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525	https://historysoa.com/items/show/525	The Author, Vol. 23 Issue 05 (February 1913)	<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.+23+Issue+05+%28February+1913%29"><em>The Author</em>, Vol. 23 Issue 05 (February 1913)</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>	1913-02-01-The-Author-23-5					129–156																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-02-01">1913-02-01</a>							5			19130201	The Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> VoL. XXTII.—No. 5.<br /> <br /> Feprvuary 1, 1913.<br /> <br /> [PRICE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> ees<br /> <br /> NOTICES.<br /> <br /> ee<br /> <br /> ee the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 39, Old<br /> Queen Street, Storey’s Gate, S.W., and should<br /> reach the Editor not later than the 21st of each<br /> month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou. XXIII,<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> case. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> ee<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> —-——&lt;— + —<br /> <br /> ROM time to time members of the Society<br /> K desire to make donations to its funds in<br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> matter closely connected with the work of the<br /> Society.<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> 180<br /> THE PENSION FUND.<br /> <br /> —-—+—<br /> <br /> N January, 1912, the secretary of the Society<br /> I laid before the trustees of the Pension Fund<br /> the accounts for the year 1911, as settled<br /> by the accountants, with a full statement of<br /> the result of the appeal made on behalf of<br /> the fund. After giving the matter full con-<br /> sideration, the trustees instructed the secretary<br /> to invest the sum of £500 in the purchase of<br /> Antofagasta and Bolivian Railway 5% Pre-<br /> ferred Ordinary Stock and Central Argentine<br /> Railway Ordinary Stock. The amounts pur-<br /> chased at the current prices were £287 in the<br /> former and £282 in the latter stock.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the generous support which they<br /> have given to the Pension Fund. The money<br /> now invested amounts to £4,454 6s.<br /> <br /> Later in the year, at a meeting of the Com-<br /> mittee of Management, a question concerning<br /> the funds of the Society was brought up for dis-<br /> cussion, and it was suggested that it would be<br /> a good thing for the Pension Fund trustees, if<br /> they had power, to sell out the Fund&#039;s holding of<br /> Consols and to invest in some more satisfactory<br /> security. The suggestion was placed before the<br /> trustees of the Pension Fund, and a meeting<br /> was called, when the chairman of the Committee<br /> of Management, the trustees, and Mr. Aylmer<br /> Maude, the member of the Committee of<br /> Management who had made the suggestion,<br /> were present. The figures were very closely<br /> considered, and it appeared clear that altera-<br /> tions in the investment of the funds could be<br /> carried out with advantage to the Fund’s<br /> income. It was decided by the trustees, with<br /> the approval of the Committee of Management,<br /> to sell out the holding of Consols. With the<br /> amount realised, were purchased—<br /> <br /> $2,000 (£400) Consolidated Gas and Elec-<br /> tric Company of Baltimore 44% Gold<br /> Bonds ;<br /> <br /> 30 Buenos Ayres Great Southern Railway<br /> 4°/, Extension Shares, 1914 (£8 paid) ;<br /> £250 Edward Lloyd, Ltd., £1 5% Prefer-<br /> <br /> ence Shares.<br /> <br /> These amounts are fully set out and added<br /> in the nominal value to the Pension Fund<br /> investments, below.<br /> <br /> The trustees have also, in view of the option<br /> extended to them as holders of £282 Central<br /> Argentine Railway Ordinary Stock, subscribed<br /> for 8 Central Argentine Railway £10 Preference<br /> Shares, New Issue.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> <br /> THE AUTHOR.<br /> <br /> to £4,454 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> <br /> <br /> Nominal Value.<br /> <br /> £ 8. @<br /> <br /> Local Loans ......-+++-++++0s 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ......-. 291 19 11<br /> London and North-Western 3%<br /> <br /> Debenture Stock ............ 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates ........ 200 0 0<br /> Cape of Good Hope 84% Inscribed<br /> <br /> Stock 2.2... .02- snes cue: -.. 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock .... 228 0 0<br /> New Zealand 84% Stock........ 247 9 6<br /> Irish Land 23% Guaranteed Stock 258 0 0<br /> Corporation of London 23%<br /> <br /> Stock, 1927—57.......-+e0+. 438 2 4<br /> Jamaica 84% Stock, 1919-49 182 18 6<br /> Mauritius 4% 1987 Stock ...... 120 12 1<br /> Dominion of Canada, C.P.R. 84%<br /> <br /> Land Grant Stock, 1938 ...... 198 3 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock ...........++6-. 232 0<br /> $2,000 Consolidated Gas and<br /> <br /> Electric Company of Baltimore<br /> <br /> 44% Gold Bonds ............ 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> <br /> Preference Shares .........- 250 0 0<br /> 30 Buenos Ayres Great Southern<br /> <br /> Railway 4% Extension Shares,<br /> <br /> 1914 (08 paid) ...--.. 45.5. 240 0 0<br /> 8 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue.. 30 0 0<br /> <br /> Total<br /> <br /> ee yee ves £4,454 6 0<br /> <br /> ———__+—&gt;—_e___—_-<br /> <br /> PENSION FUND.<br /> <br /> <br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e, donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October 1, 1912.<br /> <br /> It does not include either donations given<br /> prior to October 1, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> 1912. fs<br /> Oct. 2, Todhunter, Dr. John. _ Ao<br /> Oct. 10, Escott, T.H.S. . ~» @.5<br /> <br /> x<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> ‘tinea<br /> <br /> <br />  <br /> <br /> <br /> <br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Nov.<br /> Nov.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> <br /> THE AUTHOR.<br /> <br /> 10, Knowles, Miss M. W. :<br /> 11, Buckley, Reginald . ‘<br /> 12, Walshe, Douglas :<br /> 12, ‘‘ Penmark”’ . ;<br /> <br /> 15, Sinclair Miss Edith .<br /> <br /> 16, Markino, Yoshio. :<br /> 20, Fiamingo, Carlo’.<br /> <br /> 29, Henley, Mrs. W. E.<br /> <br /> 8, Jane, L. Cecil .<br /> <br /> 14, Gibb, W.<br /> <br /> 4, De Brath, S. . :<br /> <br /> 4, Sephton, The Rev. J.<br /> <br /> 4, Cooper, Miss Marjorie<br /> <br /> 7, MacRitchie, David<br /> <br /> 11, Fagan, James B.<br /> <br /> 27, Dawson Forbes<br /> <br /> 1913.<br /> <br /> Jan.<br /> <br /> Jan.<br /> <br /> 1912.<br /> <br /> Oct.<br /> Oct.<br /> Oct.<br /> <br /> Oct.<br /> Oct.<br /> Nov.<br /> Nov.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> <br /> 3, Toynbee, William (In addi-<br /> tion to his present sub-<br /> scription). .<br /> <br /> 9, Gibson, Frank .<br /> <br /> Donations.<br /> <br /> 2, Stuart, James . :<br /> <br /> 14, Dibblee, G. Binney . :<br /> <br /> 14, Michell, The Right Hon.<br /> Sir Lewis, C.V.O.<br /> <br /> 17, Ord, H.W. . :<br /> <br /> 20, Yorke-Smith, Mrs. .<br /> <br /> 10, Hood, Francis . i<br /> <br /> 20, Kennard, Mrs. N. H.<br /> <br /> 4, McEwan, Miss M. S.<br /> <br /> 4, Kennedy, E. B.<br /> <br /> 11, Begarnie, George<br /> <br /> 11, Tanner, James T.<br /> <br /> 11, Toplis, Miss Grace . :<br /> <br /> 14, Watson, Mrs. Herbert A..<br /> <br /> 14, French, Mrs. Warner .<br /> <br /> 17, Smith, Miss Sheila Kaye .<br /> <br /> 17, Marras, Mowbray<br /> <br /> 27, Edwards, Percy J. .<br /> <br /> 1913.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> 1, Risque, W. H. :<br /> <br /> 1, Rankin, Mrs. F. M. .<br /> <br /> 2, Short, Miss L. M.<br /> <br /> 2, Mackenzie, Miss J.<br /> <br /> 2, Webling, Miss Peggy<br /> <br /> 8, Harris, Mrs. EK. H. .<br /> <br /> 8, Church, Sir Arthur,<br /> K.C.V.O., ete.<br /> <br /> 4, Douglas, James A.<br /> <br /> 4, Grant, Lady Sybil<br /> <br /> 6, Haultain, Arnold<br /> <br /> 6, Beveridge, Mrs.<br /> <br /> 6, Clark, The Rev. Henry Ww.<br /> <br /> Crocco oorHoHoCoSoOooo<br /> <br /> a)<br /> <br /> So =<br /> <br /> coooce Smroocooowooourooon<br /> <br /> SCOoOrmNWwWH<br /> <br /> _<br /> Oman”<br /> <br /> et<br /> Ooo<br /> <br /> _<br /> SS OS Or Or Or Or Or<br /> <br /> —<br /> <br /> OUR OO OF OT CLO O SO OUR<br /> <br /> font<br /> <br /> Sr Or Ot St OL ©<br /> <br /> aay oe<br /> <br /> anocoococoocococoancoooo®<br /> <br /> oo<br /> <br /> ao<br /> <br /> coococo ocoooceoco escococooocoeoooooansg<br /> <br /> 131<br /> <br /> 6, Ralli, C. Searamanga.<br /> 6, Lathbury, Miss Eva .<br /> 6, Pryce, Richard<br /> <br /> 7, Gibson Miss L. S.<br /> <br /> 10, K. : :<br /> <br /> 10, Ford Miss May :<br /> 12, Greenstreet, W. J. .<br /> 14, Anon. ; :<br /> 15, Maude Aylmer :<br /> 16, Price, Miss Eleanor<br /> 17, Blouet, Madame<br /> <br /> 20, P. H. and M. K.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> oo 2<br /> <br /> _<br /> <br /> _<br /> Pe Oe OCororS Oe<br /> <br /> he OmMOCOCCOoORS wth<br /> Scocococoooeo=<br /> <br /> ee ee ee<br /> <br /> COMMITTEE NOTES.<br /> <br /> oo<br /> <br /> HE first meeting of the year was held at<br /> <br /> the committee room, 18, Queen Anne’s<br /> <br /> Gate, S.W., on January 6. There was<br /> <br /> a very full list of agenda before the committee.<br /> <br /> After the minutes of the last meeting had been<br /> <br /> read and signed thirty-four applications for<br /> <br /> membership and associateship of the Society<br /> <br /> were received. The applicants were elected,<br /> <br /> and the list appears on another page. The<br /> <br /> question of the resignations, owing to pressure<br /> <br /> of business, was adjourned to the February<br /> meeting.<br /> <br /> The solicitor then reported the cases he had<br /> dealt with during the preceding month. He<br /> mentioned two cases against a travelling<br /> performer. In the first case the amount of the<br /> debt and costs had been paid, as soon as the<br /> defendant had been served with a summons<br /> for examination as to his means. In the<br /> second the summons had not yet been<br /> issued. The next case was a claim against an<br /> American Syndicate with offices in London.<br /> The solicitor reported that he had been unable<br /> to get any satisfactory answer, although, at<br /> the request of the defendants, they were given<br /> time to enable them to get a reply from the<br /> United States. The solicitor advised that<br /> action should be taken in the United States, and<br /> the committee adopted this advice, subject to<br /> the author’s willingness to proceed. An action<br /> against a daily paper had been settled, the<br /> author taking a certain sum by way of com-<br /> promise. The solicitors and the secretary were<br /> pleased to report the receipt of an apology from<br /> a company in respect of a threat made to a<br /> member of the Society to take no more of his<br /> literary work if he persisted in claiming what<br /> was due to him under a contract with a<br /> newspaper. Three cases were then reported<br /> 132<br /> <br /> against a publisher. The first case the solicitor<br /> stated, with regret, had been won In the<br /> county court by the publisher; he did not<br /> consider, as the amount in question was very<br /> small, and no question of principle was con-<br /> cerned, that it would be worth the Society’s<br /> while to appeal. The other two cases were<br /> demands for money and account. In one of<br /> these the accounts had been delivered but,<br /> owing to a mistake, required adjustment, and<br /> after a report on the other, the committee<br /> authorised the solicitor to proceed, failing<br /> a satisfactory answer from the publisher. In<br /> a claim for dramatic royalties the solicitor<br /> reported he had failed to obtain any answer<br /> to his requests, and the committee authorised<br /> action in the courts. In another case against<br /> a paper, the proprietor had been examined<br /> as to the assets of his company. These<br /> proved to be worthless, and, in consequence,<br /> the judgment obtained would be abortive.<br /> In another case the solicitor explained<br /> the action he had taken to give effect to a<br /> judgment, but no satisfaction had, so far,<br /> been obtained, as the defendant had no<br /> address, no office, no regular occupation and<br /> no assets on which execution could be levied.<br /> A case of libel arising out of a book review was<br /> next considered, and the solicitor gave a<br /> detailed explanation of the legal aspect of the<br /> ease as laid before him. The committee<br /> regretted they could not take action, as such<br /> action appeared to be outside the powers of<br /> the Society, and the secretary was instructed to<br /> write to the member accordingly, with a full<br /> report of the case with which the solicitor was<br /> instructed to furnish him. In two bank-<br /> ruptcy cases the action that had been taken<br /> during the past month was laid before the<br /> committee.<br /> <br /> The secretary then brought before the com-<br /> mittee a case of dispute on a printing account.<br /> The committee did not see their way, from the<br /> evidence before them, to take up the matter,<br /> but suggested a course of action, and stated<br /> that they would be ready to reconsider the<br /> matter later if desired. In a case against a<br /> German manager who had threatened piracy<br /> of a work by an English dramatist, a member<br /> of the Society, the committee decided to take<br /> action and instructed the secretary to proceed.<br /> In another case, which originally had been<br /> before the Society some time during the<br /> beginning of last year, it was decided to take<br /> action, as the negotiations had failed to produce<br /> any satisfactory result. The case was an<br /> infringement of dramatic rights in India, and<br /> involved the payment of a large sum as<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> security for costs. This amount the committee<br /> decided to pay. A claim for breach of con-<br /> tract by a publisher, which had been resisted<br /> by the publisher in an offensive letter to the<br /> author, was considered, and it was decided<br /> to take immediate action. Finally, it was<br /> decided that counsel’s opinion should be taken<br /> on a dispute in regard to a question of cinema-<br /> tograph production.<br /> <br /> Certain questions associated with the Collec-<br /> tion Bureau were next considered. It was<br /> decided to make a charge of 2s. 6d. for each<br /> half-yearly collection of accounts in those cases<br /> where the commission charged did not come<br /> to the minimum thus fixed. The secretary<br /> was instructed to report to the next meeting<br /> how many members had already placed their<br /> matters in the hands of the Bureau.<br /> <br /> A question then arose concerning Canadian<br /> copyright, and the secretary read two letters<br /> that he had received—one from an American<br /> correspondent and one from the Premier’s —<br /> office in Ottawa. It was decided by the —<br /> committee to write an official letter to the<br /> Minister of Justice and to the Minister of —<br /> Agriculture, putting one or two further points<br /> before them, and the secretary was instructed<br /> to draft such a letter for the consideration of<br /> the chairman.<br /> <br /> Recommendations from the Dramatic Sub-<br /> Committee were then laid before the committee.<br /> <br /> In one case it was decided to take immediate<br /> <br /> action for piracy in Winnipeg, as the committee<br /> had been informed that piracy was frequent<br /> and flagrant throughout the Dominion, and<br /> it was felt that it should be stopped. The<br /> second recommendation of the Dramatic Sub-<br /> Committee referred to another case which had<br /> been settled since the recommendation had<br /> been made. The third recommendation was<br /> to accept the courteous offer of the Society of<br /> American Dramatists and Composers to grant<br /> reciprocal aid in matters relating to the<br /> interests of dramatists. This recommendation<br /> the committee gladly confirmed, and instructed<br /> the secretary to communicate with the<br /> American society accordingly.<br /> <br /> It was decided to send out the Annual<br /> Report to all the committee at the earliest<br /> possible moment, and the date of the General<br /> Meeting was fixed, provisionally for Thursday,<br /> April 8. Formal notice of the meeting, with<br /> the Report, will be sent round in due course.<br /> <br /> A letter from the Society’s agent in Holland<br /> was read, and the secretary was instructed to<br /> reply to it and to communicate the committee&#039;s<br /> decision in regard to certain privileges asked by<br /> the agent.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> &quot;The ‘costs of the Americaii lawyers for the<br /> - year were also considered, and the secretary<br /> » was instrudted to reply to the courteous letter<br /> «| from the lawyers in which they had offered to<br /> “reconsider their charges.