64-427: Cosmic Stories (also known as Cosmic Science-Fiction ) and Stirring Science Stories were two American pulp science fiction magazines that published a total of seven issues in 1941 and 1942. Both Cosmic and Stirring were edited by Donald A. Wollheim and launched by the same publisher, appearing in alternate months. Wollheim had no budget at all for fiction, so he solicited stories from his friends among
128-414: A continuation of his Hugo Award-winning ERB-dom which began in 1960. It ran for 75 issues and featured articles about the content and selected fiction from the pulps. It became Pulpdom Online in 2013 and continues quarterly publication. After 2000, several small independent publishers released magazines which published short fiction, either short stories or novel-length presentations, in the tradition of
192-424: 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
256-483: A magazine called Pulp Adventures reprinting old classics. It came out regularly until 2001, and then started up again in 2014. In 1994, Quentin Tarantino directed the film Pulp Fiction . The working title of the film was Black Mask , in homage to the pulp magazine of that name , and it embodied the seedy, violent, often crime-related spirit found in pulp magazines. In 1997 C. Cazadessus Jr. launched Pulpdom ,
320-435: A novelist, Upton Sinclair was turning out at least 8,000 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
384-454: A package that provided affordable entertainment to young working-class people. In six years, Argosy went from a few thousand copies per month to over half a million. Street & Smith , a dime novel and boys' weekly publisher, was next on the market. Seeing Argosy ' s success, they launched The Popular Magazine in 1903, which they billed as the "biggest magazine in the world" by virtue of its being two pages (the interior sides of
448-412: A payment of $ 5, commenting that it was an effective word rate of $ 2.50 per word, since he was paying only for the use of Asimov's name. Wollheim later commented that because of the payment he could sue Asimov for royalties whenever the latter's name appeared in print. In contrast to Tremaine's attitude, John W. Campbell , the editor of the leading science fiction magazine, Astounding Science Fiction ,
512-498: 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. C. Wyeth , and Edgar Franklin Wittmack contributed cover art to Argosy and Short Stories . Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as
576-662: A similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated. During 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. Following the model of Ellery Queen's Mystery Magazine in 1941, some magazines began to switch to digest size : smaller, sometimes thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks . Competition from comic-books and paperback novels further eroded
640-468: A token payment of $ 5 from Wollheim; in Asimov's autobiography In Memory Yet Green the sequence of events is given slightly differently, with Asimov asking Wollheim for payment, or else for the story to be published under a pseudonym, before the story was published. This was requested on the grounds that "even though the story might be worth nothing, my name was worth something". Wollheim reluctantly agreed to
704-521: Is a collection of "pulp fiction" stories written by such current well-known authors as Stephen King , Nick Hornby , Aimee Bender and Dave Eggers . Explaining his vision for the project, Chabon wrote in the introduction, "I think that we have forgotten how much fun reading a short story can be, and I hope that if nothing else, this treasury goes some small distance toward reminding us of that lost but fundamental truth." The Scottish publisher DC Thomson publishes "My Weekly Compact Novel" every week. It
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#1733114889740768-550: Is an American magazine aimed at beginning and established writers . It contains interviews , market listings, calls for manuscripts , and how-to articles. Writer's Digest was first published in December 1920 under the name Successful Writing . It changed name to Writer's Digest with the March 1921 issue. By the late 1920s, it shifted emphasis more from literary-quality writing to the rapidly growing pulp magazine field, which offered
832-490: Is literally a pulp novel, though it does not fall into the hard-edged genre most associated with pulp fiction. From 2006 through 2019, Anthony Tollin's imprint Sanctum Books has reprinted all 182 Doc Savage pulp novels, all 24 of Paul Ernst's Avenger novels, the 14 Whisperer novels from the original pulp series and all but three novels of the entire run of The Shadow (most of his publications featuring two novels in one book). Writer%27s Digest Writer's Digest
896-549: The Futurians , a group of young science fiction fans including James Blish and C. M. Kornbluth . Isaac Asimov contributed a story, but later insisted on payment after hearing that F. Orlin Tremaine , the editor of the competing science fiction magazine Comet , was irate at the idea of a magazine that might "siphon readership from magazines that paid", and thought that authors who contributed should be blacklisted. Kornbluth
960-515: The Nobel Prize in Literature , worked as an editor for Adventure , writing filler paragraphs (brief facts or amusing anecdotes designed to fill small gaps in page layout), advertising copy and a few stories. The term pulp fiction is often used for massmarket paperbacks since the 1950s. The Browne Popular Culture Library News noted: Many of the paperback houses that contributed to the decline of
