp2"}, "135": {"fulltext": "Clippings\\nPRACTICAL AUTHORSHIP 123\\nIn this way some have histories of cer-\\ntain countries; of certain industries; of\\ncertain social movements; of men who\\nhave become famous, or who are stead-\\nily growing into fame. Some day they\\nfind their files of value, when the coun-\\ntry or the industry or the man springs\\ninto sudden prominence. And then\\nand files. Jones, who has been less methodical,\\nwonders how Brown happened to have\\nall this material at his fingers ends just\\nwhen it was needed and when it was of\\nmoney value. Or perhaps Brown, in\\nlooking over his files, finds that his\\nclippings are so complete upon certain\\ntopics that he has before him all the in-\\nformation necessary to make a valuable\\nand comprehensive magazine article\\nand he forthwith does it.\\nSome years since The Forum con-\\ntained an article concerning the literary\\nhack, that was rather widely com-\\nmented on as showing the inner facts\\nof the life of an ordinary literary worker\\nThe Forum ^is class. It claimed to be the actual\\nand the hack- experience of a hack-writer, and its pur-\\nwriter, port was to show how an unpreten-\\ntious member of this guild had suc-\\nceeded in securing an income of $5,000\\nper year, while avowedly writing with\\nno higher purpose than to produce that\\nwhich would sell.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0135.jp2"}, "136": {"fulltext": "An\\n124 PRACTICAL AUTHORSHIP\\nThere was nothing remarkable about\\nthe article and doubtless the experiences\\ngiven could be paralleled by a dozen\\nother writers. To earn that income, as\\n~we have suggested above, by writing\\narticles and stories for the newspapers\\nand magazines, is not an extraordinar-\\nily difficult attainment. Of course one\\nmust first be equipped lor the work. He\\nmust be possessed of a wide fund of\\ngeneral knowledge, and this must be so\\nclassified and arranged that it is ready\\nexample of the or llse wnerever an d whenever needed,\\nbest. He must be able to write good short\\nstories, or novels with sufficient merit\\nto make them salable, in order to keep\\nhimself occupied when there are no\\nother definite lines of work just ready\\nfor his hand. Above all he must be in-\\ndustrious and must pay great attention\\nto the market. The latter factor is an\\nimportant one. It does not matter\\nhow much stuff he may turn off, if he is\\nnot able to sell it to advantage his work\\nwill count for little.\\nIn analyzing the income of this hack-\\nwriter we will suppose that he received\\nno higher compensation than $5 per\\nthousand words. At that rate he has\\nto produce 3,000 words per day to ac-\\ncomplish his aim. A fair portion of his\\nwork must have gone into periodicals", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0136.jp2"}, "137": {"fulltext": "PRACTICAL AUTHORSHIP 125\\nthat pay from $10 to $20 per thousand\\nwords, and thus have materially reduced\\nthe necessary amount of output.\\nAn unpretentious newspaper woman\\nof our acquaintance who works steadily\\nupon a great daily, once told us that\\nher work outside her own paper brought\\nA an income of about $1,500 per year.\\nnewspaper This seems to us a more noteworthy\\nwoman, accomplishment in the way of literary\\nearnings than the $5,000 secured bj the\\nself-confessed hack, who gave his whole\\ntime to his widely diversified work.\\nAfter the publication of The Forum\\narticle, the other side of the literary hack\\nquestion was given by a writer in one\\nof the eastern papers. He stated that\\nwith the same apparent industry he had\\nbeen able to secure an income that aver-\\naged only $2,000 per year. The differ-\\nence between the two was probably\\nthis: the man who made the $5,000 had\\na higher and wider range, greater talent\\nand greater versatility^. He would sell\\nfor $50 an article for which the other\\nman would receive but $20. Although\\neach might devote the same time to his\\narticle, it was quite probable that the\\nfinished product would differ in value.\\nAnd it is very nearly certain that the\\ntwo would go to different markets. To\\nsum up the whole matter of the earning\\npower of a competent literary hack, it", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0137.jp2"}, "138": {"fulltext": "126\\nPRACTICAL AUTHORSHIP\\nmight be fairly stated that his average\\nwill be found somewhere between these\\ntwo extremes.\\nWhile upon the subject of literary in-\\ncomes, we may repeat the statement\\nmade to us by a great New York editor\\nto the effect that the best profit and the\\nsurest income is to be had by writing\\nbooks. This statement will be ques-\\ntioned by many, but this editor in com-\\nmenting upon certain men whose work\\nwas no longer to be found in the maga-\\nzines, said: These men will not write\\nIncomes short stories, because they can make a\\nand great deal more writing long ones.\\nhow attained. Further investigation showed that\\nthose who were under consideration\\nwere engaged in writing novels, of which\\neaxh produced from one to three per year.\\nThey looked sharply to the financial end\\nof their work, selling the serial rights\\nfirst to the magazines, syndicates, or else-\\nwhere, and then selling the book rights on\\na royalty. In this manner they secured\\nan income that was not wholly depen-\\ndent upon the work done each day. It\\nis true it often happens that a writer\\nfinds great difficulty in selling his first\\nlong story or book manuscript at all.\\nBut if he goes to the right place, and\\nhis long work is equally as good as his\\nshorter efforts, it is no more difficult to\\nfind a place for the one than for the other.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0138.jp2"}, "139": {"fulltext": "CHAPTER VII.\\nTHE SPECIALIST WHAT HE HAS ACCOMPLISHED IN\\nOTHER FIELDS HIS PLACE IN LITERATURE\\nWHAT HE MAY ACHIEVE THE VARIED LINES\\nFOR THE SPECIALIST THE TRAINING OF THE\\nSPECIALIST.\\nAmong those who play their part in\\nthe larger activities of life, the one-idea\\nman has ever been more or less the butt\\nof the would-be humorist. Possibly\\nThe there is some reason for this, for the man\\none-idea man. who absorbs himself in a single idea\\ndoes necessarily, and as a natural con-\\nsequence, withdraw himself somewhat\\nfrom intimate companionship with his\\nfellows. The one idea becomes the cen-\\ntral purpose of his life, and to it all other\\nthings must be subservient.\\nHe who laughs last laughs best, is\\nan old adage; and it is often the one-idea\\nman who in the end laughs best, and at\\nthe expense of those who made him the\\nmark for their gibes. In finance, we\\nhave often seen the man of one idea pro-\\ngress steadily toward his goal that of\\nbecoming one of the money kings of the\\n127", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0139.jp2"}, "140": {"fulltext": "128 PRACTICAL AUTHORSHIP\\nworld. In art, we have seen the man\\nwho steadily made his art the great\\nmotif of his life outrank all his fellows.\\nOne-idea men have become the great\\ngenerals of the world; the great inven-\\ntors, those who have done most to as-\\nsist the progress of civilization, were\\nmen of a single great idea and purpose.\\nThe great reformers of the world have\\nbeen men of a single idea, and they have\\nspent their lives nobly in and for the\\naccomplishment of their single great pur-\\npose.\\nIn literature, the one-idea man is often\\na recluse, a student. In another chap-\\nter we have instanced the qualities\\nwhich help to make the successful hack-\\nTh writer. Almost none of these are neces-\\nrange of the sary to the specialist. Instead of min-\\nspecialist. g^ n g with the world, he takes a little\\nportion of it and observes and studies\\nand analyzes that with his whole soul.\\nWhile his range is narrow individually,\\ncollectively it may be of the widest.\\nThe specialist has his place in every\\nwalk of literature but there is only one\\nwalk for each one of the species. The\\nhumorist may be just as much a special-\\nist as the student of some obscure\\nbranch of natural science; but it would\\nbe rare indeed to find the two combined.\\nWe have instanced the fact that the", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0140.jp2"}, "141": {"fulltext": "PRACTICAL AUTHORSHIP 129\\nhack-writer may hope to achieve fame,\\nwithin rather narrow limitations. His\\nis the fame that comes to the indus-\\ntrious and persevering writer within the\\ncircle of editorial sanctums, but not\\noften in the eye of the great public. The\\nspecialist has, as a rule, a scope that is\\nstill more narrow. He may become\\nknown and appreciated by a few edi-\\ntors, those of publications of a single\\nclass rather than to the guild as a\\nwhole; and through them he will be-\\ncome known to the limited number of\\nHis fame, readers who comprise their class.\\nBut there are some compensations.\\nWhere he is known, his name becomes\\na household word. He is looked up to.\\nHis work is looked forward to, and\\nwaited for, and all that he says is ac-\\ncepted as authoritative. His work is\\nusually well paid, and it brings him a\\ncertain honor and dignity wherever it\\nbecomes known.\\nIn the above we are speaking of the\\nserious work of the specialist. While it\\nis true, as we have said, that the hu-\\nmorous writer may be a specialist, it is\\nnot he nor his fellows whom we wish\\nto consider here.\\nThe true specialist the man who fol-\\nlows his specialty in order that he may,\\nwrite and inform the world upon it, is", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0141.jp2"}, "142": {"fulltext": "130\\nPRACTICAL AUTHORSHIP\\nAs a chemist.\\nAs an\\nagricultural\\nwriter.\\nusually a man of a scientific turn of\\nmind. His specialty may be any one\\nof the abstruse or natural sciences. He\\nmay study the stars and endeavor to\\npopularize knowledge concerning them.\\nHe may be a chemist, and add continu-\\nally to our information regarding the\\ndrugs which have been given to the\\nworld to minister to the needs of man-\\nkind; he will study their sources, and\\nwill continually discover in the three\\ngreat kingdoms constituents which add\\nto the known chemistry of the universe.\\nHe may take a less far mental reach,\\nand be simplj^ an agriculturist who\\nstudies the laws of nature in their rela-\\ntion to plant life; he observes the unfold-\\ning of bud and flower, the growth of tree\\nand fruit, the germination of seeds, the\\ncauses which conduce to barrenness or\\nfruition, and gives this knowledge\\nthrough the agricultural journals to\\nthose whom it may most benefit. Per-\\nhaps he goes a little further, and by\\ncareful experimentation, by crossing\\nfruit with fruit and flower with flower,\\nadds to the wealth of our horticulture.\\nHe may sttury the minerals of the\\nearth; discover their location, and the\\nways by which they may be made most\\nuseful to mankind. He may be a trav-\\neler, continually browsing about odd", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0142.jp2"}, "143": {"fulltext": "PRACTICAL AUTHORSHIP 131\\ncorners of the world, and adding to our\\nknowledge of peoples, their habits and\\ncustoms, making or correcting geog-\\nraphy, or teaching one portion of the\\nw^orld the value of another.\\nThe avenues of occupation for the\\nspecialist are almost without end. He\\nma}^ not be an original investigator, like\\nthese we have named, but instead de-\\nvote his talents to summing up and\\narranging the kn owledge which has been\\ngathered by others. The accurate and\\ncompetent compiler stands among our\\nmost valued literary workers. He may\\nbe a biographical or historical writer;\\nhe may collect information upon almost\\nany subject by careful browsing in\\nlibraries, and from this make either\\nmagazine articles or books which take\\nfirst rank in literary^ importance; or an\\nessayist who, watching the course of\\nevents upon the stage of the world,\\ndraws therefrom deductions that make\\nthe leader in the da} r s newspaper or the\\nfinished article in to-morrow s review.\\nThe specialist may be, as we have\\ny Re said, a humorist, who devotes his da3 x s\\nspecialist and sometimes his nights to conjuring\\nas humorist from his brain or twisting from the facts\\nand poet. f j^g experience humorous thoughts\\nor situations which may be moulded\\ninto the comic dialogue, the illustrated", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0143.jp2"}, "144": {"fulltext": "132 PRACTICAL AUTHORSHIP\\njoke, or the mirth-provoking verselet;\\nor a writer of verses alone, who, with-\\nout great poetic faculties, studies the.\\ntechnique and the niceties of his art un-\\ntil he can turn out almost at will the\\ncouplet or quatrain which expresses a\\nthought in the minimum of words, or\\nthe cold and polished sonnet, or the\\ndainty vers-de-soctete which editors wel-\\ncome so gladly.\\nThe short story writer is often a spec-\\nialist, turning his entire attention to\\nthe art of telling stories which within\\nthe limit of a few thousand words will\\ngive the whole life history of his charac-\\nters on the one hand, or upon the other\\nThe specialist present a single episode in those lives in\\nas a practical such masterly manner, in such vivid and\\njournalist. brilliant word-coloring, that the picture\\nis burned upon the brain. Writing juve-\\nnile stories is a specialty which many\\nhave followed with immense profit and\\nsatisfaction. The writing of feature\\narticles for the daily press is a specialt}^\\nand one which is growing with the rapid\\ndevelopment of the syndicates. The\\nwriting of practical agricultural arti-\\ncles, practical mechanical articles, and\\nof travel articles for newspapers and\\nmagazines are each specialties which\\nare followed by many, but which afford\\nfields that are never overcrowded. It", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0144.jp2"}, "145": {"fulltext": "PRACTICAL AUTHORSHIP 133\\nis perhaps even permissible to say that\\nthe novelist is a specialist; for it is often\\ntrue that the novelist of to-day has been\\nthe literary hack or the all-round writer\\nof a past decade, who, finding his tastes\\nand powers developing in the direction\\nof the elaborated story, has finally given\\nhimself wholly to that work for no\\nother reason than that he has found it\\nto be the thing which he can do best,\\nand with most profit and satisfaction.\\nPerhaps the question of profit alone\\nmight be the factor that determined his\\ncourse, and were this eliminated, he\\nmight return to-day to the ranks of the\\nhack-writer or all-round journalist.\\nThe specialist may minimize his work,\\nif he chooses, to the last degree. We\\nknow specialists who are specialists on\\nthe one item of paint alone. They know\\nThe paint as a child knows his A. B. C s.\\nspecialist They know the bases for all paints;\\nof the how the crude material is obtained;\\ntrade journals, how it is treated, how mixed, how han-\\ndled in the factory, how put upon the\\ntrade, the shape in which it goes to the\\nconsumer, and its value. They know\\nthe durability of colors or their lack\\nof durability the seasons at which\\nthey should be used, the method in\\nwhich paint should be applied, the best\\nbrushes for certain uses. Knowing all", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0145.jp2"}, "146": {"fulltext": "134 PRACTICAL AUTHORSHIP\\nthese things about even so limited a sub-\\nject, they can write without end for\\njournals of many classes. Their work\\nis not confined, as one might think, to\\ntrade or technical journals, but they\\nhave their place in the agricultural pa-\\npers, fill space in the newspapers, do\\noccasional articles for illustrated papers,\\nand even break into the magazines. For\\nhere is one thing for writers of all class-\\nes to remember: practical work, written\\nby one who knows thoroughly that of\\nwhich he writes, has the widest possible\\nrange. Articles of information are re-\\ngarded kindly by all editors.\\nThe course of one who would become\\na writer upon a specialty, is plain.\\nFirst, know your subject. If yon are\\nto write about mechanics, study ma-\\nchinery as you would your spelling book.\\nThe Study it not only from the outside, but\\ntraining of a get }^our knowledge from the ground\\nspecialist. tip by becoming if you are not so al-\\nready a practical machinist. Go to\\nwork in a machine shop, and learn how\\nto run an engine, a lathe, an emery\\nwheel, a planer. Learn the care of ma-\\nchinery, how it is built, its uses, its life;\\nthe more competent you become per-\\nsonally as a machinist, the better able\\nyou will be to write about machinery\\nfor others. Then when you are ready", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0146.jp2"}, "147": {"fulltext": "PRACTICAL AUTHORSHIP 135\\nto write, select the journals of your\\nespecial class, and tell them anything\\nyou have to say upon the subject, that\\nis new.\\nSo with agriculture. Work in the\\nThe ground until you are familiar with all\\nagricultural the processes of nature, from seed\\nspecialist. time to harvest. Observe, learn some-\\nthing new that is of practical value,,\\nand the editors of agricultural journals\\nwill be glad to give r ou a hearing.\\nWe might go on in this way through\\nthe entire list of trade and technical and\\nclass journals; there is not one of them\\nbut that affords an opening of some\\nsort for the specialist.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0147.jp2"}, "148": {"fulltext": "CHAPTER IX.\\nTHE DESCRIPTIVE ARTICLE QUALITIES NECESSARY\\nTO A DESCRIPTIVE WRITER THE WIDE FIELD\\nFOR HIS WORK NEWSPAPERS AND MAGAZINES\\nUSE SUCH ARTICLES SUBJECTS FOUND ON EVERY\\nHAND AND IN E VERY-DAY LIF3.\\nIt is not at all necessary that the suc-\\ncessful writer of the descriptive article\\nshould have a mind of that especial\\nquality which is denominated as bril-\\nThe liant. The careful, plodding, pains-\\ndescriptive taking writer in this line of work is\\nwriter. often the one who arrives at the truest\\ncomprehension of his subject, and who is\\nthus enabled to lay it most truly and\\nrealistically before his readers. Inven-\\ntive genius, such as may be required in\\nthe development of plot or the elabora-\\ntion of the novel, might rather stand in\\nthe way of the descriptive writer than\\notherwise. In his effort to be brilliant\\nand interesting he might err by not\\nbeing accurate; or in the effort at devel-\\nopment and elaboration, he might in-\\ntroduce irrelevant matter, which would\\nmake his article verbose and heavy.\\n136", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0148.jp2"}, "149": {"fulltext": "PRACTICAL AUTHORSHIP 137\\nPerhaps he should be something more\\nthan a mere dull plodder, but the\\nprincipal characteristics and abilities\\ndemanded are only those which are\\ncommon to any man of ordinarily good\\nmind and education. True, these qual-\\nities may be and should be developed\\nand refined by practice. Indeed, so they\\nwill be, for in every branch of the liter-\\nary art, practice perfects.\\nThe descriptive writer must be able to\\ngrasp at once the salient and interest-\\ning points of the thing which he is about\\nto describe. If the thing is of large im-\\nportance, this will not be so difficult;\\nbut then he should have the faculty of\\nHis selection and should be able to discard\\nqualifications intuitively and apparently without ef-\\nfor the fort the dull and uninteresting attrib-\\nworki utes of his subject. If his matter is in\\nitself of slight importance, then his in-\\ngenuity will be taxed to select those fea-\\ntures of first worth, and enlarge upon\\nand make the most of them. Here the\\nability to write entertainingly upon\\nlittle things will come into play.\\nThe ability to select and to depict\\ntersely and vigorously the more note-\\nworthy points of a subject is a first\\nrequisite. Next comes the power to do\\nthis picturesquely. But truth to what\\nis, must never be sacrificed for the sake", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0149.jp2"}, "150": {"fulltext": "lessons.\\n138 PRACTICAL AUTHORSHIP\\nof picturesque effect. Farts, and strict\\nadherence to the truth are never to be\\nslighted in descriptive writing.\\nAn examination of any half dozen\\nnewspapers of the day will show that\\nwhile one writer has been able to take a\\nmost commonplace subject, and invest\\nit with an interest which holds the at-\\nStudy tention through every paragraph of his\\nthe newspapers article, another, having far better ma-\\nfor object terial to start with, has treated it in so\\ncommonplace a manner that the read-\\ning is a task rather than a recreation.\\nIn both articles one end has been at-\\ntained the information has been placed\\nbefore the reader. But the other end,\\nthat of interesting the reader in his\\nsubject and affording him pleasure while\\ngaining knowledge, has not been\\nattained.\\nThe field for the descriptive article is\\nof the widest. Every magazine, illus-\\ntrated or otherwise, every syndicate,\\nevery newspaper, the juvenile journals,\\nreligious journals, trade and technical\\npublications are open to it in some form.\\nThis may easily be proved by picking\\nup at random the journals of the week\\nin these different classes. The descrip-\\ntive article has a prominent place in\\neach and every one of them.\\nThe range of the descriptive article is", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0150.jp2"}, "151": {"fulltext": "PRACTICAL AUTHORSHIP\\n139\\nThe\\nfield for the\\ndescriptive\\narticle.\\nThe\\nscientist as a\\ndescriptive\\nwriter.\\nas wide as the field for its publication.\\nThe material for it may be supplied by\\nagriculture, either in giving an account\\nof some special culture, in writing of the\\nresources and attractions of some par-\\nticular agricultural region, in describing\\nimproved methods of work or in re-\\ncounting in homely phrase the every\\nday life of the average agricultural\\nworker, as was done recently in an\\narticle entitled A Day on the Farm.\\nThe field of applied mechanics furnishes\\na basis for frequent articles of this sort.\\nThese may be either technical articles\\nfor trade journals or articles written in\\na popular style for the general reader.\\nWe have recently seen examples of the\\nlatter in magazine articles describing\\nthe famous Krupp Gun Works, the\\nmanufacture of armor plates for naval\\nvessels in our own country, a visit to a\\ndynamite factory, etc. The above have\\nbeen elaborately illustrated articles in\\nour leading publications.\\nThe student of natural history will\\nwrite descriptive articles for the purely\\nscientific journals, or for publications in\\nwhich science is popularized for the\\nmasses, as in Popular Science; or he\\nmay follow the lead of Mr. Ernest In-\\ngersoll, or of the late William Hamilton\\nGibson, and clothe his subject with so", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0151.jp2"}, "152": {"fulltext": "A\\n140 PRACTICAL AUTHORSHIP\\nmuch of interest and beauty that it will\\ncommand for itself a place, as did their\\nwork, in the greatest of our magazines,\\nfrom whose pages it will appeal to the\\ngeneral reader.\\nBut nature, our great mother, is the\\nstore house and treasure house for the\\nwriter in more particulars than this.\\nThe natural wonders of the world\\nmountains, rivers, glaciers, cascades,\\ndeserts, may be treated again and a-\\ngain by different writers, so only that\\nnew view-point a new Yiew point is secured. The Falls\\nmakes salable \u00c2\u00b0f Niagara have perhaps been more\\nmatter. written about than any other of the\\nnatural wonders of the world. Yet\\nonly a little time since a young writer,\\nviewing the falls for the first time,\\nfound himself impressed with thoughts\\nregarding them which had not before\\nbeen given to the world in print. He went\\nto his room, within view and sound of\\nthe great masses of falling waters,\\nwrote his article and found it was ac-\\ncepted at once, because in itself it was\\nnew, though his subject was as old per-\\nhaps as the world.\\nThe polite arts and the handicrafts\\nserve the purpose of the descriptive\\nwriter. The opening of an art gallery,\\nthe first night of a popular prima dona,\\na visit to the studio of a sculptor, to a", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0152.jp2"}, "153": {"fulltext": "PRACTICAL AUTHORSHIP\\n141\\nThe common\\nand\\nthe uncommon\\nwithin his\\nfield.\\nSome\\nexamples of\\nnotable\\nwork.\\nship yard, are material for him. The\\nhandiwork of the potter, the taxider-\\nmist, the botanical collector, all afford\\nwork for his pen. All great events are\\nwithin his scope, the review of an army,\\nthe coronation of a king, the inaugu-\\nration of a president, may be treated\\nin such a manner that they become\\nmore interesting than fiction.\\nPins are common things. Yet only\\nthe other day a well known writer put\\nout a syndicate article describing their\\nmanufacture. Lead pencils are common,\\nyet each one of us would stop to read\\nan article describing the various details\\nof their production where the wood\\ncomes from, how the graphite is pre-\\npared and put within its case, the meth-\\nods by which they are manufactured so\\ncheaply, the numbers consumed, etc.\\nA great newspaper office upon elec-\\ntion night, or when great events are\\nhappening, has more than once been a\\ntheme for the ready writer, and will be\\nso many times again. Mr. Julian Ralph\\nonce did a most notable article describ-\\ning the scenes in Washington on inaug-\\nuration day. Mr. Richard Harding\\nDavis did an equally notable article de-\\nscribing a single great street in a great\\ncity. Mr. Crawford, of the New York\\nHerald, did a famous magazine article", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0153.jp2"}, "154": {"fulltext": "Describing\\n142 PRACTICAL AUTHORSHIP\\ntelling how a president was elected.\\nThis same writer did a valuable series\\nof articles describing the different de-\\npartments and branches of the govern-\\nment: as the House, the Senate, the\\nSupreme Court, the various Depart-\\nments, etc.\\nThe wheat pit in Chicago is the more\\nor less direct subject of a financial arti-\\ncle in hundreds of papers every day.\\nYet recently, when a corner was being\\nmanipulated, a writer who did not\\nthe Chicago touch the financial aspects of the mat-\\nwheat ter, published an article which was a\\npit. most brilliant pen picture of the pit and\\nthe men in it, and of the methods by\\nwhich fictitious quantities of wheat\\nwere bought and sold, and fortunes\\nmade and lost at the waving of a hand.