McClure Syndicate with "A Tale of Two Towns." After using this serial
in metropolitan papers, the McClure people sold it to The Kellogg
Newspaper Union to be used in the "patents" sent out to country
newspapers. The story was later brought out in cloth by the G. W.
Dillingham Co., New York.
The third novel, "He Was A Stranger," had already been refused by Harte
& Perkins. Late in May, 1900, Edwards again went "prospecting" to New
York. Feeling positive that Harte & Perkins had missed some of the
good points in the story, he carried the manuscript with him and once
more submitted it. Again it was refused, but Mr. Hall, editor of the
"_Guest_," informed Edwards that he had an excellent story but that it
was impossible for Harte & Perkins to consider its purchase. Edwards
asked if he knew of a possible market. "Mr. Munsey," was the reply, "is
looking for stories for _The Argosy_, and I'd suggest that you take
the story over there and show it to Mr. White, _The Argosy's_ editor."
Edwards tucked the novel under his arm and strolled up Fifth Avenue to
the offices of the Frank A. Munsey Company. There, and for the first
time, he met Mr. Matthew White, Jr.
The impression of power, tremendous ability and a big, two-handed
grasp of _Argosy_ affairs which the editor made upon Edwards, at this
time, has deepened with the passing years. An author, as well as a
keen dramatic critic, Mr. White brings to bear on his editorial duties
an intuition that closely approximates genius. He has proved his
remarkable fitness for the post he occupies by making _The Argosy_,
since Mr. Munsey "divested it of its knickerbockers," the most widely
read of all the purely fiction magazines. And withal he is one of the
most pleasant editors whom a writer will ever have the good fortune to
meet.
Mr. White was glad to consider "He Was A Stranger." He thumbed over the
pages, noted the length, and asked what price Edwards would put upon
the manuscript in case it was acceptable. Edwards named $500, and told
of "The Brave and Fair" which Harte & Perkins, a few years before, had
bought at that figure. Mr. White replied that _The Argosy_, as yet, was
unable to pay such prices, but that he would read the story and, if he
liked it, make an offer. A few days later he offered $250 for serial
rights. Edwards took into consideration the fact that the story would
establish him in the columns of a growing magazine and, with an eye to
the future, accepted the offer. He has never had occasion to regret his
decision.
From the beginning of the year Edwards had been doing a large amount
of five-cent library work for Harte & Perkins. A new weekly had been
started, the writer who furnished the copy failed to get his manuscript
in on time, and Edwards was given a story to finish and, a few days
afterward, the entire series to take care of.
At the time he sold the serial to Mr. White, he was supplying weekly
copy for two libraries--the old Five-Cent Library and the new weekly,
which shall here be referred to as the Circus Series.
On the proceeds from the sale of "He Was A Stranger" Edwards and his
wife had a little outing at Atlantic City. They returned to New York
for a few days, and then went on to Boston. Here, comfortably quartered
in a hotel, Edwards devoted his mornings to work and his afternoons to
seeing the "sights" with Mrs. Edwards. They haunted Old Cambridge, they
made pilgrimages to Salem, to Plymouth and to other places, and they
enjoyed themselves as they had never done before on an eastern trip.
Later they finished out the summer near Monterey, in the Berkshire
Hills.
During all these travels the Fiction Factory was regularly grinding
out its grist of copy--so many pages a day, so many stories a week.
Two libraries, together with a sketch each month for a trade paper
published by Harte & Perkins, kept Edwards too busy to prepare
any manuscripts for _The Argosy_. Much of his work, while in the
Berkshires, was done in longhand. On this point Mr. Perkins wrote, July
25:
"I should think you would miss your typewriter. I fear that I shall
miss it, too, when I read your manuscript, although I find your
writing easier to read than that of any of our other writers."
In August the Edwards went West, visited for a time in Michigan and
then in Wisconsin, finally returned to the former state and, in the
little country town where Edwards was born, bought an old place and
settled down.
As with the Golden Star Library, misfortune finally overtook the Circus
Series. A telegram was received telling Edwards to hold No. 47 of the
Circus Series pending instructions by letter. The letter instructed
him to close up finally the adventures of the hero and his friends and
bring their various activities to an appropriate end. The series was
continued, for a while longer, with a brand-new hero in each story; but
Edwards was requested to write but three of the stories in the new form.
