seriously.

.

Certainly the trade-test is not generally accepted by novelists or by critics. Yet at the present time, to the question whether fiction should be regarded as an art or a trade, the corpus of current criticism seems to answer-"A little of both."

But the two standards are inconsistent. The trade-author writes to gain the largest number of readers that his qualifications will enable him to secure. He has to shape his utterances, guided by the formation of a whole world of tradition, prejudice, superstition, transient fashion, transient philosophy. He must suit himself to the tone of a particular decade. The larger percentage of his readers will be avid of sensation, unthinking

as

concerns literature, hasty in judgment, impatient of subtle effects. He must depict characters" that they will heartily like or utterly dislike. He must study construction; that is to say, he must first work out his plot (to himself) and then make his puppets move along the lines of it, and hit out the situations in it, whether such folk would do so in nature or not. He must ignore the laws of character whenever needful, and make his marionettes get to and through the complications. The laws of character being to him of optional acceptance, he usually follows the course of ignoring them altogether, and works entirely by the lights of construction. A writer who writes by construction rejects the standard of characterisation; one who writes by characterisation, ipso facto rejects the standard of construction. Yet how often do we see an author blamed because he has not combined his correct characterisation with that excellence in construction which would, in fact, falsify his work, or his good construction with that true characterisation which would inevitably falsify his plot! He is told, in other words, that he should have shaped up his book more with a view to the all-round requirements of the market-that he should try to get at readers by both methods, and be thorough

in neither.

If we accept the dictum of Balzac--and Schopenhauer was in accord with him as concerns literature-that the mission of art is to express nature, we perceive a reason for saying that "construction" work is inartistic. One does not express nature by presenting as actual events

series after series of ingeniously interwoven circumstances carrying certain lives to certain situations useful to the novelist, and happening ad hoc; nor does one express nature by depicting as human lives trade characters bowdlerised or broadened to the taste of the fifties or the sixties, or the eighties or the nineties, of this or any other century. One expresses nature to the human soul by showing the envoi of what does subsist and consist in nature to this psyche. Certainly the laws of reality are deep and difficult; as Balzac said of the fantastic beings evoked by Hoffmann, "they nevertheless have life." But Hoffmann wrote on the plane of the avowedly fanciful, and the art-faculty can, perhaps, create phantasms showing the essence of reality on any plane. But each plane has its own truth. The ordinary trade-novel is nominally written on the plane of daily-human life actuality, and written falsely on this plane.

If the recent development of fiction, the increased number of novels wrought with artstriving, be a sign that art-fiction has a considerable audience, he surely would do both writers and readers a great service who would bring them to closer, clearer acquaintance, and find a certain, short means of communication between them, not perilous with draughts and blasts of inconsistent criticism.

GODFREY BURCHETT. Farthingstone Rectory, Jan. 23.

II. AT HIS OWN EXPENSE. There ought to be no longer any confusion of thought as to the relative positions of authors and the publishers who produce their works. An author invents a book, just as an inventor invents a machine. The author employs a publisher to do the mechanical work of producing his book, sending out review copies to the Press, and selling it to the public-just as an inventor, who is not a machinist, employs a man who is, to make his machine, and perhaps advertise and sell it. The inventor is the employer, the machinist is the employed-who does the mechanical work of putting his ideas into brass and iron ready for the market. If the inventor is poor, he sells his invention to a capitalist-just as an author sometimes sells his book to a publisher. An inventor, who had capital and business capacity, would not, as a rule, sell his invention; and an author, having capital and business capacity, ought not to sell his book. He ought to keep the copyright under his own control. The inventor who had capital and business capacity would start engineering works, and would manufacture his own

machine and sell it to the public himself. By keeping the profits of the manufacturer in his own hands, he could increase his sales, by giving better terms to the distributing shopkeepers. This is what authors, having capital and business capacity, ought to do. By keeping the profits of the book manufacturer in their own hands, they could benefit the reading public, and increase their own sales, by offering better terms to the booksellers.

It is not necessary for authors to start book manufacturing works to do what I suggest. Publishers do not necessarily print and bind the books they publish. Given the capital required, the work of placing orders for printing and binding, sending out review copies, &c., could be done through a central office, worked on the co-operative principle. The Society of Authors might organise such a central office; and the expense of working it would not be heavy. I know there is an absurd stigma attached to an author who publishes his book at his own expense. Who attached this stigma? Probably publishers did it from interested motives. In my opinion no author, having capital to stand the risk of publishing his own book, ought to part with the control over the copyright to a publisher. How is it possible that the acceptance of a book by a publisher can be any recommendation of it in the eyes of a man of sense and reflection? What does it mean? Merely that a tradesman thinks the book is likely to take-" catch on "-with an uncritical and uncultured public; that it is likely to be a good business speculation. A publisher is not necessarily a man of culture or critical acumen. The probability is that, if he ever had the critical faculty, it has been so blunted by his tradesman's way of judging of books that it has become worthless. It is not his business to judge of the literary and intrinsic value of a book; his test of merit is whether it will sell or not. His judgment has been so warped by the exigencies of his business, that he is one of the last men whose judgment, as to the literary excellence of a book, ought to be taken.