\\nEnough has been said here to show\\nthat there is almost no subject, great\\nor small, which may not afford a motif\\nfor the descriptive article; but there are\\ngrades in this work as in all other, and\\ndescriptive writers will vary from the\\nman or woman who does an article\\nupon some commonplace theme, in a\\ncommonplace manner, for a common-\\nplace third-rate journal, to the one who\\nlooks for material that is new or of the\\nlargest value, or that may be treated\\nin a new way, and then does the best", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0154.jp2"}, "155": {"fulltext": "PRACTICAL ALTHOESHIP 143\\nthat his literary art will permit in put-\\nting it before the public.\\nDo not imagine that descriptive writ-\\ning is necessarily an inferior class of\\nKi P ,in S work. Mr. Kipling did not find it be-\\nas a descriptive ,1 -j. i r\\nW r\\\\ier neath his dignity to do a description of\\nsalmon fishing oh the Columbia River;\\nnor did some of our leading litterateurs\\nneglect to record in descriptive articles\\nof various sorts, their impressions of\\nthe Columbian Exhibition.\\nwriter.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0155.jp2"}, "156": {"fulltext": "CHAPTER X.\\nVERSE-WRITING YOUNG WRITERS INCLINE TOWARD\\nPOETRY AMATEURS DELUGE EDITORS WITH\\nTOOR VERSES OFFERINGS GREATLY IN EXCESS\\nOF DEMANDS THE MARKET LIMITED THE SORT\\nOF WORK WANTED PRICES PAID.\\nThe advice usually given to literary\\naspirants whose inclinations turn to-\\nward the poetic form of expression, is to\\navoid writing verse. At least they are\\nSome warned against it if their purpose is to\\nsound advice. earn money by their pen, or to secure a\\ndefinite place in literature. They are\\ntold, by both editors and experienced\\nwriters, that verse is a drug in the mar-\\nket. The} will find by experience that\\ncomparatively few, even among the lit-\\nerary journals that are free buyers of\\nprose matter, will purchase verse at all.\\nThe bulk of that which is published is\\ncontributed gratuitously by young\\npoets who are willing to give away\\ntheir work for the satisfaction of seeing\\nit in print.\\nEditors will tell you that for every\\none poem that can possibly be made use\\n144", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0156.jp2"}, "157": {"fulltext": "Editors\\ndiscourage\\nbudding\\nPRACTICAL AUTHORSHIP 145\\nof, they receive fifty which must be re-\\nturned. The majorit}^ of these are of\\ncourse very poor stuff and are not\\nworthy of publication an y where. But\\nperhaps ten per cent of the whole are\\nfairly good verse, as well entitled to\\npoets. publicity as the average prose contribu-\\ntion. Yet editors are not unwarranted\\nin their honest endeavors to discourage\\nthe poetical aspirant, for this is the\\nmost difficult and unpromising of all the\\nliterar3 r pathwa\\\\ r s for a beginner to\\nfollow.\\nStill, one who has any decided talent\\nin this direction, and who is capable of\\nrising superior to all obstacles and dis-\\ncouragements, will find by a careful\\nanalysis of the entire situation that the\\ncase is not absolutely hopeless. There\\nare perhaps a score of publications in the\\nUnited States which buy poetry and\\npay for it liberally, and which are dis-\\ntinct encouragers of young verse- writers\\nwho show any indications of genius.\\nWhen verse is accepted, the financial\\nemoluments are decidedly better than\\nfor even the best prose work by authors\\nof equal reputation.\\nOf course all know that our leading\\nillustrated magazines -Harper s, Scrib-\\nner s,The Century, Munsey s, McClure s,\\nThe Cosmopolitan are buyers of verse.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0157.jp2"}, "158": {"fulltext": "146\\nPRACTICAL AUTHORSHIP\\nSome\\npublications\\nthat buy\\nverse,,\\nThe rates of\\ncompensation.\\nTo these may be added The Atlantic,\\nBoston; Lippincott s, Philadelphia; The\\nChautauquan, Cleveland, 0.; The Out-\\nlook, The Independent, and The Church-\\nman, New York; and some others among\\nboth the secular and the religious press.\\nA few dailv papers, notably the New\\nYork Sun, give careful consideration to\\nverse, and buy at good prices such as is\\nadapted to their needs. The Youth s\\nCompanion, Boston, is a buyer of verses\\n.and jingles for children, and of poems\\nthat appeal both to youths and to ma-\\nture readers. The Companion, in this\\nas in all other things, is among the most\\ncourteous and liberal of publications.\\nMany of the Sunday School journals\\nbuy poems not necessarily of a distinct-\\nly religious type, but such as will inter-\\nest young readers, and which are of a\\nwholesome and uplifting character.\\nAs the question of compensation is\\nalways a pertinent one to writers, we\\nmay state that even those who do not\\nsucceed in selling their wares to the\\nleading magazines, may yet expect very\\nsatisfactory rewards. From a memo-\\nrandum before us, we find that The Out-\\nlook paid one writer $15 for 121 lines\\nof blank verse, and at another time $10\\nfor twenty-nine lines. It will be appar-\\nent here that not only length but quali-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0158.jp2"}, "159": {"fulltext": "PRACTICAL AUTHORSHIP 147\\nty as well is a determining factor with\\nthis journal, in regard to the value of\\npoetical contributions. The Indepen-\\ndent, for a poem containing nine four-line\\nstanzas, paid $8. Lippincott s, for a\\nfour line stanza, $2. The Churchman,\\nfor 38 lines, $2.50; for a sonnet, $1.00,\\nand for three four-line stanzas, $1.00.\\nAll except the last of these journals may\\nbe taken to represent about the aver-\\nage in their rates of compensation for\\npoetry. The Churchman seems to be\\ndecidedh^ below the average, and in its\\nrate about on a par with the household\\nand domestic magazines. The illus-\\ntrated magazines of course pay much\\nmore liberally.\\nOne reason why editors are so much\\ninclined to discourage young verse writ-\\ners, is that they have found that the\\nThe sort majority do not send clear, concise, for-\\nof poetry that is cible verse, and do not show a very\\ngreat perception of rhyme or rrn thm,\\nand little of true poetic instinct and feel-\\ning. A great many half-educated people\\n(not entirely those of tender years\\nimagine that they can write poetr\\\\^, and\\nit is their effusions that flood the mails\\nand discourage editors.\\nIn looking over the periodicals of the\\nday, we find more poetry in the form of\\nthe sonnet than of anv other one class.\\ndeclined.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0159.jp2"}, "160": {"fulltext": "148\\nPRACTICAL AUTHORSHIP\\nThe\\nsort that is\\naccepted.\\nOne\\nreason for\\nfailure.\\nBrief,\\nmy lord!\\nWe may reasonably argue from this\\nthat the writer of verse who can pro-\\nduce a sonnet that is worthy both in its.\\nbeauty and the originality of thought,\\nand whose conception is not marred in\\nits execution, has found one of the best\\nroads that poets can take to the editor-\\nial heart.\\nWe find too that poems of nature,\\nboth in the form of the sonnet and other-\\nwise, have a charm about them not\\nonly to the reader, but apparently to\\nthe editor as well. We find that most\\nof these poems of nature are brief. In\\nfact long poems of any sort are not\\nwanted.\\nA poem may be faultless in construc-\\ntion, yet if it has not in it something\\nthat appeals to the soul, it will hardly\\nfind its way into the pages of a good\\npublication. Some young poets err by\\nstudying the art of verse-making until\\nthey can construct a poem that is tech-\\nnically faultless, then do this without\\nmuch regard to the thought embodied\\nin their flawless lines, and wonder why\\nthey are not successful.\\nThere are two forms of verse in desue-\\ntude of late years, that appear to be\\nagain becoming popular. These are the\\nrondeau and the rondel, both musical,\\nand both difficult. So long as brevity", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0160.jp2"}, "161": {"fulltext": "PRACTICAL AUTHORSHIP\\n149\\nHousehold\\nand juvenile\\npoetry.\\nWhat\\na newspaper\\neditor says.\\nis a prime factor in poetry, these cer-\\ntainly should find place.\\nIt requires but a glance through the\\nleading publications of the month, to\\nshow that quatrains and couplets are\\nsteadily in demand.\\nIn our household monthlies we find\\npoems that touch upon the brighter\\nside of the home life verse that finds a\\nresponsive echo in the heart of the wife\\nand mother who has few aspirations\\noutside of the home. With these publi-\\ncations, sentiment is more looked for\\nthan perfect form.\\nThe juvenile publications, including\\nsome of the Sunday School weeklies,\\nuse and pay well for little stories pret-\\ntily told in verse and for jingles that\\nmay be illustrated, for very young\\nreaders.\\nThe editor of a leading newspaper\\nwrote to a correspondent as follows:\\nThe poetry most in demand now-a-\\ndays is that kind which appeals most\\ndirectly to people who are busy. Long\\npoems, no matter what the subject may\\nbe, are frowned upon by editors. The\\nmost successful poet is the one who can\\nput the best thought into the smallest\\nspace. It would seem almost impos-\\nsible for one in this day and age to\\nwrite poetry that would be new that", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0161.jp2"}, "162": {"fulltext": "150 PRACTICAL AUTHORSHIP\\nwould touch upon some new theme of\\nlife. But that is what editors want,\\nor rather that is what the public wants.\\nThe editors are mere middlemen, who\\nform the connecting links between the\\nproducers and the consumers. Your\\nown observations have probably im-\\npressed upon you the fact that the\\npeople in general are not given to deep\\nreading. They want to be amused\\nrather than instructed. If you can\\npreach a sermon and arouse a laugh at\\nthe same time, you do well. If you\\ncan t do that, try to raise the laugh\\nanyhow, and your reader is grateful.\\nThat is newspaper poetry.\\nSimplicity in verse writing is a desir-\\nable quality. If one would cultivate\\nsimplicity, the writing of verses for\\nchildren will afford excellent practice.\\nTo write poems which will appeal to the\\nStrive young mind is a feat toward which it is\\nf\u00c2\u00b0 r worth while to devote one s best efforts,\\nsimplicity. Q ne wno i lSiS never undertaken the task\\nmay think it beneath him, requiring so\\nlittle ability that the effort is realh not\\nworth while. We caution you against\\nthis error, for you may find the work\\nbeyond you rather than beneath. To\\nwrite verses for children requires direct-\\nness, and a mastery of simple words, in\\nwhich plain, interesting and attractive\\nideas may be expressed.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0162.jp2"}, "163": {"fulltext": "PRACTICAL AUTHORSHIP 151\\nDesirable verses of this sort bring fair\\nrates of compensation from a number of\\njournals. The Youth s Companion,\\nJuvenile poems Harper s Round Table, St. Nicholas, and\\nvarious Sunday School publications, are\\nteir value. a ]j gl a( j to examine work of this sort.\\nThe prices for such poems of two or\\nthree to five short stanzas range from\\n$1.00 to $20.00 each.\\nThree publications especially instanc-\\ned above like verses filled with fun and\\nspirit, mainly for its boy readers, or\\nsomething dainty, containing a bright\\nthought or telling some old half-forgot-\\nten story in the history of by -gone days,\\nor poems that are helpful and beautiful\\nwithout being too much upon the re-\\nligious order. The Companion also has\\na children s page, where poems and\\njingles for the very youngest readers are\\nused.\\nSometimes the criticism of editors\\nmore than am thing else will help a\\nyoung writer to determine wherein his\\nEditorial work is faubw. One very young writer\\ncriticism, had been a somewhat favorite contribu-\\ntor of verse to a certain periodical. In\\nthe course of time he sent a poem to the\\neditor, which he felt certain would be\\naccepted because it was suited to an\\nespecial season. But the discriminating\\neditor found the lines somewhat sing-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0163.jp2"}, "164": {"fulltext": "152\\nPRACTICAL AUTHORSHIP\\nSuggestions\\nfrom friendly\\neditors.\\nsongy, and sent them back with this\\nnote:\\nThere is really nothing out of the\\nway with these verses, except that they\\nseem to be a little on the machine order.\\nSome of your work sounds so sincere\\nthat I dislike to take anything that ap-\\npears less so.\\nThis note taught the writer two\\nthings: First, that he must be more\\ncareful as to the quality of the work\\nthat he sent out; second, that the\\neditor of that magazine was beginning\\nto take a real interest in him and his\\nwork.\\nAnother editor returned a poem with\\nthis criticism: I like these verses very\\nmuch, but the sentiment embodied in\\nthem is one so often used that it de-\\ntracts from the fine expression you have\\ngiven it. This taught another lesson:\\nit was that editors are not fond of\\nhackneyed subjects, in verse, more than\\nin other lines of liter axy work.\\nA young writer who is earnest and\\nwho desires to succeed in his profession\\nwill take these hints in the kindly man-\\nner in which they are intended.\\nWe are told constantly, and with a\\ngreat deal of truth, that editors are con-\\ntinually looking for and hoping to see\\nappear above the horizon the new", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0164.jp2"}, "165": {"fulltext": "PRACTICAL AUTHORSHIP\\n153\\nThe editorial\\nattitude toward\\nnew poets.\\nWhy\\nnew poets are\\nfrowned\\ndown.\\nwriter, who can do such work as will\\nattract attention to his journal and\\nsupply the much needed infusion of new\\nblood. No editor will deny this asser-\\ntion as far as regards the storj- writer,\\nthe novelist, the humorist, etc., but as\\nto the young poet, a shrug of the\\nshoulders will best signify- his feeling\\nand belief in that direction. There is no\\nbranch of the literary career upon which\\none can enter where a struggle in the be-\\nginning is so assured as with the young\\npoet. Editors will receive his offerings\\ngrudgingly, often with silent contempt,\\nand be quite ready to send them home\\nwith a Returned with thanks, before\\neven examining the first line.\\nThis would not be the case if the\\nwould-be poets understood the work\\nthat they attempt. But when they\\nsend imperfect, weak and silly verses,\\nthat have neither thought nor form,\\nverses that perhaps have been praised\\nin the home circle or among non-\\ncritical friends, and keep on sending\\nsuch day after day and week after\\nweek, without any evidence of improve-\\nment or attempt at improvement,\\neditors can hardly be blamed for getting\\na little weary.\\nDo not attempt to write verses for\\npublication unless you have made some-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0165.jp2"}, "166": {"fulltext": "154 PRACTICAL AUTHOESHJP\\nthing of a stud y of the technique of\\npoetry. There is no branch of literature\\nwhich can so nearly be measured by\\nmetes and bounds as regards form. Im-\\nperfect meters and rhymes are not al-\\nlowable, even among the second rate\\npublications.\\nLong poems are not wanted by pub-\\nlications of any sort. Magazine editors\\nLong not infrequently receive long narrative\\npoems are not poems, which if printed wotdd occupy\\nwanted. from a half dozen to a half hundred-\\npages. But it is needless to say that\\nthese are not printed. It requires only\\na glance at the publications on any\\nnews-stand to show that the poems ac-\\ncepted are, almost without exception,\\nbrief. And it would seem that the more\\nbrief the}^ are the better chances of\\neditorial favor.\\nNo matter how well the young poet\\nmay do his work, no matter how con-\\nscientious and careful and painstaking\\nhe is, he is very certain to receive re-\\nRejections peated declinations. These will be his\\nmust be ex- portion even more than the portion of\\npected. the story writer or other literary work-\\ner, for the simple reason that editors\\nreceive more poetry in proportion to\\ntheir needs, than any other work. But\\nwith all these discouragements, many\\nnew poets do get to the front continu-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0166.jp2"}, "167": {"fulltext": "PRACTICAL AUTHORSHIP 155\\nally, and the record of the last dozen\\nyears will show a brilliant group of\\nA young singers who have been enabled\\nsumming to win an audience to themselves by the\\nup. aid oi our magazines and other literary\\njournals. What an editor wants in verse\\nhas been admirably stated in the fol-\\nlowing quatrain:\\nSomething sweet and tender,\\nSomething blithe and gay,\\nThat we all remember\\nTill our dying day.\\nChas. A. Dana said, only a little be-\\nfore his death, that the interest in poet-\\nr}^ is as great as it ever was. Publishers\\nof books are certainly putting out as\\nmuch good poetry as ever.\\nWhat the people will read, in the\\npoets column of the daily newspaper\\nor in the first class magazine, is the\\npithy, bright, brief, adaptive song of\\nlabor and love, of hope and optimism,\\nas long as there are poets to write and\\nreaders to read.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0167.jp2"}, "168": {"fulltext": "CHAPTER XI.\\nTHE TRADE JOURNAL? A PROFITABLE FIELD QUAL-\\nIFICATIONS OF AN INDUSTRIAL WRITER HOW\\nTO BEGIN WITH SUCH WORK LIST OF INDUS-\\nTRIAL JOURNALS THAT BUY MATERIAL COR-\\nRESPONDENCE FOR TRADE JOURNALS FASHION\\nAND COMMERCIAL WORK.\\nTrade-journals\\nand\\ntechnical work.\\nWriting for the trade journals may be\\ntaken up either as a specialty to which\\na man may devote his entire time and\\ntalents, or as a side line to general liter-\\nary- work. To become a writer for\\ntrade journals presupposes some especial\\nknowledge of mechanics, or of certain\\ntrades or handicrafts. As it would be\\nfolly for any writer, no matter how\\nskilled in the technicalities of literary\\nform and expression, to undertake to\\nwrite for the agricultural press without\\nat leasr a working knowledge of agri-\\nculture itself, so would it be the height\\nof the ludicrous for one to attempt\\nwriting for a journal devoted to the\\npaper trade without some practical\\nknowledge of the manufacture of one\\nor more classes of these goods, or of\\n156", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0168.jp2"}, "169": {"fulltext": "PEACTICAL AUTHORSHIP\\n157\\nThe\\nramifications of\\ntrade-jour-\\nnalism\\nchannels through which they find their\\nway into use, and the ways in which\\nthey are employed.\\nThis is necessarily a somewhat cir-\\ncumscribed field; but workers therein en-\\njoy the offsetting advantage of having\\ncomparatively few competitors. The\\ncombination of practical knowledge of\\na manufacture or a handicraft, and of a-\\nbility in literary expression, is sufficient-\\nly rare to make their possessor a mark-\\ned man.\\nIn industrial writing, that man will\\nsucceed best who knows one thing thor-\\noughly. As we have elsewhere instanced,\\nlet a man know paint alone, as a man\\nknoweth his brother, and his field will\\nbe wide indeed; it will comprise the\\nentire list of journals devoted to the\\npaint trade, the drug trade, house-\\nbuilding, interior decoration, the agri-\\ncultural journals, etc. Even the daily\\nnewspapers will be open to him once\\nin a while for practical articles upon\\npaint and its uses. In addition, there\\nare journals devoted to the carriage\\ntrades, to the manufacture of agricul-\\ntural implements, architecture, etc., with\\nall of which the thoroughly equipped\\nwriter may find place. A knowledge of\\npaint presupposes a knowledge of all of\\nthe constituent elements of paint, of", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0169.jp2"}, "170": {"fulltext": "158 PRACTICAL AUTHORSHIP\\ncoloring matter, dye stuffs, etc. This\\nopens up the field of the dyers -trade\\njournals, in which one may tell about\\nlogwood, cochineal insects, etc.\\nOne who contemplates writing for\\ntrade journals should first seriously\\nconsider what especial line he possesses\\nthe greatest practical knowledge re-\\ngarding. It is not well to attempt to\\nbe a jack-of-all- trades in this work, for\\nthen editors will be apt to discover that\\nyour knowledge of any one particular\\ntopic is a rather thin veneer. Throw\\nyourself heart and soul into the study\\nof one trade. Let that be the one con-\\ncerning which you already know most,\\nWrite then add to this the knowledge that\\nof the things other men have accumulated. When\\nyou know. y Qn f ee j yourself thoroughly equipped,\\ncompetent to make a beginning, consult\\na newspaper directory and get the\\nnames and addresses of all the periodi-\\ncals in that particular line, and of others\\nthat you think may have occasional or\\nregular place lor such work. Then write\\na brief practical letter to the editor, tell\\nhim what you want to do, and as evi-\\ndence of your ability to do it enclose a\\nsample contribution (not too long.) Ask\\nhim if he can use that, and request him\\nto let you know what such contributions\\nare worth. Editors of technical and", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0170.jp2"}, "171": {"fulltext": "PRACTICAL AUTHORSHIP\\n159\\nAverage rats\\nof\\npayment.\\nclass journals are not overwhelmed by\\ncompetent writers as some other peri-\\nodicals are, and hence are usually alert\\nto discover the men who can do the\\nthings that the\\\\ r want done.\\nGet a cop\\\\ r or better still a file of the\\njournal to which you shall make your\\nfirst offering, and stud_v its scope, in or-\\nder that yon may judge its requirements.\\nIt is just as foolish, and just as much a\\nwaste of time and pains, to fire at ran-\\ndom in this work as in any other.\\nThe rates paid b} T trade journals are\\nnot usually high, but they are fairly\\nliberal, and considering that rejections\\nare much less frequent than from other\\njournals, the rewards may be said to be\\nvery satisfactory. The average rate of\\npayment may be placed at about $3.00\\nper thousand w^ords. Occasionally,\\ntwice this will be paid for material that\\nis essentialh r new and valuable.\\nA partial list of trade journals, or\\nof journals that use material in line\\nwith the suggestions above, is here\\ngiven, from which it may be seen that the\\nfield is not a restricted one.\\nWe also give the following as the or-\\ndinary rates paid by some of these,\\nfor contributed matter:-\\nAmerican Agriculturist, New York, $3 per 1,000\\nAmerican Brewer, New York.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0171.jp2"}, "172": {"fulltext": "160\\nPRACTICAL AUTHORSHIP\\nPartial list\\nof\\ntrade journals.\\nAmerican Carpet and Upholstery Trade, Phila-\\ndelphia.\\nAmerican Cider Maker, New York.\\nAmerican Grocer, New York.\\nAmerican Miller, Chicago.\\nAmerican Soap Journal and Perfume Gazette,\\nChicago.\\nAmerican Soap Journal, Chicago. $3 per 1,000.\\nBlacksmith and Wheelwright, New York.\\nBuilder and Woodworker, New York.\\nCultivator and Country Gentleman, Albany,\\n$3 per 1,000.\\nDecorator and Furnisher, New York, $3 50 per\\n1,000.\\nDomestic Engineering, Chicago.\\nDrugs, Oil and Paints, Philadelphia, $3 per 1,000.\\nDyers Trade Journal, Philadelphia, $3 per 1,000.\\nHousehold, Boston, $3 per 1,000.\\nIllustrated Carpenter and Builder, London,\\n$3 per 1,000.\\nIndian Rubber World, New York.\\nMetal Worker, New York.\\nNational Wood Finisher, Dayton, $3 per 1,000.\\nOil, Paint and Varnish Trade, Chicago, $3 to $5\\nper 1,000.\\nPapermill and Wood Pulp News, New York.\\nPainting and Decorating, New York, $3\\n1,000.\\nPainters Magazine, New York, $2.60\\n1,000.\\nPlumber and Decorator, London, 10s. 6d\\ncolumn.\\nPopular Science, New York, $3 per 1,000.\\nPrinter s Ink, New York.\\nRailway Master Mechanic, Chicago, $3.50 per\\ncolumn\\nRural New Yorker, New York, $3 per 1,000.\\nShoe and Leather Facts, Philadelphia.\\nper\\nper\\nper", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0172.jp2"}, "173": {"fulltext": "PRACTICAL AUTHORSHIP 161\\nTextile World, Boston.\\nThe China Decorator, New York.\\nThe Spokesman, Cincinnati, $3 per 1,000.\\nThe Hub, New York, $3 per column.\\nTobacco Leaf, New York.\\nVarnish, Philadelphia, 30c per inch.\\nWestern Painter, Chicago, $3 per 1,000.\\nDoubtless all these figures are subject\\nto variation, depending upon the mate-\\nrial offered, but these are taken from the\\ncash-book of a contributor, and show\\nabout what may be expected.\\nThis list is not by any means com-\\nplete, but it is sufficient to afford a\\nsuggestion of the many practical lines\\nalong which a writer may work. A\\nVaried careful study of several numbers of any\\nlines in trade journal to which one intends to offer\\njournalism. contributions is earnestly recommended.\\nIt will be found that the majority of\\nthem do not confine themselves to a\\nnarrow range, but that ever}^ branch\\nof the business and the industries re-\\nlated to it are covered. For instance,\\na journal which deals -with the manu-\\nfacture of a vegetable product will not\\nonly use articles describing the process-\\nes of manufacture and improvements in\\nsame, but will deal with the culture of\\nthe crop, field conditions at various\\nseasons, methods of handling and pre-\\nparing for shipment, trade conditions,", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0173.jp2"}, "174": {"fulltext": "162 PRACTICAL AUTHORSHIP\\nimproved machinery for manufactur-\\ning, etc.\\nTo the writer for the trade journal be-\\nlongs the work of being telegraphic or\\nmail correspondent for large city dailies\\nCorres- which pay especial attention to manu-\\npondence. facturing news. Among such are The\\nBoston Advertiser, and The New York\\nJournal of Commerce. These desire re-\\nports of such matters as the starting up\\nor shutting down of great corporations,\\nstrikes, changes in the ownership of\\nlarge manufacturing properties, fires,\\nand noteworthy accidents.\\nThe trade journals always like to be\\ninformed regarding the starting up of\\nnew industries in their especial lines.\\nBut it should be borne in mind that all\\nnews and information sent to journals\\nof this class must be verified. A false or\\nsensational report might be of incalcul-\\nable damage to the journal if printed,\\nand the correspondent who sent it\\nwould be very certain to have no further\\nstanding with that editor.\\nAmong trade journals it must not be\\nforgotten that there are many which\\nFashion writers, afford particular opportunity for the\\nemployment of the pens of the gentler\\nsex. Among these are the fashion\\njournals, which use an unlimited\\namount of material, and which as a", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0174.jp2"}, "175": {"fulltext": "PRACTICAL AUTHORSHIP 163\\nrule pay contributors well There is a\\nparticular reason why this field offers a\\nwide market. Fashions change with\\nstartling rapidity and periodicity. In\\nagriculture the same thing is to be done\\nover in about the same way each year.