65-500: Science Fiction Quarterly was an American pulp science fiction magazine that was published from 1940 to 1943 and again from 1951 to 1958. Charles Hornig served as editor for the first two issues; Robert A. W. Lowndes edited the remainder. Science Fiction Quarterly was launched by publisher Louis Silberkleit during a boom in science fiction magazines at the end of the 1930s. Silberkleit launched two other science fiction titles ( Science Fiction and Future Fiction ) at about
130-414: A continuation of his Hugo Award-winning ERB-dom which began in 1960. It ran for 75 issues and featured articles about the content and selected fiction from the pulps. It became Pulpdom Online in 2013 and continues quarterly publication. After 2000, several small independent publishers released magazines which published short fiction, either short stories or novel-length presentations, in the tradition of
195-424: A few quick dollars could bolster their income with sales to pulps. Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts. There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers , machines or typists . Before he became
260-417: A full-length novel in each issue. Silberkleit obtained permission from Hugo Gernsback to reprint two novels from Science Wonder Quarterly : The Moon Conquerors by R.H. Romans, and The Shot Into Infinity by Otto Willi Gail . Although these stories were somewhat dated, they were better quality than the fiction Hornig was able to obtain for his other magazines. When Lowndes took over, the policy of including
325-440: A literary agent who was a friend of his; this gave him access to stories by the writers Schwartz represented, but Schwartz would not allow his authors' real names to be used unless they were paid at least one cent per word. Hornig could not afford to pay the one cent rate for everything he bought, so he paid half a cent a word for much of what he acquired through Schwartz, and ran those stories under pseudonyms. Unsurprisingly, given
390-483: A magazine called Pulp Adventures reprinting old classics. It came out regularly until 2001, and then started up again in 2014. In 1994, Quentin Tarantino directed the film Pulp Fiction . The working title of the film was Black Mask , in homage to the pulp magazine of that name , and it embodied the seedy, violent, often crime-related spirit found in pulp magazines. In 1997 C. Cazadessus Jr. launched Pulpdom ,
455-719: A novel in every issue continued, and Silberkleit again obtained reprint rights to fill some of these slots, this time with Ray Cummings , five of whose novels would appear in Science Fiction Quarterly over the next two years, starting with Tarrano the Conqueror in the Summer 1941 issue. Lowndes bought many stories from the Futurians to fill the remaining space in the magazine. These were of variable quality, but overall Science Fiction Quarterly improved once Lowndes took control, and
520-435: A novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors
585-454: A package that provided affordable entertainment to young working-class people. In six years, Argosy went from a few thousand copies per month to over half a million. Street & Smith , a dime novel and boys' weekly publisher, was next on the market. Seeing Argosy ' s success, they launched The Popular Magazine in 1903, which they billed as the "biggest magazine in the world" by virtue of its being two pages (the interior sides of
650-498: A rescuing hero . Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; The Popular Magazine had covers by N. C. Wyeth , and Edgar Franklin Wittmack contributed cover art to Argosy and Short Stories . Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as
715-546: A separately marketed genre until the appearance in 1926 of Amazing Stories , a pulp magazine published by Hugo Gernsback . By the end of the 1930s, the field was booming. Louis Silberkleit , a publisher who had once worked for Gernsback, launched a pulp magazine in March 1939 titled Science Fiction , under his Blue Ribbon Magazines imprint. For an editor, Gernsback recommended Charles Hornig , who had edited Wonder Stories for Gernsback from 1933 to 1936. Silberkleit took
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#1732906226069780-662: A similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated. During the Second World War , paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps. Following the model of Ellery Queen's Mystery Magazine in 1941, some magazines began to switch to digest size : smaller, sometimes thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks . Competition from comic-books and paperback novels further eroded
