You see, a general magazine circulation may be likened to a circle, divided into segments. No one unit of contents will have appeal for the whole circle. That would be universality, practically impossible to achieve. But it can be aimed at. Certain basic factors are known. One kind of material can be depended upon for a larger segment than another. The smaller segments, however, are no less essential, and more effort will have to be used to fill them than will be used to supply the largest segment. Circulation comes from adding interest to interest--up to the point of harmony. Beyond, of course, lies confusion, but the problem of how far to go and when to stop is an editor’s, not a writer’s. It is sufficient for a writer to be able to know how to take market advantage of an editor’s need of maximum circulation pull from the smaller as well as the larger segments of the circle. EDGAR SISSON. _McClure’s Magazine._ 25 West Forty-fourth Street, New York City. METROPOLITAN In choosing fiction for a popular magazine one must be sure first of all that the story will appeal to a large audience of readers. It must have the essential quality of holding the attention. A story which the Editor has to make an effort to read is not very likely to receive much attention from any one else. On the other hand, if a story, through qualities of form, construction, style and the needed element of suspense, literally carries one along from page to page, it has at least the first essential quality of a popular magazine story. Every Editor, of course, will tell you this. We shall not differ a great deal, either, I imagine, in what we say afterward. Every Editor likes dramatic suspense, every Editor likes naturalness and humor in the characters when he can get it.