Literary Articles in Periodicals, 14, 30, 45, 62, 78, 94, Literary Material, The Economizing of, 171 Literary Taste, Manufacturing, 103 Magazine Publishing, Economy in, 53 Magazines Dependent Solely on Subscriptions, 116 Manuscript, How to Market, 180° Marquette's School of Journalism, Cupus, 38 McComas, Mrs. H. C., Mistakes of the Typewriter Girl, 151 Play, How Belasco Stages a, 94 Playwrights' Charges of Plagiarism, 93 Playwriting, Bernard Shaw on, 105 Playwriting at Harvard, Teaching, Ranck, 17 Play Writing and Novel Writing, 169 Plots, Selling to Story Writers, 157 Poetry, Making It Pay, Walker, 145 Poetry of the Present Day, 102 Post. Charles Johnson, 152 Postal Propositions Injurious to Authors, 4 Print, First Appearance in, 61 Prize Competitions, Evils of, 76 Publisher's Reader. Interview With a, 140 Publishers, What They Want, Clark, 85 Pulitzer School of Journalism, 22 Pulver, Mary Brecht, 118 Ranck, Edwin Carty, Teaching Playwriting at Har- vard, 17 Reporter as He Should Be, The, 108. Riley, James Whitcomb, 27, 122 Roberts, Mary Eleanor, The Technique of Verse- Roberts, Theodore Goodridge, 71 Schools of Journalism, 22, 38, 74, 124 Shaw, George Bernard, on Playwriting, 105 Shorthouse, J. H., 57 Slang, The Avoidance of, 70 Spears, Raymond S., 167 Stage Directions, Howells's, 171 Stephens, E. P., On Beginning an Essay, 129 Stockbridge, Frank Parker, 88 Stone, Clarence, 24 4 Story Writers, Selling Plots to, 157. Story Writing, Formula for, 158 Stratton, George Frederick, 104 Style, Verse-writing to Improve, 150 Swedish Translation Rights, Value of, 134 Technique of Verse-Writing, The, Roberts, 177 Urner, Mabel Herbert, Further Confessions of a Verbal Wrinkles. Those New, 172 Verse-Writing to Improve Style, 150 Verse-Writing, The Technique of, Roberts, 177 Wheeler, E. A., A Study of the Novel and the Williams, Talcott, School Training in Journalism, 124 Woman's Literary Work Mainly Fiction, 29 Women in Literary Work, 29, 86 Writer, Further Confessions of a, Urner, 97 Writer, His Joy in Good Work, 185 A MONTHLY MAGAZINE TO INTEREST AND HELP ALL LITERARY WORKERS. VOL. XXIV. BOSTON, JANUARY, 1912. ENTERED AT THE BOSTON POST-OFFICE AS SECOND-CLASS MAIL MATTER. CONTENTS: THE NEWSPAPER SCHOOL FOR AUTHORS. Berton THE SURPRISES OF FICTION. George Barton Postal Propositions Injurious to Authors, 4 Prices of Fiction Affecting Authors' Royal- ties, 4- The Sin of Dulness in Authorship Amy Haslam Dowe, 5- Hugh Stuart Fuller- ton, 5 Gordon Grant, 6- Edith Miniter, 6 J. M. Barrie, 7— Anna Katherine Green, 7 Mrs. Fremont Older, 7-Charles Reade, 8 Slipshod English, 10 Pessimistic Poetry, 11 French Literary Prizes, 11-Age and In- tellectual Activity, 12- The Lure of the The way to learn to swim is to swim. to learn to write is to write. There aren't any other rules. The newspaper is the best school for the As his work progresses and he really gets into the game, he writes of life as it is love, and hate, and passion, and pain, and poverty, and death, and he touches those things and those emotions of which he He puts into his copy the truth as he sees it, temperately, without bias or prejudice. He must write whether he feels like it or not, without waiting for "inspiration" "or moods, because the paper needs news and he is hired to supply it. Linotypers and printers must be hired and paid by the week, and they must have copy to keep them busy. This copy cannot depend upon the vagaries of a mythical "muse" which, laziness. The copy must flow in a steady There are days when news is dull, but ex- The newspaper man must work under fit for use in newspaper stories, it isn't worth preserving - Henry James to the contrary notwithstanding. Haste may be a temptation to slovenliness, but it can also be made an inspiration to efficiency. The good newspaper man does not walk the floor for hours in search of the right word, he trains that word to jump out when he calls which is better for all concerned. The newspaper training forces a man to write constantly and at call. Laziness, mental or physical, loses him his job- and that is good for his craft and for his soul. Also, his work brings him in contact with all kinds of people, conditions, and things. He meets life as it is maybe a little worse than it is, but he gets a first-hand knowledge of the world which he can get in no other way. These, then, are a few of the advantages of the newspaper as á school for writers. It makes them write, it teaches them to write clearly and simply, it makes them efficient and resourceful, it gives them knowledge of the world they write about. It offers its share of adventure. It can point to a mighty list of successful