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View Full Version : Peter Schneider Question and answer-Thread opens 8/19/2015-1PM EDT



Randall Flagg
08-18-2015, 02:23 PM
Peter Schneider, owner of Hill House publishing, chief architect for the creation and production of several of Stephen King's limited edition books has graciously agreed to do a Q&A for our members.
Peter was intimately involved in "The Regulators" Signed Limited and Lettered editions, as well as the iconic coffin case "The Stand" Signed Limited.

I'm sure I've not given his complete resume justice.

To start the thread, member carlosdetweiller (Bob Jackson-preeminent Collector and authority on Collectible Stephen King items) has submitted two questions.

Please allow Mr. Schneider time to answer a few questions before flooding the thread.
Off topic posts will be promptly deleted.


Question one:

Peter, the S/L of The Stand (Coffin Box) and the S/L of The Regulators (both numbered and lettered) are among the most innovative of all the Stephen King S/L's and are among the most prized by collectors. You were intimately involved in the production and design of both. What were those experiences like? And how did you get such a cool job at Doubleday anyway?

Question two:

The cancelled checks that were used in the S/L's of The Regulators to add Bachman's signature (since he was dead and couldn't sign the books themselves) show a lot of knowledge of King's early writing. Who came up with 500 plus unique references for all the checks? Did you do it yourself or have help?

Randall Flagg
08-19-2015, 05:29 AM
The thread will open today at 1:00 PM EDT.

Randall Flagg
08-19-2015, 09:01 AM
Thread is open. Please wit to post until Mr. Schneider introduces himself.

PeterSchneider
08-19-2015, 09:12 AM
Peter, the S/L of The Stand (Coffin Box) and the S/L of The Regulators (both numbered and lettered) are among the most innovative of all the Stephen King S/L's and are among the most prized by collectors. You were intimately involved in the production and design of both. What were those experiences like? And how did you get such a cool job at Doubleday anyway?

Hi, Randall,

Last I heard you were just waking up in Africa. Anyway, here's a longish answer to your question.

I started reading King back in 1997, when a college friend threw a pb of 'SALEM'S LOT across the room at me and said, "Here you go, Snides. I think you'll like this one." I read it overnight and, yes, I did like it.

Flash forward to Grand Rapids, MI in 1979 -- I'm looking through the library card catalog for titles by James Blish when a hand-annotated card shows up. It's for a pb written by Richard Bachman, and someone has written across the top, "This is Stephen King." (I don't remember if the book was THE LONG WALK or RAGE.) I was doubtful about this, but I took the book home, and by the time I finished it, I knew it was Stephen King.

In 1981, after working at a religious publisher in Grand Rapids for two years and an abortive year at law school, I got an editorial job at Doubleday (in the religion dept.). I actually got this job because I had had an interview with William G. Thompson (King's original editor, at this point working at Everest House) who made a call to an old friend of his at Doubleday.

After two years in editorial, I moved into the Publicity dept., where one of the first books I worked on was PET SEMATARY.

And now I'll stop this answer, simply because I could sit here and type for literally hours. But on to Question Two.

Question two:

The cancelled checks that were used in the S/L's of The Regulators to add Bachman's signature (since he was dead and couldn't sign the books themselves) show a lot of knowledge of King's early writing. Who came up with 500 plus unique references for all the checks? Did you do it yourself or have help?[/quote][/QUOTE]

The answer to this question is quite long, so I'll simply give you the short version.

I had two days to fill out all the checks, and I was intent on making as many as possible unique names related to SK. Fortunately, I had at hand the STEPHEN KING ENCYCLOPEDIA by Stephen Spignesi. At this point I had read (and reread) every single SK book, so I knew the context for almost all of the people, places, and things -- but I would have been lost without Stephen's monumental work. By the time I got to number 450 or so, however, I had run out of SK references, so I started writing in various names of authors, publishers, and booksellers that I knew had played a big part in SK's career. Now that I look back on it, it was a tremendous amount of fun -- but at the time, and with my deadline, it was a harrowing experience.

PeterSchneider
08-19-2015, 09:18 AM
A quick PS to my earlier post -- first, you must understand that this is the first time I've done one of these things, so I'm a bit scattered. For example, I thought that the first question was asked by the person with the name "Randall Flagg." Now that I see it was Bob Jackson, under the name "Carlos Dettweiler," I feel a bit abashed. (Though truth be told, I thought that old Carlos was dead a long time ago.)

Anyway, please excuse my lapses here. And please know that most of my replies will be quite long. I'm really happy to be a part of this Q&A -- I told Jerome last night that once I started going through the whole site, it brought back many, many memories. (And please note, I'm only fifty-eight, so I'm not quite doddering off into the sunset yet.) For example, the early bound mss. of THE REGULATORS were put together by me, as were the three-ring notebook versions -- all while I was Mktg. Director at Dutton/Penguin.

T-Dogz_AK47
08-19-2015, 09:23 AM
Hi Peter,

Both The Stand and The Regulators, were absolutely stunning editions. Do you have any plans to work on further Stephen King books in the near future?

jhanic
08-19-2015, 09:25 AM
Peter, just who originated the concept of the "coffin box" for the limited Stand? It was a work of genius.

John

stroppygoblin
08-19-2015, 09:28 AM
Peter, do you know the type of wood the Coffin case was made from?

Simon

thegunslinger41
08-19-2015, 09:28 AM
Peter! Howdy from Texas.


I have one question that can be applied to both books, The Stand S/L and The Regulators S/L. What were some of the more memorable ideas (bad, not practical, too expensive, etc, etc) that were discussed for the designs of both of these limited editions?


Gabriel

PeterSchneider
08-19-2015, 09:30 AM
So, while I'm sitting here I thought I'd throw out a few questions of my own. Obviously, I'm certainly proud of my contributions to the limited editions for THE STAND and THE REGULATORS. But there have been almost countless limiteds of SKs books published over the years, so I'd like to know what particular favorites some of you might have. For example, the first time I ever had any knowledge of limited editions was when I was in the Dealer's Room of the World Fantasy Convention, held in 1982 in New Haven, CT. I happened across the table run by Alex Berman, publisher of Phantasia Press in Michigan. He had a copy of the limited of FIRESTARTER. At this point, I was surprised by the existence of this type of thing (though limited editions have certainly been around for many, many years). So I ordered my own copy there and then. And then I came across Don Grant's booth, where he was selling the signed limited of THE GUNSLINGER, which I had never heard of. So I bought one of these as well.
Anyway, there are many very nice limited editions of SK's work out there. (And, if you press me, there are many not-so-nice limited editions of his work out there.) So I'd be interested in hearing other people's thoughts about what the best ones are -- as well as the worst.

stroppygoblin
08-19-2015, 09:35 AM
So, while I'm sitting here I thought I'd throw out a few questions of my own. Obviously, I'm certainly proud of my contributions to the limited editions for THE STAND and THE REGULATORS. But there have been almost countless limiteds of SKs books published over the years, so I'd like to know what particular favorites some of you might have. For example, the first time I ever had any knowledge of limited editions was when I was in the Dealer's Room of the World Fantasy Convention, held in 1982 in New Haven, CT. I happened across the table run by Alex Berman, publisher of Phantasia Press in Michigan. He had a copy of the limited of FIRESTARTER. At this point, I was surprised by the existence of this type of thing (though limited editions have certainly been around for many, many years). So I ordered my own copy there and then. And then I came across Don Grant's booth, where he was selling the signed limited of THE GUNSLINGER, which I had never heard of. So I bought one of these as well.
Anyway, there are many very nice limited editions of SK's work out there. (And, if you press me, there are many not-so-nice limited editions of his work out there.) So I'd be interested in hearing other people's thoughts about what the best ones are -- as well as the worst.

There have been a few conversations around this, including a poll or too. Most rate the two books you worked on as being at the top, others include:

Asbestos Covered Lettered Firestarter
S/L and Lettered IT from CD
The Shining S/L by Subterranean
'Salem's Lot by Jerrad

I'm sure others will chime in with their favourites.

neo_trinity
08-19-2015, 09:37 AM
Hello again Peter,

I have purchased a few books from you in the past and you were nice enough to gift me a foreign edition of Night Shift. Thank you for that. I have a question about The Regulators. My copy was signed by Stephen King, as opposed to Richard Bachman. Do you know if that was intentional, or an accident? I also have Checks #1, #2 and #3, where again he signed as himself. These were matted and framed and were donated to a Bangor Charity Auction, and as such were not inserted into books. Would really love to know the story behind that.

Thank you.
Gerald

http://geraldwinters.com/king/reg_check_133.jpg

PeterSchneider
08-19-2015, 09:42 AM
Okay, once I posted my previous email, I saw that there were a few new ones that had popped up. I'll try to answer them in this one response.

As far as who originated the coffin box for THE STAND, well, that's kind of a difficult question to answer. I can tell you what my original concept for the box for the limited edition was. My first idea was a wooden box, but it would be standing on end with the spine facing out. There would have been a hinged cover (opening to the left), along with a brass plaque with the name on the front. The door would have been a half-cylinder, with the flat edges facing the box holding the book. (Hope you can all visualize this.) So, you'd have a curved door, with a curved plaque on the front -- and there'd be some sort of handle to open the door. The whole idea was that when you opened the door, first you'd see the spine of the book facing you on the right. But when you looked at the inside of the door, there would be a small recess, with a small vial labeled "Superflu Vaccine" sitting within it.

So, I mocked this whole thing up out of cardboard (including the little vial) and took it to my publisher's office for our first meeting about the limited edition. I set my box up (along with samples of other limited editions to use as examples). I then ran through the whole idea, culminating with opening the door and showing the vial. There were a few seconds of silence, then my publisher (Nancy Evans) said, "Peter, are you out of your f**king mind?"

