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authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
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+--- README ---
+
+sffms: A LaTeX class for typesetting fiction manuscripts
+
+This directory contains files for version 2.0 of sffms, a LaTeX class
+for typesetting science fiction and fantasy manuscripts. Sffms now
+includes several options for specific publishers as well as extensive
+documentation aimed at new LaTeX users. The code has been cleaned up
+for version 2.0 and the geometry package made optional.
+
+See the web page (http://mcd.freeshell.org) for more information and
+sample output.
+
+
+--- sffms files ---
+
+README.txt - this file
+
+sffms.ins - the docstrip file
+ Latex this file to extract the sffms class files.
+
+sffms.dtx - the documented source file
+ Latex this file to create the sffms documentation.
+
+sffms_manual.pdf - the sffms documentation
+ The manual is included in case you want to read
+ about sffms without downloading and latexing it.
+
+blind.tex - In the Country of the Blind by H.G. Wells
+ Typeset using sffms with the submission option.
+ Output provided in dvi, postscript and pdf formats
+ at the website (http://mcd.freeshell.org/sffms/).
+
+
+--- supporting packages ---
+
+Download the following supporting files from CTAN:
+
+fancyhdr.sty
+setspace.sty
+ulem.sty
+geometry.dtx (optional)
+geometry.ins (optional)
+
+--- EOF ---
+
diff --git a/macros/latex/contrib/sffms/blind.tex b/macros/latex/contrib/sffms/blind.tex
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+\documentclass[submission]{sffms}
+\author{H. G. Wells}
+\surname{Wells}
+\title{The Country of the Blind}
+\runningtitle{Blind}
+\wordcount{9600}
+% copyright lapsed in the United States of America
+\disposable
+\begin{document}
+
+
+
+Three hundred miles and more from Chimborazo, one hundred from the
+snows of Cotopaxi, in the wildest wastes of Ecuador's Andes, there
+lies that mysterious mountain valley, cut off from all the world of
+men, the Country of the Blind. Long years ago that valley lay so far
+open to the world that men might come at last through frightful gorges
+and over an icy pass into its equable meadows, and thither indeed men
+came, a family or so of Peruvian half-breeds fleeing from the lust and
+tyranny of an evil Spanish ruler. Then came the stupendous outbreak of
+Mindobamba, when it was night in Quito for seventeen days, and the
+water was boiling at Yaguachi and all the fish floating dying even as
+far as Guayaquil; everywhere along the Pacific slopes there were
+land-slips and swift thawings and sudden floods, and one whole side of
+the old Arauca crest slipped and came down in thunder, and cut off the
+Country of the Blind for ever from the exploring feet of men. But one
+of these early settlers had chanced to be on the hither side of the
+gorges when the world had so terribly shaken itself, and he perforce
+had to forget his wife and his child and all the friends and
+possessions he had left up there, and start life over again in the
+lower world. He started it again but ill, blindness overtook him, and
+he died of punishment in the mines; but the story he told begot a
+legend that lingers along the length of the Cordilleras of the Andes
+to this day.
+
+He told of his reason for venturing back from that fastness, into
+which he had first been carried lashed to a llama, beside a vast bale
+of gear, when he was a child. The valley, he said, had in it all that
+the heart of man could desire---sweet water, pasture, an even climate,
+slopes of rich brown soil with tangles of a shrub that bore an
+excellent fruit, and on one side great hanging forests of pine that
+held the avalanches high. Far overhead, on three sides, vast cliffs of
+grey-green rock were capped by cliffs of ice; but the glacier stream
+came not to them, but flowed away by the farther slopes, and only now
+and then huge ice masses fell on the valley side. In this valley it
+neither rained nor snowed, but the abundant springs gave a rich green
+pasture, that irrigation would spread over all the valley space. The
+settlers did well indeed there. Their beasts did well and multiplied,
+and but one thing marred their happiness. Yet it was enough to mar it
+greatly. A strange disease had come upon them and had made all the
+children born to them there---and, indeed, several older children
+also---blind. It was to seek some charm or antidote against this plague
+of blindness that he had with fatigue and danger and difficulty
+returned down the gorge. In those days, in such cases, men did not
+think of germs and infections, but of sins, and it seemed to him that
+the reason of this affliction must he in the negligence of these
+priestless immigrants to set up a shrine so soon as they entered the
+valley. He wanted a shrine---a handsome, cheap, effectual shrine---to be
+erected in the valley; he wanted relics and such-like potent things of
+faith, blessed objects and mysterious medals and prayers. In his
+wallet he had a bar of native silver for which he would not account;
+he insisted there was none in the valley with something of the
+insistence of an inexpert liar. They had all clubbed their money and
+ornaments together, having little need for such treasure up there, he
+said, to buy them holy help against their ill. I figure this dim-eyed
+young mountaineer, sunburnt, gaunt, and anxious, hat brim clutched
+feverishly, a man all unused to the ways of the lower world, telling
+this story to some keen-eyed, attentive priest before the great
+convulsion; I can picture him presently seeking to return with pious
+and infallible remedies against that trouble, and the infinite dismay
+with which he must have faced the tumbled vastness where the gorge had
+once come out. But the rest of his story of mischances is lost to me,
+save that I know of his evil death after several years. Poor stray
+from that remoteness! The stream that had once made the gorge now
+bursts from the mouth of a rocky cave, and the legend his poor,
+ill-told story set going developed into the legend of a race of blind
+men somewhere "over there" one may still hear to-day.
+
+And amidst the little population of that now isolated and forgotten
+valley the disease ran its course. The old became groping, the young
+saw but dimly, and the children that were born to them never saw at
+all. But life was very easy in that snow-rimmed basin, lost to all the
+world, with neither thorns nor briers, with no evil insects nor any
+beasts save the gentle breed of llamas they had lugged and thrust and
+followed up the beds of the shrunken rivers in the gorges up which
+they had come. The seeing had become purblind so gradually that they
+scarcely noticed their loss. They guided the sightless youngsters
+hither and thither until they knew the whole valley marvellously, and
+when at last sight died out among them the race lived on. They had
+even time to adapt themselves to the blind control of fire, which they
+made carefully in stoves of stone. They were a simple strain of people
+at the first, unlettered, only slightly touched with the Spanish
+civilisation, but with something of a tradition of the arts of old
+Peru and of its lost philosophy. Generation followed generation. They
+forgot many things; they devised many things. Their tradition of the
+greater world they came from became mythical in colour and
+uncertain. In all things save sight they were strong and able, and
+presently chance sent one who had an original mind and who could talk
+and persuade among them, and then afterwards another. These two
+passed, leaving their effects, and the little community grew in
+numbers and in understanding, and met and settled social and economic
+problems that arose. Generation followed generation. Generation
+followed generation. There came a time when a child was born who was
+fifteen generations from that ancestor who went out of the valley with
+a bar of silver to seek God's aid, and who never returned. Thereabout
+it chanced that a man came into this community from the outer
+world. And this is the story of that man.
+
+He was a mountaineer from the country near Quito, a man who had been
+down to the sea and had seen the world, a reader of books in an
+original way, an acute and enterprising man, and he was taken on by a
+party of Englishmen who had come out to Ecuador to climb mountains, to
+replace one of their three Swiss guides who had fallen ill. He climbed
+here and he climbed there, and then came the attempt on Parascotopetl,
+the Matterhorn of the Andes, in which he was lost to the outer
+world. The story of that accident has been written a dozen
+times. Pointer's narrative is the best. He tells how the little party
+worked their difficult and almost vertical way up to the very foot of
+the last and greatest precipice, and how they built a night shelter
+amidst the snow upon a little shelf of rock, and, with a touch of real
+dramatic power, how presently they found Nunez had gone from
+them. They shouted, and there was no reply; shouted and whistled, and
+for the rest of that night they slept no more.
+
+As the morning broke they saw the traces of his fall. It seems
+impossible he could have uttered a sound. He had slipped eastward
+towards the unknown side of the mountain; far below he had struck a
+steep slope of snow, and ploughed his way down it in the midst of a
+snow avalanche. His track went straight to the edge of a frightful
+precipice, and beyond that everything was hidden. Far, far below, and
+hazy with distance, they could see trees rising out of a narrow,
+shut-in valley---the lost Country of the Blind. But they did not know
+it was the lost Country of the Blind, nor distinguish it in any way
+from any other narrow streak of upland valley. Unnerved by this
+disaster, they abandoned their attempt in the afternoon, and Pointer
+was called away to the war before he could make another attack. To
+this day Parascotopetl lifts an unconquered crest, and Pointer's
+shelter crumbles unvisited amidst the snows.
+
+And the man who fell survived.
+
+At the end of the slope he fell a thousand feet, and came down in the
+midst of a cloud of snow upon a snow-slope even steeper than the one
+above. Down this he was whirled, stunned and insensible, but without a
+bone broken in his body; and then at last came to gentler slopes, and
+at last rolled out and lay still, buried amidst a softening heap of
+the white masses that had accompanied and saved him. He came to
+himself with a dim fancy that he was ill in bed; then realized his
+position with a mountaineer's intelligence and worked himself loose
+and, after a rest or so, out until he saw the stars. He rested flat
+upon his chest for a space, wondering where he was and what had
+happened to him. He explored his limbs, and discovered that several of
+his buttons were gone and his coat turned over his head. His knife had
+gone from his pocket and his hat was lost, though he had tied it under
+his chin. He recalled that he had been looking for loose stones to
+raise his piece of the shelter wall. His ice-axe had disappeared.
+
+He decided he must have fallen, and looked up to see, exaggerated by
+the ghastly light of the rising moon, the tremendous flight he had
+taken. For a while he lay, gazing blankly at the vast, pale cliff
+towering above, rising moment by moment out of a subsiding tide of
+darkness. Its phantasmal, mysterious beauty held him for a space, and
+then he was seized with a paroxysm of sobbing laughter . . . .
+
+After a great interval of time he became aware that he was near the
+lower edge of the snow. Below, down what was now a moon-lit and
+practicable slope, he saw the dark and broken appearance of
+rock-strewn turf He struggled to his feet, aching in every joint and
+limb, got down painfully from the heaped loose snow about him, went
+downward until he was on the turf, and there dropped rather than lay
+beside a boulder, drank deep from the flask in his inner pocket, and
+instantly fell asleep . . . .
+
+He was awakened by the singing of birds in the trees far below.
+
+He sat up and perceived he was on a little alp at the foot of a vast
+precipice that sloped only a little in the gully down which he and his
+snow had come. Over against him another wall of rock reared itself
+against the sky. The gorge between these precipices ran east and west
+and was full of the morning sunlight, which lit to the westward the
+mass of fallen mountain that closed the descending gorge. Below him it
+seemed there was a precipice equally steep, but behind the snow in the
+gully he found a sort of chimney-cleft dripping with snow-water, down
+which a desperate man might venture. He found it easier than it
+seemed, and came at last to another desolate alp, and then after a
+rock climb of no particular difficulty, to a steep slope of trees. He
+took his bearings and turned his face up the gorge, for he saw it
+opened out above upon green meadows, among which he now glimpsed quite
+distinctly a cluster of stone huts of unfamiliar fashion. At times his
+progress was like clambering along the face of a wall, and after a
+time the rising sun ceased to strike along the gorge, the voices of
+the singing birds died away, and the air grew cold and dark about him.
+But the distant valley with its houses was all the brighter for
+that. He came presently to talus, and among the rocks he noted---for he
+was an observant man---an unfamiliar fern that seemed to clutch out of
+the crevices with intense green hands. He picked a frond or so and
+gnawed its stalk, and found it helpful.
+
+About midday he came at last out of the throat of the gorge into the
+plain and the sunlight. He was stiff and weary; he sat down in the
+shadow of a rock, filled up his flask with water from a spring and
+drank it down, and remained for a time, resting before he went on to
+the houses.
+
+They were very strange to his eyes, and indeed the whole aspect of
+that valley became, as he regarded it, queerer and more
+unfamiliar. The greater part of its surface was lush green meadow,
+starred with many beautiful flowers, irrigated with extraordinary
+care, and bearing evidence of systematic cropping piece by piece. High
+up and ringing the valley about was a wall, and what appeared to be a
+circumferential water channel, from which the little trickles of water
+that fed the meadow plants came, and on the higher slopes above this
+flocks of llamas cropped the scanty herbage. Sheds, apparently
+shelters or feeding-places for the llamas, stood against the boundary
+wall here and there. The irrigation streams ran together into a main
+channel down the centre of the valley, and this was enclosed on either
+side by a wall breast high. This gave a singularly urban quality to
+this secluded place, a quality that was greatly enhanced by the fact
+that a number of paths paved with black and white stones, and each
+with a curious little kerb at the side, ran hither and thither in an
+orderly manner. The houses of the central village were quite unlike
+the casual and higgledy-piggledy agglomeration of the mountain
+villages he knew; they stood in a continuous row on either side of a
+central street of astonishing cleanness, here and there their
+parti-coloured facade was pierced by a door, and not a solitary window
+broke their even frontage. They were parti-coloured with extraordinary
+irregularity, smeared with a sort of plaster that was sometimes grey,
+sometimes drab, sometimes slate-coloured or dark brown; and it was the
+sight of this wild plastering first brought the word "blind" into the
+thoughts of the explorer. "The good man who did that," he thought,
+"must have been as blind as a bat."
