Part 4
The publication is accepted in England as being simultaneous if the time between publication in England and in America does not exceed fourteen days. It is important to note that when the case is reversed the "simultaneous" publication of an American book in England must be made on the exact day of its publication in America.
(_b_) The so-called English agent must be an English publisher. On the day appointed for publication, the English agent must make formal sale of at least one copy of the volume, and the entry of such sale must appear upon his books. Six copies are delivered by the agent to the following libraries:
_British Museum_ _Bodleian Library, Oxford_ _University Library, Cambridge_ _Library of the Faculty of Advocates, Edinburgh_ _Library of Trinity College, Dublin_ _National Library of Wales_
¶It is not obligatory that five of these six copies be delivered unless demand is formally made within twelve months after publication, but if the books are not in stock for delivery then the agent may be fined £5 plus the cost of the volume. The copy for the British Museum must be delivered within one month after publication.
If an edition de luxe is issued, the copy sent to the British Museum must be of this edition.
Points which are still to be settled in the new English copyright law are, whether or not, in order to make a bona fide publication, copies should be sent out for review, and advertised or offered for sale by the traveling salesmen of the English publisher. It is probable that these points will be definitely determined within the next few months. The English act requires a genuine publication to satisfy public demand, and not merely a "colourable" formality. What "public demand" may be has not yet been defined.
There is no necessity for printing any notice of English copyright, as the English law does not require it; but it is customary, on American books copyrighted in England, to use the words, "Copyright in England," to give warning that copyright is claimed on the book. It is not considered necessary to have the English publisher's imprint on the title-page of such books.
The expression sometimes seen on the copyright page, "All rights reserved including that of translation into foreign languages including the Scandinavian," is now valueless. The American and English copyrights protect the book in all countries with which the United States has copyright relations, and the notice would not prevent appropriation in any country with which the United States has no copyright relations. The expression came into use during the years preceding our present reciprocal copyright arrangements, and is now discontinued by those familiar with its original significance.
RELATIONS OF THE SHORT-STORY WRITER TO THE MAGAZINES
THE contributor to the magazines stands in a relation entirely different from that of the novelist to his publisher. In this case, the author has no joint interest with the publisher, being but one of many contributors to the magazine as a whole. In an article in their "Bulletin," the Authors' League refers to these dealings as follows:
"In his relations with the magazine publisher, the short-story writer may be considered either as an independent merchant, peddling his wares, or as an employee,--on the same plane with the ink-dealer and the paper-house, say, or on the same plane with the sub-editor and the cashier. The magazine publisher, for selfish reasons, generally prefers to consider him as a merchant. Your committee, for reasons equally selfish but perhaps better founded, considers him rather in the light of an employee. First, and most importantly, the ink-dealer and the paper-house have capital; the magazine writer brings nothing to his business but his brain and his two hands. In the second place, a great deal of the writing for our periodicals is done by men and women employed on salary, and economically in the same category as the cashier or the sub-editor. The man or woman who writes 'on the outside,' either on speculation or on order, it seems to us, is no less a temporary employee of the magazine.
This consideration enters into the first grievance which has been urged by many of our members against certain of our magazines,--the deferring of payments after the acceptance of the article or story. As every one knows, the custom of our leading periodicals varies greatly in this regard. Some pay upon acceptance, not nominally but really. Certain others pay within the month. Still others pay just about when the author can get it. The staff writer receives his regular salary every week; the free-lance writer, working on order, temporarily just as much a part of the magazine staff as any regular employee, often has to wait for weeks and months. Certain of the magazine publishers interviewed by your committee have their ready-made answer to this: 'The ink maker and the paper manufacturer give us time: they wait one, two, or three months for their money; why should we be any more prompt with the author?' This position, on the theory that the magazine writer is only an outside employee, is of course untenable."
