The Grantville Gazette - Vol 9 Part 27

1)Encyclopaedia BritannicaEleventh Edition 1910-1911 (Sugar) 2) Adamson, Alan H. (1972).Sugar Without Slaves: The Political Economy of British Guiana, 1838-1904 . Yale University Press.

3) Boxer, C.R.. (1957).The Dutch in Brazil 1624-1654 . Clarendon Press. Oxford.

4) Eisenberg, Peter L (1974) .The Sugar Industry in Pernambuco : Modernization Without Change, 1840-1910 .

5) IENICA: Interactive European Network for Industrial Crops and their Applications http://www.ienica.net/crops/sugarbeet.htm 6) Sugarcane IPMhttp://ipmworld.umn.edu/chapters/meagher.htm 7)Encyclopaedia Britannica 15th edition, 1997 8) An Overview of Florida Sugarcanehttp://edis.ifas.ufl.edu/SC032 9) Rural Migration News: Southeast, Florida Sugar, FLOC: http://migration.ucdavis.edu/rmn/more.php?id=488_0_3_0

Images

Note from Editor: There are various images, mostly portraits from the time, which ill.u.s.trate different aspects of the 1632 universe. In the first issue of theGrantville Gazette, I included those with the volume itself. Since that created downloading problems for some people, however, I've separated all the images and they will be maintained and expanded on their own schedule.

If you're interested, you can look at the images and my accompanying commentary at no extra cost.

They are set up in the Baen Free Library. You can find them as follows:

1) Go towww.baen.com 2) Select "Free Library" from the blue menu at the top.

3) Once in the Library, select "The Authors" from the yellow menu on the left.

4) Once in "The Authors," select "Eric Flint."

5) Then select "Images from the Grantville Gazette."

Contents Submissions to the Magazine

If anyone is interested in submitting stories or articles for future issues of theGrantville Gazette, you are welcome to do so. But you must follow a certain procedure: 1) All stories and articles must first be posted in a conference in Baen's Bar set aside for the purpose, called "1632 Slush. " Donot send them to me directly, because I won't read them. It's good idea to submit a sketch of your story to the conference first, since people there will likely spot any major problems that you overlooked. That can wind up saving you a lot of wasted work.

You can get to that conference by going to Baen Books' web sitewww.baen.com . Then select "Baen's Bar." If it's your first visit, you will need to register. (That's quick and easy.) Once you're in the Bar, the three conferences devoted to the 1632 universe are "1632 Slush," "1632 Slush Comments," and "1632 Tech Manual. " You should post your sketch, outline or story in "1632 Slush." Any discussion of it should take place in "1632 Slush Comments." The "1632 Tech Manual" is for any general discussion not specifically related to a specific story.

2) Your story/article will then be subjected to discussion and commentary by partic.i.p.ants in the 1632 discussion. In essence, it will get chewed on by what amounts to a very large, virtual writers' group.

You donot need to wait until you've finished the story to start posting it in "1632 Slush." In fact, it's a good idea not to wait, because you will often find that problems can be spotted early in the game, before you've put all the work into completing the piece.

3) While this is happening, the a.s.sistant editor of theGrantville Gazette, Paula Goodlett, will be keeping an eye on the discussion. She will alert me whenever a story or article seems to be gaining general approval from the partic.i.p.ants in the discussion. There's also an editorial board to which Paula and I belong, which does much the same thing. The other members of the board are Karen Bergstralh, Rick Boatright, and Laura Runkle. In addition, authors who publish regularly in the 1632 setting partic.i.p.ate on the board as.e.x officio members. My point is that plenty of people will be looking over the various stories being submitted, so you needn't worry that your story will just get lost in the shuffle.

4) At that point-andonly at that point-do I take a look at a story or article.

I insist that people follow this procedure, for two reasons: First, as I said, I'm very busy and I just don't have time to read everything submitted until I have some reason to think it's gotten past a certain preliminary screening.

Secondly, and even more importantly, the setting and "established canon" in this series is quite extensive by now. If anyone tries to write a story without first taking the time to become familiar with the setting, they will almost invariably write something which-even if it's otherwise well written-I simply can't accept.