The year, which opened auspiciously and proved a banner year
financially, closed with a discontinuance of all orders from
Harte & Perkins. Re-prints were being used in the old Five-Cent
Library--stories that had been issued years before and could now be
republished for another generation of boy readers. Under date of Dec.
1, 1911, Mr. Perkins wrote:
"I know of nothing, just at present, which you can do for us, but
should anything develop I shall be very glad to inform you."
This left Edwards with a sketch a month for the trade paper, for which
he was paid $10 each. That "misfortunes never come singly" is an
old saying, and one which Edwards has found particularly true in the
writing profession. A letter of Dec. 27, informed him:
"We have decided to dispense with the sketches in our trade paper for
the present, at least; therefore the February sketch we have in hand
will be the last we will want unless we give you further notice."
In a good many cases the tendency of a writer, when fate deals hardly
with him in the matter of a demand for his work, is to take his rebuffs
too seriously. Often he will lock up his Factory, leaving a placard on
the door: "Closed. Proprietor gone to Halifax. Nothing in the fiction
game anyhow."
Edwards used to feel in this way. As he grew older he learned to take
his disappointments with more or less equanimity, and to keep the
Factory running. He thought, now, of Mr. White and _The Argosy_. Here
was a good time to prepare an _Argosy_ serial. He wrote it, sent it,
and on Feb. 15, 1901, received this terse letter:
"My dear Mr. Edwards:
We can use your story, 'The Tangle in Butte,' in _The Argosy_ at
$200. Very truly yours,
Matthew White, Jr."
This was less than the price paid for "He Was A Stranger," but the
story ran only 60,000 words, while the other serial had gone to
100,000. The acceptance went to Mr. White by return mail.
On the day following there came a letter from Harte & Perkins ordering
work in the old Five-Cent Library--work that would keep Edwards busy
for the rest of the year. Ten of the old stories which Edwards had
written were to be revised and lengthened by 10,000 words. For this
work he was to be paid $30 for each story. When the ten numbers had
been revised and lengthened, he was to go on with the stories, writing
a new one each week. Fifty dollars apiece was to be paid for the new
stories.
There was an order, too, for more sketches for the trade paper, to be
done in another vein.
On Aug. 5 the length of the Five-Cent Library stories was cut from
30,000 words to 20,000, and the remuneration was cut from $50 to $40.
Another juvenile paper was started and Edwards was asked to submit
serials for it. In fact, 1901 might be called a "boom" year for the
Fiction Factory, although the returns, while satisfactory, were not of
the "boom" variety.
Perhaps the reader may remember the serial, "A Vassar Girl," referred
to in a previous chapter as having been submitted to Harte & Perkins
and rejected. Edwards had faith in this story and offered it to Mr.
White. Mr. White's judgment, however, tallied with that of Harte &
Perkins. Under date of June 13 Mr. White wrote:
"I am sorry that 'A Vassar Girl' has not borne out the promise of the
opening chapters. The interest in it is not sufficiently _sustained_
for serial use. The story might be divided into several incidents,
which do not grow inevitably the one out of the other. For this
reason it has, as a whole, proved disappointing and I am returning
the manuscript by express. We should be glad, however, to have you
continue to submit work to us."
With faith undiminished, Edwards forwarded the story to McClure's
Newspaper Syndicate. It was returned without an explanation of any
kind. Again he prevailed upon Harte & Perkins to consider it. It came
back from them on Sept. 13, with this message:
"I am sorry to say that we do not feel inclined to revise our
judgement with reference to your manuscript story, 'A Vassar Girl.' I
am inclined to think from looking over the review of the story that
it would be well for you to sell it just as it is, and we hope you
will be able to find a market for it somewhere. It would not pay us
to publish."
Edwards knew that the story, wrought out of his Arizona experiences,
was true in local color and good of its kind, and he failed to
understand why it was not appreciated. Then, on Sep. 14, came this from
the S. S. McClure Company:
"During July we had under consideration a story of yours entitled, 'A
Vassar Girl.' On July 31 we wrote you from the Syndicate, informing
you that we hoped to be able to use the story as a serial in the very
near future. The serial was taken back for consideration in the book
department by one of the readers who wished again to examine it, and
from there it was erroneously returned to you. Now if you have not
disposed of the serial rights of 'A Vassar Girl' we should like you
again to forward the story to us, and we will submit it to some of
our papers as we had always intended to do. We will then give you a
prompt decision."
The story was purchased, and Edwards' faith in it was confirmed.
