Until he is well on toward forty, he will hardly have assimilated the materials of a great novel, although he may have accumulated them. The novelist, then, is a man of letters who is like a man of business in the necessity of preparation for his calling, though he does not pay store-rent, and may carry all his affairs under his hat, as the phrase is. He alone among men of letters may look forward to that sort of continuous prosperity which follows from capacity and diligence in other vocations; for story-telling is now a fairly recognized trade, and the story-teller has a money-standing in the economic world. It is not a very high standing, I think, and I have expressed the belief that it does not bring him the respect felt for men in other lines of business. Still our people cannot deny some consideration to a man who gets a hundred dollars a thousand words. That is a fact appreciable to business, and the man of letters in the line of fiction may reasonably feel that his place in our civilization, though he may owe it to the women who form the great mass of his readers, has something of the character of a vested interest in the eyes of men. There is, indeed, as yet no conspiracy law which will avenge the attempt to injure him in his business. A critic, or a dark conjuration of critics, may damage him at will and to the extent of their power, and he has no recourse but to write better books, or worse. The law will do nothing for him, and a boycott of his books might be preached with immunity by any class of men not liking his opinions on the question of industrial slavery or antipaedobaptism. Still the market for his wares is steadier than the market for any other kind of literary wares, and the prices are better. The historian, who is a kind of inferior realist, has something like the same steadiness in the market, but the prices he can command are much lower, and the two branches of the novelist's trade are not to be compared in a business way. As for the essayist, the poet, the traveller, the popular scientist, they are nowhere in the competition for the favor of readers. The reviewer, indeed, has a pretty steady call for his work, but I fancy the reviewers who get a hundred dollars a thousand words could all stand upon the point of a needle without crowding one another; I should rather like to see them doing it. Another gratifying fact of the situation is that the best writers of fiction who are most in demand with the magazines, probably get nearly as much money for their work as the inferior novelists who outsell them by tens of thousands, and who make their appeal to the innumerable multitude of the less educated and less cultivated buyers of fiction in book-form. I think they earn their money, but if I did not think all of the higher class of novelists earned so much money as they get, I should not be so invidious as to single out for reproach those who did not.
The difficulty about payment, as I have hinted, is that literature has no objective value really, but only a subjective value, if I may so express it. A poem, an essay, a novel, even a paper on political economy, may be worth gold untold to one reader, and worth nothing whatever to another. It may be precious to one mood of the reader, and worthless to another mood of the same reader. How, then, is it to be priced, and how is it to be fairly marketed? All people must be fed, and all people must be clothed, and all people must be housed; and so meat, raiment, and shelter are things of positive and obvious necessity, which may fitly have a market price put upon them.
But there is no such positive and obvious necessity, I am sorry to say, for fiction, or not for the higher sort of fiction. The sort of fiction which corresponds to the circus and the variety theatre in the show-business seems essential to the spiritual health of the masses, but the most cultivated of the classes can get on, from time to time, without an artistic novel. This is a great pity, and I should be very willing that readers might feel something like the pangs of hunger and cold, when deprived of their finer fiction; but apparently they never do. Their dumb and passive need is apt only to manifest itself negatively, or in the form of weariness of this author or that. The publisher of books can ascertain the fact through the declining sales of a writer; but the editor of a magazine, who is the best customer of the best writers, must feel the market with a much more delicate touch. Sometimes it may be years before he can satisfy himself that his readers are sick of Smith, and are pining for Jones;even then he cannot know how long their mood will last, and he is by no means safe in cutting down Smith's price and putting up Jones's. With the best will in the world to pay justly, he cannot. Smith, who has been boring his readers to death for a year, may write to- morrow a thing that will please them so much that he will at once be a prime favorite again; and Jones, whom they have been asking for, may do something so uncharacteristic and alien that it will be a flat failure in the magazine. The only thing that gives either writer positive value is his acceptance with the reader; but the acceptance is from month to month wholly uncertain. Authors are largely matters of fashion, like this style of bonnet, or that shape of gown. Last spring the dresses were all made with lace berthas, and Smith was read;this year the butterfly capes are worn, and Jones is the favorite author. Who shall forecast the fall and winter modes?
