Frequently Asked Questions
All rewards $10 and higher include a one-year digital subscription.
All rewards $25 and higher include a one-year digital subscription AND a print subscription that will be shipped to you.
Electronic subscriptions will be available in Kindle formats and more.
Of course, some $25 and higher levels also include signed books and other rewards. In those cases, you will get that reward AND the subscriptions!Last updated:
We are all long time fans of science fiction, fantasy and horror, with an appreciation for the idea that our art stands firmly on the shoulders of those who have gone before.
We are all writers, artists, editors and readers who believe strongly that the short story is the bedrock of these genres and that the need for forward-thinking, positive visions of the future are necessary components that must be encouraged and preserved.
Over the past five years, Amazing Stories has gathered together nearly two hundred contributors and many more enthusiastic supporters who believe that Amazing Stories' legacy should be preserved and that an updated, forward-thinking reincarnation of the magazine is an important step of that preservation.
This project is being headlined by several members of the Amazing Stories Team:
Steve Davidson, Publisher, http://amazingstoriesmag.com/authors/steve-davidson/
Ira Nayman, Editor in Chief, http://amazingstoriesmag.com/authors/ira-nayman/
Kermit Woodall, Art Director & Webguy, http://amazingstoriesmag.com/authors/kermit-woodall/
Tanya Tynjala, Spanish Editor, http://amazingstoriesmag.com/authors/tanya-tynjala/
Ricky L. Brown, Reviews Editor, http://amazingstoriesmag.com/authors/ricky-l-brown/
Jack Clemons, Science Columnist, http://amazingstoriesmag.com/authors/jack-clemons/
Steve Fahnestalk, Film Reviewer, http://amazingstoriesmag.com/authors/steve-fahnestalk/
and we are joined by 173 other contributors and over 40,000 enthusiastic members.
To date, this team has produced three preliminary issues of the magazine (here), a comic book authored by David Gerrold (here), multiple anthologies and facsimile issues drawing upon Amazing Stories' ninety year history (here).
Not to mention publishing and editing projects by the various individuals involved, much of which is revealed in the individual bios.Last updated:
We shall be initially producing a quarterly magazine featuring short science fiction that focuses on positive futures.
We are taking the unprecedented step of focusing primarily on a print version of the magazine. Electronic versions of each issue will also be produced, but we believe that there is still something unique and special about holding a physical magazine in your hands.
We will be reintroducing interior illustrations (nearly every story will have title art; longer works will feature multiple illustrations based on the story).
We will be paying at least the minimum SFWA qualifying rates and expect our publication to become a SFWA qualifying market within one year (the minimum time frame).
Each issue is expected to be approximately (200) pages and will publish approximately (30,000) words of fiction, along with regular non-fiction features including film & television reviews, book reviews and science commentary.
We are hoping to produce a special print Collector's Edition featuring a full cover wrap and other features, making this version suitable for shelving with earlier issues of the magazine
Our Loncon and Detcon subscribers, offered a free one year subscription to the magazine for signing up at those conventions will receive a year's worth of the electronic edition, which they can transfer to a print subscription at a special discounted price.
Our website members will also be eligible for discounted subscriptions to either the print or electronic editions.
Suitably timed, all of the contents of each issue of the magazine will be published and archived on the website, fulfilling our original pledge that all content would be freely available to the public.
The intention is to primarily distribute the magazine through traditional science fiction conventions, utilizing a proprietary distribution method, one which avoids the complications and expense of utilizing a formal distribution method (avoiding returns, distributor's cut and the other headaches associated with standard distribution methods).
And, of course, we hope to be able to increase the number of issues published each year.Last updated:
In 2008, Steve Davidson learned that the Amazing Stories trademarks - previously owned by Hasbro - had been allowed to lapse.
As a long time fan of both the science fiction genre and the history of that genre, Steve became concerned that the trademarks - representing a highly recognizable brand - might come to be owned by an individual or company that would not respect its history.
This is in fact something that came very close to happening: at nearly the same time that Davidson and his wife formally applied for the trademarks, a Canadian publishing firm was doing the same. Based on their application, it was their intention to use the name for a series of travel books.
The Davidson's reasoned that if nothing else, they would be able to recover the application fees by selling the name to an appropriate company within the science fiction community. At the very least, the name would be protected for use by the science fiction community.
Fortunately, that application lapsed, moving Davidson's application into the lead. The initial trademark was granted in 2011, nearly three years after originally applied for.
During that three year interval, Davidson researched the genre publishing world, online magazines, social networking and related subjects and determined that by combining online social networking and the best practices of magazine publishing, it would be possible to produce a sustainable version of magazine.
