The Grantville Gazette - Volume 4 Part 42

Morton, W.E. and J.W.S. Hearle. Physical Properties of Textile Fibers. b.u.t.terworth & Co. (Publishers) Ltd. and the Textile Inst.i.tute, 1962.

Peake, R.J. Cotton: From the Raw Material to the Finished Product. (Pitman's Common Commodities and Industries.) Revised Edition. London: Sir Isaac Pitman & Sons, Ltd., 1925. (Reprint, Wachtung NJ: Albert Saifer Publisher, 1997.)

Polleyn, Friedrich. Dressings and Finis.h.i.+ngs for Textile Fabrics and Their Application. Translated from the third German edition by Charles Salter. London: Scott, Greenwood & Son, 1911.

Ponting, Kenneth G. Leonardo da Vinci: Drawings of textile machines. Bradford-on-Avon, Wilts: Moonraker Press, 1979.

Pratt, Fletcher. All About Famous Inventors and Their Inventions. Chapter 3: "The Cotton Gin and the Reaper." Chapter 5: "Inventions for the Home." New York: Random House, 1955.

* Radcliffe,Wiliam. Origin of the New System of Manufacture Commonly Called Power-Loom Weaving. Clifton NJ: Augustus M. Kelley Publishers, 1974 (reprint of 1828 edition).

Shanks, Clarice. Owner, Upstairs Studio (Weaving & Spinning). LaPorte TX. Personal communications.

Van Nostran, Don. Mid-States Woolgrowers Cooperative a.s.sociation. Personal correspondence (email), April 20, 2004.

Wild, J.P. Textile Manufacture in the Northern Roman Provinces. Cambridge: at the University Press, 1970.

* Woodhouse, Thomas. Jacquards and Harnesses: Card-Cutting, Lacing and Repeating Mechanism. London: Macmillan and Co., Limited, N.D., 1923.

Images

Note from Editor: There are various images, mostly portraits from the time, which ill.u.s.trate different aspects of the 1632 universe. In the first issue of the Grantville Gazette, I included those with the volume itself. Since that created downloading problems for some people, however, I've separated all the images and they will be maintained and expanded on their own schedule.

If you're interested, you can look at the images and my accompanying commentary at no extra cost. They are set up in the Baen Free Library. You can find them as follows: 1) Go to www.baen.com 2) Select "Free Library" from the blue menu at the top. 3) Once in the Library, select "The Authors" from the yellow menu on the left. 4) Once in "The Authors," select "Eric Flint." 5) Then select "Images from the Grantville Gazette."

Submissions to the magazine

If anyone is interested in submitting stories or articles for future issues of the Grantville Gazette, you are welcome to do so. But you must follow a certain procedure:1) All stories and articles must first be posted in a conference in Baen's Bar set aside for the purpose, called "1632 Slush." Do not send them to me directly, because I won't read them. It's good idea to submit a sketch of your story to the conference first, since people there will likely spot any major problems that you overlooked. That can wind up saving you a lot of wasted work.

You can get to that conference by going to Baen Books' web site www.baen.com. Then select "Baen's Bar." If it's your first visit, you will need to register. (That's quick and easy.) Once you're in the Bar, the three conferences devoted to the 1632 universe are "1632 Slush," "1632 Slush Comments," and "1632 Tech Manual." You should post your sketch, outline or story in "1632 Slush." Any discussion of it

should take place in "1632 Slush Comments." The "1632 Tech Manual" is for any general discussion not specifically related to a specific story.

2) Your story/article will then be subjected to discussion and commentary by partic.i.p.ants in the 1632

discussion. In essence, it will get chewed on by what amounts to a very large, virtual writers' group.You do not need to wait until you've finished the story to start posting it in "1632 Slush." In fact, it's a good idea not to wait, because you will often find that problems can be spotted early in the game, before you've put all the work into completing the piece.3) While this is happening, the a.s.sistant editor of the Grantville Gazette, Paula Goodlett, will be keeping an eye on the discussion. She will alert me whenever a story or article seems to be gaining general approval from the partic.i.p.ants in the discussion. There's also an editorial board to which Paula and I belong, which does much the same thing. The other members of the board are Karen Bergstralh, Rick Boatright, and Laura Runkle. In addition, authors who publish regularly in the 1632 setting partic.i.p.ate on the board as ex officio members. My point is that plenty of people will be looking over the various stories being submitted, so you needn't worry that your story will just get lost in the shuffle.

