Come and celebrate the end of another great year for our society - join us for our gala end-of-year dinner in the Streeton Room, Rydges Capital Hill, Canberra Avenue, Manuka (NOT Rydges Lakeside!)
Cost: $40 per person. Guests welcome.
Our special guest speaker will be Robin Wallace-Crabbe, author, artist, and brilliant raconteur. As an artist Robin has had over 30 exhibitions, and as an author has made a unique and varied contribution to Australian literature with novels such as Goanna, Australia Australia and A Man's Childhood, plus a number of crime thrillers.
You'll get a splendid three course buffet meal including drinks (not spirits or cocktails).
RSVP please, with your payment, by 23 November to:
- The Treasurer
- Canberra Society of Editors
- PO Box 3222
- Manuka ACT 2603
Any questions? Ted Briggs will answer them on 6164 4924 (h) or <tedbriggs@webone.com.au>
We look forward to seeing you there!
The second national editors conference, 'Editing in context' (Melbourne, 13-15 October), gave every promise of being informative and exhilarating, and it did not disappoint. The general feeling of excitement and engagement was stimulated by a shared interest in the significant changes we are forging in our profession; and by the tensions between the different interests of the participants.
As we construct a national association and a national approach to accreditation, answers to a number of questions need to be woven into a coherent pattern: the separation of roles between existing societies and what the national body does; how we value the learning and experience of people who already earn a living in our profession; how new members should learn the profession; who pays for what and who gets paid for it.
The host society, Victoria, had an enthusiastic team that had worked for a year and half on creating a rich and varied program. As Victorian President Liz Steele remarked, the 'passion and ideas for what we wanted to do were barely containable'. The conference had three themes: transition, consolid-ation and collaboration.
Keynote speaker for the first theme was Michael Webster, who now runs the Graduate Program in Publishing Studies at RMIT. Michael challenged editors to 'get out of their comfort zone' - to make the transition from the stereotype of the self-effacing editor who operates largely behind the scenes to someone who is a vital participant in the publishing process. This will require 'the acquisition of a whole set of new skills, a very much more commercial approach to [our] role, a brashness not previously associated with the profession'.
This new professionalism was a key theme running throughout the conference. It is, of course, one of the leading ideas behind our current move to the formation of a national organisation and accreditation. Janet Mackenzie, in a rousing speech to a packed plenary session, traced the 'glacial' progress towards a national association of editors over the past several decades and the (comparatively) rapid strides that we have made over the last two years.
Ed Highley describes elsewhere in this newsletter one of the defining moments of the conference: the sea of upraised hands supporting the new name. The second such moment was the official launch of the new Institute of Professional Editors at the dinner: picture the delegates to the interim council against a background of a huge fish tank featuring a gigantic blue groper-like fish, while their colleagues sang lyrics specially composed for the occasion to the tunes of old favourites such as 'Auld Lang Syne'.
A feature of the conference was the strong presence of overseas visitors from the United Kingdom and New Zealand. This presence gave an added dimension to the 'collaboration' theme. Val Rice, from the Society for Editors and Proofreaders (UK), took us through the evolution of the accreditation process in her society, which chose a test as the most appropriate method for granting accreditation. The process took almost ten years, from the setting up of an Accreditation Board in 1993 to the first pilot test in 2001. Of the 41 members who have taken the test since then, only ten have been successful. Canada, too, has been developing an accreditation (or certification) scheme over many years, with the first exam scheduled for 2006. Ros Copas (Qld) reported to the Accreditation Board meeting on their progress (for more details go to <www.editors.ca/certification>).
I can't give even a cursory overview in this column of a program that included, at a rough count, 35 sessions over three days (not to mention a book launch or two, and the fishy dinner at the Melbourne Aquarium). You'll have to have a look for yourselves, on the Victorian society's website. But a conference is above all a chance to meet people, and what struck me - not for the first time - was the immense variety in our profession. Freelance vs in-house, of course; but also a very large contingent of 'teaching' editors, reflecting the proliferation of courses in tertiary (and other) institutions that either focus on editing or have editing as a component. The young and qualified vs the more mature and experienced. Not to mention academics whose concern is language in its infinite variety, flexibility and changeability.
