“Good! Why, when I started in, I had the dreariest, deadliest details imaginable. And after that, for a weary time, I did the police and divorce courts. But it all came well in the end and did me good. You are luckier in making your start with Sunday work. It’s not particularly great. What of it? Do it. Show the stuff you’re made of, and you’ll get a call for better work—better class and better pay. Now you go out this afternoon to the Loops, and engage to do two turns.” “But what kind of turns can I do?” Edna asked dubiously. “Do? That’s easy. Can you sing? Never mind, don’t need to sing. Screech, do anything—that’s what you’re paid for, to afford amusement, to give bad art for the populace to howl down. And when you do your turn, take some one along for chaperon. Be afraid of no one. Talk up. Move about among the amateurs waiting their turn, pump them, study them, photograph them in your brain. Get the atmosphere, the color, strong color, lots of it. Dig right in with both hands, and get the essence of it, the spirit, the significance. What does it mean? Find out what it means. That’s what you’re there for. That’s what the readers of the Sunday Intelligencer want to know. “Be terse in style, vigorous of phrase, apt, concretely apt, in similitude. Avoid platitudes and commonplaces. Exercise selection. Seize upon things salient, eliminate the rest, and you have pictures. Paint those pictures in words and the Intelligencer will have you. Get hold of a few back numbers, and study the Sunday Intelligencer feature story. Tell it all in the opening paragraph as advertisement of contents, and in the contents tell it all over again. Then put a snapper at the end, so if they’re crowded for space they can cut off your contents anywhere, reattach the snapper, and the story will still retain form. There, that’s enough. Study the rest out for yourself.” They both rose to their feet, Edna quite carried away by his enthusiasm and his quick, jerky sentences, bristling with the things she wanted to know. “And remember, Miss Wyman, if you’re ambitious, that the aim and end of journalism is not the feature article. Avoid the rut. The feature is a trick. Master it, but don’t let it master you. But master it you must; for if you can’t learn to do a feature well, you can never expect to do anything better. In short, put your whole self into it, and yet, outside of it, above it, remain yourself, if you follow me. And now good luck to you.” They had reached the door and were shaking hands. “And one thing more,” he interrupted her thanks, “let me see your copy before you turn it in. I may be able to put you straight here and there.” Edna found the manager of the Loops a full-fleshed, heavy-jowled man, bushy of eyebrow and generally belligerent of aspect, with an absent-minded scowl on his face and a black cigar stuck in the midst thereof. Symes was his name, she had learned, Ernst Symes.