Nick Carter Killmaster Ebooks
Pulp magazines (often referred to as 'the pulps'), also collectively known as pulp fiction, refers to inexpensive fiction magazines published from 1896 through the 1950s. The typical pulp magazine was seven inches wide by ten inches high, half an inch thick, and 128 pages long. Pulps were printed on cheap paper with ragged, untrimmed edges.The name pulp comes from the cheap wood pulp paper on which the magazines were printed. Magazines printed on better paper were called 'glossies' or 'slicks.' In their first decades, they were most often priced at ten cents per magazine, while competing slicks were 25 cents apiece. Pulps were the successor to the penny dreadfuls, dime novels, and short fiction magazines of the 19th century.
Although many respected writers wrote for pulps, the magazines are best remembered for their lurid and exploitative stories and sensational cover art. Modern superhero comic books are sometimes considered descendants of 'hero pulps'; pulp magazines often featured illustrated novel-length stories of heroic characters, such as The Shadow, Doc Savage, and The Phantom Detective.The first 'pulp' was Frank Munsey's revamped Argosy Magazine of 1896, about 135,000 words (192 pages) per issue on pulp paper with untrimmed edges and no illustrations, not even on the cover.
While the steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels, prior to Munsey, no one had combined cheap printing, cheap paper and cheap authors in a package that provided affordable entertainment to working-class people. In six years Argosy went from a few thousand copies per month to over half a million.Street & Smith were next on the market.
A dime novel and boys' weekly publisher, they saw Argosy's success, and in 1903 launched The Popular Magazine, billed as the 'biggest magazine in the world' by virtue of being two pages longer than Argosy. Due to differences in page layout, the magazine had substantially less text than Argosy. The Popular Magazine introduced color covers to pulp publishing. The magazine began to take off when, in 1905, the publishers acquired the rights to serialize Ayesha, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt.
In 1907, the cover price rose to 15 cents and 30 pages were added to each issue; along with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy. Street and Smith's next innovation was the introduction of specialized genre pulps, each magazine focusing on a genre such as detective stories, romance, etc.At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue.
The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories described by some pulp historians as 'The Big Four'. Among the best-known other titles of this period were Amazing Stories, Black Mask, Dime Detective, Flying Aces, Horror Stories, Love Story Magazine, Marvel Tales, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Unknown, Weird Tales and Western Story Magazine. Although pulp magazines were primarily a US phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War Two. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassell's Magazine, The Story-Teller, The Sovereign Magazine, Hutchinson's Adventure-Story and Hutchinson's Mystery-Story. The German fantasy magazine Der Orchideengarten had a similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated.The Second World War paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps. Beginning with Ellery Queen's Mystery Magazine in 1941, pulp magazines began to switch to digest size; smaller, thicker magazines.
In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks.8The pulp format declined from rising expenses, but even more due to the heavy competition from comic books, television, and the paperback novel. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, Men's adventure magazines began to replace the pulp.The 1957 liquidation of the American News Company, then the primary distributor of pulp magazines, has sometimes been taken as marking the end of the 'pulp era'; by that date, many of the famous pulps of the previous generation, including Black Mask, The Shadow, Doc Savage, and Weird Tales, were defunct. Almost all of the few remaining pulp magazines are science fiction or mystery magazines now in formats similar to 'digest size', such as Analog Science Fiction and Fact and Ellery Queen's Mystery Magazine.
The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan.Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. Many titles of course survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly.The collapse of the pulp industry changed the landscape of publishing because pulps were the single largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers attempting to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces.Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed damsels in distress, usually awaiting a rescuing hero.
Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; The Popular Magazine had covers by N.C. Wyeth, and Edgar Franklin Wittmack contributed cover art to Argosy and Short Stories. Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as the authors featured on the interior pages. Among the most famous pulp artists were Walter Baumhofer, Earle K.
Bergey, Margaret Brundage, Edd Cartier, Virgil Finlay, Earl Mayan, Frank R. Paul, Norman Saunders, Nick Eggenhofer, (who specialized in Western illustrations), Rudolph Belarski and Sidney Riesenberg. Covers were important enough to sales that sometimes they would be designed first; authors would then be shown the cover art and asked to write a story to match.Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option. Shading was by crosshatching or pointillism, and even that had to be limited and coarse. Usually the art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas.Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted a few quick dollars could bolster their income with sales to pulps.
Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts. There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers, machines or typists. Before he became a novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow.Some pulp editors became known for cultivating good fiction and interesting features in their magazines.