For me the standout presenter was definitely Kate Burridge, Professor of Linguistics at Monash University. In a talk entitled 'W(h)ither Our English?', Kate took her audience ever so deftly through a range of expressions and constructions that may (or may not) one day make their way into 'standard English', despite today being accounted uncouth or barbarous. The odd collective shudder ran through the room as she discussed such matters as the decline of the modal shall in favour of gonna for future marking; or plural second person pronoun forms like yous. And where do or should language professionals such as editors stand in the face of linguistic change? Something for us all to ponder. No sooner was the conference over than the Style Council was under way with a celebration of the 4th edition of the Macquarie Dictionary, which took the form of cocktails in the genial company of Thomas Keneally. At dinner that evening I found myself sitting opposite a man who introduced himself as 'Tony', surname lost in the roar of animated conversation in the restaurant. After a while it dawned on me that this was none other than Tony Wheeler, one of the featured speakers for the next day's proceedings and co-founder of Lonely Planet. Imagine my satisfaction when it transpired that there was one place on the planet that I had visited and he had not: Samarkand.
Tony's presentation was entitled 'Gricers, twitchers & "doing doughnuts": the problems of translating guidebooks' - easily the best title of the two conferences, and there was some competition. As good Antipodeans, we all know what doing doughnuts means, but how about gricer and twitcher (answers below)1? Ah, but how would you translate doing doughnuts into French without slipping into unwitting obscenity?
Another presenter at the Style Council conference was Stefanie Pearce, a former president of this society and now working in the Victorian public service as Communications Manager for the Australian Synchrotron Project. Yes, 'synchrotron' - just try saying it several times very quickly. Stefanie had a good-humoured dig at the definition in the 4th Macquarie, and then proceeded most ably to give us an insight into the thing itself and the challenges of explaining the project intelligibly to multiple non-scientific audiences, while making strategic choices about language in a government setting.
The panel is pictured below, from left: Michael Webster, Jackie Yowell, Janet Mackenzie and Bob Sessions (Penguin) in the chair.
It was good to see such a strong presence from our society at the two conferences in Melbourne, as active participants and as presenters (Loma Snooks, Cathy Nicholl, HelenTopor, and Janet Salisbury). And we all owe a debt of gratitude to Ed Highley and Louise Forster for their continuing involvement and hard work at the national level. Finally, may I wish you all a festive, safe and relaxing holiday season, and an excellent start to 2006.
Virginia Wilton
1 Gricer: train spotter; twitcher: bird watcher (as defined by Tony Wheeler; not found in 1971 OED).
(Editor's note: Gricer is defined in the OED on CD-ROM, v. 3.00, 2002, as 'a railway enthusiast'(of a type now extinct), with a humorous (if speculative) link to grouse-shooting mentioned in the etymology; and twitcher is there as well. Both types are/were keen to log sightings of rarities, whether obsolescent steam engines or migratory birds.)
The national conference, 'Editing in context', held in Melbourne on 13-15 October was on all counts a great success and a credit - no, a high distinction! - to the organising committee in the Society of Editors (Victoria). Full marks, too, to all the presenters in a program that was full of interest, never flagged and which often forced hard choices on participants when the parallel sessions came around. Selected papers will be put on the conference website at <www.socedvic.org/editingincontext/>. All papers and associated material will be sent on a CD to registrants in due course.
The conference was held under the auspices of CASE (the Council of Australian Societies of Editors), which is now really, truly the Institute of Professional Editors. Support among the almost 300 conference participants for the Institute and its plans for accreditation and other national activities was palpable. When, at the end of her keynote address on national affairs, Janet Mackenzie asked the audience if they were happy with the new name and its diminutive - IPEd, the response was an ocean of raised hands, followed by spontaneous applause. The proposal that IPEd's vision be 'To advance the profession of editing in Australia' was also warmly received. Later in the day, the Institute was officially launched with much song (literally) and dance at the conference dinner.
Also in plenary session, IPEd's Accreditation Board (AB) brought participants up to date on progress towards implementation of the national accreditation system voted on and approved by the societies at the end of last year. Board chair Robin Bennett led the session with a talk that covered the questions most frequently asked about the system. This was followed by a series of hypotheticals prepared by board members and designed to show the sorts of evidence of editorial skills that assessors will be looking for in applications for accreditation. This practical session was well received by participants and generated useful and incisive questions from the audience and, one suspects, helped to overcome the anxieties that some editors might have felt about the business. Certainly, the impression gained by IPEd delegates and AB members was that, among those editors present at the conference, there was generally strong support for the expeditious implementation of the system.
