A Dutch Boy Fifty Years After by Edward William Bok (ink book reader .TXT) 📕

never dreamed of. Miss Davenport became interested in the young publisher, and after watching the methods which he employed in successfully publishing her writings, decided to try to obtain his services as her assistant manager. She broached the subject, offered him a five years' contract for forty weeks' service, with a minimum of fifteen weeks each year to spend in or near New York, at a salary, for the first year, of three thousand dollars, increasing annually until the fifth year, when he was to receive sixty-four hundred dollars.

Bok was attracted to the work: he had never seen the United States, was anxious to do so, and looked upon the chance as a good opportunity. Miss Davenport had the contract made out, executed it, and then, in high glee, Bok took it home to show it to his mother. He had reckoned without question upon her approval, only to meet with an immediate and decided negative to the proposition as a whole, general and specific. She argued that the theatrical business was not for him; and she saw ahead and pointed out so strongly the mistake he was making that he sought Miss Davenport the next day and told her of his mother's stand. The actress suggested that she see the mother; she did, that day, and she came away from the interview a wiser if a sadder woman. Miss Davenport frankly told Bok that with such an instinctive objection as his mother seemed to have, he was right to follow her advice and the contract was not to be thought of.

It is difficult to say whether this was or was not for Bok the turning-point which comes in the life of every young man. Where the venture into theatrical life would have led him no one can, of course, say. One thing is certain: Bok's instinct and reason both failed him in this instance. He believes now that had his venture into the theatrical field been temporary or permanent, the experiment, either way, would have been disastrous.

Looking back and viewing the theatrical profession even as it was in that day (of a much higher order than now), he is convinced he would never have been happy in it. He might have found this out in a year or more, after the novelty of travelling had worn off, and asked release from his contract; in that case he would have broken his line of progress in the publishing business. From whatever viewpoint he has looked back upon this, which he now believes to have been the crisis in his life, he is convinced that his mother's instinct saved him from a grievous mistake.

The Scribner house, in its foreign-book department, had imported some copies of Bourrienne's _Life of Napoleon_, and a set had found its way to Bok's desk for advertising purposes. He took the books home to glance them ever, found himself interested, and sat up half the night to read them. Then he took the set to the editor of the New York Star, and suggested that such a book warranted a special review, and offered to leave the work for the literary editor.

"You have read the books?" asked the editor.

"Every word," returned Bok.

"Then, why don't you write the review?" suggested the editor.

This was a new thought to Bok. "Never wrote a review," he said.

"Try it," answered the editor. "Write a column."

"A column wouldn't scratch the surface of this book," suggested the embryo reviewer.

"Well, give it what it is worth," returned the editor.

Bok did. He wrote a page of the paper.

"Too much, too much," said the editor. "Heavens, man, we've got to get some news into this paper."

"Very well," returned the reviewer. "Read it, and cut it where you like. That's the way I see the book."

And next Sunday the review appeared, word for word, as Bok had written it. His first review had successfully passed!

But Bok was really happiest in that part of his work which concerned itself with the writing of advertisements. The science of advertisement writing, which meant to him the capacity to say much in little space, appealed strongly. He found himself more honestly attracted to this than to the writing of his literary letter, his editorials, or his book reviewing, of which he was now doing a good deal. He determined to follow where his bent led; he studied the mechanics of unusual advertisements wherever he saw them; he eagerly sought a knowledge of typography and its best handling in an advertisement, and of the value and relation of illustrations to text. He perceived that his work along these lines seemed to give satisfaction to his employers, since they placed more of it in his hands to do; and he sought in every way to become proficient in the art.

To publishers whose advertisements he secured for the periodicals in his charge, he made suggestions for the improvement of their announcements, and found his suggestions accepted. He early saw the value of white space as one of the most effective factors in advertising; but this was a difficult argument, he soon found, to convey successfully to others. A white space in an advertisement was to the average publisher something to fill up; Bok saw in it something to cherish for its effectiveness. But he never got very far with his idea: he could not convince (perhaps because he failed to express his ideas convincingly) his advertisers of what he felt and believed so strongly.

