The Outside Contributor
In Mr. J.M. Barrie's _When a Man's Single_ [Footnote: This brilliant
novel should be seriously studied by every young journalist. It contains
more useful advice to the outside contributor than all the manuals of
journalism ever written.] the following homily is delivered by a
journalist of experience to a naive and innocent beginner:--
"There are only about a dozen papers in London worth writing for, but
I can give you a good account of them. Not only do they pay
handsomely, but the majority are open to contributions from anyone.
Don't you believe what one reads about newspaper rings. Everything
sent in is looked at, and if it is suitable any editor is glad to
have it. Men fail to get a footing on the press because--well, as a
rule because they are stupid."
This is indeed wisdom. I demur to the first sentence alone. There are
to-day (whatever the case ten years ago) many more than a dozen papers in
London worth writing for; I should put the number nearer a hundred; papers
which pay, if not handsomely, at least adequately, seldom lower than
fifteen shillings per thousand, and in some noble instances ascending to
two guineas--which is princely. A dozen papers worth writing for in the
whole of London! Why, it is scarcely uncommon for a single firm to have
control of a dozen reputable publications!
The beginner must, for her encouragement and solace under rebuffs, grasp
firmly the fact that the immense majority of London editors are not merely
willing but in truth anxious to peruse such manuscripts as she cares to
submit to their notice, and to accept them if suitable. The supply of
really suitable material of average quality does not often exceed the
demand, and the supply of suitable material which can be called
distinguished is always less than the demand. This is why the editorial
eye keeps a sleepless watch for that long-desired new writer, who may be
yourself. Also, the beginner should remember with pride that the Press as
a whole relies for much of its freshness and attraction upon the outside
contributor. If the stream of unsolicited contributions were suddenly to
cease flowing into Fleet Street, the monthlies would find themselves in a
predicament; all the weeklies (except certain "class" organs), from the
esoteric literary sixpenny to the penny popular with a circulation equal
to the population of Glasgow, would be compelled to cast aside dignity,
and solicit instead of being solicited; even those pompous creatures, the
"great dailies," would feel the pinch, despite their regular services and
seething staffs. Let it be your glory, therefore, O outside contributors,
that the very existence of the Press, as at present organised, depends
upon yourselves.
* * * * *
I have already referred to the necessity of visiting regularly a public
news-room. As you progress in the power of composition, so must your
knowledge of the "make-up" of all the principal papers increase; for the
first is useless without the second. You must, in particular, know
intimately the complicated topography of all the daily papers--on what
days certain features appear; what length of article is affected by each
paper; and the subtle variations of tone which, apart from grosser
differences, distinguish one organ from another. You must also be well
acquainted with the various editorial notices, and take care, when sending
in manuscripts, always to obey the instructions there laid down.
The length of an article is a most important matter and frequently decides
its fate. Accordingly, the question of lengths must be thoroughly studied.
For a simple example, you must know that a _Globe_ "turnover" (the
celebrated daily article which occupies the last column on the first page
and "turns over" to the second page) must necessarily exceed a thousand
words; no article intended for that position, whatever its merit, can have
the least chance of acceptance if it falls short of this minimum. Again,
the first article in the _Evening Standard_ must exactly fill the
column, no more and no less.
Do net despise "class" papers, those which appeal only to a particular
section of the community--religious, architectural, literary, artistic,
and so forth. These papers sometimes experience a difficulty in getting
what articles they desire, and indeed it is notorious that the editors of
certain of them are often at their wits' end in the search for new
treatments of an exhausted subject. The reasons for such a state of
affairs are, of course, first, that outside contributors in their
blindness pass over these papers, and secondly, that as the subjects are
sharply limited, so is the field for copy.
It would be well to buy for reference Sells' _Dictionary of the World's
Press_ (7s. 6d.), a vast volume containing indexes of all papers, with
their addresses, and a quantity of useful information concerning them.
_The Literary Year Book_ (George Allen, 3s. 6d.), gives a tabular
statement (incomplete, but useful so far as it goes) showing the editorial
requirements of a number of weekly and monthly organs.
* * * * *
Naturally it is impossible to offer particular advice upon so immense a
subject as the selection of topics for articles, but attention is directed
to the following three points:--
1. Editors, especially editors of weeklies and monthlies, find it
necessary to make their arrangements far in advance of publishing day.
Therefore the outside contributor must always look ahead. In March she
should have an eye on Midsummer, at Midsummer she should be engrossed by
Christmas, and at Christmas that notorious article, "Easter in many
Lands," should be approaching completion. It is useless to send in (as so
many thoughtless ones do send in) an essay on the New Year just before
Christmas, or a seaside dissertation towards the end of July. And this
applies not only to the great annual festivals and seasons, but also to
all important political, social, and general events whose dates are known
beforehand. Take, for an instance, the annual meeting of the British
Association. If you send to an editor an anecdotal history of the British
Association only a a few days before the meeting itself, you thereby
assume that the editor is depending for his topical articles on chance
contributions received at the last moment. Which is patently absurd.