845-521: Is a collection of "pulp fiction" stories written by such current well-known authors as Stephen King , Nick Hornby , Aimee Bender and Dave Eggers . Explaining his vision for the project, Chabon wrote in the introduction, "I think that we have forgotten how much fun reading a short story can be, and I hope that if nothing else, this treasury goes some small distance toward reminding us of that lost but fundamental truth." The Scottish publisher DC Thomson publishes "My Weekly Compact Novel" every week. It
910-504: Is literally a pulp novel, though it does not fall into the hard-edged genre most associated with pulp fiction. From 2006 through 2019, Anthony Tollin's imprint Sanctum Books has reprinted all 182 Doc Savage pulp novels, all 24 of Paul Ernst's Avenger novels, the 14 Whisperer novels from the original pulp series and all but three novels of the entire run of The Shadow (most of his publications featuring two novels in one book). Dynamic Science Fiction Dynamic Science Fiction
975-515: The Nobel Prize in Literature , worked as an editor for Adventure , writing filler paragraphs (brief facts or amusing anecdotes designed to fill small gaps in page layout), advertising copy and a few stories. The term pulp fiction is often used for massmarket paperbacks since the 1950s. The Browne Popular Culture Library News noted: Many of the paperback houses that contributed to the decline of
1040-534: The digest format , which was starting to become more popular. By the end of 1955 he had cancelled Dynamic Science Fiction , switched Future Fiction to digest format, and relaunched Science Fiction as a digest under a new title, Science Fiction Stories . Only Science Fiction Quarterly was left in pulp format—Silberkleit felt that a quarterly digest would not be as successful as a quarterly pulp. The pulps were dying off, and when Other Worlds switched to digest format in 1956, Science Fiction Quarterly became
1105-448: The wood pulp paper on which the magazines were printed, due to their cheap nature. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine had 128 pages; it was 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges. Pulps were the successors to the penny dreadfuls , dime novels , and short-fiction magazines of
1170-692: The 1920s–1940s, the most successful pulps sold up to one million copies per issue. In 1934, Frank Gruber said there were some 150 pulp titles. The most successful pulp magazines were Argosy , Adventure , Blue Book and Short Stories , collectively described by some pulp historians as "The Big Four". Among the best-known other titles of this period were Amazing Stories , Black Mask , Dime Detective , Flying Aces , Horror Stories , Love Story Magazine , Marvel Tales , Oriental Stories , Planet Stories , Spicy Detective , Startling Stories , Thrilling Wonder Stories , Unknown , Weird Tales and Western Story Magazine . During
1235-535: The 1950s. Pulp magazines often contained a wide variety of genre fiction , including, but not limited to: The American Old West was a mainstay genre of early turn of the 20th-century novels as well as later pulp magazines, and lasted longest of all the traditional pulps. In many ways, the later men's adventure ("the sweats") was the replacement of pulps. Many classic science fiction and crime novels were originally serialized in pulp magazines such as Weird Tales , Amazing Stories , and Black Mask . While
1300-459: The 1960s Ivan Howard edited several anthologies for Silberkleit's publishing imprint, Belmont Books , with contents drawn solely from Silberkleit's magazines. One of these, Rare Science Fiction (1963), included three stories from Science Fiction Quarterly. Pulp magazine Pulp magazines (also referred to as " the pulps ") were inexpensive fiction magazines that were published from 1896 until around 1955. The term "pulp" derives from
1365-585: The 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative , and sensational subject matter, even though this was but a small part of what existed in the pulps. Digest magazines and men's adventure magazines were also regarded as pulps. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such as Flash Gordon , The Shadow , Doc Savage , and The Phantom Detective . The pulps gave rise to
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#17329062260691430-521: The Amazon Queen by E.A. Guest, their first contribution to a "New Pulp Era", featuring the hallmarks of pulp fiction for contemporary mature readers: violence, horror and sex. E.A. Guest was likened to a blend of pulp era icon Talbot Mundy and Stephen King by real-life explorer David Hatcher Childress. In 2002, the tenth issue of McSweeney's Quarterly was guest edited by Michael Chabon . Published as McSweeney's Mammoth Treasury of Thrilling Tales , it
1495-435: The Futurians, about the opening, and urged him to write to Silberkleit. Lowndes later recalled Wollheim's idea: "In the letter, I'd suggest that it might be a good idea to add a science fiction title to the list, offering my services as editor at a slightly lower price than Hornig was being paid, and also find fault with all the other sf titles presently out, but particularly with Hornig's". Lowndes relates that Silberkleit took
