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Inklings Issue 2.16
================================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 2.16 Wed, Sept. 4, 1996
================================================================
<http://www.inkspot.com/inklings/issues/ink0216.html>
INTERVIEW WITH JACK CHALKER
Award-winning science fiction author of sixty novels
FRESH INK - resources for writers on the net
Market Information - Subscriber Publications
COLUMN TOPICS:
Horror stories with happy endings? by Paula Guran
Will it hurt to send out 80 more queries? by Carol Henson
Recently many Inklings subscribers received a message from the
administrator of the CORREX-L mailing list inviting them to join.
Some speculated that I sold the Inklings subscriber list. Please
note that I *never have and never will* sell or distribute the
Inklings subscriber list for any reason whatsoever.
Apparently the email list was generated for the CORREX
adminstrator by
a hacker who wrote a "sniffer" program that monitored the net for
email messages containing certain key words. I assume at least
some of
the Inklings subscribers were picked up this way when the last
issue
was mailed out. As far as I know, there is no way to prevent this
kind
of thing--the Internet is by nature a public transport mechanism.
All possible precautions have been taken to make the Inklings
subscriber list secure against potential spammers (thanks,
Bryan!),
including the removal of the Majordomo "who" command.
But on to other topics...
Many thanks to Copy Editor (national newsletter for professional
copy
editors) for sending me a copy their Aug/Sept issue in which
Inkspot
was mentioned. It's always a pleasant surprise to get web-related
snailmail :). Thanks also to Theresa Wertan for the Atlanta Games
postcard, and the Mid South Writers Association for a copy of
their
newsletter.
I love getting postcards, by the way...feel free to send one from
your
home town/city (or vacation!) to INKLINGS, 55 McCaul St., Box
123,
Toronto, ON Canada M5T 2W7.
=================================================================
====
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 columnists
-----------------------
Send questions to the appropriate email address with "inklings
question"
in the subject header. Columnists will answer selected questions
in
future issues of Inklings.
ASK THE ROMANCE AUTHOR: Judith Bowen
<rdykstra@langara.bc.ca> has sold
eight romance novels and won the National Readers' Choice Award
for
her book PAPER MARRIAGE, voted best traditional romance published
in
1991. She currently teaches classes on writing popular fiction at
Langara College Cont. Ed. in Vancouver, Canada.
ASK THE MYSTERY/SPY AUTHOR: Sharon Zukowski
<76372.2252@CompuServe.COM>
writes the Blaine Stewart series. She is active on CompuServe,
where
she is Section Leader for Sisters in Crime, and is also a
frequent
speaker at conferences and libraries on mystery writers. Sharon
is
currently on the panel judging Best Original Paperback for the
1997
Edgar Awards.
Monthly writing column
----------------------
"Getting There From Here: Thoughts On The Art Of Writing". Part
of
a larger website. By Julia Ecklar, science fiction writer and
creative writing teacher/lecturer. Content in column is based
completely on reader feedback (i.e. suggest a topic and she'll
write
about it!).
http://www.sff.net/people/Julia_Ecklar/documents/getting.html
Pure Fiction
------------
Site for readers and writers of mainstream fiction. Includes
section
specifically for authors that highlights work by aspiring
authors,
interviews, lists of UK and US literary agents and publishers,
writers' resources.
http://www.purefiction.com/
FOG Index
---------
Explanation and examples of the FOG Index, a method to analyze
written
material to see how easy it is to read and understand. From the
University of Minnesota.
http://www.fpd.finop.umn.edu/Related/Writing_Tips/Writing_Tips.ht
ml
A.E.I. Online
-------------
Site includes useful articles and tips for screenwriters.
http://www.lainet.com/~aeikja/
WritersTalk Discussion List
---------------------------
Open to all writers (published and unpublished) and all genres.
To
join list, send email to WritersTalk-request@niestu.com with
"subscribe" in the subject header. No need to put anything in the
message body. For more info, contact Kathryn Toyer at
<tokat@flash.net>.
