434 | https://historysoa.com/items/show/434 | The Author, Vol. 22 Issue 09 (June 1912) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+22+Issue+09+%28June+1912%29"><em>The Author</em>, Vol. 22 Issue 09 (June 1912)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1912-06-01-The-Author-22-9 | | | | | 227–254 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=22">22</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1912-06-01">1912-06-01</a> | | | | | | | 9 | | | 19120601 | The Author.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
VOL. XXII.-No. 9.<br />
JUNE 1, 1912.<br />
(PRICE SIXPENE.<br />
CONTENTS.<br />
PAGE<br />
227<br />
227<br />
Nouces . ... ..<br />
..<br />
The Society's Funds<br />
The Pension Fund<br />
Committee Notes ...<br />
Books published by Members ...<br />
Books published in America by Members<br />
Literary, Dramatic and Musical Notes<br />
Paris Notes... ...<br />
Publisher's Royalty Agreements<br />
Magazine Contents<br />
How to Use the Society ...<br />
Warnings to the Producers of Books...<br />
Warnings to Dramatic Authors<br />
Registration of Scenarios and Original F<br />
Dramatic Authors and Agents<br />
227<br />
229<br />
232<br />
234<br />
234<br />
237<br />
237<br />
PAGHZ<br />
Warnings to Musical Composers<br />
244<br />
Stamping Music ...<br />
244<br />
The Reading Branch<br />
244<br />
Remittances<br />
244<br />
General Notes .<br />
245<br />
Justin McCarthy ..<br />
246<br />
The Royal Literary Fund<br />
247<br />
Composers' Rights and the Collection of<br />
of Fees from Mecha<br />
Reproductions<br />
The Hazard of the Pen<br />
249<br />
Robert Browning...<br />
251<br />
Rules for Compositors and Readers at the University Press,<br />
Oxford ... ...<br />
251<br />
Correspondence ...<br />
252<br />
247<br />
242<br />
243<br />
243<br />
243<br />
244<br />
244<br />
Publications of the Society.<br />
1. THE ANNUAL REPORT FOR 1911.<br />
Price 1s. net.<br />
8. THE SOCIETY OF AUTHORS.<br />
A Record of its Action from its Foundation, By WALTER<br />
BEBANT (Chairman of Committee, 1888-1892). Price<br />
1s, net.<br />
2. THE AUTHOR.<br />
Published ten months in the year (August and September<br />
omitted) devoted especially to the protection and main-<br />
tenance of Literary, Dramatic, and Musical Property.<br />
Issued to all Members gratis. Price to non-inembers,<br />
6d.. or 58. 6d. per annum, post free. Back numbers from<br />
1892, at 108. 6d. net, per vol.<br />
9. THE CONTRACT OF PUBLICATION<br />
IN GERMANY, AUSTRIA, HUNGARY,<br />
AND SWITZERLAND. By ERNST LUNGE,<br />
J,U,D, Price 28, 6d, net,<br />
8. LITERATURE AND THE PENSION<br />
LIST. By W. MORRIS COLLES, Barrister-at-<br />
Law. Price 38. net,<br />
10. FORMS OF AGREEMENT ISSUED BY<br />
THE PUBLISHERS' ASSOCIATION ;<br />
WITH COMMENTS. By G. HERBERT<br />
THRING, and Illustrative Examples by Sir WALTER<br />
BESANT, 2nd Edition, Price 18. net.<br />
4. THE HISTORY OF THE SOCIETÉ DES<br />
GENS DE LETTRES. By S. SQUIRE SPRIGGE,<br />
Price 18. net.<br />
6. THE COST OF PRODUCTION.<br />
(Out of print.).<br />
11. PERIODICALS AND THEIR CONTRI-<br />
BUTORS. Giving the Terms on which the<br />
different Magazines and Periodicals deal with MSS. and<br />
Contributions. Price 6d. net.<br />
12. SOCIETY OF AUTHORS.<br />
List of Members. Published October, 1907, price 60. net.<br />
6. THE VARIOUS METHODS OF PUBLI-<br />
CATION. By S. SQUIRE SPRIGGE. In this<br />
work, compiled from the papers in the Society's offices,<br />
the various forms of agreements proposed by Publishers<br />
to Authors are examined, and their meaning carefully<br />
explained, with an account of the various kinds of fraud<br />
which have been made possible by the different clauses<br />
therein. Price 38, net.<br />
13. INTERNATIONAL COPYRIGHT CON-<br />
VENTION AS REVISED AT BERLIN,<br />
1909. Price 18. net.<br />
14. DRAMATIC AGENCY AGREEMENT,<br />
34. net.<br />
7. ADDENDA TO THE ABOVE.<br />
By G. HERBERT THRING. Being additional facts<br />
collected at the office of the Society since the publication<br />
of the "Methods." With comments and advice. Price<br />
28. net.<br />
15. LITERARY AGENCY AGREEMENT.<br />
31. net.<br />
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S.W.]<br />
<br />
<br />
## p. 226 (#682) ############################################<br />
<br />
ADVERTISEMENTS.<br />
The Society of Authors (Incorporated).<br />
Telegraphic Address : "AUTORIDAD, LONDON."<br />
Telephone No. : 374 Victoria.<br />
PRESIDENT.<br />
THOMAS HARDY,<br />
COUNCIL.<br />
SIB ROBERT ANDERSON, K.C.B. BIR W. MARTIN CONWAY.<br />
AYLMER MAUDE.<br />
THE RIGHT Hon. SIR WM. REYNELL THE RIGHT HON. THE EARL CURZON, THE REV. C. H. MIDDLETON-WAKE.<br />
ANSON, Bart., P.C., M.P., D.C.L.<br />
G.C.S.I.<br />
SIR HENRY NORMAN, M.P.<br />
THE RIGHT HON. THE LORD AUSTIN DOBSON.<br />
SIR GILBERT PARKEK, M.P.<br />
AVEBURY, P.C.<br />
SIR ARTHUR CONAN DOYLE.<br />
SIR ARTHUR PINERO.<br />
J. M. BARRIE.<br />
DOUGLAS FRESH FIELD.<br />
THE RIGHT HON. SIR HORACE<br />
SIR ALFRED BATEMAN, K.C.M.G. EDMUND GOSSE, LL.D.<br />
PLUNKETT, K.P.<br />
ROBERT BATEMAN.<br />
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THE RIGHT HON. AUGUSTINE BIB. ANTHONY HOPE HAWKINS,<br />
G. BERNARD SHAW.<br />
RELL, P.C.<br />
E. W. HORNUNG.<br />
G. R. SIMs.<br />
MRS. E. NESBIT BLAND.<br />
MAURICE HEWLETT,<br />
DR. S. SQUIRE SPRIGGE,<br />
THE REV, PROF. BONNEY, F.R.S.<br />
W. W. JACOBS.<br />
FRANCIS STORR.<br />
The Right Hon. JAMES BRYCE, P.C. HENRY JAMES.<br />
SIR CHARLES VILLIERS STAXTORD,<br />
TôE RIGHT Hon. THE LORD BURGH JEROME K, JEROME.<br />
Mus. Doc.<br />
CLERE, P.C.<br />
HENRY ARTHUR JONES.<br />
MRS, HUMPHRY WABD.<br />
HALL CAINE.<br />
J. SCOTT KELTIE, LL.D.<br />
H. G. WELLS.<br />
J. W. COMENS CARR.<br />
RUDYARD KIPLING.<br />
PERCY WHITE.<br />
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W. MORRIS COLLES.<br />
SHAW).<br />
P.C., &c.<br />
The Hon. JOHN COLLIER,<br />
Mrs. MAXWELL (M. E. BRADDON).<br />
COMMITTEE OF MANAGEMENT.<br />
Chairman-DR. S. SQUIRE SPRIGGE.<br />
SIR ALFRED BATEMAN, K.C.M.G. | MAURICE HEWLETT.<br />
ARTHUR RACKHAM.<br />
MRS. BELLOC-LOWNDES.<br />
W. W. JACOBS.<br />
G. BERNARD SHAW.<br />
MRS. E. NESBIT BLAND,<br />
AYLMER MAUDE.<br />
FRANCIS STOBB.<br />
J. W. COMENS CARR.<br />
HESKETH PRICHARD.<br />
RUDOLF BESIER.<br />
C. HADDON CHAMBERS.<br />
ANSTEY GUTHRIE.<br />
Miss CICELY HAMILTON.<br />
DRAMATIC SUB-COMMITTEE.<br />
Chairman-R. C. CARTON.<br />
| JEROME K. JEROME.<br />
| G. BERNARD SHAW.<br />
W. J. LOCKE.<br />
MISS E. M. SYMONDS.<br />
JUSTIN HUNTLY MCCARTHY.<br />
JAMES T. TANNER.<br />
CECIL RALEIGH,<br />
ANSTEY GUTHRIE.<br />
ANTHONY HOPE HAWKINS.<br />
PENSION FUND COMMITTEE.<br />
Chairman-Dr. S. SQUIRE SPRIGGE.<br />
OWEN SEAMAN.<br />
MRS. ALEC TWEEDIE,<br />
M. H. SPIELMANN.<br />
MRS. HUMPHRY WARD.<br />
COMPOSERS' SUB-COMMITTEE.<br />
Chairman-SIR CHARLES VILLIERS STANFORD, Mus. Doc.<br />
CECIL FORSYTH.<br />
| ARTHUR SOMERVELL.<br />
SIDNEY JONES.<br />
HERBERT SULLIVAN.<br />
JOHN B. MCEWEN.<br />
WILLIAM WALLACE.<br />
GRANVILLE BANTOCK.<br />
PERCY C. BUCK, Mus. Doc.<br />
THOMAS F. DUNHILL.<br />
COPYRIGHT SUB-COMMITTEE.<br />
H. A. HINKSON.<br />
SIR CHARLES VILLIERS STANFORD, I HERBERT SULLIVAN.<br />
E. J. MACGILLIVRAY.<br />
Mus. Doc.<br />
SIR JAMES YOXALL, M.P.<br />
| M. H. SPIELMANN.<br />
ART.<br />
THE HON. JOAN COLLIER.<br />
| John HASSALL, R.I.<br />
ARTHUR RACKHAM.<br />
SIR W. MARTIN CONWAY.<br />
| J. G. MILLAIS.<br />
M. H. SPIELMANN.<br />
FIELD, ROSCOR & Co., 36, Lincoln's Inn Fields, W.C.<br />
Secretary-G. HERBERT THRING,<br />
G. HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W. } Soliators.<br />
Solicitor in England<br />
La Société dos Gony do Lettre.<br />
Legal Representative in America— JAMES BYRNE, 24, Broad Street, New York, U.S.A.<br />
OFFICES.<br />
39 OLD QUEEN STREBT, STOBBY'S GATE, S.W.<br />
<br />
<br />
## p. 226 (#683) ############################################<br />
<br />
ADVERTISEMENTS.<br />
- PLAYS<br />
COTTERILL & CROMB.<br />
MR. FORBES DAWSON<br />
(Member of the Incorporated Society of Authors).<br />
An Actor of over 25 years' experience in every<br />
class of character, play, and theatre.<br />
Master of Stage Craft & Play Construction.<br />
Author of plays produced in Great Britain<br />
and America. Adapter of several novels to the<br />
stage.<br />
GIVES PRACTICAL ADVICE UPON PLAYS.<br />
ADAPTS STORIES TO THE STAGE.<br />
- NO THEORIES. –<br />
No charge for reading and giving a practical<br />
opinion on a play.<br />
Knows the best people in the dramatic world,<br />
and has gained the necessary experience for this<br />
class of work on the stage itself, in association<br />
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stage managers of his time.<br />
Address : 28, MIDMOOR ROAD, WIMBLEDON, S.W.<br />
Literary Agents,<br />
Lennox House, Norfolk Street,<br />
-Strand, W.C.<br />
During the past year Messrs. Cotterill & Cromb have placed<br />
literary work (Books, Serials and Short Stories) for the<br />
following Authors:<br />
COSMO HAMILTON,<br />
GUNBY HADATH,<br />
DEREK VANE<br />
FRANCIS MARLOWE,<br />
GEORGE EDGAR<br />
W. HAROLD THOMSON,<br />
ANNESLEY KENEALY, HILDA COWHAM,<br />
CHARLES PROCTER,<br />
ROGER POCOCK,<br />
SEUMAS MACMANUS.<br />
REEVES SHAW,<br />
RUBY M. AYRES,<br />
MARK ALLERTON,<br />
R. MURRAY GILCHRIST. JOHN HASLETTE,<br />
BERTRAM ATKEY,<br />
CLIVE HOLLAND,<br />
F. ST. MARS,<br />
NORMAN INNES,<br />
PAUL URQUHART,<br />
Etc., Etc.<br />
Each MS. receives the personal attention of Mr. Cotterill and<br />
Mr. Cromb, who have a unique knowledge of the Book and<br />
Serial Market.<br />
WRITE FOR TERMS. INTERVIEWS BY APPOINTMENT.<br />
Telephone : GERRARD 1093.<br />
FRANK HENRY RICE,<br />
Authors' Agent,<br />
50, CHURCH STREET, NEW YORK.<br />
Terms, 10 Per Cent.<br />
No Reading Fee.<br />
I do not Edit or Revise MS.<br />
Just out, 1/- paper, 2)- cloth, net.<br />
SMITH & SON, Renfield Street, Glasgow,<br />
WILLIAM THOMSON<br />
(LORD KELVIN),<br />
His Way of Teaching Natural Philosophy,<br />
By DAVID A. WILSON.<br />
ANECDOTES OF BIG<br />
CATS AND OTHER BEASTS.<br />
BY DAVID A. WILSON.<br />
METHUEN & Co., 6/-<br />
Times.-"Mr. Theodore Roosevelt can recount many<br />
stories of such scenes, while Mr. D. Wilson goes &<br />
step further ... by telling his readers something<br />
of the mental attitude of the quarry.".<br />
Guardian.-" Mr. Wilson is the right person to tell<br />
stories of sport."<br />
Pall Mall Gazette.— “Captivating and engrossing."<br />
Labour Leader.-"This book is one of the most<br />
delightful collections of animal stories it has been<br />
our lot to meet."<br />
Morning Post.-"Delightfully sympathetic ... Noth-<br />
ing is excluded, from the tiger and leopard to the<br />
domestic pussy.cat, from the bear to the buffalo,<br />
from the monkey to the elephant.”<br />
Humanitarian.—“We advise all our friends to read<br />
this admirable book.”<br />
WHAT OUR AUTHORS AND OTHERS ARE<br />
SAYING ABOUT OUR BOOKS.<br />
THE AUTHOR OF “THE CO-RESPONDENT" WRITES :<br />
DEAR SIRS,<br />
May 10th, 1912.<br />
We thank you for the copies of The Co-Respondent,"<br />
received this morning. We were pleased to get them<br />
carlier than the date you named, and we like the get-up<br />
immensely.<br />
THE AUTHOR OF “CAIRN LODGE" WRITES :<br />
May 15th, 1912.<br />
“ Begs to acknowledge the books sent to her, she is very<br />
pleased with the way they are got up.".<br />
THE REVIEWER IN “THE MORNING LEADER" DESCRIBES<br />
“AUNT URSULA'S BEQUEST":<br />
"A little book which deserves mention for several<br />
reasons. 'Aunt Ursula's Bequest' is bound in very<br />
pleasing paper boards. It contains original new fiction<br />
about 30,000 words of it-and it costs a shilling. This is a<br />
good idea in the way of pocket volumes. It is also good<br />
intrinsically. It is a capital little tale ... excellently<br />
written in a sober, unpretentious way."<br />
MURRAY & EVENDEN,<br />
Pleydell House, Pleydell Street,<br />
Fleet Street, E.C.<br />
<br />
<br />
## p. 226 (#684) ############################################<br />
<br />
ADVERTISEMENTS.<br />
Save your Numbers carefully until the Volume is complete by using<br />
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A FEW PRESS OPINIONS.<br />
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tion."<br />
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J. F. BELMONT & CO., 29, Paternoster<br />
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## p. 227 (#685) ############################################<br />
<br />
The Author.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
VOL. XXII.-No. 9.<br />
JUNE 1, 1912.<br />
[PRICE SIXPENCE.<br />
VERTISEMENTS.<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
· AUTORIDAD, LONDON.<br />
As there seems to be an impression among<br />
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DIOR the opinions expressed in papers that are<br />
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THE SOCIETY'S FUNDS.<br />
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FROM time to time members of the Society<br />
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VOL. XXII.<br />
THE PENSION FUND.<br />
TN January the secretary of the society laid<br />
I before the trustees of the Pension Fund the<br />
accounts for the year 1911, as settled by the<br />
accountants, with a full statement of the result of<br />
the appeal recently made on behalf of the Fund.<br />
After giving the matter full consideration the<br />
trustees instructed the secretary to invest the sum<br />
<br />
<br />
## p. 228 (#686) ############################################<br />
<br />
228<br />
THB AUTHOR.<br />
The secretary would like to state that he has<br />
received three bankers' orders in answer to the<br />
recent appeal, unsigned, without any covering letter.<br />
He would be glad, therefore, if those members who<br />
may have sent in these orders, recognising them<br />
from their description, would write to the secretary<br />
on the matter.<br />
Bankers' Order for 10s. drawn on the London,<br />
County and Westminster Bank, Maidstone.<br />
Bankers' Order for 10s. drawn on the National<br />
Provincial Bank of England, Baker Street, W.<br />
Bankers' Order for 5s. drawn on the London,<br />
County and Westminster Bank, Kensington, W.<br />
£ s. d.<br />
0 5 0<br />
0 5 0<br />
er er<br />
of £500 in the purchase of Antofagasta and<br />
Bolivian Railway 5%. Preferred Ordinary Stock<br />
and Central Argentine Railway Ordinary Stock.<br />
The amounts purchased at the present prices are<br />
£237 in the former and £232 in the latter stock.<br />
The trustees desire to thank the members of the<br />
society for the generous support which they have<br />
given to the Pension Fund, and have much pleasure<br />
in informing the Pension Fund Committee that<br />
there is a further sum available for the payment of<br />
another pension in case any application should be<br />
made. The money now invested amounts to<br />
£4,846 198. 4d., and is fully set out in the list<br />
below :<br />
Consols 21%<br />
To<br />
4<br />
..........................<br />
...........................£1,312 13<br />
Local Loans..................<br />
500 0 0<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock............... 291 19 11<br />
London and North-Western 3%<br />
Debenture Stock ........<br />
250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ...............<br />
2000<br />
0<br />
Cape of Good Hope 31% Inscribed<br />
Stock .............<br />
200 0 0<br />
Glasgow and South-Western Railway<br />
4% Preference Stock ........<br />
228 0 0<br />
New Zealand 31% Stock ....... 247 96<br />
Irish Land Act 21% Guaranteed<br />
Stock .........<br />
258 0 0<br />
Corporation of London 21% Stock,<br />
1927-57 ....................<br />
........ 438 2 4<br />
Jamaica 31° Stock, 1919-49 ...... 132 18 6<br />
Mauritius 49% 1937 Stock ..<br />
..........<br />
120 121<br />
Dominion of Canada C.P.R. 31%<br />
Land Grant Stock, 1938.<br />
198 3 8<br />
Antofagasta and Bolivian Railway<br />
5°. Preferred Stock ...............<br />
237 0 0<br />
Central Argentine Railway Ordinary<br />
Stock<br />
232 0 0<br />
0<br />
5<br />
6<br />
0<br />
6<br />
05 0<br />
0 5 0<br />
0 50<br />
0 5 0<br />
1 1 0<br />
0 10 0<br />
.....<br />
Subscriptions.<br />
1912.<br />
Jan. 1, Worsley, Miss Alice .<br />
Jan. 2, Sturt, George . .<br />
Jan. 2, Wicks, Mark in addition to<br />
present subscription). .<br />
Jan. 3, Northcote, The Rev. H. . .<br />
Jan. 3, Phipson, Miss E. (in addition<br />
to present subscription) .<br />
Jan. 3, Hedgcock, F. A. .<br />
Jan. 5, Matcham, Mrs. Eyre<br />
.<br />
Jan. 8. Stayton, Frank ..<br />
Jan. 8, Canziani, Miss Estella<br />
Jan. 10, Ropes, A. R..<br />
Jan. 12, Francis, René .. .<br />
Jan. 15, Pollock, Miss Edith (in addi-<br />
tion to present subscription)<br />
Jan. 27, Hutchinson, the Rev. H. N. .<br />
Feb. 7, L. M. F., per month during<br />
1912<br />
Feb. 7, Letts, Miss W.M..<br />
Feb. 8, Cooke, W. Bourne . .<br />
Feb. 8, Annesley, Miss Maude .<br />
Feb. 9, O'Donnell, Miss Petronella .<br />
March 6, Curwen, Miss Maud , .<br />
March 6, Anderson, Arthur<br />
March 15, George, W. L. (in addition<br />
to present subscription).<br />
April 6, Bland, J. 0. P. .<br />
April 6, Taylor, Mrs. Basil.<br />
April 6, Forrester, J. Cliffe. .<br />
en<br />
100<br />
0 5 0<br />
1 1 0<br />
0 10<br />
6<br />
0<br />
0<br />
5<br />
5<br />
0<br />
0<br />
1<br />
1<br />
0<br />
Total ........<br />
.....£4,846 19<br />
4<br />
010 0<br />
0 100<br />
0 5 0<br />
0 5 0<br />
PENSION FUND.<br />
...<br />
The list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged) received<br />
by, or promised to, the fund from January 1,<br />
1912.<br />
It does not include either donations given<br />
prior to January 1, nor does it include sub-<br />
scriptions paid in compliance with promises made<br />
before it.<br />
The full list of annual subscribers to the fund<br />
appeared in the November issue of The Author.<br />
Donations.<br />
1912.<br />
Jan. 2, Risque, W. H. .<br />
Jan. 2, Dart, Miss Edith<br />
Jan. 3, “K."<br />
Jan. 3, Church, Sir Arthur .<br />
Jan. 3, Durrant, W. Scott .<br />
Jan. 3, Tighe, Henry . .<br />
Jan. 3, Grant, Lady Sybil.<br />
Jan. 4, Smith, Bertram .<br />
Jan. 4, Buckrose, J. E.<br />
...<br />
0 10 0<br />
0 10 6<br />
0 10 0<br />
1 1 0<br />
0 5 0<br />
0 10 0<br />
1 0 0<br />
20 0 0<br />
1 1 0<br />
..<br />
<br />
<br />
## p. 229 (#687) ############################################<br />
<br />
THE AUTHOR.<br />
229<br />
£ 8. d.<br />
0 5 0<br />
0 10 0<br />
10 0<br />
£<br />
1<br />
s. d.<br />
1 0<br />
·<br />
0<br />
erne er com<br />
0<br />
erero<br />
0<br />
0<br />
1<br />
1<br />
5<br />
5<br />
1<br />
1<br />
5<br />
0<br />
0<br />
0<br />
0<br />
0<br />
March 25, Williams, Mrs. Illtyd .<br />
April 2, XX. Pen Club ..<br />
April 6, Taylor, Mrs. Basil . :<br />
April 6, Cameron, Mrs. Charlotte<br />
April 10, Kenny, Mrs. L. M. Stacpoole<br />
April 10, Robbins, Alfred F. :<br />
April 10, Harris, Emma H. . .<br />
April 11, Ralli, C. Scaramanga . .<br />
April 11, Aitken, Robert . . .<br />
April 16, L. M. F. (£1 per month,<br />
February, March, April)<br />
April 22, Prior, Mrs. Melton . :<br />
May 2, Baden-Powell, Miss Agnes :<br />
1<br />
0<br />
3<br />
1<br />
6<br />
5<br />
3<br />
1<br />
0<br />
0<br />
0<br />
0<br />
3 0<br />
0 10<br />
0 5<br />
0<br />
6<br />
0<br />
2 2<br />
0 5<br />
0 5<br />
errererererer ener<br />
0<br />
0<br />
0<br />
COMMITTEE NOTES.<br />
0<br />
·<br />
.<br />
.<br />
Jan. 4, Lathbury, Miss Eva<br />
Jan. 5, Wilson, Dr. Albert .<br />
Jan. 5, Craven, A. Scott .<br />
