although later he often exceeded that number. He records the result of one day's work as six manuscript pages, or about twenty-four pages of print; another day he wrote copy enough for thirty pages of print; and one day of hard work on "The Fair Maid of Perth " supplied the printer with manuscript for forty pages of print. Occasionally the bottom of a manuscript page shows the flourish used by lawyers to prevent the insertion of forged additions, certainly an unnecessary scroll for a Waverley novel.-E. H. Woodruff, in Scribner's Magazine for February.

PRICES PAID FOR SHORT STORIES.

The Literary World contends that the average short story by a writer of established reputation brings about $250, whereas ten years ago the price paid for a story of equal length would have been not much more than $100; and that stories from unknown authors of sufficient merit to find a place in one of the leading magazines will often bring $150. The Critic takes the ground that these statements are absurd, and only calculated to play havoc with the hopes of aspiring authors. In order to make a practical test, I secured the opinions of many prominent authors, who know whereof they speak. Here is what they say:

Professor H. H. Boyesen.-"Judging from my own experience, I should say that the statement of The Literary World was about correct."

Brander Matthews. -"I sold last year four short stories to Harper's Magazine, Harper's Young People, Scribner's, and the Century for $250 each; also, I sold a very short one to Scribner's for $150, and received $100 for a three-page sketch from the Century. I have now on my table an offer of $75 for a tiny story of 1,500 to 2,000 words. My price for a story of from 7,000 to 10,000 words is $250. There are perhaps a dozen other short-story writers who can get this price, and there are three or four who can get more. I have known both the Century and Scribner's to pay $150 for 6,000 or 7,000 word stories by a man quite unknown to them."

George H. Jessop. "It seems to me that the figures you state are fairly representative of the prices paid by the large magazines, excepting to the few names which always command a special remuneration. I have myself received both $150 and $200 for short stories, but never less than the former sum."

Julian Hawthorne. — “I know nothing about the matter, except my own experience. I suppose the price paid for a short story of, say, 5,000 words

varies, according to circumstances, from $10 to $1,000. An American publisher, Robert Bonner, probably paid Dickens $5,000; but that is exceptional."

George W. Cable.· "I fear that $150 is a large estimate of the average price paid for a short story, from a writer of no special reputation, by the great magazines. The magazines pay for such stories by the page, or by the thousand words, and only the very longest short story likely to be given place in a single number of such magazine will bring the author $150. Magazines behind the very front rank pay a much lower rate. Nevertheless, there is no branch of literary work which commands so ready a market for the literary beginner as short stories."

Louise Chandler Moulton. tioned are not excessive."

"The prices men

"I doubt whether

George Parsons Lathrop. $200 is even the average price paid for short stories by well-known authors. A few persons get more, but most among even fairly-known writers get less than the sum named. The price, however, is somewhat affected by the length of the story. Fifteen years ago, I remember, when Bret Harte was in the height of his fame, $250 or $300 was considered an enormous, almost an extortionate, price for him to receive for a short story. He was an exception then, but prices have somewhat advanced in the period I have mentioned. The statement that $150 is a common price for a story by a writer of no special reputation appears to me preposterous; and I should advise beginners not to build any hopes on that basis. They will be lucky if they get as much as half of $150. There is a great deal of exaggeration current about prices received from periodicals. I know of one instance, not long ago, in which some thousands of dollars were said to have been paid for a contribution, when, as a matter of fact within my own knowledge, the price paid was only a few hundred dollars. These stories may have their origin in vanity, or in a disposition for playful advertising."

Octave Thanet."I can only say that if the friends of the writer in The Literary World, with no special reputation, can get $150 for their short stories, their experience is more fortunate than mine. But I dare say a well-known author would not consider $200 a high price for a story. I imagine, however, that the price paid unknown writers depends chiefly upon the value of their work, as it should."

Arlo Bates. -"The price paid to well-known authors for short stories can, of course, only be

told by themselves. I chance to have known the rates paid to numbers of writers of no special reputation, and it has usually been from $10 to $15 per thousand words."

The editor of one of the three leading magazines, whose name I am not at liberty to give, for obvious reasons, but whose experience has been very wide, says: "It is true that an author of no especial reputation might receive $150 for a story, but such a payment would indicate that the story was of such length as to justify this payment at the usual rate per page. The statement made, which you repeat, about short stories, is likely to mislead unknown authors."