\\nWith many trade journals the op-\\nportunity for doing new work is limited\\nbecause it is not always possible to find\\nnew developments or phases of the work\\nto write about. But in fashions the\\nchanging of styles continually opens the\\nwhole field anew.\\nTo do the higher grades of work for\\nthese fashion journals and for the\\nfashion departments of popular periodi-\\nFashion cals requires some special training. But\\njournals and for anyone who has facility in doing de-\\ntheir needs. scriptive articles, and who is located in\\nany large city, a start may perhaps be\\nmade by securing orders from out of\\ntown journals for letters describing the\\nopenings of large dry goods and mil-\\nline^ houses, and the new fabrics and\\nstyles shown. Sketches may accompany^\\nsuch articles, but these are not abso-\\nlute^ necessary^.\\nAny new or striking style may be\\nmade the basis for an article, but the\\nwriter must herself be one who is\\nthoroughly competent to discuss styles,\\nand who is up 1 regarding the latest", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0175.jp2"}, "176": {"fulltext": "164 PRACTICAL AUTHORSHIP\\ncaprices of fashion. New colors, new\\nshapes, and changes in all articles of\\nwearing apparel are of interest to the\\npublisher, and to the reader of fashion\\nnotes. Keep in mind that the majority\\nof such readers, and those who give the\\nclosest attention to such descriptions,\\nare people of moderate means. Therefore\\nmake your articles of as practical a\\nnature as you can, and you will find\\nthem proportionately appreciated.\\nKeep Many journals realize that these letters\\nclose to practi- are taken by their readers as a basis for\\ncal lines. home work, and so descriptions that\\nare sufficiently clear to be used as guides\\nare best liked by them. Among such\\nwork, practical notes on dress-making,\\non remodeling old garments, and on\\nhome millinery are always acceptable.\\nThere are specialties within special-\\nties. A fashion writer ma}^ devote her-\\nself to a single line: as, for instance,\\nmaking a specialty of styles for child-\\nren. Others take up house furnishing\\nand decorative art as applied to the\\nhome, while others devote themselves to\\nnovel entertainments for social gather-\\nings. Nearly all fashion journals use\\naccurate descriptions of the latest fancy\\nwork, and toilet notes and beauty\\ntalks often command good prices.\\nAllied to this work are descriptions", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0176.jp2"}, "177": {"fulltext": "PRACTICAL AUTHORSHIP 165\\nof historical costumes and historical\\nsketches of the origin of certain fashions,\\nor articles of dress. This widens the\\nfield of the fashion writer into the realm\\nof literature proper.\\nThe avenues for the sale include not\\nonly the fashion journals, but the var-\\nious household and domestic publica-\\ntions, some of the syndicates, and\\nmany large newspapers which have a\\nwoman s department in one issue each\\nweek.\\nOften very much valuable and inter-\\nesting material may be secured b\\\\ r culti-\\nvating certain lines of acquaintance\\njudiciously. For instance, the intelligent\\nHow head of the lace department of a large\\nmaterial may store could give many interesting facts\\nbe secured. regarding the delicate goods of which\\nhe has of course made an especial study\\nfor man3 r years; or the rug buyer of a\\ncarpet house could make a most pictur-\\nesque and informing narrative. They\\ncould give you information regarding\\nthe sources from which such goods are\\nprocured, the processes of manufacture,\\noften much of peculiar interest regard-\\ning the conditions of life among the\\npeople who produce them, practical\\nhints as to the values of different classes\\nof these goods, how the real may be\\ntold from the imitation, etc.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0177.jp2"}, "178": {"fulltext": "CHAPTER XII.\\nTHE HUMORIST JOKE-WRITING AS A PROFESSION\\nAN IMPORTANT BRANCH OF LITERARY WORK\\nTHE HEIGHTS AND DEPTHS OF HUMOROUS WRIT-\\nING THE PUBLICATIONS THAT USE HUMOR\\nWHAT THEY WANT AND WHAT THEY PAY.\\nIt is perhaps a long- cry from tlie poet\\nand the trade journal writer to the\\nwriter of humorous skits, but in one\\nnot unimportant respect the poet and\\ny^g the humorist are certainly alike. Both\\nhumorist is the sweetsinger and the funnyman\\nborn, not are born, not made. Spontaneous\\nmade, humor is a gift that must be inherent in\\none as is the gift of song. Like the lat-\\nter, the humorous quality in one s men-\\ntal organization will almost invariably\\nbe apparent early in life. The boy in\\nthis is father to the man. The wit of\\nthe school may quite possibly become\\nthe humorous paragrapher or the writer\\nof comic verses.\\nNot always will the schoolb oy humor-\\nist develop thus, but if we hark back\\nfrom the developed humorist, we are\\nvery apt to find his embryo in the lad.\\n166", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0178.jp2"}, "179": {"fulltext": "PRACTICAL AUTHORSHIP 167\\nEnvironment will have much to do\\nwith this development, as upon that\\nlargely- rests the determination of the\\ncharacter. The grim responsibilities of\\nlife may be in such contrast to the care-\\nfree days of youth, that both the sense\\nand the expression of humor become\\nsubdued.\\nBut if the environment is favorable,\\nthe native sense of humor will be devel-\\noped. The boy will either achieve a\\nreputation as a wit and a ready after-\\ndinner speaker, or, if his tastes turn to-\\nEnvironment ward literary pathways, he will be apt\\nand to give his talents to the service of\\npractice. those journals whose mission it is to\\ncheer and brighten with humor the\\npathway of life. And the more jokes he\\nmakes and puts down in ink or immor-\\ntalizes in type the more he will be able\\nto make, and the better, brighter and\\nmore pointed will they become.\\nThe more completely a man is equipped\\nfor work in any line, the better will he\\nsucceed. Joke-writing may not seem at\\nfirst glance to be a very exalted branch\\nof literary work. It would seem that\\nanyone can do this provided he be\\nequipped with the one necessary element\\nthe sense of humor. Yet the greater\\nthe command of language, the greater\\nthe ability to express one s self tersely", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0179.jp2"}, "180": {"fulltext": "Some\\nfamous funny\\nmen.\\n168 PRACTICAL AUTHORSHIP\\nand grammatically, and the better\\nscholar and all-round encyclopedia of\\ninformation one is, the greater are his\\nchances for reaching the top of the\\nladder.\\nThe funny man may be either a\\nhigh or a low comedian. All sorts and\\nconditions of fun are demanded by an\\nomnivorous reading public. Few in any\\ngeneration will reach the brilliant\\nheights attained by Mark Twain and\\nStockton. Coupled with their inexhaus-\\ntible fund of humor are the most liberal\\nliterary attainments. Aside from the\\nhumorous principle, their work is along\\nthe highest levels. Upon a somewhat\\nless elevated plane we have Bill N}^e,\\nBob Burdette, and others of that class.\\nThe lower we come upon the rounds of\\nthe ladder of fame, as upon all others, the\\nmore companions will we find. At the\\ntop alone is there any danger that one\\nwill be lonesome.\\nIn the next lower rank we find the\\nparagraphers and writers of humorous\\nskits. While these may be named by\\nthe dozens, there are after all onlj^ three\\n01 four who have done work so very\\ngood that their names have become\\nuniversally known. But it is here that\\nthe greatest field and opportunity is for\\nthe beginner. Aside from the four or", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0180.jp2"}, "181": {"fulltext": "PRACTICAL AUTHORSHIP\\n169\\nsuccessful hu-\\nmorist,\\nIllustrated\\njokes.\\nfive humorous journals of established\\nand national reputation, we have publi-\\ncations of many classes that use this\\nsort of humorous matter. Harper s\\nMagazine for a long time had a depart-\\nment devoted entirely to short jokes.\\nThis has now evolved into a depart-\\nment usually containing one com-\\nmedietta of two or three pages. John\\nKendricks Bangs is the favorite writer\\nof these, and his work may be fairly\\ntaken as an example of what is most\\nacceptable in this line. Others of the\\nhigh class magazines have humorous\\ndepartments, in which subtle and re-\\nfined jokes, dainty persiflage, and airy\\nfancies expressed in short verse, find\\nplace.\\nThe Sunday editions of the metropoli-\\ntan papers usually contain one page\\ngiven up to cartoons and humorous\\nmatter. For these, jokes that can be\\nillustrated, and dialogues of two or\\nthree short paragraphs are chiefly\\nwanted. This material is not of as re-\\nfined a sort as that used for the maga-\\nzines. There is more horse-play, more\\nworking over of old ideas, and a lower\\nliterary standard.\\nThe lowest form of wit tolerated by\\nany publication, is the pun. We would\\nnot advise beginners in this line of", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0181.jp2"}, "182": {"fulltext": "170 PRACTICAL AUTHORSHIP\\nwork to experiment with it, however,\\nas editors are not often kindry disposed\\ntoward it. The pun,however,may some-\\nAvoid puns. times be used to build upon, provided\\nthe would-be humorist has the insight\\nand depth of mind to not undertake to\\nmake the pun itself the joke, but merely\\nthe basis for the joke.\\nAmong the forms of humor which the\\nwould-be funny man may experiment\\nwith are the foibles and misdemeanors\\nof fashionable society; the trials and\\nadventures of the tipsy man; the sagaci-\\nty of the tramp in avoiding labor, the\\nabsurdities of the colored brother, the\\nSubjects mishaps of the countryman in the\\nfor the humor- metropolis, the errors of foreigners, and\\nis*- the woes of authors who cannot sell\\ntheir manuscripts. In the latter case it\\noften happens that the funiij^ man\\nmust make a virtue of necessity, and\\ncoin, through the medium of the humor-\\nous paragraph, his own sad experiences\\nof untoward fates.\\nA rather curious market for humor-\\nous work, and one that perhaps would\\nnot be thought of by many, is found\\namong the makers of popular patent\\nmedicines. These issue almanacs in\\nwhich the virtues of their nostrums are\\nsandwiched between jokes and anec-\\ndotes.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0182.jp2"}, "183": {"fulltext": "PRACTICAL AUTHORSHIP 171\\nAs to the compensation for humor-\\nous work, that, like the compensation\\nfor all other sorts of literature, varies\\nso widely that it is almost impossible\\nto establish an average or make any\\ndefinite statement. In this, as in some\\nother cases, the reputation of the writer\\ncounts for almost as much as that\\nwhich is written. We might state, how-\\never, that for the best of the comic\\nweeklies, such as Judge, Puck, and Life,\\nfrom one to three dollars are paid for\\njokes of onljr a couple of sentences.\\nHow Short jokes bring more in proportion\\nhumor than long ones. A joke prolonged into\\npays. several scenes may bring but a half\\nmore than the shorter ones. Sugges-\\ntions for cartoons, especially for good\\nones during a heated political cam-\\npaign, are paid for most liberally. This\\nis particularly true if accompanied by\\neven the roughest sort of a sketch which\\nwill convey the author s idea or con-\\nception of his subject. Short, very\\nshort, humorous stories are well paid\\nfor. Ten to fifteen dollars is not an\\nunusual price for one of not more than\\n500 words. It must have point, how-\\never, and be clearly and concisely ex-\\npressed. Some of the foreign humorous\\njournals, such as Le Journal Avnusant,\\nand Fleiegende Blatter, contain excellent", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0183.jp2"}, "184": {"fulltext": "172 PRACTICAL AUTHORSHIP\\nstuff which when translated is appre-\\nciated by both American editors and\\nAmerican readers.\\nIn offering humorous work for pub-\\nlication it is well to observe some\\nsystem. Send in }^our jokes in batches\\nof a half dozen or more at once. Type-\\nwrite each separately on a slip of paper,\\nhaving your slips of uniform size. Have\\nyour name and address on each slip.\\nEnclose a return stamped envelope.\\nThe editor then can select those which\\nhe cares to retain and send the others\\nback to you without much trouble.\\nThe great mass of the material used\\nby our humorous journals is of an ex-\\nceedingly light character\u00e2\u0080\u0094 squibs, con-\\na U JLuf \u00c2\u00abf versation jokes, verselets and such tri-\\nfles. The great English humorous jour-\\nnal, Punch, built up its circulation and\\ninfluence largely by means of an entire-\\nly different class of work social, satir-\\nical or political serials such as Mrs.\\nCaudle s Curtain Lectures, and The\\nBook of Snobs.\\nIf a professional humorist will work\\nhard at his trade, as if he were a wood\\nsaw3 r er, confining himself to his desk\\nuntil he has ground out a daily stint of\\nten to forty or fifty jokes per day, he\\nmay expect to receive an income that\\nwill put to blush some workers along\\nexamples of\\nhumor.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0184.jp2"}, "185": {"fulltext": "PRACTICAL AUTHORSHIP\\n173\\nThe\\nfunny man\\nmust work\\nhard.\\nThe\\nconstruction\\nof\\nhumorous para\\ngraphs.\\nmore elevated lines. A competent, in-\\ndustrious, professional joker may earn\\nfrom $40 to $80 per week. But to do\\nthis he must grind very steadily and\\nkeep in touch with pretty nearly all\\nthe journals of the country, that use\\nsuch matter.\\nThe best illustrations of what editors\\nof the humorous journals desire may\\nbe found by a perusal of their own\\ncolumns. further than this it is al-\\nmost useless to offer suggestions. Yet\\nto show how ideas come and take form,\\nand result in the humorous paragraph\\nhaving its being, we may offer the fol-\\nlowing:\\nThe writer intent upon finding ma-\\nterial for his morning s work at para-\\ngraphing, is passing through a street\\nwhere some laborers are employed pre-\\nparing some water mains. He hears\\nthe foreman order half the gang to\\ncome up out of the ditch, and aid those\\nabove to lower some pipe. Immedi-\\nately an idea begins to crystallize. It\\nmay pass through various transitions\\nand phases of existence, before it finally\\ntakes form. The final result may be\\nsomething like this:\\nBoss: How many ab yees are down there?\\nVoice from below: T ree.\\nBoss Half of yees lower yer selves up and\\nhelp Moike wid de poipe.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0185.jp2"}, "186": {"fulltext": "174\\nPRACTICAL AUTHORSHIP\\nAnother\\nexample.\\nCultivate\\nthe faculty of\\nobservation.\\nOccasionally an overheard conversa-\\ntion will give a paragrapher exactly\\nwhat he needs, and in just the form in\\nwhich it can be used to most advant-\\nage. The following appeared under a\\nsketch in one of our leading comic jour-\\nnals, and the paragrapher actually\\nheard it told at the expense of a lisp-\\ning friend:\\nMrs. Benther (at a suppressed scream in\\nthe adjoining room) What s the matter?\\nCholly (who has great presence of mind in\\nspite of his lisp): It wat h a mouth and it\\nfwightened Mith Hilda.\\nMrs. Benther: I thought it had something\\nto do with a mouth Don t let it happen again,\\nplease.\\nThis may not seem to the reader who\\nanalyzes it carefully, as very brilliant\\nwit, yet these two paragraphs had a\\ncommercial value of just $3.50, and\\nthe time occupied in their composition\\nwas probably hardly worth taking into\\naccount.\\nOne intent upon the business of par-\\nagraphing, must cultivate the faculty\\nof seeing the humor of a situation or\\nan instant, and of having the imagina-\\ntion to supply the missing details. As\\nwe have said in the chapter on Short\\nStor\\\\ r Writing, the true story is hardly\\never the available one for publication.\\nSo the best anecdotes are those of", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0186.jp2"}, "187": {"fulltext": "Timeliness\\nPRACTICAL AUTHORSHIP 175\\nthings that almost happen. The funni-\\nest stories are those that partially oc-\\ncurred. It is the part of creative humor\\nto supply the lacking elements, the\\nmissing details.\\nTimeliness in humorous work, is an\\nelement no more to be lost sight of\\nthan in the work of the special writer.\\nLet the paragraph but read pat with the\\ntopic of the hour, be that Br3 r an and\\nin humor. 16 to 1, embalmed beef and our sol-\\ndiers in Cuba, or Aguinaldo and his\\narmy of naked Pagal warriors, and\\nits chances of acceptance are doubled.\\nThe political situation of the day or\\nthe hour, whatever it may be, is al-\\nways a basis for catchy, effective par-\\nagraphs that are always in demand.\\nTruth, Life, Puck and Judge buy the\\nhighest class of Paragraphic humor.\\nThe Harper publications, The Century,\\nand Scribner s use humorous para-\\ngraphs to some extent. Other New\\nJournals York publications that buy are Vogue,\\nthat buy humor. Vanity Fair, Town Topics, and Dem-\\norest s Monthly. The Sunday editions\\nof the New York World, Herald, Sun\\nand Journal require paragraphs in boun-\\ntiful profusion, as do many large dailies\\nsuch as The Detroit Free Press, Pitts-\\nburg Bulletin, and New Orleans Times-\\nDemocrat.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0187.jp2"}, "188": {"fulltext": "176 PRACTICAL AUTHORSHIP\\nOne may meet with discouragements\\nfrom editors in this line of work, as in\\nAn old all others. But if one really intends to\\nhumorist s be a professional humorist or para-\\nadvice, grapher, it will be well to have in mind\\nthe advice given by an old hand at the\\ntrade: Keep em going, keep em going,\\nthey ll sell somewhere before the paper\\nwears out.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0188.jp2"}, "189": {"fulltext": "CHAPTER XIII.\\nTHE AGRICULTURAL PRESS GOOD TRAINING GROUND\\nFOR NEW WRITERS BRANCHES OF WORK AL-\\nLIED TO AGRICULTURE PRACTICAL WOTtK AT A\\nPREMIUM PAKTIAL LIST OF AGRICULTURAL\\nJOURNALS.\\nThere is no better field for the beginner\\nin literature than with the agricultural\\nA good field press. The agricultural journals of our\\nfor country are ably edited, are of a plain\\nbeginners. an( J practical nature, and the better\\nones among them have a scope that\\naffords the writer opportunity to exer-\\ncise his skill along a variety of lines.\\nAt first thought, one who may con-\\ntemplate trying his fortune as a writer\\nin this field will consider that the only\\nwork it is worth while to submit must\\nbe along agricultural lines, or pertain-\\nSub-heads n S agriculture s related industries,\\nof agricultural horticulture, floriculture, etc. Yet a\\njournalism. glance at some of our leading agricul-\\ntural publications will show how far\\nis this from the truth. Inmost of these\\njournals are various departments, and\\nthe ground covered includes everything\\n177", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0189.jp2"}, "190": {"fulltext": "178 PRACTICAL AUTHORSHIP\\nrelating to the theory and practice of\\nagriculture, horticulture, floriculture,\\nthe live stock industries, the dairy,\\npoultry, animal pets, out-of-door life,\\nthe home in its various departments,\\npractical articles by and for the house-\\nwife, material to instruct and amuse\\nthe children, articles of information of\\nevery sort, anecdotes and bits of travel,\\netc., etc.\\nAs an example of the best type of the\\nagricultural journal, yet without wish-\\ning to make any invidious distinctions,\\nwe will briefly analyze The American\\nAgriculturist. Although this reliable\\nold publication is devoted especially to\\nthe dissemination of agricultural in-\\nformation, it properly may be called a\\nOne of the magazine of general literature for the\\nbest rural home. Its first interest, of course,\\nis to maintain well the departments de-\\nvoted to practical agriculture. The\\nstock raiser, the fruit grower, the mar-\\nket gardener, the rancher of the wide\\nplains, the New England hill farmer,\\nthe cotton planter and the sugar grower\\nof the south, all find within its pages\\nmaterial of special application to their\\nrespective needs. Writers who journey\\nabout and who have some knowledge\\nof agriculture, so that they are able to\\nwrite intelligent! v regarding matters", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0190.jp2"}, "191": {"fulltext": "PRACTICAL AUTHORSHIP 179\\nconnected therewith which come under\\ntheir observation, will often chance up-\\non curious practices, special cultures,\\nnew agricultural undertakings, etc.,\\nwhich are excellent material for this\\npublication. Agricultural education and\\naccounts of educational schools are\\nWhat it uses matters to which it gives attention.\\nIllustrated, descriptive articles, prac-\\ntical hints and suggestions, bits of in-\\nformation, whether of two lines\\nlength or filling a column, meet with\\nready acceptance, and are paid for\\nliberally and promptly.\\nThe American Agriculturist issues five\\neditions, each one of which is devoted to\\nthe especial needs and interests of a cer-\\ntain section of the country. One deals\\nmainly with the agriculture of New Eng-\\nland, another with the Central West, an-\\nother with the Pacific Coast, etc. Some\\nof the contributed articles are used in\\nall these editions, while others which\\nare applicable only to one section ap-\\npear in the single edition to which\\nespecially adapted. With its wide\\nfield, it would be almost impossible to\\nwrite anything at all applicable to the\\nagriculture or to the rural homes of the\\nUnited States which would not be in\\nline with its needs.\\nPassing from its agricultural depart-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0191.jp2"}, "192": {"fulltext": "180\\nPRACTICAL AUTHORSHIP\\nDepartment\\nWork.\\nSend plain\\nand practical\\nwork.\\nThe field\\nfor agricultural\\nwork.\\nmerits to those of more intimate con-\\nnection with the fireside and the home,\\nwe find pages headed Evening at\\nHome, Mothers and Daughters,\\nand u Our Young Folks. In these are\\nused short and continued stories, al-\\nways of a thoroughly wholesome tone,\\nand which appear to be specially ac-\\nceptable if touching upon the better as-\\npects of agricultural life. In these de-\\npartments historical, biographical, and\\ndescriptive short articles are also used,\\nas well as articles upon matters of in-\\nterest to the household, upon needle-\\nwork and other handicrafts that may\\nbe followed in the home, upon home\\nculture, the care of children, etc.\\nIn writing for the agricultural press,\\nthe first requisite is to have something\\npractical to say; the second, to be able\\nto say it plainty, tersely and gram-\\nmatically. Fine writing, and great liter-\\nary skill are not requisites.\\nAny manual containing classified lists\\nof journals will show a large number\\nof publications of this sort with which\\nan author may work with pleasure and\\nprofit. But aside from strictly agricul-\\ntural journals there are many others\\nwhich use agricultural and related arti-\\ncles. Among these are some of the re-\\nligious and household journals, and", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0192.jp2"}, "193": {"fulltext": "PRACTICAL AUTHORSHIP\\n181\\nA suggestion for\\ncontributors.\\nA variety\\nof worK de-\\nmanded.\\nthe weekly editions of some of the met-\\nropolitan dailies.\\nThe very best suggestion that we can\\ngive an intending contributor, to enable\\nhim to submit the sort of material that\\nis needed, is to quote from a personal\\nletter written by the editor of The\\nFarm Journal, Philadelphia. He says:\\nThe best plan is to look over the paper,\\nnote the different department headings,\\nand furnish some bright, spicy, useful\\narticles, about the same length as you\\nsee under these headings.\\nThere is as great diversity among\\nthese publications as among those of\\nany other class. Some demand short,\\npithy articles only, others will use long\\nand exhaustive contributions upon\\nspecial subjects. Some confine them-\\nselves closely to agricultural lines,\\nothers range over the entire field of lit-\\nerature. So that it is quite as neces-\\nsary here as elsewmere, that a writer\\nshould be familiar with the journal to\\nwhich he offers his w r ares.\\nFollowing is a partial list of the\\nbetter journals devoted to agriculture\\nand its related interests, with a brief\\nstatement of their needs in the way of\\nmaterial; but it should be borne in\\nmind, as above stated, that many pub-\\nlications of other classes also use such\\ncontributions:", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0193.jp2"}, "194": {"fulltext": "182 PKACTICAL AUTHORSHIP\\nAmateur Gardening, Springfield,\\nMass., an illustrated monthly using\\nshort articles, not exceeding two thous-\\nand words, on gardening, floriculture\\nand fruit growing.\\nFarm, Field and Fireside, Chicago,\\nis a weekly agricultural journal, con-\\nA partial list taining the usual departments. Its\\nof agricultural field is mainly that of the North west,\\njournals so material offered should be specially\\nin line with the needs of that section.\\nHow to Grow Flowers, Springfield,\\nO., is a monthly devoted strictly to\\nfloriculture, so far as its practical work\\nis concerned. But it also uses stories\\nand poems which should at least touch\\nupon some aspect of floriculture or\\nfloral life.\\nThe American Agriculturist, principal\\noffice, Springfield, Mass., a weekly pub-\\nlication, uses practical articles on agri-\\nculture, horticulture, and the household.\\nAs a rule these contributions should\\nnot exceed one thousand words, and\\neven shorter articles are more accept-\\nable. Considerable attention is given\\nto domestic matters, and it uses some\\nfiction both for children and adults.\\nThe Agricultural Epitomist, Indian-\\napolis, Ind., a monthly, uses short,\\ncrisp articles pertaining to practical\\nagriculture and its related branches,", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0194.jp2"}, "195": {"fulltext": "PRACTICAL AUTHORSHIP 183\\nagricultural essays, and travel and de-\\nscriptive articles. Contains also a\\nhousehold department, using the gen-\\neral domestic miscellany. Contribu-\\ntions should not exceed one thousand\\nto fifteen hundred words.\\nThe American Florist, Chicago, a\\nweekly devoted mainly to the commer-\\ncial aspects of floriculture. Circulates\\nlargely among florists, and articles to\\nbe acceptable must contain information\\nof use to such readers.