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540	https://historysoa.com/items/show/540	The Author, Vol. 24 Issue 08 (May 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+08+%28May+1914%29"><em>The Author</em>, Vol. 24 Issue 08 (May 1914)</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>	1914-05-01-The-Author-24-8					207–232																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-05-01">1914-05-01</a>							8			19140501	Che Autbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vor. XXIV.—No. 8.<br /> <br /> May 1, 1914.<br /> <br /> [PricE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER :<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> ———_—_—__+_—~¢<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> ae<br /> : the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tur Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> ‘Author that the cases which are quoted in The<br /> Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> <br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tur Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> - Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month. S<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Von. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising - Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> <br /> em.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> case. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> ee<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> — 1<br /> <br /> ROM time to time members of the Society<br /> K desire to make donations to its funds in<br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid. :<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of rinciple, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> <br />  <br /> <br /> <br /> <br /> 208<br /> <br /> matter closely connected with the work of the<br /> Society. :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> —\_—_+—&gt;—_—__—_—_-<br /> <br /> THE PENSION FUND.<br /> <br /> ——<br /> <br /> N January, 1914, the sccretary of the<br /> I Society laid. before the trustees of the<br /> Pension Fund the accounts for the year<br /> 1918, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> haveJgiven notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule ;—<br /> <br /> Nominal Value.<br /> <br /> £ 8 a.<br /> Eocal Loans visi. eres ess 500 0 0<br /> Victoria Government 3% Consoli-<br /> <br /> dated Inscribed Stock ............ 291 19 11<br /> London and North Western 3%<br /> <br /> Debenture Stock ...............088 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates............. 200 0 0<br /> Cape of Good Hope 34% Inscribed<br /> <br /> Stock we a oe 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock ...... 228 0 O<br /> New Zealand 34% Stock .......... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 1927—57 ..........0c0.000. . 488 2 4<br /> Jamaica 34% Stock, 1919—49 ... 182 18 6<br /> Mauritius 4% 1987 Stock ......... -° 120 12° 1<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ......... 198 3 8<br /> Antofayasta and Bolivian Railway<br /> <br /> 5% Preferred Stock ............... 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock... es 232 0 0<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> Nominal Value.<br /> <br /> £ os. 4<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> <br /> 44% Gold Bonds ...,...-0-0.s20- 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> <br /> Preference Shares ...........0..++ 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> <br /> 1914 (fully paid) ..............000. 550 0 0<br /> 8 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue... 380 0 0O<br /> Great Eastern Railway Ordinary<br /> <br /> Stock so ccpecciocee hangin ee 655 0 0<br /> <br /> Total {cas . £5,419. 6 O<br /> —_——\_1——_o_—<br /> <br /> PENSION FUND.<br /> <br /> —+—&lt;—+<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (7.¢e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1918.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> 1918.<br /> <br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : : :<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry :<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. .<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dee. 4, Vansittart, Robert<br /> Dec. 4, Lunn, Arnold . ‘<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry,. Miss Ana<br /> Dec. 4, Vallois, Miss Grace . :<br /> Dec. 17, Beresford, J.D. . ‘<br /> Dec. 29, Inge, Charles . j<br /> Dec. 29, Cross, Miss May. ‘<br /> Dec. 29, Hardy, Thomas, O.M. ,<br /> <br /> _<br /> <br /> _<br /> <br /> a<br /> NASCSCAAMMANMOOAAAAAAAHEaAoaanse<br /> <br /> wWwoococoooo oH COSC SCOOCOHSCOSCOSOOnm<br /> Soacccoascoscocoocooocoscoceoo<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.] THE<br /> <br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> Jan. 7, Sephton, J.<br /> <br /> Jan. 16, Singer, I. :<br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 23, Exley, Miss M. :<br /> Jan. 26, Sarawak, The Ranee of<br /> Mar. 11, Dowson, Oscar F.<br /> April 8, Stoeving, Paul ;<br /> April 14, Buckle, Gerard, F.<br /> April 14, Grattan, Harry.<br /> April 17, Rubenstein, H. Eo.<br /> April 20, Anon. . ‘<br /> <br /> 1913, Donations.<br /> Oct. 7, Darwin, Sir Francis . ;<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold :<br /> Oct. 30, Rosman, Miss Alice Grant<br /> Nov. 3, Holland, Theodore<br /> Nov. 3, Steane, Bruce ;<br /> Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elrington, Miss Helen<br /> Nov. 10, Waterbury, Mrs. . ‘<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia<br /> Dee. 11, Little, Mrs. Archibald<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J. .<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> 1914.<br /> <br /> Jan. 8, Church, Sir Arthur<br /> <br /> Jan. 5, Anon : ‘<br /> <br /> Jan. 5, Joseph, L. :<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E.<br /> <br /> Jan. 6, De Crespigny, Mrs. Champion<br /> <br /> Jan. 6, Rankin, Miss F. M. .-<br /> <br /> Jan. 7, Sneyd-Kynnesley, E. M.<br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> Jan. 9, Mackenzie, Miss J. :<br /> Jan. 10, Daniell, Mrs. E. H. . ‘<br /> Jan. 12, Avery, Harold ‘<br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullein, Miss Catherine<br /> Jan. 15, Thomas, Mrs. Fanny<br /> <br /> Jan. 16, James, Mrs. Romane<br /> <br /> Jan. 19, P. H. and M. K.<br /> <br /> Jan. 19, Greenstreet, W. J. .-<br /> <br /> Jan. 19, Gibbs, F. Leonard A.<br /> Jan. 23, Campbell, Mrs. L. A BR. .<br /> Jan. 28, Cameron, Mrs. Charlotte,<br /> a F.R.GS. . ;<br /> Jan. 28, Blunt, Reginald.<br /> <br /> Jan. 24, Raphael, Mrs. Mary.<br /> <br /> <br /> <br /> UTHOR.<br /> <br /> aH<br /> <br /> w<br /> OO Oo ore Or or or Or Ors<br /> <br /> seeooeooeoocoooos,<br /> et<br /> <br /> eccooooron<br /> et<br /> eooo<br /> <br /> _<br /> or or Or O Or et et Or dO Or Or Or<br /> <br /> ro<br /> <br /> oo os Ore Oo<br /> coococooooaaoocoooens<br /> <br /> _<br /> S<br /> <br /> coomoocooocoosooooeoeooooooor<br /> —_ et<br /> <br /> et<br /> MANMOOSCHUBMDAMOUCBONACH<br /> <br /> _<br /> <br /> _<br /> <br /> ore COoOnwngn So<br /> ooo eceococooooaocooaoocoooooaaceo<br /> <br /> ore<br /> _<br /> <br /> 209<br /> <br /> Jan. 25, Plouman, Miss Mary<br /> <br /> Jan. 30, Gibson, Miss L. S. .<br /> <br /> Feb. 5, Brooker, Lt.-Col. E. P.<br /> <br /> Feb. 6, Buchrose, J. E.<br /> <br /> Feb. 7, Smith, Herbert W.<br /> <br /> Feb. 20, Eden Guy : ‘ :<br /> <br /> Feb. 21, Mayne, Miss Ethel Col-<br /> bourn : :<br /> <br /> Feb. 21, K. ; : :<br /> <br /> Feb. 25, Aspinall, Algernon E.<br /> <br /> Mar. 2, Dalziell, J. j<br /> <br /> Mar. 2, S. F. G. . :<br /> <br /> Mar. 5, Saies, Mrs. F. H. ;<br /> <br /> Mar. 5, Thorne, Mrs. Isabel .<br /> <br /> Mar. 5, Haviland, Miss M. D. :<br /> <br /> Mar. 5, Todd, Miss Margaret, M.D.<br /> <br /> Mar. 13, Cabourn, John :<br /> <br /> Mar. 20, Fenwick Miss S. F. . :<br /> <br /> Mar. 26, Prendergast, Mrs. J. W. .«<br /> <br /> —______+—_+<br /> <br /> COMMITTEE NOTES.<br /> ——<br /> HE April meeting of the committee was<br /> Si held on Monday, April 6, at the offices<br /> of the Society, 1, Central Buildings,<br /> Tothill Street, Westminster.<br /> <br /> After the minutes of the previous meeting<br /> had been read and signed, the committee<br /> proceeded with the election of members.<br /> Forty members and associates were elected,<br /> bringing the total for the current year up to<br /> 135. The total number of resignations amounts<br /> to sixty-seven. The committee consider they<br /> may congratulate the Society on so large an<br /> election.<br /> <br /> The cases were next laid before the com-<br /> mittee. The solicitor attended and made a<br /> report. :<br /> <br /> ie an action for non-publication, authorised<br /> by the committee at their last meeting,<br /> the solicitor was glad to report that the<br /> defendant, through his solicitor, was coming<br /> to a settlement, and hoped that the matter<br /> would shortly be adjusted. He next reported<br /> the conclusion of the case of Raleigh v. The<br /> Kinematograph Trading Co., and that an<br /> injunction had been obtained as well as<br /> payment towards the costs. In a case 0<br /> account the matter had_ been settled me<br /> factorily, the author having Seccgtiea :<br /> payment of the amount due. In a a<br /> arising out of accounts and monies au: on. Wk<br /> reproduction of a. cinematograph fi ae he<br /> solicitor reported that the statement £ ve<br /> had been delivered. He also reportec t . a<br /> writ had been issued against a publisher for.<br /> <br /> SOHrHoeo,<br /> —_<br /> <br /> eocorocoocornNwrcoco<br /> ee<br /> <br /> none aon &amp;<br /> <br /> Cacscoa®<br /> <br /> —<br /> oOo ONE DOO oO<br /> aoegocooocoece<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 210<br /> <br /> money due on accounts, but only part of the<br /> sum due had been paid. A question of literary<br /> libel, which originating in the United States<br /> had taken place also in Great Britain, the<br /> solicitor reported had been settled, so far as<br /> the publication in this country was concerned,<br /> by the payment by the defendants of a sum<br /> in damages and costs, and by an undertaking<br /> to publish an apology if desired.<br /> <br /> In regard to the same issue in the United<br /> States the secretary reported that a letter<br /> had been received, and that he hoped to have<br /> further information to report to the next<br /> meeting. The committee sanctioned the<br /> placing of the matter in the hands of the<br /> Society’s United States lawyers if no satis-<br /> factory arrangement could be reached.<br /> <br /> In a ease of breach of agreement for the<br /> production of a play a writ had been issued,<br /> and the defendant had come forward with a<br /> proposal for settlement. It was hoped that<br /> the matter would be arranged amicably before<br /> the next meeting. The solicitors reported<br /> that in one of two small county court cases<br /> judgment had been signed and execution<br /> issued, and in the second the amount had been<br /> recovered with costs, and that in two other<br /> county court cases proceedings were being<br /> taken in the usual way.<br /> <br /> Another question of infringement of title<br /> by a film production, and possibly of infringe-<br /> ment of copyright, was considered. The<br /> solicitor reported he had gone carefully into<br /> the matter, and thought it was impossible,<br /> as far as the infringement of title was con-<br /> cerned, to take action until the film had<br /> actually been performed. On the question<br /> of the copyright infrimgement the solicitor<br /> had written to the author’s agent for further<br /> information, and was now awaiting his reply.<br /> ‘Two counsel’s opinions had been taken on the<br /> instructions of the committee, (1) dealing<br /> with the question of mechanical rights in<br /> cases where the composer had made an assign-<br /> ment before the new Act came into force;<br /> and (2) in regard to the publication of a whole<br /> novel in one issue of a magazine. The<br /> opinions will be filed for reference.<br /> <br /> A question was put forward of alleged<br /> infringement of an author’s play by a play<br /> now running in London. The committee<br /> decided to obtain some competent witness to<br /> attend a performance of the alleged infringing<br /> play and to report to them as to the question<br /> at issue.<br /> <br /> The secretary then dealt with other cases<br /> on his list.<br /> <br /> The committee decided, in the case of a<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> publisher against whom the Society had five<br /> or six claims, to transfer the papers to the<br /> solicitors that they might deal with the issues.<br /> A small case against a publisher for non-<br /> delivery of account was, with the committee’s<br /> sanction, placed also in their hands.<br /> <br /> A question was raised by a member in respect<br /> to an endorsement on the back of a cheque<br /> which had been sent to him in payment for<br /> contributions, such endorsement purporting<br /> to be a conveyance of the copyright. The<br /> matter was seriously discussed, and one of<br /> the members of the committee undertook to<br /> see the editor of the paper on the point. A<br /> claim arising from non-payment of an article<br /> in a United States magazine was referred to<br /> the committee, who authorised the placing of<br /> the case in the hands of the Society’s American<br /> lawyers.<br /> <br /> The committee discussed and arranged for<br /> the settlement of a case in Germany where<br /> the Society had obtained judgment, and was<br /> unable, at present, to obtain satisfaction<br /> owing to the defendant’s inability to pay the<br /> whole amount at one time. In a case of<br /> dispute between an author and the editor of<br /> a series, the committee decided to write to<br /> the editor for an explanation, and lastly it was<br /> decided to place a claim for money due to<br /> one of the members in the hands of the Society’s<br /> solicitors.<br /> <br /> The committee then considered a statement<br /> laid before them by a member regarding an<br /> alleged infringement of ideas, and the secretary<br /> was instructed to write to the member. Ina<br /> small claim for money alleged to be due the<br /> committee regretted they could not support the<br /> member, as there appeared to be no legal right<br /> which could be enforced.<br /> <br /> The secretary reported a case of mutilation<br /> of an author’s work by a magazine, and was in-<br /> structed to write to the editorforan explanation.<br /> <br /> The chairman then reported what had<br /> taken place at the Film Trade Conference,<br /> at which representatives of the manufacturers,<br /> exhibitors, renters and hirers of films, as well<br /> as theatrical managers, were present, and the<br /> committee decided to leave to the Dramatic<br /> Sub-Committee the appointment of delegates<br /> to serve on the Joint Board which it is proposed<br /> to form.<br /> <br /> In regard to the Society’s change of name,<br /> it was decided to spend £25 in advertising<br /> as soon as the legal formalities have been<br /> carried through.<br /> <br /> The committee regretted they were bound to<br /> decline a request made by the Society’s former<br /> advertising agents for an honorarium.<br /> <br /> <br /> <br /> <br /> <br /> Re er Ne ree en ee RAO ae Se<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> Correspondence was laid before the com-<br /> mittee dealing with the question of the re-<br /> payment of subscriptions, but the committee<br /> regretted they were unable to accede to the<br /> request of the member concerned.<br /> <br /> The secretary placed before the committee<br /> a letter he had received from the American<br /> Authors’ League on the subject of the Presi-<br /> dent’s Proclamation in connection with the<br /> section of the British Act dealing with mechani-<br /> eal reproduction.<br /> <br /> The committee begged to thank Mr. Charles<br /> Garvice for a donation of £1 1s.<br /> <br /> eee<br /> Dramatic SuB-CoMMITTEE.<br /> <br /> Tue April meeting of the Dramatic Sub-<br /> Committee was held on Friday, the 24th of<br /> that month, at three o’clock After the<br /> signing of the minutes of the previous meeting<br /> and of the conference with the cinematograph<br /> trade, the formation of the Joint Board was<br /> fully discussed.<br /> <br /> The secretary reported that the following<br /> associations had already appointed delegates :—<br /> <br /> The Incorporated Society of Kinemato-<br /> graph Manufacturers.<br /> <br /> he Society of West End Theatre Managers.<br /> <br /> The Theatrical Managers’ Association.<br /> <br /> The Cinematograph Exhibitors’ Association<br /> of Great Britain and Ireland.<br /> <br /> The Touring Managers’ Association.<br /> <br /> Further, that he had not heard definitely<br /> from the Entertainments Protection Associa-<br /> tion and the Incorporated Association of Film<br /> Renters, as these two bodies were awaiting<br /> meetings of their respective committees. He<br /> hoped, however, to receive the names of their<br /> delegates in a few days. ?<br /> <br /> The next matter that arose was the appoint-<br /> ment of delegates from the Society of Authors.<br /> After considerable discussion, the following<br /> motion, proposed by Mr. Justin Huntly<br /> McCarthy, and seconded by Mr. Haddon<br /> Chambers, was passed unanimously :—<br /> <br /> “That the Authors’ Society be represented<br /> on the Joint Board by its Dramatic Sub-<br /> Committee.”<br /> <br /> It was decided to call a meeting of the<br /> Joint Board for Thursday, May 14, when the<br /> future working of the Board would be fully<br /> discussed. ;<br /> <br /> The secretary reported on the matter of the<br /> Managerial Treaty, that he had heard from<br /> Mr. Fladgate, who was acting as solicitor for<br /> the Society of West End Theatre Managers,<br /> <br /> THE AUTHOR. Olt<br /> <br /> that the matter had been further delayed<br /> owing to Mr. Gatti’s absence, but that he<br /> hoped to send a report in due course.