Enthusiasm for national activities among participants was also evident in the numbers of editors who signed up to join one or other of IPEd's working groups. As a result, the National Organisation Working Group has been reconstituted, with the primary task of taking IPEd through to establishment as a registered, legal entity. Its membership has grown from three to nine. The Promotions Working Group has been reinvigorated and renamed as the Communications Working Group with, so far, seven members.
Education and training, and related issues of professional development, and their linkages with accreditation, were hot topics during the conference, in and out of formal proceedings. In her keynote speech, Janet Mackenzie called for help for the national body from editors with expertise and experience in these areas. The response was almost immediate and a new Education and Training Working Group with an initial membership of eight was formed.
We are seeking more members for the aforementioned working groups, and for the Standards Revision Working Group whose deliberations will parallel the refining of the accreditation system. We need all the help we can get and it would be a fine thing if all societies were represented on all working groups. If you feel you can make a contribution and can commit the time, please contact your IPEd Interim Council member (formerly the CASE delegate) in the first instance. You will be welcomed with open arms, and will enjoy the experience.
What spare time IPEd Interim Council and Accreditation Board members had during the conference was taken up by meetings to review progress and plot the future course. Conferences such as 'Editing in context' are rare opportunities for all delegates to get together face-to-face at minimal cost to their societies. The Accreditation Board met with a group of university educators, headed by Professor Pam Peters, interested in exploring how tertiary editing courses and accreditation might interact.
At the end of the conference, almost before the echoes of the final speakers had dissipated, the Tasmanians were on the podium promoting IPEd's next conference, to be held in Hobart on 9-11 May 2007, with the theme 'From inspiration to publication'. Not be outdone, the South Australians then got up and sang about their conference in Adelaide in 2009. The national future seems assured.
Ed Highley, Secretary, IPEd
[vice Janet Mackenzie, IPEd Liaison Officer]
Recently, several people have asked me about on-screen editing - how to use Microsoft Word's Track Changes, Find and Replace, Styles and other editing tools. So I was delighted to find copies of Michele Sabto's very handy little book called The On-screen Editing Handbook (ISBN 0-86458-310-9) for sale at the recent 'Editing in context' conference in Melbourne. The book is not new - it was published by Tertiary Press in Victoria in 2003 - but the information is so clearly set out that I would recommend it to anyone taking up on-screen editing for the first time, or wanting to brush up on some of the topics in the book. Some aspects of Word have moved on but many people still use Word 2000, and anyway it seems to be OK with Word 2003 in most instances. It's very compact: 89 A5 pages, crammed with screen dumps to illustrate points, and full of step-by-step instructions for doing just about everything. RRP is $22.50 including GST.
For newcomers to on-screen editing, the first thing you need to know is that the built-in spelling and grammar check facilities are next to useless. The spelling check, for instance, will happily allow there, their and they're in situations where only one of those is correct. Why? Spellcheck can only spell - it can't tell the difference between those words contextually. Spellcheck will pick up a 'spelling error' in the title of this article p's and suggest that I change it to any one of a number of options like: pHs, ape's, pass, pes, puss. It doesn't like q's either but can only come up with one suggestion: EQ's. The grammar check will pull me up at the sentence in the paragraph above: The book is not new - it was published by Tertiary Press in Victoria in 2003 - but the information … it doesn't like the passive and wants to change it to Tertiary Press in Victoria published it in 2003. Fair enough, but any competent editor knows that it's just as silly to cram a document with active voice as with passive voice - variety is the spice of effective writing. These devices have their uses merely as checks for typos or to help in your thinking about a grammatical construction that may be unwieldy. They should not be used as the sole editing tools, and a client should not be given the impression that using these tools will obviate the need for an editor.
The book is divided into six chapters, starting with Chapter 1, Managing Files. This is an aspect of on-screen editing that a lot of people don't think about until they find they have a mess of files scattered throughout their emails and other Word documents, in 'My documents', 'My briefcase', and perhaps even in a file labelled with the client's name. But logically, file management should come first, as it does in this book. A simple procedure is suggested, based on the blindingly obvious: new job - new folder. Then the reader is warned about the dangers of not filing absolutely everything - files can easily get lost. I was happy to discover that my filing methods are pretty close to the recommendation - first make a copy of whatever the client sends you and keep one version untouched as a reference and use the other as the first working version. Keep up that pattern of behaviour, and you should finish the job with a complete progressive picture of how the job proceeded, right up to and including a final version ready for the printer.
