LITMIR.BIZ

      THE EDITOR’S RELATIONS WITH THE YOUNG CONTRIBUTOR

      One of the trustiest jokes of the humorous paragrapher is that the editor is in great and constant dread of the young contributor; but neither my experience nor my observation bears out his theory of the case.

      Of course one must not say anything to encourage a young person to abandon an honest industry in the vain hope of early honor and profit from literature; but there have been and there will be literary men and women always, and these in the beginning have nearly always been young; and I cannot see that there is risk of any serious harm in saying that it is to the young contributor the editor looks for rescue from the old contributor, or from his failing force and charm.

      The chances, naturally, are against the young contributor, and vastly against him; but if any periodical is to live, and to live long, it is by the infusion of new blood; and nobody knows this better than the editor, who may seem so unfriendly and uncareful to the young contributor. The strange voice, the novel scene, the odor of fresh woods and pastures new, the breath of morning, the dawn of tomorrow—these are what the editor is eager for, if he is fit to be an editor at all; and these are what the young contributor alone can give him.

      A man does not draw near the sixties without wishing people to believe that he is as young as ever, and he has not written almost as many books as he has lived years without persuading himself that each new work of his has all the surprise of spring; but possibly there are wonted traits and familiar airs and graces in it which forbid him to persuade others. I do not say these characteristics are not charming; I am very far from wishing to say that; but I do say and must say that after the fiftieth time they do not charm for the first time; and this is where the advantage of the new contributor lies, if he happens to charm at all.

      I.

      The new contributor who does charm can have little notion how much he charms his first reader, who is the editor. That functionary may bide his pleasure in a short, stiff note of acceptance, or he may mask his joy in a check of slender figure; but the contributor may be sure that he has missed no merit in his work, and that he has felt, perhaps far more than the public will feel, such delight as it can give.

      The contributor may take the acceptance as a token that his efforts have not been neglected, and that his achievements will always be warmly welcomed; that even his failures will be leniently and reluctantly recognized as failures, and that he must persist long in failure before the friend he has made will finally forsake him.

      I do not wish to paint the situation wholly rose color; the editor will have his moods, when he will not see so clearly or judge so justly as at other times; when he will seem exacting and fastidious, and will want this or that mistaken thing done to the story, or poem, or sketch, which the author knows to be simply perfect as it stands; but he is worth bearing with, and he will be constant to the new contributor as long as there is the least hope of him.

      The contributor may be the man or the woman of one story, one poem, one sketch, for there are such; but the editor will wait the evidence of indefinite failure to this effect. His hope always is that he or she is the man or the woman of many stories, many poems, many sketches, all as good as the first.

      From my own long experience as a magazine editor, I may say that the editor is more doubtful of failure in one who has once done well than of a second success. After all, the writer who can do but one good thing is rarer than people are apt to think in their love of the improbable; but the real danger with a young contributor is that he may become his own rival.

      What would have been quite good enough from him in the first instance is not good enough in the second, because he has himself fixed his standard so high. His only hope is to surpass himself, and not begin resting on his laurels too soon; perhaps it is never well, soon or late, to rest upon one’s laurels. It is well for one to make one’s self scarce, and the best way to do this is to be more and more jealous of perfection in one’s work.

      The editor’s conditions are that having found a good thing he must get as much of it as he can, and the chances are that he will be less exacting than the contributor imagines. It is for the contributor to be exacting, and to let nothing go to the editor as long as there is the possibility of making it better. He need not be afraid of being forgotten because he does not keep sending; the editor’s memory is simply relentless; he could not forget the writer who has pleased him if he would, for such writers are few.

      I do not believe that in my editorial service on the Atlantic Monthly, which lasted fifteen years in all, I forgot the name or the characteristic quality, or even the handwriting, of a contributor who had pleased me, and I forgot thousands who did not. I never lost faith in a contributor who had done a good thing; to the end I expected another good thing from him. I think I was always at least as patient with him as he was with me, though he may not have known it.

      At the time I was connected with that periodical it had almost a monopoly of the work of Longfellow, Emerson, Holmes, Lowell, Whittier, Mrs. Stowe, Parkman, Higginson, Aldrich, Stedman, and many others not so well known, but still well known. These distinguished writers were frequent contributors, and they could be counted upon to respond to almost any appeal of the magazine; yet the constant effort of the editors was to discover new talent, and their wish was to welcome it.

      I know that, so far as I was concerned, the success of a young contributor was as precious as if I had myself written his paper or poem, and I doubt if it gave him more pleasure. The editor is, in fact, a sort of second self for the contributor, equally eager that he should stand well with the public, and able to promote his triumphs without egotism and share them without vanity.

      II.

      In fact, my curious experience was that if the public seemed not to feel my delight in a contribution I thought good, my vexation and disappointment were as great as if the work hod been my own. It was even greater, for if I had really written it I might have had my misgivings of its merit, but in the case of another I could not console myself with this doubt. The sentiment was at the same time one which I could not cherish for the work of an old contributor; such a one stood more upon his own feet; and the young contributor may be sure that the editor’s pride, self-interest, and sense of editorial infallibility will all prompt him to stand by the author whom he has introduced to the public, and whom he has vouched for.

      I hope I am not giving the young contributor too high an estimate of his value to the editor. After all, he must remember that he is but one of a great many others, and that the editor’s affections, if constant, are necessarily divided. It is good for the literary aspirant to realize very early that he is but one

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