As Ever, Scott Fitz——
(Correspondence of F. Scott Fitzgerald and Harold Ober)

1929-1934
Depression

314. To Ober

ALS (pencil), note, n.d — received 9 January 1929. New York. (AO)

Dear Harold: Brought up ms, thinking [of] I could correct it satisfactorily on train. But there has to be a new ending + I think its futile to try to do it here. I'm going directly home with it + will bring it up again tomorrow

Sorry F Scott Fitzg—

315. To Reynolds office

Wire to Reynolds office 10 January 1929. Wilmington, Del. (AO)

BRINGING BASIL LEE STORY SATURDAY OR MONDAY CAN YOU DEPOSIT FIVE FITZGERALD.

316. To Reynolds office

Wire to Reynolds office 21 January 1929. Wilmington, Del. (AO)

ARRIVE ABOUT THREE WITH STORY * FITZGERALD.

Notes:

* Note in Ober's hand reads: “He did!”

317. To Reynolds office

Wire to Reynolds office 8 February 1929. Wilmington, Del. (AO)

CAN YOU POSSIBLY SUPPLEMENT THE TWO HUNDRED WITH TWO HUNDRED MORE STORY SENT THIS AFTERNOON FITZGERALD.

318. To Fitzgerald

TL (cc), 1 p. (PU)

February 9, 1929 F. Scott Fitzgerald, Esq. Ellerslie Edgemoor, Delaware

Dear Scott:

Bennett Cerf of the Modern Library is getting up a very special selection of short stories, which they will probably call “The Best Modern Stories: A 20th Century Anthology”. He says the book is entirely dependent on getting one story apiece from about twelve authors. They have permission to use stories by the following authors:

Joseph Conrad
Katharine Mansfield
E. M. Forster
Sherwood Anderson
D. H. Lawrence
Somerset Maugham

He wants a story by you and by Hemingway and one by Lardner. I should think it would be a good thing for you to have a story in this volume. You can see the quality of the volume when he told me that he did not think that Booth Tarkington was good enough to include. He tells me that he saw Mr. Arthur Scribner and he would not give him permission to use any of your stories. I judge he also refused to let them have stories by Hemingway and by Lardner. Isn't there some story of yours which Scribner has not published in a volume that you could let the Modern Library have? I don't see how the use of one of your stories could possibly hurt Scribner's and I should think it would help them in the sale of your volumes of short stories. If Maxwell Perkins were here, I cannot possibly imagine his objecting to the use of one of your stories.

They will pay a half a cent royalty per volume and they will pay $100 down against this royalty. They say they think the volume will sell steadily at the rate of about five thousand copies a year and that you ought to receive something for a good many years to come. Could you call me up about this on Monday, and do you think you could help get a story from Ernest Hemingway and one from Ring Lardner?

As you probably know, Cerf took the Modern Library over from Liveright.

Yours sincerely,* [Harold Ober]

Notes:

*A postscript in another hand reads: “I sent you a copy of the Undset book so don't buy one. H. O.” Probably a work by Sigrid Undset.

319. To Ober

ALS (pencil), 1 p. n.d.—received 11 February 1929. New York. (AO)

Dear Harold.

I had no copy of this so at the last moment I thought it would be wiser to bring it up myself.*

1000 thanks for the book which arrived this morning and which looks facinating. The Modern Library man can count on a short story from me**—as soon as Max gets home I'll discuss it with him + let you know whether it'll be an old or new one. Also I'll find why they won't give Hemmingway + Lardner stories.

Yours. F Scott F.

Notes:

* “Basil and Cleopatra,” The Saturday Evening Post, 27 April 1929.

** Great Modern Short Stories, ed. Grant Overton. New York: Modern Library, 1930. This collection included Fitzgerald's “At Your Age” and Hemingway's “The Three-Day Blow” but nothing by Ring Lardner.

320. To Reynolds office

Wire to Reynolds office 11 February 1929. Wilmington, Del. (AO)

WILL YOU PLEASE HAVE THE STENOGRAPHER TAKE GREAT PAINS TO GET AN ACCURATE COPY OF THAT MANUSCRIPT BECAUSE IT IS SO ANNOTATED THAT IT MUST BE VERY HARD TO FOLLOW AND ALL CHANGES ARE VERY IMPORTANT WOULD YOU SEND ME A CARBON OF IT IF YOU LIKE IT CAN YOU DEPOSIT THREE HUNDRED THIRTY FIVE WILL PHONE TOMORROW
FITZGERALD.

321. To Fitzgeald

TL (cc), 1 p. (PU)

February 13, 1929 F. Scott Fitzgerald, Esq., Ellerslie, Edgemoor, Del.

Dear Scott: Here is a carbon of BASIL AND CLEOPATRA.* I found only one or two slight changes to make. If you find anything else, let me know.

Yours sincerely, [Harold Ober]

Notes:

* Ober enclosed a typed list of nineteen revisions Fitzgerald had made in this story.

322. Memo by Ober

Typed office memo, 1 p. (AO)

F. Scott Fitzgerald

February 14, 1929

Scott Fitzgerald said that Zelda would do six articles for College Humor, that he would go over them and fix them up and that the articles would be signed with both their names. He said that as he remembers, they paid $200 for one article that Zelda did, and $250 for another. He said we had better leave the price until they did the first article.

They are to be articles about different types of girls. I should think they ought to pay $500 for them, if they are four or five thousand words in length.
HO.

323. To Fitzgerald

TL (cc), 1 p. (PU)

February 15, 1929

F. Scott Fitzgerald, Esq. Ellerslie Edgemoor, Delaware

Dear Scott:

I had lunch today with Swanson of College Humor and I told him what you told me about the articles that Mrs. Fitzgerald is going to do. He is very pleased that he is going to get these and he mentioned a number of different subjects for the series, such as: the city debutante; the young married woman; the modern,southern, country club girl; the western girl; etc. He mentioned another type of girl —the New York girl who goes around to the different teas and knows all the celebraties by name.

He said he hoped the series would be story articles, not philosophical discussions of different types of girls. He thought each girl could be given a name and she could be described as a certain kind of girl because at such and such a party, she did so and so. In other words, she could be described by instances in her life, things that she did, rather than things that were said about her, etc.

He hopes very much that he will see one of the articles before you go abroad.

Yours sincerely, [Harold Ober]

324. To Reynolds office

Wire to Reynolds office 15 February 1929. Wilmington, Del. (AO)

GOING  SOUTH  TODAY  FOR  FIVE  DAYS  SENT  CORRECTED PAGES TO  POST AND SENT COPY OF THEM TO YOU  AS  I THOUGHT  THAT   WOULD   SAVE   TIME   CAN   YOU   DEPOSIT THREE HUNDRED BEST WISHES F SCOTT FITZGERALD.

325. To Fitzgerald

Wire draft (cc) to Fitzgerald 16 February 1929. (PU)

POST TAKING CLEOPATRA LIKE IT VERY MUCH I LIKENEW ENDING IMMENSELY.
Harold Ober.

326. Account Statement by Ober

Typed account, 2 pp. From Reynolds office. (PU)

February 21, 1929

F. Scott Fitzgerald In Account with Paul R. Reynolds

 

 

Received from The Saturday Evening Post For

 

 

Jan

22

    Forging Ahead

$3,500.00

 

Feb

20

    Basil and Cleopatra

3,500.00

 

 

 

Received from The Golden Book

 

 

 

 

Reprint

 

 

 

 

One of My Oldest Friends

100.00

$7,100.00

 

 

Commission 10%

$710.00

 

Dec. 

17, 1928

Guaranty Trust

600.00

 

 

19      »

     “           “

350.00

 

 

26      »

     “           “

300.00

 

 

31      »

     “           “

300.00

 

Jan.  

10, 1929

     “           “

500.00

 

 

16      »

     “           “

300.00

 

 

22      »

     “           “

350.00

 

 

25      »

     “           “

300.00

 

 

28      »

        “           “

1,000.00

 

Feb.   

8      »

     “           “

200.00

 

 

9      »

     “           “

200.00

 

 

14      »

     “           “

350.00

 

 

15      »

     “           “

300.00

 

 

Typing

Forging Ahead

8.59

 

 

“

Basil and Cleopatra

7.66

 

 

 

Guaranty Trust Company

1,323.75

$7,100.00

February 21, 1929

F. Scott Fitzgerald In Account with Paul R. Reynolds

 

 

Metropolitan Newspaper Service

 

 

 

 

Additional Sales & Collections

 

 

 

 

Rags Martin Jones and the Prince of Wales (World's Greatest Stories Magazine)

$25.00

 

 

 

Received from W. Baker & Co.

 

 

 

 

Royalty

 

 

 

 

John Jackson's Arcady

1.50

 

 

 

30 copies @ 5¢ - for period ending Oct. 1, 1928

 

$26.50

 

 

Commission 10%

$ 2.65

 

 

 

Check Guaranty Trust Co

23.85

$26.50

327. To Reynolds office

Wire to Reynolds office 24 February 1929. Wilmington, Del. (AO)

STORY UP TUESDAY CAN YOU DEPOSIT SIX FITZGERALD.

328. To Fitzgerald

TL (cc), 1 p. (PU)

February 26, 1929

F. Scott Fitzgerald, Esq. Ellerslie Edgemoor, Delaware

Dear Scott:

Are you still planning to sail for the other side on March 2? If you are, you will not forget, will you, about the story for the Modern Library? You can pick out any short story that Scribner's have not used in book form.

I am glad to know the new story will be here soon, and I hope to see you before you sail.

Yours sincerely, [Harold Ober]

329. To Reynolds office

Wire to Reynolds office 26 February 1929. Wilmington, Del (AO)

HAD HOPED TO GET STORY THROUGH TODAY BUT WILL DELIVER THURSDAY WITHOUT FAIL EXPENSE OF LEAVING IS VERY BIG AS USUAL CAN YOU DEPOSIT FOUR HUNDRED SCOTT FITZGERALD.

330. To Ober

ALS (pencil), 2pp. n.d.—received 2 March 1929. “Ellerslie.” (AO)

Dear Harold: This* is a poor substitute for the story (tho it is a beautifully written thing) but the story refused to be finished in the confusion of moving + I'll have to put on the finishing touches on the boat.

I forgot to say that this is the 1st Swanson article.

As to the story—Scribners are obdurate + won't let them (illogicly I think) use the Rich Boy. If Cerf wants to use Jacob's Ladder I think it is the best available. But it will look rather sentimental beside Conrad E. M. Forster ect. Still it is a pretty darn good story.

Goodbye for several months. I hope to God I'll have the novel soon.

1000 Thanks for many courtesies + best wishes

Faithfully Scott Fitz—

Could you possibly deposit 200 more cash this morning. Bank hasn't recieved your check + I must cash something against it?

Notes:

* “The Original Follies Girl,” College Humor, July 1929. This story was published under the names of both Fitzgeralds, although it was written by Zelda.

Early in March 1929 the Fitzgeralds went again to Europe. Arriving in Genoa, they traveled—via Nice and the Riviera—to Paris, where they settled until July. Except for the period July-October, when they stayed at the Villa Fleur des Bois in Cannes, the Fitzgeralds spent most of 1929 in Paris at 10 rue Pergolise. Zelda resumed her dancing lessons with Madame Egorova and worked on the series of stories for College Humor, with Fitzgerald revising and polishing her writing. Fitzgerald's drinking increased.

331. To Fitzgerald

TL (cc), 1 p. (PU)

March 12, 1929

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

I have been talking to Swanson regarding the sketch you left with me, THE ORIGINAL FOLLIES GIRL. We have finally agreed that, if it is satisfactory to you, he would pay $400 for this article, with the understanding that if the others could be made a little longer, say twelve pages instead of eight, he would pay more money for the succeeding ones. Even if they aren't any longer, I think he would pay $500 for the others. He said he did not want to hold the series down to six, if you and Mrs. Fitzgerald had ideas for further articles.

Let me know where you are going to be, and if you are going to be near Paris why don't you drop me a line c/o John Farquharson, 8 Harsey House, Red Lion Square, London, W.C.I. I will get to London about March 27 and will be there two or three weeks. I might possibly get over to Paris, but I am not at all sure I can.

Yours sincerely, [Harold Ober]

332. To Reynolds office

Wire to Reynolds office 14 March 1929. From Fitzgerald. Nice. (AO)

STORY SENT PLEASE DEPOSIT NINE CASH URGENT

333. To Reynolds office

Wire to Reynolds office 29 March 1929. Nice. (AO)

SECOND STORY* SENT CAN YOU DEPOSIT SEVEN FIFTY FITZEGERALD

Notes:

* “The Rough Crossing,” The Saturday Evening Post, 8 June 1929.

334. From Mr. Paul Revere Reynolds To Fitzgerald

Wire (cc) to Fitzgerald 1 April 1929. (PU)

MONEY DEPOSITED NEITHER STORY RECEIVED.
Reynolds.

335. To Ober

ALS, 1 p. n.d.—March/April 1929. (AO)

Hotel Beau Rivage. Nice (After Sun. % Guaranty)

Dear Harold:

We arrive in Paris April 1st, [ + ] have no appartment yet so will be care of the bank. It will be fine to see you if you can get over. The Rough Crossing has been sent + I've almost finished another. I hope to God the novel will be done this summer.

$400. seems OK. for the sketch. My wife has too more nearly finished—both longer.*

No news—I'm happy to be back here + if you cross the channel will take pleasure in buying you the best dinner procurable in France + I've become somewhat of a connessieur.

Ever Yours F Scott Fitzg

Notes:

* The “girl” series for College Humor.

336. To Reynolds office

Wire to Reynolds office 9 April 1929. From Fitzgerald. Paris. (AO)

IF STORY SOLD CAN YOU DEPOSIT FOUR.

337. To Mr. Paul Revere Reynolds

ALS (pencil), 1 p. n.d.—received 12 April 1929. Paris. (AO)

Dear Mr. Reynolds:

Here is my wife's second article for Swanson.* Also, a little skit for which the New Yorker might pay something.** Please show it to them first as I especially want their friendship. Sorry I've been such a beggar lately. I try to do better. Hoping Ober comes to Paris

Yours Ever Scott Fitzg

Notes:

* “The Poor Working Girl,” College Humor, January 1931. Published as by F. Scott and Zelda Fitzgerald.

** “A Short Autobiography (With Acknowledgments to Nathan),” The New Yorker, 25 May 1929.

338. From Mr. Paul Revere Reynolds To Fitzgerald

TL (cc), 1 p. (PU)

April 22, 1929.

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Mr. Fitzgerald:

I think Mr. Swanson of College Humor is writing you that he is taking THE POOR WORKING GIRL by you and Mrs. Fitzgerald and is willing to raise the price to five hundred dollars ($500). He writes us as follows:

“I do this with the understanding that the future ones will be at least as long as “The Poor Working Girl” and as much longer as their feeling for the material and the magazine will allow. I can use them any length, but I don't want them any shorter than this second piece.”

Sincerely yours,
[Paul Revere Reynolds]

339. To Reynolds office

Wire to Reynolds office 22 April 1929. Paris. (AO)

NEW STORY SENT CAN YOU DEPOSIT SEVEN FITZGERALD.

340. To Reynolds office

Wire to Reynolds office 13 May 1929. From Fitzgerald. Paris. (AO)

DELAYED STORY MAILED LEVIATHAN ANOTHER MAILED TODAY * CAN YOU DEPOSIT FOUR.

Notes:

* One of these stories was “Majesty,” The Saturday Evening Post, 10 July 1929.

341. To Fitzgerald

TL (cc), 1 p. (PU)

May 13, 1929

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

I have an inquiry for the picture rights to THE VEGETABLE. This is probably one of those inquiries which never amount to anything. I remember also that you told me at one time that you didn't want anything whatever done with THE VEGETABLE, as you didn't like it. You didn't want the dramatic rights sold, or anything else done with it.

I meant to have written you while I was in London but I got so tied up with appointments that I couldn't get over to France. I hope to have better luck next time.

I am glad to know that you are doing some more short stories, and I'll keep it a dark secret from Maxwell Perkins.

Yours sincerely, [Harold Ober]

342. To Reynolds office

Wire to Reynolds office 21 May 1929. From Fitzgerald. Paris. (AO)

CAN YOU DEPOSIT SIX FIFTY SENDING TWO STORIES.

343. To Fitzgerald

TL (cc), 1 p. (PU)

May 28, 1929

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France

Dear Scott:

MAJESTY came in safely and I read it at once and gave it to Costain. It is a beautifully written piece of work, and I have a note this morning from Costain saying it is a splendid story and that they are taking it.

Yours sincerely, [Harold Ober]

344. To Fitzgerald

TL (cc), 1 p. (PU)

May 29, 1929

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

This was in the New York Evening Post last night. *

Sincerely, [Harold Ober]

Notes:

* The paper printed a photo of the “Loveliest Wife” selected by Fitzgerald, John Barrymore, and Cornelius Vanderbilt, Jr., for a Woodbury soap advertising campaign.

345. To Fitzgerald

TL (cc), 1 p. (PU)

May 31, 1929

F. Scott Fitzgerald, Esq., c/o The Guaranty Trust Co., Paris, France.

Dear Scott:

Swanson asked me to send the enclosed on to you. In a note to me he says that the story* met with a great reception and he hopes the third story will be along soon.

Yours sincerely, [Harold Ober]

Notes:

* Probably “The Original Follies Girl.”

346. To Reynolds office

Wire to Reynolds office 4 June 1929. Paris. (AO)

CONSULT AGENT  MYRON  SELZNICK  AT  BANK  OF  HOLLYWOOD BUILDING REGARDING RAGS MARTINJONES FITZGERALD

347. To Ober

ALS, 1 p. n.d.—received 5 June 1929. (AO)

c/o Guaranty Trust 1 Rue des Italiennes

Dear Harold:

A talkie of Vegetable would be O. K with me——only no more stage  representations on  any account, charity or otherwise.   I wouldn't feel guilty about a talkie Sorry you didn't get over

Ever Yrs. Scott F—

348. To Reynolds office

Wire to Reynolds office 11 June 1929. Paris. (AO)

STORIES * MAJESTIC AND BERENGARIA CAN YOU DEPOSIT TWO FITZGERALD

Notes:

* One of these stories was probably “At Your Age,” The Saturday Evening Post, 17 August 1929.

