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Inklings Issue 2.13
===============================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 2.13 July 24, 1996
===============================================================
<http://www.inkspot.com/inklings/issues/ink0213.html>
INTERVIEW WITH TED PEDERSON
Author of more than 200 live-action and animated tv
scripts,
from Teenage Mutant NinjaTurtles to the new Skysurfer Strike
Force
FRESH INK - resources for writers on the net
Market Information - First Sale Stories - Subscriber
Publications
COLUMN TOPICS:
Breaking into the market - Lee Wardlaw
Thanks to Skip Press for recommending my writer's site and
Inklings in
his article for Writer's Digest magazine (Aug/96, p40, "Working
The
Web"). Thanks also to Netsurfer Digest (July 18/06) and The Net
magazine (Aug/96, p82) for their plugs. Incidentally, if you ever
notice Inklings or Inkspot reviewed or mentioned anywhere and I
don't
have it listed in my press clippings section
(http://www.inkspot.com/~ohi/inkspot/clippings.html), please do
let me
know! Thanks.
Apologies to those who received more than one copy of the last
issue. The server rebooted partway through sending out issues and
the mailing software got confused.
=================================================================
====
This issue sponsored in part by:
* Samurai Consulting *
<http://www.samurai.com/>
Services include internet consulting, WWW page design, electronic
newsletters (like INKLINGS!), mailing lists, FTP sites, system
maintenance, training. Email: Bryan Fullerton
<bryanf@samurai.com>
=================================================================
====
ISSN 1205-6413. Copyright 1996 Debbie Ridpath Ohi. See end of
issue
for more copyright details, and info on how to subscribe and
unsubscribe. Send questions and comments to editor@inklings.com.
=================================================================
====
FRESH INK
=========
New Inklings column: ASK THE HORROR WRITER
------------------------------------------
PAULA GURAN is a horror writer and editor of BONES, a new
hardcopy
horror magazine debuting this September (and is a paying
market!).
She also maintains the Dark Fiction/Horror Writers Workshop on
AOL
and publishes a free weekly electronic newsletter for horror
writers.
Send email to Paula at <darkecho@aol.com> with "inklings
question"
in the subject header. She will answer selected questions in
future
issues of Inklings.
Bones magazine <http://w3.gwis.com/~prlg/Bones.html>
Bones writers' guidelines at
<http://w3.gwis.com/~prlg/S_GLS.html>
DarkEcho's Web <http://w3.gwis.com/~prlg/>
Web Poetry Kit
--------------
Build your own poem.
<http://www2.best.com/~jnc/cd/poetrykit.html>
FAQ about Literary Agents
-------------------------
Courtesy Horror Writers Assocation. Written by Lawrence
Watt-Evans
with help from members of HWA and SFWA.
<http://www.greyware.com/hwa/agent.htm>
Liszt mailing lists
-------------------
Searchable directory of e-mail discussion groups. Claims to be
the
world's largest directory of mailing lists.
<http://www.liszt.com/>
Coming To Terms
---------------
Article about the electronic rights clause in magazine and
newspaper
contracts. Courtesy the American Society of Journalists and
Authors.
<http://www.asja.org/cometerm.htm>
Patricia C. Wrede's Worldbuilding Questions
-------------------------------------------
Courtesy Lars Eigner. Especially useful for fantasy writers.
Similar
to a "character-building profile", but for an entire world.
<http://www.io.com/~eighner/wbuild.html>
Songwriting resource
--------------------
The Muse's Muse is maintained by Jodi Krangle. Site includes
articles
and tips, polls, a Tuesday night MOO (chat realtime with other
songwriters), classifieds, resource pointers.
<http://www.interlog.com/~elysium/muse/>
SCBWI on the web
----------------
The Society of Children's Book Writers and Illustrators is the
only
professional organization dedicated to serving the people who
write,
illustrate, or share a vital interest in childrenÕs literature.
<http://www.scbwi.org/>
Talk City seeks writers for discussion forum
--------------------------------------------
Stephanie Shea is in the process of putting together several
online
"writers' conferences". A Mystery Writer section is in the works,
for
example, and will have its own homepage, schedule, message board,
live
chat, and workshops. She will set up other conference areas if
there
is enough interest. Send email to Stephanie at
<steph7@cris.com>.