COPYRIGHT
From the same source comes most valuable comment regarding the importance of a fuller knowledge on the part of the short-story writer of the exact bearing of the copyright law upon his work, being the statements upon recent opinions handed down as a result of litigation. Briefly, these opinions are to the effect that a magazine copyright covers the matter contained in each number only to the extent to which such matter is the property of the magazine. It therefore follows that in the case of a story, of which only the magazine rights have been sold by the author, the magazine copyright leaves him absolutely unprotected in his dramatic and, theoretically at least, in his book rights. To save whatever he reserves, he must take copyright, also, in his own name, fulfilling the necessary formalities, such as paying a separate fee, depositing two copies of the book in the Library of Congress, and seeing that his notice of copyright appears upon the story when published in the magazine.[28] The attorney for the Authors' League advises as follows:
"So long as this and similar matters remain in doubt, both authors and publishers should, for their own protection, agree on some system whereby the dramatic and all other rights are thoroughly safeguarded. This can be accomplished in either of two ways:
(_a_) The editor can copyright each story or article separately in the author's name, printing at the bottom of the first page thereof a proper copyright notice, as follows:
'Copyright, 1913, by John Doe'
The author should then, immediately on publication, mail one copy of the magazine to the Register of Copyrights in Washington, in conformity with the requirements of the present Act, enclosing the fee of One Dollar. This is perhaps the simplest way, although it involves a separate registration of the magazine for each story or article so copyrighted.
(_b_) Or the author can sell his story outright to the editor or publisher, and safely reserve his equitable interests in the dramatic or other rights thereto by attaching to his manuscript a 'rider' or slip somewhat as follows:
'This manuscript is submitted with the understanding that, if accepted for publication, the same shall be copyrighted by the publishers, and all rights under said copyright (except that of magazine publication) shall be held in trust for the benefit of the writer or his assigns, and will be reassigned to him upon demand.'"
PRACTICAL SUGGESTIONS
The general advice under "Submitting the Manuscript"[29] applies with added force to the manuscripts of short stories, as the number of such manuscripts submitted to editors is naturally greater than in the case of novels and publishers. In a word, make the reading of your story as attractive and as easy for the editor as possible. In addition, these points are of importance in submitting manuscripts of short stories:
Use double space in typewriting.
Be sure that your typewriting machine is in good order. Typewritten manuscript possesses an individuality as well as hand-script, and inaccurate or slovenly pages prejudice the reader.
Always enclose a stamped, addressed envelope, and be sure that the postage is not underpaid. Manuscript copy costs two cents an ounce; when mailed with proof, it costs one-half cent an ounce.
Write your name and address in the upper, left-hand corner of the first page; in the upper, right-hand corner write the approximate number of words.[30]
A short story is usually supposed to contain from 3000 to 6000 words.
Number your pages consecutively.
The manuscript may be folded, not more than twice, but should never be rolled.
DEALINGS WITH THE EDITOR
The letter accompanying the manuscript should be brief, business-like, and to the point. The editor is too busy to concern himself with anything in connection with the writer or the story except the story itself.
Don't call upon the editor, or send him a letter of introduction; let the merit of your story be your only sponsor.
Don't ask the editor to criticize your work; place the manuscript in the hands of a professional reader if that is what you desire.
Be patient. It is reasonable to expect a decision upon your manuscript within three months' time, but not sooner.
Don't be offended by the receipt of a printed rejection slip. Personal letters are not to be expected.
Accept the editor's judgment cheerfully. Nothing is ever gained, and much is usually lost, by personal pique.
Study the spirit and policy which lie behind each publication. Just as a merchant offers his wares only in the market where the demand exists, make sure in your own mind that your story fits the magazine to which you send it.
Look upon the return of a manuscript as an opportunity for revision and improvement before sending it out again. Study it, and try yourself to discover why it did not succeed.
Keep a careful record of the peregrinations of your various manuscripts.
Be timely, remembering that "seasonable" stories should be received by the magazines four to six months before the season arrives.
The best magazines have a regular rate of payment, so it is needless to discuss terms in submitting your manuscript.
Never give a story away. If it is worth publishing it is worth being paid for, and to part with it for nothing injures the literary market for your fellow-writers as well as for yourself.
There is much difference of opinion regarding the ethics of submitting the same manuscript to more than one magazine at a time. In this matter each writer must settle the question for himself. There is no general custom, but good taste would seem to argue against the practice.
It is seldom wise to submit more than one story at a time to the same magazine.