<br /> <br /> Certain cases were then considered. The<br /> committee confirmed the action of the chair-<br /> man in a small case for the collection of a<br /> dramatist’s fees, and in a case of some import-<br /> ance for the collection of fees on cinemato-<br /> graph rights in America. It was decided to<br /> advise the committee of the Society to drop<br /> a small case of infringement of copyright in<br /> Canada, as the issues were exceedingly small<br /> and the expenses would be very heavy, as it<br /> would be necessary for a commission to be<br /> appointed to come to England in order to<br /> collect evidence. The secretary then reported<br /> that the solicitor’s opinion on a claim for<br /> alleged infringement of copyright put forward<br /> by a member was adverse to the claim, and the<br /> sub-committee decided that nothing further<br /> could be done.<br /> <br /> There was one case in which the French<br /> Society was involved, and the secretary was<br /> instructed to write to the secretary of the<br /> French Society on the matter.<br /> <br /> In regard to the copyrighting of a member’s<br /> work in Canada by Mr. Frohman, the secretary<br /> was instructed to write to Mr. Lestocq, Mr.<br /> Frohman’s London agent, for full particulars.<br /> <br /> 7<br /> <br /> CONFERENCE FOR THE PROTECTION OF<br /> FILM PRODUCTION<br /> <br /> (CALLED By THE Dramatic SuB-CoMMITTEE),<br /> —_t-—— +<br /> <br /> CONFERENCE between the Dramatic<br /> Sub-Committee and representatives of<br /> the associations mentioned below was<br /> <br /> held on Friday, March 27, at three o’clock at<br /> the Society’s address.<br /> <br /> Touring Managers’ Association.—Messrs.<br /> H. Ralland and G. Carlton Wallace.<br /> Theatrical Managers’ Association.—Messrs.<br /> Walter Melville and Perey Hutchison.<br /> Incorporated Association of Kinematograph<br /> Manufacturers.—Messrs. H. A. Browne<br /> and J. F. Brocklies, and J. Brooke<br /> Wilkinson (Secretary). oS<br /> Cinematograph Eahibitors’ Association.—Mr.<br /> W. Fowler Pettie,<br /> Film Renters’ Association.—Mr. Cluett Lock.<br /> Mr. R. C. Carton, chairman of the Dramatic<br /> Sub-Committee, opened the proceedings by<br /> thanking the members of the various associa-<br /> <br /> <br />  <br /> <br /> <br /> <br /> 212<br /> <br /> tions for their presence, and placed before the<br /> meeting the following agenda :— |<br /> <br /> (1) To consider what joint actions should<br /> be taken to safeguard—<br /> <br /> (a) Titles.<br /> : (b) Subject-matter. :<br /> <br /> (2) The appointment of a Joint Board to<br /> protect the common interests of authors,<br /> manufacturers and the film trade generally.<br /> <br /> Mr. Carton quoted the case which had just<br /> been carried through, viz., “ Sealed Orders,”<br /> and read a letter he had received from<br /> Mr. Cecil Raleigh, who was, unfortunately,<br /> unable to attend.<br /> <br /> Considerable discussion followed on different<br /> points which were raised, viz., the protection<br /> of titles and of cinema property generally,<br /> the representatives of the Kinematograph<br /> Manufacturers’ Association being very strong<br /> on the point that legislation was necessary.<br /> <br /> Finally, the following resolution :-—<br /> <br /> “That the appointment of a Joint Board<br /> to protect the common interests of authors,<br /> film manufacturers, exhibitors, renters, thea-<br /> trical managers and the film trade generally<br /> would be to the advantage of all parties<br /> concerned,”<br /> <br /> proposed by Mr. Justin Huntly McCarthy,<br /> and seconded by Mr. Haddon Chambers, was<br /> carried unanimously.<br /> <br /> The matter will be referred to the board of<br /> each association represented at the meeting,<br /> so that two delegates from each association<br /> may be appointed to sit on the Joint Board.<br /> <br /> It was decided also to ask the Society of<br /> West End Managers and the Music Halls’<br /> Association to appoint delegates also.<br /> <br /> a<br /> Cases.<br /> <br /> Durine the past month the secretary has<br /> handled fifteen cases. Five of these dealt with<br /> disputes on contracts. It is interesting to<br /> note that these cases are referred to the<br /> Society in larger numbers, and that the<br /> publishers or editors concerned are often<br /> willing to accept the informal arbitration of<br /> the secretary.<br /> <br /> Out of five, two have been satisfactorily<br /> settled, and three are still in the course of<br /> negotiation. Disputes of this kind generally<br /> involve a good deal of letter writing before<br /> they are concluded.<br /> <br /> There are three cases,where accounts have<br /> not been rendered. ‘Two had to be handed to<br /> the solicitors of the Society and are now<br /> finished. In the third case the accounts were<br /> rendered in due course.<br /> <br /> - There were three cases where MSS. had been<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> retained. In one instance the MS. has<br /> been recovered and forwarded to the member,<br /> and in the others the secretary is still waiting<br /> for a reply.<br /> <br /> In two cases of infringement of copyright,<br /> one lying in the United States is still in course<br /> of negotiation, and the other has been satis-<br /> factorily settled.<br /> <br /> In two claims for money, one in France has<br /> not yet been settled and the other has had to be<br /> handed over to the solicitors of the Society.<br /> This last is the case of a magazine against<br /> which the Society has had a fair number of<br /> claims. They have all been met in the end,<br /> but it is generally necessary that the solicitors<br /> should deal with the matter before a satis-<br /> factory result is obtained.<br /> <br /> Out of the total of fifteen cases, therefore,<br /> five have been successful, three have had to be<br /> handed to the solicitors, and two are out of<br /> England. :<br /> <br /> There are still a good many cases remaining<br /> over from last month. This is no doubt owing<br /> to the fact that little business has been done<br /> during the Easter holidays. There are two<br /> disputes on contracts. Of these one is in the<br /> United States, and will naturally take some<br /> time to settle. The second, having been<br /> referred to the committee, cannot be closed<br /> until after the committee meet in May.<br /> <br /> There are still four claims where the demand<br /> for the return of MSS. has not been complied<br /> with. It has often been pointed out in these<br /> columns that claims of this nature are difficult<br /> to deal with. In many cases it is only possible<br /> to bring the delinquent to book by continually<br /> reminding him by letter. As answers have<br /> been received from the retainers of the MSS.<br /> in all four cases, it is possible that they will<br /> terminate satisfactorily.<br /> <br /> There are two other matters still open, oné<br /> of infringement of copyright in the United<br /> States, which will be some time before it is<br /> settled, and a complicated dispute on accounts,<br /> which also will need further handling.<br /> <br /> te<br /> <br /> April Elections.<br /> <br /> Borthwick, Miss Jessica 22, The _ Bolton<br /> : Studio, Redcliffe<br /> Road, S.W.<br /> 2, St. John’s Hill,<br /> Lewes, Sussex.<br /> cfo Sir C. R<br /> McGrigor, Bart. &amp;<br /> Co., 25, Charles<br /> Street, S.W.<br /> <br /> Brown, Mrs. Frances<br /> <br /> Buckle, Gerard Fort .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914]<br /> <br /> Campbell, Miss M. M.<br /> <br /> Chalmers, C. ,<br /> Chovil, A. Harold<br /> <br /> Clue, G. Leo<br /> <br /> Collins, Sewell<br /> Croysdale, Mrs. Agnes.<br /> <br /> Drummond, The Hon.<br /> Capt. Robert Charles<br /> <br /> Dunlop, Miss Jocelyn.<br /> <br /> Fairbridge, Miss<br /> Dorothea<br /> <br /> Farrer, Miss M. Bruce .<br /> <br /> Girdwood, John .<br /> <br /> Gordon, Miss Helen C..<br /> <br /> Grattan, Harry . :<br /> <br /> Green, Emanuel, F.S.A.,<br /> F.R.S.L.<br /> <br /> Haig, Elizabeth .<br /> <br /> Heape, Walter<br /> Inman, Arthur Conyers<br /> Leeney, G. H.<br /> Leeney, Harold,<br /> <br /> M.R.C.V.S.<br /> Lonsdale, Miss Eva<br /> <br /> MacMunn, Lt.-Col.<br /> G. F., D.S.O., R.L.F.<br /> <br /> a eens, Stephen<br /> <br /> M.<br /> <br /> Moore, William . .<br /> Morgan, Mrs. Caroline.<br /> Paine, Mrs. Josephine .<br /> <br /> _ Piercey, Benjamin H. .<br /> Platt, Charles.<br /> <br /> THE AUTHOR.<br /> <br /> Marchfield<br /> <br /> Bracknell.<br /> <br /> House,<br /> <br /> “Maison,” Russell<br /> Road, Moseley,<br /> Birmingham. —<br /> <br /> 3, Milton<br /> Herne Hill, S.E.<br /> <br /> 88, Loudoun Road,<br /> St. John’s Wood,<br /> N.W.<br /> <br /> London and South<br /> Western Bank,<br /> Notting Hill, W.<br /> <br /> 11, Walpole Street,<br /> Chelsea, S.W.<br /> <br /> Paradise, Claremont,<br /> S. Africa.<br /> <br /> 5, Kent Gardens,<br /> Ealing, W.<br /> <br /> 16, Ainslie<br /> Edinburgh,<br /> 29, Queen<br /> Street, S.W.<br /> <br /> Place,<br /> and<br /> Anne<br /> <br /> 4, Regent Street, W.<br /> <br /> 6, Piazza d’Azeglio,<br /> Florence, Italy.<br /> 10, King’s Bench<br /> Walk, Temple, E.C.<br /> 34, Hereford Square,<br /> S.W.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> 21, Talgarth Road,<br /> West Kensington,<br /> W.<br /> <br /> c/o Cox &amp; Co., 16,<br /> Charing Cross,<br /> W.C.<br /> <br /> 6, Clement’s<br /> Strand, W.C.<br /> <br /> 23, Avenue du Bois<br /> de Boulogne, Paris,<br /> France.<br /> <br /> 38, Agincourt Road,<br /> Hampstead, N.W.<br /> <br /> 16, Emperor’s Gate,<br /> S.W.<br /> <br /> Medstead, Hants.<br /> <br /> 5, Queen’s Gate, S.We<br /> <br /> 60, Stapleton Road,<br /> S.W.<br /> <br /> Shepton<br /> <br /> Shepton<br /> <br /> Inn,<br /> <br /> Road,”<br /> <br /> Roscoe, Ada<br /> <br /> Ross, Charles<br /> <br /> , Rubenstein, H. F.<br /> <br /> Somerset, Raglan H. E.<br /> <br /> H<br /> <br /> Stacpoole, Mrs.<br /> <br /> Margaret de Vere<br /> Stoeving, Paul<br /> <br /> 213<br /> <br /> c/o Shurey’s Publi-<br /> cations, 2 and 3,<br /> Hind Court, E.C.<br /> <br /> The Hippodrome,<br /> Aldershot.<br /> <br /> 76, Addison Road,<br /> Kensington, W.<br /> Raglan, Monmouth-<br /> <br /> shire.<br /> <br /> Swiss Cottage, Vent-<br /> nor, Isle of Wight.<br /> <br /> 29, Blenheim Road,<br /> <br /> Abbey Road,<br /> <br /> N.W.<br /> 20, Minford Gardens,<br /> West Kensington<br /> Park, W.<br /> <br /> Hunter Street,<br /> Brunswick Square,<br /> W.C.<br /> <br /> Williams, Hugh<br /> Wood-Jones, F., D.Se.. 8,<br /> <br /> Wrightson, Prof. John.<br /> ————_1 &lt;_&lt;<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> —+-—— +<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members, In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate,<br /> <br /> ANTHROPOLOGY.<br /> <br /> INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study<br /> in Social Evolution. By E. Carpenter. 8} x 5}.<br /> 185 pp. Allen. 4s. 6d. n.<br /> <br /> ARCHITECTURE.<br /> <br /> DILAPIDATIONS AND Fixtures. A Textbook in Tabulated<br /> Form for the use of Architects, Surveyors, and Others.<br /> By Proressor BANISTER FLETCHER. Seventh Edition.<br /> Revised and largely re-written by B, F. Frercumr and<br /> H.P.Frietcunr. 7} x 5. 191 pp. Batsford. 6s. 6d.<br /> <br /> BIOGRAPHY.<br /> <br /> RICHARD CORFIELD OF SOMALILAND.<br /> Barrerssy. 9 X 53. xviii + 259 pp.<br /> 10s. 6d. n.<br /> <br /> Tuer Doass or VENICE.<br /> 9 x 5}. 394 pp. Methuen. 12s. 6d. n.<br /> <br /> Tue Lire or Cesare Boraia. By. Raraet SABATINI.<br /> 465 pp. [First published 1912.] Honore DE Bauzac.<br /> His Life and Writings. By Mary F.Sanpars. 312 pp.<br /> [First published 1904.] (The Essex Library.) 8} x 5}.<br /> Stanley Paul. 5s. n. each.<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> Tan Boy Scours’ Rott or Honour. By Eric Woop.<br /> With a Foreword by Lizvut.-Gen. Sir Ropert Bapen-<br /> Powe, K.C.B. 8} x 5}.&quot; 308 pp. Cassell. 3s. 6d. n.<br /> <br /> By H. F. Prevost<br /> Arnold.<br /> <br /> By Mrs. Ausrey RIcHARDSON,<br /> <br /> <br /> 212<br /> <br /> tions for their presence, and placed before the<br /> meeting the following agenda :— _<br /> <br /> (1) To consider what joint actions should<br /> be taken to safeguard—<br /> <br /> (a) Titles.<br /> (b) Subject-matter.<br /> <br /> (2) The appointment of a Joint Board to<br /> protect the common interests of authors,<br /> manufacturers and the film trade generally.<br /> <br /> Mr. Carton quoted the case which had just<br /> been carried through, viz., ‘‘ Sealed Orders,”<br /> and read a letter he had received from<br /> Mr. Cecil Raleigh, who was, unfortunately,<br /> unable to attend.<br /> <br /> Considerable discussion followed on different<br /> points which were raised, viz., the protection<br /> of titles and of cinema property generally,<br /> the representatives of the Kinematograph<br /> Manufacturers’ Association being very strong<br /> on the point that legislation was necessary.<br /> <br /> Finally, the following resolution :—<br /> <br /> “That the appointment of a Joint Board<br /> to protect the common interests of authors,<br /> film manufacturers, exhibitors, renters, thea-<br /> trical managers and the film trade generally<br /> would be to the advantage of all parties<br /> concetned,”’<br /> <br /> proposed by Mr. Justin Huntly McCarthy,<br /> and seconded by Mr. Haddon Chambers, was<br /> carried unanimously.<br /> <br /> The matter will be referred to the board of<br /> each association represented at the meeting,<br /> so that two delegates from each association<br /> may be appointed to sit on the Joint Board.<br /> <br /> It was decided also to ask the Society of<br /> West End Managers and the Music Halls’<br /> Association to appoint delegates also.<br /> <br /> Oo<br /> Cases.<br /> <br /> Durine the past month the secretary has<br /> handled fifteen cases. Five of these dealt with<br /> disputes on contracts. It is interesting to<br /> note that these cases are referred to the<br /> Society in larger numbers, and that the<br /> publishers or editors concerned are often<br /> willing to accept the informal arbitration of<br /> the secretary.<br /> <br /> Out of five, two have been satisfactorily<br /> settled, and three are still in the course of<br /> negotiation. Disputes of this kind generally<br /> involve a good deal of letter writing before<br /> they are concluded.<br /> <br /> There are three cases where accounts have<br /> not been rendered. T&#039;wo had to be handed to<br /> the solicitors of the Society and are now<br /> finished. In the third case the accounts were<br /> rendered in due course.<br /> <br /> There were three cases where MSS. had been<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> retained. In one instance the MS. has<br /> been recovered and forwarded to the member,<br /> and in the others the secretary is still waiting<br /> for a reply.<br /> <br /> In two cases of infringement of copyright,<br /> one lying in the United States is still in course<br /> of negotiation, and the other has been satis-<br /> factorily settled.<br /> <br /> In two claims for money, one in France has<br /> not yet been settled and the other has had to be<br /> handed over to the solicitors of the Society.<br /> This last is the case of a magazine against<br /> which the Society has had a fair number of<br /> claims. They have all been met in the end,<br /> but it is generally necessary that the solicitors<br /> should deal with the matter before a satis-<br /> factory result is obtained.<br /> <br /> Out of the total of fifteen cases, therefore,<br /> five have been successful, three have had to be<br /> handed to the solicitors, and two are out of<br /> England. .<br /> <br /> There are still a good many cases remaining<br /> over from last month. This is no doubt owing<br /> to the fact that little business has been done<br /> during the Easter holidays. There are two<br /> disputes on contracts. Of these one is in the<br /> United States, and will naturally take some<br /> time to settle. The second, having been<br /> referred to the committee, cannot be closed<br /> until after the committee meet in May.<br /> <br /> There are still four claims where the demand<br /> for the return of MSS. has not been complied<br /> with. It has often been pointed out in these<br /> columns that claims of this nature are difficult<br /> to deal with. In many cases it is only possible<br /> to bring the delinquent to book by continually<br /> reminding him by letter. As answers have<br /> been received from the retainers of the MSS.<br /> in all four cases, it is possible that they will<br /> terminate satisfactorily.<br /> <br /> There are two other matters still open, one<br /> of infringement of copyright in the United<br /> States, which will be some time before it is<br /> settled, and a complicated dispute on accounts,<br /> which also will need further handling.<br /> <br /> —<br /> <br /> April Elections.<br /> <br /> Borthwick, Miss Jessica 22, The — Bolton<br /> Studio, Redcliffe<br /> Road, S.W.<br /> <br /> 2, St. John’s Hill,<br /> Lewes, Sussex.<br /> cfo Sir C. R,<br /> McGrigor, ‘Bart. &amp;<br /> Co., 25, Charles<br /> <br /> Street, S.W.<br /> <br /> Brown, Mrs. Frances<br /> <br /> Buckle, Gerard Fort .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> MAY, 1914]<br /> <br /> Campbell, Miss M. M. .<br /> <br /> Chalmers, C. : :<br /> Chovil, A. Harold :<br /> <br /> M2 Clue, G. Leo<br /> <br /> Collins, Sewell<br /> Croysdale, Mrs. Agnes.<br /> <br /> Drummond, The Hon.<br /> Capt. Robert Charles<br /> <br /> Dunlop, Miss Jocelyn.<br /> <br /> Fairbridge, Miss<br /> Dorothea<br /> <br /> Farrer, Miss M. Bruce .<br /> <br /> Girdwood, John . :<br /> <br /> Gordon, Miss Helen C..<br /> <br /> Grattan, Harry . :<br /> <br /> Green, Emanuel, F.S.A.,<br /> F.R.S.L.<br /> <br /> Haig, Elizabeth . :<br /> <br /> Heape, Walter<br /> Inman, Arthur Conyers<br /> Leeney, G. H.<br /> Leeney, Harold,<br /> <br /> M.R.C.V.S.<br /> Lonsdale, Miss Eva<br /> <br /> MacMunn, Lt.-Col.<br /> G. F., D.S.O., R.L.F.<br /> <br /> <br /> <br /> ns, Stephen<br /> <br /> M.<br /> <br /> Moore, William .<br /> Morgan, Mrs. Caroline.<br /> Paine, Mrs. Josephine .<br /> <br /> Piercey, Benjamin H. .<br /> Platt, Charles. :<br /> <br /> THE AUTHOR.<br /> <br /> Marchfield<br /> Bracknell.<br /> <br /> House,<br /> <br /> ‘*Maison,”? Russell<br /> Road, Moseley,<br /> Birmingham.<br /> <br /> 3, Milton’ Road,<br /> Herne Hill, S.E.<br /> 38, Loudoun Road,<br /> St. John’s Wood,<br /> <br /> N.W.