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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/78066-0.txt b/78066-0.txt new file mode 100644 index 0000000..efac5a1 --- /dev/null +++ b/78066-0.txt @@ -0,0 +1,864 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 78066 *** + + + + + LITTLE BLUE BOOK NO. 1366 + Edited by E. Haldeman-Julius + + How to Write Little + Blue Books + + Lloyd E. Smith + + (Assistant Editor, Haldeman-Julius + Publications) + + HALDEMAN-JULIUS PUBLICATIONS + GIRARD, KANSAS + + + + + Copyright, 1929, + Haldeman-Julius Company + + + PRINTED IN THE UNITED STATES OF AMERICA + + + + +HOW TO WRITE LITTLE BLUE BOOKS + + + + +A WORD OF EXPLANATION + + +Telling would-be contributors to the five-cent pocket series _How +to Write Little Blue Books_, is, by rights, the editor’s--E. +Haldeman-Julius’s--job. For he is the man who ultimately accepts the +manuscript, if it is acceptable, and he signs the check which each +author awaits with eager anticipation. But he says that going into the +details of how manuscripts should be written for this ever growing +series does not appeal to him. So far he has preferred to find and +buy the product of those writers who are able, without more than a +preliminary word or two, to turn out exactly what he wants. So he +has delegated me to do the job for him, and he has charged me to be +explicit, exhaustive, and extremely understandable. + +For editorial problems of the Little Blue Books are peculiar. There is +no other series to be compared with The Little Blue Books. Certainly +not in the English language, and similar series in foreign languages +are not quite the same, and are, of course, not of interest to writers +in English. E. Haldeman-Julius has told the complete story of ten years +of publishing the Little Blue Books, from editing some two thousand +manuscripts to the complete list of more than fourteen hundred titles +in print as I write, in his book, _The First Hundred Million_.[1] The +100,000,000 refers to the total number of Little Blue Books printed and +sold at the time the book was written. I urge every would-be Little +Blue Book writer to get a copy of this book, if possible, and read it +from cover to cover. Entirely aside from its technical interest, the +book is thoroughly readable as a unique contribution to the psychology +of the American reading public. + +[1] _The First Hundred Million_, by E. Haldeman-Julius, cloth bound, $3 +postpaid, Haldeman-Julius Co., Girard, Kansas. + +As for my own qualifications to tell how Little Blue Books must be +written, to be acceptable for publication in this world famous series, +they are two. For more than three years I have been the Assistant +Editor of the Haldeman-Julius Publications, and I have encountered at +first hand the editorial and publishing problems peculiar to them. I +have corresponded with many Little Blue Book writers; I have whipped +many a manuscript into shape for the typesetters; I have scheduled +thousands of Little Blue Books, in hundreds of large editions, for +publication. My second qualification is that I am a Little Blue Book +writer myself, and have been for some six years. Up to the moment of +writing, more Little Blue Books bear my name (laying aside my cloak +of modesty for the moment) than any other single contributor’s name, +not excepting Joseph McCabe, who is a far more redoubtable writer +than I, having to his credit the colossal enterprise of _The Key +to Culture_,[2] in forty 30,000-word volumes, in addition to his +fifty-five or so Little Blue Books. Ergo, I ought to know something +about the subject. + +[2] _The Key to Culture_, by Joseph McCabe, an outline of all +knowledge, 40 5½ × 8½ volumes, bound in stiff card covers, 64 pages +each, $7.50 postpaid, Haldeman-Julius Co., Girard, Kansas. + +Justification for the present Little Blue Book will appear, if at +all, in the sales record of this particular number a year or two from +now. Judging from the inquiries that pour into Girard on every mail, +it should not be hard to dispose of an edition of 10,000 copies every +year. Not that all the buyers of the book will become Little Blue Book +contributors--for many will want to read this book out of a natural +curiosity; others will find that the work of writing for the series is +not suited to their capabilities; others will simply be unable to meet +the high standard required--but the interest in the subject is, I am +sure, large enough to make the book worth writing. + +Certainly it is a clear sign of the unique character of the Little Blue +Book series that it becomes advisable to include within the series, as +a unit of the whole, a book telling how more books should be written! +What other publisher has ever added to his list a book telling, in +substance, _How to Write Books For Me_? + +But there is another reason for writing this book. As the Little Blue +Books have progressed, undergoing many changes in editorial policy, +widening their scope with the growth of their audience, problems +have arisen which merit different treatment from problems which have +confronted other editors and other publishers. As a series, the Little +Blue Books have reached the point where definite rules must be laid +down and strictly adhered to in the preparation of further titles for +publication. Particular avenues of expansion are opening up, for which +special writers must be found, or for which present writers may perhaps +qualify if they are informed of the need. Hundreds of people would +like to write at least one Little Blue Book, dealing perhaps with a +subject very familiar to them; but it is impossible to tell each writer +individually how to go about it. Many such contributors may not be +professional writers, but because of their familiarity with a subject +they may be able, if properly instructed, to deliver a satisfactory +manuscript. + +Even those writers who have already one or more published Little Blue +Books to their credit may learn something from what the Assistant +Editor has to say. The less editing we have to do in Girard, the +better. It would be ideal if Little Blue Book writers could grasp the +mechanical requirements of a Little Blue Book, and see it, to some +extent, from an editorial viewpoint. They should understand something +of the typography. They should familiarize themselves with the +established style (spelling, punctuation, and the like) and follow it +in their manuscript. Points such as these I will mention in due course. + + + + +SOME GENERAL PRINCIPLES + + +A prospective Little Blue Book title undergoes a severe scrutiny, and a +careful, critical consideration of its possible popularity. The initial +investment necessary to add a new title to the list is not justified +until the first edition is sold out, and this first edition must be +sold within a year of first publication. Such a requirement is beyond a +doubt not always easy to meet. + +Writers should understand one or two things very clearly when +contemplating offering manuscript to the Little Blue Books. It is +not the aim or function of the Little Blue Book series to promulgate +original ideas. If you have written an essay on your own philosophy +of life, it is not a suitable manuscript for the Little Blue +Books--unless you are as famous as Thomas A. Edison or Luther Burbank, +and perhaps not even then. Theses which deal exhaustively with the +epithets of Percy Bysshe Shelley, or a critical analysis of the odd +conjunctival constructions to be found in Emerson (if there are any!), +or any similar work of scholarly scope but limited popular appeal, +are strictly taboo. Such a work merits publication--if it deserves +perpetuation in print--by publishers who can give the book suitable +blurbs and feature it in their lists for a few months, and then, if +necessary, forget it. + +A Little Blue Book, when added to the list, is added in the hope that +it will remain there for the life of the series. Mistakes are made, and +titles are from time to time dropped. But these mistakes are fewer +than they used to be, and every effort is made to avoid making such +mistakes. + +_Don’t_, therefore, dig out a pet manuscript that has been yellowing +among your papers for years, in the hope that it will make a Little +Blue Book! _Don’t_ rush through your life story, or reminiscences of +your childhood, or your solution of the social chaos, or your key to +the universe, in any hastily conceived hope that E. Haldeman-Julius +will grab it for a Little Blue Book--because he won’t do any such thing. + +It is not the purpose of the Little Blue Books to provide a cheap means +of giving the work of obscure authors to a supposedly breathlessly +awaiting public. Little Blue Books are _never published at the author’s +expense_, so please don’t take the trouble to suggest it. If it is +unlikely that a title will sell sufficient copies to make it worth +while to keep it in print, the title will not be added to the list at +all. This is final. No amount of argument or financial persuasion can +change this policy. + +Nor is it possible for the Haldeman-Julius Company to set up and print +booklets in Little Blue Book form for any individual. This comes under +the general head of job printing, and the Haldeman-Julius Company does +no job printing of any kind. It is impossible, due to the fact that +all the available machinery is constantly running to keep pace with +the world-wide demand for Little Blue Books and other Haldeman-Julius +publications. + +To come back to the general principles governing the selection and +approval of future Little Blue Books, this series continually endeavors +to live up to its other more high-sounding name: The University in +Print. The present tendency of editorial selection is toward more books +of self-education and self-improvement. Too many books on one subject +are not wanted. Subjects that are not at present represented are likely +to be in demand--more about this, and how to find out about it, anon. +Treatment of specialized aspects of any subject is usually not desired. + +Keep, so far as possible, to subjects of wide appeal. Anyone who has +read _The First Hundred Million_, by E. Haldeman-Julius, will have a +fairly clear idea of what this means. Further reprints, no matter how +well edited, of the classics are not desired at present. Anthologies of +poetry are not wanted, even though the poet is not already represented +in the series; original poetry is out of the question! Original fiction +is not desired, nor are collections of stories already published +wanted--except in a few instances, perhaps, when the work of a Fannie +Hurst or a Wilbur Daniel Steele may be added to round out the section +devoted to present-day well-known writers. + +Literary criticism is at present in disfavor in the editorial sanctum +of the Little Blue Books. Critical surveys or literary outlines of any +kind are hardly likely to meet with approval. There are several titles +of this nature already in print, and they are apparently adequate to +the present demands of the reading public. + +History is a classification that is rather sparse in the Little Blue +Book series. The right approach to the various phases of history +has perhaps not yet been hit upon. However, it is safe to say that +histories of various countries are not desired just now--the histories +of Mexico and Japan already in the list are not doing so well as +was hoped. The histories of the American Revolution, the American +Civil War, and the World War, are doing better than any of the other +historical titles. But with an _Outline of United States History_ and +_Lives of United States Presidents_ already in the list, United States +history is pretty well taken care of for the present. + +Biography is well represented. Except for a few outstanding names +here and there--a biography of Charles Lindbergh has just been +added--further biographical titles are not desired. Of course, these +negative suggestions that I am setting down here may change at any +time, but it will be helpful, I think, for future Little Blue Book +writers to have some notion of what is not wanted immediately. They +will do much better to direct their efforts along the lines of +expansion that are at present strong. Obviously, much more chance of +acceptance lies in these desired directions. (For particulars of how to +find out whether a title is likely to be acceptable, see the section +following.) + +Most of the aspects of modern science have been treated already. +Evolution is certainly adequately covered. Astronomy and physics are +pretty well represented. Maynard Shipley has been filling in some gaps +recently, so it is unlikely that further material of this nature will +be acceptable. On science, however, Mr. Haldeman-Julius has an open +editorial mind. If you think you have a good suggestion, it might be +well to submit it (read the following section to learn how to do this). + +Psychology and psycho-analysis have been thoroughly covered by James +Oppenheim, Clement Wood, and Leo Markun. It is extremely unlikely that +further titles will be added dealing with these subjects, though it may +be that some important phase has been overlooked. + +Various phases of the English language--spelling, grammar, vocabulary +and the like--are also thoroughly covered. What few remaining gaps +there may be have probably already been arranged for; even short-story +writing now has three or four different volumes devoted to it, which is +certainly sufficient for the present scope of the series. + +Philosophy was done up brown, if I may put it that way, by Dr. Will +Durant some years ago. The philosophy classification is large enough +for all present demands of the reading public. + +It is hardly necessary to say that religion, both for and against, is +comprehensively treated. Joseph McCabe has some fifty books on this +subject alone. Nothing further of this nature is desired. + +It can thus be seen that certain very definite classifications have +been closed, at least for a while. Though an occasional title may +be added to these groups I have just mentioned, the chances are not +so good here as in some group which is poorly represented or not +represented at all. Subjects which are in demand, if suitable material +can be secured, are discussed at some length in a later section of this +book. + + + + +HOW TO RECEIVE AN ASSIGNMENT + + +Little Blue Books are written on assignment. That is to say, all +prospective titles are tentatively approved before the manuscript is +actually prepared. Seldom indeed has a chance manuscript, submitted +without previous correspondence, fitted into the series. The freelance +writer can hardly hope to guess what may be suitable, unless he is +familiar with the fourteen hundred or so different titles now in print, +and unless he knows, too, the nearly thousand titles which have been +discontinued and obviously must not be repeated. + +If you want to write a Little Blue Book the first thing to do is for +you to get an idea. Do _not_ write us some such letter as the following: + + Editor, Haldeman-Julius Publications, + Girard, Kansas + + Dear Sirs: + + I am a good writer and have lots of time. I would like to write some + Little Blue Books for you. Please write me immediately what I should + write and how much you will pay me to do it for you. + Signed, A. M. Ateur. + +Such a letter tells nothing. Such a letter is the height of futility in +seeking to write for Little Blue Book publication. First of all, you +must have in mind a subject which you would like to prepare especially +for the Little Blue Book series. Possibly it is a subject which you +are particularly equipped to handle, due to your education, or your +experience, or your inclinations. If so, be sure to give a brief +outline of such qualifications when you write your suggestion to Mr. +Haldeman-Julius. If you have published other work, it is a good idea to +mention it, giving titles and dates of publication. + +In other words, do your best to convince the editor that you can do the +work well. Next to wasting his own time, E. Haldeman-Julius is opposed +to wasting the time of any writer. If you are unable to write up to +the standard he demands, he prefers to know it before he allows you to +begin work. For whenever an unsatisfactory manuscript is delivered, the +time of both author and editor is thrown away. + +When you have an idea which seems to you a good idea for a Little +Blue Book, and if, so far as you know, this title or a very similar +one is not already in the series, write a letter about it, addressed +to _E. Haldeman-Julius, Editor, Haldeman-Julius Publications, Girard, +Kansas_. You will receive a prompt reply. If the idea appeals to Mr. +Haldeman-Julius, he will write you a letter giving you the assignment +to do that title for the Little Blue Books. + +Let there be no misunderstanding about such an assignment. If the +editor accepts your idea, and feels that you are qualified to handle +the subject, he says you may go ahead with it--that is, he would +like to see the completed manuscript. However, he does not bind the +Haldeman-Julius Company to pay for that manuscript unless it is up to +the usual standard and satisfactory in every way. + +When you receive an assignment you should set to work at once. Read +over the manuscript specifications (given in the section following +this) to be sure you have them clearly in mind, and go to work. The +assignment of a title to any writer carries with it an understanding, +usually not put in the letter, that the completed manuscript will be +delivered _within sixty days_. If sixty days or more elapse without +further word from the author, it is understood by all concerned that +he has either not been able to do the work or has not chosen to do it, +and that assignment may, if it is found desirable to do so, be given to +someone else. If for any reason you cannot deliver a manuscript within +sixty days after a subject is assigned to you, you should write to the +editor explaining the delay, and giving a probable date of delivery on +the manuscript. + +This may seem a somewhat lax system. But you must consider that several +hundred Little Blue Book manuscripts are accepted for publication +_every year_, and that this is in addition to the other editorial +duties of Mr. Haldeman-Julius. It is essential that the system be both +simple and practical. Ten years’ experience has shown the present +method to be both, and to work out satisfactorily for everyone. + +When your manuscript is finished, go over it carefully for +typographical errors. You should endeavor, so far as you can, to +deliver your manuscript ready--not only for the editor--but for the +typesetters (see section following for further details). If suitable, +your manuscript will be formally accepted within three days after its +receipt in Girard, and a check in full payment will be mailed to you. +Acceptances and checks often go out on the same day a manuscript is +received. Then your manuscript goes to the typesetters at once. If you +wish to read proof on it yourself, you should so request after you have +received notice of acceptance. + +Always send manuscripts by _first class mail_ (two cents an ounce), +sealed. If you are submitting your first manuscript, always enclose +postage for its return to you in case it is not satisfactory. + +Your next question may well be: “How am I to get ideas for Little Blue +Books?” That is your problem, however, and you will have to solve it. +In a later section I have listed some of the subjects or groups of +subjects which might be acceptable during the next year or two. But to +be assigned any of these subjects a writer must thoroughly qualify and +convince the editor that he has the necessary knowledge and experience +to handle them well. + +Of course, ideas for new Little Blue Books continually mature +in Girard. But these ideas are given, as a matter of course, to +experienced Little Blue Book writers. There are ten writers, at least, +who are always ready to prepare a needed manuscript, and these ten +writers have proved that, in their fields, they can do satisfactory +work of a high standard. For this reason, assignments are not given to +new writers unless the new writers have good ideas of their own. + +Some would-be writers may feel doubtful about submitting their ideas, +lest they be “stolen” and given to someone else. The only guarantee +against this is the established integrity of the Haldeman-Julius +Publications in dealing with scores of authors during the past decade. +Every writer must run this risk, even if he submits a completed +manuscript. Possibly someone else may have the same idea--that +sometimes happens. The earlier bird, naturally, gets the assignment. +It is apparent that conflicts of this kind do happen occasionally, and +they simply have to be forgotten. + +If you have no ideas, no matter how good a writer you are, you may as +well sell your typewriter and become a soda clerk or elevator boy. The +writer without ideas does not remain a writer long, no matter what sort +of work he is supposed to be doing. + + + + +MANUSCRIPT SPECIFICATIONS + + +Little Blue Books have certain very definite mechanical requirements. +It is extremely important that Little Blue Book writers conform +absolutely to these requirements. If you wish to deliver satisfactory +Little Blue Book manuscripts, it will be a good idea for you to read +this section carefully and memorize the specifications that apply to +you. + +Little Blue Books are now added to the series in two lengths only--32 +pages or 64 pages (that is, in the completed book). This is counting +every page from title page to last page (covers excepted). Little Blue +Books are set in eight-point type, solid (which is to say, eight-point +type cast on an eight-point slug), in lines 16 ems wide, 35 lines to +the page. (Notice the manner in which this Little Blue Book is set.) +Quotations (excerpts from other books, quoted letters, etc.) are set +off from the main text by a slight space (leads) top and bottom, +and set in seven-point type. Such quoted matter should be either +single-spaced or indented about 1½ inches in manuscript. _It should not +be enclosed in quotation marks._ (Note the quoted matter on page 12 of +this book). + +A 32-page Little Blue Book contains--when set as above--about 7,500 +words; a 64-page book contains twice as many, or 15,000 words. You +should indicate which length your idea is likely to require when you +submit suggestions. + +_How to judge the length of your manuscript_: It is unnecessary to +count the actual number of words in your manuscript. If your typewriter +has pica type (look up your bill of sale, or ask your typewriter +salesman, if you do not know), 23 to 25 pages of manuscript, 8½ × +11-inch sheets, typed on one side of the paper only, double-spaced, +with not over ½-inch margin at left and right, or ¾-inch space top and +bottom, will make a 32-page Little Blue Book. From 50 to 55 pages of +such manuscript are required for a 64-page Little Blue Book. If your +typewriter has elite type, a 32-page book will require about 17 pages +typed as above; a 64-page book will require about 36 pages. + +Always type on one side of the paper only. Always _double space_ any +typewritten manuscript. Always submit the original (not the carbon +copy) to the editor. Keep the carbon copy for your own files--and, by +the way, it is wise _always_ to keep a carbon copy. No editorial office +assumes responsibility for any unaccepted manuscript beyond the usual +reasonable care. Manuscripts also may be lost in the mails, and the +slight labor of keeping carbon copies even over a period of years may +some day repay your effort if a valuable manuscript is somehow lost. +_Number the pages of your manuscript._ + +You may, if you like, divide your manuscript into chapters or sections, +or both. Such divisions are advisable in any technical manuscript. If +such chapters are titled (and it is a good idea to give them titles), +be sure to include with your manuscript a Table of Contents, leaving +space for the printer to write in the page numbers when the type is +divided into pages. + +Be sure you distinguish the Table of Contents from the Index. The +Table of Contents is arranged in the order of the pages--that is, the +chapters, stories, or whatever the book contains, are listed in the +order they appear in the