Contents Page Jim Main’s This & That . . . Jack Bertram’s The Tell-Tale Heart Revisited Steve Keeter’s Tribute to Bill Shelly and Sam Gafford with art by art by Jack Bertram and Doc Boucher To Be Continued! (Part 1) A Serial Pictorial Buck Oviatt’s Superman and the Mole Men with art by Scott McClung and Doc Boucher Brien Wayne Powell’s Poor Execution
Whatever No. 1 Winter 2020 Publisher/Managing Editor: Jim Main Editor/Production Manager: Robert J. Sodaro Assistant Publisher: Connie Main Front Cover Production and Logo Design: Marc Haines Front Cover Artwork: Anthony C. Gray 8.5” x 11” full color, 28 pages $4.25 postage paid from firstname.lastname@example.org
If there’s one thing readers of The Digest Enthusiast’s print edition want, it’s color. Me too. It’s something I’ve worked the numbers on many times over the past five years. With KDP (formerly CreateSpace aka Amazon) a printed color equivalent of the b&w TDE would run $25 or more. The “or more” would be another $6 to earn 35¢ a copy in expanded distribution (Barnes & Noble, etc). I played with page counts and page sizes, but the numbers never worked.
In November, Lulu.com sent me an invitation to their work-in-progress Beta site, which offered two color options, Standard and Premium. The Premium looked as high as KDP, but the Standard option looked promising. I worked up a color version of TDE10, submitted the files, and ordered a proof. It looked great. In comparison, Lulu’s cover didn’t have quite the depth of KDP’s, but the step up to a color interior was more than worth the trade-off.
I was ready to switch to Lulu until I found out their Beta site wouldn’t go live until late in the first quarter of 2020. I may try them in June for TDE12, but TDE11 was due in January. I thought about continuing with KDP in b&w, but having seen what’s possible, I couldn’t go back.
Alec Cizak had explored working with IngramSpark (IS) a year earlier for Pulp Modern, but didn’t end up using them. They offer a full service to publishers, but unlike KDP, they aren’t selling to end users, they’re selling to booksellers. That means a built-in bookseller margin that’s substantially larger than the publisher’s. Still, their distribution channel is significantly larger than amazon’s, and amazon is included. They also offer both Standard and Premium color options.
Moving from a direct channel like amazon, to an indirect channel is risky. Sales numbers will lag, so I won’t have a good idea how a color TDE is being received until months after the fact. The price increase to $18.99 may kill its appeal. It’s a gamble, but also a chance to learn more about publishing and potentially reach a wider audience, which includes libraries—an area where the book could do very well if given the chance.
Getting started with KDP offers no overhead. The whole production process and the ISBN number is free. With IS you need to bring your own ISBNs, purchase the setup ($49), and incur a charge to revise your book file if a last-minute change is required ($25 ea.). It’s not cost prohibitive, but does give you pause if you’re not confident you can get it right the first time.
Unlike Lulu, IS requires 1/8” clear space in the gutter of pages that bleed, to ensure the best adhesion in bindery. I was a little concerned it would show, but it was undetectable on the printed proof.
IS also provides a conversion service to convert your book’s PDF print file into an ePub file which it uses to distribute your book to a wide range of eBook vendors—Kindle, iBooks, Nook, etc. Their fee is $60 a page, so a 160-page book costs $96.00. You can supply your own ePub file, but that’s the only format they’ll accept. I couldn’t figure out how to generate an ePub file that would maintain TDE’s page design, like the Kindle Create tool. I considered hiring IS to convert the PDF file, but they don’t have an option to upload a PDF that’s specifically for the ePub. They use the print book file. I couldn’t do that. I create a separate file for the eBook layout with even margins all around. (Printed book files have a generous margin on the gutter side of pages to allow for bindery. Plus with IS, you’ve got that 1/8” white space on all the pages that bleed. Not acceptable.) Finally, you need a separate ISBN number for the ePub version of your book.
For TDE10 I moved to IS for the printed book, and stayed with KDP for the Kindle version, using the Kindle Create tool to produce the print-replica look I wanted. I’m missing out on all the other eBook platforms, but maybe Lulu will offer an alternative when their Beta site goes live.
I ordered a printed copy of the book from IS before I released the file for distribution. They offer several print production and delivery options. The costs to speed up production of the book are reasonable, but I thought their quicker delivery options were overpriced. I selected their least expensive shipping option, about $5.50, It took ten days for the proof to arrive, not including the production time. A speedier delivery would have cost many times that. A little book like TDE11 can ship first class for about $5.50 and arrive in three days, so I don’t understand their shipping offerings.
IS also charges a $1.99 handling fee for every publisher’s order. So plan ahead, if you order one copy or ten, you’ll pay the $1.99 handling fee.
After I approved the printed proof, I enabled distribution. The book showed up on amazon a couple of days later. Three days out it is not available from Barnes & Noble, Powell’s, or Quimby’s, but I’m hopeful it will be soon.
