University of Virginia Library

Agent and Author: Ellen Glasgow's Letters to Paul Revere Reynolds
by
James B. Colvert [1]

Shortly after Harper and Brothers published her first novel, The Descendant, in 1897, Ellen Glasgow laid out a program. The success of The Descendant notwithstanding, she decided after candid self-examination that she had no technique, no art, no way of controlling her ideas; and to remedy these weaknesses she plunged into a study of the great masters of the craft of fiction—James, Flaubert, Maupassant, and Tolstoy. Her ambition was to be a great novelist, and she was determined to spare nothing in her preparation for the achievement of her goal.

The forty-one letters to her literary agent, Paul Revere Reynolds—now in the Barrett Collection at the University of Virginia—throw a good deal of light on these ambitious years. They help to date the various stages of composition of some of her early novels, reveal something of her attitude toward them and the novel in general, and show how carefully, even jealously, she protected her conception of herself as a writer. Although the letters cover a period of thirty-two years (1897-1930), more than half were written in the crucial years before 1901, when she was carefully laying the groundwork for her career. With poise, judgment, and sense of sureness remarkable in a literary novice in her mid-twenties, she shows that she had no intention of allowing her aesthetic goal to be compromised by carelessness in bringing her work before the public. She shows too that she knew from the very beginning precisely what she thought about her talent, the medium best suited to it, and the kind of audience she wanted for it.

Proper audience—and by this Miss Glasgow meant an intelligent, discriminating audience—is the most commonly recurring subject in the letters. It was her consideration for the right kind of audience, in fact, which seemed to govern a number of her opinions and decisions. Success, she pointed out several times, meant to her succès d'estime. "I hope," she wrote Reynolds in reference to her second novel, Phases of An Inferior Planet, "that the book will be successful, but the kind of success I prefer most now is that which comes from a discriminating public—which is never large" (Letter 17). And she reminded Reynolds again and again that she wanted none of her work to appear in second-rate magazines, a condition rigorously enforced until she was established well enough to command top prices for her stories. But even then the standing of the magazine was a major consideration with her (Letters 34, 36 and 40).

It is clear, I think, that Miss Glasgow was convinced that England could afford a more discriminating audience than America. Consequently, the English publication of her novels—a subject touched on in a good many of the early letters—was a matter of special concern, perhaps even, as Letter 2 suggests, of anxiety. The most pointed and emphatic letters in the group are those dealing with this subject, and their firmness of tone suggests an attitude bordering on Anglophilia. Writing to Walter Hines Page in March, 1898, she asked rather wistfully, "Given equally good work, do you believe that an American writer has as fair a chance of fame as an English one? I confess my own doubts strengthen the position that it is well for a writer to manage to be born in England if he can . . . ."[2] Her letters to Reynolds reflect the same attitude. She wanted a distinct English edition of her work, one issued by "a wholly English house" (Letter 10), a request that seems to say that she would prefer her English edition to have as little association with America as possible. "You know the opinion I have of Mr. Heinemann as a publisher," she wrote, but the crossed out capital "E" suggests that she started to write "English publishers" instead of "Mr. Heinemann," a slip which shows that she might have been thinking in generic rather than in specific terms. One notes, too, that the question of financial return was even less a consideration in respect to the English edition than in respect to the American.

It might have been her concern for proper audience which helped Miss Glasgow decide that the novel, not the short story, was her true medium, though the opinion also seems to have rested partly on aesthetic grounds. She renounced the short story early in her career

and expressed the wish that she could recall those she had already written (Letter 5). Although she continued to write them occasionally and even published a collection, The Shadowy Third and Other Stories, in 1928, she was never really very interested in them. It was probably Walter Hines Page who confirmed her in the opinion that the medium was of little value in developing the kind of audience she should have. "As regards my work," she wrote Page in November, 1897, when he was literary advisor to the Atlantic Monthly, "I shall follow your advice in full. I shall write no more short stories. . . ." Page's reply warned her that "authors of promise scatter the influences that ought to go towards the firm and steady building of great reputation by appearing in print here, there, and everywhere,"[3] by which he meant appearing in print with short stories. Miss Glasgow's comment to Reynolds, however, suggests that her reason for renouncing the story was that she regarded the form as unsuited to her talent: "The truth is that I am a novelist, not a writer of short stories, & in putting them upon the market I am trying to pass my least good work upon the public."

