Few women can write well enough for publication, without going twice over the subject; first in what is called the rough copy, and then making a fair copy with all the original errors corrected, and all proper alterations inserted. If you have time, make two fair copies; one for the printer, and one to keep for yourself, in case the other should be accidentally destroyed or lost—retaining it till after the work is actually in print. Much postage is wasted, and much annoyance is given to the editors of periodicals, by applications for the restoration of unpublished verses, and other "Rejected Addresses," consisting, perhaps, of a sheet of poetry, or a few pages of prose, of which it would have been very easy to have made another copy for the author's keeping.
In writing articles for Annuals, let it be remembered that the printing of these books is always completed some months before they are published or announced for sale. Therefore, all contributions should be sent to the publisher before February, or March at farthest. For a magazine, they should be transmitted at least two months in advance. For a weekly paper, two weeks ahead.
Those who write for periodicals should remember that it is the custom to address all letters on compensations, copies of work, &c. to the publisher; and not to the editor, who seldom has any concern in the pecuniary affairs, his business being solely to receive, and read the manuscripts, to accept or reject them, and to arrange them for the press. It is not usual for the compensation to be paid till after the book is published. Some publishers send to every contributor one copy of the work. Others do not present a copy when the article is very short—for instance, a few stanzas of verse. Prose obtains a higher price than poetry, of which there is always a superabundance in the market. Much poetry is published without any pay at all; the writers being contented with seeing their effusions in print. No good author has any occasion to write gratuitously. A "merely passable" or "just tolerable" writer of poetry or fiction, should give up the inventive line, and try something else—something for which genius is not indispensable; and from which, by patience and industry, a sort of living may be wrought out.
In composing poetry, a common, but unpardonable fault is that of introducing a lame or halting line—a line with one syllable too many, or too few. And if the author does not understand that it is an intolerable blemish, and sends it uncorrected to the press, she is unworthy of being called a poetess. We are inclined to believe that no person devoid of an ear for music, can write poetry deserving of the name. The ideas may be good, but the lines will have no melody, and will move harshly and ruggedly, very much like rough prose.
Some writers seem to think that blank verse is nothing but prose with a capital at the beginning of each line; never having learnt or remembered that though the lines do not rhyme, they must all comprise ten syllables, (syllables, not words,) otherwise the effect when read, will, to even a tolerable ear, be absolutely painful. We saw a play, (the first attempt of a since distinguished dramatist,) the dialogue of which was unintelligible to the audience, and nearly impracticable to the actors, who found it absolutely beyond their skill to enunciate; or rather beneath it. We afterward heard the manager of the Chestnut-street Theatre explain, that the difficulty, both with the speakers and the hearers, was the execrable blank verse in which the play was written; some of the lines containing but seven or eight syllables, (instead of ten,) and some twelve or fourteen. A very few English authors write irregular blank verse; but we are sorry to say that a great many Americans do not seem to understand the process, simple as it is, of confining themselves to ten syllables only,—neither more nor less. Can they have read Shakspeare?
There is no blank verse in French poetry. That language seems incapable of it.
If you are writing for a periodical, and are desirous of ascertaining before-hand how many pages your manuscript will make when printed, take, at random, any printed page of the work, and copy it in your usual hand, and on a sheet of the same paper you intend using throughout. You will thus, by comparison, be able to judge with tolerable accuracy, how much of your writing will make a page when printed.
Keep a memorandum-book for the express purpose of setting down whatever relates to your literary affairs. Insert the day when you commenced a manuscript, the day when you finished it, and the day on which it went to the publisher. Also, the whole number of its pages. When you see it in print, put down the number of its printed pages. In this book, set down, immediately on receiving them, whatever sums are paid to you for your writings.
If you are a writer of fiction, have a large book for memorandums, of any amusing or remarkable things you may chance to hear, and which you may turn to account afterward. If you write truth only, keep a book for the reception of useful or interesting facts. A written book of names, alphabetically arranged, (surnames and Christian names,) will be of great advantage in selecting appellations for your characters. Do not give elegant names to your common people; or to your patrician characters names that are coarse and vulgar. A fault in Dickens is that nearly all his names are rugged, uncouth, and ill-sounding, and seldom characteristic. Why should a very excellent and generous brother and sister be called Tom Pinch and Ruth Pinch. What did they pinch?
There is a proof-reader in every printing-office, but after he has done, the proofs are generally sent to the author for farther revisal.