The provincial American and other papers

by Meredith Nicholson

THAT my name has adorned best-selling lists is more of a joke than my harshest critics can imagine. I had dallied awhile at the law; I had given ten full years to journalism; I had written criticism, and not a little verse; two or three short stories of the slightest had been my only adventure in fiction; and I had spent a year writing an essay in history, which, from the publisher’s reports, no one but my neighbor and my neighbor’s wife ever read. My frugal output of poems had pleased no one half so much as myself; and having reached years of discretion I carefully analyzed samples of the ore that remained in my bins, decided that I had exhausted my poetical vein, and thereupon turned rather soberly to the field of fiction.

In order to qualify myself to speak to my text, I will say that in a period of six years, that closed in January, 1909, my titles were included fifteen times in the “Bookman” list of best-selling books. Two of my titles appeared five times each; one of them headed the list three months successively. I do not presume to speak for others with whom I have crossed swords in the best-selling lists, but I beg to express my strong conviction that the compilation of such statistics is quite as injurious as it is helpful to authors. When the “six best-selling” phrase was new the monthly statement of winners may have carried some weight; but for several years it has really had little significance. Critical purchasers are likely to be wary of books so listed. It is my impression, based on talks with retail dealers in many parts of the country, that they often report as “best-sellers” books of which they may have made large advance purchases, but which are selling slowly. Their aim is, of course, to force the book into the list, and thereby create a false impression of its popularity.

I think that most publishers, and many authors who, like myself, have profited by the making of these lists, would gladly see them discontinued. The fact remains, however, that the best novels by the best English and American writers have generally been included in these lists. Mrs. Wharton, Mrs. Ward, Mr. Winston Churchill, Mr. Wister, “Kate Douglas Wiggin,” Miss Johnston, and Mr. William de Morgan have, for example, shared with inferior writers the ignominy of popular success. I do not believe that my American fellow citizens prefer trash to sound literature. There are not enough novels of the first order, not enough books of the style and solidity of “The House of Mirth” and “Joseph Vance,” to satisfy the popular demand for fiction; and while the people wait, they take inferior books, like several bearing my own name, which have no aim but to amuse. I know of nothing more encouraging to those who wish to see the American novel go high and far than the immediate acceptance among us of the writings of Mr. William de Morgan, who makes no concession, not even of brevity, to the ever-increasing demand for fiction.

I spent the greater part of two years on my first novel, which dealt with aspects of life in an urban community which interested me; and the gravest fault of the book, if I am entitled to an opinion, is its self-consciousness,—I was too anxious, too painstaking, with the result that those pages seem frightfully stiff to me now. The book was launched auspiciously; my publisher advertised it generously, and it landed safely among the “six best-sellers.” The critical reception of the book was cordial and friendly, not only in the newspaper press, but in the more cautious weekly journals. My severest critic dealt far more amiably with my book than I should have done myself, if I had sat in judgment upon it. I have been surprised to find the book still remembered, and its quality has been flung in my face by critics who have deplored my later performances.

I now wrote another novel, to which I gave even greater care, and into it I put, I think, the best characterizations I have ever done; but the soupçon of melodrama with which I flavored the first novel was lacking in the second, and it went dead a little short of fifteen thousand—the poorest sale any of my books has had.

A number of my friends were, at this time, rather annoyingly directing my attention to the great popular successes of several other American writers, whose tales were, I felt, the most contemptible pastiche, without the slightest pretense to originality, and having neither form nor style. It was in some bitterness of spirit that I resolved to try my hand at a story that should be a story and nothing else. Nor should I storm the capitals of imaginary kingdoms, but set the scene on my own soil. Most, it was clear, could grow the flowers of Zenda when once the seed had been scattered by Mr. Hawkins. Whether Mr. Hawkins got his inspiration from the flora of Prince Otto’s gardens, and whether the Prince was indebted in his turn to Harry Richmond, is not my affair. I am, no doubt, indebted to all three of these creations; but I set my scene in an American commonwealth, a spot that derived nothing from historical association, and sent my hero on his adventures armed with nothing more deadly than a suit-case and an umbrella. The idea is not original with me that you can make anything interesting if you know how. It was Stevenson, I believe, who said that a kitchen table is a fair enough subject for any writer who knows his trade. I do not cite myself as a person capable of proving this; but I am satisfied that the chief fun of story-telling lies in trying, by all the means in a writer’s power, to make plausible the seemingly impossible. And here, of course, I am referring to the story for the story’s sake,—not to the novel of life and manners.