+
+He descended a steep place, and so came to the wall and channel that
+ran about the valley, near where the latter spouted out its surplus
+contents into the deeps of the gorge in a thin and wavering thread of
+cascade. He could now see a number of men and women resting on piled
+heaps of grass, as if taking a siesta, in the remoter part of the
+meadow, and nearer the village a number of recumbent children, and
+then nearer at hand three men carrying pails on yokes along a little
+path that ran from the encircling wall towards the houses. These
+latter were clad in garments of llama cloth and boots and belts of
+leather, and they wore caps of cloth with back and ear flaps. They
+followed one another in single file, walking slowly and yawning as
+they walked, like men who have been up all night. There was something
+so reassuringly prosperous and respectable in their bearing that after
+a moment's hesitation Nunez stood forward as conspicuously as possible
+upon his rock, and gave vent to a mighty shout that echoed round the
+valley.
+
+The three men stopped, and moved their heads as though they were
+looking about them. They turned their faces this way and that, and
+Nunez gesticulated with freedom. But they did not appear to see him
+for all his gestures, and after a time, directing themselves towards
+the mountains far away to the right, they shouted as if in
+answer. Nunez bawled again, and then once more, and as he gestured
+ineffectually the word "blind" came up to the top of his
+thoughts. "The fools must be blind," he said.
+
+When at last, after much shouting and wrath, Nunez crossed the stream
+by a little bridge, came through a gate in the wall, and approached
+them, he was sure that they were blind. He was sure that this was the
+Country of the Blind of which the legends told. Conviction had sprung
+upon him, and a sense of great and rather enviable adventure. The
+three stood side by side, not looking at him, but with their ears
+directed towards him, judging him by his unfamiliar steps. They stood
+close together like men a little afraid, and he could see their
+eyelids closed and sunken, as though the very balls beneath had shrunk
+away. There was an expression near awe on their faces.
+
+"A man," one said, in hardly recognisable Spanish. "A man it is---a man
+or a spirit---coming down from the rocks."
+
+But Nunez advanced with the confident steps of a youth who enters upon
+life. All the old stories of the lost valley and the Country of the
+Blind had come back to his mind, and through his thoughts ran this old
+proverb, as if it were a refrain:---
+
+"In the Country of the Blind the One-Eyed Man is King."
+
+"In the Country of the Blind the One-Eyed Man is King."
+
+And very civilly he gave them greeting. He talked to them and used his
+eyes.
+
+"Where does he come from, brother Pedro?" asked one.
+
+"Down out of the rocks."
+
+"Over the mountains I come," said Nunez, "out of the country beyond
+there---where men can see. From near Bogota---where there are a hundred
+thousands of people, and where the city passes out of sight."
+
+"Sight?" muttered Pedro. "Sight?"
+
+"He comes," said the second blind man, "out of the rocks."
+
+The cloth of their coats, Nunez saw was curious fashioned, each with a
+different sort of stitching.
+
+They startled him by a simultaneous movement towards him, each with a
+hand outstretched. He stepped back from the advance of these spread
+fingers.
+
+"Come hither," said the third blind man, following his motion and
+clutching him neatly.
+
+And they held Nunez and felt him over, saying no word further until
+they had done so.
+
+"Carefully," he cried, with a finger in his eye, and found they
+thought that organ, with its fluttering lids, a queer thing in
+him. They went over it again.
+
+"A strange creature, Correa," said the one called Pedro. "Feel the
+coarseness of his hair. Like a llama's hair."
+
+"Rough he is as the rocks that begot him," said Correa, investigating
+Nunez's unshaven chin with a soft and slightly moist hand. "Perhaps he
+will grow finer."
+
+Nunez struggled a little under their examination, but they gripped him
+firm.
+
+"Carefully," he said again.
+
+"He speaks," said the third man. "Certainly he is a man."
+
+"Ugh!" said Pedro, at the roughness of his coat.
+
+"And you have come into the world?" asked Pedro.
+
+"OUT of the world. Over mountains and glaciers; right over above
+there, half-way to the sun. Out of the great, big world that goes
+down, twelve days' journey to the sea."
+
+They scarcely seemed to heed him. "Our fathers have told us men may be
+made by the forces of Nature," said Correa. "It is the warmth of
+things, and moisture, and rottenness---rottenness."
+
+"Let us lead him to the elders," said Pedro.
+
+"Shout first," said Correa, "lest the children be afraid. This is a
+marvellous occasion."
+
+So they shouted, and Pedro went first and took Nunez by the hand to
+lead him to the houses.
+
+He drew his hand away. "I can see," he said.
+
+"See?" said Correa.
+
+"Yes; see," said Nunez, turning towards him, and stumbled against
+Pedro's pail.
+
+"His senses are still imperfect," said the third blind man. "He
+stumbles, and talks unmeaning words. Lead him by the hand."
+
+"As you will," said Nunez, and was led along laughing.
+
+It seemed they knew nothing of sight.
+
+Well, all in good time he would teach them.
+
+He heard people shouting, and saw a number of figures gathering
+together in the middle roadway of the village.
+
+He found it tax his nerve and patience more than he had anticipated,
+that first encounter with the population of the Country of the
+Blind. The place seemed larger as he drew near to it, and the smeared
+plasterings queerer, and a crowd of children and men and women (the
+women and girls he was pleased to note had, some of them, quite sweet
+faces, for all that their eyes were shut and sunken) came about him,
+holding on to him, touching him with soft, sensitive hands, smelling
+at him, and listening at every word he spoke. Some of the maidens and
+children, however, kept aloof as if afraid, and indeed his voice
+seemed coarse and rude beside their softer notes. They mobbed him. His
+three guides kept close to him with an effect of proprietorship, and
+said again and again, "A wild man out of the rocks."
+
+"Bogota," he said. "Bogota. Over the mountain crests."
+
+"A wild man---using wild words," said Pedro. "Did you hear
+that---"BOGOTA? His mind has hardly formed yet. He has only the
+beginnings of speech."
+
+A little boy nipped his hand. "Bogota!" he said mockingly.
+
+"Aye! A city to your village. I come from the great world---where men
+have eyes and see."
+
+"His name's Bogota," they said.
+
+"He stumbled," said Correa---" stumbled twice as we came hither."
+
+"Bring him in to the elders."
+
+And they thrust him suddenly through a doorway into a room as black as
+pitch, save at the end there faintly glowed a fire. The crowd closed
+in behind him and shut out all but the faintest glimmer of day, and
+before he could arrest himself he had fallen headlong over the feet of
+a seated man. His arm, outflung, struck the face of someone else as he
+went down; he felt the soft impact of features and heard a cry of
+anger, and for a moment he struggled against a number of hands that
+clutched him. It was a one-sided fight. An inkling of the situation
+came to him and he lay quiet.
+
+"I fell down," be said; I couldn't see in this pitchy darkness."
+
+There was a pause as if the unseen persons about him tried to
+understand his words. Then the voice of Correa said: "He is but newly
+formed. He stumbles as he walks and mingles words that mean nothing
+with his speech."
+
+Others also said things about him that he heard or understood
+imperfectly.
+
+"May I sit up?" he asked, in a pause. "I will not struggle against you
+again."
+
+They consulted and let him rise.
+
+The voice of an older man began to question him, and Nunez found
+himself trying to explain the great world out of which he had fallen,
+and the sky and mountains and such-like marvels, to these elders who
+sat in darkness in the Country of the Blind. And they would believe
+and understand nothing whatever that he told them, a thing quite
+outside his expectation. They would not even understand many of his
+words. For fourteen generations these people had been blind and cut
+off from all the seeing world; the names for all the things of sight
+had faded and changed; the story of the outer world was faded and
+changed to a child's story; and they had ceased to concern themselves
+with anything beyond the rocky slopes above their circling wall. Blind
+men of genius had arisen among them and questioned the shreds of
+belief and tradition they had brought with them from their seeing
+days, and had dismissed all these things as idle fancies and replaced
+them with new and saner explanations. Much of their imagination had
+shrivelled with their eyes, and they had made for themselves new
+imaginations with their ever more sensitive ears and
+finger-tips. Slowly Nunez realised this: that his expectation of
+wonder and reverence at his origin and his gifts was not to be borne
+out; and after his poor attempt to explain sight to them had been set
+aside as the confused version of a new-made being describing the
+marvels of his incoherent sensations, he subsided, a little dashed,
+into listening to their instruction. And the eldest of the blind men
+explained to him life and philosophy and religion, how that the world
+(meaning their valley) had been first an empty hollow in the rocks,
+and then had come first inanimate things without the gift of touch,
+and llamas and a few other creatures that had little sense, and then
+men, and at last angels, whom one could hear singing and making
+fluttering sounds, but whom no one could touch at all, which puzzled
+Nunez greatly until he thought of the birds.
+
+He went on to tell Nunez how this time had been divided into the warm
+and the cold, which are the blind equivalents of day and night, and
+how it was good to sleep in the warm and work during the cold, so that
+now, but for his advent, the whole town of the blind would have been
+asleep. He said Nunez must have been specially created to learn and
+serve the wisdom they had acquired, and that for all his mental
+incoherency and stumbling behaviour he must have courage and do his
+best to learn, and at that all the people in the door-way murmured
+encouragingly. He said the night---for the blind call their day
+night---was now far gone, and it behooved everyone to go back to
+sleep. He asked Nunez if he knew how to sleep, and Nunez said he did,
+but that before sleep he wanted food. They brought him food, llama's
+milk in a bowl and rough salted bread, and led him into a lonely place
+to eat out of their hearing, and afterwards to slumber until the chill
+of the mountain evening roused them to begin their day again. But
+Nunez slumbered not at all.
+
+Instead, he sat up in the place where they had left him, resting his
+limbs and turning the unanticipated circumstances of his arrival over
+and over in his mind.
+
+Every now and then he laughed, sometimes with amusement and sometimes
+with indignation.
+
+"Unformed mind!" he said. "Got no senses yet! They little know they've
+been insulting their Heaven-sent King and master . . . . .
+
+"I see I must bring them to reason.
+
+"Let me think.
+
+"Let me think."
+
+He was still thinking when the sun set.
+
+Nunez had an eye for all beautiful things, and it seemed to him that
+the glow upon the snow-fields and glaciers that rose about the valley
+on every side was the most beautiful thing he had ever seen. His eyes
+went from that inaccessible glory to the village and irrigated fields,
+fast sinking into the twilight, and suddenly a wave of emotion took
+him, and he thanked God from the bottom of his heart that the power of
+sight had been given him.
+
+He heard a voice calling to him from out of the village.
+
+"Yaho there, Bogota! Come hither!"
+
+At that he stood up, smiling. He would show these people once and for
+all what sight would do for a man. They would seek him, but not find
+him.
+
+"You move not, Bogota," said the voice.
+
+He laughed noiselessly and made two stealthy steps aside from the
+path.
+
+"Trample not on the grass, Bogota; that is not allowed."
+
+Nunez had scarcely heard the sound he made himself. He stopped,
+amazed.
+
+The owner of the voice came running up the piebald path towards him.
+
+He stepped back into the pathway. "Here I am," he said.
+
+"Why did you not come when I called you?" said the blind man. "Must
+you be led like a child? Cannot you hear the path as you walk?"
+
+Nunez laughed. "I can see it," he said.
+
+"There is no such word as SEE," said the blind man, after a
+pause. "Cease this folly and follow the sound of my feet."
+
+Nunez followed, a little annoyed.
+
+"My time will come," he said.
+
+"You'll learn," the blind man answered. "There is much to learn in the
+world."
+
+"Has no one told you, `In the Country of the Blind the One-Eyed Man is
+King?'"
+
+"What is blind?"\ asked the blind man, carelessly, over his shoulder.
+
+Four days passed and the fifth found the King of the Blind still
+incognito, as a clumsy and useless stranger among his subjects.
+
+It was, he found, much more difficult to proclaim himself than he had
+supposed, and in the meantime, while he meditated his coup d'etat, he
+did what he was told and learnt the manners and customs of the Country
+of the Blind. He found working and going about at night a particularly
+irksome thing, and he decided that that should be the first thing he
+would change.
