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Journalism for Women: A Practical Guide, a non-fiction book by Arnold Bennett |
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Chapter 6. The Outside Contributor |
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_ Chapter VI. The Outside Contributor In Mr. J.M. Barrie's _When a Man's Single_ [Footnote: This brilliant novel should be seriously studied by every young journalist. It contains more useful advice to the outside contributor than all the manuals of journalism ever written.] the following homily is delivered by a journalist of experience to a naive and innocent beginner: "There are only about a dozen papers in London worth writing for, but I can give you a good account of them. Not only do they pay handsomely, but the majority are open to contributions from anyone. Don't you believe what one reads about newspaper rings. Everything sent in is looked at, and if it is suitable any editor is glad to have it. Men fail to get a footing on the press because--well, as a rule because they are stupid." This is indeed wisdom. I demur to the first sentence alone. There are to-day (whatever the case ten years ago) many more than a dozen papers in London worth writing for; I should put the number nearer a hundred; papers which pay, if not handsomely, at least adequately, seldom lower than fifteen shillings per thousand, and in some noble instances ascending to two guineas--which is princely. A dozen papers worth writing for in the whole of London! Why, it is scarcely uncommon for a single firm to have control of a dozen reputable publications! The beginner must, for her encouragement and solace under rebuffs, grasp firmly the fact that the immense majority of London editors are not merely willing but in truth anxious to peruse such manuscripts as she cares to submit to their notice, and to accept them if suitable. The supply of really suitable material of average quality does not often exceed the demand, and the supply of suitable material which can be called distinguished is always less than the demand. This is why the editorial eye keeps a sleepless watch for that long-desired new writer, who may be yourself. Also, the beginner should remember with pride that the Press as a whole relies for much of its freshness and attraction upon the outside contributor. If the stream of unsolicited contributions were suddenly to cease flowing into Fleet Street, the monthlies would find themselves in a predicament; all the weeklies (except certain "class" organs), from the esoteric literary sixpenny to the penny popular with a circulation equal to the population of Glasgow, would be compelled to cast aside dignity, and solicit instead of being solicited; even those pompous creatures, the "great dailies," would feel the pinch, despite their regular services and seething staffs. Let it be your glory, therefore, O outside contributors, that the very existence of the Press, as at present organised, depends upon yourselves. * * * * * I have already referred to the necessity of visiting regularly a public news-room. As you progress in the power of composition, so must your knowledge of the "make-up" of all the principal papers increase; for the first is useless without the second. You must, in particular, know intimately the complicated topography of all the daily papers--on what days certain features appear; what length of article is affected by each paper; and the subtle variations of tone which, apart from grosser differences, distinguish one organ from another. You must also be well acquainted with the various editorial notices, and take care, when sending in manuscripts, always to obey the instructions there laid down. The length of an article is a most important matter and frequently decides its fate. Accordingly, the question of lengths must be thoroughly studied. For a simple example, you must know that a _Globe_ "turnover" (the celebrated daily article which occupies the last column on the first page and "turns over" to the second page) must necessarily exceed a thousand words; no article intended for that position, whatever its merit, can have the least chance of acceptance if it falls short of this minimum. Again, the first article in the _Evening Standard_ must exactly fill the column, no more and no less. Do net despise "class" papers, those which appeal only to a particular section of the community--religious, architectural, literary, artistic, and so forth. These papers sometimes experience a difficulty in getting what articles they desire, and indeed it is notorious that the editors of certain of them are often at their wits' end in the search for new treatments of an exhausted subject. The reasons for such a state of affairs are, of course, first, that outside contributors in their blindness pass over these papers, and secondly, that as the subjects are sharply limited, so is the field for copy. It would be well to buy for reference Sells' _Dictionary of the World's Press_ (7s. 6d.), a vast volume containing indexes of all papers, with their addresses, and a quantity of useful information concerning them. _The Literary Year Book_ (George Allen, 3s. 6d.), gives a tabular statement (incomplete, but useful so far as it goes) showing the editorial requirements of a number of weekly and monthly organs. * * * * * Naturally it is impossible to offer particular advice upon so immense a subject as the selection of topics for articles, but attention is directed to the following three points:-- 1. Editors, especially editors of weeklies and monthlies, find it necessary to make their arrangements far in advance of publishing day. Therefore the outside contributor must always look ahead. In March she should have an eye on Midsummer, at Midsummer she should be engrossed by Christmas, and at Christmas that notorious article, "Easter in many Lands," should be approaching completion. It is useless to send in (as so many thoughtless ones do send in) an essay on the New Year just before Christmas, or a seaside dissertation towards the end of July. And this applies not only to the great annual festivals and seasons, but also to all important political, social, and general events whose dates are known beforehand. Take, for an instance, the annual meeting of the British Association. If you send to an editor an anecdotal history of the British Association only a a few days before the meeting itself, you thereby assume that the editor is depending for his topical articles on chance contributions received at the