Page, incidentally, influenced Miss Glasgow in another matter touched on in the letters—her decision to give her third novel, The Voice of the People (1900) to Doubleday, Page, and Company rather than to her regular publishers, Harper and Brothers. He informed her in 1899 that Harper and Brothers was operating on a subsidy from the banking house of J. P. Morgan, a subsidy so large, in fact, that the publishers were for all practical purposes in the hands of a receiver. Miss Glasgow, fearful for the safety of her book, gave it to Doubleday, Page and Company—on the condition, one notes, that Page should say that he "heartily believed in the novel."[4] Reynolds, as Letter 29 indicates, protested this action and Miss Glasgow's reply to his objection shows how firmly and jealously she regarded the welfare of her novels.

The most dramatic letter in the collection is the last one, a single sentence refusal of an offer of $20,000 for the serial rights to one of her novels. Earlier in her career she expressed a good deal of interest in serialization of her work (Letters 7 and 27), but a growing reluctance (Letters 33 and 36), eventually became, as Letter 41 shows, a positive antipathy. Her objection, if we can judge from Reynold's memorandum of June 8, 1910, was primarily aesthetic. "She thinks," Reynolds noted,

"there might be too much atmosphere and characterization to make it [The Miller of Old Church] a good serial but thought it could be cut and condensed" (note to Letter 33). But nothing came of this plan; only one of her books, The Builders, was ever serialized.[5]

The blunt refusal of the final letter, though, is in no way out of character, for the letters, taken all together, record a continuous refusal of everything that conflicted with her principles. She refused quick and easy financial returns and popular fame, but above all she refused all uneasy doubts about the final worth of her work. As the letters show, she served her ambition to be a great novelist with bold, decisive, and uncompromising action—action as bold and decisive as the looping, nervous handwriting in which she issued her directions to Reynolds.

Letter 1.

I enclose a note received some days ago from the McClure Company. You will know whether or not to submit one of the stories[1] to that magazine before disposing of them.

I received also a very cordial letter from the Editor of Harper's Magazine,[2] expressing the hope that the Messrs. Harper would publish all my work.

Before leaving the city I should like to talk with you concerning the placing of my new book[3] in England.

Letter 2.

I have just received a letter from Harper, stating that "since Mr. Paul R. Reynolds has already begun negotiations for the publication of the work in England, we think it better, under the circumstances, not to interfere with his arrangements."

So you see the book must be placed with an English publisher. Furthermore, since they intend to bring it out immediately, it must be copyrighted before they do so.

As you know I am perfectly willing to accept the lowest terms, but it must be brought out as soon as possible—or, at least, placed in ms.

Harper has the Canadian rights.

The thought that I may not secure English publication is worrying me very much.

Letter 3.

Your letter has just been received & I forward my address at once. If the check is made payable to you will you kindly deduct your commission & the price of the copy of "The Descendant," which you sent Mr. Heinemann. I forgot to mention this before. As soon as you hear from the English publisher, will you let me [know deleted] hear from you. On one point I am quite decided & that is that I wish an English publisher for my new book—the English edition.

If Heinemann does not wish to take it, will you consult with another publisher for me—some young enterprising firm preferred, who will take a special interest in pushing my books. When the book is completed I shall have two typewritten copies made, one to be sent to England by you—if you can arrange matters. I hope to finish it in March.[1]

Letter 4.

I received the check which was quite satisfactory. I shall await the reply of Mr. Heinemann & hope that it will be all right. If not I suppose I can make other arrangements. Thanking you for your trouble.

Letter 5.

I have just received your letter. My novel is finished and I am now making arrangements for its publication. As soon as the arrangements are settled I will let you know. Will you kindly write me if it is better to send a typewritten ms. to England or the corrected proofs. I don't know whether I explained to you that in the English transactions the question of financial returns is the least to be considered. From a publisher interested in pushing the book, a merely nominal royalty will content me. I should prefer that Mr. Heinemann should take the novel—

Will You kindly return me the short story you have. I have decided to write no more short articles—and I wish I could recall them all.

Letter 6.

I will send you a typewritten copy of the novel in time for Mr. Heinemann to see it in New York if you will let me know when he is to be here. Of course, there will be many corrections in the proof sheets and the copy I have is in very bad condition, but I suppose he is used to that. I shall be so grateful if you will do your best for me in this English affair. By that I mean secure me an able and enterprising publisher. I don't know just yet who is to have the American rights, but even if the Harpers bring it out over here, I should still prefer an English publisher in London.