Asleep At The Keyboard
----------------------
Articles for writers. By Pat Robidoux, originally published in
AOL's Writing Basics News.
http://members.aol.com/cokicola/keyboard.htm
ELF: Eclectic Literary Forum
----------------------------
Selected as a "top mainstream poetry market" by Writer's Digest,
1996.
Website contains samples from its quarterly magazine, fiction
contest
details, links to other literary sites.
http://www.econet.net/elf
=================================================================
=====
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.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed,
stamped envelope, "simsubs" = simultaneous submissions, "mss" =
manuscript, "RT" = response time, "GL" = guidelines.
PAYING MARKETS:
Byline Magazine
---------------
Magazine for writers. Accepts fiction, feature articles, end
piece,
departments, poetry. No reprints. FICTION: General short fiction,
mainstream, literary or genre; 2,000 to 4,000 words. Payment is
$100
on acceptance. FEATURES- Instructive or motivational articles
that
could be of genuine help to writers, especially how-to-write or
how-to-sell to specific market areas. Length should be 1,500 to
1,800
words; query or submit full manuscript. "We also solicit
interviews
with editors of freelancer-friendly publications for our Inside
Information feature. Query with editor's name and sample of his
publication; we'll provide specific guidelines." Payment is $50
on
acceptance for all features. Other departments available (incl.
poetry): see website for full guidelines.
http://www.bylinemag.com/guide.htm
European Visits
---------------
Seeks travel articles about visiting Europe. Articles accepted as
features are paid at a minimum of $.05 per word, with several
accepted
per month. Amateur contributors get byline, free subscription,
prize.
Professional writers: Please specify with submission if you are
submitting for paid consideration only. "We are also interested
in
good, short pieces about the processes & pitfalls of travel in
general, primarily for the Travel Tips category, and will use an
occasional piece on nifty or unusual travel gear in the Reviews
category." See website for full guidelines and list of subject
categories. Email submissions preferred.
http://www.eurodata.com/edvsubmt.htm
On Spec
------
ON SPEC Magazine, Box 4727, Edmonton, Alberta, Canada T6E 5G6
Seeking original, unpublished science fiction, fantasy, horror,
ghost
stories, fairy stories, magic realism, or any other as yet
unnamed
speculative material. "Since our mandate is to provide a market
for
the Canadian viewpoint, stroqng preference is given to
submissions by
Canadians." Send your: short stories (maximum 6000 words), short
short
stories (under 1000 words), or poetry (maximum 100 lines) to the
ON
SPEC address above. See webpage for full guidelines and mss
format.
Buys FNASR. Deadlines are February 28, May 31, August 31, and
November 30. New writers encouraged.
http://www.greenwoods.com/onspec/subguide.htm
Pulp City
---------
Pulp City Online Fiction, 1127 King Street, 2nd Floor,Alexandria,
Virginia 22314 ATTN: Producer. Online zine premiering Fall/96.
Series
of stories, called "episodes", published in acts (NOT a soap
opera).
An "episode" is written as a short story or novella (all genres)
utilizing multimedia & hyperlinks. Each episode is 20-30 printed
pages
long, structured in at least 10 acts of 2-3 pages each. "The
Aristotelian paradigm of beginnings, middles and ends should
apply to
each act, as well as to the story as a whole." PAYS: on average
$300
per episode to a previously unpublished author; compensation
negotiable to professionally published fiction writers. All
rights
will become the property of CityLynx, LC (Pulp City s parent
company)
upon first payment. (These terms may be negotiable). To be
considered,
submit a fiction writing sample (short story, novella, teleplay
or
screenplay, bonus points for episode structure & ideas for links
&
graphics) to Pulp City. Treatments considered. Ongoing contracts
for
the right writers possible. Request a style guide or view it on
the
web: http://www.pulpcity.com/ E-Mail: PulpCity@aol.com. (Source:
misc.writing Aug.20/96).
Pursuit
-------
James Maxey, Editor. Planet America Publications, 317 Tate St.
Apt 1,
Greensboro NC 27403. SF and fantasy. Quarterly, Digest. Fiction
to
5,000 wds, query for longer. Pays 1c/wd on publication and copy.
