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470	https://historysoa.com/items/show/470	The Author, Vol. 10 Issue 08 (January 1900)	<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.+10+Issue+08+%28January+1900%29"><em>The Author</em>, Vol. 10 Issue 08 (January 1900)</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>	1900-01-01-The-Author-10-8					165–184																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=10">10</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1900-01-01">1900-01-01</a>							8			19000101	Che<br /> <br /> Fluthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vou. X.—No. 8.]<br /> <br /> JANUARY 1, Tgoo.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the Committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> Pees<br /> <br /> <br /> <br /> HE Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> <br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, but on no other sub-<br /> jects whatever. Articles which cannot be accepted are<br /> returned if stamps for the purpose accompany the MSS.<br /> <br /> <br /> <br /> eae<br /> <br /> GENERAL MEMORANDA.<br /> <br /> <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. THAT OF SELLING IT OUTRIGHT.<br /> <br /> This is in some respects the most satisfactory, if a proper<br /> price can be obtained. But the transaction should be<br /> managed by a competent agent, or with the advice of the<br /> Secretary of 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 agreemeat in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs: or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for “ office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> VOL. X.<br /> <br /> *<br /> <br /> Til. THE ROYALTY SYSTEM.<br /> <br /> It is above all things necessary to know what the<br /> proposed royalty means to both sides. It is now possible<br /> for an author to ascertain approximately and very nearly<br /> the truth. From time to time the very important figures<br /> connected with royalties are published in The Author.<br /> Readers can also work out the figures themselves from the<br /> “Cost of Production.”<br /> <br /> IV. 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 to the author.<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> <br /> <br /> oc<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> <br /> <br /> i. No sign an agreement without submitting it tc<br /> the Secretary of the Society of Authors or some<br /> competent legal authority.<br /> <br /> 2. Never negotiate for the production of a play with<br /> anyone except an established manager.<br /> 3. There are three forms of dramatic contract :—<br /> <br /> (1) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br /> This is unsatisfactory. An author who enters<br /> into such a contract should stipulate in the con-<br /> tract for production of the piece by a certain date<br /> and for proper publication of bis name on the<br /> play-bills.<br /> <br /> (2) SALE OF PERFORMING RIGHT OR OF A LICENCE<br /> TO PERFORM ON THE PROFIT-SHARING SYSTEM.<br /> This method can only be entered into when a<br /> fixed sum is agreed per week for cost of produc-<br /> tion. It is not a common method.<br /> <br /> Q2<br /> <br /> <br /> 156<br /> <br /> <br /> <br /> (3) SALE OF PERFORMING RIGHT OR OF A LICENCE<br /> TO PERFORM ON THE BASIS OF PERCENTAGES<br /> (i.e., royalties) on gross receipts. Royalties vary<br /> between 5 and 15 per cent. An author should<br /> obtain a percentage on the sliding scale of gross<br /> receipts. Sbonld obtain a sum in advance of<br /> royalties. A fixed date on or before which the<br /> play should be performed.<br /> <br /> 4. Authors should remember that performing rights can<br /> be limited, and are usually limited by town, country, and<br /> time. This is most important.<br /> <br /> 5. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction is<br /> of great importance.<br /> <br /> 6. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 7. Never send a copy of the play to America unless it is<br /> protected by a preliminary performance in the United<br /> Kingdom.<br /> <br /> 8. Never forget that American rights may be exceedingly<br /> valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> g. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> Never admit a collaborator when once the actual work of<br /> writing the play has begun or after it is finished.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited.<br /> <br /> As these warnings must necessarily be incomplete on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information are<br /> referred to the Secretary of the Society.<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> t. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <br /> business or the administration of his property. If the<br /> <br /> advice sought is such as can be given best by a solici-<br /> tor, the member has a right to an opinion from the<br /> <br /> Society’s solicitors. If the case is such that Counsel’s<br /> <br /> opinion is desirable, the Committee will obtain for<br /> him Counsel’s opinion. All this without any cost to the<br /> member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society.<br /> <br /> 3. Send to the Office copies of past agreements and past<br /> accounts with the loan of the books represented. The<br /> Secretary will always be glad to have any agreements, new<br /> or old, for inspection and note. The information thus<br /> obtained may prove invaluable.<br /> <br /> 4. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 5. Remember always that in belonging to the Society you<br /> are fighting the battles cf other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 6. The Committee have now arranged for the reception of<br /> members’ agreements and their preservation in a fireproof<br /> safe. The agreements will, of course, be regarded as con-<br /> fidential documents to be read only by the Secretary, who<br /> will keep the key of the safe. The Society now offers :—(1)<br /> To read and advise upon agreements and publishers. (2) To<br /> stamp agreements in readiness for a possible action upon<br /> them. (3) To keep agreements. (4) To enforce payments<br /> due according to agreements.<br /> <br /> =<br /> <br /> THE READING BRANCH.<br /> <br /> N “EMBERS will greatly assist the Society in this<br /> 26, branch of their work by informing young writers of<br /> Their MSS. can be read and treated<br /> The Readers are<br /> The fee is one<br /> <br /> <br /> <br /> <br /> <br /> its existence.<br /> az a composition is treated by a coach.<br /> writers of competence and experience.<br /> guinea.<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> HE Editor of The Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> Communications for The Author should be addressed to<br /> the Offices of the Society, 4, Portugal-street, Lincoln’s-inn<br /> Fields, W.C., and should reach the Editor not later than the<br /> 21st of each month. :<br /> <br /> All persons engaged in literary work of any kind,<br /> whether members of the Society or not, are invited to<br /> communicate to the Editor any points connected with their<br /> work which it would be advisable in the general interest to<br /> publish.<br /> <br /> The present location of the Authors’ Club is at 3, White-<br /> hall-court, Charing Cross. Address the Secretary for<br /> information, rules of admission, &amp;c.<br /> <br /> <br /> <br /> <br /> <br /> FROM THE COMMITTEE.<br /> <br /> <br /> <br /> Tue IncorporateD Socrery or AUTHORS.—<br /> Pension Funp ScHEME.<br /> <br /> N view of the fact that the Royal Literary<br /> Fund is not in the habit of granting<br /> pensions, and that its donations are of a<br /> <br /> purely eleemosynary description, and that the<br /> amount available from the Civil List for literary<br /> pensions does not as a rule exceed £400 a year, it<br /> appears to the Committee that it would be in<br /> the interest of literature and of this Society to<br /> establish a pension fund for authors to be sup-<br /> ported by authors themselves, and not by appeals<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 /> <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 /> <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 /> <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 /> <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 /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 167<br /> <br /> to the public at large, and to be administered by<br /> a Committee chosen from the Society of Authors<br /> as hereinafter appointed.<br /> <br /> The Committee, therefore, put forward the<br /> following points as the basis on which the fund<br /> should be worked, and consider that the minor<br /> details of its constitution should be settled by<br /> Counsel when a sufficient sum of money is placed<br /> in the bank to show that the scheme will be<br /> fairly supported :<br /> <br /> 1. That the fund collested shall be utilised for<br /> the payment of pensions only, and not of dona-<br /> tions.<br /> <br /> 2. That the fund shall be held in the names of<br /> three trustees, any two of whom shall sign cheques<br /> for the payment of the pensions and of incidental<br /> expenses, such cheques being countersigned by<br /> the Secretary, or, in his absence, by a member of<br /> the pension Committee.<br /> <br /> 3. That a Committee consisting of six members<br /> and the Chairman of the Managing Committee<br /> of the Society for the time being shall be the<br /> sole arbiters as to the recipients of the pensions,<br /> and the trustees shall sign cheques on the autho-<br /> rity of the Committee only. That the Secretary<br /> of the Incorporated Society of Authors do act as<br /> the secretary of the Committee.<br /> <br /> 4. That the Committee of six members shall<br /> consist of three members of the Society elected by<br /> the Committee of the Society, and three members<br /> of the Society elected at the general meeting of the<br /> Society by the members of the Society. That the<br /> candidates elected by the members of the Society<br /> shall be nominated in writing to the Secretary at<br /> least three weeks prior to the General Meeting,<br /> and each candidate shall be supported by the<br /> names of at least five members. A list of the<br /> names of the candidates so nominated shall be<br /> sent to each member of the Society with the<br /> report of the Society, and those candidates<br /> obtaining the most votes at the General Meeting<br /> shall he elected to serve on the Committee, which<br /> shall be called the “ Committee of the Pension<br /> Fund of the Incorporated Society of Authors.”<br /> <br /> 5. That one member of those elected by the<br /> Managing Committee of the Society of Authors,<br /> and one member of those elected by the members<br /> of the Society at the General Meeting shall retire<br /> annually, but may be re-elected.<br /> <br /> 6. In default of the election of sufficient candi-<br /> dates by the members of the Society the Manag-<br /> ing Committee of the Society shall fill the vacan-<br /> cies by the election of members of the Society not<br /> being members of the Committee.<br /> <br /> 7. That the pensions given shall not be less<br /> than £30 nor more than £100 per annum.<br /> <br /> 8. That pensions shall not be given to anyone<br /> who has not attained the age of sixty years, pro-<br /> <br /> vided that in the absence of satisfactory candi-<br /> dates over sixty years of age, or in the case of<br /> total inability to work and during the continuance<br /> of such inability, the Committee of the Pension<br /> Fund may assign pensions to members of the<br /> Society of a less age.<br /> <br /> g. That no pensions shall be given to anyone<br /> who has not been a member of the Society of<br /> Authors for ten years at least, or a life member,<br /> but that membership to the Society gives no right<br /> to a pension.<br /> <br /> 10. Save as excepted in clause 8, That such<br /> pensions shall be tenable for life, but that the<br /> Committee of the Pension Fund may in their<br /> absolute discretion discontinue any pension for<br /> any one or more of the following reasons :—<br /> <br /> i. In the case of bankruptcy.<br /> <br /> ii. In the case of a pensioner’s conduct<br /> being such as would disqualify him<br /> from membership of the Society of<br /> Authors.<br /> <br /> iii. In the case of a pensioner subsequently<br /> receiving an independent income<br /> sufficient to provide for his support.<br /> <br /> 11. That the Committee of the Pension Fund<br /> in giving pensions to applicants shall consider not<br /> only the necessity of each case but also the merits<br /> of the writings of the applicant.<br /> <br /> 12. That ail applications laid before the Com-<br /> mittee of the Pension Fund shall be confidential,<br /> but the names of the recipients of the pensions<br /> and the amount given shall be stated in The<br /> Author.<br /> <br /> 13. That contributions may be made either by<br /> a single donation or by a donation spread over<br /> three, four, or five years, or by annual subscrip-<br /> tions.<br /> <br /> 14. Subject to the paym-nt of working<br /> expenses, not less than two-thirds of all such<br /> annual subscriptions shall be added to the capital<br /> of the Pension Fund; the other third may, in<br /> the discretion of the Committee of the Pension<br /> Fund, be devoted to the payments of pensions or<br /> in the purchase of anuuities to satisfy pensions<br /> granted.<br /> <br /> 15. That all selections of securities in which<br /> the capital may from time to time be invested be<br /> subject to the unanimous decision of the trustees,<br /> and, after the establishment of the Fund, to the<br /> agreement therewith of a majority of at least<br /> two-thirds of the Committee of the Pension<br /> Fund.