Jan. 6, Blundell, Miss Alice<br />
Jan. 6, Garbutt, W. H. .<br />
Jan. 6, Serjeant, Miss Constance<br />
Jan. 9, Chamberlayne, Miss Effie<br />
Jan. 9, Hamel, Frank<br />
Jan. 10, Allen, W. Bird .<br />
Jan. 10, Crellin, H. N.<br />
Jan. 10, Smith, Herbert W.<br />
Jan. 12, Randall, F. J. .<br />
Jan. 13, P. H. and M. K. .<br />
Jan. 15, Clark, Henry W. .<br />
.<br />
Jan. 17, Rankin, Mrs. F. M.<br />
M. . . .<br />
Jan. 18, Paternoster, Sidney .<br />
Jan. 20, M'Ewan, Miss Madge.<br />
Jan. 22, Kaye-Smith, Miss Sheila<br />
Jan. 22, Mackenzie, Miss J. .<br />
Jan. 22, Reiss, Miss Erna . . .<br />
Jan. 22, Grisewood, R. Norman. .<br />
Jan. 23, Machen, Arthur . . .<br />
Jan. 24, Williamson, C. N. and Mrs.C<br />
Jan. 26, Way, Miss Beatrice .<br />
Jan. 30, Saies, Mrs. Florence H..<br />
Jan. 30, Weyman, Stanley (in addition<br />
to subscription).<br />
Jan. 30, S. F. G. . .<br />
Feb. 3, Douglas, James A. .<br />
Feb. 6, Parker, Mrs. Nella .<br />
.<br />
Feb. 6, Allen, Mrs. James . . .<br />
Feb. 10, Whibley, C. . .<br />
Feb. 12, Loraine, Lady .<br />
Feb. 12, Ainslie, Miss K. .<br />
Feb. 12, King, A. R. . .<br />
Feb. 13, Ayre, Miss G. B. ..<br />
Feb. 14, Gibson, Miss L. S.<br />
:<br />
Feb. 15, Henley, Mrs. W. E.<br />
Feb. 15, Westall, W. Percival<br />
Feb. 17, Raphael, Mrs. .<br />
Feb. 19, Cabourn, John .<br />
.<br />
Feb. 19, Gibbs, F. L. A. ..<br />
Feb. 21, Hinkson, H. A., and Mrs.<br />
Feb. 24, Hamilton, Cosmo<br />
Feb. 27, Plowman, Miss Mary .<br />
Feb. 28, Aspinall, A. E. .<br />
March 2, Montesole, Max . .<br />
March 9, Pickering, Mrs. Frank .<br />
March 15, Trevanwyn, John<br />
March 16, O'Higgins, H. J. .<br />
March 18, Wallis-Healy, F. C..<br />
March 18, Schwarz, Prof. Ernest .<br />
March 19, Wallace, Sir Donald Mac-<br />
kenzie, K.C.V.O. .<br />
March 21, Wharton, Leonard .<br />
March 22, Holbach, Mrs. . . .<br />
March 23, Parks, H. C. . :<br />
· ·<br />
.<br />
· ·<br />
·<br />
.<br />
.<br />
· ·<br />
.<br />
· · ·<br />
0<br />
.<br />
M HE Committee of Management, instead of<br />
0 5 0 1 holding its monthly meeting in May, held it on<br />
0 5 0 April 29, meeting at the offices of the society<br />
1 1 0 at the usual hour on that date.<br />
5 5 0 After the minutes of the previous meetings hac<br />
0 5 0 been read and signed the names of authors seeking<br />
0 8 6 admission to the society were laid before the com-<br />
mittee. Twenty-three members and associates were<br />
1 1 0 added to the list for the current year, bringing the<br />
1 1 0 total elections for the year up to 156. Four<br />
1 0 0 resignations were accepted by the committee with<br />
0 10 0 regret.<br />
1 1 0 The solicitor then laid before the committee the<br />
report of the cases. In one dispute which had been<br />
placed in his hands with the sanction of the chair-<br />
man during the month, he reported that he had<br />
0 gone into the matter, and it seemed clear that<br />
the publisher had dealt with some rights belonging<br />
0 5 0 to the member, without the member's sanction.<br />
1 1 0 The issues were a little involved by other claims;<br />
O but after full discussion, the committee decided to<br />
O take action on behalf of the member, and the<br />
0 5 0 solicitor was instructed accordingly. The solicitor<br />
0 10 0 reported further on certain of the cases mentioned<br />
0 in the last issue of The Author. In one instance<br />
10 a claim for the recovery of money the money had<br />
0 2 6 been obtained and the accounts had been settled.<br />
10 0 Another dispute with a publisher had been settled<br />
also, the only point remaining over being the<br />
0 checking of a charge for corrections in the<br />
1 1 0 publisher's accounts. When the voucher was pro-<br />
1 0 duced it was found that the publisher had charged<br />
0 3 0 108. beyond the printers' statement for his own<br />
0 5 0 time and trouble. The committee instructed the<br />
solicitor to take steps to set aside this claim, giving<br />
5 0<br />
at the same time authority to the secretary to ask<br />
0 5 0 for formal vouchers where statements of account<br />
0 5 0 containing a charge for corrections in the future<br />
0 5 0 were forwarded from this publisher. In three<br />
Berreteroreroo<br />
.<br />
.<br />
· · ·<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
<br />
<br />
## p. 230 (#688) ############################################<br />
<br />
230<br />
THE AUTHOR.<br />
small County Court cases against papers for non The secretary reported to the committee the result<br />
payment of sums due, the solicitors were glad to of the meeting of the Joint Committee of the Society<br />
report that the amounts had been paid and for- of Authors, the Copyright Association, and the<br />
warded to the members. In a dispute reported in Publishers' Association. He stated that the society's<br />
last month's Author, between two members of the report on the regulations issued by the Board of<br />
society the solicitor stated that he was waiting for a Trade under the Copyright Act, 1911, had been<br />
further report. There were two or three claims approved by the Joint Committee; that some sug-<br />
against a publisher who gave the society some gestions in no way inimical to the society's altera-<br />
trouble last year. Particulars of the cases were tions, but calculated to strengthen the position of<br />
laid before the committee, and it was decided that authors and composers, had been passed, and that<br />
the cases should be taken in band, and that as soon Sir Frederick Macmillan, who was acting as Chair-<br />
as the solicitor could get a clear cause of action, man of the Joint Committee, had promised to put<br />
action should be taken. In the meantime the these additional proposals forward.<br />
other cases should be settled as far as possible. Two donations to the Capital Fund of the Society,<br />
Some of the disputes were so involved by delays (one of 108. 6d. from Mrs. Thornton Cook, and one<br />
and other issues that they were difficult to deal with, of £1 18. from the Baroness de Knoop) were grate-<br />
but the committee felt it essential that the fully acknowledged by the committee, and the receipt<br />
publisher should be pressed to carry out his con- of a life membership subscription from Mrs.<br />
tracts in a businesslike fashion, for the benefit of Curlewis (Ethel Turner) was reported by the<br />
the authors concerned. The secretary, who had secretary.<br />
brought before the committee a proposal to publish<br />
an article in The Author on a clause in a publisher's<br />
DRAMATIC SUB-COMMITTEE.<br />
agreement, reported that the matter was withdrawn<br />
as the author did not desire, at the present time,<br />
THE Dramatic Sub-Committee held its monthly<br />
that the article should be printed.<br />
meeting at the offices of the society on May 17.<br />
The secretary reported that he had obtained the The secretary reported that he had heard from the<br />
chairman s leave in another case to place it in the Society of West End Managers that the copies of<br />
hands of the society's American lawyers. It was a the “ Managerial Treaty ” which had been sent to<br />
small case of infringement of a member's rights, them had been forwarded to their members for<br />
and the committee confirmed the action that had consideration. The Dramatic Sub-Committee now<br />
been taken. The last legal matter dealt with the awaits a further reply. As one or two of the<br />
responsibility of an editor for articles which he had delegates named at the former meeting were unable<br />
ordered. The claim arose owing to the fact that the to act, the Dramatic Sub-Committee selected other<br />
articles had been ordered for a paper without the members from the society's dramatic section, and<br />
editor disclosing that the paper was run by a instructed the secretary to inquire whether they<br />
limited liability company, and the company having would be ready to undertake the duties.<br />
gone into liquidation, no money had been forth An agency agreement was laid before the com-<br />
coming for the author. The committee decided to mittee, and attention was drawn to the percentage<br />
support the member in a claim against the gentle it was proposed to charge for the collection of fees<br />
man who had ordered the articles.<br />
from amateurs. The secretary was instructed to<br />
The question of Canadian copyright was again write to the firm concerned, pointing out that the<br />
brought before the committee owing to the receipt Dramatic Sub-Committee considered the suggested<br />
of a letter from a Canadian correspondent of the fees exorbitant, and that if these fees were not<br />
society. The chairman kindly undertook to write reduced it would be impossible for the society to<br />
to Sir Gilbert Parker, who had consented to act as advise dramatists to place the collection of their<br />
the society's representative in Canada on his visit fees with the firm in question.<br />
there in June. The chairman further promised to The question of cineinatograph fees was again<br />
forward Sir Gilbert a copy of the letter which the before the sub-committee. It appeared from the<br />
society had already sent to the Premier and to the evidence collected that so far no definite standard<br />
Minister of Agriculture.<br />
of payınent bad been fixed in foreign countries.<br />
It was decided to have a series of articles in The The secretary was instructed to collect as much<br />
Author dealing with the subject of “The Cost of evidence as he could in order to guide the sub-<br />
Production.”<br />
committee as to the fees they should advise<br />
On the suggestion of one of the Nobel Prize Com- members of the society to accept. The question<br />
mittee it was decided to ask the chairman of that of cinematograph fees then brought the sub-<br />
committee (Lord Avebury) to convene a meeting to committee to the schedule of fees which it is<br />
discuss the present position, and the secretary was proposed to place at the disposal of the dramatic<br />
instructed to act accordingly.<br />
section of the society. The secretary was instructed<br />
<br />
<br />
## p. 231 (#689) ############################################<br />
<br />
THE AUTHOR.<br />
231<br />
II.<br />
to inquire of some dozen or so of the dramatists,<br />
members of the society, whether they would furnish<br />
the Dramatic Sub-Committee with a statement of<br />
their fees, for the guidance of their fellow dramatic<br />
authors. It was decided that the names of the<br />
dramatists furnishing such information should be<br />
kept confidential. It is hoped by means of the<br />
information thus collected to compile a schedule of<br />
prices which shall assist dramatists, many of whom<br />
enter into agreements and dispose of their rights at<br />
ridiculous prices, through sheer ignorance of their<br />
position. Several of the members of the Dramatic<br />
Sub-Committee present promised to forward their<br />
own list of prices.<br />
The secretary reported the receipt of certain<br />
letters touching the appointment of agents in other<br />
countries, but the consideration of the matter was<br />
adjourned.<br />
The dramatic competition in The Era was also<br />
before the sub-committee, and the secretary read<br />
the article that had appeared in the April issue of<br />
The Author. The action taken was approved by<br />
the sub-committee.<br />
The monthly meeting of this sub-committee<br />
was held at the offices of the society on Saturday,<br />
May 11. After the minutes of the previous<br />
meeting had been read and signed, the secretary<br />
reported the action of the Copyright Sub-Committee<br />
in the matter of Messrs. Curwen's agreement, and<br />
this action received the approval of the Composers'<br />
Sub-Committee, to refer the agreement back to<br />
the Committee of Management in order to obtain,<br />
if possible, the approval of that body.<br />
The letter to be sent to the Music Publishers'<br />
Association in regard to the fees for performing<br />
rights was finally settled, and it was decided to<br />
adjourn the question of the amount of the fees till<br />
the next meeting.<br />
The agreement of the Mechanical Copyright<br />
Licences Company was read to the committee, but<br />
discussion was again adjourned pending the issue<br />
of the regulations of the Board of Trade in their<br />
final form. It was decided, however, to send copies<br />
of the agreement to members of the Composers'<br />
Sub-Committee that they might have time to consider<br />
it before the next meeting, when the question would<br />
be further discussed.<br />
The Composers' Sub-Committee also sent a<br />
recommendation to the Committee of Management<br />
that, in addition to undertaking the stamping of<br />
composers' music, the society should collect the<br />
gramaphone fees, subject to the payment of a per-<br />
centage, as the collection of these fees was likely to<br />
be a matter of importance under the new Act.<br />
Finally, the secretary placed before the Sub-Com-<br />
mittee a dispute between a composer of the society<br />
and a publisher, and the matter was referred to the<br />
Committee of Management, in the strong hope that<br />
action would be taken.<br />
COMPOSERS' SUB-COMMITTEE.<br />
THERE was a special meeting of the Composers'<br />
Sub-Committee on Saturday, April 27, at the<br />
Society's office, to meet delegates from the Music<br />
Publishers' Association with a view to ascertaining<br />
how far, under the new Act, it would be possible<br />
for publishers and composers to secure some returns<br />
on the performing rights. The chairman of the<br />
committee of management, Dr. S. Squire Sprigge,<br />
kindly undertook to act as chairman at the<br />
meeting.<br />
Mr. Elkin, the delegate from the Music Pub<br />
lishers' Association explained the matter as he<br />
understood it from the publishers' point of view,<br />
and after considerable discussion it was decided to<br />
make out a list of all the music on which it was<br />
thought possible fees for performance could be<br />
claimed.<br />
The list, after keen debate, was agreed to by the<br />
Sab-Committee. The representative of the Music<br />
Publishers' Association stated he would be very<br />
happy to put the question before the committee of<br />
his association at their next meeting, when he<br />
trusted it might be possible to decide upon some<br />
satisfactory joint action. The Secretary was<br />
instructed to forward the list, as settled, to the<br />
association, and at the same time the Sub-Committee<br />
suggested that the fees should be moderate. If an<br />
agreement can be reached on the matter of the<br />
performing rights no doubt a further meeting will<br />
be called in order to discuss the amount of the fees<br />
to be charged, and the machinery for collection.<br />
Cases.<br />
The usual tally of cases has passed through the<br />
offices of the society during the month of May. The<br />
numbers have varied but little from month to month<br />
during the present year. Fifteen cases have been<br />
dealt with. Four of these were claims for the<br />
return of MSS. ; in one the MS. has been returned :<br />
in one some of the MSS. have been handed in, and<br />
it is hoped that the rest will come, after a more<br />
careful search ; in another case the editor, who had<br />
control of the MSS., is at present away from the<br />
office on a holiday, but on his return the matter will<br />
receive his close consideration ; the last case is still<br />
open.<br />
There were four claims for moneys and accounts.<br />
Two have been satisfactorily settled ; one has been<br />
placed in the hands of the society's solicitors, and<br />
the last has only recently come into the office.<br />
<br />
<br />
## p. 232 (#690) ############################################<br />
<br />
232<br />
THE AUTHOR.<br />
Of two cases for infringement of copyright, one,<br />
rather a difficult matter, will, most probably, have<br />
to go before the committee and be placed in the<br />
hands of the society's solicitors ; the other, lying in<br />
India, will take some time in settlement.<br />
There has been one claim for accounts and<br />
money in which the accounts and cheque were<br />
forwarded to the author, but it was found that<br />
the accounts were wrong. The publisher, on<br />
having his attention drawn to the matter, imme-<br />
diately undertook to have them readjusted and<br />
a fresh cheque made out. It is a curious thing,<br />
however, that out of the many cases of wrong<br />
accounts none has come to the office where the<br />
mistake has been in favour of the author. No<br />
doubt from time to time clerks make mistakes<br />
and, accordingly, the accounts must be wrong, but<br />
it is strange that the mistakes should always be on<br />
one side.<br />
Of four claims for money one has been settled<br />
and the money has been forwarded to the author<br />
concerned ; one has only recently come into the<br />
office, and the other two will, most probably, have<br />
to be placed in the hands of the society's solicitors.<br />
There are very few cases left over from former<br />
months, and none of them is very important.<br />
During the month one or two matters have had to<br />
be placed in the hands of the society's solicitors,<br />
whose report will be laid before the committee at<br />
their meeting in June and will appear in the July<br />
Author.<br />
Knight, Alfred Ernest . Kingsley, Brunswick<br />
Road, Sutton,<br />
Surrey.<br />
. . Aldbourne, Wilts.<br />
Mackenzie, Miss Evelyn. Traverston, West<br />
Road, Cambridge.<br />
O'Reilly, W. H. . . 47, Powis Square,<br />
Bayswater, W.<br />
Peacock, J. Wadham Rosslyn, Newman<br />
Road, Bromley,<br />
Kent.<br />
Price, Morgan Phillips Tibberton Court,<br />
Gloucester.<br />
Rankin, Amy Hale. . Kingswood, Warwick-<br />
shire.<br />
Rock, W. S.<br />
Rosman, Alice Grant : c/o Commercial Bank<br />
of Australia,<br />
Bishopsgate.<br />
Stanger, Mrs. H. Y. . New Brighton,<br />
Cheshire.<br />
Wilkinson, G. Jerrard . Caius House, Batter-<br />
sea Square, S.W.<br />
BOOKS PUBLISHED BY MEMBERS.<br />
Elections.<br />
Barney, Charles G., Jr. 20, West 8th Street,<br />
New York.<br />
Burrows. Arnold , Grosvenor House,<br />
Mold.<br />
Davson, Gordon . . 20, Ennismore Gar-<br />
dens, N.W.<br />
Davson, Major H.M., R.H.A. White's Club, St.<br />
James's.<br />
Denny, Ernest . . 36, Loudoun Road,<br />
St. John's Wood,<br />
N.W.<br />
Glass, Montague . . 504, West 143 Street,<br />
New York, U.S.A.<br />
Glyn, Miss Elinor . . c/o Messrs. Curtis<br />
Brown & Massie,<br />
5, Henrietta Street,<br />
W.C.<br />
Gritton, John.<br />
Hastings, Basil Macdonald Wella Willa, Pickwick<br />
Road, Dulwich<br />
Village.<br />
Hawthorne, Dr. Charles 0. 63, Harley Street, W.<br />
Jones, Sidney . . . Albany Chambers,<br />
196, Regent Street,<br />
W.<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the cffice<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
BIOGRAPHY.<br />
CHARLOTTE SOPHIE, COUNTESS BEXTINCK ; HER LIFE<br />
AND TIMES, 1715-1800. By her descendant, MES.<br />
AUBREY LE BLOND. With over 70 illustrations from<br />
original paintings, facsimiles of letters, &c. 2 Volumes.<br />
Hutchinson. 248. n.<br />
FOURTEEN YEARS OF DIPLOMATIC LIFE IN JAPAN.<br />
Leaves from the Diary of Baroness Albert D'Anethan.<br />
With an Introduction by H. E. BAROX KATO. 9 x 51.<br />
471 pp. Stanley Paul. 188, n.<br />
AN INJURED QUEEX, CAROLINE OP BRCXSWICK. By<br />
LEWIS MELVILLE. 84 x 54. 614 pp. Hutchinson.<br />
218. n,<br />
BOOKS OF REFERENCE.<br />
THE STATESMAN'S YEAR BOOK, 1912. Edited by J.<br />
SCOTT KELTIE. Forty-ninth Annual Publication. 7 x<br />
