FOOTNOTES:
[G] What do you think of that!
[XV.]
FROM THE
FACTORY'S FILES
A letter of commendation from the reader of a story to the writer is not only a pleasant thing in itself but it proves the reader a person of noble soul and high motives. Noblesse oblige!
The writer who loves his work is not of a sordid nature. The check an editor sends him for his story is the smallest part of his reward. His has been the joy to create, to see a thought take form and amplify under the spell of his inspiration. A joy which is scarcely less is to know that his work has been appreciated by others.
A letter like the one below, for instance, not only gives pleasure to the recipient but at the same time fires a writer with determination never to let his work fall short of a previous performance. This reader's good will he must keep, at all hazards.
"Wayland, N. Y., March 22nd, 1905.
Mr. John Milton Edwards,
Care The F. A. Munsey Co., New York.
My dear Sir:I read the story in this last Argosy, entitled 'Fate and the Figure Seven,' and was in a way considering if it were possible that a man could act in the subconscious state you picture. Deem my surprise, last night, when I read of a similar case in the report of the Brockton accident.
In case you should have failed to notice this item, I send you a clipping from a Buffalo paper.
I WISH INCIDENTALLY TO THANK YOU FOR YOUR SHARE IN MAKING LIFE PLEASANT FOR ME. I have enjoyed your works immensely from time to time on account of their decidedly original ideas. They are always refreshingly out of the ordinary rut.
Yours truly,
A. F. V——."
There is one sentence in this letter which Edwards has put in capitals. If possible, he would have written it in letters of gold. In this little world, so crowded with sorrow and tragedy, what is it worth to have had a share in making life pleasant for a stranger? To Edwards it has been worth infinitely more than he received for "Fate and the Figure Seven."
Another letter carries an equally pleasant message:
"Livingstone, Montana, Sep. 16, 1903.
Mr. John Milton Edwards,
Care The Argosy, New York City.
Dear Sir:Having read your former stories in The Argosy on Arizona, and last night having commenced 'The Grains of Gold,' I trust you will pardon my expression of appreciation of said stories. I lived ten years in Arizona as private secretary to several of the Federal Judges, and also lived in Mexico, and am still familiar with conditions in that section.
I have enjoyed most keenly your handling of thrilling scenes on Arizona soil. It is an exasperation that they appear in serial form, as I dislike the month's interval.
My only purpose in writing is to express my admiration of your plots and local color, and I remain,
Sincerely yours,
Richard S. S——."
Edwards has always prided himself on keeping true to the actual conditions of the country which forms the screen against which his plot and characters are thrown. This is a gratifying tribute, therefore, from one who knows.
A letter which rather startled Edwards, suggesting as it did the Maricopa Indian incident which trailed upon the heels of "A Study in Red," is this:
"Colorado Springs, Colo., 2-25-'09.
Mr. John Milton Edwards,
Dear Sir: Through the kindness of the editor of the Blue Book I received your address. I am very much interested in your story entitled, 'Country Rock at Kish-Kish,' and know the greater part of it to be true to life, but would like to know if it is ALL true. Did Sager have a daughter? And where did Sager go when he left Arizona? Or is that just a part of the story? I am very much interested in that character, Sager. Can you tell me if he is still living, and where? Any information that you may be able to give me will be more than appreciated.
Thanking you in advance for the favor, I am,
Yours respectfully,
Mrs. James R. S——."
Edwards answered this letter—he answers promptly all such letters that come to him and esteems it a privilege—and received a reply. It appeared that Mrs. S— was the grand-daughter of a man whom "Sager" had robbed of a large amount of money. "Country Rock at Kish-Kish" was built on a newspaper clipping twenty years old. This clipping Edwards forwarded to Mrs. S— in the hope that it might help her in her quest for "Sager." The letter was returned as uncalled for. Should this ever fall under the eye of Mrs. S— she will understand that Edwards did everything in his power to be of assistance to her.
Now and again a letter, which compliments an author indirectly, will chasten his mounting spirit with the reminder of a "slip:"
"Rochester, N. Y., Nov. 17, 1905.
Mr. John Milton Edwards:
Dear Sir:—Will you please tell me where I can get more of your stories than in the Argosy; and also, in reference to your story which concludes in December Argosy, how many large autos were in use in New York in 1892?
Yours respectfully,
Howard Z——."