In short, the procedure outlined above will saveyou a lot of wasted time and effort also.

One point in particular: I have gotten extremely hardnosed about the way in which people use Americancharacters in their stories (so-called "up-timers"). That's because I began discovering that my small and realistically portrayed coal mining town of 3500 people was being w.i.l.l.y-nilly transformed into a "town"

with a population of something like 20,000 people-half of whom were Navy SEALs who just happened to be in town at the Ring of Fire, half of whom were rocket scientists (ibid), half of whom were brain surgeons (ibid), half of whom had a personal library the size of the Library of Congress, half of whom . . .

Not to mention the F-16s which "just happened" to be flying through the area, the Army convoys (ibid), the trains full of vital industrial supplies (ibid), the FBI agents in hot pursuit of master criminals (ibid), the .

NOT A CHANCE. If you want to use an up-time character, youmust use one of the "authorized"

characters. Those are the characters created by Virginia DeMarce using genealogical software and embodied in what is called "the grid."

You can obtain a copy of the grid from the web site which collects and presents the by-now voluminous material concerning the series,www.1632.org . Look on the right for the link to "Virginia's Up-timer Grid." While you're at it, you should also look further down at the links under the t.i.tle "Authors' Manual."

You will be paid for any story or factual article which is published. The rates that I can afford for the magazine at the moment fall into the category of "semi-pro." I hope to be able to raise those rates in the future to make them fall clearly within professional rates, but . . . That will obviously depend on whether the magazine starts selling enough copies to generate the needed income. In the meantime, the rates and terms which I can offer are posted below in the standard letter of agreement accepted by all the contributors to this issue.

Standard letter of agreement Below are the terms for the purchase of a story or factual article (hereafter "the work") to be included in an issue of the online magazineGrantville Gazette, edited by Eric Flint and published by Baen Books.

Payment will be sent upon acceptance of the work at the following rates: 1) a rate of 2.5 cents per word for any story or article up to 15,000 words; 2) a rate of 2 cents a word for any story or article after 15,000 words but before 30,000 words; 3) a rate of 1.5 cents a word for any story or article after 30,000 words.

The rates are c.u.mulative, not retroactive to the beginning of the story or article. (E.g., a story 40,000 words long would earn the higher rates for the first 30,000 words.) Word counts will be rounded to the nearest hundred and calculated by Word for Windows XP.

In the event a story has a payment that exceeds $200, the money will be paid in two installments: half on acceptance, and the remaining half two months after publication of the story.

You agree to sell exclusive first world rights for the story, including exclusive first electronic rights for five years following publication, and subsequent nonexclusive world rights. Should Baen Books select yourstory for a paper edition, you will not receive a second advance but will be paid whatever the differential might be between what you originally received and the advance for different length stories established for the paper edition. You will also be ent.i.tled to a proportionate share of any royalties earned by the authors of a paper edition. If the work is reissued in a paper edition, then the standard reversion rights as stipulated in the Baen contract would supercede the reversion rights contained here.

Eric Flint retains the rights to the 1632 universe setting, as well as the characters in it, so you will need to obtain his permission if you wish to publish the story or use the setting and characters through anyone other than Baen Books even after the rights have reverted to you. You, the author, will retain copyright and all other rights except as listed above. Baen will copyright the story on first publication.

You warrant and represent that you have the right to grant the rights above; that these rights are free and clear; that your story will not violate any copyright or any other right of a third party, nor be contrary to law. You agree to indemnify Baen for any loss, damage, or expense arising out of any claim inconsistent with any of the above warranties and representations.

THE END.

For more great books visit http://www.webscription.net

Back|Next Framed Next Grantville Gazette-Volume IX.

My, oh, my. Just what is going on in the never-ending soap opera that is Europe in the years of our Lord 1632, 1633, 1634? There's almost more activity than a person can keep up with.

Grantville Gazette Volume Nine has it all, from the young men who are trying to learn to fly-without engines-to a young Tuscan who got a sneaky idea on his visit to Grantville. Even more, for that matter, since the spread of crystal radios is addressed-right up to the time someone figures out how to block transmissions, that is.

