|Dime Novels led to|
How many times have your heard the term dime novel? Do you think of the frontier west, or of detective stories?
Dime novel, though it has a specific meaning, has also become a catch-all term for several different (but related) forms of late 19th-century and early 20th-century U.S. popular fiction, including "true" dime novels, story papers, five- and ten-cent weekly libraries, "thick book" reprints, and sometimes even early pulp magazines. The term was being used as late as 1940, in the short-lived pulp Western Dime Novels.
Dime novels are, at least in spirit, the antecedent of today’s mass market paperbacks, comic books, and even television shows and movies based on the dime novel genres. Dime novels provided easily understood entertainment for anyone who could read, and at an affordable price. A dime would have been a sizable investment in the mid 19th century, but a novel can be re-read many times and/or traded with another family.
In the modern age, dime novel has become a term to describe any quickly written, lurid potboiler and as such is generally used as a derisive term to describe a sensationalized yet superficial piece of written work.
The novel was essentially a reprint of Stephens's earlier serial that appeared in the Ladies' Companion Magazine in February, March, and April 1839. The dime novels varied in size, even within this first Beadle series, but were roughly 6.5 by 4.25 inches, with 100 pages.
The first 28 were published without a cover illustration, in a salmon colored paper wrapper, but a woodblock print was added with issue 29, and reprints of the first 28 had an illustration added to the cover. Of course, the books were priced at ten cents.
This series ran for 321 issues, and established almost all the conventions of the genre, from the lurid and outlandish story to the melodramatic double titling that was used right up to the very end in the 1920s. Most of the stories were frontier tales (Works for me!) reprinted from the vast backlog of serials in the story papers and other sources, as well as many originals.
As the popularity of dime novels increased, original stories came to be the norm. The books were themselves reprinted many times, sometimes with different covers, and the stories were often further reprinted in different series, and by different publishers.
|Dime novels and papers|
As a whole, the quality of the fiction was derided by higher brow critics and the term dime novel quickly came to represent any form of cheap, sensational fiction, rather than the specific format.
The New Dime Novel Series introduced color covers, but reprinted stories from the original series. In 1874, Beadle & Adams, through the added novelty of color to the covers (see photo in first paragraph above), their New Dime Novels series replaced the flagship title. The New Dime Novels were issued with a dual numbering system on the cover, one continuing the numbering from the first series, and the second and more prominent one indicating the number within the current series, i.e., the first issue was numbered 1. The stories were largely reprints from the first series. Like its predecessor, Beadle’s New Dime Novels ran for 321 issues, until 1885.
As noted, much of the material for the dime novels came from the story papers, which were weekly, eight page newspaper-like publications, varying in size from tabloid to a full fledged newspaper format, and usually costing five or six cents. They started in the mid 1850’s and were immensely popular, some titles running for over fifty years on a weekly schedule. They are perhaps best described as the television of their day, containing a variety of serial stories and articles, with something aimed at each members of the family, and often illustrated profusely with woodcut illustrations. Popular story papers included The Saturday Journal, Young Men of America, Golden Weekly, Golden Hours, Good News, Happy Days.
Although the larger part of the stories stood alone, in the late 1880s series characters began to appear and quickly grew in popularity. The original Frank Reade stories first appeared in Boys of New York. Old Sleuth, appearing in The Fireside Companion story paper beginning in 1872, was the first dime novel detective and began the trend away from the western and frontier stories that dominated the story papers and dime novels up to that time. He was the first character to use the word "sleuth" to denote a detective, the word’s original definition being that of a bloodhound trained to track. And he also is responsible for the popularity of the use of the word "old" in the names of competing dime novel detectives, such as Old Cap Collier, Old Broadbrim, Old King Brady, Old Lightning, Old Ferret and many, many others. Nick Carter first appeared in 1886 in The New York Weekly. All three characters would graduate to their own ten-cent weekly titles within a few years.
|Black and |
As now, the competition was fierce, and publishers were always looking for an edge. Once again, color came into the fray when Frank Tousey introduced a weekly with brightly colored covers in 1896. Street & Smith countered by issuing a smaller format weekly with muted colors Such titles as New Nick Carter Weekly (continuing the original black and white Nick Carter Library), Tip-Top Weekly (introducing Frank Merriwell) and others were 7 x 10 with thirty-two pages of story, but the 8.5 x 11 Tousey format carried the day and Street & Smith, soon followed suit. The price was also dropped to five cents, making the magazines more accessible to children. This would be the last major permutation of the product before it evolved into pulp magazines. Ironically, for many years it has been the nickel weeklies that most people refer to when using the term "dime novel."