<br /> <br /> 16. That with the consent of two-thirds of the<br /> trustees and the Pension Committee sitting<br /> together, this scheme may be varied from time<br /> to time as need arises, provided always that the<br /> Fund shall be administered by a Committee con-<br /> sisting of members of the Society of Authors, and<br />  <br /> <br /> 168<br /> <br /> for the benefit of the members of such Society for<br /> the time being.<br /> <br /> <br /> <br /> The Committee hope to start the scheme early<br /> in 1900, and now invite sub-criptions from the<br /> members of the Society. Immediate contributions<br /> are desired to form a nucleus for the fund and to<br /> enable the Committee to meet working expenses.<br /> A form for subscribers is appended.<br /> <br /> Opinions, suggestions, and criticism will be<br /> cordially welcomed by th+ Committee, and care-<br /> fully considered previously to the scheme being<br /> submitted to Counsel for final settlement.<br /> <br /> The following subscriptions have been already<br /> promised :—<br /> <br /> Mr. George Meredith (President of the Society)... £100<br /> Mr. J. M. Barrie (if nine others subscribe the<br /> <br /> SAMO BMOUDG) coo... 2 eco enters et vere ayeesew anes taerses 100<br /> Mr. A. W. a Beckett (per annum) ..................... 5<br /> Sir Walter Besant ........0..0..0...cccc eee 100<br /> The Rev. T. G. Bonney (for present year, and con-<br /> <br /> tinue same a3 long as existing circumstances also<br /> <br /> GONGINUG) sce, ieee eae ce wate gen as 5<br /> Mr. Austin Dobson (as much as possible per<br /> <br /> BNNUNT) oc a es a nave eee tenes ye namen =<br /> Dr. Conan Doyle (per annum, when the scheme<br /> <br /> assumes a practicai basis)................06..) cesses 10<br /> Mr. Douglas Freshfield (if nine others subscribe<br /> <br /> the Same AMOUUE) 665.0 ioes sche een sees Gi uesennenes 100<br /> Mr. Anthony Hope Hawkins ........................ 200<br /> Mr. Jerome K. Jerome (per annum, and perhaps<br /> <br /> MORO) 86 ie i ees 5<br /> Mr. J. Scott Keltie (per an: um for five years)...... 5<br /> Mr. Rudyard Kipling...................:::ceeeeeee tees 100<br /> Mr: Gilbert Parker....... 2.6.0 100<br /> Mrs. Humphry Ward (per annum) ................... 10<br /> <br /> G. H. T<br /> <br /> ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> J.—ExcHaNncEe AND THE Contra ACcouUNT.<br /> TTENTION has been frequently called in<br /> A these pages to the charging, in an account<br /> rendered to the author, of advertisements<br /> not paidfor. In our last number the case of Mr.<br /> Endean and Messrs. Sampson Low and Co. was<br /> reported. In this case the sum of £15 was<br /> charged, the greater part of which had not been<br /> spent. This case, however, was explained on the<br /> ground of an error on the part of a clerk.<br /> We have to do here with facts that are not<br /> errors.<br /> There are three ways of charging for advertise-<br /> ments which have cost nothing. (We need not<br /> <br /> consider a clerk’s error in setting down advertise-<br /> ments that have not even been inserted.) The<br /> first method is tu charge for advertisements which<br /> have appeared in the publisher&#039;s own organs. It<br /> is obvious that any publisher who claims this<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> right claims as well the right to take as much as<br /> he pleases of the proceeds, because he can adver-<br /> tise a book as often as he pleases, and in any way<br /> he pleases, and he can always pretend that the<br /> advertisement was for the good of the book. It<br /> is also obvious that in a profit-sharmg agreement<br /> he is legally bound to charge only money that is<br /> actually spent.<br /> <br /> Another way is to exchange advertisements<br /> with other publishers who have magazines, and to<br /> charge the author’s account with every such<br /> advertisement.<br /> <br /> A third way is to insert advertisements in other<br /> publishers’ magazines; to pay for them, perhaps<br /> getting discount; to receive other publishers’<br /> advertisements, aud to send in a“ contra account,”<br /> having the receipt for the first payment to prove<br /> that payment has been actually made, if ques-<br /> tions are asked.<br /> <br /> In order to ascertain the extent to which<br /> publishers advertise in each other’s organs an<br /> examina&#039;ion has been made of the principal<br /> magazines for the month of December.<br /> <br /> It will be remembered that in the “ Draft<br /> Agreements (Equitable) ” the publishers preserved<br /> a profound silence on this subject. Is it too<br /> much to infer that their silence, after all that has<br /> been urged and pointed out, and after the opinions<br /> of counsel had been taken twice, may be con-<br /> strued into a determination not to condemn the<br /> practice P<br /> <br /> The magazines have been divided into two<br /> groups. ‘The first consists of the older maga-<br /> zines and their publishers.<br /> <br /> Macmillan’s )<br /> <br /> Temple Bar \- published by Macmillan and Co.<br /> <br /> The Century ¢<br /> <br /> The Edinburgh<br /> <br /> Review<br /> <br /> Longman’s<br /> <br /> The Quarterly, published by Murrey.<br /> <br /> The Cornhill, published by Smith, Elder and<br /> Co.<br /> <br /> The Nineteenth Century, published by Samp-<br /> son Low and Co.<br /> <br /> The Contemporary, published by Isbister<br /> and Co.<br /> <br /> The Fortnightly, published by Chapman and<br /> Hall.<br /> <br /> Harper’s, published by Harper and Brothers.<br /> <br /> Blackwood’s, published by Blackwood.<br /> <br /> The Gentleman&#039;s, published by Chatto and<br /> Windus.<br /> <br /> The Pall Mall Magazine is omitted because it<br /> does not belong to a publisher.<br /> <br /> The table appended gives the names of the<br /> following firms and the magazines in which they<br /> advertised in the month of December :—<br /> <br /> ) published by Longman and<br /> Co.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> AUTHOR.<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 /> <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 /> { | | | | |<br /> | | &gt; | | |<br /> } &gt; } | |<br /> } | e = | | | |<br /> (ei ais | &gt;| 3 Sit S| |<br /> i ae &gt; &lt;= : y = eg tee | KS S Ae ‘<br /> si eae QS<br /> a. &amp; ee Se<br /> e . &amp; eS ee ae:<br /> 4 Oo US | = | Ss 1s Ses | a! § s 3<br /> Z, g Poo = 2 Ss SS) Ses | StS S| eS<br /> | Pos = 3 s Ss 3 : s<br /> S oS SN .<br /> Ree | ro 2 | 1 - |<br /> | ~ =<br /> | | | | is |<br /> ee i<br /> oo eee Poe<br /> a oe | | |<br /> r tela ee<br /> [es | is<br /> : (eee eo eal ae =<br /> Leo 10.1 E Spies as Ss S ) ee<br /> 3 = SISIElsisieielais 2|s eS<br /> toe S +~ | zg aS = ort os | oot bss Tw;<br /> Ss &amp; 2 Pe sl oe ae eS Bel Se | Se | Ble<br /> a2 &gt; |4 14 a See eS ls | Se ls<br /> Z, a [eia Simlieicibiciaelsi s 4<br /> 5 le lel e Si8i8isiSisisi#is2<br /> | as Pet 5<br /> e \ |e l8 Ce | 5<br /> liso is n<br /> | | | | | | |<br /> Bice itis oe eee ae<br /> ee | | |<br /> Name oF ADVERTISER. | | | | |<br /> BeigckwOOd | 26.6 kiss eee . | a [S | .<br /> | | jee ees<br /> Chapman and Hall .................... | | &amp; . » |<br /> | | eae | | |<br /> Chatto and Wimdus....................-| oe. | : | |<br /> | | | | | |<br /> | | | | |<br /> Harper he eee kasi ee ee 33] | x - o | | 95 | | a +<br /> | | | | | | peau<br /> | sone |<br /> - | | | |<br /> Sut aud Bier yr ed on 1 |» |» be a a ls Ls :<br /> | Posen: Rees fees eau<br /> A | | | | | |<br /> S Low and Co...........cennsese- 1+ o&gt; ee ee | Pee ee | 8 |<br /> —_—— —— ——|—|—_ |||<br /> | | | |<br /> VON GMAE 6 cers esc ; wes aa Pa le a a ee<br /> | | | | | Ke | Petar ea<br /> oe | Pa<br /> Ne ee | Da eee eee<br /> Ta cacoceceaaneeol Be eee ee ene 1 | ae<br /> M Pe | 8<br /> MITA, ....-,-15- | ade | cae | os | a<br /> <br /> <br /> <br /> It will be observed by an examination of the<br /> <br /> table that there are thirteen magazines :<br /> <br /> advertise in five.<br /> , four.<br /> <br /> Murray<br /> Chapman and Hall<br /> <br /> 9<br /> Macmillan and Co. advertise in twelve. Chatto and Windus &gt; », three.<br /> Longmans. y ,, eleven. It will also be observed if we take one of<br /> Smith and Elder A ,, eleven. these publishers, the one which seems to adver-<br /> Sampson Low and Co. ,, » ten, tise the most in magazines — Macmillan and<br /> Harper Brothers n » seven. Co,—that<br /> <br /> Macmillan advertises in—<br /> Longman’s Edinburgh Review ....<br /> <br /> Harper’s Harper’s ..........<br /> <br /> Murray’s Quarterly ..... eas ; oe ee<br /> Chapman and Hall’s Mortnightly ............... ks<br /> <br /> <br /> <br /> And receives a page in an organ of his own from—<br /> <br /> <br /> <br /> Longman<br /> <br /> Murray<br /> <br /> Chapman and Hall<br /> Harper<br /> <br /> Sampson Low<br /> <br /> Sampson Low’s Nineteenth Century ieee<br /> Smith and Wlder&#039;s CormmAill, .. 0... .cce cesses civ cecsewsecues<br /> Chatto and Windus’s Gentleman’s ....cc ccc cesnen ccc cen erence ean eeeees<br /> <br /> Smith and Elder<br /> Chatto and Windus.<br /> <br /> <br />  <br /> <br /> 170<br /> <br /> A second group of magazines was then taken.<br /> Jt included those published by Newnes, Pearson,<br /> Harmsworth, the Religious Tract Society, and<br /> many others. The circulation of these magazines<br /> ig enormous—ten and twenty times that of some<br /> of the older periodicals. Yet there are hardly<br /> any publishers’ advertisements in them. Why is<br /> this? Is it due to the absence of any arrange-<br /> ment about exchanges or “contra accounts ” ?<br /> <br /> Let us now see how a firm of publishers might<br /> work the “contra account” to the ruin of the<br /> author.<br /> <br /> A. B. sends a full-page advertisement of a<br /> certain book among others to a dozen maga-<br /> zines, paying for each and charging the author<br /> his share of the page according to the tariff. He<br /> may do this as often as he pleases and whenever<br /> he pleases. If the author’s share in each page is<br /> 10s., he has £6 charged against him for one month’s<br /> advertising in the magazines. If the publisher<br /> continues this mode of advertising for six months<br /> —all for the good of the book—the account of<br /> the book is loaded with £36 for advertising in the<br /> magazines.<br /> <br /> But the other twelve publishers send each a<br /> full page advertisement to A. B. and pay for<br /> every page. Therefore the “contra account”<br /> becomes the mere acknowledgment of an ex-<br /> change. The honest A. B. has spent not one<br /> farthing of the £36 charged, all of which goes<br /> into his own pocket. One would like to see any<br /> defence of this practice if it exists.<br /> <br /> Understand that it is not a question whether<br /> certain magazines offer a good medium for adver-<br /> tisers: perhaps they do. It is a question whether<br /> the author is to be charged where nothing has<br /> been paid. It is obviously necessary to guard<br /> against a practice in which the opinion of a<br /> judge and the verdict of a jury seem to be very<br /> much wanted.<br /> <br /> The methods of safeguarding are (1) to pro-<br /> hibit by the agreement any advertising in maga-<br /> zines except by the “ contra account” arrange-<br /> ment, which costs nothing; (2) to insist on<br /> all the details of the charge for advertise-<br /> ments; (3) to disallow all such charges, whether<br /> provided against by the agreement or not, and<br /> to bring the case before the Committee of the<br /> Society.<br /> <br /> These are plain facts: the publishers have a<br /> perfect right to make exchanges ; or, if they prefer,<br /> to pay for each advertisement, and to send in<br /> a “contra account.’ Nor is it suggested that<br /> any of these firms do charge their authors for<br /> such advertisements. We again refer to the<br /> recent case in which Messrs. Sampson Low and<br /> Co. explained that such a charge was the error of<br /> a clerk — an explanation which involves their<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> denial of the practice. These are facts which, if<br /> one month is taken as representing all, go far to<br /> prove the custom of exchanges between publishers<br /> who own magazines. To prove the custom beyond<br /> doubt would involve the analysis of the adver-<br /> tisements for a whole year. They do not prove,<br /> of course, that authors are charged for these<br /> exchanges, but a statement or expression of<br /> opinion on the subject from the Publishers’<br /> Association would be welcome.<br /> <br /> <br /> <br /> IIl.—Somez Points FoR CONSIDERATION.<br /> IL—A PUBLISHING LICENCE.<br /> <br /> There are one or two points lately brought<br /> before the Secretary of the Society which have<br /> been commented on in previous numbers of The<br /> Author.<br /> <br /> As, however, the difficulties have arisen again<br /> and the dangers have not disappeared, itis worth<br /> while bringing them once more to the notice of<br /> the members of the Society.<br /> <br /> The case is as follows: An author goes to one<br /> of the most influential houses in England and,<br /> after the perusal of his manuscript, is told that<br /> the house will publish his book on a fixed royalty<br /> basis. The amount paid in royalties does not<br /> affect the matter.<br /> <br /> The publisher further states that he will<br /> forward to the author the agreement embodying<br /> these terms.<br /> <br /> In due course the author receives the printed<br /> form of agreement, in which the publisher under-<br /> takes to publish the work on the terms suggested<br /> and settled between them, but with this addition,<br /> that the copyright of the work, the translation<br /> rights, the dramatic rights, and all other rights<br /> that the author can at any future time possess<br /> shall be the publisher&#039;s.