It would seem to
be good commercially, and, as a policy, I should consider it good
for art, which must consult the popular taste or lose its
vitality. But a pitfall lies between this theory of editorial
selection and its successful practice. The editor must really know
what the public wants. If he does not, he becomes a dogmatic
critic of a very dangerous school.
Those who know the theater and its playwrights, are agreed that
the dramatic manager, at least in America, is a very poor judge of
what the public desires. The percentage of bad guesses in every
metropolitan season is said to be very high. Is the editor more
competent? It would seem that he is, to judge from the stability
of our popular magazines. But that he follows the public taste
with any certainty of judgment is rendered unlikely, not only by
inherent improbability, but also by three specific facts: the
tiresome succession of like stories which follow unendingly in the
wake of every popular success; the palpable fear of the editor to
attempt innovation, experiment, or leadership; and the general
complaint against "magazine stories." In truth, the American
editor plays safe, constantly and from conviction; and playing
safe in the short story means the adoption of the "formula," which
is sure to be somewhat successful; it means restriction to a few
safe themes.
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