41 428 pp. Macmillan. 108. 60' n.<br />
COOKERY.<br />
LETTERS TO YOUNG HOUSEKEEPERS. By MARIE DE<br />
JoncouRT. 77 x 5. 133 pp. Kegan Paul. Is. 6d. n.<br />
DRAMA.<br />
THE HERALDS OF THE DAWN. A Play in Eight Scenes.<br />
By WILLIAM WATSON, 8 X 51. 93 pp. Lane. 45. 64. n<br />
<br />
<br />
## p. 233 (#691) ############################################<br />
<br />
THE AUTHOR.<br />
233<br />
THE TRAGEDY OF AMY ROBSART. By HAROLD HARDY,<br />
81 x 54. 95 pp. Robert Banks, Racquet Court, Fleet<br />
Street, E.C. 28. 6d. n.<br />
THE CLOUDS. By C. M. DOUGłty. 81 x 54. 146 pp.<br />
Duckworth. 58. n.<br />
FIVE LITTLE PLAYS. By ALFRED SUTRO. 7 x 5.<br />
131 pp. Duckworth. 1s. 60, n.<br />
FICTION.<br />
A HEALTH UNTO HIS MAJESTY, By JUSTIN HUNTLY<br />
MCCARTHY. 74 x 5. 364 pp. Hurst & Blackett. 68.<br />
LENA SWALLOW. By H. W. C. NEWTE. 7} X 5. 414 pp.<br />
Mills & Boon. 18. n.<br />
ROGER'S LUCK. By ROSAMUND SOUTHEY. 71 x 5.<br />
320 pp. Ham-Smith. 68.<br />
WAR AND THE WOMAN. By MAX PEMBERTON. 78 X 5.<br />
304 pp. Cassell. 68.<br />
WINTERING HAY. By John TREVENA, 510 pp. Con.<br />
stable. 68.<br />
THE INVIOLABLE SANCTUARY. By G. A. BIRMINGHAM,<br />
7} x 5. 369 pp. Nelson. 28.<br />
THE SILVER MEDALLION. By PERCY JAMES BREBNER.<br />
74 X 5. 346 pp. Mills & Boon. 68.<br />
THE TOWER HILL MYSTERY. By A. WILSON BARRETT.<br />
74 x 5. 320 pp. Ward Lock. 68.<br />
A KING AND A COWARD. By EFFIE ADELAIDE Row.<br />
LANDS. 7 x 5. 316 pp. Hodder & Stoughton. 68.<br />
PETER RAFF. By E. PHILLIPS OPPENHEIM. 7} x 5.<br />
247 pp. Hodder & Stoughton. 28. n.<br />
THE GREAT SHADOW, AND OTHER NAPOLEONIC TALES.<br />
By ARTHUR CONAN DOYLE. 64 x 41. 344 pp. Nelson<br />
nå.<br />
TESS OF THE D'URBERVILLES. BY THOMAS HARDY.<br />
9 x 54. 508 pp. Macmillan. 78. 6d. n.<br />
THE VICAR OF NORMANTON. By EDWARD NOBLE.<br />
75 X 5. 523 pp. Constable. 68. n.<br />
THE CITY OF LIGHT: A Novel of Modern Paris. By<br />
W. L. GEORGE. 71 x 5. 343 pp. Constable. 6s.<br />
A CANDIDATE FOR TRUTH. By J. D. BERESFORD. 71 x 5.<br />
403 pp. Sidgwick & Jackson. 6s.<br />
JULIA FRANCE AND HER TIMES. By GERTRUDE ATHER-<br />
TON. 7} * 5. 516 pp. Murray. 6s.<br />
THE JUSTICE OF THE DUKE. By RAFAEL SABATINI.<br />
7} x 41. 286 pp. Stanley Paul. 68.<br />
IN THE VORTEX. By CLIVE HOLLAND. 8 x 5. 348 pp.<br />
Hurst & Blackett. 6s.<br />
KINGFISHER BLUE. By HALLIWELL SUTCLIFFE. 74 x 5.<br />
321 pp. Smith, Elder. 6s.<br />
THE LAND OF THE BLUE FLOWER. By FRANCES<br />
HODGSON BURNETT. 77 x 43. 62 pp. Putnams. ls. n.<br />
MY LORD THE FELON. “By HEADON HILL. 73 x 5.<br />
320 pp. WARD, LOCK. 68.<br />
THE ADVENTURES OF SHERLOCK HOLMES. By A. CONAN<br />
DOYLE. 7 X 41. 293 pp. Smith, Elder & Co. Cheap<br />
Edition. 18. n.<br />
FORTUNE. By J. C. SNAITH. 67 4. 365 pp. Cheap<br />
Reprint. Nelson, 7d. n.<br />
LOVE's OUTLAWS. By ARCHIBALD B. SPENS. 304 pp.<br />
Digby, Long & Co. 6s.<br />
HISTORY.<br />
A HISTORY OF THE INDIAN MUTINY. Revised and<br />
Illustrated from the Original Documents. By G. W.<br />
FORREST, C.I.E. Vol. III. 9 x 31. 651 pp. Black.<br />
woods. 208. n.<br />
SOCIETY AT ROYAL TUNBRIDGE WELLS IN THE 18TH<br />
CENTURY AND AFTER. By LEWIS MELVILLE. 9 X 51.<br />
315 pp. Nash. 10s. 6d. n.<br />
MISCELLANEOUS.<br />
THE GIRL'S BOOK ABOUT HERSELF. By AMY B, BARNARD.<br />
8 X 51. 224 pp. Cassell. 38, 6d. n.<br />
BROKEN EMPIRES OF THE PAST. Shall Britain join them?<br />
Six Lectures primarily intended for Village use by<br />
SURSUM CORDA. London: McCorquodale & Co. 6d.<br />
MUSIC, vzrok<br />
ORGAN PLAYING. By PERCY C. BUCK, Mus. Doc. 121 x<br />
94. 102 pp. (The Musician's Library). Macmillan, and<br />
Stainer & Bell. 43. n.<br />
NATURAL HISTORY.<br />
A YEAR IN THE COUNTRY. By W. PERCIVAL WESTELL,<br />
F.L.S. 74 X 5. 164 pp. Headley. 28. 6d. n.<br />
POETRY.<br />
THE DREAMING ANTINOUS, AND OTHER POEMS. By<br />
K. EVEREST. 266 pp. Erskine Macdonald, 17 Surrey<br />
Street. Cloth. 28. 62.<br />
THE SEA KING'S BRIDE AND OTHER POEMS FOR RECI-<br />
TATION. By PETRONELLA O'DONNELL. 104 pp.<br />
Alexander Moring.<br />
IN MANTLE BLUE. By F. GWYNNE EVANS. 127 pp.<br />
Elkin Mathews.<br />
THE PHANTOM SHIP AND OTHER POEMS. By E. H.<br />
VISIAK. With an Introduction by W. H. HELM. Elkin<br />
Mathews. Cloth, 1s. 6d. ; Wrapper, 1s.<br />
THE BRAIN OF THE NATION, AND OTHER VERSES. By<br />
C. L. GRAVES. 71 x 5. 118 pp. Smith, Elder. 38. 6d. n.<br />
THE CALL OF THE PRESENT. A Political Jingle. By<br />
A. H. COCHRAN. 7 x 44. 64 pp. Simpkin, Marshali.<br />
18. n.<br />
THE NORSE KING'S “ BRIDAL." Ballads from the Danish<br />
and Old Norse. By E. N. SMITH-DAMPJER. Melrose.<br />
28. n.<br />
VALE. A Book of Verse. By LEONARD INKSTER. Fifield.<br />
18.<br />
POLITICAL.<br />
HOME RULE. By HAROLD SPENDER. With a Preface by<br />
THE RIGHT Hon. SIR EDWARD GREY, BART.,<br />
M.P. Second Edition, with the Text of the Home Rule<br />
Bill, 1912, 75 X 5. 191 pp. Hodder & Stoughton.<br />
1s. n.<br />
REPRINTS.<br />
STUDIES AND APPRECIATIONS. Selected Writings of<br />
William Sharp. Uniform Edition. Arranged by MRS.<br />
WILLIAM SHARP. Vol. II. 78 X 54. 424 pp. Heine-<br />
mann. 58. n.<br />
FAR FROM THE MADDING CROWD. By THOMAS HARDY.<br />
9 x 54. 464 pp. Macmillan. 78. 6d. n.<br />
THE COLLECTED WORKS OF HENRIK IBSEN. Vol. XII.<br />
FROM IBSEN'S WORKSHOP: NOTES, SCENARIOS, AND<br />
DRAFTS OF THE MODERN PLAYS. Translated by<br />
A. G. CHATER. With Introduction by WILLIAM<br />
ARCHER. 71 x v. 528 pp. Heinemann. 48.<br />
PLAYS AND POEMS. By OLIVER GOLDSMITH. Selected,<br />
with an Introduction by THOMAS SECCOMBE. 6 X 4.<br />
320 pp. Blackie. 28. 68. n.<br />
THE MENAECHMI: The Original of Shakespeare's<br />
“Comedy of Errors." The Latin Text, together with<br />
the Elizabethan Translation. Edited by W. H. D.<br />
ROUSE, Litt.D. The Shakespeare Library. 7 X 51.<br />
122 pp. Chatto & Windus. 28. 6d. n.<br />
THEOLOGY.<br />
MIRACLES AND HISTORY. A Study of the Virgin Birth<br />
and the Resurrection. By The Rev. J. H. SKRINE.<br />
9 x 6. 143 pp. Longmans. 38. 6d. n.<br />
THE FRIENDSHIP OF CHRIST. By ROBERT HUGH<br />
BENSON. 78 X 54. 167 pp. Longmans. 38. 6d. n.<br />
THE PATHWAY OF SALVATION. By THE REV. T. A. LACEY.<br />
61 X 4. 52 pp. S.P.C.K. 6d.<br />
<br />
<br />
## p. 234 (#692) ############################################<br />
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234<br />
THE AUTHOR.<br />
MISCELLANEOUS.<br />
THE REVOLUTIONS OF CIVILIZATION. By PROF. W. M.<br />
FLINDERS PETRIE. 135 pp. New York: Harpers.<br />
75 cents, n.<br />
THE MASTERY OF LIFE. By G. T. WRENCH. 518 pp.<br />
New York : Kennerley. $4 n.<br />
EARLY ESSAYS AND LECTURES. By CANON P. A. SHEE.<br />
HAN. 354 pp. New York : Longmans. $1.60 n.<br />
TOPOGRAPHY.<br />
THE SEA WALLS OF THE SEVERN. By SANDFORD D.<br />
COLE. 8! x 51. 31 pp. Bristol : Printed for private<br />
circulation.<br />
TRAVEL.<br />
WANDERINGS IN ARABIA. By C. M. DOUGHTY. Being<br />
an abridgment of “ Travels in Arabia Deserta."<br />
Arranged with Introduction by E. GARNETT. Two<br />
Volumes. 84 x 54. 309 + 293 pp. Duckworth. 58. n.<br />
each volume.<br />
THE MANTLE OF THE EAST. By E. CANDLER. 61 x 41.<br />
372 pp. Nelson's Shilling Library.<br />
JERUSALEM. A Practical Guide. By EUSTACE REYNOLDS<br />
BALL. Second Edition. Revised and Enlarged. 68 x<br />
44. 238 pp. Black. 28. 6d. n.<br />
AGRA AND THE TAJ: A Handbook to Agra and the Taj,<br />
Sikandra, Fatehpur-Sikrî, and the Neighbourhood. By<br />
E. B. HAVELL. 8 x 5. 147 pp. Longmans. 58. n.<br />
POETRY<br />
THE EVERLASTING MERCY AND THE WIDOW IN THE<br />
BYE STREET. By John MASEFIELD. 230 pp. New<br />
York : Macmillan Co. $1.50 n.<br />
ROSES, LOAVES AND OLD RHYMES. By ANNIE MATHESON.<br />
152 pp. New York: Oxford University Press. $1.80 n.<br />
THEOLOGY,<br />
THE INFLUENCE OF CHRISTIANITY UPON SOCIAL AND<br />
POLITICAL IDEAS. BY THE REV. A. J. CARLYLE.<br />
Milwaukee, Wis. : Young Churchman. 60 cents. n.<br />
BOOKS PUBLISHED IN AMERICA BY<br />
MEMBERS.<br />
TRAVEL<br />
THE BRITISH WEST INDIES : THEIR HISTORY, RESOURCES<br />
AND PROGRESS. By ALGERNON E. ASPINALL. 434 pp.<br />
Boston : Little, Brown. $3 n.<br />
CHINA IN TRANSFORMATION. By A. R. COLQUHOUX.<br />
Revised and enlarged, with two maps. 299 pp. New<br />
York : Harper. $1.50 n.<br />
BY DESERT WAYS TO BAGDAD. With Illustrations and a<br />
Map. By LOUISA JEBB (MRS. ROWLAND WILKINS).<br />
New York : Scribner. $2 n.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
ART.<br />
JOHN LAVERY AND HIS WORK. By WALTER SHAW<br />
SPARROW. With a Preface by R. B. CUNNINGHAME<br />
GRAHAM. 209 pp. Boston : Estes. $3.50 n.<br />
BIOGRAPHY.<br />
LIFE AND LETTERS OF LAURENCE STERNE. By LEWIS<br />
MELVILLE. Two Volumes. New York : Appleton,<br />
$7.50 n.<br />
OSCAR WILDE: A CRITICAL STUDY. By ARTHUR<br />
RANSOME. New York : Kennerley. $2.50 n.<br />
MY LADY CASTLEMAINE : BEING A LIFE OF BARBARA<br />
VILLIERS, COUNTESS CASTLEMAINE, AFTERWARDS<br />
DUCHESS OF CLEVELAND. With 16 illustrations,<br />
including a photogravure frontispiece. By P. W.<br />
SERGEANT. 356 pp. Boston. $3.50 n.<br />
DRAMATIC.<br />
THE GREY STOCKING, AND OTHER PLAYS. By MAURICE<br />
BARING. 366 pp. Boston: Houghton Mifflin. $1.25 n.<br />
FICTION.<br />
THE REAL MRS. HOLYER. By E. M. CHANNON. 327 pp.<br />
New York : Doubleday Page. $1.20 n.<br />
JULIA FRANCE AND HER TIMES. By GERTRUDE<br />
ATHERTOX. 533 pp. New York : Macmillan. $1:35 n.<br />
THE MARRIAGE OF CAPTAIN KETTLE. By C. J.<br />
CUTCLIFFE HYNE. 373 pp. Indianapolis : Bobbs-<br />
Merrill. $1.23 n.<br />
THE VICTORIES OF OLIVIA, AND OTHER STORIES. By<br />
EVELYN SHARP. New York : Macmillan. $1.35 n.<br />
BLINDS Down. By H. A. VACHELL. 329 pp. New<br />
York : Doran. $1.20 n.<br />
THE GUESTS OF HERCULES. By C. N. & A. M. WILLIAM<br />
SON. 633 pp. lllustrated by M. LEON BRACKER and<br />
ARTHUR H. BUCKLAND. New York : Doubleday Page.<br />
$1.35.<br />
EBB AND FLOW. By Mrs. IRWIN SMART. 279 pp.<br />
Boston : Estes. $1.25 n.<br />
THE DEVIL'S WIND. By PATRICIA WENTWORTH, 427 pp.<br />
New York : Putnams. $1.35 n.<br />
LITERARY.<br />
SHAKESPEARE: A STUDY BY DARRELL FIGGIS. 345 pp.<br />
New York : Kennerley. $2 n.<br />
N the recommendation of the Academic Com-<br />
mittee, the Council of the Royal Society of<br />
Literature has determined to award the<br />
Gold Medal of the society to Mr. Thomas Hardy.<br />
The last recipient was George Meredith. The<br />
medal is now being struck, and will be presented<br />
to Mr. Hardy on his next birthday, June 2.<br />
Mr. Hubert Wales' new book, "The Spinster,"<br />
was published by Mr. John Long at the end<br />
of last month.<br />
We regret that in the notice of Mr. Fred G.<br />
Shaw's book, “ Our Future Existence," published<br />
in our last issue, we omitted to mention that Messrs.<br />
Stanley Paul & Co., of 31, Essex Street, Strand,<br />
W.C., were the publishers.<br />
Miss K. Everest has published her first book of<br />
poetry, entitled “ The Dreaming Antinous " and<br />
other poems. The publisher is Mr. Erskine<br />
Macdonald, 17, Surrey Street, Strand, and the<br />
book is issued at 2s. 6d.<br />
Mr. Arthur E. Baker, of the Public Library,<br />
Taunton,' has just completed, after seven years<br />
labour, a concordance to the works of the late<br />
<br />
<br />
## p. 235 (#693) ############################################<br />
<br />
THE AUTHOR.<br />
235<br />
Lord Tennyson. Messrs. George Routledge & Sons But this practice of payment on publication,<br />
have undertaken to publish the work, provided a involving as it does a constant scrutiny by writers<br />
sufficient number of subscribers be obtained to of magazines which have accepted their MSS., is<br />
justify its publication. A fair number of sub- very irritating to authors. It is bad enough when<br />
scriptions have been received, but more are required the writer is, so to speak, on the spot, but<br />
'before the work can be put into print. The when, as is the case of the British contributor to<br />
volume contains a verbal index to the poetical American magazines, he is miles away from the<br />
and dramatic works of the author comprised in market, it becomes practically intolerable. It<br />
the complete edition published by Messrs. Mac- clearly would not pay any author so situated to contri-<br />
millan & Co., Ltd.; the poems contained in the bute to an American issue conducted on these lines.<br />
Life of Lord Tennyson by his son, and published It is satisfactory to note that payment on accept-<br />
by the same publishers; also to the suppressed ance is the rule in America, but because the less<br />
poems, edited by J. C. Thomson and arranged by satisfactory method of payment on publication<br />
Messrs. Sands & Co. It contains approximately is being adopted by some of the American publica-<br />
150,000 references or quotations, and is arranged tions, it behoves authors, and particularly British<br />
in strict alphabetical sequence : the different senses authors, to be sure of the practice of American<br />
of the same word are frequently distinguished magazines in this respect before submitting work<br />
under separate headings. The subscription price to them.<br />
is one guinea nett, to be increased to twenty-five Mrs. Aubrey Le Blond's new work, “Charlotte<br />
shillings nett upon publication.<br />
Sophie, Countess Bentinck," was issued last month<br />
We regret that a paragraph in our April issue by Messrs. Hutchinson & Co. The subject of this<br />
conveyed the impression that Mrs. Bernard Whishaw work lived in an extremely interesting period of<br />
was preparing the new edition of “ Baedeker's European history. The assassinated King of Sweden<br />
Spain.” This is not the case. Mrs. Whishaw's had been her suitor ; she had lived at Berlin in<br />
work in connection with the Guide has been to close friendship with Frederick the Great, and at<br />
revise the selection relating to Seville.<br />
Vienna on terms of intimacy with Marie Thérèse.<br />
We have received from The Editor Company, Stanislaus of Poland was one of her friends, and<br />
Ridgewood, New Jersey, a little magazine, published amongst men of letters she included nearly every<br />
by that company, entitled The Editor. The April one of note.<br />
issue, which is before us, contains a good deal of The work is published in two volumes, and<br />
information useful to writers anxious to gain a foot- contains over seventy illustrations from original<br />
ing on the American magazine market. It pro- paintings, facsimiles of letters, etc.<br />
vides a monthly record of the requirements of the Mr. Frederic M. Halford has just issued, through<br />
American magazines, which, it would seem, alter Messrs. George Routledge & Sons, a new book for<br />
too quickly to make an annual record of much use the dry-fly angler. It is called the “Dry-Fly<br />
to the author. It also gives particulars of the Man's Handbook : a Complete Manual,” including<br />
practices of the different magazines in regard to the The Fisherman's Entomology ; and The Making<br />
return of MSS., as well as the rates and times of and Management of a Fishery. There are forty<br />
payment and other matters important to the free photogravure plates, and numerous illustrations<br />
lance. For example, we learn from The Editor and diagrams printed in the text.<br />
that the Twentieth Century Magazine, of 5, Park “An Angler at Large” is the title of a new book<br />
Square, Boston, is not able, at present, “ to pay for which Messrs. Kegan Paul & Co. are publishing<br />
its serious articles.” Whether, with this informa- for Mr. William Caine, who is known to readers of<br />
tion before them, writers will be wise to submit “The Field ” as a writer on angling under his<br />
humorous work (which probably would need to be pseudonym of “ W. Quilliam " in the paper.<br />
.so marked to prevent dispute subsequently) is not At the Mechanics' Institute, Bradford, on<br />
quite clear, nor, as The Editor points out, is any. April 29, recitals from the works of Mr.<br />
thing said of verse or fiction,<br />
Mackenzie Bell were given by Mr. William Miles.<br />
We regret to notice, also, that some of the Some half-a-dozen or so pieces were presented by<br />
American publications are adopting the practice of Mr. Miles, including “The Keeping of the Vow,"<br />
paying for work after publication instead of on “ The Battle's Pause,” and “No Sun ever Rose<br />
acceptance. Moreover, in one case at any rate, it without Setting.”<br />
is quite frankly stated that “no certain date of Although the late Justin McCarthy's “ History<br />
publication can be promised.” It should be added, of Our Own Time” is so well known, there is a<br />
however, that failing publication within a reason- most attractive piece of annal writing which he<br />
able time from acceptance, the author would be wrote that has fallen out of sight. When the Daily<br />
entitled to payment, despite the rule of the editor Veur's attained its jubilee in the year 1890, he<br />
of the magazine.<br />
compiled, as a kind of souvenir of the event, a<br />
<br />
<br />
## p. 236 (#694) ############################################<br />
<br />
236<br />
THE AUTHOR.<br />
political and social retrospect of the fifty years of Messrs. Williams & Norgate have published<br />
Queen Victoria's reign. It is now published by “The Quest: A Drama of Deliverance," by Miss<br />
Messrs. Sampson Low & Co.<br />
Dorothea Hollins, author of “The Veiled Figure,<br />
Early in September Messrs. Mills & Boon will and Other Poems” (Williams & Norgate), “The<br />
publish “ The Swimmer,” a new novel by Louise Herbs of Medea” (Elkin Mathews), and other works.<br />
Gerard. It deals with the struggles in the life of a<br />
girl poet from her baby days to her womanhood,<br />
DRAMATIC.<br />
and contains many sketches of poverty in its varying<br />
phases.<br />
We have received from the Era office a pamphlet<br />
Mr. Bloundelle-Burton's new romance, “The on the Copyright Act, 1911, so far as the Act affects<br />
Sea Devils,” now ready, is somewhat of the nature Dramatic and Musical Copyright. It has been<br />
of “The Hispaniola Plate," by which he first compiled by Mr. A. A. Strong, who has quoted<br />
became known to the reading public, though there is sections of the Act likely to be of importance to<br />
no treasure-seeking—nor finding-in it. The story dramatists, adding explanations where explanations<br />
is laid in and around Lisbon, whence the Armada have seemed necessary.<br />
sailed, and to which it returned in woeful plight The repertory of the Abbey Theatre Company,<br />
some of it; and the Inquisition is also prominent during the season which will open at the Court<br />
in the narrative. The hero is himself an English Theatre on June 3, will include plays new to<br />
sailor, and the heroine is a Spanish girl, resident in London, by Mr. William Boyle, Mr. T. C. Murray<br />
Lisbon. Their love gets tangled, however, from and Mr. Lennox Robinson, besides Mr. W. B.<br />
the fact that, at first, the girl has believed her lover Yeats's “ The Countess Cathleen," in its new<br />
to be a Spaniard himself, and hence “woes version.<br />
unnumbered spring.” Naturally enough an English “Mrs. Dane’s Defence," by Henry Arthur Jones,<br />
sailor and his brother “sea-devils” know well was revived at the New Theatre on May 16. In<br />
enough how to put matters right at last. The the cast were Sir Charles Wyndham, Miss Mary<br />
book is published by F. V. White & Co., Limited. Moore, Mr. Sam Sothern, and Miss Lena Ashwell.<br />
On May 10 Mr. Martin Secker published a first The Actor's Sword Club announce a special<br />
book by Lionel Allshorn, entitled “Stupor Mundi: matinee to be given on Thursday, the June 13,<br />
the Life and Times of Frederick the Second, at 3 p.m., on “ The Duel throughout the Ages,"<br />
