His complete absorption in the magazine work now compelled Bok to close his newspaper syndicate in New York and end the writing of his weekly newspaper literary letter.He decided, however, to transfer to the pages of his magazine his idea of making the American public more conversant with books and authors.Accordingly, he engaged Robert Bridges (the present editor of Scribner's Magazine) to write a series of conversational book-talks under his nom de plume of "Droch." Later, this was supplemented by the engagement of Hamilton W.Mabie, who for years reviewed the newest books.
In almost every issue of the magazine there appeared also an article addressed to the literary novice.Bok was eager, of course, to attract the new authors to the magazine; but, particularly, he had in mind the correction of the popular notion, then so prevalent (less so to-day, fortunately, but still existent), that only the manuscripts of famous authors were given favorable reading in editorial offices; that in these offices there really existed a clique, and that unless the writer knew the literary back-stairs he had a slim chance to enter and be heard.
In the minds of these misinformed writers, these back-stairs are gained by "knowing the editor" or through "having some influence with him."These writers have conclusively settled two points in their own minds:
first, that an editor is antagonistic to the struggling writer; and, second, that a manuscript sent in the ordinary manner to an editor never reaches him.Hence, some "influence" is necessary, and they set about to secure it.
Now, the truth is, of course, that there are no "literary back-stairs"to the editorial office of the modern magazine.There cannot be.The making of a modern magazine is a business proposition; the editor is there to make it pay.He can do this only if he is of service to his readers, and that depends on his ability to obtain a class of material essentially the best of its kind and varied in its character.
The "best," while it means good writing, means also that it shall say something.The most desired writer in the magazine office is the man who has something to say, and knows how to say it.Variety requires that there shall be many of these writers, and it is the editor's business to ferret them out.It stands to reason, therefore, that there can be no such thing as a "clique"; limitation by the editor of his list of authors would mean being limited to the style of the few and the thoughts of a handful.And with a public that easily tires even of the best where it continually comes from one source, such an editorial policy would be suicidal.
Hence, if the editor is more keenly alert for one thing than for another, it is for the new writer.The frequency of the new note in his magazine is his salvation; for just in proportion as he can introduce that new note is his success with his readers.A successful magazine is exactly like a successful store: it must keep its wares constantly fresh and varied to attract the eye and hold the patronage of its customers.
With an editor ever alive to the new message, the new note, the fresh way of saying a thing, the new angle on a current subject, whether in article or story--since fiction is really to-day only a reflection of modern thought--the foolish notion that an editor must be approached through "influence," by a letter of introduction from some friend or other author, falls of itself.There is no more powerful lever to open the modern magazine door than a postage-stamp on an envelope containing a manuscript that says something.No influence is needed to bring that manuscript to the editor's desk or to his attention.That he will receive it the sender need not for a moment doubt; his mail is too closely scanned for that very envelope.
The most successful authors have "broken into" the magazines very often without even a letter accompanying their first manuscript.The name and address in the right-hand corner of the first page; some "return" stamps in the left corner, and all that the editor requires is there.The author need tell nothing about the manuscript; if what the editor wants is in it he will find it.An editor can stand a tremendous amount of letting alone.If young authors could be made to realize how simple is the process of "breaking into" the modern magazine, which apparently gives them such needless heartburn, they would save themselves infinite pains, time, and worry.