<br /> <br /> London and South<br /> Western Bank,<br /> Notting Hill, W.<br /> <br /> 11, Walpole Street,<br /> Chelsea, S.W.<br /> <br /> Paradise, Claremont,<br /> S. Africa.<br /> <br /> 5, Kent Gardens,<br /> Ealing, W.<br /> <br /> 16, Ainslie<br /> Edinburgh,<br /> 29, Queen<br /> Street, S.W.<br /> <br /> Place,<br /> and<br /> Anne<br /> <br /> 4, Regent Street, W.<br /> <br /> 6, Piazza d’Azeglio,<br /> Florence, Italy.<br /> 10, King’s Bench<br /> Walk, Temple, E.C.<br /> 34, Hereford Square,<br /> S.W.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> Pilton,<br /> Mallet.<br /> <br /> 21, Talgarth Road,<br /> West Kensington,<br /> W.<br /> <br /> c/o Cox &amp; Co., 16,<br /> Charing Cross,<br /> W.C.<br /> <br /> 6, Clement’s<br /> Strand, W.C.<br /> <br /> 23, Avenue du Bois<br /> de Boulogne, Paris,<br /> France.<br /> <br /> 38, Agincourt Road,<br /> Hampstead, N.W.<br /> <br /> 16, Emperor’s Gate,<br /> S.W.<br /> <br /> Medstead, Hants.<br /> <br /> 5, Queen’s Gate, S.We<br /> <br /> 60, Stapleton Road,<br /> S.W.<br /> <br /> Shepton<br /> <br /> Shepton<br /> <br /> Inn,<br /> <br /> , Rubenstein, H. F.<br /> <br /> 213<br /> <br /> Roscoe, Ada c/o Shurey’s Publi-<br /> cations, 2 and 8,<br /> Hind Court, E.C.<br /> <br /> The Hippodrome,<br /> Aldershot.<br /> <br /> 76, Addison Road,<br /> Kensington, W.<br /> Somerset, Raglan H. E. Raglan, Monmouth-<br /> <br /> H. shire.<br /> <br /> Stacpoole, Mrs. Swiss Cottage, Vent-<br /> Margaret de Vere nor, Isle of Wight.<br /> <br /> Stoeving, Paul 29, Blenheim Road,<br /> Abbey Road,<br /> N.W.<br /> <br /> 20, Minford Gardens,<br /> <br /> West Kensington<br /> <br /> Park, W.<br /> <br /> Hunter Street,<br /> <br /> Brunswick Square,<br /> <br /> W.C.<br /> <br /> Ross, Charles<br /> <br /> Williams, Hugh<br /> Wood-Jones, F., D.Se.. 8,<br /> <br /> Wrightson, Prof. John.<br /> i<br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> — +<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members, In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> ANTHROPOLOGY.<br /> <br /> INTERMEDIATE TYPES AMONG PRIMITIVE Fotx. A Study<br /> in Social Evolution. By E. Carpenter. 83 x 53.<br /> 185 pp. Allen. 4s. 6d. n.<br /> <br /> ARCHITECTURE.<br /> <br /> DILAPIDATIONS AND Fixtures. A Textbook in Tabulated<br /> Form for the use of Architects, Surveyors, and Others.<br /> By PRroressor BaNniIsTER FLETCHER. Seventh Edition.<br /> Revised and largely re-written by B. F. Fiumrcuur and<br /> H.P.Furrcumr. 74 x 5. 191 pp. Batsford. 6s. 6d.<br /> <br /> BIOGRAPHY.<br /> <br /> RICHARD CORFIELD OF SOMALILAND.<br /> BaTrersBy. 9 X 53. xviii + 259 pp.<br /> <br /> 10s. 6d. n.<br /> Tur Dogus or Venice. By Mrs. AuBREY RIcHARDSON,<br /> <br /> 9 x 53. 394 pp. Methuen. 12s. 6d. n.<br /> <br /> Tue Lire or Cusarn Borat. By. Rarazt SaBaTInNi.<br /> 465 pp. [First published 1912.] Honors pr Bauzac,<br /> His Life and Writings. By MaryF.Sanpars. 312 pp.<br /> [First published 1904.] (The Essex Library.) 8} x 54.<br /> Stanley Paul. 5s. n. each,<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> Tae Boy Scours’ Rott or Honour. By Eric Woop.<br /> With a Foreword by Limut.-Gen. Sir Ropert Bapen-<br /> Powstt, K.C.B. 8} x 5}.° 308 pp. Cassell, 3s. 6d. n.<br /> <br /> By H. F. Prevost<br /> Arnold.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 214<br /> <br /> BOOKS OF REFERENCE.<br /> <br /> Coxoisz Dictionary or Proper NAMES AND NoTaBLeE<br /> Marrers in tae Works or Dante. By PAGET<br /> ToyNBEE. 8X5. 568 pp. Oxford University Press.<br /> 7s. 6d. n.<br /> <br /> DRAMA AND ELOCUTION.<br /> <br /> Tue Two Virturs. A Comedy in Four Acts. By<br /> Atrrep Svurro. 6} x 54. 100 pp. Duckworth.<br /> ls. 6d. n.<br /> <br /> Prays By Leo Toxstoy. Translated by LovisE and<br /> ‘Ayumer Mavpr. (Complete Edition, including the<br /> <br /> Posthumous Plays.) 8} x 5}. 413 pp. Constable.<br /> 5s. n.<br /> <br /> Anpromacuz. A play in Three Acts. By GILBERT<br /> Murray. (Revised Edition.) 7} x 43. 104 pp.<br /> Allan. 1s. n.<br /> <br /> Dramatic Actuanitias. By W. L. Grorcs. 7} x 5.<br /> 124 pp. Sidgwick and Jackson. 2s. n.<br /> <br /> Rors Enovcn. A Play in Three Acts. By ConaL<br /> O’Riorpan. (Norrey’s Connell.) 73 x 5. 112. pp.<br /> <br /> Maunsel. 2s. n.<br /> Srx Monoroauss (performed by BRANSBY WILLIAMS). By<br /> <br /> Harry WYNNE. 7} x 43. 11 pp. Joseph Williams,<br /> Ltd. 6d. n.<br /> Tar Doctor’s Diremma. By Brrnarp SHaw. (Cheap<br /> Edition.) 8 x 53. 128 pp. Constable. 6d.<br /> FICTION.<br /> Tun Men wo Fovcut ror Us. A tale of the ‘‘ Hungry<br /> Forties.’ By Atuen CrarKe. 7} x 5$. 300 pp.<br /> <br /> Co-operative Newspaper Printing Society. 5s.<br /> Tanza. A Russian Story. By Merrie, BucHanan.<br /> <br /> 7% x 5. 328 pp. Jenkins. 6s.<br /> Jupas THE Woman. By F.C. Puitresand A. T. PHILies.<br /> 74 x 5. 283 pp. Eveleigh Nash.<br /> <br /> Tue Passionate ELOPEMENT. By Compron MACKENZIE.<br /> (Cheap Reprint.) 74 x 5. 344pp. MartinSecker. 2s.n.<br /> <br /> A Tuier in THE Nicut. By E. W. Hornune. (Cheap<br /> Reprint.) 376 pp. Nelson. 7d. n.<br /> <br /> Lismoyye. An Experiment in Ireland. By B. M.<br /> Croker. 74 x 5. 386 pp. Hutchinson. 6s. n.<br /> <br /> Mistress Cuariry GopoLPHin. By Guapys MURDOCK.<br /> 7% x 5. 309 pp. Murray. 6s.<br /> <br /> Tore Herm to THE THRone. By A. W. Marcumont.<br /> 74 x 5. 334 pp. Ward, Lock. 6s.<br /> <br /> Tue Heart or Monica. By Rosina Fivippi. 7} X 5.<br /> 214 pp. Cassell. 3s. 6d.<br /> <br /> Wuat wit Prorte Say? By RupertHvucues. 7} x 5.<br /> 510 pp. Harpers. 6s.<br /> <br /> Tue Jupament or Eve. By May Sincuarr. 7} xX 5.<br /> 323 pp. Hutchinson. 6s.<br /> <br /> Tue Fortunate Youtsu. By W. J. 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Ilustrated by 300 Full-<br /> Page Coloured Plates, reproduced from Drawings by<br /> Mrs. Henry Perrin, with detailed descriptive notes<br /> and an Introduction by Prorsssor Bovunesr, F.L.S.<br /> Vol. L., xiii. +10}. Quaritch. £12 12s. the set of<br /> four vols.<br /> <br /> PAMPHLETS.<br /> <br /> EvucnHarist AND BisHop. By the Rrv. J. H. SKRINE,<br /> D.D. Longmans. Ils. n.<br /> <br /> In Quust or TRuTH. Being a Correspondence between<br /> Sim Artruur Conan Doyir and CaprarIn STANSBURY,<br /> R.N. Watts. 2d.<br /> <br /> <br /> <br /> E<br /> 1<br /> |<br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> POETRY.<br /> <br /> ‘Tus Sea is Kiyp. By T. Srurce Moors.<br /> <br /> *-174 pp. Grant Richards. 6s. n.<br /> <br /> Tue REVERBERATE Hints. By E. OprpeNHEIM.<br /> <br /> m 56 pp. Constable. 3s. 6d. n.<br /> <br /> A Raapsopy For Lovers. By A. Maquarie.<br /> 47 pp. Bickers.<br /> <br /> &amp; x 62.<br /> ue &amp; 6.<br /> 5 x 3h.<br /> <br /> POLITICS.<br /> <br /> Tue TrutTH apout Utster. By F. Franxrort Moor.<br /> 9 x 5%. 286 pp. Nash. 7s. 6d. n.<br /> <br /> REPRINTS.<br /> <br /> Karty Bett tHE ORPHAN. Possibly an Earlier Version<br /> of Charlotte Bronté’s ‘‘ Jane Eyre.”” With an Introduc-<br /> tion by Mrs. Exuis H. Caapwick. 7$ x 5. xxviii. +<br /> 146 pp. Sir Isaac Pitman. 2s. 6d. n,<br /> <br /> ‘Tue Poems or Sir Tuomas Wiat. From the MSS. and<br /> Early Editions. Edited by A. K. Foxwnty. 7} x 5.<br /> 268 pp. Published for the University of London Press<br /> by Hodder and Stoughton. 3s. 6d. n.<br /> <br /> ‘THe Fire or Love anp THE MenpinG or Lire. By<br /> Ricuarp Rotie. Translated by Ricnarp MiIsyn.<br /> Edited and done into Modern English by Francis M. M.<br /> Comesr. With an Introduction by Evetyn UNDER-<br /> HILL. 7? x 5. Ixii. +278 pp. Methuen. 3s. 6d. n.<br /> <br /> SCIENCE.<br /> <br /> THe WoNpDERS oF Brirp-Lire.<br /> 128 pp. (Twentieth Century Science Series.)<br /> Manchester: Milner. ls. n.<br /> <br /> SOCIOLOGY.<br /> <br /> PREPARATIONS FOR Marriace. By W. Hears, F.R.S.<br /> 168 pp. Wuat ir Means To Marry: Or, YOUNG<br /> Women anp Marriage. By Dr. Mary ScHARLIEB.<br /> 140 pp. (‘Question of Sex” Series.) 73 x 43.<br /> Cassell. 2s. 6d. n. each.<br /> <br /> SPORT.<br /> <br /> AmatTeuR Samtinc. Reminiscences by C. F. ABpDY<br /> Wiuutams. 8} x 54. 110 pp. Potter. 4s.<br /> <br /> Necro Fork Sinerne-GAMES AND FoLtK GAMES OF THE<br /> Hasrrants. Traditional Melodies and Text tran-<br /> scribed by Grace CLEVELAND Porter. Accompani-<br /> ments by H. W. Loomis. 12 x 9. xix. +35 pp.<br /> <br /> Curwen.<br /> THEOLOGY.<br /> <br /> CatHouiciry; Concionrs ap Cuinrum. By T. A.<br /> Lacey. 73 x 5}. 149 pp. Mowbray. 2s. 6d. n.<br /> Tue Gotpen Censor. By Fiorence L. Barcnay.<br /> 64 x 41. 71 pp. Hodder and Stoughton. ls. 6d. n.<br /> Tue Orpinaky Man anp THE EXTRAORDINARY THING.<br /> By Harotp Brasie. (Popular Edition.) 74 x 5.<br /> <br /> 160 pp. Hodder and Stoughton. 1s. n.<br /> TRAVEL.<br /> How to Ses tue Vatican. By Dovaetas SLADEN.<br /> 8k x 54. 441 pp. Kegan Paul. 6s. n.<br /> ALBANIA. The Foundling State of Europe. By WapHAM<br /> Pracock. 9 x 53. 256 pp. Chapman and Hall.<br /> 7s, 6d. n.<br /> <br /> By W. P. WESTELL.<br /> 7k x 5.<br /> <br /> —___+——_+-__—_——_-<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> paceser nee one oneany<br /> R. EDWARD CLODD has rewritten<br /> his ‘“‘ Childhood of the World,” which<br /> was first published in 1872. The new<br /> edition, to which illustrations are added, is<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 215<br /> <br /> divided into three parts: Man the Worker,<br /> Man the Thinker, Man the Discoverer<br /> (Macmillan &amp; Co.).<br /> <br /> Mr. Clement Edwards Pike, F.R.Hist.S.,<br /> edits for the Royal Historical Society “ Selec-<br /> tions from the Correspondence of Arthur Capel,<br /> Ear! of Essex, 1675—1677.”’ This book makes<br /> the twenty-fourth volume of the Camden Third<br /> Series, and may be obtained from the offices of<br /> the Society, 6 &amp; 7, South Square, Gray’s Inn.<br /> <br /> ‘ Albania: the Foundling State of Europe ”<br /> is the title of a new book by Mr. Wadham<br /> Peacock, formerly private secretary to<br /> H.B.M.’s Chargé d Affaires in Montenegro.<br /> The book, which has numerous illustrations,<br /> deals with history, customs, scenery, and<br /> politics (Chapman and Hall, 7s. 6d. net).<br /> <br /> In “ The Philosophy of Welsh History ” the<br /> Rev. J. Vyrnwy Morgan, D.D., author of<br /> ‘The Welsh Religious Revival, 1904-5,” ete.,<br /> does not pretend, he says, to give a history of<br /> Wales or a consecutive narrative of the<br /> movements that have affected the principality.<br /> He calls, however, for a reconsideration of<br /> many of the conclusions formed by Welsh<br /> nationalist historians, whose deductions he<br /> contends to be without justification (John Lane,<br /> 12s. 6d. net).<br /> <br /> There has been just brought out by the<br /> firm of Elkin Mathews “ Florentine Vignettes,<br /> being some metrical letters of the late Vernon<br /> Arnold Slade, edited by Wilfrid Thoiley.”<br /> The author is of course the editor, and the<br /> letters are written in the guise of an art-<br /> student newly arrived in the Tuscan capital.<br /> There is a frontispiece adapted from the<br /> marble pediment of Cellini’s “ Perseus ”’ and<br /> a Finis taken from masks on a fountain in the<br /> Cascine.<br /> <br /> Mr. Wharndford Moffatt has a volume of<br /> ‘“‘ New Canadian Poems,” of which a copy has<br /> been accepted by H.E. the Governor-General.<br /> The book is being published by Simpkin,<br /> Marshall, &amp; Co., price 2s. 6d. net.<br /> <br /> In “ Dodo the Second” Mr. E. F. Benson<br /> returns to an early mood and an heroine whose<br /> literary birth took place a score of years ago<br /> (Hodder and Stoughton). oe<br /> <br /> Mr. W. J. Locke’s new novel is “ The<br /> Fortunate Youth ” (John Lane).<br /> <br /> It is stated of Mrs. Elinor Glyn’s “ Letters<br /> to Caroline ” that it is not a story but a series<br /> of letters of wisdom and counsel from a god-<br /> mother to a goddaughter who is just entering<br /> Society (Duckworth, 2s. net). :<br /> <br /> Mr. Charles Garvice’s new novel is entitled<br /> “© A4 Woman’s Way,” and has just been<br /> published by Hodder and Stoughton.<br /> <br /> <br />  <br /> <br /> 216<br /> <br /> Miss May Wynne has a romance of the<br /> Huguenot period on the point of publication,<br /> under the name of ‘“‘ The Silent Captain.”<br /> <br /> K. L. Montgomery’s forthcoming romance,<br /> which was announced in the last issue of The<br /> Author as “ Ears of Leather,” will be published<br /> by John Long in London and the Colonies<br /> under the title “‘ Maids of Salem.”<br /> <br /> Holden and Hardingham are publishing<br /> immediately Mr. Kineton Parkes’s novel * The<br /> Money Hunt : A Comedy of Country Houses.”<br /> <br /> Miss K. Everest’s new romance “ Beaufoy,”<br /> <br /> is published this month by Lynwood &amp; Co.<br /> This is a tale for young people. A copy has<br /> been graciously accepted by H.R.H. Princess<br /> Mary.<br /> “The Good Shepherd,” by John Roland,<br /> is the romance of a young American doctor in<br /> a remote Tyrolese valley, who comes to play<br /> the part of saviour to the suffering peasants<br /> and, in doing so, himself regains a faith which<br /> he has lost and wins a wife (Blackwood).<br /> <br /> Miss Edith M. Keate’s “A Garden of the<br /> Gods ” is the love-story of a blind man in a<br /> beautiful garden, though introducing numerous<br /> other characters (Alston Rivers).<br /> <br /> Miss Meriel Buchanan, author of “ Tania:<br /> a Story of Russian Life’ (Jenkins), is the<br /> daughter of the British Ambassador at Con-<br /> stantinople.<br /> <br /> ‘“‘ Lovers’ Meetings” is the title of a new<br /> collection of short stories by Mrs. Katharine<br /> Tynan (Werner Laurie).<br /> <br /> A new edition has just been published of<br /> “Pink Purity,” by Mrs. Gertie de S. Went-<br /> worth James (Werner Laurie, 1s. net).<br /> <br /> Mrs. C. Romanné James has been appointed<br /> to the editorship of the quarterly Buddhist<br /> Review.<br /> <br /> “The Art of Dainty Decoration,” by<br /> Mrs. Emily J. Skeaping, is a little paper-<br /> covered book dealing with such subjects as<br /> how to paint on silk, satin, or velvet, how to<br /> decorate with stencils, how to make original<br /> cards, ete. (Winsor and Newton, 1s.).<br /> <br /> “‘ Jehane of the Forest,’ by L. A. Talbot<br /> (Mrs. Ferguson) is a lively romance of a period<br /> and place which has attracted no novelist of<br /> note since Scott wrote “‘ The Betrothed ” ;<br /> namely, the marches of Wales in the reign of<br /> Henry II.<br /> <br /> “Infatuation,”” by Marcu; Knox, is pub-<br /> lished by Robert Ashley.<br /> <br /> DraMatTIc.<br /> <br /> The long run of Mr. G. K. Chesterton’s<br /> “Magic” at the Little Theatre concluded on<br /> March 28. On April 11, at the same theatre,<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914<br /> <br /> Mrs. Percy Dearmer’s ‘“‘ Brer Rabbit and<br /> Mr. Fox,” with music by Mr. Martin Shaw,<br /> commenced a matinée season.<br /> <br /> On April 11 was the first performance at<br /> His Majesty’s Theatre of Mr. G. Bernard<br /> Shaw’s ‘“ Pygmalion.”<br /> <br /> On the same night Mr. G. R. Sims’s “ The<br /> Lights 0’ London ” was revived at the Aldwych.<br /> <br /> Mr. Israel Zangwill’s ‘“‘ The Melting Pot”<br /> was transferred on April 18 from the Queen’s<br /> to the Comedy Theatre.<br /> <br /> ‘The Mob,” a four-act play by Mr. John<br /> Galsworthy, was seen at the Coronet Theatre<br /> on April 20 and succeeding days.<br /> <br /> On April 21 the first performance took place<br /> of ‘“‘My Lady’s Dress,” by Mr. Edward<br /> Knoblauch, the theatre being the Royalty.<br /> <br /> ““The Clever Ones,’”’ Mr. Alfred Sutro’s new<br /> comedy, opened at Wyndham’s Theatre on<br /> April 23.<br /> <br /> The play chosen for the matinée at His<br /> Majesty’s Theatre on May 22, in aid of King<br /> George’s Pension Fund for Actors and Actresses,<br /> is Mr. Henry Arthur Jones’s and the late<br /> Mr. Henry Herman’s “‘ The Silver King.”<br /> <br /> A new one-act play, ‘‘ Beastly Pride,” by<br /> Miss Elizabeth Baker, was produced at the<br /> Croydon Repertory Theatre on April 23.<br /> <br /> The West End Productions, Ltd., on<br /> April 22, gave their sixth special matinée at<br /> the London Pavilion, among the plays pro-<br /> duced being ‘“‘ The Girl from Australia,” by<br /> Mrs. E. H. Harris.<br /> <br /> Two of Mr. Charles Garvice’s plays are now<br /> on tour—‘‘ The Heritage of Hale,” a four-act<br /> piece in which Mr. Garvice had the assistance<br /> of Mr. Arthur Shirley and which was first seen<br /> on January 7; and ‘‘ Marygold,’’ by Messrs.<br /> Charles Garvice and Allen F. Abbott, first<br /> produced at the Royalty Repertory Theatre,<br /> Glasgow, on March 23.<br /> <br /> The Authors’ Producing Society is “an<br /> association of subscribers formed for the<br /> purpose of producing plays—particularly those<br /> of an educational and sociological character—<br /> hitherto unseen in England.” The society’s<br /> first season began with the performance at the<br /> Little Theatre on February 16 of John Pollock’s<br /> translation of M. Brieux’s ‘“‘ Les Avariés ”<br /> (‘Damaged Gocds’’). Other performances<br /> of the play took place at the Court Theatre<br /> on April 19 and 30, and a fourth is announced<br /> for May 10. The address of the secretary of<br /> the society is 4, Duke Street, Adelphi, W.C.<br /> <br /> Mr. Herbert Jenkins, author and publisher,<br /> has now become a playwright also. A one-act<br /> <br /> play of his, “‘ With Her Husband’s Permission,”’<br /> is to be produced by Miss Muriel Pratt at the<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> Theatre Royal, Bristol, on May 18. Later on<br /> a West End production is contemplated.<br /> <br /> Musica.<br /> <br /> “Negro Folk Singing Games and Folk<br /> Games of the Habitants”’ is the title of a<br /> collection of traditional melodies and text<br /> transcribed by Grace Cleveland Porter, with<br /> accompaniments by Harvey Worthington<br /> Loomis. The work is published in this<br /> country by J. Curwen and Sons, Berners Street,<br /> W.., at 2s. 6d.<br /> <br /> ““The Music of Hindostan,” by A. H. Fox<br /> Strangways, is an attempt to deal, in one<br /> volume, with the music of the Indus and<br /> Ganges basins. Seventeen separate plates<br /> illustrate the book, which is published by the<br /> Clarendon Press at 21s.fnet.<br /> <br /> —— se<br /> PARIS NOTES.