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533	https://historysoa.com/items/show/533	The Author, Vol. 24 Issue 02 (November 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.+24+Issue+02+%28November+1913%29"><em>The Author</em>, Vol. 24 Issue 02 (November 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>	1913-11-01-The-Author-24-2					33–62																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-11-01">1913-11-01</a>							2			19131101	Che HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> VoL. XXIV.—No. 2.<br /> <br /> NOVEMBER 1, 1913.<br /> <br /> <br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> —_______+—~&lt;&gt;__<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> OR the opinions expressed in papers that<br /> K 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 /> 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, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou. XXIV,<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 /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<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 /> ees<br /> <br /> <br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> ——— ++<br /> <br /> &quot;T\ROM time to time members of the Society<br /> K desire to make donations to its funds in<br /> <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 /> <br /> #2<br /> 34<br /> <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 /> <br /> i<br /> <br /> THE PENSION FUND.<br /> <br /> —1—~&gt;— + —_<br /> <br /> N January, the secretary of the Society<br /> laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> <br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £1C fully paid. The number of shares pur-<br /> chased at the current price was twenty-five<br /> anc the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> £ $d:<br /> Wocal Loans 9. ....5.....60... 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 /> Egvptian Government Irrigation<br /> <br /> Trust 4% Certificates ........ 200 0 0<br /> Caze of Good Hope 34% Inscribed<br /> <br /> SOCK i ieee oie sa 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% PreferenceStock .... 228 0 0<br /> New Zealand 83% Stock ....... 247 9 6<br /> Irish Land 23% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 1927-57... a. oc: 438 2 4<br /> Jamaica 34% Stock, 1919—49 .. 182 18 6<br /> Mauritius 4% 1937 Stock ....... 120 12 1<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ...... 198 8 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock ..5..6.....050.5, 232.0 0<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> s. d.<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........... 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares ........... 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> 1914 (fully paid) ............ 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> Preference Shares, New Issue.. 380 0 O<br /> <br /> PENSION FUND.<br /> <br /> —_—— +<br /> <br /> THE list printed below includes all fresh dona-<br /> tions and subscriptions (7.¢., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> January 3, 1913.<br /> <br /> It does not include either donations given<br /> prior to January, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 1913. £ sda<br /> <br /> Jan. 8, Toynbee, William (in addi-<br /> tion to his present sub-<br /> scription).<br /> <br /> Jan. 9, Gibson, Frank .<br /> Jan. 29, Blaikley, Miss E. L.<br /> Jan. 31, Annesley, Miss Maude<br /> Feb. 6, Rothenstein, Albert .<br /> Feb. 10, Bradshaw, Percy V.<br /> April 8, Caulfield-Stoker, T. .<br /> June 12,,Wimperis, Arthur .<br /> June 16, Ballantyne, J. W.<br /> June 16, Thorold, Rupert<br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : : :<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry ;<br /> Oct. 21, Buchanan, Miss Meriel<br /> <br /> _<br /> <br /> ~<br /> <br /> ~<br /> Ae Aaocannoewraocwonnse<br /> <br /> GOrococooccr orm ooococo<br /> Sooooocoocoeoooaances<br /> <br /> Donations.<br /> 1913.<br /> Jan. 1, Risque, W. H. j :<br /> Jan. 1, Rankin, Mrs. F. M. . ;<br /> Jan. 2, Short, Miss L.M. . :<br /> Jan. 2, Mackenzie, Miss J. . :<br /> Jan. 2, Webling, Miss Peggy .<br /> <br /> ecooco<br /> eooooso<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> oo<br /> Or<br /> <br /> THE AUTHOR.<br /> <br /> S 6 @<br /> Jan. 8, Harris, Mrs. E. H. . 20 0 April 2, Hain, H. M.<br /> <br /> H<br /> <br /> or<br /> <br /> Jan.<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 /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> Jan.<br /> _ Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> _ Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> _ Feb.<br /> Feb.<br /> Feb.<br /> &#039; Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> _ Feb.<br /> <br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> - Feb.<br /> Feb.<br /> . Mar.<br /> <br /> Mar.<br /> Mar.<br /> <br /> Mar.<br /> Mar.<br /> Mar.<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. 2<br /> <br /> 6, Beveridge, Mrs. : :<br /> <br /> 6, Clark, The Rev. Henry .<br /> <br /> 6, Ralli, C. Scaramanja . £<br /> <br /> 6, Lathbury, Miss Eva . :<br /> <br /> 6, Pryce, Richard :<br /> <br /> 7, Gibson, Miss L. S.<br /> <br /> 10, K. :<br /> <br /> 10, Ford, Miss May : ‘<br /> <br /> 1. Greenstreet, W.J.. :<br /> <br /> 14, Anon 2 .<br /> <br /> 15, Maude, Aylmer<br /> <br /> 16, Price, Miss Eleanor .<br /> <br /> 17, Blouet, Madame<br /> <br /> 20,P.H.andM.K. . :<br /> <br /> 22, Smith, Herbert W. . :<br /> <br /> 25, Anon. . ‘ x<br /> <br /> 27, Vernede, R. E. :<br /> <br /> 29, Plowman, Miss Mary .<br /> <br /> 29, Todd, Miss Margaret, M.D.<br /> <br /> 81, Jacobs, W. W. : x<br /> <br /> 1, Davy, Mrs. E. M.. . A<br /> <br /> 8, Abraham, J. J. : :<br /> <br /> 4, Gibbs, F. L. A.<br /> <br /> 4, Buckrose, J. E. :<br /> <br /> 4, Balme, Mrs. Nettleton :<br /> <br /> 6, Coleridge, The Hon. Gilbert<br /> <br /> 6, Machen, Arthur<br /> <br /> 6, Romane-J. ames, Mrs.<br /> <br /> 6, Weston, Miss Lydia : :<br /> <br /> 14, Saies, Mrs. F. H. (in addi-<br /> tion to her subscription)<br /> <br /> 14, Maunsell, A. E. Lloyd.<br /> <br /> 14, O’Higgins, HJ. ‘<br /> <br /> 15, Stephens, Dr. Ricardo<br /> <br /> 15, Jones, Miss E. H.<br /> <br /> 17, Whibley, Charles<br /> <br /> 22, Probert, W. S.<br /> <br /> 24, S. F. G. :<br /> <br /> 27, XX. Pen Club<br /> <br /> 7, Keating, The<br /> Lloyd ;<br /> <br /> 7, Tharp, Robert C.<br /> <br /> 10, Hall, H. Fielding .<br /> <br /> 13, Moffatt, Miss Beatrice<br /> <br /> 14, Bennett, Arnold.<br /> <br /> 17, Michell, The Right Hon.<br /> Sir Lewis, K.C.V.O.<br /> <br /> Rev. J.<br /> <br /> Mar. 17, Travers, Miss Rosalind<br /> <br /> Mar. 26, Hinkson, H. A. ‘ :<br /> Mar. 26, Anon. . : ‘<br /> . April 2, Daniel, E. H. 2 :<br /> <br /> naoroe Orroeococods SOM MOF OF ONKF OCOCOCOCKRH OFM OCOCOCOCOOCBRO WO OFN WH<br /> <br /> ocouaror<br /> <br /> rt<br /> <br /> et et<br /> <br /> bot<br /> anette OH OM ONE NB OOR EF OF Or orore Oe Or OOH bo Oe<br /> <br /> _<br /> <br /> a et<br /> <br /> _<br /> SPOOF CAND OF<br /> <br /> S ore Or Or<br /> <br /> cooruMTt~<br /> <br /> acoce ooooo CSCoocacaace coooooaoaooenoanacoooooocooececeocoo<br /> <br /> April 7, Taylor, Miss Susette M.<br /> April 7, Harding, Newman .<br /> April 9, Strachey, Miss Amabel<br /> April 10, Aspinall, Algernon .<br /> <br /> April 15, Craig, Gordon<br /> <br /> April, Robbins, Miss Alice<br /> <br /> June 12, Peel, Mrs...<br /> <br /> June 13, Barlow, Miss Hilaré<br /> June 18, Kynnersley, E. M. Sneyd.<br /> July 5, Williams, Robert . 3<br /> July 11, Broadbent, D. R. . :<br /> July 22, Cameron, Mrs. Charlotte .<br /> Sept. 29, Peacock, Mrs. F. M.<br /> Sept. 30, Healy, Wallis 3 et<br /> Oct. 7, Darwin, Sir Francis . 5 0<br /> Oct. 9, Carroll, Sy dney Wentw orth 0 10<br /> Oct. 21, Troubetskoy, ‘The Princess 1 0<br /> <br /> We regret that a donation from Miss Alice<br /> Robbins of £1 1s., made in April last, was<br /> not chronicled in this list. We take this<br /> opportunity of correcting the mistake.<br /> <br /> NEE OCOORFROCOCOOM<br /> —<br /> <br /> NN eH eH OO OCC Oe ooo:<br /> SAHeSnRCOCOCOCDONSC COSCO COOF<br /> <br /> —<br /> <br /> COMMITTEE NOTES.<br /> a<br /> <br /> HE October meeting of the committee—<br /> the first meeting after the vacation<br /> —was held on the 6th, at 1, Central<br /> <br /> Buildings, Tothill Street, Westminster, S.W.<br /> There was a very long list of agenda before<br /> the meeting. After the signing of the minutes<br /> of the previous meeting, the committee<br /> proceeded with the election of members and<br /> associates. The committee have pleasure in<br /> reporting that the rate of election is still<br /> steadily maintained, and that seventy-one<br /> elections were recorded. These are chronicled<br /> elsewhere in The Author. This brings the total<br /> number for the current year up to “278. The<br /> committee accepted, with regret, six resigna-<br /> tions.<br /> <br /> The seeretary and the solicitor of the Society<br /> then reported on the cases taken. in hand<br /> during the vacation, and also the progress that<br /> had been made in those matters with which the<br /> Society was already dealing. There were five<br /> cases of infringement of copyright. The first,<br /> Corelli v. Gray had been mentioned in former<br /> issues of The Author. The solicitor reported<br /> that the costs of the first action had been paid<br /> into, court and that the matter was now<br /> awaiting appeal. Two cases had been settled<br /> after considerable negotiation.. In one case,<br /> it appeared from the solicitor’s report that the<br /> <br /> <br />  <br /> <br /> 36<br /> <br /> editor of a magazine had been deceived by his<br /> contributor. ‘lhe fourth case, which had been<br /> before the committee at previous meetings, but<br /> which had been adjourned owing to lack of<br /> evidence on certain material facts, the com-<br /> mittee regretted, after consideration of the<br /> solicitor’s opinion, that they were unable to<br /> take up as the evidence was insufficient.<br /> Should, however, the ‘member be able to<br /> produce the evidence required, the committee<br /> expressed their willingness to reconsider the<br /> issues. The secretary reported that he had<br /> heard from the lawyers in Switzerland respect-<br /> ing a ease which had been proceeding for some<br /> time in that country. The matter had now<br /> been referred to the Highest Court of Appeal.<br /> So far, the committee regret to report, the<br /> decisions have gone against the Society.<br /> There were five claims for moneys due to<br /> members. Two of these had been settled<br /> during the vacation. In a third case a<br /> summons was pending, and with the two<br /> remaining claims which had not been dealt<br /> with previously, the committee instructed the<br /> solicitors to proceed.<br /> <br /> There were three cases in which accounts<br /> had either not been delivered or were disputed.<br /> In two cases against the same firm in England<br /> the solicitors were instructed, as they had been<br /> unable to get any satisfactory answer to their<br /> questions, to issue the necessary summonses.<br /> The third case dealt with a publisher in the<br /> United States. The secretary reported that<br /> it was being handled by the United States<br /> lawyer. The next matter for consideration<br /> referred to the liquidation of a firm of<br /> publishers. As usual, the Society was taking<br /> up the matter on behalf of the members<br /> involved. The committee are pleased to<br /> receive the report that it had been possible,<br /> as in two previous liquidation cases this<br /> year, to obtain the election of a member of<br /> the Society on the Board of Inspection, to<br /> look after the interests of authors. The next<br /> matter had reference to a question of libel :<br /> it is hoped it will be settled without any<br /> further difficulty.<br /> <br /> There were disputes arising out of the<br /> interpretation of agreements. In the first,<br /> which had been taken up some time ago, the<br /> solicitor reported that, as no settlement had<br /> been come to, he was now taking the necessary<br /> steps to obtain an injunction to prevent the<br /> further publication of the book contrary to<br /> the terms of the contract. This case, if it<br /> comes into court will be fully reported in The<br /> Author. The second, relating to a contract<br /> for publication, the committee regretted they<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> were unable to take up. Although the matter<br /> was one involving undoubted hardship to the<br /> composer it appeared in the circumstances<br /> there was no legal remedy to justify the<br /> committee in taking action on behalf of the<br /> member. The details of the last case were<br /> laid before the committee and fully discussed.<br /> They found it impossible to take action. It<br /> appeared clear that the contract was binding<br /> and there was no reason why any court should<br /> set it aside. The committee decided to take<br /> counsel’s opinion on a difficult case of Inter-<br /> national law referring to the reproduction of<br /> music on mechanical instruments, and the<br /> secretary reported that, with the sanction of<br /> the chairman, counsel’s opinion had been<br /> taken on a question relating to film rights<br /> under a dramatic contract.<br /> <br /> In a dispute between a member and an<br /> agent, the chairman of the committee was<br /> requested to write to the member concerned,<br /> setting out the views of the committee.<br /> <br /> The committee decided to take up a difficult<br /> question of accounts in order to establish the<br /> Society’s right to a formal investigation. In<br /> former disputes on accounts the Society had,<br /> without taking the matter into court, always<br /> obtained the necessary statement from pub-<br /> lishers, but for some reason, in this special<br /> case, the publishers, through their solicitors,<br /> repudiated liability. In consequence, the com-<br /> mittee decided that the point must be clearly<br /> established that an author, composer or<br /> dramatist has full rights to investigate the<br /> accounts, and to have them properly vouched<br /> if necessary.<br /> <br /> Another case of the construction of an<br /> agreement was considered. The secretary was<br /> instructed to obtain further particulars, as the<br /> matter was one of serious importance, but one,<br /> also, in which it was difficult for the committee<br /> to act without fuller information. The case<br /> was adjourned to the next meeting.<br /> <br /> After the consideration of the cases, the<br /> committee proceeded to confirm the appoint-<br /> ment of Mr. Arthur Train, as the lawyer of the<br /> Society in the United States in place of Messrs.<br /> Byrne and Cutcheon, resigned. Mr. Train is<br /> counsel to the newly-formed Authors’ League<br /> of America, and the committee hope that his<br /> appointment to represent the Society as lawyer<br /> in the United States may be the means of<br /> bringing the two Societies into closer union.<br /> <br /> Two important questions connected with<br /> International copyright were then put forward<br /> —one relating to the United States and one<br /> relating to Russia. The secretary received<br /> instructions to write to the Board of Trade,<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 37<br /> <br /> drawing the President’s attention to the<br /> matters. At the suggestion of the Dramatic<br /> Sub-Committee, Mrs. Pogson was appointed<br /> the Society’s dramatic agent in Germany.<br /> Her name is chronicled elsewhere in The Author<br /> with the names of the other dramatic agents<br /> of the Society.<br /> <br /> The committee decided unanimously to<br /> increase the secretary’s salary, and to grant<br /> him a gratuity for past services. They further<br /> expressed their very high appreciation of<br /> Mr. Thring’s self-sacrificing services in the<br /> interests of the Society. It was decided to ask<br /> the Poet Laureate to join the ranks of the<br /> Society of Authors by accepting his election<br /> as a member of the Council.<br /> <br /> The secretary drew attention to an article<br /> in Phe Author dealing with the clauses which,<br /> owing to the energy of Mr. H. J. Mackinder,<br /> M.P., had been inserted in the Bankruptcy<br /> Acts of England and Scotland. The committee<br /> unanimously passed a vote of thanks to Mr.<br /> Mackinder for his interest in the matter. The<br /> secretary drew the attention of the committee<br /> to an article in The Author dealing with the<br /> question of editors and contributors. He<br /> reported, as stated in that article, that various<br /> names of editors willing to subscribe to the<br /> resolution there set forth had been added to<br /> the list during the vacation. The committee<br /> decided that it was unnecessary to call<br /> another meeting of editors at the present time,<br /> and adjourned the matter for later con-<br /> sideration.