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diff --git a/3386.txt b/3386.txt new file mode 100644 index 0000000..cb4987c --- /dev/null +++ b/3386.txt @@ -0,0 +1,896 @@ +The Project Gutenberg EBook of The Editor's Relations With The Young +Contributor, by William Dean Howells + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Editor's Relations With The Young Contributor + From "Literature and Life" + +Author: William Dean Howells + +Release Date: October 22, 2004 [EBook #3386] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE EDITOR'S RELATIONS WITH *** + + + + +Produced by David Widger + + + + + +LITERATURE AND LIFE--The Young Contributor + +by William Dean Howells + + + +THE EDITOR'S RELATIONS WITH THE YOUNG CONTRIBUTOR + + +One of the trustiest jokes of the humorous paragrapher is that the editor +is in great and constant dread of the young contributor; but neither my +experience nor my observation bears out his theory of the case. + +Of course one must not say anything to encourage a young person to +abandon an honest industry in the vain hope of early honor and profit +from literature; but there have been and there will be literary men and +women always, and these in the beginning have nearly always been young; +and I cannot see that there is risk of any serious harm in saying that it +is to the young contributor the editor looks for rescue from the old +contributor, or from his failing force and charm. + +The chances, naturally, are against the young contributor, and vastly +against him; but if any periodical is to live, and to live long, it is by +the infusion of new blood; and nobody knows this better than the editor, +who may seem so unfriendly and uncareful to the young contributor. The +strange voice, the novel scene, the odor of fresh woods and pastures new, +the breath of morning, the dawn of tomorrow--these are what the editor is +eager for, if he is fit to be an editor at all; and these are what the +young contributor alone can give him. + +A man does not draw near the sixties without wishing people to believe +that he is as young as ever, and he has not written almost as many books +as he has lived years without persuading himself that each new work of +his has all the surprise of spring; but possibly there are wonted traits +and familiar airs and graces in it which forbid him to persuade others. +I do not say these characteristics are not charming; I am very far from +wishing to say that; but I do say and must say that after the fiftieth +time they do not charm for the first time; and this is where the +advantage of the new contributor lies, if he happens to charm at all. + + + + +I. + +The new contributor who does charm can have little notion how much he +charms his first reader, who is the editor. That functionary may bide +his pleasure in a short, stiff note of acceptance, or he may mask his joy +in a check of slender figure; but the contributor may be sure that he has +missed no merit in his work, and that he has felt, perhaps far more than +the public will feel, such delight as it can give. + +The contributor may take the acceptance as a token that his efforts have +not been neglected, and that his achievements will always be warmly +welcomed; that even his failures will be leniently and reluctantly +recognized as failures, and that he must persist long in failure before +the friend he has made will finally forsake him. + +I do not wish to paint the situation wholly rose color; the editor will +have his moods, when he will not see so clearly or judge so justly as at +other times; when he will seem exacting and fastidious, and will want +this or that mistaken thing done to the story, or poem, or sketch, which +the author knows to be simply perfect as it stands; but he is worth +bearing with, and he will be constant to the new contributor as long as +there is the least hope of him. + +The contributor may be the man or the woman of one story, one poem, one +sketch, for there are such; but the editor will wait the evidence of +indefinite failure to this effect. His hope always is that he or she is +the man or the woman of many stories, many poems, many sketches, all as +good as the first. + +From my own long experience as a magazine editor, I may say that the +editor is more doubtful of failure in one who has once done well than of +a second success. After all, the writer who can do but one good thing is +rarer than people are apt to think in their love of the improbable; but +the real danger with a young contributor is that he may become his own +rival. + +What would have been quite good enough from him in the first instance is +not good enough in the second, because he has himself fixed his standard +so high. His only hope is to surpass himself, and not begin resting on +his laurels too soon; perhaps it is never well, soon or late, to rest +upon one's laurels. It is well for one to make one's self scarce, and +the best way to do this is to be more and more jealous of perfection in +one's work. + +The editor's conditions are that having found a good thing he must get as +much of it as he can, and the chances are that he will be less exacting +than the contributor imagines. It is for the contributor to be exacting, +and to let nothing go to the editor as long as there is the possibility +of making it better. He need not be afraid of being forgotten because he +does not keep sending; the editor's memory is simply relentless; he