1560-476: The March and June 1953 issues), and "The Plot Forms of Science Fiction" (serialized in the October 1953 and January 1954 issues). These four articles formed Gunn's Master of Arts thesis; Gunn subsequently became a prominent science fiction critic. Robert W. Lowndes was the editor of all six issues of Dynamic Science Fiction , which remained in pulp format throughout its run. It was priced at 25 cents throughout, and
1625-653: The annual pulp magazine convention that had begun in 1972. The magazine, devoted to the history and legacy of the pulp magazines, has published each year since. It now appears in connection with PulpFest , the summer pulp convention that grew out of and replaced Pulpcon. The Pulpster was originally edited by Tony Davis and is currently edited by William Lampkin, who also runs the website ThePulp.Net. Contributors have included Don Hutchison, Robert Sampson, Will Murray , Al Tonik, Nick Carr, Mike Resnick , Hugh B. Cave , Joseph Wrzos, Jessica Amanda Salmonson , Chet Williamson , and many others. In 1992, Rich W. Harvey came out with
1690-465: The arrangement. Silberkleit allowed Hornig to retain his post as editor of Science Fiction , and offered the editorship of the other two titles to Sam Moskowitz . Moskowitz declined, saying afterwards that he "would never strike at a man's job", but Donald Wollheim , a member of a group of aspiring writers called the Futurians , heard about the offer. Wollheim told Robert W. Lowndes , another member of
1755-428: The art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas. Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted
1820-513: The authors featured on the interior pages. Among the most famous pulp artists were Walter M. Baumhofer , Earle K. Bergey , Margaret Brundage , Edd Cartier , Virgil Finlay , Frank R. Paul , Norman Saunders , Emmett Watson , Nick Eggenhofer , (who specialized in Western illustrations), Hugh J. Ward , George Rozen , and Rudolph Belarski . Covers were important enough to sales that sometimes they would be designed first; authors would then be shown
1885-650: The bait and hired him in November 1940; Hornig recalls the separation as being by mutual consent because of his move to California. Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig. The first issues Lowndes was responsible for were the Spring 1941 issue of Science Fiction Quarterly and the April 1941 issue of Future Fiction . Initially Silberkleit kept tighter control on Lowndes' editorial selections than he had over Hornig, vetoing five of
1950-487: The cover art and asked to write a story to match. Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option. Shading was by crosshatching or pointillism , and even that had to be limited and coarse. Usually
2015-426: The cover price rose to 15 cents and 30 pages were added to each issue; along with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy . Street and Smith's next innovation was the introduction of specialized genre pulps, with each magazine focusing on a particular genre, such as detective stories, romance, etc. At their peak of popularity in
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2080-448: The direct precursors of pulp fiction. The first "pulp" was Frank Munsey 's revamped Argosy magazine of 1896, with about 135,000 words (192 pages) per issue, on pulp paper with untrimmed edges, and no illustrations, even on the cover. The steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels; prior to Munsey, however, no one had combined cheap printing, cheap paper and cheap authors in
2145-735: The economic hardships of the Great Depression , pulps provided affordable content to the masses, and were one of the primary forms of entertainment, along with film and radio . Although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II . Notable UK pulps included The Pall Mall Magazine , The Novel Magazine , Cassell's Magazine , The Story-Teller , The Sovereign Magazine , Hutchinson's Adventure-Story and Hutchinson's Mystery-Story . The German fantasy magazine Der Orchideengarten had
2210-466: The end of the "pulp era"; by that date, many of the famous pulps of the previous generation, including Black Mask, The Shadow , Doc Savage , and Weird Tales , were defunct (though some of those titles have been revived in various formats in the decades since). Almost all of the few remaining former pulp magazines are science fiction or mystery magazines, now in formats similar to " digest size ", such as Analog Science Fiction and Fact , though
2275-437: The end of the 1930s the field was booming. Between early 1939 and mid-1940 publisher Louis Silberkleit launched three sf pulp magazines: Science Fiction , Future Fiction , and Science Fiction Quarterly . All three had ceased publication by the end of World War II, killed by a combination of falling sales and wartime paper shortages. In 1950 and 1951 Silberkleit revived Future Fiction , and Science Fiction Quarterly , and