<br /> <br /> ——+ &lt;&gt;<br /> <br /> REAT preparations were made _ for<br /> the Royal visit to Paris. The Palais<br /> des Affaires Etrangeres was furnished<br /> <br /> for the occasion with historical furniture<br /> which had belonged to Louis XIV., Louis XV.,<br /> Louis XVI., and to Napoleon I. The Avenue<br /> de l’Opéra and various other streets of Paris<br /> were decorated with garlands of roses. The<br /> magazines and reviews have been vying with<br /> each other in giving articles concerning the<br /> English King and Queen. :<br /> <br /> ‘“Croquis d’Outre-Manche ” is the title of<br /> the latest book on England by M. Jacques<br /> Bardoux. Most foreign writers content them-<br /> selves with visiting London for giving their<br /> opinion on England and its people. M. Bardoux<br /> has taken the trouble to go to the more remote<br /> parts of our island and to study the far back<br /> history of our nation, in order to explain the<br /> present by the past. He takes his readers<br /> to the old-world county of Somerset. He goes<br /> back to Hugues de Lincoln, and gives us an<br /> interesting account of Glastonbury, of Wells,<br /> and of Bath. :<br /> <br /> ““ Entre deux Mondes,” by Inés’ Bello, is a<br /> curious psychological study of a woman.<br /> The story opens with a journey from Florence<br /> to Rome and a chance meeting in the train.<br /> There is no plot and very little episode. The<br /> whole volume is taken up with the senti-<br /> ments of the two persons who meet in this way.<br /> Incidentally we have descriptions of Rome<br /> and of the very soul of Rome. The book is<br /> distinctly original as a psychological study.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 217<br /> <br /> “ L&#039;Homme de désir,”” by M. Robert Vallery-<br /> Radot, is a novel which might certainly take<br /> rank among the books belonging to the<br /> ~ Spiritualistic literature’ so much in vogue<br /> now in France.<br /> <br /> The President of the French Republic was<br /> represented at the funeral of Mistral, the<br /> celebrated meridional poet.<br /> <br /> The event of the month in the theatrical<br /> world has been Antoine’s resignation of his<br /> post as Director of the Odéon. It is not yet<br /> known who will be invited to succeed him at<br /> the second State Theatre. It is rumoured<br /> that M. Camille de Sainte Croix, who has for<br /> some years been running the French Shake-<br /> speare Theatre, stands a very good chance<br /> of being elected. M. Lugné Poe is also men-<br /> tioned as a candidate, and there are two or<br /> three other names on the list.<br /> <br /> The last play put on by Antoine was Psyché,<br /> a tragedy-ballet in five acts by Moliére, Pierre<br /> Corneille et Quinault, with music by Lulli,<br /> arranged by M. Julien Tiersot. This recon-<br /> stitution was extremely artistic and interesting,<br /> and was a fitting close to Antoine’s career at<br /> the Odéon.<br /> <br /> At the Gymnase, Henri Lavedan’s three-<br /> act play “‘ Pétard’”’ has been given. There<br /> is plenty of episode and there are good dramatic .<br /> situations, but the chief interest is the study<br /> of modern life. We see the old world giving<br /> way to the new and the old traditions being<br /> sacrificed for the sake of gold. Pétard is a<br /> nouveau riche, a parvenu, and we see him<br /> buying the ancestral home of an old family.<br /> M. Lavedan shows us the forces of the past<br /> waging war with the material force of our<br /> epoch.<br /> <br /> In honour of the Royal visit the Little<br /> English Theatre arranged to come over from<br /> London and give a special three-play bill<br /> during the week of the festivities. The pieces<br /> chosen were ‘“‘ The Critic ’’ by Sheridan, ‘* The<br /> Tents of the Arabs’ by Lord Dunsany, and<br /> “The Music Cure’? by George Bernard<br /> Shaw.<br /> <br /> The Cinema Commission appointed by the<br /> French Society of Authors for studying the<br /> question of cinematograph rights has now<br /> given in its report. There has been some<br /> difficulty in this matter, which is now happily<br /> settled, as the Society of Authors and Society<br /> of Dramatic Authors have come to an arrange-<br /> ment by which they will combine to protect<br /> the rights of their respective authors. The<br /> French law of 1793 protects authors, and last<br /> November the Society of Dramatic Authors<br /> changed its statutes, including the cinema<br /> <br /> <br />  <br /> <br /> 218<br /> <br /> rights, in such a way that, according to the<br /> law of 1791, it would be impossible for the<br /> cinema rights of any dramatic author belonging<br /> to the Society to be appropriated by outsiders.<br /> The Cinema Commission has now arranged<br /> that the two societies shall work together in<br /> the interests of authors. In future, according<br /> to Article 34 bis, every member of the Society<br /> of Authors agrees to make no contract pri-<br /> vately with manufacturers, hirers, or exploiters<br /> of cinematographic films, concerning the<br /> adaptation of his or her present or future<br /> literary works or unpublished cinematographic<br /> scenarios.<br /> <br /> All contracts made previously to this new<br /> <br /> _rule are to be held binding.<br /> <br /> Every contract of this nature is to be made<br /> by the intermediary of the (Société des Gens de<br /> Lettres) French Society of Authors.<br /> <br /> The Society of Authors may pass any conven-<br /> tion or arrangement with any enterprise or<br /> society of authors for exercising, directly or<br /> indirectly, the rights belonging to its authors.<br /> <br /> The present arrangement is to apply to<br /> cinematographic’ adaptations by all present<br /> or future methods.<br /> <br /> The author shall give a written declaration<br /> to the committee, indicating the rights he had<br /> already disposed of before the date of the<br /> present arrangement.<br /> <br /> Such is the article decided upon by the<br /> Commission. During what is called the transi-<br /> tion period authors will fix the terms of their<br /> contracts themselves, but these contracts<br /> must pass through the hands of the managing<br /> agents of the Society of Authors. The<br /> Commission reports that quite recently the<br /> Society succeeded in obtaining, for one of its<br /> authors, an increase of nearly half the amount<br /> already offered.<br /> <br /> The definitive period will be when the<br /> Society of Authors will have concluded general<br /> treaties. ‘The Society will then have to agree<br /> to the rules that the Society of Dramatic<br /> Authors now has with the theatres. Authors<br /> will then have to accept the minimum of<br /> rights agreed upon, but it will be impossible<br /> to accept less than this minimum. Above<br /> this minimum, authors will be able to ask what<br /> terms they wish.<br /> <br /> As long as the transition period lasts,<br /> authors must pay the agents who draw up the<br /> contracts 6 per cent., but 1 per cent. of this<br /> will be returned to the general funds of the<br /> Society of Dramatic Authors and 2 per cent. to<br /> the general funds of the Society of Authors.<br /> The Society of Dramatic Authors will take<br /> upon itself the responsibility of any lawsuits<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> which may arise in connection with cinema<br /> rights.<br /> Atys HALiarp.<br /> <br /> <br /> <br /> “ Croquis d’Outre-Manche’”’ (Hachette).<br /> ‘*Entre deux Mondes”’ (Grasset).<br /> “L’Homme de désir” (Plon).<br /> <br /> —_—_—_—__— +&gt; 6<br /> <br /> U.S.A. COPYRIGHT LAW AMENDMENT.<br /> <br /> st<br /> <br /> AS Act to amend section twelve of the<br /> Act entitled “An Act to amend and<br /> <br /> consolidate the Acts respecting copy-<br /> right,” approved March fourth, nineteen<br /> hundred and nine.<br /> <br /> Be it enacted by the Senate and House of<br /> Representatives of the United States of<br /> America in Congress assembled, That section<br /> twelve of the Act entitled “‘ An Act to amend<br /> and consolidate the Acts respecting copy-<br /> right,” approved March fourth, nineteen<br /> hundred and nine, be, and the same is hereby,<br /> amended so as to read as follows :<br /> <br /> Work BY, FOREIGNER, PUBLISHED ABROAD,<br /> ONLY ONE COPY REQUIRED.—“ Sec. 12. That<br /> after copyright has been secured by publica-<br /> tion of the work with the notice of copyright<br /> as provided in section nine of this Act, there<br /> shall be promptly deposited in the copy-<br /> right office or in the mail addressed to the<br /> register of copyrights, Washington, District<br /> of Columbia, two complete copies of the best<br /> edition thereof then published, or if the work<br /> is by an author who is a citizen or subject of<br /> foreign state or nation and has been published<br /> in a foreign country, one complete copy of the<br /> best edition then published in such foreign<br /> <br /> country, which copies or copy, if the work be a -<br /> <br /> book or periodical, shall have been produced<br /> in accordance with the manufacturing pro-<br /> visions specified in section fifteen of this Act ;<br /> or if such work be a contribution to a periodical,<br /> for which contribution special registration is<br /> requested, one copy of the issue or issues con-<br /> taining such contribution ; or if the work is<br /> not reproduced in copies for sale there shall be<br /> deposited the copy, print, photograph, or<br /> other identifying reproduction provided by<br /> section eleven of this Act, such copies or copy,<br /> print, photograph, or other reproduction to be<br /> accompanied in each case by a claim of copy-<br /> right. No action or proceeding shall be main-<br /> tained for infringement of copyright in any:<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> work until the provisions of this Act with<br /> respect to the deposit of copies and registra-<br /> tion of such work shall have been complied<br /> with.”<br /> <br /> Sec. 2. That all Acts or parts of Acts in<br /> conflict with the provisions of this Act are<br /> hereby repealed.<br /> <br /> Approved, March 28, 1914.<br /> [Note.—Nevw legislation in italics.]<br /> <br /> The copyright law of the United States has<br /> been amended by the Act of Congress, approved<br /> March 28, 1914, providing, in the case of a<br /> work by an author who is a citizen or subject<br /> of a foreign state or nation and which has been<br /> published in a foreign country, that of the<br /> best edition published in such foreign country<br /> ONE complete copy shall be promptly deposited<br /> in the Copyright Office at Washington, after<br /> publication, in lieu of two copies as heretofore<br /> required. (See full text of the amendatory<br /> act above.)<br /> <br /> This provision of law applies to books,<br /> | dramas, music, maps, photographs, prints and<br /> <br /> all other works by foreign authors published<br /> in a foreign country, which are not required<br /> by the copyright laws to be printed or manu-<br /> factured in the United States in order to secure<br /> copyright protection in the United States.<br /> <br /> The new Act does not change any provisions<br /> of the Copyright Act of March 4, 1909, as<br /> regards the requirements of American manu-<br /> facture.<br /> <br /> The application for registration should<br /> state the place and foreign country where the<br /> work was first published.<br /> <br /> Only one copy should be deposited in the<br /> case of any such work published abroad.<br /> Attention is particularly directed to this amend-<br /> ment in order that no more than the one copy<br /> required may be sent, as the Copyright Office<br /> has no funds with which to defray the postage<br /> for the return of any extra copies received.<br /> <br /> Application forms to be used for filing<br /> claims to copyright in accordance with the<br /> new provision of law will be at once prepared<br /> and will be forwarded to all persons requesting<br /> them. Meantime it will be possible to use<br /> the old application forms for published works<br /> by changing with a pen “‘ two copies ”’ to “* one<br /> copy” wherever these words occur In the<br /> forms. :<br /> <br /> Copyright relations have been established<br /> between the United States and the following<br /> countries, and the citizens or subjects of such<br /> <br /> THE AUTHOR.<br /> <br /> 219<br /> <br /> countries can secure copyright protection in<br /> the United States upon compliance with the<br /> requirements of the copyright acts of the<br /> United States : .<br /> <br /> Austria, Belgium, Chile, China, Costa Rica,<br /> Cuba, Denmark, Fiance, Germany, Great<br /> Britain and her _ possessions, Guatemala,<br /> Honduras, Hungary, Italy, Japan, Luxemburg,<br /> Mexico, Netherlands and__ possessions,<br /> Nicaragua, Norway, Portugal, Salvador, Spain,<br /> Sweden, Switzerland, and Tunis.<br /> <br /> THORVALD SOLBERG,<br /> Register of Copyrights.<br /> <br /> +&gt; ¢ —_____—<br /> <br /> U.S.A. PLAY PIRACY.<br /> <br /> —1.—&lt;—+ —_<br /> <br /> (From the U.S.A. ‘“ Publishers’ Weekly.’’)<br /> <br /> A interesting dramatic copyright case<br /> is pending on both the civil and<br /> criminal sides in respect to the produc-<br /> <br /> tion of “A Pair of White Gloves” at the<br /> <br /> Princess Theatre in New York.<br /> <br /> The play is the work of two French play-<br /> wrights, André de Lorde and Pierre Chaine,<br /> for whom the French Society of Dramatic<br /> Authors is acting. The counsel for this society<br /> in this country is the firm of Coudert Brothers.<br /> The play, though copyrighted in this country in<br /> 1908, was produced without authorisation, and<br /> it is said that the manager of the theatre,<br /> F. Ray Comstock, had expressed a willingness,<br /> after his attention had been called to the fact<br /> that he was producing a copyrighted play<br /> without authority, to pay royalty. An option<br /> covering American rights had, however, been<br /> given to a dramatic agent, John Pollock, of<br /> London, who had not exercised the option,<br /> which was still open—so that neither the<br /> authors, the French society nor anyone had<br /> the right to accept royalties until the option<br /> had determined. :<br /> <br /> The play ran a month at the Princess<br /> Theatre, and the run was made the basis of<br /> two suits, one by Coudert Brothers from the<br /> civil side and one by the United States District<br /> Attorney on the criminal side under the<br /> criminal provisions of the copyright law. The<br /> Grand Jury found a true bill and the defendant<br /> is on bail. Both cases have yet to be brought<br /> to trial, Justice Coxe, in the civil case, having<br /> granted a preliminary injunction and the play<br /> having been withdrawn.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 220<br /> HOW TO USE THE SOCIETY.<br /> <br /> ot<br /> <br /> 1. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> <br /> business or the administration of his property. The<br /> Becretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinarysolicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer<br /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements, (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> jars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> 7. Many agents neglect to stamp agreements, This<br /> must be done within fourteen days of first execution. The<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeayour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ————-—&gt;—2__—_—_<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<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. Selling Outright.<br /> <br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> (MAY, 1914.<br /> <br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (3.) Not to allow a special charge for “ office expenses,”<br /> anless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous 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 /> (3.) Always avoid a transfer of copyright.<br /> <br /> —_———_—&gt;—_-—_______<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> —— to<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with any one except an established<br /> manager.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> <br /> <br /> <br />  <br /> <br /> ay<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> (&gt;.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case,<br /> <br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance,<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceec-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a stbstantial<br /> consideration,<br /> <br /> 9: Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> —&gt; +<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> ——&gt; +<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> <br /> : a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> 221<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> —*———+—_<br /> <br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> <br /> who has once had a play in his hands may acquire au<br /> perpetual claim to a percentage on the author’s fees<br /> from it. As far as the placing of plays is concerned,,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do-<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is-<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and:<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any,<br /> circumstances without an agreement approved of by the<br /> Society.<br /> a ag<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> —<br /> ITTLE can be added to the warnings given for the<br /> tr assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic:<br /> property. The musical composer has very often the two:<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> —_——_—_¢—_____—__-<br /> <br /> STAMPING MUSIC.<br /> <br /> te<br /> <br /> The Society undertakes to stamp copies of music on.<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe, The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the.<br /> members, who are thus saved much unnecessary trouble.<br /> <br /> Se ee<br /> <br /> THE READING BRANCH.