graduates. And, finally, it offers the writer a living while he is getting established, which is not least of its virtues to the ordinary chap whose fortune is what he can make. NEW YORK, N. Y. Berton F. Braley. THE SURPRISES OF FICTION. Charles Reade, the greatest craftsman of his time, gave the secret of success in fiction writing, when, speaking of the relation of the author to his readers, he said: "Make them laugh; make them cry; make them wait." To this sage advice might be added one. other suggestion, Surprise them." The author who has the gift of surprising the reader is the one who has the largest following. The successful editor of one of the popular magazines said to the writer not long ago: "We give the preference to stories which go along smoothly for a while and then develop a twist. This is straightened out, and presently there is another twist, and while the reader is scratching his head in wonder, the story comes to an end with a good, swift kick." This is but another version of the theatrical manager's advice to the dramatic author: Sentiment is good, humor is better, but you must give. them (the audience) a punch in the jaw." There are as many different ways of bringing about these surprises as there are writers. The only condition is that the writer shall play the game fairly. He may not deceive the reader. He may lure him along, but he must not make any statements that will not bear investigation in the light of the dénouement. All may be fair in love and war, but some things are not permissible in fiction. Trap the reader if you will, but make him confess that he has been fairly caught. Arnold Bennett furnishes an excellent illustration in "Denny, the Audacious." Denny, who has grown rich, meets Ruth Earp, whom he had once engaged to marry. The youthful romance has been broken, and she is now Mrs. Capron-Smith, a wealthy widow. The author, with extreme cleverness, shows how the old flame is gradually revived. She is shrewdly shy; he is prudently smitten. In the mean time they have become interested in the affairs of a common friend, Nellie Cotterill, whose life threatens to be wrecked by the unexpected business failure of her father. Denny rather likes Nellie, but there is no suggestion of a love affair. Denny and Mrs. Capron-Smith (Ruth) find a mutual object of interest in the girl. They resolve to send her abroad at their joint expense. They go to the ship to bid her adieu, all the while billing and cooing and getting closer to each other. All of the good-byes have been said, the bell rings for "all ashore," and then the author brings in one of his characteristically original twists. She (Nellie) was not at all well dressed. She was indeed shabby-in a steerage style. Her hat was awry; her gloves miserable. No girlish pride in her distraught face! No determination to overcome fate! No consciousness of ability to meet a hard situation. Just those sad eyes and those twitching lips. 66 "Look here," Denny whispered, "you must come ashore for a second. I've something I want to give you, and I've left it in the cab." "But there's no time. The bell's He took her hand and struggled toward the cab rank. 66 66 Which one is it?" she asked. Any one. Never mind which. Jump in!" And to the first driver whose eyes met his, he said: "Lime Street Station." The gangways were being drawn away. A hoarse boom filled the air, and then a cheer. "But I shall miss the boat," the dazed girl protested. 'Jump in!" He pushed her in. "I know you will," he replied, as if angrily. "Do you suppose I was going to let you go away by that steamer? Not much!" "But mother and father!" "I'll telegraph. They'll get it on landing." 66 And where's Ruth?" "Be hanged to Ruth!" he shouted furiously. As the cab rattled over the cobbles, the Titubic_slipped away from the landing stage. The irretrievable had happened. Nellie burst into tears. "Look here," Dennis said savagely, "if you don't dry up, I shall have to myself." cry "What are you going to do with me ? she whimpered. Well, what do you think? I'm going to marry you, of course." If the author had ended here, or with a few of the snappy sentences he employs so well, it would seem that this conclusion would have been perfect; but he sees fit to delay the conclusion for nearly three pages. Three weeks later Denny meets Mrs. "Only honeymooning," he said. William J. Locke presents a model sur 66 prise in The Glory of Clementina." Clementina is an artist, but the author presents her almost as a sloven. She is a genius, but as a woman she seems impossible. Several hundred pages of the book are utilized to fix this idea firmly in the mind of the reader. Near the close of the