Overall, I’m very happy with IngramSpark. They offer a quality color printing service and a distribution reach that includes amazon and beyond. I hope their services will enable TDE11 to reach more readers. We’ll find out in the months ahead.
“Cartoon Trader was monthly from October to December 1989. The fourth issue, dated March 1990, was the last I’ve seen. In addition to Joe’s covers, it included Classic Cartoonist Cards, paper dolls, and a page of comic strips with Joe’s Cat Burglar, Stovepipe, Night Radio, and Karen’s Litter Lane.
“Night Radio offered a peek into another great interest of Joe’s—classic jazz. He collected 78s and played the saxophone, clarinet, and guitar. ‘I have fond memories of those few months we produced the Cartoon Trader, and still in my collection is a handful of very charming strips I prize which Karen drew for the zine about a feline couple living a zany suburban life. There will never be any more of those.’ In 2014, Joe published a 16-page mini comic collecting The Unknown Comic Art of Karen Wilson Wehrle. It includes her Litter Lane comic strips and eight color cartoons she drew fora proposed children’s book.”
Contents Pages Essa Hansen “Save, Salve, Shelter” Matthew Hughes “Air of the Overworld” Michael Cassutt “Banshee” Charles de Lint: Books to Look For —Storm Cursed by Patricia Briggs —The Saturday Night Ghost Club by Craig Davidson —The Green Man’s Foe by Juliet E. McKenna —The Man Who Wouldn’t Die by A.B. Jewell —The Slab by Jeffrey J. Mariotte —Belladonna University Box Set by Tansy Rayner Roberts —Halloween is Not a Verb by Tansy Rayner Roberts C.C. Finlay: Recommended Reading —A Song for a New Day by Sarah Pinsker —Storm of Locusts by Rebecca Roanhorse —Catfishing on CatNet by Naomi Kritzer —Raybearer by Jordan Ifueko —Joanna Russ by Gwyneth Jones —Monstress and Monstress Volume Four: The Chosen by Marjorie Lin & Sana Takeda —Farmhand by Rob Guillory Alex Irvine “Chisel and Chime” Elaine Vilar Madruga “Elsinore Revolution” translated by Toshiya Kamei Albert E. Cowdrey “Falling Angel” Julianna Baggott “The Key to Composing Human Skin” Corey Flintoff “Interlude in Arcadia” Karin Lowachee’s Films: Ad Astra Per Corde Jerry Oltion’s Science: Where’s My Flying Car? Auston Habershaw “Three Gowns for Clara” Melissa Marr “The Nameless” Statement of Ownership, Management and Circulation Rahul Kanakia “The Leader Principle” Coming Attractions F&SF Market Place Rich Horton’s Curiosities: Man’s Mortality by Michael Arlin
Fantasy & Science Fiction Vol. 138 No. 1 and 2, No. 747, Jan/Feb 2020 Publisher: Gordon Van Gelder Editor: C.C. Finlay Assistant Publishers: Barbara J. Norton, Keith Kahla Assistant Editors: Robin O’Connor, Stephen L. Mazur, Lisa Rogers Contests Editor: Carol Pinchefsky Cover: Max Bertolini Cartoons: Nick Downes, Arthur Masear, Arthur Masear, Kendra Allenby 258 pages, $8.99 on newsstands until March 2, 2020 Fantasy & Science Fiction website
Contents Page William Burton McCormick “Fast Forward” Ken Teutsch “The Beresford Case” Christie Cochrell “A Siege of Herons” John H. Dromey “When the Circus Almost Came to Town” Bruce Harris “Murder in the Workplace” John Grant “Murderer Bill” Laird Long “Bare Billfold” (You-Solve-It)
Contents Page Sheila Williams’ Editorial: Happy Birthday, Isaac Asimov! Robert Silverberg’s Reflections: The Pharaoh’s Trachea James Patrick Kelly’s On the Net: Live Long and Whatever Robert Frazier “Your Clone, the Mirror Clone” (verse) Neal Asher “An Alien on Crete” Marie Vibbert “Unlooping” (verse) Mar Catherine Stratford “Third Shift” Allen M. Steele “The Palace of Dancing Dogs” Dominica Phetteplace “The Antidote” Timons Asaias “Go. Now. Fix.” Leah Cypess “A Pack of Tricks” Statement of Ownership, Management and Circulation Jean-Louis Trudel “The Way to Compostela” Meredith Lozaga “The Refraction of White Lies” Doug C. Souza “The Kaleidoscope City” Jane Yolen “Taking Care” (verse) B.S. Donovan “You’ll Live” Sheila Finch “Not This Tide” Jane Williams “Meeting the Man from the Future” (verse) Next Issue Paul Di Filippo: On Books Thirty-Fourth Annual Readers’ Award and Ballot Index 2019 Classified Marketplace Erwin Strauss: SF Conventional Calendar