<br /> <br /> On one or two occasions the author, trusting to<br /> the assumed probity of the firm, has signed the<br /> agreement, thinking it in accordance with his<br /> previous verbal arrangement.<br /> <br /> On other occasions he has brought the agree-<br /> ment to the Society.<br /> <br /> If the publisher in the first instance had<br /> desired to purchase all the rights from the<br /> author, he should have then candidly stated to<br /> the author that he would produce the book on<br /> the royalty basis on the understanding that all<br /> these further rights were transferred to him.<br /> This he did not do. His arrangement with the<br /> author was practically as stated above, a pub-<br /> lishing licence subject to a payment of royalties<br /> to the author.<br /> <br /> On one occasion when it was pointed out that<br /> the printed agreement was not in accordance<br /> with the original arrangement made, the pub-<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> lisher put forward the excuse that the agreement<br /> represented his usual printed form.<br /> <br /> The real difficulty of the case is apparent. The<br /> author, ignorant of his own rights, too often<br /> trusts to the publisher.<br /> <br /> The publisher, on the other hand, ought not to<br /> omit the most important items of the contract and<br /> afterwards to embody them without comment in<br /> his agreement. The agreement should differ<br /> from the verbal contract in its minor clauses<br /> only.<br /> <br /> The golden rule is never to part with the copy-<br /> right.<br /> <br /> II.—THE DEFERRED ROYALTY.<br /> <br /> Another point has come to the notice of the<br /> Secretary, to which it is necessary to draw the<br /> attention of authors.<br /> <br /> A large publishing firm whose half - profit<br /> agreements have become famous, has, it is<br /> believed, decided to issue agreements on the basis<br /> of the deferred royalty.<br /> <br /> The agreement on the basis of deferred royalty<br /> is only one point better than the half-profit agree-<br /> ment, but it is not even this point better when<br /> the royalty is deferred till the cost of production<br /> has been covered, as you not only get all the<br /> difficulties of accounts in which the cost of pro-<br /> duction, the advertising, and other items are<br /> included and tend to complicate matters, but the<br /> author gets a considerably less sum in payment<br /> of deferred royalty than he would have done by<br /> half profits.<br /> <br /> The deferred royalty agreement is one point<br /> better when the royalty is paid after a certain<br /> number of copies have been sold. It is better for<br /> this reason only, that the accounts are simpler<br /> and are more easily checked. The author will<br /> not, however, obtain a greater return from the<br /> royalty.<br /> <br /> In case any members of the Society receive<br /> offers of agreements on the deferred royalty basis<br /> it may be as well to point out the serious diffi-<br /> culties that have been known in the past to arise<br /> from this form of agreement. It is likely that an<br /> author will be offered the same amount of royalty<br /> after a certain number of copies are sold as he<br /> would have been offered if the royalty had been<br /> paid at the beginning.<br /> <br /> If the publisher has practically repaid the cost<br /> of the production owing to the deferred royalty<br /> (and this he generally takes care to do), then the<br /> author should receive at least 30 per cent. royalty<br /> on the published price.<br /> <br /> Another danger is that it is not to the interests<br /> of the publisher in many cases to push the sale of<br /> the book beyond the number on which no royalty<br /> is paid.<br /> <br /> VOL, x.<br /> <br /> 171<br /> <br /> The publisher is not really looking to the<br /> benefit likely to accrue to the author, but only<br /> looking to obtaining a reasonable return on the<br /> money expended by himself.<br /> <br /> This difficulty should be guarded against by a<br /> clause inserted in the agreement, stating that the<br /> publisher undertakes, in the first instance, to<br /> print considerably more copies than the number<br /> on which he does not intend to pay royalty.<br /> <br /> There are other points in this form of<br /> agreement; for these the author is referred<br /> to the “Methods of Publishing,’ and “The<br /> Addenda.”<br /> <br /> Tt is an agreement full of pitfalls, and must<br /> not be entered into without careful advice.<br /> <br /> One of the worst points is the fact that the<br /> publisher’s and the author’s interests are opposed<br /> and not at one. G. Hy 7.<br /> <br /> <br /> <br /> TII.—Lirerary AGENTS.<br /> <br /> I have been hitherto under the impression that<br /> the literary agent made for the author all possible<br /> arrangements for publication, serial and im book<br /> form, in the British Empire and abroad, and<br /> secured the author better terms than he could<br /> get for himself. Last week, however, I was<br /> shown an agreement for a work which had been<br /> placed in an agent’s hands, containing the<br /> following clause: “The publishers shall arrange<br /> for the issue of an edition in America, and they<br /> shall pay the said [author&#039;s name| an amount<br /> that shall be equal to ro per cent. of the actual<br /> sum received by them for the said edition.” I<br /> wish to know—(1) Why, if the work is placed<br /> in an agent’s hands, the arrangements for the<br /> American edition are to be made by the pub-<br /> lisher? (2) Whether it is usual for agents to<br /> leave American editions to be arranged by the<br /> publisher? (3) Why the publisher is to take<br /> go per cent. and the author only to, seeing that<br /> an opposite arrangement would have been a<br /> fairer division, the publisher having done but<br /> very little? And finally (4) whether this is<br /> evidence that an author should be as careful in<br /> the choice of his agent as in the choice of his<br /> publisher ? Se mK<br /> <br /> IV.—Tur New German Copyrient Bri.<br /> <br /> The sketch of a new copyright law for the<br /> German Empire, officially published in the spring<br /> of 1899, continues to occupy much attention, and<br /> to evoke not a little criticism on the Continent in<br /> all circles devoted to the study of copyright.<br /> <br /> Our German contemporary, Das Recht der<br /> Feder, is by no means satisfied with many of the<br /> new provisions, and we may add that we entirely<br /> agree with the criticisms of the law which have<br /> appeared in its pages, and earnestly hope that<br /> <br /> R<br /> <br /> <br />  <br /> <br /> 172 THE AUTHOR.<br /> <br /> they may assist to bring about some important<br /> modifications of the suggested enactment.<br /> <br /> In its present shape the new law will be little<br /> better than a half-measure, by which all the<br /> interests of authors will be by no means properly<br /> safeguarded.<br /> <br /> <br /> <br /> V.—Mvsic ComposERS AND PUBLISHERS.<br /> <br /> The letter signed ‘“ Musical Publisher” in tha<br /> December issue of The Author surprises me and<br /> interests me as the Secretary of the Society of<br /> Authors.<br /> <br /> Ihave pointed out in The Author on several<br /> occasions that the position of musical composers<br /> when contracting with the largest and most<br /> responsible musical publishers in London is a very<br /> unfortunate one.<br /> <br /> The general form of contract issued by the big<br /> musical publishing houses takes, as a rule, every-<br /> thing, leaving the composers nothing, and the<br /> composers generally sign these contracts in igno-<br /> rance of the value and nature of the property<br /> they are handing over on the faith of the name<br /> of the house with which they are dealing.<br /> <br /> A typical contract was published in The<br /> Author for July, 1899, with explanations.<br /> <br /> I should like “‘ Musical Publisher” to refer to<br /> that number. If musical publishers, as a rule,<br /> accepted leases of the composer’s work for a<br /> limited time composers would have a_ better<br /> chance of reaping the rewards of their own work<br /> and labour.<br /> <br /> If “Musical Publisher” sees this letter I<br /> should be very glad if he would enter into com-<br /> munication with me.<br /> <br /> G. Herserr THrRina,<br /> Secretary of the Society.<br /> <br /> os<br /> <br /> THE METHOD OF THE FUTURE.<br /> <br /> <br /> <br /> NOTE will be found in the correspondence<br /> of the month on “The Method of the<br /> Future.” This method, which is simply<br /> <br /> the publishing on commission by means of a<br /> commission agent or commission publisher, who<br /> publishes in no other way and who takes his<br /> commission and nothing more, is a_ widely<br /> different thing from publishing by commission,<br /> as it is generally understood.<br /> <br /> A simple comparison between the two methods<br /> is shown by a reference to the publishers’ Draft<br /> Agreements (Kqutable). Thus the latter claim<br /> (1) a preliminary fee: (2) a blank commission<br /> on printing, paper, binding, advertising, and<br /> other disbursements, wiru the right to take dis-<br /> count on every item: (3) to be paid in advance,<br /> <br /> although the printer, &amp;c., will not be paid for<br /> three months or more after publication : (4) to<br /> <br /> take a blank commission on sales: (5) to account |<br /> <br /> for the sales not at the actual price realised, but at<br /> “customary” trade prices, whatever he may<br /> choose to name: and (6) to render accounts<br /> annually, but not to pay for a period of blank<br /> months afterwards.<br /> <br /> The commission agent of the future charges a<br /> commission and nothing else—no discounts: no<br /> percentages : nothing<br /> <br /> For instance, a book may cost, say, £150 for<br /> production and may realise, say, £300. The<br /> commission agent will take 10 per cent.—say<br /> £30—and send the author, as the money comes<br /> in, the remainder, £270, out of which he pays<br /> £150 for production. ‘<br /> <br /> Tf, on the other hand, the book is sent on<br /> commission to a general publisher, it will be<br /> obvious, by applying the claims set up as detailed<br /> above, that the Cost of Production may be very<br /> easily swollen to about £220, while the returns,<br /> by making a liberal use of the ‘‘ customary trade<br /> price ” clause and of the commission, may easily<br /> be reduced to about the same sum; so that the<br /> unhappy author would not only pay £70 more<br /> than the book cost, but would actually get<br /> nothing back of his outlay. This is no fanciful<br /> portion. It is actually made possible by the<br /> clauses in the Publishers’ Draft Agreements<br /> (Equitable).<br /> <br /> This method is strongly advocated (1)’in the<br /> case of successful authors of every kind. It may<br /> be that at the outset there might be a little<br /> friction with the machinery, but that would soon<br /> be eased because it would be entirely and com-<br /> pletely the interest of the commission publisher<br /> to act for the best advantage of the authors.<br /> Perhaps in a few cases, but very few, this general<br /> publisher would offer so large a royalty that it<br /> would seem to be the advantage of the author to<br /> remain with him. What assurance, however,<br /> would there be that a true return of the sales<br /> would be returned? A very high royalty might,<br /> in unscrupulous hands, be reduced by a reduction<br /> in the returns.<br /> <br /> In the second place, the method is strongly<br /> advocated in the case.of that large class of books<br /> —not novels—written by specialists and designed<br /> for a special purpose, addressed to a special<br /> audience, where publication would advance the<br /> author’s interests apart from any possibility of<br /> wide circulation. Surely in such cases this<br /> method offers the greatest possible advantages.<br /> It must never be forgotten that the committee of<br /> the Publishers’ Association have insisted on their<br /> right to every one of the additions to the cost and<br /> the deductions from the sales which are set forth<br /> <br /> iets<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> above : every one, except that of charging adver-<br /> tisements not paid, and this is passed over<br /> with silence deliberate, which, after all that has<br /> been said and written on the subject, can only<br /> mean that they approve or allow of the practice.<br /> And it must be remembered that these monstrous<br /> claims have never been disavowed or withdrawn.<br /> The Method of the Future then is a Method of<br /> pure Self Defence. Nor must this method be<br /> confused with that of paying what is humorously<br /> called part of the Cost of Production.<br /> <br /> The old advice given by the Society over and<br /> over again still remains ‘Never pay for what<br /> publishers refuse to produce at their own<br /> expense.’ The reasons are illustrated by what<br /> precedes. The commission agent or publisher<br /> may also, on his side, refuse to produce, even<br /> upon commission, He simply says: “I publish<br /> on commission only, and in no other way. I do<br /> not want bad and unsaleable books. Good and<br /> saleable books I produce on terms which are better<br /> than any profit sharing agreement or royalty or<br /> ordinary commission by a general publisher can<br /> possibly offer. The business of distribution and<br /> collection is done by me, and for that I take a<br /> moderate commission and nothing else. All is<br /> above board—estimates—vouchers— discounts —<br /> everything.”<br /> <br /> exe<br /> <br /> PARIS NOTES.<br /> <br /> <br /> <br /> 5, rue Chomel, Paris.