last moment. Which is patently absurd. Without doubt that editor had arranged his British Association articles a couple of months previously, and it is not improbable that he accepted the suggestions of some outside contributor who had been clever enough to look into the future. It is a good plan to compile for reference a calendar of festivals, seasons, and public events, exactly such as the editor himself must use. 2. Women need not confine themselves to women's subjects. Many women writers seem to think that they are debarred by some defect or limitation of sex from treating topics other than those commonly termed feminine. But there is no reason why a woman should not deal as effectively as a man with general matters. (To argue that, because the male journalist does not usually touch women's affairs without being ridiculous, therefore the converse holds good, is illogical.) I lay stress on this. 3. Do not disdain to write mere paragraphs. The present is an era of paragraphs, and they form a most marketable commodity. Scarcely an editor but is continually gaping for topical paragraphs. Moreover paragraphs are less difficult to write than articles, since they demand less constructive skill; many aspirants can put together a passable paragraph who would fail miserably with an article. Further, they have a better chance of acceptance, _caeteris paribus_, for the reason that editors find them easier to handle. Often an editor declines an article which he likes, simply because he knows that to use it would involve the re-modelling of an entire issue; a paragraph is more amenable. Lastly, paragraphs are paid for, and just as much as articles they may afford one the encouraging satisfaction of seeing her stuff in print. The beginner, therefore, will do well to begin with paragraph work; articles may follow at a later stage. * * * * * Your paragraph or article having been composed, there arises the question of the proper way to copy and dispatch it:-- 1. In the majority of instances it is unnecessary to typewrite. Typewriting is somewhat expensive and often inaccurate, and unless you happen to possess your own typewriter, there is no reason why caligraphy should not suffice for your needs. (A few editors, however, insist that all copy submitted shall be typewritten.) Use quarto paper--that is, the size of a sheet of note-paper opened--and only one side of it. Write very plainly, not too small, leaving a wide margin at the left hand, and a good space between the words and between the lines. 2. Fasten the sheets together at the top left hand corner with a paper fastener, the pointed ends of the fastener being at the top. Do not pin the sheets; do not stitch them; whatever else you do, refrain from stitching them all the way down the left hand side, as this process makes it irritatingly difficult to turn them over. 3. Write your name and address not only at the top of the manuscript itself, but also on the back, so that they may be prominent when the manuscript is folded up. Write boldly on the first page the exact length of the article in words. 4. Enclose a stamped and addressed envelope--not a book-post wrapper; manuscripts which see much of the world (and your earlier manuscripts will probably see a very great deal of the world) become damaged and ruinous by travelling in a book-post wrapper. Be sure that the envelope is sufficiently stamped, and be sure also that it is large enough to hold the manuscript. 5. Never send out a dirty or ragged manuscript. The editor is prejudiced by the first sight of such a manuscript, for he knows at once that it has been refused elsewhere. * * * * * Her manuscript decently dispatched, the aspirant will feel happy and well satisfied till shortly before the earliest hour possible for its return. Then begins suspense. She will sit awaiting with counterfeit calm the postman. She hears his tread on the pavement outside; he mounts the steps, knocks; there is the gentle concussion of a packet against the bottom of the letter-box. Is it the article returned? She still keeps hope. Even when one day the large envelope, addressed in her own writing, is put into her hands, she says to herself that the editor has only returned it for a few trifling modifications.... Invariably the thing does come back, sooner or later, with some curt circular of refusal. Moodiness and discouragement follow. But it is as wise to be annoyed by editors as to quarrel with the weather. Idle depression must instantly give place to renewed activity. The journalistic instinct, says Noble Simms in _When a Man's Single_, "includes a determination not to be beaten as well as an aptitude for selecting the proper subjects." If at first you fail--as will certainly be the case; you may sell nothing whatever for twelve months--be quite sure that it is not-- Because there is a conspiracy among editors to suppress talented beginners. Or because the market is overcrowded. Or because your manuscripts have not been carefully read. Or because editors do not know their business. Try to convince yourself that the true reason is-- Because your stuff has not yet reached the (low) level of merely technical accomplishment which the average editor exacts. Or because your topics are devoid of interest for any numerous body of persons. Or because you persist in sending your articles to the wrong papers. The first defect ought to be remedied speedily. The second is more difficult to deal with, and the third is most difficult. The eradication of these two will necessitate careful and continuous study of journalism in all its manifestations, and nothing but successive defeats will teach you how to be victorious. However, perseverance granted, the hour will come when an article of yours finds its way to the composing room. A day of ecstasy, upon which every disappointment is forgotten and the way forward seems straight and facile! As soon as you can rely upon selling one article out of four, count it that you are progressing. * * * * * As to remuneration, a few papers send out cheques at regular intervals without putting their contributors to any trouble in the matter. Others, and among them some of the best, never pay till a demand is made. Some, including one or two organs of note, never pay till they are compelled to do so. If a remittance is not received during the month following publication, it is advisable to deliver an account, giving the date of appearance, exact title, and number of pages, columns, or inches. _ |
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