1024-479: The Writer's Digest catalog. Cruz Bay got several magazines from F+W, including Writer's Digest , for $ 200,000, beating out enthusiast publisher Madavor Media. Writer's Digest also sponsors several in-house contests annually, including the Writer's Digest International Self-Published Book Awards and their Annual Writing Competition for short stories . Writer's Digest partnered with book publisher BookBaby,
1088-692: The 1920s–1940s, the most successful pulps sold up to one million copies per issue. In 1934, Frank Gruber said there were some 150 pulp titles. The most successful pulp magazines were Argosy , Adventure , Blue Book and Short Stories , collectively described by some pulp historians as "The Big Four". Among the best-known other titles of this period were Amazing Stories , Black Mask , Dime Detective , Flying Aces , Horror Stories , Love Story Magazine , Marvel Tales , Oriental Stories , Planet Stories , Spicy Detective , Startling Stories , Thrilling Wonder Stories , Unknown , Weird Tales and Western Story Magazine . During
1152-535: The 1950s. Pulp magazines often contained a wide variety of genre fiction , including, but not limited to: The American Old West was a mainstay genre of early turn of the 20th-century novels as well as later pulp magazines, and lasted longest of all the traditional pulps. In many ways, the later men's adventure ("the sweats") was the replacement of pulps. Many classic science fiction and crime novels were originally serialized in pulp magazines such as Weird Tales , Amazing Stories , and Black Mask . While
1216-521: The Amazon Queen by E.A. Guest, their first contribution to a "New Pulp Era", featuring the hallmarks of pulp fiction for contemporary mature readers: violence, horror and sex. E.A. Guest was likened to a blend of pulp era icon Talbot Mundy and Stephen King by real-life explorer David Hatcher Childress. In 2002, the tenth issue of McSweeney's Quarterly was guest edited by Michael Chabon . Published as McSweeney's Mammoth Treasury of Thrilling Tales , it
1280-756: The February 1941 issue of Stirring with an unfortunate printer's error in the first sentence of the story that rendered the plot incomprehensible. Knight would later become a member of the Futurians, but he was still living in Oregon at the time the story appeared in print. "Thirteen O'Clock", by Kornbluth, is generally regarded as the best story in the first issue of Stirring ; Knight describes it as "a delightful screwball fantasy", and adds that it made Kornbluth's reputation. Other stories from later issues that have been well-received include "The Long Wall", by Lowndes; "The City in
1344-452: The January 1941 Writer's Digest listed the payment rate as half a cent per word. This was a low rate, but it would have been on a par with many other magazines of the era, had Wollheim been able to achieve it. In the event he was able to start paying small amounts to his authors after the first couple of issues; Kornbluth was paid for several of his later stories for the two magazines, though
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#17331148897401408-483: The July 1941 issue of Cosmic Stories (by that time retitled Cosmic Science-Fiction on the cover), after which the magazines were cancelled. Some months later Wollheim was able to find another publisher, Manhattan Fiction Publications, and a fourth issue of Stirring appeared, dated March 1942. Wartime constraints prevented the new publisher from continuing, and there were no more issues of either title. An announcement in
1472-426: The July 1941 issue of Cosmic Stories was by Elliott Dold ; Dold was at one time regarded as one of the most important sf artists, but this was the last work he did in the science fiction field. The cover has been described by sf historian Mark Rich as "excellent ... [it] accurately illustrates a scene" from "Interference", a story by Kornbluth published under the pseudonym "Walter C. Davies". Donald A. Wollheim
1536-484: The Sofa", "What Sorghum Says", "The Golden Road", and "The Words of Guru", all by Kornbluth; "The Real Thrill" by Blish; and "The Goblins Will Get You", by Michel. Isaac Asimov contributed a story, " The Secret Sense ", which appeared in the March 1941 issue of Cosmic . After Wollheim acquired the story, Asimov met with F. Orlin Tremaine , the editor of Comet —a competing science fiction magazine—and discovered that Tremaine
1600-653: The annual pulp magazine convention that had begun in 1972. The magazine, devoted to the history and legacy of the pulp magazines, has published each year since. It now appears in connection with PulpFest , the summer pulp convention that grew out of and replaced Pulpcon. The Pulpster was originally edited by Tony Davis and is currently edited by William Lampkin, who also runs the website ThePulp.Net. Contributors have included Don Hutchison, Robert Sampson, Will Murray , Al Tonik, Nick Carr, Mike Resnick , Hugh B. Cave , Joseph Wrzos, Jessica Amanda Salmonson , Chet Williamson , and many others. In 1992, Rich W. Harvey came out with
1664-409: The appearance in 1926 of Amazing Stories , a pulp magazine published by Hugo Gernsback . By the end of the 1930s the field was booming, and between 1939 and 1941 a flood of new sf magazines appeared. In late 1940, Donald A. Wollheim , an active science fiction fan and aspiring editor and writer, noticed a new magazine titled Stirring Detective and Western Stories on the newsstands. He wrote to
