[XII]
Serial fiction is sold and bought just like any other fancy goods. It has its wholesale houses, its commercial travellers—even its trusts and "corners." An editor may for some reason desire the work of a particular author; he may dangle gold before that author or that author's agent; but if a corner has been established he will be met by polite regrets and the information that Mr. So-and-So, or the Such-and-Such Syndicate, is the proper quarter to apply to; then the editor is aware that he will get what he wants solely by one method of payment—through the nose. A considerable part of the fiction business is in the hand of a few large syndicates—syndicates in name only, and middlemen in fact. They perform a useful function. They will sell to the editor the entire rights of a serial, or they will sell him the rights for a particular district—the London district, the Manchester district, the John-o'-Groats district—the price varying in direct ratio with the size of the district. Many London papers are content to buy the London rights only of a serial, or to buy the English rights as distinct from the Scottish rights, or to buy the entire rights minus the rights of one or two large provincial districts. Thus a serial may make its original appearance in London only; or it may appear simultaneously in London and Manchester only, or in London only in England and throughout Scotland, or in fifty places at once in England and Scotland. And after a serial has appeared for the first time and run its course, the weeklies of small and obscure towns, the proud organs of all the little Pedlingtons, buy for a trifle the right to reprint it. The serials of some authors survive in this manner for years in the remote provinces; pick up the local sheet in a country inn, and you may perhaps shudder again over the excitations of a serial that you read in book form in the far-off nineties. So, all editorial purses are suited, the syndicates reap much profit, and they are in a position to pay their authors, both tame and wild, a just emolument; upon occasion they can even be generous to the verge of an imprudence.
When I was an editor, I found it convenient, economical, and satisfactory to buy all my fiction from a large and powerful syndicate. I got important "names," the names that one sees on the title-pages of railway novels, at a moderate price, and it was nothing to me that my serial was appearing also in Killicrankie, the Knockmilly-down Mountains, or the Scilly Isles. The representative of the syndicate, a man clothed with authority, called regularly; he displayed his dainty novelties, his leading lines, his old favourites, his rising stars, his dark horses, and his dead bargains; I turned them over, like a woman on remnant-day at a draper's; and after the inevitable Oriental chaffering, we came to terms. I bought Christmas stories in March, and seaside fiction in December, and good solid Baring-Gould or Le Queux or L.T. Meade all the year round.
Excellently as these ingenious narrative confections served their purpose, I dreamed of something better. And in my dream a sudden and beautiful thought accosted me: Why should all the buying be on one side?
And the next time the representative of the syndicate called upon me, I met his overtures with another.
"Why should all the buying be on one side?" I said. "You know I am an author." I added that if he had not seen any of my books, I must send him copies. They were exquisitely different from his wares, but I said nothing about that.
"Ah!" he parried firmly. "We never buy serials from editors."
I perceived that I was by no means the first astute editor who had tried to mingle one sort of business with another. Still it was plain to me that my good friend was finding it a little difficult to combine the affability of a seller with the lofty disinclination of one who is requested to buy in a crowded market.
"I should have thought," I remarked, with a diplomatic touch of annoyance, "that you would buy wherever you could get good stuff."
"Oh, yes," he said, "of course we do. But——"