+
+They led a simple, laborious life, these people, with all the elements
+of virtue and happiness as these things can be understood by men. They
+toiled, but not oppressively; they had food and clothing sufficient
+for their needs; they had days and seasons of rest; they made much of
+music and singing, and there was love among them and little
+children. It was marvellous with what confidence and precision they
+went about their ordered world. Everything, you see, had been made to
+fit their needs; each of the radiating paths of the valley area had a
+constant angle to the others, and was distinguished by a special notch
+upon its kerbing; all obstacles and irregularities of path or meadow
+had long since been cleared away; all their methods and procedure
+arose naturally from their special needs. Their senses had become
+marvellously acute; they could hear and judge the slightest gesture of
+a man a dozen paces away---could hear the very beating of his
+heart. Intonation had long replaced expression with them, and touches
+gesture, and their work with hoe and spade and fork was as free and
+confident as garden work can be. Their sense of smell was
+extraordinarily fine; they could distinguish individual differences as
+readily as a dog can, and they went about the tending of llamas, who
+lived among the rocks above and came to the wall for food and shelter,
+with ease and confidence. It was only when at last Nunez sought to
+assert himself that he found how easy and confident their movements
+could be.
+
+He rebelled only after he had tried persuasion.
+
+He tried at first on several occasions to tell them of sight. "Look
+you here, you people," he said. "There are things you do not
+understand in me."
+
+Once or twice one or two of them attended to him; they sat with faces
+downcast and ears turned intelligently towards him, and he did his
+best to tell them what it was to see. Among his hearers was a girl,
+with eyelids less red and sunken than the others, so that one could
+almost fancy she was hiding eyes, whom especially he hoped to
+persuade. He spoke of the beauties of sight, of watching the
+mountains, of the sky and the sunrise, and they heard him with amused
+incredulity that presently became condemnatory. They told him there
+were indeed no mountains at all, but that the end of the rocks where
+the llamas grazed was indeed the end of the world; thence sprang a
+cavernous roof of the universe, from which the dew and the avalanches
+fell; and when he maintained stoutly the world had neither end nor
+roof such as they supposed, they said his thoughts were wicked. So far
+as he could describe sky and clouds and stars to them it seemed to
+them a hideous void, a terrible blankness in the place of the smooth
+roof to things in which they believed---it was an article of faith with
+them that the cavern roof was exquisitely smooth to the touch. He saw
+that in some manner he shocked them, and gave up that aspect of the
+matter altogether, and tried to show them the practical value of
+sight. One morning he saw Pedro in the path called Seventeen and
+coming towards the central houses, but still too far off for hearing
+or scent, and he told them as much. "In a little while," he
+prophesied, "Pedro will be here." An old man remarked that Pedro had
+no business on path Seventeen, and then, as if in confirmation, that
+individual as he drew near turned and went transversely into path Ten,
+and so back with nimble paces towards the outer wall. They mocked
+Nunez when Pedro did not arrive, and afterwards, when he asked Pedro
+questions to clear his character, Pedro denied and outfaced him, and
+was afterwards hostile to him.
+
+Then he induced them to let him go a long way up the sloping meadows
+towards the wall with one complaisant individual, and to him he
+promised to describe all that happened among the houses. He noted
+certain goings and comings, but the things that really seemed to
+signify to these people happened inside of or behind the windowless
+houses---the only things they took note of to test him by---and of those
+he could see or tell nothing; and it was after the failure of this
+attempt, and the ridicule they could not repress, that he resorted to
+force. He thought of seizing a spade and suddenly smiting one or two
+of them to earth, and so in fair combat showing the advantage of
+eyes. He went so far with that resolution as to seize his spade, and
+then he discovered a new thing about himself, and that was that it was
+impossible for him to hit a blind man in cold blood.
+
+He hesitated, and found them all aware that he had snatched up the
+spade. They stood all alert, with their heads on one side, and bent
+ears towards him for what he would do next.
+
+"Put that spade down," said one, and he felt a sort of helpless
+horror. He came near obedience.
+
+Then he had thrust one backwards against a house wall, and fled past
+him and out of the village.
+
+He went athwart one of their meadows, leaving a track of trampled
+grass behind his feet, and presently sat down by the side of one of
+their ways. He felt something of the buoyancy that comes to all men in
+the beginning of a fight, but more perplexity. He began to realise
+that you cannot even fight happily with creatures who stand upon a
+different mental basis to yourself. Far away he saw a number of men
+carrying spades and sticks come out of the street of houses and
+advance in a spreading line along the several paths towards him. They
+advanced slowly, speaking frequently to one another, and ever and
+again the whole cordon would halt and sniff the air and listen.
+
+The first time they did this Nunez laughed. But afterwards he did not
+laugh.
+
+One struck his trail in the meadow grass and came stooping and feeling
+his way along it.
+
+For five minutes he watched the slow extension of the cordon, and then
+his vague disposition to do something forthwith became frantic. He
+stood up, went a pace or so towards the circumferential wall, turned,
+and went back a little way. There they all stood in a crescent, still
+and listening.
+
+He also stood still, gripping his spade very tightly in both
+hands. Should he charge them?
+
+The pulse in his ears ran into the rhythm of "In the Country of the
+Blind the One-Eyed Man is King."
+
+Should he charge them?
+
+He looked back at the high and unclimbable wall behind---unclimbable
+because of its smooth plastering, but withal pierced with many little
+doors and at the approaching line of seekers. Behind these others were
+now coming out of the street of houses.
+
+Should he charge them?
+
+"Bogota!" called one. "Bogota! where are you?"
+
+He gripped his spade still tighter and advanced down the meadows
+towards the place of habitations, and directly he moved they converged
+upon him. "I'll hit them if they touch me," he swore; "by Heaven, I
+will. I'll hit." He called aloud, "Look here, I'm going to do what I
+like in this valley! Do you hear? I'm going to do what I like and go
+where I like."
+
+They were moving in upon him quickly, groping, yet moving rapidly. It
+was like playing blind man's buff with everyone blindfolded except
+one. "Get hold of him!" cried one. He found himself in the arc of a
+loose curve of pursuers. He felt suddenly he must be active and
+resolute.
+
+"You don't understand," he cried, in a voice that was meant to be
+great and resolute, and which broke. "You are blind and I can
+see. Leave me alone!"
+
+"Bogota! Put down that spade and come off the grass!"
+
+The last order, grotesque in its urban familiarity, produced a gust of
+anger. "I'll hurt you," he said, sobbing with emotion. "By Heaven,
+I'll hurt you! Leave me alone!"
+
+He began to run---not knowing clearly where to run. He ran from the
+nearest blind man, because it was a horror to hit him. He stopped, and
+then made a dash to escape from their closing ranks. He made for where
+a gap was wide, and the men on either side, with a quick perception of
+the approach of his paces, rushed in on one another. He sprang
+forward, and then saw he must be caught, and SWISH! the spade had
+struck. He felt the soft thud of hand and arm, and the man was down
+with a yell of pain, and he was through.
+
+Through! And then he was close to the street of houses again, and
+blind men, whirling spades and stakes, were running with a reasoned
+swiftness hither and thither.
+
+He heard steps behind him just in time, and found a tall man rushing
+forward and swiping at the sound of him. He lost his nerve, hurled his
+spade a yard wide of this antagonist, and whirled about and fled,
+fairly yelling as he dodged another.
+
+He was panic-stricken. He ran furiously to and fro, dodging when there
+was no need to dodge, and, in his anxiety to see on every side of him
+at once, stumbling. For a moment he was down and they heard his
+fall. Far away in the circumferential wall a little doorway looked
+like Heaven, and he set off in a wild rush for it. He did not even
+look round at his pursuers until it was gained, and he had stumbled
+across the bridge, clambered a little way among the rocks, to the
+surprise and dismay of a young llama, who went leaping out of sight,
+and lay down sobbing for breath.
+
+And so his coup d'etat came to an end.
+
+He stayed outside the wall of the valley of the blind for two nights
+and days without food or shelter, and meditated upon the
+Unexpected. During these meditations he repeated very frequently and
+always with a profounder note of derision the exploded proverb: "In
+the Country of the Blind the One-Eyed Man is King." He thought chiefly
+of ways of fighting and conquering these people, and it grew clear
+that for him no practicable way was possible. He had no weapons, and
+now it would be hard to get one.
+
+The canker of civilisation had got to him even in Bogota, and he could
+not find it in himself to go down and assassinate a blind man. Of
+course, if he did that, he might then dictate terms on the threat of
+assassinating them all. But---Sooner or later he must sleep! . . . .
+
+He tried also to find food among the pine trees, to be comfortable
+under pine boughs while the frost fell at night, and--- with less
+confidence---to catch a llama by artifice in order to try to kill
+it---perhaps by hammering it with a stone---and so finally, perhaps, to
+eat some of it. But the llamas had a doubt of him and regarded him
+with distrustful brown eyes and spat when he drew near. Fear came on
+him the second day and fits of shivering. Finally he crawled down to
+the wall of the Country of the Blind and tried to make his terms. He
+crawled along by the stream, shouting, until two blind men came out to
+the gate and talked to him.
+
+"I was mad," he said. "But I was only newly made."
+
+They said that was better.
+
+He told them he was wiser now, and repented of all he had done.
+
+Then he wept without intention, for he was very weak and ill now, and
+they took that as a favourable sign.
+
+They asked him if he still thought he could SEE."
+
+"No," he said. "That was folly. The word means nothing. Less than
+nothing!"
+
+They asked him what was overhead.
+
+"About ten times ten the height of a man there is a roof above the
+world---of rock---and very, very smooth. So smooth---so beautifully
+smooth . . "He burst again into hysterical tears. "Before you ask me
+any more, give me some food or I shall die!"
+
+He expected dire punishments, but these blind people were capable of
+toleration. They regarded his rebellion as but one more proof of his
+general idiocy and inferiority, and after they had whipped him they
+appointed him to do the simplest and heaviest work they had for anyone
+to do, and he, seeing no other way of living, did submissively what he
+was told.
+
+He was ill for some days and they nursed him kindly. That refined his
+submission. But they insisted on his lying in the dark, and that was a
+great misery. And blind philosophers came and talked to him of the
+wicked levity of his mind, and reproved him so impressively for his
+doubts about the lid of rock that covered their cosmic casserole that
+he almost doubted whether indeed he was not the victim of
+hallucination in not seeing it overhead.
+
+So Nunez became a citizen of the Country of the Blind, and these
+people ceased to be a generalised people and became individualities to
+him, and familiar to him, while the world beyond the mountains became
+more and more remote and unreal. There was Yacob, his master, a kindly
+man when not annoyed; there was Pedro, Yacob's nephew; and there was
+Medina-sarote, who was the youngest daughter of Yacob. She was little
+esteemed in the world of the blind, because she had a clear-cut face
+and lacked that satisfying, glossy smoothness that is the blind man's
+ideal of feminine beauty, but Nunez thought her beautiful at first,
+and presently the most beautiful thing in the whole creation. Her
+closed eyelids were not sunken and red after the common way of the
+valley, but lay as though they might open again at any moment; and she
+had long eyelashes, which were considered a grave disfigurement. And
+her voice was weak and did not satisfy the acute hearing of the valley
+swains. So that she had no lover.
+
+There came a time when Nunez thought that, could he win her, he would
+be resigned to live in the valley for all the rest of his days.
+
+He watched her; he sought opportunities of doing her little services
+and presently he found that she observed him. Once at a rest-day
+gathering they sat side by side in the dim starlight, and the music
+was sweet. His hand came upon hers and he dared to clasp it. Then very
+tenderly she returned his pressure. And one day, as they were at their
+meal in the darkness, he felt her hand very softly seeking him, and as
+it chanced the fire leapt then, and he saw the tenderness of her face.
+
+He sought to speak to her.
+
+He went to her one day when she was sitting in the summer moonlight
+spinning. The light made her a thing of silver and mystery. He sat
+down at her feet and told her he loved her, and told her how beautiful
+she seemed to him. He had a lover's voice, he spoke with a tender
+reverence that came near to awe, and she had never before been touched
+by adoration. She made him no definite answer, but it was clear his
+words pleased her.
+
+After that he talked to her whenever he could take an opportunity. The
+valley became the world for him, and the world beyond the mountains
+where men lived by day seemed no more than a fairy tale he would some
+day pour into her ears. Very tentatively and timidly he spoke to her
+of sight.
+
+Sight seemed to her the most poetical of fancies, and she listened to
+his description of the stars and the mountains and her own sweet
+white-lit beauty as though it was a guilty indulgence. She did not
+believe, she could only half understand, but she was mysteriously
+delighted, and it seemed to him that she completely understood.