349. To Fitzgerald

TL (cc), 1 p. (PU)

June 19, 1929

Dear Scott:

The article for College Humor has just come in—the one entitled THE SOUTHERN GIRL—and I am sure that Swanson will like it.*

I am sending you herewith three copies of the contract covering the talking picture rights to THE BEAUTIFUL AND DAMNED.** I have had these contracts rewritten three or four times and have finally gotten them up to $1,000. You will remember that in the original picture contract for THE BEAUTIFUL AND DAMNED there was a clause stipulating that if the gross income from the picture reached the sum of $250,000, the company agreed to pay you an additional $1,250. In making the new contract they insisted on including the clause which you will find in the last paragraph of Clause 4, releasing them from making further payment. I have been fighting them over this for a month or two now. The lawyers say that it is impossible now under the present distribution of moving pictures to keep any kind of an accounting and tell the gross earnings of a picture. They say that they are sure that the picture has never earned anything like $250,000. I finally got them up to $1,000, but they say they will not pay any more. If we do not want to go ahead on this basis they will drop the matter. It is possible that if you refuse to sign the contract they may come up a little more, but I am inclined to think that this is their limit.

If you decide to sign the contract, sign it before an American consular officer. I can get the $1,000 as soon as you send back the signed contracts.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Notes:

* “The Southern Girl,” College Humor, October 1929. Published as by F. Scott and Zelda Fitzgerald.

** Warner Brothers planned to remake The Beautiful and Damned with sound, but the film was never produced.

350. To Fitzgerald

TL (cc), 1 p. (PU)

June 19, 1929

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

Your story MAJESTY is scheduled for the July 13th issue of the Saturday Evening Post.

Yours sincerely, [Harold Ober]

At Your Age just came in—and I have just read it. At this minute it seems to me the finest story you have ever written—and the finest I have ever read. I think I will always feel that way about it—unless you write a finer one, and I suppose you will*

Notes:

* The holograph postscript is not in Ober's hand.

351. To Reynolds office

Wire to Reynolds office 23 June 1929. Paris. (AO)

POST STORY LEFT HERE ON LEVIATHAN LAST THURSDAY CAN YOU DEPOSIT SEVENFIFTY SCOTT FITZGERALD

352. To Ober

ALS (pencil), 2pp. n.d.—received 26 June 1929. (AO)

Dear Harold:

Did the B. + Damned Talkie come thru? Have asked for money as if it had.

I'm calling on you heavily this month (Insurance, income tax, child's adenoid + tonsil operation car, Cannes villa in advance to pay) + last American bills but am sending another story in three days which I hope will more than square us. Adress after 30th June [for emergencies]

[Fleur des Bois] 12 (Boulevard—unnessessary in cables) Gazagnaire (GAZAGNAIR) Cannes

Excuse this scrawl but its four + I've been correcting since ten + have grown hazy with exactitude—I'd like to write this upside down. With 2nd story will have [almost] more than 2 clear mos. on Rivierra where we [have] will have a really inexpensive menage, for I'm damn tired of this delay about novel, for novel + if end is in sight in Sept. won't hesitate to borrow from Perkins.

My wife's 4th [schech] sketch along shortly. No news. Sorry you didn't get over [There is an obliterated note in the left margin of the first page.]

Scott Fitzg—

353. To Reynolds office

Wire to Reynolds office 27 June 1929. Paris. (AO)

NEW STORY LEANING TONIGHT CAN YOU DEPOSIT FIVE FITZGERALD

354. To Reynolds office

Wire to Reynolds office 1 July 1929. Paris. (AO)

CONTRACT * SENT AQUITANIA CAN YOU DEPOSIT THREE FITZGERALD

Notes:

* Probably the contract for the sound movie of The Beautiful and Damned.

355. To Fitzgerald

TL (cc), 1 p. (PU)

July 2, 1929

Dear Scott:

Thank you for your note that came with the last story, AT YOUR AGE. I think I told you that I think it a beautiful piece of work.

I note that another story is coming along and that after that you are going to take a couple of months on the novel. I know you will be glad to finish it. If you get any of it so that you can send it over to me, I wish you would, because, as I told you, Liberty have been holding a place open for it for a long while and they will want to get started on the illustrations if they are going to use it.

I know you want to have the story out in book form just as soon as possible, so we want to do everything we can to get the story published serially at the earliest possible date.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

356. To Fitzgerald

TL (cc), 1 p. (PU)

July 9, 1929

Dear Scott:

I cabled you that the Post were paying $4000 for AT YOUR AGE. I told Costain that I thought you were due for a raise and that AT YOUR AGE was a good story to begin on. He has agreed that it is one of your best stories and they have sent us a check for $4000 for it and they will pay us $4000 for any they get for a while now, unless it is a very short story or one that they do not feel to be up to your standard.

I am very much pleased that your price has come up to $4000, and I hope you will be too.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

357. To Fitzgerald

TL(cc), 1 p. (PU)

July 9, 1929

Dear Scott:

I enclose account to July 9th. The last account was sent you on February 21st when the account was exactly balanced.

I got your cable asking if we could wire one hundred dollars ($100.), and I am cabling you five hundred ($500.) as I know you must be a little short.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq., 12, Boulevard Gazagnaire, Cannes, France.

358. Account Statement by Ober

Typed account, 3 pp. From Reynolds. (PU)

July 9, 1929.

F. Scott Fitzgerald In account with Paul R. Reynolds

 

 

Charges:

 

 

1929 Feb.

25

Deposited Guaranty Trust Co.

$600.00

 

 

28

“

500.00

1100.00

Mar.

1

“

500.00

 

 

2

“

200.00

 

 

9

Cabled Genoa

200.00

 

 

15

Deposited Guaranty Trust Co.

900.00

 

 

29

“

750.00

2550.00

Apr.

3

“

400.00

 

 

10

“

400.00

 

 

15

“

700.00

 

 

22

“

700.00

2200.00

May

6

“

700.00

 

 

13

“

400.00

 

 

22

“

650.00

 

 

27

“

300.00

 

 

31

“

1050.00

3100.00

June

6

“

200.00

 

 

12

“

200.00

 

 

14

“

500.00

 

 

20

“

500.00

 

 

24

“

750.00

 

 

27

“

500.00

2650.00

July

1

“

300.00

 

 

3

“

1000.00

 

 

8

“

500.00

1800.00

Mar.

9

Cost cabling to Genoa (200.)

5.00

 

 

 

Typing:

 

 

 

 

The Original Follies Girl

2.10

 

 

 

The Rough Crossing

6.21

 

 

 

Short Autobiography & The Poor Working Girl

2.50

 

 

 

Reg. assign. copyt:

 

 

 

 

Last of the Belles)

 

 

 

 

Captured Shadow)

 

 

 

 

The Perfect Life)

 

 

 

 

Forging Ahead         Basil & Cleopatra)

 

 

 

 

Rough Crossing)

4.10

 

 

 

Searching copyright records

1.05

20.96

 

 

Beautiful and Damned

 

$13420.96

CREDITS:

 

Received from College Humor

 

 

 

 

The Original Follies Girl

$400.00

 

 

 

The Southern Girl

500.00

 

 

 

The Poor Working Girl

500.00

 

 

 

Received from Warner Brothers

 

 

 

 

sound rights

 

 

 

 

The Beautiful and Damned

1000.00

 

 

 

Received from Saturday Evening Post

 

 

 

 

The Rough Crossing

3500.00

 

 

 

Majesty

3500.00

 

 

 

At Your Age

4000.00

 

 

 

Received from the New Yorker

 

 

 

 

A Short Autobiography

100.00

 

 

 

Received from Metro. News. Service

 

 

 

 

additional collections

 

 

 

 

Your Way and Mine (Indianapolis Post)

3.00

 

 

 

Received from W. H. Baker Co.

 

 

 

 

royalty

 

 

 

 

John Jackson's Arcady (88 copies @ 5¢ to Apr. 1, 1929)

4.40

 

 

 

 

$13,507.40

 

 

 

Commission 10%

1,350.74

$12,156.66

 

 

 

 

1,264.30

 

 

English Sale—Outside the Cabinet Makers—

 

34.56

 

 

Due Paul R. Reynolds

 

122974

Last statement sent you Feb. 21, 1929 when we deposited $1,323.75 to balance account.

July 9, 1929

 

 

 

 

 

 

F. Scott Fitzgerald In account with Paul R. Reynolds

 

 

 

 

Sold in England to Storyteller Magazine

 

 

 

 

British Serial Rights

 

 

 

 

Outside the Cabinet Makers —      8.8.0

 

 

 

 

Commission 15%  — 1.5.2  — 7.2.10

4.84   

$34.56

 

 

Credited to your account.

 

 

359. To Ober

ALS, 1 p. n.d.—received 15 July 1929. Cannes. (AO)

Dear Harold:

Of course I was delighted with the news about the raise—which makes actually 900% in 10 yrs., you've made for me. Probably in this case by your own entheusiasm for the story. For that I thank you also. For the enormous loans you've made me I don't even dare begin.

About the Lit. Digest.* I'm enclosing Outside the Cabinet Makers with the proof sent me too late for correction but which I'd like to be followed if [y] they use the story. I'll leave it to you to decide whether they use

(1)  This enclosed (Outside the ect)

(2)  Southern Girl

(3)  At Your Age (since you seem to like it so much) Let me know which you decide to use.

Ever Yrs. Scott

If you don't use this please return. [Added in pencil, obliterated]

Notes:

* This collection of stories does not seem to have been published.

360. To Reynolds office

Wire to Reynolds office 19 July 1929. From Fitzgerald. Cannes. (AO)

CAN YOU DEPOSIT FIVE POSITIVELY LAST REQUEST

361. To Reynolds office

Wire to Reynolds office 27 July 1929. From Fitzgerald. Cannes. (AO)

SORRY * AND SKETCH SENT CAN YOU DEPOSIT TWO

Notes:

* This story was probably “The Swimmers,” The Saturday Evening Post, 17 October 1929.

362. To Reynolds office

Wire to Reynolds office 17 August 1929. Cannes. (AO)

STORIES LEFT HERE ON ISLE DE FRANCE CAN YOU POSSIBLY DEPOSIT FOUR MONDAY FITZGERALD

363. To Ober

ALS, 2pp.—c. August 1929. Cannes. (AO)

Dear Harold:

This inexcusable delay is because this is the hardest story I ever wrote, too big for its space + not even now [un]satisfactory. I've had a terrible 10 days finishing it, when I thought I had only an hour, + the femme de chambre stood by all one afternoon last week to take it to the post office. However its done + its not bad + I've got a clear month for the goddamn novel (I don't really feel its God damn.) and things will probably clear up eventually. Don't you think that Zelda's Girl-the-Prince-liked thing is good?

With deathless gratitude + please charge interest on these exorbitant loans if only to break me of the habit of having to ask for them.

Ever Yrs. Scott Fitzg—

P.S. (1) Hemmingway was shocked by some offer you made him because he'd already turned down twice that from Long. Couldn't you find some profitable, but not-exigent not contract-making market, for the idea of a contract fills him with horror. Let me know!

P.S. (2) When I suggested story for Lit Digest I accidently said Southern Girl meaning Last of the Belles. However The Outside Cabinet Makers will do quite well.

364. To Reynolds office

Wire to Reynolds office 21 August 1929. From Fitzgerald. Cannes. (AO)

THANKS IF STORIES RECEIVED CAN YOU POSSIBLY MANAGE FOUR HUNDRED MORE

365. To Fitzgerald

TL (cc), 1 p. (PU)

August 22, 1929

Dear Scott:

I have just read THE SWIMMERS and I think it is the ablest and most thoughtful story you have ever done. I have read it twice and I think I could get still more out of it if I read it a third time. It may not be as popular as some of the stories you have done recently, but I think you can very well be proud of it.

In your cable you mentioned sending stories. Only this one story has come in. It came in on the Ile de France the day before yesterday. I tried to read the original copy, but it was rather difficult, so I had it typed before I read it. You had better let me know what the other story is, so that I can try to locate it. I thought possibly you were sending another article for College Humor.

I know Maxwell Perkins will be pleased that you are now going to finish up the novel!

I will drop you a line just as soon as the other story turns up.

I deposited $500 on the 19th and $500 again today. But you will have had my cables about this before now.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

366. To Fitzgerald

TL (cc), 1 p. (PU)

August 26, 1929

Dear Scott:

I have just been talking over the telephone to Tom Costain and he tells me that he is taking THE SWIMMERS and thinks it is a very fine story. He is coming in tomorrow and after I have seen him I will write you more of what he says about it.

I was in Philadelphia last Thursday and had a long talk with Costain and also with Miss Neall.* They wanted to know all about you and they said you were writing some very fine stories. Mr. Lorimer is expected back from abroad and everybody there was sitting with a very expectant look and a very clean desk waiting for him to come in.

In the letter that came with THE SWIMMERS you speak of Zelda's GIRL THE PRINCE LIKED thing.** I wonder if you meant to put that in with the story and forgot to do so. Or perhaps it got off by a later boat. At any rate, it is now Monday afternoon and it has not turned up. THE SWIMMERS came in on the Ile de France on Wednesday.

P.S. - 1. I don't understand just what you mean about Hemingway, but I will write you again about this in a few days.

P.S. - 2. I think the Literary Digest are very lucky to get OUTSIDE THE CABINET MAKER'S, but if by any chance they would rather have something that is more typical a story, I will let them have THE LAST OF THE BELLES.

Sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

Notes:

* Miss A. W. Neall, editor at The Saturday Evening Post.

** “The Girl the Prince Liked,” College Humor, February 1930. Published as by F. Scott and Zelda Fitzgerald.

367. To Fitzgerald

TL (cc), 1 p. (PU)

August 27, 1929

Dear Scott:

I have a letter this morning from Costain confirming what he told me over the telephone yesterday. The Post are taking THE SWIMMERS and they are paying $4000 for it. They say the story was a little difficult for them in spots, but it was so unusually good that they could not resist it. When he says it was difficult in spots he means, of course, the part about the divorce, etc.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

368. To Fitzgerald

GIRL PRINCE RECEIVED SWIMMERS SOLD FOUR OBER

Wire (cc) to Fitzgerald 28 August 1929. (PU)

369. To Reynolds office

Wire to Reynolds office 28 August 1929. Cannes. (AO)

IF NECESSARY I CAN MODIFI CRACK AT BUYERS ETC IN PROOF * FITZGERALD

Notes:

* Refers to “The Swimmers.”

370. To Reynolds office

Wire to Reynolds office 29 August 1929. From Fitzgerald. Cannes. (AO)

SENDING THREE FOURTH OF NOVEL SEPT 30TH STARTING NEW STORY NEXT WEEK CAN YOU DEPOSIT THREEFIFTY

371. To Fitzgerald

TL (cc), 1 p. (PU)

August 30, 1929

Dear Scott:

I am sending you a copy of the revised edition of CONTEMPORARY AMERICAN LITERATURE.* You will find yourself in it.

I thought you might be interested in this.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

Notes:

* Contemporary American Literature Bibliographies and Study Outlines by John Matthews Manly and Edith Rickert (New York: Harcourt, Brace and Company, 1922, 1929).

372. To Fitzgerald

TL (cc), 1 p. (PU)

September 3, 1929

Dear Scott: The Post tell me that there will not be time to send you proofs of THE SWIMMERS and, as a matter of fact, they intend to publish the story exactly as it stands, with perhaps a change of one or two words. They say that Mr. Lorimer did not feel that your “cracks” at buyers were objectionable.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

373. To Fitzgerald

MCCALLS WILL PAY FIFTEEN HUNDRED FOR TWO THOUSAND WORDS OBER

Wire (cc) to Fitzgerald 10 September 1929. (AO)

374. To Reynolds office

Wire to Reynolds office 11 September 1929. From Fitzgerald. Cannes. (AO)

ACCEPT MCCALLS ANY PROSPECT OF RAISE FROM SWANSON CAN YOU DEPOSIT THREE ON EIGHTEENTH

375. To Fitzgerald

TL (cc), 1 p. (PU)

September 18, 1929

Dear Scott:

Paul Palmer, the editor of the magazine which the New York World publishes on Sundays, has just called me up and wants to write to you about something. He wanted to know if I minded his writing direct to you and I told him I did not, so I gave him your address. He said he might write me instead of writing to you. If he does, I will let you know what he wants. He uses short articles, but I doubt if he can pay what you ought to get for an article. If he offers you a low price, let me know and perhaps I can get him up.

Yours sincerely, [Harold Ober]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

376. To Fitzgerald

Wire (cc) to Fitzgerald 21 September 1929. (PU)

MY PARTNERSHIP REYNOLDS DISSOLVED TODAY REYNOLDS HIS WIFE AND SON CONTINUING OPENING MY OWN OFFICES 485 MADISON AVENUE YOU OWE REYNOLDS NOTHING I WILL GLADLY MAKE YOU ADVANCES WHEN NEEDED STOP TO AVOID INTERRUPTION WORK PLEASE CABLE ME AUTHORIZATION TO CONTINUE PERSUADE HEMINGWAY SEND STUFF THROUGH YOU TO ME CABLE ADRESS LITOBER NEWYORK
HAROLD OBER

377. To Ober

Wire to Ober 23 September 1929. From Fitzgerald. Cannes. (AO)

SKETCH  SENT  STORY  LEAVES  TODAY  CAN  YOU   MANAGE EIGHT NOW AND TWO WEDNESDAY

378. To Ober

ALS (pencil), 1 p. n.d.—received 8 October 1929. Cannes. (AO)

Dear Harold:

It seems to me this is worth a thousand. * Perhaps not from Swanson's point of view though he's running them pretty far forward in his issue—but from the point of view that most of them have been pretty strong draughts on Zelda's and my common store of material. This is Mary Hay for instance + the “Girl the Prince Liked” was Josephine Ordway both of whom I had in my notebook to use. Also they've been coming along pretty faithfully + have a culminative value.

Mailing story of my own Monday. Adress after 1st Paris.

As Ever Scott

If he can only pay $500 it seems to me Zelda's name should stand alone.

Notes:

* “The Girl with Talent,” College Humor, April 1930. Published as by F. Scott and Zelda Fitzgerald.

379. From Mr. Raynolds To Fitzgerald

TL (cc), 1 p. (PU)

September 23, 1929

My dear Fitzgerald:

As you probably now know, Harold Ober is starting his own agency beginning with today. He has, as you know, from the start handled your work in the main and I think it would be only fair that he should go on handling it. We have been together a good many years and I am sorry that we should have decided to separate, but it seemed best for the interest of both of us.