THE LITERARY AGENT
Enlarging upon what has been said in an earlier chapter,[31] the literary agent may be found much more useful in the marketing of short stories than in novels. The relations of the author to the publisher are much closer than those existing between the short-story writer and the magazine editor, and the personality of the author is a less important factor. If the writer of short-stories makes a study of the market, and possesses ordinary business ability, he has no more occasion for an "agent" than a man engaged in any other profession. On the other hand, it is a fact that the average writer does not develop himself along these lines, so that the advice and co-operation of one who makes a business of acting as a go-between can be made exceedingly valuable.
In placing oneself in the hands of a literary agent, great care should be exercised to select one with a reputation for the successful placing of manuscripts and for prompt financial dealings.
The ordinary commission of the literary agent is 10 per cent. upon all sums received on account of the author, and it is customary for him to handle the financial as well as the literary relations between the writer and the magazines.
THE MECHANICS OF THE BOOK
SOME authors have a general idea of how a book is manufactured, but more have none. Even in the case of experienced writers, every printing-office could tell surprising stories to illustrate the unreasonableness born of a lack of knowledge of the ordinary mechanics of manufacture, or of a confidence born of too little knowledge. And unreasonableness on the part of the author means extra and unnecessary expense either to the printer or to the publisher. One of the most unfortunate features of the publishing business is that the exact cost of manufacturing a book can rarely be estimated in advance: typography, electrotyping, engraving, designing, presswork, paper, and binding can be figured closely, but the "extras," resulting from the author's carelessness, lack of knowledge of the book's mechanics, or change of heart as the manuscript goes into type, in many cases so increase the cost beyond the publisher's expectations that the publication can only show a loss instead of a profit.
These "extras" result from different causes: the manuscript may be carelessly prepared, with poor punctuation and clumsy expressions, which the author corrects in the proof. The author frequently boasts, "I know nothing about punctuation," but would an artist admit that he was ignorant of how to mix his colors? There is no question that authors sometimes take advantage of their "temperament," and lie down upon it in a manner most unfair to their co-partners in the enterprise.
Changes in the manuscript cost nothing, changes in the type cost one dollar per hour. To correct vital points after the book is in type is warranted; to correct blunders in punctuation or expression is needless expense, and is a reflection upon the intelligence of the author. Genius may be erratic, but it is more respected when it is not made to carry the responsibility of ordinary carelessness or ignorance. The writer recalls a case where the author of a story changed the name of one of the characters after the book was in type; it cost the publishers over eighty dollars. Frequently an author changes the name of his story, necessitating resetting the running-heads, the title-page, and recutting the brass dies, all of which adds expense beyond the publisher's original estimate. Countless other examples might be cited, but the main point is that all vital details should be discussed and settled while the story is still in manuscript, and after it has been placed in the printer's hands further changes should be only those which are of serious moment.
Other "extra" expenses include the cost of proofs. The publisher usually receives from the printer two sets of galley-proof, two sets of page-proof, and two sets of foundry-proof. All proofs beyond these six sets are charged for as "extra," the usual rate being one cent per page.
If the author retains his proof longer than is necessary to read and correct it, this delay frequently forces the printer to work over-time to meet publication-day; this over-time work is charged for at double price.
An author would never have any difficulty in securing a letter of introduction from his publisher to some large printing-house, and the printer would gladly give him every opportunity to familiarize himself with the mechanical processes. This knowledge, together with a study of those elements which go into the manufacture of a book, would enable the author to avoid needless cost, or to incur intelligently such extra expense as became vitally necessary.
The following suggestions are important regarding the relations between the author and the printer:
It is always wiser to leave all questions of typography for the publisher to settle with the printer, unless there is some specific reason why the author wishes to accomplish a particular result by using certain type effects.
Copy should be typewritten, and revised carefully by the author, before sending it to the printer, to correct typewriter's errors. Interlineations and erasures which make the reading difficult should be avoided. It is always a simple matter to rewrite such portions without rewriting the entire chapter.
If the author has decided preferences regarding spelling or punctuation, this fact should be clearly stated on the manuscript; otherwise the printer follows his office style, which may or may not conform with the author's ideas.