+
+His love lost its awe and took courage. Presently he was for demanding
+her of Yacob and the elders in marriage, but she became fearful and
+delayed. And it was one of her elder sisters who first told Yacob that
+Medina-sarote and Nunez were in love.
+
+There was from the first very great opposition to the marriage of
+Nunez and Medina-sarote; not so much because they valued her as
+because they held him as a being apart, an idiot, incompetent thing
+below the permissible level of a man. Her sisters opposed it bitterly
+as bringing discredit on them all; and old Yacob, though he had formed
+a sort of liking for his clumsy, obedient serf, shook his head and
+said the thing could not be. The young men were all angry at the idea
+of corrupting the race, and one went so far as to revile and strike
+Nunez. He struck back. Then for the first time he found an advantage
+in seeing, even by twilight, and after that fight was over no one was
+disposed to raise a hand against him. But they still found his
+marriage impossible.
+
+Old Yacob had a tenderness for his last little daughter, and was
+grieved to have her weep upon his shoulder.
+
+"You see, my dear, he's an idiot. He has delusions; he can't do
+anything right."
+
+"I know," wept Medina-sarote. "But he's better than he was. He's
+getting better. And he's strong, dear father, and kind---stronger and
+kinder than any other man in the world. And he loves me---and, father,
+I love him."
+
+Old Yacob was greatly distressed to find her inconsolable, and,
+besides---what made it more distressing---he liked Nunez for many
+things. So he went and sat in the windowless council-chamber with the
+other elders and watched the trend of the talk, and said, at the
+proper time, "He's better than he was. Very likely, some day, we shall
+find him as sane as ourselves."
+
+Then afterwards one of the elders, who thought deeply, had an idea. He
+was a great doctor among these people, their medicine-man, and he had
+a very philosophical and inventive mind, and the idea of curing Nunez
+of his peculiarities appealed to him. One day when Yacob was present
+he returned to the topic of Nunez. "I have examined Nunez," he said,
+"and the case is clearer to me. I think very probably he might be
+cured."
+
+"This is what I have always hoped," said old Yacob.
+
+"His brain is affected," said the blind doctor.
+
+The elders murmured assent.
+
+"Now, WHAT affects it?"
+
+"Ah!" said old Yacob.
+
+THIS," said the doctor, answering his own question. "Those queer
+things that are called the eyes, and which exist to make an agreeable
+depression in the face, are diseased, in the case of Nunez, in such a
+way as to affect his brain. They are greatly distended, he has
+eyelashes, and his eyelids move, and consequently his brain is in a
+state of constant irritation and distraction."
+
+"Yes?" said old Yacob. "Yes?"
+
+"And I think I may say with reasonable certainty that, in order to
+cure him complete, all that we need to do is a simple and easy
+surgical operation---namely, to remove these irritant bodies."
+
+"And then he will be sane?"
+
+"Then he will be perfectly sane, and a quite admirable citizen."
+
+"Thank Heaven for science!" said old Yacob, and went forth at once to
+tell Nunez of his happy hopes.
+
+But Nunez's manner of receiving the good news struck him as being cold
+and disappointing.
+
+"One might think," he said, "from the tone you take that you did not
+care for my daughter."
+
+It was Medina-sarote who persuaded Nunez to face the blind surgeons.
+
+"YOU do not want me," he said, "to lose my gift of sight?"
+
+She shook her head.
+
+"My world is sight."
+
+Her head drooped lower.
+
+"There are the beautiful things, the beautiful little things---the
+flowers, the lichens amidst the rocks, the light and softness on a
+piece of fur, the far sky with its drifting dawn of clouds, the
+sunsets and the stars. And there is YOU. For you alone it is good to
+have sight, to see your sweet, serene face, your kindly lips, your
+dear, beautiful hands folded together. . . . . It is these eyes of
+mine you won, these eyes that hold me to you, that these idiots seek.
+Instead, I must touch you, hear you, and never see you again. I must
+come under that roof of rock and stone and darkness, that horrible
+roof under which your imaginations stoop . . . NO; YOU would not have
+me do that?"
+
+A disagreeable doubt had arisen in him. He stopped and left the thing
+a question.
+
+"I wish," she said, "sometimes---" She paused.
+
+"Yes?" he said, a little apprehensively.
+
+"I wish sometimes---you would not talk like that."
+
+"Like what?"
+
+"I know it's pretty---it's your imagination. I love it, but NOW---"
+
+He felt cold. "NOW?" he said, faintly.
+
+She sat quite still.
+
+"You mean---you think---I should be better, better perhaps---"
+
+He was realising things very swiftly. He felt anger perhaps, anger at
+the dull course of fate, but also sympathy for her lack of
+understanding---a sympathy near akin to pity.
+
+"DEAR," he said, and he could see by her whiteness how tensely her
+spirit pressed against the things she could not say. He put his arms
+about her, he kissed her ear, and they sat for a time in silence.
+
+"If I were to consent to this?" he said at last, in a voice that was
+very gentle.
+
+She flung her arms about him, weeping wildly. "Oh, if you would," she
+sobbed, "if only you would!"
+
+For a week before the operation that was to raise him from his
+servitude and inferiority to the level of a blind citizen Nunez knew
+nothing of sleep, and all through the warm, sunlit hours, while the
+others slumbered happily, he sat brooding or wandered aimlessly,
+trying to bring his mind to bear on his dilemma. He had given his
+answer, he had given his consent, and still he was not sure. And at
+last work-time was over, the sun rose in splendour over the golden
+crests, and his last day of vision began for him. He had a few minutes
+with Medina-sarote before she went apart to sleep.
+
+"To-morrow," he said, "I shall see no more."
+
+"Dear heart!" she answered, and pressed his hands with all her
+strength.
+
+"They will hurt you but little," she said; "and you are going through
+this pain, you are going through it, dear lover, for ME . . . . Dear,
+if a woman's heart and life can do it, I will repay you. My dearest
+one, my dearest with the tender voice, I will repay."
+
+He was drenched in pity for himself and her.
+
+He held her in his arms, and pressed his lips to hers and looked on
+her sweet face for the last time. "Good-bye!" he whispered to that
+dear sight, "good-bye!"
+
+And then in silence he turned away from her.
+
+She could hear his slow retreating footsteps, and something in the
+rhythm of them threw her into a passion of weeping.
+
+He walked away.
+
+He had fully meant to go to a lonely place where the meadows were
+beautiful with white narcissus, and there remain until the hour of his
+sacrifice should come, but as he walked he lifted up his eyes and saw
+the morning, the morning like an angel in golden armour, marching down
+the steeps . . . .
+
+It seemed to him that before this splendour he and this blind world in
+the valley, and his love and all, were no more than a pit of sin.
+
+He did not turn aside as he had meant to do, but went on and passed
+through the wall of the circumference and out upon the rocks, and his
+eyes were always upon the sunlit ice and snow.
+
+He saw their infinite beauty, and his imagination soared over them to
+the things beyond he was now to resign for ever!
+
+He thought of that great free world that he was parted from, the world
+that was his own, and he had a vision of those further slopes,
+distance beyond distance, with Bogota, a place of multitudinous
+stirring beauty, a glory by day, a luminous mystery by night, a place
+of palaces and fountains and statues and white houses, lying
+beautifully in the middle distance. He thought how for a day or so one
+might come down through passes drawing ever nearer and nearer to its
+busy streets and ways. He thought of the river journey, day by day,
+from great Bogota to the still vaster world beyond, through towns and
+villages, forest and desert places, the rushing river day by day,
+until its banks receded, and the big steamers came splashing by and
+one had reached the sea---the limitless sea, with its thousand islands,
+its thousands of islands, and its ships seen dimly far away in their
+incessant journeyings round and about that greater world. And there,
+unpent by mountains, one saw the sky---the sky, not such a disc as one
+saw it here, but an arch of immeasurable blue, a deep of deeps in
+which the circling stars were floating . . . .
+
+His eyes began to scrutinise the great curtain of the mountains with a
+keener inquiry.
+
+For example; if one went so, up that gully and to that chimney there,
+then one might come out high among those stunted pines that ran round
+in a sort of shelf and rose still higher and higher as it passed above
+the gorge. And then? That talus might be managed. Thence perhaps a
+climb might be found to take him up to the precipice that came below
+the snow; and if that chimney failed, then another farther to the east
+might serve his purpose better. And then? Then one would be out upon
+the amber-lit snow there, and half-way up to the crest of those
+beautiful desolations. And suppose one had good fortune!
+
+He glanced back at the village, then turned right round and regarded
+it with folded arms.
+
+He thought of Medina-sarote, and she had become small and remote.
+
+He turned again towards the mountain wall down which the day had come
+to him.
+
+Then very circumspectly he began his climb.
+
+When sunset came he was not longer climbing, but he was far and
+high. His clothes were torn, his limbs were bloodstained, he was
+bruised in many places, but he lay as if he were at his ease, and
+there was a smile on his face.
+
+From where he rested the valley seemed as if it were in a pit and
+nearly a mile below. Already it was dim with haze and shadow, though
+the mountain summits around him were things of light and fire. The
+mountain summits around him were things of light and fire, and the
+little things in the rocks near at hand were drenched with light and
+beauty, a vein of green mineral piercing the grey, a flash of small
+crystal here and there, a minute, minutely-beautiful orange lichen
+close beside his face. There were deep, mysterious shadows in the
+gorge, blue deepening into purple, and purple into a luminous
+darkness, and overhead was the illimitable vastness of the sky. But he
+heeded these things no longer, but lay quite still there, smiling as
+if he were content now merely to have escaped from the valley of the
+Blind, in which he had thought to be King. And the glow of the sunset
+passed, and the night came, and still he lay there, under the cold,
+clear stars.
+
+
+
+\end{document}
+
diff --git a/macros/latex/contrib/sffms/sffms.dtx b/macros/latex/contrib/sffms/sffms.dtx
new file mode 100644
index 0000000000..9e2edb78d9
--- /dev/null
+++ b/macros/latex/contrib/sffms/sffms.dtx
@@ -0,0 +1,1287 @@
+% \iffalse meta-comment
+%
+% Copyright 2002-2003 M. C. DeMarco
+% Also copyright any individual authors listed in this file.
+%
+% This file provides the latex class sffms.cls and supporting files.
+% ------------------------------------------------------------------
+%
+% It may be distributed and/or modified under the conditions of the
+% LaTeX Project Public License, either version 1.2 of this license or
+% (at your option) any later version.
+% The latest version of this license is in
+% http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX
+% version 1999/12/01 or later.