JOHN LASCELLES.

III. A SIDE LIGHT.

Here is a side light on the royalty system. I have patented several small inventions, and have placed them with good firms to manufacture. The invariable terms have been these: The manufacturers have first calculated the actual cost of making: they have then added 10 per cent. for working expenses and 10 per cent. for their own profit; finally, they have asked me to add my royalty, with the warning that it should

not exceed a certain sum, otherwise the sale would be too keenly handicapped. The total has made the selling price to the trade about onehalf the selling price to the public. My royalty has varied from 12 to 33 per cent. of the selling price to the public.

Why should not the same principle be applied to books? Surely it is ridiculous that (say) a novel of 100,000 words by a well-known author should be sold at the same price as a novel of the same length by a beginner. If the selling price were regulated by the royalty (other things being equal), the beginner, content with a small royalty, would have a better chance than he has now, while the receipts of the well-known author would not be affected, in spite of his larger royalty. I very much doubt whether his sales would suffer either.

Of

It will be observed that the manufacturer, although his share in the production of a patented article is, as a rule, far greater than the inventor's, is satisfied with a profit of 10 per cent. Is the publisher, small as is his share in the production of a book compared with the author's? Some time ago the editor of a London daily asked me to investigate certain financial matters, and with that object in view I inserted an advertisement stating that I had money to invest. course my name was not given. For days afterwards the postman staggered to the door with piles of letters. They came from all countries and from all sorts of people, cranks, swindlers, and a few honest men with genuine businesses. Among the last at least I hope so was a certain publisher, who offered me a partnership and invited me to inspect his books, which, he said, would prove his statement that he made 30 per cent. nett profit without risk." He little thought he had hooked an author. As I did not inspect his books, I have no right to accept his statement. But unquestionably, if publishers make "30 per cent. nett profit without risk" while other business firms are content with 10, there is something radically wrong. X.

66

IV.-EDUCATIONAL.

I, and probably others, have always been in some doubt as to what was intended to be included in the term "author" as applied to our Society and Club. I joined both, as an author of educational works, and as financially interested in a Union or Mutual Protection Society of Authors in the widest sense. The first two or three pages of the Author usually reassure me; but the remaining pages always, now, raise serious. misgivings as to whether I have not mistaken the number of the house and got into the

At

wrong evening party. The last number of the Author suggests a kind of ex post facto invitation, for it reports that the chairman of the Society announced that it "proposed to go into the question of watching the interests of educational writers and musical composers, which was a branch quite by itself." On the strength of that incidental remark, I venture to suggest that it would be well to define now more clearly what ground the Society really means to cover. present I fear that the casual and thoughtless reader or observer would think it was mainly limited to fiction and light literature. If a wider range of subjects were explicitly claimed and represented, wider interests would be aroused, and wider support secured for the Club and the Society; if, on the other hand, it were felt that certain departments, e.g., educational and musical, were too large to be embraced by the Society, and explicitly disclaimed, the field would be left open for founding a Society for the protection of those interests, which are even larger and more in need of protection than those of fiction. The work already done has been so valuable that it seems a pity that it should not be made the basis for larger and wider efforts. Perhaps the new Committee might provide for the representation of such interests.

[See p. 254.-ED.]

V.-PUBLISHERS ONLY.

J. E. N.

Is it not worth recording in your columns that in the current year, 1896, for the first time "Publishers find themselves under a separate heading in the Trades' section of the London Post Office Directory; a work which is, I believe, "official," though emanating from the office of Messrs. Kelly and Co.?

Hitherto anyone wishing to find the address of a publisher, or possibly to look through the list of publishers for an attractive name to which to consign the first fruits of his brain, found under the title "Publishers" no names at all, but only a note recommending him to see Booksellers, Diary Publishers, Engravers, Fashions (publishers of), Music, etc. Sellers, Photographic Publishers, Printers, also Printsellers, each and all of which trades had separate headings assigned under which their members' names appeared.

a

Now all this is changed, and publishers find a place allotted all to themselves, between "publican's stocktaker" and "publishers' central show rooms," whatever these last may be.

It is curious to note that each of these two trales has a heading to itself, though each is represented by a single address only. E. A. A.