\\nThe Country Gentleman, Albany, N.\\nY.,is a 20-page weekly, devoted wholly\\nto the practical side of agriculture.\\nContinuation Articles and correspondence regarding\\nof list. crops, the season and the conditions of\\nagriculture in various sections are used.\\nArticles should not exceed three col-\\numns about twenty four hundred\\nwords and shorter ones meet with\\nreadier acceptance.\\nThe Farm and Fireside (Springfield,\\n0.,) is a semi-monthly journal of 16 to\\n24 pages, devoted about equally to\\npractical matter about the farm and to\\nfiction and miscellany for the household.\\nAgricultural and floral articles should\\nbe brief and pointed, not exceeding five\\nhundred words. The fiction may be\\neither for juvenile or adult readers.\\nThe Farm and Home (Springfield,", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0195.jp2"}, "196": {"fulltext": "184 PRACTICAL AUTHORSHIP\\nMass., and Chicago,) is a semi-monthly\\njournal using short articles of a practi-\\ncal nature that relate either to the farm\\nor household. Short stories for the\\nlittle folks, and a serial for older readers\\nhelp make up the contents.\\nThe Maine Farmer (Augusta,) the\\nState publica- Ohio Farmer (Cleveland,) the Indiana\\ntions. Farmer (Indianapolis,) The Michigan\\nFarmer (Detroit,) the Nebraska Farmer\\n(Lincoln,) and others, are journals de-\\nvoted mainly to the agriculture of in-\\ndividual states or of certain sections.\\nTheir needs are consequently somewhat\\nnarrower and more limited than those\\nof the journals previously named.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0196.jp2"}, "197": {"fulltext": "CHAPTER XIV.\\nJUVENILE WORK SOMETIMES CONSIDERED AS GOOD\\nPRACTICE TALENT REQUIRED TO PRODUCE\\nGOOD WORK LEADING JUVENILE PUBLICATIONS\\nTHE CLASS OF MATERIAL USED BY THEM\\nOTHER FIELDS FOR JUVENILE WORK LIST OF\\nPUBLICATIONS.\\nBeginners in literary work are often\\nadvised to write for children. This ad-\\nvice is sometimes good, and sometimes\\nit is not. It cannot properly be consid-\\nered that writing for children is a direct\\npreparatory- step toward writing for\\nadults. There are some who have fol-\\nAbout lowed this advice to their profit, and\\nwriting for have found that they possess a happy\\nchildren. faculty of writing in a pleasing, simple\\nway that attracts young readers.\\nBut we do not think that it will often\\nbe found that writers who have started\\nin this work have used it as a stepping\\nstone toward other forms of literary\\nendeavor. Rather, if they have been\\nsuccessful in writing for children at the\\noutset they have probably kept on doing\\nthat in preference to expeiimenting\\n185", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0197.jp2"}, "198": {"fulltext": "188 PRACTICAL AUTHORSHIP\\nalong other paths of literary endeavor.\\nIt can hardly be said that the writing\\nof juvenile literature requires less ability,\\nor less training in literal work, and so\\nshould be taken up by the novice who\\nis not competent for greater things.\\nSuch successes as were made by Miss\\nExtremes Alcott in Little Women, and by Mrs.\\nof juvenile Burnett in Little Lord Fauntleroy,\\nwork. certainly place one high in the scale of\\nability. And Mr. Kipling s Jungle Stor-\\nies, which are probably the best things\\n(in point of literary^ quality) for young\\nreaders that any writer of recent years\\nhas given us, are the work of a literary\\nmaster, who has directed his best pow-\\ners to the entertainment of 7 ouths.\\nIf we go to the other extreme of\\njuvenile work, and take the little stories\\nand sketches that appear in our domes-\\ntic and religious publications, we will\\nprobably find that they are just as well\\ndone and have demanded just as much\\neffort and literary skill, as other work\\nin publications of the same character.\\nWhen we consider that the American\\nboy and girl are as a rule well-educated,\\nbright and intellectual, and that there\\nare many millions of them, it appeals to\\nus as a somewhat singular fact that we\\nhave comparatively few periodicals dis-\\ntinctlv devoted to their interests. We", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0198.jp2"}, "199": {"fulltext": "PRACTICAL AUTHORSHIP 187\\nare not now considering the publications\\nfor little children, but those which are\\nadapted to the wants of young people\\nof twelve or thirteen years. These may\\nalmost be numbered on the fingers of\\none hand, and as a consequence of this\\nlimited market, this field is a somewhat\\nThe field restricted one. Yet it is not quite so\\nnot a narrow narrow as appears at first glance, for\\none. we must include in it also a large num-\\nber of religious, domestic and other pub-\\nlications which use juvenile matter.\\nSome of the Sunday School papers also\\nuse matter of the highest grade, not dis-\\ntinctively religious, for young readers.\\nTo gain a clear and comprehensive\\nidea of what is most desired in juvenile\\nwork, a writer should take the three\\nleading journals of that class, The\\nYouth s Companion, St. Nicholas, and\\nHarper s Round Table, and analyze their\\ncontents. Without doubt these three\\njournals glean the cream of all juvenile\\nwork offered for the delectation of Young\\nAmerica. Anything that is acceptable\\nto these should be acceptable to the\\nother publications that use juvenile mat-\\nter; so if one can write up to their stan-\\ndard, they need hardly fail to find a mar-\\nket somewhere.\\nSt. Nicholas, and Harper s Round\\nTable use serials. The Youth s Com-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0199.jp2"}, "200": {"fulltext": "188 PRACTICAL AUTHORSHIP\\npanion is not favorably disposed toward\\nsuch, unless they should be short serials,\\nrunning through from two to five issues.\\nThe Youth s Companion uses no fairy\\nstories. St. Nicholas does not object to\\nWhat them, on account of being fairy stories,\\nsome journals provided their quality is of the first class.\\nwant. Articles of information for young readers\\nare wanted by all these journals. Har-\\nper s Round Table is more particularly\\na magazine for boys and so has an es-\\npecial liking for stories of adventure.\\nOther juvenile journals which deserve\\nhonorable mention are Golden Days,\\nPhiladelphia, and the Sunday edition of\\nThe Philadelphia Times, which has an\\nexcellent Boys and Girls Department.\\nThe David C. Cook Co., Chicago, pub-\\nlish a number of papers for children and\\nyoung people, and are large and liberal\\nbuyers of material of the class that may\\nproperly be offered to Sunday School\\njournals of the highest grade.\\nSome writers who might do acceptable\\nwork in this line make the mistake of\\nwriting matter adapted to the needs of\\nchildren, in a way that renders it most\\nunattractive. The plainer and more di-\\nrect the manner is in this work, the more\\nquickly will recognition be gained.\\nNo better general survey of the field\\nof Juvenile Literature can be had, than", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0200.jp2"}, "201": {"fulltext": "PRACTICAL AUTHORSHIP 189\\nis contained in an article upon that sub-\\nject, contributed to The Editor mag-\\nazine for its issue of October, 1898. So\\nconcisely is the information set forth\\nregarding publications of this class, and\\nso good are the suggestions and illus-\\ntrations given, that we prefer to repro-\\nduce the article almost in its entirety,\\neven though there is some slight repeti-\\ntion of that which has already been said.\\nIt is a singular fact that we have very\\nfew periodicals distincth 7 juvenile. The\\nfirst- class magazines and papers of this\\nsort may be almost numbered on the\\nA review fingers of one hand, and this field of lit-\\nof the juvenile erature at a first glance seems a re-\\nfield, stricted one. However, it is not so\\nnarrow as it appears when we take into\\nconsideration the large number of reli-\\ngious and household papers which use\\njuvenile matter, and the amount of such\\nmanuscript required by Sunday School\\npapers.\\nThe character of the few magazines\\ndistinctly juvenile, is so well known that\\nit seems unnecessary to refer to them at\\ngreat length.\\nOf these, St. Nicholas perhaps holds\\nthe highest rank. The Januarj- number\\nof this year is a most excellent one, and\\nmay be taken as a criterion of what this\\nmagazine desires in the way ofmaterial.\\nThere is the usual number of serial stor-\\nies furnished by writers noted for pro-\\nducing the best work of this kind. One\\nof Mr. Kipling s Just So stories ap-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0201.jp2"}, "202": {"fulltext": "190 PRACTICAL AUTHORSHIP\\npears in this issue, which is also rich in\\nverse, there being two long poems of\\ntwo or three pages each, as well as\\nshorter ones. There is also a delightful\\ngiant story and a Christ-play. But the\\narticles of most interest to the general\\nwriter are these: First, a paper called\\nA Bird Store-House/ giving an ac-\\ncount of the California wood-pecker s\\nSuggestions strange habit of hiding food for winter\\nfor use. The article is not long, and the in-\\njuvenHe work. formation is given in an interesting\\nmanner. Any one who has made a\\nstudy of birds, either from nature or from\\nbooks, and can write articles suitable for\\nchildren, will find little difficulty in dis-\\nposing of them. The interest in our feath-\\nered friends is steadily increasing, and I\\nrecently saw a statement in a local\\nnewspaper that more books on birds\\nwere published during the last year than\\never before in the history of the United\\nStates.\\nAnother paper of interest to writers\\nis one called Reasoning Out a Metrop-\\nolis. This comes under the head of the\\narticle of information. It is not too\\nlong, and though rather solid reading\\nfor children, the knowledge imparted is\\nput in an interesting shape. This article\\nis suggestive in this way: The article of\\ninformation is used by almost every\\nmagazine and paper that requires juve-\\nnile matter. These articles vary greatly\\nin length. Anywhere from two\\nor three paragraphs to five hundred\\nor six hundred words seems to", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0202.jp2"}, "203": {"fulltext": "of articles of\\ninformation\\nPRACTICAL AUTHORSHIP 191\\nbe the length most in demand by\\nthe Sunday School periodicals, the\\nhousehold, the religious and secular\\nfamily papers, while St. Nicholas, The\\nYouth s Companion, Harper s Round\\nTable and Golden Days use articles of\\ngreater length. An article of this kind,\\nas I have intimated, must not be long,\\nand it must be written in an interesting\\nway. The subjects vary as much as the\\nlength. This year s volume of Harper s\\nRound Table shows some fine examples\\nof this sort of article, among them be-\\ning a paper on Seaweed and Amber,\\nxam P ,es P and one on The Romance of The South\\nSeas, both valuable for their informa-\\ntion and entertaining in their way of\\nimparting it. In Golden Daj-s, I once\\nsaw an article on Glass in Ancient\\nTimes, while the Sunday School papers\\nshow a great variety in this line. I\\nhave seen in these periodicals articles\\nentitled Oriental Churning, A Kla-\\nmath Baby- Cradle, A Wonderful\\nClock, How Paper Money is made,\\nA Banana Story. These titles merely\\nhint at the wide range of subjects. Some\\nof these articles are copied from other\\nperiodicals; a few are written to cuts;\\nmany of them are original contributions.\\nShort comprehensive articles of this\\nclass will find ready acceptance with\\nboth Sunda} r School and other juvenile\\npublications.\\nTo return to St. Nicholas: in the Jan-\\nuar} number appear two little sketches,\\nso brief that they cannot be called stor-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0203.jp2"}, "204": {"fulltext": "192 PRACTICAL AUTHORSHIP\\nies, entitled Unspoken Sympathy and\\nThe Parrot s Resolution. These are\\nsimply incidents, the one illustrating the\\ngood manners born of a kind heart, the\\nother the contagiousness of a bad ex-\\nample. They are told in a bright,\\nstory-like way, without preach-\\ning. I mention these because similar\\narticles are in demand by other periodi-\\ncals more accessible to the average wri-\\nter than St. Nicholas. The Sunday\\nSchool papers are glad to obtain such\\nhints as relate to behavior at school and\\nin the home, especially when they are\\nput in attractive shape.\\nThe current (September) issue of St.\\nNicholas, like the magazines for adult\\nwriters, devotes a part of its space to\\nwar material. Two articles of this sort\\nExamples of are The Voyage of the Oregon, and\\nmiscellaneous The Gun Foundry at Washington, D.\\nmaterial. C. It will thus be seen that timeliness\\nis an element which enters into the mak-\\ning of even the juvenile periodical.\\nThere is a large amount of verse in this\\nnumber poems, long and short, most\\nof them illustrated, and jingles. Among\\nthe stories, there are a fairy tale, The\\nPrince of The Toadstool City, a puzzle\\nstory, and a story of adventure, A\\nBrush With Malay Pirates. Photo-\\ngraphy: Its Marvels, and Some Vaga-\\nbond Words, are the titles of two arti-\\ncles of information.\\nWhen Harper s Round Table became\\na monthly, it appeared to become dis-\\ntinctively a boy s magazine. Besides", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0204.jp2"}, "205": {"fulltext": "PRACTICAL ALTHOESHIP 193\\nthe serials by well-known writers and\\nthe articles of information to which I\\nhave alluded, the Round Table uses in\\neach issue a number of short stories.\\nMany of these are tales of adventure on\\nsea or land, such as are dear to the\\nhearts of boys of all generations. Stir-\\nring stories, articles of information, and\\ndescriptive articles dealing with travel,\\nArticles sports, occupations and other subjects\\nof interest to of interest to boys, are in demand for\\nboys. this publication. The September Round\\nTable contains articles entitled, The\\nSnipe, and Snipe-Shooting, The Hin-\\ndoo Game of Tether-Ball, An Episode\\nof the War of 1870-71, The Latest\\nExplorer of Asia, a reminiscence of\\nDewey s boyhood, called The Boy is\\nFather to the Man, a golf story, and\\nmuch other good matter of interest to\\nboys.\\nGolden Days differs from the Round\\nTable in that it is a journal for both\\nboys and girls. While most of the ser-\\nials appeal principally to the boyish\\nlove of adventure, there are some of\\nspecial interest to girls. The short\\nstories include quiet stories of home\\nlife as well as the more exciting narra-\\ntives which depend upon incident for\\ntheir entertainment. The articles of\\ninformation are for young people of\\nboth sexes. This paper uses some verse\\nsuitable for youthful readers.\\nThe Youth s Companion, strictly\\nspeaking, is not a juvenile publication,\\nbut a paper for young people. It has,", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0205.jp2"}, "206": {"fulltext": "194 PRACTICAL AUTHORSHIP\\nhowever, a children s page for which lit-\\ntle poems and jingles are in demand, as\\nwell as stories of interest to young chil-\\ndren. These tales vary from five hundred\\nto eight or nine hundred words in length,\\nand deal with incidents of school-life or\\nplay or the doings of pets. Little poems\\nand stories suitable for special seasons\\nor days, such as Easter, Christmas,\\nArbor Day, Thanksgiving Day, etc.,\\noften appear on this page. It is per-\\nhaps unnecessary to say that the ma-\\nterial used by this periodical is not only\\nwholesome in tone, but of the highest\\nliterary excellence.\\nLittle Folks, is the name of a com-\\nparative! y new candidate for childish\\nfavor. The first number appeared in\\nNovember of last year, and if this mag-\\nAnew juvenile. azine for yotmgest waders and little\\nlisteners fulfills the promise of its early\\nissues, it bids fair to one day become\\nfor 3^oung children what St. Nicholas\\nis for older ones. Its appearance is\\nmost attractive. The type is excellent;\\nthe illustrations are numerous and\\nbeautiful. Cuts that were old ten years\\nago do not appear in this magazine.\\nThe stories are somewhat longer than\\nusually appear in publications of this\\nclass, and are bright and interesting,\\nfor they are free from that ultra-baby-\\nishness which is almost an insult to the\\nchild s intelligence. Four or five short\\npoems appear in each number, as well\\nas little nature talks, and natural his-\\ntory articles. These, with some feat-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0206.jp2"}, "207": {"fulltext": "PRACTICAL AUTHORSHIP 195\\nures new to most publications of this\\ncharacter, go to make up an ideal mag-\\nazine for youngest readers. Manu-\\nscripts should be addressed to the Edi-\\ntors of Little Folks, Warner, N. H.\\nThe Favorite, Springfield, Mass,, is\\na magazine for school and home. Its\\nspecial line is nature study and litera-\\nture, although it uses some stories a-\\nA magazine dapted to children from six to nine\\nfor school and years of age. Eight hundred words is\\nhome. the length preferred by the editors for\\narticles. They require simple language,\\nshort sentences and paragraphs, and\\ndesire that little description and much\\naction shall be introduced. Several\\npoems appear in each number. These\\nare in keeping with the general charac-\\nter of the magazine: they are poems of\\nnature.\\nMost of the family papers, both re-\\nligious and secular, as well as the house-\\nhold publications, have a children s de-\\npartment. The Outlook devotes two\\npages to the little people. For these\\nare required little articles of informa-\\ntion. Not long ago I noticed one of\\nthese called, Straw and What is Made\\nof It. This department also uses sto-\\nries of child-life, little sketches, poems,\\nand incidents of animal life. Indeed,\\nmost periodicals that use juvenile mat-\\nter, publish these little animal stories.\\nIt is well, therefore, to keep an eye on\\nthe family cat, and to be not entirely\\noblivious to the performances of Fido,\\nas they may be turned into cop\\\\ r", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0207.jp2"}, "208": {"fulltext": "196 PRACTICAL AUTHORSHIP\\nThe Churchman, New York, has an\\nattractive children s department. It\\ndevotes several pages to stories, which\\nare illustrated, and poems. Sometimes\\nan article of information, expressed in\\na sto^-like way, and ilkistrated, is\\nused. Such an one is A Visit to the\\nQuarries.\\nOther religious family papers which\\nuse material for children are: The Con-\\ngregationalist, The Advance, The Inte-\\nrior, The Evangelist, The New York\\nObserver; and occasionally The Living\\nChurch, The Epworth Herald, and The\\nChristian Endeavor World also require\\nJuvenile brief articles and stories for young folks,\\nwork for family Eight hundred words seems to be the\\njournals. maximum length of stories desired by\\nmost of these publications. These sto-\\nries should convey lessons in manners\\nand morals; or they may be of a relig-\\nious trend.\\nThe household publications and sec-\\nular family papers use some stories\\nsimilar to those required by the relig-\\nious papers: that is, those which set\\nforth good manners and morals without\\npreaching. Incidents of school-life and\\nof play, incidents that teach kindness\\nto our animal friends, and incidents\\nwhich show what a child s relations\\nshould be to parents, to teachers, bro-\\nthers and sisters, the aged, to school-\\nmates, are some of those which may be\\nused. Fairy tales are published 63^ a\\nnumber of these household and family\\npapers. I have seen these in the Home", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0208.jp2"}, "209": {"fulltext": "PRACTICAL AUTHORSHIP 197\\nMonthly, of Pittsburgh, The Ladies\\nHome Journal, Woman s Home Com-\\npanion, and The Ladies World. The\\nHome Magazine, of Washington, The\\nHome Queen, The Household, and The\\nHousekeeper, all have departments for\\nchildren. The stories vary in length\\nfrom five hundred to fifteen hundred\\nor two thousand words. Such, papers\\nas The Ladies Home Journal, Woman s\\nHome Companion, and The Ladies\\nWorld devote more space to juvenile\\nmatter, than The Household or The\\nHousekeeper can spare. Little poems\\nand brief articles are also used by most\\nof these publications. The Ladies\\nHome Journal does not seem to use\\nWhat children s stories and poems every\\ncertain journals month. The September number shows\\nuse. no children s page, while that of July\\nhas a bit of verse, a short storjr and a\\nstory article called The Story of a Bit\\nof Coal. The Woman s Home Com-\\npanion, which has printed stories for\\nquite young children, is now publishing\\na stirring serial by Mr. Stoddard, for\\nyoung folks. It is well before sending\\nMss. to these or any other publications\\nto examine several recent issues, for\\nperiodicals, like people, change some-\\nwhat in character as the r ears slip by.\\nThe New York Ledger has a depart-\\nment called Children the World Over,\\nfor which stories of one column in\\nlength are required.\\nThe Sunday edition of The Philadel-\\nphia Times has a youth s department", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0209.jp2"}, "210": {"fulltext": "198\\nPRACTICAL AUTHORSHIP\\nfor which short stories and articles\\nsuitable for young people are in de-\\nmand.\\nBefore mentioning the Sundaj^ School\\npublications, it may not be amiss to\\nsay a few words in regard to the sort\\nof short stories desired by editors in\\ngeneral, for they are unanimous on sev-\\neral points.\\nFirst as to length. The shorter a\\nstory the better its chances of accept-\\nance. The maximum length used by a\\njournal is never the most desirable to\\noffer. This is true especial^ of the\\nhousehold, agricultural, religious, and\\nSome editors secular family papers, and it also ap-\\nwant short plies to the Sunday School publications.\\nstories. From one of those unpleasant little\\nslips with which most of us are familiar,\\nI quote, Brief comprehensive articles\\nalways stand the better chance of ac-\\nceptance. This is the utterance of the\\neditor of a Sunday School publication.\\nAnother writes: Our special difficulty\\nis in getting desirable brief sketches, as\\nour authors seem inclined to rear three\\nstory and a basement fabrics, when a\\nlittle glimpse of a bay window is all we\\nhave space for. The length of the story\\nthat we especially need is from six hun-\\ndred to seven hundred words.\\nThe periodicals distinctively juvenile\\nhave, of course, space for longer stories.\\nIn Forward, published by the Pres-\\nbyterian Board of Publication, and The\\nYoung People s Weekly, issued by\\nthe David C. Cook Co., stories of from", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0210.jp2"}, "211": {"fulltext": "PRACTICAL AUTHORSHIP 199\\ntwo thousand to twenty-five hundred\\nwords sometimes appear. They must\\nbe remarkably good ones, however, to\\ndo so.\\nThe inexperienced writer is apt to be\\nextravagant in his use of material.\\nEconomy is as desirable here as else-\\nwhere. A good rule is to plunge into\\nthe story without preamble, or if a pre-\\namble is absolutely necessarj 7 to cur-\\ntail it as much as possible. It will not\\ndo to stop to tell who little Johnny s\\ngrandfather was, or that his maiden\\naunt was subject to rheumatism.\\nAll purchasers of juvenile literature\\ndesire stories not only about children\\n(or young folks), but for children (or\\nyoung folks). When writing a child s\\nstory, one must be for the time being\\nWrite for as a little child. We must go down on\\nchildren as well the floor, as it were, and build houses\\nas about with blocks, and take a real interest in\\nthem. paper dolls. Not only must the lan-\\nguage be comprehensible to a child s\\nmind, but the attitude of mind must be\\nthat of a child. The secret of Miss Al-\\ncot s magic lies, I think, in the fact that\\nshe became one of the young people for\\nwhom she wrote. She thus avoided\\nany tendenc}^ to preach, and yet her\\nbooks are full of lessons.\\nEditors desire bright stories stories\\ntold in a sprightly, or otherwise pleas-\\nant manner. Miss Keeler, speaking of\\nchildren s stories, says in her admirable\\nlittle work on English composition:\\nThe charm of many short stories lies", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0211.jp2"}, "212": {"fulltext": "200 PRACTICAL AUTHORSHIP\\nnot so much in the incident upon which\\nthey are based as upon the way they\\nare told. Conversation judiciously\\nused will brighten an otherwise dull\\nstory, but it should carry forward the\\naction of the tale, and reveal the char-\\nacter of the little people about whom\\nwe write. It must be dropped before it\\nbecomes tiresome.\\nEditors desire stories that are not\\nonly wholesome and elevating but cheer-\\nful. They do not want stories that are\\nWhat is not depressing in their tendencj^; that leave\\nwanted in juve- behind a feeling of sadness. A well-\\nnile work. known writer for the Sunday School\\npublications said to me the other day,\\nI have learned two things: These\\npapers do not want sad stories. And\\nthey want stories with a plot, stories\\nfull of action.\\nThe preaching or sermonizing story is\\nnot wanted by any editor now-a-days.\\nThe moral must be obvious in the story\\nof to-day, and the tale that requires\\npreaching, explanatory or otherwise, is\\nregarded as a failure.\\nEditors do not desire worn-out plots,\\nalthough the lesson conveyed by the\\nstory may be as old as time itself. Some\\nof these, familiar to Sunday School edi-\\ntors, are heaping coals of fire/ sav-\\ning one s enemy from drowning,\\nschool-girls slighting a poorly-dressed\\npupil, etc.\\nFor the writing of really good chil-\\ndren s stories, abilities of the first order\\nare required, as I think even this super-\\nficial study of the subject has proved.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0212.jp2"}, "213": {"fulltext": "PRACTICAL AUTHORSHIP 201\\nA word in regard to the needs of Sun-\\nday School publications. These period-\\nicals use serials (historical, religious\\nand moral), poems, little stories of ani-\\nmal life, natural history in attractive\\nform, biographical sketches, articles of\\ninformation, little travel articles, hints\\nas to behavior, and material for special\\nnumbers, such as Easter and Christmas\\nissues. This is a good field. Many of\\nthese papers compare very favorably in\\nappearance and matter with the secular\\npublications. They pay promptly, their\\nrates are fair, and they use a large\\nAbout amount of Ms.