going to ask about paper and cost (re: WAHA newslatter)

new WAHA idea: West Adams Trading Cards; for every tour, mailer for petitions, etc., put on a post card with the history on the other side -- I bet realtors would use them to sell houses! and people would collect (i.e., buy) sets

I knew as soon as I heard Jane Sprague's title I would love her LA poems, and AQUARIUM OF THE PACIFIC is really wonderful
>if I have a .pdf of something close to the galley stage, I make about
>100 copies and circulate them as "electronic galleys" to places that
>review, to book festivals, etc. that would ordinarily expect a book, to
>some contests, competitions, etc., to reading series that now expect
>books (from this I get about five reviews or readings), to friends and
>people I see;
>send more to various poets, reviewers, e-zines I know online (this
>because they are more likely to review or excerpt and link back to
>electronic format stuff than old fashioned paper people);
>I had a second book with galleys and copies distributed improperly and
>made "pirate" paper galleys;
>most publishers expect authors to distribute postcards to other
>authors, friends, and people in general in places surrounding readings;
>big publishers, like those owned by the Carlysle Group that the
>Washington Post reviews almost exclusively, pay for the postcards
>I'm currently trying to make press releases, order forms, and "sell
>sheets" for my books that don't have them, for mailings, like Iowa,
>etc. does
>I'm just trying to say that
>1) consider cost of galleys and postcards when designing the cover and
>choosing the printer, because it can add up
>2) share your gifs and layouts and templates with your authors
>3) you might want to participate in the "electronic galleys" movement
>so that this becomes more acceptable (it costs about $2 for galleys,
>and about $1.50 to mail them, versus being free to $1 to produce and
>mail a .pdf on a CD Rom)
>4) publishers might help authors so that both can spend time and money
>doing things that sell the book instead of doing basic chores
>as for distributors, you might want to check Gardners for Europe and
>inbooks for Australia


screenwriters, tv writers, talk in terms of "breaking a story," and I think about this, sans narrative, as being like breaking the spine of a book (yes, I'm a spine breaker, got to keep it open with my hands full!), the point where you really get inside your project and figure out how it lays out *completely* and the major ramifications of that

although breaking a story in film or tv is an early stage, for me, when my projects break, I'm usually part way in, but I may not have committed to working hard on a particular project because I haven't "broken it" yet

so I would say the stage of film & tv writing I'm at when I begin to write would translate to having an outline and a beat sheet of a screenplay; after it is broken, it is "all execution" -- just finishing it, revising it, finding a spot for it to be


Riverside, CA, Orange Blossom Festival

Details of the reading can be accessed on the web through the museum's website, www.riversideartmuseum.org and http://www.epicentermagazine.org/audio.htm.

Reading Schedule

Saturday May 20

12:20-12:40- Joel Lamore

12:40-1- Jonathan Ponder

1:00-1:30 Jackie Joice

1:30- 1:50- Angela Chaos

1:50 -2:20- Sholeh Wolpe

2:20-2:50- Brandon Cesmat

3:00-3:30- Terry Hertzler

3:30-4:00- Lori Davis

4:00-4:20- Mr. P

4:20- 4:40- King Daddy

4:40-5:00- Betty Nude

5:00-6:00 Michael C. Ford

Sunday May 21

12:00-12:15- Ryan Peeters

12:15-12:30- Dana Stamps III

12:30-12:45- Brandy Burrows

12:45-1:00- S. Alaska Whelan

1:00-1:30- Lee Balan

1:30- 2:00- Cheno

2:10-2:30- Johnny Fathom

3:00- Nancy Scott Campbell

3:30-3:45- Billy Lobo

3:45-4:00- Mary Copeland

4:00- Ruth Nolan

4:30- Maureen Alsop

5:00- Catherine Daly