So, I then fell back on my next idea. This was the concept of a "coffin box." However, this wasn't the design that ended up being produced. I envisioned an actual coffin, either the old-fashioned kind with the box narrowing to the feet or the modern kind -- rectangular but with hand-rails. Now I wasn't too keen on either of these concepts, for the simple fact that I felt they would be far better suited for either 'SALEM'S LOT or PET SEMATARY -- but again I was told that this was "too, too expensive." And so we ended up with what you know today -- a rectangular wooden box with a red satin liner. And as far as the wood used in the box, I'm not too sure -- but if I had to guess, I would think it was some kind of pine, given how light it is.

mikeC
08-19-2015, 09:43 AM
I love DT: Wastelands. I love the size, the paper stock, the texture of the book and the endpapers. Especially the endpapers, illustrative not decroative, with an illustration not used in the book.
Thanks for asking!

jhanic
08-19-2015, 09:48 AM
Okay, once I posted my previous email, I saw that there were a few new ones that had popped up. I'll try to answer them in this one response.

As far as who originated the coffin box for THE STAND, well, that's kind of a difficult question to answer. I can tell you what my original concept for the box for the limited edition was. My first idea was a wooden box, but it would be standing on end with the spine facing out. There would have been a hinged cover (opening to the left), along with a brass plaque with the name on the front. The door would have been a half-cylinder, with the flat edges facing the box holding the book. (Hope you can all visualize this.) So, you'd have a curved door, with a curved plaque on the front -- and there'd be some sort of handle to open the door. The whole idea was that when you opened the door, first you'd see the spine of the book facing you on the right. But when you looked at the inside of the door, there would be a small recess, with a small vial labeled "Superflu Vaccine" sitting within it.

So, I mocked this whole thing up out of cardboard (including the little vial) and took it to my publisher's office for our first meeting about the limited edition. I set my box up (along with samples of other limited editions to use as examples). I then ran through the whole idea, culminating with opening the door and showing the vial. There were a few seconds of silence, then my publisher (Nancy Evans) said, "Peter, are you out of your f**king mind?"

So, I then fell back on my next idea. This was the concept of a "coffin box." However, this wasn't the design that ended up being produced. I envisioned an actual coffin, either the old-fashioned kind with the box narrowing to the feet or the modern kind -- rectangular but with hand-rails. Now I wasn't too keen on either of these concepts, for the simple fact that I felt they would be far better suited for either 'SALEM'S LOT or PET SEMATARY -- but again I was told that this was "too, too expensive." And so we ended up with what you know today -- a rectangular wooden box with a red satin liner. And as far as the wood used in the box, I'm not too sure -- but if I had to guess, I would think it was some kind of pine, given how light it is.


Thanks, Peter. I like your initial concept of the box with the vial.

John

PeterSchneider
08-19-2015, 09:49 AM
Okay, things are moving along. This response is to Gerald, about the mis-signed check for THE REGULATORS.

I trust that everyone knows that, while VP of Marketing at Dutton, I hired Joe Stefko of Charnel House, to do the work on the limiteds. (This is a whole, very long story in and of itself, but it would take me two or three hours to write.)

I know from Joe that one of the signed checks returned from Steve King was signed with King's name rather than Bachman's. I also know that Joe retained that book as one of the ones he was entitled to. However, the three other checks you mention are a mystery to me. I think I would have known about more than one check bearing King's signature. So it's a real puzzle.

And, of course, the reason for King signing his own name instead of Bachman's is that he's so used to signing his own name, he had what one might call a "brain fart" and forgot to use the Bachman name.

jhanic
08-19-2015, 09:51 AM
I call that a "senior moment". It sounds better then.

John

webstar1000
08-19-2015, 09:51 AM
MEE TOOOOO Gerald!

PeterSchneider
08-19-2015, 09:52 AM
Okay, hold the presses - I just went back and reread Gerald's post about the checks signed by King rather than Bachman. I now remember that Steve King kept the first page of checks (which contained the first three checks -- all checks were printed three to a page, then cut for tipping in to the book. I had not heard of this before now, but it makes perfect sense that Steve would have given this page of three checks to one of his charities. So that's probably the answer to that.

PeterSchneider
08-19-2015, 09:54 AM
"A senior moment," eh? I'm at the age (58) where anything that smacks of "senior" is to be confronted with crossed fingers and saying, "Get thee behind me!"

If you're not in my age bracket, you'll understand when you get there. It's a truly sad thing.

PeterSchneider
08-19-2015, 10:02 AM
Okay, I'm now responding to Mike C., who says that his favorite limited is "The Wastelands." I'm not surprised -- Don Grant was a truly fine publisher. He himself is gone now, but I know that Robert Weiner has carried on in his footsteps. Don had published many, many books before he started publishing SK with "The Dark Tower" series. This was one of the reasons that SK went with him. And Don knew how to make books. For example, getting Michael Whelan to do the cover of THE GUNSLINGER was a truly inspired idea. So I completely understand why you love this book.

As to the asbestos FIRESTARTER -- I've actually never seen this book. But I have seen the asbestos FAHRENHEIT 451 published by Ballantine. This was the copy owned by Ray Bradbury -- my wife, Jen, was Ray's editor. (She's also Joe Hill's editor.) When I pulled the book out of Ray's shelf and looked at it, I thought, "Geez, this is really kind of ugly."

Then I opened the book. Shoved within the pages of this book were three letters to Ray written by director John Huston, pleading with Ray to write the script for the movie of "Moby Dick." I then gingerly placed the book back on the shelf and resolved to never make snap judgments again.

Randall Flagg
08-19-2015, 10:04 AM
Anyway, there are many very nice limited editions of SK's work out there. (And, if you press me, there are many not-so-nice limited editions of his work out there.) So I'd be interested in hearing other people's thoughts about what the best ones are -- as well as the worst.
Not counting the Lettered and S/L of "The Regulators", or the S/L "The Stand", Two of my favorites are the "Skeleton Crew" S/L and lettered editions by Scream Press. When displayed on a shelf, they jump right out at you.
One of the worst King S/L's is the pop-up S/L of "The Girls Who Loved Tom Gordon". $1,000 for a pop-up book that although signed by Stephen King, contains no writing from him (Text adaptation by Peter Abrahams).

We have an entire thread discussing the Worst S/L or Collectible item (Warning Peter, you may never leave the site if you get involved in all of the threads-it's slightly addictive):
http://www.thedarktower.org/palaver/showthread.php?11809-Worst-S-L-or-Collectible-Item-Ever&highlight=worst

zelig
08-19-2015, 10:04 AM
"A senior moment," eh? I'm at the age (58) where anything that smacks of "senior" is to be confronted with crossed fingers and saying, "Get thee behind me!"

If you're not in my age bracket, you'll understand when you get there. It's a truly sad thing.

It's approaching faster each year it seems.

Peter, just wanted to hop in and say THANK YOU! for doing this Q&A, it's so great that we can get to connect with someone such as yourself who was involved so directly with the production of certain King books. To answer your question on favorite S/L, strange as it may seem, one of my favorites is one I don't own unfortunately, but hope to one day. So I'm just going off pictures I've seen, and what I've heard. It's one you were involved with, The Regulators. I know that would be a favorite of mine.

Cheers,
Paul

neo_trinity
08-19-2015, 10:05 AM
Okay, hold the presses - I just went back and reread Gerald's post about the checks signed by King rather than Bachman. I now remember that Steve King kept the first page of checks (which contained the first three checks -- all checks were printed three to a page, then cut for tipping in to the book. I had not heard of this before now, but it makes perfect sense that Steve would have given this page of three checks to one of his charities. So that's probably the answer to that.

Thank you for the information Peter. That explains how it came to light. Stu Tinker purchased it at auction, and I purchased it off him. I have always wondered. Thank you.

Gerald

http://geraldwinters.com/king/Regulators_Numb_SK.jpg

PeterSchneider
08-19-2015, 10:05 AM
Okay, here's a trivia question, based on the photo Gerald included of his REGULATORS check signed by Stephen King instead of Bachman.

The check is made out to "The Sharp Company." I assume most of you know what that refers to, right? (A little help -- the Memo is made out "for case of cereal.")

webstar1000
08-19-2015, 10:07 AM
Okay, hold the presses - I just went back and reread Gerald's post about the checks signed by King rather than Bachman. I now remember that Steve King kept the first page of checks (which contained the first three checks -- all checks were printed three to a page, then cut for tipping in to the book. I had not heard of this before now, but it makes perfect sense that Steve would have given this page of three checks to one of his charities. So that's probably the answer to that.

Thank you for the information Peter. That explains how it came to light. Stu Tinker purchased it at auction, and I purchased it off him. I have always wondered. Thank you.

Gerald

http://geraldwinters.com/king/Regulators_Numb_SK.jpg

:rose:

cit74
08-19-2015, 10:08 AM
Slightly off of the King topic but a question about the Lettered American Gods (I do not own one - just the limited) - but that lettered used a wooden box, hinged that opened outward to reveal the book inside. That case sounds similar to the one you described for the original concept of The Stand Coffin. Did you then decide to try a version of your original "stand case" for the Lettered American Gods?
Thank you,
Chad

zelig
08-19-2015, 10:09 AM
Okay, here's a trivia question, based on the photo Gerald included of his REGULATORS check signed by Stephen King instead of Bachman.

The check is made out to "The Sharp Company." I assume most of you know what that refers to, right? (A little help -- the Memo is made out "for case of cereal.")

Cujo?

bdwyer19
08-19-2015, 10:11 AM
Peter, you mentioned the stunned looks you got from your publisher when you tried to include a Superflu vial in the Stand S/L. What was the reaction when thinking of using the Winchester bullets in the Regulators Lettered edition? It's amazingly cool, but I would imagine it took some convincing to make it happen.

Thanks.
Brian

PeterSchneider
08-19-2015, 10:15 AM
Okay, this is a response to Randall Flagg, in regard to his admiration for the Scream Press editions of SKELETON CREW.

Jeff Conner, who ran ScreamPress and published SKELETON CREW, was and is a great guy. I got to know Jeff back when Scream was just starting out, and he did some truly magnificent books, especially his editions of THE BOOKS OF BLOOD by Clive Barker. And SKELETON CREW was just as good. (This is the one with the zipper, right?)

Jeff and I share a background in that both of us started and ran publishing companies that, due to a variety of factors, ended up going down in flames. (My company was Hill House, Publishers -- we did a number of titles by Neil Gaiman, Neal Stephenson, Ray Bradbury, Terry Pratchett, et al.)