could +not forget the writer who has pleased him if he would, for such writers +are few. + +I do not believe that in my editorial service on the Atlantic Monthly, +which lasted fifteen years in all, I forgot the name or the +characteristic quality, or even the handwriting, of a contributor who had +pleased me, and I forgot thousands who did not. I never lost faith in a +contributor who had done a good thing; to the end I expected another good +thing from him. I think I was always at least as patient with him as he +was with me, though he may not have known it. + +At the time I was connected with that periodical it had almost a monopoly +of the work of Longfellow, Emerson, Holmes, Lowell, Whittier, Mrs. Stowe, +Parkman, Higginson, Aldrich, Stedman, and many others not so well known, +but still well known. These distinguished writers were frequent +contributors, and they could be counted upon to respond to almost any +appeal of the magazine; yet the constant effort of the editors was to +discover new talent, and their wish was to welcome it. + +I know that, so far as I was concerned, the success of a young +contributor was as precious as if I had myself written his paper or poem, +and I doubt if it gave him more pleasure. The editor is, in fact, a sort +of second self for the contributor, equally eager that he should stand +well with the public, and able to promote his triumphs without egotism +and share them without vanity. + + + + +II. + +In fact, my curious experience was that if the public seemed not to feel +my delight in a contribution I thought good, my vexation and +disappointment were as great as if the work hod been my own. It was even +greater, for if I had really written it I might have had my misgivings of +its merit, but in the case of another I could not console myself with +this doubt. The sentiment was at the same time one which I could not +cherish for the work of an old contributor; such a one stood more upon +his own feet; and the young contributor may be sure that the editor's +pride, self-interest, and sense of editorial infallibility will all +prompt him to stand by the author whom he has introduced to the public, +and whom he has vouched for. + +I hope I am not giving the young contributor too high an estimate of his +value to the editor. After all, he must remember that he is but one of a +great many others, and that the editor's affections, if constant, are +necessarily divided. It is good for the literary aspirant to realize +very early that he is but one of many; for the vice of our comparatively +virtuous craft is that it tends to make each of us imagine himself +central, if not sole. + +As a matter of fact, however, the universe does not revolve around any +one of us; we make our circuit of the sun along with the other +inhabitants of the earth, a planet of inferior magnitude. The thing we +strive for is recognition, but when this comes it is apt to turn our +heads. I should say, then, that it was better it should not come in a +great glare and aloud shout, all at once, but should steal slowly upon +us, ray by ray, breath by breath. + +In the mean time, if this happens, we shall have several chances of +reflection, and can ask ourselves whether we are really so great as we +seem to other people, or seem to seem. + +The prime condition of good work is that we shall get ourselves out of +our minds. Sympathy we need, of course, and encouragement; but I am not +sure that the lack of these is not a very good thing, too. Praise +enervates, flattery poisons; but a smart, brisk snub is always rather +wholesome. + +I should say that it was not at all a bad thing for a young contributor +to get his manuscript back, even after a first acceptance, and even a +general newspaper proclamation that he is one to make the immortals +tremble for their wreaths of asphodel--or is it amaranth? I am never +sure which. + +Of course one must have one's hour, or day, or week, of disabling the +editor's judgment, of calling him to one's self fool, and rogue, and +wretch; but after that, if one is worth while at all, one puts the +rejected thing by, or sends it off to some other magazine, and sets about +the capture of the erring editor with something better, or at least +something else. + + + + +III. + +I think it a great pity that editors ever deal other than frankly with +young contributors, or put them off with smooth generalities of excuse, +instead of saying they do not like this thing or that offered them. It +is impossible to make a criticism of all rejected manuscripts, but in the +case of those which show promise I think it is quite possible; and if I +were to sin my sins over again, I think I should sin a little more on the +side of candid severity. I am sure I should do more good in that way, +and I am sure that when I used to dissemble my real mind I did harm to +those whose feelings I wished to spare. There ought not, in fact, to be +question of feeling in the editor's mind. + +I know from much suffering of my own that it is terrible to get back a +manuscript, but it is not fatal, or I should have been dead a great many +times before I was thirty, when the thing mostly ceased for me. One +survives it again and again, and one ought to make the reflection that it +is not the first business of a periodical to print contributions of this +one or of that, but that its first business is to amuse and instruct its +readers. + +To do this it is necessary to