I am writing now merely to say that although I feel that Ober, who has handled in the main your work from the start, should continue to handle it, if at any time I can give you any information or do you a good turn, I shall be glad to do it and I hope you will keep on with the success that I think your ability entitles you to.

Believe me
Sincerely yours, [Paul Revere Reynolds]

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France.

380. To Ober

Wire to Ober 24 September 1929. Cannes. (AO)

FOLLOWING YOU NATURALLY FITZGERALD

381. To Fitzgerald

TL (cc), 1 p. (PU)

Dear Scott,

I got your cable yesterday and deposited a thousand. I had a talk with Costain to-day and he was very enthusiastic about your last stories. He says they are an advance on anything you have ever done. I told Mr. Weiss of M'Calls* that the articles had been mailed and he is very much pleased.

I'm in my new offices. I'm at the corner of 52nd Street and like them very much. I look straight down Madison Avenue from one window—over St. Patricks from another, and have a glimpse of the East River from another.

Your very nice cable, saying that you are following me, “naturally” makes me very happy. It has just this moment come in.

Yours as ever, [Harold Ober]

September 24th, 1929.

Notes:

* Otis Wiese, editor of McCall's, had commissioned Fitzgerald to write an article on the “present day status of the Flapper.”

382. To Fitzgerald

Wire (cc) to Scott and Zelda Fitzgerald 30 September 1929. (PU)

SWANSON AGREES PAY EIGHT HUNDRED FUTURE ARTICLES OBER.

383. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq. 12 Boulevard Gazagnaire Cannes, France

Dear Scott:

Collier's Weekly want very much to have you do a short short story for them. They like stories a thousand words in length and they will pay a thousand dollars for the story, and make a definite order if you want it that way.

If you have an idea for a story of this length at any time, you might do it and send it along.

Yours sincerely, [Harold Ober]

October 2, 1929

384. To Fitzgerald

Wire (cc) to Fitzgerald 7 October 1929. (AO)

CABLE WHEN MAILING MCCALLS ARTICLE OBER.

385. To Fitzgerald

TL (cc), 2 pp. n.d. From Ober. (PU)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

There is one thing that I meant to have written you about before this, but I have been so busy moving that I neglected it.

In your last letter you write me as follows:

“Hemmingway was shocked by some offer you made him because he'd already turned down twice that from Long. Couldn't you find some profitable, but not exigent not contract-making market, for the idea of a contract fills him with horror. Let me know!”

I could not make out what this was all about until I found a memorandum, dated some time in May, showing that Reynolds' son had written a letter to Hemmingway through Maxwell Perkins giving the offer from Collier's that you probably refer to.

Your letter came in while we were in the process of terminating the partnership and I spoke to Mr. Reynolds about it, telling him that what they had done had put me in an embarrassing position with you. It was just another case of their trying to do things without letting me know about it. Of course, you told me about Ray Long's offer to Hemmingway and they knew perfectly well that I had been discussing Hemmingway with you. Reynolds said it was, of course, a mistake, but as we were still partners he thought we all ought to stand together and he begged me not to write you about the matter.

Then again, without letting me know that he was doing so, he went over to Collier's and got them to make a higher offer. I had luncheon with one of the editors the other day and he told me about the arrangement. I was very busy getting matters in shape in the Reynolds office and getting my own offices started and Reynolds and his son did a number of things like this that were decidedly unfair to me. As you know, I have always been interested in Hemmingway and I am sure I could sell his stories in a way that would satisfy him. If there is any way you can steer him my way, I should appreciate it. I know he thinks a great deal of your advice.

It is very nice of you to send me the cable you did. I like my new offices very much indeed. I received hundreds of congratulatory letters, wires and cables, and everything is starting even better than I thought it possibly could. Costain of the Post and Maxwell Perkins have both been very nice to me and have steered one or two very promising authors my way.

Some time I will tell you about the reasons for the breaking up of the old partnership. [The end of this letter is missing.]

Oct 8.

See here F. Scott Fitzgerald's annotations on this letter.

386. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

The article entitled THE GIRL WITH TALENT came in safely and I have had it typed. I agree with you that it is an extremely good piece of work. I think it is the best one you and Zelda have done so far and I agree with you that it is worth more than five hundred dollars. As I cabled you the other day before the article came in, Swanson has agreed to pay eight hundred dollars ($800). I doubt if I could get him up to a thousand on the next one or two.

I agree with you that it is a mistake for you to use up material on these articles that you could use in stories. Of course as this one on Mary Hay stands, it is more of a sketch than a story, although it is a beautifully done sketch. I think that since you and Zelda have been doing these for Swanson, that we had better let him have this one at eight hundred but if you have any more ideas that will make stories, don't put them into this form.

Did you cable asking me to deposit two hundred dollars? I have just heard from the Reynolds office that they had a cable, unsigned, sent from some place that I could not make out over the telephone. They evidently received it two or three days ago. I have deposited three hundred dollars and if you did cable, I hope you will understand that I would have deposited the money right away if I had received your cable. I note by your letter that you will be in Paris after October 1st and I presume that you may have sent the cable on your way to Paris and that you didn't have my cable address or by mistake you sent it to the old address. If you didn't send it at all, there is no harm done.

Sincerely yours, [Harold Ober]

Oct 8, 1929.

387. To Ober

Wire to Ober 14 October 1929. Paris. (AO)

MCCALL SKETCH MAILED FOR MAJESTIC TUESDAY THE SIXTEENTH CAN YOU DEPOSIT TWO FITGERALD.

388. To Fitzgerald

TL (cc), 2pp. (PU)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

Your story THE SWIMMERS is in the Post for October 19th. Do you get copies of the Post easily in France? If not, will you let me know and I will send them over to you if you want them.

It has occured to me that you are spending more money than you need to in cabling to me. I suggest that in future when you want me to make a deposit that you cable me as follows:

LITOBER NEWYORK
FIVE

On receipt of such a cable I will make a deposit and cable you back the same word, by which you will know that I have deposited the amount you asked for. If I deposit more or less, I will cable accordingly.

If you need money in a rush and want me to cable it, merely add the word cable before the number, as follows:

CABLE FIVE

Please do not think that such a cable will seem abrupt to me, for it is my own suggestion and will save us both money in cabling. If for any reason I am temporarily short and cannot make a deposit, I will, of course, cable you at once, but I do not think such an emergency if likely to arise.

You wrote me that you were sending a story and mailing it on what I should think would have been a week ago Monday - October 7th. This story has not yet turned up and I hope it has not gone astray.

I think you must be short and I am depositing $300 for you this morning.

Sincerely, [Harold Ober]

October 19, 1929

389. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

I have your cable today reading:

“Delayed Post story leaves Monday can you deposit three-hundred”.

I deposited $300. for you on Saturday as I thought you might be getting short. As you may not have received my cable of Saturday when you sent the cable I got today, I am cabling you:

“Three more deposited”

so you will understand it is not a repetition of my other cable.

Sincerely yours, [Harold Ober]

October 21, 1929.

390. To Fitzgerald

TL (cc), 1 p. (PU)

October 21, 1929

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

I have been talking today to Mrs. Angell* about the possibility of your doing some more things for the New Yorker. She is going to send me a memorandum of some things you might possibly do for them, and when I get that I will write you again. In the meantime, she wants me to ask you if you have any ideas for profiles. These are sketches of prominent people, and I am sure you have seen them in the New Yorker. It occurred to me that you might do a very amusing one of Gene Tunney. You remember one time when we were having lunch you gave me a very interesting and amusing sketch of him. Mrs. Angell, in speaking of it, said that if you did such a profile of him, she would want you to do it with “your tongue in your cheek”.

As you know, the New Yorker does not pay very much, but I think they could stretch their budget a little for you. Ring Lardner has been doing quite a lot for the New Yorker and Mrs. Angell assured me that he was doing these things at their regular rates, which are not at all high. I do think, however, it would be a good thing for you to have an occasional thing in the New Yorker, which has a very different audience from the Saturday Evening Post and an audience that would be very keen to see something from you, and I think it would help you in the long run.

Mrs. Angell said you could do sketches of Americans that you see in France. Another thing she thought you could do very well would be sketches of people from different suburbs around New York, describing a typical person and showing the similarity between the person and the suburb. I will write you again about this when I receive the memorandum from the New Yorker. Mrs. Angell says she is going to talk the whole matter over with Mr. Ross and then write me a letter.

Sincerely, [Harold Ober]

Notes:

* Katherine Angell, editor at The New Yorker.

391. To Ober

ALS (pencil), 1 p. n.d.—received 23 October 1929. Paris. (AO)

Adress Guaranty Trust

Dear Harold:

Of course I was sorry to see the firm of Reynolds + Ober broken up, because it had become a part of my life. I hope it was settled + will turn out to your advantage + I'm sure it will.

About Hemmingway—he had recieved several offers from America thru Reynolds and while I have told him that I much preferred to remain with you, [one] I don't know what his intentions are. I think it was foolish to let him slide so long as he was so obviously a comer. I will write you at length about this later.

We are taking an appartment here for the winter + I've sworn not to come back without the novel which is really drawing to a close. Does Swanson's new price include the Mary Hay sketch?

Ever Yours Scott Fitzg

I think only the last page of the enclosed need be typed.*

Notes:

* Written along left margin. Refers to “Girls Believe in Girls,” written for McCalt's, but published in Liberty, 8 February 1930.

392. To Fitzgerald

TL (cc), 2pp. (PU)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

GIRLS BELIEVE IN GIRLS has just come in and it is a very thoughtful and interesting article. I hope it wasn't too difficult to write.

Let me know once in a while, won't you, how the novel is getting along, and if you can send over a portion of the manuscript, I'll take the very best possible care of it. I don't think you ought to lose the serial money and the sooner I get part of the story, the sooner we can get the story into a magazine and published, so that Scribner can bring out the book and of course I know you want the book published without any more delay than is necessary. As I think you probably remember, the story goes first to Liberty at $35,000. and I don't think there is any question but what they will use it. They certainly call me up often enough about it. There are three or four other editors who are also very keen to see it and if it is possible at all as a serial, you ought to get a good sum of money for the serial rights. Then there are possible dramatic rights, and moving picture rights.

I have just received Swanson's check for THE GIRL WITH TALENT and he paid $800. for it.

Thank you for writing me about Hemingway. I have just read his new book and I think it is lengths ahead of anything that has been published here recently.

If you read any book that seems striking to you or run across any authors that you think have possibilities, I hope you will drop me a line about them. Things are going very well, indeed, for me and I am busier than I have ever been in my life but I do want to keep in touch with the younger writers and I don't know anyone who seems to have such a keen sense of values about new writers as you.

I'll keep on addressing you care of The Guaranty Trust Company but you might let me have the address of your apartment as in case of emergency I might need it. For instance, I might want to cable you during a week-end and the bank will be closed. I'll be careful not to give it to anyone who might be bothering you.

Sincerely yours, [Harold Ober]

October 23, 1929.

393. To Fitzgerald

TC (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

You may be interested in the following letter from Miss Roberts of the Woman's Home Companion:

“I was very much struck by the story of F. Scott Fitzgerald's, The Swimmers,  which appears in this week's Saturday Evening Post.

“The stories which he did some time ago for us we all thought were very good and then for the last year or two it seemed to me that a good many of the stories he was publishing lacked the individual touch which had given them color.

“Reading The Swimmers made me feel awfully enthusiastic about Mr. Fitzgerald again and I wonder if you couldn't arrange to let us see something of his? That type of story with its peculiarly touching paragraphs (about America) and with the ironical scene (in the boat) I think he does so well.

“I'd appreciate your letting us know what the possibilities are.”

Sincerely, [Harold Ober]

October 25, 1929

394. To Ober

Wire to Ober 26 October 1929. Paris. (AO)

EXCELLENT POST STORY MAILED TODAY * FORMER ONE TURNED OUT BADLY CAN YOU DEPOSIT THREE FITZGERALD

Notes:

* Probably “Two Wrongs,” The Saturday Evening Post, 18 January 1930.

395. To Fitzgerald

TL(cc), 1 p. (PU)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

I think I wrote you a few weeks ago that Palmer, the Sunday Editor of the World, wanted your address. He has now written me as follows:

“I have written to F. Scott Fitzgerald for an article but get no reply. Can you get him to write me a fifteen hundred word story for the Sunday Magazine commenting on the 1929 flapper under some such title as “Dumber but More Beautiful”? The young lady of this year is very different from her sister of the past two or three years and I think he could do a good job describing her. I can pay $300 for the piece.”

I have told him that you are very busy and that the price he offers probably would not tempt you. If you agree with me on this, you might just write no on this letter and enclose it the next time you write.

The story has not turned up yet. I hope it will be coming along soon.

Sincerely yours, [Harold Ober]

November 7, 1929.

396. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

I am enclosing a letter from the editor of McCall's Magazine.* I think McCall's have acted very badly and I am showing the article to another editor. McCall's definitely commissioned the article and I feel very badly that I allowed you to take time from your novel and short stories to do this and then find that they are not living up to their agreement.

If I can sell it promptly to some other editor, I shall be very happy and we can then tell McCall's that we are withdrawing the article.

I am sure this article can be sold to one of the more serious magazines but as you know their prices are pretty low. If I can sell it for $1500. I'll cable you at once. I am enclosing a carbon copy of the article and if you feel like, and can, without taking too much time, lighten the article in accordance with McCall's letter, you might do it and send the article back to me and I'll be able I think to get the money from McCall's.

Sincerely yours, [Harold Ober]

November 12, 1929.

If you don't see any sense in McCall's letter, write no on this note and mail it back to me.**

Notes:

* For Wiese's request for an article on the “present day status of the Flapper,” Fitzgerald delivered “Girls Believe in Girls.” Wiese rejected it as too serious for his magazine, saying in part: “It is not that his message is disturbing—we had expected that—so much as that some of his material is either above or alongside the general interests of our audience. I feel that the same ideas might have been expressed in the vernacular and found greater welcome among our readers. As it stands the lingo is not ours and I am afraid the going would be a bit thick.”

** Postscript added in Ober's hand.

397. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

I have a letter from Mrs. Angell saying that Mr. Ross is very enthusiastic about the idea of your doing a Profile of Ring Lardner.

She says they ought to run about two thousand words, although they can run two or three hundred words over if necessary. She says they cannot give a definite order and the best price they could pay is $250, but she is sure that you can write a very good one and she says she does not think there is a chance in the world but what it would be just what they want.

Although the money paid does not amount to much, I think it might be a good idea for you to do this if you feel like it. There isn't any hurry about it and if you need any facts about Ring Lardner, there is plenty of time to write over and get them.

Sincerely, [Harold Ober]

November 15, 1929

398. To Ober

ALS, 2 pp., n.d.—received 16 November 1929. (AO); Turnbull (there the year is listed as 1926, by mistake)

Adress till February 15th at least: 10 Rue Pergolese Paris

Dear Harold:

Sorry this has been so delayed. I had another called The Barnaby Family that I worked on to the point of madness + may yet finish, but simply lost interest. The enclosed* is heavy but, I think, good. Is it too heavy?**

Now to answer questions ect

(1) As to Hemmingway. You (I speak of you personally, not the old firm) made a mistake not to help sell his stuff personally 2 yrs ago—if any success was more clearly prognosticated I don't know it. I told him the present situation + I know from several remarks of his that he thought at first he was [with] being approached by the same agents as mine—but he is being fought over a lot now + is confused + I think the wisest thing is to do nothing at present. If any offer for moving pictures of bis book for [more than] $20,000 or more came to you however don't hesitate to wire him as he's not satisfied with present picture offers. Simply wire him Garritus—he knows quite well who you are, ect. Please don't in any correspondence with him use my name—you see my relations with him are entirely friendly + not business + he'd merely lose confidence in me if he felt he was being hemmed in by any [plot] coalition. My guess is, and I'm not sure, that he is pretty much deferring definate action for the present on stories + serials but this may not be true by the time this reaches you and may not be at this moment)

(2) I note cable formula + will save $25 or $50 a year thereby.

(3) Post stories all available here—don't send Post.

(4) World offer seems small ($300.). Will answer refusing it politely myself.

(5) Of new authors this Richard Douglass*** author of The Innocent Voyage (called High Wind in Bermuda) in England is much the best bet.**** Will try to keep you informed at the same time I usually do Scribners of anybody new / hear of, as, if he interests me I like to give him a chance for a hearing; but there's nobody now—but may write about that later! America will from now on give about l/2 its book-buying ear to serious people or at any rate to people who have a backing from the sophisticated minority

(6) New Yorker offers O.K. but uninteresting—as for Mrs. Angell [2] (whoever she is) I will gladly modify my style and subject matter for her but she will have to give me her beautiful body first and I dare say the price is too high.

(7) Did McCalls like the article “Girls believe in Girls”?

(8) Now I have two uninterrupted months on the novel and will do my best. There is no question of my not trying for the serial right + never has been.

(9) About The Womans Home Companion, you know.

Yours Ever in Masonry and Concubinage Scott Fitzg—

Notes:

* “Two Wrongs.” Fitzgerald circled the word “enclosed” and drew a line to the margin, where he inserted: “I mean to say separate package”.

** Fitzgerald drew a line from here to the top margin and inserted, but crossed out: “Not that it matters + on second thoughts I”.

*** Richard Hughes, author of High Wind in Jamaica.

**** Fitzgerald drew a line from here to the top margin and inserted: “but a lot of editors may have thought of that. Maybe not though!”

[2] A New Yorker editor.

399. To Ober

Wire to Ober 20 November 1929. From Fitzgerald. Paris. (AO)

MCCALLS CONDUCT PREPOSTEROUS BRING SUIT IF NECESSARY *

Notes:

* Note in Ober's hand reads: “Cowards”.

400. To Ober

ALS, 2pp. (AO)

10 Rue Pergolese, Paris

Nov 23d, 1929

Dear Harold:

McCalls letter was preposterous—no such outline was suggested to me at first. I've read of such frauds being perpretrated [on the contributer to the che so-called “cheap paper magazines” on author's who have niether means nor opportunity of defending themselves] but the rather airy way McCalls regards their agreements is something quite foriegn to any experience of mine in writing for magazines of the type that would [imply] lay down [obliterated] business principles in dealing with their advertisers.

Their letter asking me to put the article into baby-talk—“though they had expected and anticipated the matter being 'disturbing'” [will make juicy reading for a writer]—well, just read it over + try to make sense [out] of it. If they thot I wrote in slang, [why they have] Their order was simply [made] a step in the dark for which I have no intention of paying.