book, with the number of the page on which +each such chapter or section begins. An Index is an alphabetical +guide to the contents of the book. In the Index subjects are listed +alphabetically, as in a dictionary, and the page numbers (added after +the book is set in type and paged) are put in to correspond. An Index +is necessary only in a book dealing with various phases of some subject +where frequent reference, for ready information, is likely to be made +by the reader. (See Little Blue Books Nos. 815 and 816 for examples of +indices). + +In typing your manuscript indent the first line of every new paragraph +three spaces on the typewriter. No other marking is necessary. Words +you wish italicized should be underlined once. Words to be printed in +small capitals (seldom used), should be underlined twice and marked +“s. c.” Words to be printed in bold-face (seldom used), should be +underlined (sometimes a wavy line is used) and marked “b. f.” + +A minor point in typing manuscript--but nevertheless an important +one--is to make clear the difference between a hyphen and a dash. The +hyphen on the typewriter is adequate to signify a hyphen in manuscript, +and the printer will set it accordingly. But a dash, which is much +longer than a hyphen in type, is not provided for on the typewriter +keyboard. The best way is to use two or perhaps three hyphens together, +thus ---. When so typed, these three hyphens will be set as one long +line or dash. (As a matter of fact, special instruction to the printer +is necessary in this manuscript to be sure he sets those three hyphens +as _hyphens_ instead of a dash!) + +Inexperienced writers make oftentimes funny mistakes in preparing +manuscripts. I remember one writer who persisted in dividing words at +the end of the line and placing the hyphen (indicating division, or a +broken word) at the beginning of the remaining part of the word on the +line below! Of course, the printer set the manuscript all right, but +the habit was annoying. + +_Please_ use 8½ × 11-inch manuscript paper, white, not too thin or too +thick. White bond paper between 16 and 24 pound stock--as the stationer +would say--is ideal. Do not use manila paper, or any color other than +white. The color of your typewriter ribbon does not matter, but in +typing manuscript use one color only--it is confusing to mix red and +black, or red and blue, in a manuscript. + +Again the inexperienced author, trying to attract attention by being +“different,” errs in preparing his manuscript. One Little Blue Book +author succeeded in delivering every one of several books typed on +heavy foolscap, with deckled edges! Fortunately, it was not perfumed. +Another writer--this time an unsuccessful one--sent in a manuscript on +sepia brown paper, beautifully typed in dark brown ribbon to match. +Such idiosyncrasies are inexpressibly annoying to both editors and +printers. Avoid them. + +_A Word About Special Sizes of Type_: Any necessary type or character +can be used in setting up a Little Blue Book if it is essential. The +books are standardized, as I have already said, being set throughout +in 8-point type, with quoted matter (when it exceeds more than a +sentence or two in length) set off from the rest of the text by +being set in 7-point. Larger type is used for the headings (10-point +caps--capital letters--as a rule). Boldface type, italics, small +capitals, etc., can all be used in technical books if desired. Too many +kinds of type in one book are in rather bad taste, so it is well to +keep the typography simple and neat. + +The Little Blue Book dictionaries are usually set in 5½-point type, two +columns to the page. (Examine Little Blue Books Nos. 192, 696, 697, +637, 1011, 1105, etc.). The lines are therefore set 7½ ems wide; with +one-em space between the columns; this makes the page the usual 16 ems +in width. An em, by the way, is a printer’s unit of measure. There +are six ems--sometimes called pica ems for greater precision, since, +strictly speaking, an em may refer to any size type--to the inch. A +pica em is the width of a capital letter M (square) in 12-point type. +Incidentally, there are 72 points to the inch. + +_Preparation of Illustrations_: In technical books illustrations are +sometimes necessary. We expect an author to prepare and submit his own +illustrations with his manuscript. If a technical title is assigned, it +is given to someone who can send illustrations if they are necessary. +Halftones (reproductions of photographs) should be avoided. In fact, +it is so difficult to print halftones on the paper used for Little +Blue Books, so they will show up well, that we are not using them at +present. + +Illustrations should be outline drawings or diagrams in black ink. +These illustrations may be much larger than they are to appear in +the book, if it is any easier to prepare them that way. They will be +reduced to the proper size when they are made into line cuts (zinc +etchings). + +If illustrations are sent with a manuscript, be sure to indicate in the +manuscript where, in the text, each illustration should appear, so that +in making up the book the printers can place the cuts properly. Also, +be sure to allow for the space the cuts will occupy in the finished +book, and reduce the word-count of your manuscript accordingly. It is +impossible for any Little Blue Book to be other than 32 or 64 pages +in length. You _must_ make your work fit into one or the other of +these--whichever is specified at the time you receive the assignment. +Also, you must not let your work fall much short of these lengths, for +it is just as bad to have a manuscript fill 50 pages of a 64-page book +as it is for it to run over to 40 pages of a 32-page book. It just +can’t be done. + +Do not hope to have an extra long manuscript converted into a +two-volume Little Blue Book edition. This experiment has been tried and +it is not feasible. Each title must be complete in itself, and run to +either 32 or 64 pages. + + + + +RULES FOR STYLE + + +Consistency is a highly desirable virtue in setting anything in type. +So far as possible we try to have all the Little Blue Books conform +to one typographical style--but the colossal number of 1,400--soon, +1,500--different titles has made for a certain inconsistency that could +not be avoided. + +By consistency here, I mean spelling the same word the same way +throughout the manuscript; if possible, throughout the entire series +of Little Blue Books. I mean a consistent policy of capitalization, +hyphenating, punctuation, and so on. + +Use care in preparing your manuscript. Spell your words correctly. Do +not blunder ahead in the notion that the editor or the proofreaders +will be glad to correct your misspelled words, dress up your awkward +sentences, and put in your missing commas. Train yourself to spell +correctly, to write clearly and smoothly, to punctuate for the easy +reading of your work. Such training can do nothing except speed +your success as a writer. To ignore these matters may handicap your +manuscript; better craftsmen than you will get work to do that might +have been yours had you been more conscientious. + +The standard of spelling and hyphenating in the Little Blue Books +is Webster’s New International Dictionary. In general, words like +_theater_, _center_, _reconnoiter_, and the like, are spelled with a +final -er (instead of -re). Words like _honor_, _color_, _valor_, etc., +are spelled with a final -or (instead of -our). Wherever two spellings +are permissible (as recorded in the dictionary), the spelling given +first (as preferable) by Webster’s New International is the one to be +used. Words like _traveler_, _traveling_, and _traveled_ are spelled +with a single _l_, etc.; the rule here is that if a word (like travel) +ends in a single consonant following a vowel, derivative forms do not +double the consonant unless the syllable containing that consonant is +accented. Thus, when _traveling_ is formed from _travel_, the consonant +_l_ is not doubled because that syllable is not accented (the accent +falls on trav-). But when _occurring_ is formed from _occur_, the +consonant _r_ is doubled because the accent falls on -cur. So also in +the other derivatives: _occurred_, _occurrence_, etc. + +As to capitalization, aside from the usual rules for the first word +in every sentence, etc., all proper names are of course capitalized. +The names of the seasons (spring, summer, autumn, winter) are spelled +with a small letter. In place names such as Grand Avenue, Brown +Street, Mississippi River, etc., the common noun is capitalized as an +integral part of the place name (_not_ Grand avenue, Brown street, +Mississippi river, etc.). The word Negro is always capitalized in +all Haldeman-Julius Publications. As a rule, atheist, agnostic, +freethought, and similar words, are not capitalized. + +In hyphenating words (compound words) follow Webster’s New +International Dictionary _with this exception_: divisions of time such +as today, tomorrow, and tonight are spelled without a hyphen. + +In punctuation considerable latitude is allowed. The general rule is +one of common sense--punctuate according to the sense of your writing, +to make it easy for the reader to grasp your meaning, and to avoid +any possible ambiguity. Never use more than one exclamation mark or +interrogation point after a single sentence. Put periods and commas +always _inside_ of quotation marks; colons and semicolons _always_ +outside of quotation marks. Put exclamation or interrogation marks +inside of the quotation marks if they belong with the quotation, but +outside if they do not belong with the quotation. For example, “Shoot +him!” The exclamation is inside the quotation marks because it belong +with the quoted words. But, “The word he used was ‘ain’t’!” Here the +exclamation belongs with the entire sentence (not with the word _ain’t_ +alone), so it is placed outside. + +Accent marks are kept over letters in words from foreign languages--as +the acute, grave, and circumflex accents in French words. These should +be indicated in your manuscript. You can write them in with ink, since +the characters are not on most typewriters. + +In general, the principles set forth in Little Blue Books of grammar, +punctuation, and spelling (Little Blue Books Nos. 681, 682, 683), +are fairly safe guides for Little Blue Book manuscript style. If the +prospective Little Blue Book writer follows these books rather closely, +he will never go far astray. + +It is seen that the matter of style in Haldeman-Julius Publications is +not at all extreme or individual. The standard is fairly universal, +and though it may differ in minor points, the writer cannot make any +great mistake in accustoming himself to these fundamental rules for +spelling, punctuation, and so on. + +_One Last Important Word_: Always be sure that your name and address +are clearly typed in the upper left-hand corner of the first page of +your manuscript. Do not forget your name and address. _This is vitally +important._ + + + + +ABRIDGING AND EDITING + + +Abridgments of the classics, or of any work which has appeared in print +somewhere or other, are at present not much desired for the Little Blue +Books. Realizing, however, that the editorial policy may again find +it expedient to include material of this kind, I am putting in here a +brief chapter on this phase of writing or editing for the Little Blue +Book series. + +To cut down a work from 100,000 words to 15,000 words is an art. It +takes a certain knack, if I may put it that way. You must have an +instinct (as it were, though the word is hardly apt in its strict +sense) for what is essential in the work you are reducing. If it is a +story, you must have a sense of the dramatic; you must know also what +it is in the original that makes it worthwhile--if it is a classic, you +must have some notion of why it is that generations of readers have +kept the story alive. + +Editions of the classics for the Little Blue Books have been of two +kinds. The more ordinary form is an abridgment, where the original +work is too long to fit into a 64-page Little Blue Book, (Plays of +Shakespeare, Ibsen, and some other works are exceptions; these