Eleanor M. Ingram, author of dozens of short stories and eight novels, including the early cosmic horror novel The Thing From the Lake, left us few details of her life. She never married, and so had no direct descendents to hand her down in their own recollections and family history; her early death cut off her career and resulted in her falling almost entirely out of literary memory in the 20th century, when it still might have been possible for an interested researcher to canvass the memories and records of her surviving family and friends. Some aspects of Eleanor’s biography can be filled in from public records about her family, while two essays about writing, a profile in A Woman's Who's Who of America, and a few contemporary newspaper articles tell us something about how she presented herself as a working author. Her stories give us a window, albeit a very partial one, into her interests, passions, and reading life.
Eleanor M. Ingram was the eldest child of Philadelphia-born John Wharton Ingram and Anna Augusta Sheilds (or Shields), the adopted daughter of Henry Sheilds, an iron and steel importer from Tarrytown, NY (Westchester County), just up the Hudson of New York City. John W. Ingram moved to New York City in 1879, and married Anna Augusta Sheilds in 1880. Eleanor Marie Ingram, their eldest child, was probably born on November 26th, 1881 (see below). In 1881, after the death of Henry Shields, Anna inherited her father’s property, and was eventually triumphant in a lawsuit after his siblings contested the will (see Collia, pp. i-iii). By 1885 John W. Ingram had taken a degree in law from Columbia and moved his family to Buffalo, where he joined a prestigious law firm. John and Anna’s son Edward Guier Ingram was born in 1888, and a second son, John Corbitt Ingram in 1896 (Collia, pp. iii-iv).
Perhaps due in part to Anna's connection to the region, the Ingrams settled in Grand View-on-Hudson, NY (Rockland County) across the river from Tarrytown and just a little further up, when John W. Ingram relocated his law practice to Manhattan in 1900, after an unsuccessful bid to be appointed Judge of for the new District Court of Western New York. The family maintained a winter home in the city on the Upper West Side (Who's Who 1914; 1920). In the mid 1910s they also owned a summer home in Connecticut at Hull's Farm; the property included a lake and probably inspired the setting of Eleanor's last novel, The Thing From the Lake (Collia, pp. xx).
In an essay for The Editor published in 1912, Eleanor describes her education and literary formation: "I have the very great good fortune to belong to a book-loving family who set me free in a classic library as soon as I could read, and who opened the doors to wider ranges by teaching me several foreign languages" (EM Ingram 1912, p. 52). Eleanor's passion for medieval French and Italian literature can be seen in its regular appearance in her historical and contemporary romances. A particular favorite is the Chanson de Roland, evoked or quoted by characters at significant moments in "Prince Scheherazade," "Not a Sparrow Falleth," "An Aristocrat" and The Unafraid, but we also find characters quoting more obscure works, such as the 15th century Italian epic Morgante ("His Day") and the French Renaissance poet de Malherbe ("A Girl Named Rose"). French and Italian were typical languages for upper-class American women to study, but Eleanor also seems to have been an enthusiastic student of Spanish and Portuguese language and literature. Her first publication was a translation of a Spanish short story, "Photographs", and in her "Who's Who" profile of 1914, Eleanor lists herself as a member of the "Circulo Literario Hispaniola" evidently a reading-club devoted to Brazilian literature. In The Twice-American, the American character Corey Bruce is introduced, through the magnetic, self-taught and self-made David Noel, to "the brilliant new literature of Brazil and her sister republics." Bruce is abashed to realize "that here he himself might be called an ignorant man, since he knew nothing of a rich and copious literature, was scarcely aware of its greatest names" (Twice-American, pp. 77-78). Here we can perhaps catch a glimpse of Eleanor's excitement about the vast worlds of new literature that her language studies opened to her.
