HOW TO MAKE A ZINE
[Editor's Note, August 2000: This classic text once appeared on the
Global Mail site maintained by Ashley Parker Owens. It dates from 1995.
Although some sections, particularly those listing postal addresses,
are outdated, it contains many valuable tips about publishing a paper
zine. If you're interested in mail art, check out [1]A Mail Artist's
Anthology or the Electronic Museum of Mail Art. Global Mail is no
longer published.]
A lot of new zine makers do not understand the nuts and bolts process
of constructing a zine.
These guidelines are meant to be both helpful and inspirational. You
should never feel that you have to follow a bunch of rules when making
a zine. If you look closely, you will find many "broken" rules in
successful publications. You must always consider your budget and time
before making decisions.
Most of this is based on personal experience and many, many failures.
Never get discouraged. You can only learn by doing, and you learn the
most from your mistakes.
If you have any questions or comments, please forward them and I'll
include them in the next issue.
You may be interested in these related Websites:
Mail Art Info Sheet
Global Mail (Sept.-Dec. '95)
Website links
Underground Press Conference '95
__________________________________________________________________
SECTIONS:
[2]Technical Tips for Zine Makers, Ashley Parker Owens
[3]Statements from zinesters on why they make a zine
[4]Transformation Through Zines, Guido Vermeulen
[5]Starting Your Own Zine, Craig Moser
[6]Zine Cliches and Peeves, pulled from the internet and Global Mail
[7]Bibliography of publications on how to make a zine, Chris Dodge
[8]Networker glossary
[9]List of Distributors
[10]List of Reviewers
__________________________________________________________________
TECHNICAL TIPS FOR ZINE MAKERS
[11](return to main menu)
[12]What's a Zine?, [13]Purpose, [14]What Should I Include, [15]What to Buy,
[16]Layout, [17]Design, [18]Text, [19]Image, [20]DTP, [21]Money, [22]Distro,
[23]Printing, [24]Postage, [25]How much is this going to cost?, [26]Skills,
[27]Staff, [28]Etiquette, [29]Illegalities, [30]Warnings, [31]E-Zines,
[32]Electric Distro, [33]Computer Zines, [34]Glossary
__________________________________________________________________
What's a zine?
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Zines (pronounced zeen), are self-published, non-commercial
publications done by a variety of individuals for many reasons. They
come in a large variety of sizes, shapes, and persuasions, and are
often photo-copied. A zine can be a magazine, newsletter, newspaper,
book, portfolio of artwork, a broadsheet, or an electronic document.
Zines represent the most democratic of media, requiring not much more
than having some ideas or something to say, a copy machine, and a
stapler. Zines can contain passages that are typewritten, handwritten,
or typeset on the computer. Art can consist of photos, clip art,
drawings, or collages. A zine is done as a labor of love, and so all
levels of quality are acceptable and welcome.
Zinesters exchange their publications with each other, trade ads, and
distribute each others publications. Many zines also run news and info
from other zines, and run reviews.
Electronic zines (called E-Zines) have also experienced a large surge
of popularity, because of the technological changes and lack of
associated printing costs. The World Wide Web has made electronic zines
readily available to anyone who can access the system by modem.
As we begin to pull away from corporate media institutions and begin to
embrace the thoughts of the individual, many are hoping for nothing
less than a total change in the culture and society.
PURPOSE
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Answer these questions for yourself:
What is the focus of my zine?
What do I hope to gain from publishing it?
Would I continue to do it if nobody bought it?
Is it worth killing a tree?
Is it worth 50 hours of my time?
Is it worth $100. of my money? (or more?)
Am I going to accept submissions or make it an entirely personal
effort?
Am I going to try and distribute it or keep it for trades only?
Why would someone read it?
WHAT SHOULD I INCLUDE?
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Provide an opening statement with the focus of the zine.
Use a one line descriptive subtitle on the masthead and cover. Chances
are, if you can't summarize your magazine with one sentence, you have
very little chance of attracting interest.
Perspective- Consider both editor and reader points of view. A
publication with one political slant is propaganda.
Zine content - Verify all news stories, if possible.
Reviews should contain information on zine name and address, editor
name, $ requirements, size, schedule, and content. It is customary to
give one line describing the content before you launch into the review.
It is generally understood that only publications of a certain caliber
are reviewed. Some zines only review publications they like. Some zines
review all that they receive. It might be a good idea to state your
policy at the start of your review section.
The necessary stuff you should include - A cover, body, contents,
index, or title headings, text and art. Explanation of issue focus.
Declaration of editor name and publication address.
The stuff you need not include - Apologies for the publication or
yourself, explanations on why your staff or group dissolved, personal
attacks, attacks on reviewers that have given you a bad review, attacks
on other editors/zines (even within the context of a review).
WHAT TO BUY
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Clip art books. These contain black and white line art. Sometimes they
contain photographs that have a screen.
A screen for copying photographs. Copy machines break an image down to
black and white. It doesn't represent grey tones adequately. The screen
breaks it into a pattern of tiny dots.
Glue sticks. This applies a very thin amount of paste to your paper.
This makes the process much less messy. Sometimes the adhesion becomes
less tacky over time and will fall off the mount. DO NOT USE
TRANSPARENT OR MASKING TAPE.
Cover-up tape instead of white-out. It is used to seal a piece of paper
to the mount and get rid of shadow lines. It also keeps the paper from
falling off of the mount if you used a glue stick to position it.
Press type. You would only use this if you did not have access to a
computer and wanted to use bold typeset headings or word art for your
zine. You cannot use this for long blocks of text because it is too
difficult. With press type, individual letters are adhered to a sheet
of plastic. You rub them onto your paper in the correct position.
A saddle-seam stapler. It's the only way to bind your zines unless they
are very tiny. You might want to try a very tiny zine with a regular
stapler, to learn how futile this exercise can be. It may seem like an
expensive investment, but its really something you can't do without if
you're a zine maker.
You'll also need scissors, and a large working space to put everything
together. A light table is very helpful if you can pick one up at a
garage sale, but it is not necessary.
You might also want to consider buying a computer if funds allow. If
you won't be using one too often, it's probably better not to.
LAYOUT CONSIDERATIONS
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Lay out a pamphlet that you can run off on the xerox machine and
saddle-staple, by putting the pages front back, front back. Layout is
complicated because each four pages will not lay in sequential order.
You will want to use both sides of the paper to conserve money. The
amount of pages will need to be divisible by four. After you have put
the pages front to back and in order, lay the first two pages and the
back two pages on the floor. The cover and back page will be on the
same side of one sheet of paper. Tape pages together that will be on
one side of one page, and paper clip the sides that will be on one
sheet. After you work through your stack, double check that the sides
are all in order.
Fold zine pages in half, and staple in the middle seam. The loose ends
of the staple go inside the zine. It is very hard to read a zine that
has been flat stapled along one edge. The pages do not turn very well,
especially if the zine was folded to fit into an envelope or to go
through the mail.
The area near the seam requires a wider white space than the area on
the edge. Stay away from the edges (if possible, use a 1/2" space).
Paper occasionally goes through copy machines or presses at an angle.
Use page numbers. It provide reviewers with a page count, it keeps a
printer from messing up the page order, and it provides you with an
easier collation.
DESIGN
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Form
The form can best be described as the underlying design which ties
together your whole publication. The repeating elements of your page
backgrounds and underlying grids accomplish this. The page background
consists of elements that repeat throughout, such as a box, header,
footer, or page numbers. The underlying grid is not "visible." To sum
it up simply, it consists of how many columns you use. A one or two
column grid format is considered very passive and unpleasant to the
eye. A five column grid (of all equal widths), could have only two
columns of text (each spanning two grid columns), but would also have
an additional column of white space (perhaps with a pull quote). This
still uses two columns of text, however, it looks better. In general,
you always should use white space if possible. It depends on your
budget. Other elements of form include consistency of font and image.
It makes sense to use no more than 4 or 5 fonts. You can adjust size,
italics, and bold in lieu of different fonts.
Key
A publication that is very spare with the type and imagery will appear
very light in overall tone. This creates an emotional lightness.
Publications with dense type and heavy black imagery will look darker.
This may set a tone of seriousness.
Choosing a format
Like it or not, each publication format transmits its own message to
the reader. A tabloid, newspaper style publication is always going to
be seen as disposable. A fine artistic handmade paper with applied
touches of color or other materials will seem more a keepsake. A crummy
xerox zine with the text disappearing from the edge and an overall grey
appearance will most likely not be perceived as something of value. A
shiny color cover shouts that you have money and are going commercial,
despite the content.
TEXT CONSIDERATIONS
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Typeset or DTP long sections of text.
Don't make the text too small. Copying degenerates the quality of the
original text and will make it too hard to read. For optimum type
reading ability, place text on a white background(in other words, no
screen).
White type on a black background is difficult to read in large
quantities.
In general, serif fonts are considered easier to read. Serif fonts have
little twigs and loops hanging off the lines forming the letters (this
is the high-tech definition). Sans-serif fonts characters look more
blocky.
Vary type size and font style for emphasis.
Avoid widows and orphans (one line of text at the top or bottom of a
column or page by itself), and try to avoid putting section headings in
the bottom 1/20th of the page.
Do not use all uppercase letters for your main body of text. It is very
difficult to read.
Try to make your sentences no longer than 10 to 12 words long. It is
easier to read text in columns than across a full size page.
IMAGE CONSIDERATIONS
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Use a high resolution graphic and/or a color on the masthead and cover.
Red will help sales.
Images of faces are noticed first in any document. Eyes are the part of
the face we look towards first.
Faces should look toward the space of the page, not off. Ditto for
cars, horses, dogs, etc. If they are in motion, they should have the
space in front of them.
