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+% Save file as: LOSAMPLE.TEX Source: FILESERV@SHSU.BITNET
+%% TITLE.TEX %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\begingroup
+\font\HUGE=cmss17 %scaled\magstep2
+
+\pageheader{}{}{}
+\pagefooter{}{}{}
+
+\setbox0=\vbox{\hsize=2.25in
+ \vskip4.25in
+ {\baselineskip=21pt
+ \centerline{\HUGE Vol.\ 1\ \ No.\ 4}
+ \centerline{\HUGE June 1990}
+ }
+ }
+
+\vbox to9in{\unvbox0
+
+\vskip 1.75in
+\vfil
+\vbox{\hbox to\hsize{\hfill
+\leftshadowbox{
+ \hsize=6in
+ \vsize=1.75in
+ \vbox to\vsize{
+ \vfil
+ {\baselineskip=19pt
+ \centerline{\HUGE Inside This Issue:}
+ }
+ \vfil
+ \centerline{$\bullet$\ "The State of Where," by \RRM}
+ \centerline{$\bullet$\ An interview with Jeffrey Sackett, by Hunter Goatley}
+ \centerline{$\bullet$\ Interviews with Al Sarrantonio and Kazue Tanaka,
+ by \RRM}
+ \centerline{$\bullet$\ A letters column}
+ \centerline{$\bullet$\ Reports on NECON X and the 1990 WFC}
+ \centerline{$\bullet$\ A Joe R. Lansdale update}
+ \centerline{$\bullet$\ News of \McC's new novel \book{Boy's Life}}
+ \vfil
+ }}
+\hfill}
+\vfil
+}} % End of \vbox
+
+\eject
+\endgroup
+
+%% EDITORIAL.TEX %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% Lights Out! Vol. 2 No. 1
+% Editorial page
+%
+\newbox\edboxone \newbox\edboxtwo % \newbox\edbox3 \newbox\edbox4
+\newdimen\edcolwidth
+
+%
+%\edcolwidth=\pagewidth
+%\advance\edcolwidth by -\wd\edboxone
+%\advance\edcolwidth by -\columnsep
+%\advance\edcolwidth by -\columnsep
+%
+%\setbox\edboxtwo=\vbox to 9in{\hsize\edcolwidth
+%%{\hsize 4in
+\articletitle{"And Now, the End Is Near\edots"}{A Look at the Future by Hunter
+Goatley}
+
+\begincolumns{2}
+\ninepoint \rm
+
+\noindent
+Well, once again, finally! As you all know, I think,
+this issue has been delayed because my family and I moved again, this
+time from Knoxville to Bowling Green, KY. Again, I appreciate your
+patience and understanding.
+
+Each time I go to press, the issue seems to change from what I originally
+intended. I've been telling you for awhile that this issue would feature a new
+McCammon short story---well, it doesn't. It does, however, have an essay
+entitled "The State of Where," written by \McC\ exclusively for \LO\ \ The
+essay describes where McCammon is in his career, and where he's going. I think
+you'll find it interesting.
+
+Now the bad news. As you probably gathered from the title above, I'm
+extinguishing the lights on \LO\ \ Despite my best efforts, finding the time to
+devote to the newsletter is becoming more and more difficult.
+The fact that I've only been able to do three
+issues in the last 13 months shows that something's not right.
+There are several reasons that I won't be able to keep up \LO:
+
+\beginlist\parindent=18pt
+\item{1.)} Production costs have steadily risen as I've moved around the
+ country. The last issue and this one were more expensive than
+ the previous three issues had been; in fact, much of the
+ subscription renewals went to pay for those issues. I also
+ severely
+ over-estimated the growth of \LO---the renewals since June
+ will not cover the cost of four more issues; more on that in
+ a minute.
+\item{2.)} I \slant{like} my job now. In the beginning, \LO\ was a
+ much-needed diversion from a programming job that had become
+ unbearable---only I didn't realize it at the time. Now that
+ I'm out of the "hell-job," I find myself less willing to spend
+ my free time working on \LO
+\item{3.)} I've been stepping up my writing for the technical journal
+ \book{VAX Professional}. Since 1986 I've written 16 articles
+ for them; this year I'm to start a series of programming
+ articles that will probably be published as a book.
+\item{4.)} I'm going to be teaching some programming classes this fall at
+ Western Kentucky University.
+\item{5.)} And most importantly, my almost-two-year-old daughter Margaret
+ wants---and should have---more
+ time to spend with Daddy. Lately, between work and \LO\ she
+ and Dana have had to spend too much time without me---and vice
+ versa.
+\endlist
+
+Since renewals have been lower than anticipated and new subscriptions have been
+virtually non-existent, I cannot afford to publish four more issues of
+\LO---instead of offering refunds, I've decided that there will be one more
+issue of \LO\ sometime later this year. This special issue will be longer than
+previous issues and will be available to \slant{current subscribers only}.
+Book dealers will not be selling them and I won't have any extra copies for
+sale.
+
+Rick McCammon has been a joy to work with, and when I told him of my plans
+to discontinue \LO\ he offered to help me make the last issue very special
+for you. Therefore, the next and final issue of \LO\ will feature not one,
+but \slant{two} excerpts from abandoned \RRM\ novels!
