MY FIRST LITERARY SUCCESS
New Outlook—James Payn—Genesis of Holmes—“A Study in Scarlet”—“Micah Clarke”—Disappointments—Andrew Lang—Cornhill Dinner—Oscar Wilde—His Criticism of Himself—“The White Company.”
During the years before my marriage I had from time to time written short stories which were good enough to be marketable at very small prices—£4 on an average—but not good enough to reproduce. They are scattered about amid the pages of “London Society,” “All the Year Round,” “Temple Bar,” “The Boy’s Own Paper,” and other journals. There let them lie. They served their purpose in relieving me a little of that financial burden which always pressed upon me. I can hardly have earned more than £10 or £15 a year from this source, so that the idea of making a living by it never occurred to me. But though I was not putting out I was taking in. I still have note-books full of all sorts of knowledge which I acquired during that time. It is a great mistake to start putting out cargo when you have hardly stowed any on board. My own slow methods and natural limitations made me escape this danger.
After my marriage, however, my brain seems to have quickened and both my imagination and my range of expression were greatly improved. Most of the short stories which appeared eventually in my “Captain of the Polestar” were written in those years from 1885 to 1890. Some of them are perhaps as good honest work as any that I have done. What gave me great pleasure and for the first time made me realize that I was ceasing to be a hack writer and was getting into good company was when James Payn accepted my short story “Habakuk Jephson’s Statement” for “Cornhill.” I had a reverence for this splendid magazine with its traditions from Thackeray to Stevenson and the thought that I had won my way into it pleased me even more than the cheque for £30, which came duly to hand. It was, of course, anonymous,—such was the law of the magazine—which protects the author from abuse as well as prevents his winning fame. One paper began its review by the phrase “‘Cornhill’ opens its new number with a story which would have made Thackeray turn in his grave.” A dear old gentleman who knew me hurried across the road to show me the paper with these cheering words. Another, more gracious, said “‘Cornhill’ begins the New Year with an exceedingly powerful story in which we seem to trace the hand of the author of ‘The New Arabian Nights’.” It was great praise, but something less warm, which came straight to my own address, would have pleased me better.
I soon had two other stories in the “Cornhill”—“John Huxford’s Hiatus” and “The Ring of Thoth.” I also penetrated the stout Scottish barrier of “Blackwood” with a story, “The Physiologist’s Wife,” which was written when I was under the influence of Henry James. But I was still in the days of very small things—so small that when a paper sent me a woodcut and offered me four guineas if I would write a story to correspond I was not too proud to accept. It was a very bad woodcut and I think that the story corresponded all right. I remember writing a New Zealand story, though why I should have written about a place of which I knew nothing I cannot imagine. Some New Zealand critic pointed out that I had given the exact bearings of the farm mentioned as 90 miles to the east or west of the town of Nelson, and that in that case it was situated 20 miles out on the floor of the Pacific Ocean. These little things will happen. There are times when accuracy is necessary and others where the idea is everything and the place quite immaterial.
It was about a year after my marriage that I realized that I could go on doing short stories for ever and never make headway. What is necessary is that your name should be on the back of a volume. Only so do you assert your individuality, and get the full credit or discredit of your achievement. I had for some time from 1884 onwards been engaged upon a sensational book of adventure which I had called “The Firm of Girdlestone,” which represented my first attempt at a connected narrative. Save for occasional patches it is a worthless book, and, like the first book of everyone else, unless he is a great original genius, it was too reminiscent of the work of others. I could see it then, and could see it even more clearly later. When I sent it to publishers and they scorned it I quite acquiesced in their decision and finally let it settle, after its periodical flights to town, a dishevelled mass of manuscript at the back of a drawer.
I felt now that I was capable of something fresher and crisper and more workmanlike. Gaboriau had rather attracted me by the neat dovetailing of his plots, and Poe’s masterful detective, M. Dupin, had from boyhood been one of my heroes. But could I bring an addition of my own? I thought of my old teacher Joe Bell, of his eagle face, of his curious ways, of his eerie trick of spotting details. If he were a detective he would surely reduce this fascinating but unorganized business to something nearer to an exact science. I would try if I could get this effect. It was surely possible in real life, so why should I not make it plausible in fiction? It is all very well to say that a man is clever, but the reader wants to see examples of it—such examples as Bell gave us every day in the wards. The idea amused me. What should I call the fellow? I still possess the leaf of a notebook with various alternative names. One rebelled against the elementary art which gives some inkling of character in the name, and creates Mr. Sharps or Mr. Ferrets. First it was Sherringford Holmes; then it was Sherlock Holmes. He could not tell his own exploits, so he must have a commonplace comrade as a foil—an educated man of action who could both join in the exploits and narrate them. A drab, quiet name for this unostentatious man. Watson would do. And so I had my puppets and wrote my “Study in Scarlet.”
I knew that the book was as good as I could make it, and I had high hopes. When “Girdlestone” used to come circling back with the precision of a homing pigeon, I was grieved but not surprised, for I acquiesced in the decision. But when my little Holmes book began also to do the circular tour I was hurt, for I knew that it deserved a better fate. James Payn applauded but found it both too short and too long, which was true enough. Arrowsmith received it in May, 1886, and returned it unread in July. Two or three others sniffed and turned away. Finally, as Ward, Lock & Co. made a specialty of cheap and often sensational literature, I sent it to them.
“Dear Sir,” they said,—“We have read your story and are pleased with it. We could not publish it this year as the market is flooded at present with cheap fiction, but if you do not object to its being held over till next year, we will give you £25 for the copyright.
“Yours faithfully
“Ward, Lock & Co.”