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A dime novel and boys' weekly publisher, they saw Argosy's success, and in 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 , the publishers acquired the rights to serialize Ayesha, by H.

Rider Haggard, a sequel to his popular novel She. Howard, Talbot Mundy and Abraham Merritt. In , 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 s and s, the most successful pulps could sell up to one million copies per issue. 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.

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 , pulp magazines began to switch to digest size; smaller, thicker magazines. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the s, Men's adventure magazines began to replace the pulp.

The 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 , 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. 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. 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, 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. Many issues of this collection come from a variety of anonymous contributors, as well as sites such as The Pulp Magazines Project and ThePulp.

Freddie Mercury. Silver Plated Souvenir. New 50p Collectors. Coin Hunt. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Penthouse Magazine - October Item Preview.

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