But though life would be too short for any editor to write even a brief criticism on each MS. rejected, certain defects repeat themselves so often that it is quite possible to specify some outstanding faults—or rather, qualities which are lacking—that lead to the downfall of one MS. after another, with the automatic persistency of recurring decimals.
Speaking broadly, I generally find that the MS. which is rejected because it has no marketable value betrays one or more of the following deficiencies in its author:—
| Lack | of | any preliminary training. | |
| " | " | specialised knowledge of the subject dealt with. | |
| " | " | modernity of thought and diction. | |
| " | " | the power to reduce thought to language. | |
| " | " | cohesion and logical sequence of ideas. | |
| " | " | ability to get the reader's view-point. | |
| " | " | new and original ideas and themes. | |
| " | " | the instinct for selection. | |
| " | " | a sense of proportion. |
The majority of such defects can be remedied with study and practice; and even though the final result may not be a work of genius, it will be something much more likely to be marketable than the MS. that has neither knowledge nor training behind it.
Three Essentials in Training
"How am I to set about training for literary work?" is a question that is put to me most days in the year.
Training comes under three headings: Observation, Reading, and Writing.
The majority of beginners make the mistake of putting writing first; but before you can commit anything to paper, you must have something in your head to write down. If you have but little in your brain, your writing will be worthless.