Emperor of the Romans, King of Sicily and from the gladiator combat of ancient Rome to the<br />
Jerusalem, 1194-1250 A.D." (16s. net.) The modern French duel. Between the itenis, Mr.<br />
chief interest of the subject lies in the dramatic Egerton Castle will briefly describe the development<br />
struggle between Frederick and the Popes. This of the weapons. Tickets may be obtained at the<br />
most gifted of the mediæral Emperors was the St. James's Theatre, from Mr. J. P. Blake, 147,<br />
object of a peculiarly violent hostility. He was Leadenhall Street, E.C., or from Mr. Gerald Ames,<br />
excommunicated again and again, and was finally Hon. Secretary Actor's Sword Club, 159, Brompton<br />
solemnly deposed from his thrones by Innocent IV. Road, S.W. The performance is in aid of the<br />
in the Council of Lyons. The historian Freeman Actors' Benevolent Fund.<br />
has called him “the most gifted of the sons of “ The Double Game," by Mr. Maurice Baring,<br />
men ... in sheer genius the greatest Prince who was produced at the Kingsway Theatre on May 7.<br />
ever wore a crown." There is only one other book The play deals with the Russian revolutionary<br />
on the subject in the English language, and that movement, and the action centres round three<br />
was published half a century ago.<br />
characters, two men and a girl. The girl is a<br />
“The Norse King's Bridal,” ballads from the revolutionist to whom it falls to carry out the<br />
Danish and Old Norse, with original verses, by assassination of a hated official. After standing up<br />
E. M. Smith-Dampier, was published in March by for one of the men to whom she has given her heart,<br />
Andrew Melrose. 28. net.<br />
the girl is forced to realise that he is a police spy,<br />
Mr. Arthur Dillon's forthcoming book will con and tragedy follows her disillusionment. In the<br />
sist of a connected trilogy, or set of three tragedies cast were Miss Erniter Lascelles, Mr. Claude King,<br />
in a sequence. Mr. Elkin Mathews already has and Mr. Harcourt Williams.<br />
the volume in preparation.<br />
“ The Five Frankforters,” a comedy in three acts,<br />
The Hon. J. M. Creed, Member of the Legis- by Captain Basil Hood, was produced at the Lyric<br />
lative Council of New South Wales, delivered a Theatre on May 7. The play presents a picture<br />
paper, at the Royal Colonial Institute on May 14th, of the life of a wealthy Jewish family, and describes<br />
on the Settlement by “Whites” of Tropical their attempt to marry one of the girls to an<br />
Australia. The meeting was held at the Hotel impecunious duke. In the cast are Miss Henrietta<br />
Métropole, and the Duke of Marlborough was in Watson, Mr. Louis Calvert, Mr. C. M. Lowne, Miss<br />
the chair.<br />
Gladys Grey, and Mr. Leonard Quartermaine.<br />
<br />
<br />
## p. 237 (#695) ############################################<br />
<br />
THE AUTHOR.<br />
237<br />
PARIS NOTES.<br />
volume is an account of the various insects which<br />
are harmful to agriculture. It is illustrated with<br />
sixteen photogravures.<br />
Among books of interest to English readers are<br />
“ Bernard Shaw et son (Euvre ” by Charles Cestre.<br />
“Sous la Neige,” by Edith Wharton, another<br />
novel by the author of « Chez les Heureux du<br />
Monde,” and “ Les Metteurs en scène."<br />
ALYS HALLARD.<br />
“Napoléon à Sainte Hélène" (Ollendorf).<br />
“L'Evolution du Dogme Catholique" (Emile Nourry).<br />
“Le Droit de massacrer les Hérétiques" (Emile Nourry).<br />
“Evolution de la France Agricole” (Armand Colin).<br />
“La Direction de la Guerre" (Marc Imhaus & René.<br />
Chapelot).<br />
“ Histoire universelle du Travail” (F. Alcan).<br />
“Les Ravageurs" (Delagrave).<br />
“ Bernard Shaw et son Cuvre” (Mercure de France).<br />
“Sous la Neige" (Plon-Nourrit).<br />
PUBLISHERS' ROYALTY AGREEMENTS.<br />
“T'ELÈVE Gilles," by M. André Lafon, has<br />
U won for its author a French Academy<br />
prize of ten thousand francs. It is a<br />
psychological study of a schoolboy, and with the<br />
exception of a painful domestic tragedy, there is not<br />
much incident. M. Lafon is quite young, and this<br />
is his first novel.<br />
The French Academy Gobert prize has been<br />
divided this year, and awarded to M. Louis Madelin<br />
for his book “ La Révolution,” and to M. Pierre<br />
Champion for his “ Vie de Charles d'Orléans.”<br />
The Berger prize has been awarded to M. de<br />
Laborie for his “ Paris sous Napoléon.”<br />
“ Napoléon à Sainte Hélène (1815-1821)" by<br />
Frédéric Masson, is the last of the volumes on this<br />
subject. The three volumes entitled “ Autour de<br />
Sainte Hélène ” gave us details with regard to the<br />
various persons who approached the Emperor during<br />
his captivity. In the present book we have an<br />
account of that captivity and of his death in<br />
1821.<br />
A series of books is to be published on<br />
* L'Evolution du Dogme catholique." The first<br />
one, on “Les Origines,” by Félix Goblet d'Alviella,<br />
has appeared, and another volume is to be published<br />
each year,<br />
“ Le Droit de massacrer les Hérétiques" is a<br />
reply by the author of the “ Mariage des Prêtres”<br />
to the Père Janvier, 0.P., after his lecture in the<br />
cathedral of Notre-Dame.<br />
In the series of books published as the<br />
“ Bibliothèque du Mouvement social contem-<br />
porain ” M. Michel Augé Laribe has just brought<br />
out his “ Evolution de la France agricole.” In<br />
this volume the author has endeavoured to explain<br />
the workings of the French agricultural systems,<br />
the progress realised by French agriculture, and the<br />
difficulties with which it has to contend.<br />
“ La Direction de la Guerre” (La liberté d'action<br />
des généraux en chef), by the Commandant V.<br />
Dupuis, is an extremely instructive book for all who<br />
are interested in military questions. The author<br />
has received the Gobert prize from the French<br />
Academy.<br />
“La Guerre telle qu'on la fait," by Lieutenant<br />
Jaray, is another book on a subject of universal<br />
interest.<br />
A series of twelve volumes is being published on<br />
the “ Histoire universelle du Travail.” Paul<br />
Louis has just published one of this series on “Le<br />
Travail dans le Monde romain," and F. Maury<br />
another on “Les Valeurs françaises depuis dix<br />
ans : leurs résultats, leurs garanties, and Etudes<br />
statistiques.” They are both books that will<br />
interest social economists.<br />
“ Les Ravageurs,” by JH. Fabre. This<br />
THE AUTHOR GRANTS.<br />
TN the evolution of the management of literary<br />
I and musical property, it has become almost<br />
a universal custom for publishers to submit<br />
their agreements to authors rather than for anthors<br />
to draft and submit their agreements to publishers.<br />
In consequence, a large number of publishers have<br />
made it part and parcel of their agreements to ask<br />
for everything they can possibly obtain, and unless<br />
the author is aware of the dangers and difficulties<br />
inherent in these agreements he may, unwittingly,<br />
sign away his birthright.<br />
In considering the question of agreements, there-<br />
fore, it will assist authors if the terms and clauses<br />
are taken from agreements which have been known<br />
to be offered for signature, and the difficulties of the<br />
clauses explained, rather than that a formal clause<br />
should be laid before them for their consideration.<br />
An agreement to be clear should be drafted in a<br />
certain specific form. It should begin with a recital<br />
of the parties. The first clause should indicate the<br />
rights the author grants; the second clause the<br />
duties the publisher undertakes, and the third clause<br />
the royalties (for this paper professes to be a con-<br />
sideration of a royalty agreement) and other<br />
considerations the publisher is willing to pay for<br />
the rights which the author grants to him.<br />
B efore the clauses, which have been taken from<br />
publishers' agreements, are set out, it will be as well<br />
to state roughly what, as a general rule, it is wise<br />
an author should grant to a publisher.<br />
First it should be stated, and the statement can-<br />
not be too often repeated, that<br />
NO AUTHOR SHOULD TRANSFER HIS COPYRIGHT<br />
TO A PUBLISHER WHILE HE PRESERVES A CON-<br />
TINUING INTEREST IN HIS WORK.<br />
<br />
<br />
## p. 238 (#696) ############################################<br />
<br />
238<br />
THE AUTHOR.<br />
What, then, should the author grant?<br />
His clause, which ought to be Clause I., should<br />
run somewhat on the following lines:<br />
"The Author grants to the Publisher a licence to publish<br />
his work entitled<br />
'in book form in format<br />
(or in a format agreed between Author and Publisher) at<br />
the published price of in the English language."<br />
This form should be slightly altered when it<br />
comes to a musical composition, but on the subject<br />
of agreements for musical compositions, readers are<br />
referred to the May (1910) issue of The Author.<br />
The clause printed above gives a rough idea of<br />
the model form of the clause which contains the<br />
author's conveyance. It is sometimes desirable<br />
to leave the format of the book to the discretion of<br />
the publisher. It is important that the pub-<br />
lisher should be limited to the publication of the<br />
work at a fixed price, say £1 18. ; 10s. 6d. ; 68. ;<br />
58., etc., and it should be distinctly stated whether<br />
the price is “ nett” or subject to discount. The<br />
other limitations which this clause should contain<br />
are :<br />
(1) Limitations as to country (generally Great<br />
Britain and Ireland, the Colonies and<br />
dependencies thereof).<br />
(2) Limitations as to edition (an edition of 1,000,<br />
2,000, or 3,000 copies).<br />
(3) Limitation as to time (for a period of three,<br />
five, or seven years);<br />
(4) Limitations which combine one or two of the<br />
former (Great Britain and Ireland for a<br />
period of seven years).<br />
It is now essential to set out, from the publishers<br />
own agreements what the publisher thinks the<br />
author ought to grant, and it will be convenient if<br />
we take, first, those clauses in which the publisher<br />
asks for the copyright. If any author finds any of<br />
these clauses in agreements submitted to him for<br />
signature, he will be able to ascertain, from the<br />
following criticisms, the grounds of objection to<br />
them from the author's standpoint.*<br />
C. That in consideration of the hereinafter mentioned<br />
payments the author hereby agrees to sell and assign to<br />
the publisher the copyright of the above work and the<br />
publisher agrees to purchase the said copyright with the<br />
exclusive right of printing and publishing the work in serial<br />
and book form with or without revision and abridgment<br />
in Great Britain and Ireland the British Colonies and<br />
Dependencies in the United States of America and on the<br />
Continent of Europe and in all other countries islands and<br />
continents.<br />
That should the publisher issue special editions for sale<br />
in the British Colonies and Dependencies only or on the<br />
Continent of Europe, he shall pay to the author on all<br />
copies of such editions sold a royalty of ten per cent. on the<br />
Colonial edition and five per cent. on the Continental<br />
edition, these royalties being on the net receipts of such<br />
sales and payable at the same time as the royalties provided<br />
for in C<br />
eof.<br />
That the publisher shall have the sole right to sell or<br />
assign the American, Colonial, Continental, Foreign, Trans-<br />
lation, Serial and Dramatic rights in the above work. He<br />
shall pay all costs of negotiating such sales and distributing<br />
copies of the work for such purposes, and the publisher<br />
shall pay to the author fifty per cent. of the receipts from<br />
the sale of the same, such amounts to be payable at the<br />
same time as the royalties provided for in Clause 5 hereof.<br />
That the publisher gives no guarantee of securing copy-<br />
right outside the United Kingdom and does not bind him-<br />
self, to issue special Colonial or Continental editions or<br />
to sell serial translation dramatic or other rights.<br />
D. The author agrees to transfer to the publishers the<br />
remaining copyrights and all other rights in the said stories<br />
for all foreign countries on the terms that the publishers<br />
shall pay to the author one half of the net profit which<br />
may be made by the publishers from the sale by them of<br />
any rights plates copies (bound or in sheets) for the pur-<br />
pose of publication of the said work abroad.<br />
E. The copyright of the work and of all editions thereof<br />
shall belong to the publisher his executors administrators<br />
and assigns.<br />
F. The publishers agree to purchase and the author<br />
agrees to sell the copyright in Great Britain and all other<br />
parts of the world of a work entitled " ," hereinafter<br />
referred to as the said work the MS. of which the author<br />
has delivered to the publishers, and of all future editions<br />
thereof in consideration of the following payments, viz.,<br />
per cent, on all copies sold, thirteen copies being counted<br />
as twelve.<br />
The publishers shall have the right to sell copies of the<br />
said work, or the rights of translation thereof on any<br />
terms they shall think expedient to foreign countries and<br />
the author shall not be entitled to royalty in respect<br />
thereof, but the net amount realised therefrom shall be<br />
divided between the author and the publisher, in the<br />
following proportions, viz., 50 per cent. to the author<br />
50 per cent. to the publishers.<br />
If the said work shall be included in any edition of<br />
works published in England for exclusive sale in India<br />
and the Colonies, the author shall be entitled to receive<br />
per cent. of the actual net proceeds of such sales.<br />
If copies of the ordinary edition be sold to Colonial and<br />
other exporters or booksellers at a rate lower than the<br />
ordinary trade price the author shall be entitled to receive<br />
per cent. of the actual net proceeds of such sales.<br />
Let us take for particular consideration the<br />
clauses printed above, in their order.<br />
A. The author agrees to assign to the publisher their<br />
successors and assigns the copyright and sole right of<br />
publication of the above work.<br />
To begin with, the publisher asks the author to<br />
CLAUSES SUBMITTED BY THE PUBLISHER.<br />
A. The author agrees to assign to the publishers their<br />
successors and assigns the copyright and sole right of<br />
publication of the above work.<br />
B. The copyright therein shall be the property of the<br />
publishers who may arrange as they think fit for the com-<br />
pletion and publication of the work.<br />
If any moneys are received from the sale of translation<br />
or other rights the net receipts after deduction of expenses<br />
relating thereto shall be divided in the following propor-<br />
tions, viz. : Sixty per cent. to the author and forty per cent.<br />
to the publishers.<br />
* It is difficult, owing to the lack of uniformity and<br />
simplicity in the drafting of the agreements, to prevent a<br />
division of clauses on these lines from overlapping. Some<br />
publishers have a curious method of making their agree-<br />
ments both complicated and confusing. When, therefore,<br />
principles have already been laid down they will not<br />
uecessarily be repeated.<br />
<br />
<br />
## p. 239 (#697) ############################################<br />
<br />
THE AUTHOR.<br />
239<br />
assign to him, bis successors and assigns, the copy-' and otherwise, were absurd. The author then<br />
right.<br />
joined the society and the secretary went into the<br />
NO AUTHOR SHOULD TRANSFER HIS COPYRIGHT matter with great care, but found there was no<br />
TO A PUBLISHER WHILE HE PRESERVES A CON- loophole of escape. On his advice the author<br />
TINUING INTEREST IN HIS WORK.<br />
refused to accept the terms, and proceeded to pur-<br />
This phrase will be quoted and re-quoted, until, chase back the copyright at the publisher's own<br />
it is hoped, the brain will receive an impression price, and to publish with an old established house,<br />
which cannot be deleted.<br />
paying for the cost of production himself. By this<br />
What are the reasons for reiterating the phrase means alone could he gain control of his increasingly<br />
with such vehemence? They are many and varied. valuable property. But all anthors are not in such<br />
In the first place, it is necessary to consider the a favourable position, and other examples might be<br />
point of view of writers on such matters, as, for quoted where the technical writer has had to accept<br />
example, theological, biographical, historical sub- the bad ternis offered by the publisher rather than<br />
jects, educational works, scientific, technical, medical, allow his work to continue before the public a slur<br />
and those thousand and one subjects which, owing on his reputation. But this arrangement may<br />
to the great advance in research, are in a constant preclude him from writing again on the subject<br />
state of change.*<br />
which is his life study.<br />
Although works of fiction are more popular with This is the main reason why authors of the works<br />
the public, financially their returns cannot compare mentioned cannot be too careful not to convey the<br />
with the returns from the works quoted. It is foolish copyright.<br />
to think, therefore, that the society deals only with There are other reasons which apply to all authors.<br />
writers of fiction-because they are more often in With the conveyance of copyright the actual pro-<br />
evidence, or that it is not fully aware of the vast perty is conveyed. A publisher can alter that<br />
property in other works—and writers on any of the property so long as he does not libel the author's<br />
above subjects should, by joining the society, be literary reputation. But the work is the author's,<br />
kept informed as to the value of their property and and what may not appear to a jury of tradesmen to<br />
the difficulties with which they have to contend. be a libel on the author's reputation, may be pure<br />
Many a suitable technical or medical work taken sacrilege from the author's point of view. A father<br />
up by educational centres sells steadily by its does not care to see his own child whipped by an<br />
hundreds, and sometimes by its thousands, a year alien hand.<br />
right through the whole term of copyright. Though Then, if the arguments already put forward<br />
this last paragraph is somewhat by the way, it still were not sufficient to convince any author, there<br />
contains a great truth, which the careless author have been cases tried in the Courts which make the<br />
should fully realise.<br />
conveyance of copyright, when the author retains a<br />
To return to Clause A. The reason for our continuing interest, suicidal.<br />
objection is not far to seek. It will be necessary The first was Warwick Deeping and Moring.<br />
to quote one instance merely, to convince any author Here, Mr. Warwick Deeping conveyed his copyright<br />
on the point.<br />
to Mr. Grant Richards, receiving a royalty on every<br />
A young medical man, who was making his mark copy of the book sold. Mr. Grant Richards went<br />
as a specialist, was swooped upon by a far-seeing bankrupt, and the trustee in bankruptcy assigned<br />