I saw Jeff for the first time in many years at the World Fantasy Convention in Washington, D.C. last year. I jokingly proposed that he and I host a panel called "How to Go Out of Business with Your Small Press." Surprisingly, he thought it was a good idea. (Although the title sounds sarcastic, we thought it could provide some interesting cautionary notes for would-be small presses.)

Unfortunately, the present leadership of the WFC doesn't really appreciate anything that "smacks of negativity," so we won't be doing it after all.

PeterSchneider
08-19-2015, 10:18 AM
Okay, this answer is to Chad, about the Lettered Edition of AMERICAN GODS.

You are absolutely correct, Chad. I'd always liked the idea of a lettered limited with a hinged door. Once I had the opportunity to do so with my own company, I pulled out my old designs and put them into effect.

A great observation!

neo_trinity
08-19-2015, 10:20 AM
Hi Peter,

I have a question about The Stand Limited Edition. I have one case with the standard black name plate and another one with a gold name plate. Do you know why 2 different versions were used?

Gerald

PeterSchneider
08-19-2015, 10:22 AM
This one is to Brian, about the bullets used in THE REGULATORS. One thing to remember, Brian -- THE STAND limited was created in-house by the Doubleday design and production staff. In fact, the designer of THE STAND, Marysarah Quinn, is a close friend even to this day. But, the design and production staff at Doubleday wasn't ready to do something as ambitious as a vial in the door.

However, at Dutton, I hired (and worked with) Joe Stefko of Charnel House to do the production of the limiteds. So I was the only one at Dutton involved in the decision. And when Joe showed me his proposed design with the bullets, I yelled out "Yes" before he had a chance to say another word.

webstar1000
08-19-2015, 10:23 AM
Peter, will you ever be involved with another King limited again as I am SURE EVERYONE here would love to see? :)

PS: Thanks for doing this... very cool of you!

PeterSchneider
08-19-2015, 10:30 AM
Okay, back to Gerald re: the plaques on the front of THE STAND.

This is a longish story, Gerald, so sit back. Our original design for THE STAND was for plaques made out of brass to be affixed to the front of the box. After the many months of production, and our approving all the materials, the final finished books-in-boxes showed up. In fact, every one of the 1,302 books were delivered to our management offices at 666 Fifth Avenue, NYC rather than our distribution center in Des Plaines, IL. So, every empty office on the floor was crammed floor to ceiling with these massive books.

I was, of course, eager to see the final assembled product. So I grabbed a box and opened it, then stared at it in dismay. The brass plaque, so bright and shiny when I approved it, was now afflicted with the "creeping crud." In short, there was oxidation showing up around all the edges of the plaque. I started feverishly opening other boxes, only to find the same situation.

It turns out that even the normal moisture in the air was enough to start the oxidation reacting on the plaques. So, we went back to our supplier and told them that we needed replacements for the whole print run. They came up with the final plaques -- brass, plated with black enamel, and the letters scored through to show up in brass. We then had to send all the books back to them for replacements (which they paid for, of course).

When they sent the re-plaqued books back, they also sent me all the original brass plates that they had removed from the boxes. I still have most of these, though I've sent a few out to various people over the years. That must be the source for your original brass plaque.

jhanic
08-19-2015, 10:30 AM
"A senior moment," eh? I'm at the age (58) where anything that smacks of "senior" is to be confronted with crossed fingers and saying, "Get thee behind me!"

If you're not in my age bracket, you'll understand when you get there. It's a truly sad thing.

I'm 70, so I know whereof I speak! (Unfortunately!) :tongue:

John

neo_trinity
08-19-2015, 10:38 AM
Okay, back to Gerald re: the plaques on the front of THE STAND.

This is a longish story, Gerald, so sit back. Our original design for THE STAND was for plaques made out of brass to be affixed to the front of the box. After the many months of production, and our approving all the materials, the final finished books-in-boxes showed up. In fact, every one of the 1,302 books were delivered to our management offices at 666 Fifth Avenue, NYC rather than our distribution center in Des Plaines, IL. So, every empty office on the floor was crammed floor to ceiling with these massive books.

I was, of course, eager to see the final assembled product. So I grabbed a box and opened it, then stared at it in dismay. The brass plaque, so bright and shiny when I approved it, was now afflicted with the "creeping crud." In short, there was oxidation showing up around all the edges of the plaque. I started feverishly opening other boxes, only to find the same situation.

It turns out that even the normal moisture in the air was enough to start the oxidation reacting on the plaques. So, we went back to our supplier and told them that we needed replacements for the whole print run. They came up with the final plaques -- brass, plated with black enamel, and the letters scored through to show up in brass. We then had to send all the books back to them for replacements (which they paid for, of course).

When they sent the re-plaqued books back, they also sent me all the original brass plates that they had removed from the boxes. I still have most of these, though I've sent a few out to various people over the years. That must be the source for your original brass plaque.

Thank you Peter. That makes perfect sense. I actually think the black looks better on the box as it complements with the whole dark effect. The original hasn't oxidized like some of the others you mentioned, but it makes the box look much different. The change was a better solution.

Gerald

PeterSchneider
08-19-2015, 10:40 AM
This is a response to Webstar -- I truly appreciate your comments. However, as the Magic Eight Ball says, "Outlook not so good."

THE REGULATORS was the last SK limited I had anything to do with. I'm pretty much out of the limited edition business these days, but I do keep in touch on what's happening.

My understanding is that, today, almost all SK limiteds are done by three small presses -- companies that co-publish and co-distribute each other's books.

The last limited I know of that was done by a press other than these three was published by Centipede. I've not held a Centipede edition in my hands, but I've seen a number of them. They are truly beautiful works. I've always tried to publish limited editions with the idea of them being "the book as art -- but with a book as well." And Centipede's work was truly stunning.

But, I haven't seen anything King-related by them lately -- which I find disappointing. I don't have a clue as to what happened.

As for the three small presses doing most of the King stuff these days -- I'll let discretion take the better part of valor and say "no comment."

PeterSchneider
08-19-2015, 10:45 AM
Here's to John re: the senior moment. John, I'm truly sorry. I thought you were one of those young bucks writing who thought that someone who reached 40 should be addressed as "Grandpa."

Actually, I'm not sorry -- 70 is still pretty damn vital. I think it's this middle time that I'm in ( 55 to 65) that one starts fretting over what one perceives as the ravages of age. ("Why the hell are my ears sprouting hair and my head isn't?")

Frankly, my dad (who just turned 94) is also a big Stephen King fan -- he's read just about every book SK has written, with the exception of the Dark Tower books.

cit74
08-19-2015, 10:47 AM
Okay, this answer is to Chad, about the Lettered Edition of AMERICAN GODS.

You are absolutely correct, Chad. I'd always liked the idea of a lettered limited with a hinged door. Once I had the opportunity to do so with my own company, I pulled out my old designs and put them into effect.

A great observation!

Thank you Peter. Feel free to drop by the Neil Gaiman thread. I know many of the frequent visitors there own every Hill House Gaiman book - and these are some of my favorite Gaiman limiteds - I am sure we would all love to hear stories related to your relationship with Neil and the production of his books.

jsmcmullen92
08-19-2015, 10:50 AM
This is a response to Webstar -- I truly appreciate your comments. However, as the Magic Eight Ball says, "Outlook not so good."

THE REGULATORS was the last SK limited I had anything to do with. I'm pretty much out of the limited edition business these days, but I do keep in touch on what's happening.

My understanding is that, today, almost all SK limiteds are done by three small presses -- companies that co-publish and co-distribute each other's books.

The last limited I know of that was done by a press other than these three was published by Centipede. I've not held a Centipede edition in my hands, but I've seen a number of them. They are truly beautiful works. I've always tried to publish limited editions with the idea of them being "the book as art -- but with a book as well." And Centipede's work was truly stunning.

But, I haven't seen anything King-related by them lately -- which I find disappointing. I don't have a clue as to what happened.

As for the three small presses doing most of the King stuff these days -- I'll let discretion take the better part of valor and say "no comment."

So now I am curious. As a consumer we have all built our views of publishers and the ones that we like and ones that we do not. (There are many threads here complaining about some and others praising them.) As a publisher what are your thoughts on the other publishers and their works?
-Josh

Bev Vincent
08-19-2015, 10:54 AM
Then I opened the book. Shoved within the pages of this book were three letters to Ray written by director John Huston, pleading with Ray to write the script for the movie of "Moby Dick." I then gingerly placed the book back on the shelf and resolved to never make snap judgments again.

Hey there, Peter -- good to hear from you again. Those letters -- whoa. After reading Green Shadows, White Whale, i have to wonder if he ever regretted working on that film with such an impossible man.

jon10g
08-19-2015, 11:07 AM
I don't have a question but may I say thank you to you and Randall Flagg. This is fascinating stuff and again shows why this is the best King website in the world.
Jon

PeterSchneider
08-19-2015, 11:12 AM
This is to Bev -- Wow, I'm so glad to hear from you, Bev. I have an entire shelf in my library devoted to books by you. And I know it's been many years since we've touched base.

As for Ray and Huston -- he always talked about it as a wonderful experience (Bradbury, I mean). But remember, that was many decades after the movie was made. When Jen and I first got to know Ray, he was in his late 70s -- by that time, past events had taken on a luster polished by many years. But I know that Ray, back in his 40s and 50s, was a fiercely independent person and writer -- so I would be fascinated to know the real relationship between these two powerful personalities at the time.

Anyway, great to hear from you, Bev, and hope we can catch up soon.

PeterSchneider
08-19-2015, 11:15 AM
"I don't have a question but may I say thank you to you and Randall Flagg. This is fascinating stuff and again shows why this is the best King website in the world.
Jon"

Jon -- Even though I've only really been aware of this site for two weeks, I have to offer my hearty concurrence with your views. I do know a lot about the King publishing history and at least some of the limited editions -- and I'm truly blown away by the depth and breadth of knowledge about the subject shown in the many facets of this website.

PeterSchneider
08-19-2015, 11:17 AM
Note to all -- It's now 3:14 pm EDT, and I've got to run some errands. But I do promise to be back here and to answer as many questions or enter as many discussions as I can.

