Authors and editors
Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted a few quick dollars could bolster their income with sales to pulps. Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts.
There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers, machines or typists. Before he became a novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow.
Some pulp editors became known for cultivating good fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman (Adventure),
Robert H. Davis (All-Story Weekly),
Harry E. Maule (Short Stories),
Donald Kennicott (Blue Book), Joseph T. Shaw (Black Mask), Farnsworth Wright (Weird Tales, Oriental Stories), John W. Campbell (Astounding Science Fiction, Unknown) and Daisy Bacon (Love Story Magazine, Detective Story Magazine).