<br /> <br /> Certain quotations are allowed from copy-<br /> right books under section 2, sub-section 4,<br /> of the Copyright Law. The Publishers’<br /> Association thought that much vexatious<br /> litigation might be avoided if some general<br /> understanding was arrived at as to how ‘a<br /> short passage ”’ should be defined under that<br /> section. They put forward for the approval<br /> of the committee of the Society of Authors the<br /> following resolution, which resolution, after<br /> careful consideration, was approved by the<br /> Committee of Management.<br /> <br /> “The council of the Publishers’ Associa-<br /> tion is of opinion that it will be to the<br /> interest of everyone concerned if any<br /> publisher proposing to make use of copyright<br /> matter in a school book in accordance with<br /> the provisions of the Copyright Act, 1911,<br /> section 2 (iv.),* gives notice of his intention<br /> to the owner of the copyright.<br /> <br /> <br /> <br /> * The section referred to provides that the following<br /> shall not be an infringement of copyright :—<br /> <br /> “The publication in a collection, mainly composed of<br /> non-copyright matter, bona fide intended for the use of<br /> <br /> **2. The council considers that vexatious<br /> litigation may be avoided if some general<br /> understanding is arrived at as to what<br /> constitutes ‘a short passage’ from a<br /> published literary work, and they beg to<br /> suggest the following :—<br /> <br /> ““(a) ‘A short passage’ from a_ prose<br /> work should not exceed one thousand<br /> words.<br /> <br /> ‘““(b) ‘A short passage’ from a poetical<br /> work should not exceed one hundred<br /> lines.<br /> <br /> ** Provided that ‘a short passage ’ should<br /> not in either case contain more than one<br /> third of the complete poem, essay, address,<br /> story or other literary work from which it<br /> is extracted.”<br /> <br /> The secretary then reported that a conference<br /> of composers had been called for Saturday,<br /> October 11.<br /> <br /> - The draft circular which it was proposed to<br /> <br /> send round to members, dealing with the<br /> Collection Bureau, had to be adjourned to the<br /> November meeting owing to the mass of<br /> business on hand. The committee approved<br /> an article to appear in The Author on the<br /> question of agents and stock rights in<br /> America.<br /> <br /> The date of the Society’s Dinner was fixed<br /> for November 27. Due notice, with full<br /> particulars, will be sent out. It is hoped there<br /> will be a large gathering.<br /> <br /> A question of loans to authors and dramatists<br /> on contracts was adjourned, as well as the<br /> question of the International meeting of<br /> authors to take place in San Francisco in 1915.<br /> <br /> A draft royalty agreement which had been<br /> sent round to members of the committee was<br /> approved, subject to one or two slight<br /> alterations. It was decided to set it up in<br /> time for a final reading at the next meeting of<br /> the committee.<br /> <br /> The most important question before the<br /> committee is chronicled here, at the end of<br /> the notes, although it was discussed earlier at<br /> the meeting, the question of the difficulties<br /> connected with the policy of the libraries in the<br /> matter of book circulation. The committee<br /> decided to invite a conference composed of<br /> two authors, two publishers, two members of<br /> <br /> <br /> <br /> schools, and so described in the title and in any adver-<br /> tisements issued by the publisher, of short passages from<br /> published literary works, not themselves published for the<br /> use of schools in which copyright subsists: Provided that<br /> not more than two of such passages from works by the<br /> same author are published by the same publisher within<br /> five years, and that the source from which such passages<br /> are taken is acknowledged.”<br /> 38<br /> <br /> the Libraries’ Association and two booksellers.<br /> The conference so invited to discuss the whole<br /> question with a view to bringing about some<br /> solution of the present difficulty. Before,<br /> however, the committee proceed they proposed<br /> to call a meeting of the Council of the Society<br /> to approve the course suggested. This meeting<br /> is reported below. In order to elucidate the<br /> position and to put clearly before the committee<br /> before any decision was arrived at the<br /> difficulties with which various authors have<br /> had to contend, and the suggestions put<br /> forward by members of the Society, the<br /> secretary read letters he had received from<br /> Messrs. Hall Caine, W. B. Maxwell, Eden<br /> Phillpotts, John Galsworthy, and others,<br /> and reported in detail the result of various<br /> interviews with members of the Publishers’<br /> Association, Mr. Acland of Messrs. Smith &amp;<br /> Son, and other parties interested in the<br /> solution of the difficulties. The action of<br /> the members of the conference if summoned<br /> will be chronicled in due course and referred<br /> back to the committees of the various associa-<br /> tions represented. The committee feel that<br /> the question is one of great importance,<br /> surrounded by great difficulty, and one to be<br /> dealt with as a matter of principle apart from<br /> any individual book or any individual author.<br /> <br /> +<br /> <br /> Counci, MEETING.<br /> <br /> A meetING of the Council was held at<br /> No. 1, Central Buildings, Tothill Street, West-<br /> minster, S.W., on Thursday, October 16,<br /> at four o’clock, for the members to consider,<br /> and, if thought fit, to approve a suggestion<br /> of the committee in regard to the position of<br /> the library question.<br /> <br /> The committee’s proposals ran as follows :—<br /> <br /> 1. To invite a conference composed of two<br /> authors, two publishers, two members of the<br /> Libraries’ Association, and two booksellers ;<br /> the representatives of such conference to be<br /> appointed by the standing committees of their<br /> respective associations.<br /> <br /> 2. The conference so invited to take counsel<br /> with a view to solving the existing difficulties.<br /> <br /> The chairman explained in a few words the<br /> reason why the committee had made these<br /> suggestions and the reason why they referred<br /> them to the Council.<br /> <br /> Mr. Maurice Hewlett moved the following<br /> <br /> ynendment :—<br /> <br /> “That this question (that is, the question<br /> on the agenda) be referred back to the<br /> <br /> THE AUTHOR.<br /> <br /> committee, with a full report of what takes,<br /> place at this meeting of the Council.”<br /> <br /> He stated, at full length, his reasons for<br /> putting forward his amendment, and expressed,<br /> very strongly, his feelings in regard to the<br /> question generally. He also made a suggestion<br /> which he desired should be placed before the<br /> committee.<br /> <br /> Mrs. Belloc Lowndes seconded the amend-<br /> ment. ‘<br /> <br /> The question was fully discussed in all its<br /> phases. Mr. Hewlett’s amendment was then<br /> put and carried. With, the fresh information<br /> thus obtained which will be reported to the<br /> committee, the whole matter will be re-<br /> discussed at their next meeting.<br /> <br /> It is impossible to make a more detailed<br /> statement of the proceedings until the final<br /> discussion by the committee of the fresh issues<br /> raised.<br /> <br /> ee<br /> <br /> DraMAtic SUB-COMMITTEE.<br /> <br /> Tue first meeting of the Dramatic Sub-<br /> Committee after the Vacation was held at the<br /> offices of the Society, No. 1, Central Buildings,<br /> Tothill Street, Westminster, S.W.<br /> <br /> The first matter dealt with was the dramatic<br /> cases.<br /> <br /> The attention of the sub-committee was<br /> called to the first case by members of the<br /> Dramatists’ Club, and the secretary was<br /> instructed to deal with the matter by a note<br /> in The Author. The second related to the:<br /> infringement of copyright of a member&#039;s play<br /> by a London manager. The sub-committee:<br /> asked the secretary to convey to the<br /> Committee of Management a recommenda-<br /> tion that the member be given the best’<br /> assistance possible, as the infrimgement ap-<br /> peared to them to be a very serious one. The<br /> secretary then reported the successful termina-<br /> tion of a case undertaken by the Society in<br /> Winnipeg, Canada, on behalf of a member.<br /> He explained that damages had been obtained.<br /> and the matter settled. A dispute with a<br /> dramatic agent for non-delivery of accounts<br /> was next referred to the sub-committee and<br /> the secretary was instructed to recommend to<br /> the Committee of Management to take up<br /> the action.<br /> <br /> The Managerial Treaty next came before<br /> the committee, and a letter received from<br /> Mr. J. E. Vedrenne, secretary to the Society<br /> of West-End Managers was read. After<br /> careful consideration of the letter, the secretary<br /> was instructed to write to Mr. Vedrenne<br /> suggesting another meeting of the delegates:<br /> <br /> \<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> of the West-End Managers’ Association, with<br /> a view to careful consideration of the points<br /> raised.<br /> <br /> A letter from the Dramatic Clubs’ Associa-<br /> tion was laid before the committee, and the<br /> committee decided, in accordance with a<br /> promise made before the vacation, to ask<br /> delegates from the Association to meet the<br /> sub-committee at their next meeting.<br /> <br /> Counsel’s opinion which had been taken on<br /> behalf of one of the members, dealing with<br /> film rights under a dramatic contract made<br /> before the passing of the new Copyright Act,<br /> was read to the sub-committee, and a dis-<br /> cussion arose as to the present value of film<br /> rights. It was decided to ask Mr. Cecil<br /> Raleigh whether he would not write another<br /> article on the question for the benefit of<br /> members of the Society, from the new evidence<br /> and particulars of terms of contracts which<br /> had been gathered.<br /> <br /> A series of letters that had been received by<br /> Mr. Shaw from an American dramatic agent,<br /> and by Mr. Louis J. Vance, from a representa-<br /> tive of the same firm, were laid before the<br /> sub-committee. The letter received by the<br /> secretary from the German Society of Authors<br /> and also terms of a proposed contract were<br /> considered. The secretary was instructed to<br /> write to the German Society, pointing out<br /> that the Constitution of the Society of Authors<br /> would not permit of its making a contract on<br /> the lines proposed, but that they hoped the<br /> German Society would, outside a formal con-<br /> tract, work with the English Society with a<br /> view to mutual assistance in dramatic matters.<br /> <br /> A letter received by one of the members of<br /> the sub-committee, from Mr. F. H, Dickinson,<br /> of New York, in regard to the publication of<br /> a work entitled ‘Chief Contemporary Dra-<br /> matists,’’ with the terms offered to Authors,<br /> was read, as also was a series of letters<br /> received by the secretary of the Society from<br /> members whose works it had been proposed<br /> to issue.<br /> <br /> The next matter was one of considerable<br /> importance, and dealt with the question of<br /> stopping piracies in the colonies and foreign<br /> countries. The secretary stated that during<br /> the vacation he had thought that the existing<br /> ‘difficulty of giving prompt instructions to<br /> lawyers abroad might be overcome by using<br /> powers of attorney, drafted in such a way<br /> that they could not be operated without a<br /> cablegram from the Society’s office. He<br /> suggested that Dramatist members of the<br /> Society who thought fit, should have three or<br /> four powers of attorney, one for each foreign<br /> <br /> <br /> <br /> THB AUTHOR. 39<br /> <br /> country, and that these should be placed in the<br /> hands of the Society’s lawyers in the countries<br /> concerned. If, then, the lawyers heard of a<br /> piracy they would communicate with the<br /> Society, and if the member thought fit, the<br /> lawyer would receive cabled authority to take<br /> immediate action. Thus it would be possible<br /> to overcome the great drawback in these<br /> cases of delay. The sub-committee considered<br /> the suggestion and instructed the secretary<br /> to obtain a draft settled by counsel for the<br /> members.<br /> <br /> Mr. Justin McCarthy, Mr. Jerome K.<br /> Jerome, and Mr. G. Herbert Thring, the<br /> secretary, were voted a sub-committee to deal<br /> with the question of a draft agreement, and<br /> it was decided that the agreement, when so<br /> settled, should not be referred back to the<br /> sub-committee. The sub-committee, however,<br /> indicated certain lines along which the contract<br /> should be drafted, and added that the con-<br /> tract should be accompanied by a statement<br /> explanatory of the clauses and of the rights<br /> with which it was proposed to deal.<br /> <br /> The question of the dramatic contract in<br /> Holland was also discussed.<br /> <br /> The secretary was instructed to thank<br /> Mr. Reyding, the agent of the Society in<br /> Holland for his letter, and to express the desira<br /> of the sub-committee that in future contracts<br /> for Holland the name of the author should be<br /> substituted for that of the agent, as principal.<br /> <br /> —<br /> <br /> Composers’ SuB-COMMITTEE.<br /> <br /> A MEETING of the Composers’ Sub-Committee<br /> was held on Wednesday, October 8, at the<br /> offices of the Society at eleven o’clock in the<br /> morning. The meeting discussed fully the line<br /> of procedure to be followed at the Conference<br /> of Composers which was held on Saturday,<br /> the 11th of the same month.<br /> <br /> The next question before the meeting was<br /> the Evening News competition, and the<br /> secretary was instructed to write an article<br /> on the subject which, with the chairman’s<br /> consent, should appear in the next issue of<br /> The Author.<br /> <br /> II.<br /> <br /> The second meeting of the sub-committee<br /> was held at the Society’s offices, No. 1, Central<br /> Buildings, Tothill Street, Westminster, S.W.,<br /> on Saturday, October 18, at eleven o’clock.<br /> <br /> The first matter under discussion was what<br /> should be made to the<br /> <br /> recommendation<br /> <br /> <br /> 40<br /> <br /> Committee of Management in order to assist<br /> them to deal with the Resolutions passed by<br /> the Conference of Composers on October 11,<br /> and the sub-committee passed the following<br /> resolution :—<br /> <br /> “That the Committee of Management be<br /> asked to appoint delegates in accordance with<br /> the resolution unanimously passed at the<br /> meeting on October 11, and to confer as to<br /> the best means of reaching those composers<br /> who were not members of any Society.”<br /> <br /> Mr. Cecil Forsyth’s name was suggested as<br /> one of the delegates, and Mr. Forsyth consented<br /> to act if appointed. It was decided that<br /> paragraphs should be inserted in the daily<br /> papers setting out the fact that the Society<br /> of Authors dealt with the works of composers<br /> as well as with those of dramatists and writers,<br /> and that composers were entitled to the same<br /> benefits as were accorded to other members.<br /> The sub-committee felt that this course was<br /> perhaps the best means to bring the work the<br /> Society did for composers to the notice of<br /> those who were members of no organization.<br /> It was decided, also, with Mr. MacGillivray’s<br /> sanction, to publish, in pamphlet form, his<br /> speech delivered at the Conference of Com-<br /> posers setting out in detail the rights held by<br /> coon and how best they could be dealt<br /> with.<br /> <br /> The next question brought forward was the<br /> question of settling a draft agreement, and the<br /> secretary was instructed to draft an ideal form<br /> to be submitted to the next meeting of the<br /> sub-committee.<br /> <br /> A question having arisen respecting the sale<br /> of stamps to reproducers of music by mechani-<br /> eal instruments, on “sale or return,’ the<br /> sub-committee considered the matter, but came<br /> to the conclusion that the suggestion made by<br /> the companies was not one they could support,<br /> as it would be likely to lead to much confusion<br /> in the minds of composers. At the same time<br /> they were willing to give their serious<br /> or to any arguments brought before<br /> them.