<br /> <br /> cs<br /> EMBERS will greatly assist the Svciety in this<br /> branch of its work by informing young writers-<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach, The term<br /> MSS. includes not only works of fiction, but pvetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works, The<br /> Readers are writers of competence and experience. The-<br /> fee is one guinea,<br /> <br /> <br /> <br /> --—&lt;— 9<br /> <br /> REMITTANCES.<br /> SSO as<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London ant<br /> Smithe Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> <br /> <br />  <br /> <br /> <br /> <br /> COLLECTION BUREAU.<br /> <br /> —+—&gt;+—_<br /> <br /> due to authors, composers and dramatists.<br /> <br /> [Ne Society undertakes to collect accounts and money<br /> 1. Under contracts for the publication of their<br /> <br /> works. ;<br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> <br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> <br /> records.<br /> The Bureau is divided into three departments :—<br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amonnt passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland . : * A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN,<br /> Germany Mrs PoGSON.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> —_+-——+<br /> Notice.<br /> <br /> Tur Committee of the Society of Authors<br /> deem it important, in case any question<br /> should arise affecting their separate interests,<br /> to have a complete separate list of the novelists,<br /> dramatists and composers of the Society. The<br /> committee would be obliged, therefore, if every<br /> member or associate of the Society who has<br /> not previously published a novel, or a musical<br /> composition, or had a dramatic piece per-<br /> formed in public, would give notice to the<br /> secretary of the Society as soon as publication<br /> takes place, in order that his or her name<br /> may be enrolled on the separate lists above<br /> referred to.<br /> <br /> INDIAN CopyricHt BI...<br /> <br /> WE are informed by the India Office that<br /> the approval of the Secretary of State for<br /> India has been given in Council to the Indian<br /> Copyright Act, 1914. A copy of the Act will<br /> be printed in The Author at the earliest<br /> possible opportunity.<br /> <br /> ‘We understand that in clause 4, dealing<br /> with translation rights, the period of limitation<br /> has been extended from five to ten years.<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> An explanation of the term “ translation<br /> rights’ will be cleared up as soon as it is<br /> possible to place the Act before the members<br /> of the Society.<br /> <br /> Unitrep STATES COPYRIGHT.<br /> <br /> We are publishing in this month’s Author<br /> the new American Copyright Act, or rather the<br /> amendment to the old Act. It is not of any<br /> great benefit to English authors. Any amend-<br /> ment, however, of the United States Act which<br /> simplifies the technical proceedings must be<br /> valuable to the cause of the owners of copy-<br /> right property. We hold copies of the Act at<br /> the office in case any member would like to<br /> have a separate copy.<br /> <br /> Tue Lerezic CONGRESS.<br /> <br /> Tut thirty-seventh Congress of “‘ The Inter-<br /> national Literary and Artistic Association ”<br /> will be held in Leipzig on September 10—14<br /> next, under the august patronage of His<br /> Majesty Frederick Augustus, King of Saxony.<br /> Among the more interesting questions which<br /> will be discussed are cinematographic rights,<br /> methods of assuring the rights of translation,<br /> and a review of the incidents affecting literary<br /> and artistic property during the last twelve<br /> months. A fuller programme of the Congress<br /> will be hereafter published. Person» desiring<br /> to visit Leipzig for the Congress should address<br /> themselves to M. M. A. Taillefer, 215 bis,<br /> Boulevard Saint-Germain, Paris.<br /> <br /> Tur AutHors’ LEAGUE OF AMERICA.<br /> <br /> WE have just received a letter from the<br /> Authors’ League of America. From it we are<br /> glad to hear that the authors are moving their<br /> headquarters to 122, East 17th Street. The<br /> League has taken the house which was formerly<br /> occupied by Washington Irving, and the<br /> library and reception room will be the room<br /> in which Irving did most of his work.<br /> <br /> “Tae DutcH AUTHOR.”<br /> <br /> We have much pleasure in welcoming the<br /> appearance of a new contemporary devoted to<br /> the rights of authors, the Dutch Auteursrecht-<br /> belangen, a monthly periodical published<br /> conjointly by the committees of Musical<br /> Copyright and of Literary Copyright of the<br /> “ Vereeniging van Letterkundigen,” of which<br /> the first three numbers have been courteously<br /> <br /> <br /> <br /> j<br /> i<br /> E<br /> i<br /> <br /> f<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> ‘sent tous. The pages of the opening numbers<br /> are necessarily occupied chiefly with registers<br /> of authors, pieces at the disposal of the<br /> ‘society, and classifications of the Dutch<br /> theatres ; but the essentially practical aim of<br /> the journal has our warmest sympathies, and<br /> we shall look forward to the fulfilment of the<br /> promise of articles on copyright subjects in<br /> subsequent numbers. The address of the<br /> journal is 22, Hooghstraat, Amsterdam.<br /> <br /> Tue AUSTRALIAN Book MARKET.<br /> <br /> In a recent issue of The Publishers’ Weekly<br /> of the United States, there is a picture showing<br /> the importation of American books in bulk at<br /> the Australian docks. The pride with which<br /> this is shown only confirms the statements<br /> which have so often appeared in The Author<br /> that the Americans are taking hold of the<br /> Australian book market very firmly, and unless<br /> English publishers are careful they will find<br /> the Australian market, as well as other<br /> colonial markets, entirely lost to them.<br /> <br /> We note in The Book-Fellow, an Australian<br /> paper, a statement that there are one or two<br /> English publishers who are energetic enough<br /> to secure good markets in Australia, and the<br /> paper states that the English author should<br /> therefore be careful, if he desires the Australian<br /> market, of the choice of his English publisher.<br /> The editor does not mention the names of these<br /> English publishers; but it is quite possible<br /> that the English publisher who has a good<br /> connection in Australia might have a bad<br /> connection on the English market, and in<br /> consequence it would be better for the author<br /> to stick to the better publisher in the English<br /> market and lose his Australian market than<br /> obtain a large Australian market and lose his<br /> English market. /<br /> <br /> There is another point dealing with the<br /> same subject which has been brought to our<br /> notice in a letter from the American Authors’<br /> League. The secretary of the League 1s<br /> evidently experiencing a difficulty on_ behalf<br /> of his members in obtaining a market for<br /> American authors in England, because the<br /> English publisher demands the Australian<br /> market and the market in Canada and the other<br /> colonies. The American publisher, having<br /> proved that he can do better business than the<br /> English publisher, naturally demands these<br /> markets for himself. The question, therefore,<br /> will resolve itself into this: Is it better. for<br /> an American author to leave his American<br /> circulation and his colonial circulation 1n the<br /> hands of an American publisher and lose his<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 223<br /> <br /> English market entirely, or, obtaining his<br /> English market and his colonial market with<br /> an English publisher, run the chance of<br /> offending his American publisher, and in con-<br /> sequence perhaps lose some of his American<br /> profits. The answer to this question lies on<br /> the face of the statement.<br /> <br /> ————___+—_ ee —_____-<br /> <br /> THE ANNUAL MEETING.<br /> <br /> —<br /> <br /> HE Annual General Meeting of the<br /> Society took place on Friday, April 17,<br /> at No. 1; Central Buildings, Tothill<br /> <br /> Street, Westminster, the chair being taken at<br /> 4.30 by Mr. Hesketh Prichard, chairman of<br /> the Committee of Management.<br /> <br /> In laying the Report of the Committee before<br /> the members present, Mr. H. Hesketh Prichard<br /> asked that it might be taken as read, and<br /> proceeding to comment upon its salient<br /> features, congratulated the Society upon the<br /> continued growth of its membership. The<br /> elections, he pointed ovt, had been bigger<br /> than in any previous years of the Society’s<br /> existence, the figures for 1913 and 1912 being<br /> 349 and 345 respectively. It was satisfactory<br /> to note, also, that the loss of members arising<br /> from resignation and non-payment of subscrip-<br /> tions was proportionately less. On the other<br /> hand, he desired to emphasise the fact that<br /> the enormous increase of membership during<br /> the past few years had _ correspondingly<br /> increased the work which had to be done by the<br /> Society. As an instance he might mention<br /> that the summoning of members to the annual<br /> meeting now entailed the sending out of 2,600<br /> circulars. New sub-committees had also come<br /> into existence during recent yeats, adding to<br /> the work accomplished by the Society. He<br /> referred to the loss sustained through the<br /> deaths of the members of its council—Lord<br /> Avebury, the late Poet Laureate, and Field<br /> Marshal Lord Wolseley—saying that he felt<br /> sure that the sincere sympathy of those<br /> present would be extended to the relatives<br /> of these famous men. Turning to the passages<br /> in the report relating to “* Library Censorship,<br /> the chairman said that he wished to explain<br /> the policy of the committee with regard to<br /> this subject. It desired to treat the matter<br /> broadly and from the point of view of the<br /> Society as a whole. It was im possible for the<br /> committee to take up individual cases or to<br /> champion the cause of individual books, as<br /> this might lead in effect to setting up a new<br /> and most invidious form of censorship. As to<br /> <br /> <br />  <br /> <br /> ee nee<br /> <br /> <br /> <br /> <br /> <br /> 224<br /> <br /> what had in fact been done he referred members<br /> to the pages of the report. In the report also<br /> would be found what had been accomplished<br /> during the year by the various sub-committees.<br /> The recently instituted Collection Bureau had<br /> made satisfactory progress in its work, and<br /> its usefulness would increase as members<br /> realised the work which it was prepared to do.<br /> With regard to copyright legislation of an<br /> international character during the past year,<br /> Australia had passed a Copyright Act and so<br /> also had New Zealand. ‘The Council cf India<br /> had approved the Act of 1911, and the com-<br /> mittee was endeavouring to put things on a<br /> more satisfactory footing for British authors<br /> in India and in the United States. Here he<br /> might call attention to the world-wide area<br /> covered by the work of the Society. It had<br /> dealt with cases during the past year in the<br /> United States, in Canada, Switzerland, Ger-<br /> many, Austria, France, Australia and India,<br /> in addition to the large number which it had<br /> conducted in the United Kingdom. Details<br /> of the work referred to would, again, be found<br /> in the report.<br /> <br /> With regard to financial matters, the capital<br /> account had been increased by the investment<br /> of £150 and of £215 standing to the credit of<br /> the Society at its bankers ; and there had been<br /> a total increase of subscriptions during the<br /> year amounting to £130. The debit balance<br /> had, however, increased to the extent of £280,<br /> this increase being due to extra expense<br /> entailed by moving to new offices, to the pur-<br /> chase of furniture arising out of this, and to<br /> heavy legal expenses, legal fees paid in London<br /> <br /> aving alone increased by over £300. The<br /> chairman concluded by thanking the members<br /> of the committee and of the various sub-<br /> committees for their unflagging zeal in the<br /> performance of their functions, and _ the<br /> secretary for the single-minded way in which<br /> he had attended to the Society’s affairs. His<br /> hours of work had increased with the increase<br /> in the work done by the Society, until he was<br /> one of the most hard-worked men in London,<br /> and he might be assured that the members<br /> of the Society appreciated his efforts. The<br /> chairman, in resuming his seat, invited any<br /> member who might desire to do so to call<br /> attention to any point in the report as to which<br /> he might desire further explanations.<br /> <br /> Mr. W. L. George rose and expressed a wish<br /> that there should be further elucidation of the<br /> steps taken by the committee with regard<br /> to the question of “ Library Censorship.”<br /> Members might not be interested in knowing<br /> why the Society was not in the same camp as<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914,<br /> <br /> the booksellers and publishers, but authors.<br /> might and did want to know in respect of<br /> what, whether it might be plot or incident<br /> or words, a book was going to be banned. He<br /> did not mean to suggest that in the light of<br /> such knowledge an author would deviate from<br /> the course he had marked out for himself.<br /> An author was not likely to emasculate his.<br /> book or, indeed, to make any difference in it<br /> to meet the views of library censors. The<br /> whole matter was often before him in connec-<br /> tion with his own work as a reviewer. A book<br /> sometimes came before him conceived and<br /> written in bad taste, a book which might<br /> fairly be termed “indecent,” but which was:<br /> accepted and circulated by the libraries,<br /> whereas another crudely expressed, perhaps,.<br /> but neither indecently conceived nor written.<br /> with indecent intent, would be banned.<br /> <br /> The chairman in answer said that when the<br /> suggestion of a conference referred to in the<br /> report was made he had seen Mr. Acland of<br /> Messrs. W. H. Smith and Sons, and had made<br /> the suggestion that there should be an informal<br /> meeting of representatives of bodies interested<br /> —a round table meeting for discussion. The<br /> committee had assented to this course being<br /> taken, but when the matter was laid before the<br /> council, it was referred back by the council<br /> to the committee which, therefore, found it<br /> impossible to go forward. The chairman did<br /> not profess to understand the principles of<br /> library censorship. He had suggested a con-<br /> ference to discuss the whole subject. The<br /> committee wished for it. The council did not,<br /> and so the matter stood.<br /> <br /> Mr. George remarked that this did not.<br /> entirely settle his difficulty and that what<br /> he wanted to obtain from the conference<br /> was a settlement on the part of the libraries<br /> of exactly what it was that determined the<br /> banning of a book. He wished to know<br /> whether it was certain words or certain<br /> definable situations which procured exclusion.<br /> He had no means of knowing what it was<br /> governed the action of the libraries, but he<br /> assumed there must be some rule, and he<br /> thought it would be greatly to the advantage<br /> of the members to know in advance whether a<br /> certain course would or would not cause them<br /> to be banned. They could then decide, .<br /> according to their artistic conscience or to<br /> their commercial desires, whether they would<br /> elect to be banned or not. He accordingly<br /> suggested that he should move a resolution on<br /> the subject, if it would be in order to do so, and<br /> eventually it was moved by him and duly<br /> seconded that ‘‘ A conference composed of<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> two authors, two publishers, two members of<br /> the Libraries Association and two booksellers<br /> be invited to meet, the representatives of such<br /> conference to be appointed by the standing<br /> committees of their respective associations.”<br /> <br /> Mr. Charles Garvice, in support of the resolu-<br /> tion, said that the committee had given the<br /> matter the most earnest consideration, and<br /> he expressed the opinion that if the conference<br /> proposed in the autumn had been held it<br /> might well have led to some definite result.<br /> If the meeting would support unanimously<br /> the resolution moved by Mr. George, the hands<br /> of the committee would be greatly strengthened.<br /> It was not the fact that pressure could not be<br /> brought to bear upon the libraries ; it could<br /> be done through the public. Mr Garvice drew<br /> a humorous picture of the lady who goes to the<br /> lending library and asks for a banned book<br /> and is at once put off by the library assistant<br /> with a different book by a different author,<br /> accepted by the library as innocuous and at a<br /> lower rate than the usual trade one. He<br /> suggested, however, that to take without<br /> murmuring a book which was not the one<br /> asked for was not a necessary and certainly<br /> not a wise course for the library subscriber to<br /> adopt. Experience showed that the libraries<br /> were not inevitably masters of the situation.<br /> <br /> The motion, on being put to the vote, was<br /> carried nemine contradicente, and the pro-<br /> ceedings closed with an unanimous and hearty<br /> vote of thanks to the chairman, proposed by<br /> Mr. Armstrong and seconded by Mr. Anstey<br /> Guthrie.<br /> <br /> ———_1——____—_<br /> <br /> THE U.S.A. AUTHORS’ LEAGUE ON THE<br /> AGENT QUESTION.<br /> <br /> ——+—~ +<br /> <br /> (REPRINTED FROM ‘THE AUTHORS’<br /> BULLETIN.’’)