<http://www.talkcity.com>
Subscriber warning
------------------
Subscriber reports John Honea Publishers praised his mss, then
referred him to a literary agency that charges a fee for their
services.
=================================================================
=====
MARKET INFORMATION
==================
Please note: Inklings does its best to print only accurate market
info. However, it cannot be held responsible for lost postage,
time,
etc. that you may incur due to inaccuracies. Do not send
submissions
by email before inquiring first. You should get current, detailed
guidelines before submitting. Include SASE for snailmail replies.
More
market info at:
http://www.inkspot.com/~ohi/inkspot/marketinfo.html.
SPECIAL THANKS TO THE FOLLOWING MARKET SOURCES:
***SCAVENGER'S NEWSLETTER***
Excellent monthly market info letter for
sf/fantasy/horror/mystery
writers and artists with an interest in the small press. Sample
copy
$2. SUBSCRIPTION INFO -- Bulk: $15.50/yr, First Class: $19.50/yr,
Canada: $18.50/yr, Overseas: $24.50/yr air mail, $15.50 surface.
All
orders in U.S. funds, MO, or mint US stamps. Contact: Janet Fox,
519
Ellinwood, Osage City, KS USA 66523-1329.
***CHILDREN'S WRITERS MARKET LIST***
Available by e-mail or snailmail. Margaret Shauers, 1411 12th,
Great
Bend, KS 67530. $5.00 email listing; $6.00 snailmail. Contact
<mshauers@midusa.net> for free sample e-mail market
listing.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed,
stamped envelope, "simsubs" = simultaneous submissions, "mss" =
manuscript, "RT" = response time, "GL" = guidelines.
PAYING MARKETS:
Stygian Articles
----------------
Fiction 1000-7000 wds (prefer 4000). Longer works may be
serialized.
Buys FNASR. Pays 1/4c/wd. Include a cover letter with all
submissions.
No simsubs, no reprints. "Looking for highly original ideas and
fresh
'voices.' Our one major criteria is good, solid writing. Be
prepared
for extensive and truthful criticism." RT: Usually less than a
month.
SF/F submissions may take slightly longer, indicating they have
been
sent on to Jeremy for further consideration (a good sign). Query
before emailing a submission. HORROR: Jeremy E. Johnson,
Editor/Publisher, 3201 Sun Lake Drive, St Charles MO 63301-3012.
SF:
Anne Moore, Associate Editor, 1960 Woodbury A4913, Ann Arbor MI
48104.
FANTASY: Lisa Preston, Associate Editor, 566 Riley, Lansing MI
48910.
<http://www.i1.net/~charon/>
Email: <charon@i1.net>
Meadowbrook Press
-----------------
Meadowbrook Press invites submissions for two projects under
development. Project #1: Sequel to GIRLS TO THE RESCUE, anthology
portraying high-spirited heroines solving problems for girls ages
8-12. Length: 5-10 pp. Pay: $500/story on publication. For
guidelines,
send SASE to GTR, Meadowbrook Press, 18318 Minnetonka Blvd,
Deephaven,
MN 55391. Project #2: Anthology for boys and girls, ages 9-12,
with
the title NEW-FANGLED FAIRY TALES. Humourous adaptions of
well-known
fairy tales that contain an unexpected twist reversing
traditional
stereotypes. Length and pay same as for Project #1. For detailed
guidelines, send SASE to: NFFT, Meadowbrook Press, 18318
Minnetonka
Blvd., Deephaven, MN 55391. (Source: SCBWI newsletter)
Bones
-----
Editor: Paula Guran, BONES, P. O. Box 5410, Akron OH 44334. New
hardcopy horror magazine debuting in Sept. Considers any type of
imaginative fiction -- horror, SF, fantasy, noir, cyber -- that
is
"based in deep shadows and the serious dark". Prefers originals.
Fiction: 2000-5000 wds, also uses short-shorts (750-1000 wds). 3
cents
a word for FNASR with a $150 maximum. Payment on publication.
Email
submissions ok, prefers snailmail. Include cover letter with all
submissions, and SASE if you want snailmail reply.
Email: bonesmail@aol.com
<http://w3.gwis.com/~prlg/Bones.html>
Strange Wonderland
------------------
Rebecca Anne Jansen, Editor. Zero Hour Productions, 3217 Shelley
St.,
Victoria, BC Canada V8P 4A6. Fantasy, supernatural, adventure
centred
around childhood experiences, memories, and dreams. No reprints.