<br /> <br /> The secretary read correspondence with the<br /> Ammre, and was instructed to ask whether<br /> the German Society could not give some<br /> guidance as to the kind of music they would<br /> like submitted to them with a view to<br /> reproduction on mechanical instruments.<br /> <br /> Finally, the question of the collection of<br /> fees in France was discussed, and the secretary<br /> was instructed to write to his correspondents<br /> with a view to ascertaining what steps could<br /> be taken to collect members’ fees on mechanical<br /> reproductions in that country.<br /> <br /> THE AUTHOR.<br /> <br /> Cases.<br /> <br /> Durine the past month twenty-two cases<br /> have passed through the secretary’s hands.<br /> Of these, eight were for overdue accounts.<br /> Four of this number have been settled and<br /> the accounts delivered to the authors. Of<br /> the remaining four, one is a Canadian ease,<br /> one against a publisher notoriously unbusiness-<br /> like in delivery of these statements, in the<br /> third delivery has been promised, and the last<br /> will also, it is hoped, be settled without<br /> difficulty. There have been three claims for<br /> money. In one of these—against a magazine<br /> —the editor has promised to forward a cheque<br /> in advance of publication; the second is in<br /> the United States and sufficient time has not<br /> yet elapsed for an answer to the secretary’s<br /> letter, while the last has only just come into<br /> the office.<br /> <br /> Four claims have been put forward for MSS.<br /> retained by editors and others. In one ease<br /> the MS. has been returned. In the second<br /> some of the MSS. have been returned. In the<br /> third it has not been possible, so far, to get.<br /> a response to the secretary’s letters, but the<br /> matter is still proceeding. In the fourth it has<br /> been impossible to locate the defendant,<br /> although there is some hope of finding him<br /> eventually.<br /> <br /> There have been two cases in which the<br /> authors demanded fuller particulars of accounts<br /> rendered. In one case the information has<br /> been given and the author is satisfied with<br /> the explanation. In the other the publisher<br /> has, so far, failed to respond and the matter is<br /> being pressed.<br /> <br /> Disputes on agreements account for three<br /> cases. In the first the dispute was settled by<br /> the author making part payment of the sum<br /> claimed. This payment was made, not because<br /> of any legal liability attaching to the author,<br /> but because the author wished to meet the<br /> other side. In the second an offer has been<br /> made to the publisher, but at the time of<br /> going to press the time fixed for acceptance<br /> had not expired. The matter will be dealt<br /> with further next month. In the third the<br /> defendants gave way and adopted the view<br /> of the contract put forward by the secretary<br /> on behalf of the member.<br /> <br /> There were two cases relating to copyright.<br /> In one an American magazine had made use<br /> of a member’s work, altered it, and re-published<br /> it contrary to the arrangement with the author,<br /> The secretary has written to the magazine, but<br /> sufficient time has not yet elapsed’ for the<br /> answer to come through. The second : case<br /> relates to a threat by a foreign author to make<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> So far,<br /> <br /> no actual infringement has occurred, and the<br /> secretary has written to the solicitor of the<br /> foreign author warning him that the action<br /> contemplated by his client will amount to an<br /> infringement of the member’s rights.<br /> <br /> There is one claim open from the former<br /> month. This relates to a claim for money<br /> <br /> against a magazine.<br /> <br /> The editor has admitted<br /> <br /> liability, but has delayed fulfilling his promise<br /> <br /> to make the necessary payment.<br /> <br /> It is hoped<br /> <br /> to report, next month, that the money has<br /> <br /> been paid.<br /> <br /> ———+—__<br /> <br /> October Elections.<br /> <br /> Baker, Ernest A., M.A.,<br /> D.Litt.<br /> <br /> Bennett, T. Armitage<br /> (“ T. Armitage ’’).<br /> <br /> “* Blakeney Cley’’.<br /> Buchanan, Miss Meriel<br /> <br /> Byars, Gilbert . .<br /> <br /> Carr, Sydney Herbert .<br /> <br /> ~~ Carroll, Sydney Went-<br /> <br /> worth.<br /> ‘Chute, Miss Margaret .<br /> <br /> Coulter, The<br /> Frederic W.<br /> de Castro, J. Paul<br /> <br /> Rev.<br /> <br /> Douglas, Mrs.<br /> Drummond, Miss Flo-<br /> rence.<br /> <br /> - Elgar, Sir Edward, O.M.<br /> Frankish, Harold<br /> <br /> , Gardiner, H. Balfour .<br /> Gregory, Mrs. Octavia .<br /> ‘Greves,<br /> <br /> Hyla.<br /> Guise, Major Henry<br /> <br /> Miss Barbara<br /> <br /> 3, H. R., MA.<br /> F.S.A,.<br /> <br /> <br /> <br /> St. James’s Lodge,<br /> Kidbrook Park<br /> Road, S.E.<br /> <br /> Church House, Wal-<br /> singham, Norfolk.<br /> <br /> British Embassy,<br /> St. Petersburg,<br /> Russia.<br /> <br /> C/o. Messrs. Rey-<br /> nolds &amp; Co., 13,<br /> Berners Street, W.<br /> <br /> Linden Lodge, Teign-<br /> mouth, S. Devon.<br /> <br /> 22, Dorset Square,<br /> N.W.<br /> <br /> 173, Lisburn Lane,<br /> Liverpool, E.<br /> <br /> 1, Essex Court,<br /> Temple, E.C.<br /> <br /> 6, Spencer<br /> Wimbledon.<br /> <br /> 4, Learmouth Ter-<br /> race, Edinburgh.<br /> <br /> Severn House,<br /> Hampstead, N.W.<br /> <br /> The Laurels, Aikley,<br /> Barnet, Hertford-<br /> shire.<br /> 7, Pembroke Villas,<br /> Kensington, W.<br /> Melville, Parkstone,<br /> Dorset.<br /> <br /> Rodney House,<br /> Bournemouth.<br /> <br /> Royal Societies’<br /> Club, St. James’<br /> Street, S.W.<br /> <br /> 22, King Henry’s<br /> Road, N.W.<br /> <br /> Hill,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> use of the work of an English writer.<br /> <br /> Hardinge, Henry<br /> Charles Maurice.<br /> Harris, Miss Vera A.<br /> <br /> Hodgkinson, Ivan T. .<br /> Hodson, Henry Edward<br /> <br /> “Jan Paulus” .<br /> Jones, Daniel, M.A.<br /> <br /> Leonard, Miss Emma<br /> <br /> Hill.<br /> Little, Philip Francis .<br /> Liversedge, Alfred John<br /> <br /> Lofting, Miss Kitty<br /> MacGill, Patrick .<br /> <br /> _. Malloch, George Reston<br /> <br /> Mason, Stuart<br /> <br /> Maude, G. H. ; 5<br /> <br /> Milburn, Mrs. G. Hart-<br /> ley.<br /> <br /> Muspratt, Horace<br /> <br /> Nepean, Mrs. A. Evan .<br /> Pearce, John<br /> <br /> Phillips, Mrs. Alfred<br /> (“ Blanch Eryl’’).<br /> Pinder, Miss Eva<br /> <br /> Price, Julius M. . :<br /> <br /> Pugh, Capt. George<br /> Farrer.<br /> <br /> Rees, Rosemary .<br /> <br /> Robertson-Scott, Mrs.<br /> (“* Elspet Keith ’’).<br /> <br /> Rombach, John George<br /> Rumbold, Hugo .<br /> Sellon, The Rev. M. St.<br /> <br /> Juste.<br /> <br /> Seton, Walter Warren .<br /> <br /> _Shaw, Martin<br /> <br /> 41<br /> <br /> 184, Ebury Street,<br /> S.W.<br /> <br /> 6, Oaklands Road,<br /> Bedford.<br /> <br /> Kingston,<br /> Somerset.<br /> <br /> The Moors, Church-<br /> down, Cheltenham.<br /> <br /> Wells,<br /> <br /> University<br /> <br /> W.C.<br /> <br /> College,<br /> <br /> 85, Eccles<br /> Dublin.<br /> 63, Northampton<br /> Road, Croydon.<br /> <br /> Street,<br /> <br /> The Cloisters, Wind-<br /> sor Castle.<br /> <br /> The White Cottage,<br /> Chingford, Essex.<br /> <br /> 6, Molyneux House,<br /> Molyneux Street,<br /> W.<br /> <br /> Broom Hall, Horsell,<br /> Surrey.<br /> <br /> 15, Alexandra Drive,<br /> Sefton Park, Liver-<br /> pool.<br /> <br /> Berners, St. Albans.<br /> 57, Carlton Mansions<br /> Maida Vale, W.<br /> Lyceum Club, 128,<br /> <br /> Piccadilly, W.<br /> <br /> C/o. H. G. Hale, Esq.<br /> 144, Cromwell<br /> Road, S.W.<br /> <br /> 22,Golden Square, W.<br /> <br /> 20, Monmouth Road,<br /> East Ham.<br /> <br /> 19, The Mansions,<br /> Hillfield Road,<br /> West Hampstead,<br /> London.<br /> <br /> 68, Fonthill Road,<br /> Aberdeen.<br /> <br /> Bachelors’<br /> S.W.<br /> <br /> North Finchley, N.<br /> <br /> Club,<br /> <br /> University College<br /> Hall, Ealing, W.<br /> 72, Haverstock Hill,<br /> <br /> N.W.<br /> 42<br /> <br /> N.<br /> <br /> Sidgwick, Blanche<br /> <br /> Simpson, James Young,<br /> <br /> D.Sce., F.R.S.E.<br /> <br /> Singer, Ignatius .<br /> <br /> Spencer, The<br /> Frederick, A. M.<br /> Spiers, K. C.<br /> <br /> ®<br /> <br /> Shearman, The Rev. J.<br /> <br /> Rev.<br /> <br /> Staley, Alfred Emlyn<br /> <br /> Standen, Bertha P.<br /> <br /> Stevens, Percy .<br /> <br /> Terry, J. E. Harold<br /> <br /> Thompson , Harold<br /> Stuart.<br /> Tillard, Miss Irene<br /> <br /> Venton, Horace William<br /> <br /> , Walpole, Hugh Seymour<br /> <br /> Walsh, Miss<br /> Donegan.<br /> <br /> Whitelaw, David<br /> <br /> Wile, Frederic William<br /> <br /> Wilkinson, The Hon.<br /> Mrs.<br /> <br /> Wilson, C. Carus<br /> <br /> Wood, Mrs. Fanny<br /> Morris.<br /> <br /> Wyndham, Percy<br /> Wynne, Harry .<br /> <br /> Yetts, W. Percival<br /> <br /> Marie<br /> <br /> fe<br /> <br /> THE AUTHOR.<br /> <br /> Shankill Rectory,<br /> Ballygomartin<br /> Road, Belfast.<br /> <br /> 25, Collingham Road,<br /> S.W.<br /> <br /> 25, Chester Street,<br /> Edinburgh.<br /> <br /> 3, Parkfield Road,<br /> Bradford.<br /> <br /> Brasenose College,<br /> Oxford.<br /> <br /> Newlyn, Romsey,<br /> Hants.<br /> <br /> Highfield, Bishop’s<br /> Taunton, Barn-<br /> staple.<br /> <br /> Savage Club, Adel-<br /> phi, W.C.<br /> <br /> 69, Norton Road,<br /> Letchworth.<br /> <br /> 115, Albert Palace<br /> Mansions, Batter-<br /> sea Park, S.W.<br /> <br /> « Elia,’ Lansdowne<br /> <br /> Road, Hands-<br /> worth, Birming-<br /> ham.<br /> <br /> 16, Hallam Street,<br /> Portland Place,<br /> W.<br /> <br /> C/o. Messrs. Sebasti<br /> and Reali, 20,<br /> Piazza di Spagna,<br /> Rome.<br /> <br /> The Cliff, Brighton.<br /> <br /> Helmstedterstrasse<br /> 6, Wilmersdorff,<br /> Berlin.<br /> <br /> Dringhouses Manor,<br /> York.<br /> <br /> 54, Worcester Street,<br /> Wolverhampton.<br /> 13, Wharncliffe<br /> Road, Sheffield.<br /> Clouds, Hast Knoyle<br /> <br /> Salisbury.<br /> <br /> Beaconsfield Road,<br /> Weston-super-<br /> Mare.<br /> <br /> Junior United Ser-<br /> vice Club, S.W.<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> —_+—+<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 /> accurate.<br /> <br /> ART.<br /> <br /> Tue ART oF SILHOUETTE. By Desmonp Coxe. 9 x 5}.<br /> 231 pp. Martin Secker. 10s. 6d. n.<br /> <br /> “Tue ANGELS APPEARING TO THE SHEPHERDS.” By<br /> Veasquez. A Critical Study. By M. H. Spre:many.<br /> 10} x 73. 34 pp. The Medici Society. 2s. 6d. n.<br /> <br /> Tur Watuace Coutection. By J. Rutrer. 6} x 44.<br /> 166 pp. (National Treasures.) 2s. n.<br /> <br /> Oxtp Eneuise Furniturn. By F. Fenn and B. WYLLIE.<br /> 91 pp. xciv. plates. Batsford’s Collectors’ Library.<br /> 9 x 52. 6s. n.<br /> <br /> BIOGRAPHY.<br /> <br /> Mrs. Jorpan, Cuitp or Naturs. By Purp W. Szr-<br /> qaeant, B.A. With photogravure plate and 20 other<br /> illustrations. Hutchinson &amp; Co. 16s. n.<br /> <br /> Mary QurEn or Scots. By WatteR Woop. 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Being more rambles with<br /> an American. By Curistian THAaRLE. 9} xX 653.<br /> 349 pp. Longmans. 7s. 6d. n.<br /> <br /> THE Romance or THE CAMBRIDGE COLLEGES. By<br /> Francis GRIBBLE. 7} X 5. 268 pp. Mills and Boon.<br /> <br /> 6s.<br /> TRAVEL.<br /> <br /> AMERICA AS I saw IT, oR AMERICA REVisITED. By Mrs.<br /> <br /> pg TweEepiz. 82 x 654. 395 pp. Hutchinson.<br /> s. 0.<br /> <br /> UmpriA, Past AND PRESENT. By Mary Lovett CAMERON<br /> 7% x 5. 324 pp. Sidgwick and Jackson. 6s. n.<br /> <br /> THE CITIES OF RoMAGNA AND THE Marcues. By Epwarp<br /> Hutton. 7} x 5. 309 pp. Methuen. 6s.<br /> <br /> Tue DotomitEs: Kina LAvRIN’s GARDEN. Painted by<br /> E. Harrison Compton. Described by REGINALD<br /> FaRRER. 9 X 64. 207pp. A.andC. Black. 7s. 6d.n.<br /> <br /> ee<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> ba<br /> <br /> N October 3 there was published by<br /> () Messrs. Macmillan &amp; Co. a practically<br /> complete collection of the poems and<br /> chapter-headings in verse scattered throughout<br /> Mr. Rudyard Kipling’s prose works. The<br /> volume is entitled ‘“‘ Songs from Books.”’<br /> <br /> Mr. Thomas Hardy’s new volume of prose<br /> fiction, *“* A Changed Man, The Waiting Supper,<br /> and other Tales, concluding with The Romantic<br /> Adventures of a Milkmaid,” appeared on<br /> October 24, the publishers being Messrs.<br /> Macmillan.<br /> <br /> H.M. the King has been pleased to accept a<br /> copy of ‘‘ On the Track of the Abor,” by Major<br /> Mark Synge (Powell Millington).<br /> <br /> A copy of Sir James Yoxall’s “‘ A.B.C. about<br /> Collecting,’ the predecessor of the volume,<br /> ‘* More about Collecting,” mentioned in these<br /> Notes last month, has been graciously accepted<br /> by H.M. the Queen. The publishers are<br /> Messrs. Stanley Paul &amp; Co.<br /> <br /> ‘“* Turkey in Agony,” translated by Bedwin<br /> Sands (Mr. George Raffalovich) from the 37th<br /> edition of M. Pierre Loti’s ‘‘ Turquie Agoni-<br /> sante,’’ has been published for the Ottoman<br /> Committee by the African Times and Orient<br /> Review, Ltd.<br /> <br /> Mr. Alfred Perceval Graves has brought out<br /> a volume called ‘‘ Irish Literary and Musical<br /> Studies ”’ (Elkin Mathews, 6s. net).<br /> <br /> The Gresham Publishing Co. announce<br /> ‘* Leaders and Landmarks in European His-<br /> tory,’? by Mr. A. R. Hope Moncrieff and the<br /> Rev. H. J. Chaytor. This work presents a<br /> gallery of biographical sketches illustrating<br /> the course of European history by the lives<br /> of men and women who have made that<br /> history what it is.<br /> <br /> <br /> 46<br /> <br /> Captain Harry Graham’s “ Splendid Fail-<br /> ures,” a volume of biographical essays which<br /> Mr. Edward Arnold is issuing, takes for its<br /> subjects people well known by name, though<br /> few are acquainted with their personal his-<br /> tories. Among them will be found Wolfe<br /> Tone, “the first of the Fenians”; George<br /> Smythe, whom Disraeli took as his model for<br /> the hero of ‘‘ Coningsby ” ; Hartley Coleridge ;<br /> and the ill-fated Archduke Maximilian.<br /> <br /> Mr. Philip W. Sergeant’s * Mrs. Jordan,<br /> Child of Nature”? (Hutchinson &amp; Co., 16s.<br /> net), was published on October 29.<br /> <br /> Miss Alice E. Robbins’ “‘ Book of Duchesses”<br /> has been published by Andrew Melrose.<br /> <br /> Messrs. J. J. Bennett, Ltd., are the publishers<br /> of Mr. Charles F. Moxon’s ‘‘ On the Track of<br /> Truth,” a book of essays dealing with person-<br /> ality, heredity, free-will, and kindred topics.<br /> The price is 6s. net.<br /> <br /> Miss Myra Swan had in the October number<br /> of the Empire Review an article in eulogy of<br /> Shakespeare, the title being ‘‘ England’s<br /> Birthday.”<br /> <br /> Mr. M. D. Haviland’s ‘‘ Wild Life on the<br /> Wing,” with illustrations by Mr. Patten<br /> Wilson, is announced for early publication by<br /> Messrs. Black. These stories of bird-life by<br /> field, wood, and moor, by a close observer,<br /> are intended for all nature-lovers.<br /> <br /> Under the title of ‘“‘ America as I saw It:<br /> or America Revisited,’’ Messrs. Hutchinson<br /> have brought out in this country Mrs. Alec<br /> Tweedie’s impressions of her third visit to the<br /> United States, with a coloured frontispiece<br /> by Mr. Perey Anderson, and some cartoons<br /> by Mr. W. K. Haselden. The Macmillan Co.<br /> are the New York publishers of the work.<br /> ‘“‘ Busy Days ” is the name of a birthday-book<br /> containing quotations from Mrs. Tweedie’s<br /> fourteen volumes, issued by Messrs. Routledge<br /> at 1s., or, bound in grey suéde as a Christmas<br /> gift-book, 3s. Mrs. Alec Tweedie also con-<br /> tributes a preface to Mrs. Beattie Crozier’s<br /> “‘ Children’s Games and Parties,’’ a collection<br /> of forty-eight articles on entertaining children,<br /> illustrated with over 100 photographs by the<br /> author (Routledge, 3s. 6d.).<br /> <br /> “‘ Social Worship—for use in Families,<br /> Schools, and Churches,” is the title of two<br /> quarto volumes (about 1,000 pages), which<br /> will be published this month by George Allen.<br /> They contain Ethical Scriptures compiled and<br /> edited by Dr. Stanton Coit ; while the musical<br /> editor is Mr. C. Kennedy Scott. The selections<br /> have been made from the point of view that<br /> ‘true religion is history and law transfigured<br /> by moral idealism or, rather, it is moral<br /> <br /> THE AUTHOR.<br /> <br /> idealism made real and potent by an infusion<br /> of the nation-building powers of the universe.”<br /> The price is £2 2s. net.<br /> <br /> We are informed that 300 copies of “‘ Russian<br /> Flashlights,’ by Mr. Jaakoff Prelooker (Chap-<br /> man and Hall, 10s. 6d. net), have been placed<br /> at the disposal of public libraries in the<br /> poorer districts of the United Kingdom by an<br /> anonymous “friend of public instruction.”