Carelessness in a writer is inexcusable. It is the one thing which a reader will not forgive, for it is very apt to spoil his pleasure in what would otherwise have been a good story. This is a sublimated form of the "gold-brick game," inasmuch as the reader pays his money for a magazine only to find that he has been "buncoed" by the table of contents. If there is a flaw in the factory's product, rest assured that it will be discovered and react to the disadvantage of everything else that comes from the same mill.
Many readers will be found whose interest in a writer's work is so keen that they are tempted to offer suggestions. Such suggestions are not to be lightly considered. Magazines are published to please their readers, and they are successful in a direct ratio with their ability to accomplish this end. Naturally, the old doggerel concerning "many men of many minds" will apply here, and a single suggestion that has not a wide appeal, or that fails to conform to the policy of the magazine, must be handled with great care.
"Cincinnati, Ohio, Oct. 31, 1905.
Mr. John Milton Edwards,
Care Frank A. Munsey Co.,
New York.
Dear Sir:Because of the increasing interest in Socialism, would it not be a good idea to write a story showing under what conditions we should live in, say, the year 2,000, if the Socialists should come into power?
You might begin your story with the United States under a Socialistic form of government, and later on Socialize the rest of the world.
Your imaginative stories are the ones most eagerly sought in the pages of The Argosy, and I think that a story such as I have suggested would serve to increase your popularity among the readers of fiction.
Sincerely yours,
J. H. S——."
It frequently happens that a comedian will get after a writer with a stuffed club or a slapstick. Some anonymous humorist, upon reading a story of Edwards' in The Argosy, labored and brought forth the following:
"November 19, 1904.
John Milton Edwards,
Care Frank A. Munsey Co.,
New York.
My dear John:—I have read with much pleasure and delight the first six chapters of your latest story, 'At Large in Terra Incognita,' as published in the December number of The Argosy.
I cannot understand why you failed to send me the proof-sheets of this story for correction, as you did with 'There and Back.' It is evident so far as I have read the person who corrected your proof-sheets was as ignorant as yourself.
Where you got the material for this story is not within my memory, retrospective though it is, and I am sure you must have been on one of your periodical drunks, otherwise the flights of fancy you have taken would have been more rational and not so far removed beyond the pale of the human intellect.
Now, my dear John, I beg of you to give up going on these habitual tears, because you are not only ruining your constitution but your reputation as a writer is having reflections cast upon it. I trust you will not take this letter as a sermon but rather in a spirit of friendly counsel.
I hope you will send me at once the remaining chapters of this great 'At Large in Terra Incognita.'
Your Nemesis,
Theo. Roosenfeldt,
Pres't Trust-Busters' Asso."
Readers have usually the courage of their convictions and not many anonymous letters find their way into the office of the Fiction Factory. Edwards remembers one other letter which was signed "Biff A. Hiram." At that time Edwards did not know Mr. Biff A. Hiram from Adam, but he has since made the gentleman's acquaintance, and discovered how wide is his circle of friends.
If praise from a reader has a tendency to exalt, then how much more of the flattering unction may a writer lay to his soul when approval comes from a brother or sister of the pen? With such a letter, this brief symposium from the Factory files may be brought to a close.
"Mr. John Milton Edwards,
Dear Sir:—Allow me to congratulate you upon your success with the novelette in a recent issue of the Blue Book. It is to my mind the BEST short story of its kind I have EVER read. As I try to write short stories I see its merits doubly. The modelling is splendid. Will you pardon my display of interest?
Very truly yours,
K. B——."
Rules for Authors.
Dr. Edward Everett Hale, author of "The Man without a Country," and other notable books, gives a few rules which are of interest to the author and the journalist. Dr. Hale's success in the literary world makes these rules, gleaned from the field of experience, especially valuable to young writers:
1. Know what you want to say.
2. Say it.
3. Use your own language.
4. Leave out all fine phrases.
5. A short word is better than a long one.
6. The fewer words, other things being equal, the better.
7. Cut it to pieces—which means revise, revise, revise.
1. Know what you want to say.
2. Say it.
3. Use your own language.
4. Leave out all fine phrases.
5. A short word is better than a long one.
6. The fewer words, other things being equal, the better.
7. Cut it to pieces—which means revise, revise, revise.
[XVI.]
