The Escape of Mr. Trimm by Irvin S. Cobb

The first time I saw Major Putnam Stone I didn't see him first. To be exact, I heard him first, and then I walked round the end of a seven-foot partition and saw him.

I had just gone to work for the Evening Press. As I recall now it was my second day, and I hadn't begun to feel at home there yet, and probably was more sensitive to outside sights and noises than I would ever again be in that place. Generally speaking, when a reporter settles down to his knitting, which in his case is his writing, he becomes impervious to all disturbances excepting those that occur inside his own brainpan. If he couldn't, he wouldn't amount to shucks in his trade. Give him a good, live-action story to write for an edition going to press in about nine minutes, and the rattles and slams of half a dozen typewriting machines, and the blattings of a pestered city editor, and the gabble of a couple of copy boys at his elbow, and all the rest of it won't worry him. He may not think he hears it, but he does, only instead of being distracting it is stimulating. It's all a part of the mechanism of the shop, helping him along unconsciously to speed and efficiency. I've often thought that, when I was handling a good, bloody murder story, say, it would tone up my style to have a phonograph about ten feet away grinding out The Last Ravings of John McCullough. Anyway, I am sure it wouldn't do any harm. A brass band playing a John Philip Sousa march makes fine accompaniment to write copy to. I've done it before now, covering parades and conventions, and I know.