<br /> Libraries desiring free copies should, when<br /> applying to the Spriggs Publishing Agency,<br /> indicate their annual income and enclose 5d.<br /> in stamps for postage.<br /> <br /> Mr. E. S. Bellasis, M.I.C.E., has published<br /> during the year, through Messrs. E. and F. N.<br /> Spon, ‘‘ River and Canal Engineering ” and<br /> “Irrigation Works,” the prices being 8s. 6d.<br /> and 8s., net, respectively.<br /> <br /> Mr. Rowland Kenney’s ‘‘ Men and Rails,”<br /> dealing specially with the railway problem in<br /> relation to the workers, is issued by Mr. T.<br /> Fisher Unwin at 6s. net.<br /> <br /> Mr. George Ford, author of ‘‘ The Larramys,””<br /> has brought out a new novel, “ The Hoop of<br /> Gold,” published by Messrs Allen &amp; Co.<br /> <br /> Captain Charles Gilson has contributed<br /> throughout the past year to Blackwood’s, the<br /> Dublin Review, and other magazines. Messrs.<br /> William Blackwood &amp; Sons, of Edinburgh, have<br /> published his “Scenes from a Subaltern’s<br /> Life,” a selection of sketches of very varied<br /> interest. Captain Gilson still continues to<br /> produce a number of stories for boys. Messrs.<br /> Nisbet have just published ‘‘ The Sword of<br /> Deliverance,” a tale of the Balkan War,<br /> illustrated with drawings and photographs by<br /> Mr. H. C. Seppings Wright, the war corre-<br /> spondent (6s.) ; and Messrs. Henry Frowde and<br /> Hodder and Stoughton, ‘‘ The Race Round the<br /> World,” an aeroplane story for younger boys,<br /> <br /> illustrated by Mr. Cyrus Cuneo (3s. 6d.).<br /> <br /> Captain Gilson has also a serial running in<br /> The Captain, entitled ‘‘ The Fire-Gods ”’—a<br /> tale of the West Coast of Africa.<br /> <br /> Miss Grace Ellison translates and edits a<br /> story by Melek Hanoum, heroine of Pierre<br /> Loti’s “‘ Désenchantées,”’ lifting the veil from<br /> harem life in Constantinople under the old<br /> régime (Methuen &amp; Co.)<br /> <br /> Messrs. John Long, Ltd., will shortly publish<br /> a new novel entitled, ‘‘ The Eurasian,” by<br /> Mr. Henry Bruce, author of “ The Native<br /> Wife,” ete. This is a study of the unhappy<br /> sub-race which has resulted from our two<br /> centuries’ possession of India.<br /> <br /> Mr. Archibald B. Spens is engaged on a<br /> novel of Indian life, a further outcome. of the<br /> <br /> trip to the Peninsula already described in<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> £ “Mr. Spens’ “A Winter in India” (Stanley<br /> f Paul &amp; Co.)<br /> <br /> Among the novels announced by Messrs.<br /> Herbert Jenkins are “‘ Sheila Intervenes,” by<br /> Mr. Stephen McKenna ; and “ The Bewildered<br /> Benedict : the Story of a Superfluous Uncle,”<br /> | by Mr. Edward Burke.<br /> <br /> Mr. John Bloundelle Burton’s new romance,<br /> * * Fortune’s Frown,” is concerned largely with<br /> &#039; the Spanish Fury in Antwerp and the continued<br /> © oppression of the Netherlands for some time<br /> . after that terrible event. But for the book-<br /> ¢.. binders’ strike this novel would have appeared<br /> before now.<br /> The title of Miss Editha L. Blaikley’s novel<br /> ‘of mentioned in last month’s issue should have<br /> -od been ‘‘ Dorothy Gayle.”<br /> Mr. A. R. Hope’s new book for prizes, school<br /> - tf libraries, etc., is “‘ Half and Half Tragedy ”’<br /> ) (A. &amp;. C. Black, 5s.)<br /> [ Messrs. C. Arthur Pearson, Ltd., publish<br /> = at 2s. 6d. Mr. Christopher Beck’s ‘‘ The<br /> : ) ‘Crimson Aeroplane.”<br /> } Owing to the sustained demand for ‘“‘ The<br /> Twins in Ceylon ’’ and “* More about the Twins<br /> in Ceylon,” by Bella Sidney-Woolf (Mrs. R.<br /> H. Lock), Messrs Duckworth &amp; Co. have<br /> «i brought out a combined edition of the two<br /> -o! books in one volume at 3s. 6d. The books<br /> of have been placed upon the prize-list of the<br /> sf London County Council.<br /> Mr: Charles T. Jacobi, managing partner of<br /> 4% the Chiswick Press, has issued a fourth edition<br /> <br /> ‘9. of ‘*Some Notes on Books and Printing”<br /> <br /> )} (6s. net.). A sixteen-page pamphlet, extracted<br /> .if from this, instructs authors how to correct<br /> = aproof. Copies of this are lying at the Society’s<br /> 4 office and may be obtained by members on<br /> 8 application.<br /> <br /> 1 4 We understand that Messrs.. W. and G.<br /> | Foyle have opened a Foreign Book Department<br /> « at 5, Manette Street, next to their headquarters<br /> &#039; in Charing Cross Road. In this new depart-<br /> &#039; ment they propose to furnish their customers<br /> * with books in every language on every<br /> <br /> * conceivable subject. The books will be ar-<br /> “| ranged in strictly classified order. Messrs.<br /> _ Foyle inform us that they have the largest<br /> <br /> @ stock of second-hand foreign books in this<br /> °°9 country, and they invite readers of The Author<br /> to inspect this collection.<br /> <br /> The Daily Express announces that it has<br /> * arranged with Messrs. Stanley Paul that they<br /> % shall acquire the book rights of the story<br /> which wins the prize in the Express serial<br /> competition, provided that it is the work of<br /> _ an author who has never had a story published<br /> ) 1£ in book form before. Stories by new authors<br /> <br /> <br /> <br /> <br /> <br /> 47<br /> <br /> must therefore be submitted on the distinct<br /> understanding that the work considered by<br /> the judges to be the best will be bought as to<br /> the serial rights by the Express for £200, and<br /> as to the book rights by Messrs. Stanley Paul<br /> for £100.<br /> <br /> Mr. Ernest Whatson sends us a copy of his<br /> novel, ‘‘ Pauline,’”’ of which he personally has<br /> undertaken the whole burden of publication,<br /> in the belief that “the six-shilling novel is<br /> out of date,” that ‘the libraries merely buy<br /> just sufficient copies to spoil the sales amongst<br /> the general public,” and that ‘the royalties<br /> offered to the author are, as a rule, absurdly<br /> disproportionate to the time and toil which he<br /> must spend on his work.’’ He is selling<br /> ** Pauline ’’ at 1s., in paper covers, and proposes<br /> to issue others of his novels in the same way.<br /> ** We hope,”’ he says, ‘‘ to be able to produce a<br /> readable book at a popular price, which will<br /> tempt the public to buy instead of borrowing,<br /> which will at the same time allow a reasonable<br /> margin of profit to the writer and retailer.”<br /> We shall be interested to hear the financial<br /> result of Mr. Whatson’s venture.<br /> <br /> DRAMATIC.<br /> <br /> At the Ambassador’s Theatre on October<br /> 17, Madame Lydia Yavorika presented a new<br /> four-act play by the late Pierre Berton, “A<br /> Daughter of France.”? Miss Constance Maud<br /> was the author of the English version of<br /> this.<br /> <br /> At the Court Theatre on October 20,<br /> Miss Horniman put on for a short run<br /> Mr. Eden Phillpotts’ ‘‘ The Shadow,’’ which<br /> was previously seen at the Gaiety Theatre,<br /> Manchester. Another play by Mr. Phillpotts,<br /> “The Mother,” was seen at the Liverpool<br /> Repertory Theatre on October 22.<br /> <br /> Mr. G. K. Chesterton’s fantastic comedy,<br /> “Magic,” will be produced at the Little<br /> Theatre.<br /> <br /> During the Christmas holidays The<br /> Children Theatre will produce three plays<br /> by Miss Netta Syrett, entitled ‘The<br /> Fairy Doll,” ‘The Strange Boy,” and<br /> ‘*The Enchanted Garden,” and one by<br /> Mrs. Percy Dearmer, entitled “‘ Kit and the<br /> Cockyolly Bird.”<br /> <br /> “The Sea Power of England” is the<br /> name of a play for a village audience, by<br /> Amabel Strachey. The play has been pub-<br /> lished in book form by A. C. Curtis, Ltd.,<br /> and Humphrey Milford, Oxford University<br /> Press, Mrs. St. Loe Strachey contributing an<br /> introduction.<br /> 48 THE AUTHOR.<br /> <br /> PARIS NOTES.<br /> <br /> —oaee —<br /> <br /> a ES CHOSES NOIENT,” by Edouard<br /> Estaunié, is one of the most original<br /> novels. The author tells us a-story<br /> <br /> which, in itself, is an admirable psychological<br /> study. Each individual lives and has a<br /> strongly defined personality. The house in<br /> which the various scenes take place is in Dijon,<br /> and the atmosphere of the provincial town<br /> pervades the whole story. The author has<br /> heard everything he tells us from the house<br /> itself. The furniture and the very walls have<br /> witnessed all that has taken place, so that,<br /> with an artist’s intuition, the writer has only<br /> had to tell us what he has gathered from the<br /> apparently silent habitation. Some years ago<br /> this author gave us ‘“ La Vie Secréte,’’ and he<br /> was awarded an Academy prize for his earlier<br /> novel, “‘ L’Empreinte.”<br /> <br /> “Le Chemin de la Victoire,” by Emile Nolly,<br /> might be called a colonial novel. A former<br /> book by this author won an Academy prize,<br /> and the prize given by La Vie Heureuse this<br /> year has been awarded to Emile Nolly for his<br /> admirable book, ‘“‘ Gens de Guerre au Maroc.”<br /> The present novel is dedicated to the author&#039;s<br /> comrades, ‘‘ The officers of the French Colonial<br /> Army.” The story is more or less the diary<br /> (not written as a diary) of a certain officer who<br /> takes part in active service in the French<br /> colonies. It is a story very true to life, told<br /> simply, showing both the prosaic and poetical<br /> side of a soldier’s existence.<br /> <br /> “‘ Billes Nobles et Magiciennes,”” by Humbert<br /> de Gallier, is the third volume of the curious<br /> series entitled ‘‘ Les Moeurs et la Vie privée<br /> d’Autrefois.”” From this study of the women<br /> of the old aristocracy, we understand how it<br /> comes about that modern Frenchwomen, as a<br /> rule, are such excellent housekeepers and<br /> hostesses. Going back to the sixteenth cen-<br /> tury, the author introduces us to the convents<br /> in which so many women of good society lived.<br /> In many of these convents, or cloisters, it was<br /> not necessary to take religious vows. Many<br /> women and girls of good family lived there for<br /> a certain time, paying a certain sum of money<br /> annually, just as in our modern boarding-<br /> houses. The girls were trained for their<br /> future réle in the world, and no details of<br /> household management were considered un-<br /> important. We see the daughters of the oldest<br /> families in France keeping the accounts,<br /> attending to the house linen, the sweeping of<br /> the rooms, the trimming of the lamps, etc.<br /> They were also expected to be efficient in the<br /> <br /> sick-room and in the drawing-room. In another<br /> chapter, speaking of the Frenchwoman of<br /> to-day, M. de Gallier says that the future alone<br /> can decide whether the woman of to-day (with<br /> her appeals to the law for a certain authority<br /> which she evidently fears she ean no longer<br /> obtain by means of her husband’s affection and<br /> the respect of her children)is in a better position<br /> than her grandmother, who knew how to obtain,<br /> thanks to her own hands, and without any<br /> uproar, the place that was her due.<br /> <br /> ‘““Marie Antoinette, Fersen and Barnave<br /> (Leur Correspondance), published by O. G. de<br /> Heidenstam, is a delightful addition to the<br /> Marie Antoinette litérature. In the old castle<br /> of Léfstad (belonging at present to the Countess<br /> Emilie Piper, a descendant of Fersen’s sister)<br /> are two packets of letters. The one contains<br /> <br /> be)<br /> <br /> those written by Fersen to his sister, acknow- ’ -<br /> <br /> ledging to her his chivalrous love for the<br /> unfortunate queen. The other packet con-<br /> tains the political correspondence between<br /> Marie Antoinette and Barnave. Thanks to<br /> the permission of the present owner of these<br /> letters, M. de Heidenstam has been able to give<br /> us a volume of immense interest.<br /> <br /> The great event in the theatrical world has<br /> been the resignation of the Director of the<br /> Comédie Francaise, Jules Claretie, after so<br /> many years of arduous work. M. Claretie is<br /> well known to the English public as an author,<br /> and, on looking at the long list of his novels<br /> and other books, one wonders how he could<br /> have found time for the absorbing task of<br /> administrating the affairs of a State theatre.<br /> <br /> Mr. Albert Carré succeeds M. Claretie as<br /> director of the ThéAtre Francais. M. Carré<br /> began his career as theatrical manager at<br /> Nancy. In 1885 he came to Paris as manager<br /> of the Vaudeville. His next theatre was the<br /> Gymnase, and in 1898 he was appointed<br /> director of the Opéra Comique.<br /> <br /> Another event in the theatrical world this<br /> season was the inauguration of the marvellous<br /> ceiling painting at the Comédie Frangaise, on<br /> which Albert Besnard has been at work for<br /> some eight or nine years. It is indeed a<br /> wonderful piece of work, with all the boldness<br /> and delicacy and the exquisite harmony of<br /> colouring of which Albert Besnard alone has<br /> the secret.<br /> <br /> Atys HAiarD.<br /> <br /> <br /> <br /> ‘Les Choses Noient.” (Perrin.)<br /> <br /> “ Wjlles Nobles et Magiciennes.”’ (Calmann-Lévy.)<br /> <br /> “Marie Antoinette, Fersen and Barnave (Leur Corres-<br /> pondance).” (Calmann-Lévy.)<br /> <br /> —_——_+ &lt;&gt;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> )@: agreement.<br /> <br /> |. pieces,<br /> <br /> <br /> <br /> UNITED STATES STOCK RIGHTS AND<br /> AGENTS.<br /> <br /> — +<br /> <br /> a HE Dramatic Sub-Committee again desire<br /> <br /> to eall the attention of members to the<br /> value of stock rights in the United States.<br /> { The number of towns in the United States<br /> 4) that have stock companies is very large as<br /> <br /> ‘6 anyone can see from the lists issued by the<br /> <br /> J United States dramatic agents. Favourite<br /> running generally for a week at a<br /> © time, are being revived again and again.<br /> <br /> To obtain the full advantage | from the<br /> + leasing of these stock rights it is almost<br /> » essential that an author should have an<br /> agent in the United States to guard his<br /> interests.<br /> <br /> This is the course adopted by most of the<br /> ‘} dramatists who have a market for their work<br /> ai in the United States. It is of the utmost im-<br /> “ portance, however, that authors should be<br /> <br /> » careful in their choice of agents. There are<br /> ag agents who think their sole duty lies in taking<br /> any fees that come their way, and in passing on<br /> ‘the accounts without ever checking them or<br /> &gt; seeing that they are in accord with the<br /> One agent who was held up for his<br /> <br /> =<br /> <br /> 1s carelessness stated that all he had to do was<br /> <br /> » to forward all the fees. This kind of agent is<br /> <br /> / &gt;. very unsatisfactory as he forces the author to<br /> <br /> <br /> <br /> Bok RY<br /> <br /> a, undertake work for which the agent receives<br /> <br /> ® commission; besides, it is often impossible for<br /> 4) the author to check the accounts as the agent<br /> “4 usually holds the agreement.<br /> Again, there are.agents who act as principals.<br /> f These are also very unsatisfactory. They<br /> may make an offer of a capital sum for the<br /> stock rights. They may do so stating openly<br /> _ that they are purchasing for themselves. They<br /> may do so without making such a statement,<br /> leaving the author to deduce that the offer<br /> has come from someone else.<br /> <br /> In either case the position is unsatisfactory<br /> as the agent is using his special knowledge for<br /> his own advantage, which should be wholly at<br /> ‘J the service of his principal.<br /> <br /> _ However upright or straightforward an<br /> 1% agent may desire to be, if he acts as principal<br /> if he always runs the risk of having the charge<br /> @ brought against him that his advice is not<br /> <br /> BR<br /> <br /> ies<br /> <br /> ial disinterested and that his statements are<br /> <br /> sh tainted.<br /> <br /> In no circumstances, therefore, should an<br /> ‘® author employ an agent who at any time acts<br /> ‘&amp; 2S principal or is interested as principal in<br /> ® others’ work.<br /> <br /> The committee of the Society consider it<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 49<br /> <br /> necessary to put forward this warning owing to<br /> certain information which has been laid before<br /> them, not only with regard to agents in the<br /> United States but also with regard to agents<br /> this side of the water.<br /> <br /> &lt;&gt; — ____.<br /> <br /> A PRIZE COMPETITION.