I remember once being asked by a client for whom I work regularly whether I'd kept a complete file of all stages of the edit, as they had lost their files in some sort of catastrophe. Yes, I had kept them all, and was able to send the client the missing documents to restore their own files to what they should have been. That was a lesson to all - ever since, I have been meticulous about keeping files complete and always up to date. At the end of every job, I transfer everything in that folder - all stages of the edit, correspondence, copies of invoices etc - to a CD. Usually, I can then shred paper records and delete the files from the computer, but I tend to keep even those for a while - just in case of another catastrophe! (I can't say the same for my hard copy personal filing system which currently needs a bulldozer through it!)
Chapter 2 of the book deals with Removing Redundant Spacing - like what? Well, to start with, extra spaces after punctuation: many authors were taught (as I was) to type two spaces after end punctuation and one elsewhere, but the norm today is one space after all punctuation, both to keep it simple and to avoid problems when justification is used (huge spaces can appear after full stops as text is dragged across to the right hand margin). This is where the Find and Replace feature comes in handy: if you haven't found it yet, it's in the Edit menu. Select Replace and position the cursor in the Find what textbox - if we're changing double spacing after just full stops, for example, type a full stop followed by two spaces. Now place the cursor in the Replace with textbox and type a full stop followed by one space. Now click the Replace All button, and watch the magic happen before your eyes. A message will tell you how many times the alteration was made in the document. You can use this feature for all manner of global alterations, such as changing all double quotes to single quotes, all spaced en dashes to unspaced em dashes, and so on.
The matter of 'styles' in on-screen editing preparatory to publication was always a bit of a mystery to me until I sat down one day and concentrated on it. I sometimes get forced into sorting out styles when I receive an editing job that has already been gone over by someone else who has set certain styles that seem inappropriate, or that are haphazard. Some publishers have templates of styles that you must adhere to, but more often than not, you need to set your own. Chapter 3, Creating and applying styles sets out clearly how to go about it. For those who are new to this, there is a hierarchy of styles - put very simply, you might want all main side headings to appear in Arial bold 14pt, all sub-headings in Times New Roman italic 12pt, and body text in Times New Roman regular 11pt. You can set all this in Style which is in the Format menu. Michele Sabto goes into a lot of helpful detail about formatting styles of all kinds, including bullet lists and tables - it's well worth careful study.
When you edit in hard copy, your alterations are there for all to see - textual marks, marginal marks and notations, and probably extra pages of explanations. You can do all that, and more, using Track Changes in Word, or the equivalent in other programs. Chapter 4 is entitled Editing with Track Changes and Comments. The Track Changes feature in Word displays the changes you make as you make them. If you delete something, it turns colour and is marked with a strikethrough. If you add something, it is added in a different colour. You can highlight text that you want to make a long comment about; and you can write comment notes right at any point in the text. Depending on the version of Word you have and on the sophistication of your computer, Track Changes may show up as coloured marks on the document in front of you or may be flagged with a note box out to the right-hand side of the screen. Either version is easy to handle. I find Track Changes particularly useful for working on relatively short documents. It can become cumbersome with longer documents, so consider cutting a very long document up into shorter sections for working. The illustrations in this chapter are really helpful if you are working with anything up to Word 2000 and Windows 98 - I hope the author will write an update with the new layout for Track Changes illustrated alongside the earlier layout. I recently acquired Windows XP and Word 2003 on a new laptop, and got a surprise to find the new Track Changes layout when I had not experienced it before. It took only a few minutes to get used to. The material on this topic in the book is very well set out in easy steps, and covers much more than I have outlined here, including 'accepting' and 'rejecting' changes, altering or deleting comment notes, printing with and without revision marks or comments showing and so on. A word of warning: it is perilously easy to forget to save the version with all your revision marks - use Save As to save versions and give them suitable names and pop them into that job folder.
The remaining chapters of the book, Chapter 5, Working with authors, and Chapter 6, Other Word features, are very short but valuable. We sometimes forget that editing isn't just a matter of putting little marks on documents - there's a client out there and/or an author; we need to develop a pattern of dealing in a businesslike and helpful way with these people from quote to invoice. Depending on the type of work you are editing, you may need to know about inserting footnotes and endnotes, preparing a table of contents, creating templates to standardise the look of a large document over all its parts, and creating macros to save you the effort of repeating the same chores (such as Find and Replace actions) - all set out in the final chapter.