Polyglot heroes are quite common in Eleanor's fiction, often fluent in the same languages she herself knew: John Allard of The Game and the Candle is fluent in French and Italian, while the Grand Duke Feodor Stanief has also picked up enough Spanish in his travels to speak it to the Spanish princess he is compelled to marry. In From the Car Behind we learn that Flavia and Corrie Rose and their father all decided to learn Spanish together "in a winter's enthusiasm" (Car Behind, p. 235). Delight Warren, the heroine of The Unafraid, speaks and reads fluent French thanks to her education in a Rouen convent, while her husband Stefan Balsic and his lieutenant Danilo Lesendra have fluent French and English in addition to Russian and their native Montenegrin. The aforementioned David Noel speaks Portuguese, Spanish and French–his only linguistic hesitation is in achieving a sufficiently elite idiom of English–and the Mexican-American hero of "Shifting Sands" has both Spanish and English for mother tongues. Even the medieval Spanish hero of "Don Estevan's Honor" has had instilled in him a love for Italian literature by his beloved tutor, while the harsh Lord Bertrand of "Lucifer’s Wife" begins to be humanized when the reader learns he knows Greek and spends his nights poring over manuscripts brought back from adventures in the Byzantine Empire. We do not know whether Eleanor ever traveled outside of the United States, but she brought her passions and aspirations for languages vividly to life in her fiction.
"I cannot write at all unless I am myself interested in the subject," Eleanor M. Ingram wrote in a 1912 essay (EM Ingram 1912, p. 52). Her early stories display a keen interest in romantic medievalism and Ruritanian romance, but it was another passion that led to the stories where she made her most distinctive mark in American fiction of the 1910s: motorcars and motorcar racing. The romantic appeal of fast cars driven by handsome men can be seen already in Eleanor's short story "The Harvest of Dreams," in which a provincial française reluctant to wed a man she was betrothed to as a child discovers that her promised husband is a dashing automobilist, as well as in her first novel, The Game and the Candle, in which the young emperor amuses himself by going out incognito to drive (and habitually exceeds the speed limit, to the chagrin of his companion). But it Eleanor's racing stories that changed the face of automobile fiction. Previous English-language "automobile novels" or "motorcar romances" tended to be touristic in scope, following a group of well-heeled British or American travelers as they enjoyed the freedom of movement afforded by the new technology to explore a new landscape, often in Europe. Sometimes the surprisingly chivalrous chauffeur who turned the young ingenue's head turned out to be a nobleman in disguise. Eleanor instead wrote about the high danger, excitement, and camaraderie of the new world of automobile racing; her heroes are drivers and mechanicians, partners who risk death together for their machines in tests of endurance and speed.
Eleanor attributed her interest in and knowledge of automobiles and racing to her brothers, "my most delightful comrades and indulgent motor instructors" to whom she dedicated her first racing novel. This was not a minor interest of the family. Eleanor's brother Edward was the editor of the magazine Motor Record from 1912, and published letters and technical articles on the various aspects of automobile and engine design (see EG Ingram 1912-1917. These and other pieces on automobile mechanics from the 1910s and early 20s are by one "Edward G. Ingram" whose address is variously given as Nyack, NY and Southport, Conn., and so is most plausibly to be identified with Eleanor M. Ingram's brother. The Edward G. Ingram who published on aspects of radio and sonar from the 1920s onward, however, appears to be a different individual entirely, writing from Aberdeen, Scotland). A deep interest in automobile technology seems to have made the Ingram brothers more than casual spectators in the racing world, although there is no evidence that either raced himself; through them, Eleanor claimed her knowledge to depict in vivid detail the realia of the "racing camps." A promotional article from November 1909 describes both Eleanor's enthusiasm for motoring and her access to technical information and first-hand knowledge of racing (HT 1909):
WRITER IS A RIDER
Eleanor M. Ingram Gets Inspiration While En Route.