1728-428: 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
1792-481: The artwork was variable; it included Elliot Dold 's last artwork in the science fiction field, for the cover of the July 1941 issue of Cosmic Stories , and several covers and interior drawings by Hannes Bok , who later became a well-known artist in the field. Although science fiction (sf) had been published in the United States before the 1920s, it did not begin to coalesce into a separately marketed genre until
1856-513: The authors featured on the interior pages. Among the most famous pulp artists were Walter M. Baumhofer , Earle K. Bergey , Margaret Brundage , Edd Cartier , Virgil Finlay , Frank R. Paul , Norman Saunders , Emmett Watson , Nick Eggenhofer , (who specialized in Western illustrations), Hugh J. Ward , George Rozen , and Rudolph Belarski . Covers were important enough to sales that sometimes they would be designed first; authors would then be shown
1920-487: 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
1984-426: 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, with each magazine focusing on a particular genre, such as detective stories, romance, etc. At their peak of popularity in
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2048-448: The direct precursors of pulp fiction. The first "pulp" was Frank Munsey 's revamped Argosy magazine of 1896, with about 135,000 words (192 pages) per issue, on pulp paper with untrimmed edges, and no illustrations, even on the cover. The steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels; prior to Munsey, however, no one had combined cheap printing, cheap paper and cheap authors in
2112-735: The economic hardships of the Great Depression , pulps provided affordable content to the masses, and were one of the primary forms of entertainment, along with film and radio . Although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II . Notable UK pulps included The Pall Mall Magazine , The Novel Magazine , Cassell's Magazine , The Story-Teller , The Sovereign Magazine , Hutchinson's Adventure-Story and Hutchinson's Mystery-Story . The German fantasy magazine Der Orchideengarten had
2176-466: 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 (though some of those titles have been revived in various formats in the decades since). Almost all of the few remaining former pulp magazines are science fiction or mystery magazines, now in formats similar to " digest size ", such as Analog Science Fiction and Fact , though
2240-433: The first time in publishing history a science fiction magazine and a weird-fantasy magazine". Wollheim was a member of the Futurians , a group of New York science fiction fans, many of whom were also starting to be published writers. Some, including Isaac Asimov , Frederik Pohl , C. M. Kornbluth , and James Blish , were later to become very successful in the field. Robert A. W. Lowndes , another Futurian, took on
2304-420: The following month; after three issues each there was a long delay before a final issue of Stirring appeared in March 1942. Cosmic was titled "Cosmic Science-Fiction" on the cover for the second and third issues, though it remained "Cosmic Stories" on the masthead. The publisher for all issues of Cosmic and the first three issues of Stirring was Albing Publications of New York; the final issue of Stirring
2368-570: The front and back cover) longer than Argosy . Due to differences in page layout however, the magazine had substantially less text than Argosy . The Popular Magazine did introduce color covers to pulp publishing, and the magazine began to take off when in 1905 the publishers acquired the rights to serialize Ayesha (1905), by H. Rider Haggard , a sequel to his popular novel She (1887). Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs , Robert E. Howard , Talbot Mundy and Abraham Merritt . In 1907,
2432-951: The genre–Ace, Dell, Avon, among others–were actually started by pulp magazine publishers. They had the presses, the expertise, and the newsstand distribution networks which made the success of the mass-market paperback possible. These pulp-oriented paperback houses mined the old magazines for reprints. This kept pulp literature, if not pulp magazines, alive. The Return of the Continental Op reprints material first published in Black Mask ; Five Sinister Characters contains stories first published in Dime Detective ; and The Pocket Book of Science Fiction collects material from Thrilling Wonder Stories , Astounding Science Fiction and Amazing Stories . But note that mass market paperbacks are not pulps. In 1991, The Pulpster debuted at that year's Pulpcon ,
2496-459: The magazine in later issues. For the February 1941 issue of Stirring Science Stories , the $ 15 art budget went to Leo Morey , an established artist. Morey's cover was undistinguished; Damon Knight commented later that the door to the airlock in the picture evidently did not fit, and that at $ 15 Morey was overpaid. Wollheim also obtained free art from Roy Hunt, an artist based in Denver. The cover for
2560-403: The magazine together for nothing, we can go up to fifteen bucks for art, and we can do it. If the magazine succeeds, then we'll be able to pay you a regular salary after the third issue.' My attitude was that at least I'd be getting the experience, and something was better than nothing. Wollheim sent a letter out to his contacts in science fiction fandom, announcing the new magazines. Originally