Fiction max 5,000 wds. Payment 1/2 cent per word US + 2 copies.
No
poetry. Format: 8.5 x 11, saddle stapled with 2-colour cover.
(Source:
Scavenger's Newsletter)
Gibson Greetings
----------------
Seeks freelance humor writers for its alternative greeting card
line
"Life As We Know It." Contact Jane Landis, Editor, at
jlandis@ix.netcom.com for guidelines, and be sure to include your
mailing address in your query. Please do not send submissions
with
your query.
Disney Adventures
-----------------
500 South Buena Vista St., Burbank, CA 91521: Suzanne Harper,
Editor.
This secular publication is aimed at 7 to 14 year olds. Uses
fiction,
900 to 1200 words and pays .75 to $1 word on acceptance for
WORLDWIDE
rights. This magazine has recently be restructured. Try to get a
new
copy--and look for the new Disney publication Big Time, a Disney
newspaper for children, in 1997. (Source: Children's Market List)
Renaissance
-----------
Editor: Kim Guarnaccia. 5A Green Meadow Dr., Nantucket, MA 02554.
Email: 76603.2224@compuserve.com. Magazine of articles related to
the
Renaissance and Middle Ages, including history, martial arts,
recipes,
travel, interviews, and reviews. Sample copy US$5. Send SASE for
guidelines. Audience includes closet historians, faire-goers and
role-playing game enthusiasts. Quarterly publication. Press run
6,000.
Uses about 25 submissions annually. Simsubs and second rights
okay.
Articles max 4,000 wds. Pays 3 cents/wd on publication. Uses
artwork
and photos. Issues an agreement with "regular" writers only.
Reports
in 3-6 wks. Editor advises, "Be thorough. Always include
suggested
reading info and photos/graphics with articles." (Source:
Canadian
Author)
=================================================================
====
INTERVIEW WITH TED PEDERSON
-----------------------------------------------------------------
----
by Debbie Ridpath Ohi
<editor@inklings.com>
Ted Pederson has had more than 200 live-action and animated tv
scripts
produced, from Teenage Mutant NinjaTurtles to the new Skysurfer
Strike
Force, that he helped develop and story edit. Other writing
projects
include four Cybersurfer (Price Stern Sloan) and two Star Trek:
Deep
Space Nine (Pocket Books) novels. A novel based on Nickelodeon's
"Are
You Afraid of the Dark" and two collections of True Fright
stories
(Tor) will be published later this year.
His web page can be found at
<http://www.leonardo.net/cyberkid>.
How did you get your start in writing for TV?
---------------------------------------------
I always wanted to write for tv, but you can't do it from a
distance.
So I took the plunge and moved from Seattle to Los Angeles. At
the
time I was a programmer/systems analyst on mainframes and
continued to
work in computers at the University of Southern California. I
took tv
writing courses on evenings and weekends, and made some contacts
and a
writing partner (Martha Humphreys, who has moved on to become a
producer) and we got in to pitch to several tv series -- getting
close
but no sales.
Then, in a writing group that evolved out of our classes, we
heard
about a new live-action Saturday morning series called Space
Academy.
A phone call got us a meeting with the show's producer, Arthur
Nadel,
at Filmation Studios -- and our first assignment. That followed
with
another, and then multiple episodes on their new series, Jason of
Space Command. And finally we were offered a staff job. Marty
turned
it down because she didn't want to commute every day, but I took
it --
and since most of Saturday morning is cartoons, I kind of
stumbled
into becoming an animation writer. My first job at Filmation was
writing and story editing the Flash Gordon animated series, and,
having grown up on the Alex Raymond comic strip, it was like
being
given the keys to the toy store. The hours were great, I could
work
half the time at home, and buying comic books was a professional
research expense.
That was sixteen years ago. Since then I've written nearly 200
scripts -- everything from the Smurfs to Teenage Mutant Ninja
Turtles
to Attack of the Killer Tomatoes and X-Men. A series I helped to
develop and story edit, Skysurfer Strike Force, is currently
being
syndicated.
What sort of preparation goes into developing a tv series like
Skysurfer Strike Force?
--------------------------------------------------------------
The process is pretty much the same as developing a book or a
story:
someone gets an idea. It may be the writer, but often it is not.
