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Frequently Asked Questions (FAQS);faqs.547



*The Chicago Manual of Style*, 13th edition
University of Chicago Press, ISBN 0-226-10390-0

  The OED of style guides.  Not sure what how to make "appearance" a
  possessive?  See p. 160.  (appearance', as it happens.)

*Words into Type*
Prentice-Hall, ISBN 0-13-964262-5

Amusing, quirky, and often irritating:

Fowler, *Modern English Usage*
Oxford University Press

  You either love this one or you hate it.  A period piece, written by
  an Englishman immediately after the Great War.

[[[ I have no information other than the title on the following:
Thomas S. Kane, *The New Oxford Guide to Writing*
Oxford University Press, 1988 $22.95  ]]]

If you are concerned about biased language:

Rosalie Maggio, *The Dictionary of Bias-Free Usage,
                 a Guide to Nondiscriminatory Language*
Oryx Press, 1991.  ISBN 0-89774-653-8

  "Instamatic review: Looks like a good starting place for decisions
  about some issues in language."

_________
MAGAZINES: HOW TO BE A WRITER

Pulphouse Publishing, *The Report*
Pulphouse Publishing, Box 1227, Eugene, OR 97440
$2.95/copy, $10.00/four issues

  Pulphouse's blurb says, "a writer's magazine, filled with writers
  talking about all aspects of writing".   Primarily for people
  interested in speculative fiction (SF, fantasy, horror).  Comes out
  more-or-less quarterly.

*Poets & Writers Magazine*
$3.50/copy. $20/six issues (I think).

  "This magazine is great.  It's full of interviews of authors like Amy Tan
  and John Irving, and includes many articles about creative writing and
  even *teaching* creative writing.  This magazine is aimed at serious
  authors, not the "gee, I wanna write" audience that Writer's Digest
  seems geared towards.  There are also copious listings of contests, grants,
  and workshops in the back half of each issue.  *And* there's even a helpline
  for subscribers.  Yep, call up and get advice on writing/publishing direct
  from the staff!"

_________
MAGAZINES: MARKET REPORTS -- GENERAL

*Publishers Weekly*
P.O. Box 1979
Marion, OH 43306-2079  $97.00/year
Subscription inquiries: [phone]

  Expensive; contains useful industry gossip, hot off the
  presses.  (I learned about the various suits against Donning Press
  from *PW*; *Locus* and *SF Chronicle* didn't get the story until a
  month later.)  Skim it in your library -- the book reviews can help
  you get a handle on what your competition is up to.

_________
MAGAZINES: MARKET REPORTS -- CHILDREN'S BOOKS

Society for Children's Book Writers' Newsletter
(included in $40/year membership fee)
Society of Children's Book Writers
P.O. Box 296, Mar Vista Station
Los Angeles, CA 90066

_________
MAGAZINES: MARKET REPORTS -- SCIENCE FICTION/FANTASY/HORROR

*Bulletin* [[[of the Science Fiction Writers of America]]]
  To subscribe without joining SFFWA, contact
  Pulphouse Publishing, Box 1227, Eugene, OR 97440

*Gila Queen's Guide to Markets*
Kathy Ptacek, editor
PO Box 97, Newton, NJ 07860-0097
 $24.00/12 issues; sample copy for $3.00

  "I can't recommend this publication highly enough.  Invaluable
  leads & jam-packed with current information.  Each issue has a thematic
  focus as well as including updates on anthologies, editor shifts, & the
  like."

*Locus*
Locus Publications, P.O. Box 13305, Oakland, CA 94661, $35.00/year

  A better source of industry gossip than *SF Chronicle*;  I suspect a
  working SF writer could live without it, though.  Richard Curtis's
  industry column has ended, removing one good reason to subscribe.

*Scavenger's Newsletter*
Janet Fox, ed., 519 Ellinwood, Osage City KS 66523-1329, phone [phone]
  (quoting from SFFWA Newsletter)
  "This little zine focuses on market information, covering, in the
  current issue, 91 magazines and fanzines."

*Science Fiction Chronicle*
P.O. Box 2730, Brooklyn, NY 11202-0056, $30/year

  Has semi-yearly Market Report sections. Useful source
  of information on new theme anthologies, semi-pro magazines,
  and other non-obvious markets.