4) At that point-and only at that point-do I take a look at a story or article.

I insist that people follow this procedure, for two reasons:

First, as I said, I'm very busy and I just don't have time to read everything submitted until I have some reason to think it's gotten past a certain preliminary screening.

Second, and even more important, the setting and "established canon" in this series is quite extensive by

now. If anyone tries to write a story without first taking the time to become familiar with the setting, they will almost invariably write something which-even if it's otherwise well written-I simply can't accept.

In short, the procedure outlined above will save you a lot of wasted time and effort also.One point in particular: I have gotten extremely hardnosed about the way in which people use American characters in their stories (so-called "up-timers"). That's because I began discovering that my small and realistically portrayed coal mining town of 3500 people was being w.i.l.l.y-nilly transformed into a "town" with a population of something like 20,000 people-half of whom were Navy SEALs who just happened to be in town at the Ring of Fire, half of whom were rocket scientists (ibid), half of whom were brain surgeons (ibid), half of whom had a personal library the size of the Library of Congress, half of whom . . .

Not to mention the F-16s which "just happened" to be flying through the area, the Army convoys (ibid), the trains full of vital industrial supplies (ibid), the FBI agents in hot pursuit of master criminals (ibid), the . . .

NOT A CHANCE. If you want to use an up-time character, you must use one of the "authorized" characters. Those are the characters created by Virginia DeMarce using genealogical software and embodied in what is called "the grid."

You can obtain a copy of the grid from the web site which collects and presents the by-now voluminous material concerning the series, www.1632.org. Look on the right for the link to "Virginia's Uptimer Grid." While you're at it, you should also look further down at the links under the t.i.tle "Authors' Manual."

You will be paid for any story or factual article which is published. The rates that I can afford for the magazine at the moment fall into the category of "semi-pro." I hope to be able to raise those rates in the future to make them fall clearly within professional rates, but . . . That will obviously depend on whether the magazine starts selling enough copies to generate the needed income. In the meantime, the rates and terms which I can offer are posted below in the standard letter of agreement accepted by all the contributors to this issue.

Standard letter of agreement Below are the terms for the purchase of a story or factual article (hereafter "the work") to be included in an issue of the online magazine Grantville Gazette, edited by Eric Flint and published by Baen Books. Payment will be sent upon acceptance of the work at the following rates: 1) a rate of 2.5 cents per word for any story or article up to 15,000 words; 2) a rate of 2 cents a word for any story or article after 15,000 words but before 30,000 words; 3) a rate of 1.5 cents a word for any story or article after 30,000 words.

The rates are c.u.mulative, not retroactive to the beginning of the story or article. (E.g., a story 40,000 words long would earn the higher rates for the first 30,000 words.) Word counts will be rounded to the nearest hundred and calculated by Word for Windows XP.

You agree to sell exclusive first world rights for the story, including exclusive first electronic rights for five years following publication, and subsequent nonexclusive world rights. Should Baen Books select your story for a paper edition, you will not receive a second advance but will be paid whatever the differential might be between what you originally received and the advance for different length stories established for the paper edition. You will also be ent.i.tled to a proportionate share of any royalties earned by the authors of a paper edition. If the work is reissued in a paper edition, then the standard reversion rights as stipulated in the Baen contract would supercede the reversion rights contained here.

Eric Flint retains the rights to the 1632 universe setting, as well as the characters in it, so you will need to obtain his permission if you wish to publish the story or use the setting and characters through anyone other than Baen Books even after the rights have reverted to you. You, the author, will retain copyright and all other rights except as listed above. Baen will copyright the story on first publication.

You warrant and represent that you have the right to grant the rights above; that these rights are free and clear; that your story will not violate any copyright or any other right of a third party, nor be contrary to law. You agree to indemnify Baen for any loss, damage, or expense arising out of any claim inconsistent with any of the above warranties and representations.

THE END.

For more great books visit

http://www.webscription.net/ Back| Next Framed