Eleanor M. Ingram, the author of the latest Zenda romance to make a hit, "The Game and the Candle," is an enthusiastic motorist. So are her brothers. To them she owes the inner knowledge of motoring, track-gossip and affairs, which enables her to write those motor stories from the racing driver's point of view which she has been doing for the magazines. Not once, but many times, she has sat in the car and watched the dawn brighten across the different race courses, after an all-night vigil, watched, sometimes, with nerves spent and quivering from the horror of accidents witnessed. It appears that this is the candle for that game; that one pays really for realism.
Later, Eleanor would write in her own voice about about the experience of spectating at a motor-race (EM Ingram 1912):
One night, at the Brighton Beach Motor-drome, a famous racing driver and his mechanician were crushed to death under their shattered car, almost at my feet as I sat in our own machine. I thought, then, that I could never witness another race or write an automobile story. Instead, the thing had gripped me––the pulsating nearness of life and death, the fierce excitement and reckless gayety of the boyish racers, the tense crowd who watched. I have seen many races since, and my last three books have been concerned with motor racing, as have been a number of shorter stories.
The race to which Eleanor refers was probably the Brighton Beach 24 Hours Automobile Endurance Race of August 27-28, 1909, in which driver Laurent Grosse and mechanician Leonard Cole were killed when their car lost a wheel near the grandstand of the circuit (BE 1909). At this point, Eleanor had already published at least one story about automobile racing that dramatized "the pulsating nearness of life and death, the fierce excitement and reckless gayety of the boyish racers, the tense crowd who watched": "The Jesters", which appeared in the August 1909 issue of Lippincott's Magazine. A subsequent story, "The Duel" would culminate in a terrible crash such as the one she witnessed.
In her contemporary fiction, Eleanor wrote about the world she knew. Few of her contemporary American stories are set further afield than lower New Jersey, although a couple take place in fashionable Adirondack summer resorts ("Lady Impossible"; "Diet"). Her automobile stories dramatize the race-courses and "training camps" of Long Island and Brighton Beach, while vignettes in A Man's Hearth and The Thing From the Lake give fascinating glimpses of the fashionable NYC cabaret scene. But the Hudson Valley was Eleanor's home, and her most favored landscape. From stately homes amidst rolling hills, to the riverside quarries, to the blare of the Sing Sing Prison whistle alerting the countryside to an escapee, the sounds and sights of Eleanor's Hudson feature prominently in her works. "[M]y home is on the shore of the Hudson River; my brother was away on his Submarine-Chaser; and I used to listen to the clamor of whistles when each transport brought in our returning troops" she wrote in 1920 about origins of "A Girl Named Rose" (EM Ingram 1920). Her 1908 short story "Amethyst Windows" opens with an appropriately purple tableau of a moonlit autumn night on the Hudson ("Amethyst Windows", p. 715):
The boat rocked softly; the tide was running in and silently contesting the current out, strong here in the narrows of the river. The night had the crystalline clearness of the first frosts; still low in the sky hung the October moon and in its light the mountains rose on either side, stretching away one behind the other, magical, velvet-soft in the reds and browns and yellows which clad them in state to receive the Winter. Long dark shadows nestled in their hollows, steel gray patches here and there revealed their uncompromising cliffs. And opposite the boat, alone in all the unmarred hills, stood the house.
While the language is highly wrought, the picture is likely taken from life.
From all indications, Eleanor's life followed the pattern of conventional upper-class womanhood lived within the family. But although her heroines tend to be delicate maidens who prefer to sit inside with their embroidery and leave boating, motoring, and other sports to the male heroes, there are some indications that Eleanor herself preferred, or at least enjoyed equally, the active life. Her Who's Who profile lists membership in the Tappan Zee Yacht Club as well as the Rockland Country Club (Who's Who 1914), and a newspaper profile from 1915 describes her as "a splendid type of the twentieth century girl who is as much at home on the golf links [and] tennis court, as in the social whirl of receptions, pink teas and the like" (AC 1915). She was also an avid motorist who owned and drove her own car. A photograph printed in Book News Monthly in 1911 shows her at the wheel (BNM 1911, p. 444; cf HT 1909; Collia, p. viii).