Indeed, no, I do not in the least feel it to be your fault that the short story has not sold. The truth is that I am a novelist, not a writer of short stories, & in putting them upon the market I am trying to pass my least good work upon the public. This is my point of view and this is why I asked you to return it. In placing my ms. of my novel in your hands I am giving proof of great confidence in you. Its success (from an artistic standpoint) means more to me than I can say.

Letter 7.

I am sending you by the express of today or tomorrow the ms. of my novel "Phases of an Inferior Planet." I can't tell you just yet when it will be published in this country, but I should like, of course, to arrange for simultaneous publication in both countries.

Letter 8.

Please deliver to Messrs. Harper Brothers the copy you have of my book "Phases".

They will return it to you after reading it.

Mr. Reynolds No 70 5th Av. Letter 9.

Of course I am greatly pleased that Mr. Heinemann will publish the book and I accept his terms, with thanks. I much prefer the royalty and agree with you that it will probably prove better in the long run. Please write Mr. Heinemann that I accept the 15% royalty. The Canadian rights belong to Harper, as I have signed a contract to that effect. I think Mr. Heinemann is incorrect in supposing that Harper intends to publish the book in the autumn. My impression is that they wish to bring it out at once. I have already corrected the proof of about one fourth of the book and they are sending them rapidly. I have written to them for a double set. Yes, please confer with them in regard to the copyrighting, etc.

Indeed, I think I am very much to be congratulated upon the placing of the book, and I feel very heartily that I owe it entirely to your management of my affairs. I wish to thank you again for the trouble you have taken. Of course all the business transactions between Mr. Heinemann and myself will take place through you, and you will deduct your commissions when it reaches you. Please return the manuscript and I will send the proofs as soon as I secure them.

Letter 10.

The American rights of my book I have given to the Mssrs. Harper, they having cheerfully agreed to take it on such terms as I myself thought satisfactory—entirely so, I may say. They spoke to me concerning the English edition and I have told them that should they desire it, I would ask you, to confer with them, if you had not made other arrangements. Of course Mr. Heinemann [is my deleted] must have the first opportunity and I must confess that in my unbusiness-like fashion I have spoken very strongly

to the Messrs. Harpers in favour of a wholly English house. You know the opinion I have of [E deleted] Mr. Heinemann as a publisher.

In treating with the Harpers I do not care to be exacting with regards to the English rights, but any concessions I should wish to be my loss, not yours.

I do not know as yet, but it is probable that the book will be brought out in the U. S. immediately.

Thank you very heartily for your kind inquiries as to my health. As you will doubtless gather from this scrawl I am still very unwell and have not as yet been able to leave my room. When you write again will you kindly tell me if Mr. John Lane of the Bodley Head is ever to be found in his American office? This, of course, has nothing to do with my novels.[1]

Letter 11.

The Messrs. Harper have written me that they are desirous (as I wrote you some time [a]go I thought they were) of publishing the book late in May or early in June. To postpone it until this autumn would mean sacrificing the best selling season of the year, & it would be a decided loss to me in many ways.

Has Mr. Heinemann any objection to its appearing then?

Will you kindly communicate with him and arrange it as best you can, remembering that my urgent wish is to have the book appear in this country not later than early in June.

Letter 12.

Please explain to Mr. Heinemann that the proofs that have been sent to him were corrected before I knew of the changes he desired, and that they went to him before I had an opportunity to re-correct, since out of consideration for me, the Messrs. Harper forwarded you corrected proofs.

I have neither proofs nor ms. by me, but the changes to be made are as follows:

1st When the word "fire escape" occurs it should be altered to "balcony." It is in constant use throughout the 1st part.

2nd The word "jag" occurs once, I think, in Chap. 1. "Spree" should be used instead.

3rd If the past form of the word "got" is written "gotten" it should be replaced by "got." This form is in constant use down here, but I notice it does not appear in English books.[1]

The Messrs. Harper wrote me that if Mr. Heinemann does not care to publish until autumn they will send him over, at my expense, the six copies required by law. I leave this entirely to your desire, of course. I wish Mr. Heinemann to bring the book out when he thinks best.

Letter 13.

My illness has made it out of the question that I should go to Washington to meet Mr. Heinemann, but I wrote to him at the Shoreham as you suggested. Thinking that I might interest him to see a little of the South, I suggested his coming to Richmond to make us a visit. Frankly, I can't see what there was for us to say to Providence and make too few individual attempts to curry favour with it.[1] Thanking you for the interest you have shown.