+
+Though Rick once told me that he would never show \book{The Address} to anyone,
+he has volunteered to let me publish what he had written at the time he shelved
+the book. That's about 50 manuscript pages. Rick is also providing me with the
+beginning of \book{The Midnight Man}, a novel he started last year. In addition,
+the issue will feature a brand-new interview with Rick, where we'll discuss
+\book{Boy's Life} and more about Rick's plans for the future. I'll be driving
+to Birmingham in March or April to sit down and talk with Rick, so if you have
+any questions you want me to ask him, please send them soon.
+
+As you can see, I'm planning for \LO\ to go with a {\ss BANG!} And since the
+next issue is for current subscribers only, there won't be very many copies.
+I've got plenty of back issues of issues 2 and 3 sitting around being a fire
+hazard; if you'd like extra copies of those issues, send \$1 for each copy and
+I'll mail them out immediately. The \$1 will cover postage and the envelope(s).
+There are no limits, except that the offer is available only to current
+subscribers. I still have some of issues 1 and 4, but I'm not sure how many;
+let me know if you want those issues and I'll include them as long as they last.
+Please send all correspondence to the address at the bottom of this page. And
+thanks for your patience---the last issue will be out this summer.
+
+\vskip.5\baselineskip \hrule \vskip.5\baselineskip
+{\eightpoint\ss\noindent
+On the cover: the artwork for McCammon's upcoming novel, \book{Boy's Life},
+and a magazine illustration accompanying a Japanese translation of "The Thang."
+\eoa}
+\endcolumns
+
+
+\vfill
+
+\setbox0=\vbox to 1.25in{\hsize=125pt%
+ \vfil\elevenpoint
+ \centerline{\bf Lights Out!}
+ \vfil\hrule\vfil
+ \centerline{The}
+ \centerline{\RRM}
+ \centerline{Newsletter}
+ \vfil \hrule \vfil\ninepoint
+ \line{Vol.~2\ \ No.~1\hfill February 1991\hskip2pt}
+ \vfil
+ }
+
+\setbox1=\vbox to 1.25in{\hsize=120pt%
+ \vfil\vfil
+ \centerline{\ss Published by:}
+ \centerline{\bf Hunter Goatley}
+ \vfil \hrule \vfil
+ \centerline{\LO}
+ \centerline{\POBox}
+ \centerline{\CityState}
+ \centerline{\ZipCode}
+ \vfil\vfil
+ }
+
+\setbox2=\vbox to 1.25in{\hsize=120pt%
+ \vfil\noindent\eightpoint\ss\parindent=6pt\narrower
+ Thanks to Paddy McKillop, Jodi Strissel, Paul Schulz, Adam Rothberg,
+ \& you.
+ Thanks especially to Jeffrey Sackett, Kazue Tanaka, Al Sarrantonio,
+ Joe Lansdale, and Rick \& Sally McCammon.
+ Incredibly special thanks to Dana \& Margaret Goatley!
+ % for putting up with me!
+ \par
+ \vfil}
+
+\setbox3=\vbox to 1.25in{\hsize=125pt%
+ \vfil\noindent\eightpoint\ss\leftskip=6pt
+ This newsletter was typeset on a Digital VAX 6320, using the \TeX\
+ typesetting system developed by Donald~E. Knuth.
+ \par
+ \vfil \hrule \vfil
+ \noindent\smallcopyright\ 1991 by Hunter Goatley. All rights reserved.
+ Permission to reprint required.\par
+ \vfil}
+
+
+\setbox\edboxone=\vbox{\hbox{\box0\vrule\box1\vrule\box2\vrule\box3}}
+
+\setbox\edboxone=\vbox to1.5in{
+ \boxitspace=6pt
+ \vfill
+ \boxit{\unvbox\edboxone}
+ \vfill
+ }
+
+\box\edboxone
+
+\eject % Force a page break
+
+%% KAZUE.TEX %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% TeX file: KAZUE.TEX
+%
+% Desc: Interview with Kazue Tanaka, by Robert R. McCammon
+%
+% Interview Date: 03-NOV-1990
+% Transcription Date: 24-NOV-1990
+%
+\articletitle{Interview: Kazue Tanaka}{Conducted by \RRM; transcribed by Hunter Goatley}
+
+\begincolumns{2}
+\definefigs{2} % Define figures for up to 7 pages
+
+%\definefig{2}{2}{top}{\Certo}
+
+%\definefig{3}{2}{middle}{\Quote{%
+% I think it's a challenge to see the world
+% through different eyes. And I think that's what writing, in a way, is
+% all about.\qRM}}
+
+%\handlefigures
+%
+% "RM:" in 10pt roman is 22.xx pts wide, so let's put these things in boxes
+% that size with about 5pts whitespace following them.
