Pulp magazine
Successors of pulps include paperback books, such as hardboiled detective stories and erotic fiction.
Sensation novels focused on shocking stories that reflected modern-day anxieties, and were the direct precursors of pulp fiction.
Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt.
[8] In 1907, 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.
[12] During 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.
In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks.
[7] 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 the most durable revival of Weird Tales began in pulp format, though published on good-quality paper.
Many classic science fiction and crime novels were originally serialized in pulp magazines such as Weird Tales, Amazing Stories, and Black Mask.
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.
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.
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.
[22] 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.
Since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow.
[25] Well-known authors who wrote for pulps include: Sinclair Lewis, first American winner of 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 Browne Popular Culture Library News noted: Many of the paperback houses that contributed to the decline of the genre–Ace, Dell, Avon, among others–were actually started by pulp magazine publishers.
[27] But note that mass market paperbacks are not pulps.In 1991, The Pulpster debuted at that year's Pulpcon, the annual pulp magazine convention that had begun in 1972.
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.
These included Blood 'N Thunder, High Adventure and a short-lived magazine which revived the title Argosy.
Guest was likened to a blend of pulp era icon Talbot Mundy and Stephen King by real-life explorer David Hatcher Childress.
Published as McSweeney's Mammoth Treasury of Thrilling Tales, it 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."
