New entry Jun 06
Critters is 25!
Last November, Critters turned 25 years old! Wow! Thanks so much to all of you, who've made it such a resounding success!
Books from Critters!
Check out Books by Critters for books by your fellow Critterfolk, as well as my list of recommended books for writers.
New Book from a Critter Member**NOW IN PRINT EDITION TOO!** Awesome new book, HOW TO IMPROVE YOUR SPECULATIVE FICTION OPENINGS, from a Critter member who's unearthed a shard of The Secret to becoming a pro writer. Really good piece of work. "...if you're at all concerned about story openings, you'd be nuts not to read what Qualkinbush has to say." —Wil McCarthy, author of BLOOM and THE COLLAPSIUM
The Sigil TrilogyIf you're looking for an amazing, WOW! science fiction story, check out THE SIGIL TRILOGY. This is — literally — one of the best science fiction novels I've ever read.
I was interviewed live on public radio for Critters' birthday, for those who want to listen.
Free Web Sites
Free web sites for authors (and others) are available at www.nyx.net.
ReAnimus Acquires Advent!
ReAnimus Press is pleased to announce the acquisition of the legendary Advent Publishers! Advent is now a subsidiary of ReAnimus Press, and we will continue to publish Advent's titles under the Advent name. Advent was founded in 1956 by Earl Kemp and others, and has published the likes of James Blish, Hal Clement, Robert Heinlein, Damon Knight, E.E. "Doc" Smith, and many others. Advent's high quality titles have won and been finalists for several Hugo Awards, such as The Encyclopedia of Science Fiction and Fantasy and Heinlein's Children. Watch this space for ebook and print editions of all of Advent's current titles!
THE SIGIL TRILOGY: The universe is dying from within... "Great stuff... Really enjoyed it." — SFWA Grandmaster Michael Moorcock
Announcing ReAnimus Press
If you're looking for great stuff to read from bestselling and award-winning authors—look no further! ReAnimus Press was founded by your very own Critter Captain. (And with a 12% Affiliate program.) [More]
From firstname.lastname@example.org Tue Nov 3 07:17:27 1998 Return-Path:
Received: from mail.mia.bellsouth.net (mail.mia.bellsouth.net [126.96.36.199]) by tech-soft.com (8.8.5/8.8.5) with ESMTP id HAA05423 for ; Tue, 3 Nov 1998 07:17:26 -0700 Received: from bellsouth.net (host-209-214-12-26.pbi.bellsouth.net [188.8.131.52]) by mail.mia.bellsouth.net (8.8.8-spamdog/8.8.5) with ESMTP id JAA19926; Tue, 3 Nov 1998 09:12:32 -0500 (EST) Message-ID: <363F01D4.A5882872@bellsouth.net> Date: Tue, 03 Nov 1998 09:15:04 -0400 From: Bob Abborino Reply-To: email@example.com X-Mailer: Mozilla 4.5 (Macintosh; U; PPC) X-Accept-Language: en MIME-Version: 1.0 To: aburt Subject: [Fwd: Copyright Info] Content-Type: multipart/mixed; boundary="------------D11608C4E5ADC5043A3F02A0" Status: OR This is a multi-part message in MIME format. --------------D11608C4E5ADC5043A3F02A0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi, Andrew: You may have already seen this, but I'm passing it on just the same. -- Bob Abborino "Eagles may soar, but old dogs don't get sucked into jet engines!" --------------D11608C4E5ADC5043A3F02A0 Content-Type: message/rfc822 Content-Transfer-Encoding: 7bit Content-Disposition: inline Received: from mail2.lig.bellsouth.net (mail2.lig.bellsouth.net [184.108.40.206]) by mail.mia.bellsouth.net (8.8.8-spamdog/8.8.5) with ESMTP id XAA20287 for ; Mon, 2 Nov 1998 23:14:54 -0500 (EST) Received: from loviatar.webcom.com (loviatar.webcom.com [220.127.116.11]) by mail2.lig.bellsouth.net (8.8.8-spamdog/8.8.5) with ESMTP id XAA25917 for ; Mon, 2 Nov 1998 23:14:40 -0500 (EST) Received: from kigal.webcom.com (kigal.webcom.com [18.104.22.168]) by loviatar.webcom.com (8.9.1/8.9.1) with SMTP id TAA09487; Mon, 2 Nov 1998 19:07:48 -0800 Received: from [22.214.171.124] by inanna.webcom.com (WebCom SMTP 1.2.1) with SMTP id 10185334; Mon Nov 02 20:06 PST 1998 Received: from GOS4IT@aol.com by imo19.mx.aol.com (IMOv16.10) id LBWCa04682 for ; Mon, 2 Nov 1998 23:07:22 +1900 (EST) From: GOS4IT@aol.com Message-Id: Date: Mon, 2 Nov 1998 23:07:22 EST Mime-Version: 1.0 Subject: Copyright Info Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit X-Mailer: AOL 3.0 for Mac sub 82 To: firstname.lastname@example.org X-Original-Envelope-From: email@example.com X-Mozilla-Status2: 00000000 To SFN : I received this and thought it was appropriate to pass on. I found the info very thought provoking. George ****** This open letter to all writers is from Richard Curtis, a very savvy and intelligent agent (he represents Stephen King, among others), and it succinctly summarizes the issues arising around contracts in the publishing industry, and the implications for writers about changes in the way books are published. It applies to textbook writers and writers of books on software, as well as science fiction and horror writers. --------------------------------------------------- October 26, 1998 Dear Author: As you are undoubtedly aware, there have been some exciting developments in electronic publishing technology, and they are going to change if not revolutionize every aspect of the business. As your own interests will be affected we want to describe these briefly to you, to make some recommendations and sound some alarms. 