In any case, pale reflections of the “disturbing” ideas for which they presumably offered me the money, will doubtless appear in their editorial columns for some months [, or years] to come—so, win or loose I'd love to make this a test case.

Ever Yours Scott Fitzg—

P.S. Please don't offer it anywhere. Espectially not College Humor! Where was it offered? Please write me.

P. S (2) Who is the editor of McCalls' now. Please tell me exactly—name, ect! Man or woman?

P S (3) You'll have to investigate telegrams there as French offices keep no records once the telegram has been delivered. I tore up telegrams on your recept of article thinking of it (, as it always has been) something finished. The record is kept in one of the N. Y cable offices—i.e. W.U. or Commerial ect. They sent me a wire + you did too, both about same [date] time but theirs sent previously. P. S (4) A story, if its any good is always good—while an ordered, topical, timely article is an entirely different proposition, as you must know from your experience. This thing is the equivalent of: [saying:]

“You, who's time is worth two or three thousand a month, sit down + give me a month's worth of stuff—I agree to pay.”

“But on second thoughts—no”
FSF

401. To Ober

Wire to Ober 24 November 1929. From Fitzgerald. Paris. (AO)

DONT OFFER ARTICLE TO ANYONE ELSE STOP REFUSING A TIMELY ARTICLE ON SUCH GROUNDS IS SIMPLY OUTRAGEOUS AND I AM ASTONISHED THAT YOU LET THEM GET AWAY WITH IT PLEASE TAKE LEGAL MEASURES AT ONCE AM BRINGING MATTER BEFORE AUTHORS LEAGUE AND WILL MAKE IT TEST CASE HAVE NOT SLIGHTEST INTENTION OF COMPROMISING OR TAKING LOSS ANSWER

402. To Fitzgerald

Wire (cc) to Fitzgerald 25 November 1929. (PU)

DELIGHTED FORCE MCCALLS STOP REMEMBERED YOU WOULD NOT FORCE COSMOPOLITAN AND WAS NOT SURE YOUR POSITION MAIL MCCALLS CABLE SEPTEMBER ELEVEN OBER

403. To Ober

Wire to Ober 26 November 1929. From Fitzgerald. Paris. (AO)

FIVE PLEASE IS STORY * SOLD

Notes:

* “Two Wrongs.”

404. To Fitzgerald

Wire (cc) to Fitzgerald 27 November 1929. From Ober. (PU)

LIBERTY WILL BUY GIRLS ARTICLE FIFTEEN HUNDRED ADVISE ACCEPT DIFFICULT SUE MCCALLS BECAUSE ARTICLE SUGGESTS FAIRYLAND CABLE

405. To Fitzgerald

TL (cc), 2pp. (PU)

F. Scott Fitzgerald, Esq., 10 Rue Pergolese, Paris, France.

Dear Scott:

As I have cabled you, Liberty likes your article GIRLS BELIEVE IN GIRLS and want to buy it and pay $1500. for it. I am advising you to let Liberty have the article for several reasons:

First of all, I want to see it published. If we sue McCall's and make them pay for the article, I am sure they would never publish it.

Liberty would pay for the article right away and it would probably take months of backing and filling to get the money out of McCall's and possibly with lawyers' fees to eat into the amount!

We might have considerable difficulty in forcing McCall's to pay for the article. There were several paragraphs in the article that would be pretty strong meat for any woman's magazine. I tried to convey this meaning to you in my cable without being too obvious.

The article will attract much more attention in Liberty and I'd much rather see it there than in any woman's magazine.

I have talked to the Authors' League and they say they have had several difficulties of this kind with McCall's. In each case McCall's have fought the matter to the very end so that it has taken months to make them settle and in each case there have been several hundred dollars lawyers' fees.

Last of all, there is not much satisfaction in forcing a magazine to pay for something they don't like and on the other hand there is a lot of satisfaction in taking the story away and selling it at once to a more successful magazine.

If you agree with me in regard to the above points, I think you will be glad that the article is going to another magazine and that in the future we can tell McCall's “where to get off”.

I got your cable and I am sorry that you were troubled about the whole affair. This is the first time McCall's has ever let me down this way but I always try to allow for some such occurrence as this and if I had not been almost certain that an article by you on this subject could be sold to one magazine in case another should let us down, I wouldn't have suggested your doing the article.

When I read the article I was intensely interested in it but I felt that it might be very difficult, indeed, for any woman's magazine. I hope that you will think I have acted wisely in this matter and I shall take a good deal of satisfaction in telling McCall's I have placed the article to better advantage and that as far as I am concerned I shall know what to say when they make any of their frequent and urgent requests for the sight of a story of yours.

Sincerely yours, [Harold Ober]

November 27, 1929.

406. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq. 10 Rue Pergolese Paris, France

Dear Scott:

I don't believe I wrote you after reading TWO WRONGS. I think it is one of the best things you have done. For some reason, the Post was a little slow in reporting on it, but they have bought it and Costain has just told me over the telephone that he likes it very much indeed.

I will have an account made up to December 1st, so you will know exactly how you stand. I have not had it checked up recently, but I think that with the money from the Post for TWO WRONGS and from Liberty for the article GIRLS BELIEVE IN GIRLS, the account will be fairly evenly balanced.

Yours sincerely, [Harold Ober]

November 27, 1929

407. To Ober

Wire to Ober 28 November 1929. From Fitzgerald. Paris. (AO)

AGREED IF POST NOT ALIENATED *

Notes:

* Reply to Ober's 27 November telegram.

408. To Fitzgerald

Wire (cc) to Fitzgerald 29 November 1929. From Ober. (PU)

ALLRIGHT WITH POST

409. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq. 10 Rue Pergolese Paris, France

Dear Scott:

I have your letter of November 23rd about McCall's, but as this was written before we decided to sell the story to Liberty, I am not going to bother you any further about the matter. I certainly agree with all you say.

Maxwell Perkins told me today that he had a very encouraging letter from you regarding your book. You will not forget, will you, that it would probably save a month or two and get the book out that much earlier if you will send over, say, half the story when you have it done. You can send it over insured and I can get two or three copies typed at once so that we can have one for magazine and one for Scribner's. I could send another copy back to you if you need it to refer to in working on the end of the story.

Sincerely, [Harold Ober]

December 5, 1929

410. To Ober

Wire to Ober 20 December 1929. From Fitzgerald. Paris. (AO)

TWELVE PLEASE FINISHING STORY

411. To Ober

ALS, 1 p. n.d., n.p—received 26 December 1929. Paris. (AO)

Dear Harold:

Would the New Yorker like this?* Be sure you have your stenographer copy everything exact because of the dialect—or whatever it is.

As to the Ring Lardner, I don't like the idea**—it is hard to discuss him without bringing in the dissipation. I'd have gladly done Ernest but I see D. Parker has done him this week.

O.K. on the Liberty matter—you did wisely, I'm sure. Will it hurt you in any way if I nevertheless send correspondence [of] to Author's League Bulletin?

Working like hell on novel. Thank you for all deposits. Starting story Monday.

As Ever Scott

Did Wiess of [the] Mccalls sign that letter? This if you answer this above question in the negative. Or in any case, Won't act without telling you.***

Notes:

* “Salesmanship in the Champs Elysees,” The New Yorker, 15 February 1929.

** Refers to a profile of Ring Lardner requested by The New Yorker.

*** Added in pencil at bottom with an arrow leading back to the end of the first sentence in the third paragraph.

412. To Fitzgerald

TL (cc), 1 p. (PU)

F. Scott Fitzgerald, Esq. 10 Rue Pergolese Paris, France

Dear Scott:

Thank you for your note, sending in the very amusing sketch entitled SALESMANSHIP IN THE CHAMPS ELLYSEE. I am sure the New Yorker will like this.

I note what you say about Ring Lardner and I will tell the editor of the New Yorker that you do not feel you could do one of him. If you think of anybody else that you would like to do at any time, you might let me know.

The letter I sent you from McCall's Magazine was signed by Otis L. Wiese, the editor. It would not hurt me in any way to have this whole correspondence published in the Authors' League Bulletin. I think, however, it might be rather embarrassing for Liberty, which is going to use the article, and I would rather not have the correspondence published until we find out how the editors of Liberty would feel about it. Some editors like to feel that anything they publish has been written directly for them and that no other editor has seen or declined anything that they use. On the whole, I would be inclined to let the matter drop. I should not be at all surprised if there was a new editor at McCall's before very long, and I don't see that you could gain very much by having the letters published in the Bulletin. If it would be a satisfaction to you to print the letters, let me know and I will see Liberty and see how they feel about it.

Sincerely, [Harold Ober]

December 26, 1929

Fitzgerald's total earnings for 1929 were $32,448.18 (including $2,430 for Zelda's sketches). He sold eight stories to The Saturday Evening Post ($27,000). His Post price reached the top figure of $4,000. His book royalties were $31.77.

413. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq. 10 Rue Pergolese Paris, France

Dear Scott:

I am glad to have your cable, although I am sorry to know that you have been ill.

You asked for $100, but I know you must be short and I am sending you $300.

Your last cables have been delayed because they have been sent over to me from the Reynolds office. You probably have the cable address “Carbonato” fixed in your mind. Perhaps you can get some new association of ideas which will fix in your mind my cable address, which is
“LITOBER”.

One or two of my friends have intimated that it had an alcoholic association. This did not occur to me when they gave it to me as a cable address.

Sincerely, [Harold Ober]

January 25, 1930

414. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

A MILLIONAIRE'S GIRL has just come in and I have just finished reading it.* I like it a lot and some of your lines about California are very amusing, indeed.

The story reached me with a large red stamp on the envelope “not at Park & Tilford's”. You had addressed it to 485 Fifth Avenue, which evidently is the home of Park & Tilford.

Sincerely yours, [Harold Ober]

March 5, 1930

Couldn't you send over a few Chapters of the novel. If we could get at least that much start it might be possible to publish the book this Autumn. Otherwise it means 1931.**

Notes:

* “A Millionaire's Girl,” The Saturday Evening Post, 17 May 1930. Mostly written by Zelda, but published as by F. Scott Fitzgerald.

** Postscript added in Ober's hand.

415. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

Thank you for the note that reached me on March 12. I received on the same day your cable saying that another Josephine story was coming along* and also that you would mail half the novel on April 1. I am delighted to know that you can do this as I have been wanting for a long while to read at least part of the novel, and I think it may save a whole season in the publication of the book.

I am very pleased about selling A MILLIONAIRE'S GIRL to the Post. They have promised to send me proofs which I'll send over to you to correct.

Please don't worry about the advances I have made to you and if you don't feel like doing another Josephine story now, I think it would be wise for you to go ahead and put the time in on the novel.

Sincerely yours, [Harold Ober]

March 14, 1930

Notes:

* “A Nice Quiet Place,” The Saturday Evening Post, 31 May 1930.

416. To Fitzgerald

TL (cc), 2 pp. (AO)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Co. Paris, France

Dear Scott:

The second Josephine story, A NICE QUIET PLACE, came yesterday and I am delighted with it. It seems to me even better than the first.

I am glad to know that you are sending one part of the novel and I am eagerly looking forward to its getting here, so that I can read it. I will read it before I tell anyone I have it.

I am enclosing two statements; one to January 1st, and the other from January 1st to April 7th. The story, A NICE QUIET PLACE, will cover this.

I note what you say about Zelda's story that I sold to the Post. It is much too good a story for College Humor and it had so much of you in it that I am sure it would have been recognized as your story no matter under what name it was published. I guess it is all right to let Swanson have sketches if they are very short and could not possibly be made into stories, but, as I wrote you some time ago, I think it is a great mistake to waste good ideas on Swanson for such a low price. I really felt a little guilty about dropping Zelda's name from that story, THE MILLIONAIRE'S GIRL, but I think she understands that using the two names would have tied the story up with the College Humor stories and might have got us into trouble.* Will you please tell her for me that it was a mighty good piece of work. I was in Philadelphia last Monday and both Mr. Lorimer and Miss Neall inquired about you both.

I have been talking to Maxwell Perkins and I really think you ought to have a book out this autumn. Unless you are almost positive that the novel is going to be ready, don't you think it might be well to let them do the Basil Lee stories? Of course, it would be a lot better to get the novel out this autumn, if it can be done, and I think if you once get part of it out of your hands you will be able to finish it.

By the way, O. O. McIntyre, in his column last Sunday, expressed the opinion that “Scott Fitzgerald is the best of the younger novelists—when he tries”.

One more thing, then I am finished with this letter. I think the illustrations for FIRST BLOOD** were terrible and I have expressed my opinion quite freely to everybody in Philadelphia. I feel quite sure they will get somebody else to do the second Josephine story.

Sincerely, [Harold Ober]

April 8, 1930

Notes:

* Ober made the following memo about “The Millionaire's Girl”: “On Scotts list of sales this story is listed under Zelda's writings / “I think it was meant for College Humor but came from France with Scotts handwritten changes and I thought it was his and sent it to SEP and they bought it”.

** The Saturday Evening Post, 5 April 1930.

417. To Ober

ALS, 4 pp. n.d.—received 13 May 1930. Paris. (AO); Turnbull.

Dear Harold:

(1st) I will be mailing a new story about the 25th.* Glad you liked A Nice Quiet Place. Did you ask about the corrected proof of First Blood**—I do so want to have it. Glad you put up a kick about the illustations—they were awful, with all the youthful suggestion of a G.A.R. congress

Thanks for the statements. I'm about where I feared I was.

Zelda was delighted with your compliments about the Millionaire's Girl.

Now—about the novel[1]—the other night I read one great hunk of it to John Peale Bishop, and we both agreed that it would be ruinous to let Liberty start it uncompleted. Here's a hypothetical possibility. Suppose (as may happen in such cases) they didn't like the end + we quarreled about it—then what the hell! I'd have lost the Post, gained an enemy in Liberty—who would we turn to—Ray Long? Suppose Liberty didn't like even the first part + went around saying it was rotten before it was even finished. [So] I want to be in New York if possible when they accept it for there's that element of cutting, never yet discussed—are they going to cut it? Are they going to cut my stories to 5000 words or not? Are they going to pay $3500. or $4000. [Zelda] At [and I] one time I was about to send four chapters out of eight done to you. Then I cut one of those chapters absolutely to pieces. I know you're losing faith in me + Max too but God knows one has to rely in the end on one's own [jude] judgement. I could have published four lowsy, half baked books in the last five years + people would [I] have thought I was at least a worthy young man not drinking myself to pieces in the south seas—but I'd be dead as Michael Arlen, Bromfield, Tom Boyd, Callaghan + the others who think they can trick the world with the hurried and the second rate. These Post stories in the Post are at least not any spot on me—they're honest and if [they're] their form is stereotyped people know what to expect when they pick up the Post. The novel is another thing—if, after four years I published the Basil Lee stories as a book I might as well get tickets for Hollywood immediately.

Well, that's how things are. If you'll have confidence in me I think you'll shortly see I knew what I was doing.

Ever Yours Scott Fitz—

This letter sounds [irritable] cross but I'm stupid-got with work today + too tired to rewrite it. Please forgive it—it has to get tomorrow's boat.

Addenda

Zelda's been sick + not dangerously but seriously, + then I got involved in a wedding party *** + after 2 weeks just got to work on new story yesterday but 3000 words already done—about as many as I must owe you dollars.

Meanwhile I acknowledge

(1) The account

(2) News about “the Beautiful + D——”

(3) Costain's suggestion (incidently he can go to hell). The only way I can write a decent story is to imagine no one's going to accept it + who cares. Self-consciousness about editors is ruinous to me. They can make their critisisms afterwards. I'm not doing to do another Josephine thing until I can get that out of my head. I tore [the] up the beginning of one. [I] You might tell him pleasantly, of course, that I just can't work that way—[Lorimer never made me a suggestion in his life.] Still there's no use telling him—the harms done but if he has any other ideas about writing stories please don't tell me.

(4) I'm sorry the proofs [g] destroyed on First Blood. Could you get me [another] a copy of the magazine its in—I've lost mine. I want to fix it while I remember. By the way I don't mind not having [p] when I'm here on my own stories—but when I've worked on a proof its like losing a whole draft of a thing.

Yours Always Scott

Last Word

I understand the movies are buying short stories again. Do you know a good agent in Hollywood you might persuade to interest himself in Majesty. Its constructed dramaticly like a play + has some damn good dramatic scenes in it
FSF

Address till July 1st 4 Rue Herran

Notes:

* Probably “The Bridal Party,” The Saturday Evening Post, 9 August 1930.

** Line from here to top margin indicates words: “Addenda of letter covers this”.

*** Powell Fowler, Ludlow's brother, was married in early May in Paris. The wedding supplied material for “The Bridal Party.”

[1] Which Fitzgerald had been working on since The Great Gatsby.

Fitzgerald's reference to Zelda's being sick “not dangerously but seriously” was a mention of the beginning of her mental collapse. On 23 April 1930 Zelda entered Malmaison, a clinic outside Paris, in a nervous and exhausted state. She remained there only ten days, leaving against the doctor's advice on 2 May 1930.

418. To Fitzgerald

TL (cc), 2pp. (AO)

F. Scott Fitzgerald, Esq. 4 rue Herran Paris, France

Dear Scott:

I am very glad to have your letter about various matters and about the novel. You have convinced me that you are entirely right about the novel and I have sent you a cable to tell you so.

I have just been talking with Lou Palmer of Liberty and I have explained to him more fully than I have done before just how you feel about this novel. He wants me to write you that he wants you to take your time and get the novel just as you want it and he says that if you don't feel like sending over part of the novel before it is finished, not to do so. He wanted part of the story so that they could start a good illustrator to work on it. Good illustrations are often what hold up publication of a serial. He says he would not think of beginning the story until he had the complete manuscript.

He also wants me to tell you that there is not the least likelihood of their turning down the story and they have no intention of cutting it or of cutting short stories of yours if they are lucky enough to get them. Several years ago Liberty used almost always to cut stories but they very rarely cut them now, especially stories of authors who know how to write. As to the price of the short stories, they have agreed to pay as much as anyone else is paying and I hope that by the time their short stories come along, that they will have to pay more than $4000.

You are entirely right about the novel and I think you are right not to bring out the Basil Lee stories until after the novel is published. I have lots of confidence in you and I am sure that the novel when it appears is going to be as good a piece of work as you or anyone else has done.

A MILLIONAIRE'S GIRL is in this week's Post and I think you will agree with me that the illustrations are a great improvement on the ones for FIRST BLOOD. I am sending a copy of FIRST BLOOD herewith, taken from the Post. I am sorry about the proofs and I'll see that they are not lost again.