are +published complete, though they may run to as many as 128 pages.) +An abridgment means a cutting down by omitting certain parts. Only +the more famous passages may be retained; or possibly only the more +interesting portions. If the original is a connected whole, then +connecting paragraphs must be inserted in the abridgment to carry on +the thread of the work. For example, see Sir Walter Scott’s _Lady +of the Lake_ (Little Blue Book No. 616) or Daniel Defoe’s _Robinson +Crusoe_ (Little Blue Book No. 559). In these books much of the original +is kept verbatim, the omitted portions being replaced by short +summarizing sentences. + +The other way in which a classic may be edited for a Little Blue Book +is to write a wholly new and condensed version, in your own words, so +to speak, making it conform to the required length of 15,000 words. +This was done with Balzac’s _Splendors and Miseries of a Courtezan_ +(Little Blue Book No. 1067) and also with the fairy tales of Charles +Perrault (Little Blue Book No. 836). Occasionally, when a philosopher +is treated in this way, the _gist_ or _substance_ of the man’s work is +edited for a Little Blue Book. + +_Footnotes._--In any edition of a classic, explanatory notes are +certain to be desirable. It is part of the work of editing a classic, +or any reprinted work, to insert explanatory notes if they are +necessary. Every Little Blue Book must be prepared with the idea in +mind that it may be read by people who have not had the advantages of +either a high school or a university education. These people are eager +to read classics, but they expect the works to be made intelligible to +them, for they have no teacher or professor whom they can ask whenever +anything puzzles them. + +Footnotes may also be useful in originally written works, especially +books which deal with technical subjects. Wherever they may be found +advisable, the general remarks set down here about how to insert them +in manuscript will always apply. + +Do _not_ use the asterisk, dagger, and other typographical marks +sometimes employed to refer to footnotes. These are inconvenient to +insert in a typewritten manuscript, and their use makes for greater +complexity in paging the books. Little Blue Book typography must be +kept simple--after all, you must constantly remember that the book is +to be sold for five cents. + +Use what are called _superior numbers_[3] to refer to footnotes (unless +you have perhaps only two or three footnotes throughout your entire +work, when simply an asterisk is sufficient). Note the manner in which +the superior (raised above the line) number is used to refer to the +footnote at the bottom of this page (the superior number, ^3, is placed +after the words _superior number_, a few lines above, thus indicating +that an explanatory note may be found at the bottom of the page). + +[3] Start with No. 1, and number your notes consecutively through your +manuscript. Examine the footnotes in the _Lady of the Lake_ (Little +Blue Book No. 616). + +In typing your manuscript, when you come to a place where a +footnote-reference must be inserted, turn your platen slightly downward +so that you can strike the proper number a little above the line _right +after the word or words to which the footnote refers_. Then, when +next you double space, insert your footnote. Place the corresponding +number at the beginning of the footnote. It is not necessary to place +footnotes in manuscript at the bottom of the typewritten page. Insert +the footnote while you have it in mind (otherwise you might omit it), +and also while you have plenty of room in which to type it. Then draw a +line (in pencil, or on the typewriter, as you prefer) clear across the +page _both above and below_ the footnote, separating it from the rest +of the text. This will enable both typesetter and printer to recognize +the inserted matter as a footnote, and it will be handled accordingly. + +_Forewords and Introductions._--If you ever edit or abridge any work +for the Little Blue Books, it will be useful to future readers if +you add an explanatory foreword or introduction to the work. In this +introduction you should give a brief biography of the author, if the +work is a classic; you should also explain why the work _is_ a classic, +why it is perpetuated in the world’s literature. You might quote some +critical opinions from outstanding commentators on literature. + +In the larger clothbound books it is customary to place the foreword +or introduction before the Table of Contents. The order of precedence +in large books is usually thus: Title Page, Foreword or Introduction, +Table of Contents, List of Illustrations, Body of the Work, Appendix or +Appendices (if any), Bibliography (if any), Index. + +However, the Little Blue Books are of such a size that this order makes +for a certain strangeness. We have therefore always made the order in +Little Blue Books thus: Title Page, Table of Contents, Body of Work +preceded by Foreword or Introduction (if any), Bibliography (if any), +Index. An appendix is rather out of place in a work so short as a +Little Blue Book. If inserted, it may be placed before the Index or +before the Bibliography. + +Incidentally, the Bibliography is a list of works used for reference +(as sources of information) during the preparation of the manuscript. +These credits are better given, in a Little Blue Book, within the text +itself wherever credit is due, or possibly by suitable footnotes. There +may also be a bibliography of books to read along the same lines or in +the same field, as in Joseph McCabe’s volumes of _The Key to Culture_. + + + + +POSSIBLE SUBJECTS + + +I promised, earlier in this book, to insert some suggestions about +possible subjects for future Little Blue Books. I add here a paragraph +or two in which I shall state briefly some of the gaps existing in +the series when I write this book (January, 1929). These gaps may, of +course, be filled before you happen to secure and read my informal +instructions and advice. The proper procedure is for you to write for +an assignment, outlining your ability and experience; if you get the +assignment, good luck to you! + +The sports titles in the Little Blue Books are sparse. At the moment, +baseball, golf, swimming, and hiking or camping are the only “sports” +covered. Tennis, I believe, will be taken care of shortly. But there +is room for someone who knows sports to handle football, basketball, +winter sports, outdoor games, gymnasium stunts, calisthenics, boxing, +racing (of various kinds), track, angling, etc. Mind you--write to the +Editor first, before you begin work! Even then, you must deliver a +satisfactory manuscript after a subject is assigned to you, or it will +not be accepted. + +Many commercial subjects are possibilities. There are stenography, +bookkeeping, accountancy, office management, and so on. Possibly a book +explaining taxes, or telling how to figure your own income tax, might +be acceptable. If you are an accountant and know how to write, there +are some chances here for you! + +All sorts of _how to do_ books are in demand. Plumbing, electricity, +repairing automobiles or radios, engineering, aviation, carpentry, +metallurgy, and so on--the field is vast. But you must both know your +subject and know how to write understandably--slipshod methods are not +tolerated in Girard. + +We have _How to Play the Piano_. Simple lesson books for other musical +instruments: the drums, the saxophone, the cornet, the trombone, etc., +might all prove acceptable. + +Travel books are a new field, just now being tried. If the first +experimental titles go well, there might be more in demand. + +Topics of the hour are often pretty good bets. For example, such +topics as the following have already been covered: Companionate +marriage, prohibition, capital punishment, petting parties, the younger +generation, etc. A new topic may leap into prominence any day. + +Hobbies are an untouched field as yet. Some riders of hobbies who can +pound out well-phrased sentences on a typewriter should write to E. +Haldeman-Julius. I think something might come of it one of these days. + +You may have other ideas. Perhaps they are good ideas. Write to the +Editor about them. If he takes a fancy to one of your suggestions, you +will be sure to hear from him! + + + + +TRANSCRIBER’S NOTES + + +Page 11: typo in “vocabulary” corrected. + +Page 18: originally incomplete word “leaving” in “leaving space for the +printer ...” has been restored. + +Page 24: one occurrence of “Brown Street” has been corrected to “Brown +street” in line with the context. + +Page 28: an instance of the superscripted number “3” has been +represented as “^3”. That number in that specific instance is not +intended to represent a footnote. + +*** END OF THE PROJECT GUTENBERG EBOOK 78066 *** diff --git a/78066-h/78066-h.htm b/78066-h/78066-h.htm new file mode 100644 index 0000000..2314c32 --- /dev/null +++ b/78066-h/78066-h.htm @@ -0,0 +1,1351 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <meta name="viewport" content="width=device-width, initial-scale=1"> + <meta name="format-detection" content="telephone=no,date=no,address=no,email=no,url=no"> + <title> + How to Write Little Blue Books | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .5em; + text-align: justify; + margin-bottom: .5em; +} + +.p2 {margin-top: 2em;} +.p6 {margin-top: 6em;} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: 33.5%; + margin-right: 33.5%; + clear: both; +} + +hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} +@media print { hr.chap {display: none; visibility: hidden;} } + +div.chapter {page-break-before: always;} +h2.nobreak {page-break-before: avoid;} + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum { + position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-style: normal; + font-weight: normal; + font-variant: normal; + text-indent: 0; +} /* page numbers */ + +blockquote { + margin-top: 0; + margin-bottom: 0; + margin-left: 5%; + margin-right: 10%; +} + +.center {text-align: center; text-indent: 0;} + + +/* Footnotes */ + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + + +/* Transcriber's notes */ +.transnote {background-color: #E6E6FA; + color: black; + font-size:small; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; +} + +.ph1 { + text-align: center; + font-size: xx-large; + font-weight: bold; +} +.ph2 { + text-align: center; + font-size: x-large; + font-weight: bold; +} +.transnote { + margin-left:17.5%; + margin-right:17.5%; +} + + +.x-ebookmaker .ep6 {margin-top: 6em;} + +li { margin-top: 0.25em; margin-bottom:0; line-height: 1.2em; } + </style> +</head> +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78066 ***</div> + + +<p><span class="pagenum" id="Page_1">[Pg 1]</span></p> + + +<div class="chapter"> +<p class="center p2"> + <span style="display:inline-block;">LITTLE BLUE BOOK NO.<br> + <small>Edited by E. Haldeman-Julius</small></span> + <span style="display:inline-block; margin-left:0.5em; vertical-align:top; font-size:1.8em">1366</span> +</p> +<h1> +How to Write Little<br> +Blue Books +</h1> +<p class="center" style="font-size: large;"> + Lloyd E. Smith +</p> +<p class="center"> + (Assistant Editor, Haldeman-Julius<br> + Publications) +</p> +<p class="center p6"> + HALDEMAN-JULIUS PUBLICATIONS<br> + GIRARD, KANSAS +</p> + +<p><span class="pagenum" id="Page_2">[Pg 2]</span></p> +</div> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p class="center ep6"> + Copyright, 1929,<br> + Haldeman-Julius Company +</p> +<p class="center p6"> + PRINTED IN THE UNITED STATES OF AMERICA +</p> + +<p><span class="pagenum" id="Page_3">[Pg 3]</span></p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <p class="ph1"> + HOW TO WRITE LITTLE BLUE BOOKS + </p> + <p class="ph2 nobreak" id="A_WORD_OF_EXPLANATION"> + A WORD OF EXPLANATION + </p> +</div> + + +<p>Telling would-be contributors to the five-cent +pocket series <i>How to Write Little Blue +Books</i>, is, by rights, the editor’s—E. Haldeman-Julius’s—job. +For he is the man who ultimately +accepts the manuscript, if it is acceptable, +and he signs the check which each author +awaits with eager anticipation. But he says +that going into the details of how manuscripts +should be written for this ever growing series +does not appeal to him. So far he has preferred +to find and buy the product of those +writers who are able, without more than a preliminary +word or two, to turn out exactly what +he wants. So he has delegated me to do the +job for him, and he has charged me to be explicit, +exhaustive, and extremely understandable.