Preeminent pulp magazine editors included Arthur Sullivant Hoffman (Adventure), Robert H. Davis (All-Story Weekly), Harry E. Maule (Short Stories) Donald Kennicott (Blue Book), Joseph T.
Shaw (Black Mask), Farnsworth Wright (Weird Tales, Oriental Stories), John W. Campbell (Astounding Science Fiction,Unknown) and Daisy Bacon (Love Story Magazine, Detective Story Magazine).Description of this collection from Wikipedia.Many issues of this collection come from a variety of anonymous contributors, as well as sites such as. Volume 30 Number 6 Contents The Vampire by Virgil Finlay The Sea-Witch by Nictzin Dyalhis Fane of the Black Pharaoh by Robert Bloch The Black Stone Statue by Mary Elizabeth Counselman The Old House on the Hill by Winona Montgomery Gililand Flames of Vengeance by Seabury Quinn Child of Atlantis by Edmond Hamilton The Voyage of the Neutralia (part 2) by B.
Wallis Uneasy Lie the Drowned by Donald Wandrei The Keen Eyes and Ears of Kara Kedi by Claude Farrere Fragment by Robert E. Howard Polaris. Topics: pulp, Weird Tales. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: To Grab Power by uncredited The Beast of 309 by uncredited Beneath Still Waters by uncredited The Midnight Ride of Merlanger Mckay by uncredited A Slight Detour by uncredited Pime Doesn't Cray by uncredited Never Cry Human by uncredited The Immortal by uncredited The Man Who Devoured Books by uncredited. Topics: retief, caesar, bodyguard, harper, magnan, streng, kern, radnor, groaci, young man, science.
Volume 32 Number 1 Spawn of Dagon - Henry Kuttner A weird story of Elak of Atlantis, and the worship of the fish-god Fortune's Fools - Seabury Quinn A thrill-tale of the Dark Ages, about wolves that were men, and men that were wolves Dust in the House - David H. Keller A shuddery story about the skeletons that sat across the table from each other The Defense Rests - Julius Long An eery tale of a heartless lawyer, who nevertheless wanted to acquit bis own murderer The Messenger - H. Favorite favorite favorite favorite favorite ( 1 reviews ) Topics: pulp, Weird Tales. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: Jungle in the Sky by R. Martin Jungle in the Sky by uncredited It Takes a Thief by uncredited The Beast by Nevile Blake Infinity's Child by uncredited Resurrection Seven by uncredited Dreamer's World by uncredited Essays: A Chat with the Editor. (If, May 1952) by Paul W. Fairman Personalities in Science Fiction: Raymond A.
Palmer by Paul W. Fairman Guest Editorial by James V. Taurasi Science Briefs (If, May. Topics: steve, teejay, buckmaster, asir, corrigan, wagner, barling, wingfield, leclarc, big joe, milton. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: Pipe Dream by uncredited The Wind People by Paul Orban The Man Who Tasted Ashes by Ed Emshwiller Love and Moondogs by Ed Emshwiller The Last Days of L.A. By Paul Orban Virgin Ground by uncredited Discipline by Ed Emshwiller Star of Rebirth by uncredited No, No, Not Rogov! By Ed Emshwiller Essay: In the Balance (If, February 1959) by Damon Knight Short Stories: Pipe Dream by Fritz Leiber The Wind People.
Favorite favorite favorite favorite favorite ( 1 reviews ) Topics: winthrop, rogov, walsh, helen, denton, redfern, martha, atanta, gauck, charlie spence, pipe dream. Volume 32 Number 2 Contents Old Cornish Litany by Virgil Finlay Frozen Beauty by Seabury Quinn The Diary of Alonzo Typer by William Lumley The Goddess Awakes by Clifford Ball The Strangling Hands by M. Moretti Haunting Columns by Robert E.
Howard World's End by Henry Kuttner The Hairy Ones Shall Dance (part 2) by Gans T. Field From Beyond by H. Lovecraft Ally of Stars by Irene Wilde The Piper of Bhutan by David Bernard The Passing of Van Mitten by Claude Farrere The Ghosts ot. Topics: pulp, Weird Tales. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: A Tourist Named Death by Wallace Wood A Pride of Islands by Wallace Wood Heel by Virgil Finlay A Great Day for the Irish by uncredited Matchmaker by Wallace Wood Essay: Worlds of If (If, May 1960) by Frederik Pohl Novelettes: A Tourist Named Death by Christopher Anvil A Pride of Islands by C. MacApp Matchmaker by Charles L. Fontenay Short Stories: Thirty Degrees Cattywonkus by James Bell When Day Is Done.