<br /> <br /> FYNHE scurrilous tone adopted by several low-<br /> <br /> class French publications in dealing with<br /> <br /> the Transvaal War has justly excited the<br /> indignation of the Anglo-American colony in<br /> Paris. But it is a mistake to imagine that the<br /> majority of the better - class French public<br /> approve the virulent, personal attacks directed<br /> against the noble Woman and aged Empress-<br /> Queen, who stands foremost—in virtue, as in age<br /> —among the contemporary European sovereigns<br /> of the twentieth century. As regards the pre-<br /> vailing sentiment respecting these attacks, I<br /> venture to quote the following phrases taken<br /> from a recent leading article in the Jvgaro, than<br /> which no French paper is conducted on higher<br /> lines, or offers a better mirror of the general<br /> feeling of the cultured upper classes: ‘ Nos<br /> facons de polémique,” writes Le Passant, ‘“ n’ont<br /> pas ¢té inventées 4 lusage des Anglais. Nous<br /> faisons pour eux comme pour nous, et ce ne sont<br /> méme que des obus perdus qui passent les<br /> frontiéres. Le gros de la canonnade est pour<br /> notre propre usage. Cela n’empéche pas que ces<br /> attaques inconsidérées ne soient tres regrettables.<br /> La reine d’Angleterre, 4 défaut de toute autre<br /> <br /> <br /> <br /> 173<br /> <br /> considération, aurait du en étre préservée par son<br /> erand ige.” Nevertheless, a few lines later we<br /> are informed that, if Her Majesty reigned in<br /> France, ‘“‘ Les journaux -francais lui en diraient<br /> bien d’autres!” Under such circumstances, the<br /> lot of a French sovereign is scarcely more to be<br /> envied than that of its actual President.<br /> <br /> THe Osiris PRIZE.<br /> <br /> The commandant Marchand has received the<br /> “Prix Audiffred ” of 15,000 francs. This was a<br /> foreseen occurrence, and occasioned much satis-<br /> faction but little surprise, since the Audiffred<br /> Prize was expressly founded to recompense “ les<br /> plus beaux, les plus grands dévouements, de<br /> quelque genre quwils soient.” But the ‘“ Prix<br /> Audiffred”’ sinks into comparative insignificance<br /> beside the magnificent triennial prize of 100,000<br /> francs, founded by M. Daniel Osiris to recom-<br /> pense the most remarkable discovery, or work,<br /> produced during a period of three years’ dura-<br /> tion, whether the said discovery, or work, come<br /> under the heading of science, art, letters, or the<br /> medical and industrial professions. In making<br /> the Institute of France the trustees of the Prix<br /> Osiris, the donor takes the opportunity to<br /> intimate his preference for surgical and patho-<br /> logical discoveries, on the ground that they are,<br /> generally speaking, the most efficacious in<br /> alleviating the suffering of humanity at large.<br /> On all ordinary occasions only Frenchmen will<br /> be allowed to compete for this prize; but when-<br /> ever an international exhibition coincides with<br /> the date of the adjudgment of the Prix Osiris,<br /> all nationalities are invited to enter the lists.<br /> Even if the exhibition takes place one or two<br /> years later, the awarding of the prize (which, in<br /> the latter instance, would amount to 166,000<br /> francs) may be retarded during this period.<br /> Should the successful effort prove the combined<br /> outcome of several minds, the prize will be<br /> divided among the fortunate collaborators. If<br /> any would-be competitor desire further details on<br /> the subject, M. Georges Picot, Secrétaire Perpétuel<br /> de Académie des Sciences Morales et Politiques,<br /> will undoubtedly be glad to furnish any infor-<br /> mation that may be required.<br /> <br /> A SeLect CoLuecs.<br /> <br /> In 1881, M. Jules Claretie called attention to<br /> the fact that the Paris “de la rive gauche”<br /> enjoyed a monopoly of intellectual instruction to<br /> the detriment of the wealthy aristocrats of the<br /> Faubourg St. Germain, whose means permitted<br /> them to dwell in the more luxurious Paris “ de la<br /> rive droite.” He suggested the establishment of<br /> a national College on the right bank, in order<br /> that the élite of society might be kept in touch<br /> 174<br /> <br /> with the march of modern intellect, without being<br /> forced to cross the bridges which separated them<br /> from the poorer inhabitants of the Latin Quarter.<br /> In 1899 M. Claretie may rejoice in seeing his<br /> suggestion become a realised fact. A little<br /> Sorbonne was opened on Dee. 5 at the Bodinitre ;<br /> it is rendered select by the fact that only paying<br /> members are admitted. This small “ Université<br /> mondaine” proposes to deal with the masterpieces<br /> of the Hebrew, Greek, Latin, and French litera-<br /> ture; and among the names on its programme we<br /> find those of MM. Leo Claretie, Hugene Len-<br /> tilhac, Aug. Dorchain, René Doumic, Emile<br /> Faguet, and Mme. Jane Dieulafoy. Since the<br /> death of Mme. Rosa Bonheur, the latter is the<br /> only woman in France who is legally entitled to<br /> walk the streets of Paris in man’s attire—a per-<br /> mission of which she avails herself to the full, for<br /> she is never seen in feminine garb. As a lecturer<br /> she possesses a remarkable facility of language,<br /> devoid of the picturesque exaggeration so common<br /> to her sex. Mme. Dieulafoy is a great traveller.<br /> She and her husband have lived many years in<br /> Persia, enjoying the precarious favour of the<br /> tyrannical Nassr ed Din; and many of the wild<br /> scenes she has witnessed, and in which she has<br /> played a part, rival in interest the sensational<br /> “Mille et une Nuits” of Dr. C. Mardrus, of<br /> which the second volume has lately been given<br /> to the public.<br /> Arounp M. Bourcer.<br /> <br /> Despite his reputation for dandyism, M. Paul<br /> Bourget is one of the most fertile authors of his<br /> school. He has just returned to Paris, and is<br /> already publishing a new serial—an interesting<br /> study of a fin-de-siecle Parisian ménage—entitled<br /> “Te Luxe des Autres.’ He has recently averred<br /> that his mental attitude towards our race has<br /> undergone a complete transformation. The more<br /> he appreciates our good qualities, the more<br /> keenly is he aware of the invisible barrier, the<br /> “ divergences irréductibles” which alienate his<br /> sympathies from us. In brief, he no longer feels<br /> his former warm admiration for the English race.<br /> This change is not to be attributed to any petty<br /> “trimming” for popular favour. The ardent<br /> disciple of Hippolyte Taine; the enthusiastic<br /> hero-worshipper who revered Balzac before<br /> Balzac was a fashionable idol, and who carried<br /> his imitation of his hero to such an extreme that,<br /> for several years, he went to bed at eight o’clock<br /> every night and rose at three o&#039;clock every<br /> morning, breakfasting on a bowl of black coffee<br /> prepared over-night—because, forsooth, Balzac<br /> had recorded that such was his own usual<br /> méthode; the successful writer and honoured<br /> member of the French Academy, who boldly<br /> defied current opinion by perseveringly register-<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> ing his vote (the solitary one) in favour of M.<br /> Emile Zola’s admission to the charmed circle—<br /> is not the man to be influenced by any baser<br /> considerations. Once, in speaking of the leader<br /> of the realistic school, M. Bourget remarked :<br /> <br /> “No one here suspects the reputation which<br /> Zola enjoys abroad. His books are read every-<br /> where—in the smallest American towns. He is<br /> considered the chief, the father, of the modern<br /> French novel. Nowhere has he met with such<br /> severe censors as those of his own country ; and,”<br /> added M. Bourget, emphatically,<br /> <br /> “Vraiment la jeune critique n’a pas assez de<br /> respect pour cette gloire!”<br /> <br /> Ture Brainnines or M. Mevrice.<br /> <br /> M. Paul Meurice is still busily engaged in<br /> superintending the rehearsals of his adaptation<br /> of “Les Miscrables” of Victor Hugo, at the<br /> Porte-Sainte-Martin Theatre. This play has<br /> been much talked of, and is expected to prove<br /> one of the greatest hits of the season. M.<br /> Meurice is no novice among dramatists, being<br /> the author of “ Struensée” and many other suc-<br /> cessful plays. He is almost an octogenarian, and<br /> to talk with him is to be transported into a bye-<br /> gone era. He made his dramatic début by the<br /> aid and with the collaboration of Dumas pére.<br /> It happened in this wise :—<br /> <br /> On one occasion the latter deigned to confide to<br /> the shy slender student his project of founding a<br /> theatre which should alternately mount his own<br /> works and those of foreign classics, Calderon,<br /> Lope de Vega, Shakespeare. . . .<br /> <br /> “ Ah!” sighed Dumas, reflectively, “if I had<br /> only the time to translate ‘Hamlet’! What a fine<br /> spectacle that would be for the opening night!”<br /> <br /> “T have a translation of ‘Hamlet’ all ready,”<br /> murmured the student, blushing at his own<br /> temerity.<br /> <br /> «A translation in verse ?”’<br /> <br /> “ Certainly.”<br /> <br /> Meurice Was dispatched to fetch his work.<br /> Dumas read it and was satisfied.<br /> <br /> ‘Ma foi, mon enfant,” he said complacently,<br /> “je deviendrai ton collaborateur, si, du moins, cela<br /> te plait?”<br /> <br /> The offer was eagerly accepted; but Dumas<br /> was procrastinating, and a wearisome period inter-<br /> vened before “ Hamlet” was finally produced at<br /> the Saint-Germain-en-Laye Theatre. At this<br /> epoch the great man was living in princely state<br /> at Monte Cristo, submerged in debt, conde-<br /> scendingly offering champagne to the bailiffs<br /> who came to mouut guard over his furniture.<br /> All the critics were invited to be present at the<br /> first representation of ‘‘Hamlet.” Meurice<br /> shamefacedly hid himself in the side-scenes, while<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> Dumas sat enthroned in a “fauteuil de balcon,”<br /> his broad breast literally covered with glittering<br /> stars, decorations, and orders. He appeared<br /> totally to forget that the piece was his, or rather<br /> that he had read and signed it, since it was he<br /> who led the applause. But modesty was never<br /> the prominent characteristic of this great genius<br /> and wholesale plagiarist.<br /> <br /> ‘- Passions Silencieuses ” is the pathetic title of<br /> the novel which M. Henri Gaillard, editor of the<br /> Journal des Sourds Muets and secretary-general<br /> of the Fédération des Sociétés Frangaises de<br /> Sourds Muets, is about to publish. M. Gaillard<br /> is physically more highly gifted than the afflicted<br /> community over which he presides; for though<br /> he totally lost the sense of hearing at the early<br /> age of eight years, he has preserved almost intact<br /> the faculty of speech, and he will occupy a promi-<br /> nent position in the three-day international<br /> “Congres du Silence des Sourds Muets,” which<br /> will be held in Aug. 1900, in the stately white<br /> palace now being erected in the vicinity of the<br /> Pont de l Alma.<br /> <br /> And still further @ propos of the Great Exhibi-<br /> tion may be mentioned the exquisite bzbelot<br /> which M. Christian, director of the Imprimerie<br /> Nationale, is preparing to delight the virtuosos<br /> and lettrés of the year 1900. The volume in<br /> question bears the date MCM, and is a perfect<br /> “chef d’ceuvre’’ of the dual arts of engraving<br /> and typography, in addition to containing the<br /> history of printing in France during the 15th<br /> and 16th centuries. M. Christian has already<br /> been engaged two years in its compilation. In<br /> the preface he states that “en imprimant cet<br /> ouvrage notre ¢tablissement national a surtout<br /> pour but d’offrir aux bibliophiles les spécimens<br /> les plus curieux et les moins connus de Vart<br /> typographique essentiellement francais et @’établir<br /> la prééminence de nos artistes par influence<br /> qwils exerctrent sur les émules des nations<br /> vyoisines 4 |’époque de la Renaissance.” He has<br /> certainly succeeded admirably in his aim.<br /> <br /> Mapame Apam’s Successor.<br /> <br /> M. P. B. Gheusi, who claims kinship with<br /> Gambetta, in addition to being one of the most<br /> elegant writers of the present day, has succeeded<br /> Mme. Juliette Adam in the editorship of the<br /> Nouvelle Revue. Indeed, M. Gheusi is the<br /> modern French Crichton who has ‘“ touché a tout<br /> sans se spécialiser, méme a la diplomatie ’—since<br /> he has recently returned from a diplomatic<br /> mission in Asia Minor. Although only thirty<br /> years of age, he has already made his mark as<br /> an archeologist, poet, lecturer, administrator,<br /> novelist, and dramatic author. He isa Toulou-<br /> sian by birth, but offers the curious anomaly of<br /> <br /> AUTHOR.<br /> <br /> we<br /> <br /> an undemonstrative Toulousian who prefers reflec-<br /> tion to exuberance. He possesses a striking per-<br /> sonality, being tall, with intensely black hair,<br /> eyes, and beard, finely-cut features, and olive<br /> complexion. He has embraced the tenets of M.<br /> Constans, and it is reported that he intends to<br /> metamorphose the Nouvelle Revue. The latter<br /> magazine was founded by Mme. J uliette Adam,<br /> who is universally acknowledged to be one of the<br /> most brilliant and talented French authoresses of<br /> the nineteenth century.<br /> <br /> Tue Enp or PresipENT Favre.<br /> <br /> “Ta Fin d’une Présidence ” is the title of M.