</p> + +<p>For editorial problems of the Little Blue +Books are peculiar. There is no other series +to be compared with The Little Blue Books. +Certainly not in the English language, and +similar series in foreign languages are not +quite the same, and are, of course, not of interest +to writers in English. E. Haldeman-Julius +has told the complete story of ten years +of publishing the Little Blue Books, from editing +some two thousand manuscripts to the +<span class="pagenum" id="Page_4">[Pg 4]</span>complete list of more than fourteen hundred +titles in print as I write, in his book, <i>The First +Hundred Million</i>.⁠<a id="FNanchor_1_1" href="#Footnote_1_1" class="fnanchor">[1]</a> The 100,000,000 refers to the +total number of Little Blue Books printed and +sold at the time the book was written. I urge +every would-be Little Blue Book writer to get +a copy of this book, if possible, and read it +from cover to cover. Entirely aside from its +technical interest, the book is thoroughly readable +as a unique contribution to the psychology +of the American reading public.</p> + +<div class="footnote"><p><a id="Footnote_1_1" href="#FNanchor_1_1" class="label">[1]</a> <i>The First Hundred Million</i>, by E. Haldeman-Julius, +cloth bound, $3 postpaid, Haldeman-Julius +Co., Girard, Kansas.</p></div> + +<p>As for my own qualifications to tell how Little +Blue Books must be written, to be acceptable +for publication in this world famous series, +they are two. For more than three years +I have been the Assistant Editor of the Haldeman-Julius +Publications, and I have encountered +at first hand the editorial and publishing +problems peculiar to them. I have corresponded +with many Little Blue Book writers; +I have whipped many a manuscript into shape +for the typesetters; I have scheduled thousands +of Little Blue Books, in hundreds of +large editions, for publication. My second qualification +is that I am a Little Blue Book writer +myself, and have been for some six years. Up +to the moment of writing, more Little Blue +Books bear my name (laying aside my cloak +of modesty for the moment) than any other +single contributor’s name, not excepting Joseph +McCabe, who is a far more redoubtable writer +than I, having to his credit the colossal enterprise +<span class="pagenum" id="Page_5">[Pg 5]</span>of <i>The Key to Culture</i>,⁠<a id="FNanchor_2_2" href="#Footnote_2_2" class="fnanchor">[2]</a> in forty 30,000-word +volumes, in addition to his fifty-five or so +Little Blue Books. Ergo, I ought to know +something about the subject.</p> + +<div class="footnote"><p><a id="Footnote_2_2" href="#FNanchor_2_2" class="label">[2]</a> <i>The Key to Culture</i>, by Joseph McCabe, an outline +of all knowledge, 40 5½ × 8½ volumes, bound +in stiff card covers, 64 pages each, $7.50 postpaid, +Haldeman-Julius Co., Girard, Kansas.</p></div> + +<p>Justification for the present Little Blue Book +will appear, if at all, in the sales record of this +particular number a year or two from now. +Judging from the inquiries that pour into Girard +on every mail, it should not be hard to +dispose of an edition of 10,000 copies every +year. Not that all the buyers of the book will +become Little Blue Book contributors—for +many will want to read this book out of a natural +curiosity; others will find that the work +of writing for the series is not suited to their +capabilities; others will simply be unable to +meet the high standard required—but the interest +in the subject is, I am sure, large +enough to make the book worth writing.</p> + +<p>Certainly it is a clear sign of the unique +character of the Little Blue Book series that +it becomes advisable to include within the +series, as a unit of the whole, a book telling +how more books should be written! What +other publisher has ever added to his list a +book telling, in substance, <i>How to Write Books +For Me</i>?</p> + +<p>But there is another reason for writing this +book. As the Little Blue Books have progressed, +undergoing many changes in editorial +<span class="pagenum" id="Page_6">[Pg 6]</span>policy, widening their scope with the growth +of their audience, problems have arisen which +merit different treatment from problems which +have confronted other editors and other publishers. +As a series, the Little Blue Books +have reached the point where definite rules +must be laid down and strictly adhered to in +the preparation of further titles for publication. +Particular avenues of expansion are +opening up, for which special writers must be +found, or for which present writers may perhaps +qualify if they are informed of the need. +Hundreds of people would like to write at least +one Little Blue Book, dealing perhaps with a +subject very familiar to them; but it is impossible +to tell each writer individually how +to go about it. Many such contributors may +not be professional writers, but because of +their familiarity with a subject they may be +able, if properly instructed, to deliver a satisfactory +manuscript.</p> + +<p>Even those writers who have already one +or more published Little Blue Books to their +credit may learn something from what the Assistant +Editor has to say. The less editing we +have to do in Girard, the better. It would be +ideal if Little Blue Book writers could grasp +the mechanical requirements of a Little Blue +Book, and see it, to some extent, from an editorial +viewpoint. They should understand +something of the typography. They should familiarize +themselves with the established style +(spelling, punctuation, and the like) and follow +it in their manuscript. Points such as +these I will mention in due course.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_7">[Pg 7]</span></p> + + + <h2 class="nobreak" id="SOME_GENERAL_PRINCIPLES"> + SOME GENERAL PRINCIPLES + </h2> +</div> + + +<p>A prospective Little Blue Book title undergoes +a severe scrutiny, and a careful, critical +consideration of its possible popularity. The +initial investment necessary to add a new title +to the list is not justified until the first edition +is sold out, and this first edition must be +sold within a year of first publication. Such +a requirement is beyond a doubt not always +easy to meet.</p> + +<p>Writers should understand one or two things +very clearly when contemplating offering manuscript +to the Little Blue Books. It is not the +aim or function of the Little Blue Book series +to promulgate original ideas. If you have written +an essay on your own philosophy of life, +it is not a suitable manuscript for the Little +Blue Books—unless you are as famous as +Thomas A. Edison or Luther Burbank, and +perhaps not even then. Theses which deal exhaustively +with the epithets of Percy Bysshe +Shelley, or a critical analysis of the odd conjunctival +constructions to be found in Emerson +(if there are any!), or any similar work +of scholarly scope but limited popular appeal, +are strictly taboo. Such a work merits publication—if +it deserves perpetuation in print—by +publishers who can give the book suitable +blurbs and feature it in their lists for a few +months, and then, if necessary, forget it.</p> + +<p>A Little Blue Book, when added to the list, +is added in the hope that it will remain there +for the life of the series. Mistakes are made, +and titles are from time to time dropped. But +<span class="pagenum" id="Page_8">[Pg 8]</span>these mistakes are fewer than they used to +be, and every effort is made to avoid making +such mistakes.</p> + +<p><i>Don’t</i>, therefore, dig out a pet manuscript +that has been yellowing among your papers +for years, in the hope that it will make a Little +Blue Book! <i>Don’t</i> rush through your life +story, or reminiscences of your childhood, or +your solution of the social chaos, or your key +to the universe, in any hastily conceived hope +that E. Haldeman-Julius will grab it for a Little +Blue Book—because he won’t do any such +thing.</p> + +<p>It is not the purpose of the Little Blue Books +to provide a cheap means of giving the work of +obscure authors to a supposedly breathlessly +awaiting public. Little Blue Books are <i>never +published at the author’s expense</i>, so please +don’t take the trouble to suggest it. If it is +unlikely that a title will sell sufficient copies +to make it worth while to keep it in print, the +title will not be added to the list at all. This +is final. No amount of argument or financial +persuasion can change this policy.</p> + +<p>Nor is it possible for the Haldeman-Julius +Company to set up and print booklets in Little +Blue Book form for any individual. This +comes under the general head of job printing, +and the Haldeman-Julius Company does no job +printing of any kind. It is impossible, due to +the fact that all the available machinery is +constantly running to keep pace with the +world-wide demand for Little Blue Books and +other Haldeman-Julius publications.</p> + +<p>To come back to the general principles governing +<span class="pagenum" id="Page_9">[Pg 9]</span>the selection and approval of future +Little Blue Books, this series continually endeavors +to live up to its other more high-sounding +name: The University in Print. The +present tendency of editorial selection is toward +more books of self-education and self-improvement. +Too many books on one subject +are not wanted. Subjects that are not at +present represented are likely to be in demand—more +about this, and how to find out +about it, anon. Treatment of specialized aspects +of any subject is usually not desired.</p> + +<p>Keep, so far as possible, to subjects of wide +appeal. Anyone who has read <i>The First Hundred +Million</i>, by E. Haldeman-Julius, will have +a fairly clear idea of what this means. Further +reprints, no matter how well edited, of the +classics are not desired at present. Anthologies +of poetry are not wanted, even though +the poet is not already represented in the series; +original poetry is out of the question! +Original fiction is not desired, nor are collections +of stories already published wanted—except +in a few instances, perhaps, when the +work of a Fannie Hurst or a Wilbur Daniel +Steele may be added to round out the section +devoted to present-day well-known writers.</p> + +<p>Literary criticism is at present in disfavor +in the editorial sanctum of the Little Blue +Books. Critical surveys or literary outlines of +any kind are hardly likely to meet with approval. +There are several titles of this nature +already in print, and they are apparently adequate +to the present demands of the reading +public.</p> + +<p><span class="pagenum" id="Page_10">[Pg 10]</span></p> + +<p>History is a classification that is rather +sparse in the Little Blue Book series. The +right approach to the various phases of history +has perhaps not yet been hit upon. However, +it is safe to say that histories of various +countries are not desired just now—the histories +of Mexico and Japan already in the list +are not doing so well as was hoped. The histories +of the American Revolution, the American +Civil War, and the World War, are doing +better than any of the other historical titles. +But with an <i>Outline of United States History</i> +and <i>Lives of United States Presidents</i> already +in the list, United States history is pretty well +taken care of for the present.</p> + +<p>Biography is well represented. Except for +a few outstanding names here and there—a +biography of Charles Lindbergh has just been +added—further biographical titles are not desired. +Of course, these negative suggestions +that I am setting down here may change at +any time, but it will be helpful, I think, for +future Little Blue Book writers to have some +notion of what is not wanted immediately. +They will do much better to direct their efforts +along the lines of expansion that are at +present strong. Obviously, much more chance +of acceptance lies in these desired directions. +(For particulars of how to find out whether +a title is likely to be acceptable, see the section +following.)