The above letters prove that the circumstances in connection with the story itself, its merit, and its length govern entirely the prices paid for short fiction. The letter of Mr. Lathrop is interesting especially, as he for some time was managing editor of a well-known magazine, though that was some years ago. Whatever may be said, I have positive and personal knowledge of three short stories recently purchased by the editors of the three leading magazines, Harper's, Scribner's, and the Century, for which $150 each was paid. The authors of the tales had never before contributed to magazines, nor were they well known in any branch of literature. William J. Bok, in the Chicago Journal.

AN AUTHOR'S CONTRACT.

When you have had your book accepted, you will be asked to sign a formidable document, from which I am going to make quotations. It is printed on beautiful paper, and presents somewhat the appearance of a mortgage (on your brains), and somewhat the appearance of a passport (to fame). After the usual "agreement" between the party of the first part and the party of the second part, the party of the first part, who is the author, "hereby agrees that the said party of the second part, "who is the publisher, "shall have the exclusive right to print and publish the said book during the full term of the copyright thereof, and also during the full term or terms of any and all renewals of said copyright."

The author then agrees that he will not "write, print, or publish, or cause to be written or published, any other edition of said book, revised, corrected, enlarged, abridged, or otherwise, or any book of a similar character," thus delivering afterthoughts and preconceptions along with his whole mental product and equipment, his children of the brain, "hoofs, horns, and tallow." That done,

the author must further agree that he will "protect and defend" the publisher "against all suits and other actions at law in consequence of any infringement of copyright." After making a complete surrender, he must become protector, and fight for the hand that enslaves him.

On the second page of this beautiful piece of parchment, the publisher, on his part, agrees simply to print and publish, and report semi-annually the sales, and to pay the author, - here a blank space is left, which is usually filled with the words "ten per cent. of the price of the books actually sold,” "provided that the said party of the second part" (the publisher) "shall not be required to make any such payments until he shall have sold a sufficient number of copies of the said book to reimburse him for all moneys expended in manufacturing and publishing the same."

The climax of this series of "provided howevers” is this: "If, after the said book shall have been published two years, the said party of the second part cannot sell the said book at the cost of paper, printing, and binding, he shall then have the privilege of disposing of all copies for waste paper, and thereupon to cancel this agreement without paying the said party of the first part" (the author) "the sum of money herein before provided, or any other sum."

This is the form of the agreement made with the author by one of the largest publishing houses in New York. With difference in details, all forms

are substantially like this. It is not once in ten years that a copy of this interesting kind of document finds its way into print, for the very excellent reasons that no author, after he has signed it, cares to have it made known, and the publisher before it is signed does not care to frighten off all writers whom he has not thus bound to him.

It is but fair to say that these extra-rigid provisions are seldom carried out. The upshot of the whole transaction generally is, that an author entrusts himself to his publisher with the childlike faith that distinguishes the craft, and awaits the accidents of popular favor with what composure he can. When the first semi-annual report is made, the novice of an author concludes that the whole first edition was given to the press to be reviewed. It is on the second and third (if there ever come a second and third) semi-annual reports that he must base his hope of a cash payment. If you except the few successful professional authors (and they are very few), the amount of money paid over by the publishers to the average writer of a book is not enough to buy pens, ink, and paper.— David Wechsler, in the Brooklyn Times.

THE AUTHOR is published the fifteenth day of every month. It will be sent, post-paid, ONE YEAR for ONE DOLLAR. All subscriptions, whenever they may be received, must begin with the number for January 15, and be for one year.

All checks and money orders should be made payable to William H. Hills.

The American News Company, of New York, and the New England News Company, of Boston, are wholesale agents for THE AUTHOR. It may be ordered from any newsdealer, or directly, by mail, from the publisher.

THE AUTHOR is kept on sale by Damrell & Upham (Old Corner Bookstore), Boston; Brentano Bros., New York, Washington, and Chicago; George F. Wharton, New Orleans; John Wanamaker, Philadelphia; and the principal newsdealers in other cities.

Advertising rates will be sent on request.

Contributions not used will be returned, if a stamped and addressed envelope is enclosed.