Eleanor dedicated her first four novels to her family: The Game and the Candle "To that gracious family circle of which I have the happiness to be one" (1909); Flying Mercury "To my most delightful comrades and indulgent motor instructors–my two brothers" (1910); Stanton Wins "To my dearly beloved father" (1911); From the Car Behind "To my dear and gracious mother" (1912). Her fascination with languages also probably reflects the environment in which she grew up: a profile of her father from the period when he was seeking appointment as a judge referred to him as "of the student type who must always be learning" and noted his ability in German, French, Italian, and Spanish, as well as Latin and Greek and "some knowledge of several less-known tongues" (BCE 1900).
A certain romantic fascination with nobility and family lines was also probably learned at home (to say nothing of the conventional Anglo-Saxon supremacy that pervades Eleanor's fiction). An 1898 profile of John Wharton Ingram the Albany Law Journal begins with an account of his descent from old Philadelphia and Delaware families: “His father, John Ingram, is a member of one of the old and well-known families of that city (sc. Philadelphia); his mother, Ella F. Guier, was a descendant of the Huguenot family of that name and of the Corbits of Delaware. The members of the families from which he is descended have been known since colonial times as statesmen and lovers of right and justice” (ALJ 1899, p. 87). John W. Ingram probably had a hand in his own profile, and his emphasis on old family and distinguished ancestry suggests the kind of atmosphere and values in which Eleanor grew up. The French family name of Eleanor’s paternal grandmother, Guier, which was also the middle name of her brother, Edward Guier Ingram, shows up in several of her historical stories: the Chevalier de Guier is the hero of “The Duke, the Slipper, and Dolores” (1904), while the similarly-named de Gérier appears in “Prince Scheherazade” (1907). Certainly, a similar pride in “good” family and ancient noble ancestry is not only characteristic but taken for granted by many of Eleanor M. Ingram’s heroes and heroines, but occasional stories also interrogate this pride of ancestry directly ("The Honor of a Plebeian;" "The Egerton Standard;" "An American").
Eleanor's depiction of race is not particularly progressive, being only a little more tolerant of difference from a white Anglo-Saxon protestant norm than the baseline of stereotyping common in her literary milieu. Eleanor minutely notes the ethnic background of characters, especially when it deviates from English or old NY Dutch ancestry; she tends to exoticize Southern and Eastern Europeans, although her portrayals of them, as well as of characters with Irish ancestry, are considerably less stereotyped and more positive than in many of her fellow white Anglo-Saxon protestant writers of the period. Non-white characters, however, are rare, and, when they do appear, are sometimes the object of extremely offensive and racist depictions (see e.g. certain scenes in "Don Estevan's Honor", "Shifting Sands" and The Twice-American). Occasionally Eleanor was able to look beyond her assumptions of racial superiority: it is notable, for example, when in "On the Highway" a pair of Black waggoneers who stop to help the hero shift a car that has become stuck in a rut are portrayed without much comment (and with no dialect) as ordinary working men who lend a hand to another working man who, although he is white, is merely their equal; equally striking is the Jewish character Abel in The Twice-American, who is quietly dignified as the devoted secretary and guardian of the heroine's father.
In her two essays for The Editor, Eleanor presents herself as a pragmatic writer with few difficulties either producing or selling her stories. "I never write anything that I do not believe will sell; and I have no unsold manuscripts" she wrote in 1912, and, looking back over her career in 1920, "I have always had a market for more than I can write" she wrote in 1920 (EM Ingram 1912; 1920). She also disclaimed any conflicts with editors: "I have not found editors to be the narrow-minded conventionalists they are sometimes depicted, but cordial and considerate business men who only ask that the contributor keep in mind the character of the magazine." (EM Ingram 1912). In part this optimism may be due to the fact that Eleanor was never compelled to subsist on the proceeds of her writing career, as well as the orientation of the magazine in which she was writing: as she says, she knew how to write to the expectations of a publication! This pragmatic commercial outlook should give us pause when assessing Eleanor's "own views" from her stories, but nonetheless, we shall now proceed to indulge in exactly that.