2340-497: The end of the pulp era, and when publisher Louis Silberkleit converted Future to a digest format in 1954, he decided not to do the same with Dynamic , simply cancelling the magazine. Although science fiction had been published in the United States before the 1920s, it did not begin to coalesce into a separately marketed genre until the appearance in 1926 of Amazing Stories , a pulp magazine published by Hugo Gernsback . By
2405-454: The fiction was as good as or better than the stories to be found in many of the contemporary magazines. When the magazine was revived, the stated policy was still to publish lead novels and fill the remaining space with short stories, but in fact, with few exceptions, the lead fiction was not of novel length. There were no more reprints, as there had been for the first series. Lowndes was unable to pay his writers rates that were competitive with
2470-450: The first issue of Future Fiction appeared; it was followed in July 1940 by Science Fiction Quarterly . Hornig was editor for all three of the magazines. In October 1940, Hornig, who was a pacifist, received his military call-up. He decided to move to California and register as a conscientious objector ; he continued to edit the magazines from the west coast, but Silberkleit was unhappy with
2535-550: The first run, for 144 pages; the second series began at 25 cents, but the price increased to 35 cents for the August 1957 issue. The page count for the second series was 128 pages for much of the run, but from the November 1953 issue to the May 1957 issue it was 96 pages. The publisher for the first issue was Double Action Magazines , with offices in Holyoke, Massachusetts; thereafter the publisher
2600-603: The following year he launched Dynamic Science Fiction , with the first issue dated November 1952. All three of the magazines were edited by Robert W. Lowndes, who had also edited most of the earlier issues for Silberkleit. In mid-1953 Silberkleit cut rates and slowed down payment to contributors as a result of falling circulation. By this time Silberkleit was experimenting with the digest format for Science Fiction Stories , and he soon cancelled Dynamic Science Fiction , leaving only Science Fiction Quarterly in pulp format. Silberkleit initially paid reasonably good rates, and Lowndes
2665-570: The front and back cover) longer than Argosy . Due to differences in page layout however, the magazine had substantially less text than Argosy . The Popular Magazine did introduce color covers to pulp publishing, and the magazine began to take off when in 1905 the publishers acquired the rights to serialize Ayesha (1905), by H. Rider Haggard , a sequel to his popular novel She (1887). Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs , Robert E. Howard , Talbot Mundy and Abraham Merritt . In 1907,
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2730-951: The genre–Ace, Dell, Avon, among others–were actually started by pulp magazine publishers. They had the presses, the expertise, and the newsstand distribution networks which made the success of the mass-market paperback possible. These pulp-oriented paperback houses mined the old magazines for reprints. This kept pulp literature, if not pulp magazines, alive. The Return of the Continental Op reprints material first published in Black Mask ; Five Sinister Characters contains stories first published in Dime Detective ; and The Pocket Book of Science Fiction collects material from Thrilling Wonder Stories , Astounding Science Fiction and Amazing Stories . But note that mass market paperbacks are not pulps. In 1991, The Pulpster debuted at that year's Pulpcon ,
2795-416: The low rates, the stories sent to Hornig had usually already been rejected by the better-paying markets. The result was mediocre fiction, even from the better known writers that Hornig was able to attract. The magazines paid on publication, rather than acceptance, and this slower payment also discouraged some authors from submitting material. Science Fiction Quarterly was intended by Silberkleit to include
2860-411: The magazine also had a policy of running a lead novel, though in practice the lead stories were often well short of novel length. Among the better-known stories published by the magazine were "Second Dawn", by Arthur C. Clarke ; " The Last Question ", by Isaac Asimov; and " Common Time ", by James Blish. Although science fiction (sf) had been published before the 1920s, it did not begin to coalesce into
2925-425: The magazines that were leading the field, but he was an able editor and produced a magazine of reasonable quality every quarter. The Futurians still occasionally appeared in Science Fiction Quarterly , but Lowndes also attracted some of the newer writers, such as Poul Anderson , William Tenn , and Arthur C. Clarke . Clarke's "Second Dawn", which appeared in the August 1951 issue, is among the better stories Lowndes
