series of
conversational book-talks under his nom de plume of "Droch." Later, this
was supplemented by the engagement of Hamilton W. Mabie, who for years
reviewed the newest books.

In almost every issue of the magazine there appeared also an article
addressed to the literary novice. Bok was eager, of course, to attract
the new authors to the magazine; but, particularly, he had in mind the
correction of the popular notion, then so prevalent (less so to-day,
fortunately, but still existent), that only the manuscripts of famous
authors were given favorable reading in editorial offices; that in these
offices there really existed a clique, and that unless the writer knew
the literary back-stairs he had a slim chance to enter and be heard.

In the minds of these misinformed writers, these back-stairs are gained
by "knowing the editor" or through "having some influence with him."
These writers have conclusively settled two points in their own minds:
first, that an editor is antagonistic to the struggling writer; and,
second, that a manuscript sent in the ordinary manner to an editor never
reaches him. Hence, some "influence" is necessary, and they set about to
secure it.

Now, the truth is, of course, that there are no "literary back-stairs"
to the editorial office of the modern magazine. There cannot be. The
making of a modern magazine is a business proposition; the editor is
there to make it pay. He can do this only if he is of service to his
readers, and that depends on his ability to obtain a class of material
essentially the best of its kind and varied in its character.

The "best," while it means good writing, means also that it shall say
something. The most desired writer in the magazine office is the man who
has something to say, and knows how to say it. Variety requires that
there shall be many of these writers, and it is the editor's business to
ferret them out. It stands to reason, therefore, that there can be no
such thing as a "clique"; limitation by the editor of his list of
authors would mean being limited to the style of the few and the
thoughts of a handful. And with a public that easily tires even of the
best where it continually comes from one source, such an editorial
policy would be suicidal.

Hence, if the editor is more keenly alert for one thing than for
another, it is for the new writer. The frequency of the new note in his
magazine is his salvation; for just in proportion as he can introduce
t