print contributions, but whose they are, or +how the writer will feel if they are not printed, cannot be considered. +The editor can consider only what they are, and the young contributor +will do well to consider that, although the editor may not be an +infallible judge, or quite a good judge, it is his business to judge, and +to judge without mercy. Mercy ought no more to qualify judgment in an +artistic result than in a mathematical result. + + + + +IV. + +I suppose, since I used to have it myself, that there is a superstition +with most young contributors concerning their geographical position. I +used to think that it was a disadvantage to send a thing from a small or +unknown place, and that it doubled my insignificance to do so. I +believed that if my envelope had borne the postmark of New York, or +Boston, or some other city of literary distinction, it would have arrived +on the editor's table with a great deal more authority. But I am sure +this was a mistake from the first, and when I came to be an editor myself +I constantly verified the fact from my own dealings with contributors. +A contribution from a remote and obscure place at once piqued my +curiosity, and I soon learned that the fresh things, the original things, +were apt to come from such places, and not from the literary centres. +One of the most interesting facts concerning the arts of all kinds is +that those who wish to give their lives to them do not appear where the +appliances for instruction in them exist. An artistic atmosphere does +not create artists a literary atmosphere does not create literators; +poets and painters spring up where there was never a verse made or a +picture seen. + +This suggests that God is no more idle now than He was at the beginning, +but that He is still and forever shaping the human chaos into the +instruments and means of beauty. It may also suggest to that scholar- +pride, that vanity of technique, which is so apt to vaunt itself in the +teacher, that the best he can do, after all, is to let the pupil teach +himself. If he comes with divine authority to the thing he attempts, he +will know how to use the appliances, of which the teacher is only the +first. + +The editor, if he does not consciously perceive the truth, will +instinctively feel it, and will expect the acceptable young contributor +from the country, the village, the small town, and he will look eagerly +at anything that promises literature from Montana or Texas, for he will +know that it also promises novelty. + +If he is a wise editor, he will wish to hold his hand as much as +possible; he will think twice before he asks the contributor to change +this or correct that; he will leave him as much to himself as he can. +The young contributor; on his part, will do well to realize this, and to +receive all the editorial suggestions, which are veiled commands in most +cases, as meekly and as imaginatively as possible. + +The editor cannot always give his reasons; however strongly he may feel +them, but the contributor, if sufficiently docile, can always divine +them. It behooves him to be docile at all times, for this is merely the +willingness to learn; and whether he learns that he is wrong, or that the +editor is wrong, still he gains knowledge. + +A great deal of knowledge comes simply from doing, and a great deal more +from doing over, and this is what the editor generally means. + +I think that every author who is honest with himself must own that his +work would be twice as good if it were done twice. I was once so +fortunately circumstanced that I was able entirely to rewrite one of my +novels, and I have always thought it the best written, or at least +indefinitely better than it would have been with a single writing. As a +matter of fact, nearly all of them have been rewritten in a certain way. +They have not actually been rewritten throughout, as in the case I speak +of, but they have been gone over so often in manuscript and in proof that +the effect has been much the same. + +Unless you are sensible of some strong frame within your work, something +vertebral, it is best to renounce it, and attempt something else in which +you can feel it. If you are secure of the frame you must observe the +quality and character of everything you build about it; you must touch, +you must almost taste, you must certainly test, every material you +employ; every bit of decoration must undergo the same scrutiny as the +structure. + +It will be some vague perception of the want of this vigilance in the +young contributor's work which causes the editor to return it to him for +revision, with those suggestions which he will do well to make the most +of; for when the editor once finds a contributor he can trust, he +rejoices in him with a fondness which the contributor will never perhaps +understand. + +It will not do to write for the editor alone; the wise editor understands +this, and averts his countenance from the contributor who writes at him; +but if he feels that the contributor conceives the situation, and will +conform to the conditions which his periodical has invented for itself, +and will transgress none of its unwritten laws; if he perceives that he +has put artistic conscience in every general and detail, and though he +has not done the best, has done the best that he can do, he will begin to +liberate him from every trammel except those he must wear himself, and +will be only too glad to leave