Eleanor notably did not write about writers (with the exception of her late story "A Girl Named Rose"), but her 1912 story "Diet" contrasts two views on art: a young woman painter who has taken up faddish vegetarianism the better to fit her mind to lofty art and inspiration, and a successful male painter whose artistic skill and success go hand in hand with a frank enjoyment of the physical pleasures of food and outdoor exercise. In the end, the latter wins over the former to his point of view. The Thing From the Lake has more extended meditations on art and artistic creation through its hero, the composer Roger Locke. Locke is a pragmatic and workaday composer, unashamed of the middle-brow musicals that have brought him wide success, however much his more intellectually pretentious relatives may sniff at them. Yet he also feels the pull of inspiration, is capable of creating profound and transcendent beauty in his art; his creative mind both makes him the Thing's special target and gives him the strength to fight it. It is tempting to see here Eleanor's reflection on her own career as a writer of popular fiction that she nevertheless thought capable of expressing beauty and truth.
Eleanor's pragmatic attitude toward her work may also be seen in her embrace of film adaptations. She is named as an example of "writers of reputation who are entering the motion picture field" in a film-industry magazine article from 1913 (RL 1913). Between 1913 and 1917, five of Eleanor's stories were the basis of silent films. She does not appear to have played a direct role in the script-adaptations or production, but is credited as the source of the adaptation in all records. Two of these films, The Unafraid (1915) and The Little Shoes (1917) received international distribution. The Unafraid, directed by Cecil B. DeMille and starring Rita Jolivet and House Peters, has survived in several prints held by the Eastman Museum, and has received a little attention within the context of the director's oeuvre and the portrayal of the Balkans in American film (see Burchard, pp. 42-43; Ringgold, pp. 63-64; Ţuţui, pp. 64-65).
Eleanor never married, although the horror-fiction scholar S.T. Joshi reports that she "was apparently engaged to or involved with a man who enlisted in the U.S. Army and was killed in France during World War I" (Joshi). Joshi's subsequent statement that Eleanor died "from breast or ovarian cancer" has the ring of uncertain lore passed down in a family, and the story of the tragic death of Eleanor's beau may thus derive from Ingram family history as well (Joshi credits his information about Eleanor's life to correspondence wtih science-fiction bibliographer Robert Reginald, an alias of Michael R. Burgess). If true, this detail gives particular poignancy to Eleanor's WWI stories such as "Understanding Adora", whose heroine manages to find a happy ending with a soldier who returns home badly disabled by mustard gas, and "A Girl Named Rose", about a young woman exhausted by the losses of the war and the flu pandemic, who nonetheless is able to find happiness with a childhood sweetheart who returns home badly wounded, but alive. It is also possible, of course, that the story was backformed from Eleanor's fiction; if so, it must have happened at an early date.
Eleanor M. Ingram died on March 22, 1921, probably from cancer of the uterus. Her death certificate gives her age as 38 and the cause of death as "Secondary anaemia, fibroma uteri, exhaustion," and it indicates that she had been ill for five years. The long illness might be the cause of her much slowed output in these years. Her last novel, The Thing from the Lake, appeared posthumously.
In her lifetime, Eleanor M. Ingram was a popular author of moderate renown, whose novels were serialized in newspapers across the United States; Cecil B. DeMille's adaptation of The Unafraid was an international success. After her death, she faded almost entirely from the consciousness of the public and the literary world, except as a footnote in the development of horror fiction. H.P. Lovecraft mentioned The Thing From the Lake favorably in a letter to his friend Albert Derleth in 1927, calling it "a really good story–with a genuine thread of horror, despite best-seller form" (ES 1, p. 89), and Arno Press reprinted it in the 1970s (but see Joshi for doubts on the actual influence exerted by The Thing From the Lake on Lovecraft). Eleanor's accomplishments as an author in her own day were so eclipsed that an essay on The Thing and the Lake published in the 1990s could describe her as "just beginning her career as a novelist when she died at the age of thirty-five" and lament her "unrealized abilities" cut off by her death (Reginald and Burgess, p. 62).