Very often these days it's a toy or maybe a comic book. One show
I
developed some years ago, Centurions, was based on a toy. But the
concept for the show and stories were pretty much mine -- though
anything developed in tv is a far more collaborative effort than
writing a book.
Starting with the idea, which might be a one line concept or a
set of
action figures, the writer's job (mine) is to expand it into a
presentation piece that (along with artwork) can sell the show.
This
presentation piece is usually 10 to 20 pages in length and
describes
the series, the characters and the kind of stories that will be
told.
Very much like the proposal used to sell a publisher a book
series.
The next steps, assuming someone with money says they like what
they've seen so far, is to expand the presentation into a "bible"
--
which is the format for the series, giving the back story of all
the
characters, and all the set pieces that will appears in the show
(their headquarters, vehicles, etc), and more expanded story
premises.
After that, if we're still lucky, you write a pilot script. Pilot
scripts often turn out to be weaker than other scripts for the
series
simply because you have to throw into them everything that can
happen
in the show. And they tend to get rewritten -- a lot by a lot of
people.
Then, if you're really lucky, the show gets approved and goes
into
production.
How do you know if an idea will work?
-------------------------------------
The simple answer to this is -- you don't. Example: some years
ago a
producer I have worked with developed a new animated series based
on a
self-published comic book. He went to several other studios to
co-produce the series. Everyone else thought it was a stupid idea
and
wanted no part of it. He did the series himself -- Teenage Mutant
Ninja Turtles.
The rule in tv (and getting to be that way in books) is don't be
too
original. They seem to want something that is new and different
and
comfortable. Everyone in the book business is trying to do a
"slightly sideways" Goosebumps. None of them are really working
like
the original.
Someone once told me (and I've come to believe it) that you
should
write what you want to read. Don't write for the market, but
write
for yourself.
What I look for in a new idea or story is something I'd like to
read,
or see on tv. It may not sell, but at least it has a better
chance. If
you write something you don't really like because you think it
might
sell -- it almost certainly won't.
Final thought: there are a lot of ideas out there. But they have
to
be nurtured and developed. Putting it on paper is hard work and
usually it won't turn out as brilliantly as the original
inspiration
in your head. The difference between writers and the rest of the
folk
out there is simply that writers write.
What are your work habits? (i.e. daily schedule, how do your
organize
your work, etc.)
-----------------------------------------------------------------
-----
Mornings is when I try to be creative. Afternoons I go into
rewrite
mode.
One of the main reasons I wanted to be a writer was so I wouldn't
have
to go into an office. With my IBM "butterfly" laptop, my office
can
be wherever I want it to be. Usually, in the mornings, that's an
outdoor table at a coffee shop in Santa Monica, or another one
that's
walking distance from our home in Venice. I usually hang out and
write and drink coffee for an hour or so, until the muse or the
batteries in my laptop give out, then go home and take a break.
Afternoons I work on what I've already written or do other
chores.
Depending on the project (or projects) I try to get 5 to 10 pages
done
a day. That's not an absolute, but I want to have something
accomplished by the end of the day.
I used to teach a job search workshop in Seattle. One of my
"rules"
was that the job seeker should get dressed up before going out on
a
job interview. If you immerse yourself in "success" then you'll
feel
that way. I keep reorganizing my work space at home the same way.
I
put up new pictures, replace books in the shelves, etc to reflect
what
I'm going to be working on. I guess I'm constantly "reinventing"
myself.
What advice can you offer hopeful tv writers?
---------------------------------------------
While tv writers can earn a lot of money (most don't) they
probably
get less respect than other writers. With a book, your name is
printed
on the jacket and you hold it your hand. I have had at least two
dozen of my animation episodes put out on video, and only once
was my
name on the box -- and in very small type. Recognition is even
worse with tv animation since a lot of people don't even realize
that
someone has to write the story before it can be drawn.
It's also a lot harder to break into tv than it was only a few
years
ago. Part of this is that less episodes are being written for a
series.
It's normally 13 for a network show and maybe 26 for a syndicated
series.
If this sounds discouraging, it's meant to. If you are easily
discouraged and don't take criticism well, then don't try to
write for
tv. It's a rough business out there -- and it is a business.