It's been a long time since I've been so excited about something, and I truly appreciate the chance to interact with all of you.

Best,
Peter

zelig
08-19-2015, 11:18 AM
Note to all -- It's now 3:14 pm EDT, and I've got to run some errands. But I do promise to be back here and to answer as many questions or enter as many discussions as I can.

It's been a long time since I've been so excited about something, and I truly appreciate the chance to interact with all of you.

Best,
Peter

Thanks Peter. It has been a real treat being able to chat with you!

jhanic
08-19-2015, 11:20 AM
Note to all -- It's now 3:14 pm EDT, and I've got to run some errands. But I do promise to be back here and to answer as many questions or enter as many discussions as I can.

It's been a long time since I've been so excited about something, and I truly appreciate the chance to interact with all of you.

Best,
Peter

Thanks Peter. It has been a real treat being able to chat with you!

I agree. Thanks VERY much.

John

bdwyer19
08-19-2015, 11:22 AM
This has been a fascinating discussion so far. Thanks Peter!

swintek
08-19-2015, 11:36 AM
Wow- The Peter Schneider?! Here, at Calvin's Corner? This feels like a major coup, Randall Flagg. Fantastic! Thanks for stopping by, Peter. I am thoroughly enjoying reading the questions and responses, and don't have much to add right now, but wanted to say thanks for coming in, and I hope you come back often. I will also echo cit74's invitation to stop by the Neil Gaiman thread (recently, wrongly, banished to a dark far corner of this forum, despite heated opposition; it took a whole 7 seconds to find it- eternity in 'Net Time): http://www.thedarktower.org/palaver/showthread.php?12082-The-Collectible-Neil-Gaiman/page77. I am on record numerous times here stating that Anansi Boys is certainly one of the finest limited editions ever produced, and is my personal favorite. I've never seen a nicer book, and have always wanted to say thanks for making it. So, Thank you!

Ron

zelig
08-19-2015, 12:04 PM
Nice idea. If this ends up happening I would be interested in one too.

racerx45
08-19-2015, 12:38 PM
Hello Peter,

Thank you so much for taking the time for the Q&A, I have really enjoyed reading these posts. I feel fortunate to have lettered editions of both The Stand and The Regulators in my collection and hearing about the original concept for the box for The Stand is amazing. I have two questions for you:

1. Unlike most limited editions the S/L and Lettered edition of The Regulators are very different compared to each other. Can you tell us more about the evolution of both?

2. Is there a Stephen King title that you wish you could have made a limited edition for? Even if another publisher made a limited of that title I would love to hear what your concept was/is.

Again thank you,
Steve

mikeC
08-19-2015, 12:41 PM
Great Ray Bradbury story Pete thanks for sharing. On a related note we visited a book restorer/repairer in college and it was the first special edition/odd book I ever saw, I'm not sure if this guy had made it himself but it was a Martian Chronicles that had a plastic rocket like object on the front. I thought it was really really cool.

George at C-Springs
08-19-2015, 01:36 PM
I was in meetings and missed the whole damn thing; interesting conversations though Peter, thanks for participating. Gerald, once again I can't believe your stuff ... those checks are pretty great.

Should I be the first to suggest that some of those 1000+ original brass plaques, wasting away in a box without purpose in life, poor lonely despondent creeping crud-covered plaques with no-one to love them, make their way out into the caring hands of the TDT.org community? (Nudge-Nudge Wink-Wink)

Randall Flagg
08-19-2015, 01:45 PM
I was in meetings and missed the whole damn thing;

It's not over. Peter spent ~2+ hours here today.
He said he will pop back in to answer questions, but for now there is no scheduled time-it's at his leisure.

PeterSchneider
08-19-2015, 01:54 PM
Okay, this is Peter Schneider, and I'm back from mowing 1/3rd of our lawn. But please be assured that I will keep visiting this site and this Q&A and I will answer as many questions as I can. Also, I'll be posing some questions, given that I've been out of the biz so long. I'm sure that someone out there can provide an answer.

I think I've said this before, but I am truly blown away by everything I've experienced today. One goes through life, doing project after project, and it all seems to be a gray porridge at the end of the day. And then one happens on to a site like this, and so many of these episodes come back into clear focus. It's a real thrill for me -- and thank you all.

Ben Mears
08-19-2015, 02:00 PM
The last limited I know of that was done by a press other than these three was published by Centipede. I've not held a Centipede edition in my hands, but I've seen a number of them. They are truly beautiful works. I've always tried to publish limited editions with the idea of them being "the book as art -- but with a book as well." And Centipede's work was truly stunning.
But, I haven't seen anything King-related by them lately -- which I find disappointing. I don't have a clue as to what happened.

+1 on the Centipede Press observation. 'Salem's Lot is a classy production.

George at C-Springs
08-19-2015, 02:01 PM
Peter, since you mentioned the Ray Bradbury Moby Dick letter, thought you might like this if you haven't seen it before:

Ray Bradbury Moby Dick Screenplay Lettered PC

http://www.thedarktower.org/gallery/data/500/medium/IMAG0492.jpghttp://www.thedarktower.org/gallery/data/500/medium/IMAG0489.jpghttp://www.thedarktower.org/gallery/data/500/medium/IMAG0490.jpg

PeterSchneider
08-19-2015, 02:02 PM
Okay, this reply is to racerx45. You're absolutely right that the two limiteds are very different -- yet I hope that the two of them share a connection to each book that goes beyond the usual slipcase/tip-in page. I wanted there to be a true connection to the book -- hence, my idea for the "Superflu vaccine" vial in the door of the STAND limited. And with the REGULATORS -- although the numbered editons (the Motokop toy boxes) did not turn out to be as great as both Joe Stefko and I had planned, they still had an intrinsic connection to the book itself.

THE STAND limited was, well, limited to the design specs that we could dictate within the Doubleday design/production oversight. With THE REGULATORS, we had a much broader canvas to use -- especially with the added resource of Joe Stefko. The only complication there was when I called Steve King in Colorado (on the set of his remake of "The Shining") and said that we'd have the signature pages to him within a couple of weeks. There was a second of silence, then Steve said, "Pete, I'm not going to sign these books. Richard Bachman is dead, remember?"

That is what started Joe and I on the long quest to the Bachman checks.

PeterSchneider
08-19-2015, 02:04 PM
This is to George at C-Springs -- Wow, where did that Screenplay come from? I've never seen it. Would you mind passing on the publisher of this book?

I'm truly amazed that this edition exists.

Thanks, George.

KingKorn
08-19-2015, 02:09 PM
Hi Peter -

My comments and questions I've been holding for today. I understand that there's quite a lot here, and definitely understand if you only reply to one or two of my questions. Thanks!

In looking at the Hill House production of Gaiman's American Gods (a truly beautiful production by the way), I can see why you comment as you do regarding the current state (particularly of SK) limited editions. There are some very nice ones, and some not-so-very-nice ones out there. By not so nice I assume you mean the overall quality of materials and artistic elements of a given S/L. Please correct me if I'm inaccurately interpreting your comment.

As a newer collector who has little (i.e. no) access to a Regulators lettered or even The Stand coffin S/L, most of my exposure to Limited Editions is via the newer small publishers putting out current limiteds of King's works. Only in branching out my collection to other authors have I had an opportunity to access, and on occasion actually afford, Limited Editions such as those published by Hill House, Charnel House, Land of Enchantment, and others.

There is indeed a difference in what Hill House published as a Limited Edition and what PS, or CD publish as an S/L. Subterranean has a bit of a different product, in my opinion. And Centipede Press definitely operates a different model (their books do seem to be works of art themselves as you note).

My questions for you, Peter:

-- Could you elaborate a little further on your view of the general state of the Limited Edition market?

-- Do you have concerns with the direction that Limited Editions have taken in the years since Hill House has closed it's doors?

I'd love to hear that panel discussion with you and Jeff Conner from Scream Press about how to run put a small publishing company out of business (with that comic but realistic spin, of course). There's so much the two of you surely must've learned in the years between day of 1 of publishing and the day you closed the doors for good. I've heard it put that Hill House published itself right out of business.

-- What are a few of the key things you could share that would help a specialty publisher produce Limited Editions to the standards of Hill House that was, and stay in business over the long haul?

Last comment and question: I love the inclusion of a softback 'Reading Copy' as part of the Hill House limited edition 'package' for American Gods.
-- How did this softback copy come to be produced and included? Did Hill House include reading copies with other Limited Editions? And finally are you surprised that others have not picked up on this collector oriented idea, making them available with today's Limiteds?

Thanks so much for taking time to engage with us and answer questions today!!

George at C-Springs
08-19-2015, 02:15 PM
Peter, it was published by Subterranean Press ... here's the page link: https://subterraneanpress.com/store/product_detail/moby_dick_the_screenplay

It's sold out, but I'm sure copies are available on the secondary market.

Ben Staad
08-19-2015, 02:45 PM
Thank you to Mr. Schneider for the Q&A. Awesome questions and answers.

1) Has there ever been a project (King related or not) that you have drawn the line at producing for just being to outlandish?

stroppygoblin
08-19-2015, 03:06 PM
Okay, once I posted my previous email, I saw that there were a few new ones that had popped up. I'll try to answer them in this one response.

As far as who originated the coffin box for THE STAND, well, that's kind of a difficult question to answer. I can tell you what my original concept for the box for the limited edition was. My first idea was a wooden box, but it would be standing on end with the spine facing out. There would have been a hinged cover (opening to the left), along with a brass plaque with the name on the front. The door would have been a half-cylinder, with the flat edges facing the box holding the book. (Hope you can all visualize this.) So, you'd have a curved door, with a curved plaque on the front -- and there'd be some sort of handle to open the door. The whole idea was that when you opened the door, first you'd see the spine of the book facing you on the right. But when you looked at the inside of the door, there would be a small recess, with a small vial labeled "Superflu Vaccine" sitting within it.

So, I mocked this whole thing up out of cardboard (including the little vial) and took it to my publisher's office for our first meeting about the limited edition. I set my box up (along with samples of other limited editions to use as examples). I then ran through the whole idea, culminating with opening the door and showing the vial. There were a few seconds of silence, then my publisher (Nancy Evans) said, "Peter, are you out of your f**king mind?"

