Part 17

Doctors violently disagree over book advertising principles, and possibly it is best to start by saying that there _are_ none and that each book is a rule unto itself. Certainly a close and careful study of a book's points and the class of people to whom it would likely appeal, its "editorial qualities," is the only proper basis for a campaign. For the average novel by a well-known author the main problem is to let the world know it has been issued. Therefore, in advertising in a newspaper, the announcement of the book's publication should be made in such a manner that all the readers of that paper will notice it. The campaign should start with what is technically known as a "must be seen" notice. It is the publisher's business to shout loud enough to be heard above the clatter of the small advertisements, "Just out--New book by Donan Coyle, 'The Return from Davy Jones.'" If some piquant description of the book follow, this should be sure to send all those readers of the paper interested in Donan Coyle to the bookshop in search of the new volume. Much smaller "ads." following from time to time, that may catch the eye of the forgetful ones and arouse their interest by some words of personal or press commendation on the volume, would close a campaign of this kind, which would have naturally gathered in its trail many readers and even non-readers not distinctly interested in Donan Coyle. It would at least have started the mouth-to-mouth advertising of the book, to which paid-for advertising can after all be regarded only as assistant and support. In fact, when all is said and done the greatest service advertising does is in reminding people of books they have heard praised, and the best advertising is that placed on the road to the bookstalls, a strong argument for the poster, since it is exhibited in front of the bookshop, where it can catch the passer-by. In tune with this conception of the advertisement as an announcement is this general rule--advertise prominently the name of the book, and the author's name if it is important. These are commodities you have to sell, the things you wish people to ask for--just as the bacon-maker wants you to ask for "Blank's Bacons."

For books that have no well-known author's name to assist them, or those for which a large sale cannot be forecasted at the start,--books that appeal to the select few,--other and more inexpensive methods must be pursued. In most such cases it is probable that any advertising in newspapers would be unwise, and this leads to the subject of magazine advertising, which is much higher grade and more suited to such books of quality. There are many distinctly literary publications, the subscribers to which are always searching for books of a fine type--an interested clientele who will read advertising pages rather thoroughly, and gladly pay good prices for good books. Small advertisements--perhaps a page of small advertisements of good books--in a magazine of this class will bring returns, especially if the books have been well reviewed. There are also trade journals, which go to the booksellers, and in these the publisher must announce his new issues well,--describe them thoroughly, and give some idea of what he intends doing in the way of energetic general advertising. The aim of this is to influence booksellers to increase their orders.

These few paragraphs only scratch the surface of a broad subject of extreme interest. Each publishing firm has developed through its experience its own principles of the psychology of public opinion, its own idea of the qualities a book should possess, and its own way of getting at the people. Results are frequently so surprising that one is inclined to class publishing among the games of chance. It is certain that everybody cannot make a success at it, and there is no doubt that it requires a definite endowment of genius.

There falls to the publicity department the writing of a great many letters,--numbers are in answer to questions concerning books and authors, but by far the larger number are in the nature of circulars. The personal typewritten letter or the printed typewritten letter that masquerades as such, has a power equal to a hundred circulars. It claims attention at once, if it does not declare itself an advertisement on the outside, where a printed circular gets swept into the waste-paper basket unread. It's expensive--about three cents a letter if done properly, but when there are special ends to be accomplished, such as calling the attention of the clergy to a novel that would suggest sermons, or the members of an Audubon society to a book on birds, it is the surest and most profitable method.

It is especially in a mail order or subscription book concern that the circular letter is of most use. The expensive sets of such concerns, and the large profit figured on them, justify such a costly method of publicity. It is generally made more expensive by the enclosure in the envelope of return postal cards and other printed material.

This subscription business is a business by itself and conducted quite differently from average publishing. The advertising is lavish, and the underlying principle of it is, that the prospective purchaser wishes a complete description of the wares. Attractive premium, and short-time low-price offers are always made, and the endeavor is to get the prospective customer to permit the set of volumes to be sent on inspection, reliance being held in the ability to make him keep them through the real quality of the books, assisted by a series of "follow up" letters enlarging upon the virtues of the set. Lists of names are circularized, and "follow up" letters used here also to bring orders.