<br /> Witness’ new novel, a “roman a clef” reviving<br /> one of the popular legends current at the death<br /> of M. Felix Faure. The latter is easily recog-<br /> nisable under the pseudonym of “ Prosper Puis-<br /> sant,” as is also the case in regard to the fair<br /> actress denominated Mlle. Agnes, who was<br /> reported to be present at the President’s death,<br /> but who was, in reality, engaged elsewhere in the<br /> exercise of her profession at the moment when<br /> this sad event took place. Nevertheless, ‘ La<br /> Fin @’une Présidence” is being widely read, and<br /> many persons are firmly convinced of the truth<br /> of the fictitious narrative therein contained. In<br /> case any of our readers should desire to judge its<br /> contents for themselves, we would mention that it<br /> is published chez Chamuel.<br /> <br /> Among books of the month we find ‘le<br /> Rappel des Ombres,” by M. B. M. de Vogiié<br /> (chez Armand Colin et Cie.) ; ‘‘ L’Ennemie des<br /> Réves,” by M. Camille Mauclair (chez Ollen-<br /> dort); “4 lAube,” by M. Jean Reibrach ; “‘ Les<br /> Boers,” by M. Eugene Morel; “En Mémoire<br /> dun Enfant,’ by M. Emile Blémont; ‘ Shake-<br /> speare,’ by M. E. Legouis ; and “ Emancipées,”<br /> by M. Albert Cim.<br /> <br /> : DarRAcorre Scott.<br /> <br /> —___—_ecz<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> <br /> <br /> HAVE to invite very earnest attention to the<br /> <br /> I scheme for establishing a Pension Fund in<br /> connection with the Society. There is no<br /> pension for literary folk except their share cf the<br /> Civil List. This should give literature another<br /> £400 every year. Of late years the administra-<br /> tion of the fund has greatly improved, although<br /> it still leaves something to.be desired. Yet the<br /> grants of pensions are capricious and arbitrary :<br /> the pension offered is sometimes ridiculously<br /> small, at other times it is absurdly large, consider-<br /> ing the small sum at the donor’s disposal. Some-<br /> times a case, which would seem especially designed<br /> <br /> <br /> 176<br /> <br /> when the annual grant was first proposed, is<br /> refused without rhyme or reason: sometimes a<br /> person receives a pension while in the full enjoy-<br /> ment of his working powers. The pension fund<br /> of the Society proposes to grant pensions 1o<br /> followers of literature being members of the<br /> Society when they grow old or are broken down.<br /> <br /> <br /> <br /> The method of raising the necessary income is<br /> explained in the paper furnished by the com-<br /> mittee. Certain members have led off with<br /> promises which, as will be seen,provide a nucleus :<br /> others offer a yearly subscription. In publishing<br /> the names of the donors it is believed that a<br /> great many of our members will follow their<br /> example. Besides the donations and the annual<br /> subscriptions given for this special purpose it will<br /> perhaps be possible, after the number of members<br /> has reached a certain figure, to devote a propor-<br /> tion of the annual subscriptions to the Pension<br /> Fund.<br /> <br /> Thus, if we begin with a capital sum of £1500<br /> from donations and a promised annual subscrip-<br /> tion of £500 for this object: and if we are able<br /> to set aside every year, say, another £250 from<br /> the annual subscriptions, we should in five years,<br /> if we waited for that period before granting any<br /> pensions, have a sum of about £5600, producing<br /> an annual income of about £150 a year, increasing,<br /> if we add £750 a year to our principal, by £20 a<br /> year; so that in ten years there would be a sum<br /> of £250 a year available in pensions. If, on the<br /> other hand, we begin at once by using the interest<br /> of our capital for pension purposes, we ought to<br /> be able to give for the first year £40: for the<br /> second, £60: for the third, £80 a year: and so<br /> on. It is quite obvious that even a small pension<br /> of £30 a year would be in some cases regarded as<br /> avery great help. These figures, however, depend<br /> entirely upon the way in which the scheme is<br /> taken up.<br /> <br /> <br /> <br /> Members will observe that it is not intended to<br /> appeal for help—after the manner of the Royal<br /> Literary Fund—to the benevolent. The Literary<br /> Profession ought to be quite able—it is quite<br /> able, if its followers will only think so—to look<br /> after those who break down or can work no longer.<br /> At the same time I do not suppose that the Com-<br /> mittee would refuse to accept gifts from friends<br /> and well-wishers.<br /> <br /> There is another reason for creating a Pension<br /> Fund: that of adding stability to the Society. At<br /> present, if we admit 200 new members every year,<br /> there is sure to be a withdrawal of a certain<br /> number, perhaps a hundred or more. ‘These<br /> members withdraw because they think that the<br /> <br /> THE AUTHOR.<br /> <br /> Society is of no use to themselves personally, for-<br /> getting that if it is to be of use to any one there<br /> must be a great preponderance of guinea subserip-<br /> tions over the number of cases which are taken<br /> up, nearly all of which cost the Society a certain<br /> amount of law expenses. Now, with a Pension<br /> Fund growing every year, it is quite clear that a<br /> very strong inducement will be held out to<br /> members who might otherwise withdraw to<br /> continue. It is not a noble motive: one would<br /> far rather find them continuing in the hope of<br /> helping those who want help: but we must be<br /> thankful that we have our steady supporters—<br /> nearly 1500 strong—who do believe in standing<br /> by the weaker brethren.<br /> <br /> <br /> <br /> In the last number appeared a letter from Mr.<br /> Robert Maclehose,of Glasgow. It was prefaced<br /> by a few words on the general situation, and<br /> followed by a reprint of the report of our sub-<br /> committee on the subject. All three documents<br /> made quite clear the fact that the majority of<br /> booksellers are willing to try the experiment of<br /> coercion: we had already recognised that fact,<br /> and we proposed that booksellers should have<br /> their own way without opposition from our-<br /> selves for such a term as would make it possible<br /> to decide on the value of the scheme. At present<br /> it certainly looks as if the booksellers would get<br /> nothing out of it. But we shall see. Mr. Maclehose<br /> does not meet two very important points.<br /> <br /> (1) That the Authors’ Society was not con-<br /> sulted on the final adoption of the measure: and<br /> the Authors’ Society, representing the original<br /> creators and proprietors of the property, is not<br /> likely to allow their own interests to be used as<br /> a means of increasing the power and importance<br /> of the middle man.<br /> <br /> (2) It does not meet the awkward fact that<br /> the agreement binds the bookseller, but does not<br /> bind the publisher. Mr. Maclehose says that book-<br /> sellers were unwilling to “imply a doubt of the<br /> honour of the members of the Publishers’ Asso-<br /> ciation.” This is truly wonderful. Not to doubt<br /> the honour of the association? Has Mr. Macle-<br /> hose read a certain book called ‘“ Methods of<br /> Publishing” ? Or, to put it generally, are all<br /> men of business to be bound by contracts and<br /> conditions except publishers, who alone among<br /> mortals are to be held divine and above the<br /> reach of temptation? The simplicity of the<br /> statement is almost incredible were it not that<br /> it is obviously advanced in perfect good faith.<br /> We do not, as Mr. Murray was good enough to*<br /> say that we did, accuse all publishers of dis-<br /> honesty, but one thing may be stated as a law of<br /> humanity that, where any body of men have it in<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> their power to rob, cheat, thieve, and le with<br /> ‘impunity, then there will be among them a<br /> certain proportion of those who will take advan-<br /> tage of this impunity.<br /> <br /> So that we end as we began: that the book-<br /> sellers will have no kind of interference from the<br /> Authors’ Society: after a certain time they will<br /> probably be asked what advantage they have<br /> gained. And meantime the depression of the<br /> book trade is growing steadily worse, and the<br /> impoverishment of the bookseller is increasing.<br /> <br /> <br /> <br /> The extension of the term of copyright con-<br /> tinues to be advocated. It is, of course, always<br /> advanced as a measure in the interests of the<br /> author and his heirs. Nothing could be more<br /> absurd. The extension of copyright, if the pre-<br /> sent methods are preserved, would be entirely in<br /> the interests of the publisher. Those who so<br /> confidently talk of the author’s interests are<br /> probably unaware that nearly every agreement<br /> between author and publisher assigns to the<br /> latter the exclusive right of publishing the book<br /> in this country, or the copyright, during the<br /> legal term. It is, of course, evident that any<br /> agreement which might be fair for a limited term<br /> might be very much the contrary in the case of a<br /> book so fortunate as to be still in demand for an<br /> extended term. The extension of the term of<br /> copyright would, in fact, affect very few books<br /> indeed ; but in the case of those which it did<br /> affect the ordinary royalty, or the price given<br /> for a sale outright, would be quite inadequate<br /> for a book so exceptional,<br /> <br /> <br /> <br /> The only way to meet the case is for the author<br /> to assign the right of publication, in this country<br /> at least, for a short term of years. Thus, if a five<br /> years’ term were adopted, the book at the end of<br /> that time would be dead and forgotten, or it<br /> would be still a property. In the former case, no<br /> publisher would want to produce it again ; in the<br /> latter case, the author would be able to make new<br /> terms for another short period. If sucha plan<br /> were adopted, the legal terms of copyright cannot<br /> be too much extended. Another advantage would<br /> be that it would keep the publisher in check. He<br /> would know very well in the case of a valuable<br /> book that if he failed in his duty towards the<br /> author he would lose that book at the end of the<br /> period agreed upon. Also it would make quite<br /> clear to his mind that the present view of some<br /> publishers, that literary property is theirs by<br /> right, to do what they like with, is based upon a<br /> strange confusion.<br /> <br /> ee<br /> <br /> The Manchester Guardian proposes that after<br /> an author’s death his books shall all be thrown<br /> <br /> 177<br /> <br /> open to any publisher who pleases to produce<br /> them, subject to some royalty to the author’s<br /> heirs—it says the “same” royalty, meaning<br /> apparently the same which was paid in the<br /> author’s lifetime. But that might be a most<br /> unjust and unfair royalty. Moreover, in the case<br /> of very popular books, publishers would have the<br /> power of underselling each other—we have seen<br /> the cut-throat folly of the sixpenny edition—to<br /> the loss and detriment of the author&#039;s heirs.<br /> <br /> It is difficult to legislate for the protection of<br /> those wao own property or for those who ought<br /> to own it. I should rather suggest that the<br /> author’s heirs should have the power t) grant the<br /> right of publishing to any they please on any<br /> terms they please—but for a limited period only.<br /> In other words, they would not be allowed to<br /> part with the property out of the family. It<br /> would be like a landed estate which is not divided<br /> among all the heirs but goes as a solid possession<br /> <br /> to one. How many authors in one century would<br /> create a solid possession? In the nineteenth<br /> century Scott, Dickens, Marryatt, Thackeray,<br /> <br /> among novelists, and a few scattered novels besides ;<br /> among poets there would be a property large or<br /> small in the work of Wordsworth, Scott, Byron,<br /> Keats, Tennyson, Browning, Swinburne. Legisla-<br /> tion would not be for a class, but for one or two<br /> here and there.<br /> <br /> <br /> <br /> Will my correspondent who signed a letter in<br /> the last number of this paper “ M. St. J.” kindly<br /> send me his name and address? I have mislaid<br /> both.<br /> <br /> Water Besant.<br /> <br /> =<br /> <br /> THE AUTUMN OUTPUT.<br /> <br /> <br /> <br /> <br /> <br /> ~N the November number of The Author were<br /> offered certain comments on the list of publi-<br /> cations announced for the autumn and<br /> classified by Literature. One would like the<br /> phrase “ promised by ” the publisher to be dropped.<br /> A pound of tea is not “ promised” by the grocer :<br /> and the publisher conducts his business strictly<br /> on the same principles. He “offers” the public,<br /> through a bookseller, a book which he has reason<br /> to believe will be acceptable to a certain circle of<br /> readers who will buy it. A “high class jam” is<br /> offered in the same spirit. Always we must<br /> distinguish between the commercial and the<br /> literary side of literature.<br /> <br /> Among the books—1500 in number—classified<br /> and enumerated were 353 novels. Naturally the<br /> world regarded this threatened cataract of novels<br /> with terror. Some there were, however, who<br /> <br /> <br /> 178<br /> <br /> were doubtful. A list has now been made of all<br /> the novels actually published between the rst Oct.<br /> and the 15th Dec. As was expected by the<br /> doubter, the announcements were in a great many<br /> cases merely made for the purpose of swelling a<br /> list. Out of the whole number of 353 in the first<br /> list only 242 have appeared. Perhaps the depressed<br /> condition of the book market has had something<br /> to do with the Slaughter of the Innocents.