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Inklings Issue 2.19
================================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 2.19 Wed, Oct.16, 1996
================================================================
<http://www.inkspot.com/inklings/issues/ink0219.html>
INTERVIEW WITH DIANA GABALDON
Author of the bestselling OUTLANDER series
FRESH INK - resources for writers on the net
Market Information - First Sale Stories - Subscriber
Publications
COLUMN TOPICS:
SUSAN GRAHAM: What kind of font should I use?
CAROL HENSON: Permission for quoting lyrics in my book?
It's been over a year since I started Inklings, and I thank
everyone
for their support and feedback. The newsletter now has over 5,000
subscribers with many others reading the issue on the web, AOL,
National Library of Canada archives, writers' groups, and
forwarded
copies. About 500 new subscribers sign on each month.
As Inklings and Inkspot have grown, however, so has the time
necessary
(20+ hours/week) to keep them properly updated and get Inklings
out
every two weeks. I enjoy working on both the newsletter and
website
very much, but I have reached a point where I can no longer put
in so
much time and effort for free. Samurai Consulting will soon be
charging me a monthly fee for operation of Inklings (up to now
they
were able to host the mailing list at no charge). Also,
eventually I'd
like to be able to pay my writers and columnists! :)
So here's the plan: During the next few months, I will be
approaching
potential sponsors for Inklings. I'll make sure that chosen
sponsors
are appropriate to Inklings and its subscribers. The format of
each
sponsor insert would be similar to that of Samurai Consulting and
the
number of sponsors per issue will be limited. Please note that
Inklings will *remain free* to subscribers.
I welcome feedback! Please send your e-mail to
<editor@inklings.com>
with "inklings sponsorship feedback" in the subject header. I
also
invite inquiries from potential sponsors; use "inklings rate
card" in
the subject header and I'll send you more info.
=================================================================
====
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
=========
Online Experts
--------------
Has searchable database.
http://www.experts.com/
Surrounded By Morons
--------------------
Ezine for teen writers. Has writers' links, info about IRC
channel.
http://www.pangea.ca/~aturner/
Internet Freelance Writer page
------------------------------
Includes good/bad agent info, opportunities for writers.
Maintained
by Art Bouchard. Still under development.
http://www.geocities.com/Athens/7122/
Need to interview published authors for book
--------------------------------------------
For more info, contact Bobbie Hurst <sbhurst@nas.com> with
"book interview" in the subject header.
Journal Writing Resources
-------------------------
Links to journal-writing resources on the web, book list, links
to
articles by psychotherapist Ira Progroff about journal-writing.
http://www.spectra.net/~tbyrne/
HJEDi Writers' Discussion Group
-------------------------------
Mainly for discussion for screenwriting and playwriting.
http://www.vantagepoint.com/ghayes/forum/forum.html
The Writers' Conference
-----------------------
Online conference for writers. Each course meets twice a week.
You
need an iChat plugin (available online) or Java-capable browser
to
participate. US$500/course, $50/audit.
http://www.writersconf.com/
Email: Roderick thorpe at rthorpe@writersconf.com
EDITOR'S NOTE:
If you've been a student in an online writing course, I'd like to
hear
your feedback! Was it what you expected? What did you like? Not
like?
Please email editor@inklings.com with "online course feedback" in
the
subject header. Please include name of the course and URL or
contact
info.
=================================================================
=====
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/f/h/m writers &
artists.
Subscription info at:
http://users.aol.com/Lemarchand/scavenger.html
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed,
stamped envelope, "simsubs" = simultaneous submissions, "mss" =
manuscript, "RT" = response time, "GL" = guidelines.
PAYING MARKETS:
Going Postal
------------
Pirate Writings Publishing, c/o Gerard Houarner, POB 195, Bronx,
NY
USA 10461. Anthology. Fiction 1500-6000 wds, pays 1/2 to 3 c/wd.
