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For years pulp magazines were successful without restricting their fiction content to any specific genre, but in Munsey launched Railroad Man's Magazine , the first title that focused on a particular niche. Other titles that specialized in particular fiction genres followed, starting in with Detective Story Magazine , with Western Story Magazine following in In , J.

It was initially unsuccessful, and as part of a refinancing plan Henneberger decided to publish another magazine that would allow him to split some of his costs between the two titles. Henneberger had long been an admirer of Edgar Allan Poe , so he created a fiction magazine that would focus on horror, and titled it Weird Tales. Payment rates were low, usually between a quarter and a half cent per word; the budget went up to one cent per word for the most popular writers.

This had little long-term effect on sales, though the first issue at the new size, dated May , was the only one that first year to sell out completely—probably because it contained the first instalment of a popular serial, The Moon Terror , by A. Henneberger decided to sell both magazines to Lansinger and invest the money in Weird Tales. The printing company was owned by B. Cornelius, who agreed to Henneberger's suggestion that the debt should be converted to a majority interest in a new company, Popular Fiction Publishing.

This did not eliminate all of the magazine's debts, but it meant that Weird Tales could continue to publish, and perhaps return to profitability.

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Cornelius became the company treasurer; the business manager was William Bill Sprenger, who had been working for Rural Publishing. Henneberger had hopes of eventually refinancing the debt with the help of another printer, Hall Printing Company, owned by Robert Eastman.


Baird stayed with Lansinger, so Henneberger wrote to H. Lovecraft , who had sold some stories to Weird Tales , to see if he would be interested in taking the job. Henneberger offered ten weeks advance pay, but made it a condition that Lovecraft move to Chicago, where the magazine was headquartered.

Lovecraft described Henneberger's plans in a letter to Frank Belknap Long as "a brand-new magazine to cover the field of Poe-Machen shudders". Lovecraft did not wish to leave New York, where he had recently moved with his new bride; his dislike of cold weather was another deterrent. By the end of the year Wright had been hired as the new editor of Weird Tales.

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It was assembled by Wright and Kline, rather than Baird. Henneberger gave Wright full control of Weird Tales , and did not get involved with story selection. In about , Wright had begun to suffer from Parkinson's disease , and over the course of his editorship the symptoms grew gradually worse. By the end of the s he was unable to sign his name, and by the late s Bill Sprenger was helping him get to work and back home. Some of Popular Fiction Publishing's debts were paid off over time, and the highest pay rate eventually rose to one and a half cents per word.

Robert Bloch recalled that "in the late Twenties and Thirties of this century After a short period on North Broadway , the office moved to North Michigan Avenue , where it would remain until In , Popular Fiction Publishing issued Birch's The Moon Terror , one of Weird Tales ' more popular serials, as a hardcover book, including three other stories from the magazine's first year.

The book sold poorly, and it remained on offer in the pages of Weird Tales , at reduced prices, for twenty years. The Depression also hit the Hall Printing Company, which Henneberger had been hoping would take over the debt from Cornelius; Robert Eastman, the owner of Hall, at one point was unable to meet payroll. Eastman died in , and with him went Henneberger's plans for recovering control of Weird Tales. Often the advertised story was by Edmond Hamilton , who was popular in the sf magazines.

Wright also sold hardcovers of books by some of his more popular authors, such as Kline, in the pages of Weird Tales. Robert Weinberg , author of a history of Weird Tales , records a rumor that Wright was unpaid for much of his work on the magazine, but according to E. Delaney, who was the publisher of Short Stories , a successful general fiction pulp magazine based in New York.

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Sprenger and Wright both received a share of the stock from Cornelius; Sprenger did not remain with the company but Wright moved to New York and stayed on as editor. An increase from pages to pages starting with the February issue, along with the use of cheaper and hence thicker paper, made the magazine thicker, but this failed to increase sales.

In September the page count went down to , and the price was cut from 25 cents to 15 cents. From January the frequency was reduced to bimonthly, a change which stayed in effect until the end of the magazine's run fourteen years later. He died in June of that year. McIlwraith's first issue was dated April She was assisted by Lamont Buchanan, who worked for her as associate editor and art editor for both Weird Tales and Short Stories.

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August Derleth also provided assistance and advice, although he had no formal connection with the magazine. Most of McIlwraith's budget went to Short Stories , since that was the more successful magazine; [30] [32] the payment rate for fiction in Weird Tales by was one cent per word, well below the top rates of other science fiction and fantasy magazines of the day. The price was increased to 20 cents in , and again to 25 cents in , but it was not only Weird Tales that was suffering—the entire pulp industry was in decline. Delaney switched the format to digest with the September issue, but there was to be no reprieve.