Shapes become more obvious when they are geometric, or when they relate
to other shapes by touching, making patterns, or mirroring. Shapes that
touch a subject of the side of a frame become highly charged.
Like following a path in the woods, your eye will follow lines, so make
sure they go somewhere! Lines that are diagonal to the frame are more
exciting. Lines that curve show movement. Lines are sometimes read as
symbols or letters. Lines curving down are sad, lines curving up are
happy!
For consistency, consider grouping images that look similar. Avoid
putting clip art, a pencil drawing, and a photograph all on the same
page.
Consider using boxes and lines in place of art.
Avoid large areas of unscreened black if you are xeroxing. Sometimes it
turns white toward the center of the area.
Try to avoid art with very thin lines if you are having your
publication printed. Occasionally the lines will completely disappear.
Color art for printing should always be transferred to black and white
before inclusion in your publication. The color blue often disappears.
The color red may turn black.
Try to place the banner on the top, and/or keep it to the left.
Magazines get stacked to the right when space is limited.
If possible, always include a mix of text and graphics.
DTP
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Most publishing software has one of more of the following features
which makes it easier to put together a publication:
Automatic page numbering.
Footers and headers, or a background template which follows the same
design (mirrored) all the way through the document.
Ability to make an index or table of contents. This is done by tagging
sections of text and then letting the computer do the work of compiling
the data complete with page numbers. Page numbers change automatically
with changes in the document.
Booklet printing. Instead of the complicated layout for making a
saddle-seam booklet, you can let the computer do the work and it will
print out the pages in the necessary order.
Ability to add pictures, lines, and boxes with ease, as well as make
font and point size changes.
Spell and grammar checking, and
Color separations.
If you are supplying your readers with a lot of information (such as
zine reviews) consider using a database program. You can also use this
program to track addresses and subscribers. If you have no computer
training, it is suggested that you start with a very simple program
such as Microsoft Works, which has a very simple word processing
program and a simple database. If you are only going to be using a
database for a mailing list, get a program that already has an address
list form built. Using a professional hard-core database program for a
simple mailing list will be a tremendous waste of your time. These
programs are not for anyone who doesn't have a lot of computer
knowledge and/or computer programmer training.
Avoid turning on your hyphen control. Hyphens can be abused. Try to
avoid using them if at all possible.
Wrapping text around images can be misused. You can wrap to a box
surrounding the image, or wrap to the outline of the image. The larger
the image, the more you need to wrap to the outline. If you are
wrapping to a box, watch column justification, and try not to have
small columns of text to one side. It is very hard to follow a line of
text across a large image. Consider attaching your image box to the
side of the page, or place in between two columns of text. This will
avoid breaking up a line of text.
Additionally, when you use justification with small columns, you can
run into a lot of problems with word and letter spacing. Avoid this if
at all possible.
When you buy a printer, get a 600 x 600 dpi (dots per inch) if your
budget allows. A laser printer will give you the sharpest images, but
an inkjet will additionally give you color for around the same price.
If you get an inkjet, you will have to buy the special inkjet paper to
get a crisp image. It is very expensive! It is not unusual to pay $20 a
ream for this special paper. Consider this when considering your
purchase. A laser printer may be less expensive per copy. Stay away
from the dot matrix.
MONEY
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Ask for postage rather than money. If you do ask for money, say who to
make checks out to, or ask for cash only.
Be aware money and checks from outside the country will not be easily
transferred. Find out the bank charges before accepting payment in this
manner.
Subscriptions generally cost more for those out of the country because
of the added postal expense and administrative bank charges.
Postal Orders are checks that can be made out in foreign countries for
your zine. Know that the administrative costs can be quite high. Many
do not like to send cash because the mail is searched(and possibly
stolen) when it goes through customs. Always give several alternatives
for payment if possible.
DISTRO
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Try to utilize a full size portrait format for any newsstands to
improve visibility. Avoid using dates on the cover if you publish
irregularly. Zines will be pulled with an old date, even though its a
current issue.
Be prepared to accept only covers or mastheads as returns.
Don't expect a quick payment. Don't expect any payment unless you send
an invoice!
One great way to find distributors is to make a list of all the distros
you see in zines. This may be your best source of info because you know
they are already open to zine publishers. Stay away from large chains.
They usually don't buy from individuals.
Consider getting an official ISSN from the Library of Congress.
Libraries will be more ready to purchase your publication.
PRINTING
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If you are doing offset, know that the "number of pages" choice is
sometimes limited by the equipment. Usually, for a tabloid you
increment the page number by 8. If you are doing a paperback book, the
page numbers come in blocks of sixteen. For a full-size xerox
staple-stitched zine (made out of 11" x 17" paper and folded), the
pages come in groups of four.
Be aware print companies print overages of each plate, to make sure the
total amount of finished and bound print is equal to your request. Some
companies will charge you up to 10% for an overage (or deduct 10% for
an underage).
Use cost effective printing. Any print run over 500 will probably be
cheaper printed rather than xerox.
Have the printer fold, collate, and staple if funds are available.
Usually work done by machine is very inexpensive compared to your
labor.
At all times, communicate clearly about your printing needs. Specify
economy. Get samples of the paper stock. Get prices for color and
halftones. Ask the printer what they would suggest and follow their
suggestions.
Get several quotes! Printing prices vary wildly, due to the kind of
equipment they use. The big press tabloid style printing is about half
the price of sheet fed, regular paper printing. Tabloid also takes much
less time. They will need to know if you have any photographs, what
kind of paper you will need, and whether you have spot color.
Each photograph you run will require a screened halftone. Check first
on the price before you give a go-ahead. It adds up fast! Line art is
preferable because you can include it as part of your paste-up. Color
also requires a separate plate. A spot of color on one page is not
price prohibitive and will increase the visual appeal and sales.
If you have a full color image, it needs to be separated into several
images (one image for each color). The color separations you provide
will have the images in black (NOT IN THE COLOR YOU WANT!). You will
have to have registration pins or marks on each component of the image.
You will need to pay for each color. For instance, to add a color photo
to your publication, the printer will have to make 4 black and white
half-tone screens (for cyan, yellow, magenta, and black). The printer
paper will have to go through the press four times. Consider two tone
images (black and a color) for the best cost effectiveness. Know that
you can specify shades of any color if you would like pastels. For
instance, to get pink (a non-standard color), it would cost you a lot
more than to ask for a 10% screen on red.
Consider hand coloring, or colored paper for small runs rather than
color xerox. If you want other people to copy your zine on a xerox
machine, you will need to make sure the paper is white, a very light
color, or blue. This will insure that others can get a clean copy.
POSTAGE/MAILINGS
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Consider making the back cover a mailer so you can reduce the expense
and labor of stuffing envelopes.
When asking for postage, request US postage and the denomination. If
foreign postage is sent to you, you will be unable to use it. Request
IRC's from foreign readers. The IRC's are turned in to the post office
for .50 cents each, or .50 cent airmail stamps. The cost of an IRC
varies by country, and can sometimes go prohibitively high. Also offer
your publication for cash (for instance, one US buck).
If you are using an alias, be aware you will not be able to collect any
mail sent to you that is registered. Many non-USA contributors do this.
If this happens to you, request to copy the address off of the envelope
so you can send them an explanation.
State if it is free to prisoners or other groups.
Consider weight/postage expense and plan your zine size accordingly! A
12-page half-size zine will cost .32 to mail, 24-page, .55, 36-page
.78. These sizes make the best use of your postage. Do not make a
hundred page zine without considering how much it will cost to print
and mail.
Bulk mailing can save you approximately one third the cost of postage.
In Chicago, a permit is now $85.00 per year. You will have to develop a
schedule which allows you a three week period in front of the issue
date for mailing bulk. You also need to be able to go to the Post
Office between 9 and 5 during the week. To send bulk rate, you must
sort and bind the mail, and have over 200 pieces of mail each mailing.
As of 1/1/95, the basic rate is .226 cents for up to 3.3 ounces,
instead of the .32 cent rate for first class one ounce letter size. It
is .266 for flats that weigh up to 3.3 oz. There is no bulk rate for
foreign mail, however, if your mailing is not time sensitive, you can
send it out surface printed matter for approximately the same price as
first class mail.
Mailing machines (such as Pitney Bowes) have a place and purpose, yet
the price is often prohibitive. If you send out a lot of mail in
strange amounts (such as foreign), or if you are doing bulk mailings,
it might be worth it for the sake of convenience. You don't have to
figure out how many stamps, and you always have the exact amount.
Bulk mailing permits can save you a lot of work, however, the post
office makes you put down a deposit ($85.00 in Chicago). If anyone
sends out mail using your bulk mailing permit, it is deducted from your
account.
SKILLS
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Some would argue that it requires no skill at all to make a zine, and
in a way they are correct. However, if you want to make an easily
accessed and moderately successful zine, it helps if you have design,
writing, and computer skills.
The design skills may come naturally. If not, experience and a careful
plagiarizing eye can help you overcome the skills you lack.
Writing skills can also be developed through writing more and by
seeking the help of your friends to proofread and tell you which parts
just don't make sense. I believe computer skills are best learned "on
the job." The advantage to learning on the job is that you end up
knowing all the odd little features you wouldn't normally learn. You
have to know all about headers, footers, page numbers, borders,
indexes, and columns when you are working on presentation materials on
the job. Occasionally, if you do a lot of presentation stuff, you may
even learn different tricks for making your own publications. Another
bonus is that you have access to a computer, and possibly a xerox
machine without having to buy these items or rent them.
STAFF
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Any kind of committee work is probably going to be difficult and time
consuming. You have to make an effort to know exactly where everyone is
on their projects, as well as understand the importance of team
management. Some projects can only be undertaken with the help of
others. Choose those "others" wisely, and learn with them. Don't blame
them when things go wrong, and watch the egos.