Reading period: 10/1/96 to 4/1/97. Submissions should be sent
directly to Gerard at above address; stories sent to regular
Pirate
Writings Publishing address will not be read or returned. No
email submissions. "I'm looking for fantasy, sf, horror or
suspense
fiction about extreme emotional reactions caused by the pressures
of daily living. 'Going Postal' is an extreme reaction to stress,
based on the postal worker stereotype of an often unstable,
asocial
personality who 'erupts' due to the boring, repetitive nature of
their work. In keeping with the title's playfulness, I'm
especially
looking for satiric/ironic/absurd stories. Along with present day
settings, I welcome stories set in the past (such as the
'mountain
man' living in the wilderness to escape the confinement of
civilization) and stories set in the future (such as
technological
innovations creating/facilitating 'postal' behaviour.) Important
note: your story need not contain a postal worker! No serial
killers and gothic/supernatural icons performing their usual
damage, simple stories about personal revenge, or stories in odd
dialect." (Source: Scavenger's Newsletter: Oct/96)
Mother Jones
------------
Queries and Manuscripts, 731 Market St., Suite 600, San
Francisco, CA
94103. National bimonthly magazine is known for its investigative
journalism and exposes, and its coverage of social issues, public
affairs, and popular culture. Most articles are
freelance-written.
"What we're looking for: Hard-hitting, investigative reports
exposing
government cover-ups, corporate malfeasance, scientific myopia,
institutional fraud or hypocrisy, etc. Thoughtful, provocative
articles which challenge the conventional wisdom (on the right or
the
left) concerning issues of national importance. Timely,
people-oriented stories on issues such as the environment, labor,
the
media, health care, consumer protection, and cultural trends".
QUERY
FIRST by snailmail or email. "Explain what you plan to cover and
how
you will proceed with the reporting. The query should convey your
approach, tone, and style; and should answer the following: What
are
your specific qualifications to write on this topic? What "ins"
do you
have with your sources? Can you provide full documentation so
that
your story can be fact-checked?" Lead time is 3 months. New
contributors should include photocopies of 2-3 published articles
with
query. No phone or fax queries. Include SASE with snailmail
queries.
Email: query@motherjones.com (queries only)
http://bsd.mojones.com/info/writers.guidelines.html
CLiCK
-----
Magazine about interactive design and entertainment. Query first.
Welcomes feature articles, short pieces for "Noise" (short
reports,
revelations, gossip, humor) and "Deconstruction" (analysis of a
new
media work) departments. See website for full guidelines.
http://click.com.au/click/v03/domain/guidelines.html
Suck
----
Webzine. "Writing for Suck requires a working knowledge of the
net and
the ability to arrange the standard 26 letters into as many weak
puns,
scatological gags and knowing japes as possible. More
specifically,
pieces should not: * delve too deeply into generational politics,
"selling out" or Microsoft conspiracy theories. If we never read
the
words "Generation X," "Quentin Tarantino," or "indie cred" again,
it
will already be too late. * simply slam a single site - amateur,
corporate, or commercial. * beat a horse we've already killed. We
are
particularly interested in essays which: * profile a net-literate
personality. * look at the relationship of the net to other
media. *
review the industry state of affairs with insight and attitude. *
discuss trends, trendlets and metatrends either graphic,
literary, or
gimmick in nature. * contradict popular dogma wherever possible.
All
that said, we reserve the right to accept any essay that amazes
us.
Send your submissions in ASCII text via email to submit@suck.com.
Please include a contact number and a short poem about our eyes
(flattery will get you everywhere). - Ana Marie Cox, Executive
Editrix."
http://www.suck.com/
The Air Affair
--------------
Online information service focusing on recreational aviation.