story this amazing woman discovers that she is in love with the hero of the story, Dr. Quixtus, a bighearted, simple-minded, learned old gentleAt this critical time, however, the doctor has succumbed to the wiles of a beautiful, but designing, woman who is all but an adventuress. Lena Fontaine — that is her name has had a hard life, and the reader feels sympathetic, and half hopes that she will succeed in winning the name, the protection, and the fortune of the unsophisticated Quixtus. man. The infatuated man persists in giving a fine dinner in honor of Lena Fontaine. Clementina, filled with the fury of jealousy, at first refuses to attend. Afterward she reconsiders, and persuades the doctor to let her plan the affair. The dinner is splendidly managed. The decorations are an artist's dream. Clementina is the last to arrive. Her friends in the company are on edge. They are afraid that she will make a show of herself. The door opens, and instead of the dowdy person who has been expected, in sails a glorious creature the real Clementina — whose wit, style, and attractiveness capture the entire company, and throw the pale beauty of Lena Fontaine in the shade. And the best part of the whole business is the fact that the reader has not been fooled at any stage of the story is simply agreeably surprised at the end. Go thou and do likewise. -and win big royalties. PHILADELPHIA, Penn. he Surprise them George Barton. THE WRITER is published the first day of every month. It will be sent, postpaid, ONE YEAR for ONE DOLLAR. All drafts and money orders should be made payable to The Writer Publishing Co. Stamps, or local checks, should not be sent in payment for subscriptions. THE WRITER will be sent only to those who have paid for it in advance. Accounts cannot be opened for subscriptions, and names will not be entered on the list unless the subscription order is accompanied by a remittance. ***The American News Company, of New York, and the New England News Company, of Boston, and their branches, are wholesale agents for THE WRITER. It may be ordered from any newsdealer, or direct, by mail, from the publishers. Not one line of paid advertisement will be printed in THE WRITER outside of the advertising pages. Advertising in THE WRITER costs fifteen cents a line, or $2.10 an inch ; seven dollars a quarter page; twelve dollars a half page; or twenty dollars a page, for one insertion, remittance with the order. Discounts are five, ten, and fifteen per cent. for three, six, and twelve months. For continued advertising payments must be made quarterly in ad - reasonable changes in second-class postage rates or in the regulations of the post-office affecting newspapers and magazines. The special commission headed by Justice Hughes has reported a bill, two provisions of which are (1) that the postage on second-class matter shall be doubled, increased, that is, from one cent to two cents a pound, and (2) that not more than half of the general text or reading matter of any publication shall consist of fiction. Both of these propositions are unreasonable, and both are contrary to the interests of writers. Doubling the second-class postal rate would drive out of business a great many publications that now furnish to writers a market for their wares. Limiting the amount of fiction that periodicals may publish would still further decrease the opportunities for selling manuscripts. There is no good reason for an increase of the second-class postage rate. It has been clearly shown, not only that the handling of second-class matter does not cost the government anything like what the post-office officials arbitrarily declare, but that second-class matter increases the revenue of the post-office department, because it produces so much profitable first-class mail. Writers, therefore, may justly protest to congressmen against the proposed changes, and if they will do so generally, there are so many of them that their influence will be felt. A writer in the New York Times points out that the old price of $1.50 for clothbound books of fiction has been broken, and that nearly all fiction now is listed at from $1 to $1.40, with the greater part of it marked by the publisher for retail at $1.25 or $1.30. One publisher has declared that the day of the fifty-cent novel is almost here, and that soon all fiction will be retailed at that price. That would mean, of course, a reduction of the author's royalty on each book sold, and it is a question whether the smaller price would increase sales enough to restore the author's income. The author's share in the profits of a book varies from ten to twenty per cent. of the retail price, ac |