Sci-Fantasy
By MARGARET CROSLAND NOT a technical term from a psychological text-book, but the classification of one group of periodicals des- cribed in an American reference-book which is fortunately available in England: The Writer's Market, edited by Ruth A. Jones and Aron M. Mathieu.* The aim of the book is to help writers by listing the requirements and rates of pay of magazines, publishers, radio-stations and any other American market for the written or spoken word. To the foreigner, whether he is a writer or not, this boOk is enlightening. Sci-fantasy, apparently, is the next stage after science-fiction, and it stands for the future of the future. It is a challenging, demanding subject. To satisfy the editors of Planet Stories, for instance, one must write " with emphasis on planets other than Earth. Action, suspense and convincing alien-worlds atmosphere important." Where, one wonders, are the writers who can produce first-class work of this type to suit their highly educated readers ? For nothing but the best will do: " A very few topnotch time-travel, dimension, and gadget-type stories accepted, as well as an occasional off-trail think-piece." For the less ambitious writer and reader there are fortunately other magazines in this category with different standards. In Thrilling Wonder Stories, for instance, " all stories must have pseudo-scientific- background," which sounds easier. Then there is Weird Tales, for those who like stronger meat: " tales of vampires, werewolves, witches and devil-worship; strange monsters and spirit return; horror stories, and tales of mystery and terror "; but, one discovers with surprise and relief, " no sadistic or sex stories."
Caution on the cleanness of the party is urged in practically every section of the book. " Better watch moral angles here. Objectionable stuff cannot be used—such as high school girls in shorts, hazing, smoking and drinking." " Hazing " is only one of many words in this book which are new to me and whose dark and sinister meanings can only be left to guess-work. It is also clear that the title of a magazine can give only very little indication of its contents. For instance Exciting Love wants " no sordid sex-stuff. Good, clean, wholesome stories, only." On the other hand 15 Love Stories sounds more enter- prising : " A blown-up situation is not sufficient; there must be real body." This magazine also states that " a foreign back- ground is good occasionally, if the chief characters are American."
" Love," as far as American journalism is concerned, is an ingredient which can be added of diluted according to taste. Those writers who specialise in cowboy stories, for instance,
* Newman Neame Ltd. 30s.
have thirty-five western magazines to choose from, but if they are clever they will also work up a profitable side-line in " western love magazines." Mind you, love must be kept in its place; in Thrilling Ranch Stories, if a girl-character is an important 'figure in the story, she must " work effectively to aid the hero in the solution of his problems." There is scope for " famous and/or'notorious women of the Old West," and, as a touching after-thought in the case of Rangeland Romances, " Old West love poetry, twenty-five lines or less, used as fillers."
The Westerns, which after all form one folk-lore department of the United States, are determined to remain folk-lore. The most recurrent hint is: " No modern touches," and Double Action Western " doesn't .want anything taking place after 1900." This goes for the style of treatment too: " The off-trail story is acceptable, but guard against one in which the problem is stated and then solved in a psychological manner."
It may be a surprise to many people to learn that there are at least eight-eight religious newspapers and magazines (or rather markets) in the United States, the majority of them Catholic and the majority paying writers reasonably well for contributions: Sometimes the details of requirements make it clear that religion in the U.S. is no general or world-wide thing, but part of the American " way of life." For instance, Bible classes are something different. The Adult Bible Class Monthly wants " challenging articles that point out opportunities for evangelism in the adult class and any other articles of a truly inspirational nature which will make any adult class a roaring success." There is also an enterprising monthly called Good Business, which aims to show " how to succeed in business by applying the principles taught by Jesus Christ. Actual experi- ences, told in first person, are especially desired. Needs a lot of material, particularly by male writers." The male writers are paid 1 cent a word minimum on acceptance. The Social Reign, which pays 1i cents a word, is " a family magazine and nothing should appear in stories which goes counter to Catholic principles, but this should not eliminate good plotting and find characterisation." Indeed not, one hopes.
In contrast to the solid, comfortable state of the religious market there is the underworld of " little magazines " and poetry magazines which the editors of this book dismiss with condescension. " These publications are mostly the amiable hobbies of interesting people with.a lot of energy and a little money, whose interest' is in publishing literature and in dis- cussing the arts." The requirements of The Kapustkan Magazine possibly justify the editorial cold-shoulder: " Uses fiction that is vital, vigorous, and beating with the pulse of the people; stressing brotherhood and a better and a more beautiful world; aimed at the elimination of the evils of exploitation, injustice, and inequality. Brevity is desired. Fiction must throb with the truth of the times and the fact of freedom. Articles used are pro-labour, healthy and honest humour, satire on the Swift-Voltaire order, economic and social prose. Seeks clear, con- structive, - conscientious, creative courage aimed at one hundred per cent. democracy (a frank and full freedom) for all. Uses poetry with the Carl Sandburg-Walt Whitman spirit." The leit-motiv here is, needless to say, " no payment." Of the forty or so poetry markets in the U.S. the editors have more harsh words to say: " There are two reasons why most poetry in these `little magazines' is second rate: First, the poet does not take his art seriously and has not studied under a com- petent coach. He is unacquainted with the history of verse, with its growth and culture, and above all, he does not know in great multitudinous detail, the themes, the meter, and the technique of the masters who have gone before.... As a group, they are dated, mentally living in 1905, or 1910, or 1915 as the case may be. They matured not in our day and age, but in another time, when Kipling, not Freud, was the literary mentor. The editors are, on the average, several _cuts above their readers." In the nation of the specialist, the professional, the d} namic
And the go-ahead, there is no place for the amateur poet. Professional poets and those who write " think-pieces " can try the quarterlies. " One doesn't have to have that clipped style that so many magazines demand: rather, your style must be formal, correct. But remember from a financial standpoint quarterlies are a poor crutch, yet those of us who have some- thing to say ought to know them better."
At the opposite end of the scale, artistically and financially, are the " major, middle and minor " markets for cartoons, gags and fillers. Then there is the juvenile publication—" let us admit it quickly—an axe-to-grind publication. It has a definite purpose—to encourage, to inspire, to build honest, loyal, clear-thinking, moral young Americans." The title of this helpful advisory article is " Lady . . . Your sermon is showing."
If one knew what a " package-programme " was (I may of course be the only one who doesn't), then one can write it for the radio. There is no limit to what one can do. Over one hundred pages of trade-paper titles show that no aspect of American industry goes unrecorded and unsung. Of the eight magazines dealing with " funeral directors and cemetery " there is one entitled Casket and Sunnvside; another paper wants " photos . . . of funeral oddities " and another " good scenic views of cemeteries." There is the Coin Machine Review and its " human interest news about coinmen "; there is the proof that everyone is encouraged to write, for the magazine Hold It (for professional models), in addition to exposing " unethical practices in the modeling business," buys " some poetry, usually written by models." We have been told that only eighteen per cent. of the U.S. population read books. The remainder are presumably too busy writing.
But, in spite of the infinite details about publishers, book- clubs, television-stations, motion-picture producers and every- thing else that fill the five hundred pages of this indispensable work, one's conclusion is that the putting of words on to paper in the U.S. is like working in a factory and being paid piece- rates. The conveyor-belt moves in front of the writer all the time, and God help him if he does not move at the same speed or preferably faster. He is beset with competition and non- co-operation. His life is tough. " Too many shyster lawyers, working in cahoots with unwitting free-lance writers, have sued song publishers and motion picture studios for plagiarism." Sci-fantasy is straightforward in comparison. One realises why Ezra Pound asked many years ago to be spared from " this damned profession of writing, where one has to use one's brains all the time."
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