Publishes two feature-length articles per month, and a variety of
short items such as fly-in reviews, tips, how-to's. Pays $20-75
on
publication. Query first. See website for full guidelines.
http://www.airaffair.com/writers-guidelines.html
Whispering Willows Mystery Magazine
-----------------------------------
POB 890294, Oklahoma City, OK USA 73189-0294. Editor-in-Chief:
Peggy
D. Farris. Mystery/suspense quarterly. Originals only. Buys 1
NASR or
one time rights. Fiction, nonfiction: 500-2500 wds. Pays 4c/wd on
publication. Poetry: pays $15-35 (limit 3 submissions). Cartoons:
single or double b/w panel with gag-line pays $15-25. Please
advise if
your mss is a simsub. FICTION: "Once a quarter we include one
story of
the 'unexplained or supernatural' mystery". NONFICTION: personal
experiences of the mysterious or unexplained. Interviews with
Real
Life detectives or police officers about their on-the-job
experiences.
(Attach a release signed by the detective or police officer. Send
SASE
for blank form if needed). Editors reserve the right to edit
stories
as needed for acceptance of mss. Standard mss format. Deadlines:
Oct.1, Dec.31, Apr.1, Jul.1. Publishes mss an average of 3-6 mos
after
acceptance. (Source: Scavenger's Newsletter: Oct/96)
Trade magazine seeks freelancers
--------------------------------
Bimonthly business trade magazine sees freelancers. "We cover the
multifamily housing industry (apartments, assisted living,
affordable
housing, senior housing, university housing, etc.) for senior
level
execs in the business -- developers, owners, managers, builders,
etc.
Cover the industry from a number of different perspectives --
legislative, legal, sales & marketing, maintenance, management,
as
well as more feature-y type stuff. (example: a recent article on
the
history of apts.)" Pay scale varies, depending on topic. (i.e.
technical and/or investigative articles pay higher; feature-y
stuff
pays lower) Can range from $.30-$.50 a word. "We're *always*
looking
for good freelancers." E-mail Jodi Bromberg at
bromberg@mail.sas.upenn.edu for more info. (From misc.writing,
verified Oct. 14/96)
NON-PAYING MARKETS:
The Centerfold
--------------
Invites submissions of poetry by email. Selected poems read aloud
in "the longest-running open mike poetry reading series in New
York
City". No entry fee. See website for full guidelines.
http://www.users.interport.net/~cntrfld/
=================================================================
====
INTERVIEW WITH DIANA GABALDON
-----------------------------------------------------------------
----
by Debbie Ridpath Ohi
<editor@inklings.com>
Diana Gabaldon is best known for her best-selling OUTLANDER
series.
However, she has also written many nonfiction magazine and
journal
pieces ranging from articles on scientific computation to
software
reviews to articles about the "Salinity and Temperature
Preferences in
the Chinese Mudskipper, _Periophthalmus chinensis_." Her newest
book
in the OUTLANDER series, DRUMS OF AUTUMN, will be released in
January, 1997.
You can find out more at the official Diana Gabaldon page at:
<http://www.cco.caltech.edu/~gatti/gabaldon/gabaldon.html>
How did you make your first fiction sale?
-----------------------------------------
I had a good agent, who took me on sometime before I finished
writing
the book (this is _not_ usual; I was lucky). Once I did finish,
the
agent sent the book simultaneously to five editors whom he
thought
might be interested. Four days later, when he called me, three of
the
editors had called back with offers. So, he was able to
negotiate
among the bidders and emerged with a very good three-book
hardcover/softcover contract with Delacorte--that covered
OUTLANDER,
DRAGONFLY IN AMBER (which I hadn't written yet), and VOYAGER
(ditto).
Your novels contain an incredible amount of historical
background.
What kind of preparation do you do before starting to actually
write a
novel? (e.g. research, outlines, characters)
-----------------------------------------------------------------
---
None. I know some writers simply can't write without developing
extensive outlines and interviewing their characters with the
Michigan
Multiphasic Personality Test (don't laugh; Tami Hoag says she
actually
does this <g>), and drawing up timelines and doing aaalll
the
background research....but I'm not one of them.