<br /> <br /> EVERAL years ago a young and inexperi-<br /> enced author wrote a one-act play and,<br /> on the representations of a well-meaning<br /> <br /> but misguided friend, entrusted it to the hands<br /> of an inconspicuous agent. There was no<br /> written agreement between this author and<br /> his agent—merely such vague oral understand-<br /> ing as that on which author’s relations with<br /> agents are commonly based. Now the play<br /> happened to be a good play ; and the agent&#039;s<br /> efforts to place it were limited to handing it to<br /> a certain actor, who accepted it at once on<br /> the oral understanding that he was to pay<br /> <br /> the author a fee of $50 for each week in which<br /> <br /> he presented the piece. With this the author<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 225<br /> <br /> was well content, but his enquiries ‘after an<br /> agreement were always met by the agent’s<br /> assurance that it would be all right : he would<br /> draw up the agreement as soon as he could get<br /> round to it. And so the actor went ahead<br /> borrowed money enough (from the author) to<br /> make the production, and had nearly finished<br /> rehearsing the piece when, of a sudden, the<br /> agent announced that he would insist not only<br /> on a commission of 20 per cent. of the author’s<br /> fees but on a commission from the actor of<br /> 10 per cent. of the gross earnings of the play.<br /> That he had not a shadow of right to make<br /> any such demand did not affect his effrontery ;<br /> he persisted unblushingly, to the point of<br /> engaging a shyster lawyer to support his<br /> claim to the sole right to license the production<br /> of the play. About that time the author woke<br /> up and retained a lawyer on his own account,<br /> with the upshot that he was permitted to<br /> license the production of his own play for a fee<br /> of $50 per week, but had to cencede the agent’s<br /> claim to a 20 per cent. commission on that fee.<br /> The play ran for something like eighty weeks<br /> and the agent got $800 commission for a<br /> transaction that had not required more than<br /> half an hour of his time—exclusive of the time<br /> he wasted trying to bleed the actor; and the<br /> author was put to the further expense of the<br /> fees demanded, and earned, by a good lawyer.<br /> <br /> At about the same time the same author<br /> received an enquiry from the secretary of the<br /> (English) Society of Authors, asking him to<br /> investigate statements made to one of his<br /> clients by a certain literary agency. This<br /> concern had sold to a certain American<br /> magazine a series of stories by an English<br /> literary woman, informing her first that the<br /> magazine paid only on publication and later,<br /> when her stories began to appear, that it didn’t<br /> pay until several months after publication.<br /> The American author happened to know the<br /> editor and proprietors of the magazine in<br /> question, and had done a great deal of business<br /> with them, always receiving a cheque on the<br /> first Friday following a sale. So he asked the<br /> editor to explain this odd departure from his<br /> customary methods of business. The editor<br /> promptly produced a receipt signed by the<br /> agent for payment in full for all the stories<br /> and dated the Friday following their accept-<br /> nce.<br /> : The agent first mentioned is believed to<br /> be no longer in any way connected with the<br /> writing game, but the other is still doing<br /> business in New York and, indeed, represents<br /> several prominent members of the Authors’<br /> League. He should have been put out of<br /> <br /> <br />  <br /> <br /> <br /> <br /> 226<br /> <br /> business ; but there was no Authors’ League,<br /> in those days, and the English writer, having at<br /> length received her cheque, refused to move<br /> an action against him through the Society of<br /> Authors. So there is nothing to lead this<br /> agent to believe that he cannot repeat the<br /> offence in his discretion. In fact, he has<br /> repeated it. The present writer met in London<br /> last winter a prominent American author who<br /> spends most of his time abroad. The latter<br /> observed in the course of a discussion of agents :<br /> “ Well, I stick to — Of course I know<br /> he’s tricky, but he’s honest about his dis-<br /> honesty—the one time, that I found out he’d<br /> held up a cheque of mine for some months, he<br /> admitted it and made good.” . . .<br /> <br /> Not very long ago an agent now operating<br /> in New York approached a certain author<br /> for manuscript to market. The author gave<br /> him one story and, at the agent’s invitation,<br /> named $50 as the lowest price he would accept.<br /> The agent sold the story to The Popular<br /> Magazine for $150, paid the author $50, and<br /> pocketed the difference of $100. His explana-<br /> tion was that, although he styled himself an<br /> agent, he was in reality a middle-man, whose<br /> business it was to purchase from authors at<br /> their lowest cash prices (neglecting, however, to<br /> pay cash at the time of purchase—or at all in<br /> the event of no sale) and sell to the highest<br /> bidder, pouching the difference !<br /> <br /> There exists in New York a dramatic agency<br /> which has been conspicuously prosperous for<br /> many years. So far as this writer is aware,<br /> its probity has never been questioned. And<br /> yet when he had occasion, a few weeks ago, to<br /> consult a copy of the printed form of contract<br /> employed by this agency in closing all agree-<br /> ments between manager and author, he dis-<br /> covered that the agency makes itself a third<br /> party to all such contracts—the manager<br /> cannot proceed against the author, and the<br /> author cannot proceed against the manager for<br /> any delinquency under the agreement, without<br /> the full consent and active assistance of the<br /> agent. In other words, the author surrenders<br /> absolutely, under such agreement, all his right<br /> to protect his own interests in his own work ;<br /> if the agent should prove venal and side with a<br /> dishonest manager the author is absolutely<br /> powerless to protect his own property.<br /> <br /> These anecdotes illustrate, doubtless, ex-<br /> treme instances of the dangers latent in the<br /> commonly lax understandings between authors<br /> and agents; but they are strictly true in<br /> every particular. And as long as authors<br /> tolerate such turpitude, so long will they suffer<br /> <br /> <br /> <br /> from it. The remedy is obvious—make an’<br /> <br /> THE AUTHOR. [MAY, 1914,<br /> <br /> agreement with your agent providing that alt<br /> fees and royalties shall be paid to you im<br /> person, and that you shall personally pay the<br /> agent’s commissions. There is no earthly<br /> reason why an agent should not repose the<br /> same trust in his principal as he commonly<br /> insists the principal must repose in him,<br /> especially when he has an agreement enforee-<br /> able through the courts. No reputable agent<br /> can object to such a provision. And there<br /> is at least one who does not object to it. Some<br /> years ago he negotiated an agreement for me<br /> involving an advance of a large sum of money.<br /> My lawyer thoughtfully wrote into the agree-<br /> ment the provision that the payment should<br /> be made to me personally. The agent never<br /> uttered a word of protest, though it was the<br /> first transaction in which we had been asso-<br /> ciated.<br /> <br /> As a matter of fact, no author should employ<br /> an agent except under a written agreement as<br /> carefully formulated as his contract with his<br /> publishers, which agreement should contain,<br /> among other provisions, the following: (1)<br /> That it shall terminate automatically at the<br /> end of six months if the agent has not within<br /> that time secured an acceptable offer for the<br /> work ; (2) that he shall accept no offer without<br /> consulting, and that no agreement shall be<br /> valid unless signed by the author; (3) that<br /> the author shall have the right to sell his work<br /> at any tim2 without consulting the agent, but<br /> with written notice to the agent of his inten-<br /> tion; (5) that the agent’s commission shall<br /> in no case exceed 10 per cent.; (6) that the<br /> total commission shall not exceed an agreed<br /> sum, ceasing automatically when that sum<br /> has been reached ; (7) that all payments shall<br /> be made direct to the author; (8) that the<br /> agent shall keep a record of his efforts to dis-<br /> pose of the work and surrender it to the author<br /> on demand.<br /> <br /> The strict necessity for incorporating the<br /> last provision will perhaps be more readily<br /> understood by those to whom it comes as a<br /> novelty when they consider such circumstances<br /> as the following :<br /> <br /> A woman playwright, not a member of the<br /> Authors’ League, recently sought advice about<br /> securing readings for her plays. She stated<br /> that she had left several plays for over two<br /> years in the hands of a woman agent, who<br /> positively and at all times refused any informa-<br /> tion as to what she was doing or had done with<br /> the plays, treating all such enquiries as reflect-<br /> ing on her ability, good-will and probity.<br /> This playwright has no agreement with her<br /> agent, beyond an oral understanding as to the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> &lt;—<br /> <br /> 2<br /> Fo<br /> ge<br /> A<br /> iG<br /> <br /> <br /> <br /> <br /> <br /> MAY, 1914.]<br /> <br /> rate of commission ; she cannot get her manu-<br /> scripts back without a row, has no idea of<br /> their fortunes, and cannot well submit them to<br /> managers of her own choosing, because she<br /> does not know that they have not been so<br /> submitted before and because she fears such<br /> action may hinder the alleged activities of the<br /> bent... :<br /> <br /> Publishers should never sign agreements with<br /> agents who cannot produce written authority<br /> to represent the author in question.<br /> <br /> Many agents make a business of claiming<br /> to represent any and every author for whose<br /> work there is a demand. Of one of this class<br /> a certain Philadelphia editor said: ‘“‘ He will<br /> run down from New York and come boiling<br /> into my office with the claim that he is in a<br /> position to secure me an article, signed by the<br /> Creator ; he’ll name his price, collect a thou-<br /> sand in advance, run back to New York and—<br /> wire me with the last dollar of the advance that<br /> the Creator has refused to sign the said article,<br /> but he can get the devil to sign it for the same<br /> money.”’<br /> <br /> Again, an English agent carries my name on<br /> his letter-head with the claim that he is my<br /> general European representative. He is<br /> nothing of the sort. He once secured per-<br /> mission to sell Swedish translation rights in<br /> some of my novels; that is the sole basis for<br /> his pretensions. But an English publisher<br /> who happened to want some of my work would,<br /> on seeing this claim on the agent’s letterhead,<br /> naturally open negotiations through the agent,<br /> instead of personally with me, thereby sub-<br /> jecting me toa loss of 10 per cent. of my terms.<br /> <br /> Mr. H. G. Wells finds it necessary to adver-<br /> tise regularly in The Author, the organ of the<br /> Society of Authors, to the effect that he does<br /> not employ a literary agent except for special<br /> work, in which case the agent will be able to<br /> produce written authority from Mr. Wells.<br /> <br /> The Society of Authors has drafted a model<br /> form of agent’s agreement, a copy of which is on<br /> file in the office of the Authors’ League. With<br /> certain modifications to cover differences<br /> between American and English conditions, it<br /> is an excellent formula; and it may be con-<br /> sulted by any member of the League, on<br /> application to the Managing Secretary. . - -<br /> <br /> There is still another phase of the agent<br /> i demanding more extended discussion<br /> than is possible in this limited space. It is<br /> the question of the value of an agent to the<br /> beginning author. Beginning authors are<br /> frequently most anxious to enlist the services<br /> of well-known agents, apparently considering<br /> such association in some way a cachet of dis-<br /> <br /> ial casa cm 227<br /> <br /> tinction ; but it is gravely to be doubted<br /> whether their services are worth much to the<br /> beginner. {t is my experience that an author<br /> must make himself known by his own efforts<br /> before the agents will accord his work the<br /> attention it requires. It is obvious that an<br /> agent, no matter how much he may admire<br /> the work of Jonsmith, a new writer, is not<br /> going to give it as much attention as he will<br /> the work of, say Mr. Rudyard Kipling; it<br /> takes as much time—generally, much more—to<br /> sell Jonsmith’s manuscripts, and the commis-<br /> sions are not one-tenth as large, and the agent<br /> pursues his business with the notion of making<br /> the best living he can. Give an agent a manu-<br /> script of Jonsmith’s and a manuscript of Mr.<br /> Kipling’s, with an opening where Jonsmith’s<br /> would fit, and it is Mr. Kipling’s manuscript<br /> that gets sold.<br /> <br /> But the author of this article wishes to<br /> disclaim any animus toward agents qua agents.<br /> He has found them excellent servants, though<br /> he believes the best of them to be poor masters.<br /> And he is satisfied that there are many agents<br /> of immaculate probity. But he would<br /> earnestly advise his fellow-members to take<br /> counsel with the Managing Secretary—who<br /> has at his command the experience of the<br /> entire membership—before entering into<br /> relations with any agent whatsoever.<br /> <br /> The Authors’ League cannot, indeed, fulfil<br /> its first purpose until its members form the<br /> habit of consulting the Managing Secretary<br /> with the same freedom that they would con-<br /> sult their family lawyers, on all matters per-<br /> taining to their literary and dramatic ventures,<br /> and of reporting any irregularities that come<br /> to their notice, with the explicit understanding<br /> that ali such enquiries, complaints and reports<br /> will be respected as strictly confidential and<br /> divulged not even to the Executive Committee<br /> save with consent of the member.<br /> <br /> —____——an-9-4 4-0<br /> <br /> UNITED STATES NOTES.<br /> <br /> HAT competition among authors —or,<br /> perhaps I should rather say, anon<br /> publishers—which takes the ne of<br /> <br /> struggling to get on to the list of best He ee<br /> has an interesting international side to it. .<br /> New York Publishers’ Weekly brings out a<br /> consensus for the year, based on. the ae<br /> of best-selling books during 1913, and in t i<br /> the result of the race between American an<br /> <br /> foreign, that 1s, practically, English writers can<br /> <br /> In fiction the three first places are<br /> <br /> be seen.<br /> <br /> <br />  <br /> <br /> 228<br /> <br /> taken by native authors ; Churchill (“The<br /> Inside of the Cup’’) easily first, Harrison<br /> (‘“ V. V.’s Eyes ”) second, and Stratton-Porter<br /> (‘* Laddie ”’) third. The last-named only just<br /> beat the first English author, Parker (“* The<br /> Judgment House ”’). Another American comes<br /> fifth, Fox (‘‘ The Heart of the Hills’); and<br /> then two more English writers, Farnol (** The<br /> Amateur Gentleman ’’), and Hall Caine (“* The<br /> Woman Thou Gavest Me”). Consequently,<br /> Englishmen may be said to hold their own very<br /> successfully in the first seven, though lower<br /> down the list becomes preponderatingly<br /> American. In non-fiction the first four places<br /> go to Americans—Lee (“ Crowds ’’), Collier<br /> (“Germany and the Germans”’), Frank<br /> (‘* Zone Policeman 88 ”’), and President Wilson<br /> (“The New Freedom’’). Viscount Bryce<br /> (‘South America”), and Arnold Bennett<br /> (‘‘ Your United States ”) secure the next two<br /> places for England. A larger number of<br /> foreign authors, including French and Belgian,<br /> figure below the leaders than in the fiction class.<br /> <br /> So much for 1918. In coming to the present<br /> year, the first point that strikes one is that the<br /> early months do not seem to have been very<br /> brisk. I say ‘“‘do not seem,” because, as a<br /> matter of fact, I have not seen any figures,<br /> and so do not know whether the appearance<br /> is supported by reality. I shall attempt the<br /> usual classification of the books, among which,<br /> some at least, may be expected to survive the<br /> test of time.<br /> <br /> The biographies are not as numerous or as<br /> important as when last I wrote. To the com-<br /> plete edition of the works of James Whitcomb<br /> Riley there is prefixed an authorised sketch of<br /> Riley’s life by E. H. Hitel, the editor. Oswald<br /> Garrison Villard has produced a life of ‘‘ John<br /> Brown,’ C. S. Alden one of ‘‘ Commodore<br /> Perkins, U.S.N.” “A Sunny Life,’”’ by Isabel<br /> Barrows, is a record of the career of Samuel<br /> Jane Barrows. Brand Whitlock writes his<br /> own life, or part of it, under the title of ‘‘ Forty<br /> Years of It’?; and Mr. S. S. McClure is the<br /> author of ‘“‘ My Autobiography.” The edition<br /> of the “ Journals of Ralph Waldo Emerson,”’<br /> by E. W. Emerson and W. E. Forbes, may<br /> perhaps be included also under biography.<br /> Another work on an inexhaustible subject is<br /> ““The Everyday Life of Abraham Lincoln,”’<br /> by Francis I’. Browne.<br /> <br /> Later biographical publications are: ‘‘ My<br /> First Years as a Frenchwoman,” by Mary King<br /> Waddington ; “ Our Friend John Burroughs,”<br /> by Clara Barrus; ‘Thomas Wentworth<br /> Higginson,” by his widow; ‘‘ Landmarks<br /> of a Lawyer’s Lifetime,’ by Theron Strong ;<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> and ‘Confederate Portraits,’ by Gamaliel<br /> Bradford.<br /> <br /> The history section may commence with<br /> Admiral Mahon’s ‘“‘ Major Operations of the<br /> Navies in the War of American Independence.”<br /> George L. Rivés writes on “* The United States<br /> <br /> and Mexico’”’?; M. M. Quaife on ‘‘ Chicago and.<br /> <br /> the Old North-West, 16783—1835”; E. D.<br /> Adams on ‘‘ The Power of Ideals in American<br /> History’; G. W. James on ‘“‘ The Old Fran-<br /> ciscan Missions of California.” ‘‘ Readings in<br /> American History ”’ is by Professor J. J. Alton.