Favorite ( 1 reviews ) Topics: dan, lao, alyar, grida, mataform, ernie, bru, bridget, kielgaard, named death, christopher anvil. Volume 28 Number 3 Isle of the Undead - Lloyd Arthur Eshbach An uncanny tale of the fate that befell a yachting party on the awful island of living dead men. The Lost Temples of Xantoos - Howell Calhoun Verse The Opener of the Way - Robert Bloch A tremendous tale of dread doom in a forgotten tomb beneath the desert sands of Egypt Witch-Burning - Mary Elizabeth Counselman Verse The Lost Door - Dorothy Quick An alluring but deadly horror out of past centuries menaced the life of a young American. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: The Beautiful People by Bob Martin Holes, Incorporated by Hi Marx Marley's Chain by Ted Speicher An Empty Bottle by uncredited Shock Treatment by Wilson Sinister Paradise by uncredited Essays: A Chat with the Editor.
(If, September 1952) by Paul W. Fairman Personalities in Science Fiction: Jules Verne by Paul W. Fairman Science Briefs (If, September 1952) by Henry Bott Guest Editorial by L. Topics: parker, retch, newlin, conger, tam, eyes, songeen, rozeno, stared, shock treatment, robert moore. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press.
(Contents information excerpted from The Internet Speculative Fiction Database ) Art: Stranger in Paradise by Jack Gaughan House Divided by Jack Gaughan Berserker's Planet (Part 1 of 2) by Jack Gaughan Cantor's War by Jack Gaughan Aura of Immortality by Jack Gaughan Second Advent by Jack Gaughan The People's Choice by uncredited Nostradamus by Jack Gaughan Ars Gratia (If, May-June 1974). Topics: schoenberg, suomi, lenoir, planet, fiction, hranth, rick, anthony, leros, science fiction, rick. Issues of The Photoplayers Weekly. 1, 1916), 35 (Apr. 8, 1916), 36 (Apr. 15, 1916), 37 (Apr. 22, 1916), 38 (Apr.
29, 1916), 39 (May 6, 1916), 40 (May 13, 1916), 41 (May 20, 1916), 42 (May 27, 1916), 43 (June 3, 1916), 44 (June 10, 1916), 45 (June 17, 1916), 46 (June 24, 1916), 47 (July 1, 1916), 48 (July 8, 1916), 49 (July 15, 1916), 50 (July 22, 1916), 51 (July 29, 1916), 52 (Aug. Publisher: Photoplayers Publishing Co., Los. Topics: Motion Pictures, Film Industry Trade Publication. Volume 31 Number 3 Contents 'Like one, that on a lonesome road' by Virgil Finlay Incesne of Abomination by Seabury Quinn The Poets by Robert E. Howard The Thing on the Floor by Thorp McClusky Dreadful Sleep by Jack Williamson The Shadow on the Screen by Henry Kuttner Beyond the Wall of Sleep by H.
Lovecraft The Hairy Ones Shall Dance (end) by Gans T. Field Guarded by Mearle Prout The Teakwood Box by Johns Harrington To Howard Phillips Lovecraft by Francis Flagg The Head in the. Topics: pulp, Weird Tales. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: Gods On Olympus by Jack Gaughan The Emoman by uncredited Black Baby by uncredited Freezeout by uncredited Underbelly by uncredited The Book of Rack the Healer (Part 2 of 2) by uncredited Essays: Hue and Cry (If, September-October 1972) by Ejler Jakobsson Sf Calendar (If, September-October 1972) by uncredited. Topics: rack, gabriel, fisk, pegleg, healer, lindy, planet, berg, sawbill, red earth, beautiful wings. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: Rocket-Launching Satellite by uncredited The Image and the Likeness by Zimmerman The Running Hounds by Bob Martin You Too Can Be a Millionaire by Tom Beecham Let There Be Light by Bob Martin Generals Help Themselves by Bob Martin Lunar Ship by uncredited Essays: A Chat with the Editor (If, November 1952) by Paul W.
Fairman Personalities in Science: Leonardo Da Vinci by Paul W. Fairman Science Briefs (If. Topics: kazu, baker, jordan, penelope, buddha, likeness, spain, comet, scott campbell, john scott, red. DESCRIPTIONPulp magazines (often referred to as 'the pulps'), also collectively known as pulp fiction, refers to inexpensive fiction magazines published from 1896 through the 1950s. The typical pulp magazine was seven inches wide by ten inches high, half an inch thick, and 128 pages long. Pulps were printed on cheap paper with ragged, untrimmed edges.The name pulp comes from the cheap wood pulp paper on which the magazines were printed.