+%
+% ** To produce the package documentation, run latex on this file. **
+%
+% \fi
+%
+% \iffalse
+%<*driver>
+\documentclass{ltxdoc}
+ \OnlyDescription % Comment out to print the code as well
+\begin{document}
+ \title{The \textsf{sffms} package}
+ \author{M. C. DeMarco\\
+ \texttt{mcd@sdf.lonestar.org}}
+ \date{2003/03/13}
+ \maketitle
+ \DocInput{sffms.dtx}
+\end{document}
+%</driver>
+% \section{Identification}
+% \begin{macrocode}
+%<sffms>\NeedsTeXFormat{LaTeX2e}
+%<sffms>\ProvidesClass{sffms}[2003/03/13 v2.0
+%<smart>\ProvidesPackage{sffsmart}[2001/09/10 v1.0
+%<dumb>\ProvidesPackage{sffdumb}[2001/09/23 v1.1
+%<sffms> The SF/F manuscript class]
+%<smart|dumb> Quotation mark utility for sffms.cls]
+% \end{macrocode}
+% \fi
+%
+% \changes{v0.1}{2001/08/29}{Created sffms.cls from sfms.cls by Kevin
+% Russell}
+% \changes{v0.1}{2001/08/29}{Passed all options to report.cls, making
+% the non-submission format mostly transparent. The only additions
+% were real typeset scene breaks (a blank line) and real book
+% headers (author and title on facing pages) for the twoside option.}
+% \changes{v0.1}{2001/08/29}{Changed the commands slightly, gave most
+% of them default values, and added commands for user configuration
+% of the scene separator and ``The End''.}
+% \changes{v0.1}{2001/08/29}{Reredefined chapter so that chapter*
+% works in submissions, changed fancyheader calls to non-deprecated
+% versions.}
+% \changes{v0.1}{2001/08/29}{Added rudimentary documentation to the
+% class file.}
+% \changes{v0.2}{2001/09/02}{Added the magic command from ulem.sty to
+% change boldface (\bf) to squiggly lines in submission format}
+% \changes{v0.2}{2001/09/02}{Added quote smartening option (using
+% quote.sty), novel option and notitle option}
+% \changes{v0.2}{2001/09/02}{Fixed the a4paper option, I hope}
+% \changes{v0.2}{2001/09/02}{Added the ifsubmission command to mask
+% fancy markup (and text)}
+% \changes{v0.2}{2001/09/02}{Added the synopsis environment for book
+% synopses}
+% \changes{v0.2}{2001/09/02}{Changed spacing to 1.83 and neatened the
+% code}
+% \changes{v0.3}{2001/09/04}{Added quote dumbing option}
+% \changes{v0.3}{2001/09/04}{Ported sffms.cls and support files to
+% dtx file, added more documentation}
+% \changes{v0.3}{2001/09/04}{Switched from doublespace package to
+% setspace}
+% \changes{v1.0}{2001/09/10}{Improved documentation}
+% \changes{v1.0}{2001/09/10}{Reworked submission title page spacing and
+% added the disposable command}
+% \changes{v1.1}{2001/09/23}{Cut back on non-submission formatting}
+% \changes{v1.1}{2001/09/23}{Fixed spacing for ``The End''}
+% \changes{v1.1}{2001/09/23}{Quote spacing fixed and code for sffdumb
+% improved, thanks to Donald Arsenault and Martin Vaeth}
+% \changes{v1.2}{2002/03/17}{Added documentation}
+% \changes{v1.2}{2002/03/17}{Code cleanup, thanks to Daniel Richard G.}
+% \changes{v1.2}{2002/03/17}{Added submit, nosubmit and msheading
+% commands}
+% \changes{v1.3}{2002/03/17}{Double underline for textsc}
+% \changes{v1.3}{2002/03/18}{Added undocumented command pageofpages}
+% \changes{v1.3}{2002/03/18}{Made a rough automatic word count}
+% \changes{v1.3}{2002/03/23}{Fixed automatic word count}
+% \changes{v1.3}{2002/03/23}{Hid some internal defs and cleaned up code}
+% \changes{v1.3}{2002/03/23}{Documented LaTeX spacing commands}
+% \changes{v2.0}{2003/03/13}{Removed dependencies on ifthen and geometry
+% packages, made geometry an option}
+% \changes{v2.0}{2003/03/13}{Added baen, daw and wotf options}
+% \changes{v2.0}{2003/03/13}{Added troubleshooting section, a table of
+% contents, and various other improvements to the documentation}
+%
+%
+% \newcommand{\DescribeOption}[1]{\DescribeEnv{[#1]}}
+%
+% \begin{abstract}\noindent
+% Documentation for |sffms|, a \LaTeX\ class for typesetting fiction
+% manuscripts in the standard formats used in science-fiction/fantasy
+% publishing.
+% \end{abstract}
+%
+% \noindent
+% This \LaTeX\ class was modified from |sfms.cls|, copyright Kevin Russell
+% 2000, under the terms of the \LaTeX\ Project Public License.
+% The file |sffms.dtx| may be redistributed and/or modified under the
+% terms of the \LaTeX\ Project Public License, distributed from CTAN
+% archives in the directory macros/latex/base/lppl.txt---either
+% version 1.2 of the License, or any later version.
+%
+%
+% \newif\ifmulticols
+% \IfFileExists{multicol.sty}{\multicolstrue}{}
+% \ifmulticols
+% \addtocontents{toc}{%
+% \protect\setlength{\columnsep}{3pc}%
+% \protect\begin{multicols}{2}}
+% \fi
+% {\parskip 0pt
+% \tableofcontents
+% }
+%
+% \section{About {\tt sffms}}
+%
+% The |sffms| package produces a double-spaced manuscript in a 12-point
+% monospaced font with one-inch margins and running headers of the form
+% |Author/TITLE/n|, where |n| is the current page number.
+% On the title page, the author's name and address appear in the upper
+% left corner, the word count and an optional note that the manuscript
+% is disposable in the upper right, and the title and author in the
+% center of the page. For a short story, the text begins four lines
+% below, and for a novel, on the next page. Some publisher-specific
+% variants of the format are also supported.
+%
+% Other features of |sffms| include an optional single-spaced synopsis,
+% automatic conversion of italics, boldface, and small caps to
+% appropriately underlined text, and a rough automatic word count.
+% Simply by including the |nonsubmission| option,
+% the same document may be typeset in \LaTeX's usual professional
+% way. The non-submission format can be customized without
+% affecting the appearance of the version for submission, allowing
+% the user to print both camera-ready copies and submission
+% manuscripts from a single story file.
+%
+% The \LaTeX\ document preparation system is free and available for
+% all operating systems. This package and all supporting packages
+% are available from \textsc{ctan}. To obtain any recent version of
+% |sffms|, copies of the supporting packages, sample input and output
+% files, a list of known issues, and more information about manuscript
+% format, see |http://mcd.freeshell.org/|. If you still have questions
+% or suggestions after reading through this documentation, feel free to
+% email the author at |mcd@sdf.lonestar.org|.
+%
+% \section{Getting Started}
+%
+% If you are already familiar with \LaTeX, you may wish to skip
+% this section.
+%
+% \subsection{Installing \LaTeX}
+%
+% \LaTeX\ is available for all operating systems, in a bewildering
+% variety of implementations. For the beginner, I recommend the
+% following popular combinations of an underlying \TeX\ engine and
+% a nice front-end and/or text editor:
+%
+% For Windows, MiKTeX (|www.miktex.org|) and WinEdt (|www.winedt.com|).
+%
+% For MacOS X, TeXLive-teTeX and TeXShop (both available at \\
+% |www.uoregon.edu/~koch/texshop/texshop.html|).
+%
+% For MacOS 9 and below, OzTeX and Alpha. (See
+% |www.esm.psu.edu/mac-tex/| for links.)
+%
+% For Unix systems, emacs and \TeX\ should come pre-installed, but
+% you might want to look into teTeX (|www.tug.org/tetex|).
+%
+% Some of these packages use A4 as their default paper size. See the
+% Troubleshooting section for more details.
+%
+% \subsection{Installing {\tt sffms}}
+%
+% If you use a \TeX\ package management system to install |sffms|, you
+% need not follow the rest of the steps in this section, but you will
+% probably need to install the supporting packages listed below.
+% Be sure that you get the most recent version of |sffms|. The
+% version can be identified either by the date or the version
+% number.
+%
+% The |sffms| class is distributed as two files, |sffms.dtx| and
+% |sffms.ins|.
+% To install the class manually, run \LaTeX\ on |sffms.ins|.
+% You can do this either by opening |sffms.ins| in your front-end
+% (WinEdt or TeXShop) and hitting the \LaTeX\ button,
+% or by typing the following at the command line:
+%\begin{verbatim}
+%latex sffms.ins
+%\end{verbatim}
+% \LaTeX\ will automatically create the style files
+% |sffms.cls|, |sffsmart.sty| and |sffdumb.sty|. At this point,
+% you may either move the new files into the appropriate directory
+% of your \LaTeX\ distribution, or leave them in the directory
+% where your source files (stories) will be.
+%
+% The |sffms| class requires several supplemental style files which
+% may or may not be included in your \LaTeX\ or |sffms| distribution.
+% Try running a sample story file through \LaTeX\ (see below).
+% If \LaTeX\ asks for any of the following files, you will need
+% to download them and place them in the directory where you put
+% |sffms.cls|. The files are:
+%\begin{verbatim}
+%fancyhdr.sty
+%setspace.sty
+%ulem.sty
+%\end{verbatim}
+% As of version 2.0 of |sffms|, the |geometry| package is no longer
+% required. If you decide to use it, obtain |geometry.dtx| and
+% |geometry.ins| and latex the latter, as you did with |sffms.ins|.
+%
+% All of the files mentioned above
+% are available through {\sc ctan} (|www.ctan.org|).
+%
+%
+% \subsection{Using {\tt sffms}}
+%
+% All you need to use |sffms| is a plain text file with the following
+% contents:
+%\begin{verbatim}
+%\documentclass{sffms}
+%\author{Lois McMaster Bujold}
+%\title{Komarr}
+%\begin{document}
+%Your story goes here.
+%\end{document}
+%\end{verbatim}
+%
+% Call this source file |filename.tex| and latex it by typing
+%\begin{verbatim}
+%latex filename.tex
+%latex filename.tex
+%\end{verbatim}
+% \LaTeX\ should be run twice in order to get the correct word count.
+%
+% Depending on your \LaTeX\ installation, this command may produce
+% an output file in |dvi|, |ps|, or |pdf| format. If you prefer |pdf|
+% output, you may find it more convenient to use the |pdflatex| command.
+%
+%
+% \subsection{\LaTeX\ Basics}
+%
+% A \LaTeX\ file is essentially a text file. If you take a plain
+% text version of your story and insert the lines mentioned in the
+% previous section (|\documentclass|, {\em etc.}), it will be almost
+% ready for \LaTeX. Just keep the following requirements in mind:
+%
+% Paragraphs should be separated by a blank line.
+%
+% Use |-| for a hyphen, |--| for an en-dash (for ranges, like
+% 18--65), and |---| for an em-dash---the one used as punctuation.
+%
+% Normal \LaTeX\ ``smart
+% quotes'' are produced using a pair of accents (usually found
+% under the $\sim$ key) and a pair of
+% apostrophes, like so: |``smart quotes''|. A good \LaTeX\ editor
+% ({\it e.g.}, emacs) will insert smart quotes automatically when
+% you strike the dumb quote (|"|) key. You may also use dumb
+% quotes with |sffms|---see the section on handling quotation
+% marks, below. Note that |```| becomes ``\thinspace`. To produce
+% `\thinspace{``} instead, use braces, like so: |`{``}|. Likewise,
+% use |'{''}| if |'''| fails to do the job.
+%
+% Certain characters are reserved by \LaTeX\ for special purposes:
+%\begin{verbatim}
+%# $ % & ~ _ ^ \ { }
+%\end{verbatim}
+% To use a reserved character in a story, you must put a backslash
+% in front of it (|\$|, |\%|, {\em etc.}), except for |\\|, |\~|,
+% and |\^|, which have their own special meanings.
+% (The first is used to force a line break and the latter two
+% create accent marks over the following character.)
+% The command |$\backslash$| produces the backslash itself and
+% |$\sim$| the tilde alone.
+%
+% The percent-sign is particularly dangerous because it's the
+% comment character in \LaTeX. Anything between an unescaped |%|
+% and the end of the line will be silently ignored by \LaTeX\
+% when it processes your file.
+%
+%\subsection{\LaTeX\ Tricks}
+%
+% Depending on your \LaTeX\ installation, you may be able to produce some
+% common accent marks thus:
+%\begin{center}
+% \'{a}~~|\'{a}| \hfill \`{e}~~|\`{e}| \hfill \"{\i}~~|\"{\i}| \hfill
+% \~{o}~~|\~{o}| \hfill \^{u}~~|\^{u}| \hfill \c{c}~~|\c{c}|
+%\end{center}
+%If you want something a little more alien, try some of the following:
+%\begin{verbatim}
+%\.{h} \^{m} \u{n} \v{q} \H{r} \d{v} \b{x}
+%\i \j \ae \OE \l \o \ss \S ?` !` \pounds
+%\end{verbatim}
+% Many more symbols are available in \LaTeX's math mode, but keep in
+% mind that such gimmicks are likely to annoy your editor.
+%
+% If you need finer control of your text layout, you can use the
+% |\noindent| command before a paragraph to keep it from
+% being indented. You can use the |\\| symbol to force a line
+% break without starting a new paragraph. (These two methods will have
+% the same effect for submissions, but not in |nonsubmission| mode.)
+%
+% \LaTeX\ ignores all extra spaces between words and sentences, then
+% inserts (approximately) two spaces between sentences. If you
+% prefer one space after all punctuation, include the command
+%\begin{verbatim}
+%\frenchspacing
+%\end{verbatim}
+% at the beginning of your document. To force a single space in
+% those rare cases where \LaTeX\ chooses the wrong spacing, use
+% |\ | (a backslash followed by a space) or |~|.
+%\begin{verbatim}
+%``Put only one space after a quote!''\ she demanded.
+%
+%``Of course, Dr.~Jones!''
+%\end{verbatim}
+% The |~| also prevents a linebreak from occurring between the two
+% words. Use it with caution.
+%
+% All \LaTeX\ commands begin with a backslash, as in
+% |\documentclass{sffms}| or |\frenchspacing|. \LaTeX\ environments
+% begin with a |\begin| command and end with an |\end| command.
+% Two \LaTeX\ environments that may be of use are
+% |verse| and |quotation|:
+%\begin{verbatim}
+%\begin{verse}
+%First line of your verse,\\
+%Second line\\
+%Third line
+%
+%Beginning of a new stanza\\
+%Etc.
+%\end{verse}
+%\end{verbatim}
+%
+%\begin{verbatim}
+%\begin{quotation}
+%Put normal paragraphs of text here, separated by blank lines as usual.
+%They will be indented from the margins, and each paragraph will
+%be indented.