An occasion came in which he was permitted to prove his contention. The Scribners had published Andrew Carnegie's volume, _Triumphant Democracy_, and the author desired that some special advertising should be done in addition to that allowed by the appropriation made by the house. To Bok's grateful ears came the injunction from the steel magnate: "Use plenty of white space." In conjunction with Mr. Doubleday, Bok prepared and issued this extra advertising, and for once, at least, the wisdom of using white space was demonstrated. But it was only a flash in the pan. Publishers were unwilling to pay for "unused space," as they termed it. Each book was a separate unit, others argued: it was not like advertising one article continuously in which money could be invested; and only a limited amount could be spent on a book which ran its course, even at its best, in a very short time.

And, rightly or wrongly, book advertising has continued much along the same lines until the present day. In fact, in no department of manufacturing or selling activity has there been so little progress during the past fifty years as in bringing books to the notice of the public. In all other lines, the producer has brought his wares to the public, making it easier and still easier for it to obtain his goods, while the public, if it wants a book, must still seek the book instead of being sought by it.

That there is a tremendous unsupplied book demand in this country there is no doubt: the wider distribution and easier access given to periodicals prove this point. Now and then there has been tried an unsupported or not well-thought-out plan for bringing books to a public not now reading them, but there seems little or no understanding of the fact that there lies an uncultivated field of tremendous promise to the publisher who will strike out on a new line and market his books, so that the public will not have to ferret out a book-store or wind through the maze of a department store. The American reading public is not the book-reading public that it should be or could be made to be; but the habit must be made easy for it to acquire. Books must be placed where the public can readily get at them. It will not, of its own volition, seek them. It did not do so with magazines; it will not do so with books.

In the meanwhile, Bok's literary letter had prospered until it was now published in some forty-five newspapers, One of these was the _Philadelphia Times_. In that paper, each week, the letter had been read by Mr. Cyrus H. K. Curtis, the owner and publisher of _The Ladies' Home Journal_. Mr. Curtis had decided that he needed an editor for his magazine, in order to relieve his wife, who was then editing it, and he fixed upon the writer of _Literary Leaves_ as his man. He came to New York, consulted Will Carleton, the poet, and found that while the letter was signed by William J. Bok, it was actually written by his brother who was with the Scribners. So he sought Bok out there.

The publishing house had been advertising in the Philadelphia magazine, so that the visit of Mr. Curtis was not an occasion for surprise. Mr. Curtis told Bok he had read his literary letter in the _Philadelphia Times_, and suggested that perhaps he might write a similar department for _The Ladies' Home Journal_. Bok saw no reason why he should not, and told Mr. Curtis so, and promised to send over a trial instalment. The Philadelphia publisher then deftly went on, explained editorial conditions in his magazine, and, recognizing the ethics of the occasion by not offering Bok another position while he was already occupying one, asked him if he knew the man for the place.

"Are you talking at me or through me?" asked Bok.

"Both," replied Mr. Curtis.

This was in April of 1889.

Bok promised Mr. Curtis he would look over the field, and meanwhile he sent over to Philadelphia the promised trial "literary gossip" instalment. It pleased Mr. Curtis, who suggested a monthly department, to which Bok consented. He also turned over in his mind the wisdom of interrupting his line of progress with the Scribners, and in New York, and began to contemplate the possibilities in Philadelphia and the work there.

He gathered a collection of domestic magazines then published, and looked them over to see what was already in the field. Then he began to study himself, his capacity for the work, and the possibility of finding it congenial. He realized that it was absolutely foreign to his Scribner work; that it meant a radical departure. But his work with his newspaper syndicate naturally occurred to him, and he studied it with a view of its adaptation to the field of the Philadelphia magazine.

His next step was to take into his confidence two or three friends whose judgment he trusted and discuss the possible change. Without an exception, they advised against it. The periodical had no standing, they argued; Bok would be out of sympathy with its general atmosphere after his Scribner environment; he was now in the direct line of progress in New York publishing houses; and, to cap the climax, they each argued in turn, he would be buried in Philadelphia: New York was the centre, etc., etc.

More than any other single argument, this last point destroyed Bok's faith in the judgment of his friends. He had had experience enough to realize that a man could not be buried in any city, provided he had the ability to stand out from his fellow-men. He knew from his biographical reading that cream will rise to the surface anywhere, in Philadelphia as well as in New York: it all depended on whether the cream was there: it was up