GROWING
PROSPERITY
The years 1902 and 1903 were busier years than ever for the Fiction Factory. Nineteen-two is to be remembered particularly for opening a new departure in the story line in The Argosy, and for placing the first book with the G. W. Dillingham Company. Nineteen-three claims distinction for seeing the book brought out and for boosting the Factory returns beyond the three-thousand-dollar mark. But it must not be inferred that the book had very much to do with this. Edwards' royalties for the year were less than $100.
In September, 1902, Edwards made one of his customary "prospecting" trips to New York. If there was anything in omens his stay in the city promised dire things. On the second day after his arrival he went to Coney Island with a friend. Together they called on the seventh son of a seventh son and had their palms read. The dispenser of occult knowledge assured Edwards that the future was very bright, that Tuesday was his lucky day and that Spring was the best time for him to consummate his business undertakings. That day, as it happened, was Tuesday. In the teeth of this promising augury, and within ten minutes after leaving the palmist's booth, some Coney Island "dip" shattered Edwards' confidence in Tuesday by annexing his wallet. The wallet, as it happened, contained all the money Edwards had brought from home, with the exception of a little loose change.
This was the second time Edwards had been all but stranded in the Metropolis, and this time the stranding was more complete. When he cast up accounts that evening he found himself with a cash balance of $1.63. Fortunately Mrs. Edwards was not along. He had left her at home with the understanding that she was to come on later. When a writer has come within hailing distance of the bread line there remains but one thing to do, and that is to start the Factory going with day and night shifts.
Edwards called on Mr. White, of The Argosy, and outlined a serial story. He was told to go ahead with it. For five days Edwards hardly stirred from his room. At the end of that time he had completed "The Desperado's Understudy," and had sold it to Mr. White for $250, spot cash.
After completing this serial, Edwards outlined to Mr. White a novelette which would furnish The Argosy with something new in the fiction line. The plot was based on a musical extravaganza which he had written, several years before, in collaboration with Mr. Eugene Kaeuffer, at one time connected with The Bostonians. Nothing had ever come of this ambitious effort, although book and musical score were completed and offered to Mr. McDonald of The Bostonians and to Mr. Thomas Q. Seabrooke. Mr. White liked the idea of the story immensely and gave Edwards carte blanche to go ahead with it.
This story, "Ninety, North," paved the way for other fantastic yarns which made a decided hit in The Argosy and so pointed Edwards along a fresh line of endeavor which proved as congenial as it was profitable.
Several months before he visited New York Edwards had sold to The McClure Syndicate, a juvenile serial which may be referred to here as "The Campaign at Topeka." For this he had been offered $200, which offer he promptly accepted. He had not received a check, however, and was at a loss to understand the reason. To this day the reason remains obscure, although later events pointed to a misunderstanding of some kind regarding the story between the Syndicate and one of its readers. Before Edwards left New York he was paid the $200. More than a year afterward he was informed that the serial had been sold to the Century Company for St. Nicholas, and that after publication in that magazine it was to be brought out in book form.
It was Mr. T. C. McClure who put Edwards in touch with the Dillingham Company and referred him to them as prospective publishers, in cloth, of the successful Syndicate story, "A Tale of Two Towns." Edwards submitted galley proofs of the serial to Mr. Cook of the Dillingham Company, and ultimately signed a contract to have the book published on the usual royalty basis of ten per cent.
For Harte & Perkins, during the year, the Factory ground out nickel novels, juvenile serials, one sketch for the trade paper and a few detective stories. On Nov. 28, after he had returned home from New York, he was notified:
"Much as I regret to inform you of it, by a recent purchase of copyright stories we are placed in a position where we will not require any further material for any of our five-cent libraries for some time to come, so we must discontinue orders to you for all this material."
Edwards, in a way, had become hardened to messages of this kind. The Argosy was an anchor to windward, and he resolved to give his attention to serials for Mr. White. In December, 1902, and January and February, 1903, he wrote and forwarded "Ninety, North," a second fantastic story called "There and Back," and the Arizona serial "Grains of Gold." All three of these stories were sold at once, bringing in $700. In a letter dated Oct. 14, 1903, Mr. White had this to say about "There and Back:"
"Thanks for letting me see the enclosed letter regarding 'Ninety, North.' I am equally pleased with yourself at its significance. I am wondering whether you have heard much about your story 'There and Back?' My impression is that that has been one of the most popular stories you have ever written for The Argosy. When I see you I will tell you an odd little circumstance that occurred in connection with its run in the magazine."