<br /> <br /> <br /> <br /> All songs must be forwarded on or before November 15,<br /> addressed to the Editor of the Evening News, Carmelite<br /> Street, E.C., and marked outside, ‘‘ Song Competition.”<br /> <br /> Competitors must write pen-names only on _ their<br /> manuscript and enclose their own names and addresses,<br /> with the pen-names, in separate envelopes.<br /> <br /> A number of the best songs will be chosen by a com-<br /> mittee of well-known singers, who will act in conjunction<br /> with the Editor of the Evening News.<br /> <br /> These songs will be submitted to the vote of the audience<br /> at a great concert to be organised by the Evening News,<br /> and the decision then reached as to which is the best song<br /> in each class will be final.<br /> <br /> £100 will be the prize for the best song for male voices,<br /> and £100 for the best song for female voices.<br /> <br /> If collaborators have sent in a winning song, they must<br /> arrange between themselves as to the proportion of prize<br /> money each one takes. The Hvening News will not accept<br /> any responsibility as to the division of the money.<br /> <br /> The winning compositions will become the property of<br /> the Evening News, which is to make arrangements for their<br /> publication. Royalties at a rate to be agreed upon will be<br /> paid to the successful competitors on the sale of the songs.<br /> Where the song is by collaborators, they must arrange<br /> between themselves the proportion of the royalty proceeds<br /> each is to take.<br /> <br /> The Evening News is to have the right to publish any<br /> song sent in, upon the same royalty terms (and, of course,<br /> without any £100 prize) that are paid in the case of the<br /> prize songs.<br /> <br /> ROM time to time The Author has had<br /> <br /> 4 reason to draw the attention of members<br /> <br /> to the unsatisfactory and _ indefinite<br /> drafting of the terms set out by proprietors of<br /> papers “when they offer prizes for literary or<br /> other copyright work. The rules printed<br /> above comprise the rules as issued by the<br /> Evening News for a song competition.<br /> <br /> There are several points to which the atten-<br /> tion of our members should be drawn. It<br /> would be very interesting to know who are<br /> the committee of well-known singers about to<br /> act in conjunction with the editor of the<br /> Evening News. This is not a matter of vital<br /> importance, but such knowledge would no<br /> doubt inspire confidence in those who are<br /> <br /> sending up their works, although—the editor<br /> might consider this point—it is very doubtful<br /> if any self-respecting composer would care to<br /> submit his work to the judgment of a com-<br /> mittee of singers and the general public. It<br /> would also be interesting to know whether this<br /> <br /> <br />  <br /> <br /> 50<br /> <br /> <br /> <br /> competition emanates from some publishing<br /> house, or is merely a money-making suggestion<br /> arising from the proprietors of the Evening<br /> News. This point also is not a matter of vital<br /> importance, but again it would inspire con-<br /> fidence if it was distinctly understood that the<br /> offer came from the Evening News and that no<br /> music publisher was at the back of it. —<br /> <br /> There are, however, other points which are<br /> of very vital importance. Although the date<br /> is fixed when the compositions should be sent<br /> in to the Evening News, no date is fixed when<br /> the great concert is to be given ; no statement<br /> is made as to how the votes of the audience are<br /> to be taken, and no date is given when the<br /> prize money is to be paid. It is clear from the<br /> tules printed above that royalties are to be<br /> paid on the winning compositions in addition<br /> to the £100 which the winners receive, but the<br /> royalties are “at a rate to be agreed upon.”<br /> Does this mean agreed upon between the<br /> editor of the Evening News and the prize<br /> winners, or merely agreed upon by the editor<br /> of the Evening News? If the royalty “ to be<br /> agreed upon” is to be settled between the<br /> composer and the editor of the Evening News,<br /> this may give rise to great difficulty. If the<br /> parties cannot agree, what solution of the<br /> difficulty does the editor suggest ?. This point<br /> should have been clearly dealt with. It<br /> would have been much better if the editor had<br /> clearly stated what royalty he was willing to<br /> pay on the publication of the winning songs.<br /> Then each composer would have had a fair<br /> chance of judging whether it was worth his<br /> while to compete for the prize, receiving £100<br /> for the sale of the full copyright, and in addition<br /> a royalty on the sale of each copy of the songs.<br /> It would appear, however, that if the song was<br /> converted into a valse, or dealt with in any<br /> other fashion, no royalty would be payable.<br /> There is no undertaking that the songs will be<br /> published by a certain date, or that the com-<br /> posers’ names will be attached to the songs<br /> when they are put on the market. All these<br /> points should have been definitely and clearly<br /> set forth. It would then be a matter for the<br /> composer to decide whether it would be worth<br /> his while to compete on the chance of winning<br /> the prize,<br /> <br /> We desire to draw the special attention of<br /> members to the last paragraph. Though it<br /> might be worth while for a composer to com-<br /> pete and win the prize, he would have to<br /> consider very carefully whether it would be<br /> worth his while, in case he did not win<br /> the prize, to be bound by the last para-<br /> graph. Here again no statement is made as to<br /> <br /> THE AUTHOR.<br /> <br /> the date when the songs are to be published.<br /> No statement is made as to what royalty is to:<br /> be paid, except that it is to be the same<br /> royalty as is paid in the case of the prize songs.<br /> If the rate of royalty had been fixed by the<br /> rules, every competitor would know how he<br /> stood, but the rate of royalty which a composer<br /> who receives £100 down might be willing to<br /> accept may prove very inadequate and unfair<br /> to the other composers who have not got the<br /> prize.<br /> <br /> Again, though it is clear that “the pro-<br /> perty,” z.e., the whole copyright of the prize<br /> songs, belongs to the Evening News, it would.<br /> seem from the rules that ‘“‘ the property ” in<br /> the other songs would not belong to the<br /> Evening News, but the proprietors would<br /> merely have “ the right to publish the song,”<br /> and would have no further rights in the matter.<br /> If this deduction is not correct, then the pro-<br /> position as put forward seems open to doubt,<br /> and in that case the editor should have set<br /> forth the terms much more accurately for the<br /> benefit of those composers who are competing.<br /> <br /> We do not desire to discuss the amount that<br /> is given, for it must lie entirely with the com-<br /> poser to decide whether it is worth his while to-<br /> accept the financial side as it stands, but we do-<br /> desire to lay stress upon the point that in<br /> many ways the offer is too indefinite, and that<br /> it would be much better if the Evening News,<br /> before setting out the terms, had taken pains<br /> <br /> to see that no mistake or misunderstanding: .<br /> <br /> could possibly be made by those who are<br /> desiring to enter the competition.<br /> <br /> We feel quite sure that the proprietors of the<br /> Evening News desire to do everything that is.<br /> fair and right by the composers, but it is clear<br /> that, from the terms set out, misunderstand-<br /> ings and dissatisfaction may arise. This<br /> might easily have been avoided with a little<br /> care.<br /> <br /> Te<br /> <br /> LITERARY TREATY BETWEEN<br /> GERMANY AND RUSSIA.<br /> <br /> —-—&gt;———<br /> <br /> ERMANY has not long delayed following<br /> <br /> the example of France and arriving at<br /> <br /> a treaty with Russia for the reciprocal<br /> protection of copyright property in the two<br /> empires. The new treaty came into force on<br /> <br /> August 14 last, and has a duration of five<br /> years, after which it remains in force year by<br /> year for one year until it is denounced by one<br /> of the contracting parties.<br /> <br /> <br /> <br /> <br /> i<br /> it @<br /> <br /> THE AUTHOR.<br /> <br /> On the whole the terms of agreement<br /> <br /> «»- resemble those between Russia and France.<br /> <br /> <br /> <br /> <br /> <br /> Citizens of both countries now enjoy in both<br /> countries the rights accorded them by law;<br /> and the stipulations apply equally to authors<br /> of any nationality who publish in either<br /> country. The term ‘“‘literary or artistic<br /> works ”’ is interpreted in the wide sense given<br /> to it in modern copyright enactments, and<br /> embraces architectural, choreographic, panto-<br /> mimic works, etc., and every production of any<br /> <br /> literary, scientific, or artistic character whatso-<br /> <br /> ever, no matter what may be the form of<br /> reproduction, or the merits or demerits of the<br /> work. Photographs, or works produced by<br /> any process similar to photography, are<br /> included. Authors have an exclusive right of<br /> translation for ten years, on condition that<br /> this right is reserved on the title-leaf (on either<br /> side of the leaf), a particular to which the<br /> German publishers attach importance, or in<br /> the preface. This exclusive right of translation<br /> is, however, lost if the author does not make<br /> use of it within five years, and, in the case of<br /> translation of scientific, technical, or educa-<br /> tional works, within three years. In this last<br /> particular the Russians have been far from<br /> generous, and we gather from the columns of<br /> our valuable contemporary Le Droit d’ Auteur<br /> (September, 1913), to which we are indebted<br /> for our information, that it was not without<br /> a struggle that the German delegates secured<br /> even this very scanty protection. The Russian<br /> Government was indisposed to grant German<br /> Scientific, technical, and educational works<br /> any protection at all, desiring that they should<br /> remain entirely at the disposal of Russian<br /> translators. The right of translation of un-<br /> published works will be calculated from<br /> January 1 of the year of publication; and<br /> which day is January 1, will be determined in<br /> accordance with the calendar of the country<br /> in which the work is published.<br /> <br /> The following are explicitly enumerated as<br /> illicit reproductions—unauthorised transfor-<br /> mations, adaptions, and arrangements of<br /> music, transformations of novels or poems<br /> into dramatic pieces, and vice versa.<br /> <br /> Excepting serials and_ stories, articles<br /> appearing in journals are not protected, either<br /> in the original or in translations, unless their<br /> reproduction has been expressly forbidden.<br /> Mere news is not protected.<br /> <br /> Dramatic authors, whether their works are<br /> published or not, enjoy, in the original, pro-<br /> tection during the whole period of copyright ;<br /> in a translation, only during the period accorded<br /> to translation. Composers are protected if<br /> <br /> 51<br /> <br /> the inhibition of public performance of their<br /> works is mentioned on every copy. In the<br /> cases of discs, etc., for the mechanical perfor-<br /> mance of music, and in the case of photographs<br /> it is necessary that every copy should indicate<br /> the name of the firm or author and the date<br /> of publication. It suffices that the inhibi-<br /> tion of reproduction should be expressed<br /> in the language of the country of manu-<br /> facture. It will be here perceived that<br /> the protection accorded is thus not absolutely<br /> unconditional,<br /> <br /> The agreement is not retro-active, but<br /> applies to all the territories of the signa-<br /> tories.<br /> <br /> Le Droit d Auteur, at the conclusion of am<br /> exhaustive article on the new treaty remarks<br /> with great reason :—<br /> <br /> ““The new agreement is a document<br /> elaborated with methodical care and with a<br /> constant attention to defining and ameliorating<br /> international relations. In this respect it<br /> deserves not only the praises which have been<br /> bestowed upon it by German authorities and<br /> the German press (which anticipates as a<br /> consequence of the new treaty the suppression<br /> of many abuses and a future increase of<br /> intellectual exchange between the two nations),<br /> but has also a right to the approbation of the<br /> more extended group of countries either<br /> already bound up, or about to be bound up<br /> with Russia in the domain of reciprocal<br /> protection of writers and artists. Finally,<br /> it will be noted with satisfaction by the republic<br /> of letters which acclaims all drawing together<br /> of civilised nations on the pacific grounds of<br /> the defence of common interests of a higher<br /> order.”<br /> <br /> re<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> ao<br /> <br /> British REVIEW.<br /> The Poetry of Francis Thomson.<br /> <br /> CoNTEMPORARY.<br /> Shakespeare and Public Affairs. By Sir Sidney Lee.<br /> <br /> EneuisH REVIEW.<br /> The Poetry of Chaucer. By Henry Newbolt.<br /> <br /> FortNIGHTLY.<br /> The Plays of Granville Barker. By P. P. Howe.<br /> Emile Verhaeren. By Horace B. Samuel.<br /> Charlotte Bronté. By Augustus Ralli.<br /> Mussorgsky’s Operas. By E. A. Baughan.<br /> Drama for the Common Man. By W. L. George-<br />  <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> oo<br /> <br /> t, VERY member has a right toask for and to receive<br /> K advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. | The<br /> Secretary of the Society is a solicitor ; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel 8<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 thesafe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <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 /> 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 /> This<br /> The<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 1s.<br /> <br /> er<br /> annum, or £10 10s. for life membership.<br /> <br /> et<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —1— +<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 /> This is sometimes satisfactory, if a proper price can be<br /> <br /> THE AUTHOR.<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,&quot;<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 Zhe Author,<br /> <br /> IY. 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 /> C1.) 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 /> a eee ney ceniennenieany<br /> <br /> WARNINGS TO DRAMATIC AUTHORS. |<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 /> <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 /> <br /> <br /> THE AUTHOR.<br /> <br /> (2.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <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 (}.) apply<br /> also in this case.<br /> <br /> <br /> <br /> <br /> . 4, Plays in one act are often sold outright, but it is<br /> 6, 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 /> <br /> i be reserved.<br /> <br /> * 5, Authors should remember that performing rights can<br /> uit @ be limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <br /> aE 6. Authors should not assign performing rights, but<br /> <br /> «@ should grant a licence to perform. The legal distinction<br /> got @ is of great importance,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 7. Authors should remember that performing rights in a<br /> ale pisy are distinct from literary copyright. A manager<br /> ‘6 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 /> <br /> ® ingly valuable. They should never be included in English<br /> ~@ agreements without the author obtaining a substantial<br /> «1@; consideration,<br /> <br /> 9, Agreements for collaboration should be carefully<br /> seu) drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of ed<br /> © is highly speculative: that he runs a very great risk of<br /> : “a delay and a breakdown in the fulfilment of his contract.<br /> re He should therefore guard himself all the more carefully in<br /> oo6e the beginning,<br /> 11. An author must remember that the dramatic market<br /> » is exceedingly limited, and that for a novice the first object<br /> &amp; is to obtain adequate publication.<br /> ee As these warnings must necessarily be incomplete, on<br /> 4u3S @ecount of the wide range of the subject of dramatic con-<br /> \@°e@ tracts, those authors desirous of further information<br /> \ @&amp; are referred to the Secretary of the Society.