This is by no means intended as an apologia for the sort of tales I write. I know that it is my duty to write them, the duty I owe to my own convictions, and however badly I write them I am doing my best. No, I am not apologizing for my point of view. I am only trying to suggest that even in my greatest artistic failures my artistic standpoint can’t be assailed. Any critic who says that because I write as a Christian and that therefore (and for that reason only) my books are inartistic, is wrong.
I have headed this article “An Author’s Post-Bag” et cetera. Probably you will be wondering when I am going to justify the title. I will begin to do so now.
Post-time is always a recurring wonder to me. The lowest classes of all, the people who don’t get letters, are incapable of experiencing more than a third of the sensations which the highly-organized life of our time has to offer us.
A novelist, and I have no reason to think that I am any exception to the rule, receives a very varied correspondence. The business side of his operations is more extensive than the layman would suppose. The writer whose output is regular and whose work is in demand has an almost daily letter to receive from his agent. There is the question of a serial for this or that paper, an editor wants a short story, a publisher is writing impatient letters to the agent for a book that is overdue, “close times” for various books have to be arranged so that they do not clash between various publishers—he is confronted every day with an infinity of detail which even such an experienced and assiduous agent as I myself am fortunate to possess cannot save him.
When the business letters have been read, there is his own private correspondence, and then the great mass of communications from people whom one has never heard of and never seen. It is of these letters that I would speak, and of their varied appeals to one’s pocket, one’s vanity, the sense of gratitude and the feeling of anger.
As Cowper said, “None but an author knows an author’s cares,” and not the least of them is the number of letters he receives asking for money. There is a rooted idea in the general mind that fame and fortune come immediately a writer publishes his first book. A novelist is popularly supposed to be a man of affluence in the twentieth century, just as in the eighteenth century he was known to be a pauper. “All the vices of the gambler and of the beggar were blended with those of the author. The prizes in the wretched lottery of bookmaking were scarcely less ruinous than the blanks. If good fortune came, it came in such a manner that it was almost certain to be abused. After months of starvation and despair, a full third night or a well-received dedication filled the pocket of the lean, ragged, unwashed poet with guineas.... A week of taverns soon qualified him for another year of night cellars.” Well, we have progressed since then certainly. There are beds to sleep in, food to eat and fire upon the hearth for most of us. Nevertheless the ordinary novelist is nearly always a poor man, sometimes bitter poor. I know what I am talking about and there is not an author, agent or publisher who would not say the same. For the first book I ever wrote I received ten pounds, and this was paid in two instalments. Until four years ago thirty pounds was the largest sum I had received for a long novel.
The word “royalty” has a fine sound. It is a purple word and opens vistas to the outsider of luxury and ease. Yet in its literary application it is the biggest humbug and liar of a word that ever masqueraded for what it is not. There are plenty of “royalties” that will not pay the third-class return fare between London and Penzance. A great personal friend of mine, a man of culture and real love of human event, wrote his first novel three years ago. He had something definite to say, knew how to say it, and had a first-rate plot. For months and months I saw him toiling lovingly at his novel. When it was written he found a publisher willing to produce it, and it duly appeared. In almost every case the reviews were extremely laudatory. Papers of position and weight praised it unreservedly, to all appearances the book was a definite success—a minor success, no doubt, but a success. From first to last his earnings realized five pounds, and neither he nor I have reason to believe that his publisher cheated him in the matter of sales. Here is the written testimony of what I say, given by an author who died after producing four or five really excellent and successful novels.
“Take, then, an unusually lucky instance, literally a novel whose success is extraordinary, a novel which has sold 2500 copies. I repeat that this is an extraordinary success. Not one book out of fifteen will do as well. But let us consider it. The author has worked upon it for—at the very least—six months. It is published. Twenty-five hundred copies are sold. Then the sale stops. And by the word stop one means cessation in the completest sense of the word. There are people—I know plenty of them—who suppose that when a book is spoken of as having stopped selling, a generality is intended, that merely a falling off of the initial demand has occurred. Error. When a book—a novel—stops selling, it stops with a definiteness of an engine when the fire goes out. It stops with a suddenness that is appalling, and thereafter not a copy, not one single, solitary copy is sold. And do not for an instant suppose that ever after the interest may be revived. A dead book can no more be resuscitated than a dead dog.
“But to go back. The 2500 have been sold. The extraordinary, the marvellous has been achieved. What does the author get out of it? A royalty of ten per cent. Eighty-three pounds six shillings and eightpence for six months’ hard work. Roughly less than £3 9s. 0d. a week. An expert carpenter will easily make much more than that, and the carpenter has infinitely the best of it in that he can keep the work up year in and year out, where the novelist must wait for a new idea, and the novel writer must then jockey and manœuvre for publication. Two novels a year is about as much as the writer can turn out and yet keep a marketable standard. Even admitting that both the novels sell 2500 copies there is only £166 13s. 4d. of profit. One may well ask the question: Is fiction writing a money-making profession?
“The astonishing thing about the affair is that a novel may make a veritable stir, almost a sensation, and yet fail to sell very largely.