HOW MUCH IS ALL THIS GOING TO COST?
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Photo-Copying Costs- If you are photo-copying, your figures will be
based on the number of pages multiplied by the number of copies. Plan
on making your copies double-sided for economy. Special paper, folding,
collating, sorting, or color paper will cost extra.
Consider how much it costs to make your copies. If you are getting them
for free, it doesn't matter. However, if you are paying for 8.5" x 11"
double sided copies, figure .15 per sheet, and for a 11" x 17" copies,
figure .25 per sheet.
Printing
For any print job, you will need to get quotes. The costs will vary
widely depending on the paper choice, number of pages and number of
copies.
Newsprint is the cheapest paper. There are several thicknesses and
brightnesses of this paper. The more copies you get, the less it costs
per thousand. To give you an idea of the cost, I can only access my own
experience. Global Mail #9 was on 40lb white sheet paper, and consisted
of 2 11" x 17" sheets folded over with no glue or staple seam. It cost
$750. for 4000 copies. Global Mail #10 switched to 35# newsprint stock,
doubled the amount of pages (to 16), had a color cover, and a staple
seam. It also cost $758. for 4000 copies. $78. of that amount was for
the spot color. Issue #11 added an additional sheet (to 24 pages), has
a cover cover, staple seam, 5000 copies, and cost $843. Issue #12, same
story, with 32 pages, $1097.
Art Supplies
Any art supplies are purchased the most economically through large
office supply stores such as Office Depot, Office Max, and other
chains. Do NOT shop at small hobby shops for the best bargains.
Clip art books or letter sets - Figure $8 per book. You will probably
get more use out of dingbats, borders, and misc. selections than books
on a specific theme
Saddle-stapler and staples $25-$30
Glue sticks $3
Scissors $3-$7
Rubber Stamps - Rubber stamps are very expensive if you have them made,
figure approximately $10 a square inch. There are many variations in
the price of stamps. Hobby stamps for decorating wrapping paper and
making cards are the next most expensive. For an extensive supply of
cheap stamps, try large toy stores in the art supply section. I
recently purchased a Crayola set of 80 rubberstamps for $14, which
included 2 stamp pads and a very large alphabet set. You can also
purchase rubber erasers and an x-acto knife and make your own stamps.
Just remember that the design you cut is the negative mirror image of
what will be printed.
Stamp pads range from $3 for the cheapies, to $12 for a nice large
rainbow pad.
POSTAGE
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Any publication half-size or larger is considered a flat instead of an
envelope. For every 3 sheets of standard size xerox paper, you will
need .32 cents for the first ounce, and .23 cents each additional
ounce. For every 3 sheets of 11" x 17" paper (full-size zine folded
over), you will need .55 cents for the first two ounces, and .46 cents
for each additional 3 pages. Sometimes it costs an item with more pages
the same price to mail.
Bulk rates will reduce your costs. If you mail out over 200 zines on a
regular basis, and can afford the $85 fee, you can send flats up to 3.3
ounces for .226 cents each.
Equipment
Below are some big ticket items you may or may not want to buy:
Xerox Machine $1500-$8000
Computer $2000
Ink jet printer $500
Laser printer $750
Some people like to figure their time into the cost of a publication.
If you do this, you should probably not make the hourly figure higher
than what you make at your present place of employment.
ETIQUETTE
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If your promised zine fails to make an appearance, send the submitted
work back or at least send a postcard explanation. Contributors send
work in exchange for your zine.
Run the names and addresses of all contributors.
Consider hand-made touches such as hand coloring, stickers,
rubberstamps, a number and date, signature, or a personal note,
especially on the cover.
For best success, do not copyright your material. Use labels such as
"copy-freely," "anti-copyright," and if you are unsure, "copyright
reverts to contributors after publication." By giving permission to
copy, the text or art will enjoy increased circulation by being picked
up by other zines. Also put the phrases, "Send a copy of any
publication in which this material appears," and "Give credit." Do not
use copyrighted materials.
Have a regular schedule - and stick to it. It might be a good idea to
publish irregularly in the beginning, or do "one-shots." This will give
you an opportunity to play with different formats and styles of
publishing.
Do not attack other people in print. Watch content and tone of reviews.
Never burn bridges.
Show sensitivity to gender, racial, national, and other boundaries. You
have no idea who is opening the envelope on the other side of the
globe.
If you are trying to generate mail, consider soliciting contributions
of text or artwork, running reviews, surveys, contests, or take ad
swaps. All these encourage the reader to write you.
Do not make any plans based on subscriber $ or input.
ILLEGALITIES
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Be aware your mail will most likely be searched when entering another
country. Make yourself aware of all postal restrictions.
Ask for an over 21 age statement if your material is questionable. For
extra protection, ask for a photo ID.
Put disclaimers on your material, such as, "this material does not
represent the opinion of the editors, but is presented for educational
or entertainment purposes only."
Understand the "community standards" in your state and respect them.
The postal inspector is a big policeman and can open any questionable
mail.
Keep sexual material off the cover of your mailer or send it in an
envelope. Staple the edge if you do not use an envelope. For extra
protection, send it First Class, which cannot be searched
unnecessarily. Third Class and Bulk Mail can be opened.
Your zine or writings could become evidence of wrongdoing if you are
accused of crossing the law.
Do not give directions or suggestions for illegal activity. You may
present information for educational or sometimes entertainment purposes
only.
The CIA and other agencies most likely peruse and track certain
publications. Be aware of this when disseminating names and address of
networkers and their activities.
Be aware of entrapment. If someone sends you a catalog of pedophilic
material, it is most likely a sting. Do not order questionable material
out of curiosity. It is illegal to have such material in your
possession, or to receive it through the mail.
WARNINGS
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If you are female, sexism and harassment are issues you must defend
against. If possible, choose an alias where the gender is unclear. This
is particularly important in email. Use a PO box so if something odd
comes your way you will not have to worry about someone knowing where
you live.
If you place your phone number in your zine, it can be misused by those
trying to charge to your number, or to harass you. Consider using
voicemail or email instead.
Others may interpret your material much differently than what you had
intended. Publishing a list of gay, or female networkers may seem like
a great idea, but it could lead to harassment if it falls into the
wrong hands. Sarcastic articles can also be misinterpreted.
There are many prisoner networkers. Some are ok and some are real
jerks. They are in prison for a reason, so care is suggested in the
amount or type of info you disseminate.
E-ZINES
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To make e-zines, you must first get a computer and get familiar with
it. It is assumed that you have some previous on-the-job or other
experience with computers. The next step would be to get a modem with
some communications software, or a commercial BBS account. Although
many complain about the fees involved, and the politics of joining a
commercial BBS, the interface software is very accessible for
beginners. (AOL is recommended, for their flat fee based on the time
you use their service, and their internet access.)
After you have an email number, start playing around with sending and
receiving mail and files. Develop a list of email contacts. This is
really the only way to get started. Join newsgroups and sign up for
others e-zines. Looking at other people's e-zines will give you some
ideas about how to approach your own. You will quickly develop peeves
about other peoples e-zines. They are often very large text files which
are hard to navigate.
Your first e-zine may just be a collection of text files. If you choose
this approach for your first exploration, consider having one file that
gives a list of all the files and their contents.
Later, if you have a little computer programming knowledge, you can
develop menus or an interface.
When the time comes, you will seek out the knowledge you need.[what a
cop-out!]
ELECTRONIC DISTRO
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There are several options for distribution of your zine in electronic
form:
Distribute on disk. You will have to pick a format of Mac or IBM. To be
able to access the most people, go IBM -it has a 90% share of the
market. Disks are very inexpensive when purchased in blocks of 100. It
is not unusual to pick them up for thirty cents each. If you have a lot
of information (such as a book), this is very cost effective. It will
only cost about .80 cents to copy and mail USA. A large zine of 100
pages would cost a lot of copying costs and postage of 2 or 3 dollars.
It all adds up. Most of your files should be text files for the
greatest readability by the largest amount of computers. The largest
problem with this method is the lack of graphics. You will need to
breakdown the text files into many files, and provide a table of
contents complete with file names and content.
Distribute by email. If you have a commercial internet service, such as
Compuserve or AOL, it may cost a lot to send files this way. Your phone
line also may be tied up for long periods of time.
Upload to a BBS. Your file will be made available to those who want it.
You are out of the process. Others download your info from the BBS.
COMPUTER ZINES
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To make a computer zine it helps to be a computer geek. It takes a long
time to learn how to program, even with easy to use object oriented
software (OOP). Expect to study for at least a year. If you are not
good at math, logic and organization, this is not really a viable
option.
To start out, you need a computer, and a collection of electronic text
and image files that you wish to use. Next, make a list of each page
(or screen) that you will use, and the required text and images for
each screen. Each screen must be detailed and cross referenced ON PAPER
FIRST.
It is a waste of time to jump in and try to make a computer program
without going through the paper study. It will be your working guide,
and will save you a lot of time. If you cannot sit down and do this
preliminary step, you probably will not have the patience to do the
associated computer work.
The computer version of Technical Tips for Zine Makers was made using
Neobook. This program took about 15 hours to write, and about 25 hours
to program. Neobook is available as shareware, and if you are
interested you can try it first before buying it.
If you want to make a cd-rom, make a computer zine first, then research
the topic.
GLOSSARY
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screen - a series of dots making an image or shape. It can be in grey
or a color.
widow/orphans - one line at the bottom of a page by itself, or one line
at the top of the next page by itself.
font - the style of type used.
point - the size of type used.
dtp - desk top published (generated on a computer).
kerning - adjusting the space between the letters.
saddle stitched - the old style of fastening pages at the seam with
string and glue.
saddle stapled - fastening pages in the seam with staples.
unbound - a portfolio of pages of art and text.
perfect bound - a flat book seam, probably just glued but occasionally
stitched, also.