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ——— Or 2<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> 1<br /> <br /> oe. typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to 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 /> <br /> rules, with the exception that a play will be charged for<br /> at the price of 2a. 6d. per act.<br /> <br /> 53<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <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 /> <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 /> <br /> ee<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> eas<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 /> 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 /> —_—————_—&gt;—e- —___<br /> <br /> STAMPING MUSIC.<br /> <br /> —_———+ —<br /> <br /> The Society undertakes to stamp copies of music om<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&#039;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 /> —_—<br /> <br /> EMBERS will greatly assist the Society in this.<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> <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 /> <br /> So<br /> <br /> REMITTANCES.<br /> <br /> 4<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 Vain of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> COLLECTION BUREAU.<br /> <br /> —<br /> a Society undertakes to collect accounts and money<br /> <br /> <br /> <br /> due to authors, composers and dramatists. :<br /> 1. Under contracts for the publication of their<br /> <br /> works. :<br /> 2. Under contracts for the performance of their works<br /> <br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> ‘books, and Clause 19, 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. oe<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland ; é . A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs Pogson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> ——<br /> THE ANNUAL DINNER.<br /> <br /> THE annual dinner of the Society of Authors<br /> is fixed to take place on November 27,<br /> at the Criterion Restaurant. Mr. Hesketh<br /> Prichard, the chairman of the Committee of<br /> Management, will take the chair. Notices to<br /> this effect have already been circulated.<br /> <br /> NOVELISTS AND Fitm Ricurts.<br /> <br /> THE importance of the moving picture<br /> rights in novels must be apparent to all<br /> frequenters of picture palaces. Manufac-<br /> turers are increasingly utilising the work of<br /> the novelist in order to make their entertain-<br /> ments more attractive to the public. All the<br /> signs point to a distinct future for the novel<br /> easily adaptable to the cinematograph.<br /> <br /> We feel it is necessary therefore to impress<br /> upon our members the necessity for guarding<br /> very carefully the picture rights in their<br /> novels, and to sign no contract with a publisher<br /> which contains any provision relating to these<br /> rights without first referring to the Society.<br /> <br /> Already it is apparent that the publishers<br /> of books are anxious to gain control of this<br /> <br /> THE AUTHOR.<br /> <br /> new right, just:as the publishers of music have<br /> been anxious to gain control of the mechanical<br /> instrument rights in music. The author must,<br /> therefore, be sure not to part with any right<br /> beyond the licence to publish in book form<br /> properly limited.<br /> <br /> Properly marketed, the moving picture<br /> rights of a novel may be extremely valuable to<br /> the author. In the hands of the publisher<br /> there is a very real danger of their being<br /> treated as a useful source of a little additional<br /> revenue, but hardly worth any very strenuous<br /> effort to place on a profitable basis.<br /> <br /> Morratr v. MAuUDE.<br /> <br /> THE question of how far a dramatist has<br /> power under a clause in his contract to dictate<br /> <br /> <br /> <br /> <br /> to the manager on the choice of his cast must =<br /> <br /> in all circumstances depend upon the wording +<br /> <br /> of the clause; and the question how far a<br /> dramatist is entitled to damages for breach of<br /> such a clause by the manager must in all<br /> circumstances depend upon the facts of each<br /> case, and the interpretation the judge and<br /> jury place upon the facts.<br /> <br /> This doctrine has been fully exemplified by<br /> the judgment in the case of Moffat v. Maude.<br /> The point has been laboriously considered in<br /> the Dramatic Sub-committee. It has again<br /> been raised by the Dramatists’ Club. The<br /> sub-committee desire to impress upon the<br /> dramatist members of the Society the necessity<br /> for insisting on a clause in their contracts<br /> giving them, if they can obtain it, the virtual<br /> control of the casting of the chief parts; if<br /> they cannot ‘insist so far, then a contract<br /> subject to a mutual right of veto.<br /> <br /> The sub-committee consider the matter is<br /> of great importance to Dramatists, and while<br /> they regret the decision in the case mentioned,<br /> they do not think that it upsets in any way<br /> the general recognised principles of law by<br /> which these questions are determined, nor is<br /> it likely to modify the value of such a clause<br /> as the one which they recommend.<br /> <br /> “Mary Goes First.”<br /> In the Observer of October 19 appeared an<br /> <br /> <br /> <br /> qe *<br /> ita<br /> <br /> fis b<br /> dhe igs<br /> <br /> ape<br /> <br /> at<br /> wea<br /> aE<br /> oe]<br /> and<br /> <br /> amusing letter, nearly two columns long, »<br /> <br /> written by Mr. Henry Arthur Jones, through<br /> his secretary, on the subject of ‘‘ Names in<br /> Plays.” It is stated that the letter is in<br /> <br /> answer to a threat of an action for libel if<br /> Mr. Jones’s play, ‘‘ Mary Goes First,” is<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> published without certain revisions. As we<br /> junderstand the matter to be sub judice still,<br /> i we are precluded from comment upon it. But<br /> ve cannot refrain from registering our opinion<br /> hat the present condition of the law of libel<br /> s very serious for authors and urgently<br /> equires attention. Cases which have been<br /> ecided in court more or less recently have<br /> made this painfully clear, and authors cannot,<br /> n justice to themselves, remain apathetic.<br /> <br /> Tue U.S.A. AuTHors’ LEAGUE.<br /> <br /> __ WE read with interest the Bulletin of the<br /> Authors’ League of America, as it comes to<br /> us regularly, and we are exceedingly interested<br /> o see the gradual increase of the League, and<br /> ope to hear of its membership reaching<br /> |,000 very shortly. At present we find the<br /> members at 518, but fresh names are being<br /> dded steadily from month to month. There<br /> _. 31s not the least doubt that the Authors’ League,<br /> _. aithrough its executive, may be able to give the<br /> _ aAuthors’ Society very valuable information<br /> Mifrom time to time, and our committee have<br /> &gt; gexpressed their willingness to give the Authors’<br /> -o League every help and assistance that is in<br /> heir power. We hope that the two societies<br /> will be drawn closer together by the fact that<br /> ‘Hour Society has asked Mr. A. Train, the<br /> 9% General Counsel, to act as the Society’s legal<br /> “&gt; = representative in the United States.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ANTHOLOGIES.<br /> <br /> _ Our attention has been drawn to the Preface<br /> of a book entitled ‘‘ Lyric Masterpieces by<br /> i Living Authors,”’ which is published by Gowans<br /> and Gray, Ltd., Glasgow and London.<br /> <br /> From this Preface it appears that the editor<br /> who made the selection thinks it a mistaken<br /> plicy that certain living authors object to<br /> <br /> aving their works reproduced in other books<br /> without payment. This attitude seems to<br /> have annoyed him, and in carefully expressed<br /> phrases he has shown his annoyance. It is<br /> impossible, of course, to know whether the<br /> compiler of the selection has been paid for such<br /> compilation. Most probably he did not do the<br /> work for his own pleasure. But it may fairly<br /> be deduced that the publishers would not have<br /> put the book on the market unless they hoped<br /> to make it a commercial success and to profit<br /> by the sales. The Author has on former<br /> occasions dealt with this question of Antholo-<br /> gies. It does seem unfair that a publisher<br /> should make a profit out of the use of other<br /> <br /> é<br /> <br /> THE AUTHOR.<br /> <br /> 5<br /> <br /> people’s property without paying for it. Why<br /> should. ‘‘some poets and _ publishers” . be<br /> generous in a matter of this kind, which is a<br /> matter purely of business.<br /> <br /> Many well-known writers have very strong<br /> objections to allowing the product of their<br /> brains to be taken from them for the financial<br /> benefit of others in whom they are not in the<br /> least interested.<br /> <br /> The editor of the book, as we have pointed<br /> out, thinks that the demand for payment by<br /> the poet is a mistaken policy. We wonder<br /> whether, having made the selection, he would<br /> like another publisher to produce the same<br /> selection without any payment whatever to<br /> himself for the work undertaken.<br /> <br /> ——_————_+—&gt;——_-—__—_<br /> <br /> PUTTING A NOVEL ON THE<br /> MARKET.<br /> <br /> +<br /> <br /> By F. G. Browne or F. G. Browne Co.<br /> <br /> [From the ‘‘ Bookseller, Newsdealer and<br /> <br /> Stationer,’ New York.]<br /> <br /> S HE author has made a very attractive<br /> book of this.”<br /> <br /> A reviewer on a western newspaper<br /> wound up his review of one of our latest<br /> publications with these words. The sentence<br /> well illustrates something of the confusion that<br /> obtains in the public mind regarding the art of<br /> book making. 2<br /> <br /> Few persons reading the latest book of<br /> fiction ever give a thought as to how the book<br /> has been put into their possession. To the<br /> average readers a novel is a novel; they read.<br /> it, enjoy it, or condemn it, as an expression of<br /> individual taste, and put it aside. Its mission<br /> has been fulfilled.<br /> <br /> Beyond knowing the names of perhaps a<br /> half dozen of the ‘‘ stars,” probably nine out of<br /> ten persons do not give a thought to the<br /> personality behind the writing of a book, much,<br /> less the making of it... The work and planning<br /> and execution of the myriad details which have<br /> made it possible to put this latest volume in<br /> their hands for $1 or $1.25 rarely are<br /> considered. :<br /> <br /> The production of a book of fiction involves<br /> many personalities. First, the author, who<br /> conceives and writes the story; second, the<br /> publisher, who selects the story from among<br /> many, many manuscripts and decides to stake<br /> a portion of his capital and energy in making it<br />  <br /> <br /> 56<br /> <br /> <br /> <br /> into a book; third, the artist, whose talents<br /> and imagination must be devoted for perhaps<br /> several months to the task of visualising<br /> characters and situations so that the man who<br /> runs may be attracted to read ; fourth, the<br /> printer, who, following the specifications of the<br /> publisher, converts the manuscript into type,<br /> and the type into electrotype plates, and on his<br /> presses prints the sheets that are to be the basis<br /> of the book ; fifth, the engraver, who places his<br /> technical skill at the disposal of the artist and<br /> <br /> ublisher in reproducing the illustrations in<br /> heautifal multicolour plates or simple black<br /> and white halftones, as the case may demand ;<br /> sixth, the paper maker, who must have his<br /> product finished and in the printer’s hands<br /> when the book is ready to print ; seventh, the<br /> binder, who takes the printed sheets and sews<br /> and stitches and trims them and incases them<br /> in the permanent cloth cover.<br /> <br /> SALE AND DISTRIBUTION.<br /> <br /> These and others are concerned in the<br /> making of the book. Its sale and distribution<br /> require the labour of another set of craftsmen—<br /> the publisher’s travelling representative, who<br /> lays the book before the bookseller and<br /> unblushingly asks for an order for it of twice<br /> the quantity he dares expect ; the bookseller,<br /> who gives the book a chance of reaching the<br /> eye of the public by tying up sundry dollars<br /> of his capital in an order usually one-fourth the<br /> size suggested (for he likely has looked at<br /> twenty new stories that morning and listened<br /> to glowing statements of the potential qualities<br /> of all as ‘best sellers ”); the newspaper,<br /> through whose advertising columns the enthu-<br /> siastic publisher announces the story as a<br /> discovery peculiar to the century, in order to<br /> anticipate and discount the judicial statements<br /> later of the same newspaper’s literary editor<br /> as to the book’s real value and reason for<br /> being.<br /> <br /> The finished typewritten manuscript _ is,<br /> therefore, but the beginning. The author has<br /> done his part. The labour of those who must<br /> contribute to the book’s success is just opening<br /> up, and in fact the publisher’s work began<br /> before the manuscript was submitted.<br /> <br /> First of all, the publisher must read hundreds<br /> of manuscripts. It is one of the routine<br /> labours of his day’s (and night’s) work. From<br /> a mass of a hundred manuscripts he selects<br /> perhaps one that he believes has “ the punch ”<br /> and may become a good “seller.” For the<br /> <br /> publication of fiction no longer is considered<br /> from the literary standpoint: it is published<br /> <br /> THE AUTHOR.<br /> <br /> from the viewpoint of dollars and cents, what<br /> it will make for the author and what it will net<br /> the publisher. It has developed into a § ©:<br /> commercial proposition pure and simple—the 61%<br /> merchandising of literature. :<br /> <br /> The recording, reading, considering, packing, |<br /> and returning of unavailable manuscripts alone Sic!<br /> involve work on the part of the publisher and Bus *<br /> his assistants which represents a large actual [jit<br /> loss of time and money. But it is all a part of To ww<br /> the game, for the publisher who lands one good Bue!<br /> seller out of a hundred manuscripts counts<br /> himself fortunate. :<br /> <br /> I am constantly reading manuscripts at all<br /> manner of odd times outside of my business ©<br /> hours. I wouldn’t, under any circumstances, |<br /> publish a volume of fiction unless I personally<br /> had read it through. I think most successful<br /> publishers follow the same rule. That means<br /> that the manuscripts I read have been “ sifted ”<br /> by regular ‘‘ readers,” and those that have any<br /> promise at all laid aside for me. It is done on<br /> somewhat the same principle that a man ©<br /> follows in buying horses—others may recom- _<br /> mend, but he must examine the animal himself é4<br /> and try him out before he invests his money |.<br /> in him.<br /> <br /> The manuscript accepted for publication, the 4<br /> next point to be determined is, what kind of a -<br /> book shall be made of it ? This means the selec- -— ©<br /> tion of type, the size of the volume, the choice OF<br /> of artist to illustrate it, and so on. Book<br /> manufacturing details are usually worked out<br /> carefully and nothing left to chance. The<br /> number of words is estimated, the size of type<br /> is decided upon—this being regulated by the<br /> number of words the manuscript contains and<br /> the number of pages the book is to have—the<br /> kind of paper, the style of illustration, the<br /> scheme for cover design and paper ‘“ jacket,”<br /> and the size of the edition.<br /> <br /> <br /> <br /> .....,<br /> ati re<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> From a MercuaNDISE STANDPOINT.<br /> <br /> Nowadays, as I have said, fiction is treated ms<br /> from a merchandise standpoint. A story that<br /> can be made into a book of 400 pages can be<br /> retailed for about $1.25; a book of 500 pages<br /> for $1.85. In the manufacturing of the book [ele<br /> there must be a fixed relation between what the | = i)<br /> book is going to cost and what the probable |e<br /> returns from the sale will be. A margin of [%.