It was during this year of 1901 that Edwards had a fleeting glimpse
of fortune as a playwright. His story, "The Tangle in Butte," had
been read by an actor, a leading man in a Kansas City stock company,
who wanted dramatic rights so that he might have a play taken from it
and written around him. Edwards proposed to write the play himself.
He did so, and was promptly offered $5,000 for the play, payable in
installments after production. Following a good deal of correspondence
it was decided to put on the piece for a week's try-out in Kansas City.
Edwards waived his right to royalties for the week, models of the
scenery were made, rehearsals began--and then the actor was suddenly
stricken with a serious illness and the deal was off. When he had
recovered sufficiently to travel he went East, taking the play with
him. For several months he tried to interest various managers in it,
but without effect.
The year 1901 closed for Edwards with the sketches for the trade paper
no longer in demand; but, otherwise, he faced a steadily brightening
prospect for the Fiction Factory.
1900:
Circus Series, 28 @ $40 each $1120.00
Circus Series, Completing unfinished story 20.00
Five-Cent Library, 23 @ $40 each 920.00
Trade Paper Sketches, 10 @ $10 each 100.00
"He Was A Stranger," 250.00
"The Man From Dakota," 200.00
"What Happened to the Colonel," 75.00
---------
Total $2685.00
1901:
Five-Cent Library, 10 rewritten @ $30 each $ 300.00
Five-Cent Library, 8 @ $50 each 400.00
Five-Cent Library, 16 @ $40 each 640.00
Four Boys' Serials @ $100 each 400.00
"The Tangle in Butte," 200.00
"Tale of Two Towns," 150.00
"A Vassar Girl," 100.00
Trade Paper Sketches, 9 @ $10 each 90.00
---------
Total $2280.00
=Very Often.=
_Poeta nascitur; non fit._ This has been somewhat freely translated
by one who should know, as "The poet is born; not paid."
FOOTNOTES:
[G] What do you think of _that_!
XV.
FROM THE
FACTORY'S FILES
A letter of commendation from the reader of a story to the writer is
not only a pleasant thing in itself but it proves the reader a person
of noble soul and high motives. _Noblesse oblige!_
The writer who loves his work is not of a sordid nature. The check an
editor sends him for his story is the smallest part of his reward. His
has been the joy to create, to see a thought take form and amplify
under the spell of his inspiration. A joy which is scarcely less is to
know that his work has been appreciated by others.
A letter like the one below, for instance, not only gives pleasure to
the recipient but at the same time fires a writer with determination
never to let his work fall short of a previous performance. This
reader's good will he _must_ keep, at all hazards.
"Wayland, N. Y., March 22nd, 1905.
Mr. John Milton Edwards,
Care The F. A. Munsey Co., New York.
My dear Sir:
I read the story in this last _Argosy_, entitled 'Fate and the Figure
Seven,' and was in a way considering if it were possible that a man
could act in the subconscious state you picture. Deem my surprise,
last night, when I read of a similar case in the report of the
Brockton accident.
In case you should have failed to notice this item, I send you a
clipping from a Buffalo paper.
I WISH INCIDENTALLY TO THANK YOU FOR YOUR SHARE IN MAKING LIFE
PLEASANT FOR ME. I have enjoyed your works immensely from time to
time on account of their decidedly original ideas. They are always
refreshingly out of the ordinary rut.
Yours truly,
A. F. V----."
There is one sentence in this letter which Edwards has put in capitals.
If possible, he would have written it in letters of gold. In this
little world, so crowded with sorrow and tragedy, what is it worth to
have had a share in making life pleasant for a stranger? To Edwards
it has been worth infinitely more than he received for "Fate and the
Figure Seven."
Another letter carries an equally pleasant message:
"Livingstone, Montana, Sep. 16, 1903.
Mr. John Milton Edwards,
Care The Argosy, New York City.
Dear Sir:
Having read your former stories in _The Argosy_ on Arizona, and last
night having commenced 'The Grains of Gold,' I trust you will pardon
my expression of appreciation of said stories. I lived ten years in
Arizona as private secretary to several of the Federal Judges, and
also lived in Mexico, and am still familiar with conditions in that
section.
I have enjoyed most keenly your handling of thrilling scenes on
Arizona soil. It is an exasperation that they appear in serial form,
as I dislike the month's interval.
My only purpose in writing is to express my admiration of your plots
and local color, and I remain,
Sincerely yours,
Richard S. S----."