\\nSunday School David C. Cook, Chicago, publishes\\njournals. The Young People s Weekly, The Weekly\\nMagnet and others (six in all). The\\nAmerican Tract Society, New York, is-\\nsues The American Messenger, The\\nChild s Paper, Apples of Gold, etc. The\\nAmerican Baptist Publication Society is\\nrepresented by Our Boys and Girls, Our\\nYoung People, and others. The Presby-\\nterian Board of Publication (like the\\nBaptist Society, of Philadelphia) pub-\\nlish Forward, The Sabbath School Vis-\\nitor, and others. The Classmate, and\\nThe Sunday School Advocate, of New\\nYork are attractive papers of the Meth-\\nodist Church. The Youth s Temper-\\nance Banner, and The Water Lily, of\\nNew York, use material similar to that\\nrequired by the papers I have mentioned,\\nas well as matter suited to the temper-\\nance work. The Child s Hour, and Our\\nSunday Afternoon, bright little periodi-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0213.jp2"}, "214": {"fulltext": "A table\\nof\\naddresses.\\n202 PRACTICAL AUTHORSHIP\\ncals of Boston, use material similar to\\nthat desired by the Sunday School pub-\\nlications I have mentioned.\\nADDRESSES OF THE PUBLICATIONS MEN-\\nTIONED IN THIS ARTICLE.\\nPeriodicals for children and young peo-\\nple:\\nSt. Nicholas, New York City.\\nHarper s Round Table, New York\\nCity.\\nGolden Days, Philadelphia.\\nThe Youth s Companion, Boston.\\nLittle Folks, Warner, N. H.\\nThe Favorite, Hyde Park, Mass.\\nReligious and family papers:\\nThe Outlook, New York City.\\nThe Churchman, New York City.\\nThe Congregationalist, Boston.\\nThe Advance, Chicago.\\nThe Interior, Chicago.\\nThe Evangelist, New York City.\\nThe Observer, New York City.\\nThe Living Church, Chicago.\\nThe Ep worth Herald, Chicago.\\nThe Christian Endeavor World, Bos-\\nton.\\nSecular family papers:\\nThe Home Monthly, Pittsburg, Pa.\\nThe Ladies Home Journal, Philadel-\\nphia.\\nThe Woman s Home Companion,\\nSpringfield, 0.\\nThe Ladies World, New York City.\\nThe Home Magazine, Washington,\\nD. C.\\nThe Home Queen, Philadelphia.\\nThe Household, Boston.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0214.jp2"}, "215": {"fulltext": "PRACTICAL AUTHORSHIP 208\\nThe Housekeeper, Minneapolis.\\nThe New York Ledger, New York City.\\nThe Times, Philadelphia.\\nSunday School and similar publica-\\ntions:\\nThe Child s Hour, and Our Sunday Af-\\nternoon. Address the editor, in care of\\nW. A. Wilde Co., 25 Bromfield St.,\\nBoston.\\nThe Sunday School Advocate, and The\\nClassmate. Address all Mss. to Rev. J.\\nL. Hurlbut, D. D., 150 Fifth Ave., New\\nYork City.\\nMorning Light, Apples of Gold, The\\nAddresses American Messenger, The Child s Paper,\\ncontinued. Address The American Tract Society, 10\\nEast 23rd St., New York City.\\nOur Young People, The Young Reaper,\\nOur Little Ones, Our Boys and Girls, The\\nColporter. Address The American Bap-\\ntist Publication Society, 1420 Chestnut\\nSt., Philadelphia.\\nThe Sabbath School Visitor, Forward,\\nThe Morning Star, The Sunbeam. Ad-\\ndress ail Mss. to Rev. J. R. Miller, D.D.,\\n1319 Walnut St., Philadelphia.\\nThe Weekly Magnet, The Weekly Wel-\\ncome, Dewdrops, Happy Hours, His\\nJewels, Young People s Weekly. Ad-\\ndress Mss. for any of these to the Editor-\\nial Rooms, David C. Cook Publishing\\nCo., 36 Washington St., Chicago.\\nYouth s Temperance Banner, and The\\nWater Lily, National Temperance Soci-\\nety and Publication House, 58 Reade\\nSt., New York City.\\nm", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0215.jp2"}, "216": {"fulltext": "CHAPTER XV.\\nTHE ENGLISH LITERARY MARKET AMERICAN WRIT-\\nERS FOR ENGLISH JOURNALS A WIDE FIELD\\nFOR GOOD MATERIAL OBTAIN AND STUDY ENG-\\nLISH JOURNALS A LIST OF PUBLICATIONS THAT\\nPAY FOR CONTRIBUTIONS THE MATTER OF\\nPOSTAGE.\\nThree or four years ago there was a\\ngreat deal of comment upon the fact that\\nEnglish writers were more popular than\\nour own among American readers.\\nA Among the dozen most popular and\\nforeign best selling books, English authors were\\nfield. represented by a majority. Magazines\\nwere filled with their articles, they oc-\\ncupied our lecture platforms, and their\\nnames were upon all tongues. But we\\noverlooked the fact that Americans were\\nvery much in evidence in England and\\nquite as popular there as Englishmen\\nwere here. Both Mr. Harold Frederic\\nand Mr. Robert Barr were residing in\\nEngland and doing work largely for Eng-\\nlish publications; Stephen Crane, after his\\ngreat success of The Red Badge of Cour-\\nage, had retired to a modest little home\\n204", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0216.jp2"}, "217": {"fulltext": "PBACTICAL AUTHORSHIP 205\\nin Surrey, and was there preparing to\\nwin fresh laurels; while Mr. Edgar Faw-\\ncett had almost wholly expatriated\\nhimself and, aside from one or two\\nAmerican journals with which he main-\\ntained regular connections, his work\\nwas going to the English press.\\nAll of which proves only that the An-\\nglo-Saxon writer need not limit himself\\nto an audience on either side the water,\\nbut may write for both English and\\nAmericans. A number of regular and\\nversatile literal workers upon this side\\nThe \u00c2\u00b0f the Atlantic have found that for cer-\\nworld s our tain classes of material the English mar-\\nstage. ket is even better than the American.\\nThe statement has recent^ been made\\nthat there are more than 2,000 maga-\\nzines and literary journals in England.\\nIt may be presumed that these are all\\nbuyers of material to some extent. Cer-\\ntainly we do not approach these numbers\\nin America.\\nIt may seem a long cry to send an ar-\\nticle or story from Boston or New York,\\nNew Orleans or San Francisco, to Lon-\\ndon, merely upon the chance of accep-\\ntance. It is not, however, so much of\\nan undertaking as it seems. When we\\nconsider that the average editor upon\\nthis side requires a month to determine\\nwhether a contribution is acceptable,", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0217.jp2"}, "218": {"fulltext": "seems.\\n206 PRACTICAL AUTHORSHIP\\nit does not demand a very great stretch\\nof patience to add to this month the two\\nor three weeks required for transit/twice\\nacross a continent and an ocean. And\\nNot in the matter of postage, the American\\nso far as it contributor to the English journal has\\nrather the advantage over his brother\\nwho confines himself wholly to the\\nAmerican press. This anomaly in pos-\\ntage rates will be commented on later\\nin this chapter.\\nIn contributing to the English press\\nthe usual journalistic rules hold good.\\nOffer fresh, bright matter. Do not think\\nthey are provincial over there, and that\\nyou can work off hackneyed stuff that\\nour own editors are too keen to accept.\\nType- write all manuscripts sent to the\\nEnglish market, for many English jour-\\nnals will not consider manuscripts pre-\\nsented in any other form. Enclose\\nstamps for return. If you cannot se-\\ncure English stamps, send enough silver\\nto pay full return postage.\\nCopies of all the leading English mag-\\nazines may be obtained through The\\nAmerican News Company. Never go\\nto the trouble of sending even the slight-\\nest thing so far afield unless you have\\nfirst made an exhaustive study of one\\ndr two numbers of the magazine which\\nyou propose to honor, and are convinced", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0218.jp2"}, "219": {"fulltext": "PRACTICAL AUTHORSHIP 207\\nfrom this study that your offering is at\\nleast somewhat in line with its needs.\\nWe have stated elsewhere that the\\nmost salable literary material in this\\ncountry is the good, bright, short story.\\nThis is equally true in England. Almost\\nall of the English magazines and many\\nof the daily papers make constant use\\nof such, and as a rule pay rather better\\nShort or them than do our American journals.\\nstories in While it is impossible for us in this\\ndemand. work to cover the whole scope of Eng-\\nlish publications, we will give here a few\\nsuggestions that may prove of value to\\nwriters who care to try this market:\\nThe Strand Magazine prefers illus-\\ntrated articles or articles capable of be-\\ning illustrated. For these their usual\\nrate of remuneration is about $7.50 per\\nthousand words. But sometimes much\\nbetter prices are paid.\\nThe Cornhill Magazine pays about\\n$5.00 per page for its articles and short\\nstories. Blackwood s Magazine has\\nearned a reputation for encouraging\\nnew talent.\\nGood Words, and The Sunday Maga-\\nzine, use many short popular articles and\\nstories, usually illustrated. Rate of\\npayment is about $5.00 per page of\\nabout 800 words.\\nThe Queen pays something more than\\n$6.00 per column (about 1,300 words).\\nThe Fortnightly Review pays $125 for\\na topical article of 3,000 words, and", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0219.jp2"}, "220": {"fulltext": "208 PRACTICAL AUTHORSHIP\\n$250 for a front page article of mod-\\nerate length.\\nThe Pall Mall Magazine, the very first\\nin rank, and the owner of which is an\\nAmerican, pays most liberally and will\\nnot haggle over price if it can get what\\nis wanted. The editors of this magazine\\nwill neither read nor return a manu-\\nscript that is not typed.\\nThe English Illustrated Magazine,\\nPearson s Magazine, and Cassel s Fam-\\nily Magazine are standard publications,\\nas is also The Quiver (religious.)\\nThe Religious Tract Society, pub-\\nlishes The Sunday at Home, which con-\\nSome tains a serial, short stories, sketches of\\njournals worth foreign travel, a children s page, etc.\\nconsidering. This society also owns The Leisure\\nHour, The Girl s Own Paper, and The\\nBo3 s Own Paper.\\nChums, an excellent journal for boys,\\nuses w t ell -written tales and articles\\nsuited for the rising generation.\\nThe Humanitarian uses short stories,,\\nfor which it pays about $5.00 each.\\nAmong the weekly journals, we may\\nmention The World, which pays about\\n$15.00 for its short story each week;;\\nTruth publishes a queer story each\\nweek, for which it pays $10; To-Day\\nstates that it is always ready to con-\\nsider interesting articles and stories, if\\nthe} are type written.\\nAmong the popular penny weeklies\\nare The Golden Penny, The Saturday\\nJournal, Pearson s Weekly, Tit Bits, and\\nAnswers. All go in for the light, the", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0220.jp2"}, "221": {"fulltext": "PRACTICAL AUTHORSHIP 209\\npopular and the amusing. Brevity\\nseems to be with them the soul of wit,\\nmost of their stories being under three\\nthousand words. The usual rate of re-\\nmuneration is $5.00 per column. The\\ncolumn of The Saturday Journal is\\nabout 800 words.\\nForget-Me-Not offers $5.00 each week\\nfor the best original tale under 2,000\\nwords.\\nThe Family Herald buys fiction only.\\nAmong the journals devoted to femi-\\nEnglish nine interests are The Queen, The Gentle-\\nhousehold and woman, The Ladies Pictorial, and The\\nother jour- Woman. The latter uses stories of\\nna!s. 2,000 words or thereabouts, paving at\\nthe rate of $5.00 per 1,000 words.\\nAmong the best juveniles are Little\\nFolks and The Family Circle.\\nAnecdotes states that it wants short,\\nbright, up-to-date articles. It uses par-\\nagraphs humorous, informative, or\\npersonal.\\nThe Sun newspaper publishes each\\nday a story of not more than 800\\nwords, for which the remuneration is\\n$5.00. Stories not accepted are not re-\\nturned.\\nThe Figaro is a penny weekly, whose\\neditorial notice is as follows: The edi-\\ntor will be pleased to consider para-\\ngraphs, stories and verse suitable for\\ninsertion. Accepted contributions will\\nbe paid for at our usual rates. Type\\nwritten manuscripts preferred.\\nShort Stories is a penny weekly that\\nuses bright, but not sensational short", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0221.jp2"}, "222": {"fulltext": "210 PRACTICAL AUTHORSHIP\\ntales. Some of them run no more than\\n700 words.\\nThe Evening News uses a short story\\nof 1,000 to 4 1,200 words each day.\\nNothing solid need apply here.\\nLloj^d s Weekly uses each week a story\\nof about 2,000 words.\\nThe Weekly Budget is a penny paper,\\nnow in its thirty-sixth year, which runs\\nall the time two or three serials, which\\nmust be of a somewhat exciting nature\\nand adapted to the wants of the masses\\nrather than the classes.\\nSunday Hours is a penny weekly for\\nboys and girls, which uses interesting\\nand helpful reading for boys and girls\\nfrom the age of 12 upwards, and for\\nyoung men and maidens.\\nThe address of all the above publica-\\ntions is London, England.\\nOne matter in connection with con-\\ntributions to be offered to English pub-\\nlications is worthy of consideration.\\njh e Manuscripts mailed from one point to\\nmatter of another within the United States must\\npostage. pa}^ postage at letter rates, 2 cents an\\nounce; but they may be sent to Great\\nBritain, or anywhere throughout the\\nPostal Union, as commercial papers,\\nif unsealed, and if no letter or any-\\nthing in the character of personal cor-\\nrespondence is enclosed, at the rate of\\n5 cents for 10 ounces or less; exceeding\\n10 ounces, at the rate of 1 cent for each", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0222.jp2"}, "223": {"fulltext": "PRACTICAL AUTHORSHIP 211\\ntwo ounces or fraction; the maximum\\nweight for such a packet being four\\npounds, six ounces.\\nIf a printed form with name and ad-\\ndress of sender is used in submitting\\nmanuscripts, there will be no need of\\nenclosing a letter. The manuscript en-\\nObserve this. velope should be marked on the outside\\nMs. only, unsealed. Then place upon\\nit stamps at the above rate. Enclose\\nan envelope directed to yourself and\\nsimilarly marked and stamped. If you\\ncannot get English postage to pay the\\nreturn trip, enclose silver securely wrap-\\nped.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0223.jp2"}, "224": {"fulltext": "CHAPTER XVI.\\nCHOOSING A MARKET.\\nA knowledge of the right avenues in\\nwhich to offer work is of so much im-\\nportance that the fact cannot be too\\noften reiterated. This is knowledge that\\ncomes in its most complete form from\\nexperience, and from experience alone.\\nThe average young writer, or even\\nthe older writer, whose work has been\\nconfined within narrow limits, has but\\nNecessary little idea of the vast range of the liter-\\nknowledge, ary market. Ordinarily the young\\nwriter has in his mind s eye a few of the\\nleading magazines only, when consid-\\nering what journals shall be honored\\nwith the opportunity of accepting his\\nproductions.\\nWe would never discourage a young\\nwriter from shooting at a shining mark,\\nprovided he has at all the right sort of\\nammunition. But the chances for accep-\\ntance with those publications are nat-\\nurally of the slightest, as they receive\\nsuch a vast amount of material in ex-\\ncess of their possible needs. They have\\ncontinually also the first chance at the\\n212", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0224.jp2"}, "225": {"fulltext": "PRACTICAL AUTHORSHIP 213\\nwork of men and women whose ability\\nin the literary field has already been\\nproven, whose names are the warrant\\nfor good work, and whose work helps\\nto sell the journal in which it is pub-\\nlished.\\nAfter these shining lights among cur-\\nrent publications, come a large number\\nThe best \u00c2\u00b0f excellent magazines of somewhat less\\nopportunities, repute, which use good work, which pay\\nfair prices, and whose pages are less\\ngiven up to the work of master hands.\\nWith these is doubtless one of the best\\navenues for the young writer to prove\\nwhat he can do.\\nWe do not wish to be understood as\\nmeaning by the above that such maga-\\nzines as Harper s, Scribner s, The Cen-\\ntury, The Atlantic, Lippincott s, The\\nCosmopolitan, or McClure s discrimi-\\nnate against the young writer. Editors\\nof all these are men of ability and judg-\\nment, who are always on the lookout\\nfor the new writer who has something\\nnew to say. We know of more than\\nonefsuch who has made his first appear-\\nance|before the reading public in their\\npages.\\nBut directly in the class following\\nthese magazines we have many literary\\nweeklies which use general literary mis-\\ncellany; then a few religious papers and", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0225.jp2"}, "226": {"fulltext": "214 PRACTICAL AUTHORSHIP\\nmagazines which use miscellany of high\\ncharacter and pay good prices; juvenile\\nOther journals, which use a wide range of\\ngood buyers. contributions; household and domestic\\njournals; class journals, among which\\nare the trade papers; agricultural and\\nsociety journals, scientific and popular-\\nscientific publications all good buyers\\n\u00e2\u0096\u00a0when a writer knows just what is\\nwanted and where to send it.\\nFollowing these comes perhaps the\\nwidest field of all, if not the best in point\\nof compensation, and one that is neg-\\nlected by many writers either because\\nthey do not know or do not appreciate\\nits value\u00e2\u0080\u0094 the daily newspaper. Per-\\nhaps it has not occurred to them that\\nThe the modern daily newspaper does not\\nnewspaper as a differ very greatly in its general make-up\\nmagazine. from the modern magazine. We are\\nspeaking now of the newspapers of the\\nhigher class, not those which are popu-\\nlarly designated as yellow journals.\\nThe papers of this better class not only\\ngive us the news of the day, but their\\ncolumns are open to everything which\\ntouches upon the literal and social\\nlife of the hour, to advancements in\\nscience, to new discoveries in every\\nrealm of nature, to travel, biography,\\nanecdote, sociology, the short stoiw, in\\nfact everything which affords material\\nfor the writer s pen.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0226.jp2"}, "227": {"fulltext": "PRACTICAL AUTHORSHIP 215\\nEven in point of compensation, the\\nnewspaper as a literary market is not\\nto be lightly regarded. Contrary to\\nthe impression of many writers, the\\nrates paid by some of these journals\\nare better than those of a great many\\nNewspapers as other publications of higher literary\\npaymasters. pretentions. Newspaper space rates\\nrun from $3.00 to $10.00 per column, of\\nabout 1,500 words. While this is not\\nextravagant payment, it is at least as\\ngood as that of some of the literary\\nweeklies and smaller magazines. One\\nwho is producing a great deal of copy\\ncan hardly afford to ignore the news-\\npaper field, as it is the only one that is\\npractically unlimited.\\nThe writer of this has a friend who\\nis a well-known and somewhat volum-\\ninous contributor to the press, includ-\\ning both newspapers and magazines,\\nand he has that rare abihHw that en-\\nables him to write well upon almost\\nany subject that can be suggested. If\\nTimely topics. he has any one point which disqualifies\\nhim from becoming a pre-eminently suc-\\ncessful all-round writer, it is that he\\ncannot always choose subjects in line\\nwith editorial requirements. Occasion-\\nally the writer suggests topics to him,\\nand these are immediately worked out\\nand sent off. Recently commenting up-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0227.jp2"}, "228": {"fulltext": "216 PRACTICAL AUTHORSHIP\\non this, our friend said: My subject\\nbook shows that articles upon topics\\nsuggested by you alwaj^s sell, and al-\\nmost always at the first intention.\\nThe explanation of this is not difficult.\\nThe subjects suggested were alwa} r s\\nsuch as seemed to be in line with current\\ntopics of public interest. They had the\\nelement of timeliness, and so commended\\nthemselves at once to editors. Further,\\nno theme was ever suggested unless a\\npublication was in mind at the time\\nwhich might fairly be thought to care\\nAvoid for an article of that sort. Thus there\\nfiring at was very little firing at random. It was\\nrandom. no t as though one had said to himself:\\nHere is a good topic. I will write an\\narticle upon it, and forthwith did so,\\nwithout stopping to consider whether\\nany publication would be apt to use\\nmatter of that sort. Good articles may\\nwander about aimlessly and forever,\\nunless they are directly suited to the\\nneeds of some certain journal. There is\\nnothing more important for the writer\\nto learn than this.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0228.jp2"}, "229": {"fulltext": "CHAPTER XVII.\\nTHE TYPEWRITER.\\nUndoubtedly the typewriter has its\\nown sins to answer for. It has made\\npossible a greater production of manu-\\nscripts than formerly, and has rendered\\nit easy for many writers who are ex-\\nA boon to tremely ready in the use of words, but\\neditors. rather barren as to ideas, to deluge ed-\\nitors with masses of stuff that are only\\na burden to their desks. Still, it has\\nbeen a great boon to these same editors\\nin making easier their work of reading\\nand passing upon manuscripts, as near-\\nly everything is now put before them in\\nso much plainer shape than formerly.\\nWriters may well call the typewriter\\ntheir friend. To the majority of people,\\ncontinued labor with the pen is weari-\\nMakes work some to the last degree. More than\\neasier. one writer has found that while the\\nbrain is yet fresh and active, the hand\\nand the eye have tired of the constant\\nstrain to which the pen has subjected\\nthem. The tj^pewriter has enabled\\nwriters to do their work more rapidly,\\nmore easily and in some ways more\\n217", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0229.jp2"}, "230": {"fulltext": "818 ?:.^:::.al ArTz;:.-zi?\\ncorrectly than ever before. We beHeve\\nit is True that the average man or wo-\\nn:aa ;aa stand twice as many hours af\\nwork at the machine as with the pen\\nAt least rable the rapidity in the pro-\\nicti apymayl e ac paired, so that\\nthe ratic rfproduction as between the\\nmachine and pen may be stated as\\nt a e\\nrhere is nc loubt that a writer is\\nable tc put his sentences into better\\nform by the aid the aiachine, where\\ne a h w as soon as on;:\\ns t a n f. s a t m r e de arry b ef or e him\\nA help toward than with the pen In tins manner he\\nclearness of zriticiees his ywnwork as he goes along,\\nexpression. with the very slightest labor may\\nrecast a sentence, a paragraph or a\\npage. Then tc the use of the type-\\nwriter tends t: make the operator more\\ncareful in his choice of words, in the\\nform of his sentences and in spelling\\nand in punctuation. Thesr lefects are\\nnot so glaring in the script, but stand\\nMit with an accusing listntctness in\\nthe type copy.\\nI a t a:\\\\ e :t t mn .a fix m the typ e-\\nwriter for it is ::a mechanical It\\ncannc: ;aa ran ana: a ftmctj a/a at it\\ncan bring me s a.aa :rt in such a\\nlaring manner that :a- wiD at Dnce\\n_ _\\nset about nana: errors a", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0230.jp2"}, "231": {"fulltext": "PRACTICAL AUTHORSHIP 219\\nwithout this light upon them, he would\\nscarcely have believed himself capable.\\nThe following extract clipped from a\\npublication of large circulation shows\\nin the plainest manner the comparative\\nvalues of type written and pen written\\nmanuscripts:\\nIt is singular, when the general use of the\\ntypewriter makes legibility cheap, that many\\naspirants for the emoluments of authorship con-\\ntinue to complete their creations in their own\\nchirography, and send them in that shape to the\\npublishers. If they only knew what delay, to\\nsay nothing harsher, was incurred by such a\\ncourse, they would have their copy neatly type-\\nwritten before entrusting it to the mercy of the\\ncritics who are to judge it. The sight of hand-\\nAn editor s written copy makes the spleen of a publisher s\\nopinion. reader rise as soon as he opens it. So the author\\nalready has a certain feeling of enmity against\\nhim before a word is read. Then the critic\\nbegins to wade through it, more intent upon\\nascertaining its poor qualities than upon discov-\\nering any real merit it may contain. Then he\\ncloses it with a bang and takes up a slip:\\nCrude, ill-fashioned, poor taste and weak treat-\\nment. Plot involved and disconnected. Char-\\nacters ill-formed and unstudied. He pins this\\non it and sends it into the office, and the man-\\nuscript is returned to its author as unavailable.\\nThis, mind you, happens after the thing has\\nbeen in the publisher s possession for weeks,\\nbecause he won t examine a hand-written con-\\ntribution until he has cleaned up all the type-\\nwritten stuff. Old authors are familiar with\\nthese tricks of the trade, and young ones should\\nbecome acquainted with them, and remember\\nthat typewritten manuscript, where everything\\nelse is even, stands ten chances for acceptance\\nagainst one for the other kind.\\nYet it must not be thought that the", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0231.jp2"}, "232": {"fulltext": "220 PRACTICAL AUTHORSHIP\\nmere fact that a manuscript is type-\\nwritten will commend it to editors. It\\nhas been found that much t} pe copy\\nprepared bj- incompetent persons, or by\\ncopyists who are accustomed to doing\\ncommercial work, comes from the ma-\\nchine in the worst possible form for the\\nprinter s use. The average copyist who\\nhas had no training in the preparation\\nof literary material knows very little\\nabout punctuation, capitalization, or\\nparagraphing to say nothing of spell-\\ning and grammar. It may be expected\\nthat the author s original manuscript,\\nbeing correct in these particulars, will\\nbe a sufficient guide to the copyist. But\\nin the first place, all writers are not\\nbeyond criticism in these particulars,\\nType copy an d second, all copyists do not follow\\nhas best chance copy.\\nof acceptance. it cannot be disputed by any one who\\nis familiar with the inside of an editor-\\nial office of any importance, that type\\nscript is always the first read, and that\\npen scripts often suffer by being neg-\\nlected until all the material needed has\\nbeen accepted. Then there is nothing to\\ndo but to send the pen script back to\\nits owner. No matter how conscien-\\ntious and impartial an editor may en-\\ndeavor to be in the fulfillment of his\\nduties, no matter how earnestly he may", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0232.jp2"}, "233": {"fulltext": "PRACTICAL AUTHORSHIP 221\\nendeavor to discover the very best\\nwork among the whole, the typewrit-\\nten manuscript will always be the\\nfavored one.