+%\end{quotation}
+%\end{verbatim}
+% Long quotes or verse can be single-spaced, but by default they are
+% not. See the section
+% on environments for details. Underlining and boldface are also
+% discussed in a later section.
+%
+%
+% \section{Declaration of Options}
+%
+% The |sffms| class has several {\em options} which change the
+% appearance of the output. To use an option, enclose it in
+% brackets in the |documentclass| declaration in the first line
+% of your story file. Separate multiple options with commas.
+% For example, to use the |novel| and |baen| options, the first line
+% of the file should read:
+%\begin{verbatim}
+%\documentclass[novel,baen]{sffms}
+%\end{verbatim}
+%
+% \subsection{The Submission Options}
+%
+%\DescribeOption{submission}
+% The |submission| option is now the default and need not be
+% declared. This option causes the document to be typeset in
+% manuscript format, with double spacing, one-inch margins,
+% and a fixed-width font. All |sffms|
+% options except |nonsubmission| may be used with the submission
+% option, though |submission| plus |notitle| will make the output
+% format nonstandard. (Editors want titles.)
+%
+%\DescribeOption{novel}
+% There isn't much difference between a novel and a short story in
+% sf/f manuscripts. The short story begins on the title page,
+% while the novel begins on a fresh page. A novel may also have a
+% synopsis.
+% Use the |novel| option for a novel. If the |novel| option is
+% {\em not\/} used, the text will be typeset as a short story.
+%
+% The |sffms| class now includes publisher-specific options for
+% certain publishers whose
+% requirements differ slightly from the default |submission| style.
+% In all other respects, the story is treated as a normal submission.
+% Publishers' guidelines may change, so check that these options do
+% what you need them to do before using them.
+%
+%\DescribeOption{baen}
+% The |baen| option uses $1\,\frac{1}{2}$|"| margins rather than 1|"|.
+% Baen Books' requirements are available on-line (|www.baen.com/FAQS.htm|).
+%\begin{verbatim}
+%\documentclass[baen]{sffms}
+%\end{verbatim}
+%
+%\DescribeOption{daw}
+% The |daw| option typesets the address and wordcount on the
+% right-hand side of the first page rather than splitting it across
+% the page. The DAW Books manuscript requirements are available
+% on-line\\
+% (|www.penguinputnam.com/static/packages/us/about/dawsub.htm|).
+%\begin{verbatim}
+%\documentclass[daw]{sffms}
+%\end{verbatim}
+%
+%\DescribeOption{wotf}
+% The |wotf| option uses a full cover page (like that of the novel
+% option) and alters the running header to omit the author's surname,
+% as required by the rules of the Writers of the Future contest
+% (|www.writersofthefuture.com|).
+% Also, the full title is used in the running header, and page
+% numbering begins with the first story page, rather than
+% counting the title page.
+%\begin{verbatim}
+%\documentclass[wotf]{sffms}
+%\end{verbatim}
+%
+% To my knowledge, the default submission format does not violate
+% the guidelines of Tor Books (|www.tor.com/torfaq.html|),\\
+% Analog (|www.analogsf.com/information/submissions.shtml|),\\
+% Asimov's (|www.asimovs.com/info/guidelines.shtml|),\\
+% Fantasy \& Science Fiction (|www.sfsite.com/fsf/glines.htm|),
+% or the Star Trek Strange New Worlds contest.
+%
+% Please be sure to include all required contact information within
+% the |address| command, described below.
+%
+%
+% \subsection{Options for Quotation Marks}
+%
+% The |sffms| class provides two options for handling ``legacy''
+% quotes, be they dumb quotes in a plain text file you want
+% smartened up for a good copy of your latest novel, or \LaTeX\
+% quotes you want to dumb down to give your manuscript that
+% genuine Courier 12-point typewriter feel.
+%
+% Please note that neither of these options will handle
+% non-{\sc ascii} ``smart'' quotation marks in your source file.
+% All non-{\sc ascii} characters must be eliminated by saving
+% the file as plain text. Note that the changes explained below
+% appear in the output only---the source file is never
+% altered.
+%
+%\DescribeOption{smart}
+% The |smart| option turns pairs of normal {\sc ascii}
+% quotation marks (|"|dumb quotes|"|) into \LaTeX\ quotation
+% marks (|``|smart quotes|''|), so that the output file
+% will show true ``smart quotes.'' This option also correctly handles
+% quotations continued between paragraphs.
+%
+%\DescribeOption{dumb}
+% The |dumb| option suppresses \LaTeX\ |``|smart quotes,|''|
+% producing dumb, typewriter-style quotes in the output file
+% rather than the slanted ones that are the default in
+% submission mode.
+% The |dumb| option is not useful with the |nonsubmission|
+% option because only monospaced fonts like Courier include
+% a true dumb quotation mark (|"|) at all.
+% Other fonts may substitute a curly close-quote ('') instead,
+% which looks ''dumber than dumb.''
+%
+% These options are not particularly robust, so they may cause more
+% problems than they solve. {\em Caveat emptor}.
+% They can handle mixed quotation mark styles (\LaTeX\ smart with
+% {\sc ascii} dumb) if the two sorts of marks are balanced---for
+% example, if some chapters use {\sc ascii} quotes and others
+% \LaTeX\ ones, or even if some sentences are smart and others
+% dumb.
+%
+% If these options do not work for you, you can always
+% change the quotation marks in your source file with a good text
+% editor like emacs.
+%
+%
+% \subsection{Non-submission Options}
+%
+%\DescribeOption{nonsubmission}
+% To force a document to be typeset as a normal book or article
+% (that is, without double-spacing or the fixed-width font), use the
+% |nonsubmission| option in your |documentclass| declaration:
+%\begin{verbatim}
+%\documentclass[nonsubmission]{sffms}
+%\end{verbatim}
+%
+%\DescribeOption{notitle}
+% When the |nonsubmission| option is chosen, the |sffms|
+% class creates a default title page. The |notitle| option will
+% remove it, allowing the user to specify his own \LaTeX\ layout;
+% |notitle| is also useful for saving paper.
+%
+% Because |sffms| is based on the standard \LaTeX\ report class, any
+% other \LaTeX\ report class options may be used for non-submissions,
+% including font size
+% options (|10pt|, |12pt|, {\em etc.}), paper size and other useful
+% typesetting options (|twoside|, |twocolumn|, {\em etc.}). Using
+% report-class options together with a |submission| option may
+% generate unexpected results.
+%
+% \subsection{Other Options}
+%
+%\DescribeOption{courier}
+% The |courier| option switches to a 12-point, 10-pitch Courier font
+% that may look better than \LaTeX's default monospaced font,
+% depending on your local \LaTeX\ setup. Try this option if you want
+% a fatter font than the default or if your |pdf| files are looking
+% grainy.
+%
+%\DescribeOption{geometry}
+% The |geometry| option forces |sffms| to use the |geometry| package
+% for page layout. This option is useful for getting around
+% page size problems. See the Troubleshooting section for
+% details.
+%
+%\DescribeOption{a4paper}
+%\DescribeOption{letterpaper}
+% If you use geometry with the intent of fixing your papersize,
+% you should declare the desired paper size explicitly.
+% A4 and letter are the most common choices, but other
+% paper sizes may also be used. See the documentation of
+% the geometry package for the full list.
+%
+%
+% \section{Commands}
+%
+% \subsection{Title}
+%
+%
+%\DescribeMacro\title
+% Every story should have a title. You must specify the title
+% using the \LaTeX\ |title| command thus:
+%\begin{verbatim}
+%\title{The Hobbit: or There and Back Again}
+%\end{verbatim}
+%
+%\DescribeMacro\runningtitle
+% In |submission| format, a short form of
+% the title is placed in the page header at the top right of
+% each page.
+% If your title is long, specify the desired short form thus:
+%\begin{verbatim}
+%\runningtitle{The Hobbit}
+%\end{verbatim}
+% If you fail to provide a |runningtitle|, your |title| will be
+% used instead, no matter how long it is.
+%
+% \subsection{Author}
+%
+%\DescribeMacro\author
+% Every story must also have an author. The name included in the
+% \LaTeX\ |author| command is used in the bylines on the title
+% page and synopsis page.
+% If you use a pseudonym, you may wish to put it here.
+%\begin{verbatim}
+%\author{Lois McMaster Bujold}
+%\end{verbatim}
+%
+%\DescribeMacro\authorname
+% A separate command, |authorname|, is provided for use with
+% your mailing address. It might be wise to put your real name
+% here. If you omit the |authorname| command, the value of
+% |author| will be used with your mailing address.
+%\begin{verbatim}
+%\authorname{Lois Bujold}
+%\end{verbatim}
+%
+%\DescribeMacro\surname
+% Like |runningtitle|, |surname| is used in page headers. Whose
+% surname goes in |surname| is up to you.
+%\begin{verbatim}
+%\surname{Bujold}
+%\end{verbatim}
+% If you omit |surname|, the full value of |author| will be used.
+%
+% \subsection{Other Information}
+%
+%\DescribeMacro\address
+% Your mailing address for the title page is specified with
+% the |address| command. Separate lines with the \LaTeX\
+% linebreak symbol |\\| thus:
+%\begin{verbatim}
+%\address{One Vor Way\\
+% Vor. Surleau\\
+% VKD 28945}
+%\end{verbatim}
+% Other requested contact information (such as a phone number
+% or email address) should be included here.
+%
+%\DescribeMacro\wordcount
+% Your word count should also be included on the title page.
+% An approximate word count based on the number of pages will
+% appear automatically. However, the automatic word count is
+% not rounded off (much) and ought to be replaced by your own
+% rounded-up opinion of the word count. The |\wordcount| command
+% is used to set the value manually thus:
+%\begin{verbatim}
+%\wordcount{85,000}
+%\end{verbatim}
+% The automatic word count is generated by multiplying the page
+% count (not including a novel synopsis) by either 250 or 295,
+% depending on the font pitch and margin size. The latter
+% figure was obtained by taking a typical page of one of the
+% author's stories, finding the average number of characters
+% per line (71), dividing by six (a ``word''), multiplying by
+% the number of lines on a full page (25), and rounding off.
+% You may wish to repeat this process or a similar one for your
+% own stories, since a4 paper and partial pages (among other
+% things) were not taken into account.
+%
+%\DescribeMacro\disposable
+% The |disposable| command causes the words ``Disposable Copy''
+% to be printed under the word count on the title page of
+% submissions.
+%
+% \subsection{Sectioning Commands}
+%
+%\DescribeMacro\newscene
+% For short stories, the only breaks should be scene breaks.
+% Place the |newscene| command wherever you want a scene break.
+%\begin{verbatim}
+%...the last few words of the previous scene.
+%
+%\newscene
+%
+%Time to start a new scene...
+%\end{verbatim}
+% This command inserts the proper scene break character, a
+% centered hash mark (|#|), in
+% submissions, and a blank line in non-submissions.
+%
+%\DescribeMacro\sceneseparator
+% If you would prefer to use a different scene separator, such
+% as |*****|, the |sceneseparator| command will change it.
+%\begin{verbatim}
+%\sceneseparator{$\star\star\star\star\star$}
+%\end{verbatim}
+% Beware of \LaTeX\ special characters when using this command.
+%
+%\DescribeMacro\chapter
+% For a novel, you can use both chapters and scenebreaks. The
+% \LaTeX\ chapter commands have been redefined in |sffms| to
+% fit the |submission| format. Begin a new chapter thus:
+%\begin{verbatim}
+%\chapter{Miles High}
+%\end{verbatim}
+%\DescribeMacro{\chapter*}
+% The \LaTeX\ |\chapter*| command also works in submissions.
+% It creates an unnumbered chapter, such as a preface or
+% appendix.
+%\begin{verbatim}
+%\chapter*{Preface}
+%\end{verbatim}
+%
+%\DescribeMacro\thirty
+% Last, but not least, comes the end. The default
+% end-of-story symbol, five hash marks (|# # # # #|), is inserted
+% automatically at the end of your story. To change it, use the
+% |thirty| command.
+%\begin{verbatim}
+%\thirty{The End}
+%\end{verbatim}
+%
+% \subsection{Italics, Boldface and Small Caps}
+%
+% In submission mode, italicized text is automatically converted
+% to underlined text. Boldface is replaced
+% by wavy underlining and small caps by double underlining.
+%
+%\DescribeMacro\em
+% The |\em| command may be used for single italicized words; it
+% goes inside the braces with the word, thus:
+%\begin{verbatim}
+%I can't believe that {\em you}, of all people...
+%\end{verbatim}
+% This produces underlining by default and italics in
+% non-submissions.
+%\DescribeMacro\emph
+% To underline (italicize) anything from a word to a paragraph,
+% use the |\emph| command. With |\emph|, the curly braces come
+% after the command.