It is true that Eleanor does not seem to have written fantasy before The Thing and the Lake, but elements of the supernatural pop up here and there in her earlier work. "Two Who Learned" opens with a set-piece of a wise-woman brewing a supernatural poison, and "I Am The Emperor" (1906) is arguably a tale of psychological horror. Spiritualist interests make a startling appearance late in The Twice-American (1917), when the despair of the kidnapped and unjustly imprisoned Corey Bruce causes a kind of psychic distress call perceptible by David Noel hundreds of miles away. "The Duel" (1910), about a malevolent black motorcar that seems to wreak vengeance on its drivers, comes the closest to the eerie and menacing mood of The Thing From the Lake, although the story stays just on this side of the fantastic. We will never know whether The Thing From the Lake represented a new direction that Eleanor would have maintained, or whether it was merely one experiment in a career that was already respectably long and varied. Whatever else she would have written, we wish she had been granted more time in which to do so.
Eleanor's death certificate gives her age as 38, implying a birth year of 1883 or 1882; Eleanor's Who's Who profiles list her birth year as 1886 (Who's Who 1914) and 1885 (Who's Who 1920). Eleanor may have regularly revised her age downwards. In the New York State Census taken in February 1892, "Ella M. Ingram" the daughter of John W. and Annie A. Ingram, is listed as 11 years old, which––if the birthday of November 26 given by Who's Who is correct––would put her birth year in 1880 or––if simple subtraction from her birth year was used––in 1881; however, in the New York Census of 1905 (June) she is listed as 22 years old, while in the US Census of 1910 (April), she is listed as 23. It's worth noting that Eleanor's age is not the only one that fluctuates. Her parents are identified as 31 years old in 1892, 40 years old in 1905, and 47 in 1910! Her brother Edward is 13 in 1905 but 21 in 1910.
The inconsistency in the various records for Eleanor M. Ingram's apparent birthdate is noted by Gina Collia in the introduction to her 2025 edition of The Thing From the Lake (Nezu Press); Collia notes that Eleanor's mother was described as single in a court filing of June 1880 but was married and expecting a child in February 1881 (Collia, p. xxiii n.1). If Anna Augusta Ingram was known to be expecting a child in February 1881, late November of that year would seem to be quite late for the child's birth, but it is not impossible. It's conceivable, for example, that Anna Augusta divulged her pregnancy at at quite early date for strategic reasons, as she was then in the midst of a lawsuit concerning her adoptive father's will (in which he had left his property to her); she might have gained sympathy with the court by appearing not only as a respectable wife, but as a prospective mother assailed and dragged out of the home in the midst of a 'delicate condition' (for details about this lawsuit see Collia 2025, pp. ii-iii with references).
(Publication information and (where available) links to Eleanor M. Ingram's stories and novels can be found on the Bibliography page of this site)
AC 1915 = "Authors and Books", The Atlanta Constitution vol. 48 no. 194, 26 December 1915, p. 34. [Read on Internet Archive
ALJ 1899 = "John W. Ingram" in The Albany Law Journal vol. 57 no. 1, 7 January 1899, pp. 87-88. [ Read on Google Books]
BCE 1900 = "John W. Ingram" Buffalo Illustrated Express (= Buffalo Courier Express) 1 April 1900, p. 2.
BE 1909 = "One Dead and Eight Wounded in Auto Race," Buffalo Enquirer (28 August 1909), p. 1.