I'll see what can be done with the picture rights of MAJESTY.

I am sorry Zelda has been ill and I hope she is better by now.

Sincerely yours, [Harold Ober]

May 15, 1930

P.S. Lou Palmer told me that Monk Saunders* told him you had read a little of the novel to him several months ago and that he was very much impressed with it.

The other evening I heard on the piano a score and some of the lyrics of a musical version of THE OFF-SHORE PIRATE. The option we gave has expired and I have given a six months option to two people connected with the Shuberts. If they don't do anything I think I'll give another option to the people whose option has just expired for they have some very original music.

Notes:

* John Monk Saunders, novelist and screen writer.

Zelda did not get better. On 22 May 1930 she entered Valmont, a clinic in Switzerland. She stayed there till 4 June 1930, when she was moved to the sanitarium Les Rives de Prangins on Lake Geneva. While at Prangins, Zelda wrote at least three unpublished stories: “A Workman,” “The Drought and the Flood,” and “The House.”

In order to be near Zelda, Fitzgerald moved to Lausanne during the summer of 1930. By November Zelda's condition had worsened.

419. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq. 4 rue Herran Paris, France.

Dear Scott:

Swanson has sent me a copy of a cable he has sent you about A MILLIONAIRE'S GIRL. I have just noticed that he sent it to your old address so perhaps you haven't received it, in which case you will wonder what the cable I have sent you is about.

I think Swanson is slightly crazy. He seems to be possessed with the idea that for some unknown reason he should get the best work of the best authors for a fraction of the price other magazines are willing to pay, and this seems to be a new attempt to get a Post story for $800.

I haven't seen Swanson in two months. I have not written him any letter or mentioned you or A MILLIONAIRE'S GIRL to him or any other story of yours. A Miss Reilly, who is an assistant of his, was here last week and said they hoped they could have another story. She spoke of A MILLIONAIRE'S GIRL, which was just out in the Post, and said what a fine story it was. I told her that A MILLIONAIRE'S GIRL was no longer than some of the stories they had had and I didn't think you could afford to do any more for them. Swanson must have got his idea from this conversation.

As I have cabled you, I hope you won't pay any attention to Swanson's cable or answer it in any way. I am pretty much disgusted with him. He is always begging for stories by well known authors and then offering about a quarter of what he ought to pay for them. I don't think his magazine has any great dignity and I'll be just as pleased if your name never again appeared in it.

Sincerely yours, [Harold Ober]

May 26, 1930

420. To Ober

ALS, 1 p. n.d., n.p.—received 11 November 1930. Paris or Lausanne. (AO)

Dear Harold:

I havn't written for so long to you because I've been swamped with worries + anxieties here. Zelda has been in a hell of a mess, still in the sanitarium—she came within an ace of losing her mind + isn't out of the woods yet. We had a frantic time last spring + in midsummer from the combination of worry + work my lungs sprang a leak. That's all right now thank heaven—I went up to Caux + rested for a month. All this is between you + me—even Max doesn't know. Then Scotty fell ill + I left at midnight by plane for Paris to decide about an immediate appendix operation. In short its been one of those periods that come to all men I suppose when life is so complicated that with the best will in the world work is hard as hell to do. Things are better, but no end in sight yet. I figure I've written about 40,000 words to Forel* (the psychiatrist) on the subject of Zelda trying to get to the root of things, + keeping worried families tranquil in their old age + trying to be a nice thoughtful female mother to Scotty—well, I've simply replaced letters by wires [for] wherever possible.

About Zelda's sketches, have you tried Century? They printed my little skit on Scotty. But better still—send them to the New Republic, attention of Edmund Wilson, under the blanket title of Stories from a Swiss Clinique. Failing that I'll try This Quarter here in Paris. Unfortunately Transition has quit. Sorry about the Enerson thing.

About money. Having wired you last week that The Hotel Child ** was sent, I found on its return from the typist that it needed revision + amputation. That is done + it is back there but won't be ready till day after tomorrow. I'm sure you'll like it. I thought the last Josephine was feeble. If I press you too hard about money please try to arrange advance*** from Lorimor, telling him frankly I've never worked under such conditions of expense + pressure in my life, for when I wire you it means trouble for me if deposit isn't made. What this seems to amount too is that I am an average outstanding loan of yours of about $2000. I hope to God things will**** be better soon. How are things going with you. Write me

Ever Yours Gratefully Scott Fitzg—

Thought very little of Swanson offer. Havn't touched novel for four months, save for one week.*****

Notes:

* Dr. Oscar Forel of Prangins.

** The Saturday Evening Post, 31 January 1931.

*** Line drawn to the top margin indicates the words: “I mean cash advance, not price advance”.

**** Here through the signature is written along the right margin.

***** These sentences are written along the left margin.

421. To Fitzgerald

TL (cc), 2pp. (AO)

F. Scott Fitzgerald, Esq., c/o Guaranty Trust Company, Paris, France.

Dear Scott:

I am very glad to have your letter and I am awfully sorry that you have had such a difficult time this year. I hope Zelda will come out of the sanatorium entirely cured. I think probably you have as good doctors as can be found anywhere and that is something to be thankful for.

As I wired you, Scribner's are going to use MISS BESSIE and they will pay $150. for it.* It is a small price but it is the best I could get them to do and I thought Zelda would like to have the sketch in Scribner's. The other sketches are now with New Republic and I'll let you know when Edmund Wilson decides about them. You suggest the Century but the Century is no longer published. It became a quarterly and then it was bought by the Forum.

I have your cable telling me that your new story, THE HOTEL CHILD, has been mailed, and I presume it will be here in a day or two. I am very keen to read it as from the title I am sure it is going to be an interesting story. I didn't like the last Josephine story as well as some of the others but the Post seemed to like it very much, indeed. Of course after ONE TRIP ABROAD,** almost any story would suffer.

I am sorry you haven't been able to do anything on the novel. John Peale Bishop came in to see me not long ago and he told me he thought you had a remarkable story. He thought it a great advance on anything you have yet done. I hope things will work out so that you can finish it. Of course I can see that it has been impossible for you to do anything on it these last few months.

As you probably know, we have had a very bad year here. The stock market and business conditions were terrible and conditions in the publishing world have been very much upset. Taking everything into consideration, however, I have had a very good year, much better than I expected, and I have never for a moment regretted the change that I made a year ago last September. I am enclosing a list of authors I am handling as I think you may be interested in looking it over.***

I hope that you are now in really good health yourself and that Zelda will improve just as rapidly as possible. John Peale Bishop said that he thought you might be coming over in December. Is there any possibility of that?

Sincerely yours, [Harold Ober]

November 18, 1930

Notes:

* Zelda Fitzgerald's story “Miss Ella,” Scribner's Magazine, December 1931.

** The Saturday Evening Post, 11 October 1930.

*** Ober's list is missing. However, a 1937 list has been located which includes: Frederick Lewis Allen, Rex Beach, Thomas Beer, Catherine Drinker Bowen, Katharine Brush, Ben Lucien Burman, Agatha Christie, Walter D. Edmonds, Paul Gallico, Robert Herrick, Ngaio Marsh, Gouverneur Morris, Eden Phillpotts, Channing Pollock, Mari Sandoz, Arthur Train, S. S. Van Dine, Charles Wertenbaker, Ben Ames Williams, and Philip Wylie.

Fitzgerald's total earnings for 1930 were $33,090.10. He sold seven stories to The Saturday Evening Post ($25,200). His book income was $3,-789.94, of which $3,701.97 was a further advance against his next novel.

422. To Ober

ALS, 2 pp. n.d—received 2 January 1931. (AO)

Hotel de la Paix Lausanne

Dear Harold:

I grow ashamed to write you with all this borrowing. But December's over + I've few bills (this was income tax—insurance—Xmas month) due + I'm going to write a story about Gstaad, a Swiss winter sport place where I'm taking my daughter for the holidays + then I hope to God the novel. Zelda was pleased with the sale of Miss Bessie. Did Edmund Wilson like the stories.* Failing that there remains only the American Caravan. Send them [care] attention of Paul Rosenfeld. Zelda is a little better but not much.

For the moment I can't see the Lorimer article—perhaps after my next story.**

The enclosure is O. K. with me.

Am having Scribner hand you a curious manuscript that might interest some publisher. The author is now watchman in a bank here in Paris. Did Julian Enerson come thru with any more stories? He's a lazy bastard. Did the Post like The Hotel Child? Practically the whole damn thing is true, bizarre as it seems. Lord Allington + the famous Bijou O'Connor were furious at me putting them in + as for the lovely jewess (real name Mimi Cohn) I don't dare tell her. [Im]

I'm impressed with the number of well-known authors on your list in such a short time.

Making lots of New Years resolves for a 50,000 a year 1931

Yours Always Scott Fitzg

Please don't try to push Post up anymore now. I've gotten selfconscious + don't think my stuff is worth half what I get now***

Very important Please immediately send me back carbon copy of this story. **** Its terribly important, because this is founded on a real quarrel with my sister-in-law + I have to square her.

Notes:

* Stories or sketches by Zelda Fitzgerald which were never published.

** The subject of this article for The Saturday Evening Post is unknown.

*** He was receiving $4000 per story from The Saturday Evening Post.

**** “Babylon Revisited,” The Saturday Evening Post, 21 February 1931.

423. To Fitzgerald

TL (cc), 2pp. (AO)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Company Paris, France.

Dear Scott:

BABYLON REVISITED came back from the typist this morning just in time to give to Costain. I like the story very much.

You ask about THE HOTEL CHILD. Here is what Costain wrote me about this story:

” “The Hotel Child” by F. Scott Fitzgerald presented a few editorial problems in that it was not a straight-away story and that it introduced a few characters who will appear shady, to say the least, to American readers. However, it is such a splendid picture of this kind of life that we have had no hesitation in adding it to our list.”

The New Republic still have Zelda's sketches. I spoke to Edmund Wilson about them and he told me that he would let me know about them as soon as he could. He says it isn't possible for them to publish very much fiction and the only chance of his using them is to hold them a little while to see if he can make an opening. If he declines them I'll show them to Paul Rosenfeld of the American Caravan.

I have a note this morning from Maxwell Perkins saying he is sending over the manuscript you spoke to me about in your last letter, and Julian Enersen came in yesterday with a manuscript which I have not yet been able to read.

Don't worry about the advances. I am sure this year will be a better year for all of us. I would like to see you at the end of 1931 with ten thousand dollars saved and put away safely in a savings account. You may have to do one or two stories before you finish the novel but if you could finish the novel and put some of the serial money away, I think it would give you a feeling of security that you haven't had for some time.

I send you herewith a carbon of BABYLON REVISITED.

Sincerely yours, [Harold Ober]

January 6, 1931

424. To Fitzgerald

TL (cc), 2 pp. (AO)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Company Paris, France

Dear Scott:

The Post are taking FLIGHT AND PURSUIT but they want me to tell you that they do not feel that your last three stories have been up to the best you can do. They think it might be a good idea for you to write some American stories—that is stories laid on this side of the Atlantic and they feel that the last stories have been lacking in plot.

I do not think it is necessary for a story to have a plot but I think a story must either move the reader or amuse him.

These last three stories of yours, FLIGHT AND PURSUIT, A NEW LEAF and INDECISION* have been interesting to me because they were very vivid bits of life but I do feel that in these three stories you have failed to make the reader care about any one of the characters.

ON YOUR OWN** has just come in and I have read it. I think you have improved it, especially in its construction. I am having it typed at once.

I think it is probably a mistake for me to write you this letter but the Post have definitely asked me to tell you how they feel. Although these last stories of yours may not be as good as some you have done, they are so much better than most of the stories that I read, that it makes me a little angry with the Post. Perhaps the best thing for you to do is to tear this letter up and go ahead and write your stories as they come to you.

While I am about it, I want to make one more plea about your novel. I think you ought without fail to have a novel out in 1932. Can you not hide away somewhere, where you can live very cheaply, and finish the novel? Don't let anybody know where you are. I realize that you are having a tremendous lot of expense for Zelda and that must of course worry you a great deal. If the doctors there have done all they can for her perhaps it would be worth while bringing her over here and seeing what could be done in the Neurological Hospital, or the Psychiatric Institute in New York or some such place. I know that they are doing very good work here, and I imagine the expense would be very much less. I hope of course that Zelda will be well enough soon so that she won't need any more treatment of this kind.

I believe, and others who are much more competent judges than I, believe that you ought to go further than any American writer and I think now is the time for you to get down to hard work and finish the novel.

Sincerely yours, [Harold Ober]

May 19, 1931

Notes:

* All published in The Saturday Evening Post: “Flight and Pursuit,” 14 May 1931; “A New Leaf,” 4 July 1931; “Indecision,” 16 May 1931.

** “On Your Own,” also titled “Home to Maryland,” was rejected by College Humor, Collier's, Good Housekeeping, Pictorial Review, Redbook, The Saturday Evening Post, and Woman's Home Companion and was never published.

425. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq. c/o Guaranty Trust Company Paris, France

Dear Scott:

I believe I gave you a statement dated February 6 when you were in New York. I am sending you another statement to June 10 so that you will know how you stand.*

I am also enclosing a letter that I wrote you a week or two ago but didn't send because I thought it might worry you. I think I had better send it along now as I think you ought to know the Post wants you to do American stories. If the stories that are on the way to me are not stories laid in America, it will perhaps be a good excuse for trying them on some other magazine. I'll of course give the Post a chance at them first. I feel very strongly that you ought to do the stories that you want to do and if you feel like doing stories laid in Europe, I should certainly write that kind.

I was sorry not to be able to send all the money you wanted when your cable came in yesterday. I have had a lot of extra expense lately and I may be a little short for the next month or two.

I talked to Maxwell Perkins today and he tells me has heard from you that Zelda is very much better. I am glad to hear this.

Sincerely yours, [Harold Ober]

June 11, 1931

I shall be away for two or three weeks in July + you had better let me know a few days earlier than usual if you have to have money. If two stories get here safely + sell, everything will be all right**

Notes:

* Fitzgerald had returned to America in January for his father's funeral.

* Postscript added in Ober's hand.

After a few trial trips with Fitzgerald and Scottie, Zelda was released from Prangins on 15 September 1931. The Fitzgeralds returned to America and settled at 819 Felder Avenue in Cloverdale, a suburb of Montgomery.

426. To Fitzgerald

Wire to Fitzgerald 23 October 1931. (PU)

METRO OFFERS 750 PER WEEK PLUS RAILROAD FARE STOP * THINK POSSIBLE ONLY PROVIDED YOU COULD DO STORIES SAME TIME STOP ADVISE YOU WIRE ME MINIMUM WEEKLY RATE AND I WILL MAKE COUNTER OFFER HAROLD OBER.

Notes:

* To work on the movie Red-headed Woman.

427. To Fitzgerald

Wire to Fitzgerald 24 October 1931. (PU)

METRO INSISTS MY WIRING YOU OFFER ONE THOUSAND WEEK SAY THEIR LIMIT STOP INQUIRY PROVES PRICES DOWN BUT THEY EVIDENTLY WANT YOU AND IF WE HOLD OUT MAY COME UP TO TWELVE STOP JOB IDEAL FOR YOU MIGHT LEAD TO OTHERS STOP WIRE ME MONDAY FINAL ROCK BOTTOM BUT I WILL FIGHT FOR TWELVE HAROLD OBER.

428. To Ober

ALS (pencil), 2pp. n.d., n.p.—received 29 October 1931. Montgomery. (AO)

Dear Harold:

(Ink just evaporated.) I am waiting to here whether Metro will offer twelve hundred. As a matter of fact I don't want to go for a damn + don't even know whether it will be worth while at 1200. with my Hotel Expenses ect which will eat up some of it.

The delay in the story was because it was rotten. Begun in Washington + continued in unfavorable conditions here. So last week I began another—expect to finish it this aft + revise tomorrow.

About Zelda's story*—I suggest Red Bk. first. (Or Post if you think it has any chance of getting by morally) Then Mencken— Scribners practically told me they'd take it if revised.

[Why did you] Don't send me any more gloomy reviews like the O'Brien things. Unfavorable critisism upsets me these days—always has.

Who do you think the Metro [offer] suggestion came from? Katherine Brush herself?** Would I have to pay the commission of an agent in Hollywood too, like in The Great Gatsby. That would make it a still more unfavorable business. And is R. R. fare always included I like it here, Harold—nobody talks of the depression. Let me know any hint of Post price cutting as it will influence my plans.

Please send us a copy of Crime Passionelle.**

To what English Magazines did you sell:

Jacobs Ladder 1927
Magnetism 1928
A New Leaf 1931 ****

Ever Yours Scott Fitzg

Notes:

* “There's a Myth in a Moral,” not published under this title. Possibly “A Couple of Nuts,” Scribners Magazine, August 1932.

** Author of Red-beaded Woman.

*** An unpublished story by Zelda Fitzgerald. It was also titled “All About the Downs Case.”

**** In another hand are notes that “Jacob's Ladder” was not sold, that “Magnetism” was sold to Grand Magazine, and “A New Leaf” to Amalgamated Press.

429. To Fitzgerald

Wire to Fitzgerald 6 November 1931. (PU)

METRO AGREE TWELVE HUNDRED PLUS FARE OUT AND RETURN WIRE ME AUTHORITY SIGN CONTRACT STOP WHEN CAN YOU LEAVE METRO SUGGEST YOU GO EARLIEST POSSIBLE DIRECT FROM ALABAMA AND REPORT TO THALBERG PLAN STAY SIX WEEKS ALL ABOVE PROVIDING YOU WANT TO GO HAROLD OBER.

430. To Fitzgerald

Wire to Fitzgerald 6 November 1931. (PU)

DEPOSITING FIVE STOP METRO DESIRE AND EXPECT FINISH BY DECEMBER 20 BUT ASK THAT PROVIDING UNAVOIDABLE DELAY WORK UNFINISHED YOU COME BACK TO FINISH AFTER RETURNING FOR WEEK IN ALABAMA STOP OF COURSE TO THEIR ADVANTAGE FINISH QUICKLY STOP PLEASE WIRE SO CONTRACT CAN BE SIGNED TOMORROW SATURDAY MORNING HAROLD OBER.