</p> + +<p>Most of the aspects of modern science have +been treated already. Evolution is certainly +adequately covered. Astronomy and physics +are pretty well represented. Maynard Shipley +<span class="pagenum" id="Page_11">[Pg 11]</span>has been filling in some gaps recently, so it +is unlikely that further material of this nature +will be acceptable. On science, however, Mr. +Haldeman-Julius has an open editorial mind. +If you think you have a good suggestion, it +might be well to submit it (read the following +section to learn how to do this).</p> + +<p>Psychology and psycho-analysis have been +thoroughly covered by James Oppenheim, Clement +Wood, and Leo Markun. It is extremely unlikely +that further titles will be added dealing +with these subjects, though it may be that some +important phase has been overlooked.</p> + +<p>Various phases of the English language—spelling, +grammar, vocabulary and the like—are +also thoroughly covered. What few remaining +gaps there may be have probably already +been arranged for; even short-story writing +now has three or four different volumes devoted +to it, which is certainly sufficient for the +present scope of the series.</p> + +<p>Philosophy was done up brown, if I may put +it that way, by Dr. Will Durant some years +ago. The philosophy classification is large +enough for all present demands of the reading +public.</p> + +<p>It is hardly necessary to say that religion, +both for and against, is comprehensively treated. +Joseph McCabe has some fifty books on +this subject alone. Nothing further of this +nature is desired.</p> + +<p>It can thus be seen that certain very definite +classifications have been closed, at least +for a while. Though an occasional title may +<span class="pagenum" id="Page_12">[Pg 12]</span>be added to these groups I have just mentioned, +the chances are not so good here as in +some group which is poorly represented or not +represented at all. Subjects which are in demand, +if suitable material can be secured, are +discussed at some length in a later section of +this book.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <h2 class="nobreak" id="HOW_TO_RECEIVE_AN_ASSIGNMENT"> + HOW TO RECEIVE AN ASSIGNMENT + </h2> +</div> + + +<p>Little Blue Books are written on assignment. +That is to say, all prospective titles are tentatively +approved before the manuscript is actually +prepared. Seldom indeed has a chance +manuscript, submitted without previous correspondence, +fitted into the series. The freelance +writer can hardly hope to guess what +may be suitable, unless he is familiar with the +fourteen hundred or so different titles now in +print, and unless he knows, too, the nearly +thousand titles which have been discontinued +and obviously must not be repeated.</p> + +<p>If you want to write a Little Blue Book the +first thing to do is for you to get an idea. +Do <i>not</i> write us some such letter as the following:</p> + +<blockquote> +<p> + Editor, Haldeman-Julius Publications,<br> + Girard, Kansas<br> + Dear Sirs: +</p> + +<p>I am a good writer and have lots of time. I +would like to write some Little Blue Books for you. +Please write me immediately what I should write +and how much you will pay me to do it for you.<br> +Signed, A. M. Ateur.</p> +</blockquote> + +<p>Such a letter tells nothing. Such a letter is +the height of futility in seeking to write for +<span class="pagenum" id="Page_13">[Pg 13]</span>Little Blue Book publication. First of all, you +must have in mind a subject which you would +like to prepare especially for the Little Blue +Book series. Possibly it is a subject which you +are particularly equipped to handle, due to +your education, or your experience, or your inclinations. +If so, be sure to give a brief outline +of such qualifications when you write your +suggestion to Mr. Haldeman-Julius. If you +have published other work, it is a good idea to +mention it, giving titles and dates of publication.</p> + +<p>In other words, do your best to convince the +editor that you can do the work well. Next +to wasting his own time, E. Haldeman-Julius +is opposed to wasting the time of any writer. +If you are unable to write up to the standard +he demands, he prefers to know it before he +allows you to begin work. For whenever an +unsatisfactory manuscript is delivered, the +time of both author and editor is thrown away.</p> + +<p>When you have an idea which seems to you +a good idea for a Little Blue Book, and if, so +far as you know, this title or a very similar +one is not already in the series, write a letter +about it, addressed to <i>E. Haldeman-Julius, +Editor, Haldeman-Julius Publications, Girard, +Kansas</i>. You will receive a prompt reply. If +the idea appeals to Mr. Haldeman-Julius, he will +write you a letter giving you the assignment to +do that title for the Little Blue Books.</p> + +<p>Let there be no misunderstanding about such +an assignment. If the editor accepts your +idea, and feels that you are qualified to handle +<span class="pagenum" id="Page_14">[Pg 14]</span>the subject, he says you may go ahead with +it—that is, he would like to see the completed +manuscript. However, he does not bind the +Haldeman-Julius Company to pay for that +manuscript unless it is up to the usual standard +and satisfactory in every way.</p> + +<p>When you receive an assignment you should +set to work at once. Read over the manuscript +specifications (given in the section following +this) to be sure you have them clearly in mind, +and go to work. The assignment of a title to +any writer carries with it an understanding, +usually not put in the letter, that the completed +manuscript will be delivered <i>within sixty days</i>. +If sixty days or more elapse without further +word from the author, it is understood by all +concerned that he has either not been able to +do the work or has not chosen to do it, and +that assignment may, if it is found desirable +to do so, be given to someone else. If for any +reason you cannot deliver a manuscript within +sixty days after a subject is assigned to you, +you should write to the editor explaining the +delay, and giving a probable date of delivery on +the manuscript.</p> + +<p>This may seem a somewhat lax system. But +you must consider that several hundred Little +Blue Book manuscripts are accepted for publication +<i>every year</i>, and that this is in addition +to the other editorial duties of Mr. Haldeman-Julius. +It is essential that the system be both +simple and practical. Ten years’ experience has +shown the present method to be both, and to +work out satisfactorily for everyone.</p> + +<p><span class="pagenum" id="Page_15">[Pg 15]</span></p> + +<p>When your manuscript is finished, go over it +carefully for typographical errors. You should +endeavor, so far as you can, to deliver your +manuscript ready—not only for the editor—but +for the typesetters (see section following +for further details). If suitable, your manuscript +will be formally accepted within three +days after its receipt in Girard, and a check in +full payment will be mailed to you. Acceptances +and checks often go out on the same day +a manuscript is received. Then your manuscript +goes to the typesetters at once. If you +wish to read proof on it yourself, you should +so request after you have received notice of +acceptance.</p> + +<p>Always send manuscripts by <i>first class mail</i> +(two cents an ounce), sealed. If you are submitting +your first manuscript, always enclose +postage for its return to you in case it is not +satisfactory.</p> + +<p>Your next question may well be: “How am +I to get ideas for Little Blue Books?” That is +your problem, however, and you will have to +solve it. In a later section I have listed some +of the subjects or groups of subjects which +might be acceptable during the next year or +two. But to be assigned any of these subjects +a writer must thoroughly qualify and convince +the editor that he has the necessary knowledge +and experience to handle them well.</p> + +<p>Of course, ideas for new Little Blue Books +continually mature in Girard. But these ideas +are given, as a matter of course, to experienced +Little Blue Book writers. There are ten +<span class="pagenum" id="Page_16">[Pg 16]</span>writers, at least, who are always ready to prepare +a needed manuscript, and these ten +writers have proved that, in their fields, they +can do satisfactory work of a high standard. +For this reason, assignments are not given +to new writers unless the new writers have +good ideas of their own.</p> + +<p>Some would-be writers may feel doubtful +about submitting their ideas, lest they be +“stolen” and given to someone else. The only +guarantee against this is the established integrity +of the Haldeman-Julius Publications in +dealing with scores of authors during the past +decade. Every writer must run this risk, even +if he submits a completed manuscript. Possibly +someone else may have the same idea—that +sometimes happens. The earlier bird, naturally, +gets the assignment. It is apparent that +conflicts of this kind do happen occasionally, +and they simply have to be forgotten.</p> + +<p>If you have no ideas, no matter how good +a writer you are, you may as well sell your +typewriter and become a soda clerk or elevator +boy. The writer without ideas does not remain +a writer long, no matter what sort of work he +is supposed to be doing.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <h2 class="nobreak" id="MANUSCRIPT_SPECIFICATIONS"> + MANUSCRIPT SPECIFICATIONS + </h2> +</div> + + +<p>Little Blue Books have certain very definite +mechanical requirements. It is extremely important +that Little Blue Book writers conform +absolutely to these requirements. If you wish +to deliver satisfactory Little Blue Book manuscripts, +it will be a good idea for you to read +<span class="pagenum" id="Page_17">[Pg 17]</span>this section carefully and memorize the specifications +that apply to you.</p> + +<p>Little Blue Books are now added to the series +in two lengths only—32 pages or 64 pages +(that is, in the completed book). This is counting +every page from title page to last page +(covers excepted). Little Blue Books are set +in eight-point type, solid (which is to say, +eight-point type cast on an eight-point slug), in +lines 16 ems wide, 35 lines to the page. (Notice +the manner in which this Little Blue Book +is set.) Quotations (excerpts from other books, +quoted letters, etc.) are set off from the main +text by a slight space (leads) top and bottom, +and set in seven-point type. Such quoted matter +should be either single-spaced or indented about +1½ inches in manuscript. <i>It should not be enclosed +in quotation marks.</i> (Note the quoted +matter on page 12 of this book).</p> + +<p>A 32-page Little Blue Book contains—when +set as above—about 7,500 words; a 64-page book +contains twice as many, or 15,000 words. You +should indicate which length your idea is likely +to require when you submit suggestions.</p> + +<p><i>How to judge the length of your manuscript</i>: +It is unnecessary to count the actual number of +words in your manuscript. If your typewriter +has pica type (look up your bill of sale, or ask +your typewriter salesman, if you do not know), +23 to 25 pages of manuscript, 8½ × 11-inch +sheets, typed on one side of the paper only, +double-spaced, with not over ½-inch margin at +left and right, or ¾-inch space top and bottom, +will make a 32-page Little Blue Book. From +<span class="pagenum" id="Page_18">[Pg 18]</span>50 to 55 pages of such manuscript are required +for a 64-page Little Blue Book. If your typewriter +has elite type, a 32-page book will require +about 17 pages typed as above; a 64-page +book will require about 36 pages.