publisher to write a book for him on his special the agreement to Mr. Moring. The Court held<br />
subject. Ignorant of the value of his property, and that Mr. Deeping could not claim royalties from<br />
perhaps rather flattered by the compliment, he Moring & Co., but could only claim damages<br />
wrote the book, conveyed the copyright to the for breach of agreement against the bankrupt<br />
publisher, and received a royalty.<br />
estate.<br />
Ten years afterwards, when he had become The second was on somewhat similar lines, but<br />
famous, he wanted to re-issue his book with the was not in the hands of the committee of the<br />
additions and alterations necessary on account of society. It was carried to the Court of Appeal,<br />
the changes that had been made in his particular and the decision of Mr. Justice Warrington in the<br />
study, and the wisdom he had collected by many court of first instance was upheld.<br />
fresh examples. He was unable to come to an . The plaintiff was the composer of certain songs,<br />
agreement with his publisher, who, knowing that he and he assigned his copyright to the defendants,<br />
held the copyright in the former book, refused to subject to the payment of a royalty of £d. on every<br />
make a re-issue, except on terms which, financially copy sold by the Defendant Company in the United<br />
States, and ld. on every copy sold by the Defendant<br />
* We use the words,“ technical works," as a synonym for<br />
Company elsewhere. The songs were published on<br />
all those books which for one reason or other need periodic<br />
revision. The range is very wide, and to give a detailed<br />
two occasions in the Weekly Dispatch by the Willis<br />
list would be very cumbersome.<br />
Music Company as an advertisement, and it was<br />
<br />
<br />
## p. 240 (#698) ############################################<br />
<br />
240<br />
THE AUTHOR.<br />
admitted that the publication was made with the There is something, however, beyond a transfer<br />
knowledge and approval of the defendants. The of copyright in this clause.<br />
plaintiff's claim was for royalties on the sales of When copyright has been transferred no altera-<br />
copies of the songs in the Weekly Dispatch. Mr. tions may be made by the assignee which would<br />
Justice Warrington held that the defendants were amount to a literary libel. But in this clause the<br />
not liable.<br />
publishers are allowed “ to arrange as they think fit<br />
The copyright was assigned to the defendants for the completion and publication of the work."<br />
subject only to the condition that they should pay It is very doubtful whether the author would have<br />
royalties on copies sold by them. The Weekly any remedy in these circumstances, however grievous<br />
Dispatch is the property of the Associated News- the alterations might be to his reputation.<br />
papers Limited, and was not sold by the Defendant The second clause under heading “B” calls also<br />
Company or its agents, and therefore no royalties for some serious comment.<br />
were payable in respect of copies contained in the When an author conveys the copyright without<br />
paper.<br />
limitation, he conveys the translation rights, the serial<br />
Lastly, it is possible, and this case would arise rights, and all the minor rights. These rights, if<br />
more frequently, perhaps, in the publication of properly marketed, are valuable. But if when<br />
music than in book publication, that a composer an author conveys the copyright he is only paid in<br />
may transfer his copyright to a publisher. Another the agreement a royalty on a definite form of pub-<br />
publisher, or, perhaps, another composer, if he is lication, say on the published price of the work in<br />
lucky enough to have retained his copyright, may book form at the price of 12s. 6d., he would not be<br />
turn round and say to the first publisher, " The work entitled to claim anything on the sale of these other<br />
you have published is an infringement of my copy- rights unless a special stipulation to that effect were<br />
right." The composer when referred to may made in the agreement.<br />
retort: “Oh! No! It is not an infringement, and The question of allowing these minor rights to be<br />
I have the best musical opinion that it is not." marketed by the publisher, and the division of<br />
The publisher of the alleged piracy, as owner of the possible profits, is a matter which has been discussed<br />
copyright, may say, “I am not going to have the in the columns of this paper, and may be discussed<br />
worry and expense of a copyright action, and I later when considering other clauses in publishers'<br />
must therefore, I regret to say, withdraw your com- agreements.<br />
position from the market.”<br />
It is very doubtful whether, in such circumstances,<br />
C. That in consideration of the hereinafter mentioned<br />
the composer would have any remedy whatever,<br />
payments the author hereby agrees to sell and assign to<br />
the publisher the copyright of the above work and the<br />
although his work might possibly have brought him publisher agrees to purchase the said copyright with the<br />
a steady income.<br />
exclusive right of printing and publishing the work in serial<br />
In further consideration of the clause the words<br />
and book form with or without revision and abridgment<br />
in Great Britain and Ireland the British Colonies and<br />
“and sole right of publication of the above work”.<br />
Dependencies in the United States of America and on the<br />
are surplusage and a sign of bad draftsmanship. Continent of Europe and in all other countries islands and<br />
They should be deleted, for as it is right that no continents,<br />
word should be omitted if it is necessary to define<br />
That should the publisher issue special editions for sale<br />
in the British Colonies and Dependencies only or on the<br />
any point accurately and make it beyond dispute,<br />
Continent of Europe, he shall pay to the author on all<br />
so it is right that no word should be added which<br />
copies of such editions sold a royalty of ten per cent, on<br />
should in any way tend to confuse the issues. An the Colonial edition and five per cent. on the Continental<br />
agreement to assign the copyright carries with it edition, these royalties being on the net receipts of such<br />
sales and payable at the time as the royalties provided for<br />
indisputably the sole right of publication.<br />
in Clause 5 hereof.<br />
B. The copyright therein shall be the property of the<br />
That the publisher shall have the sole right to sell or<br />
publishers who may arrange as they think fit for the com-<br />
assign the American, Colonial, Continental, Foreign, Trans-<br />
lation, Serial and Dramatic rights in the above work. He<br />
pletion and publication of the work.<br />
shall pay all costs of negotiating such sales and distributing<br />
If any moneys are received from the sale of translation<br />
copies of the work for such purposes, and the publisher<br />
or other rights the net receipts after deduction of expenses<br />
relating thereto shall be divided in the following propor-<br />
shall pay to the author fifty per cent. of the receipts from<br />
tions, viz.: Sixty per cent, to the author and forty per cent,<br />
the sale of the same, such amounts to be payable at the<br />
same time as the royalties provided for in Clause 5 hereof.<br />
to the publishers.<br />
That the publisher gives no guarantee of securing copy.<br />
Comment has already been passed on the transfer right outside of the United Kingdom and does not bind<br />
himself to issue special Colonial or Continental editions or<br />
of copyright. It may, however, be worth while to<br />
10 sell serial translation dramatic or other rights.<br />
repeat that<br />
NO AUTHOR SHOULD TRANSFER HIS COPYRIGHT The latter part of Clause 1, with the exception<br />
TO A PUBLISHER WHILE HE PRESERVES A of certain words which will be mentioned, is sur-<br />
CONTINUING INTEREST IN HIS WORK.<br />
plusage, as the greater includes the less. The<br />
<br />
<br />
## p. 241 (#699) ############################################<br />
<br />
THE AUTHOR.<br />
241<br />
transfer of copyright includes the exclusive right of the sole right to negotiate these rights ! and that<br />
printing and publishing.<br />
he should generously pay the author 50 per cent. of<br />
The words, bowever, “ with or without abridg- the latter's profits !<br />
ment" materially increase the author's danger and It is sorry evidence to put forward that a pub-<br />
difficulty, and practically hand over to the pub- lisher can openly have such printed clauses in his<br />
lisher that right of revision and abridgment which, agreement and ask the unfortunate author to pass<br />
being carried beyond literary libel, leaves the author them.<br />
with no protective power over his property.<br />
Clause 4 is further eridence, if further evidence<br />
It must be clearly understood, however, that were needed, of how far an anthor may throw him-<br />
nothing in the transfer to the publisher of the self into the power of a publisher.<br />
power of revision or abridgment will allow the An author might say—he would not be very wise<br />
publisher to commit a fraud on the public by putting —but still be might say, “ I will give you these<br />
forward one man's work as the work of another. rights if you will undertake to issue Colonial<br />
To the words “on the Continent of Europe in editions, to obtain United States copyright, and<br />
all other countries, islands and continents” we must will market my work serially and in translation<br />
also take exception. There are many countries not form.”<br />
in reciprocal treaty with Great Britain for the pro- But under this agreement he transfers the rights,<br />
tection of copyright, such as Russia and Turkey in and is content with no guarantee from the publisher<br />
Europe and the United States (unless certain drastic that the latter will do anything to utilise these<br />
formalities are complied with) and all the countries rights.<br />
of South America. These words then could prevent This is not the kind of agreement for an author<br />
the author from publishing in those countries, even to sign who has any respect for himself, or any<br />
although he had no rights there. Or, in other words, desire to obtain a suitable market for his property.<br />
the publisher might make a profit, until a pirate<br />
D. The author agrees to transfer to the publishers the<br />
stepped in, although the author had no copyright,<br />
remaining copyrights and all other rights in the said stories.<br />
but the author would be debarred from making a for all foreign countries on the terms that the publishers<br />
profit himself.<br />
shall pay to the author one half of the net profit which<br />
Clause 2 needs but little comment. But as it<br />
may be made by the publishers from the sale by them of<br />
any rights plates copies (bound or in sheets) for the pur-<br />
is drafted, it emphasises the fact of the author's<br />
pose of publication of the said work abroad. .<br />
servitude. The amount of royalty is exceedingly low.<br />
The author receiving 10 per cent on the English There is little to be said of this clause except<br />
edition, may think, if he is ignorant of the value of that the latter part carries considerable disadvan-<br />
literary property, that the same percentage on tages to the author. It may be possible to arrange<br />
Colonial editions is fair. But he should be warned an equitable division of profits on the sale of stereos<br />
in his ignorance that 10 per cent. is 1d. to 11d. a and other rights if the author is foolish enough to<br />
copy on the average prices received by publishers let the publisher handle them, but in no circum-<br />
for the ordinary sized book, whereas 3d. a copy- stances should he allow a profit-sharing arrange-<br />
one of the lowest royalties offered—pays the ment on the sale of bound copies or sheets in the<br />
publisher well. The royalties, however, will be Colonies or abroad to enter into an ordinary<br />
dealt with more fully, when the regular royalty royalty agreement. The reasons for this state-<br />
clauses are dealt with.<br />
ment have been put forward at some length in<br />
The word “should” at the beginning of the clause The Author for January, 1902.<br />
calls for remark, as the publisher does not undertake<br />
E. The copyright of the work and of all editions thereof<br />
to issue these editions, and may, in consequence, if<br />
shall belong to the publisher, his executors, administrators,<br />
he should so desire, totally neglect the author's best and assigns.<br />
interests, i.e., to widen his market and extend his<br />
reputation.<br />
There are only a few words in this clause that<br />
Clause 3, as well as a portion of the former clause, stand in need of separate comment.<br />
really refers to what ought to be the third clause in<br />
“And of all editions thereof."<br />
a properly drafted agreement. It cannot be discussed<br />
here.<br />
In a series of definitions relating to the book<br />
But it should be noted that the publisher has the trade issued by the Publishers' Association, we<br />
sole right to do what no author should ever ask a believe “impression " was taken to mean a reprint<br />
publisher to do except under certain limitations, and unaltered, "edition” a reprint, but altered.<br />
that the rights mentioned include “dramatic rights." The publisher, therefore, in order to make<br />
That the author should ask the publisher to nego. himself doubly secure, can control the author in<br />
tiate his dramatic rights, indeed, reaches the last any alteration he may desire to make in his<br />
point of absurdity; that the publisher should have original text, can hamper or expedite any improve-<br />
“And of all cu<br />
<br />
<br />
## p. 242 (#700) ############################################<br />
<br />
242<br />
THE AUTHOR.<br />
ment, and can, so to speak, hold the author at his say so, and why does he use two different terms<br />
beck and call,<br />
in two succeeding clauses? “Net profits” has a<br />
Of the technical writer we have already made clear meaning. It is the profit realised after the<br />
mention. Such a clause as the above would hamper deduction of all expenditure, i.e., the net profits<br />
him, if possible, more than the mere transfer of on “the net receipts ” as opposed to "the gross<br />
his copyright. It is bad for the writer of fiction; profits" on "the gross receipts."<br />
it is disastrous for the scientific and technical In the third clause the words “ordinary trade<br />
writer.<br />
price” are elusive. The ordinary trade price<br />
F. The publishers agree to purchase and the author varies considerably, as any bookseller will tell you.<br />
agrees to sell the copyright in Great Britain and all other Accuracy and finality are not secured by these<br />
parts of the world of a work entitled “ "hereinafter doubtful phrases. They may all afford food for<br />
referred to as the said work the MS, of which the author<br />
bas delivered to the publishers, and of all future editions<br />
the lawyers. This is what the society is anxious<br />
thereof in consideration of the following payments, viz.,<br />
its members should avoid,<br />
per cent, on all copies sold, thirteen copies being counted<br />
as twelve.<br />
The publishers shall have the right to sell copies of the<br />
said work, or the rights of translation thereof on any<br />
MAGAZINE CONTENTS.<br />
terms they shall think expedient to foreign countries and<br />
the author shall not be entitled to royalty in respect<br />
thereof, but the net amount realised therefrom shall be<br />
BLACKWOODS.<br />
divided between the author and the publisher, in the<br />
Musings without Method: Literary Anodynes--Alfred de<br />
following proportions, viz., 50 per cent. to the author<br />
Musset and La Sand—“A Strong Love Interest.”<br />
Mus<br />
50 per cent. to the publishers.<br />
If the said work shall be included in any edition of<br />
BOOKMAN.<br />
works published in England for exclusive sale in India<br />
and the Colonies, the author shall be entitled to receive<br />
Robert Browning. By Professor George Saintsbury.<br />
Robert Browning's Father. By Sir W. Robertson Nicoll.<br />
per cent. of the actual net proceeds of such sales.<br />
If copies of the ordinary edition be sold to Colonial and<br />
CORNHILL.<br />
other exporters or booksellers at a rate lower than the<br />
ordinary trade price, the author shall be entitled to receive Joan of Arc's Letters. By the Comtesse d'Oilliamson.<br />
per cent. of the actual net proceeds of such sales.<br />
With a Note by Andrew Lang.<br />
John Stuart Mill and Browning's “Pauline."<br />
In Clause 1 of this extraordinary combination<br />
By M. A.<br />
Phillips.<br />
the draftsmanship is slightly peculiar, as it throws Realism in Fiction. By A. C. Benson.<br />
into one clause what should have been dealt with<br />
ENGLISH REVIEW.<br />
in three. It is not in this that its' real peculiarity<br />
Among My Books. By Frederic Harrison.<br />
consists, but in the fact that the publisher has<br />
Poetry and the Modern Novel By Compton Mackenzie.<br />
put himself as the first party. The man who Robert Browning. By Darrell Figgis.<br />
agrees to purchase has put himself before the man The Folk Song Fallacy. By Ernest Newman.<br />
who has the property to sell.<br />
FORTNIGHTLY.<br />
Clause 2 is evidently very badly drafted, for if<br />
For the Centenary of Robert Browning. By Alfred<br />
the publisher holds the entire copyright, as stated<br />
Noyes.<br />
on a former page, he certainly holds the rights English and French Attitudes towards Poetry. By<br />
included in this clause, as it was only necessary Professor Maurice Gerothwohl.<br />
for the publisher to state what he would pay the The Censorship. By John Pollock.<br />
author on the sale of these rights, if anything,<br />
NINETEENTH CENTURY,<br />
because it by no means follows because the author Recent German Fiction. By Madame Longard de<br />
has sold to the publisher his copyright that he Longgard (Dorothea Gerard).<br />
A<br />
I on all the various methods of publica- Robert Browning. By Francis Gribble.<br />
tion in England and abroad. An author may not<br />
NATIONAL<br />
understand these delightful intricacies ; it is a<br />
The Plots of Dickens By H. C. Biron.<br />
publisher's business to have them at his fingers'<br />
ends.<br />
There is, however, a terrible lack of finality and<br />
SCALE FOR ADVERTISEMENTS.<br />
exactitude in the use of terms in this clause. The (ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
publisher talks about the “net amount realised." Front Page<br />
Other Pages<br />
.. . *** *** **<br />
3 0 0<br />
Does the publisher mean by this the net profit on<br />
Half of a Page<br />
the transaction ? If so, why does he not say so ? Quarter of & Page<br />
... 0 150<br />
Eighth of a Page<br />
In the next clause, and the clause following, he Single Column Advertisements :<br />
... per inch 0 6 0<br />
speaks of the “net proceeds of such sales.” Is this Reduction of 20 per cent. made for a Series of Sis and of 25 per cent, for<br />
Twelve Insertions.<br />
equivalent to the “net amount realised,” that is,<br />
the “pet profit”?<br />
All letters respecting Advertisements should be addressed to J. F,<br />
If so, again, why does he not Belmont & Co., 29, Paternoster Square, London, E.C.<br />
...<br />
.. 1 10<br />
0<br />
<br />
<br />
## p. 243 (#701) ############################################<br />
<br />
THE AUTHOR.<br />
243<br />
HOW TO USE THE SOCIETY.<br />
1. D VERY member has a right to ask for and to receive<br />
D advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi.<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
· 4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society's work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
7. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; 80<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 15. per<br />
annum, or £10 10s. for life membership.<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to:<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for "office expenses,"<br />
unless the same allowance is made to the author,<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(6.) Not to give up serial or translation rights.<br />
16.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor!<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
IY. A Commission Agreement.<br />
The main points are :-<br />
(1.) Be careful to obtain a fair cost of production,<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :-<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com.<br />
petent legal authority<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
U ERE are a few standing rules to be observed in an<br />
N agreement. There are four methods of dealing<br />
with literary property :-<br />
1. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
<br />
## p. 244 (#702) ############################################<br />
<br />
244<br />
THE AUTHOR.<br />
DRAMATIC AUTHORS AND AGENTS.<br />
(6.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(0.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., ised<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (6.) apply<br />
also in this case,<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed.<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration,<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
r should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
T<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author's fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
T ITTLE can be added to the warnings given for the<br />
U assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
& rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with-performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
STAMPING MUSIC.<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members' stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH.<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
M EMBERS will greatly assist the Society in this<br />
V branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS, includes not only works of fiction, but poetry<br />
and dramatic works, and when is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
REMITTANCES.<br />
OCENARIOS, typewritten in duplicate on foolscap paper<br />
D forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 28. 6d. per act.<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 245 (#703) ############################################<br />
<br />
THE AUTHOR.<br />
245<br />
GENERAL NOTES.<br />
mechanically, should be ready to supply the<br />
gramophone companies with stamps immediately<br />
THE ERA PRIZE COMPETITION.<br />
the Act comes into force at the beginning of July.<br />
We are pleased to notice that The Era has The Board of Trade has, we understand, come to<br />
devoted considerable space to dealing with the the following decision as to the shape and size of<br />
suggestions made in these columns in our issue of the stamp: “The adhesive label shall be an<br />
April 1 in respect of their Play competition. The adhesive paper label, square in shape, the design to<br />
form and substance of their answer is the most efficient be entirely enclosed within a circle, and the side of<br />
argument that could possibly have been given of the the label not to be greater than three-quarters of<br />
need of the comments made in The Author. The an inch in length.”<br />
editor comments in a laughing mood on the date on We give this note now so that members may be<br />
which our criticism appeared (April 1) as a signi- prepared for the sale of stamps on July 1st. The<br />
ficant one. We would point out that the date of four important points are : (1) adhesive paper<br />
the answer (April 30) is still more significant, as label ; (2) square in shape ; (3) design to be<br />
it prevented our dealing with the article in our entirely enclosed within a circle; (4) length of<br />
May number.<br />
side three quarters of an inch.<br />
Having read the whole of The Era's comments,<br />
it appears to us that none of our criticisms has<br />
really been answered at all. The Era says, “Possess<br />
UNITED STATES COPYRIGHT.<br />
your souls in patience, everything will come right PUBLISHERS in their agreements are often anxious<br />
in the end "Zwe hope so; but such a result will to have the right to place authors' books in America<br />
certainly not be due to the excellence of the con- and secure the copyright. In their contracts with<br />
ditions. The difficulties raised are still unsettled, the author they not only insert a clause to this effect,<br />
and the conditions of the competition still indeter- but also a clause by which if they fail in their negotia-<br />
minate. In particular the editor makes no satisfac- tions certain royalties are to be paid to the author<br />
tory answer to our objection, that he reserves the when the book is sold in sheets to the United States.<br />
right to arrange the production of any play sub- If an author employs an agent, it is that agent's<br />
mitted, whether the winning play or not. We still duty to negotiate for the American copyright, and<br />
see no reason why the dramatic author who sends in a in no circumstances should he allow the publisher to<br />
play under this competition should thereby appoint have the control. We regret, however, that this is<br />
the editor of The Era his perpetual agent for not always the view that the agent adopts. If the<br />
placing that play. The Era's only answer is that author does not employ an agent, then, for the<br />
* the organ of the Society of Authors will be quite following reasons, he should negotiate this American<br />
happy about the matter in the fulness of time.” publication himself. He has the whole range of the<br />
This very suggestion is an admission of the justice American market before him; he can try one<br />
of our complaint that the present terms of the com- American publisher after another until he is assured<br />
petition are indefinite, and it seems hardly fair to of success or failure ; whereas the English publisher<br />
ask dramatic authors to bind themselves to indefinite would, most probably, only write to his usual corre-<br />
terms without even the assurance given in the spondent in the United States, and if that publisher<br />
editor's comments “ that he (the dramatist) will be gave his refusal would not trouble any further ;<br />
quite happy in the fulness of time.” It surely con- indeed, there is no reason why he should trouble any<br />
firms the statement we have already made that the further, or, even while having the right of securing<br />
terms should be more clearly set out.<br />
the American copyright, he should even go so far.<br />
The fact that a large number of dramatic authors It often pays not only the English publisher but<br />
have already submitted plays is no justification for the American publisher better to deal in sheets from<br />
putting forward indefinite terms.<br />
the English market than to set the work up in the<br />
We are, however, indebted to The Era for their United States. This may be all very well for the<br />
article, and particularly for printing the rules two publishers concerned, but is bad business for<br />
immediately below, which will clearly show to the author, to whom the American copyright is a<br />
dramatic authors who read the issue of The Era for valuable asset. Besides, the English publisher<br />
April 30 the need of our criticism and its fairness, ought only to be the agent for the author for the<br />
and will emphasise the difficulties that they may production of the work in book form on the English<br />
encounter.<br />
and Colonial markets; he is not an agent for the<br />
placing of literary wares, and has not the facilities<br />
STAMPS ON MECHANICAL REPRODUCTIONS. or the necessary stimulus of the literary agent ; for<br />
THOSE composers and authors who are interested the agent's livelihood depends on his obtaining<br />
in the mechanical reproduction of their works, other markets, whereas they are a mere by-product<br />
whose works have been already reproduced of the publisher's business.<br />
<br />
<br />
## p. 246 (#704) ############################################<br />
<br />
246<br />
THE AUTHOR.<br />
COPYRIGHT ACT, SECTION 5.<br />
We have just received notice that the proprietors<br />
SECTION 5 of the Copyright Act, 1911, runs as<br />
of The Bioscope, the cinematograph trade journal, are<br />
follows:<br />
organising certain invitation performances with the<br />
“ Subject to the provisions of this Act, the author<br />
object of demonstrating the value of the cinemato-<br />
of a work shall be the first owner of the copyright<br />
graph as an educational medium. These perform-<br />
therein.”<br />
ances are going to take place on the mornings of<br />
There are two provisos to this section. The<br />
Wednesday, June 5, Wednesday, June 12, and<br />
Saturday, June 15, from eleven to one o'clock.<br />
second proviso (b) states :-<br />
It would be possible for the earnest student of<br />
** Where the author was in the employment of some other<br />
natural history, instead of merely writing a book and<br />
person under a contract of service or apprenticeship and the<br />
work was made in the course of his employment by that<br />
taking photos, to make his own natural history films<br />
person, the person by whom the author was employed shall,<br />
of the insects, or birds or mammals, and then, by<br />
in the absence of any agreement to the contrary, be the hiring out these different films, or by exhibiting them<br />
first owner of the copyright, but where the work is an himself, to obtain a decent livelihood and a fair<br />
article or other contribution to a newspaper, magazine, or<br />
similar periodical, there shall, in the absence of any agree-<br />
remuneration; but the performances to be given<br />
ment to the coutrary, be deemed to be reserved to the by the proprietors of The Bioscope will demonstrate<br />
author a right to restrain the publication of the work, matters of a somewhat different character. For<br />
otherwise than as part of a newspaper, magazine, or instance, we hear that amongst other things will<br />
similar periodical.”<br />
be demonstrated “ The amoeboid movement of a<br />
As there has been some question about this pro- leucocyte, relapsing fever, the phenomenon of<br />
viso, it is necessary to warn those who are under con- agglutination, examination of the stomach under<br />
tract of service or apprenticeship, that if any work X-rays, and the mosquito." If a doctor can gather<br />
is done by them which could hardly be said to money and reputation from writing a treatise on<br />
be done in the course of their employment, they these subjects there is no reason why he should not<br />
should take special care that they retain the equally obtain money and reputation as a teacher<br />
copyright in such work. A journalist on the through the cinematograph.<br />
staff of a paper mightbe employed to do certain Technical writers in all the various branches of<br />
journalistic work ; in his spare time he might write a knowledge and science should not neglect a new<br />
story, and the editor of the paper might offer to run opportunity.<br />
it as a serial. In a case of this kind it should be made<br />
clear, lest any dispute or doubt should arise, that<br />
the copyright in the serial story was not the pro-<br />
JUSTIN MCCARTHY.<br />
perty of the employer. It is to be hoped that the<br />
employer, in the absence of special contract, would<br />
not lay claim to the copyright, but it is always best V E much regret to have to record the death<br />
in matters of business that the terms should be set<br />
of Mr. Justin McCarthy, which occurred<br />
out with exactness. The employee should either be<br />
just before our May issue went to Press.<br />
careful not to offer work to his employer that he Mr. McCarthy's career as historian, novelist, Irish<br />
has done outside his course of employment and M.P., and Parliamentary journalist, has been so<br />
outside his contract of service or apprenticeship, or fully dealt with in the newspapers, and, indeed,<br />
if he does offer such work, that the terms as regards must be so familiar to our readers, that we need<br />
copyright should come under a separate agreement. add but little to the many tributes which have been<br />
The point is one of no small importance, judging paid to it in the Press and elsewhere during the<br />
from examples of the rights which some editors past month. His early work as a journalist-after<br />
demand from contributors who have through his first start as a young and unknown reporter -<br />
ignorance allowed them to publish without a proper was as editor of the Morning Star. But his daily<br />
contract.<br />
leader-writing on the Daily News from 1870 onwards<br />
through so many years, was his greatest claim to<br />
distinction in this line of literature. His essays in<br />
EDUCATION AND THE CINEMATOGRAPH.<br />
fiction were numerous, perhaps the best known being<br />
At the present time it is difficult to measure the “Dear Lady Disdain." But it is probably his work<br />
importance of cinematography to dramatic authors. as historian by which he is, as he deserves to be,<br />
It is possible that in the next few years its value familiar to most people. His “ History of Our Own<br />
will have more than doubled, and dramatists may Times,” finally completed in 1905–to the great<br />
be making a regular income from this form of cost, alas ! of his health, for the strain of constant<br />
reproduction, but there are other authors to whom labour on the book, coming on the top of his Parlia-<br />
and other methods in which cinematography may mentary struggles, made him an invalid for the rest<br />
become of great importance.<br />
of his life—was his principal achievement in this<br />
<br />
<br />
## p. 247 (#705) ############################################<br />
<br />
THE AUTHOR.<br />
247<br />
particular branch of learning. The writer of this<br />
paragraph well remembered the appearance of the<br />
first four volumes in the early 'Eighties, and how<br />
even among the thoughtless undergraduates of his<br />
University they raised an interest that is very rarely<br />
manifested in works of the kind there.<br />
Justin McCarthy was essentially a man of letters<br />
-in spite of his boyish connection with Irish revo-<br />
lutionary ideas—and he continued his devotion to<br />
literature almost to the last day of his life. His<br />
association with the Society of Authors dates from<br />
the year 1890, when he first joined its ranks.<br />
Although he was not actively identified with its<br />
executive side, he was elected to the Council, and<br />
served on it up to the time when death removed<br />
him from among us.<br />
We must congratulate the chairman on the<br />
success of the evening.<br />
There is no Fund in England which fills a similar<br />
position to that of the Royal Literary Fund ; the<br />
Fund is administered with great care and dis-<br />
crimination and with a very liberal and discerning<br />
hand. For over a hundred years it has supplied<br />
to those ill-paid workers very essential help in<br />
time of difficulty and distress. May the work<br />
which was begun so long ago continue in the future<br />
to those days when intellect or perhaps even genius<br />
is paid for by a living wage.<br />
COMPOSERS' RIGHTS AND THE COLLEC-<br />
TION OF FEES FROM MECHANICAL<br />
REPRODUCTIONS.<br />
THE ROYAL LITERARY FUND.<br />
W E have now been able to peruse the draft<br />
M HE 122nd anniversary dinner of the Royal<br />
rules of the Copyright Protection Society<br />
L Literary Fund, under the popular chair-<br />
(Mechanical Rights) Limited, worthy<br />
mansbip of Mr. Owen Seaman, has been very successors to the original prospectus.<br />
successful.<br />
The front page in itself, containing the list of<br />
· The secretary announced that the list of dona. the committee, is interesting, and turning to<br />
tions was headed by 50 guineas from the King ; Article 28 we see that the committee is to be<br />
that the stewards that night had subscribed nearly composed of six publishers, three composers, and<br />
£1,600, and that the total sum, which had been thrce authors of literary and dramatic works, with<br />
exceeded only twice in the 121 years' history of the in addition a chairman who is to be a composer.<br />
Fund, amounted to exactly £2,500.<br />
The publishers therefore, who under the Copy-<br />
There were many distinguished people present : right Act have no interest whatever in the<br />
those interested in literature from the outside mechanical rights, are given the largest repre-<br />
public, those who write themselves—authors, poets sentation upon the committee, a representation so<br />
and others—and those who act as agents for large that in all probability they will nearly always<br />
placing the work of the latter into the hands of the form a majority. Even Mr. William Boosey, who<br />
former.<br />
has been the moving spirit of this matter, does not<br />
The chairman's speech in support of the Fund put the publishers' claim higher than 30 per cent. of<br />
and its work was sound and to the point.<br />
the profits, yet they get 50 per cent. of the com-<br />
The toast of “ Literature” was proposed by Mr. mittee. Inasmuch also as the authors of words for<br />
Arthur Balfour. It would have been difficult to songs are generally paid a sum outright by the<br />
find a proposer more suitable to the occasion. Not publisher, it seems unnecessary to give the authors<br />
only is Mr. Balfour's love of literature well known, an equal representation with the composers, to<br />
but he has shown himself as one of the leading whom the most valuable part of the property<br />
thinkers by the work which he has put before the belongs.<br />
public. His speech was naturally listened to with The most important part of the rules deals with<br />
great interest and was full of suggestive matter. the distribution of the royalties to be collected.<br />
“Do not let us look,” he states, “at artistic or The short effect is first to charge the sums collected<br />
literary production in too mechanical a fashion with the expenses of collection and the maintenance<br />
Literature is not the result of merely what are of the society, and then to distribute the balance,<br />
called sociological causes. It is determined by the 40 per cent. to the composer, 30 per cent. to the<br />
inter-action of those causes and the individual author (where there are copyright words), and<br />
genius which no scientific generalisation can class, 30 per cent. to the publisher, or in cases where<br />
which no scientific prophecy can foretell.”<br />
there are no copyright words 70 per cent. to the<br />
The toast was responded to by Sir Walter composer and 30 per cent. to the publisher. Now<br />
Raleigh.<br />
composers should consider, first of all, whether<br />
<br />
<br />
## p. 248 (#706) ############################################<br />
<br />
248<br />
THE AUTHOR.<br />
it is necessary to appoint any agents for the collec- enforcing his claims, for under rule 6, “no legal<br />