Asimov’s Science Fiction Vol. 44 No. 1 & 2, whole No. 528 & 529, Jan/Feb 2020 Publisher: Peter Kanter Editor: Sheila Williams Managing Editor: Emily Hockaday Editorial Assistant: Deanna McLafferty Senior Director of Art & Production: Porter C. McKinnon Senior Art Director: Victoria Green Cover: Dominic Harman 208 pages, $7.99 on newsstands until Feb. 18, 2020 Asimov’s website Asimov’s/Analog Value Pack-8 Asimov’s/Analog Value Pack-16
Contents Page Dave Brzeki: Editorial John Linwood Grant’s In Memoriam: Sam Gafford (1962–2019) Melanie Atherton Allen “The Rending Veil” art by Autumn Barlow Tade Thompson “Komolafe” Matthew Willis “The Way of All Fresh” Cliff Biggers “Blindsider” S.L. Edwards’ Kotto’s Creepies: An Interview with Jonathan Raab I.A. Watson “Vinnie de Soth and the Phantom Skeptic” Kelly M. Hudson “The Empanatrix of Room 223” art by Bob Freeman Bryce Beattie “The Unsummoning of Urb Tc’Leth” Alexis Ames “In Perpetuity” Craig Stanton’s Nury Vittachi’s The Feng Shui Detective and the Singapore Union of Industrial Mystics S.L. Edwards “The Way Things Were” John Paul Fitch “Angelus” Ian Hunter “The Last Performance of Victoria Mirabelli” Michael Kellar’s Cold Cases: Supernatural Sleuths: Stories of Occult Investigators Edited by Peter Haining James A. Moore & Charles R. Rutledge “Occult Legion: He is the Gate” art by Russell Smeaton Reviews Describin’ the Scribes
Occult Detective Magazine No. 6 Fall 2019 Publisher: Jilly Paddock & Dave Brzeski Editors: John Linwood Grant and Dave Brzeski Cover: Roland Nikrandt 6” x 9” 206 pages Print $11.81
Contents Page Matthew Wilson “The Wretched Strangers” art by Mark Evan Walker Andrew Welsh-Huggins “Home for the Holidays” Kristopher Zgorski: Blog Bytes Fei Wu “Beijingle All the Way” (Passport to Crime) translated from the Chinese by Josh Pachter Bonnie Hearn Hill “Feliz Navidead” Dean Jobb: Stranger Than Fiction (preview) Mark SaFranko “Frogman” Mike McHone “A Drive-By on Chalmers Road?” Steve Steinbock: The Jury Box —Mycroft and Sherlock: The Empty Birdcage by Kareem Abdul-Jabbar & Anna Waterhouse —The Devil’s Due by Bonnie MacBird —The Adventure of the Peculiar Protocols by Nicholas Meyer —The Disappearance of Alistair Ainsworth by Leonard Goldberg —Lethal Pursuit by Will Thomas —The Vanished Bride by Bella Ellis —Death in Focus by Anne Perry —Killing with Confetti by Peter Lovesey —The Second Biggest Nothing by Colin Cotterill —plus four others briefly covered Kieran Shea “Paying It Off” (Black Mask) Merrilee Robson “Edie” Terrence Faherty “The Yellow Face” art by Jason C. Eckhardt Statement of Ownership, Management and Circulation Josh Pachter “The Adventure of the Red Circles” Kelston Gunn Cowling “Mr. Majestyk” (Dept. of First Stories) John M. Floyd “Crow’s Nest” Marilyn Todd “Nights in White Satin” B.A. Paul “The Dragonfly” (Dept. of First Stories) Pat Black “The Concrete Pillow” Toni L.P. Kelner “Now Hiring Nasty Girlz” Bill Pronzini “Stroke of Luck” Leslie Elman “The Summer Uncle Cat Came to Stay” Twist Phelan “Used to Be” Peter Turnbull “The Banks of the Ouse” Classified Marketplace Christine Poulson “Because You’re Worth It” Indicia
Ellery Queen Mystery Magazine Jan/Feb 2020 Vol. 155 No. 1 & 2, Whole No. 940 & 941 Publisher: Peter Kanter Editor: Janet Hutchings Managing Editor: Jackie Sherbow Senior Director Art & Production: Porter C. McKinnon Senior AD: Victoria Green Cover: Erika Steiskal
Contents Page Gary Lovisi: Paperback Talk Richard Greene “Dream Dance: The Art of Ed Emshwiller” Gary Lovisi “Lila Lynn: Paperback Cover Model” Richard L. Kellogg “Revisiting Peyton Place” Gary Lovisi “The Hard-Boiled Paperbacks of Al Fray” Sean McMullen “Carter Brown’s Unscientific Thrillers” Gary Lovisi “The Australian Scientific Thrillers” Richard Greene’s Matchless Paperbacks by Howard R. Milsted, Jr. Philip Harbottle “The Return of Norman Firth” Richard Greene “Road Trip Treasures”
Paperback Parade No. 106 Jan. 2020 Editor: Gary Lovisi Designer: Richard Greene ~5.5” x 8.5” 104 pages, full color throughout $15 + postage for a single issue $40 for three-issue subscription Gryphon Books website