________
MAGAZINES: NOT RECOMMENDED
*The Writer*
*Writer's Digest*

  Most misc.writing contributors find these magazines are aimed at
  people who want to be writers rather than people who write.
  If you judge a magazine's intended audience by its advertisers,
  you'll notice that most ads in *Writer's Digest* promise to
  edit/read/ghost-write/publish your masterpiece for pay; very few
  tell you how to invest your enormous royalty income.

  Some of the columns in *Writer's Digest* are quite good;
  read these in the library.
--
Betsy Hanes Perry   (note P in userid)     [e-mail]
Hewlett-Packard Company
"It seems to us that the readers who want fiction to be like life are
considerably outnumbered by those who would like life to be like fiction."
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From: [e-mail] (Betsy Perry)
Newsgroups: misc.writing,news.answers
Subject: FICTION: Misc.writing Frequently Asked Questions
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Misc.writing Frequently Asked Questions List

Changes since last edition:
   Added section on picture-book manuscript submission

Send corrections and additions to
   Betsy Hanes Perry ([e-mail])

Questions addressed:

   What format should I use for a manuscript?

   I've written a picture book; how do I get it illustrated?

   How do I find a market for my manuscript?

   How do I submit a manuscript?

   Can I sell a manuscript I've posted to USENET/FIDO/GEnie/etc?

   Do I need an agent?

   How do I get an agent?

   What do agents charge?

   What professional groups are useful for writers?

______
MANUSCRIPT FORMAT

Preface:
  All of the following rules can be broken.  However, any time you
  break one of them, you run the risk of irritating an editor.  To
  quote Strunk and White:

    "It is an old observation that the best writers sometimes
     disregard the rules of rhetoric.  When they do so, however, the
     reader will usually find in the sentence some compensating merit,
     attained at the cost of the violation.  Unless he is certain of doing
     as well, he will probably do best to follow the rules."

General:

  Manuscripts should be typed, in black ink, double-spaced, with 1"
  margins on all sides, on one side of good white medium-weight paper.
  Onionskins and Corrasable Bond are Right Out.  Do not staple, bind,
  or otherwise attach the pages to one another.  (A rubber band around
  the stack is okay, if you include a sheet of cardboard to keep the
  stack from buckling.)

  Even if you own an elaborate desktop publishing system, don't show it
  off in a manuscript; your aim should be to produce output that looks
  as close as siliconly possible to typewritten (no smaller than
  10-point type, please!).  Editors are used to typewritten input --
  they have years of expertise reading, casting up, and marking
  monospace manuscripts for typesetting.

  If you submit a photocopy, make sure it's clean and clear; it also
  doesn't hurt to explicitly mark it "Not a Simultaneous Submission" (if
  this is the truth), as some editors assume photocopies are
  simultaneous.  NEVER submit your only copy of a manuscript; tragedies
  do happen.  Photocopy the manuscript, back up the disk.  Not vice versa.

First page header:

I. Wanna Write                                     Approx. 2000 words
1000 Maple Street
Anytown, USA 00000
[phone]

                   (about 1/3 of the way down the page)
                    Title of Story
                         by
                    Ima Pseudonym

  (Note that you do not give your pseudonym, if you use one, as the
  return address; the publisher wants to know who will be endorsing the
  check.)

Notes about word count:

  Word counts are approximate, not actual.  To get yours, count the
  number of words on three "typical" lines, divide the total by three,
  multiply by the number of lines per page and the number of pages,
  and round to the nearest 50.  You will be paid by the publisher's
  word-count, not yours; the publisher's algorithm may differ.  (And
  padding word-count is like double-parking in front of Police
  Headquarters; you *will* get caught.)

Other additions to the header about which there is some debate:

  Your Social Security number (Pro: Aids publishers in recordkeeping
    when they cut you a check.  Con:  If they need it, they'll ask
        for it.)

  A copyright notice (Pro: May be useful in establishing legal claims
        to ownership of your work, should problems arise.  Con: "This is a
        mark of the amateur; editors have better things to do than
        steal story ideas.")

  Membership in writers' professional organizations  -- SFFWA, SCBW,
        et al.  (Pro: Gets editors' attention in the slushpile.  Con:
        Doesn't help, doesn't hurt.)