2624-682: The majority of pulp magazines were anthology titles featuring many different authors, characters and settings, some of the most enduring magazines were those that featured a single recurring character. These were often referred to as "hero pulps" because the recurring character was almost always a larger-than-life hero in the mold of Doc Savage or The Shadow . Popular pulp characters that headlined in their own magazines: Popular pulp characters who appeared in anthology titles such as All-Story or Weird Tales : Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed damsels in distress , usually awaiting
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2688-594: The most durable revival of Weird Tales began in pulp format, though published on good-quality paper. The old format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan (over 3,000 issues as of 2019). 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 300, and at their peak they were publishing 42 titles per month. Many titles of course survived only briefly. While
2752-519: 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 trying to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces. Some ex-pulp writers like Hugh B. Cave and Robert Leslie Bellem had moved on to writing for television by
2816-471: The plan had been to publish a single monthly title, but this was changed by the publisher to two alternating bimonthly magazines, to be called Cosmic Stories and Stirring Science Stories . The first to appear was the February 1941 issue of Stirring Science Stories . Wollheim had announced a planned newsstand date of 15 December 1940, but according to Damon Knight's later recollection the magazine appeared in January 1941. The two titles alternated months until
2880-516: The publishers, Albing Publications, to see if they were interested in adding a science fiction title to their list, and he was invited to their office. Wollheim later recalled the meeting: It was a father and son, the son in his twenties, and the father in his fifties; they were operating out of a desk in the corner of an advertising office, and what they had was credit from one of the news companies [distributors], Kable or one of those outfits, and they said, 'We don't have any capital, but if you can put
2944-433: The pulp magazines of the early 20th century. These included Blood 'N Thunder , High Adventure and a short-lived magazine which revived the title Argosy . These specialist publications, printed in limited press runs, were pointedly not printed on the brittle, high-acid wood pulp paper of the old publications and were not mass market publications targeted at a wide audience. In 2004, Lost Continent Library published Secret of
3008-489: The pulps ") were inexpensive fiction magazines that were published from 1896 until around 1955. The term "pulp" derives from the wood pulp paper on which the magazines were printed, due to their cheap nature. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine had 128 pages; it was 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges. Pulps were
3072-530: The pulps' market share, but it has been suggested the widespread expansion of television also drew away the readership of the pulps. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's adventure magazines also began to draw some former pulp readers. The 1957 liquidation of the American News Company , then the primary distributor of pulp magazines, has sometimes been taken as marking
3136-528: The rates were well below half a cent per word. Stirring Science Stories was presented by Wollheim as if it were two separate magazines bound together; the first half of the magazine was titled "Stirring Science-Fiction", and the second half "Stirring Fantasy-Fiction". An editorial and letters section, titled "The Vortex", separated the two. Wollheim described his approach in the first issue, saying " Stirring Science Stories isn't really one magazine but two. A sort of Siamese twin embracing within its covers for
3200-672: The successors to the penny dreadfuls , dime novels , and short-fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative , and sensational subject matter, even though this was but a small part of what existed in the pulps. Digest magazines and men's adventure magazines were also regarded as pulps. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such as Flash Gordon , The Shadow , Doc Savage , and The Phantom Detective . The pulps gave rise to
3264-410: The task of finding free material for Wollheim to fill the first two issues. Two of the Futurians (Lowndes and Pohl) were already working as editors of recently launched sf magazines, and there were many other paying markets for science fiction at that time, but the Futurians were so prolific that Wollheim was able to obtain much of his material from them. Wollheim also published some of his own stories in
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#17331148897403328-464: The term pulp fiction in reference to run-of-the-mill, low-quality literature. Successors of pulps include paperback books, such as hardboiled detective stories and erotic fiction . Before pulp magazines, Newgate novels (1840s-1860s) fictionalized the exploits of real-life criminals. Later, British sensation novels gained peak popularity in the 1860s-1870s. Sensation novels focused on shocking stories that reflected modern-day anxieties, and were
