A clever author is one who never asks what they are saying
when he is told that everybody is talking about his latest
book.
The wife of a successful young literary man had hired a
buxom Dutch girl to do the housework. Several weeks passed and
from seeing her master constantly about the house, the girl
received an erroneous impression.
"Ogscuse me, Mrs. Blank," she said to her mistress one day,
"but I like to say somedings."
"Well, Rena?"
The girl blushed, fumbled with her apron, and then replied,
"Veil, you pay me four tollars a veek—"
"Yes, and I really can't pay you any more."
"It's not dot," responded the girl; "but I be villing to
take tree tollars till—till your husband gets vork."
Kate Douglas Wiggin's choicest possession, she says, is a
letter which she once received from the superintendent of a
home for the feeble-minded. He spoke in glowing terms of the
pleasure with which the "inmates" had read her little book,
"Marm Lisa," and ended thus superbly:
"In fact, madam, I think I may safely say that you are the
favorite author of the feeble-minded!"
Harold Jenks, a syndicate editor of Denver, was talking
about the low rates paid by the magazines.
"They who write for newspaper syndicates, where their work
appears simultaneously in forty or fifty newspapers all over
the country," said Mr. Jenks, "make a good deal of money. Of
course, the magazine writer, beside such men, isn't one, two,
three.
"A seedy magazine writer dropped in on me this morning to
borrow a quarter. As he left, he said:
"'Jenks, old man, the difference between a hen and a
magazine writer is this—while they both scratch for a
living, the hen gets hers.'"
Consolation
"How did your novel come out?"
"Well," replied the self-confident man, "it proved beyond
all doubt that it isn't one of these trashy best-sellers."
The late Ambassador Walter Hines Page was formerly editor of
The World's Work and, like all editors, was obliged to refuse a
great many stories. A lady once wrote him:
"Sir: you sent back last week a story of mine. I know
that you did not read the story, for as a test I had pasted
together pages 18, 19, and 20, and the story came back with
these pages still pasted; and so I know you are a fraud and
turn down stories without reading same."
Mr. Page wrote back:
"Madame: At breakfast when I open an egg I don't have
to eat the whole egg to discover it is bad."
The great novelist summoned his publisher to his luxurious
home.
"Have your salesmen," he asked, "prepared for their
semi-annual trip among the down-trodden booksellers?"
"They have."
"Has your publicity man written the usual biographical
notices and arranged for a series of dinners in my honor?"
"He has."
"Have your great minds selected a title for my forthcoming
work?"
"Indeed, yes."
"Then what do you want me to write about?"
The publisher drew from his pocket a paper.
"Here is a wonderful plot," he replied. "It has every
element—maudlin sentiment, mystery, touches of your
characteristic humor, profound insight—everything."
The great author was conservative. He had had
experience.
"I haven't time to read it just now," he said. "But are you
sure? How do you know that it is any good?"
"Good!" exclaimed the publisher. "Of course it is good. Why,
my dear sir, it has met with the unqualified approval of every
member of our motion-picture department."
THE PUBLISHER—"How are you going to introduce accurate
local color in your new story of life in Thibet? You've never
been there."
THE EMINENT AUTHOR—"Neither has any of my
public."—Judge.
"So you got your poem printed?"
"Yes," replied the author. "I sent the first stanza to the
editor of the Correspondence Column with the inquiry, 'Can
anyone give me the rest of this poem?' Then I sent in the
complete poem over another name!"
"Ye think a fine lot of Shakespeare?"
"I do, sir," was the reply.
"An' ye think he was mair clever than Rabbie Burns?"
"Why, there's no comparison between them."
"Maybe, no; but ye tell us it was Shakespeare who wrote
'Uneasy lies the head that wears a crown.' Now, Rabbie would
never hae sic nonsense as that."
"Nonsense, sir!" thundered the other.
"Ay, just nonsense. Rabbie would hae kent fine that a king
or queen either disna ganga to bed wi' a croon on their head.
He'd hae kent they hang it over the back o' a chair."
HOSTESS—"I sometimes wonder, Mr. Highbrow, if there is
anything vainer than you authors about the things you
write."
HIGHBROW—"There is, madam; our efforts to sell
them."
"No," said the honest man, "I was never strong at
literature. To save my life I could not tell you who wrote
'Gray's Elegy.'"
HENLEY—"How are you getting on with your writing for
the magazines?"
PENLEY—"Just holding my own. They send me back as much
as I send them."
Wouldn't it be pleasant if so many authors didn't:
Let their characters converse for hours without any
identification tags, so that you have to turn back three pages
and number off odd speeches in order to find out who's
talking.
Overwork the "smart" atmosphere, the suspension points and
the seasonal epidemics of such words as "gripping," "virile,"
"intrigue," "gesture," etc.
Stick up a periscope every now and then, like, "Little did
he think how dearly this trifling error was to cost him," or
"She was to meet this man again, under strange
circumstances."
Apply a large hunk of propaganda, like an ice bag, just
where the plot ought to rush ahead.
EDITOR—"Historically, this story is incorrect."
AUTHOR—"But hysterically it is one of the best things
I have ever done."
A man who was a great admirer of Mark Twain was visiting in
Hannibal, Mo. He asked the darkey who was driving him about if
he knew where Huckleberry Finn lived. "No sah, I never heard of
the gemmen." Then he said "Then perhaps you knew Tom Sawyer?"
"No, sah, I never met the gemmen." "But surely you have heard
of Puddin'head Wilson?" "Yes, sah, I've never met him, but I've
voted for him twice."