So, I then fell back on my next idea. This was the concept of a "coffin box." However, this wasn't the design that ended up being produced. I envisioned an actual coffin, either the old-fashioned kind with the box narrowing to the feet or the modern kind -- rectangular but with hand-rails. Now I wasn't too keen on either of these concepts, for the simple fact that I felt they would be far better suited for either 'SALEM'S LOT or PET SEMATARY -- but again I was told that this was "too, too expensive." And so we ended up with what you know today -- a rectangular wooden box with a red satin liner. And as far as the wood used in the box, I'm not too sure -- but if I had to guess, I would think it was some kind of pine, given how light it is.



Oh what might have been....
http://i938.photobucket.com/albums/ad223/stroppygoblin/untitled%202015-08-19%2023514100000_zpsojrkkhbz.png (http://s938.photobucket.com/user/stroppygoblin/media/untitled%202015-08-19%2023514100000_zpsojrkkhbz.png.html)

PeterSchneider
08-19-2015, 03:21 PM
Hi Peter -

My comments and questions I've been holding for today. I understand that there's quite a lot here, and definitely understand if you only reply to one or two of my questions. Thanks!

In looking at the Hill House production of Gaiman's American Gods (a truly beautiful production by the way), I can see why you comment as you do regarding the current state (particularly of SK) limited editions. There are some very nice ones, and some not-so-very-nice ones out there. By not so nice I assume you mean the overall quality of materials and artistic elements of a given S/L. Please correct me if I'm inaccurately interpreting your comment.

As a newer collector who has little (i.e. no) access to a Regulators lettered or even The Stand coffin S/L, most of my exposure to Limited Editions is via the newer small publishers putting out current limiteds of King's works. Only in branching out my collection to other authors have I had an opportunity to access, and on occasion actually afford, Limited Editions such as those published by Hill House, Charnel House, Land of Enchantment, and others.

There is indeed a difference in what Hill House published as a Limited Edition and what PS, or CD publish as an S/L. Subterranean has a bit of a different product, in my opinion. And Centipede Press definitely operates a different model (their books do seem to be works of art themselves as you note).

My questions for you, Peter:

-- Could you elaborate a little further on your view of the general state of the Limited Edition market?

-- Do you have concerns with the direction that Limited Editions have taken in the years since Hill House has closed it's doors?

I'd love to hear that panel discussion with you and Jeff Conner from Scream Press about how to run put a small publishing company out of business (with that comic but realistic spin, of course). There's so much the two of you surely must've learned in the years between day of 1 of publishing and the day you closed the doors for good. I've heard it put that Hill House published itself right out of business.

-- What are a few of the key things you could share that would help a specialty publisher produce Limited Editions to the standards of Hill House that was, and stay in business over the long haul?

Last comment and question: I love the inclusion of a softback 'Reading Copy' as part of the Hill House limited edition 'package' for American Gods.
-- How did this softback copy come to be produced and included? Did Hill House include reading copies with other Limited Editions? And finally are you surprised that others have not picked up on this collector oriented idea, making them available with today's Limiteds?

Thanks so much for taking time to engage with us and answer questions today!!

These are some truly trenchant and thought-provoking questions. I've got to go (Jen is coming home in a few minutes and I need to get ready), but I have many, many thoughts on the points you have raised. If you don't mind, I'm going to think on this through the night (we're on NYC time) and then post a (hopefully) coherent and comprehensive response. I'm looking forward to doing this.

Best,
Peter

webstar1000
08-19-2015, 03:27 PM
I was in meetings and missed the whole damn thing; interesting conversations though Peter, thanks for participating. Gerald, once again I can't believe your stuff ... those checks are pretty great.

Should I be the first to suggest that some of those 1000+ original brass plaques, wasting away in a box without purpose in life, poor lonely despondent creeping crud-covered plaques with no-one to love them, make their way out into the caring hands of the TDT.org community? (Nudge-Nudge Wink-Wink)

I would LOVE to have one of those:)

Merlin1958
08-19-2015, 03:33 PM
Wow- The Peter Schneider?! Here, at Calvin's Corner? This feels like a major coup, Randall Flagg. Fantastic! Thanks for stopping by, Peter. I am thoroughly enjoying reading the questions and responses, and don't have much to add right now, but wanted to say thanks for coming in, and I hope you come back often. I will also echo cit74's invitation to stop by the Neil Gaiman thread (recently, wrongly, banished to a dark far corner of this forum, despite heated opposition; it took a whole 7 seconds to find it- eternity in 'Net Time): http://www.thedarktower.org/palaver/showthread.php?12082-The-Collectible-Neil-Gaiman/page77. I am on record numerous times here stating that Anansi Boys is certainly one of the finest limited editions ever produced, and is my personal favorite. I've never seen a nicer book, and have always wanted to say thanks for making it. So, Thank you!

Ron

...And that is why, Randall Flagg is TMIDITW!!!!!


The Most interesting Director in the World!!!

jhanic
08-19-2015, 03:44 PM
Pete, I don't think Jerome warned you about us. Most of us here on the bulletin board are crazy!

John

zelig
08-19-2015, 03:47 PM
Pete, I don't think Jerome warned you about us. Most of us here on the bulletin board are crazy!

John

Well said John!

Br!an
08-19-2015, 04:03 PM
This has been a very informative and interesting discussion.

Thank you Peter for taking the time to interact with us.

BTW thanks for The Cat's Pajamas you sold me. Several members here are now enjoying them.

jsweet
08-19-2015, 06:15 PM
Very interesting. Thanks for sharing all the info!

Roseannebarr
08-19-2015, 06:23 PM
I was in meetings and missed the whole damn thing; interesting conversations though Peter, thanks for participating. Gerald, once again I can't believe your stuff ... those checks are pretty great.

Should I be the first to suggest that some of those 1000+ original brass plaques, wasting away in a box without purpose in life, poor lonely despondent creeping crud-covered plaques with no-one to love them, make their way out into the caring hands of the TDT.org community? (Nudge-Nudge Wink-Wink)

I would LOVE to have one of those:)


Peter, I would volunteer and collect Addresses and mail the plaques if you are so inclined to part with some for the members here! I would mail the to members at my expense and save you the headache. I would love one too

needfulthings
08-19-2015, 08:06 PM
Put me down for one.:drool:

stroppygoblin
08-20-2015, 12:25 AM
I was in meetings and missed the whole damn thing; interesting conversations though Peter, thanks for participating. Gerald, once again I can't believe your stuff ... those checks are pretty great.

Should I be the first to suggest that some of those 1000+ original brass plaques, wasting away in a box without purpose in life, poor lonely despondent creeping crud-covered plaques with no-one to love them, make their way out into the caring hands of the TDT.org community? (Nudge-Nudge Wink-Wink)

I would LOVE to have one of those:)


Peter, I would volunteer and collect Addresses and mail the plaques if you are so inclined to part with some for the members here! I would mail the to members at my expense and save you the headache. I would love one too

+1 from me!

jonp
08-20-2015, 01:36 AM
I'll have Simon's second one :evil:

jsmcmullen92
08-20-2015, 04:21 AM
And I'll take his first :P

webstar1000
08-20-2015, 04:24 AM
That would be cool though... Only members here get them and the rest destroyed! Lol or better let... Number them:) haha

cit74
08-20-2015, 05:08 AM
I have a second box, without a plate on it - so count me in if possible.

Randall Flagg
08-20-2015, 05:20 AM
Hey folks, Peter came here to answer questions, not be hounded for stuff. Since he didn't offer to give/sell the plaques to people, publicly asking for one is a bit gauche.

Theli
08-20-2015, 06:16 AM
^Indeed.

I've enjoyed reading the q&a so far, thanks for stopping by Peter!

Bev Vincent
08-20-2015, 06:37 AM
This is to Bev -- Wow, I'm so glad to hear from you, Bev. I have an entire shelf in my library devoted to books by you. And I know it's been many years since we've touched base.

As for Ray and Huston -- he always talked about it as a wonderful experience (Bradbury, I mean). But remember, that was many decades after the movie was made. When Jen and I first got to know Ray, he was in his late 70s -- by that time, past events had taken on a luster polished by many years. But I know that Ray, back in his 40s and 50s, was a fiercely independent person and writer -- so I would be fascinated to know the real relationship between these two powerful personalities at the time.

Anyway, great to hear from you, Bev, and hope we can catch up soon.

Absolutely -- feel free to message me on here or email me.

George at C-Springs
08-20-2015, 06:46 AM
Hey folks, Peter came here to answer questions, not be hounded for stuff. Since he didn't offer to give/sell the plaques to people, publicly asking for one is a bit gauche.

Sorry RF, sorry Peter, it wasn't meant to be a begging thing ......


... wasting away in a box without purpose in life, poor lonely despondent creeping crud-covered plaques with no-one to love them, make their way out into the caring hands of the TDT.org community? (Nudge-Nudge Wink-Wink)

...... hence my choice of wording!

dnemec
08-20-2015, 06:51 AM
This has been a very informative and interesting discussion.

Thank you Peter for taking the time to interact with us.

BTW thanks for The Cat's Pajamas you sold me. Several members here are now enjoying them.

Seconded.

And incidentally, I bought 2 of The Cat's Pajamas from you. This would be the collector's forum that I mentioned it on, so I know there are a bunch more of us appreciating that book!

Rachel Readman
08-20-2015, 07:10 AM
What a great idea to do this and what a great guy you are for agreeing to talk to a crazy bunch of collectors. You know you'll be here answering questions for the rest of your life don't you Peter?

I just wanted to say thank you for taking the time to do this. It's been fascinating so far.

While I don't own either The Stand or The Regulators limiteds, I absolutely love the thoughtful and artistic design and craftsmanship. I often wonder if we will ever see anything like this again. Being an artist myself I always feel that limited editions could be so much more than a pretty standard book with a signature, number and simple slipcase. I would love to be involved in projects that step outside the average to make amazing and aesthetically unique books like these. Your imaginative and artistic designs are a shining example of what can be achieved.