<br /> profit must be set by the publisher below which s#@* °<br /> he cannot safely operate. :<br /> <br /> The number of copies ordered for the first pe<br /> edition varies, of course, according to the pet<br /> prominence of the author. My experience is | % °<br /> <br /> that a minimum first edition of at least 3,500 7a<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> i copies is necessary, or the cost per copy will be<br /> <br /> too high to yield any profit. The manufac-<br /> turing cost naturally is affected by the number<br /> <br /> | of copies printed, because the cost of the<br /> <br /> plant ’’—typesetting, the making of electro-<br /> <br /> | type plates, the artist’s fee, the engraving, and<br /> <br /> the other items in getting the book ready to<br /> print—is just the same whether 1,000 or 10,000<br /> copies of the book are printed.<br /> <br /> A 400-page book consumes about a pound<br /> and a quarter of paper. Our fiction is printed<br /> <br /> &quot;on sheets of paper measuring 303 by 41 inches.<br /> “|. A sheet that size will print sixty-four pages of<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> the book, thirty-two pages on each side, giving<br /> a volume 54 by 72 inches, which now is the<br /> popular fiction size.<br /> <br /> The revision of a manuscript and_ the<br /> <br /> 4 reading of the printers’ proofs often involve a<br /> <br /> heavy labour. I have known cases where as<br /> many as a thousand changes of individual<br /> words and phrases in a single manuscript have<br /> been made after its acceptance. As a rule,<br /> three proofs of the type are pulled. One of<br /> these is read by the printers to see that it con-<br /> forms to the manuscript copy, another set is<br /> read by the author himself in order that he may<br /> improve the work if possible, and the third set<br /> is read in the publisher’s office, and final<br /> changes made as necessary. All these changes<br /> cost money, and usually the publisher has to<br /> defray this expense himself.<br /> <br /> I have mentioned the paper “ jacket,” or<br /> wrapper. This theoretically is for the purpose<br /> of protecting the cloth cover, but really is<br /> treated purely from the advertising standpoint<br /> —that is, it is artistically printed and decorated<br /> attractively in order to catch the eye of the<br /> buyer looking over a table of new novels.<br /> <br /> These are some of the more essential details<br /> and problems involved in producing a volume<br /> of fiction. The author has, to be sure, made<br /> the volume possible, but his share in its produc-<br /> tion is not so burdensome as that of the<br /> publisher nor does he risk so much. The<br /> publisher risks his capital and his experience<br /> and energy, and for a time he must LIVE that<br /> book until he can feel that it is going to repay<br /> his investment by its sale. ,<br /> <br /> The publisher, of course, has to attend to all<br /> the details of selling. Books are sold by means<br /> of advance samples which are carried by<br /> travelling representatives direct to the book<br /> trade. It is not an unusual thing for the<br /> <br /> publisher to secure, in advance, orders for an<br /> <br /> entire edition of a volume that is not yet off the<br /> press. The size of these advance sales, how-<br /> ever, depends a great deal upon the reputation<br /> and popularity of the author, but energy and<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> 57<br /> <br /> confidence can make a successful sale for the<br /> first book of an unknown author. For the use<br /> of his own travelling representatives and the<br /> travellers of the book jobbing houses the<br /> publisher has to have made up at considerable<br /> expense a number of “dummy” books—<br /> showing the cover, properly die stamped, a<br /> sample picture, and a few sample pages of the<br /> contents—and this often months before the<br /> actual printing of the book has begun.<br /> <br /> Review Copies BEFORE PUBLICATION.<br /> <br /> The review copies for the newspapers and<br /> periodicals must be distributed shortly before<br /> the book is published. This work falls to the<br /> lot of the publisher. Some publishers give<br /> away a good many copies to men identified with<br /> the book trade—clerks, buyers, store managers,<br /> etc. These are sent out in advance in order<br /> that the persons who receive them may<br /> familiarise themselves with the volume before<br /> it is displayed on their counters. Every story<br /> has its own individual problems. They are<br /> problems which the publisher alone can<br /> unravel. Sometimes he sends out a thousand<br /> free copies of a new volume, and a fair average<br /> for books of fiction might be about 500 copies.<br /> <br /> The matter of advertising is and always will<br /> be the big problem with the publisher. He<br /> must decide in advance how much he is<br /> warranted in spending in promotion and<br /> publicity, and he must decide how and where<br /> to spend it. Certain trade journals that<br /> circulate chiefly among book dealers and<br /> librarians are necessary mediums. Adver-<br /> tising announcements are printed in these<br /> periodicals as a matter of routine. Cosmopo-<br /> litan newspapers of wide circulation in the<br /> territory in which they are published are the<br /> mediums relied upon to attract the buyer<br /> personally. Trade advertising also includes<br /> posters, circulars and window cards. Every<br /> book of fiction must be provided with an<br /> attractive poster, and these posters represent<br /> the outlay of considerable money, often<br /> being printed in several colours.<br /> <br /> The publisher must plan his newspaper<br /> advertising campaign so that he can assure the<br /> book trade in the different sections of the<br /> country that the book will be brought to the<br /> attention of consumers in those sections on the<br /> day of publication. Then he must judge from<br /> <br /> the advance orders he receives from different<br /> sections just how much he can afford to con-<br /> tinue to spend in each section, for he must,<br /> above all things, guard against the expenditure<br /> of a lot of money in a field which will yield only<br />  <br /> <br /> 58<br /> <br /> small comparative returns. The usual method<br /> in exploiting a new book of fiction is to concen-<br /> trate on a few large cities. The representative<br /> papers of these big cities reach a multitude of<br /> small towns in and about them, as most of them<br /> circulate in a wide territory.<br /> <br /> EsTIMATES ON EXPENSE.<br /> <br /> The publisher must have a pretty good idea<br /> of the various proportions of the different items<br /> .of expense in publishing a book of fiction. For<br /> instance, if a volume wholesales at 75 cents—<br /> the publisher’s estimates always are based on<br /> the wholesale price of a book, not on the retail<br /> price—he must know how much of that amount<br /> should go for manufacture, how much for<br /> advertising, how much to general overhead<br /> expense—in other words, the book’s share of<br /> the firm’s expense of doing business—how<br /> much to the author and how much should be<br /> left for himself.<br /> <br /> An author receives anywhere from 10 to<br /> 20 per cent. of the retail price, and the usual<br /> royalty is 10 per cent. up to 5,000 copies and<br /> then 124 per cent. This is a fair royalty, and,<br /> as a matter of fact, a firm’s authors will receive<br /> a larger share of money returns in the year’s<br /> business than the publisher can make for<br /> himself. This statement may be challenged,<br /> ‘but the fact remains, nevertheless.<br /> <br /> To sum up, the successful publisher must be<br /> something of a Jack of all trades. He must<br /> have literary and artistic instincts sufficient to<br /> enable him to know the real from the false ; he<br /> must know something of the mechanical<br /> ‘processes by which a book is made—printing,<br /> engraving, paper making, binding; he must<br /> have the ability to invent advertising, he must<br /> have the selling ability; and, last and not<br /> least, he must have the courage to risk money<br /> on a gamble, for the publishing of popular<br /> <br /> “fiction nowadays is a great deal of a gamble.<br /> <br /> —_——_+-—~»—+ —____<br /> <br /> PLAYS AND THE RIGHT TO A TITLE.<br /> , —— oe<br /> <br /> L. The Author of October, 1906, I was<br /> 4 allowed to make some observations upon<br /> the conditions which arise when an author<br /> <br /> -uses a title which has been applied to a work<br /> previously published by some one else, upon<br /> the law applicable to the situation and upon<br /> the remedies which, from time to time, have<br /> been proposed. Everyone knows that there<br /> as no copyright in a title, and I endeavoured to<br /> show that the proposal to give something in<br /> the nature of copyright was not likely to be<br /> granted by the legislature, and that protection<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> by some form of registration akin to that of a<br /> trade mark would be attended by practical<br /> <br /> difficulties disproportionate to the advantages — :<br /> <br /> which it might be expected to secure for those<br /> interested. It will be found also, by anyone<br /> <br /> who can refer to the back-number in which |<br /> <br /> my article appeared, that I made the further<br /> <br /> suggestion that anyone who differed from me ~ er<br /> <br /> and who thought that special protection for |<br /> titles might be granted by the legislature —<br /> <br /> should not merely make his proposals in outline<br /> but should give them a definite form by drafting<br /> <br /> the clauses in which he would like to see them ~ / r<br /> <br /> submitted to the House of Commons. I do<br /> <br /> not remember reading in The Author anything<br /> <br /> upon the lines suggested, so I am inclined to<br /> conclude that either what I wrote met with<br /> <br /> general acceptance or that those who differed | ~<br /> <br /> from me as to the practical possibilities of the — |<br /> <br /> ease did not consider the matter of sufficient<br /> <br /> importance for the discussion to be carried ©<br /> It has, however, been suggested to ~<br /> <br /> further.<br /> me recently, that in the case of dramatic<br /> compositions there should be less difficulty<br /> than in that of books in securing titles from<br /> <br /> infringement, voluntary or involuntary, and _<br /> <br /> that there is more opportunity for the author of<br /> <br /> a play to be damaged by a subsequent author *<br /> <br /> taking his title. That is to say, there should be<br /> less danger of the writer of a play taking a title<br /> already used because there are comparatively<br /> <br /> few plays, so that investigation should more *<br /> <br /> easily discover a previous user, but on the<br /> other hand, plays are liable to be revived and<br /> re-acted long after they are first produced, so<br /> <br /> that there is considerable difference between —<br /> <br /> their “‘ lives ’’ and the “ lives ”’ of novels.<br /> <br /> This matter of comparative longevity is,<br /> As the law stands —<br /> <br /> perhaps, worth considering.<br /> the writer of a book which has been published<br /> <br /> can prevent a second writer from using his—<br /> title if he can show that the second use of the<br /> title is injurious to him or is likely to be so,<br /> <br /> If he can prove that he has suffered damage<br /> by such use he can recover compensation.<br /> <br /> In practice this means that the author of a_<br /> <br /> book which is being sold can prevent the<br /> offering of another book under the same title<br /> <br /> on the ground that it would be likely to be ~<br /> mistaken for his, and that money intended to *<br /> be spent on his book might thus be spent on _<br /> A great many .<br /> <br /> the work of another writer.<br /> <br /> books, however, when a few years have<br /> <br /> elapsed since their publication, are not being —<br /> sold any longer, and are, to all intents and —<br /> purposes, dead. There may be a possibility —<br /> of recovery, but, as a rule, the book that dies _<br /> remains dead, particularly when it is a novel, &gt;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> and its author suffers no damage and is likely<br /> to suffer none if another writer uses his title.<br /> i A play, however, which has been acted and<br /> laid aside, so far as London is concerned, may<br /> continue to be played, perhaps at intervals,<br /> in the provinces, and may be acted here and<br /> £ there by amateurs—let us hope with the<br /> knowledge and to the profit of its author.<br /> ) Or, again, when it has seemed almost forgotten<br /> in London, it may be revived there and again<br /> i win success. ‘‘ Diplomacy’? and “ Jim the<br /> ,|.. Penman” are recent revivals which may be<br /> “given as instances of a surprising kind of<br /> vitality and longevity in dramatic works.<br /> Robertson’s plays would supply a long list<br /> of revivals, and there is no reason why they<br /> should not continue to be acted at intervals<br /> in the Metropolis and elsewhere. All these,<br /> however, have no doubt enjoyed a steady and<br /> more or less continuous existence on the boards<br /> . elsewhere, apart from their appearances in<br /> “+ London. I do not know whether a really<br /> “ys unsuccessful play, laid aside and, in fact,<br /> |. forgotten by managers and audiences alike,<br /> has ever been revived and made successful<br /> some time afterwards, but it is conceivable<br /> that some might so recover, having owed their<br /> premature inanition to lack of capital on the<br /> part of their produccrs, want of advertising,<br /> and, more important still, to inadequate acting.<br /> It may, therefore, be submitted for considera-<br /> tion that infringement of the title of a play<br /> should be treated with greater stringency than<br /> is necessary in the case of books, and that the<br /> infringer should give way when he possibly<br /> ‘’ «an in order to prevent injuring a fellow<br /> writer. To give way in all cases where it is<br /> 0G possible must always be the more courteous<br /> “ig .and considerate course to adopt.<br /> i The comparatively smaller number of plays<br /> suggests the possibility of a register of all<br /> licensed plays being made capable of inspection<br /> 14 by dramatic authors, in order that they may<br /> see whether their titles have already been used.<br /> They should, however, still endeavour to<br /> ascertain whether they are adopting titles<br /> l@ already used by novelists as whether they can<br /> _ be prevented legally from doing so or not,<br /> no one should lay himself open to the charge<br /> of plagiarism or of lack of originality.<br /> E. A. A.<br /> <br /> <br /> <br /> eS op Ey<br /> Rost mm Rue ot ee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> A MORAL SENSE.<br /> SBCET ae<br /> N looking through almost any popular<br /> periodical, one must notice that<br /> authors and artists are having their<br /> work exploited for the benefit of the<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> 59<br /> <br /> advertisers. The general tendency is for the<br /> articles, stories and pictures to improve, and<br /> for the advertisements to become worse.<br /> What the reading public gains in one way it<br /> loses in another, and, of late, it is taking<br /> greater risks of being deluded by the adver-<br /> tisers than of being uplifted by the work of<br /> the artists. Some periodicals are notorious,<br /> in that they admit to their advertising pages<br /> announcements which any person of average<br /> intelligence can identify as unfit for public<br /> perusal. Yet these periodicals contain con-<br /> tributions from some of the most eminent<br /> writers of the day. There is a certain<br /> incongruity between the printed words of the<br /> distinguished novelists and the invitations of<br /> notorious advertisers contained within the<br /> same covers. It is unlikely that the authors,<br /> whose work is bought, would care to be seen<br /> in the company of advertising quacks and<br /> get-rich-quicks, but authors seem to think it<br /> does no one any harm for the pearls of wisdom<br /> they produce to be used as the vehicle for<br /> getting known to the public various noxious<br /> drugs, opium, and alcohol disguised under<br /> trade names. It is as though the authors<br /> were too particular and respectable to be seen<br /> in the company of cheap-jacks, bucket-shop<br /> proprietors, quacks and gamblers, but, for a<br /> consideration, would allow themselves to be<br /> used for the purpose of introducing the public<br /> generally to these harpies. For, of course,<br /> the periodicals are bought and read for what<br /> the authors have contributed; and what the<br /> authors have written is bought by the owners of<br /> the periodicals only in order that the circulation<br /> may be increased and a larger revenue be<br /> derived from the advertisers.