Some personal ground rules for making it as a tv writer:
Write to a show's structure. In plain words, don't try to
reinvent
the show you're hoping to write for. It's the way it is because
someone (with the power to say no) likes it that way. It's a lot
like
writing for a book series (like Sweet Valley High or the Hardy
Boys)
in that you are given a structure and characters. Be creative
within
that universe, but don't try to make up a new one.
Keep it simple. A lot of novice writers (and some
veterans) pitch
an idea for a series, like Star Trek, that has new characters,
lots of
special effects and landings on strange new planets. Very
expensive.
Better to do a "bottle show" that uses the people and sets that
are
standard to the series and come up with something different and
exciting. It's your best calling card -- proving you can write
well
and produce a script that is shootable within budget.
If you want to make it in tv you're going to have to come
to where
the action is -- which is primarily Los Angeles. You can't write
tv
from a distance, or not until you have established yourself. What
you
can do from afar is explore your local cable tv access shows and
other
possibilities and do scripts for these shows, even creating one
of your
own.
Write a script. Pick a tv series you like and write a
script for
that show. It's almost certain that it will never be produced,
but it
will demonstrate your talents to an agent or producer.
Network. I took a lot of writing classes and workshops
(still do)
because you meet people, establish relationships. Sometimes these
will lead to a job. At the worst, you'll learn something new.
Finally -- be prepared. If you want something bad enough,
the
opportunity will almost always open up. You just have to be ready
to
jump in with both feet when that happens.
=================================================================
====
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
ASK THE AGENT: Susan Graham at
<slgraham@atl.mindspring.com>
ASK THE BOOK DOCTOR: Carol Henson at <UBKX12C@Prodigy.com>
ASK THE CHILDREN'S BOOK AUTHOR: Lee Wardlaw at
<Katknip2@aol.com>
ASK THE ELECTRONIC PUBLISHER: Ken Jenks at
<fictions@aol.com>
ASK THE FREELANCE WRITER: Marcia Yudkin. Send to
<editor@inklings.com>
ASK THE HORROR WRITER: Paul Guran at <DarkEcho@aol.com>
ASK THE SF/FANTASY AUTHOR: Michelle Sagara at
<mms@turing.toronto.edu>
Columnists may be unable to reply privately to every message, but
will
answer selected questions in future issues of Inklings.
=================================================================
====
ASK THE CHILDREN'S BOOK AUTHOR
-----------------------------------------------------------------
----
by Lee Wardlaw
<Katknip2@aol.com>
Breaking into 'no unsolicited material accepted' markets
--------------------------------------------------------
Q: I find that more and more publishers of the young adult and
middle
grade reader genres are stating "no unsolicited material
accepted".
Since agents usually won't take on clients without at least one
published credit, how can I break into this market?
A: Although many publishing houses are no longer accepting
unsolicited manuscripts, most *are* receptive to query letters.
The
key is to write a one-page letter that reaches out and grabs an
editor
by the collar, making her say: "Yes! I want to see your book!"
In paragraph one, start with a brief but intriguing hook. In
paragraph
two, give a general description of your story's plot, main
character,
conflict and resolution. In the third paragraph, mention the
manuscript's length (word count) and target age-group. Finally,
in
your fourth paragraph, list any writing credits or work
experience you
may have relating to children or your book. (If you have
neither,
don't worry about it. Just close your letter by saying the
manuscript
is available immediately for the editor's perusal.)
Always enclose a self-addressed, stamped envelope for the
editor's
reply, and make sure your letter is professional, ie; perfect
spelling, punctuation, grammar; no typos, etc. For help on
writing
effective query letters, see HOW TO WRITE IRRESISTIBLE QUERY
LETTERS
by Lisa Collier Cool, published by Writer's Digest Books. Below
is a
sample query letter I wrote several years ago that helped me to
interest a publisher in my young adult novel COREY'S FIRE.
-L.W.
Sample Query Letter:
-------------------
Dear Editor:
Corey Johnson is lucky. At age 14, she isn't plagued with most
of the
problems shared by other kids. Her parents are warm and
supportive.
Her older brother and friends are always ready to listen. And,
best of
all, she has her own room in the family's large, rambling house,
where
life feels forever safe, quiet, secure. But one night, Corey's
luck
runs out. A brush fire starts in the foothills of Santa Barbara.
Corey's home is one of 200 that burns to the ground.