Magazines printed on better paper were called 'glossies' or 'slicks.' In their first decades, they were most often priced at ten cents per magazine, while competing slicks were 25 cents apiece. Pulps were the successor to the penny dreadfuls, dime novels, and short fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines are best remembered for their lurid and exploitative stories and sensational cover art. Modern superhero comic books are sometimes considered descendants of 'hero pulps'; pulp magazines often featured illustrated novel-length stories of heroic characters, such as The Shadow, Doc Savage, and The Phantom Detective.The first 'pulp' was Frank Munsey's revamped Argosy Magazine of 1896, about 135,000 words (192 pages) per issue on pulp paper with untrimmed edges and no illustrations, not even on the cover. While the steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels, prior to Munsey, no one had combined cheap printing, cheap paper and cheap authors in a package that provided affordable entertainment to working-class people.
In six years Argosy went from a few thousand copies per month to over half a million.Street & Smith were next on the market. A dime novel and boys' weekly publisher, they saw Argosy's success, and in 1903 launched The Popular Magazine, billed as the 'biggest magazine in the world' by virtue of being two pages longer than Argosy. Due to differences in page layout, the magazine had substantially less text than Argosy. The Popular Magazine introduced color covers to pulp publishing.
The magazine began to take off when, in 1905, the publishers acquired the rights to serialize Ayesha, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. In 1907, the cover price rose to 15 cents and 30 pages were added to each issue; along with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy.
Street and Smith's next innovation was the introduction of specialized genre pulps, each magazine focusing on a genre such as detective stories, romance, etc.At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories described by some pulp historians as 'The Big Four'. Among the best-known other titles of this period were Amazing Stories, Black Mask, Dime Detective, Flying Aces, Horror Stories, Love Story Magazine, Marvel Tales, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Unknown, Weird Tales and Western Story Magazine. Although pulp magazines were primarily a US phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War Two. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassell's Magazine, The Story-Teller, The Sovereign Magazine, Hutchinson's Adventure-Story and Hutchinson's Mystery-Story. The German fantasy magazine Der Orchideengarten had a similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated.The Second World War paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps.
Beginning with Ellery Queen's Mystery Magazine in 1941, pulp magazines began to switch to digest size; smaller, thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks.8The pulp format declined from rising expenses, but even more due to the heavy competition from comic books, television, and the paperback novel. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, Men's adventure magazines began to replace the pulp.The 1957 liquidation of the American News Company, then the primary distributor of pulp magazines, has sometimes been taken as marking the end of the 'pulp era'; by that date, many of the famous pulps of the previous generation, including Black Mask, The Shadow, Doc Savage, and Weird Tales, were defunct. Almost all of the few remaining pulp magazines are science fiction or mystery magazines now in formats similar to 'digest size', such as Analog Science Fiction and Fact and Ellery Queen's Mystery Magazine. The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan.Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. Many titles of course survived only briefly.
While the most popular titles were monthly, many were bimonthly and some were quarterly.The collapse of the pulp industry changed the landscape of publishing because pulps were the single largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers attempting to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces.Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed damsels in distress, usually awaiting a rescuing hero. Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; The Popular Magazine had covers by N.C. Wyeth, and Edgar Franklin Wittmack contributed cover art to Argosy and Short Stories.
Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as the authors featured on the interior pages. Among the most famous pulp artists were Walter Baumhofer, Earle K. Bergey, Margaret Brundage, Edd Cartier, Virgil Finlay, Earl Mayan, Frank R. Paul, Norman Saunders, Nick Eggenhofer, (who specialized in Western illustrations), Rudolph Belarski and Sidney Riesenberg. Covers were important enough to sales that sometimes they would be designed first; authors would then be shown the cover art and asked to write a story to match.Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp.
Thus, fine lines and heavy detail were usually not an option. Shading was by crosshatching or pointillism, and even that had to be limited and coarse. Usually the art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas.Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted a few quick dollars could bolster their income with sales to pulps. Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts. There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers, machines or typists.
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Before he became a novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow.Some pulp editors became known for cultivating good fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman (Adventure), Robert H. Davis (All-Story Weekly), Harry E. Maule (Short Stories) Donald Kennicott (Blue Book), Joseph T.
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Shaw (Black Mask), Farnsworth Wright (Weird Tales, Oriental Stories), John W. Campbell (Astounding Science Fiction,Unknown) and Daisy Bacon (Love Story Magazine, Detective Story Magazine).Description of this collection from Wikipedia.Many issues of this collection come from a variety of anonymous contributors, as well as sites such as.