Edwards has always prided himself on keeping true to the actual
conditions of the country which forms the screen against which his plot
and characters are thrown. This is a gratifying tribute, therefore,
from one who knows.
A letter which rather startled Edwards, suggesting as it did the
Maricopa Indian incident which trailed upon the heels of "A Study in
Red," is this:
"Colorado Springs, Colo., 2-25-'09.
Mr. John Milton Edwards,
Dear Sir: Through the kindness of the editor of the _Blue Book_
I received your address. I am very much interested in your story
entitled, 'Country Rock at Kish-Kish,' and know the greater part of
it to be true to life, but would like to know if it is ALL true. Did
Sager have a daughter? And where did Sager go when he left Arizona?
Or is that just a part of the story? I am very much interested in
that character, Sager. Can you tell me if he is still living, and
where? Any information that you may be able to give me will be more
than appreciated.
Thanking you in advance for the favor, I am,
Yours respectfully,
Mrs. James R. S----."
Edwards answered this letter--he answers promptly all such letters
that come to him and esteems it a privilege--and received a reply. It
appeared that Mrs. S-- was the grand-daughter of a man whom "Sager"
had robbed of a large amount of money. "Country Rock at Kish-Kish" was
built on a newspaper clipping twenty years old. This clipping Edwards
forwarded to Mrs. S-- in the hope that it might help her in her quest
for "Sager." The letter was returned as uncalled for. Should this ever
fall under the eye of Mrs. S-- she will understand that Edwards did
everything in his power to be of assistance to her.
Now and again a letter, which compliments an author indirectly, will
chasten his mounting spirit with the reminder of a "slip:"
"Rochester, N. Y., Nov. 17, 1905.
Mr. John Milton Edwards:
Dear Sir:--Will you please tell me where I can get more of your
stories than in the _Argosy_; and also, in reference to your story
which concludes in December _Argosy_, how many large autos were in
use in New York in 1892?
Yours respectfully,
Howard Z----."
Carelessness in a writer is inexcusable. It is the one thing which a
reader will not forgive, for it is very apt to spoil his pleasure in
what would otherwise have been a good story. This is a sublimated form
of the "gold-brick game," inasmuch as the reader pays his money for
a magazine only to find that he has been "buncoed" by the table of
contents. If there is a flaw in the factory's product, rest assured
that it will be discovered and react to the disadvantage of everything
else that comes from the same mill.
Many readers will be found whose interest in a writer's work is so keen
that they are tempted to offer suggestions. Such suggestions are not to
be lightly considered. Magazines are published to please their readers,
and they are successful in a direct ratio with their ability to
accomplish this end. Naturally, the old doggerel concerning "many men
of many minds" will apply here, and a single suggestion that has not a
wide appeal, or that fails to conform to the policy of the magazine,
must be handled with great care.
"Cincinnati, Ohio, Oct. 31, 1905.
Mr. John Milton Edwards,
Care Frank A. Munsey Co.,
New York.
Dear Sir:
Because of the increasing interest in Socialism, would it not be a
good idea to write a story showing under what conditions we should
live in, say, the year 2,000, if the Socialists should come into
power?
You might begin your story with the United States under a Socialistic
form of government, and later on Socialize the rest of the world.
Your imaginative stories are the ones most eagerly sought in the
pages of _The Argosy_, and I think that a story such as I have
suggested would serve to increase your popularity among the readers
of fiction.
Sincerely yours,
J. H. S----."
It frequently happens that a comedian will get after a writer with a
stuffed club or a slapstick. Some anonymous humorist, upon reading
a story of Edwards' in _The Argosy_, labored and brought forth the
following:
"November 19, 1904.
John Milton Edwards,
Care Frank A. Munsey Co.,
New York.
My dear John:--
I have read with much pleasure and delight the first six chapters of
your latest story, 'At Large in Terra Incognita,' as published in the
December number of _The Argosy_.
I cannot understand why you failed to send me the proof-sheets of
this story for correction, as you did with 'There and Back.' It
is evident so far as I have read the person who corrected your
proof-sheets was as ignorant as yourself.
Where you got the material for this story is not within my memory,
retrospective though it is, and I am sure you must have been on one
of your periodical drunks, otherwise the flights of fancy you have
taken would have been more rational and not so far removed beyond the
pale of the human intellect.
