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National Fantasy Fan, v. 7, issue 4, August 1948
Page 9
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and what typo; (b) to give new fans some idea of how hectos and mimeos work, so they won't send pix which are unusable for for mechanical reasons. I'm going to write a letter for TNFF on this, and also some fanzine articles boosting N3F, the Bureau, and suchlike. Higgs did a wonderful job on the TORCON edition of TNFF, incidently. r - tRapp I agree with him -- Martin. **__** MANUSCRIPT BUREAU REPORT I'm happy to report that things are picking up. In fact, duirng the past week or two I've even had a backlog of material. Before that I was forced to merely take stuff out of incoming mail and cram it into outgoing envelopes--demand was greater that supply. Joe Kennedy broke the jinx by (on his own initiative) shipping me a fat sheaf of stuff. We could use more fans like Joe. During the second quarter of 1948, the Bureau supplied 29 pieces of materia, which went to 12 different fanzines. Every editor who requested material was sent something, although because of the limited supply of manuscripts in the Bureau there was seldom much of a choice to be had. There is a definite want for two types of material: (a) Artwork already stenciled; (b) Articles running about 500 words, on subjects connected with stf and/or fandom. There is little demand for fiction because many of the fanzines do not use it at all, and futhermore, every fan seems to be a fiction-writer, whereas other types of material are turned out by only a few fans. If you are an artist, by all means familiarize yourself with the mechanical problems of putting out fanzines. The subtle shading of pencil drawings is almost impossible to reproduce on a mimeo stencil especially if your work must be traced by someone with little artistic talent. There are several new hectograph fanzines springing up, and they could all use work done on smooth paper with hecto ink but here again the problem of going over a pencil drawing with ink seldom gives satisfactory results. The field of hecto artwork is wide open for experimentation--- the only person at present using the full possibilities of the medium is Bob Syoin, and I suggest that you study his work with a view to developing hecto techniques of your own. I'm not too familiar with the requirements of the photolith duplication process, but if your ambitions lie in that direction, the editor of any fanzine published by that process will be glad to give you advice on what is required. As for written work -- don't hesitate to write articles for fanzines just because you're a new fan. If you have a favorite author, for example, you could bat out an essay on what you like about his work, and why. Maybe no one agrees with you, but your opinions are (Continued on back (green) inside cover.)
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and what typo; (b) to give new fans some idea of how hectos and mimeos work, so they won't send pix which are unusable for for mechanical reasons. I'm going to write a letter for TNFF on this, and also some fanzine articles boosting N3F, the Bureau, and suchlike. Higgs did a wonderful job on the TORCON edition of TNFF, incidently. r - tRapp I agree with him -- Martin. **__** MANUSCRIPT BUREAU REPORT I'm happy to report that things are picking up. In fact, duirng the past week or two I've even had a backlog of material. Before that I was forced to merely take stuff out of incoming mail and cram it into outgoing envelopes--demand was greater that supply. Joe Kennedy broke the jinx by (on his own initiative) shipping me a fat sheaf of stuff. We could use more fans like Joe. During the second quarter of 1948, the Bureau supplied 29 pieces of materia, which went to 12 different fanzines. Every editor who requested material was sent something, although because of the limited supply of manuscripts in the Bureau there was seldom much of a choice to be had. There is a definite want for two types of material: (a) Artwork already stenciled; (b) Articles running about 500 words, on subjects connected with stf and/or fandom. There is little demand for fiction because many of the fanzines do not use it at all, and futhermore, every fan seems to be a fiction-writer, whereas other types of material are turned out by only a few fans. If you are an artist, by all means familiarize yourself with the mechanical problems of putting out fanzines. The subtle shading of pencil drawings is almost impossible to reproduce on a mimeo stencil especially if your work must be traced by someone with little artistic talent. There are several new hectograph fanzines springing up, and they could all use work done on smooth paper with hecto ink but here again the problem of going over a pencil drawing with ink seldom gives satisfactory results. The field of hecto artwork is wide open for experimentation--- the only person at present using the full possibilities of the medium is Bob Syoin, and I suggest that you study his work with a view to developing hecto techniques of your own. I'm not too familiar with the requirements of the photolith duplication process, but if your ambitions lie in that direction, the editor of any fanzine published by that process will be glad to give you advice on what is required. As for written work -- don't hesitate to write articles for fanzines just because you're a new fan. If you have a favorite author, for example, you could bat out an essay on what you like about his work, and why. Maybe no one agrees with you, but your opinions are (Continued on back (green) inside cover.)
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