I will be reading with great interest.

zelig
08-20-2015, 07:23 AM
What a great idea to do this and what a great guy you are for agreeing to talk to a crazy bunch of collectors. You know you'll be here answering questions for the rest of your life don't you Peter?

I just wanted to say thank you for taking the time to do this. It's been fascinating so far.

While I don't own either The Stand or The Regulators limiteds, I absolutely love the thoughtful and artistic design and craftsmanship. I often wonder if we will ever see anything like this again. Being an artist myself I always feel that limited editions could be so much more than a pretty standard book with a signature, number and simple slipcase. I would love to be involved in projects that step outside the average to make amazing and aesthetically unique books like these. Your imaginative and artistic designs are a shining example of what can be achieved.

I will be reading with great interest.

Well said Rachel. It would be wonderful to have more modern day limiteds on par with some of these classics.

PeterSchneider
08-20-2015, 07:40 AM
Hi Peter -

My comments and questions I've been holding for today. I understand that there's quite a lot here, and definitely understand if you only reply to one or two of my questions. Thanks!

In looking at the Hill House production of Gaiman's American Gods (a truly beautiful production by the way), I can see why you comment as you do regarding the current state (particularly of SK) limited editions. There are some very nice ones, and some not-so-very-nice ones out there. By not so nice I assume you mean the overall quality of materials and artistic elements of a given S/L. Please correct me if I'm inaccurately interpreting your comment.

As a newer collector who has little (i.e. no) access to a Regulators lettered or even The Stand coffin S/L, most of my exposure to Limited Editions is via the newer small publishers putting out current limiteds of King's works. Only in branching out my collection to other authors have I had an opportunity to access, and on occasion actually afford, Limited Editions such as those published by Hill House, Charnel House, Land of Enchantment, and others.

There is indeed a difference in what Hill House published as a Limited Edition and what PS, or CD publish as an S/L. Subterranean has a bit of a different product, in my opinion. And Centipede Press definitely operates a different model (their books do seem to be works of art themselves as you note).

My questions for you, Peter:

-- Could you elaborate a little further on your view of the general state of the Limited Edition market?

-- Do you have concerns with the direction that Limited Editions have taken in the years since Hill House has closed it's doors?

I'd love to hear that panel discussion with you and Jeff Conner from Scream Press about how to run put a small publishing company out of business (with that comic but realistic spin, of course). There's so much the two of you surely must've learned in the years between day of 1 of publishing and the day you closed the doors for good. I've heard it put that Hill House published itself right out of business.

-- What are a few of the key things you could share that would help a specialty publisher produce Limited Editions to the standards of Hill House that was, and stay in business over the long haul?

Last comment and question: I love the inclusion of a softback 'Reading Copy' as part of the Hill House limited edition 'package' for American Gods.
-- How did this softback copy come to be produced and included? Did Hill House include reading copies with other Limited Editions? And finally are you surprised that others have not picked up on this collector oriented idea, making them available with today's Limiteds?

Thanks so much for taking time to engage with us and answer questions today!!

Okay, KingKorn, your questions bring up many of the points that I've been expounding on for the last several years -- and now you get to hear my lengthy speech/diatribe as well. This will be a long one.

My view on the general state of the limited edition market: LEs have been around for more than one hundred years. LEs produced by the major trade publishers have generally been rather lackluster affairs. For example, Doubleday produced LEs for several of Isaac Asimov's Foundation books. They would use the same book block that was used in the trade edition, tip in a signature page, then put the unjacketed book in a paper-covered slipcase. (In some cases, they would paste the front of the dust jacket on the front of the slipcase.) They would do a limitation of 1,000 copies and sell them for $75 or so. These were certainly not exciting editions, but they would sell out fairly quickly.

There are, as always, exceptions to this rule. One example would be the limited edition of Ray Bradbury's FAHRENHEIT 451. Ballantine did the limited edition as well as the trade. In a real example of thinking outside the box, however, they bound the book in asbestos fabric. In truth, it's not an attractive book. But, it's a perfect example of someone trying to marry the concept of the book to the packaging.

Another example would be the recent Neil Gaiman limited editions published by HarperCollins. (Disclosure: My wife, Jennifer Brehl, is Neil's editor at Harper/Morrow and she coordinates the limiteds as well as the trade editions.) These limiteds are many rungs higher on the limited edition ladder than the usual trade-produced limiteds. They feature die-cuts in the slipcase, revealing artistic elements on the cover beneath, and most of them also include additional material not used in the trade edition.

In terms of the philosophy of creating limited editions, I always try to create some link between the content of the book and the production. The previously cited example of FAHRENHEIT is a perfect illustration of this example. Another example would be the limited editions of THE REGULATORS. Joe Stefko and I had many brainstorming sessions about these two books (the numbered and the lettered). What Joe finally came up with was the MotoKop toy box for the numbered and the faux-ammunition case with protruding bullets for the lettered. Both of these concepts tied in to the content of the book.

This element is something that I think is lacking in many of the limited editions today. It's not that hard to conceive of a link between the book and the production, of course. The one objection to this is that it costs more money for production. But if one is charging $200 or $1,500 (or much more, as I've seen lately) I feel that the customer should receive more than just the usual book-in-slipcase or traycase.

But -- and this is a big but -- collectors will buy both the good and the bad, no matter what it costs. Joe Stefko was at our house last summer -- we were sitting out on the patio and I was jabbering on about just this topic. Joe looked at me, pointed his finger, and said, "You're forgetting that most of the collectors out there are simply chasing the signature."

"Chasing the signature." That truly sums up the rationale for the many, many uninspired limited editions out there. (Actually, there are many, many, many, but I didn't want to get carried away.) Think about the recent offering of a lettered edition of SKs at a price of roughly $4,500 US -- what makes this volume so expensive is that it features an actual SK signature.

I'm not saying that limited editions shouldn't have an author signature -- I'm simply saying that the author and the customer deserve a truly creative and inspired production along with the signature rather than the usual run of the mill slipcase/traycase.

And now we must address the issue of illustrations in limited editions. I know that many people will vehemently disagree with my opinion, but that's what makes ball games interesting. Frankly, I find most artwork in limited editions intrusive. I mean this in the sense that when I read a book or story, I create my own mental image of the characters and the other physical elements. So when an illustration appears that is, of course, different from my mental image, I find that it breaks my flow in that I'm faced with an image that conflicts with the one I've built within my imagination. (Boy, that sentence won't win any awards, will it?)

There are a few cases in which illustrations work -- in my opinion, of course. The work of J.K. Potter, for example, conveyed, at least to me, more of a spirit of the narrative than an attempt to depict actual characters or scenes. ScreamPress used J.K.'s work to wonderful effect in many of their books.

From my own experience, I can cite examples of both good and, well, less good. The first Hill House limited was GHOST STORY, by Peter Straub. I engaged the work of artist Steve Gervais, who does most of his work in pencil. Steve's illustrations conveyed more of a mood than actual images. Perhaps they were more effective because they were done in black-and-white pencil rather than full-color. The next Hill House book, FAERIE TALE by Raymond E. Feist, also featured illustrations. However, they were straight depictions of the people and scenes from the book -- and so, to my mind, they really didn't add anything to the production.

Please understand that I'm not objecting to artwork -- there's a lot of amazing artists out there doing amazing work. And there will always be a place for truly striking cover art. My only cavil is with interior illustrations.

Geez, I do ramble on, don't I? But I never billed myself as "succinct." I realize that I've only responded to one or two points in KingKorn's post, but I've got a lunch appointment. So I will take this up once again a few hours from now.

racerx45
08-20-2015, 07:54 AM
Expanding on the above, what are your thoughts about the fact that most limited editions, especially high end books like The Regulators, are treated as display pieces not books?

biomieg
08-20-2015, 09:31 AM
I'm still away on vacation, so not reading and posting as much as I normally would, but I would like to thank Jerome and Peter for this wonderful thread.

Rachel Readman
08-20-2015, 09:31 AM
Very interesting thoughts regarding interior illustration.

How do you feel about digital 'photoshop' art as opposed to traditional mediums and skills? More and more these days I'm seeing publishers using photoshop only work and quite often the artist can not paint or draw in a traditional sense, at least not well or to anywhere near the images they produce using photoshop etc. I've seen publishers referring to photoshop images as 'paintings' and 'drawings' as though they have been done with brushes and paint or pencil etc and many collectors or customers thinking they are seeing real, physical paintings and drawings when infact what they are seeing, are photographs manipulated on a computer using effects in photoshop or completely digital work. Any thoughts on this?

Thank you.

jon10g
08-20-2015, 11:35 AM
Expanding on the above, what are your thoughts about the fact that most limited editions, especially high end books like The Regulators, are treated as display pieces not books?

An excellent point. Are these items books to be read or pieces of art?
Another thing I find myself asking is the apparent contradiction in things that Mr King has said about limited editions in the past. One the one hand he says it is the story that matters and I believe he once said that it would not matter if it were printed on the side of a plastic bag. Then he (presumably) endorses a whole host of limited editions, some of which have been done previously, at increasingly exorbitant cost.
I am with Mr Schneider here. In my opinion the last decent limited was Salems Lot by Centipede Press. It is so sad that SK vetoed their proposed edition of The Shining.

swintek
08-20-2015, 11:51 AM
"Chasing the signature", indeed! That is well-observed. I've often thought the same. I'd rather have an unsigned, inspired production that made me want to actually READ the damn thing- than an uninspired signed edition that I just put on the shelf. And, at a reasonable cost. This is why I absolutely adore and support the concept of the "Gift" Edition- "Gorgeous books for everybody!", has long been my mantra. These are two divergent fetishes (yep) among book collectors, however, that often converge: Loving the book as Object D'art- and loving the exclusivity of the limited edition book. The rarity is the juice for some. I get it, but, I say again: Gorgeous books for everybody! Which, I don't think, makes me any less of a book collector. Nor, the Signature Chasers, indeed.

Randall Flagg
08-20-2015, 12:41 PM
The idea behind this thread is that people pose succinct specific questions to Mr. Schneider. When Mr. Schneider asks something from us, feel a bit more free to elaborate (if you are answering his question).
We can't overwhelm him with 100+ word "opinions" that don't ask a question. When Mr. Schneider asks for answers/opinions feel free to elaborate a bit, but we want as many people as possible to enjoy the thread.

Of course we encourage lengthy answers from Mr. Schneider :grouphug:

George at C-Springs
08-20-2015, 01:36 PM
Yeah, but we like him ... he already seems like someone who's been on the site for years! Which means, of course, that thread subjects may wander. Just a bit. Until you crack that whip.

So, with the whip being sufficiently cracked, Peter back on Page 1 you asked " ... there are many very nice limited editions of SK's work out there. (And, if you press me, there are many not-so-nice limited editions of his work out there.) So I'd be interested in hearing other people's thoughts about what the best ones are -- as well as the worst."

One of my favorites is my first, The Eyes of the Dragon, Black, #7:

http://www.thedarktower.org/gallery/data/500/medium/DSC_0208a.jpg

I like it sentimentally, because it represents the moment of my transition from "Constant Reader" to "Holy cow, look at all this cool stuff, I think I'd love to start being a Collector!" I also really liked the oversize format and of course the "linen" aspect.

I also do love my IT by Cemetery Dance, not only for the production itself but for Erin Well's four-page panoramic Remarque:

http://www.thedarktower.org/gallery/data/500/medium/IT_Remarque_1_with_Copyright_Page_small.jpghttp://www.thedarktower.org/gallery/data/500/medium/IT_Remarque_2_3_Together_small.jpg
http://www.thedarktower.org/gallery/data/500/medium/IT_Remarque_4_and_TOC_small.jpg

I also really like the CD "From a Buick 8", though I haven't got one yet, and your "The Regulators" which is also on my want list. Liking "The Stand" goes without saying, and I'm one of the fortunate ones to have picked one up a few years ago.

As far as the worst ... Tom Gordon, I think hands down, and I also didn't like Secretary of Dreams very much (you pretty much have to be a Glenn Chadbourne and comics fan for that one).

As far as "chasing the signature", I wouldn't say I chase it but I do absolutely think it's very cool to have autos of folks you admire because it's a tangible, personal link and I really like that ... otherwise it's just a book.

Merlin1958
08-20-2015, 03:27 PM
As someone in "The Biz" so to speak, what are your thoughts on Mr. King' stated opinions regarding Collectors, LE's, etc.... I realize you may wish to tread lightly, but as PC and honest as you can be it would be interesting to hear your views.

PeterSchneider
08-20-2015, 03:45 PM
Hi, everybody.

This is Peter Schneider with a quick question. I signed on again this afternoon to reply to the many questions. However, I've noticed that my name has been blocked out on almost all the posts. Does anyone know what this means? It might be an artifact from my computer, but my best guess is that it's not.

I'd welcome any thoughts on this.

Thanks,
Peter

Merlin1958
08-20-2015, 03:48 PM
I see your member name just fine if that is any help.

needfulthings
08-20-2015, 04:14 PM
It's because you ADVANCE SEARCH under your name.

TCCBodhi
08-20-2015, 04:20 PM
What do you think of the major publisher attempts at S/L editions, which in the recent memory would include Under The Dome and 11/22/63. Under The Dome's main addition seems to be the Collector Cards (which were commonly damaged simply due to how they were packaged); and 11/22/63 which had a decent Dustjacket and DVD introduction, but little else to set it apart from a standard. Do you think that a larger publisher really has any interest in creating an edition that is something considered as a work of art, or was it minimal effort knowing that these would bring in the premium amount with simple & cheap additions?

jon10g
08-21-2015, 02:39 AM
Expanding on the above, what are your thoughts about the fact that most limited editions, especially high end books like The Regulators, are treated as display pieces not books?

An excellent point. Are these items books to be read or pieces of art?
Another thing I find myself asking is the apparent contradiction in things that Mr King has said about limited editions in the past. One the one hand he says it is the story that matters and I believe he once said that it would not matter if it were printed on the side of a plastic bag. Then he (presumably) endorses a whole host of limited editions, some of which have been done previously, at increasingly exorbitant cost.
I am with Mr Schneider here. In my opinion the last decent limited was Salems Lot by Centipede Press. It is so sad that SK vetoed their proposed edition of The Shining.

Apologies if I rambled.
My questions are:
Are these limited edition books to be read or works of art to be admired?
Do you know what motivates Stephen King to authorise these editions bearing in mind the somewhat contradictory statements he has made in the past regarding limited editions?
Thanks

PeterSchneider
08-21-2015, 11:06 AM
Expanding on the above, what are your thoughts about the fact that most limited editions, especially high end books like The Regulators, are treated as display pieces not books?

This is a really good question, racerx. It brings up the whole issue of whether "the book as art" means it's a book that has an artistic package, or a piece of art that happens to have a book within.

Frankly, I'm not sure where I stand on this. On the one hand, it does seem a shame to feature a book as a display piece and nothing more. On the other hand, I would guess that most people who buy expensive limited editions don't really read them because they have trade copies of the same book to read.

After thinking it through, I would have to say that I can understand using the limited as a display piece, simply because the inherent appeal of the piece is the book.

Boy, that's poorly phrased. In other words, not many people would buy a replica ammo box with any book inside featuring the protruding bullets (as in the lettered REGULATORS). It is only because it is THE REGULATORS by King/Bachman that it is an item worthy of display.

Hope that all makes some sense.

Randall Flagg
08-21-2015, 01:52 PM
Peter is a wealth of information.
Thanks 100 times to Mr. Schneider for coming here.

There are several separate threads that may, or may not happen, depending on Mr. Schneider's available time. No promises but possibilities included:


The Stand-Original and Uncut Versions. Behind the scenes debate, conversations and decisions that happened before the Uncut version was published.
Never before published video.....I can say no more. Once again, this is not a promise, just a possibility.
Bonus items (Guaranteed)

Stay updated on the site.


Mr. Schneider comes in at his leisure, so be quick to view the latest posts!

zelig
08-21-2015, 03:30 PM
Sounds great Jerome. Looking forward to it.

Here's a question for you Peter which I alluded to earlier with you. Since you have some valuable insight on what goes on behind the scenes in publishing, I was curious if you had anything to share about book or dust jacket variants. A simple example would be Insomnia or Tommyknockers with the different dust jackets.

How and why do these come about? Do a few of the marketing execs have a meeting and say, let's put this one out with a variant jacket? Is it sales driven because historically it sells more books? Would be interesting to hear what drives it.

PeterSchneider
08-22-2015, 06:41 AM
Expanding on the above, what are your thoughts about the fact that most limited editions, especially high end books like The Regulators, are treated as display pieces not books?

This is a really good question, racerx. It brings up the whole issue of whether "the book as art" means it's a book that has an artistic package, or a piece of art that happens to have a book within.

Frankly, I'm not sure where I stand on this. On the one hand, it does seem a shame to feature a book as a display piece and nothing more. On the other hand, I would guess that most people who buy expensive limited editions don't really read them because they have trade copies of the same book to read.

After thinking it through, I would have to say that I can understand using the limited as a display piece, simply because the inherent appeal of the piece is the book.

Boy, that's poorly phrased. In other words, not many people would buy a replica ammo box with any book inside featuring the protruding bullets (as in the lettered REGULATORS). It is only because it is THE REGULATORS by King/Bachman that it is an item worthy of display.

Hope that all makes some sense.

PeterSchneider
08-22-2015, 06:54 AM
Sounds great Jerome. Looking forward to it.

Here's a question for you Peter which I alluded to earlier with you. Since you have some valuable insight on what goes on behind the scenes in publishing, I was curious if you had anything to share about book or dust jacket variants. A simple example would be Insomnia or Tommyknockers with the different dust jackets.

How and why do these come about? Do a few of the marketing execs have a meeting and say, let's put this one out with a variant jacket? Is it sales driven because historically it sells more books? Would be interesting to hear what drives it.

Hi, Zelig,

Before I answer your question, I do want to apologize to everyone here for being so late in answering questions. I do try to give full (and incredibly wordy) answers to everything that comes up -- and please believe me when I say that I will -- eventually -- get to every single questions.

And now, Zelig, here's my answer to your very perceptive question -- you are absolutely right. Marketing and sales executives do get together in meetings (although not as nefariously as this might sound) and come up with these ideas. I've been in a few of these meetings (including the INSOMNIA one). The fact is, the major publishers do know that there are certain authors (SK being top of the list) who have large numbers of rabid fans and collectors. They figure that if they do two variant dust jackets, these collectors will buy both, simply to have the two variants in their collection. A lot of magazines do this as well -- off the top of my head, Entertainment Weekly will often offer four or more different covers for the same issue in the hopes that fans will want each one. (This of course only holds true when they feature, say, four different STAR WARS covers.)

Is this practice manipulative? Of course it is . . . and most of the execs in these meetings would admit it. But the job performance reviews of these execs are based on increased sales, and so that's what drives these decisions. Back when I was in trade publishing, I certainly played my part in these decisions -- while I'm not proud of them, I'm not ashamed of them either.

zelig
08-22-2015, 07:01 AM
Thanks for the response Peter. Great to get some insight about this.

PeterSchneider
08-22-2015, 07:18 AM
What a great idea to do this and what a great guy you are for agreeing to talk to a crazy bunch of collectors. You know you'll be here answering questions for the rest of your life don't you Peter?

I just wanted to say thank you for taking the time to do this. It's been fascinating so far.

While I don't own either The Stand or The Regulators limiteds, I absolutely love the thoughtful and artistic design and craftsmanship. I often wonder if we will ever see anything like this again. Being an artist myself I always feel that limited editions could be so much more than a pretty standard book with a signature, number and simple slipcase. I would love to be involved in projects that step outside the average to make amazing and aesthetically unique books like these. Your imaginative and artistic designs are a shining example of what can be achieved.

I will be reading with great interest.

Well said Rachel. It would be wonderful to have more modern day limiteds on par with some of these classics.

Hi, Rachel,

If you want to hear just how zany these ideas can get, let me tell you about my idea for the lettered edition of FAERIE TALE by Raymond Feist. I don't know how many of you are familiar with this book, but it was the only contemporary real-world novel published by Ray (who is a good friend).