Zine sizes:
(as described in Factsheet Five)
mini - very small
paperback - 4.75 x 7
digest - 5.5 X 8.5
journal - 6 x 9.25
half-legal - 7 x 8.5
comic - 6.75 x 10.25
standard - 8.5 x 11
euro-stnd. - 8.25 x 11.5
legal - 8.5 x 14
broadsheet - 14 x 17
oversized - very big (all in inches)
__________________________________________________________________
STATEMENTS FROM ZINESTERS
ON WHY THEY MAKE A ZINE
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The Atom County Memorial Gymnasium Gene-Pool Lifeguard Life Saving Tips
Handbook Series , Forestter Cobalt
Published at the onset of any major or minor grief or anxiety that may
come my way directly, or that may merely be free floating and within
anyone's grasp. For me it is mostly a personal thing and merely an
alternate method of self- expression besides all the others I have.
Driver's Side Airbag, Mike Halchin
I hope to alter perceptions as often and as widely as possible. Zines
should have the kind of material that whacks you upside the head with a
cinder block, shoves a spider up your spinal column, or makes you fly
backwards around the room like a deflating balloon(with appropriate
sound effects).
The Subterranean Quarterly, Cris Trautner
The Subterranean Quarterly is a literary magazine dedicated to
publishing writers and artists whose work may be overlooked by the
established press. We are especially interested in works by new and
unpublished authors. Our goal is to be one of the Midwests leading
literary/artistic publications, showcasing those writers and artists
who one day may become cultural giants. Or something like that.
Christian*New Age Quarterly, Catherine Groves
Our intent is to foster communication between Christians and New Agers.
To this end, a diversity of viewpoints are featured. Tome, spirituality
is a quest for our deepest meaning.
PepG!rlz, Siobhan
PepG!rlz are multi-dimensional demons that choose to reveal themselves
through the first two dimensions using Siobhan as their channel.
PepG!rlz endeavors to permanently alter the mind of the viewer with
stark graphix and twisted subversion of universally adored cartoon
archetypes and icons. Employing a deft mixture of binary language,
occult symbolism, op art technique and Masonic equations, PepG!rlz
wreck havoc among the human population exposed to them.
The J. Cruelty Catalog, Erik Farseth
J. Cruelty is opposed to the increasing commercialization of
(formerly)independent labels and zines. We have no time for an
increasingly homogenized adult world that tries to skim whatever it can
off the surface of the underculture and then sell it back to us as the
latest flavor-of-the-month. J. Cruelty knows that a good game of soft
ball behind an old building is more fun than Nintendo will ever be.
MOM Magazine, Lee Pembleton
I reprint my mom's letters, postcards, travelogue, photos and art
because they are wonderful and make for good sharing. I make MOM
because personal zines are wonderful and incredible and I wanted to
share myself, but didn't feel like my life had much worth sharing. So I
share my mom.
Mad Monks Magazine, David Hopkins
Basically we support underground bands and labels (mainly of a punk
rock nature), and try and combine the spirit of punk with the enjoyment
of skateboarding (like in the old days!). I see it as something that is
being lost, and I feel it s an important link that shouldn't die.
We are also very heavily influenced by alien life forms and UFOs, and
have a specific person who writes the UFO pages. All the alien art is
of a humorous nature, but the underlying facts, and our beliefs as a
whole are discussed every issue in a relatively serious way. It s not
something that should be taken lightly.
What else? Well, we like to write rubbish that doesn' t make any sense,
and we also like to take the piss out of culture in general because
life s just too short to take these things seriously.
Deanotations, Dean Blehert
I enjoy live communication. I try to slip myself and my readers out of
fixed viewpoints into being able to create their own viewpoints(and
emotions and realities) at will. I play and welcome playmates.
Daily Cow, David R. Wyder
Our motto is Nothing Here Is Real or Imagined. Consequently you will
find a continuing story of a cow government run by mobsteers, the
latest local and world cow news, cow celebrity pix, a cow or bull
pinup, cowmercials and metaphysical musings by a GuruMoo. There are no
sacred cows here, everything is fair game.
The FireFly, The Kirby Family
We are a family of three young girls and a mother and father. We have
moved from town to town over the past five years fighting injustice and
racism. We have been literally forced to leave every place we have
lived because of our activism. The FireFly has chronicled these events.
We also seek to publicize the plight of political prisoners and others
who have been wronged by the ever strengthening grip of the American
system.
Bedtime Stories for Trivial Teens, Andrea Lambert
BSTT is a collection of poetry and short stories percolated through
youth angst and scandal. I do it because there is this evil creeping
feeling of voicelessness that will get me for good if I don't do
something. This zine lets me pretend that people are listening.
Farm Pulp, Gregory Hischak
A zine IS a statement. With any luck it requires no accompanying
verbiage. It is text and graphics and rhythm. It has a beginning and an
end and a thin line of reasoning that flows from one to the other like
a mud vein. if you prod me then I will admit that if the zine makes you
laugh, then there has been success. If it almost makes you think
differently, then there has been success. Any additional statements
would merely be baroque ornamentation.
Nobodaddies, Doug Rice
Nobodaddies wants to function as a sort of cannibal parasite on the
flesh/bodies of contemporary writing. We challenge the notion of the
acceptable, and work beyond the limits of weak discipline. Nobodaddies
enjoys the pain of writing beyond an ending, of moving against the
grain, and of creating new pleasures in the acts of seeing the world.
Tradition and History is never simply ignored; but neither does
tradition or history have a stranglehold on our visions.
MON, Richard Jacob, Jr. aka Lizard
I had unknowingly seen quite a number of zines before I knew exactly
what a zine was. It seemed like a way to exude some of my creative
juices, and sometimes I actually have something to say. I write about
everything I can that could be construed as interesting. Also, it
seemed a great way to meet really interesting people from all over,
since the folks in my town are mostly insane or something.
KRAX Magazine, A. Robson
Our approach is totally hedonistic, though occasionally there may be
some moral statement at the end of the line. It entertains the editors
which is why it continues.
Ped Xing, Andrew Robinson
Ped Xing began pretty much as an experiment, just to see if I could do
a mini-comic, and it continues in the same spirit, just to see if I can
continue doing it. More than anything, it's an attempt on my part to
teach myself the language of comics and cartooning. Beyond that, it
really has no other purpose, but some folx seem to find it funny.
Mole Magazine, Jeff Bagato
MOLE covers underground music and culture, and outsider art. I want to
explore the most creative, original and hardcore forms of expression,
whether it s a punk band, an over-sixty dance troupe, roadside
attractions, poetry, fiction, or comics. I try to make the interviews
as complete and authoritative as possible while giving a unique view of
unique artists.
MOLE is an outreach of the Partnership for a Reality Free America to
subvert the social order, encourage self-expression, and move humankind
into space.
Heaven Bone
Heaven Bone is about bridging the gap between artist and muse, divine
inspiration and ordinary mind. Poets are channels, oracles of healing,
and expression of beauty, and we support the evolution of that context
amid all the struggles and darkness that artists must face in this age
of blind theocracy and dwindling governmental support for the artistic
process which is our only true social and psychic nourishment.
The Red Palm, Santiago Garcia
The Red Palm was created to fill a void in San Antonio, the 9th largest
city. There was almost no poetry scene either written or performed
about one year ago. Now there is a reading every night. The scene is
hopping. Now, there are several poetry zines in the city and the city
is slowly catching up the national poetry awareness thing. I have
always felt that there were a lot of talented writers in this town. I
wanted to give them a chance to show their stuff. The Red Palm is
teaching poets to reach out to each other. I believe this is the best
way I can change the current that is flowing around me. A community of
people who come together to share words is the most powerful thing I
have ever witnessed. Poetry is hope.
__________________________________________________________________
Transformation through Zines, Guido Vermeleun
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Between 90 and 94, I co-founded a zine with some friends called Kitoko
Jungle Magazine. Kitoko is an African word in Swahili language. Zaire
in Africa was a former Belgian colony (called CONGO), they gained
independence in 1960 by the resistance of the people with as one of
their leaders Mr. Lumumba, this great man was assassinated by the
nowadays dictator Mabutu to please western interests -this is not the
official history of course.) When our king visited the country for the
first time, the black people called him Bwana Kitoko, a nickname but a
rather gentle one, it means nice manor beautiful man.
The Kitoko zine was developed around certain lines:
First line: Collaboration between languages
Belgium is a divided country with two major linguistic groups: a
Flemish one (we speak Dutch) and a French speaking one. Inside the
French area you have a German speaking part also (as a result of
annexation of some German territory after WWII) Belgium has become a
federal state with nearly no contacts between the different
communities. We wanted to break the walls by finding people at the
French side and starting a common project. Kitoko became the first zine
since the fifties where Flemish and French speaking people found each
other (I think the people around COBRA were the last who had this
vision) we found a group of people in Liege who had their own printed
zine, called M25 and they opened the gates for us!
Second Line- Collaboration between cultures.
Why should we stop with our French fellow countrymen? Through M25, who
had already a big network of international contacts, we got people
involved in Kitoko of other countries as Holland, Germany, France,
Quebec, and even the US. We wanted also the collaboration of the
immigrants in Belgium and went looking for Arab and Turkish artists as
well. Through holidays we got contacts with artists in Africa (Kenya
and Madagascar) and China
Third line: Collaboration between artists and arts
M25 was above all a more literary zine. Kitoko had a different view. We
wanted a zine where a balance was achieved between text and graphical
image. We were looking for participation of painters, etchers,
ceramists, etc. Together with the zine we organized art exhibitions
with the befriended artists, individual and collective ones, we
organized conferences, published also poetry books, graphical
calendar's, short stories, etc. Because we extended our contacts, we
came in confrontation with mail art also. During a collective
exhibition in 93 of 26 different artists. Simon Baudhuin did a
conference on mail art and his fetish animal project - the pig. We
talked about joining the MA network. Kitoko Zine entered with a project
around Kings & Queens. Me with a personal project around Signs &
Stones. The official editor of Kitoko dropped his involvement in mail
art after a while. For me, the network was a very logical working out
of the lines we developed the zine around. It became all too radical
for the editor (a close friend). Because I wanted to go my own way and
not start a permanent war of ideas, I decided to drop out of Kitoko and
continue what I did through the MA network. So after a year I did a
catalog, a zine based on the project, two editions of a booklet based
on my holiday through Scotland in 94, proposed 6 projects for 95 and
after my USA trip, I'll start publishing zines around these new
projects as well. Do I regret Kitoko? not in the sense that I gained a
lot through the confrontation with other artists. Before I only was
writing some poems. Because of the zine I started publishing them,
published two books, started writing poetic prose, started painting,
doing collages and objects, started doing etchings and ceramics, went
to art school, etc. I am amazed of what I did in a few years time. It
convinces me THAT WE ALL HAVE THIS INSIDE! We need just a contact to
burst it out.
__________________________________________________________________
STARTING YOUR OWN ZINE (from my own experiences)
By Craig Moser
article first appeared in SNEER [61](return to main menu)
I knew vaguely of zines. I think the first zine I ever saw was when I
was back in junior high. A friend had this strange photocopied thing
which had an interview with the then punk band Dirty Rotten Imbeciles
(recently they've turned more metalish but that's neither here nor
there). It was raw. I think it shocked me because the interview
mentioned their use of pot (I was such a puritan in those days). I was
fascinated yet I only read it once.
It was the fall of 93 and I was attending Carleton U part-time.
Carleton has a student newspaper known as the Charlatan. The Charlatan
was typical of student newspapers. Its main goal in my opinion,
editorial wise, was to expose the inefficiencies within the student
government (CUSA) but for the most part its contributors were caught up
in a morass of political correctness. This P. C. state is actually
Carleton U's claim to fame. Maybe the contributors were trying to hard
to please every one, but you got to expect more from a paper that your
student fees are funding. On one September Saturday, there was a
Charlatan open house. This was an invitation for those interested in
being contributors to see how the operation worked. I went to this with
an open mind and a glimmer of hope. The day consisted of little
seminars with the staff from each department- such as arts, op- ed ,
and photography. I stuck though most; darting out through those that I
wasn't interested in to sneak a smoke or to grab a snapple. I'm not
sure I learned too much through these seminars except to loathe most of
the staff. It seems that to have any effect in changing the paper you
must be a staff writer. That entails contributing at least five
articles or whatever. When you are a staff writer you get to vote on
various things and eventually run for an editorial position .
I was ready to pull the paper from oblivion right away. But I quickly
realized that my self expression would be limited and under the
scrutiny of editors. I knew my writing was all right, why did I need
this guys approval? I was at the seminar for around four hours. I
wanted to talk with the editor about my knack for comics, but an
intense migraine (maybe too many smokes or too little snapple) made me
give up. Actually, I toughed it out to the end where I learned about
the cut and paste aspects of the paper- lay out. I asked many
questions, but my persistence was merely for my own gain since all I
was learning would be for my own purposes. And there was a girl there
with me, who stuck it out to the end, but she mentioned that her being
here for the Charlatan was purely for a resume filler. The near nausea
that my migraine was producing was only heightened by this gal pure
self-serving attitude. But, was I no different since I knew in my heart
that I would not be a staffer? Well, at least I didn't admit it
outright. Finally I left the seminar with throbbing temples and waited
for my ride back home. it was when I was sitting on the grass, with a
smoke, waiting, that I had the realization-I would do my own zine!
With my new found ideas, and drive to create without restriction, I
started the layout to my first zine GUNK. Why did I choose Gunk ? I
toyed with a few names, including Sneer, but stuck with Gunk. I guess a
lot of people doing comics and such had these monosyllable names. Gunk
wasn't used as far as I knew by any other zine, yet it was used by
those guys who make those automotive products. I chose it a with the
idea that anything unknown was not libel and so it stuck.
I had material to work with- 2 comics and a short story. I had
photocopies of the comics reduced to a workable size and I typed the
story out on my computer. I laid the pages out on my bed with scissors
and my glue stick. I did it late at night and with the effect of music
and sleepiness, or was it the fumes from the gluestick, I set up the 8
pages that was Gunk #1. I must admit that this lay out was crummy; it
broke probably all the rules that the lay out guy at the Charlatan gave
me. It was non linear: it was maybe a very subconscious thing, due to
the late nights. I scrawled extra stuff in the margins. But anyway it
was done and that was the main thing. I got it photocopied at a local
printing outfit. The price was a rip-off. This was one of the many
lessons I would learn through this zine thing.
But now what to do with the 50 copies I had? I had an inclination to
send some copies to some comic guys I really liked so I did. I also
sent some copies to zine addresses I got through The World of Zines.
The stuff was mailed out and all there was left to do was wait. 2 weeks
passed and there was an envelope in the mail from Saratoga Springs, NY-
the home of Duplex Planet, my first trade! And it was foremost zinester
David Greenberger! He even included a short note of thanks-he thought
my zine was cool. Ahh! That was it! I was content right there. But
following days and weeks I d get more mail, some good things were said,
encouragement and advice. Neato! I was hooked. I even got the guts to
sell some copies at a few local record shops. Well the first one was
done and things were going well. It was four months past the premier
issue and it was time to start a new issue. The main problem with doing
gunk #2 was that I had no material ready. I had to start from scratch.
Sure I had ideas but they had to be executed into some medium. I
settled on mostly comics with a couple of little ditties. But for the
most part the comics were only one page each and were too short to
amount to a full and meaningful story. The issue was hurried and I
think it shows, but not as hurried as Gunk #1. I had the issue copied
up but this time my brother helped by getting me some free copies! I
sent issues out to reliable trades I've made through the first time
plus I sent some to some new addresses listed in Factsheet Five.
Things went well for number two. But I just knew that I could do better
and that ever present thought is what really drives me when I do this
zine thing. I made a few new pen pals and got many interesting zines as
trades. The only thing that was lacking was local sales. Ottawa is a
funny town. There exists a local scene of music, the arts, etc., but
getting people interested is a Herculean task to say the least. I sold
out maybe at one location but elsewhere there were little sales. I sold
only one copy out of four at a record store. Upon collecting the money
for that single issue, I thought of why no one was buying my stuff. Did
it suck? Did I have to buy a full page ad in the Sun like the big beer
companies do? Was it that it lacked a foil or diecut cover? Arg! With
such disillusionment and ennui I deposited my single issue earnings in
the bus (the money was more clinking than folding) that would take me
home. What was needed to boost sales which to me was necessary (it was
necessary to sell at least 20 as opposed to around 5?) It was pointed
out to me that often people buy a zine or mini comic purely on its
appearance. A common size of a mini comic is half-size. This is an 8.5
x 11 piece of paper folded over and is like a little book. My first two
issues were full size and resembled a hand out that you'd get from a
teacher back in school. This was real easy to lay out since there was
little or no reduction required. Also, it was easy math, each two pages
was one page (double sided. ) Some fellow zine creators suggested the
digest size. The idea was that one 8 1/2 x 11 was equal to 2 pages, so
four pages per one double sided copy. I was hesitant, since working
with that size was real new, but encouragement from others, and the
personal satisfaction from working something out for myself made me do
it.
At the same time, I was changing the way I drew my comics. I switched
from mere typing paper to very large bristle board. I also changed from
drawing markers to actual India ink and nibs. I found that I spent more
time on each panel; each stroke was an important element. However,
there was some struggle there since I had to discover for myself which
was the best style and size of nib to use. I still haven't found a good
nib for lettering but practice makes perfect. The large comic pages
were a new and most fulfilling experience, suddenly drawing seemed more
of an involved thing. My comics were changing , if ever so slightly
from classroom doodle to, I hate to say it, a work of art. Anyway, with
the comics done for #3, all I had to do was reduce them and then
assemble the pages to their corresponding order to make the digest
format work. It was hard: collating is the fangled term for that. After
many, many wasted copies and tests, the new issue was made. I had a gut
feeling that this issue was great. With such extreme high hopes for
this issue you can imagine how hard I hit the ground when I got zero
response after my first mailing batch. Usually when I send issues as
trades, I get a thank you or such, but nothing. In hind sight, a lot of
the people whom I sent issues to were in the middle of exams and
probably didn't have the chance to write or trade. Sigh. For 4 weeks no
mail, but suddenly things picked up. A few trades and even an order! I
realized that I was becoming mail dependent. This may not be a bad
thing, but having many long distance correspondence makes one neglect
that which is immediate. I figured that response will or may come, but
in the mean time, life goes on, and the zine must carry on. Opinion
helps as does a sense of support or community but it comes down to the
actual thought and work in doing a zine. But as soon as I came to this
realization, the mail comes in. Getting mail is the best. Also, it is
good to come home from work and have a brand spanking zine to read that
evening. Its better than subscribing to TV guide. Well, that zines are
becoming more familiar is a good thing. Many zines are being created
every month.
And maybe as you read this, you may get the final push to get your zine
started.
__________________________________________________________________
ZINE CLICHES AND PEEVES -a crash course in what NOT to do
[62](return to main menu)
The zine cliches were pulled from the internet, the peeves have been
pulled from Global Mail.
dangermag@aol.com (DangerMag)
Here's a fun new topic for discussion (at least I hope it's new... uh,
and "fun"). What are the 'zine world's biggest cliches? By this I mean,
what topics, activities, and articles have been done to death? Here are
my suggestions. Agreed, some of these can still be done quite well, but
their prevalence, in my opinion, labels them as cliches.
Serial Killers - Nuff said, and guilty as charged.
Writing to corporations with "humorous" complaints to either:
A) Achieve hardy-har-hars over the resulting form letters, coupon
books, etc. or
B) "Prove" that big soulless corporations are really, GASP!, big
soulless corporations.
Detournement - Again, nuff said... and smashed to oblivion quite
capably by Jeff Koyen in Crank #4.
Genuine, heartfelt, teary-eyed worship of that nadir of American
culture, the 70's.
As always, rock music.
bladex@bga.com (David Smith)
"Sorry I'm late getting this issue of (INSERT YOUR ZINE NAME HERE)out"
immediately followed with a long list of reasons/excuses.
intvirus@mail.ic.net (O'Brien)
There's no UNITY in our SCENE anymore.
Majors suck.
Virtually all applications of the term "sellout".
Grrrl.
Maximum Rocknroll, in its entirety.
jerod23@netcom.com (Jerod Pore)
Whining about one's job
By-mail-interviews of bands no one else has heard of
Reviews of "cult" movies caught on TV (ooooh, you're the first person
to see Plan 9!)
Reviews of records purchased from the cut-out bins
Reviews of records sent out by major labels under their numerous fake
minor labels but are still mailed in Warner Brothers cardboard boxes
that were designed to hold vinyl so the CDs bounce around and the jewel
boxes crack so you can't even reuse them to hold CDs worth listening
too
Long rants why ANSWER Me!, MaximumRockNRoll, FactsheetFive, Flipside,
Crank, Angry Thoreauean and/or CometBus suck/rule
Fake letters (especially in the first issue)
Interviews with people that probably shouldn't be interviewed like some
wino whom the publisher felt should *earn* that quarter
Why the information superduper-hyperbahn is cool/evil
Begging for contributions
Why people who eat meat are EVIL BAD NAZIS but it's still OK to wear
leather jackets
Usually done digest size with lame photo reduction and toner that comes
off.
larry@plygrnd.cts.com (Larry Disorder)
Way too many record and zine reviews. guilty as charged.
dangermag@aol.com (DangerMag)
P.P.S. Here's another one: Goadabees. Figure it out.
swain@cybernetics.net (Speed Queen)
Anything about traveling or living a really shitty existence.
Chip Rowe; chip@interaccess.com
Charles Bukowski poetry.
anderson@earthlink.net (Mark Anderson)
Anti-cop cartoons in punk zines.
no_name@delphi.com (sean)
Band interviews with questions like "what are your influences," and
questions that are inside jokes that the readers never get.
Records reviews.
Zines that have photocopied newspaper clippings.
Top 10 lists.
obscure@csd.uwm.edu (James Romenesko)
A Paul Weinman "White Boy" insert, although they're not as ubiquitous
as they were four or five years ago(thank God!).
Not accepting poetry (msalt)
Ace BAckwords (also not as common as a few years ago). William
Burroughs anything
gerdw@cougar.vut.edu.au (David Gerard)
It should be noted that almost any of these cliches can be done *well*;
all you need is someone who actually does a good zine. But then, good
zines aren't the problem ...
Lists of the ten boring records the editor listened to during
production.
Articles on the Internet that are even more clueless than the ones in
the mainstream press, because they're *zines*, so they *have* to use
k3wl jargon as much as possible. Then they follow up with a list of Web
sites with spelling errors in the URLs. Also, no mention of newsgroups
at all. Let alone alt.zines Oh yeah, and they *always* list IUMA.
White-on-black printing that doesn't come out.
Failed, unfunny cartoons. Printed sideways.
The worst design-vomit and font-vomit layout in the world-- if Quark or
whatever has a given function, they *have* to use it *at least* once
each page.
Multiple exclamation marks!!!!!!!!!!!
Shitfully laid-out advertising.
"In/Out" a.k.a. "What's Cool" guides.
A cartoon of a typical member of a chosen subculture (goth, grunge,
etc), with explanatory arrows for each accessory the cartoon is
wearing. Hyuk, hyuk, hyuk, blech...
Thank You to everyone in the known universe, including their mother,
God and the budgie.
Collage art pages.
Strings of cliched subculture jokes (e.g. goth jokes, grunge jokes)
that everyone except the zine editor heard *before* last week.
Handwritten zines, in reaction to the Macintosh onslaught.
Trying to be cooler and hipper than everyone else when you bought your
first record three months ago.
Printing the story of your first sexual experience. NOBODY WHO'S HAD
ONE CARES, DUDE.
Badly-written reviews of the same records everyone on Earth has already
reviewed. (The problem is that they are badly-written.)
Shitawful zines that do negative reviews of equally shitawful zines, as
if that'll make 'em look a bit better by comparison.
"How To Do A Zine" articles. I sometimes feel that the less people that
know, the better ... look at your average zine rack in Melbourne for
confirmation.
Hardcore punk zines doing mail interviews (with standardized questions)
with bands you've never heard of before and never will again.
Any mention of K*rt C*b**n. Or C**rtn*y L*ve.
Badly-written and cliched anti-music-industry rants.
Layout with all the columns of text whackily cut up and rearranged over
the top of a photocopied picture of nothing in particular.
Anyone using the Chicago font (the worst thing Apple ever did to the
world, in my humble opinion) for anything at all not directly related
to the menu bar of their Macintosh.
Clueless losers trying to have cooler-than-thou opinions by slagging
off everything in sight, hilarious when you spot 'em fucking it up.
Reprints of panels from the comic "Hate", byPeter Bagge. -- And,
something that's abated in the last few years, tho' a major plague in
the last half of the eighties ... Coleyisms!
"yr", "y'r" and "w/".
Comparison of recordings to hemorrhoids being sliced off ... and that's
a positive review.
Advocacy of complete art-Nazism ... which is fine by me, except when
the proponents have neither a musical clue nor writing ability.
Jon Lebkowsky (jonl)
Stuff about the FRINGE!
greeneggs@delphi.com, Sam-I-Am publications
I think it's just great that folks are still out there rantin'n ravin
about the whole world being a cliche. ...you know, people who obviously
don't know the literal definition. I find that the most common
zine-cliches are "Donations are kindly accepted (hint, hint)" and those
who wrote about how they just "threw this thing together" or how they
are "impressed with the way this thing turned out" and to "let them
know what you did and didn't like about it."
babel@onramp.net (de)
Well, it woulda been really cool if we had MONEY.
We're kinda like wired/Milk and Cheese/Fuck Science Fiction, except
it's for star trek fans, and we don't talk about computers, society,
sex, whatever...." (Insertmags and topics as appropriate. The star trek
thing though, that's a constant.)
Well, we'd be huge if we could get distribution....but we're being
discriminated against cause we're a zine about lesbians who love
Ricardo Montalban." (Again, insert odd and unusual topic to fit your
particular community standards.)
Melanie Scott; melaniescott@delphi.com
I never want to see another ironic "punk" collage. This stuff was
interesting when it first came out in the mid-70s, but hey, it's been
20 years! Think of something new! I'm also tired of the "I was punk (or
whatever)before you were punk (or whatever)" letters and rants in music
zines. I think it has been done to death --and it exposes that many
zines are actually elitist, rather than the "grassroots" revolution
that some people have claimed.
PEEVES
People who publish should answer their mail, however long it takes. A
couple of bucks lost per month on missing zines won't break me, but it
is disappointing.- Dapkus
Zines without return addresses, bad handwriting, people who send a #10
letter-sized SASE, and say "send your stuff," but don't tell me what
specific publication they are looking for.-Owens
I hate having my packages (often with personal letters) being subject
to opening by customs if being sent to me from abroad. I hate the
amount I have to pay for postage. I also don't like long waits, but
there's not much to be done about that either.- Herron
Too many finished projects look "slapdash" and the message isn't clear.
I need to "get" something relatively quickly or I'll move on to
something else. There are a dozen pubs competing for my attention.
Let's spend more time feeling, thinking, sensing, and intuiting before
we spend effort creating. -Kresovich
The very occasional misuse of the medium as a tool for massive
self-promotion. -Tim - Arts Revolution Festival
My peeve about the whole network/indy/DIY scene is the insularity. I
believe the human tendency (when presented with others who share your
worldview) is to cluster, mutually congratulate, and inbreed. If you
shut yourself off from others who disagree with you over core issues,
you arrest your own growth.-Rejke
I can spend 10-12 hours on some artwork for a zine, compilation, or
other project in which a person promises doc, and I never hear from
them again. I understand that often circumstances prevent things from
happening, but what's wrong with dropping contributors a note and
informing them and/or returning their submissions?-Patrick Reynolds
I don't much like the term networking itself - sounds sorta yuppie to
me, or a meaningless management buzzword-of-the-month. Some specific
zines have disappointed me, but the fault there probably lies in my
expectations, perhaps combined with an over-enthusiastic review in
Factsheet5. Just how many negative reviews does FF run, anyway? One in
a hundred? One in five hundred? There just can't be that many good
zines out there. -J.R. McHone
Zines: The fact that 90% of them are badly-written juvenilia. Zines
that slavishly copy other zines: the me too! syndrome. Do we really
need 50 Serial Murderer Fanclub zines? -John Weller
It would be nice if people who wanted to contribute to my zine would
read it first. I also hate assumptions made about my generation under
20 and our views on music and politics. We are intelligent and a lot of
us actually do have a good handle on what's going on. Also, what's with
the word nonconformist? We can't ALL be nonconformists! I also hate
music zines that only stick to one genre: that's like just eating
chocolate ice cream and nothing else. And I wish people who write zines
that are sexist, racist, and stupid wouldn't send them to me. I also
hate the poetry and mail art that makes no sense and leaves the reader
blank trying to figure out the meaning of it all. - Yael Grauer
10. People who ignore my SASE request.
9. People from other countries with really sloppy handwriting so you
have to guess as to how their address is formatted.