<br /> <br /> An important point had been raised in<br /> = eammittee at the last meeting touching the<br /> ‘&gt; question of payment by editors on acceptance.<br /> * A draft letter to editors asking for their opinion<br /> ‘= and suggesting some arrangement was settled,<br /> is and the secretary was instructed to send out<br /> 02 some twenty or thirty copies to the editors of<br /> 9 certain magazines and periodicals. He was<br /> at instructed to report the result to the next<br /> “1 meeting.<br /> <br /> The chairman reported the action he had<br /> ‘si taken about new offices for the society, and the<br /> joe settlement of this matter was left entirely in<br /> it, Jhis hands.<br /> ; A letter from Mr. Frederic Harrison, with-<br /> a&gt; drawing his resignation, was read to the<br /> ‘02 committee, who instructed the secretary to<br /> «02 convey their thanks to Mr. Harrison.<br /> : The following donations to the Capital Fund<br /> to of the Society were chronicled, and a vote of<br /> 11 thanks to the donors passed.<br /> &amp; &amp;:<br /> <br /> Miss Cicely Hamilton 5<br /> ‘Thomas Common . el<br /> Philip E. Hubbard . 1<br /> Mrs. T. P. O’Connor. 1<br /> <br /> —_—<br /> <br /> a bh<br /> coooe<br /> <br /> Dramatic SuB-CoMMITTEE.<br /> <br /> * THE January meeting of the Dramatic Sub-<br /> ¥03 Committee was held at the committee rooms of<br /> «1 the Society of Authors, 18, Queen Anne’s Gate,<br /> «= S.W., on Friday, January 17. Various impor-<br /> “s tant matters were considered, the first subject<br /> &quot;&gt; for discussion being the question of cinemato-<br /> ** graph fees. Mr. Raleigh apologised for not<br /> (5 being able to place his report before the sub-<br /> 6. committee, but explained that the subject was<br /> © one of larger extent than he at first thought,<br /> ‘and involved many difficult issues; that he<br /> © had gathered a great deal of information and<br /> <br /> yumi time for the next meeting. He trusted, how-<br /> 7 ever, that the committee would not hurry him,<br /> as it would be better to get an exhaustive<br /> report on the fullest information than to<br /> produce an unsatisfactory document. He<br /> explained, however, a great many of the points<br /> to the sub-committee which needed to be<br /> considered.<br /> <br /> -The legal questions then came up for<br /> discussion.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> $<br /> 133<br /> <br /> Mr. Raleigh explained that he had settled<br /> the dispute about the title of one of his pieces,<br /> and that the Society had taken up another<br /> case on his behalf, a dispute with a German<br /> manager who had threatened to infringe his<br /> rights. The secretary also reported that the<br /> case referred to the Committee of Management<br /> dealing with copyright infringement in Canada<br /> had been taken up. The committee had<br /> determined to carry it through as quickly as<br /> possible.<br /> <br /> The question of foreign dramatic agents was<br /> next brought forward, and the secretary read<br /> letters he had received from three of these<br /> agents. The terms for the collection of fees<br /> in foreign countries were very carefully con-<br /> sidered, and the secretary was instructed to<br /> write to the proposed agents, laying before<br /> them details as to figures and other matters.<br /> When the figures are finally settled full<br /> particulars will be printed in The Author.<br /> <br /> The action of the Society of West End<br /> Managers in the matter of the Managerial<br /> Treaty was again discussed, and it was<br /> decided that, at the next meeting of the<br /> committee, a date should be fixed for the con-<br /> ference of dramatists and the agenda to be<br /> brought before that Conference. It was<br /> decided, also, to refer to the next meeting the<br /> discussion of a circular to be issued on behalf<br /> of the Collection Bureau, and the consideration<br /> of the dramatic pamphlet was adjourned.<br /> <br /> ComroseErs’ SuB-COMMITTEE.<br /> <br /> Tue Composers’ Sub-Committee of the<br /> Society of Authors, held its first meeting for<br /> 1913 at the committee rooms, 18, Queen<br /> Anne’s Gate, S.W.<br /> <br /> After the minutes had been read and signed<br /> the sub-committee went carefully through<br /> Messrs. Curwen’s agreement, clause by clause,<br /> and the secretary was instructed to write a<br /> letter to Messrs. Curwen pointing out the<br /> emendations and corrections necessary before<br /> the agreement could meet with the approval<br /> of the sub-committee. It is hoped to carry<br /> this matter through in the course of the next<br /> few meetings.<br /> <br /> The secretary reported that no answer had<br /> been received to his letter to the Board of<br /> Trade, and he was instructed to write to the<br /> President again on the matter. Failing a<br /> satisfactory reply it was suggested that the<br /> points raised should be laid before counsel, and<br /> <br /> “L<br /> <br /> <br /> 134<br /> <br /> the question was referred to the Committee<br /> of Management for that purpose.<br /> <br /> The sub-committee next dealt with the<br /> question of performing rights and the rights of<br /> reproduction on mechanical instruments, the<br /> committee were determined to carry the issues<br /> further, although it had been found impossible<br /> to get any satisfactory reply from the Music<br /> Publishers’ Association in regard to performing<br /> rights. The secretary was instructed to draft<br /> a letter dealing with both points as arising<br /> under the new Copyright Act, and to refer the<br /> letter, when approved by the chairman, to the<br /> Committee of Management, as the sub-<br /> committee desired that the circular should be<br /> sent out as from the Committee of Manage-<br /> ment to all composers, whether members of the<br /> Society or not, in the hope that by a closer<br /> combination it would be possible to obtain a<br /> satisfactory return for rights which, at the<br /> present time, were being so grossly squandered.<br /> <br /> The constitution of the sub-committee was<br /> also discussed, and one or two fresh names<br /> put forward. These names will be submitted<br /> to the Committee of Management, on the<br /> re-election of the sub-committee, if the consent<br /> of the owners can be obtained.<br /> <br /> ——— +<br /> <br /> Cases.<br /> <br /> Durine the month of January the secretary<br /> has dealt with fifteen new cases. Three of the<br /> matters in dispute were questions dealing with<br /> the legal interpretation of agreements. One of<br /> them has been settled, the other two are still<br /> open. These disputes, as there is usually much<br /> correspondence, take rather a long time to<br /> settle. One dispute, however, as a typical<br /> example, is of interest. It refers to delay<br /> in publication. In many publishing agree-<br /> ments there is no special date fixed for pub-<br /> lication, and in mayy others where the date is<br /> fixed, time is not made “ of the essence of the<br /> contract; ’’ in consequence publishers don’t<br /> hesitate to delay publication for their own<br /> convenience, when such delay is often a matter<br /> of serious importance to the author. For<br /> instance, if a sum of money is to be paid on<br /> the day of publication, it is to the advantage<br /> of the publisher to postpone the date,<br /> and this he sometimes successfully accom-<br /> plishes. In some instances the publisher is<br /> unable to get the printer to go on with the<br /> work, perhaps owing to some unpaid account,<br /> in that case the delay is very serious to the<br /> author; but the real difficulty to the author<br /> arises when it becomes necessary to take action,<br /> <br /> THE AUTHOR.<br /> <br /> because, although delay is serious, it is very<br /> difficult for the author to prove actual<br /> damage, as the damage is much oftener “ moral<br /> and intellectual” than financial. If, there-<br /> fore, it is of vital importance that the<br /> book should be brought out at a fixed date,<br /> the author should not merely in his agreement<br /> name the date, but should insist upon the<br /> words “time to be of the essence of the con-<br /> tract ’? being inserted.<br /> <br /> There have been five cases for the return of<br /> MSS., and in two cases the MSS. have been<br /> returned and forwarded to the author. The<br /> three other cases have only recently come to<br /> hand. A point has arisen in one of these<br /> which is of general interest to authors, There<br /> is a habit among editors of delaying the return<br /> of the MSS., and that although their attention is<br /> especially called to the fact that the MSS. are of<br /> ephemeral interest. These cases are very hard<br /> on authors, and even though the author has<br /> made special reference to the fact it not<br /> infrequently occurs that the editor takes no<br /> notice, and the author in consequence, sup-<br /> posing his MSS. are rejected by one magazine,<br /> loses the chance of placing them elsewhere. In<br /> most of these cases he is without a remedy.<br /> <br /> One ease has arisen of a dispute with an<br /> agent in the United States of America. This<br /> naturally has not been settled in the month,<br /> but it is in the hands of the United States<br /> lawyers.<br /> <br /> Four cases have come to hand where money<br /> due has been withheld from the authors, one<br /> of these has been settled, and of the three that<br /> are left, two are in the course of satisfactory<br /> negotiation, and the third has only recently<br /> come to hand. It is possible that, failing<br /> settlement, they may have to be placed in<br /> the hands of the Society’s solicitors.<br /> <br /> The secretary is dealing with one case of<br /> literary libel. He has written on behalf of<br /> the author to the other party, but as he has<br /> received no reply, it is to be hoped that no<br /> further steps will be necessary.<br /> <br /> One question of accounts has only recently<br /> come to hand.<br /> <br /> Most of the cases dealt with in the last month<br /> have been satisfactorily closed; those that<br /> still remain open are either disputes on agree-<br /> ments, which, as already stated, need a certain<br /> amount of diplomatic correspondence, or<br /> foreign cases. Two matters, however, have<br /> been placed in the hands of our solicitors, to<br /> carry through the courts if necessary.<br /> <br /> —<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Elections.<br /> <br /> Alston, Evelyn<br /> <br /> Armstrong, Martin D. .<br /> <br /> Arup, Paul S.<br /> <br /> Blaikley, Miss Editha L.<br /> <br /> Carter, Winifred (Mrs.<br /> <br /> John L. Carter)<br /> Clouston, J. Storer<br /> <br /> as<br /> <br /> Drew, Sara, Miss.<br /> Dudley, Maudsleigh<br /> Faydon, Miss Nita<br /> Firth, Miss M. Violet<br /> <br /> Ford, May .<br /> Gibson, Frank<br /> <br /> Gretton, R. H. .<br /> Hayden, Arthur .<br /> <br /> Huntley, G. P.<br /> <br /> India Society, The<br /> <br /> Macdonell, Miss Amice.<br /> <br /> Miles, Alfred Henry<br /> Pugh, H. Cooper .<br /> <br /> Purnell, Leslie T.<br /> Raffalovich,<br /> <br /> (Bedwin Sands)<br /> Scheffauer, Herman<br /> <br /> Smith, Lady Sybil<br /> <br /> ~Strangways, A. H. Fox.<br /> <br /> “Taylor, Colin.<br /> <br /> George<br /> <br /> 10, Cornwall Man-<br /> sions, Chelsea,<br /> S.W.<br /> <br /> Brisco Hill, Carlisle.<br /> <br /> 24, Osterley Park<br /> Road, Southall,<br /> Middlesex.<br /> <br /> Ardwell, Nether<br /> Street, Finchley,<br /> <br /> 9, Crimicar Lane,<br /> Fulwood, Sheffield.<br /> <br /> 24, Clifton Hill, St.<br /> John’s Wood,<br /> N.W.<br /> <br /> 22, Wynstay<br /> dens, W.<br /> 78, Regent’s Park<br /> <br /> Road, N.W.<br /> <br /> 7, Ridgmount Gar-<br /> dens, W.C.<br /> <br /> Orchard Cottage,<br /> Dormans Park,<br /> Surrey.<br /> <br /> 314, Romford Road,<br /> Forest Gate.<br /> <br /> 8, Chester Terrace,<br /> Regent’s Park,<br /> N.W.<br /> <br /> Burford, Oxfordshire<br /> <br /> 11, St. Alban’s Villas<br /> Highgate Road,<br /> N.W.<br /> <br /> “ Highcroft,” Why-<br /> down, Bexhill-on-<br /> Sea.<br /> <br /> 3, Hertford Street,<br /> Mayfair.<br /> <br /> 31, Kensington Park<br /> Gardens, W.<br /> <br /> 49, St. Fillan’s Road,<br /> Catford, S.E.<br /> <br /> clo Messrs. Gold,<br /> Edwards &amp; Sons,<br /> Solicitors,<br /> Denbigh.<br /> <br /> 43, Colville Terrace,<br /> Bayswater, W.<br /> 22, Church Road,<br /> <br /> Barnes.<br /> <br /> Bank Point, Jack-<br /> son’s Lane, High-<br /> gate, N.<br /> <br /> Rolls Park, Chigwell.<br /> <br /> Gar-<br /> <br /> Eton College, Wind-<br /> sor.<br /> <br /> <br /> <br /> 135<br /> <br /> Watt, Stuart, the Rev..<br /> <br /> Machakos, British<br /> East Africa.<br /> <br /> “Strathnairn,”<br /> Ootacamund,<br /> India.<br /> <br /> Woodman, R.T. . . St. Cross Grange,<br /> <br /> Winchester.<br /> <br /> Zimmermann, F. G., 17, Stile Hall Gar-<br /> <br /> M.A. dens, Chiswick, W.<br /> <br /> The Editor regrets that in the last number<br /> of The Author Miss Fitzgerald’s name was<br /> wrongly announced. The name should have<br /> been Miss Ena Fitzgerald, and not Miss Eva.<br /> <br /> Wingate, Col. Alfred<br /> <br /> Woodrow,<br /> <br /> 4+ —_——<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> BU<br /> <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 office<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 /> <br /> accurate.<br /> BIOGRAPHY.<br /> <br /> Tre Lire AND LETTERS OF WILLIAM CoBBETT IN ENGLAND<br /> AND AmeERICA. Based upon hitherto unpublished<br /> Family Papers. By Lewis MELVILLE. Two Volumes.<br /> 8} x 54. 330 and 335 pp. Lane. 32s. n.<br /> <br /> EDUCATIONAL,<br /> <br /> CerMAN ror Datty Use. By Mrs. E, Toornton Cook<br /> (E. E. Prentys). London: Marlborough &amp; Co.; New<br /> York: Wm. R. Jenkins.<br /> <br /> FICTION.<br /> <br /> Rounp THE CorNER. Being the life and death of Francis<br /> Christopher Folyat, Bachelor of Divinity, and father<br /> of a large family. By GiBERT CANNAN. 7k x 5.<br /> 344 pp. Martin Secker. 6s.<br /> <br /> Tan Kwave or Dramonps. By Eruen M.<br /> 72 x 5. 384 pp. Fisher Unwin. 6s.<br /> <br /> A Marriage or Inconventence. By THomas Coss.<br /> 7% x 5. 316 pp. Mills &amp; Boon. 6s.<br /> <br /> Tym STORY OF STEPHEN Compron. By J. E. PatTERSON.<br /> 74 x 5. 367 pp. Heinemann. 6s.<br /> <br /> Tur New Guiiiver anp Orner Srories. By Barry<br /> Paty. 734 x 5. 261 pp. Werner Laurie. 6s.<br /> <br /> Tue Court or THE Gentes. By Mrs. STANLEY<br /> Wrencu. 7} X 5. 427 pp. Mills &amp; Boon. 6s.<br /> Hapow o’ THE SHAaws. By THEO. Dovetas (Mrs.<br /> <br /> H. D. Everett). 73 x 5. 301 pp. Methuen.<br /> <br /> Carcuinc A CoRoNET. By Epmunp BosaNnQuet. 73 x 5.<br /> 320 pp. John Long. 6s.<br /> <br /> Toe Man with THE Money.<br /> Row.anvs. 8X 5. 322 pp. Hurst &amp; Blackett. 6s.<br /> <br /> «“ Wuere are You Gorne To...?” By ELIZABETH<br /> Rosins. 7} x 5. 312 pp. Heinemann. 6s.<br /> <br /> Mr. SHERINGHAM AND OTHERS. By Mrs. ALPRED Srpe-<br /> WICK. 7} x 5. 314 pp. Mills &amp; Boon. 6s.<br /> <br /> DELL.<br /> <br /> By Errre ADELAIDE<br /> <br /> <br /> 136<br /> <br /> A Kyicut or Sparx. By Marsoriz BowEn. 7} x 5,<br /> 312 pp. Metheun. 6s.<br /> <br /> INCOMPARABLE JOAN. By Auice M. Drenu. 7} x 5.<br /> 320 pp. John Long. 6s.<br /> <br /> Mr. Mezson’s Witt. By H. Riper Haccarp. 8% x 53.<br /> <br /> 120 pp. (Cheap Reprint.) Newnes. 6d.<br /> Tur GULLY OF BLUEMANSDYKE, &amp;c. By A. Conan DoyLe<br /> 8} x 53. 126 pp. (Cheap Reprint.) Newnes. 6d.<br /> <br /> JUVENILE.<br /> <br /> Tue Farry TRANSFORMED AND OTHER PLAYS FOR<br /> CuinpREN. ByS. Sproston. London: Saml. French.<br /> <br /> “Tam ADVENTURES OF SILVERSINT.”’ (1s. 6d.); “* THREE<br /> Jotty HuntsMEn,” (2s. 6d.); ‘‘ BABES AND Buasts,”<br /> (2s.); ‘‘ Tum Cat Scouts,” (1s. 6d.). By JEsste Pore.<br /> Blackie &amp; Sons.<br /> <br /> ‘“‘ LAUNCELOT AND GUENEVERE.” By Guapys Davipson.<br /> (A New Number in the “ Romances of the World”<br /> Series). By Thomas Nelson &amp; Sons. 2s. 6d.<br /> <br /> “Api Aspout LirrtLe SPIFFKINS,” “ALL ABOUT THE<br /> Fiyrne Pic.” A Couple of Illustrated Toy-books—<br /> humorous tales. By GLapys Davipson. Published by<br /> Dean &amp; Son, Ltd.<br /> <br /> MEDICAL.<br /> <br /> Hanppook or Mepican TreatTmENT. A Guide to<br /> Therapeutics for Students and Practitioners, with an<br /> Appendix on Diet. By Jamus Burnet, M.A.<br /> <br /> Tae Pocket Crricat Guipr. By James Burnet, M.A.<br /> A. &amp; C. Black.<br /> <br /> THE Pockrr PRESCRIBER.<br /> Third Edition.<br /> <br /> By James Burnet, M.A.<br /> A. &amp; C. Black.<br /> <br /> MILITARY.<br /> ADVENTURES OF WAR WITH CROSS AND CRESCENT. By<br /> <br /> Pure Gipss anp B. Grant. 7% x 5. 241 pp.<br /> Methuen. 2s. n.<br /> MISCELLANEOUS.<br /> MonvuMENTAL Java. By J. F. Scuerrema. _ Illustrated<br /> <br /> with Photographs and Vignettes, after drawings of<br /> <br /> JAVANESE chandi. By THe AvutTHor. 8} x 53.<br /> Macmillan &amp; Co. 12s. 6d.<br /> History oF Eneuish Nonconrormiry. By Tue Rev.<br /> <br /> Chapman &amp; Hall.<br /> <br /> ORIENTAL.<br /> Tue Basis FoR ARTISTIC AND INDUSTRIAL REVIVAL IN<br /> <br /> Henry W. Cuark.