<br /> Two other professors write on historico-legal<br /> subjects, C. G. Haines on ‘‘ The American Doc-<br /> trine of Judicial Supremacy,” and E.S8. Corwin<br /> on ‘“‘ National Supremacy : Treaty Power versus<br /> <br /> State Power.’ ‘“‘ The Tariff History of the .<br /> <br /> United States ” is by Professor Taussig.<br /> <br /> Professor Dean C. Worcester has out his<br /> expected book on ‘‘ The Philippines.”” Another<br /> work about the same part of the world is ‘“‘ The<br /> Philippine Problem,” by Frederick Chamberlin.<br /> J. K. Goodrich tells of ‘* The Coming Hawaii ” ;<br /> J. Saxon Mills writes about ‘‘ The Panama<br /> Canal,’ which is also the title of a book by<br /> Frederick Haskin, and Albert Edwards about<br /> “The Barbary Coast.” ‘Across Siberia<br /> Alone” is by a lady, Mrs. J. C. Lee; while<br /> adventure of another kind is the subject of<br /> “Alone in the Wilderness,” by Joseph<br /> Knowles, the Boston artist who plunged<br /> into the woods naked, foodless, and weaponless<br /> —and emerged alive. ‘‘ The Ascent of Denali<br /> (Mount McKinley)” is by the Archdeacon of<br /> the Yukon, Dr. Hudson Stuck, who also has<br /> produced “‘ Ten Thousand Miles with a Dog-<br /> Sled.” General Rafael Reyes, ex-President<br /> of Colombia, deals with ‘‘ The Two Americas,”<br /> and Sidney Gulick with ‘‘ The American-<br /> Japanese Problem.”<br /> <br /> Two sociological works are “‘ Heredity and<br /> Sex,” T. Hunt Morgan’s Columbia University<br /> lectures, and ‘‘ The Family and Society,” by<br /> Professor J. M. Gillette. President J. H<br /> Baker, of Colorado University, is the author of<br /> ‘‘ Educational Aims and Civic Needs.” Edwin<br /> Brown writes “‘ Broke,”’ a tramp’s record, and.<br /> Adelaide Popp, ‘‘The Autobiography of a<br /> Working Woman.” In “‘ Love and the Soul-<br /> Maker’ Mary Austin deals with relations.<br /> between men and women.<br /> <br /> ‘“‘ Nietzsche and Other Exponents of Indi-.<br /> <br /> vidualism ” is the name of the latest work by<br /> Dr. Paul Carus, editor of the Open Court.<br /> <br /> H. E. Krehbiel, whom Lafeadio Hearn’s.<br /> admirers will remember as his American<br /> musical friend, has a book on “‘ Afro-American<br /> Folk-Songs.”<br /> <br /> 5<br /> B<br /> 4<br /> <br /> j<br /> i<br /> oe<br /> a<br /> <br /> <br /> <br /> <br />  <br /> <br /> MAY, 1914.]<br /> <br /> A remarkable feature in the novel list is the<br /> great number of feminine names among the<br /> authors this time—over 50 per cent. among<br /> those which I have picked out for mention.<br /> The order, I may note, has no significance.<br /> Mary Roberts Rinehart has written ‘* The<br /> After House’’?; Kate L. Bosher, ‘‘ The House<br /> of Happiness”; Jane Stone, ‘“‘The New<br /> Man’; H. K. Webster, “ The. Butterfly ”’ ;<br /> David Lisle, ‘“‘The Soul of Life’’; Anne<br /> Warner, ‘Sunshine Jane’’; Eleanor H.<br /> Porter, ‘‘ Miss Billy—-Married ’’; Zane Gray,<br /> “The Light of Western Stars”; Harold<br /> MacGrath, ‘‘ Pidgin Island’’; Beulah Marie<br /> Dix, ‘‘ Mother’s Son’’; Samuel Merwin,<br /> ** Anthony the Absolute’’; and Gouverneur<br /> Morris, ‘‘The Incandescent Lily.” With<br /> ** Diane of the Green Van,’’ Leona Dalrymple<br /> won a ten thousand dollar competition.<br /> ““Westways’”’ is by the late Weir Mitchell.<br /> ““The Red Emerald,” by John Reed Scott,<br /> and ‘‘ The White Sapphire,” by L. F. Hartman,<br /> make up a curious coincidence in nomen-<br /> elature. ‘“‘A Wise Son” is by Charles<br /> Sherman; ‘“ Victory Law,’ by Anne War-<br /> wick; ‘‘The Desert and Mrs. Ajax,” by<br /> E. S. Moffat; ‘‘ The Congresswoman,” by<br /> Isabel Curtis; ‘“‘ Van Cleve,” by Mrs. Watts ;<br /> “Dark Hollow,” by Anna Katherine Green ;<br /> ** Penrod,” by Booth Tarkington; ‘‘ The<br /> Substance of his House,’ by Ruth Holt<br /> Boucicault ; ‘‘ The Peacock’s Feather,” by<br /> Leslie Moore; ‘‘ The Precipice,’ by Elia<br /> Peattie; ‘‘ Kazan,” by J. O. Curwood ; “* The<br /> First Step,’’ by Eliza Orne White; ‘‘ World’s<br /> End,” by Amélie Rives; and ‘‘ Shea of the<br /> Irish Brigade,’’ by Randall Parrish. Three<br /> anonymous novels are “‘ Home,’ which ran<br /> serially in the Century Magazine before appear-<br /> ing in- book form; “ Overland Red’’; and<br /> ‘“* My Wife’s Hidden Life.’’ It seems that the<br /> practice of suppressing the author’s name, in<br /> order to provoke curiosity, is spreading on<br /> both sides of the Atlantic.<br /> <br /> Having had to reopen this letter I may add<br /> the names of the following later novels:<br /> L. J. Vance’s “The Lone Wolf’; C. T.<br /> Brady’s ‘“‘ The Sword Hand of Napoleon ” ;<br /> H. B. Wright’s “The Eyes of the World”<br /> Carolyn Wells’s ‘Anybody but Anne”<br /> G. B. McCutcheon’s ‘‘ Black is White” ;<br /> Grace Lutz’s ‘‘The Best Man”; Rupert<br /> Hughes’s ‘“‘ What will the People Say?” ;<br /> Doris Egerton Jones’s “‘ Peter Piper”; Vir-<br /> ginia Brooks’s “ Lost Little Sister”; B. W.<br /> Sinclair’s ‘‘ North of Fifty-Three”; and<br /> Caroline Lockhart’s ‘‘ The Full of the Moon.”<br /> <br /> The ‘‘ Authors’ League of America” on<br /> <br /> we vee<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 229<br /> <br /> February 14 held their first annual dinner, at<br /> the Hotel Biltmore, New York. Professor<br /> W. Milligan Sloane, of Colombia University,<br /> presided, Mr. W. J. Bryan, Secretary of State,<br /> was the guest of the evening, and the company<br /> has been described as the most distinguished<br /> body of literary persons ever assembled in<br /> America. Including members and_ guests,<br /> thére were 442 present in all. The League has<br /> now moved to new headquarters at 122, East<br /> 17th Street, New York, which was the home<br /> of Washington Irving late in life.<br /> <br /> Since I last wrote, the most notable death<br /> has been that of Dr. S. Weir Mitchell, who<br /> succumbed to influenza at his home in Phila-<br /> delphia on the fourth day of the present year.<br /> His literary work is so well known in England,<br /> I imagine, that it is unnecessary to refer to it<br /> here ; but it may be mentioned that he was a<br /> prolific medical writer as well as novelist, poet,<br /> ete. He was 84 years of age.<br /> <br /> Captain F. H. Brownson, who died near the<br /> end of the Old Year, combined the professions<br /> of soldier, lawyer, and author. He trans-<br /> lated from the Italian and Spanish several<br /> works, and also wrote on masonry, religion,<br /> and_ politics. Another soldier-author was<br /> James Grant Wilson, who wrote a life of his<br /> old general, Ulysses Grant, and other military<br /> works. He was editing ‘The Lives of the<br /> Presidents of the United States ”’ when he was<br /> carried off. Charles Edmund Dana, who died<br /> in February, wrote a book called ‘‘ Glimpses<br /> of English History,’’ but was better known as<br /> an art critic. February also proved fatal to<br /> Mrs. Marie Robinson Wright, a great traveller<br /> in Central and Southern America, about the<br /> various countries of which she produced a<br /> number of books. George William Sheldon,<br /> who died in New Jersey, will be remembered<br /> in London as the literary adviser in London<br /> to the firm of Appleton between 1890 and 1900.<br /> His own writings were chiefly concerned<br /> with art and artists. Major-General Joshua<br /> Chamberlain (a third soldier author, by the<br /> way), who died on February 24, dealt with<br /> historical and political subjects in a number<br /> of books. He was one of the heroes of<br /> Gettysburg.<br /> <br /> Deaths in March include Frederick Townsend<br /> Martin (in London); J. B. Dunbar, an<br /> authority upon the Pawnee Indians ; Professor<br /> R. B. Richardson, whose writings were<br /> classical and archeological ; and Mrs. Frances<br /> Squire Potter, Professor at Minnesota Univer-<br /> sity, suffragist, and author.<br /> <br /> Putue Wa.sit.<br /> <br /> <br />  <br /> <br /> 230 THE AUTHOR. [MAY, 1914:<br /> <br /> SALE OF COPYRIGHT IN A BOOK.<br /> <br /> —<br /> <br /> N an article in The Author of April 1 it<br /> I was stated that ‘‘in the early days of<br /> the Society it was by no means an<br /> uncommon practice for publishers to purchase<br /> authors’ works outright for a lump sum.”<br /> This rather suggests that in the year 1913 it<br /> would be surprising to find a publisher or<br /> editor who would desire to purchase an<br /> author’s copyright for a lump sum rather<br /> than to pay him a royalty. Probably, how-<br /> ever, it was intended rather to convey that<br /> the publisher who has had to do with the<br /> Society, and who is aware that he is dealing<br /> with one of its members, would hesitate to<br /> suggest such a transaction, or at any rate<br /> would not be likely to press it. There are,<br /> it is submitted, plenty of offers made to<br /> authors to deal on the terms that they shall<br /> have money down in exchange for their rights,<br /> and a good many authors who are not unwilling<br /> to accept such terms. They may very likely<br /> not be members of the Society, and so may<br /> not have read its warnings not to sell literary<br /> property outright, or only to do so under the<br /> advice of the secretary, or of a competent<br /> agent. If, however, writers insist upon waiting<br /> until they get into trouble before joining the<br /> Society, there are naturally many who only<br /> learn the pitfalls of authorship by falling into<br /> them. An author once bit is probably shy<br /> on the next occasion. If he has discovered<br /> from the large sale of a book of which he has<br /> sold the copyright, that he has lost and that<br /> the publisher has been the gainer by the<br /> method of business adopted, he will stand out<br /> for royalties on the second occasion. It may<br /> be observed however that he will not have any<br /> account of its sales supplied to him by his<br /> publisher and so will have no definite figures<br /> to rely upon when he wishes to cite the success<br /> of his first work in endeavouring to secure<br /> good terms from the publisher of his second.<br /> There must be a good many occasions where<br /> a man writes one or perhaps two or three<br /> books, not because he wants to write or has<br /> any need to do so from a pecuniary point of<br /> view, but because a certain book is wanted<br /> and he is the particular man to do it. A great<br /> man may die, a statesman or a soldier, for<br /> example, and leave behind him material for<br /> a work which his relatives may well desire to<br /> see published, and there may be a son or<br /> nephew perfectly qualified to write his biography<br /> oe ee his letters, who in ordinary circum-<br /> : would probably never have produced<br /> <br /> a book. Public interest may be temporarily<br /> riveted upon some scientific discovery, in<br /> investigations relating to a disease, or ina social<br /> or religious question of absorbing interest and<br /> of some obscurity. Naturally when an enter-<br /> prising publisher is looking for material it may<br /> strike him that a book on a special topic such<br /> as these, written by as eminent an authority<br /> as his estimate of cost will stand (or at any<br /> rate by a sure hand who will do what is wanted<br /> correctly), will be a safe investment. It can<br /> easily be understood that in any of the circum-<br /> stances suggested a sum down for all rights.<br /> is likely to be offered and accepted. The<br /> vendor is not accustomed to such transactions<br /> and is glad to have a chance of concluding the<br /> business part of his undertaking at once,<br /> without any need to trouble himself further<br /> about it. The purchaser is not so unaccus-<br /> tomed, and if he has made up his mind that<br /> a speculation is likely to be profitable, he is<br /> naturally anxious that it should be as profitable:<br /> (to himself) as possible ; besides which he can<br /> act with independence if he has the whole<br /> matter in his own hands without need to<br /> consult anyone over any particular point that<br /> may arise. He probably can make himself<br /> safe in any case, but if he buys outright the<br /> profits (if there is success) will be larger than<br /> if he has to go on sharing them for ever with<br /> someone else. Besides which he may, as has<br /> been suggested above, be the person who has.<br /> started the idea of the book, and it is only<br /> natural that if he makes an offer he should<br /> make the one which will suit him best. It is.<br /> equally natural, however, that the Society<br /> should advise the author, if he comes to it for<br /> advice, not to accept such terms. They are<br /> the terms which the trade most readily offers.<br /> to the amateur, and which are more likely to<br /> be accepted by him if he is an amateur and the<br /> less experience he has, than by one who has<br /> qualified himself by previous dealings to<br /> dictate terms on his side, and gained the<br /> knowledge that he ought to do so. Very much<br /> the same thing takes place in picture dealing.<br /> The owner of an old master not perhaps of<br /> sufficient merit to command its value at<br /> auction approaches a dealer. He expects,<br /> perhaps, that the latter will offer to sell the<br /> picture for him taking a specified commission<br /> for which he will undertake to obtain the best<br /> price that professional skill can bargain for.<br /> The would-be seller is, however, much more<br /> likely to be told by the dealer that if he will<br /> name a price himself, he (the dealer) will be<br /> content to take anything realised above that<br /> ptice as his share in the profits. There again<br /> <br /> <br />  <br /> <br /> MAY, 1914.3<br /> <br /> the professional treating with the amateur<br /> endeavours to make the best bargain possible<br /> for himself, and he very often succeeds.<br /> That, however, is no reason why the amateur<br /> should not be advised to resist, even though<br /> to do so may imperil his chance of making<br /> any bargain at al]. Whether he runs a serious<br /> risk of losing his deal altogether depends upon<br /> circumstances, which vary according to parti-<br /> cular cases. The author is spoken of above<br /> as an amateur because his business is to<br /> write ; to sell what he writes may be incidental<br /> to authorship, but is not the author’s busi-<br /> ness. Buying and selling literary matter is<br /> the business of the publisher.<br /> <br /> Now, the reasons for the author refusing to<br /> part with his copyright for a sum down, or,<br /> indeed, to part with it at all, are not entirely<br /> connected with the question of relative<br /> pecuniary profit. It is a matter of importance<br /> to authors, or to most authors, that they<br /> should get as much for their books as possible,<br /> and it is to most authors, whether money is of<br /> importance to them or not, extremely galling<br /> to see large profits obviously accruing to others<br /> and lost to themselves because in a moment<br /> of weakness, possibly of financial weakness,<br /> they made a bad bargain. The matter,<br /> however, is not ended when this is said. The<br /> man or woman who sells a copyright for a<br /> sum down, with no provision for royalties,<br /> or for any future profits, if editions are multi-<br /> plied as the result of success, presumably<br /> retains no control whatever over future<br /> editions, or over the conditions under which<br /> they will be published. There may be no<br /> obligation upon him to make any revision, and<br /> none upon the publisher to ask him for any<br /> such correction, or to permit him to make any.<br /> This may seem to be matter of little moment<br /> (to take an example from what has been<br /> suggested above) to the young scientist or<br /> theologian who has gladly accepted a fairly<br /> liberal offer for an exposition of his views,<br /> probably perfectly correct and _ generally<br /> interesting at the time, upon a topic of science<br /> or theology. It may be a very different affair<br /> twenty-five years later for a medical baronet<br /> or for a bishop, who has perhaps almost<br /> forgotten a pamphlet which others have quite<br /> forgotten or never realised as his, to find that<br /> an enterprising publisher has just grasped the<br /> fact that one of his former authors (whom he<br /> has long paid in full) is now a very eminent<br /> person, and that he has republished his book.<br /> <br /> The scientific or theological treatise may<br /> have correctly represented the accepted views<br /> of the best scientists and the most orthodox<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 231<br /> <br /> theologians some years before, or may have<br /> been to some extent coloured by the personal<br /> views of an author whom no one then troubled<br /> himself to criticise or correct. Appearing as.<br /> an exposition of the views of a leading authority<br /> in his profession, with a full statement of the<br /> dignities which his learning has won for him,<br /> and with no suggestion that the work is early,<br /> immature, and perhaps entirely out of date,<br /> such a book is likely to cause acute distress.<br /> to an author who by his own imprudent act<br /> has lost all power to prevent its publication.<br /> <br /> There is again to be considered the pos sibility<br /> that the author who, when young, has written<br /> a book on a special topic may wish to remodel<br /> it and to republish it in a more important form<br /> when he has thoroughly established himself as<br /> an authority on that topic. It will be par-<br /> ticularly galling for him to find that he cannot<br /> use his previous title again or perhaps any of<br /> his previously used material because to do so-<br /> would be to infringe upon rights which he has<br /> assigned to another.<br /> <br /> Wherefore it is not altogether a question<br /> of whether the offer made is the most profitable<br /> one which can be obtained. It is for the<br /> author to ask himself also: Is this a book<br /> of which it is important that I should keep<br /> control, at any rate to some extent ?