<br /> This depression was severely felt early in the<br /> year—it has become steadily worse. It is now<br /> by some attributed to the war, which stimulates<br /> rather than depresses the reading public, though<br /> at first chiefly in the direction of subjects con-<br /> nected with South Africa. Chiefly it 1s due to<br /> the same causes which have been pointed out by<br /> the sub-committee of this Society—causes which<br /> continually aggravate the impoverishment of<br /> booksellers. No bookseller, however, if he had<br /> the wealth of Lombard-street at his back, could<br /> afford to risk his money in subscribing to the<br /> great mass of books now produced and offered to<br /> him.<br /> <br /> The fact, however, remains that a third of<br /> the novels announced have not appeared. The<br /> prudence of this withdrawal is to be commended.<br /> <br /> Tt is next necessary to consider by whom the<br /> new novels are written, and what is their chance<br /> of success.<br /> <br /> A closer examination of the list shows about<br /> sixty names which may be presumed to carry<br /> weight. That is to say, there are sixty out of all<br /> these novels which are tolerably certain to enjoy a<br /> remunerative circulation. In many cases the<br /> remuneration may be very small. Still, prac-<br /> tically there is no risk in producing them.<br /> <br /> There remain 182. Does this large nuimber<br /> represent the speculative spirit of the publishers<br /> —the sporting or gambling side? Not quite.<br /> We may divide them into three classes :<br /> <br /> (1.) Books written by new writers which have<br /> been strongly recommended by the reader, and<br /> are taken on their merits on the strength of<br /> that opinion. This class is very small.<br /> <br /> (2.) Books in which the authors pay part of<br /> the cost of production. This is a very consider-<br /> able class. Judging from the number of offers<br /> to publish on these terms it is a much larger<br /> class than would be generally believed.<br /> <br /> (3.) Books which the better publishers have<br /> unanimously refused, and which are published by<br /> the miserable shops where the author is misled, by<br /> promises of large profits and no “further risk,”<br /> to undertake the whole cost himself.<br /> <br /> As regards the first: class, all that is to be said<br /> is that there is hope for them. The opinions of<br /> an experienced reader are generally cautious. He<br /> does not recommend a risk unless he clearly per-<br /> <br /> THE AUTHOR.<br /> <br /> ceives that the chances of success are greater<br /> than the chances of failure. We may confidently<br /> expect that out of the autumn list one or two<br /> new names will emerge, to be added to the list of<br /> those which command a certain clientéle. It is,<br /> of course, impossible to say how many of the 182<br /> belong to this class.<br /> It is, however, quite possible to point to a good<br /> many books which have no chance at all of success.<br /> Among these are the books issued—one cannot<br /> say published—by the worthy gentlemen whose<br /> reader is always so favourably impressed,—and<br /> so quickly—that by return post after the MS.<br /> has been received, they offer the “ following most<br /> advantageous terms,” viz., three-fourths, or two-<br /> thirds, or nine-tenths of the profits: an edition of<br /> 750 copies: no risk to the author beyond a little<br /> preliminary cheque of £75—or anything else—<br /> all future editions to be the care of the firm, and<br /> cheques every half-year. It is amazing to note<br /> how this bait catches the unwary and the credu-<br /> lous. There are never any profits; no bookseller<br /> will subscribe a copy; the Stoke Pogis Gazette<br /> is the only paper which notices the production.<br /> Another class of unfortunates is that of those<br /> who agree to guarantee a certain number of<br /> copies and omit to notice that nothing is said<br /> about advertising, and nothing about any share<br /> of profits if the book succeeds. It never does<br /> succeed. The profits are less than those made by<br /> Bob Sawyer in his general practice at Bristol.<br /> There is the class, again, of those who pay part<br /> of the vost, and are humorously informed that<br /> they are to share the profits. A perusal of the<br /> publishers’ “Draft Agreements” (Equitable)<br /> should enlighten these unhappy ones as to the<br /> nature of the share. “Half the risk and half<br /> the profits.” Admirable! Equitable indeed!<br /> Lastly, there is a small class of those who<br /> boldly undertake the publishing of their books<br /> by means of a commission publisher who charges<br /> no unpaid advertisements, no “ office expenses,”<br /> and takes his commission only. Let us encourage<br /> this class by any means in our power.<br /> <br /> =P OKs<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> L—&lt;Tur Mernop or THE FUTURE.”<br /> <br /> ° HE method of the future” is with us—<br /> |&quot; has been for, at least, mouths. Time<br /> will soon arrive to inquire if it is<br /> <br /> to justify its description. To the editor of<br /> this paper literature is largely indebted for its<br /> genesis ; to him all those who write owe it to see<br /> that the description he has given it shall be<br /> justified. It is of tremendous importance to<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> letters that it should be adequately supported.<br /> Yet it would not appear that any work of first-<br /> rate importance, appealing to the general public,<br /> and commanding a large sale, has been thus pub-<br /> lished. Is it not permissible to call the attention<br /> of the lords of the literary world to the position,<br /> and to ask if even one is willing to demonstrate<br /> his confidence in the system, and give it the<br /> powerful impetus which a work of assured success<br /> would command for it? Will Mr. Hall Caine,<br /> Mr. Anthony Hope, Mr. Zangwill, Mr. Gilbert<br /> Parker, Mrs. Humphry Ward, or another of the<br /> Upper Ten bring up one of their 4.7in. guns?<br /> Now is the time to strike for freedom.<br /> OBSERVER.<br /> <br /> <br /> <br /> Il.—On Weritine ror THE MAGAZINES.<br /> <br /> Your note about magazine writing seems to<br /> me a little misleading. You say that only four<br /> writers contribute as many as five articles in the<br /> course of a year to any single magazine or review.<br /> That must surely be only true with a reservation.<br /> Besides Mr. Lang in Longman’s there is the<br /> “Tooker On” in Blackwood, and the writer of<br /> “ Conferences ” in the Cornhill. Also you do<br /> not allow for the fact that the regular magazine<br /> writer sometimes, for one reason or another, does<br /> not sign. I have myself published unsigned<br /> articles in magazines three or four times in the<br /> last two years.<br /> <br /> Also your purview omits the quarterlies.<br /> <br /> But the essential point is that a writer in any<br /> demand can easily dispose of a dozen articles in<br /> the year among the different periodicals, 1.€., can<br /> add from £150 to £200 or more to his income.<br /> That is sufficiently proved by the fact that I,<br /> with no particular reputation to assist me, have<br /> had well over a score of articles published in<br /> what I should call the best periodicals between<br /> the years 1898 and 1899.<br /> <br /> The Author, I think, might very properly recog-<br /> nise the service done to literature, or at least<br /> to the literary men and women who wish to write<br /> other things than fiction, by those publishers<br /> who issue quarterlies and monthlies which either<br /> make a loss at the year’s end or a very small<br /> profit, but pay handsomely a large number of<br /> people for writing about subjects on which they<br /> speak with special knowledge or special compe-<br /> tence. It is in fact the magazines which enable<br /> the critic to exist and to write without hurry and<br /> with a reasonable space at his command. Ss.<br /> <br /> (‘The “ serials,’’ which include running “ Confer-<br /> ences,” were expressly excluded. As regards the<br /> service done to literature by the existence of<br /> magazines, that is undoubted—but it is not the<br /> point.<br /> <br /> As for the “loss or the very small<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 179<br /> <br /> profit,” if the magazines did not pay they would<br /> be soon dropped. But they pay in many ways,<br /> even though they may show some loss at the<br /> year’s end: they pay m getting the publishers’<br /> name known and advertised ; in attracting good<br /> writers to a firm; and (see p. 168) perhaps by<br /> exchange and the contra account.—ED. |<br /> <br /> <br /> <br /> I1].—Tue Same Otp Srory—Ever New.<br /> <br /> The story is the same, ’tis only the case that<br /> is new. The invalid daughter of a literary man<br /> tries to support herself by literature and fails.<br /> Not because she has not the essential qualifica-<br /> tions for success, but because the editors who<br /> accept her MSS. defer payment for two years. Kt<br /> she ventures to remind them of the guineas over-<br /> due, back comes the MS. We know that this is<br /> no new thing in literary life, but Zhe Author,<br /> by creating a reasonable public opinion on the<br /> subject, will make such unbusiness-like ways an<br /> old evil memory. E. L. WriLiraMs.<br /> <br /> TV.—TuHe UnproressionaL JOURNALIST.<br /> <br /> I wish to indorse what has been repeatedly<br /> stated in The Author, that journalism, magazine<br /> and review writing, does not as a rule provide an<br /> income. I am one of the writers qaoted in your<br /> November number, who had one article in a big<br /> review in the course of one year. In lesser<br /> magazines I had two or three within the same<br /> period, besides weekly articles in sixpenny papers.<br /> L otten receive as little as half-a-guinea for a<br /> short article, and sums of a guinea or less for<br /> paragraphs, notes, and short reviews of books.<br /> However, I get the books and keep them, and<br /> these are to me valuable assets.<br /> <br /> I can’t say that I am very disappointed if IL<br /> find at the end of the year that I have only<br /> earned £100. This year I fancy that I shall<br /> exceed that sum by a good margin. I have now<br /> launched a novel at no risk to myself, and I am<br /> to have a royalty when it passes out of serial<br /> into book form.<br /> <br /> You will, of course, be shocked to learn that I<br /> have condescended to aceept as little as one<br /> guinea for each of my short stories. But my idea<br /> is that if my stories over a pseudonym win a<br /> little favour from the public, i shall thus have<br /> advertised my wares and shall be able perhaps to<br /> ask higher terms.<br /> <br /> But I have wasted space in your columns if in<br /> the end Ido not disclose my object in writing.<br /> This is to ask your readers if introductions to<br /> other writers could not be effected by means of<br /> the Society. For instance, if only I knew who<br /> are the authors who live in my locality and are<br /> 180<br /> <br /> members of the Society, I could in the usual<br /> manner procure personal introductions through<br /> neighbours, without breach of etiquette or of the<br /> «“ convenances” of society. This at least would<br /> assist the interchange of experience, and authors<br /> of my calibre not too overburdened with work<br /> would find a pleasant and perhaps profitable<br /> connection with others able to advise and assist<br /> <br /> in literary matters. Di ett<br /> <br /> <br /> <br /> V.—Epiror1AL PROMPTNESS.<br /> <br /> Would you allow me to call attention to a<br /> general grievance amongst “ scientific’? writers,<br /> and at the same time as an example to refer to an<br /> error that has probably disappointed some of the<br /> public, and which appeared in an article in a<br /> certain magazine for October, entitled “ The Great<br /> Meteor Shower of 1899.” In thisitis stated “ that<br /> the culmination of the shower is expected in the<br /> early morning hours of Tuesday, Nov. 14. 3<br /> There will be a thin crescent moon.” This descrip-<br /> tion of the age of the moon, however, must have<br /> been written for last year, as it did not correspond<br /> to its condition on that date for 1899. More-<br /> over, the very date was wrong; for reliable calcu-<br /> lations for this year made it the 15th-16th. The<br /> error is interesting, particularly to specialist<br /> writers on any subject whatever, as exhibiting<br /> what is probably due to a magazine editor’s<br /> usual want of promptness and his frequent in-<br /> difference to appropriateness. The probability in<br /> this case was that the article was written in 1898<br /> and held over till 1899. This fault is common<br /> to most European magazines, and is frequently<br /> occasioned by changes in the editorial staff. The<br /> fact, however, remains that the moon this year on<br /> Nov. 14 was three days from being full moon,<br /> and that the Leonid shower, or what remained of<br /> it, ought to have been at its grandest about<br /> 6 a.m. on the 16th, twenty-eight hours only before<br /> full moon.<br /> <br /> I recall several provoking yet amusing instances<br /> of editorial (magazine) indifference to fact. A<br /> few years ago an article of mine appeared with<br /> a plan of an ancient house that I had carefully<br /> drawn to a scale of 1-200th; the plan, however,<br /> without my being consulted, was reduced in size<br /> without any alteration of the scale index, which<br /> must have been between 1-400th and 1-52oth, thus<br /> implying that the original house was less than<br /> half the size I indicated. A German friend of<br /> mine, a Government architect, sent an important<br /> archeological paper to an editor in his own<br /> country, who held it over for a year before pub-<br /> lishing it, thus giving someone else the chance to<br /> pose as the first exponent of the subject. This<br /> indifference does not affect the daily Press to such<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> a degree, but in Italy an amusing case occurred<br /> which was told me, as far as I remember, by<br /> my friend Signor G. Grahlovitz, the learned<br /> director of the two seismic observatories in<br /> Ischia. It seems that Professor Palmieri of the<br /> Vesuvian Observatory had been misquoted in a<br /> Neapolitan daily paper about some seismic matter,<br /> and that he wrote to the editor to protest; the<br /> only consolation which he received was a com-<br /> munication from the editor to the effect that<br /> “We have made you say it, and you must now<br /> stick to it!”