431. To Fitzgerald

TL (cc), 2 pp. (AO)

F. Scott Fitzgerald, Esq. 819 Felder Avenue Montgomery, Alabama

Dear Scott:

As I have wired you, Metro Goldwyn have finally come up to $1200. a week. It evidently hurt them to do it and they say they are not paying anything like that to anybody now but they evidently think you are the one author to do a good job on RED-HEADED WOMAN.

As I have wired you, they want you to go out just as soon as possible as they are in a hurry to get to work on the picture. If you decide to go, I think you will find it a more satisfactory experience because you have a definite job to do and I have found Metro Goldwyn much more satisfactory to deal with than other companies.

In order to get everything fixed up, they suggested that I ask you to wire me authority to sign the contract, but of course I will not sign it unless I feel sure that everything is all right and if there is any question about any of the clauses I'll wire you and if necessary I'll send the contract down to you to look over. In order to save time they suggested that you go directly from Alabama.

Both Lengel and Burton* have been calling me up frequently about getting a story from you. Lengel finally wanted to know if he couldn't send a wire direct and I told him to go ahead. He called me up again yesterday and wanted to know if he could telegraph you to do a twenty or thirty thousand word novelette to appear in one number in the Cosmopolitan. I told him I didn't think there was any chance of your doing this now, and I am telling you about this only because he begged me to do so on the half chance that you might have an idea for such a story.

I don't know how you feel about doing any short story or stories for the Cosmopolitan. It is possible that you might feel like doing a story that would not come within the Post's limitations and the Cosmopolitan might prove a good market for such stories. I'd like, however, to offer the first story of this kind that you do to the Red Book on account of the fact that they took HALF A DOZEN OF THE OTHER.** Of course I wouldn't let them have it unless they would pay your price. By the way, Balmer*** tells me that you sent them direct the revised copy of this story and that it is going in the February issue.

Sincerely yours, [Harold Ober]

November 6, 1931

Notes:

* William C. Lengel and Harry Burton, editors of Cosmopolitan.

** “Six of One,” Redbook, February 1932.

*** Edwin Balmer, editor of Redbook.

In November 1931 Fitzgerald went alone to Hollywood to work on Redheaded Woman under Irving Thalberg at MGM. Zelda began working on a novel in Montgomery.

432. To Ober

ALS, 2pp. n.d.—received 28 December 1931. (AO)

819 Felder, Mont.

Dear Harold:

Several matters. First Hollywood. I terminated the contract in 5 wks + one day my work being finished. It ended last Wed. evening + the document I signed abrogating the contract included that day. So please collect it. The weekly rate stands at $1200.00

I had to give one days salary* (I insisted on having [it] the gift on the $800 a wk basis as I wasn't sure of anything at that time) it ammounted to $133.00. I paid a fourth down. If they have put the rest on my studio bill + deducted it from last pay check please let me know if from that sum + also from rail road fares which were absolutely nessessary expenditures on my part (I still have my community chest stuff to do here) you will deduct 10%. Is it the custom. They didn't pay for a compartment for me + I had to pay all that + extra half ticket myself so the “R.R. expenses” seem almot a myth.

I'm not sorry I went because I've got a fine story about Hollywood which will be along in several days.**

[Will you w] I want to know how I stand. Will you wire me on reciept of this—last word from you is a deposit of 500 for which I asked. Have you made deposits since to even our account + exactly how much.

Merry Xmas as that word goes this year.

The Post Illustrations are great. They are considering it for Joan Crawford + will act through you.***

Please send back Zelda's a Myth + a Moral—something can be done with it

Ever Yours Faithfully Scott

Notes:

* Fitzgerald drew a line from here to the top of the page and added the words: “to their charity”.

** “Crazy Sunday,” American Mercury, November 1932.

*** Possibly refers to “Freeze Out,” The Saturday Evening Post, 19 December 1931.

433. To Fitzgerald

TL (cc), 2pp. (AO)

F. Scott Fitzgerald, Esq. 819 Felder Avenue Montgomery, Alabama

Dear Scott;

I have just received your note about the Hollywood contract. The following were the payments received on this contract:

Transportation, including compartment, to Hollywood          $143.58

1 day (November 11)  200.00

1 week to November 18 inclusive           1200.00

“     “         November 25      “                 1200.00

“     “         December 2      “                    1200.00

“     “         December 9        ” (less $2.55) 1197.45

auto hire)

5 days to December 15 inclusive     1000.00

$5997.45

The payments were made a week after the termination of each week's work and of course reached me somewhat later than that.

The agreement terminating the contract which they sent me from the studio, which bears your signature, read as follows:

“This will confirm the agreement between us that the term of your employment under your contract of employment with us dated November 7, 1931, shall be deemed to have expired on December 15, 1931.”

The letter accompanying the last check read “to and including December 15”. December 15 was a Tuesday and not a Wednesday. In your letter you say that the contract ended Wednesday evening and that the document you signed included that day. You might check up on this before I ask for an extra day's payment.

As you will see by the above statement of payments, Metro did not deduct anything for the day's salary you gave to their charities.

Let me know how much they gave you for return fare and how much the fare cost you and I will collect the difference. The original contract read that they were to pay you railroad fare and compartment both ways. I inquired from the railroad company here and found that the amount they sent me for your fare to Hollywood did include compartment.

When I make up my next statement to you I shall deduct commission only on the amount you actually received for your work. I will not, of course, take commission on your railroad fare and I won't take commission on the amount you had to give to charity.

By the way, there is another bill this morning for $1.71 for a telegram sent by you on December 10 to Montgomery. If this is all right, I can ask them to deduct it from any extra amount they may owe you for the cost of your compartment returning to Montgomery.

I'll have a statement made up to date and send it to you within a few days. I don't know when your letter was sent as it wasn't dated, but I received it only this morning as my office was closed on Saturday on account of the Christmas holidays.

I am glad to know that Joan Crawford is interested in the last Post story.

I am sending back Zelda's story THERE'S A MYTH IN A MORAL. I think she can improve it. It seems to me a very amusing sketch but it's rather slight in plot and I find that in these days when the magazines are so small they want manuscripts of this kind to be fairly short. I think a sketch of this kind ought to be considerably shorter. I'll be glad to see it again.

Sincerely yours, [Harold Ober]

December 28, 1931

434. To Ober

Wire (cc) to Ober 29 December 1931. Montgomery. (AO)

WAS TOLD I COULD GO WEDNESDAY DECEMBER SIXTEENTH FIVE   OCLOCK   SIGNED   ABROGATION   DECEMBER   SEVENTEENTH THIS IS ABSOLUTELY DEFINITE. FITZGERALD.*

Notes:

*An Ober note reads: “original sent Metro Goldwyn”.

435. To Ober

Wire to Ober 30 December 1931. Montgomery, (AO)

SIGNED ABROGATION CONTRACT WITHOUT READING IT OVER BECAUSE I HAD NO REASON TO THINK THAT SCRIPT DEPARTMENT WOULD DO ANYTHING UNFAIR AS IM SURE THEY DID NOT DO PERSONALLY NEVERTHELESS A DAYS PAY AND ALSO RETURN RAILROAD FARE AMOUNTED TO OVER THREE HUNDRED DOLLARS HAS BEEN DEFINITELY CHISELED OFF HAVE WRITTEN MARX OF SCRIPT DEPARTMENT ABOUT DAYS PAY BUT NEVER SUSPECTED DIFFICULTY ABOUT RAILROAD FARE COUNT ON YOU TO COLLECT THAT FITZGERALD.

Fitzgerald's total earnings for 1931 were $37,599. He sold nine stories ($31,500)—eight of them to The Saturday Evening Post. His book royalties were $100. This was his peak financial year before he went to Hollywood in 1937.

436. To Ober

Wire to Ober 5 January 1932. Montgomery. (AO)

REPORTS REACHED ME THAT KAUFFMANS OF THE I SING COMES A LITTLE TOO CLOSE TO THE VEGETABLE TO PASS WITHOUT ACKNOWLEDGEMENT KAUFFMAN WAS FAMILIAR WITH THE VEGETABLE AND ADMIRED IT PLEASE MAKE DISCREET INQUIRIES AS TO RESEMBLANCE AND WIRE ME SCOTT FITZGERALD..

437. To Fitzgerald

TLS, 2 pp. (PU)

F.Scott Fitzgerald, Esq. 819 Felder Avenue Montgomery, Alabama

Dear Scott:

As I wrote you, Harry Burton, the new editor of the Cosmopolitan, asked me to come over to see him about several authors and especially about you.

I saw him yesterday and had a long talk with him. He told me in the first place that he was dropping all the confessional stuff that Ray Long used so much of. He says he intends to make it a more serious and better magazine and also a younger magazine. He said' he realized that the Post was your best market and he knew it would be useless for him to try to win you entirely away from the Post. He said, however, that to make the magazine the kind of magazine he wants it to be, he must have you a few times a year, and he said he would make a definite offer to take six out of eight stories, or four out of six stories, at $5000. each. There would be nothing exclusive about the contract and if he could get six stories in two years he would be satisfied with that.

He also said he was very keen to get a novelette from you and he would make a contract for that, the price depending on the length. If it were the length of two short stories, which he would probably use in one number, he would probably pay $10,000. for it and more of course if it were longer.

I told him that I had mentioned the matter of a contract to you and you had told me you didn't believe you wanted to make one at the present time, but you might possibly do a novelette. He asked me if I would at least put this offer up to you, so I have done so.

As I wrote you the other day, I do not believe the Post would have any objection to your doing say three stories a year for the Cosmopolitan if they knew all the circumstances.

Costain was in today and I thought it would not do any harm to mention to him that another magazine was very keen to make a contract with you. He said the only magazine that he felt to be a direct rival of theirs at the present time was Collier's and that they didn't object to authors making contracts when they could do so with any other magazines.

In these times when many authors are getting their prices cut, I think it is very satisfying to know that your price can be increased.

Sincerely yours, Harold Ober

January 6, 1932

P.S. I noticed in one of the newspapers recently among the “Best similes of 1931”, collected by a man named Frank J. Wilstach, the following of yours:

“Wabbling like a madeover chin in which the paraffin had run.”

438. To Fitzgerald

TLS, 2 pp. (PU)

F. Scott Fitzgerald, Esq. 819 Felder Avenue Montgomery, Alabama

Dear Scott:

I saw OF THEE I SING last night. In the first place I think it is very much over rated by the critics. I agree with Benchly that a good deal of it is very dull and the humor very heavy.

There is, no doubt, some similarity between this show and the second act of THE VEGETABLE. I don't believe, however, that there is enough so that there would be the slightest chance of establishing in a court that there had been plagiarism. The authors may have got the original idea from THE VEGETABLE; on the other hand, it is an idea that might come to anyone while seeing a Gilbert and Sullivan revival.

The similarity is in the fact that both are satires on political life in Washington. What story there is in OF THEE I SING is entirely different. The show begins with a campaign parade. There is a meeting of politicians in a hotel room during a policital convention. They choose candidates and platform, which is to be love. They decide on a beauty contest with girls from every state and the candidate is to marry the one who is chosen to be the most beautiful. He falls in love instead with another girl and campaigns the country with her. There is a meeting in Madison Square where speeches are made that are somewhat similar but not as funny as the speech Jerry makes in THE VEGETABLE.

After the election the girl that has been turned down tries to get the president impeached and finally goes to the French Ambassador. Supreme Court Justices are called in and the president is being impeached before the Senate when the day is saved by the fact that his wife is going to have a baby.

About the only comic element in the show is the vice-president who is always turning up and whom nobody ever recognizes.

There are two or three slight points of similarity. In the show there is some mention of selling Rhode Island. This is, in a way, something like the part in THE VEGETABLE where Idaho is swapped for the Buzzard Islands. The Supreme Court Justices are slightly reminiscent of your Judge Fossile.

Finally, I should say that OF THEE I SING is much closer to Gilbert and Sullivan than it is to THE VEGETABLE and I can honestly say that I think Kaufman might have written OF THEE I SING without ever having read THE VEGETABLE. On the other hand, I can also see that after reading THE VEGETABLE it might occur to him to do a musical comedy on American political life. Whether Kaufman is entirely innocent of using THE VEGETABLE or whether he has been very clever in using it, the result, I think, is the same. I doubt, as I said in the beginning, if you could possibly have any claim against him.

I am enclosing pages from the programme.

Sincerely, Harold Ober

January 14, 1932

439. To Harry Burton

TL (cc), 1 p. n.d., January 1932. St. Petersburg, Fla. (AO)

Dear Harry Burton:

I appreciate the confidence that your offer implies.

The story CRAZY SUNDAY that I sent to Ober yesterday is going to be somewhat difficult in theme for Lorimer, I think, tho he's broadened in the last ten years. It's a fine story, I think, and according to all criteria I have, (my wife etc.) If he turns it down and you like it I'm suggesting to Ober that it be the first of four to be delivered within 16 months—I can't do more than that because I expect to write only two short stories in the next six and one must go to the Post.

Now:

A. The fact that the Post may take the story doesn't mean that I refuse your offer, but it means I want a few more weeks to think it over, and

B. The fact that you refuse the story does not mean that I refuse your offer—for it implies that I am mistaken, it is no good and must go into the discard.

The novelette idea is impossible at present.

Best regards to Bill Lengel. With best wishes for all the success you had with McCalls and a lot more acknowledgment of it.

Yours Faithfully, (signed) Scott Fitzgerald

During a vacation trip with Fitzgerald to St. Petersburg, Florida, in January 1932, Zelda suffered another breakdown. On 12 February 1932 she entered the Henry Phipps Psychiatric Clinic of Johns Hopkins University in Baltimore, Maryland. Fitzgerald and Scottie remained in Montgomery. At Phipps, Zelda completed work on her novel, Save Me the Waltz.

440. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq. 819 Felder Avenue, Montgomery, Alabama

Dear Scott:

I have your note about the income tax and I'll get the best letters I can from the Post and College Humor and send them on to you.

I enclose a list of stories sold to the Post and a list of stories sold to College Humor during the years 1929 and 1930, with the dates of sale.

The Cosmopolitan ought to let me know about CRAZY SUNDAY. Something is always happening to Harry Burton. The day I gave him the story he was laid up with an ulcerated tooth and since then his house has burned down. He is supposed to be back today and I'll send you a telegram the moment I get a decision from him.

Sincerely yours, [Harold Ober]

February 10, 1932

[Attachment:]

Stories and Articles sold to Saturday Evening Post during 1929 and 1930 by F. Scott Fitzgerald

Forging Ahead sold

January 1929

$3500.00

Basil and Cleopatra “

February 1929

3500.00

The Rough Crossing “

April 1929

3500.00

Majesty “

May 1929

3500.00

At Your Age “

July 1929

4000.00

The Swimmers “

August 1929

4000.00

Two Wrongs “

November 1929

4000.00

First Blood “

January 1930

4000.00

A Millionaire's Girl ”

March 1930

4000.00

A Nice Quiet Place “

April 1930

4000.00

The Bridal Party “

June 1930

4000.00

A Woman with a Past “

July 1930

4000.00

One Trip Abroad “

August 1930

4000.00

A Snobbish Story “

October 1930

4000.00

The Hotel Child “

December 1930

4000.00

Stories and Articles sold to College Humor 1929 and 1930
(All written by F. Scott and Zelda Fitzgerald)

The Original Follies Girl sold

March 1929

$400.00

The Poor Working Girl “

April 1929

500.00

The Southern Girl “

July 1929

500.00

The Girl the Prince Liked “

Sept. 1929

500..00

The Girl with Talent “

Oct. 1929

800.00

441. To Fitzgerald

TL (cc), 3 pp. (AO)

F. Scott Fitzgerald, Esq. 819 Felder Avenue Montgomery, Alabama

Dear Scott:

I have your telegram about CRAZY SUNDAY. Although it may delay offering the story for a few days I want to write you about the story before I send it to another editor.

I talked to Costain about it this week and he told me they all felt although it was beautifully written and a very accurate picture of Hollywood, that it didn't get anywhere or prove anything. They liked very much the beginning of the story but didn't think the tragedy at the end was prepared for or essentially a part of the story. He said the situation at the end would at any rate make the story very difficult for them. He said the possible use of Hollywood characters might make it dangerous for some magazines but that really would not affect them.

I told you what Burton said. They want very much to get a story of yours and Burton told me that he had planned to use it and was even planning to put it in the first open number of the magazine. Burton told me that Mr. Hearst's policy man said they wouldn't dare to use the story as they were afraid it might offend the moving picture people with whom they are affiliated. After talking to you I explained that you had been very careful about this but they still say they can't use it on this account. Burton has told me half a dozen times that he is still very keen to get stories of yours and he hopes that their declination of this story will not make you change your mind about giving them some stories.

I showed it next to Balmer of the Red Book who has been asking me frequently for another story. He told me that he had read most of your stories and he liked this story least of any of yours he had read.

I think the women's magazines are definitely ruled out because of the situation at the end of CRAZY SUNDAY. A wife who has just heard that her husband has been killed wants another man to stay with her. Collier and Liberty are the two magazines that would be most likely to use it. It is long for either of these magazines. I think I have told you how Mr. Lorimer feels about Collier. At present Collier is very definitely a rival of the Post and in a way that Liberty once was. I know that it would hurt Mr. Lorimer's feelings to see a story of yours in Collier's. When I spoke to Costain's about the possibility of offering a story of yours to Collier's he said of course they couldn't reasonably object to your selling them a story, but that it was now their one direct rival and that Mr. Lorimer liked to feel that there were certain writers that the Post readers would look for and expect to find in the Post, not in Collier's, and that you were one of those few authors.

The editor of Collier's was speaking to me the other day about getting a story of yours and I asked him what he would pay. He said that for a stray story they couldn't possibly pay more than $2500. He said that if they could have a definite number of stories that would be a different matter for then they could look on you as a Collier author.

The question is whether it is advisable to offend Mr. Lorimer by selling the story to Collier's provided of course they like it when we show it to them.

As for Liberty, I hardly know what to say. I don't know whether you have seen the magazine lately but I do not think it is improving under Macfadden's* ownership. They have been cutting prices just about fifty percent. On the whole I should rather offer the story to Liberty than Collier's.

What I would like to do would be to hold the story up until after you have finished the story you are working on. Then I think it is possible you might do it over again and make it one of the best stories you have ever written. I have some rather vague ideas about it that I'll be glad to send on to you if you decide to do this. If you would rather have me offer it at once to Collier or to Liberty you might send me a wire and I'll do so. As a last resort there is of course College Humor but they are paying very little now and I imagine they would offer us a very low price. Of course I think Scribner would like the story very much indeed but I think it is too bad to sacrifice it.