The illustrated article by E. H. Woodruff, in Scribner's Magazine for February, on "Walter Scott at Work," should not be missed by any writer. The extracts from it printed in THE AUTHOR give only a taste of its excellent quality.

Readers of THE AUTHOR are invited to send in answers to the "Queries" printed in the magazine, and to ask any questions that they would like to have answered. If readers will coöperate with the editor, they may make this department one of the most useful and interesting features of the magazine.

The favor with which THE AUTHOR has been received proves that there is room for such a periodical, and insures the success of the magazine. Already the subscription list is large, and it is growing rapidly and steadily every day. If the number of subscribers continues

to increase in the same proportion, it is likely that THE AUTHOR will be enlarged before the year is out. In the mean time, if readers have any suggestions to make for the improvement of the magazine, the editor will be glad to know of them. A hint on a postal card might add to the magazine a department which every reader would enjoy.

Hereafter THE AUTHOR will be sent only to those subscribers who have paid their subscription fees in advance, and when subscriptions expire the names of subscribers will be taken off the list. Due notice will be given to every subscriber of the expiration of his subscription, and if no order for renewal, accompanied by remittance, is received, it will be understood that the subscriber wishes to discontinue taking the magazine. This plan has been adopted, after due consideration, as being the best and fairest for all concerned. Attention is again called to the requirement that all subscriptions. for THE AUTHOR must begin with the number for January 15, and be for one year.

EDITOR AND CONTRIBUTOR.

66

Criticisms of editors by disappointed contributors usually afford their authors a ready means of getting into print. "A Disappointed Author" lately wrote to the New York World to deny the assertion that editors of periodicals conscientiously read all manuscripts sent to them, whether the authors have a literary reputation or not." She says: "I have positive proof that this is not the case. Having experienced much disappointment in regard to my compositions, I concluded to try a little trick to see whether they were read or not. I tucked tiny pieces of paper between the pages of the manuscript in such a way that if the pages were opened the pieces would be displaced. This story I sent to the Century. It came back in four weeks with every piece of paper intact. I immediately sent the same manuscript to Harper's Magazine with the same result. As I do not care to dispose of the work of my brains to inferior journals, I made no further efforts to dispose of my work."

To the "disappointed author," no doubt, her experience seemed positive proof that editors are

not so conscientious as they have been painted. "The Lounger" of The Critic, however, takes a more sensible view of the case, in saying: "I quite agree with this lady, that every page of the manuscript was not read; but, at the same time, I may say that there are some manuscripts of which even less experienced editors than those in question need read no more than the first page in order to return them with a clear conscience, and a polite note of declination."

The editors of the two great magazines, however, are not the only ones who have roused the ire of their contributors. The editor of The Independent recently had to write to a correspondent, one or two of whose stories, "though excellently written," he had declined, and who complained of a lack of courtesy, in that they were sent back by the next mail unread, and without a word of criticism or suggestion. This is what he said:

We are surprised if there has been any lack of courtesy in our treatment of your stories. Certainly it is a new complaint that the immediate return of a declined manuscript is discourteous. We have had occasional complaints for the opposite fault of delay, but never before for offensive promptitude. You may be assured that neither your stories nor any others are returned unread. The editor in charge of this work is prompt and faithful, and if your story was declined, it must have been for no other reason except either the pressure of other matter or because something in the story itself seemed to make it unavailable. You certainly could not ask him to take his time to offer criticisms and suggestions. Be assured that, as the form of declinature says, which I am sure is courteous, and which accompanies every returned article, we must decline many excellent articles well worth printing, and the fact that we decline cannot be a real grievance.

Of course, it is a favor to us to have any writer send us an article. We always examine those sent, and decline all those we can, and accept those we must.

In speaking of this letter in The Independent, the editor says: "Our usual form of declinature is as follows, and is in handsomely engraved script on fine linen paper, and we have been told by writers who have had much experience in having articles returned that it is a poultice of balm to a disappointed spirit : —

THE INDEPENDENT, 251 Broadway, New York.

We are sorry to be compelled to decline, with thanks, the accompanying article. We are overwhelmed with communications, and the exceptional number of excellent articles which come to this journal compels us to decline very many which are quite as worthy of publication as those which we accept.

EDITORS OF THE INDEPENDENT."