An important form of publicity is that which has grown up as a result of the interest shown by readers, especially in America, in the personality of authors and the desire to know what is happening in the world of books. This very natural and legitimate curiosity affords the publisher a chance to push his products forward in an unobtrusive way. Because it is to all appearances unbiased, it wields quite a deal of influence, especially in building up the reputation of an author. Every paper that pretends to any literary standing prints regularly or occasionally a column of Literary Chat, in which is given brief news of authors and books. There will perhaps be a humorous anecdote of the author of a prominent novel, a brief summary of a book shortly to be issued, some comment by a well-known person on a well-known book, a biographical sketch of a new author, a telling extract from a book of serious value, a note that "The Return from Davy Jones" is in its _n_th edition--all of it really news and of interest. Some newspapers write their own chat, but the majority print, with small alteration, such as is furnished by the publicity departments of publishing houses, which send out weekly or monthly printed or typewritten sheets of such brief items. In this way Donan Coyle as the author of "The Return from Davy Jones" is kept before the public. The public also has a legitimate desire to know something of the appearance of the author of a popular novel or important books of essays, and the newspaper reviewer frequently wishes to print a portrait with his review. Here the publicity department steps in and helps him, by furnishing suitable electrotype portraits upon request, and not infrequently, by sending out proofs with interesting notes, suggests the use of the portrait. The relation between a literary editor who wants to print the book news and a manager of publicity is a mutually beneficial one. If they coöperate thus, they can be of great assistance to each other, and in the exchange each one gets value received. By a thousand little methods and devices the person in charge of publicity can furnish desired information and get this undersurface publicity, and by putting out _bona-fide_ news and really good stories about them, bring even his lesser light authors into prominence. In this field, as in all others, the well-known authors advertise themselves and set up a demand for publicity.

The financial end of Publicity is full of complexities. The question of how much an expenditure per volume is warranted is one that cannot be answered generally. There are many limiting and defining considerations. First of all, the book itself. If it is the kind to be a "big seller," a risk can possibly be taken on a larger advertising investment than would be warranted in the case of a good book of finer quality and limited appeal. Certain books of coarser, more obvious qualities have a large public if it can be reached. In such cases an exceptional effort will bring exceptional returns. By the risk of a large advertising outlay the firm may get big profits; while a flat failure, because the large, non-book-buying public had not been reached through newspaper and lavish poster advertising methods, might result if only a few hundreds were spent. Judgment of the finest kind is required here, and it cannot always decide rightly.

How much to spend depends essentially upon the book, and there is no hard and fast rule. Books have been known to reach their public and reach good sales at an advertising outlay of about one cent per copy. Others have had fifty cents per copy sold spent upon them, and fallen flat.

The publishing business is not one in which there are great profits, and the margin between the cost of manufacturing and the wholesale price is small. This small amount must furnish the author's royalty, the advertising appropriation, the publisher's cost of doing business, and his profit. It can be seen then that the amount of royalty paid on a book in a certain degree rules the amount of advertising that can be done,--the publisher and author are, in a measure, partners, and if the author demands a large royalty, he thereby cuts down the amount the publisher can afford to expend in advertising his book. The larger the appropriation for advertising, the larger the chance for increased sales.

It is difficult to make any generalization on the amount that should be devoted to publicity. Taking the $1.50 novel as a standard, it might be said that figuring in all kinds of publicity--newspaper, magazine, circular, literary notices, etc.--from ten to twelve per cent of the wholesale price on the first edition of 10,000 would be a liberal allowance. On more expensive volumes, handled as subscription books, a much larger proportion would be the rule. On new books other than fiction, where the sale could not be expected to reach more than a few thousand, there would be no business justification in spending so much. Such books have more or less to make their own way.

Publicity is an essential part of the publishing business, and the breadth of its field, as well as the proper way to apply its influence, is beginning to be more correctly understood. Fortunately, for all concerned, the author as well as the publisher and the book-buying public, it is a power that can work only for good, and in a good cause. It hastens the fame and the sales of a really good book, but its power with a bad book is very small indeed. One fact has developed from the thousands of book advertising campaigns, and it is this--that you cannot force a really worthless book down the throat of the American reading public however much money you put into advertising. You may create a big sale for a very light and frothy story, with little to recommend it from the literary critic's point of view, but you can be sure, if it succeeds, your novel has certain positive, if rather superficial virtues, either in the story, in the local color, or in the method of telling. And when one contemplates the huge success of Mrs. Humphry Ward's and Edith Wharton's distinguished novels, one is obliged to accept the comforting conviction that the reading public of this country knows a good book when it sees it.

