Harbinger

I don't recall why I started Harbinger, precisely—I'm sure it sounded like a good idea at the time. Quite likely it was one of those ideas I get just before dropping off to sleep; a number of things I do start up that way.

For the first two issues, the art consultant was Saysamone Vilaydeth (who also had two pieces of art in the first issue). The third issue had Vincent Watego, unofficially, who then became art editor for the fourth, and last, issue. For the third and fourth issues I'd an associate editor, Jason Kennedy, who was an enormous boon in giving me a hand with going through the stories.

The first issue I did the layout and proof myself, and it shows. From the second issue onwards that task was taken over by Robert N. Stephenson (at the time of Altair magazine, which has since also folded). He did a good job in putting together everything I sent to him, and a more enormous and thankless task I can't imagine. I owe that guy enormous favours. Layout is not what one would call an easy task.

Thinking back on it, I had enormous gall—payment rates of 1c with a maximum of $50 (which wasn't too bad), but the art rates were rather atrocious. $30 for cover art and $10 for internal. I look at the artwork (some of which was rather detailed and quite lovely) and think—I paid these people $10? I'm surprised they didn't kick me all around the room just for the insult, all the more so because of the unreasonable deadlines I gave some of them.

The last issue was in September to coincide with Aussiecon III, and proved to be the last. I'd run out of funds and my university studies had sagged into nonexistence because of the work I was putting into Harbinger, so I had to call it quits. I "only" lost $1,000 or so—I say only because I saw just how much others were losing and doing fewer issues.

What I had going for me and was luck about (although I didn't know it at the time):

• The aid of Robert N. Stephenson with advice, layout, printing of proofs, and general ear for me to whine into.
• Various writers who submitted their stuff and waived payment in return for extra copies of the magazine.
• Vincent Watego doing stuff for nothing other than a bunch of copies of the magazine to pass around to friends and family.
• People at the small-press dealer's table at Aussiecon III giving me some space, although it occurs to me now that it was most rude of me not to pay for part of that selfsame table. At least I stayed at the table most of the time and pitched in there.
• Issues 3 and 4 were printed by a friend of mine at a printery at cost, not a cent more. Considering I had colour going as well it really did cut initial outlay costs back enormously (to just over a dollar an issue to print).

Basically, although the issues don't mention it, they were done by great collaboration at a hectic pace by Rob, Jason, Vincent, artists Christopher Glen and Andrew Mayocchi, Adelaide writer Jason Bleckly … and all the others I've now forgotten were giving me aid. I couldn't possibly have done it without them.