The truth of the matter is that we are changing very rapidly, and that a new national sense in literature is accompanying that change. There was a time, and in fact it is only now drawing to a close, when the short story was exploited by interested moneymakers who made such a loud noise that you could hear nothing else without great difficulty. The most successful of these noisemakers are still shouting, but their heart is in it no longer. The editor of one of the largest magazines in the country said to me not long ago that he found the greatest difficulty now in procuring short stories by writers for whom his magazine had trained the public to clamor. The immediate reason which he ascribed for this state of affairs was that the commercial rewards offered to these writers by the moving picture companies were so great, and the difference in time and labor between writing scenarios and developing finished stories was so marked, that authors were choosing the more attractive method of earning money. The excessive commercialisation of literature in the past decade is now turned against the very magazines which fostered it. The magazines which bought and sold fiction like soap are beginning to repent of it all. They have killed the goose that laid the golden eggs. This fight for sincerity in the short story is a fight that is worth making. It is at the heart of all that for which I am striving. The quiet sincere man who has something to tell you should not be talked down by the noisemakers. He should have his hearing. He is real. And we need him. That is why I have set myself the annual task of reading so many short stories. I am looking for the man and woman with something to say,--who cares very much indeed about how he says it. I am looking for the man and woman with some sort of a dream, the man or woman who sees just a little bit more in the pedlar he passes on the street than you or I do, and who wishes to devote his life to telling us about it. I want to be told my own story too, so that I can see myself as other people see me. And I want to feel that the storyteller who talks to me about these things is as much in earnest as a sincere clergyman, an unselfish physician, or an idealistic lawyer. I want to feel that he belongs to a profession that is a sort of priesthood, and not that he is holding down a job or running a bucket shop. I have found this writer with a message in almost every magazine I have studied during the year. He is just as much in earnest in _Collier's Weekly_ as he is in _Scribner's Magazine_. I do not find him often, but he is there somewhere. And he is the only man for whom it is worth our while to watch. I feel that it is none of my business whether I like and agree with what he has to say or not. All that I am looking for is to see whether he means what he says and makes it as real as he can to me. I accept his substance at his own valuation, but I want to know what he makes of it.