1. Print on demand. Publishers, distributors, and booksellers now have the capability to print economically single copies of a book upon request by a consumer. 2. Online sale of books. Electronic versions of books may be ordered directly from publishers or from companies like barnesandnoble.com, to be read on handheld electronic reading devices known as e-books. Though these devices are still expensive and certain technical problems remain, there is no question that the price will come down and the quality will go up, and portable e-books will eventually win consumer acceptance. The good news for authors is that these developments will enable them to reach larger audiences for their work, and to earn more royalties. But the bad news more than outweighs the good. Because electronic versions of your book, unlike print-on-paper versions, never go out of print, publishers have begun to take the position that even after there are no hard copies available in stores or warehouses, your book is still, technically, in print. Why? Because it is digitally stored in the memory of your publisher's computer, available for printing your book on demand or transmitting it online to consumers. This means that when you believe your book is out of print (in the traditional sense of the term), your publisher may refuse to revert your rights to you. Under current copyright law, that means that your publisher will be entitled to keep your book exclusively until seventy years after your death. What is worse, publishers are beginning to insist on those same interpretations of "in print" and "out of print" when you sell them a new work. To put it plainly, that means you must sell it to them forever. Perhaps they will actually exploit your book aggressively and earn good royalties for you. But if they don't, you're out of luck. You will never be able to recover the rights to that book. There's something else you should know. Publishers entering the electronic book field are offering authors a traditional royalty, around 10% or 15%. Such royalties make sense for books printed on paper because of the expenses incurred by conventional publishers such as paper, printing, production, warehousing, and distribution. But the costs of storing your book on a disk and fulfilling an electronic order for it are negligible, and it is certainly not out of line for authors to be thinking of far higher royalty percentages. Author and agent organizations are awakening to these threats and developing strategies for combating them. Among those strategies are: limiting publishers to a term of years when they acquire new books; requiring a minimum annual royalty if a book's earning drop below a certain dollar figure; and contesting publishers' expanded definition of "in print". How can authors protect themselves? First, by raising the consciousness of all authors about this threat to their interests. Forward this e-mail to every author and author group you know. Second, by raising the consciousness of editors, who may not be aware of, or may not be comfortable with, their company's policies or the implications ofthose policies. Third, by supporting those publishers that are flexible and negotiable about their definitions of "in print" and "out of print" and about royalties payable on electronic versions of books. Finally, by supporting efforts of author and agent organizations to promote author-friendly approaches to the in-print, out-of-print and the electronic royalties issues. When you or your agent negotiate your next book deal, you may be given a take-it-or-leave-it ultimatum by the publisher that it expects to acquire rights in perpetuity. You will have to decide whether you wish to accept those terms or risk that your book will go unsold. Individual authors or agents may not be in a position to resist such demands. Only the collective actions of a united author and agent community will overcome such pressure. For this reason -- because this is no less than a matter of survival -- we urge you to do all you can to fight the takeover of your most precious asset: your copyright. Sincerely, RICHARD CURTIS --------------D11608C4E5ADC5043A3F02A0--