In the preparation of copy, consistency of spelling and punctuation is strongly urged, as it not only simplifies the problem for the printer, but also prevents possible misunderstanding of copy and consequent necessity for resetting.
All paragraphs should be clearly indicated in the copy.
All directions written upon the manuscript, which are not intended as "copy," should be enclosed in a circle.
The author should punctuate each sentence as he writes it, for in this way the marks are indicative of the natural pauses, and better express his meaning.
Foot-notes should always be clearly indicated.
Unusual words, proper names, and figures should be written out with the greatest care and distinctness by the author.
It is for the common advantage of the author, the publisher, and the printer that the author or the editor read all proofs promptly.
ESTIMATING THE MANUSCRIPT
The usual procedure in making a book is as follows: When the publisher sends the manuscript to the printer, a request goes with it for a sample page, set to a size and in a type which will make a volume of the desired number of pages. A novel is supposed to run from 320 pages to 400 pages. The first thing to be done is to estimate the number of words in the manuscript, and this is accomplished by averaging the number of words in say thirty lines, and then multiplying by the number of lines on a page. No allowance is made for fractional lines, as these also occur in the printed page. If the manuscript is carefully written, each page will contain the same number of lines, so the total number of words may be found by multiplying the number of words on the page, as arrived at above, by the total number of pages in the manuscript. This explains the importance of having a standard number of lines on each page.[32] No allowance is made for fractional pages at the end of chapters, as there are also fractional pages in the printed book, and it averages up.
The front matter has to be estimated separately, with allowance for the blanks on the reverse of bastard-title, dedication, etc.,[33] but the usual number of pages is eight. Then, again, an allowance of half a page for each chapter sinkage[34] has to be made. Suppose we have a manuscript of 90,000 words, with 24 chapters: A type page of 280 words gives us 322 pages, to which we add 8 pages for front and 12 pages for chapter sinkages, giving us a volume of about 344 pages. As the presswork is usually done in forms of 32 pages, an effort is always made not to exceed even forms by a small number of pages. Striking out the bastard-title will often save a form of press-work.
Various short-cuts have been suggested for estimating the number of words in a printed page, but the old-fashioned method of counting is the safest. Here is a table which is as accurate as any short-cut can be:
Words in sq. in.
18-Point (Great Primer), solid 7 14-Point (English), solid 10 12-Point (Pica), solid 14 12-Point (Pica), leaded[35] 11 11-Point (Small Pica), solid 17 11-Point (Small Pica), leaded 14 10-Point (Long Primer), solid 21 10-Point (Long Primer), leaded 16 9-Point (Bourgeois), solid 26 9-Point (Bourgeois), leaded 20 8-Point (Brevier), solid 30 8-Point (Brevier), leaded 21 7-Point (Minion), solid 38 7-Point (Minion), leaded 27 6-Point (Nonpareil), solid 47 6-Point (Nonpareil), leaded 33 5-Point (Pearl), solid 69 5-Point (Pearl), leaded 50
In cases where the number of lines to the inch of certain sizes of type is desired, the following table may be employed up to 18-point body:
No. lines No. lines leaded with Size of type set solid 2-point leads
5-pt. 14 10 5½-pt. (agate) 13+ 9+ 6-pt. 12 9 8 " 9 7+ 10 " 7+ 6 12 " 6+ 5+ 14 " 5+ 4+ 18 " 4 3+
THE SAMPLE PAGE
With these details settled, the sample page is next in order. Knowing that the book is to be a 12mo (size of leaf 5⅛ × 7⅝) or a 10mo (size of leaf 5½ × 8¼), the printer must "lay out" the page so as to leave margins of proper size and proportion. A 12mo type page may vary from 3 × 5¼ inches to 4 × 6¾ inches. Somewhere within this area, in the given example, the page must contain about 280 words. If the manuscript is long, then the type page must be large, the type itself small (never smaller than long primer[36] nor larger than pica[36]), the leads[36] reduced or omitted altogether. This is where the printer's taste and skill is given an opportunity for expression: he is the architect of the book, and must not combine types or decorations which are inharmonious, and his proportions must be kept correct.
For his sample page for the given novel, the printer would select from these standard faces: