Yeoman Press
| Zine Publisher | |
|---|---|
| Name: | Yeoman Press |
| Contact: | Johanna Cantor |
| Type: | fanfic |
| Fandoms: | Star Trek: The Original Series |
| Status: | inactive |
| Other: | fanzine publisher |
| URL: | |
| Click here for related articles on Fanlore. | |
Yeoman Press was a zine publisher run by Johanna Cantor.
Published Zines
- Accumulated Leave (1980), adult, reprints from R & R
- Archives #1-6 (1978-1982) reprint zine
- Full Moon Rising by Jean Lorrah (1976), a NTM-universe collection, was published as R & R Special Edition #1
- R &R #1-23 (1976-1985?), adult het
From the Publisher: 1979
The comments below are from R & R #9.
I'm going to take some space now to "announce" some policies. Mind you, I'm not saying this is the way anyone else should operate. It's the way I operate. And I'm open to suggestions. On the other hand, this has worked out pretty well over the months "Yeoman Press" has been in operation. And some matters are simply my choice...
Money and Production
"Yeoman Press" is a fan business. To me, that term means a business oriented to fans, both in material and policy. I differ from many fans, however, in pricing for an operating profit. That profit goes back into "fandom" -- the zine reading portion of fandom -- in the form of reprints and new zines, tho' I do pay myself back for what I consider legitimately related items, such as a part of the typewriter maintenance bills. Please note that I'm not talking about any huge amount—in fact, the postal rate increase in '78 wiped out 18 months of accumulation. A large profit would be "business," but it wouldn't be "fan"—in my opinion.
If you're familiar with Yeoman Press products, you know that my standards for production are low. There's a reason: so are costs, including the costs of the zines that you pay. It seems to me that fanzines are an amateur undertaking. Therefore, in my opinion, they shouldn't cost too much. Fancy bindings, art requiring special techniques.... I admire, and often envy the beautiful zines that seem to be coming into fashion. But my priorities are (1) appearing reasonably close to schedule and (2) keeping costs as low as possible with the methods I have time for. To me, the proof of the zines is in the reading. I try to present submissions attractively— or at least adequately. But I'm much more interested in the contents than the packaging.
Content and Age Statements
There is no age requirement for ordering YP materials, with the exception of FULL MOON RISING which, at the author's request, is not for sale to people under 16. You'll sometimes see an age statement listed in other zines' ads. That's because an age statement is that editor's way of indicating "adult material." I have a constitutional preference (which has gotten me into trouble more than once) for calling a spade a spade. R&R has some stories which contain sexually explicit material, which may be offensive to some. Read at your own discretion. To me, that makes more sense than an age statement. Some 12 year olds are quite capable of enjoying material that goes far beyond anything I'd care to read. It's entirely up to the individual, I think.
Archives is G rated. To me, that means my Grandmother. "Archives" doesn't contain anything my grandmother would find offense. Your grandmother probably has different tastes.
[snipped]
I'm not interested in stories where there's sex just for sex's sake (any more than I'd want a story which consisted entirely of some character's brushing his teeth). There is one exception, though—I do love good bawdy.
Editing
I edit stories, sometimes rather rigorously. I happen to be pretty well trained in grammar, and I also believe in the value of a "second opinion." However, I make no changes without the author's permission. Letters for Care to Debate That are also edited, although of course I'm careful not to change the point you're presenting.
Please include a self addressed stamped envelope for every manuscript you submit. Usually what I do is read through quickly, and then as soon as possible, accept or reject. Then I try to determine which issue the story will run in. In general, I try to use things in the order received, but balance takes precedence. If editing is extensive, I may copy edit your ms. and return it to you for your review. If changes are minor, I may type the final copy (since I can do that and edit in one operation) and send you a xerox. If you don't hear from me between acceptance and printing, you can expect to see your story as you wrote it. If you want your manuscript back, say so.
Copyright
Copyright is yours. Each story is copyright in your name. In affect, you have given the first printing rights (which include the right to reprint in the same format). All other rights are yours. If you want to reprint elsewhere, I'd like to know about it. But you don't need my permission. I don't register copyrights. The act of publication with the copyright notice copyrights the work. If you want to register, fine. Write the Library of Congress for forms. But I don't register my own stories, and I don't see why anyone would feel the need, as registration is simply a documentation of copyright. If some interpretation makes a change in this policy advisable, I'll announce it. But for the moment, that's how it's handled.
Art
Art is generally assigned. If you'd like to be on the list, send me a sample of your work—preferably a xerox I can keep on file. I try to match styles, roughly at least, and assign what an artist has told tne she likes to do. In general, I query. If you're interested in doing the story, get back to me immediately. If I don't hear from you, I'll assign the story elsewhere.
I don't usually give authors review of art. However, If you feel strongly about that, or about who should illo your story, let me know. We'll see what can be worked out.
Art must be suitable for offset. This usually means line drawings on white paper, done with black ink. See "So You Want To Be A Fan Artist" by Bev Zuk, in Archives I. I am increasingly using xeroxes for the actual printing, so if you want to send me a good xerox and keep the original, fine. If you send me an original, let me know if you want it back. If you do your own trimming, remember that all joins must be whited out or
For R & R, the art is nowhere near as explicit as some of the stories. There's a reason for that, too. I always get impatient when people complain about sexually explicit stories, because nobody forced them to read on. If a reader finds a story is going past her own personal threshold of acceptability, she can stop reading. Art, on the other hand, is grasped almost immediately. There isn't the same opportunity for self determination. So "erotic," fine. But no male frontal nudity, please (I don't know why that shocks more than female nudity, but it does), and in general— be gentle.
Contributors get one free oopy of any issue their work appears in.