<br /> <br /> Inpia. By -E. B. Haven. 74 x 43. 197 pp<br /> Madras: Theosophist. 2s.<br /> POETRY.<br /> <br /> Tue River Ruymer. By J. Asupy-STerry. 6} x 4.<br /> <br /> 243 pp. Ham, Smith. 3s. 6d. n. each.<br /> REPRINTS.<br /> <br /> A Laopiceax. 487 pp. WersSEX PomrMS AND OTHER<br /> Verses. 275 pp. By Tuomas Harpy. 9 x 6.<br /> Macmillan. 7s. 6d. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> SrapLe INN AND ITS STORY.<br /> LL.D. (Third Edition.) 7<br /> <br /> Is, n.<br /> TRAVEL.<br /> <br /> On THE Track or THE ABor. By PowELt MILLINGTON.<br /> Smith, Elder &amp; Co. 3s. 6d. n.<br /> <br /> How to Vistr Evrore on Next to NoTuine.<br /> E. THornton Cook (E. P. Prentys), New York.<br /> Mead &amp; Co.<br /> <br /> By T. Caro WorsFoLD,<br /> &lt;x 5. 127 pp. Bagster.<br /> <br /> By Mrs.<br /> Dodd,<br /> <br /> THE AUTHOR.<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> <br /> <br /> HE Oxford University Press have issued,<br /> in cheap but tasteful form, a volume<br /> entitled ‘“‘ The Poetical Works of Robert<br /> <br /> Bridges.” ‘The book consists of the poems and<br /> masks (as apart from the dramas contained in<br /> the collected editions of his works), together<br /> with two groups of Later Poems and Poems in<br /> Classical Prosody now published for the first<br /> time. We have received from the same firm<br /> a very satisfactory volume of the Poems (1830:<br /> to 1870) of Lord Tennyson, our first presi-<br /> dent. The get-up of the book, paper and<br /> print, is all that could be desired, and it is.<br /> published at the moderate price of 4s. 6d. It<br /> has two coloured pictures and ninety-six<br /> illustrations in black and white. The Presi-<br /> dent of Magdalen, Dr. T. Herbert Warren,<br /> has added an introduction.<br /> <br /> The same publishers have issued an in-<br /> teresting book on “The Church Bells of<br /> England,”’ by H. B. Walters. The author has<br /> made a special study of the question for over<br /> twenty years, and has endeavoured in the book<br /> to set forth within the defined compass the<br /> more important aspects of the subject, which<br /> from its many-sidedness and its still living<br /> interest appeals perhaps to a more extensive<br /> class of readers than any other branch of<br /> archeology.<br /> <br /> Mr. Barry Pain has published through Mr.<br /> Werner Laurie, a collection of tales under the<br /> title of ‘‘ The New Gulliver and Other Stories.””<br /> The volume consists chiefly of two long and<br /> original stories. The first, as the title indi-<br /> cates, deals in an exceedingly whimsical and<br /> original manner with a new people in an<br /> imaginary country. The other is a series<br /> entitled ‘‘ In a London Garden,”’ and in this<br /> Mr. Barry Pain gives an account of the making<br /> of a garden, together with many quaint<br /> reflections and allegories.<br /> <br /> With the same publishers Mr. Edwin Pugh<br /> is bringing out a novel entitled ‘‘ Harry the<br /> Cockney.” It is a piece of biographical<br /> fiction, showing the life of a typical cockney—<br /> his parents, his relations, his environment, his<br /> outlook, his people’s outlook, his own progress,<br /> mental and physical. We see him at a board<br /> school, with its bullyings, its narrownesses, its<br /> pettinesses, its friendships, its early flirtations.<br /> We follow him into the office of a kindly<br /> solicitor, noting his progress from a pert boy<br /> into a regular young ’Arry, with his cigarettes,<br /> his quifs, his mashings, his utter ignoring of<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> his home and his parents. His ambitions and<br /> his progress are realistically described, and we<br /> find him finally a barrister and M.P., but none<br /> the less feeling “ out of his class.”<br /> <br /> Mr. Werner Laurie is also publishing *‘ The<br /> Night of Temptation,” by Victoria Cross. It<br /> is a story of love, set partly in Devonshire and<br /> partly on the Nile, among the sandy wastes<br /> of the African desert. The plot is uncon-<br /> ventional. Throughout the story runs that<br /> note of selfless devotion which is the keynote<br /> of a woman’s love. This finds its ultimate<br /> expression in a magnificent deed of heroism.<br /> The book is priced at 6s.<br /> <br /> Miss Constance Maud, whose books on<br /> French life, “‘ An English Girl in Paris,” and<br /> ‘** My French Friends.’’ met with such success,<br /> has brought out with the firm of Messrs.<br /> Duckworth &amp; Co., ‘‘ Angélique” (La P’tet Chou).<br /> It is the record of the early life of a little French<br /> child; as the author states: ‘‘She is a sprout<br /> of pure Parisian growth, a curious contrast<br /> to the round, rosy-cheeked sprouts reared in<br /> English nurseries.” It is an amusing record<br /> of a child’s precocity, full of her quaint sayings,<br /> set out in broken English. It has a frontis-<br /> piece and cover picture by Pierre Brissaud.<br /> <br /> Here is another book about a child, ** Little<br /> Thank You,” by Mrs. T. P. O’Connor, pub-<br /> lished by Putnam’s at the price of 2s. It is<br /> the custom nowadays to decry sentiment, but<br /> some are still old-fashioned enough to cling to it.<br /> To those the childish prattle and warm human<br /> nature in Mrs. O’Connor’s book will appeal.<br /> She has woven into the story a fascinating<br /> dog, who goes by the name of “ Jimps.”” The<br /> scene of the story is laid in New York and<br /> Virginia. But a chronicle of human feelings<br /> makes a universal appeal.<br /> <br /> The interest in the theory and practice of<br /> needlework has grown in recent years if it is<br /> possible to judge from the number of books<br /> written on the subject. Miss M. E. Wilkinson<br /> has published a work entitled ‘* Embroidery<br /> Stitches,” with 200 illustrations, at the price of<br /> 5s. net., with Herbert Jenkins, Ltd. The aim<br /> and purpose of the book is to epitomise the most<br /> useful stitches applicable to embroidery, and<br /> to add new and original stitches which will aid<br /> the development of this particular branch of<br /> needlecraft. Miss Wilkinson has had a series<br /> of articles on art needlecraft in the Lady, and a<br /> shorter series in the Nursing Times.<br /> <br /> Mrs. Shearman, dealing with another side of<br /> the same subject, has just issued with Messrs.<br /> Baldwin &amp; Walker at the price of 6d. ‘‘ Her<br /> Ladyship’s Knitting-Book, (2.),” the second of<br /> the series. The whole art of plain knitting<br /> <br /> <br /> <br /> 137<br /> <br /> was dealt with in No.1. A study of No. 2<br /> will enable the reader to knit stockings and<br /> socks of any size in proper proportion without<br /> troublesome calculations. The calculations<br /> are all done for the reader in the pages of the<br /> book.<br /> <br /> Mrs. Charlotte Cameron suggests to those who<br /> wish to avoid the winter fog, that they should<br /> take their winter in South America. Her book<br /> entitled ‘“‘A Woman’s Winter in South<br /> America,” published by Stanley Paul at the<br /> price of 6s., gives an account of her 24,000 mile<br /> journey along the coast. She also published<br /> ‘* 4 Durbar Bride” with Stanley Paul last<br /> year. Mrs. Cameron is proposing to take a<br /> tour round the coast of South Africa, beginning<br /> on the West Coast and calling at all the impor-<br /> tant ports; and as the result of her journey<br /> will publish a book entitled “A Woman&#039;s<br /> Winter in Africa.”<br /> <br /> Mr. Harold Munro, who for the last twelve<br /> months has edited the Poetry Review, is about<br /> to sever his connection with this paper, and<br /> proposes to publish a quarterly periodical under<br /> the title of Poetry and Drama. This paper<br /> will include in its scope the appreciation and<br /> criticism of modern poetry and drama. The<br /> first issue will appear on March 15. The<br /> Review will be published from the Poetry<br /> Bookshop, 35, .Devonshire Street, Theobald’s<br /> Road, W.C. From this same address was<br /> published on December 17 a book under<br /> the title of ‘‘ Georgian Poetry, 1911—1912,”<br /> being a criticism of modern English poetry,<br /> containing work by most of the younger poets.<br /> The book is published at the price of 3s. 6d.<br /> The first edition was exhausted a few days<br /> after publication.<br /> <br /> The author of ‘The Terrible Choice,”<br /> Mr. Stephen Foreman, has undertaken the task<br /> of portraying a good man dominated by a<br /> shameful sin. He understands that life’s<br /> business is indeed ‘‘ The Terrible Choice.”<br /> The title is taken from Browning’s well-known<br /> lines :<br /> <br /> “ White shall not neutralise the black ; nor good<br /> Compensate bad in man, absolve him so :<br /> Life’s business being just the terrible Choice.”<br /> <br /> The publishers are John Long, Ltd.<br /> <br /> Messrs. Methuen &amp; Co. are publishing, early<br /> in February, a new novel by Theo Douglas<br /> (Mrs. H. D. Everett) author of “* Cousin Hugh,”<br /> etc. The title of the new work is “ Hadow 0”<br /> the Shaws.”<br /> <br /> “Gallant Little Wales” is the title of<br /> Jeannette Marks’ new book, published in<br /> America by Messrs. Houghton, Mifflin &amp; Co.,<br /> and in Great Britain by Messrs. Constable &amp; Co.<br /> <br /> <br /> 188<br /> <br /> Mr. John Murray is publishing the new<br /> novel “Through the Cloudy Porch,” by<br /> K. M. Edge (Mrs. C. T. Caulfield). The story<br /> is one of passionate love and idealism. The<br /> central theme—the power of woman’s inspira-<br /> tion to back man’s force and render it effective<br /> —is vividly maintained. The scene is laid in<br /> South Africa a year after the Boer War. The<br /> political ferment, and the veldt with its<br /> elemental appeal, alike vitally affect the<br /> characters.<br /> <br /> The John Church Co., of London and New<br /> York, have just published a new edition of<br /> Theodore Holland’s ‘‘ Suite Miniature,” for<br /> pianoforte op. 16., at the price of 2s.<br /> <br /> Messrs. Harraps are including in their<br /> “ All-Time Tales” an edition of “Ivanhoe ”<br /> which Mrs. E. Thornton Cook (E. E. Prentys)<br /> is preparing.<br /> <br /> Miss Gladys Davidson has, in the Press, to<br /> be issued shortly by Mr. David Nutt, a nature-<br /> book for children, which will be called ‘‘ Told<br /> in Dicky Bird Land,” a collection of original<br /> tales about birds.<br /> <br /> Miss Davidson has also just completed a<br /> series of short biographical sketches of famous<br /> men and women in literature, for Messrs. T. C.<br /> and E, C. Jack.<br /> <br /> Miss Olivia Ramsey’s seventh novel, “A<br /> Girl of no Importance,” has just been published<br /> by John Long, Ltd.<br /> <br /> Derek Vane’s new novel, ‘“‘ The Soul of a<br /> Man,” was published by Messrs. Holden and<br /> Hardingham in January. The title is taken<br /> from the lines ‘“‘ The Lord gave the house of a<br /> brute to the soul of a man,” and the story shows<br /> what happens to a man with a dual nature.<br /> <br /> Another novel by the same author will be<br /> brought out by Messrs. Everett &amp; Co., in the<br /> spring.<br /> <br /> “The River Rhymer ”’ is the title of a book<br /> of verses produced by W. J. Ham-Smith, the<br /> author of which is J. Ashby-Sterry. Mr.<br /> Sterry has long been known as a writer of<br /> light verse. ‘‘ The River Rhymer ”’ deals with<br /> the river Thames from its source to its mouth<br /> in all its aspects. ‘The book will be weleomed<br /> by those who love the river.<br /> <br /> Messrs. Mills and Boon have published a<br /> novel by E. M. Channon (Mrs. Francis Chan-<br /> non), the author of ‘‘ The Keeper of the Secret,”<br /> and other novels. The book is entitled<br /> ““Cato’s Daughter,” the title being taken<br /> from Shakespeare’s “* Julius Ceesar,” “ I grant<br /> 1 am a woman, but withal a woman well<br /> reputed, Cato’s daughter.”<br /> <br /> Messrs. James Duffy, Ltd., have just issued<br /> a story by Louise M. Stackpoole Kenny at the<br /> <br /> THE AUTHOR.<br /> <br /> price of 2s. 6d. Many of the characters that<br /> are in her previous novel are introduced again-<br /> The scene is laid in the South of Ireland, and<br /> the book deals with social life and development<br /> of character. It is free from political con-<br /> troversy.<br /> <br /> Many books of reference have come to the<br /> office, such as ‘‘ The Schoolmaster’s Year Book”<br /> ‘The English Woman’s Year Book,” and an<br /> interesting work entitled ‘‘ Books that Count.”<br /> The last is published by A. &amp; C. Black, under<br /> the editorship of W. F. Gray, and is a dictionary<br /> of standard books. In the preface the editor<br /> says: ‘The book takes note only of books<br /> (1) that are in English (together with out-<br /> standing foreign books of which good transla-<br /> tions exist) ; (2) that present concisely, clearly<br /> and authoritatively the general aspects of the<br /> subject with which they deal; and (8) that<br /> are thoroughly modern in aim and outlook,<br /> easily accessible, and purchasable at a moder-<br /> ate price.” Another useful book of reference<br /> is ‘‘The United South African Register,”<br /> which has established itself as the most up-to-<br /> date directory of South Africa, and is necessary<br /> for the information of those who are desirous<br /> of cultivating their knowledge of this growing<br /> colony. It is published by Messrs. Sampson,<br /> Low &amp; Co.<br /> <br /> Miss Arabella Kenealy’s last novel, “ The<br /> Irresistible Mrs. Ferrers ” (Stanley Paul &amp; Co.),<br /> now going into a fourth edition, has been<br /> published in America by Messrs. Dillingham,<br /> of New York. The plot of the story hangs in<br /> the fact that the irresistible Mrs. Ferrers is<br /> the greatest beauty and wit of her day, and<br /> wishes to go down in history as having subju-<br /> gated all men and succumbed to none. Lord<br /> Lyzon comes upon the scene, and there is a<br /> struggle for him between his wife and the<br /> heroine.<br /> <br /> “The Truth about Carlyle: An Exposure of<br /> the Fundamental Fiction still Current,” by<br /> David Alec. Wilson, with a preface by Sir James<br /> Crichton-Browne, is to be published this spring<br /> by Alston Rivers, at 1s. 6d. He has been<br /> collecting materials for this work for twenty<br /> years. The same author will publish in the<br /> spring a work under the title of ‘ Sensible<br /> People,” by Methuen &amp; Co., at 2s. 6d. It is<br /> to distil knowledge from current speculations,<br /> and is filled with quotations and notes to prove<br /> that all the greatest thinkers, from Confucius<br /> to Carlyle, agree with the best of the saints<br /> and prophets in the fundamental truths of<br /> religion and philosophy.<br /> <br /> Two interesting books are nearly ready<br /> for publication from the firm of Messrs. Stanley<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Paul. The first is entitled, ‘‘ The Romance<br /> of an Elderly Poet,”? and is written in col-<br /> laboration by Mr. A. M. Broadley and Mr.<br /> Walter Jerrold. It is concerned with the<br /> poet George Crabbe and Elizabeth Charter.<br /> The second is Sir James Yoxall’s ““ More About<br /> Collecting.” Sir James has already made him-<br /> self an expert on this subject.<br /> <br /> Messrs. Hodder and Stoughton are about to<br /> add an appreciation of the work of the Society’s<br /> late President, George Meredith, O.M., to their<br /> series of Literary Lives. Mr. Thomas Sec-<br /> combe will undertake the work. It is difficult<br /> to imagine anyone better equipped for the task.<br /> <br /> Messrs. Ouseley &amp; Co. have just produced a<br /> novel entitled ‘‘ The Nom-de-Plume,”’ from the<br /> pen of Leonard A. Gibbs. It is a story with<br /> an object, and seeks to show the mischief<br /> wrought by free-love in well-to-do homes.<br /> <br /> Mrs. J. O. Arnold’s new novel, ‘‘ Requital.”<br /> will be published by Messrs. Methuen about<br /> the twentieth of this month.<br /> <br /> Mrs. R.S.De Crespigny’s book, “ The Spanish<br /> Prisoner,” has been published in a 7d. edition<br /> by Messrs. Everett &amp; Co.<br /> <br /> Dramatic NOTE.<br /> <br /> During the end of December and the begin-<br /> ning of January, very little has been doing in<br /> the dramatic world outside pantomine per-<br /> formances, but toward the middle and end of<br /> January the dramatic world began to wake up.<br /> Mr. G. R. Sims has given his valuable assistance<br /> to the production of the Drury Lane pantomine<br /> and “Peter Pan,” by Mr. J. M. Barrie, has now<br /> gone into its ninth annual production. It<br /> is a fair deduction to make that “ Peter<br /> Pan,” like the Christmas pudding, will become<br /> an annual custom both for young and old.<br /> The Kingsway Theatre has produced Mr.<br /> Bernard Shaw’s play ‘John Bull’s Other<br /> Island.” The Irish Players have produced at<br /> the Abbey Theatre, with a cast chosen from<br /> their second company, Mr. E. Millington Mear’s<br /> play entitled ‘“‘ The Little Christmas Miracle.”