+%\begin{verbatim}
+%\emph{I can't believe that they, of all people...}
+%\end{verbatim}
+%\DescribeMacro\thought
+% The |\thought| command works exactly like |\emph|, but may
+% be useful to the author for distinguishing between normal
+% italics and italicized thoughts within the source file.
+% To italicize more than one paragraph, use one |\emph|
+% or |\thought| per paragraph.
+%
+%\DescribeMacro\bfseries
+%\DescribeMacro\textbf
+% The |\bfseries| font declaration and the |\textbf| font command
+% will produce boldface in
+% non-submissions and wavy underlines in |submission| mode. The
+% font declaration goes inside the curly braces and the font
+% command outside, thus:
+%\begin{verbatim}
+%I can't believe that {\bfseries you}, of \textbf{all people}...
+%\end{verbatim}
+%
+%\DescribeMacro\scshape
+%\DescribeMacro\textsc
+% The |\scshape| font declaration and the |\textsc| font command
+% will produce small caps in
+% |nonsubmission| mode and double-underlined text in submissions.
+% They work exactly like the corresponding boldface commands:
+%\begin{verbatim}
+%I can't believe that {\scshape you}, of \textsc{all people}...
+%\end{verbatim}
+%
+% Since they can be used for individual words as well as phrases
+% and paragraphs, you may wish to use |\emph{}|, |\textbf{}|,
+% and |\textsc{}| in all cases to avoid confusion.
+%
+% \subsection{Other Commands}
+%
+%\DescribeMacro\ifsubmission
+% The |ifsubmission| command is used to hide latex code or text.
+% The first argument is evaluated for submissions, and ignored
+% otherwise, and vice versa for the second. It can be used in
+% various ways.
+%\begin{verbatim}
+%\ifsubmission{}{Some comments to myself...}
+%\end{verbatim}
+%\begin{verbatim}
+%\ifsubmission{\thirty{-30-}}{
+% \setlength{\textheight}{8.5in}
+% \setlength{\topmargin}{0in}
+%}
+%\end{verbatim}
+%
+%\DescribeMacro\submit
+% Two commands are provided as a convenient shorthand for the
+% |\ifsubmission| command. They take one argument each.
+% Text or commands inside a |\submit| command will be used
+% only for submissions,
+%\DescribeMacro\nosubmit
+% and that in a |\nosubmit| will be used only for
+% non-submissions. For example, the following command is
+% equivalent to the first |\ifsubmission| command above.
+%\begin{verbatim}
+%\nosubmit{Some comments to myself...}
+%\end{verbatim}
+%
+%\DescribeMacro\msheading
+% If for some reason you wish to deviate from the standard running
+% page headings, you can use the |\msheading| command to change
+% them. To remove headings entirely, use the command:
+%\begin{verbatim}
+%\msheading{}
+%\end{verbatim}
+% To keep just the page number, use:
+%\begin{verbatim}
+%\msheading{\thepage}
+%\end{verbatim}
+% To add more space between the default heading parts, use:
+%\begin{verbatim}
+%\msheading{\getsurname\ /\ \getrunningtitle\ /\ \thepage}
+%\end{verbatim}
+% For page numbers of the form ``Page 3 of 135,'' use:
+%\begin{verbatim}
+%\msheading{\pageofpages}
+%\end{verbatim}
+% (Check the code for |\pageofpages| to see how it was done.)
+% Reckless use of the |\msheading| command may cause \LaTeX\
+% errors.
+%
+% Any other \LaTeX\ commands may be used for non-submissions.
+% Using them for submissions may generate unexpected results.
+%
+%
+% \section{Environments}
+%
+%\DescribeEnv{synopsis}
+% The only new \LaTeX\ environment in |sffms| is |synopsis|,
+% intended for use with novels.
+% In |submission| mode, the synopsis is typeset
+% single-spaced with roman numerals for page numbers to distinguish
+% it from the rest of the novel.
+%\begin{verbatim}
+%\begin{synopsis}
+%Summarize your novel here.
+%\end{synopsis}
+%\end{verbatim}
+% The synopsis can be placed anywhere after the |\begin{document}|
+% command. The synopsis environment can
+% also be used without the |novel| option.
+%
+%\DescribeEnv{singlespace}
+% The |singlespace| and |doublespace| environments are inherited
+% from the |setspace| package which is provides the doublespacing
+% for |sffms|. The following will single-space a poem, for example:
+%\begin{verbatim}
+%\begin{singlespace}
+%\begin{verse}
+%Oh, what a bore,\\
+%To be a Vor.
+%\end{verse}
+%\end{singlespace}
+%\end{verbatim}
+% (See the \LaTeX\ Tricks section for an explanation of the |verse|
+% and |quotation| environments.)
+% You should not need the |doublespace| environment, but it works the
+% same way.
+%
+%
+% \section{Troubleshooting}
+%
+% Problems with |sffms| are usually caused by typos in the source
+% file or by a local \LaTeX\ misconfiguration. This section
+% covers the most common issues.
+%
+% \subsection{Processing Errors}
+%
+% If \LaTeX\ complains that it cannot find one or more of |sffms|,
+% |fancyhdr|, |setspace|, |ulem|, or |geometry|, they may not
+% have been installed in the correct directory. If you cannot find
+% the correct spot, or if you are working on a public server
+% where you do not have permission to install new \LaTeX\ packages,
+% you can always put all required files in the folder where the
+% the story file itself is located. \LaTeX\ will find them
+% automatically.
+%
+% If, in particular, \LaTeX\ cannot find |sffms.cls|,
+% |sffdumb.sty|, |sffsmart.sty|, or
+% |geometry.sty|, these files may not have been extracted from
+% |sffms.dtx| or |geometry.dtx|. To create the appropriate files,
+% run latex on |sffms.ins| or |geometry.ins|, respectively,
+% as described in the section on installing |sffms|.
+%
+% The first time you run latex on a new story, you may see a
+% warning that `sffmswc' is undefined and a message telling you
+% to latex the file a second time. This is normal latex behavior.
+% You should latex the file a second time.
+%
+% If \LaTeX\ gives you underfull errors, you can ignore them.
+% If you get overfull errors, you can ignore the small ones
+% (under 5 or 10 points), but for large ones, you should locate
+% the problem line in the source file (by line number) or in the
+% output (by looking for lines that poke out into the margin or
+% end suddenly in with black box). If the overflow is large
+% you may want to split the problematic line or a word manually
+% using |\\|.
+% Normally, \LaTeX\ hyphenates words on its own, but hyphenation
+% is suppressed in submission mode. You should wait until your
+% story is in a final form before twiddling with overfull errors.
+%
+% Font errors can generally be ignored. If you do not like the
+% appearance of the default font, see the section below on appearance
+% issues.
+%
+% In cases where \LaTeX\ halts with an error, read the error
+% message carefully and then type |x| at the question-mark prompt
+% to exit.
+% Return to your story file and locate the section that caused
+% the problem, using either the wording or the line number
+% shown in the error message to help you track it down.
+% Check that you have closed all curly braces and have not
+% accidentally used a special character like |$| or |&|, or
+% misspelled a command. See the \LaTeX\ Basics section for
+% a full list of reserved characters.
+%
+% If you get a cryptic error like ``There's no line here to end''
+% while using the |daw| option,
+% be sure you've included at least a |title|, |author|, and
+% |address|.
+%
+% \subsection{Margin Problems}
+%
+% Margin problems are almost always caused by an incorrect default
+% paper size setting within your \LaTeX\ installation. Several
+% popular \LaTeX\ installations come with |a4| set as the default
+% paper size. Before you blame \LaTeX, however, be sure you
+% understand what |sffms| is supposed to do.
+%
+% For a submission, the bottom margin should be about the same
+% as the side margins---one inch. The running page header with
+% your name, title and the page number pokes up into the top
+% margin, making it appear to be less than an inch on the right
+% side. Everywhere else, however, it should be an inch, or an
+% inch and a half if you are using the |baen| option.
+%
+% If you still think your top margin is too small and the bottom
+% too big, the problem is almost certainly due to your default
+% paper size setting. You can use the |geometry| option to
+% attempt to force the correct paper size, thus:
+%\begin{verbatim}
+%\documentclass[geometry,letterpaper]{sffms}
+%\end{verbatim}
+%
+% You can add papersize flags to certain commands, such as |dvips|,
+% to work around these problems, but the best approach
+% is to fix your default paper size once and for all, especially if
+% you intend to use the |nonsubmission| option
+% or if the geometry option fails.
+%
+% If you are using MiKTeX or a version of teTeX besides the one
+% installed with TeXShop, you may need to change your
+% default paper size to letter paper.
+% For teTeX, you should be able to adjust this setting
+% either during the installation process or afterwards
+% with the |texconfig| command:
+%\begin{verbatim}
+%texconfig dvips paper letter
+%texconfig xdvi us
+%\end{verbatim}
+% You may also need to edit the \\
+% |/usr/local/teTeX/share/texmf/pdftex/config/pdftex.cfg|
+% file as described below for MiKTeX. The changes are the same.
+%
+% You can fix pdf output in MiKTeX by editing the file \\
+% |\texmf\pdftex\config\pdftex.cfg| in your
+% text editor, replacing the lines
+%\begin{verbatim}
+%page_width 210 true mm
+%page_height 297 true mm
+%\end{verbatim}
+% with the following:
+%\begin{verbatim}
+%page_width 8.5 true in
+%page_height 11 true in
+%\end{verbatim}
+% You can fix postscript output by editing the file \\
+% |\texmf\dvips\config\config.ps|, changing
+%\begin{verbatim}
+%@ A4size 210mm 297mm
+%@+ %%PaperSize: A4
+%
+%@ letterSize 8.5in 11in
+%\end{verbatim}
+%to read only:
+%\begin{verbatim}
+%@ letterSize 8.5in 11in
+%@+ %%PaperSize: Letter
+%\end{verbatim}
+% You may still see a problem if you view dvi files in Yap.
+% In that case, open View $\vert$ Options... $\vert$ Display in the
+% Yap menu and change the paper size setting to letter paper.
+% Another possible, but unlikely, culprit is
+% |\texmf\dvipdfm\config\config|, in which you may wish to change
+% |p a4| to |p letter|.
+%
+%
+%
+% \subsection{Other Appearance Issues}
+%
+% If your PDF output looks grainy, try using the |courier| option.
+%
+% If you get a wordcount of |??|, you probably forgot to latex
+% your file twice. Latex the file a second time.
+%
+% Problems with underlining for italics and boldface have a
+% couple of likely causes.
+% The (required) |ulem.sty| package does not officially
+% support underlining across paragraph breaks, so for
+% long stretches of underlined text, you should use a separate
+% font command for each paragraph. You should use the |\emph|
+% |\textbf| or |\textsc| font commands for multiple words, rather
+% than the |\em|, |\bfseries| or |\scshape| font declarations.
+% Also, other \LaTeX\ font commands which produce boldface,
+% italics or slanted text, such as |\bf|, |\it|, or |\slshape|,
+% are not supported by |sffms| and will not be converted
+% properly to underlined text.
+%
+%
+% \section{Credits}
+%
+% Many thanks to Kevin Russell for writing |sfms.cls|, which
+% was itself inspired by code posted by Michael Grant
+% to {\tt rec.arts.sf.composition} in July 2000.
+%
+% The code for |sffsmart.sty| was adapted from |quote.sty| by
+% Hunter Goatley, available from {\sc ctan}.
+%
+% The code for |sffdumb.sty| was adapted from code posted to
+% |comp.text.tex| by Donald Arseneau and improved by advice from
+% the same source.
+%
+% Manuscript-style underlining is provided by |ulem.sty| by
+% Donald Arseneau. Double-spacing is provided by |setspace.sty|
+% by (at least) Geoffrey Tobin and Erica Harris. Running
+% headers are provided by |fancyhdr.sty| by Piet van Oostrum.
+% The geometry option loads |geometry.sty| by Hideo Umeki.
+%
+% Posts to |comp.text.tex| and |rec.arts.sf.composition|,
+% and email from users, notably Daniel Richard G., aided the
+% development of |sffms|. Any remaining errors are my own.