2990-682: The majority of pulp magazines were anthology titles featuring many different authors, characters and settings, some of the most enduring magazines were those that featured a single recurring character. These were often referred to as "hero pulps" because the recurring character was almost always a larger-than-life hero in the mold of Doc Savage or The Shadow . Popular pulp characters that headlined in their own magazines: Popular pulp characters who appeared in anthology titles such as All-Story or Weird Tales : Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed damsels in distress , usually awaiting
3055-594: The most durable revival of Weird Tales began in pulp format, though published on good-quality paper. The old format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan (over 3,000 issues as of 2019). Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. Many titles of course survived only briefly. While
3120-519: The most popular titles were monthly, many were bimonthly and some were quarterly. The collapse of the pulp industry changed the landscape of publishing because pulps were the single largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers trying to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces. Some ex-pulp writers like Hugh B. Cave and Robert Leslie Bellem had moved on to writing for television by
3185-434: The only remaining sf magazine still being published as a pulp. In 1957 American News Company , one of the biggest magazine distributors, was liquidated, and the resulting changes in the national magazine distribution network, along with poor sales, finally killed Science Fiction Quarterly . The last issue was dated February 1958. Silberkleit's magazines were given very limited budgets. Hornig worked with Julius Schwartz ,
3250-433: The pulp magazines of the early 20th century. These included Blood 'N Thunder , High Adventure and a short-lived magazine which revived the title Argosy . These specialist publications, printed in limited press runs, were pointedly not printed on the brittle, high-acid wood pulp paper of the old publications and were not mass market publications targeted at a wide audience. In 2004, Lost Continent Library published Secret of
3315-530: The pulps' market share, but it has been suggested the widespread expansion of television also drew away the readership of the pulps. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's adventure magazines also began to draw some former pulp readers. The 1957 liquidation of the American News Company , then the primary distributor of pulp magazines, has sometimes been taken as marking
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#17329062260693380-526: The recommendation, and Hornig was hired in October 1938. Hornig had no office; he worked from home, coming into the office as needed to drop off manuscripts and dummy materials, and pick up typeset materials to proof. He was given broad freedom to select what he wanted to publish, since Silberkleit's chief editor, Abner J. Sundell, knew little about sf and did not get involved in running the magazine. To spread his costs over more magazines, Silberkleit soon decided to launch two additional titles. In November 1939
3445-469: The same time: all three ceased publication before the end of World War II , falling prey to slow sales and paper shortages. In 1950 and 1951, as the market improved, Silberkleit relaunched Future Fiction and Science Fiction Quarterly . By the time Science Fiction Quarterly ceased publication in 1958, it was the last surviving science fiction pulp magazine, all other survivors having changed to different formats. Science Fiction Quarterly ' s policy
3510-601: The seven stories Lowndes proposed for the April 1941 Future , but by the August 1941 issue, Lowndes later recalled, Silberkleit "was satisfied that I knew what I was doing, and [...] didn't need to oversee any story I had accepted". In 1950 Silberkleit revived Future Fiction , and the following year he brought back Science Fiction Quarterly , with the first issue of the new series dated May 1951. A new magazine, Dynamic Science Fiction , followed in 1952. All three were edited by Lowndes and all were in pulp format. Sales were satisfactory, but Silberkleit decided to experiment with
3575-464: The term pulp fiction in reference to run-of-the-mill, low-quality literature. Successors of pulps include paperback books, such as hardboiled detective stories and erotic fiction . Before pulp magazines, Newgate novels (1840s-1860s) fictionalized the exploits of real-life criminals. Later, British sensation novels gained peak popularity in the 1860s-1870s. Sensation novels focused on shocking stories that reflected modern-day anxieties, and were