<br /> <br /> There are other circumstances in which the<br /> manner of publication selected may be objec-<br /> tionable to the author besides those indicated,<br /> and, of course, what has been said as to books<br /> applies also to articles and contributions to<br /> periodical literature and encyclopedias. It is<br /> a question of entrusting that in which its<br /> author’s interest is rather more than merely<br /> commercial to those whose interest in it will<br /> be commercial only. It is a question of losing<br /> control over that of which the law has given<br /> its author control for his own good and as a<br /> valuable right, and not only for his profit.<br /> He has some control, even in these days of<br /> snapshots and cinematograph films over repro-<br /> ductions of his own features. If he chooses to<br /> part with the copyright in a portrait of himself<br /> by letting a photographer take it on the terms<br /> that the latter shall supply him with a few<br /> free copies and own the copyright, he can only<br /> complain afterwards effectively if some use<br /> made of it should come within the law of libel.<br /> Before this occurs he may be made ridiculous.<br /> on many occasions in a lesser degree without<br /> having any power to prevent it. The original<br /> purchaser of the copyright may not be to<br /> blame in the case of a book or of a photograph.<br /> He may become impecunious or bankrupt, and.<br /> the right to reproduce may pass on sale, and<br /> <br /> <br />  <br /> <br /> <br /> <br /> 230<br /> SALE OF COPYRIGHT IN A BOOK.<br /> <br /> —1—&gt;— + —<br /> <br /> N an article in The Author of April 1 it<br /> I was stated that ‘in the early days of<br /> the Society it was by no means an<br /> uncommon practice for publishers to purchase<br /> authors’? works outright for a lump sum.<br /> This rather suggests that in the year. 1913 it<br /> would be surprising to find a publisher or<br /> editor who would desire _ to purchase an<br /> author’s copyright for a lump sum rather<br /> than to pay him a royalty. Probably, how-<br /> ever, it was intended rather to convey that<br /> the publisher who has had to do with the<br /> Society, and who is aware that he is dealing<br /> with one of its members, would hesitate to<br /> suggest such a transaction, or at any rate<br /> would not be likely to press it. There are,<br /> it is submitted, plenty of offers made to<br /> authors to deal on the terms that they shall<br /> have money down in exchange for their rights,<br /> and a good many authors who are not unwilling<br /> to accept such terms. They may very likely<br /> not be members of the Society, and so may<br /> not have read its warnings not to sell literary<br /> property outright, or only to do so under the<br /> advice of the secretary, or of a competent<br /> agent. If, however, writers insist upon waiting<br /> until they get into trouble before joining the<br /> Society, there are naturally many who only<br /> learn the pitfalls of authorship by falling into<br /> them. An author once bit is probably shy<br /> on the next occasion. If he has discovered<br /> from the large sale of a book of which he has<br /> sold the copyright, that he has lost and that<br /> the publisher has been the gainer by the<br /> method of business adopted, he will stand out<br /> for royalties on the second occasion, It may<br /> be observed however that he will not have any<br /> account of its sales supplied to him by his<br /> publisher and so will have no definite figures<br /> to rely upon when he wishes to cite the success<br /> of his first work in endeavouring to secure<br /> good terms from the publisher of his second.<br /> There must be a good many occasions where<br /> a man writes one or perhaps two or three<br /> books, not because he wants to write or has<br /> any need to do so from a pecuniary point of<br /> view, but because a certain book is wanted<br /> and he is the particular man to do it. A great<br /> man may dic, a statesman or a soldier, for<br /> example, and leave behind him material for<br /> a work which his relatives may well desire to<br /> see published, and there may be a son or<br /> nephew perfectly qualified to write his biography<br /> and to edit his letters, who in ordinary circum-<br /> stances would probably never have produced<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914,<br /> <br /> a book. Public interest may be temporarily<br /> riveted upon some scientific discovery, in<br /> investigations relating to a disease, or in a social’<br /> or religious question of absorbing interest and<br /> of some obscurity. Naturally when an enter-<br /> prising publisher is looking for material it may<br /> strike him that a book on a special topic such.<br /> as these, written by as eminent an authority<br /> as his estimate of cost will stand (or at any<br /> rate by a sure hand who will do what is wanted<br /> correctly), will be a safe investment. It can<br /> easily be understood that in any of the cireum-<br /> stances suggested a sum down for all rights.<br /> is likely to be offered and accepted. The<br /> vendor is not accustomed to such transactions<br /> and is glad to have a chance of concluding the<br /> business part of his undertaking at once,<br /> without any need to trouble himself further<br /> about it. The purchaser is not so unaccus~<br /> tomed, and if he has made up his mind that<br /> a speculation is likely to be profitable, he is<br /> naturally anxious that it should be as profitable:<br /> (to himself) as possible ; besides which he can<br /> act with independence if he has the whole<br /> matter in his own hands without need to<br /> consult anyone over any particular point that<br /> may arise. He probably can make himself<br /> safe in any case, but if he buys outright the<br /> profits (if there is success) will be larger than<br /> if he has to go on sharing them for ever with<br /> someone else. Besides which he may, as has<br /> been suggested above, be the person who has.<br /> started the idea of the book, and it is only<br /> natural that if he makes an offer he should<br /> make the one which will suit him best. It is<br /> equally natural, however, that the Society<br /> should advise the author, if he comes to it for<br /> advice, not to accept such terms. They are<br /> the terms which the trade most readily offers<br /> to the amateur, and which are more likely to<br /> be accepted by him if he is an amateur and the<br /> less experience he has, than by one who has<br /> qualified himself by previous dealings to<br /> dictate terms on his side, and gained the<br /> knowledge that he ought todo so. Very much<br /> the same thing takes place in picture dealing.<br /> The owner of an old master not perhaps of<br /> sufficient merit to command its value at<br /> auction approaches a dealer. He expects,<br /> perhaps, that the latter will offer to sell the<br /> picture for him taking a specified commission<br /> for which he will undertake to obtain the best<br /> price that professional skill can bargain for.<br /> The would-be seller is, however, much more<br /> likely to be told by the dealer that if he will<br /> name a price himself, he (the dealer) will be<br /> content to take anything realised above that<br /> ptice as his share in the profits. There again<br /> <br /> 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> MAY, 1914.)<br /> <br /> the professional treating with the amateur<br /> endeavours to make the best bargain possible<br /> for himself, and he very often succeeds.<br /> That, however, is no reason why the amateur<br /> should not be advised to resist, even though<br /> to do so may imperil his chance of making<br /> any bargain at all. Whether he runs a serious<br /> risk of losing his deal altogether depends upon<br /> circumstances, which vary according to parti-<br /> cular cases. The author is spoken of above<br /> as an amateur because his business is to<br /> write ; to sell what he writes may be incidental<br /> to authorship, but is not the author’s busi-<br /> ness. Buying and selling literary matter is<br /> the business of the publisher.<br /> <br /> Now, the reasons for the author refusing to<br /> part with his copyright for a sum down, or,<br /> indeed, to part with it at all, are not entirely<br /> connected with the question of relative<br /> pecuniary profit. It is a matter of importance<br /> to authors, or to most authors, that they<br /> should get as much for their books as possible,<br /> and it is to most authors, whether money is of<br /> importance to them or not, extremely galling<br /> to see large profits obviously accruing to others<br /> and lost to themselves because in a moment<br /> of weakness, possibly of financial weakness,<br /> they made a bad bargain. The matter,<br /> however, is not ended when this is said. The<br /> man or woman who sells a copyright for a<br /> sum down, with no provision for royalties,<br /> or for any future profits, if editions are multi-<br /> plied as the result of success, presumably<br /> retains no control whatever over future<br /> editions, or over the conditions under which<br /> they will be published. There may be no<br /> obligation upon him to make any revision, and<br /> none upon the publisher to ask him for any<br /> such correction, or to permit him to make any.<br /> This may seem to be matter of little moment<br /> (to take an example from what has been<br /> suggested above) to the young scientist or<br /> theologian who has gladly accepted a fairly<br /> liberal offer for an exposition of his views,<br /> probably perfectly correct and generally<br /> interesting at the time, upon a topic of science<br /> or theology. It may be a very different affair<br /> twenty-five years later for a medical baronet<br /> or for a bishop, who has perhaps almost<br /> forgotten a pamphlet which others have quite<br /> forgotten or never realised as his, to find that<br /> an enterprising publisher has just grasped the<br /> fact that one of his former authors (whom he<br /> has long paid in full) is now a very eminent<br /> person, and that he has republished his book.<br /> <br /> The scientific or theological treatise may<br /> have correctly represented the accepted views<br /> of the best scientists and the most orthodox<br /> <br /> THE AUTHOR. ae<br /> <br /> theologians some years before, or may have<br /> been to some extent coloured by the personal<br /> views of an author whom no one then troubled<br /> himself to criticise or correct. Appearing as.<br /> an exposition of the views of a leading authority<br /> in his profession, with a full statement of the<br /> dignities which his learning has won for him,<br /> and with no suggestion that the work is early,<br /> immature, and perhaps entirely out of date,<br /> such a book is likely to cause acute distress<br /> to an author who by his own imprudent act<br /> has lost all power to prevent its publication.<br /> <br /> There is again to be considered the possibility<br /> that the author who, when young, has written<br /> a book on a special topic may wish to remodel<br /> it and to republish it in a more important form<br /> when he has thoroughly established himself as<br /> an authority on that topic. It will be par-<br /> ticularly galling for him to find that he cannot<br /> use his previous title again or perhaps any of<br /> his previously used material because to do so:<br /> would be to infringe upon rights which he has.<br /> assigned to another.<br /> <br /> Wherefore it is not altogether a question<br /> of whether the offer made is the most profitable<br /> one which can be obtained. It is for the<br /> author to ask himself also: Is this a book<br /> of which it is important that I should keep<br /> control, at any rate to some extent ?<br /> <br /> There are other circumstances in which the<br /> manner of publication selected may be objec-<br /> tionable to the author besides those indicated,<br /> and, of course, what has been said as to books<br /> applies also to articles and contributions to<br /> periodical literature and encyclopedias. It is<br /> a question of entrusting that in which its<br /> author’s interest is rather more than merely<br /> commercial to those whose interest in it will<br /> be commercial only. It is a question of losing<br /> control over that of which the Jaw has given<br /> its author control for his own good and as a<br /> valuable right, and not only for his profit.<br /> He has some control, even in these days of<br /> snapshots and cinematograph films over repro-<br /> ductions of his own features. If he chooses to<br /> part with the copyright in a portrait of himself<br /> by letting a photographer take it on the terms<br /> that the latter shall supply him with a few<br /> free copies and own the copyright, he can only<br /> complain afterwards effectively if some use<br /> made of it should come within the law of libel.<br /> Before this occurs he may be made ridiculous.<br /> on many occasions in a lesser degree without<br /> having any power to prevent it. The original<br /> <br /> purchaser of the copyright may not be to<br /> <br /> blame in the case of a book or of a photograph.<br /> bankrupt, ~~<br /> an<br /> <br /> He may become impecunious or<br /> the right to reproduce may pass on sale,<br /> <br /> <br />  <br /> <br /> <br /> <br /> 932<br /> <br /> may be a valuable property to one who, it<br /> cannot be repeated too often, will have no<br /> interest in it but a purely commercial one.<br /> As the Encyclopedia Britannica patronisingly in<br /> its article upon publishing says of the Society of<br /> Authors: “It offered useful assistance to authors<br /> ignorant of business in the way of examining<br /> contracts.” It docs so still, and included in<br /> that advice is the recommendation as a general<br /> rule to refuse to part with all control over a<br /> copyright and to refuse to take a sum down<br /> as consideration for the right to publish,<br /> unless special circumstances of the case render<br /> this desirable or inevitable.<br /> <br /> CORRESPONDENCE.<br /> <br /> —_-—&lt;&gt;— +<br /> AGENTS versus BRAINS.<br /> <br /> Dear Sir,—I have received an offer of<br /> ideas from a literary bureau which is a reve-<br /> lation to me, and, I think, a glimpse at the<br /> terms at which brains are supplied by agents<br /> ought to serve as a warning to would-be<br /> ‘writers who may not be aware of the condition<br /> of the literary market. The prospectus I<br /> ‘received offered me :—<br /> <br /> (1) Plots of love, humorous and sensational<br /> short stories, 2s. each.<br /> <br /> (2) Ideas for humorous, interesting, instruc-<br /> tive and personal articles, 2s. each.<br /> <br /> (3) Jokes suitable for illustration or other-<br /> wise, 2s. each.<br /> <br /> (4) Ideas for new competitions, 2s. each.<br /> <br /> (5) Notes for speeches, sermons, addresses<br /> ‘on any subject, 2s. per 100 words.<br /> <br /> (6) Topical and other facts and information<br /> ‘written up in fiction and article form, 2s. per<br /> 100 words.<br /> <br /> (7) Research and compilation, 2s. per hour.<br /> <br /> (8) Scenarios and synopses for plays, serials,<br /> ‘and novels, 2s. per 100 words, etc., ete., etc.<br /> -All on the bargain counter, 2s. a piece ! !<br /> <br /> This is not a solitary case. Daily “ ghost<br /> ‘work ” is supplied at prices that makes one<br /> ‘Shudder at the traffic in brains going on in our<br /> midst.<br /> <br /> Is there no hope of organised literary labour<br /> and a minimum wage for writers ?<br /> <br /> A FREELANCE.<br /> <br /> ——— —<br /> “Tam LITERARY YEAR-Book.”’<br /> <br /> Sir,—My attention has been drawn to an<br /> advertisement appearing on the front page of<br /> Lhe Atheneum of 11th inst., under the heading<br /> <br /> THE AUTHOR.<br /> <br /> [MAY, 1914.<br /> <br /> ** Miscellaneous,”” wherein the advertiser seeks<br /> capital to finance the production of a “ Literary<br /> Year-Book.” T&#039;o avoid misapprehension in<br /> the minds of those who may have seen. this<br /> advertisement, I write to say that it has<br /> nothing to do with ‘“‘ The Literary Year-Book,”<br /> of which I have been editor and proprietor<br /> since 1909, and which has been published<br /> annually since 1897, and is now published by<br /> Heath, Cranton and Ouseley, Ltd. I should<br /> be much obliged if you would kindly give<br /> publicity in your next issue to this disclaimer.<br /> <br /> Basin STEWART.<br /> <br /> —1——+—.<br /> <br /> MaGAZINE PAYMENTS.<br /> <br /> Dear Srr,—Can you enlighten me as to<br /> whether there is any principle governing the<br /> rate of payment for short stories in our monthly<br /> magazines ? In a writers’ Year-Book I find<br /> such payments as “ a guinea per 1,000 words,”<br /> “10s. 6d. a column,” “a guinea per page,”<br /> and even a “ guinea and a half.” Also, I<br /> observe, “‘ payment by arrangement with the<br /> editors,” ‘‘ payments according to value.”<br /> <br /> Let me relate my experiences.<br /> <br /> Some time ago, a friend and I belonged to an<br /> amateur magazine, and were inspired by our<br /> critic’s praises to fly higher. She sent a short<br /> story toa ls. magazine ; I, less bold, sent mine<br /> (11,345 words in length) to a 6d. one. Both<br /> were accepted and printed. Hers occupied<br /> sixteen pages; mine, eighteen much larger<br /> ones. On publication, she received seven<br /> guineas. Mine appeared with a greater<br /> flourish ; its title and my name were placed,<br /> with one other, as “‘ Special Contents,” at the<br /> top of the magazine cover. Four months<br /> after publication, after repeated applications,<br /> I received the magnificent sum of one guinea,<br /> and I shall never believe there had ever been<br /> an intention to pay me even that amount.<br /> Thus my friend was paid 9s. 2}d. per page ;<br /> I, for larger pages, 1s. 2d.—that amounts to<br /> 1s. 2d. per 680 words. Later, I tried her 1s.<br /> magazine. For four and a_ half pages<br /> (2,083 words) I received 81. i.e., 188. 4d. per<br /> page. I ‘“‘ got into” another 1s. magazine<br /> with a twelve-page story, and was paid three<br /> <br /> uineas, 5s. 8d. per page. In each case the<br /> <br /> S. was promptly accepted. There was no<br /> ‘arrangement with editor” suggested, no<br /> discussion as to ‘“ value.” And what deter-<br /> mines value in the case of an approved MS. ?<br /> <br /> Pray enlighten my<br /> PuzzLEDOM, -	https://historysoa.com/files/original/5/540/1914-05-01-The-Author-24-8.pdf	publications, The Author