In , Weird Tales and Short Stories ceased publication; in both cases the last issue was dated September In the mids, Leo Margulies , a well-known figure in the magazine publishing world, launched a new company, Renown Publications, with plans to publish several titles. He acquired the rights to both Weird Tales and Short Stories , and hoped to bring both magazines back.

He abandoned a plan to restart Weird Tales in , using reprints from the original magazine, after being advised by Sam Moskowitz that there was little market for weird and horror fiction at the time. It had weak distribution and sales were too low for sustainability; according to Moskowitz the average sales were 18, copies per issue, well short of the 23, that would have been needed for the magazine to survive. The fourth issue, dated Summer , was the last, as Margulies closed down all his magazines except for Mike Shayne Mystery Magazine , which was the only one that was making a profit.

Mike Ashley , a science fiction magazine historian, records that Moskowitz was unwilling to continue in any case, as he was annoyed by Margulies's detailed involvement in the day-to-day editorial tasks such as editing manuscripts and writing introductions. Margulies died the following year, and his widow, Cylvia Margulies, decided to sell the rights to the title. Forrest Ackerman , a science fiction fan and editor, was one of the interested parties, but she chose instead to sell to Victor Dricks and Robert Weinberg.

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  • The result was a series of four paperback anthologies , edited by Lin Carter, appearing between and ; [41] these were originally planned to be quarterly, but in fact the first two both appeared in December and were both dated Spring The next was dated Fall ; [42] Carter's rights to the title were terminated by Weinberg in for non-payment, but the fourth issue was already in the works and finally appeared with a date of Summer In Sheldon Jaffery and Roy Torgeson met with Weinberg to propose taking over as licensees, but Weinberg decided not to pursue the offer.

    The following year, Brian Forbes approached Weinberg with another offer.

    Ashley reports that Weinberg was only able to contact Forbes by phone, and even that was not always reliable, so negotiations were slow. Forbes' editorial director was Gordon Garb and the fiction editor was Gil Lamont; Forrest Ackerman also assisted, mainly by obtaining material to include. There was a good deal of confusion between the various participants in the project: [44] according to Locus , a science fiction trade journal, "Ackerman says he has had no contact with publisher Forbes, does not know what will happen to the material he put together, and is as much in the dark as everybody else.

    Lamont says that he is still renegotiating his contract and is not sure where he stands". Even with this delay a final agreement had not yet been reached with Weinberg over licensing. Only 12, copies were printed; these were sent to two distributors who both went into bankruptcy. As a result, few copies were sold, and Forbes was not paid by the distributors.

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    Despite the financial setback, Forbes attempted to continue, and a second issue eventually appeared. Its cover date was Winter but it was not published until June Few copies were printed; reports vary between 1, and 2, in total. Mark Monsolo was the fiction editor, but Garb continued as editorial director; Lamont was no longer involved with the magazine.

    Weird Tales was more lastingly revived at the end of the s by George H. Rather than focus on newsstand distribution, which was expensive and had become less effective in the s, they planned to build a base of direct subscribers and distribute the magazine for sale through specialist stores. There were also limited edition hardcover versions of each issue, signed by the contributors.

    A special World Fantasy Award Weird Tales received in made it apparent that the magazine was successful in terms of quality, but sales were insufficient to cover costs. The Summer issue was the last to have a hardcover edition; it was also the last, for a while, to bear the name Weird Tales , as Weinberg did not renew the license. Stone was to be director of the pilot, but the series never came to fruition. No issues appeared in , but in Scithers and Schweitzer negotiated a deal with Warren Lupine of DNA Publications which allowed them to start publishing Weird Tales under license once again.

    The first issue was dated Summer , and, other than the omission of the Winter issue, a regular quarterly schedule was maintained for the next four and a half years. Sales were weak, never rising above 6, copies, and DNA began to experience financial difficulties.

    A long hiatus ended with the December issue, which appeared in early ; this was the last issue under the arrangement with DNA.

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    • The first Wildside Press edition appeared in September , and starting with the following issue, dated February , the magazine was able to stay on a more or less bimonthly schedule for some time. Segal the editorial and creative director and later recruiting Ann VanderMeer as the new fiction editor. VanderMeer was elevated to editor-in-chief, Mary Robinette Kowal joined the staff as art director and Segal became senior contributing editor. Marvin Kaye took over chief editorial duties. Issue , the first under the new publishers, was published in late February Some months before the release of issue , a special World Fantasy Convention preview issue was given away for free to interested attendees.

      On August 14, , the official Weird Tales Facebook magazine announced the return of Weird Tales with author Jonathan Maberry as the editorial director.