Letter 14.

The Mssrs. Harper have written me to the effect that they have stated to you terms at which they will let Mr. Heinemann have duplicate plates

of "Phases."[1] Of course, whether Mr. Heinemann accepts them or not does not concern me. If he does not they will send me proofs to correct. At any rate some small changes will have to be made in the English plates which I do not wish to make in the American—for instance "balcony" instituted for "fire escape" over here would impair the naturalness of New York summer days, and the word "jag" for "spree" is much more in keeping with the young journalists I know. But these I wished changed for the English. Also it would be impertinence on my part to offer a foot-note explaining Tammany to the American public. Very nearly half the proofs are corrected. Please let me know when a date for publication is decided.

Letter 15.

I forwarded you the other day the last proofs of "Phases of an Inferior Planet." I hope you have received the whole of it.

I enclose the dedication and title-page motto for the book. Will you kindly send them to Mr. Heinemann in view of the possibility that they were not included in the first supply of proof which the Messrs. Harper sent you.

Will you also inform Mr. Heinemann that at his suggestion I added a foot note to the last proofs [defining deleted] giving definition of Tammany, but that unless he thinks it advisable I should prefer the note not to be used.

Letter 16.

Will you kindly get the enclosed poem into some English Journal—the price doesn't matter.

I purpose bringing out a small volume of poems within the year,[1] & I should like this to appear before then in any English magazine or daily paper—

What do you think of asking McClure's if they would care for a poem to be brought out within the next few months? You might sound them & let me know.

Letter 17.

Thanks for the English copy of "Phases." It was very thoughtful of you to send it. I have not seen it as yet for I am stranded afar off in the mountains, but I return home next Monday—the 3rd of October—and the book will be awaiting me. So far I have only seen the American edition through the chance order which a guest in this little place sent to Brentano's—there having been some delay in the delivering of the package from Harpers. Yes, I hope that the book will be successful, but the kind of success I prefer most now is that which comes from a discriminating public—which is never large. At all events I am very well satisfied with my publishers. As for the work I am doing now it is the beginning of a serious and tedious amount of toil. I am beginning a long novel upon modern conditions of life in Virginia and I have made a vow not to be drawn from it for the next two years.[1] Of course, to refrain from publishing anything until two years from last spring (when the book was begun) will try my patience sorely, but I hope to be repaid in the end. Yes, I should like to make a serial of it very well. I expect, by the way, to be in New York for a month about the middle of November.

Letter 18.

I should like the enclosed poem to appear in some Christmas magazine if possible—how about McClure's? An early publication is imperative since I may bring out a collection before long. If you find any trouble about selling either of them, don't mind about sending them home again.

Letter 19.

It is all right about the verses. Send them back, by all means. I am expecting to leave America the 1st of February for a period of eight months or so and if I am in New York long enough before sailing, I should like to see you and to ask you a few questions. I shall most probably sail for

Egypt first, reaching London about June. It was very kind of you to see about the English verses.

Letter 20.

I am very sorry not to see you in New York, but my doctor has forbidden my stopping in the city, so I am only here for a night's rest. I sail for Egypt tomorrow on the Allen at eleven o'clock. I hope that the sea trip will strengthen me sufficiently to keep me working at fever heat for the next few years. I hope that all is going well with you, and with all good wishes, I am

Letter 21.

I have just returned to America, reaching New York on the Kaiser Wilhelm last Tuesday. It had been my intention to see you in New York, but I was there so short a time that I found it impossible to do so. I now find your letters here that were sent me last spring and I make a late acknowledgement of them.

My trip was quite successful and I am stronger and readier for work. Mr Heinemann, whom I saw in London, is extremely nice and Mrs. Heineman is very charming. I am now going back to my book.[1] But it will not be completed for some time.

I hope you have had good luck, and

Letter 22.

It has become so natural for me to demand advice of you that I shall not even ask pardon for the trouble I may put you to. This is what one gets for being kind to such an ignorant thing as an author.

Will you let me (and this of course is confidential) [know] what you know of the present condition of the house of Harper & Brothers?

I have been approached by another house upon the subject of my new book—the new publishers taking for granted that I shall not wish to continue with the present management, which, they maintain, is not Harper and Brothers at all, but merely a business conducted by a receiver to pay off his creditors, in which he may sell any of the books at any time.