Second-through-final page headers:

Writer's name/Title of Story                           Page X

  This shouldn't take up more than one line; shorten the title to fit.
  Manuscripts *do* get dropped; if you identify every page, you reduce the
  odds of your story's being re-collated with the last third of
  "Marshmallow Mud Maidens from Madagascar".  (Richard Curtis, the
  renowned agent, feels it's a mistake to include the story title in
  the page header, since this requires you to retype the entire
  manuscript if you change the title.)

  It may also be a good idea to put an "end of story" marker on the last
  page.  Use "# # END # #", "--FIN--", or anything else you're confident
  the editor won't mistake for part of the story.  (Some people think
  that this marker is amateurish.)

How much of the manuscript to include:

  Research the rules of the market you're submitting to.  For short
  fiction (less than 20,000 words), you normally submit the
  entire manuscript.  For novel-length fiction, many publishers prefer
  to receive a couple of sample chapters and an outline; if the
  publisher likes your sample, he/she will request the remainder of the book.

  Publishers won't normally commit to buying a manuscript from an unknown
  writer until they've seen the whole thing. DON'T submit a portion
  of an unfinished book, unless you are certain that you can finish
  the book very quickly (within a month) if the publisher expresses
  interest.

______
PICTURE-BOOK MANUSCRIPT FORMAT

  Children's picture books are normally assembled by the publisher,
  who buys a manuscript, then assigns an artist to create the drawings.
  Historically, most publishers have strongly preferred *not* to
  receive manuscripts with illustrations; the feeling has been that
  it was too difficult to accept one part of the package and reject
  the other.  Author-illustrators generally earned their spurs by
  illustrating the works of others, and were then allowed to create
  their own books.  Some publishers are beginning to accept (but not prefer)
  complete packages; check *Writer's Market* to find suitable
  candidates.

  If you are submitting an unillustrated manuscript for a picture
  book, you should generally not attempt to indicate page breaks,
  double-page spreads, etc., or give detailed illustration
  suggestions, as these are the book designer's and illustrator's
  domain.  Anything that you want to appear in the picture should be
  part of the text.  One obvious exception to this rule is irony:
  if the text reads "Irene's room was always tidy", you're allowed
  to insert a note like "(Illustrator: the room is actually a pit.)"

  As always, you should read many different picture books to get a feeling
  for the strengths and limitations of the format.  Bear in mind that
  picture books are almost invariably 32 or 48 pages long, including title
  page and other front matter.

______
ELECTRONIC PUBLICATION VS. PAPER PUBLICATION

  If you post a piece of writing to an electronic bulletin-board
  (USENET, GEnie, FIDOnet, et al.), or mail it to a generally-
  accessible mailing list (sf-lovers), you have published it. This means
  that you cannot sell "first rights" to that manuscript to a
  magazine, anthology, et cetera.  Furthermore, most publishers won't
  buy secondary rights to a piece that has been published on an
  electronic network.  (Sending E-mail copies of a manuscript out to
  a few friends and reviewers probably doesn't constitute "publication", but
  posting definitely does.)

______
HOW TO FIND A MARKET FOR YOUR MANUSCRIPT

o Go to the library and read *Writer's Market* (see the FAQ booklist
  for full information.)  It will tell you which magazines and books
  are reading unsolicited submissions, and what types of manuscript
  each market is particularly eager for.

o When you investigate a possible market, don't just read *about* it.  Read
  other books printed by the same publisher; read previous issues of
  the magazine.  What the editor honestly believes is "groundbreaking,
  no taboos" may be closer to "50's pulp fiction with swear words."

o Be precise in copying the editor's name, title, and
  address.  Check them against the latest information you have
  available -- editors change publishing houses and magazines
  frequently, and are not terribly amused by receiving submissions
  addressed to their predecessors.
______
HOW TO SUBMIT A MANUSCRIPT
o To cover letter, or not to cover letter?

  Do write a cover letter if
  o  you have previous publications
  o  you have some unusual expertise in the subject matter
  o  the editor has encouraged or requested this submission, or has
     commented favorably on your previous submissions
  o  you are an unusually charming letter-writer
  o  the editor's market report requests one
  o  the submission is part of a larger work (e.g. sample chapters and outline)

  For short fiction from an unknown writer, consider omitting the
  cover letter.  If you do include a cover letter, don't:
  o  retell the plot
  o  talk about how wonderful the story is (show, don't tell!!)
  o  talk about how wonderful the writer is
  o  try to be cute
  o  use more than one page

o Simultaneous submissions.  Don't.  If you *must*, be honest about
  it, and mark the submission as simultaneous; at most houses, this will
  reduce the submission's chances of being read.  If you get caught
  lying, your name will be mud (and remembered, and passed on to other
  editors.)  Yes, editors keep stories for far too long, and yes, it
  isn't fair that they can waste months of your time without leaving you
  anything to show for it.  One possible workaround: Submit works with a
  time limit; say in the cover letter that if you have not received a
  response by three months after the date of submission, you will
  withdraw the work from consideration and will resubmit the work elsewhere.

  [[ Some publishers are starting to accept simultaneous subs;
     check *Writer's Market* to find out if your market
     is willing. ]]

o Insert the package into an envelope that is big enough to hold the
  manuscript unfolded.  (That is, 9x11 is fine; standard business-sized
  4 x 9 1/2 is not, except for VERY short fiction and poetry.)  With
  your manuscript, include either a self-addressed stamped envelope
  (SASE) big enough to hold the return manuscript, or a smaller SASE
  for the publisher's reply, with a note that the manuscript need not
  be returned.  Attach adequate postage to both envelopes.

  Exception to the SASE rule: if you're submitting a work to a
  publisher in another country, consider sending a disposable
  manuscript, an addressed reply envelope for the publisher's
  response, and two International Reply Coupons, available at the local
  Post Office.

o Wait.  Start writing something else.  Requery (BY MAIL) after twice
  the named latency period.  If the publisher doesn't reply after what
  you consider a reasonable time, write a polite letter withdrawing
  the manuscript from consideration and resubmit it elsewhere.

______
DO I NEED AN AGENT?

Markets that only accept submissions through agents:
  Mainstream fiction (not SF, romance, or mystery)
  Screenplays and teleplays (studios won't read unsolicited
           submissions for fear of copyright lawsuits.)

  Most other markets still read their own slushpiles, so you can cut out
  the middleman by submitting your fiction directly.  If you're
  concerned about your ability to negotiate, you can always get an agent
  after you've made the sale through the slushpile.

Markets agents aren't normally interested in:
  Short fiction (not enough money in it)

Things agents generally won't do:
  Rewrite/edit your work (they don't have time)
  Handle several genres (e.g. romances and screenplays and cookbooks)
  Serve as a crying towel
______
HOW TO GET AN AGENT

o The easiest method:
  Sell your book to a publisher.  Then write letters to agents, asking
  them if they'd like to earn their 15%.

o Somewhat harder:
  Send the book over-the-transom to agents who are looking for new
  clients.

o A colossal waste of money:
  Pay somebody an up-front reading fee.  There have been a very few
  exceptions, but 99.9 per cent of all decent agents don't charge
  up-front reading fees; they make their money by *selling* your book,
  not by reading it.

  [[[ The times, they are a-changing.  As the function of slushpile
  weeding is shifting from publisher to agent, many agents see reading
  fees as the only way to recoup their costs.   It is still true that
  you should try to find an agent who doesn't charge a fee first, and
  that you should check the credentials of fee-demanding agents very
  carefully -- make sure that their major source of funds is selling
  writers, not reading manuscripts. ]]]

______
HOW MUCH DO AGENTS COST?

  Agents should not charge authors up-front fees for copying, telephone
  calls, et cetera; this money should come out of the agent's percentage
  of the gross.  The standard agent's fee for fiction seems to have
  risen to 15 per cent.  Agents' fees for screenplays are reported to
  have remained at 10 per cent.

______
PROFESSIONAL GROUPS FOR WRITERS

GENERAL:

National Writer's Union
13 Astor Place
New York, NY 10003
[phone]

  This group provides "contract consultation services, health care
  plans, and grievance resolution services among others.  They are
  affiliated with the UAW and appear to be a cross between a real labor
  union and a writer's advocacy group."

MYSTERIES:

Mystery Writers of America
236 W. 27th St.
New York, NY 10001
[phone]

ROMANCE:

Romance Writers of America
13700 Veterans Memorial Drive
Suite 315
Houston, TX 77014
[phone]

  General Membership open to "established romance authors and writers
  interested in pursuing a career in romance writing."  Associate
  Membership open to "booksellers, editors, agents, and other industry
  professionals."