The circumstances referred to by Mr. White took place in Paris. One of The Argosy's readers happened to be in a café, looking over proofs of a forthcoming installment of "There and Back" while at her luncheon, when she heard the story being discussed, in complimentary terms, by a number of Frenchmen at an adjoining table. Strange indeed that Frenchmen should be interested in an American story, and stranger still that The Argosy's reader should be reading an installment of the very same story while men in that foreign café were discussing it!
The first installment of "There and Back," Mr. White informed Edwards, had increased The Argosy's circulation seven thousand copies.[H]
On March 2 Harte & Perkins requested Edwards to continue work on the old Five-Cent Library. By taking up this work again he would be diminishing the Factory's serial output, but he reflected that his fertility in the matter of serials would soon have Mr. White over-supplied. Therefore Edwards decided to go on with the nickel weeklies.
In March, as Mr. MacLean of The Popular Magazine once put it, Edwards "came out in cloth," the Dillingham Company issuing "A Tale of Two Towns" on St. Patrick's Day.
What are the feelings of an author when he opens his first book for the first time? If you, dear reader, are yet to "get out in cloth" for the first time, then some day you will know. But, if you value your peace of mind, do not build too gorgeous an air castle on the foundation of this printed thing. Printed things are at the mercy of the reviewers and, in a larger sense, of the great reading public. The reviewers, in nearly every instance, were kind with "A Tale of Two Towns." In many quarters it was praised fulsomely, but the book did not strike that fickle sentiment called popular fancy. In six months, Mr. Cook, of the Dillingham Company, wrote Edwards that "A Tale of Two Towns" was "a dead duck." In the December settlement, however, the remains yielded royalties of $96.60. For two or three years the royalties trailed along, and finally the edition was wound up with a payment of $1.50. Sic transit gloria!
During January, 1903, a theatrical gentleman requested Edwards to dramatize a book which Messrs. Street & Smith had issued in paper covers. "You can change the title," the gentleman suggested, "and slightly change the incidents. In that way it won't be necessary to write Street & Smith for permission or, indeed, to let them know anything about it." Edwards knew, however, that nothing will so surely wreck a writer's prospects as playing fast and loose with editors and publishers. He refused to consider the theatrical gentleman's proposition. Instead, he forwarded his Argosy story, "The Desperado's Understudy," upon which Mr. White had given him dramatic rights, and offered to make a stage version of it. The offer was accepted and a play was built up from the story. The theatrical gentleman was pleased and said he would give $1,500 for the dramatization. Then, alas! the theatrical gentleman's company went on the rocks at the Alhambra Theatre, in Chicago, and Edwards had repeated his former playwriting experience.
The two years' work figured out in this wise:
| 1902: | ||
| 23 | Five-Cent Libraries @ $40 each | $ 920.00 |
| 8 | detective stories @ $40 each | 320.00 |
| 4 | juvenile serials @ $100 each | 400.00 |
| 1 | sketch for trade paper | 10.00 |
| "The Desperado's Understudy," | 250.00 | |
| "The Campaign at Topeka," | 200.00 | |
| Short stories | 67.00 | |
| ———— | ||
| Total | $2167.00 | |
| 1903: | ||
| 42 | Five-Cent Libraries @ $40 each | $1680.00 |
| 2 | detective stories @ $40 each | 80.00 |
| "Ninety, North," | 150.00 | |
| "There and Back," | 250.00 | |
| "A Sensational Affair," short story, | 15.00 | |
| "Grains of Gold," | 300.00 | |
| "Fate's Gamblers,"[I] | 100.00 | |
| "The Morning Star Race," short story, | 15.00 | |
| "A Game for Two," | 200.00 | |
| Royalties on book, "A Tale of Two Towns," | 96.60 | |
| "The Point of Honor," | 150.00 | |
| ———— | ||
| Total | $3036.60 | |
As several gentlemen in these times, by the wonderful force of genius only, without the least assistance of learning, perhaps without being able to read, have made a considerable figure in the republic of letters; the modern critics, I am told, have lately begun to assert, that all kind of learning is entirely useless to a writer, and indeed, no other than a kind of fetters on the natural sprightliness and activity of the imagination, which is thus weighed down, and prevented from soaring to those high flights which otherwise it would be able to reach.
This doctrine, I am afraid, is at present carried much too far; for why should writing differ so much from other arts? The nimbleness of a dancing-master is not at all prejudiced by being taught to move; nor doth any mechanic, I believe, excercise his tools the worse by having learnt to use them.—Fielding, "Tom Jones."