+%
+\def\RM:{\vskip6pt\noindent\hbox to27pt{\bf RM:\hfil}}
+\def\KT:{\vskip6pt\noindent\hbox to27pt{\bf KT:\hfil}}
+
+
+\ednote{Ms.~Kazue Tanaka is a Japanese writer/translator who has translated
+\RRM's stories from \book{Night Visions IV} into Japanese. The following
+interview was conducted at the 1990 World Fantasy Convention, where Ms.~Tanaka
+finished up a month-long visit to the United States. Ms.~Tanaka is currently
+at work translating \McC's 1981 vampire epic, \book{They Thirst}.
+%\hfill\break\vskip-12pt
+}
+
+\RM: I'd like to know how you go about translating, say, one of my books.
+Do you read the book first?
+
+\KT: Yes. Usually I read the book a couple of times and then I start
+translating. Maybe you know that we have a completely different grammatical
+diction from English, so we can't put a word in the same order in Japanese.
+Usually I read a sentence and grasp the meaning of it and reconstruct it in
+Japanese.
+
+\RM: I would think that would be very difficult to do.
+
+\KT: It is!
+
+\RM: I'm sure it is, because there's such a great difference in the grammatical
+form. You have to be very careful, I guess, in terms of reading in English and
+translating to Japanese. That seems to me to be very difficult. How did you
+train to do this?
+
+\KT: Usually we have some kind of mentor or teacher.
+
+\RM: Were you like an apprentice, and someone teaches you to do this?
+
+\KT: Yes. We put the original stories [beside] the translations and compare
+the sentences.
+
+\RM: How long would it take you to translate \book{They Thirst}?
+
+\KT: It depends on how long the story is. \book{They Thirst} will take at
+least three months. How long did it take you to write~it?
+
+\RM: Well, it took about six or seven months to write.
+
+\KT: Maybe I'll need that kind of time, too!
+
+\RM: But it's almost like, if you're interpreting, you're almost doing some
+writing yourself. If you're making something more concise, or---do you do that?
+Are you abridging? Do you think anything gets changed in the translation?
+
+\KT: We try not to change, but sometimes a little change is necessary. We
+don't have some things that you have here in America. For instance, some brand
+names. We don't have the culture of your country, and the Japanese readers
+don't know if I translated correctly, but it is impossible for Japanese readers
+to understand that culture. Maybe, in that case, things get changed sometimes.
+
+\RM: Do you feel that you interpret the story more so your countrymen can
+understand what's going on in the book? Do you think you add more of your
+culture to the story?
+
+\KT: Basically, we don't add anything, we don't take away anything. But in
+that case, we explain [the cultural differences] after the story in an
+afterword.
+
+\RM: How many books have you translated?
+
+\KT: Maybe twelve, or something. Among them, \book{Brain Child}, by John Saul,
+and some mysteries. I'm going to translate some stories of Orson Scott Card's.
+
+\RM: I think it would be very interesting, if I could read Japanese, to read my
+book and see what the changes are. Or how it's geared toward that culture.
+
+\KT: Conversation---when people talk---is very difficult to put
+into Japanese. If the character is a woman, a man, a boy, or a girl, Japanese
+has a very distinctive way of speaking. Especially between a man and woman.
+English does not have as much difference.
+
+\RM: Well, that's fascinating. I think it would be a very tough thing to
+do---to translate something into an entirely different culture and still have
+the flavor of the American version, at least. I wouldn't want to do it---I
+don't think I could do it very well.
+
+\KT: Your stories are very American---that may be why they appeal to Japanese
+readers.
+
+\RM: Really? I was going to ask you why my stories appeal---if they do
+appeal---to Japanese readers. Well, first, I didn't know that horror fiction
+was so popular in Japan. Is it? Is it becoming more popular? What do you
+think the situation is?
+
+\KT: Your [novels] have not been translated at all yet. So, apart from you,
+Stephen King and Dean~R. Koontz are very popular---they are as popular as
+other big writers. Other horror writers are not so well-known. Some very keen
+fans like American horror.
+
+\RM: Why do you think that is? King and Koontz are definitely very American
+writers. Do you think that's their appeal---the American style?
+
+\KT: Yes, I do.
+
+\RM: Not necessarily because of the story being told, but because maybe it's
+told in an American voice?
+
+\KT: Yes, sometimes. I'm still trying to [learn] the American voice---it's
+very hard to do.
+
+\RM: Well, I know that's very tough to do, and I'm looking forward to seeing
+the books when they are translated.
+
+\KT: I'm looking forward to it too!\eoa
+
+\endcolumns
+
+%% NEXTTIME.TEX %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\vfill
+
+\begingroup
+\font\HUGE=cmss17 %scaled\magstep2
+\setbox0=\vbox{\hsize=5in
+ \twelvepoint\ss\noindent%
+ The final issue of \LO\ will feature excerpts from \RRM's unpublished
+ novels \book{The Address} and \book{The Midnight Man}, a brand-new
+ interview with \McC\ about \book{Boy's Life}, more author
+ interviews, and the latest news! Coming Summer 1991!
+ \vfill%
+ }
+
+\centerline{\shadowbox{\vbox to 1in{%
+ \hsize=6in
+ \vfil
+ \offinterlineskip
+ \noindent\hfil\box0\hfil
+ \vfil
+ }}}
+
+\endgroup