</p> + +<p>Always type on one side of the paper only. +Always <i>double space</i> any typewritten manuscript. +Always submit the original (not the +carbon copy) to the editor. Keep the carbon +copy for your own files—and, by the way, it is +wise <i>always</i> to keep a carbon copy. No editorial +office assumes responsibility for any unaccepted +manuscript beyond the usual reasonable +care. Manuscripts also may be lost in the +mails, and the slight labor of keeping carbon +copies even over a period of years may some +day repay your effort if a valuable manuscript +is somehow lost. <i>Number the pages of your +manuscript.</i></p> + +<p>You may, if you like, divide your manuscript +into chapters or sections, or both. Such divisions +are advisable in any technical manuscript. +If such chapters are titled (and it is a good +idea to give them titles), be sure to include +with your manuscript a Table of Contents, leaving +space for the printer to write in the page +numbers when the type is divided into pages.</p> + +<p>Be sure you distinguish the Table of Contents +from the Index. The Table of Contents +is arranged in the order of the pages—that is, +the chapters, stories, or whatever the book contains, +are listed in the order they appear in +the book, with the number of the page on which +each such chapter or section begins. An Index +<span class="pagenum" id="Page_19">[Pg 19]</span>is an alphabetical guide to the contents of the +book. In the Index subjects are listed alphabetically, +as in a dictionary, and the page numbers +(added after the book is set in type and +paged) are put in to correspond. An Index is +necessary only in a book dealing with various +phases of some subject where frequent reference, +for ready information, is likely to be +made by the reader. (See Little Blue Books +Nos. 815 and 816 for examples of indices).</p> + +<p>In typing your manuscript indent the first +line of every new paragraph three spaces on +the typewriter. No other marking is necessary. +Words you wish italicized should be underlined +once. Words to be printed in small capitals +(seldom used), should be underlined twice +and marked “s. c.” Words to be printed in bold-face +(seldom used), should be underlined (sometimes +a wavy line is used) and marked “b. f.”</p> + +<p>A minor point in typing manuscript—but +nevertheless an important one—is to make clear +the difference between a hyphen and a dash. +The hyphen on the typewriter is adequate to +signify a hyphen in manuscript, and the printer +will set it accordingly. But a dash, which is +much longer than a hyphen in type, is not provided +for on the typewriter keyboard. The +best way is to use two or perhaps three hyphens +together, thus ‑‑‑. When so typed, these +three hyphens will be set as one long line or dash. +(As a matter of fact, special instruction to the +printer is necessary in this manuscript to be +sure he sets those three hyphens as <i>hyphens</i> +instead of a dash!)</p> + +<p><span class="pagenum" id="Page_20">[Pg 20]</span></p> + +<p>Inexperienced writers make oftentimes funny +mistakes in preparing manuscripts. I remember +one writer who persisted in dividing words +at the end of the line and placing the +hyphen (indicating division, or a broken +word) at the beginning of the remaining part +of the word on the line below! Of course, +the printer set the manuscript all right, but the +habit was annoying.</p> + +<p><i>Please</i> use 8½ × 11-inch manuscript paper, +white, not too thin or too thick. White bond +paper between 16 and 24 pound stock—as the +stationer would say—is ideal. Do not use manila +paper, or any color other than white. The +color of your typewriter ribbon does not matter, +but in typing manuscript use one color +only—it is confusing to mix red and black, or +red and blue, in a manuscript.</p> + +<p>Again the inexperienced author, trying to attract +attention by being “different,” errs in preparing +his manuscript. One Little Blue Book +author succeeded in delivering every one of several +books typed on heavy foolscap, with deckled +edges! Fortunately, it was not perfumed. Another +writer—this time an unsuccessful one—sent +in a manuscript on sepia brown paper, +beautifully typed in dark brown ribbon to +match. Such idiosyncrasies are inexpressibly +annoying to both editors and printers. Avoid +them.</p> + +<p><i>A Word About Special Sizes of Type</i>: Any +necessary type or character can be used in setting +up a Little Blue Book if it is essential. +The books are standardized, as I have already +<span class="pagenum" id="Page_21">[Pg 21]</span>said, being set throughout in 8-point type, with +quoted matter (when it exceeds more than a +sentence or two in length) set off from the +rest of the text by being set in 7-point. Larger +type is used for the headings (10-point caps—capital +letters—as a rule). Boldface type, +italics, small capitals, etc., can all be used in +technical books if desired. Too many kinds of +type in one book are in rather bad taste, so it +is well to keep the typography simple and neat.</p> + +<p>The Little Blue Book dictionaries are usually +set in 5½-point type, two columns to the page. +(Examine Little Blue Books Nos. 192, 696, +697, 637, 1011, 1105, etc.). The lines are therefore +set 7½ ems wide; with one-em space between +the columns; this makes the page the +usual 16 ems in width. An em, by the way, is +a printer’s unit of measure. There are six +ems—sometimes called pica ems for greater +precision, since, strictly speaking, an em may +refer to any size type—to the inch. A pica em +is the width of a capital letter M (square) +in 12-point type. Incidentally, there are 72 +points to the inch.</p> + +<p><i>Preparation of Illustrations</i>: In technical +books illustrations are sometimes necessary. We +expect an author to prepare and submit his own +illustrations with his manuscript. If a technical +title is assigned, it is given to someone +who can send illustrations if they are necessary. +Halftones (reproductions of photographs) +should be avoided. In fact, it is so +difficult to print halftones on the paper used +for Little Blue Books, so they will show up +<span class="pagenum" id="Page_22">[Pg 22]</span>well, that we are not using them at present.</p> + +<p>Illustrations should be outline drawings or +diagrams in black ink. These illustrations may +be much larger than they are to appear in the +book, if it is any easier to prepare them that +way. They will be reduced to the proper size +when they are made into line cuts (zinc etchings).</p> + +<p>If illustrations are sent with a manuscript, +be sure to indicate in the manuscript where, in +the text, each illustration should appear, so +that in making up the book the printers can +place the cuts properly. Also, be sure to allow +for the space the cuts will occupy in the finished +book, and reduce the word-count of your +manuscript accordingly. It is impossible for +any Little Blue Book to be other than 32 or 64 +pages in length. You <i>must</i> make your work fit +into one or the other of these—whichever is +specified at the time you receive the assignment. +Also, you must not let your work fall +much short of these lengths, for it is just as +bad to have a manuscript fill 50 pages of a 64-page +book as it is for it to run over to 40 +pages of a 32-page book. It just can’t be done.</p> + +<p>Do not hope to have an extra long manuscript +converted into a two-volume Little Blue Book +edition. This experiment has been tried and it +is not feasible. Each title must be complete in +itself, and run to either 32 or 64 pages.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <h2 class="nobreak" id="RULES_FOR_STYLE"> + RULES FOR STYLE + </h2> +</div> + + +<p>Consistency is a highly desirable virtue in +setting anything in type. So far as possible we +<span class="pagenum" id="Page_23">[Pg 23]</span>try to have all the Little Blue Books conform +to one typographical style—but the colossal +number of 1,400—soon, 1,500—different titles +has made for a certain inconsistency that +could not be avoided.</p> + +<p>By consistency here, I mean spelling the same +word the same way throughout the manuscript; +if possible, throughout the entire series of Little +Blue Books. I mean a consistent policy of +capitalization, hyphenating, punctuation, and +so on.</p> + +<p>Use care in preparing your manuscript. Spell +your words correctly. Do not blunder ahead +in the notion that the editor or the proofreaders +will be glad to correct your misspelled +words, dress up your awkward sentences, and +put in your missing commas. Train yourself +to spell correctly, to write clearly and smoothly, +to punctuate for the easy reading of your +work. Such training can do nothing except +speed your success as a writer. To ignore these +matters may handicap your manuscript; better +craftsmen than you will get work to do that +might have been yours had you been more conscientious.</p> + +<p>The standard of spelling and hyphenating in +the Little Blue Books is Webster’s New International +Dictionary. In general, words like +<i>theater</i>, <i>center</i>, <i>reconnoiter</i>, and the like, are +spelled with a final -er (instead of -re). Words +like <i>honor</i>, <i>color</i>, <i>valor</i>, etc., are spelled with a +final -or (instead of -our). Wherever two spellings +are permissible (as recorded in the dictionary), +the spelling given first (as preferable) +<span class="pagenum" id="Page_24">[Pg 24]</span>by Webster’s New International is the +one to be used. Words like <i>traveler</i>, <i>traveling</i>, +and <i>traveled</i> are spelled with a single <i>l</i>, etc.; +the rule here is that if a word (like travel) +ends in a single consonant following a vowel, +derivative forms do not double the consonant +unless the syllable containing that consonant +is accented. Thus, when <i>traveling</i> is formed +from <i>travel</i>, the consonant <i>l</i> is not doubled because +that syllable is not accented (the accent +falls on trav-). But when <i>occurring</i> is formed +from <i>occur</i>, the consonant <i>r</i> is doubled because +the accent falls on -cur. So also in the other +derivatives: <i>occurred</i>, <i>occurrence</i>, etc.</p> + +<p>As to capitalization, aside from the usual +rules for the first word in every sentence, etc., +all proper names are of course capitalized. The +names of the seasons (spring, summer, autumn, +winter) are spelled with a small letter. In +place names such as Grand Avenue, Brown +Street, Mississippi River, etc., the common noun +is capitalized as an integral part of the place +name (<i>not</i> Grand avenue, Brown street, Mississippi +river, etc.). The word Negro is always capitalized +in all Haldeman-Julius Publications. As +a rule, atheist, agnostic, freethought, and similar +words, are not capitalized.</p> + +<p>In hyphenating words (compound words) follow +Webster’s New International Dictionary +<i>with this exception</i>: divisions of time such as +today, tomorrow, and tonight are spelled without +a hyphen.</p> + +<p>In punctuation considerable latitude is allowed. +The general rule is one of common +<span class="pagenum" id="Page_25">[Pg 25]</span>sense—punctuate according to the sense of your +writing, to make it easy for the reader to grasp +your meaning, and to avoid any possible ambiguity. +Never use more than one exclamation +mark or interrogation point after a single sentence. +Put periods and commas always <i>inside</i> +of quotation marks; colons and semicolons +<i>always</i> outside of quotation marks. Put exclamation +or interrogation marks inside of the +quotation marks if they belong with the quotation, +but outside if they do not belong with the +quotation. For example, “Shoot him!” The +exclamation is inside the quotation marks because +it belong with the quoted words. But, +“The word he used was ‘ain’t’!” Here the exclamation +belongs with the entire sentence (not +with the word <i>ain’t</i> alone), so it is placed outside.</p> + +<p>Accent marks are kept over letters in words +from foreign languages—as the acute, grave, +and circumflex accents in French words. These +should be indicated in your manuscript. You +can write them in with ink, since the characters +are not on most typewriters.</p> + +<p>In general, the principles set forth in Little +Blue Books of grammar, punctuation, and spelling +(Little Blue Books Nos. 681, 682, 683), are +fairly safe guides for Little Blue Book manuscript +style. If the prospective Little Blue +Book writer follows these books rather closely, +he will never go far astray.