Eps 1276: The Dime Mystery
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Alex Lynch
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Most of the stories were, of course, fronti - stories that reprinted numerous sequels from narrative works and other sources, but Bedore suggested in his book that many of them were original stories. After reading some books from the late 19th century, he began to deal with dime stores and discovered that some had found stories that had been developed for film, radio and television. He also had a book project in development that would focus on and include a series of short stories that would show what can and cannot be called original in the history of dime shops. One of his first projects, "The Dime Detective," was to investigate the secret of a New York City "Dime Store Detective" that lasted more than a decade from the mid-1870s to the early 1880s.
The story of Frank Merriwell first appeared in the New York Times on October 1, 1871, in a story about a Manhattan "dime store detective."
More than 7,000 volumes of the collection have been digitised and made available online for free at Nickels and Dimes. This includes more than 1.5 million pages from the New York Public Library's collection of pennies. The 50,000 Dire novels are on display at the National Museum of American History in Washington, D.C., and the Library of Congress in Philadelphia.
It is difficult to determine a specific number of copies for the Dime Mystery, as Populara's publications are listed as a master group by the Audit Bureau of Circulations and their titles are summarized in statistics. Baylor University's Texas Collection contains more than 1.5 million pages of pennies, and the University of Minnesota's Hess Collection includes nearly 2.2 million pages from the New York Public Library's collection of pennies and coins. And the National Museum of American History in Washington, D.C., and the Library of Congress in Philadelphia have nearly 9,000 pennies of novels, including nearly 1,500 pages in their collections of Dire Romans.
One of the different formats that are summarized under the term pennies is the so-called "thick book" series, most of which have been published by publishers such as Beadle, Adams and Westbrook Publishing Company. The Dime Mystery was only released for a few years before it became a strictly detective mystery formula. When the flagship title was replaced by a new series of books, B Beadle and Adams added new colours to the covers in their own way. Many of these series cost between ten and fifteen cents and totaled more than 1,500 pages, which were and were novels that were not in the penny.
The term "penny-pinching" referred to lurid, fast-written potato pots and was derided by sharp-eyed critics as a quality fiction. In modernity, it was used to refer to sensationalist, superficial literary works described as "fantasy," "sensationalism," or "subtle literary" works. It was also described as fast - written, "lurid" and "potato novel" as well as novels with a high number of pages.
DETECTIVE STORY did little to develop crime stories. Steeger decided to take the magazine in a new direction with the October 1933 issue, hoping to create a companion title: "The Dime Detective. The magazine's individual stories occasionally tended toward hard-boiled crime fiction, but the combination was more of a continuum. Inspired by the "strange and menacing" genre, it was a combination of mystery and terror. At Dimes Mystery Magazine, he wanted the same strong emotional terror, but he wanted to focus more on the demand for a certain mystery angle.
It was a formula that was also used in other popular titles, and it cranked up the revived Dime Mystery to maximum intensity. Soon "The DIME DETECTIVE" would become one of the best-selling titles in the magazine's history, with a circulation of 1.5 million copies. Popular Publications had over 130 titles that by 1937 were read by 30 million people per month. This coincided with the opening of a new publishing house, the New York Times Publishing Company, in 1937, but it was only the beginning of Steeger's successful career at Dimes Mystery.
The Dime Mystery has survived the last years of pulp production better than many magazines, but it eventually succumbed to the economic downturn that the entire medium has been engendered. In the struggle for profit, it raised its price to twenty cents, buckled and finally succumbed to its fate in 1937. As an added incentive, he was able to lure regular customers to his site by paying the Pulp Fiction rate, which had risen from five cents per copy to ten cents.
DIME DETECTIVE only made two editions for its authors: the characters they created were not allowed to appear in competing magazines, and there was to be no new sequel series. That task would be left to the highly prized successor to Pulp, where hard-boiled thrillers had taken shape and where hard-boiled detectives had become extremely popular, the Dime of Magacin. The Dimes Mystery was the frontrunner in this field, showing a triumvirate of horrors that followed the same basic pattern.