This little book is a good guide for anyone new to on-screen editing. It won't replace training courses and it won't replace on-the-job experience but it will enhance both. If you can find a mentor to guide you while you gain experience and build editing skills, so much the better, but a mentor won't do the work for you - that's up to you. There has been talk recently in editing conferences and other gatherings of editors of the need for a mentoring scheme. I would certainly support such a scheme and believe that, as a fairly senior editor, it's up to me to help newcomers to our profession in any way I can, including by taking on one or two at a time for short periods of mentoring while they find their feet.
Minding my p's and q's thus comes to an end. Thank you for your support during 2005 - I've enjoyed writing for you. We all have a bit of a break now, and enjoy the delights of Christmas. I plan to be back in 2006 with another series, and would really appreciate suggestions for inclusions in next year's articles. Please tell me what topics you would like me to write about and I'll do my best.
© Elizabeth Manning Murphy 2005
Email:
emmurphy@ozemail.com.au
Editor's note: Readers may recall that Helen Topor reviewed The On-screen Editing Handbook in the August 2003 number of The Canberra Editor. You can see her review at <www.editorscanberra.org/aug03.htm#on-screen>. Elizabeth and Helen are in complete agreement on the value of this book, but their approaches are so different that we are glad to take a fresh look at it.
'Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse...
'A visit from St Nicholas', by Clement Clarke Moore
There are still 56 nights before Christmas as I write this, and all through the shopping malls there is a mighty stirring - indeed, the fruit mince tarts are already on the supermarket shelves. Religious festival or shopping spree?
'Christmas' obviously means 'Christ's mass', in Old English Cristes mæsse, although the word 'Christmas' doesn't seem to crop up in English with anything like its current spelling until the 14th century. But why do we celebrate Christmas as His birthday on the 25th day of December?
Modern theological or historical thinking doesn't equate any particular day with Christ's actual birthday, although the year seems pretty certain. My old bible, published in 1861, has the dates of every event from the Creation (BC 4004) to the Revelation (AD 96). Christ's birth is given in 'The Fourth Year before the Common Account called Anno Domini'. Modern scholarship would agree - the latest Encyclopaedia Britannica says 4-6 BCE ('Before the Common Era'), which is a little less paradoxical than calling it 4 BC.
The early Christian community distinguished between the (presumed? unknown?) date of Christ's birth and the date on which it was celebrated. (A modern secular parallel might be the holiday for the Queen's birthday that we enjoy in mid June, although Elizabeth II was actually born on 12 April.) In fact, the early Christians were rather against celebrating their saints' and martyrs' birthdays, unless the true dates were known.
So why 25 December? Remember that the calendar was originally based not just on the cosmic influences, the phases of the moon and the solar equinoxes and solstices, but also on the seasons of nature that determine agricultural practice: sowing and reaping. Also the early Christian calendar inevitably had much in common with the Jewish calendar, with Sabbath, fast and feast based on the Old Testament. In the northern hemisphere the spring equinox was seen as the time of creation and new growth, and in the 3rd century, when many of the key dates in the Christian calendar were being established, the spring equinox was celebrated on 25 March. What was more logical therefore than to place Christ's conception on that date, and His birth nine months later on 25 December? But sometimes His birthday was celebrated on the presumed date of His baptism, 6 January.
Another view is that the feast of Christ's nativity was instituted in Rome as a Christian rival to the pagan festival of the unconquered sun at the winter solstice. Indeed, there may be many strands of tradition involved. The Roman festival of Saturnalia on 17 December brought in the merry-making and exchange of presents. From old Germanic midwinter celebrations we later find the Yule log and decorations with evergreens. And that word Yule comes from the Germanic Jöl or the Anglo-Saxon geöl, again a pagan feast of the winter solstice lasting twelve days - another possible source for the twelve days of Christmas…
Other languages emphasise the aspect of the nativity: the French noel, Italian Natale, Spanish Navidad. The German Weihnachten means hallowed night. But our word Nowell, as in the carol 'The first nowell the angel did say', was a cry of joy that feasters would shout in celebration of Christ's birth.