A business plan incorporating this research was prepared and presented to several likely investors. The Davidson's sold their existing business in anticipation of using the funds as seed money for the new venture; investments were promised and then, the economy collapsed.
Promised investments were withdrawn, the Davidson's personal funds utilized for living expenses and in the meantime, fans of the magazine began exerting pressure for something to be done.
This resulted in a shift from the original business model (the one backed by investors) to a bootstrap model, comprised of as many of the original concepts as could be funded at the time, which resulted in an online version of the magazine primarily publishing commentary, reviews, interviews and news of the genre world.Last updated:
The plan is to produce a quarterly fiction magazine and to distribute it through science fiction conventions.
Through market research, we have identified in excess of 400 traditional science fiction conventions held annually in the United States.
Surveys conducted in 2016 revealed the following:
Traditional conventions have memberships of between 200 and 2,000 (with several exceptions).
Memberships in the Aggregate are approximately 40,000
At least 78% of those conventions would be willing to allow us to distribute the magazine/make it available to their attendees.
Simple math suggests that this would require approximately 30,000 copies/30,000 readers*
Additional research suggests that by including specific content appealing to interests related to science fiction, fantasy and horror, the number of potential distribution locations increases three to four fold.
Finally, engaging with media conventions that have a strong genre affiliation**, those numbers grow towards half a million copies/readers.
We believe that this creates an enormous hidden marketing opportunity - a magazine featuring genre content, placed directly into the hands of genre consumers - well educated, deeply engaged, dedicated readers - and a market that will appeal to high-end advertisers, such as film distributors, television studios and gaming companies, in addition to traditional, small press and indie publishers.
*including Worldcon when in the states and several other larger traditional conventions puts actual aggregate attendance closer to 40,000. We do not believe that overlap in attendance is a significant percentage.
**Dragon Con, SDCC and NYCC alone have attendance in excess of 300,000
February - March 2018
Acquisition and Editing of content
Creation of distribution channel
March - August 2018
Completion of acquisition & editing for issue 1
(Acquisitions continue for issue 2)
Layout & design
Continuation of ad sales
Shipping to & distribution of first issue at Worldcon 76 in San JoseLast updated:
Funds raised will be used for the following:
Content acquisition (fiction, non-fiction and artwork)
Promotion (online and through conventions initially)
Funds will also be used for fee-based services (such as formatting for electronic editions), various expenses (such as purchasing ISBNs, postage) to offset out of pocket expenses and to offer some compensation to our staff.
We hope to stretch these funds to cover our first year of publication (supplemented by other revenues).Last updated:
We're all fans of the genre
We believe that short stories are important to the genre
We believe that the Amazing Stories name should be preserved as a legacy for our community
We believe that presenting positive visions of the future are a way to encourage actual positive futures
We believe that 175 contributors and 41,316 registered members can't be wrong
We love science fiction, fantasy and horror, we love short stories, and we love Amazing Stories!Last updated:
Yes and No.
Spiritually, we have gone to great lengths to tie this iteration of the magazine to its historical roots. However, in terms of business succession, it is not.
In 2008, Steve Davidson submitted applications for an Amazing Stories trademark when he learned that Hasbro had allowed the trademark to lapse.
Hasbro had acquired the marks when it purchased Wizards of the Coast, which in turn acquired them when they purchased TSR, Inc. (the D&D company), which in turn had acquired the name when they purchased the magazine from Sol Cohen's Ultimate Publishing company.
However, at the time of the Ultimate Publishing purchase, no inventory was transferred, the name was not trademarked and the purchase as (as can best be determined) for use of the name with distributors, a mailing list of subscribers, a list of advertisers and perhaps some inventory, though this has not been verified at all.
TSR. Inc then applied for and received a trademark for the name.
What this means for those who want to be sticklers to detail is, Amazing Stories ceased being the same entity it had from the beginning with the sale to TSR.Last updated:
No, we don't. There was no asset purchase agreement. The entity known as Amazing Stories ceased to exist at least when Hasbro allowed the trademark(s) to lapse, if not before.
It is our understanding that most rights reverted to their authors and/or only first serial publication rights were sold to begin with.
Any materials that we've re-printed from earlier incarnations of the magazine are either in the public domain or reprint rights have been obtained.