<br /> <br /> In the second week Charles Hawtrey pro-<br /> duced Mr. George A. Birmingham’s (Canon<br /> Hanney’s) ‘‘ General John Regan,” at the<br /> Apollo. As everyone knows, the author is<br /> the writer of many amusing books on Irish<br /> life. He has now carried his Irish humour<br /> on to the stage. The story centres round an<br /> American tourist, who upsets an Irish village<br /> by the promise of £100 towards the statue of<br /> a certain General John Regan who, a native<br /> of the village, had greatly distinguished himself<br /> in Bolivia. The difficulty is to find the<br /> <br /> <br /> <br /> 139<br /> <br /> relations of ‘* the Native,’’ and secure the £100.<br /> It is, as one critic remarks, a joke in three acts<br /> rather thana play...<br /> <br /> At the Vaudeville Theatre Miss Hilda<br /> Trevelyan produced a series of matinées of<br /> “* Shock-headed Peter,’ by Philip Carr and<br /> Nigel Playfair, the music being from the pen<br /> of Paul Rubens. Preceding each performance<br /> are some Old English singing-games, folk-<br /> songs, and country and sword dances, performed<br /> by children under the personal direction of<br /> Cecil J. Sharp.<br /> <br /> On Monday and Tuesday the 3rd and 4th of<br /> this month, a new one-act play will be pro-<br /> duced at matinees at the Little Theatre, John<br /> Street, Adelphi. The play is a comedy in one act<br /> adapted from Mr. W. W. Jacobs’ story, “ A Love<br /> Passage.” The play itself is by Mr. W. W.<br /> Jacobs and Mr. Philip Hubbard. The story of<br /> the play follows that of Mr. Jacobs’ well-known<br /> short story, which is included in his book,<br /> ‘Many Cargoes,”’ but the incidents have been<br /> so arranged as to bring the action, which in the<br /> story, is extended over some days, within the<br /> scope of a one-act play, and, to enable a more<br /> effective stage setting, the Captain and his<br /> Mate have been promoted to the command of<br /> an ocean-going Tramp Steamer instead of that<br /> of a small schooner.<br /> <br /> Sir Arthur Pinero’s ‘‘ The Mind-the-Paint-<br /> Girl’? has met with a warm welcome in its<br /> German form in Mayence. It has been pro-<br /> duced under the title of ‘“‘ Das Midel ohne<br /> Heiligenschein.”<br /> <br /> Mr. and Mrs. Laurence Irving (Miss Mabel<br /> Hackney) have just arranged to dramatise<br /> Mrs. T. P. O’Connor’s new novel “ Little<br /> Thank You,” a note of which appears in<br /> another column. It will be a labour of love, as<br /> Mr. and Mrs. Irving have the same love and<br /> understanding of children and dogs as the<br /> author. Mrs. O’Connorreally modelled “‘ Jimps”’<br /> upon ‘‘Mop,” the Irvings’ fox terrier, who<br /> already plays one or two “star’”’ parts written<br /> for him by his master.<br /> <br /> Mr. Horniman’s new play, “Billy’s Fortune,”<br /> was produced at the Criterion Theatre in the<br /> middle of last month. The plot centres round<br /> ‘* Billy,’’ a boy who has been left an enormous<br /> fortune. He has the option of chosing his<br /> guardian, who is to receive £100,000 when the<br /> boy makes his choice.<br /> <br /> In the same week Mr. Arthur Bourchier and<br /> Miss Violet Vanbrugh at the Coliseum pro-<br /> duced a short play by Mr. Stanley Houghton.<br /> A hard-up society woman, a husband also on<br /> the verge, and a rope of pearls which does not<br /> belong to them, but is in their possession, are<br /> <br /> <br /> 140<br /> <br /> the pivots of the plot. The plot is full of<br /> humanity—the better side. :<br /> <br /> On December 28, 1912, a novel combination<br /> of kinemacolor stage play with music was<br /> produced at the Scala Theatre. The music<br /> was specially written, with the addition of<br /> songs and dances, to accompany the action of<br /> each film. The book and lyrics were by Harold<br /> Simpson, and the music by Theodore Holland.<br /> The idea of the combination is to the credit of<br /> Alfred de Mauby. The film was produced by<br /> the Urban Co.<br /> <br /> ———_—_—__+——<br /> <br /> PARIS NOTES.<br /> <br /> ees<br /> s URQUIE Agonisante ” is the title of<br /> <br /> a little volume just published by<br /> <br /> Pierre Loti. The subjects of some<br /> of the principal chapters are “ Lendemains<br /> d’Incendie,”” “* La Guerre Italo-Turque,”’ ‘‘ Les<br /> Tures massacrent,” ‘‘ Lettre sur la Guerre<br /> moderne,” “* Lettre sur la Guerre des Balkans.”<br /> In the chapter entitled *“* Les Turcs massa-<br /> crent,” the author endeavours to show up the<br /> absolute injustice of Europeans. He gives us<br /> instances of Europeans massacring under the<br /> pretext of civilising. He shows us the English<br /> in the Transvaal and France in Algeria. Pierre<br /> Loti tells us that in no country do we find<br /> such solicitude for the poor, the weak, the old<br /> and the very young, such respect for parents<br /> and such veneration for the mother as with the<br /> real Turks. He then goes on to tell us of their<br /> kindness to animals, to their dogs and cats, and<br /> he relates that in a certain town he knows,<br /> there is a hospital for storks which are<br /> either wounded or too old to fly away for the<br /> winter.<br /> <br /> In his chapter on modern warfare, Pierre<br /> Loti asks whether this is what progress, civili-<br /> sation and Christianity have brought us to.<br /> He gives us a picture of Turkey with 60,000<br /> men maimed for life or dead, within a fortnight.<br /> <br /> ‘““Le Président de la Republique,” by M.<br /> Henry Leyret. The author of this book tells<br /> us just what are the rights and duties of the<br /> President of the French Republic.<br /> <br /> “Nos Amis les Canadiens,” par Louis<br /> Arnould. In this volume we have some in-<br /> teresting information with regard to the<br /> history, psychology and literature of Canada.<br /> M. Etienne Lamy has written the preface.<br /> <br /> “* Pour.la Femme ”’ is the title of the Com-<br /> tesse de Avila’s recent book.<br /> <br /> “Histoire du Peuple anglais au XVIII°<br /> Siécle ”’ is the first volume of a work by M. Elie<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Halévy. He tells us of England in 1815, and<br /> speaks of its government, religion, and of the<br /> culture of the whole nation.<br /> <br /> ““La Cour des Stuarts 4 Saint-Germain-en<br /> Laye ” (1689—1718), by G. du Bose de Beau-<br /> mont and M. Bernos. This volume is of great<br /> interest to English readers, giving an idea as it<br /> does of the life led by one of our kings in exile.<br /> <br /> “Les Jeunes Gens d’Aujourd’hui,” by<br /> Agathon, is an instructive study.<br /> <br /> “Le Voyage au Pays de la Quatriéme<br /> dimension,” by M. G. de Pawlowski, is the<br /> most extraordinary excursion possible.<br /> <br /> “Images Venitiennes,” by M. Henri de<br /> Régnier, is an exquisite book.<br /> <br /> One of the literary events of the past month<br /> was the féte given at the Sorbonne to celebrate<br /> the jubilee of M. Ernest Lavisse, the well-<br /> known historian. M. Raymond Poincaré, who<br /> had only just been elected President of the<br /> Republic, wished to be present, both as a<br /> fellow Academician and a friend of Lavisse.<br /> <br /> At the Odéon Goethe’s ‘‘ Faust ’’ has been<br /> put on in an excellent translation by M. Emile<br /> Vedel.<br /> <br /> At the Théatre Sarah Bernhardt ‘“‘ Kismet ”<br /> has been the great event of the month. It is<br /> an Arabian story by M. Edward Knoblauch,<br /> with French adaptation by M. Jules Lemaitre.<br /> <br /> At the Gymnase we have had another play<br /> by M. Brieux, ‘‘ La Femme libre,”’ and at the<br /> Théatre Antoine an adaptation by M. Pierre<br /> Frondaie of M. Claude Farrére’s novel,<br /> **L’Homme qui assassina.”’<br /> <br /> Atys HaALLarD.<br /> <br /> <br /> <br /> “ Turquie agonisante.”’ (Calmann-Lévy.)<br /> <br /> “La Cour des Stuarts a Saint-Germain-en-Laye.”<br /> (Emile Paul.)<br /> <br /> “Les Jeunes Gens d’Aujourd’hui.” (Plon.)<br /> <br /> “Le Voyage au Pays de la Quatriéme dimension.”<br /> (Fasqueile. )<br /> <br /> 5<br /> <br /> THE COLONIAL BOOK TRADE.<br /> <br /> —<br /> <br /> L<br /> Tue Book MARKET IN AUSTRALIA.<br /> <br /> UNDERSTAND that the writers of<br /> English books are gradually being roused<br /> to the fact that the Australian market is<br /> slipping away from them. The few importers<br /> of books in the large towns here will tell you<br /> that the percentage of publications ordered<br /> from England is very small and rapidly<br /> decreasing year by year. Their place is taken<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> by American periodicals, books and novels.<br /> This change is partly natural, and I see no way<br /> to stop a great deal of it. The 100 million<br /> Americans produce books which are better<br /> suited than any English ones to the needs of<br /> the four million who here form a working com-<br /> munity. Everybody works here, and those<br /> who don’t like to do so soon perceive that<br /> Australia is no place for them. The Australian<br /> can get what books he wants to tell him about<br /> irrigating his bit of land, or about tales of<br /> adventure in the Wild West, cheaper and<br /> better from American publishers than from<br /> English ones. Make no mistake about that.<br /> That portion of the Australian market has<br /> gone out of England’s hands—it was never in<br /> them.<br /> <br /> _ Still, a majority of the people in Australia<br /> were born in the old country and are bound to<br /> read English romance, very much as do the<br /> stay-at-home Britishers, in preference to<br /> American fiction. How comes it that the<br /> ‘trade’? supplies them with American fiction<br /> out of all proportion to the real demand, and<br /> pays little attention to the call for the English<br /> novel ?<br /> <br /> Australian booksellers have been much<br /> abused of late and they do not deserve it.<br /> They, like every other shopkeeper, go for what<br /> pays them best. The English publisher plods<br /> along the weary way which his grandfather<br /> peacefully followed. The American, on the<br /> contrary, changes with the changing times—<br /> often a little before them.<br /> <br /> Once a year comes to our seaport towns<br /> {there are no great inland cities) a traveller<br /> from England to take orders for a good, solid,<br /> respectable British firm, armed with ** dummy”<br /> copies of new books, blandly ignorant of the<br /> kind of story each contains, strapped down to<br /> certain prices which he can take, or else “ turn<br /> it down.” Result—a meagre amount of orders.<br /> <br /> The Americans see a brainier way of doing<br /> business. They wait until a book is printed,<br /> and then send complete copies across the<br /> Pacific, with a letter saying that if you order<br /> 500 you will be charged a large percentage off<br /> the published price; if you choose to take a<br /> 1,000, a further reduction will be made, some-<br /> times two-thirds of the price being deducted,<br /> and this is on books exactly the same as the<br /> $1.50 (6s.) sold in America. We buy the $1.50<br /> book always at 3s. 6d. here.<br /> <br /> The Australian bookseller runs his eye over<br /> the book. He can tell, with surprising exact-<br /> ness, how many will sell and what amount of<br /> advertisement will be needed. Result—a tre-<br /> mendous amount of business, speedily handled,<br /> <br /> 141<br /> <br /> and incidentally a much larger royalty to the<br /> author. ee<br /> <br /> What should British authors do, if they<br /> desire to increase their returns from their -<br /> labour? I respectfully suggest that they<br /> should call upon their publishers and urge them<br /> to abandon at once the methods which were<br /> played out a century ago. Possibly this plan<br /> has already been tried and has proved a<br /> failure! Then they should try someone else.<br /> Preferably they should take from the English<br /> publisher the Australian rights and deal<br /> directly with the big importers (or their own<br /> representative) here. I don’t think I need<br /> mention names, but I can say I have seen any<br /> number of books lose a good market in<br /> Australia simply because there was no one to<br /> look after them. It is perfectly certain that<br /> Australia will be a tremendous place of busi-<br /> ness in a very few years—it is a pretty good one<br /> now—and the course I advocate must come<br /> sooner or later. In any case, the returns now<br /> made to the authors on the ‘ Colonial sales ”<br /> are so small that there is not much risk.<br /> <br /> Or the author can transfer the ‘“ Colonial<br /> edition *’ to his American publisher and leave<br /> Australia to be dealt with by him. I do not<br /> wish to speak harshly of the English publisher,<br /> but I must say that, in my opinion as author,<br /> publisher, bookseller and publishing agent (in<br /> all I have been actively engaged during the<br /> last score of years), I have found the American<br /> man of business much better to get on with<br /> than my own fellow countryman. It is a hard<br /> thing to say, yet it must be said, and since we<br /> have entered upon an age in which the civilised<br /> nations have practically agreed to abandon<br /> warfare in the immediate future in favour of<br /> peaceful delights of making as much money out<br /> of one another as possible, I trust I may be<br /> forgiven for my cosmopolitanism.<br /> <br /> There is one thing more. To the advertising<br /> of English books attention must be paid. As<br /> a rule nothing is done by the press, except at<br /> the bidding of our local booksellers. Last<br /> Christmas there appeared twice in the papers<br /> a large advertisement from a famous English<br /> firm, calling attention to the books thay had on<br /> sale—in England! It cost a few pounds which,<br /> were absolutely wasted, for, even if asked for,<br /> they could not be obtained for at least two<br /> months. If advertisements are left to the<br /> local importers, it is plain that they will adver-<br /> tise, not the books you want popularised, but<br /> merely the books they have in stock.<br /> <br /> Take a case. When an English firm has a<br /> suitable book to sell in the Colonies, it may find<br /> that the offer is blankly refused by the two or<br /> 142 THE AUTHOR.<br /> <br /> three buyers for Australia. There is a reason<br /> for this. The Australian firm may have an<br /> abundance of the same class of writing on their<br /> hands, and it would not pay them at the<br /> moment to import more. That is not a good<br /> excuse for boycotting a really good book—not<br /> from its author’s point of view at any rate. I<br /> believe this is constantly the case. Now the<br /> only cure is to send out to Australia, say 500<br /> of a book to an independent agent, who would<br /> certainly make a demand for it by judicious<br /> advertisement. H. H. G.<br /> <br /> II.<br /> <br /> AVING recently returned from a visit<br /> to New Zealand, I may be able-to<br /> throw a little further light on the<br /> <br /> subject of the Colonial book trade, although<br /> my experience was only confined to the<br /> North Island.<br /> <br /> English publishers as a whole—there are<br /> exceptions—do not appear to recognise the<br /> vast possibilities of the market in Australia<br /> and New Zealand.<br /> <br /> I was immensely struck with the number<br /> and quality of the bookshops; some were to<br /> be seen in every town. More particularly was<br /> this the case at Napier, a town of 10,000<br /> inhabitants and the centre of a large fruit and<br /> sheep farming district. It is customary to<br /> provide a large library for the use of the<br /> ‘*‘ hands” in up country stations, and some-<br /> times these are exchanged among neighbours.<br /> There are also several Carnegie and other<br /> public libraries in the Dominion. Novels are<br /> by no means the only books read, travels are<br /> liked, Foster Fraser beingapopularauthor. The<br /> prices at which books are sold are much below<br /> those charged in England; the 6s. novel is<br /> 3s. 6d., and the higher priced books are equally<br /> reduced. Few people would buy a book at a<br /> higher price than 5s.<br /> <br /> It is possible that publishers do not consider<br /> profits sufficient to recoup them for their<br /> trouble, for one bookseller told me fhat 9d.<br /> would be all the English publisher would clear<br /> on a 8s. 6d. book.<br /> <br /> On the other hand the sale of a popular book<br /> must be enormous. I was told that an edition<br /> of 1,000 would go nowhere in Australia.<br /> <br /> To get a book known, copies for review must<br /> be sent to the principal newspapers, a weekly<br /> article on literary subjects appearing every<br /> Saturday in these papers. At the same time<br /> bookshops should be supplied with copies,<br /> otherwise revie ws cannot help the sale.<br /> <br /> The question I should like to put to publishers<br /> is, ‘“‘ Is it better to sell four copies of a book at<br /> <br /> 5s. or one—or more probably none—at 10s,<br /> or to ot six copies of a book at 3s. 6d., or one<br /> at 68.2?”<br /> <br /> Author of ‘‘ 1,000 Mites In A MACHILLA.”’<br /> <br /> ROYALTIES ON GRAMOPHONE RECORDS.<br /> <br /> Rupens v. PatHt FrRERES PATHEPHONE, LTD.