</p> + +<p>It is seen that the matter of style in Haldeman-Julius +Publications is not at all extreme +or individual. The standard is fairly universal, +<span class="pagenum" id="Page_26">[Pg 26]</span>and though it may differ in minor points, the +writer cannot make any great mistake in accustoming +himself to these fundamental rules +for spelling, punctuation, and so on.</p> + +<p><i>One Last Important Word</i>: Always be sure +that your name and address are clearly typed +in the upper left-hand corner of the first page +of your manuscript. Do not forget your name +and address. <i>This is vitally important.</i></p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <h2 class="nobreak" id="ABRIDGING_AND_EDITING"> + ABRIDGING AND EDITING + </h2> +</div> + + +<p>Abridgments of the classics, or of any work +which has appeared in print somewhere or +other, are at present not much desired for the +Little Blue Books. Realizing, however, that the +editorial policy may again find it expedient to +include material of this kind, I am putting in +here a brief chapter on this phase of writing or +editing for the Little Blue Book series.</p> + +<p>To cut down a work from 100,000 words to +15,000 words is an art. It takes a certain knack, +if I may put it that way. You must have an +instinct (as it were, though the word is hardly +apt in its strict sense) for what is essential in +the work you are reducing. If it is a story, you +must have a sense of the dramatic; you must +know also what it is in the original that makes +it worthwhile—if it is a classic, you must have +some notion of why it is that generations of +readers have kept the story alive.</p> + +<p>Editions of the classics for the Little Blue +Books have been of two kinds. The more ordinary +form is an abridgment, where the original +work is too long to fit into a 64-page Little +Blue Book, (Plays of Shakespeare, Ibsen, and +<span class="pagenum" id="Page_27">[Pg 27]</span>some other works are exceptions; these are +published complete, though they may run to as +many as 128 pages.) An abridgment means a +cutting down by omitting certain parts. Only +the more famous passages may be retained; or +possibly only the more interesting portions. If +the original is a connected whole, then connecting +paragraphs must be inserted in the abridgment +to carry on the thread of the work. For +example, see Sir Walter Scott’s <i>Lady of the +Lake</i> (Little Blue Book No. 616) or Daniel Defoe’s +<i>Robinson Crusoe</i> (Little Blue Book No. +559). In these books much of the original is +kept verbatim, the omitted portions being replaced +by short summarizing sentences.</p> + +<p>The other way in which a classic may be +edited for a Little Blue Book is to write a +wholly new and condensed version, in your +own words, so to speak, making it conform to +the required length of 15,000 words. This was +done with Balzac’s <i>Splendors and Miseries of a +Courtezan</i> (Little Blue Book No. 1067) and also +with the fairy tales of Charles Perrault (Little +Blue Book No. 836). Occasionally, when a philosopher +is treated in this way, the <i>gist</i> or <i>substance</i> +of the man’s work is edited for a Little +Blue Book.</p> + +<p><i>Footnotes.</i>—In any edition of a classic, explanatory +notes are certain to be desirable. It +is part of the work of editing a classic, or any +reprinted work, to insert explanatory notes if +they are necessary. Every Little Blue Book +must be prepared with the idea in mind that +it may be read by people who have not had the +advantages of either a high school or a university +<span class="pagenum" id="Page_28">[Pg 28]</span>education. These people are eager to read +classics, but they expect the works to be made +intelligible to them, for they have no teacher +or professor whom they can ask whenever anything +puzzles them.</p> + +<p>Footnotes may also be useful in originally +written works, especially books which deal with +technical subjects. Wherever they may be found +advisable, the general remarks set down here +about how to insert them in manuscript will always +apply.</p> + +<p>Do <i>not</i> use the asterisk, dagger, and other +typographical marks sometimes employed to +refer to footnotes. These are inconvenient to +insert in a typewritten manuscript, and their +use makes for greater complexity in paging the +books. Little Blue Book typography must be +kept simple—after all, you must constantly remember +that the book is to be sold for five +cents.</p> + +<p>Use what are called <i>superior numbers</i>⁠<a id="FNanchor_3_3" href="#Footnote_3_3" class="fnanchor">[3]</a> to refer +to footnotes (unless you have perhaps only +two or three footnotes throughout your entire +work, when simply an asterisk is sufficient). +Note the manner in which the superior (raised +above the line) number is used to refer to the +footnote at the bottom of this page (the superior +number, <sup>3</sup>, is placed after the words <i>superior +number</i>, a few lines above, thus indicating +that an explanatory note may be found at the +bottom of the page).</p> + +<div class="footnote"><p><a id="Footnote_3_3" href="#FNanchor_3_3" class="label">[3]</a> Start with No. 1, and number your notes consecutively +through your manuscript. Examine the +footnotes in the <i>Lady of the Lake</i> (Little Blue +Book No. 616).</p></div> + +<p><span class="pagenum" id="Page_29">[Pg 29]</span></p> + +<p>In typing your manuscript, when you come +to a place where a footnote-reference must be +inserted, turn your platen slightly downward +so that you can strike the proper number a +little above the line <i>right after the word or +words to which the footnote refers</i>. Then, when +next you double space, insert your footnote. +Place the corresponding number at the beginning +of the footnote. It is not necessary to +place footnotes in manuscript at the bottom of +the typewritten page. Insert the footnote while +you have it in mind (otherwise you might omit +it), and also while you have plenty of room in +which to type it. Then draw a line (in pencil, +or on the typewriter, as you prefer) clear across +the page <i>both above and below</i> the footnote, +separating it from the rest of the text. This +will enable both typesetter and printer to recognize +the inserted matter as a footnote, and it +will be handled accordingly.</p> + +<p><i>Forewords and Introductions.</i>—If you ever +edit or abridge any work for the Little Blue +Books, it will be useful to future readers if you +add an explanatory foreword or introduction +to the work. In this introduction you should +give a brief biography of the author, if the +work is a classic; you should also explain why +the work <i>is</i> a classic, why it is perpetuated in +the world’s literature. You might quote some +critical opinions from outstanding commentators +on literature.</p> + +<p>In the larger clothbound books it is customary +to place the foreword or introduction +before the Table of Contents. The order of +precedence in large books is usually thus: +<span class="pagenum" id="Page_30">[Pg 30]</span>Title Page, Foreword or Introduction, Table of +Contents, List of Illustrations, Body of the +Work, Appendix or Appendices (if any), Bibliography +(if any), Index.</p> + +<p>However, the Little Blue Books are of such +a size that this order makes for a certain +strangeness. We have therefore always made +the order in Little Blue Books thus: Title Page, +Table of Contents, Body of Work preceded by +Foreword or Introduction (if any), Bibliography +(if any), Index. An appendix is rather out +of place in a work so short as a Little Blue +Book. If inserted, it may be placed before the +Index or before the Bibliography.</p> + +<p>Incidentally, the Bibliography is a list of +works used for reference (as sources of information) +during the preparation of the manuscript. +These credits are better given, in a Little +Blue Book, within the text itself wherever credit +is due, or possibly by suitable footnotes. +There may also be a bibliography of books to +read along the same lines or in the same field, +as in Joseph McCabe’s volumes of <i>The Key to +Culture</i>.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <h2 class="nobreak" id="POSSIBLE_SUBJECTS"> + POSSIBLE SUBJECTS + </h2> +</div> + + +<p>I promised, earlier in this book, to insert +some suggestions about possible subjects for +future Little Blue Books. I add here a paragraph +or two in which I shall state briefly some +of the gaps existing in the series when I write +this book (January, 1929). These gaps may, of +course, be filled before you happen to secure +and read my informal instructions and advice. +<span class="pagenum" id="Page_31">[Pg 31]</span>The proper procedure is for you to write for an +assignment, outlining your ability and experience; +if you get the assignment, good luck to +you!</p> + +<p>The sports titles in the Little Blue Books are +sparse. At the moment, baseball, golf, swimming, +and hiking or camping are the only +“sports” covered. Tennis, I believe, will be +taken care of shortly. But there is room for +someone who knows sports to handle football, +basketball, winter sports, outdoor games, gymnasium +stunts, calisthenics, boxing, racing (of +various kinds), track, angling, etc. Mind you—write +to the Editor first, before you begin work! +Even then, you must deliver a satisfactory +manuscript after a subject is assigned to you, +or it will not be accepted.</p> + +<p>Many commercial subjects are possibilities. +There are stenography, bookkeeping, accountancy, +office management, and so on. Possibly +a book explaining taxes, or telling how to figure +your own income tax, might be acceptable. If +you are an accountant and know how to write, +there are some chances here for you!</p> + +<p>All sorts of <i>how to do</i> books are in demand. +Plumbing, electricity, repairing automobiles or +radios, engineering, aviation, carpentry, metallurgy, +and so on—the field is vast. But you +must both know your subject and know how to +write understandably—slipshod methods are +not tolerated in Girard.</p> + +<p>We have <i>How to Play the Piano</i>. Simple lesson +books for other musical instruments: the +drums, the saxophone, the cornet, the trombone, +etc., might all prove acceptable.</p> + +<p><span class="pagenum" id="Page_32">[Pg 32]</span></p> + +<p>Travel books are a new field, just now being +tried. If the first experimental titles go well, +there might be more in demand.</p> + +<p>Topics of the hour are often pretty good bets. +For example, such topics as the following have +already been covered: Companionate marriage, +prohibition, capital punishment, petting parties, +the younger generation, etc. A new topic may +leap into prominence any day.</p> + +<p>Hobbies are an untouched field as yet. Some +riders of hobbies who can pound out well-phrased +sentences on a typewriter should write +to E. Haldeman-Julius. I think something +might come of it one of these days.</p> + +<p>You may have other ideas. Perhaps they are +good ideas. Write to the Editor about them. +If he takes a fancy to one of your suggestions, +you will be sure to hear from him!</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<div class="transnote"> + <h2 class="nobreak" id="TRANSCRIBERS_NOTES"> + TRANSCRIBER’S NOTES + </h2> + + +<p><a href="#Page_11">Page 11</a>: typo in “vocabulary” corrected.</p> + +<p><a href="#Page_18">Page 18</a>: originally incomplete word “leaving” in “leaving +space for the printer ...” has been restored.</p> + +<p><a href="#Page_24">Page 24</a>: one occurrence of “Brown Street” has been corrected to “Brown street” in line with the context.</p> +</div> +</div> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78066 ***</div> +</body> +</html> diff --git a/78066-h/images/cover.jpg b/78066-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..6777fbb --- /dev/null +++ b/78066-h/images/cover.jpg diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6c72794 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This book, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..6d8df9d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for eBook #78066 +(https://www.gutenberg.org/ebooks/78066) |