Full
guidelines available. RT 30-60 days. "Still looking for stories
featuring believable, sympathetic characters in conflict with
other
believable, sympathetic characters. The theme I want to explore
is
freedom. I've now accepted some great stories exploring what it
takes
to be free and what responsibilities come with freedom, but I'd
still like to see stories set in a world that is more free than
today's world." (Source: Scavenger's Newsletter, Sept/96)
NON-PAYING:
Woman
-----
Monthly newsletter is soliciting articles, short fiction, poetry
and essays by and for women. Payment is a year's subscription.
Also
interested in new column ideas. For more info, see website or
email
Babs Walton at bwalton@gremlan.org.
http://www.gremlan.org/~lmassung/woman.html
Seeking children's stories
--------------------------
Non-paying market. Encourages new writers, published stories
include
author bio, detailed contact info, email link.
http://www.home-office-mall.com/bedtime-story/publish.htm
FOLLOW-UPS ON MARKETS MENTIONED IN PREVIOUS ISSUES
--------------------------------------------------
Subscriber reports that Thoth is no longer a paying venue.
=================================================================
====
INTERVIEW WITH JACK CHALKER
-----------------------------------------------------------------
-----
By Debbie Ridpath Ohi
<editor@inklings.com>
Jack Chalker is an award-winning sf author of sixty novels as
well as
several short stories and pieces of non-fiction. His well-known
series
include: The Saga of the Well World (five books), The Watchers of
the
Well (three books), The Four Lords of the Diamond (four books)
and The
Dancing Gods (four books).
Upcoming publications: THE HOT-WIRED DODO, finishing "The
Wonderland
Gambit" in trade paperback in February. Jack Chalker is currently
working on a non-canonical Well World book that will be "set in
places
we otherwise can't go and which will have no common characters".
It is
set on the Well World but is not a sequel.
You can find out more information at his webpage:
http://www.sff.net/people/jack_l_chalker/jlc-home.htm
How did you make your first sale?
---------------------------------
I discovered science fiction fandom when I was just 13
years old,
and had published a fanzine, begun an extensive correspondence
with
writers and editors, and attended my first SF convention by the
time I
was 15, as well as being a member of an SF club. I essentially
grew up
in the SF/fantasy/horror environment. In the Sixties I began The
Mirage Press, Ltd,. a small press publishing company that
produced
books by or about H.P. Lovecraft, Clark Ashton Smith, Robert E.
Howard, L. Sprague deCamp, Robert Bloch, etc. The best known of
these
is probably A GUIDE TO MIDDLE-EARTH, by Robert Foster, still in
print
in a Ballantine edition. A memorial volume I compiled on C.A.
Smith
had an intro by Ray Bradbury, poem by Ted Sturgeon, etc. In other
words, I knew everybody in the field and they knew me.
I always knew that eventually I would write, but it
wasn't until
the late Sixties when Wilson "Bob" Tucker, a well-known SF and
mystery
author, told me how he wrote mysteries--write the endings first.
He
wrote all his books that way. This isn't the way most folks
write, but
I found it solved my problems of discipline and structure. In the
mid-Seventies, I had a bad health scare, the collapse of a
long-term
romance, and the financial backer of the press really did go
crazy and
was taken away to a nice little place in the country. So, I sat
down
and wrote. I wrote A JUNGLE OF STARS, which really is an SF
murder
mystery, and sent it in to Judy Lynn del Rey at Del Rey Books.
For a
while I heard nothing, then encountered her at a convention and
pressed. She finally promised to read it, and, a few days later,
I got
a call from her saying she was going to buy the book. She
admitted
she'd avoided reading it because we'd been friends for so long
she was
afraid that I'd be angry if she had to reject it. So, sorry, no
angst
or horrendous struggles. Tucker solved the structure for me and
the
first book I sat down and wrote sold the first time out. I said
this
on a panel and almost got mugged by other writers.
My only rejection was of a novelette I sent to John
Campbell at
ANALOG. He sent it back with a long set of revisions. I redid it,
but
by that time he'd died. The story sat around for years until I
finally
put it in DANCE BAND ON THE TITANIC, my story collection.