A near revolt in the dining hall, a murder in Magdeburg, somebody speeding-speeding?-industrial accidents, corncob pipes . . . you name it, we've got it.Ebook This is a work of fiction. All the characters and events portrayed in this book are fictional, and any resemblance to real people or incidents is purely coincidental.

First printing, October 2006 Distributed by Simon & Schuster 1230 Avenue of the Americas New York, NY 10020 Printed in the United States of America DOI: 1011250022.

Copyright 2006 by Eric Flint All rights reserved, including the right to reproduce this book or portions thereof in any form.

A Baen Books Original Baen publishing Enterprises P.O. Box 1403 Riverdale, NY 10471 http://www.baen.com Electronic version by WebWrights http://www.webscription.net

a.s.sistant Editor's Preface

Wow. Here we go again. Grantville Gazette, Volume Nine.

Who knew, back a few years ago, just how many people would be interested in the continuing soap opera of Grantville, WV, United States of Europe? I certainly didn't, but I spend part of every single day being happy that I picked up that book with the pickup truck and hillbillies on the cover.

In this issue, as usual, we continue telling the "little" stories. By that, I mean the stories about the regular, everyday people who wound up in a situation they never could have antic.i.p.ated, even if they'd been science fiction readers in the first place. The everyday sort of young man who misses speeding on the highway-as many young men would, I suspect. Read about him in Mark Huston's "Gearhead." The everyday sort of young soldiers, who always complain about the food in the dining hall on base. You can read about them in Kerryn Offord's "A Matter of Taste." Terry Howard's "Anna the Baptist" looks at religion in a manner that Pope Urban just might not appreciate all that much. And Richard Evans'postulates a "super secret" organization of up- and down-timers in "Order of the Foot." "Pocket Money"

by John and Patti Friend shows us just how determined kids can be . . . if there's something they want badly enough.

For European everyday sorts of people, try "Mail Stop" by Virginia DeMarce-although I must admit that Martin isn't the sort of guy you run into just any day of the week. He's a touch unusual, what with that newly acquired hillbilly accent of his. "NCIS - Young Love Lost," by Jose J. Clavell shows us a grittier side of the coin, while Iver P. Cooper's "Under the Tuscan Son" takes us to Italy and a young man with ambitions. John Zeek's "The Minstrel Boy," tells us about the desire and longing for family, while Karen Bergstralh's earnest blacksmith faces misfortune in "Tool or Die."

What changes will having crystal radios cause? Gorg Huff and I explore a bit of that in "Waves of Change," while Kim Mackey's "Little Jammer Boy" presents the more, ah, reactionary side of that argument. We're still talking about Russia in "b.u.t.terflies in the Kremlin, Part 2," and Kim brings his "Essen Chronicles" to a close in Part 3 of that story.

Non-fiction this issue covers the usefullness of mica, from Iver P. Cooper's "The Sound of Mica," while Rick Boatright's "Radio, Part 3" tells us one of the uses. Food-and yes, it is food-is covered in Anette Pedersen's "The Daily Beer," while Kerryn Offord explains sweeteners in "White Gold." Terry Howard discusses just why the Anabaptists were so unpopular in "A Tempest in a Baptistry."

Finally, we have a new feature in this issue. For lack of a better term, we're calling them "European Interludes." They began with a multi-part challenge: Write me something that doesn't use a single up-timer. It can't be set in Grantville or Magdeburg. Tell us what starts happening in the rest of the world, when all the knowledge that Grantville has starts leaking out. The characters don't have to succeed, they just have to try.

We had a lot of takers. Quite a number of challenge stories are included in this volume and more have been written. Those will be included in future volumes.

We hope you enjoy it.

Paula Goodlett and the Grantville Gazette Editorial Board

FICTION

Mail Stop

by Virginia DeMarce

Home, Sweet Home Frankfurt am Main, March 1633 Martin Wackernagel drew up his horse, first looking back at the route he had just completed and then forward toward the walls of Frankfurt am Main.