COREY'S FIRE is a young adult novel based on fact. In 1977 my
family's
home was destroyed in a similar fire. Afterward, I interviewed
numerous kids whose homes were also lost. These individuals were
already in a precarious time of their lives, struggling with the
self-doubt typical of young teens. Yet, despite this, they
survived
the destruction of their neighborhood with surprising strength
and
resiliency. Corey Johnson is a composite of these kids. COREY'S
FIRE
tells of her transformation after the fire from a scared,
immature
girl into an independent, courageous young woman.
Would you be interested in taking a look at my book? The
manuscript
runs 200 pages and is approximately 45,000 words.
I have X-number of books for young people published so far. I am
also
a former elementary school teacher, and continue to work with
young
teens on a volunteer basis.
Thank you for your consideration. I have enclosed a SASE for your
convenience. I look forward to hearing from you soon.
==-----------------------------------------------------==
Lee Wardlaw is the author of 16 books for young readers, ranging
from
picture books to young adult novels. Titles include THE TALES OF
GRANDPA CAT (illustrated by Ronald Searle) and SEVENTH-GRADE
WEIRDO.
101 WAYS TO BUG YOUR PARENTS (middle grade novel) and THE GHOUL
BROTHERS (first chapter book) will be released this fall.
Lee's web page is at
http://www.inkspot.com/~ohi/inkspot/a-lee.html
Copyright (c) 1996 Lee Wardlaw. All rights reserved.
=================================================================
====
Subscriber "FIRST SALE" column will appear in the next issue.
=================================================================
====
SUBSCRIBER BOOKS
================
If you have a book coming out this year, send the info (BRIEF,
please,
no press releases) to editor@inklings.com with "inklings book
promo" in
the subject header. Subscribers only, please. I will print a few
each
issue. If this is your first sale, please let me know so I can
highlight it!
Bissell, Dr. Dee. THE TOUCH OF THE MASTER'S HAND. Self-published.
<http://www.light-communications.com/author/bissell/master.htm
>
Kilcup, Dan. CHINESE BOX MYSTERIES. Volume I Sherlock Holmes.
<http://www.allenwayne.com/washcares/> 40% of profit goes
to charity.
Mallay, Eugene. THE BUSINESS OF SHAREWARE. Useful info for
shareware
authors.
<http://www.interlog.com/~emallay/Shareware.html>
=================================================================
=====
WRITERS' MAGAZINE INDEX
=======================
WRITER'S DIGEST Aug/96 (*** includes mention of Inklings!! p40):
The Ten Commandments Of Getting Published, Kick Your Drama Into
High
Gear, What Would You Do?, Bob Woodward Gets To The Bottom Of
Things,
Cooking Up An Ethnic Cookbook, Working The Web, Chronicle: In The
Shade Of The Truth.
WRITER'S JOURNAL VOL.17 #5 (thanks to Lisa Ramaglia):
Ghostwriting or
How to Be a Consultant's Consultant, Interview With Steve Thayer,
How
to Score in Freelance Sportswriting, Libraries--Your Guide to the
Goods, Stalking the Product Brochure, Every Day With Poetry.
Articles
on: Preparing your script, Foreshadowing, options,
characterizations &
more, Selecting film for your P & S camera, Choosing a new
computer,
For Beginners Only--The magical question--"what if?"
=================================================================
=====
EDITOR: Debbie Ridpath Ohi (editor@inklings.com)
COPY EDITOR: Cathy Rutland (cathyr@rom.on.ca)
Subscribers are welcome to recirculate or reprint Inklings for
nonprofit use as long as the appropriate credit is given and the
ENTIRE text of the newsletter is included (including credits and
information at the end of each issue). Others should contact me
at
editor@inklings.com. All articles copyrighted by their authors.
Inklings is a free newsletter for writers on the net, published
every
2-3 weeks. More info at
<http://www.inkspot.com/~ohi/ink/inklings.html>
Inklings is part of the writers' website INKSPOT:
INKSPOT: Resources for Writers
<http://www.inkspot.com/~ohi/inkspot/>
To subscribe & unsubscribe: Send e-mail to majordomo@samurai.com
with
"subscribe inklings" in the message body. To unsubscribe, use
"unsubscribe inklings". Find out more information with "info
inklings". EMAIL: editor@inklings.com. SNAILMAIL: Inklings, 55
McCaul St.,
Box 123, Toronto, ON Canada M5T 2W7 (for packages, contact me
first)
================================================================