I started OUTLANDER on a whim, as I said; all I knew about that
book
when I began writing it was that it was set in Scotland in 1745.
Period. No characters, no outline, no plot. It turned out OK,
so
I've never seen the need to do it differently. Now, I naturally
do
know a little more about the subsequent books, simply because
they
_are_ subsequent; i.e., I have a lot of the same characters, and
naturally I know them fairly well by now. Also, the shape of
events
is--not dictated--but affected, naturally, by events in preceding
books. But still--I've always figured that if I knew what was
going
to happen in the book, or who was going to do what--why bother to
write it? Finding out what happens is one of the chief joys of
telling stories.
As to the research <shrug>...well, the question with
historical
research is always, where do you _stop_? There's always more you
can
find out, so how do you decide you know "enough" to begin your
story?
I just begin, and do the research concurrently with writing the
book;
often, the research will suggest new scenes or subplots, which
make
the books take interesting directions, and I never have to decide
when
to quit researching and start writing--I keep reading as long as
I'm
writing (and generally beyond, since there's another book
coming). Now
and then, of course I need to know some _specific_ detail, rather
than
broad general information. In this case, I either leave square
brackets--[ ]--for the missing piece of information (like the
name of
a plant or a road or something), and fill it in later, when I
have
time to look it up--or, if it's something that will affect the
shape
of an entire scene, I just leave that scene until I have time and
opportunity to find out what I need. I don't write in a straight
line, anyway, so it doesn't matter when I write any particular
scene.
What are your work habits? (e.g. goals, where do you work, how
long do
you work)
-----------------------------------------------------------------
---
Well, erratic, obviously. <g> No, really, I do have a
routine, but it
tends to be flexible, and changes seasonally, depending on
whether the
kids are in school or not. Right now they're _not_, and also I'm
officially between books (i.e., waiting for the galley proofs of
the
one I just finished, so not yet fully "into" the next one--you
have to
drop everything when the galleys arrive and devote your entire
concentration to _that_ book, so I didn't want to be too deep in
the
new one, which is different), so it's less structured than usual.
Normally (if there is such a thing), I answer my E-mail while
eating
breakfast (Milky Way Dark and a Diet Coke), do my morning
stretches,
pushups, etc., spend half an hour doing organizational work (this
consists of picking up piles of stuff, deciding that I have no
idea
what to do with them, and putting them back down again), make
necessary phone calls, and then I write for an hour before lunch,
to
get a foothold on the day's scene(s).
Lunch with my husband, then phone calls and errands. General
office
stuff, like making backups and hardcopy printouts, maintaining my
index files (which is how I find all the scattered pieces of the
book
when I want them). Sometimes I'll write more in the afternoon,
but
not a lot. Stop when the kids start coming home at 2:30 or 3:00,
and
administer snacks and conversation. Then it's outside the house
errands--grocery shopping, videostore, etc. Do exercise
(treadmill,
mostly; I can't stand to do anything I can't read while doing,
and the
treadmill is where I do most of my research reading), water the
garden, feed animals, make dinner.
Evening is family time. In school-time, though, everyone
(including
husband, usually) goes to bed by 10:30, at which time Mommy goes
back
to work. I do the bulk of the actual writing way late at night.
That's
my prime time, when the synapses are well-oiled, and everything
is
quiet--no phones, no kids, and only the occasional Doberman
peeing on
the floor (we have a new puppy) to break the solitude. I work
normally until about 2:30 or 3:00--longer, if I'm near the end of
the
book and people are breathing down my neck (in which case, I'll
also
write more during the day, too)--then go down, check all the
doors,
put the dogs out, feed the hamsters and mice, turn out all the
lights,
and go brush my teeth, read my Bible, and write in my journal.
Then when I travel, everything goes to hell in a handbasket.
