RELATIONS OF THE SHORT-STORY WRITER TO THE MAGAZINES

THE contributor to the magazines stands in a relation entirely different from that of the novelist to his publisher. In this case, the author has no joint interest with the publisher, being but one of many contributors to the magazine as a whole. In an article in their "Bulletin," the Authors' League refers to these dealings as follows:

"In his relations with the magazine publisher, the short-story writer may be considered either as an independent merchant, peddling his wares, or as an employee,—on the same plane with the ink-dealer and the paper-house, say, or on the same plane with the sub-editor and the cashier. The magazine publisher, for selfish reasons, generally prefers to consider him as a merchant. Your committee, for reasons equally selfish but perhaps better founded, considers him rather in the light of an employee. First, and most importantly, the ink-dealer and the paper-house have capital; the magazine writer brings nothing to his business but his brain and his two hands. In the second place, a great deal of the writing for our periodicals is done by men and women employed on salary, and economically in the same category as the cashier or the sub-editor. The man or woman who writes 'on the outside,' either on speculation or on order, it seems to us, is no less a temporary employee of the magazine.

This consideration enters into the first grievance which has been urged by many of our members against certain of our magazines,—the deferring of payments after the acceptance of the article or story. As every one knows, the custom of our leading periodicals varies greatly in this regard. Some pay upon acceptance, not nominally but really. Certain others pay within the month. Still others pay just about when the author can get it. The staff writer receives his regular salary every week; the free-lance writer, working on order, temporarily just as much a part of the magazine staff as any regular employee, often has to wait for weeks and months. Certain of the magazine publishers interviewed by your committee have their ready-made answer to this: 'The ink maker and the paper manufacturer give us time: they wait one, two, or three months for their money; why should we be any more prompt with the author?' This position, on the theory that the magazine writer is only an outside employee, is of course untenable."

COPYRIGHT

From the same source comes most valuable comment regarding the importance of a fuller knowledge on the part of the short-story writer of the exact bearing of the copyright law upon his work, being the statements upon recent opinions handed down as a result of litigation. Briefly, these opinions are to the effect that a magazine copyright covers the matter contained in each number only to the extent to which such matter is the property of the magazine. It therefore follows that in the case of a story, of which only the magazine rights have been sold by the author, the magazine copyright leaves him absolutely unprotected in his dramatic and, theoretically at least, in his book rights. To save whatever he reserves, he must take copyright, also, in his own name, fulfilling the necessary formalities, such as paying a separate fee, depositing two copies of the book in the Library of Congress, and seeing that his notice of copyright appears upon the story when published in the magazine.[28] The attorney for the Authors' League advises as follows:

"So long as this and similar matters remain in doubt, both authors and publishers should, for their own protection, agree on some system whereby the dramatic and all other rights are thoroughly safeguarded. This can be accomplished in either of two ways:

(a) The editor can copyright each story or article separately in the author's name, printing at the bottom of the first page thereof a proper copyright notice, as follows:

'Copyright, 1913, by John Doe'

The author should then, immediately on publication, mail one copy of the magazine to the Register of Copyrights in Washington, in conformity with the requirements of the present Act, enclosing the fee of One Dollar. This is perhaps the simplest way, although it involves a separate registration of the magazine for each story or article so copyrighted.

(b) Or the author can sell his story outright to the editor or publisher, and safely reserve his equitable interests in the dramatic or other rights thereto by attaching to his manuscript a 'rider' or slip somewhat as follows:

'This manuscript is submitted with the understanding that, if accepted for publication, the same shall be copyrighted by the publishers, and all rights under said copyright (except that of magazine publication) shall be held in trust for the benefit of the writer or his assigns, and will be reassigned to him upon demand.'"

PRACTICAL SUGGESTIONS

The general advice under "Submitting the Manuscript"[29] applies with added force to the manuscripts of short stories, as the number of such manuscripts submitted to editors is naturally greater than in the case of novels and publishers. In a word, make the reading of your story as attractive and as easy for the editor as possible. In addition, these points are of importance in submitting manuscripts of short stories:

Use double space in typewriting.

Be sure that your typewriting machine is in good order. Typewritten manuscript possesses an individuality as well as hand-script, and inaccurate or slovenly pages prejudice the reader.

Always enclose a stamped, addressed envelope, and be sure that the postage is not underpaid. Manuscript copy costs two cents an ounce; when mailed with proof, it costs one-half cent an ounce.

Write your name and address in the upper, left-hand corner of the first page; in the upper, right-hand corner write the approximate number of words.[30]

A short story is usually supposed to contain from 3000 to 6000 words.

Number your pages consecutively.

The manuscript may be folded, not more than twice, but should never be rolled.

DEALINGS WITH THE EDITOR

The letter accompanying the manuscript should be brief, business-like, and to the point. The editor is too busy to concern himself with anything in connection with the writer or the story except the story itself.

Don't call upon the editor, or send him a letter of introduction; let the merit of your story be your only sponsor.

Don't ask the editor to criticize your work; place the manuscript in the hands of a professional reader if that is what you desire.

Be patient. It is reasonable to expect a decision upon your manuscript within three months' time, but not sooner.

Don't be offended by the receipt of a printed rejection slip. Personal letters are not to be expected.

Accept the editor's judgment cheerfully. Nothing is ever gained, and much is usually lost, by personal pique.

Study the spirit and policy which lie behind each publication. Just as a merchant offers his wares only in the market where the demand exists, make sure in your own mind that your story fits the magazine to which you send it.

Look upon the return of a manuscript as an opportunity for revision and improvement before sending it out again. Study it, and try yourself to discover why it did not succeed.

Keep a careful record of the peregrinations of your various manuscripts.

Be timely, remembering that "seasonable" stories should be received by the magazines four to six months before the season arrives.

The best magazines have a regular rate of payment, so it is needless to discuss terms in submitting your manuscript.

Never give a story away. If it is worth publishing it is worth being paid for, and to part with it for nothing injures the literary market for your fellow-writers as well as for yourself.

There is much difference of opinion regarding the ethics of submitting the same manuscript to more than one magazine at a time. In this matter each writer must settle the question for himself. There is no general custom, but good taste would seem to argue against the practice.

It is seldom wise to submit more than one story at a time to the same magazine.

THE LITERARY AGENT

Enlarging upon what has been said in an earlier chapter,[31] the literary agent may be found much more useful in the marketing of short stories than in novels. The relations of the author to the publisher are much closer than those existing between the short-story writer and the magazine editor, and the personality of the author is a less important factor. If the writer of short-stories makes a study of the market, and possesses ordinary business ability, he has no more occasion for an "agent" than a man engaged in any other profession. On the other hand, it is a fact that the average writer does not develop himself along these lines, so that the advice and co-operation of one who makes a business of acting as a go-between can be made exceedingly valuable.

In placing oneself in the hands of a literary agent, great care should be exercised to select one with a reputation for the successful placing of manuscripts and for prompt financial dealings.

The ordinary commission of the literary agent is 10 per cent. upon all sums received on account of the author, and it is customary for him to handle the financial as well as the literary relations between the writer and the magazines.