Young’s Magazine
For about thirty years Young’s Magazine has been purveying fiction for the entertainment of the public. It has many readers and some contributors of twenty years’ standing. Of its fellows—all-fiction magazines that started with or shortly after it—what remnant is left!
It is good philosophy, as well as common sense, that such survival testifies to an inhering excellence or usefulness. In the case of Young’s Magazine the quality making for survival is that not only has it given to the public what was wanted—good stories, but it has helped to create them; it has been the arena where many, now famous, perfected the use of their medium—where some have learned first principles, too—and it has helped all by criticism and advice.
Allowing full weight to manner—graces of style, diction and what not—Young’s has steadfastly worked from the standpoint that matter comes first. The story’s the thing; what the reader wants. This insistence on “meat” in the story—something cogent, logical, properly articulated—has won for the magazine a standing and a place with writers that is emphasized by its popular success.
Looking back over the index, familiar names are everywhere; selecting haphazard: Jeffery Farnol, Mary Roberts Rinehart, “Ouida,” Charles Hanson Towne, Marcel Prevost, Margaret Pedler, Mrs. Justin H. McCarthy, Tom Gallon, Richard Le Gallienne, Dale Drummond, Berton Braley, Hildegarde Hawthorne, Rita Weiman, Harry Kemp, Doctor Frank Crane, Octavus Roy Cohen, Nalbo Bartley, Reginald Wright Kauffman, Homer Croy, Mabel Wagnalls, Henry Payson Dowst, Martha M. Stanley, William Le Queux, Oliver Sandys, Nina Wilcox Putnam, Elizabeth Jordan, Grace MacGowan Cooke, Julian Hawthorne, Achmed Abdullah, Hapsburg Liebe, Jules Eckert Goodman, Roi Cooper Megrue, Clarence L. Cullen, Jeanne Judson, Channing Pollock, Percival Weil, Louise Winter, Martha Morton, Temple Bailey, Gertrude Brooke Hamilton, Maude Fulton.
Take it how you will—whether the fact be welcome or not—“sex,” as it is called (with the quotation marks), shares with one or two other big things the distinction of being a primal force in the life of the world. It is real; it is vital. And as Young’s Magazine and Breezy Stories want vital fiction, they seek stories of love and its attendant emotions as they affect and as they are expressed in life as it is lived; not the tenuous sentimentalism of the “mushy” love-story—moonshine and bubbles, beautiful airy nothings that touch life at not a single point.
Cashel Pomeroy.
Young’s Magazine.
Breezy Stories.
The C. H. Young Publishing Co., Inc.,
377 Fourth Avenue,
New York City.
Footnotes
1 Copyright by Ainslee’s Magazine.
2 Copyright by The American Magazine.
3 Copyright, 1917, by The Century Co.
4 Copyright, 1920, by Collier’s, The National Weekly.
5 Copyright, 1919, by The Cosmopolitan Magazine.
6 Copyright by Everybody’s Magazine.
7 Copyright by McClure’s Magazine
8 Copyright by Metropolitan Magazine
9 Copyright The People’s Home Journal.
10 Copyright Pictorial Review.
11 Copyright by Short Stories
12 Copyright The Woman’s Home Companion.
13 Copyright, by Courtland H. Young