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 />
—-——<— + —<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'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 />
———__+—>—_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 />
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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 />
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<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's<br />
decision in regard to certain privileges asked by<br />
the agent.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
"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 />
‘> 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> 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 />
& &:<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 />
"> 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 & 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 & 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 & 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 & 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 & 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 & 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, &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 & Sons.<br />
<br />
‘“‘ LAUNCELOT AND GUENEVERE.” By Guapys Davipson.<br />
(A New Number in the “ Romances of the World”<br />
Series). By Thomas Nelson & 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 & 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. & C. Black.<br />
<br />
THE Pockrr PRESCRIBER.<br />
Third Edition.<br />
<br />
By James Burnet, M.A.<br />
A. & 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 & Co. 12s. 6d.<br />
History oF Eneuish Nonconrormiry. By Tue Rev.<br />
<br />
Chapman & 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 & 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 & Co.<br />
<br />
By T. Caro WorsFoLD,<br />
<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 & 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 & 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'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 & 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 & Co.,<br />
and in Great Britain by Messrs. Constable & 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 & 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. & 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 & Co.<br />
<br />
Miss Arabella Kenealy’s last novel, “ The<br />
Irresistible Mrs. Ferrers ” (Stanley Paul & 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 & 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 & 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 & 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 & 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 />
> 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 />
| ' 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 & 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'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 />
—_—__——_+—>—_—__<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'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'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 & 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'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 />
< .. 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 />
£ & wd.<br />
Cost of composition .. >. 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'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'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'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 < 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."<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 & 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 <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 |