BNM 1911 = "In the World of Letters", Books News Monthly Vol. 29 no 7 (March 1911), pp. 441-446 [ Read on Internet Archive].
Birchard = Robert S. Birchard, Cecil B. DeMille's Hollywood. University of Kentucky Press, 2004.
Collia = Gina R. Collia, “From the Realm of Romance to the Borderland of Dread: The Life and Work of Eleanor M. Ingram”, in Ingram, Eleanor A. The Thing from the Lake. Nezu Press, 2025, pp. I-xxvii.
EG Ingram 1912 = Edward G. Ingram, "Meaning of Face Diameter" in Motor Age, 5 September 1912, p. 30. [Read on Internet Archive]
EG Ingram 1914 = Edward G. Ingram, "Advocates Engines Running over 15,000 R.P.M" in The Automobile 8 November 1914, p. 670. [Read on Internet Archive]
EG Ingram 1916a = Edward G. Ingram, "Practical Engine Rating: Errors in Developing Rating Formula and Incorrect Use of Piston Speed— Variation in Power Efficiency with Different Sized Cylinders", The Automobile October 26, 1916, pp. 700-3. [Read on Internet Archive]
EG Ingram 1916b = Edward G. Ingram, "Practical Engine Rating", Journal of the American Society of Mechanical Engineers, vol. 38 no. 12, December 1916, pp. 1030-31. [ Read on Internet Archive]
EG Ingram 1917 = Edward G. Ingram, "The Stroke-Bore Ratio", The Automobile, 26 January 1917, pp. 257-58. [ Read on Internet Archive]
EM Ingram 1912 = Eleanor M. Ingram, “Letters from the Litterati: Eleanor M. Ingram” The Editor: The Journal of Information for Literary Workers, vol. 36 no.2 (August 1912), 52-53. [Read on Google Books]
EM Ingram 1920 = Eleanor M. Ingram, "Contemporary Writers and Their Work: A Series of Autobiographical Letters: Eleanor M. Ingram", The Editor: The Journal of Information for Literary Workers, vol. 52 no. 8, 25 April 1920, p. 23 [Read on Hathitrust]
ES 1= Essential Solitude: The Letters of H.P. Lovecraft and August Derleth. Vol. 1: 1926-1931. Ed. David E. Schultz and S.T. Joshi. New York: Hippocampus Press, 2008.
HT 1909 = "Writer is a Rider", The Harrisburg Telegraph, 13 November 1909, p. 8.
Joshi = S.T. Joshi, "Introduction", in Eleanor M. Ingram, The Thing from the Lake, Seattle: Sarnath Press, 2017.
Reginald and Burgess = R. Reginald, with Mary A. Burgess, "Curious Things: The Horror Fiction of Eleanor M. Ingram (1983)", in Xenograffiti: Essays on Fantastic Literature. Wildside Press 1996, pp. 62-65.
Ringgold = Gene Ringgold, The Films of Cecil B. DeMille. New York: Citadel Press, 1969.
RL 1913 = "Experienced Authors in Reliance Photoplays", Reel Life; The Mutual Film Magazine 20 September 1913, p. 11. [Read at Library of Congress]
Ţuţui = Marian Ţuţui, "Balkan Aristocrats and Villains in Western and American Cinema", Arta vol. 23 no. 2, 2014: 61-69.
Who's Who 1914 = "Ingram, Eleanor Marie", in Woman's Who's Who of America: A Biographical Dictionary of Contemporary Women of the United States and Canada, 1914–1915, ed. John Leonard. New York: The American Commonwealth Company, 1914, p. 422. [ Read on Googlebooks]
Who's Who 1920 = "Ingram, Eleanor Marie", in Who's Who in America: A Biographical Dictionary of Notable Men and Women of the United States, Vol XI, 1920–1921, ed. Albert Nelson Marquis. Chicago: Albert Nelson Marquis Company, 1920, p. 1467. [Read on Googlebooks]