8. 32 cent stamps/People who don't put a return address on anything
tie.
7. People outside the network who don't understand what I do.
6. People who don't put enough postage on packages.
5. Nazis in the net. Fuck 'em!
4. People who send envelopes full of little scraps of paper that fall
under my kitchen table and I hit my head trying to retrieve them.
3. People who call me Alice.
2. People who send me the same stuff over and over again.
1. People who throw out chain letters and get mad at me for sending
them. -Ask Alice/Ken Miller
I can't believe all the stuff I've sent away and never received a
reply. Or, when you distribute copies of a mail art chain letter but
hardly receive any mail art in return - in other words, someone broke
the chain! Also, it's a real drag having to write "I'm wondering..."
notes to all the people who fail to acknowledge. I know most have
financial and other problems, but an acknowledgment is simple and can
mean so much to someone left in the dark. -Steve Andrews
The biggest threat I've come across almost ALL the time is the fact
that people really don't want to send you stamps or money for your
work. I mean, a lot of zines out there are not doing it to make huge
amounts of money. They just need enough funds to stay alive and keep
their publication going. So if someone out there is reading this and
hasn't contributed anything to their favorite zine, I suggest you slap
out your wallet and shovel a few bucks off to them. -C. Jake Cordova
With Zines, my pet peeve is reading the same recycled angst, anarchy
and anal pronouncements in the name of free spiritedness, rebellion,
and hipness (declarations to the contrary notwithstanding). It's been
done before, and it was done better, raunchier and riskier, with worse
booze and better drugs and thicker leather and darker streets and
emptier bellies going back several generations. -Jay Windsor
My biggest problem is that it seems super-exclusive to a newcomer. It's
assumed that everyone understands a basic vocabulary. When I sent for
my first zine, I had no idea what "the usual" was! -Ren Ftoomsh
__________________________________________________________________
BIBLIOGRAPHY OF PUBLICATIONS ON HOW-TO-DO-A-ZINE
[63](return to main menu)
How to Publish a Fanzine, Mike Gunderloy.
Loompanics Unlimited, 1988. Contains material on production and
distribution, with an emphasis on Gunderloy's personal experiences with
Factsheet Five. [[64]Download here]
The World of Zines: a Guide to the Independent Magazine Revolution,
Gunderloy & Goldberg.
Penguin Books, 1992. Includes the title listed above.
The Publish-It-Yourself Handbook: Literary Tradition and How-To, Bill
Henderson.
Revised ed. Pushcart Press, 1980. Includes personal narratives about
self-publishing, historical material, and practical information.
Behind the Zines, Pagan Kennedy.
Seventeen, March 1995, pp. 142, 149. Combines account of producing a
Pagan's Head with practical info about how to create your own zine.
Publish It Yourself!!!, Zachary D. Lyons.
Boycott Quarterly, PO Box 64, Olympia, WA, 98507-0064, Summer 1994, pp.
4-5, 9. Draws primarily from Factsheet Five editor Seth Friedman.
Obscure Publications
PO Box 1334, Milwaukee, WI, 53201. Issue #29 includes a report on
editor Jim Romenesko's journalism class in which each student produced
a zine as the final project.
The Self-Publishing Manual: How to Write, Print, and Sell Your Own
Book), Dan Poynter.
Para Publishing, PO Box 4242-Q, Santa Barbara, CA, 93140
Listen To Me!! An Article About Zines: Who Makes Them and Why, Dan
Rasch.
University Graffito, University of Minnesota, December 1993, unpaged.
This glossy magazine article is not only about zines, it both reads and
looks like an excerpt from one.
The World of Fanzines: A Special Form of Communication, Frederick
Wertham.
Southern Illinois University Press, 1973. Includes chapter on the
production of fanzines. Zine Publishers' Resource Guide. Revised ed.
Factsheet Five, PO Box 170099, San Francisco, CA, 94117, 1994, $4.
This bibliography was kindly donated by Chris Dodge, 4645 Columbus Ave.
S., Minneapolis, MN, 55407, USA, email cdodge@hennepin.lib.mn.us
__________________________________________________________________
NETWORKER GLOSSARY
[65](return to main menu)
Abbreviations and codes:
A4 = Approximately 21 x 30 cm. Standard foreign photocopies are
approximately 12" x 7.5".
IRC's = International Reply Coupons. Foreign stamps aren't accepted in
US Post Offices. The coupons are exchanged for stamps by the Post
Office.
Max or Min = Maximum or minimum size.
2-D, 3-D = Two or three dimensional. In other words, paper or
sculpture.
Dies = Unmounted rubber stamps.
Free size or media = You are free to submit any size or media of
artwork.
SASE or SASP = Self-addressed, stamped envelope or postcard.
Doc = Documentation of project. This is generally a list of all
participants (WITH ADDRESSES!), but sometimes it is a catalog, zine,
photos, etc.
ANON = The project documentation does not have names.
SF/F = Science Fiction/Fantasy
DIY = Do-It-Yourself movement
sXe = Straight-Edge
LOC = Letter of Comment
Email, Internet, BBS, Websites = All of these terms refer to the
exchange of electronic data using phone lines.
Mail art - Items for exhibition, exchange, and publication. This often
includes items that are art related and don't exactly fit in any other
category.
Actions - Various political activities to engage in as an individual or
a group.
Ad swaps - An exchange of ads announcing your project or publication.
You promote someone else's project, and in exchange they do the same
for you.
Anarchists - Anarchists believe in the abolition of government, and the
creation of the individual's moral and will.
Archives - A place where mail art and related materials are organized
and stored, similar to a museum or library.
BBS - An electronic computer site where members can address each other
publicly and privately, as well as upload and download files stored in
the computer storage.
Co-op - Any projects done specifically with other people, sharing
labor, costs, and ideas.
Compilations/Portfolios - A collection of works by different artists.
You send a number of copies, and the organizer compiles it and returns.
Occasionally called assembling projects.
Email - Seeks correspondence through electronic mail.
LOC - Letter of Comment, or letter to the editor.
Manifestoes - A statement of purpose for an individual or group.
Postcards - A card with no envelope.
Newcomers - People new to the net and hoping to learn more about zine
or mail art networks.
Networks - An organization of individuals or groups who have a common
connection.
Penpals - Those who prefer to write letters rather than participate in
projects.
Poetry - Text in the form of poetry. Also includes visual poetry, which
contains text in image form, and text in images.
Postage Stamps - This refers to projects involving actual postage
stamps, or handmade artiststamps. Artiststamps can be in multiples(a
whole sheet) or loose, and can be made out of a variety of materials
including gummed paper with perforations (just like stamps), to sticker
paper, and even rubber stamp impressions. Usually when non-traditional
stamps are made, there is a design around the edge that visually
implies a perforation.
Queer - Material related to homosexuality.
Reviewers - Send your zine or product to the listings in this category
to get reviewed.
SF/Fantasy - Science Fiction (Star Trek, UFO s, etc.) or fantasy
(goblins, fairies, unicorns, the supernatural, etc.)
Rubber Stamps - Most likely any impression made by putting an object on
an ink pad and then transferring the objects ink to paper. This would
include actual rubber and carved erasers, but loosely interpreted also
might include odd patterns from various objects, or even fingerprints.
Tape/Sound/Comps - Audio tape projects in a variety of formats, usually
musical groups.
Text/Writings - Literature, prose, fiction, articles, statements,
research, etc.
Websites - Locations on the World Wide Web where you can view ezines.
The Web requires access to the internet, and a viewer.
Zines - In its broadest usage, any non-commercial publication.
Zinesters - Those who make or consume zines.
__________________________________________________________________
Some Distributors:
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121 BOOKSHOP, We are devoted to distributing a diverse range of radical
material, attracting strange signals, and promoting subversive ideas.
Send 6 copies of each product and an invoice. We will return what we do
not sell, 121 Centre Bookshop, 121 Railton Rd., Brixton, London,
England, SE24, UK
BYPASS, For Britian, John Weller/Liz Roudiani, ByPass, 51St. Luke's
Road, Bournemouth, Dorset, BH3 7LR, UK
CHIMP WEST, We carry punk/experimental music, zines, and adult goodies
for discriminating perverts. We're always interested in carrying new
stuff. Stores get in touch! We're cheap. Send stamp for list, Chimp
West, PO Box 991424, Redding, CA, 96099-1424, USA
DIARY OF A BASTARD, Send zines, music, clothing, stickers, or whatever
for possible inclusion in a distro zine. Also looking for people to
distribute the zine, Bastard, 8108 W. Campbell, Phoenix, AZ, 85033, USA
DISTRIBUTION NETWORK, Send me information about your art mail and I
will distribute it to my international art mail contacts, Mrs. Anines
Macadam, Av. Cordoba 435-P.5-D.A, 1054 Capital Federal, Buenos Aires,
Argentina
HAPPY HARRY DISTRO, We are interested in distributing controversial and
underground literature and art works, Jason, Happy Harry, PO Box 31827,
Athens 10035, Greece
HUMBLE, If you want us to carry your zine, send us 10 copies along with
your terms. After they're sold, we'll send you a check for the amount
we collect, Humble, PO Box 25656, Los Angeles, CA, 90025, USA
INGREAT UNLIMITED, Small independent tape label devoted to exploring
extreme forms of human social behavior would like to trade tapes
dealing with mass murder, serial killers, and the occult, Ingreat
Unlimited, PO Box 293, Pittsburgh, PA, 15230, USA
JAEMPE PRODUKTIONS, Send sample and wholesale price for distribution.