VI. ON SELLING BOOKS.

Are we not in danger, while we talk so much about royalties and agreements, of forgetting the many conveniences of selling the copyright for a lump sum? The advantages of doing this are the freedom from subsequent worry: relief from the worry of getting a proper agreement: from the suspicion of subsequent fraud. The dangers or disadvantages are (1) that the price offered will be too low: an experienced agent would meet that difficulty; (2) the chance th. the book might prove a great and unexpected succes. This is most unlikely; and (3) the temptation to regard the lump sum as income, and to expect it to come in regularly for the rest of the natural span. Suppose that a book by one of the moderately successful would, on a 20 per cent. royalty, produce £300 the first year, and then £25 the next, getting gradually less for the next five years. Surely it would be in some cases better to capitalise this source of revenue, and to take, say, £360 down, leaving the book in the publisher's hands. A MODERATE SUCCESS.

At present, the few poets of England no longer depend on the great for subsistence; they have now no other patrons but the public; and the public, collectively considered, is a good and a generous master. It is, indeed, too frequently mistaken as to the merits of every candidate for favour; but, to make amends, it is never mistaken long. A performance indeed may be forced for a time into reputation, but destitute of real merit it soon sinks; time, the touchstone of what is truly valuable, will soon discover the fraud, and an author should never arrogate to himself any share of success till his works have been read at least ten years with satisfaction.

A man of letters at present whose works are valuable is perfectly sensible of their value. ing what he writes, contributes to reward him. Every polite member of the community, by buyThe ridicule, therefore, of living in a garret might have been wit in the last age, but continues such no longer, because no longer true. A writer of real merit may now easily be rich if his heart be set only on fortune; and for those who have no merit it is but fit that such remain in merited obscurity.

GOLDSMITH,

"Citizen of the World," Let. 84.

For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or paragraphs must be taken as expressing the collective opinions of the committee unless they are officially signed by G. Herbert Thring, Sec.

HE Secretary of the Society begs to give notice that all

Tremittances of acknowledged by return of post, and

requests that all members not receiving an answer to important communications within two days will write to him without delay. All remittances should be crossed Union Bank of London, Chancery-lane, or be sent by registered letter only.

Communications and letters are invited by the Editor on all subjects connected with literature, but on no other subjects whatever. Articles which cannot be accepted are returned if stamps for the purpose accompany the MSS.

1.

DR

WARNINGS AND ADVICE.

RAWING THE AGREEMENT.-It is not generally understood that the author, as the vendor, has the absolute right of drafting the agreement upon whatever terms the transaction is to be carried out. Authors are strongly advised to exercise that right. In every form of business, this among others, the right of drawing the agreement rests with him who sells, leases, or has the control of the property.

2. SERIAL RIGHTS.-In selling Serial Rights remember that you may be selling the Serial Right for all time; that is, the Right to continue the production in papers. If you object to this, insert a clause to that effect.

3. STAMP YOUR AGREEMENTS. Readers are most URGENTLY warned not to neglect stamping their agreements immediately after signature. If this precaution is neglected for two weeks, a fine of £10 must be paid before the agreement can be used as a legal document.

In almost every case brought to the secretary the agreement, or the letter which serves for one, is forwarded without the stamp. The author may be assured that the other party to the agreement seldom neglects this simple precaution. The Society, to save trouble, undertakes to get all the agreements of members stamped for them at no expense to themselves except the cost of the stamp.

4. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO BOTH SIDES BEFORE SIGNING IT.-Remember that an VOL. VI.

BESANT.

[PRICE SIXPENCE.

arrangement as to a joint venture in any other kind of business whatever would be instantly refused should either party refuse to show the books or to let it be known what share he reserved for himself.

5. LITERARY AGENTS.-Be very careful. You cannot be too careful as to the person whom you appoint as your agent. Remember that you place your property almost unreservedly in his hands. Your only safety is in consulting the Society, or some friend who has had personal experience of the agent. Do not trust advertisements alone.

6. COST OF PRODUCTION.--Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures.

7. CHOICE OF PUBLISHERS.-Never enter into any correspondence with publishers, especially with those who advertise for MSS., who are not recommended by experienced friends or by this Society.

8. FUTURE WORK.-Never, on any account whatever, bind yourself down for future work to anyone.

9. PERSONAL RISK.-Never accept any pecuniary risk or responsibility whatever without advice.

10. REJECTED MSS.-Never, when a MS. has been refused by respectable houses, pay others, whatever promises they may put forward, for the production of the work.

II. AMERICAN RIGHTS.-Never sign away American rights. Keep them by special clause. Refuse to sign any agreement containing a clause which reserves them for the publisher, unless for a substantial consideration.