SCIENCE FICTION/FANTASY/HORROR:

Horror Writers of America
HWA Executive Office
PO Box 10901
Greensboro, NC 27404-0901

  Membership open to anyone.  Annual dues of $45.00, levied from the
  beginning of the calendar year.  Writers join as either Affiliate Members
  or Active Members.  Active Membership, which gives voting privileges for the
  Bram Stoker awards, is attained by the sale of one novel for a certain
  minimum advance or the sale of three short stories to professional markets
  (those paying 3c/word or more to all contributors).  Benefits include a
  subscription to the roughly bi-monthly HWA Newsletter; the HWA Market
  Report, a specialized version of Kathy Ptacek's *Gila Queen's Guide*; a
  membership directory with names, addresses, phones, and agents; a focused
  publicity effort for members' books; the right to submit stories to the
  HWA anthology (two have thus far been published as mass market paperbacks);
  and various other evolving benefits.  The annual business meeting and awards
  banquet is held each June, sometimes on the west coast but typically favoring
  the east coast where the editors are.


Science Fiction and Fantasy Writers of America
Peter Dennis Pautz
Executive Secretary
Science Fiction and Fantasy Writers of America, Inc.
5 Winding Brook Dr. #1B
Guilderland, NY 12084
$60.00 annual membership fee

  Membership open to *published writers only*: you must show evidence of
  having sold at least three SF short-stories or one novel to
  "professional" markets.  Associate membership is open to people with
  fewer publications; write SFFWA for the qualifications, as they are
  expected to change during 1992.

  You can subscribe to the SFFWA newsletter, *Bulletin*, without being
  a member, through Pulphouse Press; see the FAQ booklist for
  Pulphouse's address.

CHILDREN'S BOOKS:

Society of Children's Book Writers (SCBW)
P.O. Box 296, Mar Vista Station
Los Angeles, CA 90066
$40.00 per year annual membership fee

  Publishes 6 newsletters a year, containing market reports, gossip, and "How I
  Sold My Masterpiece" articles.  Yearly market summary, descriptions of
  manuscript format, etc. available to members for cost of postage.
  Membership open to all; unpublished writers and illustrators are
  "Associate Members".  Sponsors annual conferences at both the
  national and local levels.


RADIOPLAYS, SCREENPLAYS, AND TELEPLAYS:

Writers' Guild of America
8955 Beverly Boulevard
West Hollywood, CA 90048

  This is a professional writer's union.  Membership in the Writers' Guild
  of America is limited to individuals who have made sales
  totalling 12 points on their arcane scale (story or screenplay for a
  feature are 12 each, story or script for a sitcom is 6, etc. ad nauseam).

  The sales must have gone to WGA-signatory production entities; the
  writer cannot have been involved in the company in a hiring
  capacity.  (This is to prevent writers' joining the guild through
  paying for vanity productions.)

  There is a "signatory" status for agencies representing writers for
  the WGA. Any guild-signatory agency is prohibited, among other
  things, from charging a reading fee.

[[[ I need information on the following:
    Writers, Inc.
]]]

ELECTRONIC:

  There is a USENET fiction writers' mailing list, Fiction-Writers, run
  by Doug Roberts.  Members of the list are expected regularly to contribute
  fiction for review and to review others' works.  For information, send
  mail to [e-mail]

  The BIX system has several active writers' groups.  'writers' is a
  general group for writers and wannabees.  'writers.pros' is for
  published writers only. Focus tends to be on computer-related
  journalism, though the trials and tribulations of everything from
  fiction to history to textbooks to poetry get discussed.
  'writers.talk' is for chatting with authors and friends.
  'new.writers' is for newcomers.

  COMPUSERV and GEnie also have writers' groups.

[[[ Can members of these give me more information? ]]]
--
Betsy Hanes Perry   (note P in userid)     [e-mail]
Hewlett-Packard Company
"It seems to us that the readers who want fiction to be like life are
considerably outnumbered by those who would like life to be like fiction."
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Subject: comp.windows.x Frequently Asked Questions (FAQ) 1/4
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Archive-name: x-faq/part1
Last-modified: 1992/12/07

This article and several following contain the answers to some Frequently Asked
Questions (FAQ) often seen in comp.windows.x. It is posted to help reduce
volume in this newsgroup and to provide hard-to-find information of general
interest.

        Please redistribute this article!