REVIEWING AND CRITICISING

By Walter Littlefield.

About 60,000 volumes are annually published in Germany, France, Italy, Great Britain, and the United States. Germany heads the list, with something less than 25,000, and the United States ends it, with between five and six thousand titles, although it should be added that Continental figures refer to all material bearing an imprint published for circulation whether pamphlet or book. Aside from purely scientific and specialistic publications those intended for public perusal of all grades of literacy and intelligence may be classified as history, biography, travel, _belles-lettres_ (including art, criticism, and poetry), and fiction. It is the work of the literary critic to write about these books in such a manner that neither the author nor the public may suffer injustice by their purchase or non-purchase. The critic must explain their purpose, point out their merits and imperfections, and compare their features with the features of other books on the same subject. In short, he should tell the public whether to read the book or not. He should do so in an entertaining manner.

Now the way this end is achieved in America often excites the derision of the literary foreigner; for although most American reviews are readable enough, they often lack the critical emphasis and literary scope and color so conspicuous in the literary criticism of the British and Continental reviews. But the foreigner overlooks the fact that American reviewers usually have something to say about every publication which claims to appeal to a reading public, and that many of these would be absolutely ignored by foreign critics, who are possibly right--when we consider their readers--in selecting only what they deem worthy of their knowledge and critical acumen. The foreign man-of-letters' idea of what should constitute the functions of the critic I find most admirably laid down in Mr. Arthur Symons's introduction to a new edition of Coleridge's "Biographia Literaria" in Everyman's Library. Mr. Symons writes:--

The aim of criticism is to distinguish what is essential in the work of a writer; and in order to do this, its first business must be to find out where he is different from all other writers. It is the delight of the critic to praise; but praise is scarcely a part of his duty. He may often seem to find himself obliged to condemn; yet condemnation is hardly a necessary part of his office. What we ask of him is, that he should find out for us more than we can find out for ourselves: trace what in us is a whim or leaning to its remote home or centre of gravity, and explain why we are affected in this way or that way by this or that writer. He studies origins in effects, and must know himself, and be able to allow for his own mental and emotional variations, if he is to do more than give us the records of his likes and dislikes. He must have the passion of the lover, and be enamored of every form of beauty; and, like the lover, not of all equally, but with a general allowance of those least to his liking. He will do well to be not without a touch of intolerance: that intolerance which, in the lover of the best, is an act of justice against the second-rate. The second-rate may perhaps have some reason for existence: that is doubtful; but the danger of the second-rate, if it is accepted "on its own merits," as people say, is that it may come to be taken for the thing it resembles, as a wavering image in water resembles the rock which it reflects.

Obviously, here in America we have a sympathetic tolerance for the "second-rate." But such tolerance is not without its excuse. The fault of the uncritical element in many of the book notices which appear in American newspapers and magazines lies to a large extent at the door of the author who gives us material which humiliates and silences criticism, although a certain expository attention must be given for the very fact that the book invariably has a public awaiting it. For such gratuitous attention the author should be grateful. At least his public is not misled.

Literary criticism is a distinct department of literature, with its functions and limits as clearly defined as are those of any of the creative departments,--history, biography, fiction. It presupposes on the part of the writer the possession of a knowledge of permanent literature, of the rules of literary construction, of trained taste in selecting models, and of a quick imagination capable of perceiving pertinent comparisons and setting forth vivid impressions. Writers like Lessing, Victor Cousin, Matthew Arnold, and Jules Lemaître have exercised in criticism a system which is quite as capable of exposition and analysis as that of the historian, the poet, or the novelist. In America this system has also done its best, without entirely prostituting its art, to meet the exigencies and claims of pseudo-literary production and its sympathetic, impressionable public.

Until within quite recent years there were only two acknowledged schools of criticism: the scientific and the classical. The former gauged the work to be criticised by rule and measure; the latter compared it with models which had long been established as criterions of good taste. Then came the impressionistic school, in which the critic, while not unmindful of accepted and approved rules of construction and expression or of classical paradigms, allowed the author more license, more individuality, and permitted himself the same freedom in noting a thing good, bad, or indifferent, because it so appealed to his personal taste at the time of perusal and quite independent of what had gone before. This impressionistic criticism is essentially a personal view, and without it very few current books could be considered critically at all.