What kind of preparation do you do for your novels/series?
----------------------------------------------------------
Basically, it depends on what I'm doing. I do always get
a kick out
of the divided mail and reviews I get based on whether I write SF
or
fantasy most of the time. Most critics and literary types seem to
think I write "science fantasy," but I get fan letters from
university
physics departments as well. I live in an area where a lot of top
research and academic activity takes place, between universities
like
Johns Hopkins, where I went to grad school, and the University of
Maryland to all sorts of government work. I do my homework, not
only
discussing concepts with top people in the field but also doing a
lot
of research and reading on my own. "Hard" SF tends to be
engineering
SF, not out on the cusp of theoretical physics and the cusp of
the
other sciences at all. Many of my readers also help with research
and
I've started using the Internet quite a bit to check things.
What about plot and character outlining? How far in advance did
you map
out Nathan Brazil's adventures, for example? How detailed are
your
outlines?
-----------------------------------------------------------------
------
Once I have an idea, which can come from anywhere, I tend
to work
up the world and its history, geology, etc. There were at one
time
very elaborate physical-political and full topographic maps of
the
Well World; the background history and notes for the Soul Rider
universe were so extensive I made them into a prequel. Once
that's all
set up, which often requires a good deal of reading and research
and
often taps people in various fields who I've known and who seem
delighted to help me out, and I have the entire canvas painted,
as it
were, I then have to decide what will happen there -- Hitchcock's
McGuffin, the thing that makes the book go -- and who it will
happen
to. In the latter endeavor, I often "cast" well known actors
(some
dead) in the roles to aid me in visualizing them.
The heart of the outline process is the McGuffin. With a
canvas as
large as mine, it's pretty easy to get lost so you better have a
roadmap. The broad canvas also lends itself best to two basic
underlying engines: either the chase or the quest (or sometimes
both).
In the chase (or its variant, the race to a goal) two or more
people
or groups are involved, one chasing the other or trying to beat
out
the other to a goal. In the quest, one or more people or groups
has to
accomplish tasks or assemble objects to attain an objective.
The first thing I do once I have it worked out is write
the end of
the whole thing. I do not show this ending to anyone, not even my
editors, but it is there. I can then begin roaming, more or less
as my
fancy or the developing characters and plot take me, from line 1
of
Chapter 1 because I know just where I have to get and what rules
I
can't violate. It imposes discipline.
I used to do far more elaborate outlines than now. Often
now I'm
working off a line per chapter and an objective per book (if more
than
one volume) that makes sense only to me, or is composed only of
elements that MUST be there to make the end work. Beyond that, I
let
things take me where they want.
Do you read reviews of your books? How do you handle the bad
ones,
if any?
-----------------------------------------------------------------
-
Even if I didn't read bad reviews, it seems that a lot of
folks
make it their mission in life to ensure that I find out about
them and
get them! Anybody who says that bad reviews don't either anger
(if
done by somebody really dumb or who doesn't Get It) or hurt is
lying,
but after a while you just shrug them off and try and remember
the
good ones. Most SF reviews have always hated my guts; mainstream
reviewers, however, are almost always very positive. While
writing
only SF and clearly labeled SF at that, I've won national and
international mainstream awards but never a major SF award. Go
figure.
The important thing is, I've never learned anything from
a bad
review, nor has it influenced anything I write, so at best they
are
irrelevant.
What are your writing habits? (e.g. daily goals? time of day?
etc.)
-----------------------------------------------------------------
--
I have a wife and two kids, ages 15 and 5. It's nearly
impossible
to do real work while they're active, so I have a Dracula
existence. I
tend to wake up when the kids come home from school, have time
with
them, do phone business, mail, etc., in the late afternoon, have
a
family dinner, and the kids, whose schools begin VERY early, go
to bed
early so my wife and I have some time to ourselves. After the
evening
news, though, she goes to bed, and I go to work. I knock off
about
6:30 AM and make sure the kids get up and make the busses. Then
_I_ go
to sleep. The system works well, except on those weekends when
we're
on short trips or at conventions and I have to shift around to a
more
conventional time schedule and then back again. It used to be
easy,
but the older I get the harder it is to recover.