My two earliest books were clearly too deliberate. They were deficient in incident, and I was prone to wander into blind alleys, and not always ingenious enough to emerge again upon the main thoroughfare. I felt that, while I might fail in my attempt to produce a romantic yarn, the experience might help me to a better understanding of the mechanics of the novel,—that I might gain directness, movement, and ease.

For my third venture I hit upon a device that took strong hold upon my imagination. The idea of laying a trap for the reader tickled me; and when once I had written the first chapter and outlined the last, I yielded myself to the story and bade it run its own course. I was never more honestly astonished in my life than to find my half-dozen characters taking matters into their own hands, and leaving me the merest spectator and reporter. I had made notes for the story, but in looking them over to-day, I find that I made practically no use of them. I never expect to experience again the delight of the winter I spent over that tale. The sight of white paper had no terrors for me. The hero, constantly cornered, had always in his pocket the key to his successive dilemmas; the heroine, misunderstood and misjudged, was struck at proper intervals by the spot-light that revealed her charm and reëstablished faith in her honorable motives. No other girl in my little gallery of heroines exerts upon me the spell of that young lady, who, on the day I began the story, as I waited for the ink to thaw in my workshop, passed under my window, by one of those kindly orderings of Providence that keep alive the superstition of inspiration in the hearts of all fiction-writers. She never came my way again—but she need not! She was the bright particular star of my stage—its dea ex machina. She is of the sisterhood of radiant goddesses who are visible from any window, even though its prospect be only a commonplace city street. Always, and everywhere, the essential woman for any tale is passing by with grave mien, if the tale be sober; with upturned chin and a saucy twinkle in the eye, if such be the seeker’s need!

I think I must have begun every morning’s work with a grin on my face, for it was all fun, and I entered with zest into all the changes and chances of the story. I was embarrassed, not by any paucity of incident, but by my own fecundity and dexterity. The audacity of my project used sometimes to give me pause; it was almost too bold a thing to carry through; but my curiosity as to just how the ultimate goal would be reached kept my interest keyed high. At times, feeling that I was going too fast, I used to halt and write a purple patch or two for my own satisfaction,—a harmless diversion to which I am prone, and which no one could be cruel enough to deny me. There are pages in that book over which I dallied for a week, and in looking at them now I find that I still think them—as Mr. James would say—“rather nice.” And once, while thus amusing myself, a phrase slipped from the pen which I saw at once had been, from all time, ordained to be the title of my book.

When I had completed the first draft, I began retouching. I liked my tale so much that I was reluctant to part with it; I enjoyed playing with it, and I think I rewrote the most of it three times. Contumelious critics have spoken of me as one of the typewriter school of fictionists, picturing me as lightly flinging off a few chapters before breakfast, and spending the rest of the day on the golf-links; but I have never in my life written in a first draft more than a thousand words a day, and I have frequently thrown away a day’s work when I came to look it over. I have refused enough offers for short stories, serials, and book rights, to have kept half a dozen typewriters busy, and my output has not been large, considering that writing has been, for nearly ten years, my only occupation. I can say, with my hand on my heart, that I have written for my own pleasure first and last, and that those of my books that have enjoyed the greatest popularity were written really in a spirit of play, without any illusions as to their importance or their quick and final passing into the void.