The nickel weeklies proved very popular, and their numbers grew quickly. Frank Tousey and Street & Smith dominated the field. Tousey had his "big six": Work and Win (featuring Fred Fearnot, a serious rival to the soon to be popular Frank Merriwell) Secret Service, Pluck and Luck, Wild West Weekly, Fame and Fortune, and The Liberty Boys of ’76, all of which ran over a thousand weekly issues apiece. Street & Smith had New Nick Carter Weekly, Tip Top Weekly, Buffalo Bill Stories, Jesse James Stories, Brave & Bold Weekly and many others. The Tousey stories were on the whole the more lurid and sensational of the two. And wasn't there a series with a hero named Jack Armstrong?
Is he stealing
her jewels or
All dime novel publishers were canny about repurposing material, but Street & Smith made it more of an art form. Hmmm, does this remind you of one or two of today's publishers? The dime novel publishers developed the practice of publishing four consecutive, related tales of, for example, Nick Carter, in the weekly magazine, then combining the four stories into one edition of the related thick book series, in this instance, the New Magnet Library. The Frank Merriwell stories appeared in the Medal, New Medal and Merriwell Libraries, Buffalo Bill in the Buffalo Bill Library and Far West Library, and so on.
*Note: What confuses many dealers and new collectors today is that though the thick books were still in print as late as the 1930s, they carry the original copyright date of the story, often as early as the late nineteenth century, leading some to assume they have original dime novels when the books are only distantly related.
In 1896, Frank Munsey had converted his juvenile magazine, The Argosy, into a fiction magazine for adults and the first pulp. By the turn of the century, new high-speed printing techniques combined with the cheaper pulp paper allowed him to drop the price from twenty five cents to ten cents, and the magazine really took off.
In 1910 Street and Smith converted two of their nickel weeklies, New Tip Top Weekly and Top Notch Magazine, into pulps; in 1915, Nick Carter Stories, itself a replacement for the New Nick Carter Weekly, morphed into Detective Story Magazine, and in 1919, New Buffalo Bill Weekly became Western Story Magazine. Harry Wolff, the successor in interest to the Frank Tousey titles, continued to reprint many of them up into the mid 1920s, most notably Secret Service, Pluck and Luck, Fame and Fortune, and Wild West Weekly. The latter two were purchased by Street & Smith in 1926 and converted into pulp magazines the following year. That effectively ended the reign of the dime novel.
People followed the exploits of legendary heroes in the West. Talk about literary license? The fact that most of the tales were pure drivel didn’t matter a whit to their eager audience. The lure was cast, and many took the bait and headed to America’s West.
But what began my personal love of the West? In the evenings, my dad often told stories of his family coming to Texas after the Civil War. I couldn’t hear enough of those tales. Even after I’d memorized them, I urged him to retell each one. And guess who sneaked peaks at his detective magazines when he was at work?
In that time period, the Civil War and Reconstruction were over, yet law and order was far from established. Men--and women--were often isolated and had to defend themselves and their families. If there was an area lawman, he was often too far away to offer immediate help.
When the Civil War was over, men returned home (if they still had one). In Texas and a few other states, many unbranded cattle had bred during the war and ran wild. An industrious man could gather these and place his own brand on them, then drive them to market in Kansas. According to T. H. Fehrenback in his book LONE STAR: A HISTORY OF TEXAS AND THE TEXANS, cattle sold for two dollars a head in Texas in 1875, but brought ten dollars a head in Kansas. Since cowboys made the same wage per month and received the same food regardless of where they rode, it cost no more for a rancher to have his ranch hands drive cattle to market. Fortunes were built during this time!
by Frederick Remington
Then there were the natural disasters: swollen rivers, lightning storms, and stampedes. Plus Texas cattle sometimes carried tick fever and threatened to infect cattle in other states. Cattlemen from the intervening areas crusaded to block Texas cattle from crossing into their area, and it’s no wonder, is it? The astonishing fact is that any cattle made it to market.
|The Most Unsuitable Wife |
Available now at
If you’ve read my book THE MOST UNSUITABLE WIFE (available for only 99 cents from Amazon Kindle), you learned that wives were not invited on a cattle drive. Definitely! No, it’s not the actual cattle drive that appeals to me, but the era. A young man with nothing could homestead land, gather unbranded cattle or buy a few head, and create a small ranch. With hard work and perseverance, he could expand. Of course, then he’d need a wife to share his life. They’d face trouble--it always came--and stand side by side to triumph. Well, that’s the way it happens in my novels.
by Chris Enss
Reading about people who adapt to new circumstances, meet obstacles they’d never imagined, and triumph while finding a soul mate is very romantic. Who wouldn’t love a tale like that?
Hand me that book by Celia Yeary, would you? Yes, the one that was a finalist for The Romance Reviews Best Books of 2010, TEXAS TRUE. Sure I've read it, but I reread favorites, don't you? I’m in the mood to read more about romance under western skies. If you share that mood, why not try a book by one of the Sweethearts of the West authors?