3392-432: The two magazines included Damon Knight and David H. Keller . Knight's first published story, "Resilience", appeared in the February 1941 issue of Stirring Stories , but the story was ruined by a misprint in a crucial word in the first sentence. Keller was an established writer in the field, but Wollheim was aware that Keller occasionally donated material to fanzines, and was able to obtain a story from him. The quality of
3456-469: The two magazines. Kornbluth provided Wollheim with more stories than anyone else, using several aliases, including "Cecil Corwin", "S.D. Gottesman", and "Kenneth Falconer". Other Futurians who contributed material included Blish, Lowndes, Walter Kubilius , David Kyle , and John B. Michel ; the stories, often collaborations between two or more of the Futurians, were published under a variety of pseudonyms. Damon Knight's first story, "Resilience", appeared in
3520-532: The widest opportunities to freelance writers. Its most important competitor was The Author & Journalist . An important feature in WD from 1933 forward was the New York Market Letter, edited by Harriet Bradfield , which gave timely updates on editor needs in the magazine field. As the pulp field collapsed in the 1950s, Writer's Digest shifted emphasis to famous writers and quality fiction. Until 2019, it
3584-567: Was able to obtain some material from established names in the field, including David H. Keller and Clark Ashton Smith . Keller occasionally gave material to fan magazines, and Wollheim would have been aware of this when he began looking for free stories. Wollheim was fortunate in obtaining a good deal of artwork from Hannes Bok , later to become a popular artist in the field. Bok was enthusiastic enough about Kornbluth's "Thirteen O'Clock" to produce more interior drawings than Wollheim had room for in that issue; they were eventually used to advertise
3648-526: Was irate at the idea of a magazine that might "siphon readership from magazines that paid" by taking stories without paying the authors. Tremaine felt that any author who contributed a story to these magazines should be blacklisted. Asimov acknowledged that a story of his would be appearing in Cosmic , but told Tremaine that he had been paid for it. In Asimov's autobiographical anthology The Early Asimov he recalls that after hearing Tremaine's comments he requested
3712-467: Was not concerned by Albing's policy. Campbell felt that any story that an author was willing to give away would be so poor that the new magazines would not be competitive. Although Campbell was correct that the magazine was unable to compete with paying magazines, Wollheim managed to produce, in Damon Knight's words, "a rather surprising level of quality". As well as stories from the Futurians, Wollheim
3776-482: Was owned by F+W Media . The magazine is published eight times per year. F+W Media, facing near-term liquidity issues with only about $ 2.5 million in cash available and $ 105.2 million in outstanding debt, filed on 10 Mar 2019 for protection under Chapter 11 of the federal bankruptcy code, citing in various documents a perfect storm of secular industry decline, poor investments, and even mismanagement. Apparently their attempts to transition focus to online from print sales
3840-583: Was poorly done. Their users forum had not worked well for some time, and the number of users had dropped way down from previous times. Writer's Digest was bought by the Active Interest Media subsidiary of Cruz Bay Publishing and/or PRH (Penguin Random House) after bankruptcy of F+W, according to various sources. Penguin Random House acquired the book publishing assets of F+W Media, which include
3904-431: Was published by Manhattan Fiction Publications of New York. Both magazines were priced at 15 cents throughout. Stirring was pulp format and 128 pages long for the first three issues, and switched to large pulp format with 68 pages for the last issue. Cosmic was 130 pages for the first two issues, and 116 pages for the last issue; all were in pulp format. Pulp magazine Pulp magazines (also referred to as "
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#17331148897403968-851: 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. Preeminent pulp magazine editors included Arthur Sullivant Hoffman ( Adventure ), Robert H. Davis ( All-Story Weekly ), Harry E. Maule ( Short Stories ), Donald Kennicott ( Blue Book ), Joseph Shaw ( Black Mask ), Farnsworth Wright ( Weird Tales , Oriental Stories ), John W. Campbell ( Astounding Science Fiction , Unknown ) and Daisy Bacon ( Love Story Magazine , Detective Story Magazine ). Well-known authors who wrote for pulps include: Sinclair Lewis , first American winner of
4032-402: Was the editor for all issues of both Cosmic Stories and Stirring Science Stories . Cosmic had a single volume of three numbers; Stirring also was numbered in volumes of three issues, but reached volume 2 number 1 with its last issue. Initially the two magazines appeared on an alternating bimonthly schedule, with Stirring 's first issue appearing in February 1941 and Cosmic 's first issue
4096-464: Was the most prolific contributor, under several pseudonyms; one of his stories, "Thirteen O'Clock", published under the pseudonym "Cecil Corwin", was very successful, and helped to make his reputation in the field. The magazines ceased publication in late 1941, but Wollheim was able to find a publisher for one further issue of Stirring Science Stories in March 1942 before war restrictions forced it to close again. Other well-known writers who appeared in
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