<br /> <br /> In former days a writer often knew his<br /> editor and publisher personally, and had<br /> sufficient confidence in character to under-<br /> stand that his ‘‘ effusion’? would not appear<br /> amidst matter which would harm either<br /> himself or the public. Now, with some agent<br /> as middleman, price is everything ; a “* good ”<br /> publisher or editor is one who can be depended<br /> upon to pay at the date named ; where, how,<br /> when, with what or without what, the “‘ stuf -<br /> shall appear is not the concern of the author.<br /> Divided responsibility is no responsibility.<br /> The author will contend that his responsibility<br /> is confined to his own work, and if that satisfies<br /> him, what the buyer does with it is no practical<br /> concern of his.<br /> <br /> In short, one may contend that an author is<br /> indifferent to the use made of his product.<br /> It may serve as a lure for innocents, it may<br /> lead the guileless into a trap from which<br />  <br /> <br /> 60<br /> <br /> escape is impossible, it may be printed in the<br /> worst company, but the author 1s not respon-<br /> sible. He has parted with all control an<br /> exchange for a cheap-jack’s money. His<br /> such an author any moral sense ? :<br /> <br /> There is no necessity to uphold any particular<br /> morality, or the lack of it, except that it 1s<br /> inconsistent for the authors whose professed<br /> purpose it is to inculeate morality, to become<br /> a vehicle for advancing what is the opposite.<br /> It is no excuse to say that the newspapers are<br /> as bad, and that “‘ everybody’s doing ite<br /> —-most authors are ; but though they may lead<br /> the world in thought they are laggards in<br /> action. Some men still act in accordance<br /> with their principles. In a Tacoma gaol a<br /> prisoner went to the punishment cells rather<br /> than help in repairing the gallows ; in Mantova<br /> many bricklayers refused to work in building<br /> a gaol; in Milan, in Paris, and in Rome,<br /> compositors and press-men refused to produce<br /> papers containing comments which might<br /> prejudice the cause of workpeople on strike.<br /> These humble people had convictions, and<br /> acted upon them. With them any honest<br /> man would be proud to shake hands. They<br /> are the real leaders of to-day and to-morrow.<br /> The author is going to be relegated to a rear<br /> rank, having shown already that he is willing<br /> to go anywhere an “ agent ’’ recommends, or<br /> wherever pay is highest.<br /> <br /> WILuiAM GREENER.<br /> <br /> —___—_+~&gt; +<br /> <br /> PROFESSIONAL JOURNALISM.<br /> <br /> ———<br /> <br /> [T may prove to be somewhat difficult to<br /> eliminate the personal element in the<br /> discussion of the fine line which deline-<br /> ates the professional journalist and literary<br /> ** dilettante’; but the little that I have to say<br /> on the subject must perforce ring truer if the<br /> abstract and composite scribe is conscien-<br /> tiously substituted for the concrete and, per-<br /> haps, disappointed dweller in ‘‘ Grub Street.”<br /> <br /> The topic was suggested to me by a pro-<br /> fessional journalist, employed in the office of a<br /> big provincial newspaper, who holds, with me,<br /> that while the routine work of the newspaper<br /> office is well left exclusively to the regular<br /> staff, there should be no editorial or pro-<br /> fessional jealousy of literary competitors out-<br /> side. If my informant is correct, there exists<br /> in many offices some ill-defined but well-<br /> understood _ test of who is, and who is not, a<br /> professional author and journalist. Member-<br /> <br /> <br /> <br /> hip of this Society, or of the Institute of<br /> <br /> THE AUTHOR.<br /> <br /> Journalists, does not necessarily carry weight,<br /> and, indeed, the ‘‘ rose would smell as sweet a<br /> by any other name, if one could make sure of<br /> culling it.<br /> <br /> Over and over again we have been told, in<br /> this and other literary periodicals, that intro-<br /> ductions do not count, and over and over<br /> again the inexorable logic of facts, in concrete,<br /> cases, disproves the assertion, that only merit<br /> wins in the long run. And the “‘ run ” may be<br /> so very long that it culminates in the dead-<br /> stop that comes sooner or later to all workers<br /> in all vineyards, for we all constantly meet<br /> with or hear of mediocrities, as well as truly<br /> talented men and women, whose introduction<br /> to a big literary syndicate has resulted in<br /> regular work and a more or less calculable<br /> salary.<br /> <br /> Is there, therefore, no ‘‘ media via,” no<br /> “golden mean,” between the arbitrary label-<br /> ling of a writer, who joins a literary society or<br /> association as a ‘‘ dilettante’? man of letters,<br /> and the classifying of those who, having<br /> graduated in ‘‘ Grub Street ” and acquired or<br /> improved their gift, are worthy of the title<br /> ‘ professional journalists ” ?<br /> <br /> I should hardly advocate diploma work after<br /> <br /> the fashion of the Royal Academy, following |<br /> <br /> election, which neither there nor here would be |<br /> an all-sufficing test of efficiency, but it would |<br /> appear that, without lowering the status of |<br /> this Society or the Institute of Journalists,<br /> some form of declaration, based upon pub- —<br /> lished work, might assist in the legitimate<br /> introduction of competent writers to editors<br /> and publishers. And in this connection I<br /> would comment upon the enormous amount of<br /> unsigned work which, for various reasons,<br /> finds its way into print and into really high-<br /> class papers and periodicals, for we all know —<br /> and appreciate the value of the advertisement —<br /> <br /> which connotes the duly attested signature.<br /> <br /> Proof, then, of the various types of contri-<br /> butions to newspapers and periodicals might<br /> be either published in this organ of the Society,<br /> or furnished to editors, as desired, by members,<br /> who should have qualified by ‘bona fide” —<br /> work for this advertisement of their com-<br /> petency. B<br /> <br /> I do not suggest that such a policy would<br /> break down cliques and “ rings,”’ if such there —<br /> be; but, if a good understanding should thus —<br /> be established between members of the Society —<br /> and the purchasers of intellectual wares, it 15 _<br /> more than likely that the beneficent action of<br /> <br /> <br /> <br /> the council would tend to open doors for ~~<br /> <br /> eligible suitors. Nor would such a new depar- :<br /> <br /> <br /> <br /> ture transform the Society into a literary — Me<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> agency, as all that the responsible officials<br /> could affirm would be, that such and such a<br /> writer, being a member of the Society, had<br /> i tendered proof of having contributed to such<br /> and such newspapers and periodicals, and, on<br /> that basis alone, was forthwith recommended<br /> to editors in the monthly or quarterly list of<br /> u approved contributors. The Society would<br /> not force its opinions on any syndicate, firm<br /> ; or editor, but would merely advance adequate<br /> ~ . proof of the competency of the writer named,<br /> or otherwise dealt with, as a candidate for<br /> tr employment.<br /> r This suggestion may serve to recall Marshal<br /> Le Boeuf’s notorious ‘ dernier bouton,” but<br /> &#039;» even a button or a label, aptly applied, may<br /> have their uses.<br /> F. C. Ormspy-JOHNSON.<br /> <br /> <br /> <br /> THE PUBLISHERS’ DICTIONARY.”<br /> <br /> TPFNHIS is a lexicon, in seven languages, of<br /> terms used in the publishing trade, and<br /> a work whose exhaustiveness, accuracy,<br /> Me and lucid composition assure its being of the<br /> very greatest value.<br /> <br /> The present volume replaces the ‘‘ Vocabu-<br /> laire International Technique de 1|’Editeur ”’<br /> published, in accordance with a resolution of<br /> / the congress of publishers, in 1910, and will be<br /> v°. found to represent a great advance. The plan<br /> adopted is to give the key words, in French, in<br /> the first column, accompanied by the necessary<br /> definitions of the various meanings which are<br /> indicated by numbers, the same numbers<br /> accompanying the equivalents in the six other<br /> languages, placed in parallel columns. At the<br /> end are added appéndices containing the<br /> duration of copyright in different countries,<br /> an index of copyright enactments, a summary<br /> of the extension and limitations of the Berne<br /> Convention, the various formats of books, the<br /> names of the different founts of type, sizes of<br /> paper, examples of correction of proofs in the<br /> different languages, and alphabetical indexes<br /> of words in languages other than French, with<br /> cross references. We have tested both the<br /> text of the seven-fold lexicon, and the cross<br /> references of the indexes, and have in every<br /> <br /> <br /> <br /> * “Vocabulaire Technique de I’Editeur en Sept<br /> Langues: Francais, Deutsch, English, Espafiol, Hol-<br /> &#039; landisch, Italiano, Magyar.” Berne. Congres Inter-<br /> “ national des Editeurs. 1913. 4°.<br /> <br /> <br /> <br /> 61<br /> <br /> ease found the results completely satisfactory.<br /> As the labour of compilation, of which very<br /> modest mention is made in the preface, must<br /> have been enormous, it is difficult to express<br /> adequate admiration of the excellence of the<br /> work. We regret only that the editors in the<br /> case of Magyar should have permitted them-<br /> selves the modern vulgarity of printing c for<br /> cz, a practice most justly condemned by the<br /> Hungarian Academy.<br /> <br /> The work is printed in London, by the<br /> Ballantyne Press, and no notice of the book<br /> would be adequate which did not mention that<br /> the volume is a marvel of exquisite typography.<br /> <br /> ——— +o<br /> <br /> CORRESPONDENCE.<br /> <br /> np<br /> UNREVIEWED Books.<br /> <br /> S1r,—I have read with interest Mr. Fursdon’s<br /> rejoinder. to my letter, not in praise of literary<br /> editors, as he implies, but in justice to them.<br /> The suggestion that I should be ‘‘ more at<br /> home in the editorial office of a popular daily ”<br /> I will pass as a pleasantry, remembering that<br /> Dr. Johnson once said that ‘the reciprocal<br /> civility of authors is one of the most risible<br /> things in the farce of life.”’<br /> <br /> Mr. Fursdon is obviously vexed, first with<br /> literary editors and later with me. He says,<br /> ‘“There are literary editors and _ literary<br /> editors’; just so, as with eggs. Can Mr.<br /> Fursdon imagine himself the unhappy victim<br /> at whom is hurled some 13,000 volumes during<br /> the year’s 365 days? I fear it is not Reviews,<br /> but Mr. Fursdon that I err in taking “ too<br /> seriously.”” For any man seriously to expect<br /> an editor to indulge in what is obviously an<br /> unnecessary correspondence is scarcely reason-<br /> able. It is no argument to say that he must<br /> increase his staff. First of all his paper has<br /> to be made a commercial success, and increased<br /> staffs mean increased expenses.<br /> <br /> I quite agree with Mr. Fursdon, and I confess<br /> that the sensation is refreshing, that ‘ there<br /> are other tests, and if a book is temporarily<br /> disqualified by non-recognition in a certain<br /> number or section of august journals, it may<br /> yet win in the race of time.” I have no doubt<br /> that literary editors will be quite content to<br /> leave the verdict with posterity—the ever and<br /> overburdened.<br /> <br /> I am, Sir,<br /> Your obedient servant,<br /> HERBERT JENKINS.<br />  <br /> <br /> <br /> <br /> 62<br /> <br /> * ONLY.”<br /> <br /> Sir,—There is a common use of the word<br /> “only,” scarcely less irritating than the split<br /> infinitive, to which I would politely draw the<br /> attention of writers, in the hope that they may<br /> be practical enough to profit by the hint. On<br /> my holidays I usually read a good many<br /> novels, and I find the fault to which I refer<br /> almost universal. For instance (and I purposely<br /> select my example from the work of a well-<br /> known writer), in “‘ The Last Hope,” which I<br /> am now reading, Mr. Henry Seton Merriman—<br /> may his shadow never grow less !—perpetrates<br /> the following, on page 213 (Smith, Elder,<br /> 1904): ‘‘. . . the tide had only turned half an<br /> hour ago.” Of course Mr. Merriman means<br /> nothing of the kind. He does not wish to tell<br /> the reader that ‘‘ the tide had only turned,”<br /> but that the tide had turned only “ half an<br /> hour ago.” And since he means this, why does<br /> he not say so?<br /> <br /> «= 1 am,<br /> Your obedient servant,<br /> RicHarD FREE.<br /> <br /> ee ee<br /> <br /> AutHuors AND FrEE LIBRARIES.<br /> <br /> Your correspondent ‘“‘ C. E. S.” has formed<br /> an extraordinary opinion about what he (or<br /> she) designates “ free librarians.” I say this<br /> after an intimate relationship with many<br /> librarians of so-called “‘ free ”’ libraries extend-<br /> ing to nearly half a century, and I emphatically<br /> rebut the suggestion that these gentlemen and<br /> ladies are actuated by the petty motives<br /> suggested by “ C. E. S.”<br /> <br /> Your correspondent gives his case away<br /> when he states that a certain book was unknown<br /> in a certain town until the fact of its existence<br /> was made known by the public library<br /> authorities. This was a grand advertisement<br /> for the book, and a cheap one, too.<br /> <br /> I venture to assert that rate-supported<br /> libraries give an impetus to general reading,<br /> and make it possible, through their support,<br /> for some books to prove a financial success.<br /> Does ‘“C. E. S.” know how many “ free ”’<br /> libraries there are in the United Kingdom ;<br /> and has he thought about the enormous<br /> number of new books, including novels, that<br /> are purchased for them during any year?<br /> Then novelists are assisted through the con-<br /> stant renewals of soiled copies, ,<br /> <br /> No, “C. E. D.,” libraries assist novelists<br /> very considerably.<br /> <br /> J. P. B.<br /> <br /> THE AUTHOR.<br /> <br /> CARRARA,<br /> <br /> Dear Avutuor,—In Mr. Wells’ letter in<br /> your last July number he writes: “T had<br /> to live—and so I learnt to write before I<br /> thought of a book.” According to Aristotle also,<br /> “To learn to play the lyre we must play the<br /> lyre.”<br /> ae. the bone of contention between<br /> author and publisher plus agent is—<br /> <br /> 1. That it is always superevident to the<br /> author, obscure or otherwise, that those who<br /> profess to be his allies won’t see to it that, as.<br /> Emerson says, ‘‘ He who does the work has the<br /> power, but he who does not the work has not<br /> the power.”<br /> <br /> 2. That between buying kitchen utensils.<br /> or a motor, for instance, and exchanging (?)<br /> “crim brains’? for lucre (that, chiefly, the<br /> author doesn’t get) there is a distinction with<br /> the difference. The one is mercantile. The<br /> other—vicarious.<br /> <br /> When Michael Angelo received orders from<br /> Lorenzo de Medicis he set off on foot from<br /> Florence to Carrara to select his own marble.<br /> At Carrara he personally supervised its quarry-<br /> ing so as to secure as far as possible a flawless<br /> block. Sometimes this took a year, some-<br /> times only six months. Having secured it,<br /> Michael Angelo trudged doggedly on foot again<br /> all the way home from Carrara to Florence so<br /> as to steady his precious purchase every inch<br /> of the way with his own hands to keep it from<br /> getting broken.<br /> <br /> There could be an amicable point of contact<br /> between author and publisher plus agent,<br /> that is, the exercise of conscience.<br /> <br /> We authors “‘ have to live.” We “ play the<br /> lyre.” We laboriously trudge every inch of<br /> the way to Carrara and back to supervise the<br /> perfecting of our tools. We don’t (save the<br /> mark !) fatten on the results of others’ labour.<br /> We don’t sweat anyone knowingly, for two<br /> reasons: (1) because to renounce one iota of<br /> our privilege we should damage our secret<br /> ideal; (2) because to walk every inch of<br /> the way ourselves is the only real way not<br /> to fail.<br /> <br /> Won&#039;t The Author adopt two devices for its<br /> escutcheon—the first, “‘ To learn to play the<br /> <br /> lyre we must play the lyre;’ the second, “ f<br /> had to live—and so I learnt to write before I<br /> wrote a book ’’ (the italics this time are not<br /> Mr. Wells’)}—and have authors, publishers<br /> and agents repeat them every night of their<br /> lives in unison with the Lord’s Prayer on their<br /> bended knees ?<br /> <br /> <br /> <br /> JUSTICE.	https://historysoa.com/files/original/5/533/1913-11-01-The-Author-24-2.pdf	publications, The Author