\\nEntirely aside from the fact that type-\\nwritten manuscript is the one sort that\\nall editors like to handle, the possession\\nof a typewriter will prove an item of\\neconomy and profit to anyone who\\nmakes a business of preparing material\\nfor the press. Composition by its aid\\nis so much more rapid than is possible to\\nthe best penman, that the gain alone in\\nthe quantity of output greatly increases\\nThe machine an one s earning pow r er. The labor of writ-\\neconomizer. i n g a given number of pages upon the\\ntypewriter is wonderfully less than in\\ndoing the same work by hand. Further,\\nthe machine is an economizer both of\\npaper and of postage. A sheet of paper\\n8V2 x 11, double spaced and with proper\\nmargins, will contain about 325 words\\nof copy. An ordinary bold hand would\\nplace about 125 to 150 words on the\\nsame sheet. If a good quality of linen\\npaper is used, as should be, the saving\\nin the cost of this is considerable, and\\nthe saving in postage is much more.\\nAnother item worth considering is\\nthat a copy of one s work may be had\\nupon the typewriter with very little\\nextra trouble. By using a carbon sheet", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0233.jp2"}, "234": {"fulltext": "222 PRACTICAL AUTHORSHIP\\na second copy ma} r be made, which for\\nthe author s purpose is quite as good\\nas the first. It is not advisable to send\\nCarbon copies, carbon copies to editors, but it is a wise\\nplan to keep a cop}^ of all the work sent\\noff, to guard against possible total loss\\nof a valuable article.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0234.jp2"}, "235": {"fulltext": "CHAPTER XVIII.\\nPREPARING COPY.\\nIt is important that your marmscript\\nbe correctly paragraphed. It is very\\nannoying to an editor to be compelled\\nto go over an entire manuscript line by\\nline for no other purpose than to cor-\\nrect an author s omissions regarding\\nits paragraphing. No general rule can\\nbe laid down in this matter. In writ-\\ning conversations, the general rule is to\\nAbout have each new speaker begin with a\\nparagraphing. new paragraph, and to let no conversa-\\ntional paragraph run beyond 125 or\\n150 words. Yet in a running conversa-\\ntion where theseparatespoken portions\\nare of but a few words each, some\\nwriters prefer to blend into one para-\\ngraph a number of these short sentences.\\nThis method, however, is not generally\\npopular with editors.\\nWhile, as we have stated, no conver-\\nsational paragraph should run bej ond\\n100 or 150 words, the same rule can\\nhardly be applied to descriptive matter\\nor interludes. Yet a short paragraph\\nis almost always preferred to a long\\n223", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0235.jp2"}, "236": {"fulltext": "224 PRACTICAL AUTHORSHIP\\none; and no paragraph should be per-\\nmitted to run to the entire length of a\\nprinted page, as to do so gives the\\nmatter when in print a heavy appear-\\nance. A writer s own judgment, based\\nupon observation as to the practice in\\nour most carefully edited publications,\\nis the only guide on which to rely.\\nItalics are very sparingly used by the\\nmost careful writers. It has been said,\\nand properly, that each sentence should\\nbe so formed that it will emphasize it-\\nself at the proper points, if emphasis is\\nOmit italics. needed. There is no reason why we\\nshould indicate by a special mark where\\nemphasis is to be understood, any more\\nthan we should indicate ironj^, humor,\\netc. We have seen manuscripts so un-\\nderlined that the printed page, if copy\\nhad been followed, would have been\\nlittle more than a succession of italicized\\nwords, strung together by a few con-\\nnecting words in Roman type. Such\\nwould of course be absurd in the printed\\npage, and is no less absurd in the man-\\nuscript. Italics may be used for foreign\\nwords, and to indicate the titles of pa-\\npers and magazines. But the profes-\\nsional writer will have little use for\\nthem beyond this.\\nWhere numbers are used, many writers\\ncarelessly indicate them by figures with-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0236.jp2"}, "237": {"fulltext": "PRACTICAL AUTHORSHIP 225\\nout regard to any rule. Figures thrown\\nheedlessly into one s cop} r give it a bad\\nIn regard to appearance, and careful editors will not\\nnumerals. let them appear on the printed page,\\nexcept when in adherence to strict rules.\\nOur own practice is to write out in\\nwords all numbers under one hundred.\\nThis custom will meet the approval of\\nall editors.\\nUse no quotation marks, unless they\\nare absolutely necessary, and they are\\nnot necessary unless a direct quotation\\nis made. Some writers use them for\\nthe sake of emphasis, and copy in which\\nthey are so employed is a nuisance to\\neditors.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0237.jp2"}, "238": {"fulltext": "CHAPTER XIX.\\nTHE QUESTION OF TIMELINESS.\\nThere are two distinct ways in which\\ntimeliness will apply to contributions of-\\nfered for current publications One is the\\ntimeliness which will apply to special\\ndays and seasons, such as the Christ-\\nmas holidays, the Fourth of July, Wash-\\nington s Birthday, etc. The other, the\\ntimeliness that will enable an editor to\\npresent to his readers material touch-\\nSpecial ing upon important events, while they\\ndays and are engaging the public attention. As\\nseasons. an illustration of the latter, it may easily\\nhave been observed that during the late\\nwar editors of all sorts of publications\\ntook eagerly not only material that bore\\ndirectly upon the war itself, but every-\\nthing connected with war, and the move-\\nments of armies. Industrious writers\\nransacked both ancient and modern his-\\ntory to find how troops were equipped,\\nand fed, and handled; how navies were\\nbuilt, what improvements had been\\nmade in engines of war, how fortifica-\\ntions had been and now are constructed,\\nhow prisoners of war were treated, in", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0238.jp2"}, "239": {"fulltext": "PRACTICAL AUTHORSHIP\\n227\\nTimeliness in\\nregard to public\\nevents.\\nfact everything that pertained to hos-\\ntilities between two nations.\\nAs soon as the war was finished such\\nmaterial fell dead. Editors then could\\nonly be persuaded to use war material\\nfrom the pens of men who had made\\nthemselves famous in the conflict, de-\\nscribing the important events in which\\nthey had part. Even war poems, that\\nhad been so marked a feature of our\\nmagazines and newspapers for months,\\ncould hardly be given away a week\\nafter the declaration of peace.\\nOf course am^one who has material\\nthat is timely in its connection with\\npublic events, will be wise enough to\\noffer it for sale without the loss of a\\nsingle day. But some writers never\\nseem to learn just when to send out\\nmaterial that is timely in connection\\nwith special days and seasons. We\\nhave known writers of considerable ex-\\nperience who would send an article on\\nEaster to an illustrated magazine late\\nin February or earfy in March, or one\\nupon Christmas to a syndicate the 15th\\nof December.\\nOnly some knowledge of how publica-\\ntions are made up and printed and\\nissued will help one to arrive at the\\ncorrect methods of practice in these\\ncases. An illustrated magazine is often", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0239.jp2"}, "240": {"fulltext": "i528 PRACTICAL AUTHORSHIP\\non the press sixty days before it makes\\nits appearance upon the news-stands.\\nOr if not actually upon the press, the\\ntype has been set, the illustrations pre-\\npared, and the magazine is in process of\\nmake-up. At least a month prior to\\nthis, and often more, the material for\\nthe number has been selected, and the\\nHow editor knows just what is to be used.\\nand when timely Stories having a bearing upon a special\\nmaterial is season must be selected even in advance\\nof this period and put away with the\\nmaterial that is to go into the Christ-\\nmas or Easter number. Thus it may\\nreadily be seen that work submitted so\\nlate as the dates mentioned above can\\nhave no possible chance of acceptance.\\nThen comes the other question, how\\nearly or how much in advance of the\\ntime of publication may such seasonable\\nwork be offered? One editor has said,\\nand this not entirely with the desire to\\nbe facetious, that the best time to offer\\na Christmas story is\u00e2\u0080\u0094 the day after\\nChristmas. There is a grain of truth in\\nthis, but we should rather prefer to\\noffer the Christmas material in March\\nor April. That is, if it is intended for\\nthe larger illustrated magazines. For\\nthe smaller magazines and syndicates,\\nit ma}^ be offered as late as September\\nor the 1st of October; and for the news-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0240.jp2"}, "241": {"fulltext": "PRACTICAL AUTHORSHIP 229\\npapers, up to within a week or two of\\nthe time of publication. However, in\\nthis latter case the work that comes in\\ntoward the end of the time limit will\\nhave a slighter chance for acceptance\\nthan that which is offered earlier. It\\nrarely happens that an editor after ac-\\ncepting all the material that he will\\nneed to make tip an approaching special\\nissue, will take on other material that\\nmust be held over until the following\\nyear. We have known this to be done,\\nbut it was only when the material was\\nso very good that the editor could not\\nafford the chance of its escaping him and\\nfalling into other hands. As a rule all\\neditors desire fresh material, and not\\nJake that which. has been carried in their\\ntime by the files from season to season,\\nforelock. It must be considered also that a\\nmanuscript is not always accepted\\nby the first editor to whom offered.\\nRarer still is it, unless one pos-\\nsesses an overshadowing reputation,\\nthat a writer may send out a manu-\\nscript with a certainty that it will be\\nthus accepted at the first intention.\\nConsequently, with these seasonable\\narticles time must be taken b} r the fore-\\nlock, so that if a manuscript must\\nmake two or three or more journeys be-\\nfore arriving at the proper anchorage,", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0241.jp2"}, "242": {"fulltext": "230 PRACTICAL AUTHOKSHIP\\nit will have time to do so before the\\nspecial season has passed. This is a\\npoint that should not be overlooked.\\nThe following table of dates and top-\\nics, together with dates at which ma-\\nterial should be offered, will be found\\nworthy of a place on the desk of every\\nwriter.\\nJan. 1, New Year s Day July to Sept.\\nFeb. 2, Ground Hog Day Can-^j\\ndlemas.\\n12, Lincoln s Birthday. Q\\n14, St. Valentine s Day. f AUg t0 UCt\\n15, Maine blown up.\\n22, Washington s Birthday.\\nof M rch 4, Inauguration Day,\\nj a i es [every four years.] Sept. to Nov.\\n17, St. Patrick s Day.\\nor\\nApril Easter. Sept. to Nov.\\n1, All Fool s Day.\\n13, Jefferson s Birthday.\\n14, Lincoln s Assassination J Oct. to Dec.\\n23, Shakespeare s Birthday\\n27, Grant s Birthday.\\nMay 1, May Day, Dewey s vie-\\ntory at Manila.\\n24, Queen Victoria s Birth- Qy tQ Jan\\nday.\\n30, Decoration or Memorial\\nDay.\\nDec to Feb.\\nJune Graduates, Vacation, etc.\\n12, Flag Day.\\nJuly 3, Schley s victory at\\nSantiago. Jan. to Mar.\\n4, Independence Day.\\nAug. Midsummer Day. Feb. to Apr.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0242.jp2"}, "243": {"fulltext": "PRACTICAL ALTHORSHIP 231\\nSept.\u00e2\u0080\u0094 School.\\nSecond Monday, Labor I,,\\nDaj J Mar. to May.\\n10, Perry s Victory. J\\nOct. Harvest, Fruit, etc.\\n8-11, Great Chicago Fire. Apr. to June.\\n31, Hallowe en.\\nNov. Nuts, Turkeys, etc.\\n11 Last Thursday Thanks- V May to July.\\ngiving Day.\\nDec. 16, Boston Tea Party. T\\n25! Christmas Day. June to Aug.\\nTo these may be added the principal\\nSome Chinese and Jewish feast days of the\\nnational year, or a few of other nationalities\\ndays. which are celebrated in our country by\\nforeigners.\\nStories of general information relative\\nto these days will stand a much better\\nchance of acceptance in the right season,\\nthan miscellaneous contributions.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0243.jp2"}, "244": {"fulltext": "CHAPTER XX.\\nSYNDICATES.\\nThe literary syndicate is an out-\\ngrowth of the great expansion of the\\nmetropolitan newspaper. It is a thing\\nof comparatively recent r ears, the past\\ndecade having witnessed almost its en-\\ntire development.\\nThe newspaper has grown from a\\nmere chronicler of local events and hap-\\npenings into a compendium of all that\\nA necessity to takes place in the wide world. It has\\nnewspapers. added to this the publication of fiction,\\nit has sent travelers and explorers every-\\nwhere, correspondents with every army\\nthat has taken the field, and its repre-\\nsentatives have been present at even-\\ngreat event in the civilized world.\\nSome discerning man discovered that\\nit was a severe tax upon newspapers to\\nhave their own representatives every-\\nwhere, and that there was no reason why\\ntwo or three, or more journals situated\\nat widely separated points, should not\\ncombine for the gathering of expensive\\nnews. Then someone thought of tak-\\ning it upon himself to gather this mate-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0244.jp2"}, "245": {"fulltext": "PRACTICAL AUTHORSHIP\\n233\\nThe\\ndevelopment\\nof\\nthe syndicate\\nrial and dispose of it to various papers.\\nFinally, from the gathering of news,\\nthe syndicate man went to buying\\nnewspaper material of all sorts, includ-\\ning fiction, and selling it to as many\\njournals as he could, for simultaneous\\npublication. During recent years some\\nof the leading authors both of England\\nand America have found it to their ad-\\nvantage to sell the serial rights of their\\nwork to S3 r ndicates, who supplied it to\\nnewspapers throughout the English-\\nspeaking world. As a rule a syndicate\\nlimits its service to one paper in a city.\\nWe now have American syndicates\\nthat handle everything that newspapers\\ncan use. Others devote themselves to\\nspecial branches. One makes a specialty\\nof short stories, 1,500 to 2,500 words,\\nfor which it pays about the price that\\nwould be paid by a good newspaper.\\nIt has been known to syndicate work\\nbought in this manner, to more than\\neighty journals, receiving from each one\\nfair compensation, so that the total\\namount brought to it for a story was\\nof course vastly in excess of the amount\\npaid the author. Another syndicate\\ndevotes itself entirely to feature articles\\narticles that can be illustrated. Some\\nof the syndicates supply their material\\nin the form of proof sheets, while others", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0245.jp2"}, "246": {"fulltext": "234\\nPRACTICAL AUTHORSHIP\\nsend out stereotyped plates ready for\\nthe press.\\nThere is much to be said both for and\\nagainst the syndicate, both from the\\nstandpoint of editors and writers. It\\nmight seem at first that editors would\\nnot be willing to pay a very liberal\\nprice for matter not exclusively their\\nown. Yet by utilizing the services of\\nthe syndicate, they are saved much\\ntime and labor that would have to be\\ngiven to handling and examining great\\nIts merits amounts of manuscript in order to\\nand come at just what they want lor them-\\ndemerits. selves. The syndicate acts as a middle-\\nman, sorting out and rejecting the chaff\\nand bringing to the attention of news-\\npaper editors only that which seems\\nbest. The newspaper, in distinction\\nfrom the magazine, is only a thing of\\nthe day and its field of circulation is\\nlimited. It is read to-day and to-mor-\\nrow it exists not; and although the\\nsame material may appear in papers in\\nadjacent cities, it will not come before\\nthe readers in both. Magazines thus\\nduplicating material would neutralize\\nthe value and originality of each other,\\nbut not so with the newspapers.\\nFrom the author s standpoint the\\nsyndicate is not a good thing unless\\none can sell to the syndicate. To a cer-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0246.jp2"}, "247": {"fulltext": "PRACTICAL AUTHORSHIP 235\\ntain extent the s^mdicate cuts off the\\nwider marker which the newspapers\\nmight afford were it not for the syndi-\\ncate. On the other hand, it pays a\\nrather better price for material as a\\nIts rates of rule, and gives wide distribution to its\\npayment. material, so that the author and his\\nwork become known more widely\\nafield than would be possible through\\nthe medium of am r single journal. It is\\nalso true that some of the papers\\npatronizing syndicates would not be\\nbm r ers of original material.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0247.jp2"}, "248": {"fulltext": "CHAPTER XXI.\\nTHE ETHICS OF POSTAGE.\\nAny package not exceeding four\\npounds in weight may be sent by mail.\\nManuscripts, whether t} pe- written or\\npen-written, are subject to the letter\\npostage rate,two cents for each ounce or\\nfraction thereof. It does not make any\\ndifference whether they are sealed or not;\\nthe post-office department considers a\\nmanuscript the same as a letter.\\nWhile the full rate of postage must be\\npaid, it does not matter to the govern-\\nment whether it is all paid at the be-\\nPrepay postage ginning of the route, or whether a\\nin full. portion is paid by the receiver. So a\\nfour pound manuscript package, upon\\nwhich the full postage would be $1.28,\\nmay be sent from New York to San Fran-\\ncisco if one two cent stamp is affixed.\\nBut the man at the other end will have\\nto pay $1.26 before it will be delivered\\nto him.\\nRight here is where some writers\\nmake a serious mistake. They either\\nknowingly or carelessly put on less than\\nthe full amount of postage required,\\n236", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0248.jp2"}, "249": {"fulltext": "PRACTICAL AUTHORSHIP\\n237\\nDeficient pos-\\ntage may cause\\ntrouble.\\nand trust to the editor or publisher to\\nwhom their manuscript is sent, to make\\nup the deficiencj^. Some of them will do\\nthis, some will not. There are publish-\\ning offices which make it a rule to ac-\\ncept from the post office no manuscript\\nthat is not fully prepaid. Other Mss.\\ngo to the dead letter office, and from\\nthere notification is sent to the owner.\\nIf an editor takes from the office an\\nunderpaid package, making up the de-\\nficiency himself, he is already prejudiced\\nagainst the sender. If upon opening the\\npackage, he finds also that the sender\\nhas omitted to enclose return postage,\\nthe chances are that the manuscript\\nwill receive scant consideration.\\nThis may seem but a little thing when\\none considers a single manuscript. But\\nthere are many offices in which so many\\nunderpaid manuscripts are received,\\nthat the thing becomes really burden-\\nsome. A writer should have enough\\nrespect for himself and enough confi-\\ndence in his work to fully prepay it, and\\nto send the entire amount needed to\\ninsure its safe return.\\nA manuscript of more than one pound\\nweight may be sent to points not too\\nfar distant, by express, at a less charge\\nthan by mail. When sending an express\\npackage, it is best to notify the editor", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0249.jp2"}, "250": {"fulltext": "238 PRACTICAL AUTHORSHIP\\nbriefly by mail, giving the title of the\\nPut name on manuscript and the express line by\\nMs. which forwarded. Be very certain also\\nthat your name is affixed to your man-\\nuscript.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0250.jp2"}, "251": {"fulltext": "CHAPTER XXII.\\nA NEGLECTED FIELD.\\nThere is one branch of work largely\\nin demand by certain journals of vari-\\nous classes, which seems to be over-\\nlooked by the majority of writers. We\\nrefer to editorials. It is the general im-\\npression that editorials of newspapers,\\nmagazines, weekly literary journals,\\nWriting trade publications, etc., are entirely the\\neditorials. work of their editors. This is not al-\\nways true. Of course the business of\\nan editor is to write editorials, and this\\na great many of them do, supplying the\\nentire material of this sort needed by\\ntheir respective journals. Yet there are\\nother publications that are alert to se-\\ncure good articles bearing upon topics\\nof the day, that may be used in the edi-\\ntorial columns. We have known a\\nnumber of high class weekly journals\\nwhich make a specialty of clear and\\nconcise editorials dealing with the pert-\\ninent topics of the time, to use contrib-\\nuted articles in their editorial columns,\\nand to invite the senders to supply\\nother work of the same sort.\\n239", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0251.jp2"}, "252": {"fulltext": "240\\nPRACTICAL AUTHORSHIP\\nContributed\\narticles some-\\ntimes used as\\neditorials.\\nOf course it is understood that when\\na contributed article is used as an edi-\\ntorial, the writer loses the credit. On\\nthe other hand he usually receives abet-\\nter rate of compensation than would\\nbe the case if the article were used else-\\nwhere in the same journal. The writer\\nsome time ago found that an article\\nsubmitted in the ordinary manner to a\\nclass publication of high rank was used\\nin this manner, and taking the hint, he\\nadapted much of his work upon current\\ntopics to such use; never offering it as\\nan editorial, but preparing it in such\\nmanner that it could be so used almost\\nabsolutely without change. A fair pro-\\nportion of such work was accepted and\\nused in that manner, and the compensa-\\ntion received was invariably better than\\nfor other contributions to the same\\njournals.\\nSome of the large daily papers are\\nglad to have such contributions, as the\\neditors are not always able to keep up\\nwith the demands made upon them, for\\nfresh and original treatment of the var-\\nious topics that they must bring up for\\nthe consideration of their readers. An\\nover-worked editor is sometimes only\\ntoo glad to avail himself of the assis-\\ntance of an intelligent contributor who\\nmay relieve him once in a while from the", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0252.jp2"}, "253": {"fulltext": "PRACTICAL AUTHORSHIP\\n241\\nWhat\\na newspaper\\neditor does.\\nSome examples\\nof\\ngood editorial\\nwork.\\ndrudgerj- of his daily task. What this\\ndaily task may be in a great newspaper\\noffice is shown by the recent statement\\nof one of the older and abler journalists\\nof our country, one who was for a long\\ntime editor-in-chief of a great metropol-\\nitan newspaper, to the effect that for\\ntwenty years he had been accustomed\\nto write three columns of editorial mat-\\nter each night between the hours of\\neleven and one o clock.\\nA little observation will teach a writ-\\ner what journals really use editorials,\\nand what merely have some editorial\\ncomment upon matters and things.\\nPerhaps the New York Sun, among\\nnewspapers, Collier s Weekly, among\\nliterary weeklies, and The Country\\nGentleman, among class publications,\\nafford the best examples of original and\\ntrenchant editorial work, sustained in\\nevery issue throughout the year.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0253.jp2"}, "254": {"fulltext": "CHAPTER XXIII.\\nARTICLES OF INFORMATION.\\nIt has been well said that to be a\\nwriter one need not be an author. In\\nour current publications, there is room\\nfor a vast amount ol material which\\ncould not by any stretch of the imagina-\\ntion entitle its writer to claim a place\\namong authors. This is not said by\\nway of belittling such work, but to\\nshow the immense opportunities for all\\nMaterial in who can write intelligently upon prac-\\ngreat demand, tical subjects. Articles of information\\nare in demand by all classes of journals,\\nfrom the newspaper and domestic\\nmonthly up to the leading magazines.\\nThese articles may be the result of study,\\nof travel, and of research along many\\nlines. These are the higher levels of ar-\\nticles of information, and are usually\\nthe product of those who make journal-\\nism a profession.\\nBut there is another field to which we\\nwould call particular attention. That\\nis the One which demands practical ar-\\nticles which are the result of experience\\nupon matters of homelife,child-training,\\n242", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0254.jp2"}, "255": {"fulltext": "PRACTICAL AUTHORSHIP 243\\nthe care of the health, culinary affairs,\\neducation, etc. Those most competent\\nto write along these lines are house-\\nkeepers, mothers, teachers, who are\\nPractical lines careful observers and who have sum-\\ntor work. cient tact to choose wisely what to say,\\nand who are acquainted with the or-\\ndinary rules which govern the accept-\\nable preparation of manuscript. Such\\nmay not only receive a fair recompense\\nfor such work from the press, but may\\ndiscover a medium for doing much good\\nthereby.\\nSuch articles will find the readiest ac-\\nceptance with the many journals de-\\nvoted to the home. They should not\\noften be long. Papers of 200 to 500\\nwords will be found more acceptable\\nthan those of greater length. Much\\nWhat various literary skill is not needed in the prepa-\\njournals ration of these, but one should be able\\nto give clear expression to facts and\\nideas, and to write good, terse, vigor-\\nous English. The agricultural journals\\nuse a great deal of such material, as do\\nalso the religious journals which have\\na household department. In the home,\\nor woman s department of some of the\\nlarger metropolitan dailies, space is also\\ngiven to such material in one issue each\\nweek usually the Saturday or Sunday\\nissue.\\nuse.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0255.jp2"}, "256": {"fulltext": "244 PRACTICAL AUTHORSHIP\\nIn preparing articles of this sort, we\\nwould suggest that writers observe\\nPlain what we have said in our chapter upon\\nmethods for writing for trade journals. That is,\\npractical that in practical work one may write\\nbest and succeed best by confining one-\\nself to the topics regarding which he has\\nthe widest and most explicit knowledge", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0256.jp2"}, "257": {"fulltext": "CHAPTER XXIV.\\nTHE LITERARY CRITIC.\\nThe part of the critic, as commonly\\naccepted in literature, is to take the fin-\\nished and printed work of the author,\\nand to tell the public whether it is good\\nor bad and to show why it is so.\\nBut there is another view-point for\\ntire critic, and that is in his relations to\\nHis the literary beginner. The beginner in\\nvalue to the literature, as the beginner in art, or in\\nbeginner. j^ e sciences or the trades, is often chiefly\\nremarkable for the things that he does\\nnot know about the profession upon\\nwhich he has chosen to embark.