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_.