3640-501: Was Columbia Publications for both versions of the magazine. Both Double Action and Columbia were owned by Louis Silberkleit. There were three British reprints of the first series, all published by Gerald Swan. The Summer 1940 issue was reprinted twice. It appeared first (with cuts) as Yankee Science Fiction , issue 3, in February 1942, and then again, uncut, as a paperback, titled The Moon Conquerors , in 1943. The Winter 1941/42 issue
3705-457: Was 128 pages for the first four issues, and 96 pages for the last two. Three issues were reprinted in the U.K. by Thorpe & Porter , of Leicester. These were dated January, June and November 1954, and were pulp format. They were priced at 1/- and were 96 pages. They correspond to the U.S. issues from June 1953, December 1952, and January 1954 respectively. There are no anthologies of stories drawn solely from Dynamic Science Fiction, but in
3770-457: Was able to obtain some good quality material. Some of the stories include Arthur C. Clarke 's "The Possessed" (March 1953); Lester del Rey 's "I Am Tomorrow" (December 1952), and James Blish and Lowndes' novel The Duplicated Man (August 1953, with Lowndes' name concealed by a pseudonym, "Michael Sherman"). Lowndes also published nonfiction, including two long critical essays by James E. Gunn , "The Philosophy of Science Fiction" (serialized in
3835-453: Was able to obtain; he also published Isaac Asimov's " The Last Question " in the November 1956 issue, and James Blish's " Common Time ", in August 1953. Lowndes was also able to acquire some good quality nonfiction for the magazine, including a series of articles by James Blish on science in sf, and articles on science fiction by Thomas D. Clareson and L. Sprague de Camp . Blish, writing as William Atheling, Jr., commented in 1953 that Lowndes
3900-494: Was also reprinted in 1943, titled Into the Fourth Dimension and Other Stories . Ten issues of the second series were reprinted in the U.K. by Thorpe & Porter . The issues, which were cut from the U.S. editions, appeared between February 1952 and August 1955, and corresponded to 10 of the first 13 issues, from May 1951 to May 1954. The omitted issues were November 1951, May 1952, and August 1953. The order of publication
3965-399: Was an American pulp magazine which published six issues from December 1952 to January 1954. It was a companion to Future Science Fiction , and like that magazine was edited by Robert W. Lowndes and published by Columbia Publications . Stories that appeared in its pages include "The Duplicated Man" by Lowndes and James Blish , and "The Possessed" by Arthur C. Clarke . It was launched at
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#17329062260694030-408: Was doing a "surprisingly good job" with all of Silberkleit's science fiction magazines, despite the low rates and the slow payment to authors. Charles Hornig was the editor of the first two issues of the first incarnation of Science Fiction Quarterly ; Robert W. Lowndes edited all the subsequent issues. The magazine was printed in pulp format throughout both series. The price was 25 cents throughout
4095-550: Was not the same as for the US editions: the sequence was May 51/August 51/February 52/November 52/August 52/May 53/February 54/November 53/February 53/May 54. The first issue was 132 pages; the count was reduced to 130 pages for the second issue, then to 100 pages for two issues, and to 98 pages thereafter. The price was 2/- (10p) for the first two issues, and 1/- (5p) for the remaining eight issues. There are no anthologies of stories drawn solely from Science Fiction Quarterly. However, in
4160-851: Was that they paid upon acceptance for material instead of on publication. Since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow . Some pulp editors became known for cultivating good fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman ( Adventure ), Robert H. Davis ( All-Story Weekly ), Harry E. Maule ( Short Stories ), Donald Kennicott ( Blue Book ), Joseph Shaw ( Black Mask ), Farnsworth Wright ( Weird Tales , Oriental Stories ), John W. Campbell ( Astounding Science Fiction , Unknown ) and Daisy Bacon ( Love Story Magazine , Detective Story Magazine ). Well-known authors who wrote for pulps include: Sinclair Lewis , first American winner of
4225-513: Was to reprint a novel in each issue as the lead story, and Silberkleit was able to obtain reprint rights to two early science fiction novels and several of Ray Cummings ' books. Both Hornig and Lowndes were given minuscule budgets, and Hornig in particular had trouble finding good material to print. Lowndes did somewhat better, as he was able to call on his friends in the Futurians , a group of aspiring writers that included Isaac Asimov , James Blish , and Donald Wollheim . The second incarnation of
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