Everything sent receives consideration, D. Michael McNamara, Jaempe
Produktions, 49 Calais Road, Randolph, NJ, 07869, USA
MANIA PRODUCTIONS DISTRIBUTION, Send samples for possible distro, Mania
Productions, Leikosaarentie, 4 E 69, 00980 Helsinki, Finland
MEAN KIDS DISTRO, We're looking for new cheap, interesting, DIY zines
to carry. Send in any and all samples as well as wholesale rates and
info. Send a SASE for our most recent catalog, Mean Kids Distro, PO Box
18119, Washington, DC 20036-8119, USA
MISERY FOUNDATION, Looking for techno, industrial, gothic, or
experimental products, NEC, 539 Queen Anne Ave., N. Box 131, Seattle,
WA, 98109, USA
NOXIT MAILORDER, We are a 100% non-profit zine distro. Send your zine
with inquiry, NoXit Mailorder, PO Box 7371, Lake Charles, LA, 70606,
USA
PRIMORDIAL SOUP KITCHEN, Looking for zines to sell. Send a letter of
inquiry and a copy of your zine. Consignment basis only, Primordial
Soup Kitchen, 750 West San Jose, #D4, Claremont, CA, 91711, USA
REPRESSION RECORDS, A new label looking for bands to sign, Repression
Records, 22 Dorchester Ave., Geneva, NY 14456-2315, USA
SECRET GOLDFISH, Takes zines, independent publications, art, cassettes,
and other endeavors on consignment, Jill c/o, The Secret Goldfish, Hall
Mall, 114 1/2 E. College, Iowa City, IA, 52240, USA
SEVERED IMAGE, We are seeking zines for consideration. Send sample with
price per copy, Severed Image Pubs., 8160 Bendell, Houston, TX, 77017,
USA
TONE DEAF DISTRIBUTION, Looking for zines and newspapers to distribute
at shows and through the mail, Tone Deaf Distro, Jen Angel, PO Box
43604, Cleveland, OH, 44143, USA
TYPO DISTRIBUTION, Looking for smaller zines who need exposure. Please
send sample copy and rates. Consignment only, Rachel Johnson, Calico
Zine, 44 Manomet St., Brockton, MA, 02401, USA
VIEW BEYOND, Tape and record distributor. No other details, View
Beyond, Pavel Tusi, PO Box 35, 349 01 Stribro, Czechoslovakia
WALDO-BLACKBERRY DISTRO, We're smaller than small, non-profit and DIY,
Waldo Blackberry, 21 Orchard Road, Lutterworth, Leics, LE17 A4DA, UK
__________________________________________________________________
Some Reviewers:
[67](return to main menu)
Looking for music, zines, videos, books and misc items for review.
Reviews appear in Jam Rag, Junior, Vox, Metallum, and Factsheet5, Tom
Tearaway Schulte, 1987 E. Troy, Ferndale, MI, 48220, USA
BETWEEN THE LINES, Looking for political publications for on-air
reviews, Earwaves Radio Network, 1270 Calle de Comercio #3, Santa Fe,
NM, 87505, USA
BONE, Send music and political zines, Bone, Keith Gordon, PO Box
158324, Nashville, TN, 37215, USA
DRAGON'S BREATH, Send zines and other publications for review, Tony
Lee/S.A. Publishing, Dragon's Breath, 13 Hazely Combe, Arreton, Isle of
Wight, England, PO30 3AJ, UK
F. Z. NEWS!, 1996-01-01, New review fanzine in the works. Send in your
zines. Send two of your most recent issues. Send SASE if you need more
info, Stephanie Soden, The Metal Zone, 9 Cedar Ave., 1st Floor,
Westville, NJ, 08093, USA
FACE, Interested in small press comics. Possible inclusion in a small
display, Maurice Harter, Ideas And Resources Unlimited,189 Park Ave.,
Portland, ME, 04102, USA
FACTSHEET FIVE ELECTRIC, Send zines, zine news and
reviews,jerod23@well.sf.ca.us
FINNISH REVIEW-ZINE, Want to get your stuff reviewed in a Finnish
review zine? Have no fear, I'm here to help you! All stuff is reviewed
by people who know your turf best! Peace!, Talvipaivanseisaus, Timo
Palonen, Hepokuja 6 B 26, Sf-01200 Vantaa, Finland
LOWER ROSENDALE REVIEW, Kennedy, Box 40, 90 Shuter Street, Toronto,
Ontario, M5B 2K6, Canada
REQUEST, Looking for new entertainment fanzines to review, Jim Testa,
418 Gregory Avenue, Weehawken, NJ, 07087, USA
SLUG & LETTUCE, Send punk records and tapes for review, Slug And
Lettuce, Christine, PO Box 2067/Peter Stuy. Stn., NewYork, NY, 10009,
USA
THE DARK SIDE, Looking for non-British genre movie zines, Steve Green,
33 Scott Road, Olton, Solihull, B92 71Q, UK
ZAMIZDAT TRADE JOURNAL, Seeking items for review, Zamizdat Trade
Journal, 550 College Avenue, Boulder, CO, 80302, USA
Anti-copyright 1995. This publication may be copied freely in it's
entirety. If excerpts are used, you must credit Global Mail and/or
Ashley Parker Owens, and give the mailing address. You should also send
a copy of any publication in which the excerpt appears.
The text is also available in an IBM text file or over the internet for
easy use in your document.
References
1. http://www.iuoma.org/index.html
2. http://www.zinebook.com/resource/zinetips.html#technical
3. http://www.zinebook.com/resource/zinetips.html#miscstatemets
4. http://www.zinebook.com/resource/zinetips.html#guido
5. http://www.zinebook.com/resource/zinetips.html#sneer
6. http://www.zinebook.com/resource/zinetips.html#zinecliches
7. http://www.zinebook.com/resource/zinetips.html#bibliography
8. http://www.zinebook.com/resource/zinetips.html#networkerglossary
9. http://www.zinebook.com/resource/zinetips.html#distributors
10. http://www.zinebook.com/resource/zinetips.html#reviewers
11. http://www.zinebook.com/resource/zinetips.html#sections
12. http://www.zinebook.com/resource/zinetips.html#whatsazine
13. http://www.zinebook.com/resource/zinetips.html#purpose
14. http://www.zinebook.com/resource/zinetips.html#whatshouldIinclude
15. http://www.zinebook.com/resource/zinetips.html#whattobuy
16. http://www.zinebook.com/resource/zinetips.html#layoutconsiderations
17. http://www.zinebook.com/resource/zinetips.html#design
18. http://www.zinebook.com/resource/zinetips.html#textconsiderations
19. http://www.zinebook.com/resource/zinetips.html#imageconsiderations
20. http://www.zinebook.com/resource/zinetips.html#dtp
21. http://www.zinebook.com/resource/zinetips.html#money
22. http://www.zinebook.com/resource/zinetips.html#distro
23. http://www.zinebook.com/resource/zinetips.html#printing
24. http://www.zinebook.com/resource/zinetips.html#postage
25. http://www.zinebook.com/resource/zinetips.html#cost
26. http://www.zinebook.com/resource/zinetips.html#skills
27. http://www.zinebook.com/resource/zinetips.html#staff
28. http://www.zinebook.com/resource/zinetips.html#etiquette
29. http://www.zinebook.com/resource/zinetips.html#illegalities
30. http://www.zinebook.com/resource/zinetips.html#warnings
31. http://www.zinebook.com/resource/zinetips.html#ezines
32. http://www.zinebook.com/resource/zinetips.html#electronicdistro
33. http://www.zinebook.com/resource/zinetips.html#computerzines
34. http://www.zinebook.com/resource/zinetips.html#glossary
35. http://www.zinebook.com/resource/zinetips.html#technical
36. http://www.zinebook.com/resource/zinetips.html#technical
37. http://www.zinebook.com/resource/zinetips.html#technical
38. http://www.zinebook.com/resource/zinetips.html#technical
39. http://www.zinebook.com/resource/zinetips.html#technical
40. http://www.zinebook.com/resource/zinetips.html#technical
41. http://www.zinebook.com/resource/zinetips.html#technical
42. http://www.zinebook.com/resource/zinetips.html#technical
43. http://www.zinebook.com/resource/zinetips.html#technical
44. http://www.zinebook.com/resource/zinetips.html#technical
45. http://www.zinebook.com/resource/zinetips.html#technical
46. http://www.zinebook.com/resource/zinetips.html#technical
47. http://www.zinebook.com/resource/zinetips.html#technical
48. http://www.zinebook.com/resource/zinetips.html#technical
49. http://www.zinebook.com/resource/zinetips.html#technical
50. http://www.zinebook.com/resource/zinetips.html#technical
51. http://www.zinebook.com/resource/zinetips.html#technical
52. http://www.zinebook.com/resource/zinetips.html#technical
53. http://www.zinebook.com/resource/zinetips.html#technical
54. http://www.zinebook.com/resource/zinetips.html#technical
55. http://www.zinebook.com/resource/zinetips.html#technical
56. http://www.zinebook.com/resource/zinetips.html#technical
57. http://www.zinebook.com/resource/zinetips.html#technical
58. http://www.zinebook.com/resource/zinetips.html#technical
59. http://www.zinebook.com/resource/zinetips.html#sections
60. http://www.zinebook.com/resource/zinetips.html#sections
61. http://www.zinebook.com/resource/zinetips.html#sections
62. http://www.zinebook.com/resource/zinetips.html#sections
63. http://www.zinebook.com/resource/zinetips.html#sections
64. http://www.zinebook.com/resource/gunder.html
65. http://www.zinebook.com/resource/zinetips.html#sections
66. http://www.zinebook.com/resource/zinetips.html#sections
67. http://www.zinebook.com/resource/zinetips.html#sections
Response:
text/plain