tion of fees ; but, assuming they think this desirable, proceedings shall be instituted or undertaken by<br />
they may be reminded that other companies are any member in respect of any work in which he is<br />
ready to collect the fees, not only in Great Britain interested without the sanction of the committee."<br />
and her colonies, but also on the Continent at a com This rule is not in terms limited to mechanical<br />
mission of 25 per cent. only of the fees, which covers rights alone, but would extend to all rights, and<br />
all expenses, the balance of 75 per cent. to go clear even if in practice it is treated as so limited it<br />
to the composer. Under the rules proposed to be deprives the member of all opportunity of defending<br />
issued by this limited company, the composers are his own property even at his own risk. Further,<br />
to have the amount of all the expenses of collec- under rule 2A a member is bound for the entire<br />
tion deducted from their fees when collected, and period of membership when called upon by the<br />
then to give to the publisher another 30 per cent. committee to transfer to the society the mechanical<br />
of what remains, so that the composer might lose instrument rights of his works which are or may<br />
a considerable percentage of his fees in expenses, be published (i.e., apparently all present and future<br />
and is then mulcted 30 per cent. of the balance, rights), and under clause 5, even in the event of<br />
which has to go to the publisher.<br />
his withdrawal or death, such rights shall continue<br />
The music publisher has claimed that he is to be vested in and exercisable by the company.<br />
entitled to a percentage of these fees because, by Secondly, the committee might decide to take<br />
publishing the composer's music, he makes the action in a case to which the composer might<br />
gramophone rights valuable. This may or may strongly object, and thirdly, the committee might<br />
not be the case, but if it is the case it is a matter take action in respect of the reproduction of the<br />
to be decided entirely between the composer and rights of one of its members, and get involved in a<br />
the publisher and not to be decided arbitrarily by complicated and expensive law suit, leaving the rest<br />
a company which is started on a business basis and of the members to bear the expenses of the proceed-<br />
not for the settlement of ethical questions. It is ings, however indiscreetly the committee may have<br />
certain, however, that in the near future it will be acted. The only limit upon the expenses is the<br />
the music publisher who will have to thank the total amount of all royalties collected. Generally<br />
mechanical reproducer for the advertisement, a society can only rely on the subscriptions received,<br />
rather than the mechanical reproducer the music and no member is liable for anything more. But<br />
publisher. Mechanical reproduction is going ahead here the whole income of the members for royalties<br />
very fast, and many owners of pianolas, gramo- on mechanical reproductions is at stake.<br />
phones, etc., go to the retail dealers and try these It is true that the society does not claim a<br />
reproductions, quite irrespective of the music percentage for the publisher where the work has<br />
publisher, and choose the reproduction for pur- not been published, but this does not lessen in any<br />
chase or hire, quite irrespective of whether they way the arguments wbich have been put forward.<br />
bave heard the original played from sheet music. It is possible, under rule 6B, that these rules<br />
This practice will become more and more common, may be altered and varied, but in that case the<br />
so that the music publisher's argument that he is alterations are “to be formulated by the com-<br />
entitled to a share in the mechanical instrument mittee” (on wbich, as we have pointed out, the<br />
rights, if ever it was good, grows less and less, but publishers will probably have a working majority),<br />
we do not admit it was ever good. The music wand approved at a general meeting of the<br />
publisher is the agent of the composer to reproduce society." It is probable, therefore, that any<br />
his work in a certain form according to contract, alterations made will not be for the benefit of<br />
and the author's royalty is based on this considera- composers.<br />
tion. He is not the principal, to claim from the Two points seem to be quite clear. Firstly,<br />
composer control over his rights. The editor of that it is inadvisable for any composer to become a<br />
a magazine might as well claim a share in the book member of this society ; and secondly, that com-<br />
production from the author, or the publisher of posers should be reminded, if they cannot undertake<br />
the book claim a share of the serial rights.<br />
what appears to be the not very difficult task of the<br />
But the draft rules contain other interesting collection of their own fees, that there are societies<br />
statements.<br />
ready to collect fees at much more reasonable rates<br />
The committee is to be allowed “to conduct or and without acquiring an interest in the composer's<br />
defend such legal proceedings as they may sanction," property. It is hoped to be possible to give full<br />
apparently, without reference to the composer, who details in another issue of this paper.<br />
is the owner of the rights. It seems that under this<br />
rule they might neglect, perhaps for financial<br />
reasons, to protect the composer's rights, and in<br />
that case the composer would have no means of<br />
<br />
<br />
## p. 249 (#707) ############################################<br />
<br />
THE AUTHOR.<br />
249<br />
THE HAZARD OF THE PEN.<br />
could than would have been his due had he allowed<br />
others to steal them, while he “paused " in order<br />
that he might hug to his breast the bubble consola-<br />
NCE upon a time I might have felt flattered tion that he had written“ not for an age but for all<br />
by the amount of interest which appears time.”<br />
to have been excited by the publication of Alexander Pope performed in a masterly manner<br />
my brief article entitled “ The Hazard of the Pen,” at his desk, but he certainly demanded something<br />
in the columns of The Author for December, 1911. rather more mundane than the glow of achievement<br />
At the present moment my state of mind is merely as his guerdon ; and Dr. Johnson, greater as a man<br />
one of mild surprise at the spirit of optimism it than renowned as a writer (which means a good<br />
seems to have evoked.<br />
deal), had so little esteem for the bombastic airs of<br />
A cursory examination of the official organ of the the pretentious dilettante that he roundly declared<br />
Society of Authors for the past dozen years reveals “no man but a blockhead ever wrote except for<br />
so many letters and articles retailing personal money." Now in almost every branch of art-<br />
experiences of ill-usage on the part of editors and whether it be music, painting, poetry, sculpture,<br />
publishers ; so many wails of despair at the trials romance, or any other form of it-the genius (with<br />
and disappointments of members in their attempts comparatively few exceptions) emanates from a<br />
to win public recognition ; so much heart-breaking home none too well blessed with worldly goods. A<br />
disaster as the sole result of honest endeavour, that diligent search through the pages of a biographical<br />
I am constrained to wonder how anyone claiming to dictionary will, I think, assure any doubter of the<br />
be a bona fide writer could be induced to question veracity of this statement. If then a child of the<br />
the sagacity of Robert Buchanan when he quietly Muses with his spiritual visions, his ethereal aims,<br />
summed up the whole case of his career in the his lofty ambitions, sets out to school and direct<br />
words,“ Is it worth it?"<br />
the world-how is he to do it ?<br />
Commonsense and genius, unlike ignorance and I presume he must eat, and wear clothes, and find<br />
impudence, rarely go hand in hand. But in the somewhere to lay his head what time he transcribes<br />
person of Robert Buchanan, these two uncommon his dreams to paper ; but if he has no private<br />
mental gifts were compounded ; and he saw with source of income, how, I ask, is he to do it ?<br />
clear eyes that in whatever vineyard he may work, Publishers and editors will neither feed, clothe, nor<br />
the labourer is worthy of his hire.<br />
house him. The day of the patron has gone. He<br />
The writer who'pretends that subsidiary sops to may consider himself well fitted to pose as “the<br />
his vanity in the shape of notoriety, adulation of teacher and leader of mankind ”-a modest pro-<br />
friends, self-sufficiency, egotism, and the like, position, by the way !—but with his belly filled<br />
furnish any real substitute for solid and material with the east wind, and no money to pay for a<br />
rewards for his industry, perseverance, and, per- night's lodging, he will come to learn that, in a<br />
chance, ability, is likely to be only a drag upon the civilised community, his place will be in course of<br />
ranks of authorship, seeing that he and such as he time, not among teachers and leaders but with waifs<br />
play into the hands of unscrupulous traders in and strays. During the past ten years one real poet<br />
literary property against whom the more sensible was actually herding with outcasts in the Strand,<br />
but less vainglorious members of the legion wage and two clever and original writers have elected to<br />
perpetual warfare, and to circumvent whose nefarious end the unequal battle of life by-suicide!<br />
aims the Society of Authors was, for one thing, What a man proposes and what the world<br />
founded.<br />
disposes are two cruelly opposite affairs in, say,<br />
Who could imagine Shakespeare as he wrote ninety-nine Cases out of every hundred.<br />
his immortal plays pausing to ask himself “ Is it “ But if we have had the smallest glimmer of<br />
worth it?”<br />
a vision that the calling of literature stands alone-<br />
As a matter of plain fact, Shakespeare wrote his above and beyond every other calling," etc. Above<br />
plays for a living; and, being what apparently some and beyond every other calling! A big order-<br />
few beginners in literary work affect to scorn, that a very big order !<br />
is to say, no mean man of business, contrived to Has the writer of this stupendous declaration<br />
elevate himself from a penniless lad into a person of ever stood before a masterpiece by å great artist,<br />
substance by the labour of his pen.<br />
and marvelled at the manner in wbich an historical<br />
I have no recollection that he claimed for himself event, a divine inspiration, a pathetic incident, nay,<br />
the prophetic gifts of a Merlin, or of his own the embodiment in lifelike form and colour of a<br />
creation, Prospero. How then was he to foretell that poet's dream, may be brought, by the magic of the<br />
posterity would acclaim his plays as “immortal” ? brush and the gift of artistic imagination and skill,<br />
: A thousand times more honour to the Swan of right before her eyes in a way no mere dealer in<br />
Avon for reaping what rewards of his genius he words could ever accomplish ?<br />
<br />
<br />
## p. 250 (#708) ############################################<br />
<br />
250 •<br />
THE AUTHOR.<br />
Has she ever felt her pulses throbbing, her heart from whose book, “ The Private Papers of Henry<br />
beating more rapidly, a catch in her throat, and an Ryecroft," l venture to take the following serious<br />
inclination to relieve the tension of her soul by warning, which I most earnestly commend to<br />
tears when listening to a voice of superlative the notice of all entertaining inflated and wholly<br />
quality, or the wondrous orchestral tone poems of a erroneous ideas as to the powers and influence they<br />
Wagner ?<br />
imagine themselves able to wield by pursuing a<br />
Has she ever reflected that the medical profession literary career-a career whose limitations are only<br />
has again and again produced quiet, unassuming exceeded by its disillusionment.<br />
heroes who hare given their lives to the cause of “Innumerable are the men and women now<br />
science, and in their efforts to alleviate the agony of writing for bread, who have not the least chance of<br />
suffering humanity ?<br />
finding in such work a permanent livelihood. They<br />
No good purpose was ever, or could be, served took to writing because they knew not what else to<br />
by entertaining a tumid and quite fallacious view do, or because the literary calling tempted them by<br />
of the writer's profession, trade, or craft—as my its independence and its dazzling prizes. They will<br />
readers will have it..<br />
bang on to the squalid profession, their earnings<br />
Cacoethes scribendi may be, and not infrequently eked out by begging and borrowing until it is too<br />
is, a physical disease, as dangerous as measles or late for them to do anything else—and then ?<br />
fever--and as infectious; though novices of a “With a lifetime of dread experience behind me,<br />
certain type when they have caught it badly I say that he who encourages any young man or<br />
imagine themselves to be sanctified by a visitation woman to look for his living in literature commits no<br />
of the divine afflatus. And the distinctive point less than a crime”!<br />
of tbe whole argument lies in the fact that the truly Other and weighty testimony I could adduce in<br />
inspired authors and poets rarely, if ever, indulge support of the argument ; testimony from the silent<br />
in rodomontade concerning their art and parts. records of the mighty dead, from the records of the<br />
“ Here lies one whose name was writ in water,” said Royal Literary Fund, the Civil List, and the<br />
Keats, of whom the late Lord Tennyson wrote, “Had volumes of The Author at my side, from newspaper<br />
he lived, he would have been the greatest of us all.” extracts pasted in my book of cuttings, from<br />
“Greater than that of the parson, because the witnesses whose wretched stories I have gathered<br />
world is our parish, and of the schoolmaster, because by word of mouth—from my own personal experience<br />
our work is for all time”!<br />
and knowledge. But would it not look like piling<br />
Perchance the lady who penned these lines knows Pelion upon Ossa to do so ? :<br />
editors who welcome, publish and pay for “copy” For those who are not writing for bread, serious<br />
that is greater in its religious value than the toilers in the field of literature care very little, as<br />
prayers of the parish priest, and in its educational, the majority at least would pick no quarrel with<br />
than the dogmatics of the schoolmaster. Are they Dr. Johnson for using the epithet “blockhead "<br />
to be found enshrined in the temples of Cassell or with regard to them. They are shielded from the<br />
Newnes, Pearson or Harmsworth, Hulton or Leng ? grisly spectre of starvation which has transformed<br />
Having been a penman of sorts for a quarter of so many rapturous “visions” into horrible night-<br />
a century, I had prided myself on possessing rather mares, and strangled more than one votary of the<br />
a wide knowledge of these Fleet Street idols. The Muse to his death within recent years. Let them<br />
overwhelming majority of those who control rhapsodise or gush! No one is injured-or deceived<br />
periodicals with large circulations and to exert by verbiage. When they have produced some-<br />
“ power over the minds and souls of men ” one thing in proof of the transcendental aims they are<br />
must take care not to be a mere voice crying in so voluble in professing, it will be time enough to<br />
the wilderness-seem to rely mainly on detective reconsider the sad reflection of one who at all events<br />
stories, narratives of criminals, highly spiced compelled admiration for the quality of his genius,<br />
“romances," on the one hand, or particularly and strove to live by its printed expression !<br />
nauseous sentimentality on the other, for their Finally, it cannot be too strenuously urged, or too<br />
staple fare.<br />
widely understood, that for one, beloved of the<br />
What does the vast multitude, composed as it is of gods, permitted to soar aloft on the wings of his<br />
shop girls, street lads, and the quarter-educated “grey goose quill ” in the regions of the blest, there<br />
products of an essentially self-satisfied and self- are—how many ? whose feeble flights end in<br />
seeking age, know of the illustrious ones? There dolorous attics, or land them with a sickening thud<br />
was one of them, an author who portrayed life as it in the mire and refuse of what is, after all, “a<br />
is, who neither glorified nor belittled his avocation, squalid profession” for the unlucky.<br />
who saw with the eyes of a keen observer, and Therefore I still repeat, it may be rather mourn-<br />
transcribed with the pen of a consummate master fully, the forceful query, “ Is it worth it ? ”<br />
of his craft-I allude to the late George Gissing-<br />
HERBERT W. SMITH.<br />
<br />
<br />
## p. 251 (#709) ############################################<br />
<br />
THE AUTHOR.<br />
251<br />
ROBERT BROWNING.<br />
The Poetry Society's entertainment was arranged<br />
by Mrs. Kendal, and was contributed to by herself,<br />
Lady Tree, Mme. Ada Crossley, Lady St. Davids,<br />
N the 7th of last month was celebrated the Messrs. Laurence Irving and E. H. Coleridge. In<br />
first centenary of Robert Browning, born at conclusion, Browning's short play “ In a Balcony ”<br />
Camberwell on May 7, 1812. In London was performed.<br />
the chief feature of the programme in honour of An exhibition was opened at the Victoria and<br />
the event was a service at Westminster Abbey, Albert Museum in connection with the commemora-<br />
where, in Poet's Corner, his body was laid on the tion. Here was on view a collection of original MSS.<br />
last day of 1889. The chief feature of the Abbey and early editions of Browning, forming part of the<br />
service was the anthems—the first being taken Forster Bequest. It was to John Forster that<br />
from Browning's own “ Saul ” (canto 18) and set to Browning dedicated “Paracelsus,” in the words “ My<br />
music for the occasion by Sir Hubert Parry ; the book to my best friend. R.B."; and the original<br />
second, Mrs. Browning's “What would we give to MS. was presented by the author to him.<br />
our beloved,” with Sir Frederick Bridge's music, as The centenary was observed in Italy also. At the<br />
sung at the poet's funeral in 1889. Sir Frederick meeting in College Hall Professor Knight exhibited<br />
Bridge himself was at the organ.<br />
a copy of a placard which he had received from Mr. R.<br />
After the service a reception was held in the Barrett Browning, in which the Civic Council of<br />
College Hall of Westminster School, the Marquess Asolo, so frequently visited by the poet, invited the<br />
of Crewe presiding, and being supported by the citizens to pay their compliments to his memory on<br />
Italian Ambassador, the Archbishop of Canterbury, the day of his birth. On the 7th a street in the<br />
Lord Tennyson, Sir Sidney Lee, Professor Knight, town was named after him and a marble tablet<br />
and many others. After a letter had been read unveiled. A telegram was sent on the same day to<br />
from Mr. R. Barrett Browning, writing from his son at Asolo by the Syndic of Venice—“ Venice,<br />
Asolo (where he has long been ill) to express his where the great heart on wbich was carved the<br />