\\nIt is not uncommon for the r oung\\nwriter to think that because he has\\nsomething to say he must necessarily\\nknow how to say it. But this does not\\nalways follow. If he wishes to get the\\near of editors and through them reach\\nthe ear of the great public, he must con-\\nform to certain standards. Not only\\nmust he be grammatically correct and\\ntechnically correct in other particulars,\\nbut he must avoid certain forms of ex-\\npression, and the introduction of cer-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0257.jp2"}, "258": {"fulltext": "246\\nPRACTICAL AUTHORSHIP\\ntain matter which is almost invariably\\nthe sign manual of the amateur. It is\\nmore the sins of commission than of\\nomission of which the young writer\\nmust beware. The trouble usually is\\nthat he overdoes his matter, rather\\nthan the reverse. He is apt to be too\\nCommon verbose, too flowery, too redundant of\\nerrors of young speech. In such a case, if he can sub-\\nwriters, mit his work to one who understands\\nthe technique of his art, who can ex-\\namine and criticise it from the stand-\\npoint of the editor, before it is submitted\\nfor editorial approval, he certainly\\nshould be the gainer.\\nIn this connection we must warn the\\nyoung writer that the criticism of\\nfriends is not to be depended upon.\\nNor is it always safe to trust, as some\\nwriters seem bent upon doing, to other\\nand older writers for an opinion. It is a\\nfact well known among editors that\\nmany able writers are wholly unable to\\njudiciously criticise their own work. In\\nthem the editorial faculty appears to be\\nwholly lacking, and they are not com-\\npetent to pass judgment upon the work\\nof themselves or of others. It is only\\nafter an author has occupied an editor-\\nial position that he can safely be de-\\npended upon to give to others criticism\\nand advice which is wholly reliable. So", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0258.jp2"}, "259": {"fulltext": "PRACTICAL AUTHORSHIP 247\\nif one can command the services of a\\nSecure competent professional critic, who will\\ncompetent read his manuscript with no purpose\\ncriticism. but to determine and report upon its\\ncharacter and availability for publica-\\ntion, it will often be well to do so.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0259.jp2"}, "260": {"fulltext": "CHAPTER XXV.\\nTHE VALUE OF WORK.\\nWriters are made, not born. There\\nmay be some exceptions, which only\\nprove the rule; but skill in composition,\\nin literary technique, in concise and dra-\\nmatic expression, is acquired, as all\\nthings else that are worth having are\\nacquired, by application.\\nIt matters little what direction your\\nwork may take, your first efforts will\\nSkill have a certain crudeness which you can-\\nthe result of not be rid of by criticism, by the study\\napplication. of models, or by any aid outside your-\\nself. True, criticism and advice may\\nhelp, but only to direct you toward the\\npaths in which you may do for yourself.\\nLongfellow was a poet from his youth.\\nThe poetic instinct was early and\\nstrongly developed in him, yet in his\\nmature years he would have been glad\\nto consign to oblivion much that his\\npen had given to the world before he\\nhad schooled himself by assiduous ap-\\nplication, and so perfected his art. Guy\\nde Maupassant, who became the master\\nof the fueilleton, giving within a few\\n248", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0260.jp2"}, "261": {"fulltext": "PRACTICAL AUTHORSHIP\\n249\\nyears more than three hundred admir-\\nable short stories to the Parisian press,\\nstudied for seven years under an inexor-\\nable master, who destro\\\\^ed daily that\\nSome examples which had been written. At last, the\\nof pupil having perfected his method by\\napplication. unceasing practice, the master per-\\nmitted him to print. Well would it be\\nfor many of us if our creations were thus\\ndestroyed by somekeen^ed critic, more\\nalive to their defects than we can ever\\nbe to our own, yet seeing the promise\\nof better things if we have but the cour-\\nage and patience to work toward their\\naccomplishment.\\nPractice perfects. We do not question\\nthis in any physical matter. No one\\npretends to perfection in any handicraft\\nPractice until a long apprenticeship has -been\\nperfects. served. The painter goes to school and\\nlearns, by patiently following the work\\nof a master, all the details of his art, be-\\nginning with the mixing of his pigments.\\nBut the writer!\\nBut the writer, you say, cannot al-\\nways have a master. True. Then let\\neach be his own preceptor. Write, and\\ndestroy, and write again. Do not write\\nthe same thing, but take new ideas,\\nnew scenes, new characters, and clothe\\nthem with new literary form. Thus you\\nwill acquire facility, and diversity.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0261.jp2"}, "262": {"fulltext": "250 PRACTICAL AUTHORSHIP\\nA young story writer often fears that\\na time will come when his stories will\\nall have been told. Sometimes he looks\\nahead and is perplexed that no more\\nimages arise upon the palimpsest of his\\nbrain, to be set forth upon the written\\npage. This is most often so during a\\nperiod when creative work has been\\nsuspended. I think all writers of fiction\\nwill agree with me that the longer these\\ncreative faculties have been in disuse,\\nthe stronger is this haunting fear. The\\nOne thought writer questions if he will ever again be\\ndoth tread upon able to conjure up those fancies that\\nanother s once came so readily. I have seen facile\\nwriters of stories almost in despair at\\nthis thought. But when they were once\\nmore really at work, fancies would arise\\nmore thick and fast than ever. Perhaps\\nthere was difficult}^ in getting the foun-\\ntain started again. Thought was slug-\\ngish, and the first story proved formless\\nand unsatisfactory. But the next was\\nbetter, and more easily done, and the\\nnext, and the next, and the next, until\\nthey fairly tumbled over one another so\\nrapidly and eagerly did they press for\\nutterance. The writing of a story may\\nstart a train of thought that will bring\\nforth a dozen, as fast as they can be put\\nupon paper. The more stories one\\nwrites, the more are conjured forward\\nheel.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0262.jp2"}, "263": {"fulltext": "PRACTICAL AUTHORSHIP 251\\nfrom the recesses of the brain where\\nthey have been hidden.\\nThus, work develops the imagination.\\nThe writer who has his harness on\\nsteadily is never at a loss for something\\nto write about; this plaint is the sign-\\nmanual of the writer who has not yet\\nlearned the first lesson in his literary\\nSearching primer. II you must search and cudgel\\nfor something your brain for something to write\\nto write about you may feel pretty certain that\\nwhen the thing is done it will prove to\\nhave been not worth the doing. Real,\\nearnest writers, who are thoroughly\\nin the work, find their difficulty to be\\nquite another sort; they have all the\\ntime so many topics pressing them that\\nit troubles them to pick and choose\\nwhich shall have first attention.\\nNow, when the thought-waves have\\nbeen started by actual application to\\nthe task in hand, let them come as the\\nwater flows from a fountain that is\\noverfull. Do not be afraid of writing\\ntoo much; you need only fear offering\\ntoo much for publication. Write all\\nthat you can; then scrutinize closely,\\ndestroy the bad, and put aside that\\nKeeD right on which you think good, until it may ripen,\\nwriting. -Let there be no cessation in your\\nwork. It will be more difficult to get\\nstarted again, than to keep right on.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0263.jp2"}, "264": {"fulltext": "252 PRACTICAL AUTHORSHIP\\nDo not be afraid of an accumulation of\\nmanuscripts. A writer is hardly se-\\nriously in the field unless he has a half\\nhundred manuscripts of various sorts,\\nready for and seeking a market.\\nThe athlete makes himself still more\\nstrong by constant exercise. The pugi-\\nlist trains and hardens himself for the\\nconflict. The builder and the machinist\\ntoil to perfect themselves in the details\\nof their work. The painter and the\\nA lesson from sculptor grow continually by the accom-\\nthe athletes. plishment of each successive task.\\nAmong all men, it seems that only the\\nwriter hopes to evolve out of his poor\\nlittle egg-shell of a brain, at once, with-\\nout practice, application, or training,\\nsomething that the world shall think of\\nvalue.\\nThe earliest productions of a writer\\nusually deserve the flames, nothing\\nmore. Because editors return them as\\nunavailable, only shows that editors\\nhave a modicum of worldly wisdom. And\\na writer who is discouraged by such re-\\nfusal, and who is not willing to take it\\nas a hint that he has yet somewhat to\\nlearn of an art in which the greatest of\\nthe world have striven, deserves only\\nfailure.\\nThe art of literature is vast, all-reach-\\ning. Have yon a message for men, now", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0264.jp2"}, "265": {"fulltext": "PRACTICAL AUTHORSHIP 253\\nThat and for all time to come? Then is it not\\nwhich you do worth your while to learn to say it so\\ndo well. that t ou may compel them to hear?", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0265.jp2"}, "266": {"fulltext": "CHAPTER XXYI.\\nTHE PROFESSION OF AUTHORSHIP.\\nThe press has recently had much to\\nsay about writers, and particularly a-\\nbout writers for the publications em-\\nbraced in the classification, periodical\\nliterature, viz: the monthlies and lit-\\nerary weeklies, and to which should\\nnow be added the Sunday editions of\\nthe great dailies.\\nThe various articles published have\\nmainly pui ported to give advice and in-\\nformation to beginners in the art of\\nauthorship, and to literary aspirants in\\ngeneral: and while some items have been\\nComment of the given showing the financial compensa-\\npress. tion of certain writers, or the pa}anent\\nreceived for certain work, little has been\\ntold upon which the average income\\nmight be predicated, or the average re-\\nturn for accepted work be arrived at.\\nPerhaps it is true that no average basis\\ncan be arrived at for these matters; yet\\ninformation is available that ma}^ help\\nto convey a more or less exact idea of\\nthe probabilities and possibilities\\na more exact idea certainly than offered\\n254", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0266.jp2"}, "267": {"fulltext": "PRACTICAL AUTHORSHIP 255\\nby any of the above articles that have\\ncome under my observation.\\nIn this country now are some thous-\\nands of persons who are gaining or\\ntrying to gain a livelihood by writing.\\nAmong them are a few men and women\\nof brilliant genius, and there are a few\\ndolts. The success of the former is as-\\nsured, and we will not concern about\\nthe exact amount of their incomes; they\\nare at least enabled to keep the wolf\\nfrom the door. The failure of the latter\\nis equally sure, and consequently the\\npublic can have little interest in their\\nephemeral appearance in the liter arj-\\nThe earnings of arena.\\nwriters. After dismissing these extremes there\\n3^et remain a large number of honest,\\nindustrious workers, who have consider-\\nable intellect, if no great degree of gen-\\nius. Upon these the rank and file of\\nthe pen-wielders the editors of our\\nmagazines and other periodicals depend\\nmainly for the great bulk of the mater-\\nial that fills their columns. A few great\\nnames may be advertised in the pros-\\npectus, but an examination of the index\\nwill show that comparatively obscure\\nwriters have furnished the major por-\\ntion of the contents. Comparatively\\nobscure means that while their names\\nmay be somewhat known in the purely", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0267.jp2"}, "268": {"fulltext": "256 PRACTICAL AUTHORSHIP\\nliterary world, and familiar in editorial\\nrooms, they are as yet almost wholly\\nunrecognized by the great mass of the\\nreading public. Names that are wholly\\nnew to the cursory reader appear con-\\ntinually; and that brings me to the first\\nquestion asked b} r the literary aspirant\\nHow shall I get in?\\nA newspaper paragraph, said to have\\nbeen inspired by a reader for a promi-\\nnent magazine, has been going the\\nrounds, stating that onty a small por-\\nFor the tion \u00c2\u00b0f the manuscripts received by the\\nconsideration leading periodicals are even examined,\\nof unless coming from some one who is\\nthe beginner, already a contributor or whose name is\\nwell known. It is strange that such a\\nstatement should meet with any cre-\\ndence. A magazine following such\\nmethods would be largely cut off from\\nnew thought and new ideas.\\nA very practical refutation of this is\\nfound in the fact that new names are\\nconstantly appearing, and that the old\\nones do not appear with such frequency\\nas to preponderate among the whole. If\\nthe miscellaneous offerings were not ex-\\namined these new writers would not be\\ndiscovered, nor their contributions be-\\ncome available for making up that in-\\nfinite variety which the best periodicals\\naim to place before their readers with\\neach recurring number.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0268.jp2"}, "269": {"fulltext": "PRACTICAL AUTHORSHIP 257\\nIn looking over my accounts I find\\nthat within three years from the time\\nof offering my first manuscript, I re-\\nceived pay from nearly thirty publica-\\ntions, the list embracing many of ac-\\nknowledged standing and a few of the\\nvery highest class. Had there been any\\nprejudice against the beginner in litera-\\nture this of course would not have been\\npossible. It shows rather that even the\\nmost unpromising offerings are eagerly\\nscanned in the hope of finding something\\nnew and printable. And it may interest\\nsome to know that I never had a man-\\nuscript returned without having reason\\nto believe that it had been read at least\\nfar enough to convince the editor that\\nit would not meet his needs. I do not\\nmean by this that I have ever laid puer-\\nile traps by which I might catch an edi-\\ntor in the dereliction of his duty.\\nI believe that letters of introduction\\nare very rarely of any use, although I\\nhave never tried them for myself. But\\nDepend it was my fortune recenth^ to make the\\non your own acquaintance of a young man of fine ed-\\nucation and wide experience of the\\nworld, a Harvard graduate and son of\\na foreign minister of note, who had been\\nfor two years knocking in vain at the\\ndoors of almost every editorial sanctum\\nin the country. He had been backed (or\\nmerits.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0269.jp2"}, "270": {"fulltext": "258 PRACTICAL AUTHORSHIP\\nhandicapped) by an appalling array, of\\nletters of introduction from .leading\\nstatesmen and litterateurs, but had not\\nsucceeded in getting a single line pub-\\nlished. This young man also confided\\nto me that he was certain his manu-\\nscripts were often returned unread; for\\nhe had at times inadvertently al-\\nlowed certain pages to become fastened\\nThe only together by stray drops of mucilage,\\nway to gain and other pages to become disarranged\\nfavor. from their proper numerical order. I\\nsuggested that perhaps this was one\\nreason why his work was returned, and\\nadvised him to be done with such devices,\\nto throw away his letters, and begin\\nanew solely upon his merits. The only\\nway to get in is to offer material that\\neditors want. If you have the goods\\nand send them to the right shops, you\\nwill eventually succeed in selling them.\\nBut after getting in Does it Pay?\\nI know it is rather the fashion to\\nsneer at one who avowedly writes for\\nmoney, at one who makes the financial\\naspect of his work the first consideration.\\nBut in this, as in other emplo\\\\ntnents,\\nmen will usually put forth their best ef-\\nforts for the purpose of securing some\\ntangible reward, and so in hoc signo\\nvznces.\\nIn discussing the question of remuner-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0270.jp2"}, "271": {"fulltext": "PRACTICAL AUTHORSHIP 259\\nation I shall confine mj^self to the great\\nbody of writers who are not famous:\\nthose who write for periodicals, and\\nsend their Mss. wherever the chances\\nseem best for finding a market. Not\\nonly is the matter of acceptance left to\\nthe discretion of the editor, but he is\\nalso the arbiter of the value of their\\n\u00e2\u0096\u00a0work. And right here is where a large\\namount of misinformation obtains, and\\nupon this misinformation is based the\\nwildest estimate regarding a writer s\\nincome. One s friends learn that he has\\nreceived a hundred or even two hundred\\nA wide range of dollars for a certain article or story,\\npayment. One or two weeks of stead\\\\^ application\\nwere required for its production, and\\nfrom this is figured an income of $100\\nper week, or a possible Hyc thousand in\\na year. They do not know that the\\nnumber of periodicals that pa} r one hun-\\ndred dollars for a single article is ex-\\ntremely limited, and a new writer may\\nbe considered fortunate to sell even one\\nof his productions at this price. Those\\nnot upon the inside, either as sender or\\nrecipient, would be surprised to see how\\ngreat a part small checks play in mak-\\ning tip the income of the average writer.\\nThose ranging from five dollars to\\ntwenty dollars are much more frequent\\nand vastly easier to obtain than those\\nof larger denominations.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0271.jp2"}, "272": {"fulltext": "260\\nPRACTICAL AUTHORSHIP\\nA modest\\nbeginning is\\nbest.\\nA wide\\ndifference.\\nIt may be considered rather a misfor-\\ntune than otherwise for a writer to re-\\nceive large compensation for his work\\nat the outset of his career. In my own\\ncase it was distinctly a detriment. The\\nfirst two manuscripts disposed of\\nbrought me one hundred dollars each.\\nAnd it was some little time thereafter\\nbefore I was thoroughly convinced that\\nit was compatible with my literary dig-\\nnity to accept much smaller sums for\\nwork that I believed equally good.\\nThe variation in the rates of payment\\nby different periodicals, for the same\\nclass of work, is confusing to a new\\nwriter. The manuscript which, if ac-\\ncepted, would bring an hundred dollars\\nfrom one periodical may finally be dis-\\nposed of for one-tenth that sum: and\\nsome publications of good standing and\\nlarge circulation do not disdain to send\\neven as little as five dollars for an arti-\\ncle or story of good length say 3,000\\nto 5,000 words and of quality, to say\\nthe least, which is acceptable to them.\\nIt may be disheartening to an ambi-\\ntious writer to sell for so paltry a sum\\nthe brilliant figment of his brain, for\\nwhich so much better payment was\\nconfidently expected when it was first\\nsent abroad: but this is better than not\\nto sell it at all.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0272.jp2"}, "273": {"fulltext": "PRACTICAL ALTHORSHIP 261\\nBut at such prices, does literature\\npay? Let us see.\\nAlmost the best practical advice for\\nwriters that I have ever seen, is con-\\nPractical tained in Mr. Eugene Field s answer to\\nadvice. one who asked what were the best aids\\nto literar\\\\^ success. A good stub pen,\\nand eight hours of steady work every\\nday, said the serious humorist. This\\nrule means simply steady application.\\nOne cannot well write eight hours per\\nday without turning off something of\\nvalue. If he cannot accomplish some-\\nthing, the drudgery of it will soon prove\\nso exasperating that the self-imposed\\ntask will be abandoned. If something\\nsalable is evolved each day, though it\\nbe small in itself, and a market is per-\\nsistently sought, and found, the final\\noutcome will be fairly remunerative.\\nOne reason why many who attempt it\\nfail to make the business of authorship\\nprofitable, is that they neglect to make\\nDespise and to market these little things. The\\nnot the small rondeau may seem almost too small to\\nthings. offer an editor, but it may be just what\\nhe needs to lighten a page, and he ac-\\ncepts it and sends you a check for a\\ncouple of dollars, and bears you grate-\\nful^ in mind when you come again.\\nThe little adventure, the anecdote, or\\nthe singular coincidence that has come", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0273.jp2"}, "274": {"fulltext": "262 PRACTICAL AUTHORSHIP\\nunder your own observation may be\\nwritten out in a little time, and may\\nbring a cheek for four or five dollars\\nwithout interfering seriously with the\\nmore important tasks in hand. These\\nmatters, thrown in as an addition to\\nthe regular grind will help materially\\nto supplement the income.\\nNow about the regular grind. A\\nwriter who is at all prolific, who can\\nkeep his stub pen going eight hours per\\nday, or even less, should be able to turn\\noff four or five thousand words of copy.\\nTo keep this up he must be versatile, or\\nat such a pace he will soon be out of ma-\\nterial. But if he can write short stories,\\nThe amount articles on current events, travel and\\nof a writer s descriptive sketches, etc., he should be\\noutput. able to maintain this rate of production.\\nYet, supposing .him inclined to give\\nmore attention to quality than toquan-\\nity,then this amount may be condensed,\\nrefined, polished and rewritten, and re-\\nsult in two thousand or twenty-five\\nhundred words of good material. Now\\nthat the machine has so largely taken\\nthe place of the stub pen,this amount of\\nproduction should be possible for any\\nwriter. Taking even the lowest rates of\\npayment, such a day s output cannot\\nbring less than Hyq dollars, if it brings\\nanything at all, and one would have to", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0274.jp2"}, "275": {"fulltext": "PRACTICAL AUTHORSHIP 263\\n-cater to a very poor class of publica-\\ntions indeed, if it brought no more than\\nthis.\\nConsequently, even at the lowest\\nrates, if one can sell his entire product,\\na fair income is assured to a steady wri-\\nter. And probably most of those who\\nfollow the profession of literature, de-\\nvote enough time and attention to the\\nFiguring up the business end of the work to ensure a\\ntotal market finally for all or nearly all that\\nthey produce. One trouble is, that wri-\\nters are not often steady workers.\\nEither the elation of success or the de-\\nspondency of failure will serve them as\\nexcuse for leaving their desks for a pro-\\ntracted period, until some new inspira-\\ntion moves them toresumetheir labors.\\nYoung writers are often cautioned\\nagainst writing too much. If a man\\nhas his bread to earn he will probably\\nturn off all the work of which he is cap-\\nable and for which he thinks he can find\\na market, although much of it may be\\nvery poor, and such as he will wish to\\ndisclaim in after years. Notwithstand-\\ning this, a writer cannot w^rite too\\nmuch. The writing habit grows with\\nthat it feeds on: the more one writes,\\nthe more he can write\\nThere are other rewards for the liter-\\nary worker, besides the purely financial", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0275.jp2"}, "276": {"fulltext": "264\\nPRACTICAL AUTHORSHIP\\nDollars\\nnot the only\\nrewards.\\none. Notwithstanding Mr. Field s\\neight hours per day, few writers habit-\\nually give more than five or six hours\\nof the twenty-four to their desks. This\\npermits more leisure, greater opportun-\\nity for rest, study, reading, recreation\\nand social duties than the majority of\\nbusiness or professional men can afford.\\nTheir work often being performed at\\nhome permits more intimate associa-\\ntion with their own family circle. Not\\nbeing tied to an office or business that\\ndemands constant attendance in one\\nplace, they are free to travel as fancy\\ndictates, and the purse permits, and this\\ntravel enlarges their scope in their\\nchosen profession.\\nIf you are ready to work hard, and\\nwait patiently, there is nothing to dis-\\ncourage you from entering upon the\\npursuit of literature.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0276.jp2"}, "277": {"fulltext": "CHAPTER XXVII.\\nTHE WRITER OF TRAVEL.\\nOver the hills and far away!\\nI want a change of scene and out-\\nlook for a few months, and would like a\\nposition as traveling correspondent and\\ncontributor. Would be content, as a\\nbeginning, with traveling and living ex-\\npenses, and a small salar\\\\^. Can 3^ou\\nput me in the way of gaining a position\\nof this kind?\\nThe above is an extract from a letter\\nrecently at hand from a writer who has\\ndone much work in stories, and other\\ndepartments of literary endeavor, but\\nWhat now wishes to broaden her field. We\\none writer quote it, because it is a sample of the\\nwanted. requests that come to us almost daily,\\nand we have thought that a few words\\nupon this subject might be appreciated\\nby many of our readeis.\\nAll the world loves to travel, and the\\nmajority of people who become able to\\ngratify their pet ambitions do journey\\nhither and thither over the earth. At a\\ncertain stage in their career most writ-\\ners become possessed strongly with the\\ndesire to travel; they wish to write\\n265", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0277.jp2"}, "278": {"fulltext": "266 PRACTICAL AUTHORSHIP\\ntravel, and they believe, and rightly,\\nthat such broader knowledge as they\\nmay obtain by seeing how the other\\nhalf of the world lives, will help them in\\nmany ways in their work. This is true.\\nOne who can travel, and who studies\\nattentively and appropriates to himself\\nTravel the numberless things that present\\na universal themselves to his observation, will\\ndesire. gather a fund of information, and will\\nfind his field broadened most wonder-\\nfully. It would not be difficult to name\\na dozen writers who at the best were\\nwinning but small renown in limited\\nfields, but who, having opportunities\\nfor travel, made their names known\\nand their work appreciated by a wide\\ncircle.\\nSo w r e acknowledge that the desire of\\nour correspondent is a wise and legiti-\\nmate one but how shall it be gratified?\\nFew writers have the means to travel\\nbroadly. It is expensive, and the risk\\nis too great to be assumed individually,\\nor at least they imagine so, and conse-\\nquently look for some publication to\\nback them with expenses and a small\\nsalary.\\nBut it is quite as easy for a camel to\\npass through the eye of a needle as to\\nsecure this desideratum. Very nearly all\\npublications like good travel work,", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0278.jp2"}, "279": {"fulltext": "PRACTICAL AUTHORSHIP 267\\nbut not well enough to employ- a writer\\nregarding whose powers in this parti-\\nHow cular line they know nothing. After one\\ntravel writer has done this work, and shown his\\nmay begin. adaptability- for it, very good arrange-\\nments ma^^ easily be secured. But the\\nthing that hundreds wish to know is,\\nhow can the start be made?