<br /> <br /> As for the advantages to be gained by publish.<br /> ing an article in time, I suppose that the average<br /> busy office-bound magazine editor, unless a man |<br /> of the world, cannot see across the Channel so<br /> easily as the more free public and also those<br /> specialists who watch their subjects from a wider,<br /> European, or even more extended, area of view.<br /> <br /> Dec., 1899. H. P. FitzGreratp Marriorr,<br /> <br /> <br /> <br /> ViI.—Tue Question oF REVIEWS.<br /> <br /> Undoubtedly reviews advertise a book, and it is<br /> equally without doubt that there is not sufficient<br /> space in our papers for the adequate reviewing of<br /> all the books that appear. But can anyone tell<br /> me why so much space is always devoted to those<br /> authors who, having “arrived,” need no adver-<br /> tising save the announcement that a new work<br /> of theirs has come out; while the new-comers,<br /> the “ unarrived,”’ are hastily dismissed with a few<br /> lines, half a column at the most, of careless,<br /> indiscriminate, useless praise or blame ?<br /> <br /> Now I submit that if a practically unknown<br /> writer produce a work of any merit at all, there<br /> is no reason why he should be docked of a fairly<br /> exhaustive review in order that the refined gold<br /> of the popular author may have an extra gilding.<br /> For to the beginner, advertisement, encourage-<br /> ment, and criticism are of the utmost value: he<br /> may be able by their aid to take his proper place<br /> <br /> in the field of literature, to learn his strength —<br /> <br /> and his weakness; while the celebrity, who has<br /> probably half-a-dozen more books sketched out,<br /> or perhaps appearing in magazines, requires no<br /> such assistance. Of course critics and editors are<br /> naturally more interested in their tried favourites<br /> than in new men, but the question is—have they<br /> any right to consult personal taste at all? Is<br /> criticism to be a mere matter of what I like or<br /> you like ?<br /> <br /> [ feel sure most persons will agree with me<br /> that the columns, and even pages, of flattery 80<br /> lavishly bestowed upon the successful—together —<br /> with the lengthy abuse often directed against bad<br /> work—take up at least two-thirds of the space<br /> allotted to the reviewing of books in our papers,<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 AUTHOR.<br /> <br /> and that there might well be reform in this direc-<br /> tion. If an author be already famous, why<br /> “boom” him? If a book be undeniably feeble,<br /> why not let it die in peace’ QUERIST.<br /> <br /> <br /> <br /> VII.—On Tryinc More tHan One Epiror.<br /> i<br /> <br /> T’m rather afraid that I could not have made<br /> my meaning very clear, for the editor misunder-<br /> stands me.<br /> <br /> It is quite certain that weeklies sometimes<br /> publish without sending the author a proof or an<br /> acceptance notice. For the editor himself tells<br /> us, in “ My First Book,” that this occurred with<br /> an article which he sent to Once a Week. “ The<br /> first notice that I received,” he says, “ that the<br /> paper was accepted was when I saw it in the<br /> magazine, bristling with printer&#039;s errors.” And<br /> the same thing has occurred within my own<br /> experience. Manifestly, therefore, the sending of<br /> copies of the same article to more than one<br /> weekly is a somewhat dangerous device; and I,<br /> for one, should never employ it with weeklies.<br /> But with monthlies there ought, one would think,<br /> to be no danger at all. Has any contributor ever<br /> had an article published in a monthly magazine<br /> without first receiving either a proof or a simple<br /> notification that the “copy”? had been sent to<br /> press ? Perry Barr.<br /> <br /> [Note.—The incident is true, but the cause of<br /> it was an accident. The paper had just changed<br /> hands; the new editor found my article in proof,<br /> but could not find the name of the author. He<br /> published it, and on my calling to expostulate<br /> explained the matter with apologies. Such a<br /> thing has never again happened to me in more<br /> than thirty years of writing for magazines.—<br /> Eprror. |<br /> <br /> II.<br /> <br /> The question revived by Perry Barr as to the<br /> expediency (for it is only one of expediency)<br /> of sending the same work to several editors is<br /> one on which I should say that the wiser course<br /> was not to do it. If I were the editor, and a<br /> writer asked me to send back an article sub-<br /> mitted to me, as it had been already accepted by<br /> another editor, I should certainly send back every<br /> article sent me by that writer without examina-<br /> tion. Asa writer of magazine articles of many<br /> years’ experience (I have contributed to the<br /> Atlantic from the month in which it was founded<br /> by James Russell Lowell, and to most of the<br /> older magazines, English and American), I have<br /> made it my rule never to send an article without<br /> first asking the editor if he would read it, and if<br /> I broke the rule, it would be with the expectation<br /> of having it sent back to me. I have rarely had<br /> <br /> 181<br /> <br /> an article rejected, and I think that of those<br /> which on second reading I thought it worth while<br /> to keep in MS. there are not in my drawer more<br /> than two or three serious essays and two stories.<br /> Tf Mr. Barr had had a little editorial experience<br /> of the enormous quantity of articles some editors<br /> have to look at, for of reading all of them there<br /> can be no question, he would hardly expect a<br /> prompt answer except in the case of the rejection<br /> of the article from sheer want of literary interest.<br /> In such cases as that of the magazine instanced<br /> in the communication of “A member of the<br /> Society of Authors,” I think the publication of<br /> the name of the magazine in the pages of The<br /> Author would be a proper service to be rendered<br /> the body of writers, of whom only the weak<br /> members would be likely to trouble that editor<br /> thereafter. Personally I have always found the<br /> editors of those magazines to which I have had<br /> the privilege of contributing of unexceptionable<br /> politeness, and have in only one case met with<br /> discourtesy, even in the form of the refusal, from<br /> the editor of a magazine to which I had never<br /> before contributed, and to which I never offered<br /> another article. But if I offered my articles to<br /> two or three editors simultaneously, I should<br /> expect after a short experience to be treated very<br /> curtly.<br /> <br /> My experience with both English and American<br /> magazines is that the articles which, after the<br /> preliminary demand as to the desire for an article<br /> on the subject proposed, are accepted, are sent to<br /> me in proof as the sole intimation of acceptance.<br /> A writer who sends an article to an editor, not<br /> knowing if the subject is one on which the maga-<br /> zine is not already loaded with one or more on the<br /> same theme, risks very uselessly a rejection with-<br /> out any reference to the quality of his article.<br /> If my memory serves me rightly the Century has<br /> had 3000 essays sent in in the course of a year.<br /> T have had articles accepted by it and not pub-<br /> lished for years, which is easily understood when<br /> we know that it has had on hand in the form of<br /> articles accepted (and generally paid for on<br /> acceptance), with illustrations appertaining, to<br /> the value of £200,000. Of these many, accepted<br /> and paid for, have to go overboard. Inexperienced<br /> magazine writers have no conception of the<br /> amount of matter the leading magazine editors<br /> have to do with, and the least they can do is to<br /> ascertain if there is a market for the article they<br /> have to dispose of.<br /> <br /> W. J. STILLMAN.<br /> Ill.<br /> <br /> Tf one has sent copies of the same article<br /> to more than one magazine, two editors might<br /> publish it simultaneously, neither of them having<br /> communicated with the author, who in that case<br /> <br /> <br />  <br /> <br /> 182<br /> <br /> will probably never approach either of them<br /> with success again. I may say that I have<br /> had an article published in a monthly (a new and<br /> struggling one, without having received any<br /> proofs, though not without previous communica-<br /> tion from the editor.<br /> <br /> Another point has occurred to me. Suppose an<br /> author has sent duplicates of an article to two<br /> monthlies, one of which pays better than the<br /> other, and that the editor of the one which<br /> pays at the lower rate accepts his article<br /> before the other editor has read it. He will<br /> then have to write and withdraw his article<br /> from the better paying magazine, and that, pos-<br /> sibly, just as the editor was about to send him a<br /> proof. This would be disastrous ; though, on the<br /> other hand, in the case of an article dealing with<br /> some topic of the moment, which must be pub-<br /> lished at once or not at all, it might be a less risk<br /> than the likelihood that the contribution will be<br /> kept until valueless by the first magazine to which<br /> it is sent, and then rejected<br /> <br /> M. C. A.<br /> <br /> &gt; 0&lt;——_____—_<br /> <br /> BOOK AND PLAY TALK.<br /> <br /> <br /> <br /> \ | R. EDWARD CLODD is writing a<br /> memoir of the late Mr. Grant Allen,<br /> but according to present intentions it<br /> <br /> will not be a book by itself. It will, that is to<br /> <br /> say, be incorporated with some one of Grant<br /> <br /> Allen’s volumes of scientific essays. This is<br /> <br /> following the precedent Mr. Clodd set im the case<br /> <br /> of another personal friend, Henry Walter Bates,<br /> to whose “ Naturalist on the Amazons” he pre-<br /> <br /> fixed a memoir in 1892.<br /> <br /> Mr. Leslie Stephen is busily occupied upon his<br /> new work, “The English Utilitarians,” and it will<br /> probably appear in the spring. It is in three<br /> volumes, and deals especially with Bentham, and<br /> James and John Stuart Mill.<br /> <br /> Mr. Barrie’s story, “Tommy and Grizel,”<br /> begins in Scribner’s Magazine this month. It is<br /> a sequel to “ Sentimental Tommy,” who, of course,<br /> is said to have been sketched from R. L.<br /> Stevenson.<br /> <br /> Among other notable contributions to Seribner’s<br /> during the year will be a series of articles on<br /> present-day Russia by Mr. Henry Norman, who<br /> has recently made an extensive journey through<br /> that country.<br /> <br /> A new racing story by Mr. Edward H. Cooper,<br /> entitled ‘The Monk Wins,” will be published<br /> this month by Messrs. Duckworth.<br /> <br /> Stories by Mr. G. R. Sims (“In London’s<br /> Heart ”) and Mr. Algernon Gissing (“A Secret<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> of the North Sea”) will be published shortly<br /> by Messrs. Chatto and Windus.<br /> <br /> “Folly Corner” is the title of a new story by<br /> Mrs. Henry Dudeney, which Mr. Hememann will<br /> publish in a week or two.<br /> <br /> Among the books of the spring season will be<br /> a volume of stories by Mr. Robert Barr, entitled<br /> «The Strong Arm,” and a volume of war stories<br /> by Mr. Stephen Crane.<br /> <br /> New volumes to appear in Messrs. Blackie’s<br /> “Victorian Era Series” include a monograph on<br /> Beaconsfield, by Mr. Harold Gorst ; an account<br /> of Ireland in the Queen’s reign, by Mr. J. A. BR.<br /> Marriott; and a volume on India since the<br /> Mutiny, by Mr. R. P. Karkaria.<br /> <br /> The Argosy will henceforth be published by<br /> Mr. George Allen instead of Messrs. Macmillan.<br /> Tts new editor is Mr. Herbert Morrah, who<br /> iutends to develop the magazine and mtroduce<br /> new features. Another change of the kind is that<br /> the Badminton Magazine, hitherto published by<br /> Messrs. Longmans, will now be published by<br /> Mr. Heinemann.<br /> <br /> Mr. Charles Lowe is the author of “ Our<br /> Greatest Living Soldiers,” which Messrs. Chatto<br /> and Windus are about tc publish. It consists of<br /> biographical sketches of Lord Wolseley, Lord<br /> Roberts, Sir Evelyn Wood, Lord Kitchener, Sir<br /> Donald Stewart, and other famous soldiers.<br /> <br /> Professor Skeat has just been made the re-<br /> cipient of his portrait, subscribed for by many<br /> friends and admirers. The presentation took<br /> place at the annual meeting of the Modern Lan-<br /> guages Association, of which the Professor was<br /> president this year. Another distinguished<br /> scholar who has been honoured is Professor<br /> Pasquale Villari. ‘To mark Professor Villari’s.<br /> completion of forty years as a teacher, his friends<br /> have established a ‘Fondazione Villari,’ for<br /> historical studies, in connection with the Instituto<br /> Superiore of Florence.