Without doubt that editor had arranged his British Association articles a
couple of months previously, and it is not improbable that he accepted the
suggestions of some outside contributor who had been clever enough to look
into the future. It is a good plan to compile for reference a calendar of
festivals, seasons, and public events, exactly such as the editor himself
must use.
2. Women need not confine themselves to women's subjects. Many women
writers seem to think that they are debarred by some defect or limitation
of sex from treating topics other than those commonly termed feminine. But
there is no reason why a woman should not deal as effectively as a man
with general matters. (To argue that, because the male journalist does not
usually touch women's affairs without being ridiculous, therefore the
converse holds good, is illogical.) I lay stress on this.
3. Do not disdain to write mere paragraphs. The present is an era of
paragraphs, and they form a most marketable commodity. Scarcely an editor
but is continually gaping for topical paragraphs. Moreover paragraphs are
less difficult to write than articles, since they demand less constructive
skill; many aspirants can put together a passable paragraph who would fail
miserably with an article. Further, they have a better chance of
acceptance, _cæteris paribus_, for the reason that editors find them
easier to handle. Often an editor declines an article which he likes,
simply because he knows that to use it would involve the re-modelling of
an entire issue; a paragraph is more amenable. Lastly, paragraphs are paid
for, and just as much as articles they may afford one the encouraging
satisfaction of seeing her stuff in print. The beginner, therefore, will
do well to begin with paragraph work; articles may follow at a later
stage.
* * * * *
Your paragraph or article having been composed, there arises the question
of the proper way to copy and dispatch it:--
1. In the majority of instances it is unnecessary to typewrite.
Typewriting is somewhat expensive and often inaccurate, and unless you
happen to possess your own typewriter, there is no reason why caligraphy
should not suffice for your needs. (A few editors, however, insist that
all copy submitted shall be typewritten.) Use quarto paper--that is, the
size of a sheet of note-paper opened--and only one side of it. Write very
plainly, not too small, leaving a wide margin at the left hand, and a good
space between the words and between the lines.
2. Fasten the sheets together at the top left hand corner with a paper
fastener, the pointed ends of the fastener being at the top. Do not pin
the sheets; do not stitch them; whatever else you do, refrain from
stitching them all the way down the left hand side, as this process makes
it irritatingly difficult to turn them over.
3. Write your name and address not only at the top of the manuscript
itself, but also on the back, so that they may be prominent when the
manuscript is folded up. Write boldly on the first page the exact length
of the article in words.
4. Enclose a stamped and addressed envelope--not a book-post wrapper;
manuscripts which see much of the world (and your earlier manuscripts will
probably see a very great deal of the world) become damaged and ruinous by
travelling in a book-post wrapper. Be sure that the envelope is
sufficiently stamped, and be sure also that it is large enough to hold the
manuscript.
5. Never send out a dirty or ragged manuscript. The editor is prejudiced
by the first sight of such a manuscript, for he knows at once that it has
been refused elsewhere.
* * * * *
Her manuscript decently dispatched, the aspirant will feel happy and well
satisfied till shortly before the earliest hour possible for its return.
Then begins suspense. She will sit awaiting with counterfeit calm the
postman. She hears his tread on the pavement outside; he mounts the steps,
knocks; there is the gentle concussion of a packet against the bottom of
the letter-box. Is it the article returned? She still keeps hope. Even
when one day the large envelope, addressed in her own writing, is put into
her hands, she says to herself that the editor has only returned it for a
few trifling modifications....
Invariably the thing does come back, sooner or later, with some curt
circular of refusal. Moodiness and discouragement follow. But it is as
wise to be annoyed by editors as to quarrel with the weather. Idle
depression must instantly give place to renewed activity. The journalistic
instinct, says Noble Simms in _When a Man's Single_, "includes a
determination not to be beaten as well as an aptitude for selecting the
proper subjects."
If at first you fail--as will certainly be the case; you may sell nothing
whatever for twelve months--be quite sure that it is not--
Because there is a conspiracy among editors to suppress talented
beginners.
Or because the market is overcrowded.
Or because your manuscripts have not been carefully read.
Or because editors do not know their business.
Try to convince yourself that the true reason is--
Because your stuff has not yet reached the (low) level of merely technical
accomplishment which the average editor exacts.
Or because your topics are devoid of interest for any numerous body of
persons.
Or because you persist in sending your articles to the wrong papers.
The first defect ought to be remedied speedily. The second is more
difficult to deal with, and the third is most difficult. The eradication
of these two will necessitate careful and continuous study of journalism
in all its manifestations, and nothing but successive defeats will teach
you how to be victorious. However, perseverance granted, the hour will
come when an article of yours finds its way to the composing room. A day
of ecstasy, upon which every disappointment is forgotten and the way
forward seems straight and facile!
As soon as you can rely upon selling one article out of four, count it
that you are progressing.
* * * * *
As to remuneration, a few papers send out cheques at regular intervals
without putting their contributors to any trouble in the matter. Others,
and among them some of the best, never pay till a demand is made. Some,
including one or two organs of note, never pay till they are compelled to
do so. If a remittance is not received during the month following
publication, it is advisable to deliver an account, giving the date of
appearance, exact title, and number of pages, columns, or inches.