Pulp magazine


Pulp magazines, also called "the pulps", were inexpensive fiction magazines that were published from 1896 until around 1955. The word pulp derives from the cheap wood pulp paper on which the magazines were printed. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine was 128 pages,, and thick, with ragged, untrimmed edges. Pulps were 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 incorrectly regarded as pulps, though they have different editorial and production standards and are instead replacements. 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 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.

History

Origins

Before pulp magazines, Newgate novels 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 the direct precursors of pulp fiction.
The first "pulp" was Frank Munsey's revamped Argosy magazine of 1896, with about 135,000 words 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 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 Argosys 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 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, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. 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. 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.

Peak of popularity

At their peak of popularity in 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 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 a similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated.

World War II and market decline

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 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 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 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. The old 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 300, 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 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 the 1950s.
The last pulp to cease publication was Ranch Romances'' in 1971.

Genres

Pulp magazines often contained a wide variety of genre fiction, including, but not limited to:
  • adventure
  • aviation
  • detective/mystery
  • espionage
  • fantasy
  • gangster
  • "girlie pulps", also called "saucy/spicy pulps" or "sex pulps"
  • horror/occult
  • humor
  • railroad
  • romance
  • science fiction
  • série noire
  • sports
  • war
  • Westerns ; the Colorado artist Arthur Roy Mitchell is particularly known for his sketches of the covers of such magazines.
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 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.

Notable original characters

While 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:

Illustrators

Pulp covers were printed in color on higher-quality 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. 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 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,, 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 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.