I know and have all the real creative and research work
done before
I start. Actually typing the thing is the hard work, and I try
and
clear 60 days or so to do it. I write on computer, with an old
DOS
word processor that's fast and good for writing, not desktop
publishing.
What advice do you have for hopeful SF writers?
-----------------------------------------------
As to advice for aspiring writers, well, everyone should
know that,
next to "Where do you get your ideas?" the most asked question of
just
about every writer I know is "What's the secret of your success?"
and
a genuine deep down belief that there's some sort of secret
handshake
or password they need and then, suddenly, the doors will open.
The
root of this, I suspect, is in the nature of the writer's art and
talents. People can look at a Mike Whelan or Dave Mattingly
painting
and know that they can't do that. People can look at
Michaelangelo's
David and know they can't do that. But everyone these days can
type,
or at least write longhand and have it typed.
It may surprise people to know that the one thing writers
NEVER
talk about is how to write. It never comes up. We talk agents and
PR
and publishers and editors and all sorts of shop like that, but
NEVER
about writing. Part of it is craft, of course (and some folks
never
get beyond it). Craft can be taught and learned, but the people
who
teach writing are rarely successful writers and often get those
jobs
as part of an old boy network or they are academics. The writers
who
teach craft also tend to teach people to write like them. In
fact,
that's the last thing you want to do, even if you can write like
Ray
Bradbury. That's craft, but where's the art or creativity? That
can't
be taught any more than any of the other arts can be taught. If
you
have it inside you, then it MUST come out. You create by
creating; you
find your own voice, and you write from deep inside, and it just
comes. Writers don't talk about it because while we agonize over
craft, we never really think about the art. It is simply there;
it
comes, and then craft shapes it. The only way to learn to write
is to
write. Write what you like to read. Write what you would love to
read
if anybody was writing it. Then sit back and analyze it and
compare it
to the experience of reading a favorite professional author. Does
it
flow? Does it work on that level? If not, what's wrong? There is
no
single method of doing it. The best way to show that you do not
have
any talent or to never know is to not try, to always tell
yourself
you're going to do it later. You must write, and work at it, and
learn, until you can sell. You must find your own method. I never
could keep my huge projects straight until Wilson "Bob" Tucker
suggested to me that I write the ends first like a murder
mystery. It
suddenly all came together.
If you're doing science fiction, you better know your
science,
research it, and you better get it right. If you're doing
fantasy, it
should be unique, not from a game or media source. You invent the
world, you invent the rules, and then you bind yourself to those
rules.
Finally, you write until you sell. If you get discouraged
and stop,
then you don't have that fire (or mental illness) necessary to
break
through. There really are a lot of folks looking for the next
Stephen
King or C.J. Cherryh up there in the New York editorial offices,
but
they look at a lot of dreck. Write your best stuff up front (or
they'll never read the rest). Let the book sell itself. Believe
that
the book is worth publishing. There is no handshake. There are
just
huge areas littered with the literary bodies of people who gave
up.
Hopefully, that will do, although lots of folks won't believe
it.
=================================================================
====
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ASK THE ROMANCE WRITER) rdykstra@langara.bc.ca
Susan Graham (ASK THE AGENT) slgraham@atl.mindspring.com
Paula Guran (ASK THE HORROR WRITER) DarkEcho@aol.com
Carol Henson (ASK THE BOOK DOCTOR) UBKX12C@Prodigy.com
Ken Jenks (ASK THE ELECTRONIC PUBLISHER) MindsEye@tale.com
Michelle Sagara (ASK THE SF/FANTASY WRITER)
mms@turing.toronto.edu
Lee Wardlaw (ASK THE CHILDREN'S BOOK WRITER) Katknip2@aol.com
Marcia Yudkin (ASK THE FREELANCE WRITER) send to
editor@inklings.com
Sharon Zukowski (ASK THE MYSTERY/SPY WRITER)
76372.2252@CompuServe.COM
Columnists may be unable to reply privately to every message, but
will
answer selected questions in future issues of Inklings.