<br /> <br /> “The Semitic Series ” is the latest collection of<br /> books to be announced. Its object is to present<br /> in popular scientific form an account of the<br /> Babylonians, Assyrians, and other ancient<br /> Semitic races. Professor Sayce is to edit the<br /> handbooks, each of which will be written by a<br /> specialist. The first is by himself — “ Baby-<br /> lonians and Assyrians.” Mr. John Nimmo is<br /> the publisher.<br /> <br /> Mr. T. F&#039;. Dale is writing the life of the late<br /> Duke of Beaufort, which Messrs. Constable will<br /> publish.<br /> <br /> The recent vicissitudes in the affairs of Messrs.<br /> Harper and Brothers have culminated, says the<br /> Chicago Dial, in the formal transfer of the busi-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> ness to a trustee, under the conditions of a mort-<br /> gage for a large sum held by Messrs. J. Pierpoint<br /> Morganand Co., bankers. The trustee has appointed<br /> as agent Mr. G. B. M. Harvey, proprietor of the<br /> North American Review, who has thus become<br /> the legal and actual manager of the Harper estab-<br /> lishment. It is stated that this step was taken<br /> by mutual agreement, and with the full approval<br /> of the Messrs. Harper, as being the best method<br /> of effecting a permauent readjustment of their<br /> affairs. Although the amount of their indebted-<br /> ness is given as over a million sterling, the assets<br /> are believed to exceed that sum considerably, and<br /> with the fresh assistance, financial and adminis-<br /> trative, which the house will receive, there will,<br /> adds the Dial, be no impairment of its credit or<br /> efficiency. The house of Harper and Brothers<br /> was founded nearly a century age.<br /> <br /> New stories by Mrs. Humphry Ward and Mr.<br /> Zangwill will appear in Harper&#039;s Magazine this<br /> year.<br /> <br /> “Managers are literally at their wits’ end to<br /> know where to get plays,” says a recent article in<br /> Literature.<br /> <br /> A performance of John Oliver Hobbes’s new<br /> play, ‘“‘Osbern and Ursyne,” has been given in<br /> New York by Mr. Charles Frohman. The author<br /> has two other plays in hand, one on behalf of<br /> Mr. George Alexander and the other with parts<br /> for Mr. and Mrs. Cyril Maude.<br /> <br /> Mr. Kinsey Peile is dramatising “ Red Pottage x<br /> in collaboration with the author of the novel, Miss<br /> Cholmondeley.<br /> <br /> Mr. Kyrle Bellew has secured a new play on<br /> the subject of modern life in London, by Mr.<br /> Louis Parker and Mr. Addison Bright, as well as<br /> the rights of Mr Henry Hamilton’s adaptation of<br /> Dumas’ “ Count of Monte Cristo.’’ The former<br /> will be produced first when Mr. Bellew fixes upon<br /> a theatre.<br /> <br /> Mr. Wyndham intends to revive “ Dandy<br /> Dick” about the end of January. After that,<br /> “ Cyrano.”<br /> <br /> Mr. Tree will produce “ A Midsummer Night&#039;s<br /> Dream” at Her Majesty’s on the roth inst. In<br /> the event of its not running until the end of the<br /> season, he will revive “ Rip Van Winkle,” but in<br /> a new version.<br /> <br /> A copyright performance of General Wallace’s<br /> “Ben Hur” has been given by Mr. Frohman’s<br /> company at the Duke of York’s. The play will<br /> shortly be produced in London.<br /> <br /> The Actors’ Association discussed on Dec. 15,<br /> under Mr. Tree’s presidency, and in his theatre, a<br /> scheme brought forward by the committee with a<br /> view to providing for the election, training, and<br /> <br /> AUTHOR.<br /> <br /> 183<br /> <br /> registration of actors. The scheme proposed that<br /> teachers of acting and elocution with ten years’<br /> experience of the stage should be entitled to apply<br /> for a diploma enabling them to select and train<br /> recruits for presentation to a Central Board for<br /> examination. Another clause provided that three<br /> years’ work and a diploma from the Central<br /> Board should entitle members to write F.A.A.<br /> (Fellow of the Actors’ Association) after their<br /> names. Mr. Tree said there was a widespread<br /> feeling that those who set out to be actors should<br /> be capable of acquiring a rudimentary knowledge<br /> of the practice of the art in its initial stages. Mr.<br /> Forbes Robertson and Mr. J. D. Beveridge moved,<br /> and Mr. Wilson Barrett and Mr. Acton Bond<br /> supported, the adoption of the scheme. Mr.<br /> Hare, Mr. Edward Terry, Mr. Henry Neville, and<br /> Mr. Cecil Raleigh were amongst the majority who<br /> opposed it, however, and on a show of hands<br /> being taken it was decided to refer the scheme<br /> back to the committee for further consideration.<br /> Mr. Hare spoke of the attempt of a few years ago<br /> to form an Academy of Acting, and said that he<br /> himself threw up the sponge in the face of evidence<br /> that the right men to do the teaching would not<br /> become teachers.<br /> <br /> Mr. John Hollingshead’s benefit performance<br /> will take place at the Empire on Tuesday after-<br /> noon, Jan. 30. Among those who will take part<br /> in the entertainment is Miss Nellie Farren, who<br /> will be seen with Kate Vaughan, Edward Royce,<br /> and Edward Terry in a “ Gaiety Quartette.”<br /> <br /> <br /> <br /> <br /> <br /> BOOKS AND REVIEWS.<br /> <br /> (In these colwmns notes on books are given from reviews<br /> which carry weight, and are not, so far as can be learned,<br /> logrollers.)<br /> <br /> PAoLo AND FRANCESCA, by Stephen Phillips (Lane, 4s. 6d.<br /> net), a poetic drama, presents ** the story of the tragedy of<br /> Malatesta in its simplest form, without the accessories<br /> which various commentators of the sixteenth century have<br /> added to the story as told by Dante.” The Times adds that it<br /> is “a very beautifnl and original rendering.” The Daily<br /> Telegraph says that no one who reads the book ‘“ can have<br /> any doubt that we possess in Mr. Stephen Phillips one who<br /> redeems our age from its comparative barrenness in the<br /> higher realms of poetry.” The Daily News says that Mr.<br /> Phillips “is indeed a capable and conscientious workman ” ;<br /> and the Spectator says that Mr. Phillips ‘‘ has touched the<br /> story with a master’s hand, and in the noblest spirit of<br /> tragedy.”<br /> <br /> TeNNYSON, RusKIN, MrILx, and Other Literary Estimates,<br /> by Frederic Harrison (Macmillan, 8s. 6d.), are studies, says<br /> the Daily Chronicle, “ for all to read who desire in historical<br /> literature some golden mean between partisan romance and<br /> minute erudition.” Besides the writers named above, the<br /> volume deals with Arnold, Symonds, Froude, Freeman, and<br /> also with Gibbon, Lamb, and Keats. In the opinion of the<br /> Chronicle, the most valuable portion of the book is that<br /> <br /> <br /> 184<br /> <br /> devoted to Mr. Ruskin as “ Master of Prose” and as<br /> “ Prophet.”<br /> <br /> Srupy AND STaGcz, by William Archer (Richards, 5s.),<br /> and Framers oF Minp, by A. B. Walkley (Richards, 53.),<br /> are reviewed together in Literature and the Daily Chronicle.<br /> The books contain the views of the writers “on literature,<br /> the stage, and, implicitly, on life. Their methods entirely<br /> differ.’ Mr. Archer, says Literature, “ gives us the skirl<br /> of Highland music, the note of war. His criticism kills<br /> with cut and thrust,” and his book “‘is valuable both asa<br /> record and on account of its intrinsic interest.” Mr.<br /> Walkley’s taste is for the French manner of wounding; he<br /> does his business with equal effect to “the lascivious<br /> pleasing of a lute,” and his book is “ extremely welcome.”<br /> The Daily Chronicle also discusses the “two tempera-<br /> ments,” and describes both books as containing “ brilliant<br /> work.”<br /> <br /> On Books anv Arts, by Frederick Wedmore (Hodder and<br /> Stoughton, 6s.), “ is a little book of short and lively essays,”<br /> says Literature, ‘pleasant to look at and to look into.”<br /> The greater number deal with questions of art, “ but to see<br /> the writer at his best one should turn to his dramatic<br /> notes, such as that in which he compares Joe Jeffer-<br /> gon’s pathos with that of Elia, or to his discourse on<br /> the short story, or to where he runs on engagingly about<br /> his curios, deprecatingly labelled as ‘My Few Things.’<br /> In all these we find examples of a well-cultivated taste in<br /> irony.”<br /> <br /> Tue Decay oF SENSIBILITY, by Stephen Gwynn<br /> (Lane, 6s.), consists of literary essays. The first, from<br /> which the book takes its name, “is a clever piece of criti-<br /> cism on Miss Austen,” and the Spectator adds of the book<br /> <br /> -as a whole that it ‘“ will be read with great pleasure, but<br /> the reader will lay it down with the slightly ruffled sense<br /> of having been a good deal contradicted.”<br /> <br /> Tur BACKWATER OF LiFE; or, Essays of a Literary<br /> Veteran, by James Payn (Smith, Elder and Co., 6s.), “is<br /> probably destined,” says the Daily News, “to close the long<br /> list of the productions of that prolific and delightful<br /> writer. ‘The twelve papers which are comprised within its<br /> covers are eminently characteristic of the author, above all<br /> in the subtle blend of humour and pathos—the vein of wise<br /> reflection, the cheerful views of life which have so often<br /> given pleasure to his readers.” Literature, in welcoming<br /> the volume, describes Mr. Leslie Stephen’s introduction to<br /> it as “warmly sympathetic, but, at the same time, finely<br /> critical.” The Daily Telegraph remarks that the book is<br /> “written with conspicuous charm and grace.”<br /> <br /> Pre-RAPHAELITE DraRizgs AND LuetTrTers, edited by<br /> William Michael Rossetti (Hurst and Blackett, 6s.) ‘‘is a<br /> book of odds and ends about Rossetti and his circle, very<br /> trivial and pointless sometimes, but containing many<br /> interesting things by the way; and full of humour.” That<br /> is the Daily News verdict.<br /> <br /> How Souprers Fiaut, by F. Norreys Connell (Bowden,<br /> 3s. 6d.), ‘‘ will do something,” says the Daily Chronicle,<br /> “to give the non-military reader an idea of what modern war<br /> is like.” The illustrations are ‘‘largely the work of well-<br /> known military artists, and they help the reader to realise<br /> what fighting looks like.”<br /> <br /> TEMPERATE CHILE; A PROGRESSIVE SPAIN, by W.<br /> Anderson Smith (Black, 10s. 6d.) is a book “‘ not only charm-<br /> ing and amusing to read,” says the Daily Chronicle, ‘* but<br /> of sterling value to the naturalist.” Mr. Smith is a member<br /> of the Scottish Fisheries Board, who was deputed by the<br /> Government to report upon the fish and sea-birds of “ this<br /> land of myriads of islands and creeks, with its marvellous<br /> vegetation, with its incredible wealth of fin and feather, and<br /> its rainfall of 160in. per annum.”<br /> <br /> THE AUTHOR.<br /> <br /> THe CHRISTOLOGY oF JESUS, by the Rev. James Stalker<br /> (Hodder and Stoughton, 6s.), consists of six lectures, treating<br /> of the various titles of our Lord. “ Dr. Stalker has handled<br /> the subject,” says the Spectator, “not only with learning,<br /> but (what is rarer) with judgment; steering his way with<br /> a fine critical and religious tact among the numberless<br /> ingenious theories that are so freely produced in Germany.”<br /> <br /> In CoNNECTION WITH THE Dr WILLOUGHBY CLAIM,<br /> by Frances Hodgson Burnett (Warne, 6s.), is a story of<br /> rural life in the Southern States, before and after the war,<br /> and, says the Spectator, “is excellent both in matter and<br /> manner. The plot may best be described as a variant on :<br /> the story of the Ugly Duckling.” Tom de Willoughby, — —<br /> although belonging to a “ first family,’ was a “ sport,” for :<br /> his figure was ungainly, his address awkward, and his<br /> intellectual outfit sadly to lack. It is with the expansion of<br /> his nature that the book deals. The Daily Chronicle says<br /> that the author’s pathos has never been truer, her humour :<br /> never more engaging, than in this new work. The Daily Teles ae<br /> graph calls it “one of the most moving novels of the :<br /> year.”<br /> <br /> Tus STtoRY OF THE TREASURE SEEKERS, by E. Nesbit<br /> (Unwin, 6s.), sets forth the adventures of a family of six<br /> motherless children living in a London suburb, and is “‘ one<br /> of those rare books,” says the Spectator, ‘‘ which enable a<br /> reviewer to earn the gratitude of the public by the simple f<br /> act of cordial recommendation.” “It will entertain and T<br /> touch any adult reader who is not destitute of natural affec-<br /> tions.”<br /> <br /> Some ExpERIENCES oF AN Ir1sH R.M., by E. Gi. Somer-<br /> ville and Martin Ross (Longmans, 6s.) leads the Spectator<br /> to remark that “if there were many women writers like iste<br /> Miss Martin and Miss Somerville, the discussion whether<br /> their sex is deficient in the sense of humour would be not<br /> merely otiose but impertinent.” “ But it must not be thought<br /> that these stories are mere pieces of caricature”: the<br /> various typical personages introduced are all drawn from<br /> the life of modern Galway and Cork.<br /> <br /> “THE AUTHOR.”<br /> <br /> SCALE FOR ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Front Page ave oe £4 0 0<br /> Other Pages 8 ee<br /> Half of a Page ... - 110 0<br /> Quarter of a Page . 015 0<br /> Eighth of a Page eA oye aay wee OE<br /> Single Column Advertisements perinch 0 6 0<br /> Bills for Insertion... aay per 2000 3 0 0<br /> <br /> Reductions made for a Series of Six or Twelve Insertions. &amp;<br /> <br /> All letters respecting Advertisements should be addressed to the fb<br /> <br /> ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, :<br /> London, W.O,<br /> <br /> Mr. J Eveleigh Nash,<br /> <br /> LITERARY AGENT,<br /> AMBERLEY HOUSE, NORFOLK STREET,<br /> <br /> STRAND, W.C.	https://historysoa.com/files/original/5/470/1900-01-01-The-Author-10-8.pdf	publications, The Author