If we adopted the Christmas tree from the Germans (O Tannenbaum…), we took on Santa Claus from the Dutch. Their Sint Klaas, or dialect Sante Klaas, was enthusiastically adopted by the Americans in the mid 19th century and soon spread to the rest of the world. The 'real' Saint Nicholas lived in Turkey in the 4th century and is credited with giving dowries to three poor girls to save them from prostitution. Less probably, he also restored to life three boys who had been chopped up by a butcher and put into a tub of brine. His feast day is 6 December and in some countries children receive presents then. His image, as the jolly fellow with the white whiskers, comes from the poem whose opening lines are quoted above:
- … His eyes how they twinkled! His dimples how merry!
- His cheeks were like roses, his nose like a cherry;
- His droll little mouth was drawn up in a bow,
- And the beard on his chin was as white as the snow…
- …He had a broad face and a little round belly
- That shook when he laughed, like a bowl full of jelly.
This description inspired the cartoonist Thomas Nast to draw and paint Santa in various situations (including a visit to soldiers in the Civil War!) for Harpers Weekly over a couple of decades from 1863. One of his drawings, from towards the end of his run, is given below at left. Half a century later Haddon Sundblum immortalised Santa in Coca Cola ads, starting in 1931 and continuing for the next 35 years, establishing his image for all time (and firmly cementing the link between Christmas and consumerism…).
If you have been very good all year, you can write to Santa Claus' Main Post Office, Santa Village, FIN-96930 NAPAPIIRI, Finland. Each year, Santa gets hundreds of thousands of letters from 150 countries all over the world. The children in Great Britain, Poland and Japan are the busiest writers. He tries to answer letters from foreign countries, if the writer requests a reply. But even if you didn't behave quite well enough, you can still look at his website at <www.posti.fi/postimerkkikeskus/english/santa/mainoffice2.htm>.
And what better way to finish these thoughts than with the last line of Moore's poem, which I now wish you:
Peter Judge
Sources: Encyclopaedia Britannica 2006 Ultimate Reference Suite on DVD and the Oxford English Dictionary on CD-ROM. Thomas Nast's drawing of 'Merry Old Santa Claus,' published in Harper's Weekly, 1 January, 1881, was found in <stnicholas.kids.us/Brix?pageID=35> and the Coca Cola Santa Claus from 1939, painted by Haddon Sundblom, was in <www2.coca-cola.com/>.
It is time to start planning for the one-day Ed•Ex conference to be held in Canberra next year on 3 June 2006. We will meet for an hour or so immediately before our end-of-year dinner to begin work on our plans. If you have some ideas for the conference or would like to be on the conference committee please come along on Wednesday, 30 November, from 6.00 to 7.00 pm.
We will meet at St John Ambulance Australia, on the corner of Canberra Avenue and Dominion Circuit - right opposite Rydges, where the dinner is being held - and there is ample parking (big inducement!). The entrance is between the two buildings.
Our aims are to:
- discuss ideas for a 'theme' for the conference
- develop a list of possible presentations and presenters
- form a conference committee
- set a date for the first conference committee meeting.
If you can't attend the meeting but have some ideas for Ed•Ex, please contact me.
RSVP: Monday 28 November 2005 to:
- Shirley Dyson
- Training Coordinator
- publications@stjohn.org.au
- mobile: 0411 661 585
- phone: 6239 9209 (w)
A former British Ambassador to France was asked by Paris Match what he would like for Christmas if he could have absolutely anything he wanted. The Ambassador at first demurred and said no, no, he couldn't possibly, but eventually made his choice. The next issue of Paris Match duly carried its feature 'What the world would like for Christmas', in which Mikhail Gorbachev said he wanted an end to the arms race, Ronald Reagan opted for peace on earth, and so on. Finally there was the request of the British Ambassador: 'A small box of crystallised fruits, please.'
from The Cassell Dictionary of Anecdotes, by Nigel Rees
is published by Canberra Society of Editors,
PO Box 3222, Manuka ACT 2603.
© Canberra Society of Editors 2005. ISSN 1039-3358
The next newsletter will appear in February 2006 and the copy deadline for this issue is 27 January.
The editor welcomes contributions using Word for Windows, by email to peter.judge@alianet.alia.org.au
If by snail mail, then send them on a floppy disk or CD-ROM to Peter Judge at 10 Glyde Place, Kambah ACT 2902. If mailing, always provide a printout as well.
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