Now of the 5000 odd books annually brought out in the United States there are possibly not more than 100, including half a dozen novels, which are worthy subjects for the professional critic. If this be deemed an exaggeration, one has only to look over the Publishers' List of twenty-five years ago and see how many books then published are read to-day. Why, then, do the 4900 receive any attention?

Books, like every other commercial commodity, whether presented under the guise of art or science, have their production regulated by the law of supply and demand. The ability to read print in the United States is pretty general, and this ability is diffused among all sorts and conditions of people of vastly varied ideas as to what may give instruction, satisfaction, or pleasure in the form of books. We know that a large majority of the people who read do not read what is considered the best. The enormous circulation of the "Yellow Press," the low literary value of books of rapidly succeeding phenomenal editions, prove this. Criticism, except in acknowledged "literary" reviews, has been obliged to take into account the mental limitations and tastes of the readers of the 4900 books, and so it fixes its standard of popular exposition and elucidation at a little above the average taste, and does its best to explain according to the author's own lights what to criticise would be remorselessly to condemn.

But do all the one hundred worthy and elect books receive correct treatment according to the tenets of criticism? it may be asked. Probably not at every hand and in all cases. And here may be introduced another cause of the lack of proficient literary criticism noticed by the literary foreigner in American magazines, and especially in those pages of the daily and weekly press devoted to books. The discussion of books which once occupied several pages in American monthly magazines is now principally confined to the books issued by the publishing house which also publishes the magazine. What has come to be known as the "news value" of books cannot suffer a review of a novel by a prominent author or of a book on a current political or sociological topic to appear a month or two or three after the publication of the book itself. The eagerness of the public can hardly wait for an elaborate review in the press. Thus the newspapers rival one another in setting before their readers the first "news" of the book. It is usually impossible to expect "criticism" in such active circumstances. The public neither expects nor desires it. This leads to expositions in which are incorporated generous citations from the book, and from this the public is invited to form its own opinion. When such an exposition is properly done, a reader can tell whether he wishes to peruse the book as a whole. In late years this system of exposition has been growing in popularity,--a popularity no doubt augmented by the reader's increasing desire to be his own critic,--so now only the more important historical, biographical, and travellers' books receive expert criticism. Why wait months to get expert opinion on a popular book on Russia, Ibsen, or a journey in search of one of the poles, while the public is impatient to find out simply whether the book is entertaining? And again, how expert is expert opinion? I know of one famous biography of a famous man which, having been accepted as "the" authority for five years, finally had its pretensions demolished, its citations proved a mass of forgeries, by one tireless and persevering critic who would not accept the "expert" opinion which lauded it to the skies shortly after its publication.

Now that criticism, or rather the lack of it, has been explained, it may be of some interest to learn how the vast number of books which is annually put forth is handled by the editors of literary reviews and the "book pages" of the daily press. Having for nearly ten years been connected with the literary supplement of a New York daily which prides itself on ignoring nothing which is published with the idea of being read, my experiences for observation have been somewhat unusual. The increase in the number of books, and the eagerness of the public to learn about them at the earliest possible moment, have caused the daily press to usurp some of the functions formerly enjoyed by the monthly reviews. The latter do little more than mention the vast majority of publications and confine more and more their critical talents to what they consider conspicuous and distinctive literary productions. Purely literary periodicals have come and gone and left few mourners. The pages of The Bookman, for example, are no longer confined to literary criticism, to essays on bookish topics, to gossip of author and publisher.

There are four distinct publishing periods in the book world. The early spring season, principally confined to those books which could not be made ready to meet the recent holiday season, and to routine books,--books which on account of copyright exigencies have to be published then, books which for prestige the publisher would have bear his imprint, etc. Then comes the late spring season, which is principally confined to novels of the lighter sort and to books for supplementary school reading for the coming autumn. Toward the end of August the first Holiday books usually make their appearance. They increase in number until the end of September, when there is a lull. From the middle of October until the end of November there is a perfect outpour of books. The months of November and December until Christmas Day are the busiest times in the year for the reviewer.