As to goals...in the early parts of a book, I'll try to write a
minimum of two single-spaced pages a day. In the mid-part, when
the
book's gotten to what I call "critical mass," I'll try to do
three
pages a day. And toward the end, I just write 'til I drop.
<g>
This being summer, and kids underfoot all the time with no set
bedtime, I get a lot less done. I'm also not fully "engaged"
with the
next book, as I said, so am spending more time than usual just
reading--some research, mostly just fun--and am reading several
manuscripts for friends, as well (it's a lot easier to read
around
kids than it is to write). I should be finished with these, and
with
the galleys and the audiotape abridgement for DRUMS (which has to
be
read, edited, and "approved") by the end of July, though. Then
we do
our annual Disneyland vacation, come back in time to get everyone
outfitted for school, which starts on the 19th...and by then I
should
be fully plugged into the new book and able to go back to my
school-year routine.
What advice do you have for hopeful writers?
--------------------------------------------
Well, it's fairly simple.
Gabaldon's Rules for Writing: 1) Read, 2) Write, and 3) Don't
Stop.
Reading is how you develop both a sense of possibility and a
sense of
critical judgement. You observe how other writers use character
and
structure, you see what techniques are available, and how these
can be
used to deal in different ways with similar problems. You also
learn
to tell good work from bad--very important in learning to
evaluate
your _own_ work!
For the purposes of learning to write, it doesn't matter _what_
you
read; in fact, the more variety, the better. However, if you
mean to
target your writing to a specific market--romance, say, or
fantasy--then it's important to read widely within that genre as
well,
in order to see what general patterns of approach are successful.
I
didn't do this last step myself, because I never intended my
first
book to be _anything_ in particular; in fact, I was never
intending to
_show_ it to anyone.
I did do the first step, though--I read _everything_. This may
have
something to do with the fact that what I write isn't really
classifiable; I've found those books sold as Fantasy, Science
Fiction,
Romance, Historical Fiction--and every now and then, as
Literature.
<g> Right now, I believe the publisher is just calling
them "Fiction."
Still, useful as reading is, you never will learn to write
without
actually _writing_; this is one of the more painful truths of the
profession. The good news is that if you do keep writing, you
_will_
get better at it, no matter how bad you were to begin with.
The hardest thing about writing is to start. Consequently, once
you've started, you mustn't stop. Keep to _some_ kind of
routine, no
matter what that routine is. You may get published; you may not.
But
you _will_ get better. Guaranteed.
Good luck!
=================================================================
====
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ASK THE ROMANCE WRITER) jbowen@max-net.com
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 AGENT
-----------------------------------------------------------------
----
by Susan Graham
<slgraham@atl.mindspring.com>
Q: What kind of font should I use?
----------------------------------
Will agents and editors read chapters of a novel printed in Times
Roman font on a Hewlett-Packard Laserjet 4 using Word for
Windows? If
so what size should the font be? 10, 12? Every book on
manuscript
submission I've read (and I've read many) says to use Pica (10
pitch)
or Elite (12 pitch). Why? Do you really want (need?) to see
those
old-time out-dated fixed-width fonts?
A: Although agents and editors will usually read most other
fonts, the
preferred font is Courier (New, for some word processors such as
Word)
in 12-point type (10 characters per inch, the larger size). The
reason for the manuscript submission format is twofold: easier
on the
eyes, and easier to predict how big the book will be, which can
be
vital to whether the editors buy it or not.
There are a couple of good manuscript submission books out there,
but
a lot of other writing how-to books also include this
information,
including the Writer's Market and most of the agent guides, such
as
Jeff Herman's Insider's Guide to... Literary Agents. In fact,
Jeff
Herman has written a guidebook specifically on manuscript
submission.
==-----------------------------------------------------==
Susan L. Graham owns Graham Literary Agency, Inc. She represents
genre fiction as well as commercial fiction and nonfiction. Her
unique Website (http://www.mindspring.com/~slgraham/) helps to
promote
her authors and the agency.