Additionally, although we are not required by law to do so, we have paid honorariums to the Frank R. Paul estate when we've used the artists work for commercial purposes.Last updated:
Steve Davidson: I began watching science fiction related shows at the age of 4/5, and reading, seriously, at the age of ten. In 1974 I attended my first convention (a Star Trek con in NYC) and the following year I was working on conventions. In 1977 I was the manager for that year's Hugo Awards Banquet at Suncon, the 35th World Science Fiction convention. I received a grant from my university to publish Contact: SF a Journal of Speculative Fiction in 1978 and have been involved with the genre in one fashion or another ever since. I have had two pieces of SF-oriented flash fiction published (both by 365Tomorrows); in another life, I have had three books and thousands of articles published in various paintball sports related publications including Playboy and Maxim. I also served as the managing editor of Paintball Retailer magazine and as Sports Editor for Paintball News.
Kermit Woodall: My story is pretty familiar. I discovered Heinlein when I was young, soon I was turned on to the hard stuff - Asimov and Clarke. The 1970s were a heady time to be discovering science fiction I tell you. I was ready for it having read A.A. Milne and Lewis Carroll before and during first grade.
Professionally, and fannishly, my background was my own. Star Wars, and a local museum course in animation, got me deeply into special effects and costuming. I won several awards in makeup and costuming in high school and college. I helped with many local cons as well. My first company developed a special effects package, ImageFX, for the Amiga computer and I found myself visiting Hollywood several times as our software was used in Unsolved Mysteries, Seaquest DSV, and more B-Movies than I can remember.
Ira Nayman: I started reading science fiction in my early teens in the early 1970s. I began with the ABCs of the genre (Asimov, Bradbury and Clark), then branched out to others. After about a decade, I felt the genre had gotten repetitive and drifted to other reading material (mostly non-fiction to feed my own writing). I was gone for about a decade; in the late 1980s, I started hearing about this new sub-genre that was energizing the genre: cyberpunk. I fell in love with the works of Gibson, Shirley, Sterling, Rucker, Cadigan and others. I've read science fiction voraciously ever since. I also write (humourous) science fiction (my eighth Alternate Reality News Service collection will come out on April 1, I have five published novels and have sold a dozen short stories to various anthologies). I was a contributor of book and other reviews to the Amazing Stories Web site for 18 months, after which I was Managing Editor for another 18 months.Last updated:
Our initial plan was to distribute the first new issue of the magazine at MidAmericon II. In preparation for that, we arranged with both Loncon and Detcon to offer a free 1 year subscription to the magazine to attendees who were willing to provide sign-up information.
Karen Davidson's illness and subsequent death from breast cancer put paid to those plans.
However, we were aware that our initial plan might fall afoul of some circumstance and therefore offered that free subscription as an open-ended offer: the free 1 year subscription would not begin unless and until we began regular publication.
Therefore, this offer is still available to those members of Loncon 3 and Detcon 1 who signed up; they will begin receiving the electronic version of the magazine at or shortly after the Worldcon in 2018.
For those of you who did sign up: thank you for your patience, and please read the following:
If your email address has changed since 2014, please contact us so we can update our mailing list
Based on our original offer and our planned publication schedule, you will be eligible to receive 4 issues of the magazine in electronic format.
If you would prefer to receive the print version, we will be offering you a discount by deducting the electronic subscription cost from the print subscription cost and then adding an additional 15% discount (all website members receive 15% off subscriptions and other products).
That's a little complicated, we know. A complete explanation will be provided on the website once we begin offering subscriptions. Our end goal is to make you happy with having signed on to the program.Last updated:
DIDN'T I HEAR THAT YOU HAD LICENSED THE NAME TO NBC FOR A RE-MAKE OF THE STEVEN SPIELBERG TV SHOW - AMAZING STORIES?
Yes, you did. Kind of.
The deal we originally worked out is currently being re-negotiated.
While we believe that associating with such a television show could accrue to our economic benefit, a license alone would not be sufficient to entirely fund the magazine.
However, once the show is produced (if it is), it will provide revenue that we intend to put to good use.Last updated:
For Original Works: We're looking to acquire first publication rights, both print and electronic, along with a non-exclusive reprint right option (for anthologies for example) and non-exclusive in perpetuity electronic archival rights.
For Reprinted Works: We're looking to acquire non-exclusive electronic and print rights, as well as in perpetuity electronic archival rights.
Our rights contract is based on the SFWA model contract, with modifications we believe are beneficial to rights sellers.Last updated:
We're paying a minimum of 6 cents per word, (the minimum SFWA qualifying rate) up to a maximum of 10,000 words, for original material.
We're paying a flat $100.00 reprint fee, regardless of length.Last updated:
For cover illustrations, we're looking to commission works that we will own all rights to (so we can offer posters, t-shirts and other products); fees paid will be negotiated individually with the artist
For interior illustrations, again, while we will not be looking to acquire all rights, we expect to negotiate with the individual artist.Last updated:
For minimums, yes. We are contemplating various bonus schemes, are willing to negotiate and intend to up our rates as quickly as we are able to.Last updated:
We've actually gone and created our own submissions program so that we can respond to the ever-changing needs of the genre markets we serve, as well as save money over the long-haul.