Now, my dear John, I beg of you to give up going on these habitual
tears, because you are not only ruining your constitution but your
reputation as a writer is having reflections cast upon it. I trust
you will not take this letter as a sermon but rather in a spirit of
friendly counsel.
I hope you will send me at once the remaining chapters of this great
'At Large in Terra Incognita.'
Your Nemesis,
Theo. Roosenfeldt,
Pres't Trust-Busters' Asso."
Readers have usually the courage of their convictions and not many
anonymous letters find their way into the office of the Fiction
Factory. Edwards remembers one other letter which was signed "Biff A.
Hiram." At that time Edwards did not know Mr. Biff A. Hiram from Adam,
but he has since made the gentleman's acquaintance, and discovered how
wide is his circle of friends.
If praise from a reader has a tendency to exalt, then how much more
of the flattering unction may a writer lay to his soul when approval
comes from a brother or sister of the pen? With such a letter, this
brief symposium from the Factory files may be brought to a close.
"Mr. John Milton Edwards,
Dear Sir:--
Allow me to congratulate you upon your success with the novelette in
a recent issue of the _Blue Book_. It is to my mind the BEST short
story of its kind I have EVER read. As I try to write short stories I
see its merits doubly. The modelling is splendid. Will you pardon my
display of interest?
Very truly yours,
K. B----."
=Rules for Authors.=
Dr. Edward Everett Hale, author of "The Man without a Country," and
other notable books, gives a few rules which are of interest to the
author and the journalist. Dr. Hale's success in the literary world
makes these rules, gleaned from the field of experience, especially
valuable to young writers:
1. Know what you want to say.
2. Say it.
3. Use your own language.
4. Leave out all fine phrases.
5. A short word is better than a long one.
6. The fewer words, other things being equal, the better.
7. Cut it to pieces--which means revise, revise, revise.
XVI.
GROWING
PROSPERITY
The years 1902 and 1903 were busier years than ever for the Fiction
Factory. Nineteen-two is to be remembered particularly for opening a
new departure in the story line in _The Argosy_, and for placing the
first book with the G. W. Dillingham Company. Nineteen-three claims
distinction for seeing the book brought out and for boosting the
Factory returns beyond the three-thousand-dollar mark. But it must
not be inferred that the book had very much to do with this. Edwards'
royalties for the year were less than $100.
In September, 1902, Edwards made one of his customary "prospecting"
trips to New York. If there was anything in omens his stay in the city
promised dire things. On the second day after his arrival he went to
Coney Island with a friend. Together they called on the seventh son
of a seventh son and had their palms read. The dispenser of occult
knowledge assured Edwards that the future was _very_ bright, that
Tuesday was his lucky day and that Spring was the best time for him to
consummate his business undertakings. That day, as it happened, was
Tuesday. In the teeth of this promising augury, and within ten minutes
after leaving the palmist's booth, some Coney Island "dip" shattered
Edwards' confidence in Tuesday by annexing his wallet. The wallet, as
it happened, contained all the money Edwards had brought from home,
with the exception of a little loose change.
This was the second time Edwards had been all but stranded in the
Metropolis, and this time the stranding was more complete. When he cast
up accounts that evening he found himself with a cash balance of $1.63.
Fortunately Mrs. Edwards was not along. He had left her at home with
the understanding that she was to come on later. When a writer has come
within hailing distance of the bread line there remains but one thing
to do, and that is to start the Factory going with day and night shifts.
Edwards called on Mr. White, of _The Argosy_, and outlined a serial
story. He was told to go ahead with it. For five days Edwards hardly
stirred from his room. At the end of that time he had completed "The
Desperado's Understudy," and had sold it to Mr. White for $250, spot
cash.
After completing this serial, Edwards outlined to Mr. White a
novelette which would furnish _The Argosy_ with something new in the
fiction line. The plot was based on a musical extravaganza which he
had written, several years before, in collaboration with Mr. Eugene
Kaeuffer, at one time connected with _The Bostonians_. Nothing had ever
come of this ambitious effort, although book and musical score were
completed and offered to Mr. McDonald of _The Bostonians_ and to Mr.
Thomas Q. Seabrooke. Mr. White liked the idea of the story immensely
and gave Edwards _carte blanche_ to go ahead with it.
This story, "Ninety, North," paved the way for other fantastic yarns
which made a decided hit in _The Argosy_ and so pointed Edwards along a
fresh line of endeavor which proved as congenial as it was profitable.