<br /> MoNCKTON v. THE SAME.<br /> <br /> HESE actions, which were tried together,<br /> are the first cases relating to gramo-<br /> phone records under the new Copyright<br /> <br /> Act, which gives a musical composer the right<br /> to royalties on the reproduction of his com-<br /> positions by means of a gramophone or other<br /> mechanical contrivances of a similar nature.<br /> <br /> The well-known composers, Mr. Paul<br /> Rubens and Mr. Lionel Monckton, sued the<br /> defendants, who are manufacturers of gramo-<br /> phones, and claimed an injunction to restrain<br /> them from selling records of certain musical<br /> pieces composed by the plaintiffs. The claim<br /> of Mr. Rubens had reference to four songs<br /> from ‘*‘ The Sunshine Girl,”’ while Mr. Monckton<br /> claimed in respect of a piece called “ The<br /> Mousmé Waltz.”<br /> <br /> The new Act provides that the musical com-<br /> poser shall be paid certain royalties on gramo-<br /> phone records of his compositions, and that<br /> the Board of Trade may make regulations as<br /> to the mode of payment. Accordingly, regula-<br /> tions have been issued by the Board of Trade<br /> which require that adhesive stamps shall be<br /> purchased from the copyright owner, and shall<br /> be affixed to the records before they are sold.<br /> The plaintiff found that the defendants were<br /> selling gramophone records of their compos -<br /> tions without the adhesive stamps, which the<br /> Board of Trade requires to be affixed to the<br /> records as the method of collecting the royalties.<br /> <br /> It appeared from the evidence that the<br /> defendants had purchased a number of the<br /> stamps sufficient to cover the number of records<br /> sold by them, but that they had not affixed<br /> them to the records, and had sold the records<br /> without the adhesive stamps. It was con-<br /> tended on their behalf that the plaintiffs could<br /> not insist on the defendants purchasing the<br /> stamps or affixing them to the records, on the<br /> ground that the regulations of the Board of<br /> Trade in this respect were ultra vires.<br /> <br /> Mr. Justice Phillimore, in his judgment,<br /> pointed out that it would be extremely difficult<br /> to ensure the collection of small royalties on a<br /> large number of these cheap instruments in<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> any other way than that prescribed by the<br /> <br /> Board of Trade. The first objection alleged<br /> by the defendants was that the Board of Trade<br /> could not order that the payment of royalties<br /> should be made by the purchase of stamps, and<br /> secondly that the purchaser of the stamps<br /> could not be compelled to affix the stamps to<br /> the records. There was some force, his<br /> lordship thought, in the last objection; but<br /> at the same time, if the royalties were to be<br /> paid by purchasing adhesive stamps, he<br /> considered it a proper provision that the stamps<br /> should not do double duty. The object of the<br /> stamps was that they should be used for the<br /> purpose for which they were intended, and<br /> that the purchaser should be prevented from<br /> using them more than once. He held, there-<br /> fore, that the regulations of the Board of Trade<br /> were within the scope of its authority.<br /> <br /> Another point in the case of Mr. Rubens had<br /> reference to the date of publication, and the<br /> effect of an agreement made by his agent with<br /> the defendants. Under the provisions of the<br /> Act the royalties on records of musical works,<br /> published before July 1, 1912, are calculated<br /> at 21 per cent., but on records of works pub-<br /> lished after that date the royalties are raised<br /> to 5 per cent. after the expiration of two years,<br /> that is to say, from July 1, 1914. Mr.<br /> Rubens was advised as to the value of his<br /> rights, and did not wish to publish the songs<br /> until after July 1, 1912. It was found to<br /> be convenient, however, to have gramophone<br /> records made before that date, and in order<br /> that this might be done the defendants gave<br /> an undertaking that if the music was published<br /> before July 1, 1912, they would not sell the<br /> records before that date, and that the com-<br /> poser should get the royalties. This agreement<br /> was made in March, 1912, before the regula-<br /> tions of the Board of Trade had been issued,<br /> Mr. Justice Phillimore considered that the<br /> contract between the parties was that the<br /> royalties should be paid, and that the defen-<br /> dants had so far fulfilled the agreement, but<br /> that in future they must comply with the<br /> regulations of the Board of Trade.<br /> <br /> In the case of Mr. Monckton the records<br /> made before July 1, 1910, were exempt from<br /> the payment of royalties under the Act until<br /> July 1, 1913; but if the defendants sold any<br /> records made since July 1st, 1912, they would<br /> have to pay the royalties by the purchase and<br /> affixing of stamps in accordance with the<br /> regulations of the Board of Trade.<br /> <br /> A point was also taken by the defendants,<br /> that the action was not well founded with<br /> regard to the songs composed by Mr. Rubens,<br /> <br /> <br /> <br /> 143<br /> <br /> because the author of the words of the songs<br /> was not joined as a plaintiff. His lordship<br /> held that the owner of the copyright in the<br /> music was entitled to sue for an infringement<br /> of the copyright in the music, notwithstanding<br /> that the owner of the copyright in the words<br /> might also sue in respect of an infringement.<br /> His lordship gave judgment for the defen-<br /> dants, but without costs.<br /> Haroup Harpy.<br /> <br /> ee<br /> <br /> IMPERIAL COPYRIGHT.<br /> <br /> <br /> <br /> OPERATION OF THE NEW CopyricHTt ACT<br /> OUTSIDE THE UNITED KINGDOM.<br /> <br /> T is provided by the Copyright Act, 1911,<br /> that it shall extend throughout the<br /> whole of the British Dominions, with<br /> <br /> the exception of the self-governing dominions,<br /> <br /> i.e. Canada, the Commonwealth of Australia,<br /> <br /> New Zealand, the Union of South Africa, and<br /> <br /> Newfoundland. These dominions have special<br /> <br /> power to adopt the Act, and its provisions do<br /> <br /> not extend to such dominions until the local<br /> <br /> Legislature has declared the Act to be in force.<br /> <br /> In addition to this area of the British<br /> Dominions, there are certain territories under<br /> British protection to which the Copyright Act<br /> has been extended by Order in Council under<br /> the provisions of the Act.<br /> <br /> The date at which the Act comes into opera-<br /> tion varies in different parts, and depends<br /> upon proclamation, Order in Council, or<br /> statute.<br /> <br /> The Act operates—<br /> <br /> In the United Kingdom, from July 1,<br /> 1912.<br /> <br /> In the Self-governing Dominions, from<br /> date fixed by local Legislature.<br /> <br /> In the Channel Islands, from date fixed by<br /> the States of the Islands.<br /> <br /> In other British Possessions, from date of<br /> Proclamation by the Governor.<br /> <br /> It will be seen from the following list, which<br /> has been compiled for the purpose of showing<br /> at a glance the area outside the United<br /> Kingdom in which the Copyright Act 1s in<br /> operation, that the Act has been adopted by<br /> the Legislature of Newfoundland, proclaimed<br /> in most of the British Possessions, and extended<br /> by Order in Council to Cyprus and British<br /> Protectorates. :<br /> <br /> In Article 12 of the Somaliland Order in<br /> Council, 1899, the word ‘* Copyright ”’ is deleted<br /> by Order in Council, June 24, 1912.<br /> <br /> <br /> 144<br /> <br /> Britisu CoLonies,<br /> <br /> THE AUTHOR.<br /> <br /> IMPERIAL CopPyRIGuHrT,<br /> <br /> POSSESSIONS, AND PROTECTORATES IN WHICH THE CopyriGHur<br /> Act, 1911, IS IN OPERATION.<br /> <br /> <br /> <br /> (North American)<br /> (West Indian)<br /> <br /> * (Windward Islands)<br /> <br /> (Leeward Islands)<br /> <br /> (Mediterranean) .<br /> <br /> (African)<br /> <br /> (Eastern)<br /> <br /> (Australasian)<br /> <br /> <br /> <br /> Newfoundland<br /> <br /> Jamaica .<br /> Turk’s Island<br /> British Honduras<br /> British Guiana<br /> Bahamas<br /> Trinidad<br /> <br /> Tobago<br /> Barbados<br /> <br /> Grenada<br /> St. Vincent.<br /> St. Lucia<br /> <br /> Antigua<br /> Montserrat ..<br /> Nevis. 5<br /> St. Christopher<br /> Virgin Islands<br /> Dominica<br /> <br /> Cyprus<br /> Malta.<br /> Gibraltar<br /> <br /> Gambia<br /> <br /> Sierra Leone<br /> Gold Coast .<br /> Bechuanaland<br /> Swaziland . :<br /> North Rhodesia .<br /> South Rhodesia .<br /> Basutoland<br /> Nyasaland .<br /> <br /> Ug anda é<br /> Bntish East Atrica<br /> North Nigeria<br /> South Nigeria<br /> Somaliland.<br /> <br /> Weihaiwei .<br /> <br /> Hong Kong<br /> <br /> Straits Settlements<br /> Ceylon<br /> <br /> Labuan<br /> <br /> Mauritius<br /> Seychelles .<br /> British India<br /> Burma<br /> <br /> Fiji<br /> <br /> Gilbert &amp; Ellice Islands.<br /> <br /> Solomon Islands .<br /> <br /> Act No. 5 of 1912.<br /> <br /> \ Proclamation, 30th May, 1912.<br /> <br /> o 10th April, 1912.<br /> 2 Ist July, 1912.<br /> os 25th June, 1912.<br /> \ cs 12th June, 1912.<br /> &gt; 3lst May, 1912.<br /> <br /> Ordinance, No. 9 of 1912.<br /> Proclamation, 18th April, 1912.<br /> s 14th June, 1912.<br /> <br /> |<br /> Proclamation, 28th June, 1912.<br /> J<br /> <br /> Order in Council, 24th June, 1912<br /> Proclamation, 28th June, 1912.<br /> : 12th April, 1912.<br /> <br /> | &#039; Order in Council, 24th June, 1912.<br /> <br /> Proclamation, 10th June, 1912.<br /> ! Order in Council, 24th June, 1912.<br /> <br /> Proclamation, 16th July, 1912.<br /> <br /> |<br /> |<br /> | Order in Council, 24th June, 1912.<br /> <br /> Order in Council, 24th June, 1912.<br /> Proclamation, 28th June, 1912.<br /> Ist July, 1912.<br /> <br /> De<br /> <br /> \ lith June, 1912.<br /> <br /> J 3°<br /> 28th June, 1912.<br /> 21st June, 1912.<br /> <br /> l 13th Oct., 1912.<br /> <br /> 23<br /> <br /> ‘ 27th May, 1912.<br /> <br /> | Order in Coune’l, 24th June, 1912.<br /> <br /> <br /> <br /> Haroitp Harpy.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> AN UNFAIR ADVANTAGE.<br /> <br /> oe<br /> <br /> A MATTER of some importance to writers<br /> LE of educational books is brought from<br /> <br /> time to time to the notice of the Society<br /> of Authors.<br /> <br /> A publisher enters into an agreement with<br /> an author to pay a certain royalty on the sales<br /> of his book. The book after a short time,<br /> perhaps, is taken up by the educational<br /> authorities, whose business not infrequently<br /> appears to be to cut down prices on the<br /> plea that the orders they are giving are very<br /> large. The publisher, seeing his probable<br /> profits diminishing, writes to the author, gives<br /> a statement of the case, and asks the author<br /> if he would be willing to reduce his royalty by<br /> one half in order to enable him (the publisher)<br /> to supply the demand. In one or two cases<br /> the publisher has gone so far as to state that<br /> if the author refuses to reduce his royalty he<br /> will not meet the order. The author could,<br /> of course, say to the publisher, ‘‘ You have made<br /> an agreement and you are bound to act up to<br /> it.” To this the publisher would answer,<br /> ‘“* Very well; it is impossible for me to sell the<br /> copies required.” It is very difficult for the<br /> author to decide what to do, as he does not<br /> wish to lose the royalty on so large an order.<br /> The real difficulty of the case, however, lies<br /> in the old question, the old dispute which<br /> was the original reason why the Saciety<br /> of Authors was founded—namely, that the<br /> author is working on insufficient information,<br /> and that the publisher refuses to give any<br /> figures. If the publisher desired to meet the<br /> author fairly he would say, ‘“‘ The cost of the<br /> production of these thousand copies is... .<br /> That works out to a fixed sum percopy. The<br /> usual price at which the books are sold is. .<br /> That works out to a fixed sum per copy,<br /> and your royalty on that copy is ....<br /> per cent. If I sell the book at the price<br /> demanded I am losing so much percentage of<br /> my profits. I ask you, therefore, to bear a<br /> proportionate share of the loss.” If this<br /> information was given the author might<br /> consider whether it was a fair deal and whether<br /> he cared to reduce his royalty in the circum-<br /> stances, but, as a general rule, when the<br /> author makes inquiry as to what the publisher’s<br /> loss of profit is at the reduced price, he is met<br /> either with an evasive answer or by a letter of<br /> regret that the author is trying to throw doubt<br /> on the statement he has made. The author,<br /> therefore, is left in the position of a person<br /> who is asked to buy a house and is forbidden<br /> <br /> <br /> <br /> 145<br /> <br /> to look over the premises and see what it<br /> is worth, or in the position of a man who<br /> buys a horse and is refused by the owner a<br /> veterinary surgeon’s certificate. In other<br /> trades the position would be looked upon as<br /> absurd, but in the publishing trade such a<br /> position for the author is not at all uncommon ;<br /> but the author’s position is rather worse than<br /> the buyer in the ordinary market, as he is<br /> already interested in the sales of the work to<br /> the extent of his royalty, and he does not want<br /> to make a loss if it can be avoided.<br /> <br /> We do not want to discuss the question of<br /> how far the purchasing authority has the right<br /> to cut down the publisher. We only desire<br /> to deal with it as between the publisher and<br /> the author, and if a position of confidence is<br /> to be maintained between the author and<br /> publisher, it is essential that the fullest details<br /> should be forthcoming. In the instances that<br /> have been referred to the Society the<br /> publisher has not been willing to give the<br /> requisite details.<br /> <br /> Oa<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> ——+ 4<br /> <br /> BooKMAN.<br /> <br /> Lord Morley as a Man of Letters. By Alexander<br /> Mackintosh.<br /> <br /> Galsworthy’s Plays. By W. W. Gibson.<br /> <br /> Poetry. By Edward Thomas.<br /> <br /> BritisH Review.<br /> <br /> The Faery Poetry of W. B. Yeats. By W. T. Stace.<br /> Falstaff: The English Comic Giant. By W. L. George,<br /> <br /> ForRTNIGHTLY.<br /> <br /> The Windows. By Maurice Hewlett.<br /> <br /> St. John Hankin and His Comedy of Recognition. By<br /> P. P. Howe.<br /> <br /> The Grand Prix de Litterature of 1912.<br /> Theodora Davidson.<br /> <br /> By Lady<br /> <br /> <br /> <br /> SCALE FOR ADVERTISEMENTS,<br /> <br /> <br /> <br /> {ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.}<br /> <br /> Front Page pS ae aes aaa ae<br /> <br /> Other Pages<br /> <br /> Half of a Page ...<br /> <br /> Quarter of a Page<br /> <br /> Eighth of a Page Pe — She ee<br /> <br /> Single Column Advertisements per inch<br /> <br /> Reduction of 20 per cent. made for a Series of Six and of 25 per cent, for<br /> Twelve Insertions.<br /> <br /> All letters respecting Advertisements should be addressed to J. F<br /> Betmont &amp; Co., 29, Paternoster Square, London, E.C.<br /> <br /> <br />  <br /> <br /> HOW TO USE THE SOCIETY.<br /> ON<br /> <br /> lL. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <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 /> <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 /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <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 /> <br /> 5. 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 im the<br /> Prospectus.<br /> <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 /> <br /> This<br /> The<br /> <br /> 7, Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 is per<br /> annum, or £10 10s. for life membership.<br /> <br /> Oo<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> Oe<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling it Outright.<br /> <br /> This is sometimes satisfactory, if a proper price: can be<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <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 /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement).<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <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 /> <br /> (3.) Not to allow a special charge for ‘office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) 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 /> <br /> III. The Royalty System.<br /> <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 /> <br /> I¥. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous te the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <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 /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> <br /> <br /> —————<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> —— 9<br /> <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 /> <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 /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> <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 /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> (b.) 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 inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (‘.c., fixed<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 /> <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 /> <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 /> <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 /> <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 /> <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 /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10, An author 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 /> <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 /> <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 /> <br /> AGN eee<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> —_—<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> <br /> a registration fee of two shillings and. sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<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 /> <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 2s. 6d. per act.<br /> <br /> <br /> <br /> 147<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> — a<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&#039;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 /> —_—__——_+—&gt;—_—__<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> <br /> <br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> <br /> a 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 /> <br /> ee<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <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 /> <br /> —______+—@—+ —____<br /> <br /> THE READING BRANCH.<br /> <br /> oe<br /> EMBERS will greatly assist the Suciety in this<br /> 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 it 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 /> oa<br /> <br /> REMITTANCES.<br /> <br /> <br /> <br /> a :<br /> <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 seat by registered<br /> letter only.<br /> <br /> <br /> COLLECTION BUREAU.<br /> <br /> PYNHE Society undertakes to collect accounts and moneys<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> <br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> #%. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause I9, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments ;—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> The Bureau is, in no sense, a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> -—- +<br /> <br /> GENERAL NOTES.<br /> <br /> a<br /> “THE AutTHorS’ LEAGUE OF AMERICA.”’<br /> <br /> WE are glad to hear that ‘“‘ The Authors’<br /> League of America ’”’ was incorporated under<br /> the laws of the State of New York on Decem-<br /> ber 18, 1912. On the council we see the<br /> following names :—Samuel Hopkins Adams,<br /> Gertrude Atherton, Ellis Parker Butler,<br /> Winston Churchill, Rachel Crothers, Walter<br /> P. Eaton, Hamlin Garland, Ellen Glasgow,<br /> Robert Grant, Will Irwin, Owen Johnson,<br /> Charles Rann Kennedy, Cleveland Moffett,<br /> Meredith Nicholson, Harvey J. O&#039;Higgins,<br /> Will Payne, Milton Royle, William M. Sloane,<br /> A. E. Thomas, Augustus Thomas, Louis<br /> Joseph Vance, Carolyn Wells, Jesse Lynch<br /> Williams, and the executive committee, in<br /> whose hands the work of the League will rest,<br /> is composed of the following members :—<br /> Rex Beach, Gilett Burgess, Rupert Hughes,<br /> George Barr McCutcheon, Kate Douglas Riggs,<br /> Ida M. Tarbell, Arthur Train. We wish the<br /> League every possible success, not only for<br /> itself, but for selfish reasons also. The in-<br /> formation it should be possible to obtain on<br /> many difficult points in the American market<br /> will be of the greatest value to the Society of<br /> Authors. The Society of Authors isat present<br /> acting with the League of Dramatic Authors<br /> in America. A notice to this effect is published<br /> on another page. Unlike the dramatic authors<br /> in England it has established itself as a separate<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> body. The same separate organisation exists<br /> in France. This is a pity, because where all<br /> authors are combined, the force of the organisa-<br /> tion, and its financial capacity, is enormously<br /> strengthened. We have received a copy of<br /> the “Constitution and By-Laws” of the<br /> Authors’ League of America, and perceive that<br /> these are to a great extent based on the work<br /> and methods of our own Society. Imitation<br /> is (to use the old proverb) the sincerest flattery,<br /> <br /> Ricuts oF TRANSLATION.<br /> <br /> WE desire to repeat a warning which we<br /> have previously given to writers in connection<br /> with the disposal of foreign rights in their<br /> works. Authors are inclined to treat these<br /> ‘‘minor”’ rights as so much money gained if<br /> \they are placed, but as not sufficiently<br /> ‘important to justify a firmer stand for decent<br /> prices and fair contracts. A correspondent<br /> in Sweden, who is also an agent in that<br /> country for the disposal of the Swedish rights,<br /> complains to us of English and American<br /> authors (though he lays the blame chiefly<br /> on the English) who sell their rights for<br /> next to nothing. He states: “I have been<br /> preaching all the time £10 for sole or book<br /> right ; £5 for serial right in one newspaper, is<br /> easily to be had by every author.”’<br /> <br /> It is to be hoped that authors will take this<br /> advice to heart. When they contract with the<br /> British publisher they must see, by refusing<br /> to surrender the minor rights which English<br /> publishers are so fond of demanding, that they<br /> are in a position to act upon it. It is the<br /> business of every author to keep up the price<br /> of his literary work to the fair market value,<br /> both in Great Britain and elsewhere.<br /> <br /> NEVER SELL THE COPYRIGHT.<br /> <br /> WE have frequently warned members against<br /> the transfer of copyright to the publisher. Such<br /> a transfer, unwise as it was under the old Copy-<br /> right Act of 1842, is nothing short of disastrous<br /> under the Act £1911. Copyright, as defined<br /> by the latter Act, includes many rights not pre-<br /> viously enjoy.d by auth:rs, dramatists and<br /> composers. Much of the increased protection<br /> given by the Legislature to the creators of<br /> intellectual property was gained by the Society<br /> only after a very keen struggle with the various<br /> trade interests involved. It is important, there-<br /> fore, if the efforts of the Society are not to be<br /> rendered futile, that members should refuse<br /> to part with the copyright however pressing<br /> the assertion of the publishers.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> Veto yey Bile, Penna<br /> {LAS Mae fa i.<br /> thc LTE<br /> <br /> a ei<br /> 4<br /> <br /> <br /> <br /> THE AUTHOR. 149<br /> <br /> To ComMPposERs.<br /> <br /> Tuts advice, while of general pplication to<br /> authors, ccmposers and dramatists, is of<br /> particular importance in the case of the ocm-<br /> poser. Under the Act of 1911 the composer,<br /> although he had assigned his copyright before<br /> the Act came into force, was still allowed,<br /> subject to certain conditions, to retain the<br /> right of mechanical reproduction in his work<br /> in spite of such assignment. It seems, however,<br /> from recent evidence, that composers consider<br /> this principle applies to any contract entered<br /> into after the Act comes into force, that is<br /> after July, 1912; that, in fact, although they<br /> assign their copyright, they do not assign the<br /> rights of mechanical reproduction. This<br /> deduction is entirely false. Any assignment of<br /> copyright after the Act has come into force<br /> assigns to the publisher the right of mechanical<br /> reproduction. Indeed, the copyright of the<br /> composer is so wide, and embraces so many<br /> points nowadays under the Act of 1911, that<br /> any transference leaves the composer in a<br /> hopeless condition, But it is with regard<br /> to the production by mechanical instruments<br /> that he is likely to suffer most if he assigns<br /> the copyright to the publisher.<br /> <br /> The publisher will have the right to license or<br /> refuse to license the work for reproduction by<br /> mechanical instrument, and the composer will<br /> have no voice and will be, as usual, at the<br /> publisher’s mercy. Then, from the financial<br /> point of view, it is possible that the com-<br /> poser, through ignorance, might not make<br /> any stipulation for payment and if he had<br /> assigned the copyright, and there was no special<br /> payment to be made on mechanical reproduc-<br /> tion, then he would receive no payment at all<br /> beyond the royalty which might be due to<br /> him on printed copies of the sheet music.<br /> But when the financial question is mentioned<br /> the publishers generally claim that 30 or even<br /> 50 per cent. should be paid to themselves.<br /> They have put forward as an argument<br /> that the publication of the work, brought<br /> out at their expense (they might perhaps<br /> have said by their generosity) and by their<br /> business capacity, alone makes the mechanical<br /> rights of zny value whatever; but the<br /> exact opposite is gradually getting to be<br /> the case; for the production of the work on<br /> the pianola and other mechanical instruments<br /> acts as an enormous advertisement for the sale<br /> of the sheet music. Instead, therefore, of the<br /> publisher be ng paid 30 per cent. of the fees as<br /> a reward for his generous publication, he ought<br /> really to pay the author a certain sum, if he will<br /> allow his work to be mechanically reproduced,<br /> <br /> ,<br /> <br /> The Society’s Collection Bureau undertakes<br /> the collection of these fees on a 15 per cent.<br /> basis, merely asking the composer to defray<br /> the cost of manufacture of the necessary stamps.<br /> <br /> This point, then, must be repeated, that<br /> unless the composer retains the copyright of<br /> his composition, he cannot veto the mechanical<br /> reproduction of his work, as he may, in some<br /> cases, desire todo. In the case of compositions<br /> published after the Act came into force, the<br /> copyright owner has power to say whether or<br /> not he will permit the work to be mechanically<br /> reproduced. If he permits one such reproduc-<br /> tion, then other companies may reproduce<br /> subject to the terms of the Act. This power,<br /> it is clear, should rest with the composer, who<br /> has created the work, and not with the<br /> publisher. But it will rest with the publisher<br /> if the composer is so unwise as to assign his<br /> copyright.<br /> <br /> New Year Honours.<br /> <br /> New Year’s honours were conferred upon<br /> Mr. G. W. Forrest and Dr. Francis Darwin,<br /> both of whom have been members of the<br /> Society of Authors for some years. Sir G. W.<br /> Forrest is well known for his ‘‘ History of<br /> the Indian Mutiny,” in three volumes, and for<br /> his ‘* Life of Sir Neville Chamberlain,” and for<br /> the compilation of records from the India<br /> Record Office, while Sir F. Darwin has upheld<br /> his father’s reputation in his scientific studies<br /> and research.<br /> <br /> THE SOCIETY OF AMERICAN DRAMATISTS<br /> AND COMPOSERS.<br /> <br /> eae<br /> HE Society of American Dramatists<br /> and Composers forwarded the following<br /> letter to the Dramatic Sub-Committee<br /> of the Society.<br /> <br /> “ Ata meeting of the directors of the Society of American<br /> Dramatists and Composers, on the motion of the secretary,<br /> seconded by the treasurer, it was unanimously voted to<br /> make an effort to establish some relation between the<br /> American Society and the Society of Authors in England.<br /> Mr. Charles Klein was appointed chairman of a committee<br /> whose duty it shall be to draft a set of propositions which<br /> will tend to establish reciprocal relations between the two<br /> societies. i<br /> <br /> “Your committee submits the following tentative<br /> suggestions :—<br /> <br /> “That any dramatist, ‘a member of the Society of<br /> Authors in England, having the proper credentials, or a<br /> card from the Society of the English organization, shall be<br /> entitled to use the American Society&#039;s rooms as his postal<br /> or business address for three months without payment of<br /> any dues.<br /> <br /> * He shall also be entitled to receive all benefits enjoyed<br /> <br /> <br /> 150<br /> <br /> by members in good standing—attend the meetings, etc.,<br /> etc., but shall not be permitted to vote.<br /> <br /> ** The officers of the Society will furnish him all advice<br /> and information concerning managers, authors, agents,<br /> etc., and other theatrical men; in fact, any information<br /> incidental to the pursuit of his calling.<br /> <br /> ** Should it be necessary for him to go to law concerning<br /> his play, its copyright, etc., the Society will advise him in<br /> regard to the proper lawyer to undertake such case or, at<br /> his request, would undertake to settle his case through the<br /> Society’s regular arbitration board, consisting of seven of<br /> the leading dramatists in this Society ; thus giving the<br /> applicant not only a valuable professional standing, but a<br /> fair guarantee of protection against unscrupulous lawyers<br /> and managers.<br /> <br /> “The committee submits that the above propositions<br /> will not only be a valuable aid to the aspiring playwright<br /> who decides to make America a temporary home or whilst<br /> placing his play ; but it will give him an opportunity to<br /> meet his fellow craftsmen under circumstances which will<br /> make it not only a duty but a pleasure for them to render<br /> him all the assistance within their power.<br /> <br /> “It shall be the duty of the secretaries of each Society<br /> to keep their members posted as to all changes in copy-<br /> right laws and, if possible, to co-operate in an effort to<br /> pass an international law which shall be mutually<br /> advantageous.”<br /> <br /> The Dramatic Sub-Committee referred the<br /> matter to the Committee of Management with<br /> a warm recommendation to accept, as far as<br /> possible, the proposal for reciprocity set out<br /> in that letter. At the last meeting of the<br /> Committee of Management, the secretary was<br /> instructed to write to the secretary of the<br /> Society of American Dramatists and Com-<br /> posers, saying that as far as their letter referred<br /> to business relations between the members of<br /> both societies, the Committee would be ex-<br /> ceedingly pleased to adopt the suggestion put<br /> forward to give the American dramatic author<br /> every help and assistance in the publication<br /> and production of his works in England, and<br /> in the matter of confidential advice as to the<br /> responsibility of those who were connected with<br /> the theatrical and dramatic business. The com-<br /> mittee regretted, however, that as the Society<br /> of Authors was purely a business Society, they<br /> could not offer the further hospitality of the<br /> use of rooms, as the Society had no rooms at<br /> their disposal for social gatherings.<br /> <br /> It is to be hoped that this closer union of<br /> the two Societies may afford great assistance<br /> to the members of the Society of Authors, as the<br /> secretary from time to time is in need of advice<br /> and help concerning the responsibility of<br /> managers in America, and that the Society’s<br /> lawyers in New York may find the aid which<br /> the Dramatic Society in America can give of<br /> the greatest value in any action that may be<br /> taken in America. It is to be hoped also that<br /> the American Society will utilise the informa-<br /> tion at the disposal of the English Society’s<br /> offices.<br /> <br /> THE AUTHOR.<br /> <br /> MESSRS. JOHN LONG, LTD., AND THE<br /> SOCIETY OF AUTHORS.<br /> <br /> pee<br /> W* have received the following letter<br /> from Mr. John Long, managing<br /> <br /> director of John Long, Ltd :—<br /> <br /> 12, 13 &amp; 14, Norris Street,<br /> Haymarket,<br /> <br /> London.<br /> <br /> 9th January, 1913.<br /> Dear Sin,—Seeing that The Author, in its current<br /> number, gives publicity only to an extract—this of its own<br /> choosing—from our recent correspondence, we trust your<br /> Society, which always represents itself as zealous in secur-<br /> ing the observance of principles of justice and equity, will<br /> now have the goodness to publish the full text. In the<br /> event of the Society failing to do so the false impression<br /> created remains. We enclose you copies of our two letters<br /> in question and hope to see them printed in the next issue<br /> of The Author, thereby affording members an opportunity<br /> <br /> of drawing their own conclusions.