Copyright (c) 1996, Graham Literary Agency, Inc. All rights
reserved.
=================================================================
====
ASK THE BOOK DOCTOR
-----------------------------------------------------------------
-----
by Carol Henson
<UBKX12C@Prodigy.com>
Q: Do I need permission for quoting a song in my book?
------------------------------------------------------
I'm writing a novel in which one character frequently breaks into
song
(only 1 or 2 lines at a time). How much will it cost to get
permission
to use the lyrics? And who would bear the cost, me or my
publisher?
Also, if I mention a song title, but don't actually quote the
lyric, do
I still need permission?
A.
Because the title of a song (or book, movie, etc.) can't be
copyrighted,
you don't need permission to use it in your novel. Actual lyrics
are
another matter. You have to track down the publisher of the song
and
get permission to use them. To get a general idea of what, if
anything,
permission will cost you, why not call up the song publisher and
ask
them. It probably depends on just what song you're using and how
much
of it you are quoting. There may be a set price, or you may not
have to
pay anything at all. Just ask.
As far as who pays the fee, that can be addressed in your
publishing
contract. You might want to add a sentence or two stating that
the
publisher has to pay for permissions, etc. Won't hurt to try!
Hope it
all works out for you.
==-----------------------------------------------------==
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 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!
Ammon, Bette and Sherman, Gale. WORTH A THOUSAND WORDS: AN
ANNOTATED
GUIDE TO PICTURE BOOKS FOR OLDER READERS. (Libraries
Unlimited,1996)
Dunlap, Jim. ENTWINED IN WONDER (Cedar Bay Press, October 1996).
ISBN 1-57555-052-0. Email: dunlap@cedarbay.com
Garden, Nancy (author of ANNIE ON MY MIND and others). GOOD MOON
RISING.
(October; Farrar, Straus & Giroux) For more info:
Nancegar@aol.com
Plumley, Sue. MIGRATING FROM NOVELL NETWARE TO WINDOWS NT SERVER
4.0
(John Wiley & Sons, Inc. in January). Email:
splumley@citynet.net
Sinha-Morey, Bobbi. THE SIXTH VISION (Cedar Bay Press, October
1996).
ISBN 1-57555-035-0. Email: sinha-morey@cedarbay.com
Yannuzzi, Della. MAE C. JEMISON, FIRST AFRICAN-AMERICAN WOMAN
ASTRONAUT (Enslow Publishers, Sept/97). Children's biography.
=================================================================
====
FIRST SALE STORY:
One Wrong Way To Become A Published Writer
-----------------------------------------------------------------
----
by Jim Luce
<jimluce@newnorth.net>
I was born an outdoor writer. My parents were RVers, traveling
about
the country in a brightly painted, horse drawn recreational
vehicle
with a cheerful group of other campers who danced and sang and
read
palms and stole chickens and children. Once I'd learned my ABCs I
figured the rest of the letters would follow, so I turned my
creative
energy toward any means I could for earning a living without
working,
e.g., writing.
Though I'd sent to MIDWEST OUTDOORS for writer's guidelines, I
used
them to wrap the remains of a stolen chicken before I'd read
them. I
did everything imaginable wrong. I didn't send a query, I wrote
the
piece in longhand, on notebook paper, and sent it in unsolicited
and
without SASE. A month later the editor, Gene Laulunen, whom I
consider a friend to this day, sent me a check for $25. Since
then
I've published hundreds of articles, many in prestigious national
magazines -- In-Fisherman, Sports Afield, Field & Stream, Trailer
Life, etc. -- but I still write a monthly column for Gene. I also
sing, dance and own a brightly colored RV. However, I cannot read
palms and I've never stolen a child.
=================================================================
=====
EDITOR: Debbie Ridpath Ohi (editor@inklings.com)
COPY EDITOR: Cathy Rutland (cathyr@rom.on.ca)
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