Spy Killer by L. Ron Hubbard
Authors: L. Ron Hubbard
Tags: Fiction, Literary, General, Suspense, Thrillers, Mystery & Detective, Espionage, Mystery Fiction, Short Stories, Theft, spy stories, Sailors, Outlaws - China - Shanghai, Shanghai (China)
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implausible six-shooter tales from the terrace of an Italian villa).
Nevertheless, and needless to say, L. Ron Hubbard persevered and soon earned a reputation as among the most publishable names in pulp fiction, with a ninety percent placement rate of first-draft manuscripts. He was also among the most prolific, averaging between seventy and a hundred thousand words a month. Hence the rumors that L. Ron Hubbard had redesigned a typewriter for faster keyboard action and pounded out manuscripts on a continuous roll of butcher paper to save the precious seconds it took to insert a single sheet of paper into manual typewriters of the day.
L. Ron Hubbard, circa 1930, at the outset of a literary career that would finally span half a century.
That all L. Ron Hubbard stories did not run beneath said byline is yet another aspect of pulp fiction lore. That is, as publishers periodically rejected manuscripts from top-drawer authors if only to avoid paying top dollar, L. Ron Hubbard and company just as frequently replied with submissions under various pseudonyms. In Ron’s case, the list included: Rene Lafayette, Captain Charles Gordon, Lt. Scott Morgan and the notorious Kurt von Rachen—supposedly on the lam for a murder rap, while hammering out two-fisted prose in Argentina. The point: While L. Ron Hubbard as Ken Martin spun stories of Southeast Asian intrigue, LRH as Barry Randolph authored tales of romance on the Western range—which, stretching between a dozen genres is how he came to stand among the two hundred elite authors providing close to a million tales through the glory days of American Pulp Fiction.
A Man of Many Names
Between 1934 and 1950, L. Ron Hubbard authored more than fifteen million words of fiction in more than two hundred classic publications.
To supply his fans and editors with stories across an array of genres and pulp titles, he adopted fifteen pseudonyms in addition to his already renowned L. Ron Hubbard byline.
______
Winchester Remington Colt
Lt. Jonathan Daly
Capt. Charles Gordon
Capt. L. Ron Hubbard
Bernard Hubbel
Michael Keith
Rene Lafayette
Legionnaire 148
Legionnaire 14830
Ken Martin
Scott Morgan
Lt. Scott Morgan
Kurt von Rachen
Barry Randolph
Capt. Humbert Reynolds
In evidence of exactly that, by 1936 L. Ron Hubbard was literally leading pulp fiction’s elite as president of New York’s American Fiction Guild. Members included a veritable pulp hall of fame: Lester “Doc Savage” Dent, Walter “The Shadow” Gibson, and the legendary Dashiell Hammett—to cite but a few.
Also in evidence of just where L. Ron Hubbard stood within his first two years on the American pulp circuit: By the spring of 1937, he was ensconced in Hollywood, adopting a Caribbean thriller for Columbia Pictures, remembered today as The Secret of Treasure Island. Comprising fifteen thirty-minute episodes, the L. Ron Hubbard screenplay led to the most profitable matinée serial in Hollywood history. In accord with Hollywood culture, he was thereafter continually called upon to rewrite/doctor scripts—most famously for long-time friend and fellow adventurer Clark Gable.
The 1937 Secret of Treasure Island a fifteen-episode serial adapted for the screen by L. Ron Hubbard from his novel, Murder at Pirate Castle.
In the interim—and herein lies another distinctive chapter of the L. Ron Hubbard story—he continually worked to open Pulp Kingdom gates to up-and-coming authors. Or, for that matter, anyone who wished to write. It was a fairly unconventional stance, as markets were already thin and competition razor sharp. But the fact remains, it was an L. Ron Hubbard hallmark that he vehemently lobbied on behalf of young authors—regularly supplying instructional articles to trade journals, guest-lecturing to short story classes at George Washington University and Harvard, and even founding his own creative writing competition. It was established in 1940, dubbed the Golden Pen, and
Nevertheless, and needless to say, L. Ron Hubbard persevered and soon earned a reputation as among the most publishable names in pulp fiction, with a ninety percent placement rate of first-draft manuscripts. He was also among the most prolific, averaging between seventy and a hundred thousand words a month. Hence the rumors that L. Ron Hubbard had redesigned a typewriter for faster keyboard action and pounded out manuscripts on a continuous roll of butcher paper to save the precious seconds it took to insert a single sheet of paper into manual typewriters of the day.
L. Ron Hubbard, circa 1930, at the outset of a literary career that would finally span half a century.
That all L. Ron Hubbard stories did not run beneath said byline is yet another aspect of pulp fiction lore. That is, as publishers periodically rejected manuscripts from top-drawer authors if only to avoid paying top dollar, L. Ron Hubbard and company just as frequently replied with submissions under various pseudonyms. In Ron’s case, the list included: Rene Lafayette, Captain Charles Gordon, Lt. Scott Morgan and the notorious Kurt von Rachen—supposedly on the lam for a murder rap, while hammering out two-fisted prose in Argentina. The point: While L. Ron Hubbard as Ken Martin spun stories of Southeast Asian intrigue, LRH as Barry Randolph authored tales of romance on the Western range—which, stretching between a dozen genres is how he came to stand among the two hundred elite authors providing close to a million tales through the glory days of American Pulp Fiction.
A Man of Many Names
Between 1934 and 1950, L. Ron Hubbard authored more than fifteen million words of fiction in more than two hundred classic publications.
To supply his fans and editors with stories across an array of genres and pulp titles, he adopted fifteen pseudonyms in addition to his already renowned L. Ron Hubbard byline.
______
Winchester Remington Colt
Lt. Jonathan Daly
Capt. Charles Gordon
Capt. L. Ron Hubbard
Bernard Hubbel
Michael Keith
Rene Lafayette
Legionnaire 148
Legionnaire 14830
Ken Martin
Scott Morgan
Lt. Scott Morgan
Kurt von Rachen
Barry Randolph
Capt. Humbert Reynolds
In evidence of exactly that, by 1936 L. Ron Hubbard was literally leading pulp fiction’s elite as president of New York’s American Fiction Guild. Members included a veritable pulp hall of fame: Lester “Doc Savage” Dent, Walter “The Shadow” Gibson, and the legendary Dashiell Hammett—to cite but a few.
Also in evidence of just where L. Ron Hubbard stood within his first two years on the American pulp circuit: By the spring of 1937, he was ensconced in Hollywood, adopting a Caribbean thriller for Columbia Pictures, remembered today as The Secret of Treasure Island. Comprising fifteen thirty-minute episodes, the L. Ron Hubbard screenplay led to the most profitable matinée serial in Hollywood history. In accord with Hollywood culture, he was thereafter continually called upon to rewrite/doctor scripts—most famously for long-time friend and fellow adventurer Clark Gable.
The 1937 Secret of Treasure Island a fifteen-episode serial adapted for the screen by L. Ron Hubbard from his novel, Murder at Pirate Castle.
In the interim—and herein lies another distinctive chapter of the L. Ron Hubbard story—he continually worked to open Pulp Kingdom gates to up-and-coming authors. Or, for that matter, anyone who wished to write. It was a fairly unconventional stance, as markets were already thin and competition razor sharp. But the fact remains, it was an L. Ron Hubbard hallmark that he vehemently lobbied on behalf of young authors—regularly supplying instructional articles to trade journals, guest-lecturing to short story classes at George Washington University and Harvard, and even founding his own creative writing competition. It was established in 1940, dubbed the Golden Pen, and
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