This article includes answers to the following questions, which are loosely
grouped into categories. Questions marked with a + indicate questions new to
this issue; those with significant changes of content since the last issue are
marked by !:

  0)  TOPIC: BASIC INFORMATION SOURCES AND DEFINITIONS
  1)  What books and articles on X are good for beginners?
  2)! What courses on X and various X toolkits are available?
  3)! What conferences on X are coming up?
  4)  What X-related public mailing lists are available?
  5)  How can I meet other X developers?
  6)  What related FAQs are available?
  7)  How do I ask a net-question so as to maximize helpful responses?
  8)! What publications discussing X are available?
  9)  What are these common abbreviations/acronyms?
 10)  What is the ICCCM? (How do I write X-friendly applications?)
 11)  What is the X Consortium, and how do I join?
 12)  Just what are OPEN LOOK and Motif?
 13)  Just what is OpenWindows?
 14)  Just what is DECWindows?
 15)  What is PEX?
 16)  What is "low-bandwidth X" (LBX)? XRemote? PPP? SLIP? CSLIP?
 17)  TOPIC: USING X IN DAY-TO-DAY LIFE
 18)! What are all these different window managers?
 19)  Why does my X session exit when I kill my window manager (sic)?
 20)  Can I save the state of my X session, like toolplaces does?
 21)  How do I use another window manager with DEC's session manager?
 22)  How do I change the keyboard auto-repeat rate?
 23)  How do I remap the keys on my keyboard to produce a string?
 24)! How do I make a screendump or print my application?
 25)! How do I make a color PostScript screendump of the X display?
 26)  How do I make a screendump including the X cursor?
 27)! How do I convert/view Mac/TIFF/GIF/Sun/PICT/img/FAX images in X?
 28)  How can I change the titlebar of my xterm window?
 29)  Where can I find the xterm control sequences?
 30)  Why does the R3 xterm, et al, fail against the R4 server?
 31)  How can I use characters above ASCII 127 in xterm ?
 32)  Why are my xterm menus so small?
 33)  How can I print the current selection?
 34)  How does Xt use environment variables in loading resources?
 35)  How to I have the R4 xdm put a picture behind the log-in window?
 36)  Why isn't my PATH set when xdm runs my .xsession file?
 37)  How do I keep my $DISPLAY when I rlogin to another machine?
 38)  How can I design my own font?
 39)  Why does adding a font to the server not work (sic)?
 40)  How do I convert a ".snf" font back to ".bdf" font?
 41)  What is a general method of getting a font in usable format?
 42)  How do I use DECwindows fonts on my non-DECwindows server?
 43)  How do I add ".bdf" fonts to my DECwindows server?
 44)  How can I set the backgroundPixmap resource in a defaults file?
 45)  Why can't I override translations? Only the first item works.
 46)  How can I have xclock or oclock show different timezones?
 47)  I have xmh, but it doesn't work. Where can I get MH?
 48)  Why am I suddenly unable to connect to my Sun X server?
 49)  Why don't the R5 PEX demos work on my mono screen?
 50)  How do I get my Sun Type-[45] keyboard fully supported by Xsun?
 51)  How do I report bugs in X?
 52)  Why do I get "Warning: Widget class version mismatch"?
 53)  Where can I find a dictionary server for xwebster?
 54)  TOPIC: OBTAINING X AND RELATED SOFTWARE AND HARDWARE
 55)  Is X public-domain software?
 56)  How compatible are X11R3, R4, and R5? What changes are there?
 57)  Where can I get X11R5 (source and/or binaries)?
 58)! Where can I get patches to X11R5?
 59)  What is the xstuff mail-archive?
 60)  Where can I get X11R4 (source and binaries)?
 61)! Where can I get OSF/Motif?
 62)! Does Motif work with X11R4? X11R5?
 63)  Where can I get toolkits implementing OPEN LOOK?
 64)  Where can I get other X sources? (including R5 modifications)
 65)! Where can I get interesting widgets?
 66)  What is the current state of the world in X terminals?
 67)  Where can I get an X server with a touchscreen or lightpen?
 68)  Where can I get an X server on a PC (DOS or Unix)?
 69)  Where can I get an X server on a Macintosh running MacOS?
 70)  Where can I get X for the Amiga?
 71)  Where can I get a fast X server for a workstation?
 72)  Where can I get a server for my high-end Sun graphics board?
 73)  Where can I get an "X terminal" server for my low-end Sun 3/50?
 74)  What terminal emulators other than xterm are available?
 75)! Where can I get an X-based editor or word-processor?
 76)  Where can I get an X-based mailer?