=================================================================
====
ASK THE HORROR WRITER
-----------------------------------------------------------------
----
by Paula Guran
<DarkEcho@aol.com>
Q: Can horror stories have a "happy" ending?
--------------------------------------------
Certainly a horror story can have a "happy ending." Many times
there
is a redemptive ending in which the hero (male or female or
group)
has at least a partial triumph over evil. Another variation on
that is
the "bad guy," human or supernatural, gets punished and justice
served.
Many modern horror horror stories offer a partial happy ending --
perhaps we lose one of the good guys, or evil does triumph over
part
of the world -- but there are still SOME survivors.
Remember that horror is not so much a set genre like SF, where a
writer needs to adhere to certain precepts. As Doug Winter put it
(and
everyone quotes,) horror is an emotion, not a genre. Horror is
something we feel and any story that sets out to give you that
emotional reaction IS horror. A horror story can scare you
senseless,
wreck you emotionally, and then offer you catharsis in the form
of a
calming resolution.
There is no rulebook for horror. That's one thing that makes it
exciting to write.
==-----------------------------------------------==
Paula Guran is a horror writer and editor of Bones
(http://w3.gwis.com/~prlg/Bones.html,) a hardcopy horror magazine
(and
a paying market!). She also maintains a horror writers' workshop
on AOL
and publishes a free weekly electronic newsletter for horror
writers
that can be obtained by emailing her at darkecho@aol.com.
DarkEcho
URL: http://w3.gwis.com/~prlg/
Copyright (c) 1996 Paula Guran. All rights reserved.
=================================================================
====
ASK THE BOOK DOCTOR
-----------------------------------------------------------------
-----
by Carol Henson
<UBKX12C@Prodigy.com>
Q. Will it hurt to send out another 80 queries?
-----------------------------------------------
80 more queries? You've already sent out 80 and you're sending
out 80
more? Wow! A couple of questions. What sort of comments did
you get
back from the agents you've already queried? Did anyone give you
honest feedback? Sometimes the rejections you get can tell you a
lot
about problems with your manuscript or even the query itself.
That
might give you a clue as to why you haven't gotten any bites. Or
maybe
you haven't sent your query to an agent that handles your type of
book.
Of course, if you're confident about your query and don't think
it
needs to be brushed up or tweaked, send that next batch out.
Trust
yourself.
==-----------------------------------------------------==
Carol Henson is a Book Doctor/editor/author and is happy to
respond to
your questions about Book Doctors, editing, writing, etc. Her web
page is located at: http://pages.prodigy.com/books/bookdoc.htm.
Copyright (c) 1996 Carol Henson. All rights reserved.
=================================================================
====
SUBSCRIBER BOOKS
================
If you have a first-edition 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!
Andryszewski, Tricia. THE MARCH ON WASHINGTON: 1963 GATHERING TO
BE HEARD (Millbrook Press, Fall 1996)
Fouquet, C. Stephen (aka C.S. Fuqua), DIVORCED DADS: REAL STORIES
OF
FACING THE CHALLENGE (Fairview Press, MN, released May 1996).
Hitchcock, J.A. THE GHOSTS OF OKINAWA.
(Aug/96).latakis@ix.netcom.com
Howe, John. BEAR MAN OF ADMIRALTY ISLAND. Incorrect URL last
issue.
Correct URL is: http://www.arts-online/writing/howe/bear.html
Singer, Sharon. FIRE RIDER (Fire Mountain Press). Collection of
poems.
For more info: <ssinger@enterprise.ca>.
Stemp, Jane. WATERBOUND (Dial). Teenage novel. Futuristic
setting.
***Waxman, Sydell. CHANGING THE PATTERN: The Story of Emily
Stowe.
(Napoleon Publishing). For children ages 8-12.
Yates, Athol. RUSSIA BY RAIL INCLUDING UKRAINE AND BELARUS.
(Bradt
Publications, Sept/96). Email: russia-rail@russia-rail.com
***first book!!
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