Via regia. Die Reichsstrae. There would never be anything to equal the Imperial Road. Sure, if you wanted to be prosaic, it was just one more trade route, a commercial connection between the great cities of Frankfurt and Leipzig and their fairs. It had been for centuries.

But it was more than that. He hoped that it always would be. Merchants, teamsters, journeymen looking for a new place to demonstrate their existing skills and acquire new ones. Crowned heads, princes of the church, pilgrims on their way to the great shrine of St. James of Compostella, Santiago, in Spain.

Victorious soldiers who had triumphed and beaten soldiers in retreat. Unemployed soldiers looking for work, entertainers looking for audiences, peddlers, and beggars. Sometimes it was hard to tell them apart, but they all used the road.

Martin loved the road. He had been riding it as a private messenger for fifteen years, ever since he finished the apprenticeship that his father had forced on him and refused to go ahead and become a journeyman in the trade. Not that he had anything against Uncle Reichhard. He had been a good master, but he was a belt-maker. Belts were necessary, of course, but not very interesting.

So, then and now, he carried messages from Frankfurt to Erfurt via Hanau, Langenselbold, Gelnhausen, Wachtersbach, Soden and Salmunster, Steinau an der Strae, Schluchtern, Neuhof, Fulda, Hunfeld, Vacha, Eisenach, and Gotha to Erfurt; then back again. Sometimes he had covered the further stretch to Weimar, Naumburg and Leipzig if there was no one available in Erfurt to pick up the rest of the run, but Frankfurt to Erfurt was his regular route. Or had been, until he started adding the leg that took him to the new city of Grantville, which sent out a truly amazing amount of correspondence.

He knew that all of this caused his mother a lot of distress. She recited with some frequency-every time he got back to Frankfurt, in fact-a lament that she was beginning to wonder if he would ever settle down and get married.

It wasn't as if, being a widow, she needed him to marry and make a home for her. She lived very comfortably with his older sister Merga and her husband Crispin Neumann. She just wanted him to settle down and marry. No special need for it-just a want.

She just could not understand why he loved the road so much.

Good Lord, Mutti, he thought.Do you suppose you could let it go just this once ?

Mechanical Ingenuity Bonn, Archdiocese of Cologne, March 1633 Arno Vignelli had something to sell. Of course. He was an Italian engineer. Most engineers were Italian.

They made incredibly ingenious machines in Italy. Italians produced clever devices and then crudely set out to make their fortunes by selling them to that portion of Europe's population that lived north of the Alps.

Evrard Holmann's job, at the moment, included investment in new technology on behalf of Duke Ferdinand of Bavaria, Archbishop of Cologne. He shuffled through the papers on his desk. The man now standing in his office was the student of someone famous. Holman shuffled again. He had the information here somewhere, he was sure. He moved the pile in front of him to the side and snagged another one which should have the letter of introduction. Vignelli had also been to Grantville. He had built this particular device on the basis of something he had observed there.

Vignelli ignored Holman's paper shuffling and went on running through his spiel. "Then, at this 'museum,' I saw the machines which lie at the basis of my new invention."

"Museum?" Holmann raised his eyebrows at the unfamiliar term.

"It is, ah, like a cabinet of curiosities, but the size of a building. It is devoted to the history of the region where this Grantville came from. And since it was a region where people used many various and different technical devices, it is full of them. That is where I saw the 'mimeograph.'"

"They let you come and examine this freely, with no restrictions?"

"Well, not freely. There is a charge to visit the 'museum,' but it is really a quite small one. I could afford to return for several days in a row. They had a placard posted that indicated the costs. The fee is reduced for visits by groups of school children. Otherwise, as to 'with no restrictions,' yes. There were guards, but to prevent damage and theft. Not to prevent visitors from examining the exhibits closely."

"Very well. Go on."

"I saw this 'mimeograph.' It is not a press. It works on a very different basis, using 'stencils.' I thought that I could make one. With enough time and money and workmen. It would be difficult and very expensive to make, with much hand-fitting of metal parts, especially teeth, and the need for several springs, but it could be done."

"Expensive?"