As you know I like the Messrs. Harper—they have always been kind to my interests, and I do not wish to leave them unless it is true that the business is not really under their direction, or unless I might reap greater advantages for my book.

Will you write me what you think about it?

Letter 23.

It was very good of you to answer my questions so promptly.

The overtures regarding my new book have come through Mr. Walter H. Page (who wanted me to give my last novel to Houghton and Mifflin). He writes me, confidentially, that Mr. Doubleday is to withdraw his publishing interests from Mr. McClure, and that the firm will henceforth be "Doubleday, Page, & Co." Do you know anything of this arrangement? Mr. Page has shown a great deal of interest in my book, but as a publisher, I have no knowledge of either Mr. Doubleday or himself. As a rule I do not like new firms, but I should be glad to hear what you think of the matter. Mr. Page tells me that it (the house) will "devote itself to you interests—literary and financial," and "be willing to make any reasonable arrangement with you that you may wish," as well as look after my books that are now "in the hands of the receiver of Harper & Brothers." This of course is confidential, as I am upon very friendly terms with Mr. Page. What I do want to know is the standing, financial and otherwise, of the new firm.

Indeed, I thank you very much for your willingness to serve the new book. If I do not give it to the Messrs. Harper, I shall certainly be only to[o] glad to have you do what you can for me—though as I know Mr. Page personally of course it will not be courteous for me to send anyone else to consult with him.

As for the others—Macmillan, Scribners, & the rest, I should like to learn their attitude with regard to my work. At any rate, the novel goes to Mr. Heinemann, through you, as did the other.

It is a book about Virginia, & so vastly different from my former works, that I suppose it will both please and disappoint. It is not historical in the conventional sense, & it is not romantically exciting, but it is a good, sound, solid, true-to-life kind of novel.

I am afraid I shan't be in New York this winter—I am working too hard, and the weather here is too glorious to forego. Thanking you for your letter,

Letter 24.

I have been ill or your letter should have been answered before this. Even now I am not able to reply to it in full, but send a line to let you know that I shall do so later.

Perhaps it is as well to let things remain as they are until the book is finished. I am at present unequal to the work of completing it, so it may not be ready to soon as I expected.

Thanking you for your letters,

Letter 25.

The book is with Doubleday and McClure[1] —and in the printer's hands, they write me. When I came to the point, I gave the novel (as I always do) to the publisher who seemed most interested in my work. Will you please be so kind as to secure proof sheets from them to send to Mr. Heinemann. Mr. Page writes me that he thinks this book much the strongest I have done. He will publish it at once, but, I believe it would be well to have Mr. Heinemann hold it over until the tour is ended. In a letter I had from Mr. Heinemann a few days ago, he mentioned that he was leaving London for six weeks—however I don't suppose the proofs will be ready for him for some little while. When you write to him will you suggest that he should hold the book over?

Letter 26.

Do you know whether Doubleday & McClure are sending you corrected proofs of my book or not?

The Harpers did so & it saved me a great deal of trouble, as it would be almost impossible for me to make the same changes in the second set unless I had the first to go by.

I forgot to mention this when I wrote before, but if the corrected ones are sent it will make a great deal of difference to me.

Letter 27.

Thank you a thousand times. I could not understand what was meant by the omission of "United States of America," which I suppose was an oversight.

I have sent the contract you were so kind as to copy for me—there must be no mistake about the English rights.

I suppose I may have been wrong in not asking for an advance royalty (I was offered $500 in advance on the last book—but I have an absurd presentiment (the only superstition I entertain) that if I take any advance, I shall never get any more from the book. This of course is ridiculous. At any rate I am very much obliged to you. If this book makes the impression of [. . .][1] that I think it will, would it be possible—do you think?—to place my next as a serial. I can't hold a book over for a serial, but I should like to have it start in a magazine as soon as it is finished—say in from two to three years. It is not begun as yet, but I have the plot—and it will be laid before & during the late war.[2]

Letter 28.

I have asked my American publishers to take charge of the English rights. As they have a representative on the spot this seems to me to be much better than to make you deal through a third party.

I was greatly surprised at Mr. Heinemann's decision—I had thought he cared to have it—but no matter. I suppose it will all come right.

I am much obliged to you for your trouble. If you were in London I should like to have you place it, but since you are not, will you kindly turn it over to Mr. MacArthur.