him free. He understands, if he is at all +fit for his place, that a writer can do well only what he likes to do, +and his wish is to leave him to himself as soon as possible. + + +V. + +In my own case, I noticed that the contributors who could be best left to +themselves were those who were most amenable to suggestion and even +correction, who took the blue pencil with a smile, and bowed gladly to +the rod of the proof-reader. Those who were on the alert for offence, +who resented a marginal note as a slight, and bumptiously demanded that +their work should be printed just as they had written it, were commonly +not much more desired by the reader than by the editor. + +Of course the contributor naturally feels that the public is the test of +his excellence, but he must not forget that the editor is the beginning +of the public; and I believe he is a faithfuller and kinder critic than +the writer will ever find again. + +Since my time there is a new tradition of editing, which I do not think +so favorable to the young contributor as the old. Formerly the magazines +were made up of volunteer contributions in much greater measure than they +are now. At present most of the material is invited and even engaged; it +is arranged for a long while beforehand, and the space that can be given +to the aspirant, the unknown good, the potential excellence, grows +constantly less and less. + +A great deal can be said for either tradition; perhaps some editor will +yet imagine a return to the earlier method. In the mean time we must +deal with the thing that is, and submit to it until it is changed. The +moral to the young contributor is to be better than ever, to leave +nothing undone that shall enhance his small chances of acceptance. +If he takes care to be so good that the editor must accept him in spite +of all the pressure upon his pages, he will not only be serving-himself +best, but may be helping the editor to a conception of his duty that +shall be more hospitable to all other young contributors. As it is, +however, it must be owned that their hope of acceptance is very, very +small, and they will do well to make sure that they love literature so +much that they can suffer long and often repeated disappointment in its +cause. + +The love of it is the great and only test of fitness for it. It is +really inconceivable how any one should attempt it without this, but +apparently a great many do. It is evident to every editor that a vast +number of those who write the things he looks at so faithfully, and reads +more or less, have no artistic motive. + +People write because they wish to be known, or because they have heard +that money is easily made in that way, or because they think they will +chance that among a number of other things. The ignorance of technique +which they often show is not nearly so disheartening as the palpable +factitiousness of their product. It is something that they have made; it +is not anything that has grown out of their lives. + +I should think it would profit the young contributor, before he puts pen +to paper, to ask himself why he does so, and, if he finds that he has no +motive in the love of the thing, to forbear. + +Am I interested in what I am going to write about? Do I feel it +strongly? Do I know it thoroughly? Do I imagine it clearly? The young +contributor had better ask himself all these questions, and as many more +like them as he can think of. Perhaps he will end by not being a young +contributor. + +But if he is able to answer them satisfactorily to his own conscience, by +all means let him begin. He may at once put aside all anxiety about +style; that is a thing that will take care of itself; it will be added +unto him if he really has something to say; for style is only a man's way +of saying a thing. + +If he has not much to say, or if he has nothing to say, perhaps he will +try to say it in some other man's way, or to hide his own vacuity with +rags of rhetoric and tags and fringes of manner, borrowed from this +author and that. He will fancy that in this disguise his work will be +more literary, and that there is somehow a quality, a grace, imparted to +it which will charm in spite of the inward hollowness. His vain hope +would be pitiful if it were not so shameful, but it is destined to suffer +defeat at the first glance of the editorial eye. + +If he really has something to say, however, about something he knows and +loves, he is in the best possible case to say it well. Still, from time +to time he may advantageously call a halt, and consider whether he is +saying the thing clearly and simply. + +If he has a good ear he will say it gracefully, and musically; and I +would by no means have him aim to say it barely or sparely. It is not so +that people talk, who talk well, and literature is only the thought of +the writer flowing from the pen instead of the tongue. + +To aim at succinctness and brevity merely, as some teach, is to practice +a kind of quackery almost as offensive as the charlatanry of rhetoric. +In either case the life goes out of the subject. + +To please one's self, honestly and thoroughly, is the only way to please +others in matters of art. I do not mean to say that if you please +yourself you will always please others, but that unless you please +yourself you will please no one else. It is the sweet and sacred +privilege of work done artistically to delight the doer. Art is the +highest joy, but any