The simple truth is that every editor receives

manuscripts the very envelopes of which, almost, — show that they are not suited to his purpose. To read them would be a useless waste of time. The only sensible thing for him to do is to return them to their authors, with or without a printed note, saying that he finds them unavailable. The author has no reason to be either offended or discouraged by such a failure. He cannot in justice expect an editor to waste time looking at wares he knows he cannot buy, while, on the other hand, a second editor may want what the first editor has refused. The " disappointed author" who sits down in despair at the second rejection, and "makes no further efforts to dispose of his work," will surely get exactly as much fame as he deserves. William H. Hills.

No. 3.-J. L. L." has n't any Arnold's ink (London.) He thinks he has, but he has n't. Arnold's ink will do whatever it ought to do. The police recently raided an establishment in Chicago, and found thousands of Arnold's bottles, which the enterprising proprietor had bought up second-hand (and empty,) and had refilled with worthless ink, labelling them with forged labels in duplicate of the original. "J. L. L." had better throw the whole lot away. No one can afford to use ink that fades, when the best can be had at seventy-five cents a quart.

E. B. M.

No. 6. A complete edition of the "British Dramatists it would be impossible to find. John Campbell's "British Theatre," published in 1855, is in forty-seven volumes, with remarks biographical and geographical. It is printed from the acting copies of the plays used at the theatres royal. There is also a large work of Inchbald's. WASHINGTON, D. C.

C. R. B.

No. 8. "M. L. H." can procure photographers' paste of E. & H. T. Anthony, 591 Broadway, or of the Scovill Manufacturing Company, 423 Broome street, near Broadway, New York city. A jar containing one pound and costing twenty-five cents will keep for a long time. I have had mine over a year, and it is only half gone, and is still sweet. A good way, if a little is used, is to put some in a clean vaseline or similar wide-necked bottle, and cover the jar, and set it in a cool place. It is a very convenient article to have around.

NEW YORK, N. Y.

J. H. E. W.

No. 8. I cannot give any information concerning photographers' paste, but nothing can be better for pasting scraps and papers than gum tragacanth. This does not require hot water, and does not discolor the paper or acquire a disagreeable odor. It can be bought at any drug store for five or ten cents an ounce, and can be prepared with cold water. It is well to put a few bits in a widemouthed bottle. WASHINGTON, D. C.

C. R. B.

No. 9. An extensive catalogue of the short

Black. - William Black is about forty-six years

old. He has dark, keen eyes, sparkling behind glasses, black hair, a heavy brown moustache, a firm mouth, a square brow, and a broad chin. He is of medium height, and firmly built. William Black looks like a farmer, and nobody would take him to be an author. He has a ruddy complexion, walks with long, striding steps, and is capable of great endurance. He was educated in private schools in Glasgow. When a boy he showed signs of an artistic disposition, and wanted to become an artist. However, he turned his attention to journalism, going to London when twenty-three years old, and acting as correspondent during the Franco-Austrian war for the Morning Star. His first novel was written when he was twenty-six. His books sell very well, yielding him a handsome income, "A Princess of Thule" being the most popular. His habits, when writing, are peculiar. During the summer months he scarcely ever puts pen to paper, but he arranges his stories in his mind, even to the structure of sentences, and often carries them so for months before he begins to write them. He then shuts himself up from everybody, and keeps on writing for ten or twelve hours at a stretch. Everybody in the house has to keep perfectly quiet, as the least noise, even the presence of anybody in the room, interrupts his composition. When he begins his manuscript he regards his labors as nearly finished. He has long time ago severed his connection with newspapers, and now makes by his pen his ten thousand a year. His favorite authors are Heine, Alfred de Musset, George Sand, and Thackeray. Black lives at Brighton, the beautiful seaside resort near London, where he has a comfortable and delightful house. - Philadelphia Call. Blackmore.- Readers of that noble and everpopular novel, "Lorna Doone," will be sorry to hear of the increasing ill health of Mr. Blackmore. The author has been living for some time out a few miles from London, not far from the upper Thames. He sees few people, is little known among those about him, and a friend who recently visited him reports that he had great difficulty in finding his home at all. Few of his neighbors know his name, and the tradespeople who do have no idea of his fame as a writer. Mr. Blackmore spends most of his days in his garden, in which he raises with

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