12. CESSION OF COPYRIGHT.-Never sign any parer, either agreement or receipt, which gives away copyright, without advice.

13. ADVERTISEMENTS. -- Keep some control over the advertisements, if they affect your returns, by a clause in the agreement.

14. NEVER forget that publishing is a business, like any other business, totally unconnected with philanthropy, charity, or pure love of literature. You have to do with business men. Be yourself a business man.

mittee will obtain for him Counsel's opinion. All this without any cost to the member.

2. Remember that questions connected with copyright and publisher's agreements do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society first-our solicitors are continually engaged upon such questions for us.

3. Send to the office copies of past agreements and past accounts with the loan of the books represented. This is in order to ascertain what has been the nature of your agreements, and the results to author and publisher respectively so far. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable.

4. If the examination of your previous business transactions by the Secretary proves unfavourable, you should take advice as to a change of publishers.

5. Before signing any agreement whatever, send the proposed document to the Society for examination.

6. The Society is acquainted with the methods, and-in the case of fraudulent houses-the tricks of every publishing firm in the country.

7. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the independence of the writer.

8. Send to the Editor of the Author notes of everything important to literature that you may hear or meet with.

9. The committee have now arranged for the reception of members' agreements and their preservation in a fireproof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers :-(1) To read and advise upon agreements and publishers. (2) To stamp agreements in readiness for a possible action upon them. (3) To keep agreements. (4) To enforce payments due according to agreements.

M

THE AUTHORS' SYNDICATE.

EMBERS are informed:

1. That the Authors' Syndicate takes charge of the business of members of the Society. That it submits MSS. to publishers and editors, concludes agreements, examines, passes, and collects accounts, and, generally, relieves members of the trouble of managing business details.

2. That the terms upon which its services can be secured will be forwarded upon detailed application.

3. That the Authors' Syndicate works only for those members of the Society whose work possesses a market value.

4. That the Syndicate can only undertake any negotiations whatever on the distinct understanding that those negotiations are placed exclusively in its hands, and that all communications relating thereto are referred to it.

5. That clients can only be seen by the Director by appointment, and that, when possible, at least two days' notice should be given.

6. That every attempt is made to deal with all communications promptly. That stamps should, in all cases, be sent o defray postage.

7. That the Authors' Syndicate does not invite MSS. without previous correspondence; does not hold itself responsible for MSS. forwarded without notice; and that in all cases MSS. must be accompanied by stamps to defray postage.

8. That the Syndicate undertakes arrangements for lectures by some of the leading members of the Society; that it has a "Transfer Department" for the sale and purchase of journals and periodicals; and that a "Register of Wants and Wanted" is open. Members are invited to communicate their requirements to the Manager.

There is an Honorary Advisory Committee, whose services will be called upon in any case of dispute or difficulty. It is perhaps necessary to state that the members of the Advisory Committee have no pecuniary interest whatever in the Syndicate.

NOTICES.

THE Editor of the Author begs to remind members of the

that, although paper sent to

of charge, the cost of producing it would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 68. 6d. subscription for the year.

The Editor is always glad to receive short papers and communications on all subjects connected with literature from members and others. Nothing can do more good to the Society than to make the Author complete, attractive, and interesting. Will those who are willing to aid in this work send their names and the special subjects on which they are willing to write ?

Communications for the Author should reach the Editor not later than the 21st of each month.

All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any points connected with their work which it would be advisable in the general interest to publish.

Members and others who wish their MSS. read are requested not to send them to the Office without previously communicating with the Secretary. The utmost practicable despatch is aimed at, and MSS. are read in the order in which they are received. It must also be distinctly understood that the Society does not, under any circumstances, undertake the publication of MSS.

The Authors' Club is now open in its new premises, at 3, Whitehall-court, Charing Cross. Address the Secretary for information, rules of admission, &c.

Will members take the trouble to ascertain whether they have paid their subscriptions for the year? If they will do this, and remit the amount, if still unpaid, or a banker's order, it will greatly assist the Secretary, and save him the trouble of sending out a reminder.

Members are most earnestly entreated to attend to the warning numbered (8). It is a most foolish and may be a most disastrous thing to enter into an agreement binding for a term of years. Let them ask themselves if they would give a solicitor the collection of their rents for five years to come, whatever his conduct, whether he was honest or dishonest? Of course they would not. Why then hesitate for a moment when they are asked to sign themselves into literary bondage for three or five years ?

Those who possess the "Cost of Production" are requested to note that the cost of binding has advanced 15 per cent. This means, for those who do not like the trouble of "doing sums," the addition of three shillings in the pound on this head. In other words, if the cost of binding