heartfelt thanks for the honour to his father's name of Italy beat its last " ; while at Rome a<br />
memory, the chairman spoke on the subject of tablet was unveiled by the Mayor, Signor Nathan,<br />
Browning's poems, the best of which he claimed, as in the house formerly occupied by the Brownings,<br />
long as any English poetry remained the possession No. 43, Via Bocca di Leone.<br />
of mankind, would form no small part of that After the unveiling Sir Rennell Rodd read<br />
possession. Bishop Boyd Carpenter followed with passages from Browning at the Keats-Shelley<br />
a paper on “The Oral Interpretation of Browning," memorial house.<br />
pleading that his poems would be better understood, It would be out of place in this column to<br />
and regarded with a more intelligent admiration, if attempt any criticism, or even appreciation, of<br />
they were read aloud. Canon Rawnsley, Miss Robert Browning. But we may be permitted, per-<br />
Emily Hickey (a founder of the Browning Society), haps, to quote as felicitous the closing words of the<br />
Mr. Ernest Hartley Coleridge, Mr. H. C. Minchin, article on him in The Times Literary Supplement<br />
Mr. W. G. Kingsland, and Dr. Alexander Hill also of May 2. “ Browning's “active step' and<br />
read papers or otherwise contributed their share to inquiring eye' have added imperishably to Eng-<br />
the commemoration.<br />
lish literature, because the immense, unquestion-<br />
So much of the celebration may be called official. ing, unhesitating enjoyment of life which animated<br />
There were also a meeting called at Caxton Hall on them was wrought into masterful symbols-<br />
the same afternoon by the Academic Committee of dramatic monologue, dialogue, and specialised lyric<br />
the Royal Society of Literature, and an entertain- —of life delightedly conscious of its own powers.<br />
ment organised by the Poetry Society at the Court Art can find no greater work to do than that."<br />
Theatre on the following Saturday. Mr. Edmund<br />
Gosse took the chair at the Academic Committee's<br />
meeting, and made the opening speech. Sir Arthur RULES FOR COMPOSITORS AND READERS<br />
Pinero delivered an address on “ Browning as a<br />
Dramatist”—the line in which he achieved the<br />
AT THE UNIVERSITY PRESS, OXFORD.*<br />
least success. Never, indeed, said Sir Arthur, was<br />
ambition in so great a man so hopelessly baffled W E have no hesitation about saying that this<br />
as Browning's dramatic ambition. Mr. Henry<br />
most valuable little work ought to be in<br />
James's address dealt with “ The Novel in The<br />
the hands of every author. Sufficient<br />
Ring and the Book,'” and concluded with a evidence of its usefulness is given by the “ Table of<br />
quotation of what he considered the highest water-<br />
* "Rules for Compositors and Readers at the University<br />
mark of Browning's imagination, fifty lines from Press. Oxford," by Horace Hart, M.A. London: Henry<br />
Guiseppe Caponsacchi's great speech.<br />
Frowde. 1912.<br />
<br />
<br />
## p. 252 (#710) ############################################<br />
<br />
252<br />
THE AUTHOR.<br />
Contents," which begins, “ Some Words ending in to read a novel right through, and he says: “Five<br />
-able. Some Words ending in -ible. Some novels will amount to sixteen hundred pages of<br />
Words ending in -ize. Some Alternative or printed matter. Reading at the rate of eight words<br />
Difficult Spellings arranged in alphabetical order," a second the reviewer would accomplish two pages<br />
and continues to enumerate just all those things a minute and sixteen hundred pages in thirteen<br />
which present difficulties to a man who is desirous hours and twenty minutes." If we allow another<br />
of writing accurately, or of correcting his proofs two hours and forty minutes for the remaining<br />
perfectly. Not only are the rules those which have novel the time as given by Mr. Bennett's own<br />
been for years past put into the hands of the com computation works out at sixteen hours.<br />
positors and correctors of the press of the Clarendon For this sixteen hours, or less than three days<br />
Press (whose superlative work needs neither our work, Mr. Bennett finds the fee of twenty pounds,<br />
commendation nor that of anyone else) but or twenty guineas, miserably inadequate. Yet, in<br />
authorities of the highest rank, such as Sir J. A. H. the same article from the Academy, from which I<br />
Murray and Dr. Henry Bradley, are guarantors for have already quoted, speaking on the subject of<br />
the correctness of the book. The booklet has been literary remuneration, he says : “ As a journeyman<br />
brought up to date, and how carefully this is done author, with the ability and inclination to turn my<br />
may be gathered from a passage in the preface. pen in any direction at request, I long ago established<br />
“The compiler has encouraged the proof-readers a rule never to work for less than ten shillings an<br />
of the University Press from time to time to keep hour piece-work. But every year I raise my price<br />
memorials of troublesome words. As each edition per hour.” Mr. Bennett has indeed raised his price<br />
of the book becomes exhausted such words are per hour, for, on his own reckoning, the publisher<br />
reconsidered, and their approved form finally is paying him at the rate of twenty-fire shillings an<br />
incorporated into the pages of the forthcoming hour.<br />
edition.”<br />
Continuing his diatribe in The Author, Mr.<br />
The booklet contains, as was to be anticipated, Bennett goes on to say, “ The reason for the con-<br />
pages dealing with French, German, Latin, and tinuance of these competitions is to my mind obvious.<br />
Greek, and is furnished with an excellent index, They are very profitable to the enterprising pub-<br />
which renders it easy for any author in a minute to lisher. I see no harın in that ; indeed, I rather<br />
satisfy himself respecting what ought to be done in admire the cleverness of the enterprising publisher;<br />
any of the cases which are occasions of perplexity. but I think that artistically reputable novelists<br />
should meditate long before they decide to dignify<br />
with their names a purely commercial project."<br />
Why is Mr. Bennett so indignant at being asked<br />
CORRESPONDENCE.<br />
to give his criticism and the weight of his name?<br />
Are Royal Academicians equally indignant when<br />
invited to act on the Hanging Committee ?<br />
NOVEL COMPETITIONS.<br />
Novel Competitions undoubtedly give young<br />
authors a chance they would not have otherwise.<br />
I.<br />
Mr. Arnold Bennett himself started his London<br />
DEAR SIR, I am not a publisher or in any way literary career by winning a prize of twenty guineas.<br />
connected with any publishing firm, but I must say Grant Allen and many others have come before the<br />
that I think Mr. Arnold Bennett's letter on Novel public in the same way.<br />
Competitions both unfair and misleading.<br />
By all means let Mr. Bennett refuse a fee he con-<br />
He says, “I was recently invited with two very siders too low, but do not let him delude himself with<br />
well-known novelists to judge one of these competi- the idea that he is doing something “ artistically<br />
tions. The publisher's letter of invitation clearly reputable."<br />
stated that I should not have to read more than six When one calls to mind the literary men of the<br />
or seven manuscripts. I declined—I hope politely, past who were not for ever pricing their work at so<br />
to take part in such a farce."<br />
much an hour, when one thinks of Southey patiently<br />
Why should Mr. Arnold Bennett in becoming one writing helpful, kindly letters to the unknown<br />
of the judges in a Novel Competition be taking Charlotte Brontë, of Walter Besant, who was never<br />
part in a farce ?<br />
too busy to help the beginner, of Scott, who boasted<br />
His grievance seems to be that the judging of six that there was not one of all his schemes that did<br />
or seven manuscripts would entail "a full week's not afford him the means of serving some poor<br />
tedious work.”<br />
devil of a brother author ; when one thinks of all<br />
This was not the opinion expressed in an article these men and how unselfish they were in the<br />
he contributed to the Academy some time back. practice of what ought to be one of the noblest<br />
He is discussing the time it would take a reviewer professions, one cannot but feel that it would not<br />
<br />
<br />
## p. 253 (#711) ############################################<br />
<br />
THE AUTHOR.<br />
253<br />
mation<br />
bave taken away in the smallest degree from Mr. from their facts and figures. I hereby state my own<br />
Bennett's dignity had he consented to judge the experiences as my contribution to the question.<br />
competition in question.<br />
For my first novel, published in March, 1911, I<br />
The Novel Competition has lost one of our ablest obtained (on paper) a 10 per cent. royalty on the<br />
critics. But Mr. Bennett himself is also a loser. published price of the 6s. edition on all copies sold<br />
When Rudyard Kipling received a letter of up to 1.500 copies: 15 per cent. to a total sale of<br />
encouragement from Lord Tennyson, this is what 3,500 copies ; and 20 per cent. thereafter, 13 copies<br />
he wrote: “When a private is praised by his to be counted as 12; and 3d. per copy on the<br />
Colonel he does not presume to thank him but he Colonial edition, 12 copies to be counted as 12. On<br />
fights better next day." Had Mr. Arnold Bennett, the day of publication I was paid the sum of £25,<br />
as colonel, taken part in the review, he would prob- “in advance and on account of royalties."<br />
ably have earned the lifelong gratitude of some The sales and fiuancial profit to myself at the<br />
poor struggling private. And to help a human end of the year were as follows:<br />
being forward and to earn the gratitude of a human Copies of home edition sold, 586.<br />
being is something not to be reckoned in pounds, Copies of Colonial edition sold, 797.<br />
shillings and pence.<br />
Total sum received by me, £26 3s. 11d., from<br />
Yours truly,<br />
which must be deducted the 15 per cent. claimed<br />
“ DAVID." by my agent “ for the first novel sold in England.”<br />
The circumstances under which my first novel<br />
was published were practically similar to those of<br />
II.<br />
“A First and Second Novel.” I was absolutely<br />
SIR,-I was glad to see Mr. Arnold Bennett's<br />
unknown in the literary world, for though I had<br />
letter under this heading in the May issue of The<br />
had several short stories published in the magazines,<br />
Author, for Mr. Bennett strongly supports a point<br />
and had begun to be asked for more," I had<br />
made in my own contribution to the discussion in<br />
written them un ler my own name, while for my<br />
the same issue. Speaking of the contention that<br />
novel I took a pen-name. My sales, I suppose, ored<br />
the advertised judges in these competitions should<br />
a little to the private advertisements of my friends,<br />
read all the novels sent in, I asked what would be<br />
for to them I made no secret of my identity. I<br />
gained by making these judges cast a weary eye<br />
received about 40 reviews, all of which were more<br />
upon the stuff which the “sorters ” weed out.<br />
or less favourable ; none adverse, some highly<br />
Now Mr. Bennett makes it clear that to him it is<br />
encouraging, and these from the best papers. A<br />
second edition of the book (a second thousand) was<br />
not worth while to read even “important manu-<br />
issued ; but it will be observed that the home and<br />
scripts, already sifted from a mass," at a rate of<br />
Colonial sales added only reach a total of 1,383, 118<br />
remuneration equivalent to over £1,000 a year.<br />
having been given gratis in the course of advertise-<br />
What would he require for reading the mass,<br />
including the works which I have described (and, I<br />
ment, which brings the total of volumes disposed<br />
of to 1,501 ; therefore the 15 per cent. royalty was<br />
protest, with justice) as “crude, illiterate, and<br />
never reached by this book.<br />
artistically worthless”?<br />
READER.<br />
My second novel is yet in the proof stage, and is<br />
to be published between July and September, 1912,<br />
by the same publisher. I am to receive a royalty of<br />
A PUBLISHER'S TERMS.<br />
124 per cent. on the published price of 6s. on all<br />
copies sold up to 1,500 copies ; after which 15 per<br />
DEAR SIR,—The letter of “A First and Second cent. to a total sale of 3,000 copies ; 20 per cent.<br />
Novel” in your May issue supplies what is surely thereafter, 13 copies to be counted as 12. A<br />
a long-felt want, namely, a public comparison of royalty of 3d, per copy on the Colonial edition, 12<br />
notes as regards publishers' terms between those copies to be counted as 12. I am to receive the<br />
beginning to make their way as novelists. Hitherto sum of £30 upon the day of publication, “in<br />
I have yearned in vain to know if my own experi. advance and on account of royalties.”<br />
ences were average, or peculiar in either a rich or a A much-contested clause in my second agreement<br />
meagre sense ; have harboured a devouring curiosity (which I omitted to trouble about in my first) was<br />
as to “how many sales constitute a successful first the following :—that in the event of my arranging<br />
novel ; what are the average sales of a first novel, for re-publication elsewhere, I should pay the<br />
and what the profit made by the author from the original publisher, X and X, 15 per cent, share in<br />
first venture." "A First and Second Novel's” the net proceeds to me from such reprint. That is<br />
letter is most interesting and instructive, and it to say, that supposing X and X refused to issue a<br />
would be very satisfactory if more beginners would sixpenny or shilling reprint edition of the book, and<br />
follow suit, so that we might gain a sense of values some other publisher was willing to do so, I should<br />
<br />
<br />
## p. 254 (#712) ############################################<br />
<br />
254<br />
THE AUTHOR.<br />
be bound to hand over 15 per cent of the profits to point of view as author. One can at least squeeze<br />
X and X, though he had had nothing to do with the humour out of the business. I quote extracts from<br />
venture; his view being that it was owing to him that the first five reviews. “ Almost feminine beauty<br />
the book had reached a reprintable position. My and delicacy,” Bumpington Bugle; “ Virile," The<br />
point of view was that it was possible quite another Clock; “Well worth publishing," Bumpington<br />
book, not published by X and X, might be responsible Bugle ; “ Not worth publishing,” Morning Bleeder ;<br />
for the call for a reprint of a book originally published “Never lacking point and thought,” The Clock ;<br />
by them. Yet I should be obliged to part with “ Generally dull and lifeless," Provincial Scooper ;<br />
15 per cent. of the profits, which to X and X would “ Versification,” Morning Bleeder; “ Distinct<br />
be unearned increment. My agent supported the reaching out of the spirit,” Friday Tyrant.<br />
publishers on this score, and I decided that, all I should add that I am a native of Bumpington.<br />
things considered, it was best to submit. It would<br />
Yours faithfully,<br />
be interesting to know if any other beginners have<br />
LEONARD INKSTER.<br />
had such a clause in their agreements, and, if so,<br />
what the outcome has been.<br />
I am not dependent upon writing for a living ;<br />
EDITORIAL COURTESY.<br />
but, at the same time, I am dependent on it for<br />
DEAR SIR,-Having a keen sense of justice I feel<br />
enlarging a slender income with no margin. Not<br />
impelled to give my testimony with regard to my<br />
until I employed an agent did I sell a book, though own experience as a contributor to the pages of the<br />
I had been assailing the publishers for between<br />
Bystander. I am not a well-known writer, as I<br />
eight and nine years. I am bound to my agent for prefer to publish all my work anonymously, and<br />
“all novels”; the agreement, as regards any unsold<br />
desire to advertise neither myself nor my wares, but<br />
book, being open to cancellation by mutual<br />
I am on the staff of a London paper and a con-<br />
consent, or on six months' notice in writing by<br />
tributor to many other papers and magazines.<br />
either party.<br />
From the Bystander I have invariably received<br />
I, like "* A First and Second Novel,” shall be<br />
the greatest courtesy. Accepted work has been<br />
very glad of “any enlightening comments or inserted in due course and paid for promptly; work<br />
conclusions” evoked by the above.<br />
that did not meet with acceptance was sent back to<br />
"A BEGINNER." me by return of post.<br />
I found the editor, publisher, and management<br />
generally, exceedingly courteous, prompt, and<br />
AUTHORS AND REVIEWERS.<br />
thoroughly businesslike. I wish I could speak in<br />
SIR, -As an author and reviewer (though a young<br />
the same high terms of the management of all the<br />
one) I may be permitted to think I have sufficient other papers to which I contribute. If all journals<br />
experience to comment on “ Phokion's” article,<br />
were to copy the Bystander's methods in dealing<br />
“ Authors and Reviewers."<br />
with contributors—prompt acceptance or rejection<br />
As a reviewer, I naturally see the other side of of MSS., courteous replies to letters, when neces-<br />
the picture. Perhaps I am not sufficiently power- sary ; keen appreciation of intelligent, vivid or<br />
ful to commit some of the sins—for instance, the sin painstaking work ; smartness in detecting origin-<br />
of pluralism, attributed by Phokion to the tribe. ality ; and generous and prompt payment for<br />
First an author, I review and criticise because I am all accepted work, commissioned or otherwise, the<br />
interested in art, and because it is (one supposes)<br />
writer's life would be a less anxious and harassed<br />
necessary to live. However incompetent and one than it is at present. Yours etc..<br />
unjust I may be, I take the thing seriously, and<br />
L. H. H.<br />
labour more in my efforts to be just than in my<br />
own creative work. I know several reviewers.<br />
REGISTER OF SCENARIOS.<br />
They are all equally serious. The fact that a man SIR,- The Society has, I believe, a register of<br />
is severe in dealing with what he knows about is scenarios. Probably it is used, at present, mainly<br />
natural ; he has a high standard ; no doubt, if I by dramatists. It occurs to me, however, that<br />
reported a football match, I should be unduly novelists would also do well to make use of it.<br />
complimentary, because I do not know about it. The new Copyright Act gives them the sole power<br />
Some of my reviewer friends have recently to authorise the dramatisation of their novels. It<br />
reviewed a book of verses by me. One admitted also creates a new set of rights, namely, the film<br />
that he was harder on me than if he had not rights for cinematograph representation. The<br />
known me ; another did not admit it. No doubt advantages of filing a scenario of the plot of the<br />
there was log-rolling to start with, in that had they novel in view of these two circumstances are<br />
not known me they would probably not have obvious.<br />
Yours faithfully,<br />
reviewed me at all. And this brings me to the<br />
L. T. J.<br />
<br />
<br />
## p. 254 (#713) ############################################<br />
<br />
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