\\nIt is not realry difficult to find the\\nchance to show what you can do. Are\\nyou contributing with any frequency to\\nanY journal? No matter how small or\\ninsignificant it is, only so that it pay-s\\nfor what it uses. If you have such a\\nconnection, the editor will be glad to\\ngive you what aid he can, in your en-\\ndeavor to broaden out. Do not take\\nyour map now and look for the farth-\\nest point upon the surface of the earth,\\nand ask him to send you there for he\\nwould not do it. But select the point\\nnearest home, where there is anything\\nworth writing about in a descriptive\\nway r It will not cost you much to get\\nthere, and y r ou must expect to go upon\\nyour own expense. Now having select-\\ned your point, and knowing what you\\nwill find there to write about, ask your\\nfriend the editor if he will use such an\\narticle, if you will go there and prepare\\nit. The chances are that he will. Now\\nmake the most of this little entering", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0279.jp2"}, "280": {"fulltext": "PRACTICAL AUTHORSHIP\\nGood\\ntravel work in\\ndemand.\\nAll classes\\nof publications\\nopen.\\nwedge. Do the very best work that\\nyou are capable of, even if you know\\nyou will not more than pay expenses.\\nIf it is acceptable, he will give you\\nanother chance, and next time you can\\ngo a little further afield, and do more\\narticles, with very little added expense.\\nPerhaps you can find another paper\\nthat will take something from the same\\ntrip. Once in, as a travel writer, with\\nany journal, the connection is more\\neasily held than almost any other. As\\nI have said, very many journals desire\\nsuch material, and good material of\\nthis sort is not easily secured.\\nAfter a time, if you have developed an\\nadaptability for good descriptive writ-\\ning, foreign travel will beckon you.\\nNow comes the culmination of your de-\\nsires. These journals for which you\\nhave been working will give you a\\nbasis, an agreement to take a certain\\nnumber of letters, at a given price. If\\nthese contracts will cover your ex-\\npenses, you can safely start out. The\\nother material that you will secure, and\\nof which you know nothing in ad-\\nvance, will enable you to gain a footing\\nwith still other and better publications;\\nand by the time you have written and\\nsold all that you have gleaned, possibly\\n3 7 ou will be glad you were not under\\ncontract with any single paper.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0280.jp2"}, "281": {"fulltext": "PRACTICAL AUTHORSHIP\\n269\\nTravel\\nan education.\\nAs the seasons\\nchange.\\nThe writer of this began to do travel\\nwork in the manner here indicated, and\\nnot so very many years ago; and now\\nwould not care greatly to accept a\\ncommission from any single publica-\\ntion, as a half dozen are ready to take\\nall the material of this sort that he will\\noffer, whenever he desires to go afield,\\nat prices that well repay the journey-\\ning.\\nThe field of travel is one of the most\\nenticing to which a writer can devote\\nhimself. It gives such great opportuni-\\nties for increasing one s knowledge, for\\nbroadening his ideas, for procuring new\\nmaterial for fiction, if that be within\\nhis compass. It affords change, a thing\\nthat writers need, in order to keep them\\nphysically up to the demands made up-\\non their nervous energies. And, if suc-\\ncessful, there are few branches of work\\nthat return a better financial reward.\\nThe travel writer may properly take\\naccount of timeliness. In the winter the\\nresidents of the northern states journey\\nsouth, and Florida, the Gull Coast,\\nMexico, Cuba, the Bermudas, etc., are\\nlocalities of interest to those who re-\\nmain at home. In the summer the\\nnorth Atlantic sea coast, the Great\\nLakes, the St. Lawrence, etc., are of\\nequal interest, and the writer should be", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0281.jp2"}, "282": {"fulltext": "270 PRACTICAL AUTHORSHIP\\nguided by these facts. The large news-\\npapers in winter will devote consider-\\nable space to letters from the southern\\nresorts, and in summer to the same ma-\\nterial from the north. These letters\\nmay describe the scenery and different\\nphases of life, together with notes upon\\nthe movements of people.\\nThat places have been described once\\nor many times is no bar to their utility\\nfor later comers. They may be written\\nof from different view points, and the\\nOld individual treatment of different writers\\nmateria! served mav fit the same topic exactly for the\\nafresh. needs of different editors. Then too, one\\nwriter ma}^ be able to discover some-\\nthing of interest that another writer\\nhas omitted; and there are so many\\nplaces for the publication of such work\\nthat one need hardly be afraid to give\\nhis time and talents to a careful descrip-\\ntion of almost an3^ place in the world,\\nprovided he will give equal time and\\ncare to finding the proper market when\\nit is done.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0282.jp2"}, "283": {"fulltext": "talented.\\nCHAPTER XXVII L\\nSONG WORDS, AND HYMN WRITING.\\nConsidering the important place oc-\\ncupied to-day by the song, it seems\\nstrange that in this country the depart-\\nment of literarjr work upon which it\\ndepends should be so little cultivated.\\nIn England the writing of song words\\nhas attained a high point of perfection.\\nIn Germany the development is proba-\\nAn bly not inferior. But here in America a\\nopening for the composer is fortunate if he can obtain\\nwords which, so far from giving impe-\\ntus to his imagination, do not positively\\ntrouble him to render acceptable at all.\\nTo seek all the reasons for this neglect\\nwould be beyond my present purpose.\\nThe field is remunerative more so than\\nfor most other forms of verse, and the\\nwork is less exacting. It is probable,\\ntherefore, that no particular obstacle\\npresents itself, but that our American\\nliterati have merely failed to turn their\\nattention in this direction; and believ-\\ning this, it seems that consideration of\\nsong words, their qualities and the", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0283.jp2"}, "284": {"fulltext": "272 PRACTICAL AUTHORSHIP\\nmethods of attaining these, may be of\\nuse.\\nThe essential requirement in all song\\nwords is that they appeal strongly to\\nthe feelings. This they will do according\\nas they employ the emotional qualities\\nof style, or picturesqueness. Naturally\\ni these qualities are very nearly akin, and\\nso may readily give place to each other.\\nThe natural inclination, too, is for the\\npicturesque to pass into the emotional:\\nfor, in poetry, at least, no vivid image\\nis likely to be presented that does not\\nThe technique at once arouse some emotion: this, in\\nof poetry, is the chief object of the pictur-\\nsong writing. esque./ Nevertheless, there are many\\nsongs in which the emotional predomi-\\nnates, and calls upon the picturesque\\nonly to occasionally reinforce it. Such\\nsongs are to be found more frequently\\nin operas and kindred works, where the\\npicturesque is mechanically provided\\nfor. The famous numbers Hear Me,\\nNorma, Ernani, Involami, and\\nSalve Dimora, are of this kind. In-\\ndeed, when in the opera, such songs may\\nforsake the picturesque entirely, and be-\\ncome pure expressions of feeling. But\\nwith the isolated song this is rare; and\\nit is the isolated song that chiefly con-\\ncerns us.\\nIf we turn to existing song words,", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0284.jp2"}, "285": {"fulltext": "PRACTICAL AUTHORSHIP\\n273\\nAn illustration\\nof\\nthe picturesque\\nand\\nemotional.\\nabundant illustration of the above\\npoints will be found. Take, first, Sir\\nArthur Sullivan s song/ Let Me Dream\\nAgain, the words of which are by B.\\nC. Stephenson. The first stanza and re-\\nfrain are as follows:\\nThe sun is setting and the hour is late.\\nOnce more I stand before the wicket gate.\\nThe bells are ringing out the dying day,\\nThe children singing on their homeward way,\\nAnd he is whisp ring words of sweet intent\\nWhile I, half doubting, whisper a consent.\\nRef.\\nIs this a dream? Then waking would be pain\\nOh do not wake me, let me dream again.\\nThis is an excellent illustration of the\\npicturesque leading into the emotional.\\nAs the scene, by deft descriptive touches,\\nis made more vivid and complete, it\\ngives place naturally to an expression\\nof strong feeling. Such a song presents\\nto the composer excellent opportunities\\nfor a well-rounded composition, and\\nthe form is therefor a favorite. To it\\nbelong most songs with a refrain, such\\nas Maid of the Mill, Blue Alsatian\\nMountains, and Anchored. Many\\nsongs too that have no formal refrain,\\nbut simply lead at the close of each\\nstanza or at the close of the whole to\\nan emotional climax, are to be classified\\nhere; as, for instance, the popular song\\nAnswer.\\nFor a song with more of the pictures-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0285.jp2"}, "286": {"fulltext": "274 PRACTICAL AUTHORSHIP\\nq tie and less of the emotional, let us\\nnow consider one of the best of later\\nsongs, Daddy, written by Mary\\nMark Lemon, composed by A. H.\\nOf the Behrend. Here is the first stanza:\u00e2\u0080\u0094\\npicturesque.\\nA picture in a\\nsong.\\nTake my head on your shoulder, Daddy,\\nTurn your face to the west.\\nIt is just the hour when the sky turns gold,\\nThe hour that mother loves best.\\nThe day has been long without you, Daddy,\\nYou ve been such a while away,\\nAnd now you re as tir d of your work, Daddy,\\nAs I am tired of my play.\\nThen comes the refrain (which is al-\\ntered in language, but not in spirit, for\\neach stanza)\\nBut I ve got you, and you ve got me,\\nSo ev ry thing seems right.\\nI wonder if mother is thinking of us,\\nBecause it s my birthday night.\\nPure painting is this, disguised\\nthough it be. Each word, as it falls\\nfrom the lips of a singer, suggests an\\nimage, adds a picturesque detail. The\\nchildish voice rambles on, wonders at\\nthe father s tears, wonders whether,\\nwhen they go to heaven, the mother\\nthere will know them; but we are hard-\\nly conscious of what it says. Somehow\\nit all but serves to strengthen the\\npicture that picture of lonely affection,\\ndisappointed hopes, uncomplaining sor-\\nrow, at which we gaze with dimmed\\neyes. That is what we are gaining", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0286.jp2"}, "287": {"fulltext": "PRACTICAL AUTHORSHIP 275\\nfrom the song; that, and nothing else.\\nBut so well do we gain it that at the\\nclose of the last stanza we find that\\nDaddy and the child are not any\\nlonger for us the creations of a song,\\nbut have taken fair place with the\\nrealities of our lives.\\nA song illustrating as well, perhaps,\\nthe predominance of the emotional as\\nany song not from an opera will do, is\\nTake Back the Heart, by Claribel.\\nWe give an amount that makes one\\nstanza in music, there being two such:\u00e2\u0080\u0094\\nTake back the heart that thou gavest,\\nWhat is my anguish to thee\\nTake back the freedom thou cravest,\\nLeaving the fetters to me.\\nThp\\nTake back the vows thou hast spoken,\\npurely Fling them aside and be free.\\nemotional. Smile o er each pitiful token,\\nLeaving the sorrow for me.\\nDrink deep of life s fond illusion,\\nGaze on the storm-cloud and flee\\nSwiftly thro strife and confusion,\\nLeaving the burden to me.\\nHere the first stanza is purely emo-\\ntional, even the figure in the fourth\\nline being used in too abstract a way to\\nbe picturesque, while yet full of feeling.\\nAn analysis. In the second stanza, however, the line,\\nSmile o er each pitiful token, is dis-\\ntinctly picturesque, and is good. In the\\nlast stanza, Gaze on the storm-cloud\\nand flee, is, like the first figure, too ab-", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0287.jp2"}, "288": {"fulltext": "276 PRACTICAL AUTHORSHIP\\nstract to call any very distinct image\\nto our minds; and it is further out of\\nharmony with what has preceeded, and\\nin its elaboration in the succeding two\\nlines has a tendency to give the whole\\nstanza the somewhat ludicrous sound\\nof petulant complaint.\\nBefore ending the quotations we will\\ngive one where the picturesque is em-\\nployed toward a different end from the\\nabove. The song instanced is The\\nOwl, written by T. E. Weatherly,\\nprobably the best of English writers of\\nsong words. The music is by Stephen\\nAdams. We give the words entire:\\nThere pass d a man by an old oak tree.\\nTo-whoo! 1 said the owl, to-whoo!\\nHis hair was wild, and his gait was free.\\nHe must be a lover, said the owl in the tree.\\nTo-whoo, to-whoo, to-whoo.\\nWhither away? said the owl as he passed.\\n-Whither away, fair sir, so fast?\\nAn example g0 quo th he, a maid to woo,\\nof A maiden young and fair and true.\\nthe humorous. To woo? said the owl, to woo?\\nIs anybody true in the world? To-whoo\\nHa, ha, laughed the lover, as away he sped,\\nThat s just like an owl, he said,\\nThat s very like an owl, he said.\\nThere pass d a man by an old oak tree,\\nTo-whoo! said the owl, to-whoo!\\nHis face was as long as long could be.\\nHe must be married, said the owl in the tree.\\nTo-whoo, to-whoo, to-whoo.\\nHis gate was neither slow nor fast.\\nHe shook his fist at the owl as he pass d,\\nOh! oh! said the owl, it s you! it s you!", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0288.jp2"}, "289": {"fulltext": "PRACTICAL AUTHORSHIP 277\\nAnd haven t you been the maid to woo?\\nTo woo? said the man, to woo?\\nThere s nobody fair or young or true.\\nHo, ho, laughed the owl, as he went to bed,\\nThat s just like a man, he said,\\nThat s very like a man, he said.\\nWhile this is a very clever bit of\\nhumor, the type will not, perhaps, com-\\npel so much attention as others, for the\\nreason that it is well fitted only for\\nencore work, or in double numbers,\\nand therefore does not ever create a\\nlarge demand. The type is nevertheless\\na wholesome antidote to sickly senti-\\nmentality, and deserves to be cultivat-\\ned.\\nIn concluding, a few words of practi-\\ncal bearing may be acceptable. The\\nwriter who wishes to turn his atten-\\ntion to song words would better begin\\nby studying a wide range of songs.\\n5 ome The quotations given cover the more\\nsuggestions. common t3 pes. But there are many\\nmore, which are exemplified by Bed-\\nouin Love Song, by Bayard Taylor,\\nQueen of the Earth, King Davy,\\nAcross the Bridge, Calvary, and\\nothers. These are all of different\\ncharacter; yet in all the merit depends,\\nas we have seen, upon the picturesque\\nand emotional force of the language.\\nNo rules can create a talent for these;\\nbut talent might be directed by observ-\\ning the following:", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0289.jp2"}, "290": {"fulltext": "278 PRACTICAL AUTHORSHIP\\nr Outline the scene at the very begin-\\nning.\\nChoose only salient points for descrip-\\ntion.\\nMake the movement rapid.\\nRules, Do not appeal to reason or reflection t\\nbut to feeling and imagination, and as\\naids to this,\\nBe objective and concrete, not sub-\\njective and abstract;\\nAvoid similes except for a sparing use\\nof those that are very short and simple,\\nand have picturesque or emotional\\nforce; and\\nBe brief with metaphors, besides mak-\\ning them picturesque and emotional.\\nFinally, let me observe in confirma-\\ntion of the last four rules, that almost\\nall of the words for music that the\\ngreater poets have given us are ludi-\\ncrously unfit for the purpose because of\\nthe exercise of the reasoning faculties\\nThe effort that they compel; to illustrate this we\\nof a famous close by requesting the reader to exam-\\npoet, ine the following Stanzas for Music,\\nby Lord Byron, referring the lines back\\nto the rules mentioned (particularly the\\nsecond stanza to the last rule) and\\nimagining, if he can, the effect of the\\nstauzas in the mouth of a singer:\\nThere s not a joy the world can give like that it\\ntakes away,\\nWhen the glow of early thought declines in feeling s dull\\ndecay;", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0290.jp2"}, "291": {"fulltext": "PRACTICAL AUTHORSHIP 279\\nTis not on youth s smooth cheek the blush alone, which\\nfades so fast,\\nBut the tender bloom of heart is gone, ere youth it-\\nself is passed.\\nThen the few whose spirits floats above the wreck of\\nhappiness\\nAre driven over the shoals of guilt or ocean of excess\\nThe magnet of then course is gone, or only points in vain\\nThe shore to which their shiver d sails shall never\\nstretch again.\\nOh could I feel as I have felt, or be what I have\\nbeen,\\nOr weep as I could once have wept, o er many a\\nvanish d scene;\\nAs springs in deserts found seem sweet, all brackish thought they\\nbe,\\nSo midst the wither d waste of life, those tears would\\nflow to me.\\nLiterary work in most of its various\\nA departments has been freely discussed,\\nneglected but ver\\\\- little has been published about\\nbranch of hymn writing.\\npoesy. While many inferior hymns have ap-\\npeared before the public, these have\\ngenerally received just condemnation.\\nThe best music writers of the day are\\nconstantly trying to raise the standard\\nof gospel hymns b} r paying for good\\nwork, even though they are flooded by\\ngratuitous contributions of a doubtful\\nquality.\\nIn hymn writing, even more than in\\nwriting poetrj care should be given to\\nrhythm, and the science of lyrical verse.\\nOne cannot make a hymn by stringing", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0291.jp2"}, "292": {"fulltext": "technicalities of\\nhymn-writing.\\n280 PRACTICAL AUTHORSHIP\\na lot of religious phrases together, but\\nmust have a definite thought to ex-\\npress. Having decided upon a subject,\\nnext find a meter. If a verse has al-\\nready formed in your mind, prove its\\ncorrectness by singing it to some re-\\nliable tune. If the subject is of a solemn\\nnature, select a meter of like import; if\\nglad or gay, or inspiring, select a cor-\\nresponding movement to be your guide\\nin writing the hymn.\\nBe careful that two syllables are\\nm Q L r n \u00c2\u00b0t crowded into the space designed for\\none; and see that the accented words or\\nsyllables are placed where they belong\\non the accented notes of the measure.\\nThis method has proved a great help\\nto many writers, but the hymn must be\\ncarefully sung and corrected before it is\\nsubmitted, as faults of accent or sylla-\\nbication will condemn it in the eyes of\\nany good composer.\\nThe flippant, familiar way in which\\nsome writers have used sacred Bible\\ntruths, is greatly to be deplored. It\\nlowers the work and has raised a just\\nprejudice against gospel hymns, some\\nchurches completely discarding them,\\nusing for all their services the regular\\nChurch Hymnal.\\nOpening a book at random, we read:", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0292.jp2"}, "293": {"fulltext": "PRACTICAL AUTHORSHIP 281\\nI m kneeling at the mercy seat\\nWhere Jesus answers prayers.\\nI feel the blood, it s coming now,\\nI know I m almost there.\\nWhere? Evidently the last line is used\\nonly to fill up, and rhyme with the word\\nprayer. The third line is an irrever-\\nent allusion to the shedding of Christ s\\nblood on Calvary, and is wholly inex-\\nA bad example, cusable as the words have neither sense\\nnor reason. How often we are hurled\\nfrom the sublime to the ridiculous by\\nsome thoughtless phrase, or irreverent\\nsimile. One should criticise his own\\nhymns and revise every doubtful or\\nawkward sentence, cut out superfluous\\nwords, stick to the theme, and see that\\nevery line is pure and reverent.\\nAs to the market for hymns, there is\\nconstant demand for the best.\\nIra D. Sankey writes: I have about\\na thousand hymns on hand, but there\\nis room for great hymns.\\nE. 0. Excell, one of our most success-\\nful composers, is always glad to exam-\\nine new hymns. While particular as to\\nquality of the verse he accepts, he is\\nkind and generous in his dealings with\\nwriters.\\nW.J. Kirkpatrick is a favorite music\\nwriter. He is glad to examine hymns,\\nand is friendly and prompt in his corre-\\nspondence.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0293.jp2"}, "294": {"fulltext": "desire.\\n282 PRACTICAL AUTHORSHIP\\nOne of our most experienced and pro-\\nlific composers, Asa Hull, writes: My\\nmost pressing need is for first-class ma-\\nterial. I want hymns that have inspir-\\nation and soul. Good ideas, perfect\\nrhythms, strong rhymes. Sunday\\nSchool anniversary hymns are needed.\\nIt seems as if the whole United States\\nare sending me hymns, but good ones\\nWhat are hard to obtain.\\nthe composers g. S. Lorenz uses a good deal of ma-\\nterial, is prompt and considerate in his\\ndealings. He writes: The characteris-\\ntics I look for in a successful hymn are\\nas follows: A happy title. A good,\\nstrong, helpful central thought, ex-\\npressing not an individual, unusual ex-\\nperience, but one common to all pious\\nsouls. Good literary form and style.\\nSuggestive musical rhythm varied to\\nsuit the sentiment of the hymn. A\\nwriter who can not get out of the\\ngrooves of common meters, lacks liter-\\nary power and resourcefulness.\\nT. Martin Towne, who has long been\\nthe musical editor of David C. Cook s\\nSunday School publications, has used\\nmany hymns adapted to that line of\\nwork, as well as gospel hymns for his\\nown compositions, song words, and lib-\\nrettos for his popular Cantatas. Years of\\nliterary work render his criticism espe-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0294.jp2"}, "295": {"fulltext": "composers.\\nPRACTICAL AUTHORSHIP 285\\ndaily valuable as regards either words\\nor music.\\nThere is a wide range of prices for\\nhymns. As before intimated, there are\\nmany writers who for the sake of seeing\\ntheir names in print will give away\\ntheir work.\\nSome composers never pay more than\\none dollar per hymn, others two or\\nPrices paid for three dollars apiece. One writes: I\\nhymns. can get all I want for ten dollars a\\ndozen, but I am willing to pay two dol-\\nlars each for any that just suit me.\\nAnother writes: I am delighted with\\nit is a great success. I would\\ngladly pay ten dollars for another song\\nlike that. It is like every other branch\\nof literature; stand at the head and you\\nwill receive good remuneration.\\nThe following composers purchase\\nhymns:\\nJ. Lincoln Hall, 1020 Arch Street, Philadel-\\nphia, Pa.\\nAsa Hull, 132 Nassau Street, New York.\\nChas. H. Gabriel, 56 Washington Street, Chi-\\ncago, 111.\\nList of James M. Black, Willianisport, Pa.\\nGeo. D. Elderkin, Oak Park, 111.\\nAlfred Bierly, 215 Wabash Ave., Chicago.\\nS. V. R. Ford, 150 Fifth Ave., New York.\\nJ. P. Vance, 262 Wabash Ave., Chicago.\\nJ. E. Sweeney, Chester, Pa.\\nW. K. Kirrpatrick, 2009 N. 15th St. Phila.", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0295.jp2"}, "296": {"fulltext": "284 PRACTICAL AUTHORSHIP\\nJ. H. Kurzenknabe, Harrisburg, Pa.\\nT. C. O Kane, Delaware, O.\\nIra D. Sankey, 148 South Oxford Street, Brook-\\nList of lyn, New York.\\ncomposers E. O. Excell, Lakeside Building, Chicago.\\ncontinued. T. Martin Towne, 1218 Wrightwood Ave.,\\nChicago.\\nE. S. Lorenz, Dayton, 0.\\nGeo. F.Roche, 940 W. Madison Square, Chicago.", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0296.jp2"}, "297": {"fulltext": "CHAPTER XXIX.\\ndox ts for writers.\\nDon t fail to remember:\\nThat editors hate cringing letters.\\nThat your manuscript, if accepted\\nwill be on its own merits, not on yours.\\nThat you must never get discouraged\\nbecause your manuscripts come back.\\nThat an author is no judge of his own\\nwork.\\nPithy points. That success comes onry through per-\\nseverance.\\nDon t send a pen written manuscript\\nto any editor if you want it read prompt-\\nly and carefully.\\nDon t send any manuscript without\\nstamps for its return.\\nDon t paste the stamps on your man-\\nuscript(nor to your letter)so that they\\nmust be torn off.\\nDon t omit to put your name and ad-\\ndress at the top of the first sheet. It is\\na good plan to put it also at the bottom\\nof the last one.\\nDon t send an editor a dozen other\\nmanuscripts the minute he has accepted", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0297.jp2"}, "298": {"fulltext": "286 PRACTICAL AUTHORSHIP\\nyour first one. He may wish to take\\nsomething from other contributors.\\nDon t put stampsloosein an envelope.\\nThey are apt to drift into the waste\\nbasket.\\nDon t send stamps at all, if you can\\npossibly send a return envelope with\\nthe stamps already affixed.\\nDon t fancy that editors are prej-\\nudiced against you.\\nDon t wrong the editor by thinking\\nthat the stuff in the latest number of his\\nPithy points. magazine is not half so good as yours\\nwhich he returned.\\nDon t send an editor a long list of the\\nwork that you have published and ex-\\npect him to be influenced by it to accept\\nthe manuscript submitted.\\nDon tell him that he can have your\\nwork for nothing. He will reason that\\nthe laborer is worthy of his hire.\\nDon t write long letters to editors.\\nDon t fasten the sheets of your manu-\\nscript to one another with clamp,\\nthread or ribbon. Page the sheets plain-\\nly at the top, and leave them so loose\\nthat an editor may shuffle them like a\\npack of cards.\\nDon t re- write a rejected manuscript\\nand return it to the editor asking con-\\nsideration again.\\nDon t send a lot of newspaper clip-", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0298.jp2"}, "299": {"fulltext": "PRACTICAL AUTHORSHIP 287\\npings about yourself and your work,\\nand expect to have them returned. Edi-\\ntors are deluged with that sort of thing;\\nand it is troublesome to keep track of\\nPithy points. the clippings; and if they are not re-\\nturned, the editor is probably bothered\\nby a request for them weeks after they\\nhave passed beyond his possible know-\\nledge.\\nTHE end.", "height": "4247", "width": "2654", "jp2-path": "practicalauthors00reev_0299.jp2"}, "300": {"fulltext": "", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0300.jp2"}, "301": {"fulltext": "", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0301.jp2"}, "302": {"fulltext": "Deacidified using the Bookkeeper process.\\nNeutralizing agent: Magnesium Oxide\\nTreatment Date: Sept. 2007\\nPreservationTechnologies\\nA WORLD LEADER IN PAPER PRESERVATION\\n111 Thomson Park Drive\\nCranberry Township, PA 16066\\n(724)779-2111", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0302.jp2"}, "303": {"fulltext": "", "height": "4240", "width": "2746", "jp2-path": "practicalauthors00reev_0303.jp2"}, "304": {"fulltext": "", "height": "4285", "width": "2824", "jp2-path": "practicalauthors00reev_0304.jp2"}}