<br /> Faithfully yours,<br /> Joun Lone, Limrrep.<br /> Joun Lone,<br /> Managing Director.<br /> G. Hersert Turing, Esq.<br /> <br /> We accordingly publish in full the letters to<br /> which he refers :—<br /> <br /> [copy.]<br /> 15th November, 1912.<br /> Dear Sir,—We have to acknowledge receipt of your<br /> letter of the 12th inst. and much regret the position you<br /> have taken up. Obviously it is not your intention, and<br /> thus the intention of your Society, to be interested in the<br /> equity of the matter nor indeed to promote harmony in<br /> settling questions between author and publisher. Primaril<br /> we should have thought a Society such as yours would have<br /> seen to it that its workings were directed to the achieve-<br /> ment of that pacific object, but unfortunately evidence to<br /> the contrary is constantly being brought to our notice. It<br /> would appear that immediately an author joins the Society<br /> he is taught to look on the publisher in the most odious<br /> light, as witness the repeated articles against publishers as<br /> a class in its monthly periodical. We know of no other<br /> publication run on similar lines.<br /> Faithfully yours,<br /> Joun Lone, Limirep.<br /> (signed) Joun Lone,<br /> Managing Director.<br /> G. Hersert Trine, Esq.<br /> <br /> [copy.]<br /> 21st November, 1912.<br /> <br /> Dear Sir,—We have yours of the 16th inst. and main-<br /> tain that our last communication is justified. We speak<br /> for ourselves and from our own experience. Authors have<br /> originally been on friendly terms with us, socially as well<br /> as in the course of business, and yet have subsequently<br /> adopted a different and frequently hostile attitude towards<br /> us, the change synchronizing with their becoming members<br /> of your Society. This we ascribe, in the main, to their<br /> having become imbued with the views expressed in the<br /> Society’s monthly publication and other literature issued<br /> by it.<br /> <br /> We have no desire to prolong correspondence with you<br /> on this subject. The policy the Society would appear to<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> pursue is one of aggression to publishers generally—we<br /> wish we could think otherwise. Unless an agreement is<br /> such as the Society of Authors would approve, the pub-<br /> lisher who makes it is, as you will admit, liable to be<br /> pilloried in their monthly publication. We think it would<br /> <br /> be only just that you should acquaint yourself as to how<br /> the particular accounts figure in publishers’ ledgers before<br /> comment is made upon the workings of agreements between<br /> authors and publishers. You would then find that the<br /> hypothetic profits you allege are, not infrequently, losses<br /> to the publishers. The fact cannot be lost sight of that,<br /> in dealing with publishers’ agreements, your Society in<br /> effect takes upon itself the triple réle of counsel for the<br /> prosecution, judge and jury—you present the case from<br /> the point of view of the author&#039;s interest, give the verdict<br /> (always against the publisher), and inevitably condemn<br /> hi<br /> <br /> im.<br /> <br /> There is no bigger gamble in the commercial world than<br /> publishing as, after all, it is really a toss of the coin which<br /> way the cat will jump. I have been thirty years a pub-<br /> lisher and think you will admit I have some knowledge of<br /> my business. I most strongly deprecate the false impres-<br /> sions that are bruited abroad about publishers.<br /> <br /> Faithfully yours,<br /> Joun Lone, LIMITED.<br /> Joun Lone,<br /> <br /> (signed)<br /> Managing Director.<br /> <br /> G. Hersert THRING, Esq.<br /> <br /> We leave the letters to make what impression<br /> they may, but must state that in the cases<br /> between authors and Mr. John Long’s firm, to<br /> which we have given publicity, upon “ the toss<br /> of the coin” the cat has never jumped on the<br /> author’s side.<br /> <br /> ee<br /> <br /> ROYALTY AGREEMENTS.<br /> <br /> ——<br /> <br /> <br /> <br /> PUBLISHERS’<br /> <br /> Royvatties ON EnciisH SAEs, PRoFit<br /> SHarine IN U.S.A. SALES.<br /> <br /> ‘2 an agreement which has come frequently<br /> before the society, issued by one of the<br /> most important publishing houses in<br /> <br /> London, there is a clause which needs very<br /> drastic comment. It is essential, owing to the<br /> importance of the house from which the agree-<br /> ments are issued, that authors should take the<br /> matter into their serious consideration and<br /> should be prepared to deal with the clause<br /> should it at any time be submitted to them<br /> for signature.<br /> <br /> It is an arrangement by which the author is<br /> paid a royalty on all English sales, but, if the<br /> United States copyright is not obtained, half<br /> profits on sales to the United States. If this<br /> clause is inserted in the usual half profit agree-<br /> ment, there is little to be said against it; in<br /> that case the only points at issue are: Isa profit-<br /> sharing agreement desirable ; in what propor-<br /> tion should profits be divided between author<br /> and publisher? But if the clause is inserted<br /> <br /> 151<br /> <br /> in an agreement where the author is to obtain<br /> a royalty on the publication of the English<br /> edition, there is one very strong point of<br /> objection.<br /> <br /> The objection rests on the fact that a clause<br /> drafted on these lines is a distinct pitfall to the<br /> author. Itisa pitfall for the following reasons:<br /> Because to the ordinary person the difficul-<br /> ties with which the clause is pregnant are<br /> altogether invisible. Because the amount the<br /> author receives in royalty is always calculated<br /> see the books of the Society on this point—on<br /> <br /> <br /> <br /> the basis that the full cost of composition is |<br /> <br /> charged against the English edition.<br /> were not the case the author ought to receive<br /> a higher royalty on British sales. Let us<br /> explain what we mean more fully.<br /> Take the ordinary 6s. book :—<br /> £ sid:<br /> <br /> Cost of composition<br /> copies oe<br /> <br /> Cost of printing<br /> <br /> Cost of paper .<br /> <br /> of 3,000<br /> ve 2. 735<br /> 20<br /> 30<br /> <br /> ooo<br /> Oo ooo<br /> <br /> £85<br /> <br /> oS<br /> <br /> <br /> <br /> Of the 3,000 copies the publisher sends<br /> 1,000 to America, and receives for the same<br /> (say) 1s. per copy £50. The cost of composi-<br /> tion was compulsory for the completion of the<br /> English edition, the author’s royalty, as stated,<br /> being based on this understanding ; but the<br /> publisher takes one-third of this cost towards<br /> the American edition, as well as one-third of<br /> the cost for the print and the paper, leaving to<br /> be divided between himself and the sao<br /> <br /> £. s. d.<br /> <br /> By sale of 1,000 copies to<br /> <br /> America os , ve<br /> <br /> : 50 0 0<br /> One-third cost of production. .<br /> <br /> 28 6 8<br /> <br /> <br /> <br /> £21 138 4<br /> <br /> <br /> <br /> Thus each party would get £10 16s. 8d.<br /> But the cost of composition ought not to be<br /> charged against the American edition, only<br /> the cost of print and paper, so that the real<br /> half-profit arrangement would be - :<br /> e4.<br /> By sale of 1,000 copies in<br /> America. s<br /> One-third cost<br /> <br /> paper<br /> <br /> : . 50 0 O<br /> of print and<br /> &lt; .. 1618 4<br /> <br /> ————————<br /> <br /> £38 6 8<br /> <br /> <br /> <br /> Thus each party would get £16 13s. Ad.<br /> <br /> Tf this |<br /> <br /> <br /> <br />  <br /> <br /> Instead, therefore, of the author receiving<br /> £10 16s. 8d. he ought to get £16 13s. 4d.<br /> <br /> To show how this method may be worked<br /> out in the interests of untrustworthy pub-<br /> lishers unfairly to the author, say the pub-<br /> lisher in the first instance only publishes a<br /> <br /> thousand copies. The cost of production<br /> would be :—<br /> £ &amp; wd.<br /> Cost of composition .. &gt;. 85 70-0<br /> Cost of printing 2 -. 10 0 ©<br /> Cost of paper .. Se -. 150 0<br /> £60 0 0<br /> <br /> He sells 500 copies to America, and on the<br /> same principle the following sum is worked<br /> out :—<br /> <br /> <br /> <br /> 2 gd.<br /> <br /> Half cost of production is 30 0 0<br /> By sale of 500 copies to<br /> <br /> America at 1s. copy -. 26°90 0<br /> <br /> Loss on sale £5 0 0<br /> <br /> <br /> <br /> This’ would leave a deficit against the<br /> author&#039;s account of £2 10s. as the sale to<br /> America has apparently failed to cover the<br /> cost of production. Whereas, if the profits<br /> had been worked out fairly, the cost of composi-<br /> tion being chargeable to the English edition,<br /> the figures would have come out :—<br /> <br /> <br /> <br /> £6. od:<br /> Sale of 500 copies to<br /> America aS ae 25: 0-0<br /> Half the cost of print and<br /> paper oe i -. 12: 10° 0<br /> £12 10 O<br /> <br /> Thus the author would have a profit of<br /> £6 5s. instead of a deficit of £2 10s.<br /> <br /> As soon as the edition is sold and the amount<br /> is worked out against the author the pub-<br /> lisher prints 10,000 copies for the English<br /> edition, but never takes into account the<br /> proportion of the cost of production of the<br /> 500 sent to America to the 10,000 printed in<br /> England. Again, suppose you take the first<br /> instance, and 20,000 were sold subsequently,<br /> the cost of the 1,000 sold to America is still<br /> taken in proportion to the cost of the 3,000 of<br /> the first edition printed, and not in proportion<br /> to the whole cost.<br /> <br /> It will be seen, therefore, that quite apart<br /> from the contract being unfair, and a pitfall<br /> to the unwary (as on the face of the agreement<br /> the difficulty is invisible), even if it is worked<br /> out by a publisher with an honest idea of doing<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> nothing dishonourable, the result of its work-<br /> ing, its natural evolution, becomes a fraud on<br /> the author, as it is impossible to calculate his<br /> sale to America on the basis of future sales.<br /> It must always be calculated on the basis of<br /> the number produced in the first edition.<br /> The position is ridiculous.<br /> <br /> i ge<br /> <br /> UNREVIEWED BOOKS.<br /> <br /> —— a<br /> <br /> Wi becomes of them? What is their<br /> ‘Y ultimate fate? The Bookseller lately<br /> <br /> informed us that in the year 1910<br /> about 5,000 new books were published, and in<br /> 1911, 8,500, or an increase of 70 per cent.<br /> Not by any possibility could a moiety of these<br /> be reviewed. The exigencies of an editor’s<br /> time and space would prevent any possible<br /> notice or review. What then is the destiny of<br /> these unfortunate volumes? It is a puzzling<br /> problem. There is no waste paper basket in<br /> any periodical office strong or big enough to<br /> hold even a month’s discarded books.<br /> <br /> Do they become the office boy’s perquisites,<br /> to fill the void of his uncompleted education<br /> at the school board? Perchance they serve<br /> as weapons of defiance, missiles to hurl at cruel<br /> and unforgiving parents in East End courts.<br /> Are these unreviewed waifs and strays of<br /> literature eventually sold as waste paper to a<br /> rag and bone merchant, to be wrought again<br /> into pulp and paper so that the fine conceptions<br /> and emanations of a fruitful brain may be<br /> converted into virgin sheets on which new<br /> aspirants to literary fame may score their<br /> original ideas ? Do the weary and despondent<br /> editors, irate at the fate that compels them to<br /> sit in judgment on other people’s work,<br /> deliberately burn these effete and sad volumes,<br /> so that transmitted thought, like the brains<br /> that originated it, may eventually become only<br /> dust and ashes !<br /> <br /> Perhaps the collected volumes, after a time,<br /> have to be cleared out of the office in order to<br /> economise space, and these en bloc, are sold<br /> for waste paper to neighbouring grocers or<br /> milkmen. This may be their end after all;<br /> the book which demanded and obtained fame<br /> may afterwards be turned to base uses !<br /> <br /> ‘‘Imperious Cesar, dead and turned to clay,<br /> Might stop a hole to keep the wind away.”<br /> <br /> It might happen that these printed visions<br /> may come home to their authors wrapped in<br /> <br /> their original leaves, containing margarine or<br /> a piece of indigestible steak. Who knows?<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 1:<br /> <br /> ao<br /> 53<br /> <br /> The hapless author may well be filled with<br /> dread in imagining the ultimate fate of his<br /> unreviewed book, and give up the haunting<br /> puzzle in despair.<br /> <br /> I dare say the book-lover, in looking over<br /> the displays of very cheap volumes on the<br /> stands in the open street may feel a sad wistful-<br /> ness at beholding one of his cherished<br /> unreviewed volumes for sale, let me say, at an<br /> unreasonable price of twopence.* Even with<br /> the comfort that splendid thoughts cannot be<br /> valued in sordid cash, that the vulgar dross of<br /> pennies may be quite eliminated from ennobling<br /> aspiration expressed in print, still an arriére<br /> pensée must linger of misplaced effort and<br /> wasted hours—all computed to be worth two<br /> pennies !<br /> <br /> 2% * * *<br /> <br /> I am of opinion that every publisher and<br /> author should enclose the necessary stamps<br /> for the return of the book, should it be found<br /> that its review was an impossibility. After<br /> all, the book was to serve an end intended by<br /> the author for the public, and I don’t think that<br /> any editor has the moral right to retain what<br /> is sent him for one purpose only. It may be<br /> said that this would prove a needless waste of<br /> the editor’s or his deputy’s time, that the<br /> volume, like an MS., never asked for, lies at<br /> the writer’s risk; and yet, I imagine that a<br /> little human consideration for the author might<br /> not be amiss in the matter.<br /> <br /> At all events, a mass of unreviewed books is<br /> a positive fact—and their possible fate is only<br /> a conjecture. And, if not returned, I might<br /> suggest that instead of coming to any ultimate<br /> base uses, they might serve a more worthy<br /> purpose.<br /> <br /> We have homes for stray dogs and cats,<br /> why not then a home for unreviewed books,<br /> whence they might be sent to hospitals for the<br /> benefit of those pining for something fresh to<br /> read. Consider the number of pent-up, suffer-<br /> ing men and women, whose lives might be<br /> cheered, comforted and delighted with these<br /> new unreviewed books. This, then, seems<br /> their proper end and destination—and surely<br /> in this altruistic land there are very many<br /> who have the means and energy to cast this<br /> idea of mine into practical form. Then the<br /> fate of unreviewed books need no longer be a<br /> matter of uncertainty, and their writers,<br /> instead of desponding, would be gladdened.<br /> <br /> IstporE G. ASCHER.<br /> <br /> * I once bought one of my own novels in perfect<br /> condition at this figure, and an early vol. by Hichens at<br /> threepence.<br /> <br /> <br /> <br /> STAGE COPYRIGHT.<br /> Deo ee<br /> <br /> HE perusal of a number of books by<br /> experts on any giv n subject should<br /> not, in the mind of the ardent student,<br /> <br /> tend to confuse the issues, but should rather<br /> enable him to organise his cwn pinions and<br /> assist him in making his own de uctions.<br /> Every student of the Copyright Law will<br /> therefore welcome another scholarly book on<br /> the subject, ‘* Stage Copyright at Home and<br /> Abroad,” by Bernard Weller, published from<br /> the Stage office, 16, York Street, Covent<br /> Garden. The book shows a careful and earnest<br /> study. There is one remark in the introduc-<br /> tion to which special attention should b » drawn.<br /> The author, dealing with the performing<br /> rights, after pointing out the advantages<br /> obtained under the Act, realises the importance<br /> —as copyright runs from the day the play, etc.,<br /> is set down in writing—that that date should<br /> be accurately fixed, and suggests that the<br /> author should get his typewriter to date the<br /> copy and procure creditable witnesses of the<br /> fact; the point is indeed well taken. With<br /> the object of fixing the date, the Society in-<br /> stituted some time ago a Register of Scenarios,<br /> which has been found increasingly useful. No<br /> doubt those who study Mr. Weller’s book will<br /> take the hint.<br /> <br /> He suggests in his preface that much has<br /> been done to protect the dramatist against<br /> infringement and piracy, though perhaps not<br /> so much as for other classes of authors, but<br /> sums up that the Act is comprehensive, and<br /> with the Berlin Convention, is caleulated to<br /> give our authors nearly all that they can<br /> reasonably desire.