Sincerely yours, [Harold Ober]

February 25, 1932

Notes:

* Bernarr Macfadden.

442. To Ober

ALS, 3pp. n.d., n.p.—received 23 April 1932. Montgomery. (AO)

Dear Harold:

The [enclosed is for the] Post [(No!] story is mailed [today] tomorrow reaches you Mon.

Here are a whole lot of points

(1.) Are you sure my letter reached Van Cortland Enerson? It was a reference to a story idea of his I wanted to buy, + its rather important

(2.) My alternative idea for the next is to revise Crazy Sunday, so if you have any advice send it

************

Nightmare* will never, never sell for money, in any times. I note there are two Clayton Magazines called “Strange Tales” + “Astounding Stories.” Would either of them pay $250.00? Their rates are 2 cents a word + up.

************

Last + most important.

Will you write a letter to the Collector of Internal Revenue, St Paul, Minn (but send it to McNielI Seymore, Pioneer Bldg. St Paul) embodying the following points.

(1.) Who you are—long time in business ect.

(2.) Surprise at hearing that my earnings from Post ect were not accepted as earned income.

(3.) That you had never considered me a free lance author but that on the contrary my sales were arranged long in advance and that it has been understood for years among editors that my stories were written specificly [by] for the Post by definate arrangment and that I was [a Post author] what is known as a “Post Author.”

(4.) Moreover that they conform to Post specifications as to length and avoidance of certain themes so that for instance they could not have been published in Liberty which [inste] insisted on stories not over 5000 words, + would have been inacceptable to womens magazines since they were told from the male angle. That when I contracted with another magazine such as College Humor the stories were different in tone + theme, half as long, signed in conjunction with my wife. That the Post made it plain that they [were] wanted to be offered all my work of the kind agreed apon; that [severa] they always specified that no work of mine should appear in several competing magazines. That [had even this when the Post commissions a man to go abroad + do a piece of work they do] during the years 1929 and 1930 no story of mine was rejected by the Post (The first was in February 1931, but as that year isn't in question don't mention it)

(5.) That had not the [decision] possibility you have just been informed of (i.e. of treating [stor] short story money as unearned income under G.C.M. 236) come as a completely new [departure] attitude all the magazines would assurredly have [and probably] substituted written contracts in such cases as this where the author is in fact the employee of the magazine, and [is given to understand so in t] should his [work] story appear in [other] rival journals [That in my case there was a recent offer from another magazine for six stories of mine which you rejected] the arrangment would be broken. It is as much a contract as a telephone conversation between two brokers. And And no story order would be accepted even from a non-competing magazine without discussing it with the Post.

That's a hell of a lot to ask. Can you Send it off as soon as possible. It means a lot of money to me, as I'll explain when I see you. (Otherwise I get a reduction for having worked in Europe + paid taxes there [)]—but this only applies to earned income)

In Haste Ever Yours Scott

Also that letters + conversation were almost always substituted for contracts when arranging for short stories—the contrary being true as to [theatrical] play + picture contracts where the buyer is [considered] often a less stable party.**

Notes:

* The story was declined by College Humor, Cosmopolitan, Redbook, and The Saturday Evening Post and was never published.

** Fitzgerald drew a line from this paragraph for insertion before “That's a hell of a lot to ask.”

443. Deposition by Ober

Typed deposition (cc), 2pp.

STATE OF NEW YORK SS.: COUNTY OF NEW YORK

HAROLD OBER, being duly sworn, deposes and says:

I reside in the Village of Scarsdale, County of Westchester, New York, and have an office at No. 485 Madison Avenue, in the Borough of Manhattan, City, County and State of New York, where I carry on my profession as an authors' representative. I have been engaged in this work for twenty years and represent a number of well known writers.

I have known F. SCOTT FITZGERALD, ESQ. for about ten years and have acted as his representative in dealing with editors and publishers for ten years. For the past seven years virtually all of Mr. Fitzgerald's work has been done for and at the request of The Saturday Evening Post. The stories which he first submitted to that magazine were of a type desired by the editors and were accepted, published and paid for and an arrangement made through me that I would submit all of Mr. Fitzgerald's work to the Post. During 1929 and 1930 Mr. Fitzgerald wrote a total of fifteen stories at the request of the editors of The Saturday Evening Post, all of which were copy-righted by that publication and published therein. The arrangement, pursuant to which these stories were written for The Saturday Evening Post, specified the length of each, subject matter, avoidance of certain topics and at an agreed price for each.

The writing of these stories in conformity to the Post's specifications made them virtually unsalable to other publications financially strong enough to pay compensation suitable to an author of Mr. Fitzgerald's attainments and reputation. In other words, one magazine, which has a circulation comparable to The Saturday Evening Post, would not have been interested in these stories because it imposes a definite length limitation of 5,000 words on such stories. The Post's requirements in this connection are for stories from 5,000 to 8,000 words. The stories would not have been acceptable to certain publications known as women's magazines, which have a large circulation, since they are written from the male angle.

Mr. Fitzgerald has long been known among authors and editors as a “Post author”. This reputation clearly negatives his being classified as a “free lance” writer as it would make difficult, if not impossible, the sale of these stories to other publications even conceding that the specifications according to which the stories were written for the Post should be deemed acceptable by the other publications.

In my opinion Mr. Fitzgerald was during 1929 and 1930 and for some years prior thereto virtually an employee of The Saturday Evening Post in that he wrote numerous stories for that publication as aforesaid strictly in accordance with the requirements of the publication; that he devoted virtually his entire time to this work and The Saturday Evening Post paid him a fixed sum for each story.

Sworn to before me this:

26th day of April, 1932

Harold Ober noted on his 5 January 1930 to 23 April 1932 file folder: “letters missing from F.S.F. April 1932 to March 23 1933. “For 1932 only two Fitzgerald to Ober and four Ober to Fitzgerald letters survive; for 1933 one Fitzgerald and four Ober letters; and for 1934 six Fitzgerald and four Ober letters. Our searches have revealed one missing letter. Consequently, certain financial details for Tender Is the Night are obscure.

On 20 May 1932, Fitzgerald rented “La Paix” in Towson, a suburb of Baltimore. By June, Zelda was able first to divide her time between “La Paix” and Phipps and then, finally, to move completely into “La Paix.”

On 14 June 1932, Zelda signed a contract with Scribners for the publication of Save Me the Waltz. The book was published in October and sold 1,392 copies.

444. To Fitzgerald

TL (cc), 1 p. (AO)

Mrs. F. Scott Fitzgerald, La Paix, Rodger's Forge, Md.

Dear Zelda:

This is really a joint letter to you and Scott. Scott's wire came this morning and I wanted you to know that I am working on the play.* A copy has gone to Arthur Hopkins, and a copy is being read by Jed Harris' right-hand man who promised not only a quick decision but suggestions as to a competent collaborator if one seemed necessary to give a professional touch.

One copy has been sent to Washington for copyright.

As you may know it's very difficult to get play producers to read scripts quickly. They seem to think they are a chosen race (as most of them are!) who can take their time about that end of their business. For this reason, it is customary to submit copies of any one play to four or five producers at once to expedite matters. If you wanted to go to the expense of having at least three more copies of the play typed, I think it would be much more satisfactory as far as getting quick action is concerned.

Please tell Scott that I'm glad to know a new story is coming along. As usual, I'll be eager to read it. I've just been looking at ONE INTERNE in this week's Post. It's a fine story and I think the illustrations are terrible. But I guess there's nothing to be done about it.

Nothing would please me more than to sell your play, Zelda, and I'll do my best with it. Certainly the cleverness of the dialogue ought to attract some imaginative producer who might suggest a way of getting more action into the script.

Sincerely yours, [Harold Ober]

November 1, 1932

Notes:

* Possibly Zelda's Scandalabra, produced in Baltimore by the Junior Vagabond Players, summer 1933.

Fitzgerald's total earnings for 1932 were $15,823. This was his lowest year, financially, since 1919. He sold six stories ($14,805), five of them to The Saturday Evening Post, which cut his price back to $3,000 and $2,500. His book royalties were $20, and he received a $480 advance on Tender Is the Night.

445. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq. La Paix Rodger's Forge, Md.

Dear Scott:

This is in answer to your letter about our relations with the Post. I agree entirely with what you say and as a matter of fact I think we are both in a particularly good position with all the editors of the Post. I know that Mr. Lorimer, Miss Neall, and Tom Costain all like you and like your work. Graeme Lorimer* doesn't know you so well but has a great admiration for your work.

My relations with all the editors of the Post are very happy. I have lunch with Mr. Lorimer about once a year. I see Graeme Lorimer and Tom Costain almost every week. As a matter of fact I think there is very little jealousy in that organization. At the Cosmopolitan for instance it is almost impossible not to step on someone's toes. I have never found the least conflict between Tom Costain and Graeme Lorimer. They come to New York on different days. Co-stain sees the larger agents and authors that he plans to keep in touch with, and Graeme Lorimer sees the smaller agents and authors that he knows. I really do not see Graeme Lorimer officially as Tom Costain is the one to keep in touch with my office but I know and like Graeme Lorimer and we have lunch together quite frequently and he always comes in the weeks that Costain doesn't come to New York. At the present moment I am engaged in finding an Airedale for Graeme Lorimer.

So I do not think either of us have to worry about this question that you have brought up. If we keep on as we have been going I think everything will be all right no matter what happens at the Post.

Sincerely yours, [Harold Ober]

April 26, 1933

Notes:

* George Horace Lorimer's son, an associate editor of The Saturday Evening Post.

446. To Fitzgerald

TLS, 1 p. (PU)

F. Scott Fitzgerald, Esq. La Paix Rodger's Forge, Md.

Dear Scott:

I am sending you herewith copies of the agreement for the talking picture rights of THE GREAT GATSBY.* Both Owen Davis and Brady have signed these agreements. I will not turn them over to Schuyler Grey until I get the check for your share of the proceeds.

Will you sign these before a notary and get them back to me on Monday if possible?

Sincerely yours, Harold Ober

May 5, 1933

P.S. Your signature is to go just above Owen Davis' signature on page 7 and the notary public's signature and stamp is to go on the next page.

Notes:

* The film was not made.

447. To Ober

TLS, 2 pp. (AO) + enclosure: Typescript, 2 pp. (AO)

La Paix, Rodgers' Forge, Towson, Maryland,

June 12, 1933.

Mr. Harold Ober, 41 East 49th Street, New York, N. Y.

Dear Harold:

I am enclosing a lyric which I wrote with a man down here who composed the music. It is rather a good idea and I'd like to get it copyrighted in case there is any money in it. Can you attend to it for me?

I am wiring you today to ask if you can deposit $1000. I have had a splendid session with the novel and am now back at work on the Interne story* which should reach you withintthree or four days. May do another one immediately afterwards depending on finances but am probably going to do the article for the American Magazine.

Houghton Mifflin did send a copy of the Best Short Stories of'33. ** Zelda and I had a picture taken last fall but I don't seem to have a copy. Am going to have some taken soon.

Best wishes, F Scott Fitzgerald

Notes:

* “What To Do About It” was rejected by The Saturday Evening Post, Redbook, and Cosmopolitan and was never published.

** The Best Short Stories of 1933, edited by Edward J. O'Brien (Boston: Houghton Mifflin, 1933), included “Crazy Sunday.”

[Enclosure:]

Oh, Sister, Can You Spare Your Heart

Verse: I may be a What-ho, a No-can-do
Even a banker, but I can love you
As well as a better man
a letter-man of fame
As well as any Mr. Whosis you can name

********

The little break in my voice
—or Rolls-Royce
take your choice
I may lose
You must choose
So choose

********

A hundred thousand in gold
and you're sold
to the old
and I'm broke
when our days a
are gold
I'm begging
begging

Oh, Sister, can you spare your heart?

******

Those wealthy goats
In racoon coats
can wolf you away from me
But draw your latch
For an honest patch
the skin of necessity

*******

(we'll make it a tent, dear)

********

The funny patch in my pants
take a chance
ask your aunts
What's a loss
You must toss
So toss!

A gap inside that's for good.

You'll be good
As you should
Touch wood!
I'm begging
begging

Oh, Sister, can you spare your heart?

448. To Fitzgerald

TL (cc), 2 pp. (AO)

F. Scott Fitzgerald, Esq. La Paix Rodger's Forge, Md.

Dear Scott:

This letter is a letter of advice and if you don't feel like receiving advice you may throw it in the waste basket without reading further.

I think we have made a mistake in sending your recent stories to the Post in a very hurried fashion and I think it has been a mistake to let them know that we were in such a hurry about a decision. I think perhaps we have caused the wrong psychological effect on a possible buyer. I think we have let the Post feel that you were rushing out stories in order to get some money.

Before we show the next story to the Post I think we ought to be sure that it is just right, I think I ought to have it properly typed, and I want to try to create the impression that I am sending them a Scott Fitzgerald story, that it is a fine story and that I don't care whether they take it or not. I am sure it is a mistake for the Post to feel that you are uncertain about a story and anxious to know whether or not they like it.

I would like to start to create this new impression with this new story you are writing. I think perhaps by trying to gain a day or two we have lost a good deal. So I hope you will send the next story to me when you have it done. I'll read it right away and tell you frankly if I have any criticisms to make.

It is true that all the magazines have been harder to please this year than ever before. I feel sure that this last story of yours, WHAT TO DO ABOUT IT, would have been accepted a year or two ago by the Post and published and that many readers would have liked it. It is also true of course that a great deal is expected of an author who has written as many fine stories as you have written. An editor expects every story to compare favorably with some story of yours which he has considered your finest story. I believe you can make a very fine story out of WHAT TO DO ABOUT IT. I think you will have to make the reader care more what happens to the girl and to the doctor. To give yourself space to do this do you think it would be possible to have the girl beg the doctor to take her with him when he goes to answer the call? The boy could be hidden in the rumble seat just as you have him. This is probably a poor suggestion but I am sure you will be able to work out some way to get some feeling between the doctor and the girl.

Sincerely yours,

August 30, 1933

Dictated by Harold Ober who left before signing.

449. To Fitzgerald

TL (cc), 2pp. (AO)

F. Scott Fitzgerald, Esq. La Paix Rodger's Forge, Md.

Dear Scott:

I have been talking to my lawyer about the old Liberty contract.* He advises me not to worry about it. It was made on June 5, 1926 and when it was made Liberty belonged to the Chicago Tribune. It now belongs to Macfadden and so far as I know there is not a single editor there that used to be on the magazine. Macfadden bought Liberty early in 1931 and I feel quite certain that none of the present editors of Liberty have mentioned the story to me. It was mentioned to me since the sale to Macfadden but this was by an editor who has since left.

However, I do not feel that one should always do only what it is legal to do. I know that you are very conscientious about your obligations and I feel that way about my obligations. I think it is possible that if Scribner or the Cosmopolitan should announce publication of your novel as a serial, the editor of Liberty might call me up and ask about it so I am inclined to follow your suggestion and take the matter up now with Liberty.

Before I do this, however, I think we ought to decide one thing and that is whether you are willing to let Liberty publish the story as a serial if they insist on confirming the agreement. Macfadden has plenty of money although he is not spending as much on Liberty as Patterson used to spend. Although Macfadden has many faults, I have always found him reliable financially and prompt in payment.

I am inclined to think that I could get them to cancel the contract but there is a chance that the advertising value of having your serial would be great enough so that they would insist on what they may consider their right to accept it. Another thing we can do, and I am inclined to feel that this is the wisest course, is to do nothing until you bring the manuscript up and until I have read it.

I do not like to bother you with this question now but you raised it when you spoke to me over the telephone the other day.

I think you know, Scott, that I want to do what is best for you. If you decide that it is best not to have the book come out in Liberty or Cosmopolitan, you don't have to. I think we could get out of the Liberty arrangement by insisting that the story be published without cuts. If I understood you correctly, you said that it would be 120,000 words which is very difficult for any weekly to use.

The advantage of a sale to Liberty or Cosmopolitan would be that you could pay Scribner what they have advanced you and have the remainder to live on until royalties on the book come in.

I don't believe that serial publication even in Liberty will do you any harm. I'm sure that readers of serials in magazines don't buy books and that book buyers don't read serials in magazines. And there are few authors even of the highest standing that haven't had work published by Liberty or Cosmopolitan.

Let me know how you feel about all this.

Sincerely yours, [Harold Ober]

October 3, 1933

Notes:

* For the serialization of the novel that became Tender Is the Nigbt.

In October 1933 Fitzgerald delivered the Tender Is the Night manuscript to Maxwell Perkins at Scribners. The first of four serial installments appeared in the January 1934 issue of Scribner's Magazine.

The finances for Tender Is the Night are obscure. Although Fitzgerald kept a detailed ledger, some of the entries reflect his personal interpretations of advances. A 1930 entry reads:

“Further advances (Serial new Novel + 1583.06 against bk. $3701.97” But these figures probably represent borrowings from Scribners during 1930 that Fitzgerald regarded as advances to be paid back from the earnings of his new novel. On 25 September 1933 Fitzgerald informed Maxwell Perkins: “Ober is advancing me the money to go through with it (it will probably not need more than $2000 though he has promised to go as far as $4,000) and in return I am giving him 10% of the serial rights.” Perkins outlined terms for the serialization to Fitzgerald on 18 October 1933. Scribner's Magazine paid Fitzgerald $10,000—of which $6,000 was applied to his Scribners debt. The $4,000 balance was paid in installments to Ober, who turned it over to Fitzgerald as needed. A release was obtained from Liberty, which had contracted for serial rights; but it is not clear whether their 1927-28 advances were repaid.

Fitzgeralds total earnings for 1933 were $16,328.03. He sold three stories ($7,650.00). His book royalties were $30, and he received an advance of $4,200 on Tender Is the Night and Taps at Reveille.

450. To Fitzgerald

TL (cc), 2pp. (AO)

F. Scott Fitzgerald, Esq. 1307 Park Avenue Baltimore, Maryland

Dear Scott:

I tried to write you yesterday afternoon but had a busy day and didn't have a minute.

As I told you, I talked first with Maxwell Perkins and then with Charles Scribner and Max. They were both very enthusiastic about your novel and they showed me the jacket which I think is extremely attractive.

