The dime novel is a form of late 19th-century and early 20th-century American popular fiction issued in series of inexpensive paperbound editions. The term dime novel has been used as a catchall term for several different but related forms, referring to story papers, five- and ten-cent weeklies, "thick book" reprints, and sometimes early pulp magazines. Dime novels are similar in form and content to British penny dreadfuls and story papers, which were produced at the same time.
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👉 Dime novel in the context of Detective Story Magazine
Detective Story Magazine was an American magazine published by Street & Smith from October 15, 1915, to summer 1949 (1,057 issues). It was one of the first pulp magazines devoted to detective fiction and consisted of short stories and serials. While the publication was the publishing house's first detective-fiction pulp magazine in a format resembling a modern paperback (a "thick book" in dime novel parlance), Street & Smith had only recently ceased publication of the dime novel series Nick Carter Weekly, which concerned the adventures of a young detective.
From February 21, 1931 to its demise, the magazine was titled Street & Smith's Detective Story Magazine. During half of its 34-year life, the magazine was popular enough to support weekly issues. Ludwig Wittgenstein, the eminent philosopher, was among the magazine's readership.
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Dime novel in the context of Pulp magazine
Pulp magazines (also referred to as "the pulps") were inexpensive fiction magazines that were published from 1896 until around 1955. The term "pulp" derives from the cheap wood pulp paper on which the magazines were printed. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine was 128 pages, 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges. Pulps were the successors to the penny dreadfuls, dime novels, and short-fiction magazines of the 19th century.
Although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative, and sensational subject matter, even though this was but a small part of what existed in the pulps. Digest magazines and men's adventure magazines were incorrectly regarded as pulps, though they have different editorial and production standards and are instead replacements. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such as Flash Gordon, The Shadow, Doc Savage, and The Phantom Detective.
Dime novel in the context of Paperback
A paperback (softcover, softback) book is one with a thick paper or paperboard cover, also known as wrappers, and often held together with glue rather than stitches or staples. In contrast, hardback (hardcover) books are bound with cardboard covered with cloth, leather, paper, or plastic.
Inexpensive books bound in paper have existed since at least the 19th century in such forms as pamphlets, yellowbacks and dime novels. Modern paperbacks can be differentiated from one another by size. In the United States, there are "mass-market paperbacks" and larger, more durable "trade paperbacks". In the United Kingdom, there are A-format, B-format, and the largest C-format sizes.
Dime novel in the context of Story paper
A story paper is a periodical publication similar to a literary magazine, but featuring illustrations and text stories, and aimed towards children and teenagers. Also known in Britain as "boys' weeklies", story papers were phenomenally popular before the outbreak of the Second World War. They are similar in content to the contemporary dime novels produced in the United States.
Among the most well-known British story papers was Boy's Own Paper, which ran from 1879 to 1967.
Dime novel in the context of Frank Tousey
Frank Tousey (1853–1902) was among the top five publishers of dime novels in the late 19th-century and early 20th-century. Based in New York, his sensationalism drew a large audience of youth, hungry for scenes of daring and tormented heroes and damsels in distress. Of particular notice in his approach to the 'blood and thunder' genre were the vivid cover illustrations of his dime novels, which were consistently larger and more thrilling than previous publications. Although focused on fictional weeklies, Tousey managed a variety of materials over time, including some handbooks, gossip sheets, and even a newspaper on current events in the Spanish–American War.