<br /> <br /> With the first part of the statement it is<br /> difficult t» agree. It is true that the summary<br /> proceedings may prove inadequate—they were<br /> ruthlessly and quite unwarrantably cut down<br /> in Committee—but they do give, first, a<br /> protect on never before afforded, and they do<br /> give a good ceal to the dramatist. On other<br /> points it would eppear that the dramatist has<br /> a wider security and a larger field than others.<br /> <br /> The real point, however, in a work of this kind<br /> is not the author&#039;s opinion of the Act, though<br /> on the whole it is sound and reasonable, but<br /> his critical treatment of th» different clauses,<br /> and his explanations of the new position. On<br /> these points he has shown trustworthy judg-<br /> ment, and his hints to authors on their newly<br /> acquired property are wise&#039;y conceived. He<br /> draws attention to the fact that assignment of<br /> copyright in a literary, dramatic and musical<br /> <br /> <br />  <br /> <br /> 154<br /> <br /> work includes the rights of mechanical repro-<br /> duction, and that this fact is one to be borne<br /> in mind, especially by musical composers.<br /> He should have &lt; dded equally, if not more so,<br /> by dramatists, for it is almost impossible to<br /> conceive whit may be the result of cinemato-<br /> graph production in the near future.<br /> <br /> His chapter devoted to this method of<br /> repr-duction is cne of the most interesting<br /> and instructive.<br /> <br /> Finally, it becomes necessary to deal with<br /> the forms of agreement. The introduction to<br /> this portion of the work is not unsatisfactory,<br /> but a careful perusal of the forms brings<br /> conviction that any attempt to make an<br /> exhaustive standardisation must be wholly<br /> unsatisfactory. Forms are excellent aids for<br /> the lawyer or for the man who knows, but they<br /> are terrible pitfalls for the amateur.<br /> <br /> Mr. Weller’s forms are good as a basis, but<br /> they are not and cannot be, by the very nature<br /> of the subject, all embracing, for instance, no<br /> account seems to be taken of repertory pro-<br /> duction which has become so frequent recently,<br /> and he does not anywhere deal with the right<br /> of the author to be present in the theatre and<br /> have tickets for the performance. There are<br /> several other notes of omission, but it is<br /> hardly fair in the very limited space to be too<br /> captious and hypercritical. What the dramatist<br /> should guard against before anything is, that he<br /> should never license out his play for countries<br /> or towns where the manager does not intend<br /> to produce, or if he intends, has not produced<br /> within a definite time. Mr. Weller, although<br /> he does not emphasise the point, has shown<br /> amply how the dramatist should protect<br /> <br /> <br /> <br /> <br /> <br /> himself.<br /> op +—~e<br /> <br /> GUIDE TO THE COPYRIGHT ACT, 4941.&quot;<br /> pare<br /> <br /> HROUGH the courtesy of the Publishers’<br /> Association, the Society of Authors has<br /> been able to add another work on<br /> <br /> Copyright to its copyright library.<br /> <br /> When the Act of 1911 was passed, Mr. E. J.<br /> Macgillivray published, with Stevens &amp; Sons, a<br /> work setting out the Act, explaining clause by<br /> clause the then existing law, and the law under<br /> the Act.<br /> <br /> The present book, by the same author, is not<br /> so ambitious in its scope ; it is merely, what its<br /> title states, a guide.<br /> <br /> It does not follow the clauses of the Act in<br /> detail, but adopts a different arrangement. One<br /> <br /> * «Quide to the Copyright Act, 1911,” by E. J’<br /> <br /> Macgillivray. Published by. The Publishers’ Association<br /> St ationery Hall Court, London.<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> that will make things easier for those who want<br /> a guide.<br /> <br /> The order of chapters is as follows :—<br /> <br /> I. Range of Imperial Copyright.<br /> <br /> II. Works Protected: oe<br /> <br /> III. Duration of Copyright.<br /> <br /> IV. Content of Copyright.<br /> <br /> V. Right to reproduce without licence<br /> or payment to owner of Copy-<br /> right.<br /> <br /> VI. Right to reproduce without licence<br /> on payment of a Royalty.<br /> VII. First owner of Copyright.<br /> VIII. Passing of Copyright by Operation<br /> of Law.<br /> IX. Assignment of Copyright.<br /> <br /> X. Licence.<br /> <br /> XI. Infringement and Remedies.<br /> XH. Mechanical Instruments.<br /> XIII. Notice to Commissioners of<br /> Customs.<br /> XIV. Delivery of Books to Libraries.<br /> XV. Copyright in Foreign Countries.<br /> XVI. Copyright in United States of<br /> America.<br /> XVII. Copyright in Foreign Works.<br /> <br /> The book is, without the Appendix, ninety<br /> pagesinlength. It would be impossible within<br /> that space to cover all the ground, but there is<br /> much useful information which should not<br /> escape the careful study of those who are<br /> anxious to learn. The Chapters on “ the<br /> Assignment of Copyright,” IX., and ‘‘ Licence”’<br /> X., are especially illuminating.<br /> <br /> Some of the Chapters—I., II., III., for<br /> instance—are little more than statements of<br /> facts, but others show the full knowledge and<br /> keen insight of the author.<br /> <br /> It is certainly a useful book within its<br /> limitations.<br /> <br /> ——————————<br /> <br /> BOOK-PRICES CURRENT.*<br /> <br /> —<br /> <br /> ARTS IV. and V. for 1912, completing<br /> Pp the twenty-sixth volume of “* Book<br /> Prices Current,”’ are lying before us.<br /> <br /> We always have occasion to bestow the highest<br /> praises on this publication, and to repeat that<br /> it can be rightly appreciated only by those<br /> who peruse its contents. The preface of the<br /> present volume is more than usually interesting.<br /> The whole sum resulting from the book sales,<br /> aud the average prices of the lots have, during<br /> 1912, reach unprecedented sums. The total<br /> value is £181,780, and the average price<br /> exceeds £5. The Huth sale, not yet completed,<br /> <br /> <br /> <br /> * © Book-Prices Current.’ London. Elliot Stock, 1912.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 155<br /> <br /> has produced these unprecedented results, two<br /> portions of the Huth sale alone having brought<br /> in nearly £81,000. Only one sale held in this<br /> <br /> country has represented a larger sum of money :<br /> <br /> that of the library of William Beckford, of<br /> Fonthill (1823—-1883), which produced £89,200.<br /> Of the Huth library, letters A—D alone have as<br /> yet been sold, so that it may be regarded as<br /> certain that this collection will in the end prove<br /> the most valuable that has ever entered the sale<br /> room. In the preface of the volume will be<br /> found a comparison of all the most valuable<br /> libraries dispersed, a comparison which is<br /> necessarily based upon purely commercial<br /> considerations, and duly qualified by the<br /> editor’s remark that allowances must. be made<br /> for differences of date. What the Duke of<br /> Roxburghe’s library, which in 1812 sold for<br /> £12,000, would now fetch can hardly be<br /> imagined.<br /> <br /> The sales recorded extend from April 15,<br /> 1912, to July 31, 1912. Everything else is<br /> throwninto theshade by themarvels of the Huth<br /> library, and where there is so much to be noted,<br /> we regret that our want of space obliges us to<br /> select out of countless entries of interest<br /> only a few of those which would command the<br /> attention of various authors. In the library<br /> of “A Collector” (Puttick, May 13 and 14), was<br /> sold, George Meredith, holograph manuscript<br /> of “ Jump-to-Glory Jane,” for £105. This<br /> is the first draft of the poem, differing very<br /> considerably from what was ultimately pub-<br /> lished. On June 5 Messrs. Sotheby began<br /> the sale of the second portion of the<br /> Huth library, Lots 1229—2596, realising<br /> £30,169 15s. 6d. The record of the books<br /> covers 139 pages, and there is not one of them<br /> that does not mention items of interest. A<br /> first edition of ‘‘ Don Quixote,”’ Parts I. and II.<br /> (1605—1615) uniformly bound, sold for £1,460.<br /> A first edition of Chaucer’s ‘* Canterbury<br /> Tales,’ Caxton, about 1478 (with fifteen leaves<br /> in facsimile) sold for £905. Only two perfect<br /> copies of the book are known to exist. Very<br /> worthy of attention are the various early<br /> editions of the works of the poets Samuel<br /> Daniel and Michael Drayton, and of the plays<br /> of John Dryden. Of the works of De Foe<br /> there were 176 lots, many of them first editions.<br /> The first edition of ‘The Adventures of<br /> Robinson Crusoe,” and of ‘The Farther<br /> Adventures of Robinson Crusoe,’ 2 volumes,<br /> both published in 1719, sold for £70. A sale<br /> of remarkabl: exceptionality was that by<br /> Christie, July 16, of the first four folio<br /> editions of Shakespeare. All were &lt;old<br /> together to Quaritch for £3,500.<br /> <br /> CORRESPONDENCE.<br /> <br /> ——— + —<br /> <br /> EprroriaL Courtesy.<br /> <br /> Dear S1r,—It is, I know, ill work quarrelling<br /> with Editors. A conscientious pursuit of the<br /> policy of taking all things lying down is the<br /> only high road to success. Still one must have<br /> one’s fling sometimes, even at the cost of losing<br /> a market. Believing, as I do, that examples<br /> of the editorial method of conducting business<br /> (which must really read like a fairy tale to other<br /> business men) are of interest to your readers,<br /> I send an account of a recent experience of my<br /> own.<br /> <br /> I sent an article to a weekly review on<br /> January 2 last. It was one of those papers<br /> which definitely state on the front page of each<br /> issue that they do not return MSS., and will<br /> not enter into any correspondence concerning<br /> them. Also they say “any MS. not acknow-<br /> ledged within a month is rejected.” That<br /> would appear to be clear enough.<br /> <br /> Very well: weeks passed. I always like to<br /> be on the safe side, so I gave the editor two<br /> months. Even then I thought it might be<br /> dangerous to take him at his word, so I wrote<br /> and asked him what had become of the article.<br /> To that [had noreply. Very well, more weeks<br /> passed. Towards the end of April I offered<br /> the article elsewhere, and sold it. It appeared<br /> in May. Many weeks passed. In August I<br /> sent another article to the first editor, of which<br /> he promptly sent me a proof. Then I must<br /> suppose he found the original article lying<br /> about the office. It’s curious how things do<br /> turn up. Perhaps he was having a belated<br /> spring cleaning or something—I don’t know.<br /> Anyhow, at the beginning of September I<br /> received, somewhat to my surprise, a proof of<br /> this first article. I wrote by return of post to<br /> tell him that it had already appeared. But I<br /> was too late to stop it. Now that he had found<br /> it he didn’t mean to lose any time (perhaps he<br /> was afraid of it going astray again ?). It went<br /> in the next issue.<br /> <br /> I need hardly say that he never answered<br /> my letter.<br /> <br /> Very well, that left me in the unpleasant<br /> position of appearing to sell the same article<br /> twice. But I don’t think the editor himself<br /> came so badly out of it. At least, as the<br /> direct result of three successive blunders, he<br /> got an article without paying for it. But I<br /> now find that I have done him a grievous<br /> wrong. There has been another spring clean-<br /> ing or something, and he has discovered the<br /> proof of the second article—which he accepted<br /> <br /> <br /> 156<br /> <br /> in August. So he writes to ask me “ in view of<br /> what happened last time,” if this one has ever<br /> appeared before, going on to point out gently<br /> but firmly that I did not treat him at all well<br /> on that occasion.<br /> <br /> There is no need to quote my reply. I<br /> suppose it only means another market lost.<br /> But there are some editors in connection with<br /> whom one is left wondering how they live—if<br /> they ever answer invitations to dinner, or<br /> remember to wind up their watches at night, or<br /> have a clear idea of the day of the week.<br /> <br /> I am, yours faithfully,<br /> Tue Worm THAT TURNED.<br /> <br /> —<br /> <br /> Co-OPERATIVE PUBLISHING.<br /> <br /> Sir,—In recent issues of The Author the<br /> question of °‘ Co-operative Publishing’’ has<br /> several times been brought forward, and—<br /> dropped! Why not keep a good ball rolling ?<br /> It is quite time for authors to have a greater<br /> mede of justice respecting the products of their<br /> own brains, and the only way to attain this is<br /> to lessen the power of the publishers. In this<br /> age of “unions” and _ “co-operative ”<br /> societies of all kinds, nothing but close co-<br /> operative working will bring us the desired<br /> result.<br /> <br /> Even the bookseller, in many cases, has a<br /> greater percentage on a book than the author.<br /> Why so?<br /> <br /> I think Mr. Justice Darling’s suggestion is<br /> admirable. Why not form the Society of<br /> Authors into a publishing union, on a profes-<br /> sional basis ? Publishers would then be only too<br /> glad, even anxious, to give better terms to<br /> authors. Why not approach one of the<br /> millionaires on behalf of such a union for<br /> a start? Those who have the cause of<br /> ‘‘ libraries ’’ so near at heart would surely<br /> further the cause of the authors who supply<br /> the art and literature for such. :<br /> <br /> Also, why not have an extra fortnightly<br /> Supplement to The Author, to facilitate inter-<br /> change of correspondence on matters of vital<br /> importance to Authors? During the month<br /> questions are apt to die down.<br /> <br /> Yours Faithfully,<br /> ** PROGRESS.”<br /> <br /> oo a<br /> <br /> Tue Lirerary YEAR Boox.<br /> <br /> <br /> <br /> Dear Sir,—As others, besides your reviewer,<br /> have questioned the desirability of separate<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> pagination for each part of the current issue of<br /> the “* Literary Year Book,” may I explain that<br /> this arrangement has been adopted in order to<br /> expedite the preparation of the volume for<br /> press. By treating each part as if it were a<br /> separate book, composition and corrections<br /> can be proceeded with simultaneously through-<br /> out the volume in each section. Owing to the<br /> large amount of matter in the book and the<br /> short time available to prepare each new<br /> volume, some such arrangement has become<br /> necessary. I have endeavoured to minimise<br /> any inconvenience arising from this arrange-<br /> ment by supplying a much fuller index than<br /> hitherto.<br /> <br /> The calendar is relegated to the end because<br /> there is no room for it in the first thirty-two<br /> pages (which are printed last).<br /> <br /> As I propose, in future, to discontinue—<br /> except in a much reduced form—a particular<br /> section which is at present of very little prac-<br /> tical use to authors, I hope to be able to devote<br /> more pages to the article on “ Law and<br /> Letters.”’ I agree with your reviewer in that<br /> this section deserves rather fuller treatment, as<br /> it is of importance to authors, expecially to<br /> those entering upon a literary career.<br /> <br /> Yours faithfully,<br /> B. STEwart.<br /> ge<br /> <br /> Tue DisGracE oF NOVEL-WRITING. ‘<br /> <br /> Drar Srr,—Since writing my article on<br /> ‘The Disgrace of Novel-Writing,”’ I have had<br /> the truth of my statements brought home to<br /> me vividly. A week or two before Christmas<br /> I had sent me for review in a certain paper<br /> novels which had been issued from their pub-<br /> lishing houses early last October. I reviewed<br /> them as soon as I could, but the notices have<br /> not yet appeared (January 16), and I have had<br /> more novels sent me, one of which bears as its<br /> date of publication October 2, 1912. Heaven<br /> knows when my review of that will appear, but<br /> certainly not this month! Several of these<br /> poor despised books are already in the second-<br /> hand lists, and two or three of them are excel-<br /> lent novels, cleverly conceived, well-written,<br /> bearing signs of care and good craftsmanship.<br /> Yet every day we see other books—essays,<br /> biographies, or novels by popular writers—<br /> reviewed at unnecessary length on the very<br /> day of publication. Does not this show plainly<br /> the deep disgrace into which all those novelists<br /> who do not happen to strike the larger public<br /> taste have fallen ?<br /> <br /> ONE oF THE DISGRACED,	https://historysoa.com/files/original/5/525/1913-02-01-The-Author-23-5.pdf	publications, The Author