I told them your situation as you outlined it to me, and they were both very sympathetic. Charles Scribner talked at some length about the way book sales had fallen off, especially with their subscription books, from which they usually make a good deal of their income. He said the Galsworthy book had also been a disappointment in sales. I was at Scribner's altogether for a couple of hours, I think. After several conferences Charles Scribner said that they would give me a check today for $2000. which would be returned to them out of any sale that is made of the moving picture rights. He also proposed that you pay 5% interest on this loan. He said he wanted to do this to distinguish it from advances they had made against book royalties. I didn't go into this over the telephone yesterday as I was afraid it would make the cost of the telephone call too high.

I made at first the proposal that you made to me that they buy a share of the picture rights but both Max and Charles Scribner said they didn't want to make such an arrangement. They were against such arrangements in principle and they felt you ought to have all the money that you could get out of the dramatic rights and picture rights. I am sure that they were sincere in their reasons for not wanting to make this arrangement.

I realize that this solves our difficulties only temporarily but if you can finish rewriting the fourth section of the story in eight or ten days and then take a little rest, I think it would probably be much easier for you to do a short story and I am sure we can survive some way until that is done.

I think you are entirely right in not trying to do any short stories until the novel is entirely off your mind.

Maxwell Perkins just called up to say that the check will be ready at two o'clock this afternoon and, as we arranged yesterday, I'll deposit $1000. for you and wire you when it is done. I expect some money next week so, as we arranged, I'll keep the other $1000. in my bank and give it to you as soon as I can next week, but not later than Thursday or Friday.

I hope you and Zelda are well. You must be glad to be so near the end of your work on the novel. You might let me know when you deliver the last installment so that I can keep after Scribner and get complete proofs of the story.

Sincerely yours, [Harold Ober]

January 5, 1934

451. To Ober

TLS, 1 p. (AO)

1307 Park Avenue, Baltimore, Maryland,

February 9, 1934.

Mr. Harold Ober, 40 East 49th Street, New York, New York.

Dear Harold:
I don't want “The Vegetable” produced.
Scott Fitzg—

On 12 February 1934 Zelda re-entered Phipps. This was her third breakdown. In March she left Phipps and went to Craig House, a sanitarium in Beacon, New York.

452. To Ober

Wire to Ober 21 February 1934. Baltimore, Md. (AO)

WANT TO DECIDE NOW HOW TO RAISE MONEY TO TIDE ME OVER THE MONTH BEFORE FINISHING FINAL BOOK REVISION WITHOUT CONSULTING MAX CAN YOU GET OPINION OF ONE PROMINENT PLAYWRIGHT ABOUT POSSIBILITIES OF DRAMATIZATION OTHERWISE I WOULD RATHER SHOOT THE WORKS AND SELL TO THE PICTURES TO GET OUT OF THIS FINANCIAL HOLE IT MUST BE DECIDED IMMEDIATELY LUNCHING WITH CLARK GABLE TOMORROW AND WANT TO KNOW PRESENT STATUS OF GATSDY AS HE WOULD LIKE TO PLAY IT PLEASE WIRE IMMEDIATELY
F SCOTT FITZGERALD.

453. Memo by Ober

Typed Ober memo. (AO)

Feb. 23, 1934

F. Scott Fitzgerald called up and said he had decided we had better go ahead with the picture rights of TENDER IS THE NIGHT. I told him I would try one more dramatist at the same time.

He said he talked to Clark Gable. He is very keen to do GATSBY. He is going to talk to Rubin* of Metro Goldwyn about it, and Scott suggested I speak to Rubin about it. Scott also talked to Gable about the George Washington idea and Gable is going to talk to Rubin about that.
H.O.

Notes:

* J. Robert Rubin, secretary of MGM.

454. To Fitzgerald

TL (cc), 1 p. (AO)

F. Scott Fitzgerald, Esq. 1307 Park Avenue Baltimore, Maryland

Dear Scott:

R.K.O. seems at the moment more excited about TENDER IS THE NIGHT than any of the other companies. I have been talking to Katharine Brown, who is the most important person in the New York offices of R.K.O.

Ann Harding, as you know, is with R.K.O. but Katharine Brown says she thinks it would be better for Katherine Hepburn and I am inclined to agree with her. She also thinks Frederick March might be possible for Dick Diver's part. She agrees with you that Robert Montgomery and Gary Cooper would be too soft for the part.

Katharine Brown wants to know if you couldn't come up Monday or Tuesday as she would like to have a talk with you about the story. She says of course there will have to be some changes in it. Katherine Hepburn is very popular just now and they want to get a really good picture for her.

Couldn't you get here early in the morning and you could go back in the afternoon. If you will let me know when you are coming up I'll meet you at the train and take you over to R.K.O. I really think it would be worth while for you to come up.

Sincerely yours, [Harold Ober]

March 8, 1934

455. To Fitzgerald

TLS, 1 p. (PU)

F. Scott Fitzgerald 1307 Park Ave., Baltimore, Md.

Dear Scot:

The Columbia Broadcasting System want to try out DIAMOND AS BIG AS THE RITZ on a sustaining non-commercial programme and they are going to pay $50.00 for the privilege to use it once in this way.

They have been reading the stories in TALES OF THE JAZZ AGE and they say that if this story is well received they may be able to use other stories of yours on a commercial programme. They will let me know when the story is going to be used and I'll let you know so that you can hear it if you care to do so. It will be done over the whole Columbia System.

They say that sometimes it is necessary to do more than one story before they can sell the story for a commercial programme and they want to know if they can use another story or two, if it is necessary, on their sustaining programme, on the same terms as they are using this one.

Sincerely yours, Harold Ober March 16, 1934

They want to know Monday.*

Notes:

* Added in ink by Ober.

456. Inscription to Harold Ober

For Harold Ober
Without whose help this would never have been able to be fostered on the world
F. Scott Fitzgerald

Inscription in Tender Is the Night. (AO)

On 19 May 1934 Zelda was transferred from Craig House to the Sheppard and Enoch Pratt Hospital outside Baltimore. By December she was able to spend Christmas with Fitzgerald and Scottie at 1307 Park Avenue in Baltimore.

457. To Fitzgerald

TL (cc), 3 pp. (AO)

F. Scott Fitzgerald, Esq. 1307 Park Avenue Baltimore, Maryland

Dear Scott:

I couldn't get a chance to see Edwin Balmer until late yesterday afternoon. I asked him the question in your letter of November 28th and he said that he would really prefer a story of four or five thousand words to a longer one and that he would of course pay the same price for stories of that length.

As for assurance about the number of stories he can use, I am afraid there is nothing I can say that is at all definite. I think we have to remember that you have made a reputation for writing a very modern story. If an editor wants an authoratative story about modern society, you are one of the first authors that would come to his mind. The result is that when a reader picks up a magazine with one of your stories in it and finds a story about the ninth century he is going to be shocked. You will remember that I approached several magazines about this series and that is what every editor said. Balmer was the only one who was willing to try the stories and he told me yesterday that the owners of his magazine were not yet convinced that he was not partially crazy in buying these stories from you.*

There is no question but that the stories are good stories—it has nothing to do with the quality of the stories. I am sure it is much better to let the future take care of itself. I think we have a much better chance of selling a number of stories to the Red Book if we do not press this question. After all what we want to do is to get the Red Book to take as many stories as possible. I feel sure that you have an exceedingly good book in this material so it is certainly worth while writing it. If you think this over I am sure you will feel that I am right about this. I think the stories are bound to be more and more interesting because with each story you have more material to use.

The question of scheduling the stories came up. Balmer says the value of the first story was almost entirely lost to him because he had to wait so long for the second story and although he has the second and third stories he hasn't any real faith when he will get the following stories. I don't think you can blame him for feeling this way and now I hope you won't mind if I read you a little lecture.

Up to a couple of years ago if you had sent me word that a story would arrive on a certain date, I would have been as certain that the story would arrive as that the sun would rise the next day. Lately when you have wired me that a story would be sent on a certain date I have no faith at all that it will come. I hate to say this and I hope it will not offend you in any way but if you look over the telegrams you have sent me in the last year or two you will realize that what I say is true. As far as it concerns myself I do not mind this. I know that life has been very difficult for you, that you have been working underpressure and that conditions that you could not help have prevented you from doing what you thought you could do but you have called up Balmer or have written to him telling him that you would deliver a story at a certain time and the story has not arrived. I have always been very proud of your dependability and as far as money goes I am still proud of it, but I do think it would be better if you would make it a rule not to call up or write to editors, and while I am on the subject I think it would be better if you did not call up or write to moving picture executives.

Sometimes I think it would be better if you would take the telephone out of your house entirely. It must cost you an enormous amount a month and I doubt if you really gain anything by its use. After all, a letter written from Baltimore will reach New York the next morning. You are apt to use the telephone when you are not in your most rational state of mind and when you do call anyone up in that way it only adds to the legend that has always been ready to crop out—that you are never sober.

Now, Scott, I hope you will not be cross with me for saying all this. I have wanted to say it for a long time but whenever you come to New York, you get started on a party and it is impossible. I have thought of driving down to Baltimore to see you but I am afraid that would be a nuisance to you.

To go back to the Red Book situation, it seems to me the only thing for you to do is to go on with the series and try to deliver about one a month until Balmer says he can't use any more. There is no reason why you shouldn't turn out a Post story occasionally in between the Red Book stories.

Balmer told me yesterday that if you had an idea for a forty or fifty thousand word story that could be used in one number he would pay ten thousand dollars for it. Of course if it were a story that could be divided into installments we could get more for it but sometime you may have an idea for a story that would not make a serial. I told Balmer I didn't think there was much chance of this —I am only letting you know about it because he brought the question up. He also said he would pay a big price for a serial by you but I said I was sure you didn't want to write a serial story at the present time.

Ask Scotty when she is going to make us another visit.

Sincerely yours, [Harold Ober]

December 5, 1934

Notes:

* The “Darkness” series in Redbook: “In the Darkest Hour,” October 1934; “Count of Darkness,” June 1935; “The Kingdom in the Dark,” August 1935; “Gods of Darkness,” November 1941. Fitzgerald intended these stories to form an episodic historical novel. The hero, Philippe, was based on Hemingway.

458. To Ober

TLS, 3 pp. (AO)

1307 Park Avenue, Baltimore, Maryland,

December 6, 1934.

Mr. Harold Ober, 40 East 49th Street, New York, New York.

Dear Harold:

Did not resent your letter one bit; or anything in it. I will accept your advice about not getting in touch with editors directly.

In the case of “Esquire” it was that Arnold Gingrich gave me two hundred dollars for [an] articles by Zelda and me and I knew that the commission on that would be of no interest to you.*

And in the case of “The Saturday Evening Post” and of “The Redbook” it has been invariably a question of either getting a quick response on their opinions of the work in question or of getting a quick decision so I would know where we would eat tomorrow.

And on the question of movie rights I've never been sure where you stood and how much of that sort of trade you wanted to handle. When matters come up between me and such characters as Bill Warren** in Hollywood, and when independent people write me on their own about a story that has not been marketed there my natural tendency has been to say go ahead:

but, whenever a legitimate nibble comes you should know how quick I am to spring to you for assistance.

Since I have accepted your Sunday sermon without indignation let me accuse you in turn of lack of initiative on the movie side of the ledger. Tomorrow I am sending you as complete a record as possible of filmland. There are only two or three, the latest being Carmel Myers, and I pass them unreservedly to your hands.

With everlasting gratitude for the year that let me finish my book, with all due sense of obligation to repay you for your material loan, and with no resentment about your bawling out, I am

Ever yours, Scott

Notes:

* “Show Mr. and Mrs. F. to Number—,” Esquire, May and June 1934 (published as by F. Scott and Zelda Fitzgerald but written mostly by Zelda); “Auction—Model 1934,” July 1934 (mostly by Zelda Fitzgerald); “Sleeping and Waking,” December 1934.

** Charles Marquis Warren, with whom Fitzgerald worked on a movie treatment of Tender Is the Night.

459. To Ober

TL (cc)—incomplete letter from Fitzgerald. (PU); Turnbull.

1307 Park Avenue, Baltimore, Maryland,

December 8, 1934.

Mr. Harold Ober, 40 East 49th Street, New York, New York.

Dear Harold:

After rereading your letter there were some things I felt hadn't been sufficiently answered. The first is that I have a deep suspicion that you and Max got together at some point and decided I needed disciplining. Now I know of my fondness for you both and assume that it is reciprocated and I know also that when one man is in debt to another he is rather helpless in such matters. Nevertheless, the assumption that all my troubles are due to drink is a little too easy. Gliding over my domestic difficulties and my self indulgence on that score and not deciding which one has caused the trouble— whether the hen preceeded the egg or the egg preceeded the hen— I want to get down to a few facts: a compact “apologia pro sua vita” after all the horrors in Montgomery and the winter of '30 and '31, the return of Zelda's trouble, attacked by the family, etc (and you will find that this coincides almost exactly with my remissness in getting out MSS on specification. It became apparent to me that my literary reputation, except with the Post readers, was at its very lowest ebb. I was completely forgotten and this fact was rubbed in by Zelda's inadvertently written book.* From that time on until early this spring my chief absorption was to [keep] get my book published at any cost to myself and still manage to keep the ball rolling. With yours and Max's help and some assistance from mother the thing was accomplished but at the end it left me in the black hole of Calcutta, mentally exhausted, physically exhausted, emotionally exhausted, and perhaps, morally exhausted. There seemed no time or space for recuperation. My expedition to Bermuda was a wash-out because of the pleurisy; Zelda collapsed again shortly after the holidays. The necessary “filling up” that a writer should be able to do after great struggles was impossible. No sooner did I finish the last galley on the last version of the last proof of the book proof of “Tender is the Night” than it was necessary to sit down and write a Post story.

Of course any apologia is necessarily a whine to some extent, a man digs his own grave and should, presumably lie on it, and I know that the fault for this goes back to those years, which were really years of self-in-

Notes:

* Save Me the Waltz (1932).

460. To Ober

TLS, 3pp. (AO)

1307 Park Avenue, Baltimore, Maryland,

December 8, 1934.

Mr. Harold Ober, 40 East 49th Street, New York, New York.

Dear Harold:

Everything is hereafter to go through you, hence these drawings. They are to accompany Medieval IV, “Gods of the Darkness” which will reach you at the latest by Tuesday. I hope to God Balmer can use them. The little one is “Philippe's” crest and is accounted for in the text. The others are his second castle. There are some places where visual description fails and one must call on pictorial representation.

Ever yours,
F Scott Fitzgerald

P. S. I am sending this a day before the story goes off because it takes longer in transport and, if possible, I would like them to reach Balmer simultaneously, because the more I think of them, the more important they seem to me for the understanding of the story. Do try your best to persuade him to use them. It isn't a question of money for the artist, because if absolutely necessary I can probably muster enough money to pay him the bonus that I hinted at to Balmer, which would be about twenty dollars for this set and twenty dollars for the previous one. I have already paid him from my own purse twenty dollars for the first set and twenty dollars for the second. But I don't mind this, as it was done to crystal[l]ize in my own mind, during the actual writing of the story, the evolution of Philippe's ideas of fortification, and—as I told you before—it is absolutely impossible, at least so far as I can determine with the resources at hand here in Baltimore to find out* what the damn [things] castles looked like. So this present bastard arrangement is partly stolen from the design in stone of Carcassonne by Violett-le-Duc, the French expert on restoration and military architecture. My contribution has been the building of it in wood and the general line-up that would [naturally] proceed from the exigencies of Philippe's problems, such as his failure in Illustration I, for instance, [the indication of the first unsuccessful efforts] to master the dam.

This may seem to you at first much [to do] ado about nothing, but working it out was responsible for more than a little of my delinquency in delivery.

You will be glad to find out that this story is much shorter than I had prophesied.

By the way, the crest is deliberately Church Latin, corrupt Latin, instead of Classical Latin, and really does render the idea “When the others quit, I'm just beginning.”

The half-pig, half-lion will be explained in the text.

Ever Yours Scott

3 pen + ink sketches enclosed **

* Although this was typed by a secretary, Fitzgerald made strikeouts and insertions in pencil.

** Added in pencil by Fitzgerald.

461. To Ober

TLS, 2pp. (AO)

1307 Park Avenue, Baltimore, Maryland,

December 26, 1934.

Mr. Harold Ober, 40 East 49th Street, New York, New York.

Dear Harold:

I send you this hypothetic contract which you can amend or correct at will with the certain cooperation of young Spafford.* The only case in point is to protect my interest and his.

I am sure that guaranteeing him a good royalty slice is the best way of keeping him at work. Whether he is the ideal person for the job or not, is another matter, but beggars can't be choosers and since no established dramatist has offered himself as collaborator perhaps his very enthusiasm is the best thing that we can ask for. He seems anxious to devote six months of his time to the matter, knows the book thoroughly and I believe has caught a good bit of the spirit in which it is written, its comedy and pathos. I implied to him that I would split the author's rights fifty-fifty but if you think that is too generous on my part I am sure he would agree to any further redistribution that seemed equitable. Likewise all the arrangements for dealing with the property are subject to your approval.

He must, however, have some basis to work on so as not to feel that, at any moment, I might sell the thing over his head. He would certainly be left holding the bag if we got an offer and took it after he had completed a couple of acts of a full length play. I know you are busy but I hope you will have a chance to draw up some kind of contract in which he will believe, even if only to draw up a gentlemen's agreement (for I can trust him absolutely) because I want him to get to work as soon as possible on the thing with the hope, that, if he is adequate to the work, we can go into production by mid-summer.

Ever yours, Scott

Notes:

* Robert Spafford adapted Tender Is the Night for the stage. The play was not produced.

Fitzgerald's total earnings for 1934 were $20,032.33. He sold eight stories ($12,475). Two of the stories and two essays were taken by Esquire at $250 each. His book royalties were $58.35, and he received an advance of $6,481.98 from Scribners.

WHO'S WHO

Harold Ober (1881–1959) was Fitzgerald’s agent for magazine writings. Most of Fitzgerald’s income came from the magazines, and through Ober’s efforts The Saturday Evening Post paid Fitzgerald his peak price of $4,000 per story in 1929. Ober received a ten-percent fee. The Ober-Fitzgerald financial relationship was complex with Ober acting as Fitzgerald’s banker, making interest-free loans against unsold and even unwritten stories. The Obers became Scottie’s surrogate parents during her prep-school and Vassar years. Fitzgerald broke with Ober in 1939 over the agent’s refusal to commence a new cycle of loans after Fitzgerald had paid his debts.

Published as book in 1973.

Перевод: «Твой Скотт Фитц…»: Переписка Ф. Скотта Фицджеральда и литературного агента Гарольда Обера.

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