+%
+% \StopEventually{%
+% \ifmulticols
+% \addtocontents{toc}{\protect\end{multicols}}
+% \fi
+% }
+%
+% \begin{macrocode}
+%<*sffms>
+
+\newcounter{wordcounter}
+\newcount\wordc
+\newif\ifsffms@submit
+\newif\ifsffms@novel
+\newif\ifsffms@smart
+\newif\ifsffms@dumb
+\newif\ifsffms@notitle
+\newif\ifsffms@courier
+\newif\ifsffms@baen
+\newif\ifsffms@daw
+\newif\ifsffms@wotf
+\newif\ifsffms@runningtitle
+\newif\ifsffms@surname
+\newif\ifsffms@afour
+\newif\ifsffms@geometry
+\sffms@submittrue
+
+\sfcode`\" = 0
+
+\def\word@count{\ref{sffmswc}}
+\def\author@name{\@author}
+\def\author@address{}
+\def\sur@name{}
+\def\running@title{}
+\def\scenesepstring{\#}
+\def\thirtystring{\# \# \# \# \#}
+\def\disposablestring{}
+\def\pageofpages{Page {\thepage} of \pageref{sffmswc}}
+\def\msheadstring{\getsurname\hspace{.5ex}/\hspace{.5ex}\getrunningtitle\hspace{.5ex}/\hspace{.5ex}\thepage}
+
+\DeclareOption{courier}{%
+ \sffms@couriertrue%
+ \AtBeginDocument{
+ \fontfamily{pcr}\selectfont
+ \renewcommand{\ttdefault}{pcr}
+ \renewcommand{\bfdefault}{pcr}
+ \renewcommand{\itdefault}{pcr}
+ \renewcommand{\sldefault}{pcr}
+ \renewcommand{\scdefault}{pcr}
+ \renewcommand{\updefault}{pcr}
+ }
+}
+
+\DeclareOption{nonsubmission}{\sffms@submitfalse}
+\DeclareOption{submission}{\sffms@submittrue}%obsolete
+\DeclareOption{novel}{\sffms@noveltrue}
+
+\DeclareOption{smart}{%
+ \sffms@smarttrue%
+ \AtBeginDocument{\begindoublequotes}
+ \AtEndDocument{\enddoublequotes}
+}
+
+\DeclareOption{dumb}{\sffms@dumbtrue}
+\DeclareOption{notitle}{\sffms@notitletrue}
+
+\DeclareOption{baen}{\sffms@baentrue}
+\DeclareOption{daw}{\sffms@dawtrue}
+\DeclareOption{wotf}{\sffms@wotftrue}
+
+\DeclareOption{geometry}{\sffms@geometrytrue}
+
+\DeclareOption{a4paper}{
+ \sffms@afourtrue%
+ \PassOptionsToClass{\CurrentOption}{geometry}
+ \PassOptionsToClass{\CurrentOption}{report}}
+
+\DeclareOption{letterpaper}{
+ \sffms@afourfalse%
+ \PassOptionsToClass{\CurrentOption}{geometry}
+ \PassOptionsToClass{\CurrentOption}{report}}
+
+
+\DeclareOption*{\PassOptionsToClass{\CurrentOption}{report}}
+\ProcessOptions
+
+
+
+\ifsffms@submit%
+ \LoadClass[12pt]{report}
+ \RequirePackage[T1]{fontenc}
+ \RequirePackage{fancyhdr}
+ \RequirePackage{ulem}
+ \RequirePackage{setspace}\setstretch{1.83}
+ \ifsffms@geometry
+ \ifsffms@baen \RequirePackage[hmargin=1.5in,bmargin=1.5in,tmargin=1.5in,headheight=.38in,headsep=.12in,nofoot]{geometry}%
+ \else \RequirePackage[hmargin=1in,bmargin=1in,tmargin=1in,headheight=.88in,headsep=.12in,nofoot]{geometry}%
+ \fi%endbaenif
+ \fi%endgeometryif
+\else\LoadClass{report}%
+ \RequirePackage{setspace} \fi
+
+\ifsffms@smart \RequirePackage{sffsmart} \fi
+\ifsffms@dumb \RequirePackage{sffdumb} \fi
+
+\ifsffms@submit%
+ \ifsffms@geometry% then margins are all set so do nothing
+ \sffms@geometrytrue
+ \else% have to set margins manually from paperdim
+ \setlength\headheight{.38in}
+ \setlength\headsep{.12in}
+ \setlength\textwidth{\paperwidth}
+ \newlength{\sffms@margin}
+ \setlength{\sffms@margin}{0in}
+ \ifsffms@baen \addtolength{\sffms@margin}{.5in} \fi
+ \setlength\textwidth{\paperwidth}
+ \addtolength\textwidth{-2in}
+ \addtolength\textwidth{-2\sffms@margin}
+ \setlength\oddsidemargin{\sffms@margin}
+ \setlength\textheight{\paperheight}
+ \addtolength\textheight{-2in}
+ \addtolength\textheight{-2\sffms@margin}
+ \setlength\topmargin{\sffms@margin}
+ \addtolength\topmargin{-.5in}
+ \fi%
+\fi%
+
+
+\newcommand{\authorname}[1]{\def\author@name{#1}}
+\newcommand{\address}[1]{\def\author@address{#1}}
+\newcommand{\wordcount}[1]{\def\word@count{#1}}
+\newcommand{\surname}[1]{\def\sur@name{#1} \sffms@surnametrue}
+\newcommand{\runningtitle}[1]{\def\running@title{#1} \sffms@runningtitletrue}
+\newcommand{\sceneseparator}[1]{\def\scenesepstring{#1}}
+\newcommand{\thirty}[1]{\def\thirtystring{#1}}
+\newcommand{\disposable}{\def\disposablestring{Disposable~Copy}}
+\ifsffms@wotf%
+ \def\msheadstring{\MakeUppercase{\@title}\hspace{.5ex}/\hspace{.5ex}\thepage} \fi%
+\newcommand{\msheading}[1]{\def\msheadstring{#1}}
+
+\newcommand{\penname}[1]{} % obsolete
+\newcommand{\getpenname}{\@author} % obsolete
+
+\newcommand{\getrunningtitle}{\ifsffms@runningtitle%
+ \MakeUppercase{\running@title}%
+ \else \MakeUppercase{\@title}%
+\fi}
+
+\newcommand{\getsurname}{\ifsffms@surname%
+ \sur@name \else \@author \fi}
+
+\ifsffms@submit%
+\newcommand{\newscene}{\centerline {\scenesepstring}}
+ \newcommand{\ifsubmission}[2]{#1}%
+\else \newcommand{\newscene}{\vspace{1\baselineskip}}
+ \newcommand{\ifsubmission}[2]{#2} \fi
+
+\newcommand{\submit}[1]{\ifsubmission{#1}{}}
+\newcommand{\nosubmit}[1]{\ifsubmission{}{#1}}
+
+\newcommand{\scenebreak}{\newscene}
+
+\newcommand{\thought}[1]{\emph{#1}}
+
+
+\ifsffms@submit
+ \AtBeginDocument{
+ \ttfamily
+ \useunder{\uwave}{\bfseries}{\textbf}%ulem command for boldface
+ \useunder{\uuline}{\scshape}{\textsc}%ulem command for smallcaps
+ \renewcommand\chapter{\if@openright\clearpage\else\cleardoublepage\fi
+ \secdef\@chapter\@schapter}
+ \def\@makechapterhead#1{\vspace*{4\baselineskip}
+ \begin{center}\@chapapp\space\thechapter\\ #1 \end{center}
+ \vspace*{1\baselineskip}}
+ \def\@schapter#1{%
+ \if@twocolumn\@topnewpage[\@makeschapterhead{#1}]%
+ \else\@makeschapterhead{#1}\@afterheading\fi}
+ \def\@makeschapterhead#1{\vspace*{4\baselineskip}
+ \begin{center} #1 \end{center} \vspace*{1\baselineskip}}
+ }%
+\fi
+
+\ifsffms@novel%
+ \newcounter{tempcounter}
+ \newenvironment{synopsis}
+ {\setcounter{tempcounter}{\value{page}}
+ \pagenumbering{roman}
+ \singlespace
+ \chapter*{Synopsis of \MakeUppercase{\@title}}}
+ {\clearpage \setcounter{page}{\value{tempcounter}}
+ \pagenumbering{arabic} \pagestyle{fancy}}%
+\else \newenvironment{synopsis}{SYNOPSIS: }{\scenebreak} \fi
+
+\newcommand{\sffms@commonsubsetup}%
+{\pagestyle{fancy}
+ \fancyhead[r]{{\ttfamily \msheadstring}}
+ \fancyfoot{}
+ \renewcommand{\headrulewidth}{0pt}
+ \renewcommand{\footrulewidth}{0pt}
+ \raggedright
+ \settowidth{\parindent}{\texttt{~~~~~}}
+}
+
+
+\AtBeginDocument{
+\ifsffms@notitle%
+ \ifsffms@submit \sffms@commonsubsetup \fi%
+ \else%
+ \ifsffms@submit%beginning of + 2nd submit if
+ \sffms@commonsubsetup
+ \thispagestyle{empty}
+ \newsavebox{\sffms@fronttopsavebox}
+ \begin{lrbox}{\sffms@fronttopsavebox}
+ \begin{minipage}[t]{\textwidth}
+ \begin{singlespace}%
+ \ifsffms@daw \hfill\parbox[t]{.40\textwidth}{\raggedright\author@name\\%
+ \author@address\\[\baselineskip]%
+ \word@count\ words\\ \disposablestring}%
+ \else%
+ \parbox[t]{.65\textwidth}{\author@name\\\author@address}\hfill
+ \parbox[t]{.30\textwidth}{\raggedleft\word@count\ words\\[\baselineskip]%
+ \disposablestring}%
+ \fi%
+ \end{singlespace}
+ \end{minipage}
+ \end{lrbox}
+ \noindent\raisebox{0pt}[0pt][0pt]{\usebox{\sffms@fronttopsavebox}}
+ \vspace{0.39\textheight}
+ \begin{center}\MakeUppercase{\@title}\\by \@author\end{center}
+ \vspace{1\baselineskip}%
+ \else \maketitle \setcounter{page}{2} \fi%
+ \ifsffms@wotf \setcounter{page}{0} \clearpage%
+ \else \ifsffms@novel\clearpage\fi%
+ \fi%
+\fi%
+}
+
+\AtEndDocument{\vspace{12pt}\centerline{\thirtystring}%
+ \ifsffms@submit%
+ \wordc=\thepage%
+ \ifsffms@courier \multiply\wordc by 250%
+ \else \ifsffms@baen \multiply\wordc by 250%
+ \else \multiply\wordc by 295 \fi \fi%
+ \setcounter{wordcounter}{\the\wordc}%
+ \addtocounter{wordcounter}{-1}%
+ \refstepcounter{wordcounter}%
+ \fi%
+ \label{sffmswc}%
+}
+%</sffms>
+% \end{macrocode}
+% \begin{macrocode}
+%<*smart>
+{%
+\catcode`\"=\active
+\catcode`\@=11
+\gdef\begindoublequotes{%
+ \global\catcode`\"=\active
+ \global\chardef\dq=`\"
+ \global\let\dblqu@te=L
+ }
+\gdef"{\ifinner\else\ifvmode\let\dblqu@te=L\fi\fi
+ \if L\dblqu@te``\global\let\dblqu@te=R%
+ \else
+ \let\xxx=\spacefactor
+ ''\global\let\dblqu@te=L%
+ \spacefactor\xxx
+ \fi
+ }
+}
+
+\gdef\enddoublequotes{\catcode`\"=12}
+%</smart>
+%<*dumb>
+\def\dumbquote{\afterassignment"\let\next= }
+\sfcode`\" = 0
+\def\rquote{'}
+\def\lquote{`}
+\catcode`'=\active \def'{\actrq}
+\catcode``=\active \def`{\actlq}
+\def\rqtest{\ifx\next'\let\next=\dumbquote\else\let\next=\rquote\fi\next}
+\def\lqtest{\ifx\next`\let\next=\dumbquote\else\let\next=\lquote\fi\next}
+\def\actrq{\futurelet\next\rqtest}
+\def\actlq{\futurelet\next\lqtest}
+%</dumb>
+% \end{macrocode}
+%
+% \Finale
+\endinput
+
diff --git a/macros/latex/contrib/sffms/sffms.ins b/macros/latex/contrib/sffms/sffms.ins
new file mode 100644
index 0000000000..67b2245ca7
--- /dev/null
+++ b/macros/latex/contrib/sffms/sffms.ins
@@ -0,0 +1,10 @@
+\input docstrip
+%\askonceonly
+\askforoverwritefalse
+
+\generate{\file{sffsmart.sty}{\from{sffms.dtx}{smart}}
+ \file{sffdumb.sty}{\from{sffms.dtx}{dumb}}
+ \file{sffms.cls}{\from{sffms.dtx}{sffms}}
+ }
+
+\endbatchfile \ No newline at end of file
diff --git a/macros/latex/contrib/sffms/sffms_manual.pdf b/macros/latex/contrib/sffms/sffms_manual.pdf
new file mode 100644
index 0000000000..5ae47343ee
--- /dev/null
+++ b/macros/latex/contrib/sffms/sffms_manual.pdf
Binary files differ