work done in the love of it is art, in a kind, and +it strikes the note of happiness as nothing else can. + +We hear much of drudgery, but any sort of work that is slighted becomes +drudgery; poetry, fiction, painting, sculpture, acting, architecture, if +you do not do your best by them, turn to drudgery sore as digging +ditches, hewing wood, or drawing water; and these, by the same blessings +of God, become arts if they are done with conscience and the sense of +beauty. + +The young contributor may test his work before the editor assays it, if +he will, and he may know by a rule that is pretty infallible whether it +is good or not, from his own experience in doing it. Did it give him +pleasure? Did he love it as it grew under his hand? Was he glad and +willing with it? Or did he force himself to it, and did it hang heavy +upon him? + +There is nothing mystical in all this; it is a matter of plain, every-day +experience, and I think nearly every artist will say the same thing about +it, if he examines himself faithfully. + +If the young contributor finds that he has no delight in the thing he has +attempted, he may very well give it up, for no one else will delight in +it. But he need not give it up at once; perhaps his mood is bad; let him +wait for a better, and try it again. He may not have learned how to do +it well, and therefore he cannot love it, but perhaps he can learn to do +it well. + +The wonder and glory of art is that it is without formulas. Or, rather, +each new piece of work requires the invention of new formulas, which will +not serve again for another. You must apprentice yourself afresh at +every fresh undertaking, and our mastery is always a victory over certain +unexpected difficulties, and not a dominion of difficulties overcome +before. + +I believe, in other words, that mastery is merely the strength that comes +of overcoming and is never a sovereign power that smooths the path of all +obstacles. The combinations in art are infinite, and almost never the +same; you must make your key and fit it to each, and the key that unlocks +one combination will not unlock another. + + + + +VI. + +There is no royal road to excellence in literature, but the young +contributor need not be dismayed at that. Royal roads are the ways that +kings travel, and kings are mostly dull fellows, and rarely have a good +time. They do not go along singing; the spring that trickles into the +mossy log is not for them, nor + + "The wildwood flower that simply blows." + +But the traveller on the country road may stop for each of these; and it +is not a bad condition of his progress that he must move so slowly that +he can learn every detail of the landscape, both earth and sky, by heart. + +The trouble with success is that it is apt to leave life behind, or +apart. The successful writer especially is in danger of becoming +isolated from the realities that nurtured in him the strength to win +success. When he becomes famous, he becomes precious to criticism, to +society, to all the things that do not exist from themselves, or have not +the root of the matter in them. + +Therefore, I think that a young writer's upward course should be slow and +beset with many obstacles, even hardships. Not that I believe in +hardships as having inherent virtues; I think it is stupid to regard them +in that way; but they oftener bring out the virtues inherent in the +sufferer from them than what I may call the 'softships'; and at least +they stop him, and give him time to think. + +This is the great matter, for if we prosper forward rapidly, we have no +time for anything but prospering forward rapidly. We have no time for +art, even the art by which we prosper. + +I would have the young contributor above all things realize that success +is not his concern. Good work, true work, beautiful work is his affair, +and nothing else. If he does this, success will take care of itself. + +He has no business to think of the thing that will take. It is the +editor's business to think of that, and it is the contributor's business +to think of the thing that he can do with pleasure, the high pleasure +that comes from the sense of worth in the thing done. Let him do the +best he can, and trust the editor to decide whether it will take. + +It will take far oftener than anything he attempts perfunctorily; and +even if the editor thinks it will not take, and feels obliged to return +it for that reason, he will return it with a real regret, with the honor +and affection which we cannot help feeling for any one who has done a +piece of good work, and with the will and the hope to get something from +him that will take the next time, or the next, or the next. + + + + +PG EDITOR'S BOOKMARKS: + + An artistic atmosphere does not create artists + Any sort of work that is slighted becomes drudgery + Put aside all anxiety about style + Should sin a little more on the side of candid severity + Trouble with success is that it is apt to leave life behind + Work would be twice as good if it were done twice + + + + + +End of the Project Gutenberg EBook of The Editor's Relations With The Young +Contributor, by William Dean Howells + +*** END OF THIS PROJECT GUTENBERG EBOOK THE EDITOR'S RELATIONS WITH *** + +***** This file should be named 3386.txt or 3386.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/3/8/3386/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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