Our submission engine has been designed to create anonymity for the author when a submission is going through the initial read and review process. (If authors remember to follow our instructions, no identifying information will accompany the ms when it is being read.)
Other than that, it operates just like the other electronic submission engines you are probably already familiar with.
We're going to strive to have fast turn-around times; Ira has assembled a team of "slush" readers he is familiar with, so that should run fairly smoothly and quickly.Last updated:
Our plans currently encompass:
A print edition with approximately 200 pages.
Electronic editions: PDF, MOBI & EPUB
Special Collector's Edition: same size as the print edition but printed
on archival quality paper, a wrap-around protective sleeve
(reproducing front and back covers), heavier cover stock and perhaps
a few other benefits. (This edition will only be offered via special
We encourage everyone to submit, regardless of anything that is exterior to a good story.
We intend to engage in outreach to various communities - especially when it seems as if submissions to our site are under-represented.
We fully support the growth and engagement that has been going on in genre over the past several years and have used the website to try and promote those efforts during that time frame (and will continue to do so); we believe that all writers, artists, editors, from different backgrounds, different cultures, different orientations, different gender identities, different racial identities, different religious affiliations and political affiliations deserve to get a fair shot at being seen, read and published, and we do not believe that this goal has been met by our communities, yet.Last updated:
1923-1926: Hugo Gernsback experiments with the publication of what he calls scientifiction stories in his various magazines. Reception is generally good.
1926: Gernsback publishes Amazing Stories, surprising nearly everyone as it had seemed he'd given up on the idea. It rose to immediate success, with a circulation in excess of 150,000 copies.
1929: Gernsback loses his publishing empire in bankruptcy proceedings. Amazing Stories sold to Bernarr McFadden; Gernsback goes on to establish Wonder Stories.
1931 - 1938: The magazine is published by Teck Publishing.
1938: Teck sells Amazing Stories to the Ziff-Davis publishing group, where it is destined to become a hit once again, though the SF field considers it to have gone off the deep end; Raymond A. Palmer, a First Fandomite, becomes editor and mixes science fiction, fantasy and paranormal hooey to produce a magazine largely remembered for its Shaver Mysteries.
1965. Ultimate Publishing purchases Amazing from Ziff-Davis. Publisher Sol Cohen eventually runs into difficulties with SFWA over non-payment of reprint rights. Ted White takes over editorial duties in 1969 and, even against opposition from the publisher, manages to turn Amazing Stories into a respected publication once again.
1982: Ultimate Publishing sells Amazing to Dragon Publishing, the in-house publishing department of the gaming company, TSR.
1985: TSR folds the publishing division into its major operation.
1995: The magazine ceases publication until 1998
1997-1998: Wizards of the Coast purchases TSR and resumes publication of Amazing Stories, through 2000.
2004: Paizo Publishing (spun off from Wizards) is licensef the name briefly and publishes Amazing from 2004 to 2005.
2008: Amazing Stories trademarks applied for and granted in 2011. Online publication of Amazing Stories resumes in December of 2013 until the present.
2018: Amazing Stories makes plans to resume regular print publication.Last updated:
More issues of Amazing Stories!
We hope that with the Kickstarter's help, we can quickly move Amazing Stories into an economically sustainable position, with some room for growth.
Our primary financial goals are to grow in order to be able to both increase staff compensation and the rates we pay.
We also hope to increase the number of annual issues.Last updated:
A total of 613 individual issues have been published under the name of Amazing Stories
The website has published over 5,000 articles
Amazing Stories has not always been Amazing Stories. Issues have been published under the following names:
Amazing Stories, Amazing Science Fiction, Amazing Science Fiction Stories, Amazing Stories combined with Fantastic and Amazing Stories combined with Fantastic Stories
The magazine has been published in large format pulp, pulp, digest and slick dimensions
There have been several companion magazines - Amazing Stories Annual, Amazing Stories Quarterly and Amazing Science Fiction Novels
A large number of well-recognized names in the field got their start with science fiction or were inspired to write science fiction by the magazine, including Isaac Asimov, Arthur C. Clarke, Leigh Brackett, Kate Wilhelm, Damon Knight, Jack Williamson, Frederik Pohl and many more.
The early Amazing Stories actively encouraged the participation of female readers and authors; Clare Winger Harris was the first woman (published under her own name) to publish an original story in Amazing.Last updated:
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