Letter 29.

It never occurred to me to think that you had been anything but kind and helpful to me, and I am very sorry that you don't like my giving the book to Doubleday and Page.

It seems to me that I have done the right thing in so doing.

I gathered from your letter that you were doubtful about being able to place it, and I confess that I was amazed at Mr. Heinemann's refusal. All of this seemed to consider my book of slight value—and this is not my opinion at all. The same mail brought me an enthusiastic letter from my American publishers, and, in a way, they are responsible for the well-being of my novel. You are not in London, as I said before, and your letter certainly left me under the impression that it might be difficult to arrange matters. It seemed to me that I was merely taking a troublesome piece of business out of your hands. I do not regret what I have done, but I regret very much if it has offended you. You have been most kind about advising me, and I hope you understand that I appreciate this. The question of the amount charged has nothing whatever to do with my decision. I am quite willing to abide by my arrangements with Doubleday, Page, and Company, which will yield quite as much if not more, than fifteen per cent. Indeed, if you have been at any expense about the book that I can make good, I shall esteem it a favour if you will let me know of it.

Letter 30.

I do not know whether there is any foundation for the news you have received from London or not. So far I have heard nothing on the subject from the publishers. And indeed, if it is so I am neither glad nor sorry. There are perhaps twenty publishers in London whom I should like to have this book quite as much as I would like Mr. Heinemann to have it. It really makes very little difference to me who brings out the book. However, I thank you for your letter, and I am

Letter 31.

Messrs. Archibald Constable and Company are my regular English publishers, and for some years all of my arrangements for the British rights of my books have been made by Mr. A. P. Watt. Yes. I have a novel to be

published in January, but it has been placed for two years or more. It was very kind of you, though, to write me of this opportunity.

Letter 32.

Your April letter went to Constantinople & has just reached me.

I am much interested in the serial you speak of and I should like to talk it over with you when I return to New York in June. My address on this side is in care Messrs. Brown, Shipley, & Co., 123 Pall Mall, but I expect to sail about the middle of next month.

Letter 33.

I am in town for a few days—and hope to see you while I am here and talk about the serial. Can you come over Friday about three o'clock—or would Wednesday suit you better?[1]

Letter 34.

I haven't anything new I could possibly use as a serial. My new novel won't be finished for at least two years.[1] Of course, if I could get a good price

for that from a first straight [sic] magazine, I wouldn't refuse to consider it. But it's a big book, a long book, a serious book. It's going to be I think really my best book.

Letter 35.

You have written to me so often about the serialization of my books, that I would like to discuss the matter with you some day when you are at leisure.[1]

Letter 36.

No, I am sure I did not get the letter you wrote me in January.

As for short stories—well, I've tried hard to interest myself in them, but simply can't. The work is so tiresome that I'd rather not have the money they bring than try to write them.

If a serial could be well placed before the book is written, that would be very nice, but after the work is finished, I never want to have it back long enough to search out a place for it.

Letter 37.

You have asked me so often about short stories that I am wondering if there happens to be any particular demand for them just now. I am writing a story about a haunted house,[1] and I should like to get the largest possible price for it. Of course I cannot let my work appear in the second rate

magazines; but could you give me some idea of the price you think you can get from a good magazine?[2]

Letter 38.

I shall be very glad to have you place the next story I write. Those that I have written are already sold; but I realize that you might secure larger prices than I am able to do.

The Editors of Harper's Magazine are anxious for other stories from me; but they do not pay as much as I wish to ask. I do not care to take less than a thousand dollars (Good Housekeeping paid me this for one[1] the other day) and I should like, if possible, to get more. Of course the standing of the magazine must count somewhat.

Letter 39.

I have finished the story,[1] and I hope to send it to you before long. It is a ghost story, not unlike my story in the Christmas Scribner's.

Please get me the largest price you possibly can—even if it has to go to the Cosmopolitan. I couldn't appear in Hearst's Magazine or in some others.

Letter 40.

No. I haven't any story for the Ladies' Home Journal. Will you let me know if you have shown this story to any one else? I would rather have it appear in one of the first class magazines even if I take a smaller price—but I would like to sell it as soon as possible.

Have you spoken to the editor of the Century?

I cannot understand the delay for I sold my other stories within a week.

Letter 41.

Thank you for your letter. No, I am sorry, but I am not interested in serials, and certainly an offer of twenty thousand dollars would not tempt me.

Notes