The plot deals with the Faerie, of course. A modern family moves into an old house - a house that the locals call Erl King Hill. There are a lot of bad faerie and a few good ones. At the end of the book, the protagonist must walk "widdershins" (counter-clockwise) seven times around the hill in order to save his brother.

My original idea for the lettered was to have a large (perhaps two feet square) base, with the hill and the house rising up from the middle. There would be a kind of track encircling the entire hill, and there'd also be a key -- which would be a human figure. One would place the "key" into the track, then run it around the hill seven times. At the end of the seventh revolution, the hill would crack open and the book would be revealed.

Once I started looking into this, I realized that to have twenty-six of these made would cost me many tens of thousands of dollars -- and so I abandoned the idea, with regret.

The reason I bring up this inane idea of mine, however, is to once again emphasize the point that the production of a limited edition should be tied into the theme or plot of the book, rather than just a slipcase or traycase.

One other thought on limiteds -- I'm sure you've all seen many limiteds that feature "ribbon markers" -- those little strips of silk that are meant to be used to mark one's place in the book. I've always found those to be truly superfluous items. You should know that the production cost for these markers is tiny, so it's an easy and cheap way to "add value" to a limited. And the fact that most people never read their limiteds makes these items even less useful.

When I started Hill House as a full-time business (back in 2003), we did AMERICAN GODS by Neil Gaiman. I wanted to do something a bit different with ribbon. As a long-time collector of limited editions, I had always hated having to scrabble at the binding of the book to extricate it from the slipcase, especially when the slipcase was a bit too tight. So I came up with the idea of a ribbon pull -- a strip of ribbon mounted within the slipcase itself. To remove the book, you would simply pull on the ribbon and it would slide the book out into your waiting hands. Of course, one had to ensure that the slipcase wasn't too tight, otherwise the ribbon would simply break off.

The other solution to the problem of extricating books from a slipcase is to scallop-cut the two vertical edges of the case. This allows you to easily grasp the book and pull it out, but it still provides full protection to the book. I never got the chance to do this with Hill House, but I had planned on doing so. And I don't think I've ever seen more than two or three limiteds that feature this scallop-cut slipcase -- but I still think it's a great idea.

Anyway, there's my incredibly verbose answer -- hope people aren't getting too bored.

jhanic
08-22-2015, 07:27 AM
Regarding the "scallop cut" slipcase, the UK publisher Hodder & Stoughton did something similar for their limited Under the Dome:

http://www.thedarktower.org/palaver/showwiki.php?title=UNDER+THE+DOME+-+S+L+UK

John

Rachel Readman
08-22-2015, 11:18 AM
Bored? With interesting and somewhat crazy plans like that being revealed in your answers? Not bored at all. The forum does tend to slow over weekends so don't feel abandoned.

One issue that does affect all collectors is display/storage space. Imagine if you had made Faerie Tale 2ft square in the design you had in mind. It would need it's own table or display stand. Then consider if all books had similar out of the box and large real estate designs. The average home, office or personal library would be very full, very fast! But wouldn't they be so amazing filled with truly magnificent pieces like that.

I may have only ever seen a handful of scalloped slipcases. Definitely a good idea. I tend to tip a case toward the ground and let gravity pull the book out into my palm but if they are really tight this doesn't necessarily work so well and requires a bit of a shake. Simple practical thinking and yet it is not used.

Randall Flagg
08-22-2015, 04:39 PM
Mr. Schneider,

So far it seems that all of the Regulators checks were hand written by you (or someone else) in black ink. I know you were on a time deadline and used outside references (Spignesi's Encyclopedia). Did the date of every check coincide with the reference?

Please describe the (it sounds like) frenetic process for writing out the checks-literally did you sit at your desk, at home, how long did it take to prepare then for shipping to Mr. King?

Once King signed the checks, where did he send them (Charnel House?) to be separated and bound?

stroppygoblin
08-23-2015, 06:56 AM
Sorry to go slightly off topic, but there is interest around this on the Dolso cases thread.

Peter, after reading your description of what was originally planned for the Limited edition Stand, I mocked up an idea of what this would look like. We have a member here (Dolso) who is quite legendary in the wooden case building world and has produced many stunning cases for Stephen King books. would you be happy for a case to be built based around your original design (but sized for the trade first edition)?

Feel free to PM me outside of this thread if you have any comments/reservations, etc. Nothing would be done without your permission of course.

Here is the current mockup design:

This is a mockup with the solid door idea. The tube could be held on a little clip. I'd have preferred to put the bio sticker on the tube, but cant work out how to wrap textures in this program...

http://i938.photobucket.com/albums/ad223/stroppygoblin/thestand%202015-08-22%2001071700000_zpsihxf6cqc.png (http://s938.photobucket.com/user/stroppygoblin/media/thestand%202015-08-22%2001071700000_zpsihxf6cqc.png.html)

http://i938.photobucket.com/albums/ad223/stroppygoblin/thestand%202015-08-22%2001164300000_zpsgkdgysm4.png (http://s938.photobucket.com/user/stroppygoblin/media/thestand%202015-08-22%2001164300000_zpsgkdgysm4.png.html)

Randall Flagg
08-23-2015, 07:02 AM
Peter and I talked about this the other day. Next to the vial needs to be a syringe. One would remove both the vial and syringe, insert the syringe in the vial, withdraw the antidote, then administer the shot.
For purposes of making the case, the syringe would have the needle removed (but the safety cover left on). The vial would have to be perfectly sealed-can't have liquid leaking on your book.
Peter says the box would be black with either a red or black lining.
A challenge would be putting the title on the curved part of the case.

http://www.unimedcorp.com/WoundCare/Images/MagellanInsulinSafetySyring.jpg


https://www.merckvaccines.com/is-bin/intershop.static/WFS/Merck-MerckVaccines-Site/Merck-MerckVaccines/en_US/StyleLibrary/MerckVaccinesImages/vaccine_vials/PedvaxHIB_lrg.jpg

Bev Vincent
08-24-2015, 03:39 AM
People may find this thread from alt.books.stephen-king (https://groups.google.com/forum/#!topic/alt.books.stephen-king/9G65Ga51jZI) interesting, as it contains some of Peter's comments at the time about the checks.

amd013
08-24-2015, 07:49 AM
People may find this thread from alt.books.stephen-king (https://groups.google.com/forum/#!topic/alt.books.stephen-king/9G65Ga51jZI) interesting, as it contains some of Peter's comments at the time about the checks.

Hmmm, thats interesting, I thought there were no duplicates, but I notice in that thread that check #62 was to Dewey the Deck for Talcum, which is the same as mine, which is check number 461. The dates are different though #62=7/2/82, #461=8/3/83. Mine was for $75, not sure what #62 is for. The owner of #62 was listed as Dave Hutchenson (as of '96).

Mike

Randall Flagg
08-24-2015, 08:09 AM
People may find this thread from alt.books.stephen-king (https://groups.google.com/forum/#!topic/alt.books.stephen-king/9G65Ga51jZI) interesting, as it contains some of Peter's comments at the time about the checks.

Hmmm, thats interesting, I thought there were no duplicates, but I notice in that thread that check #62 was to Dewey the Deck for Talcum, which is the same as mine, which is check number 461. The dates are different though #62=7/2/82, #461=8/3/83. Mine was for $75, not sure what #62 is for. The owner of #62 was listed as Dave Hutchenson (as of '96).

Mike
Our Catalog lists all of the lettered and PC checks. http://www.thedarktower.org/palaver/showwiki.php?title=Regulators+The+-+S+L
The numbered can be found here:
http://www.yoda.arachsys.com/sk/cheques.html

amd013
08-24-2015, 09:03 AM
People may find this thread from alt.books.stephen-king (https://groups.google.com/forum/#!topic/alt.books.stephen-king/9G65Ga51jZI) interesting, as it contains some of Peter's comments at the time about the checks.

Hmmm, thats interesting, I thought there were no duplicates, but I notice in that thread that check #62 was to Dewey the Deck for Talcum, which is the same as mine, which is check number 461. The dates are different though #62=7/2/82, #461=8/3/83. Mine was for $75, not sure what #62 is for. The owner of #62 was listed as Dave Hutchenson (as of '96).

Mike
Our Catalog lists all of the lettered and PC checks. http://www.thedarktower.org/palaver/showwiki.php?title=Regulators+The+-+S+L
The numbered can be found here:
http://www.yoda.arachsys.com/sk/cheques.html

Thanks for that RF. I guess this note explains it:


Note that cheques 1-399 were written by Peter, with no duplications. Starting from 400, Peter's wife helped. The names on the cheques are the same starting from 1, but the amounts have been changed.

Merlin1958
08-24-2015, 06:27 PM
Wow, what a response regarding the "The Stand: Uncut" case!!!!! Everyone has provided insightful idea's, thoughts and images none more notable than, Mr Scheider's original design. Please keep 'em coming!!!!

Unfortunately, this has been deemed a matter of "National Security - TDT.Org" and agents representing the "Office of Homeland and Haven Fund Security" (OHHFS) have claimed jurisdiction in this matter. This item, in it's finished state, will be unveiled during the "2016 Haven Fund Raiser" and until such time shall remain "classified" under the auspices of the OHHFS, thereby rendering all further dissemination of information on a "need to know" basis. Rest assured, our "Top" people are continuing to review, integrate and incorporate your idea's, thoughts and suggestions into what we hope will be a unique and vital production that will sincerely attempt to satisfy everyone's ultimate vision for this project. Book donation offers, 'Biohazard" sticker options, font suggestions and clasp/design suggestions may be directed (via PM) to the former office of the "Haven Fund Whore", who is assisting during the transition of this project to the properly secured facilities specifically designed to control and administer this project undertaking or, continue to be posted directly here.

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TCCBodhi
08-24-2015, 08:31 PM
Sounds fascinating for a copy where the coffin case itself has been destroyed beyond repair, which I'm sure MUST exist out there.

webstar1000
08-25-2015, 03:05 AM
Sounds fascinating for a copy where the coffin case itself has been destroyed beyond repair, which I'm sure MUST exist out there.

That would be the only way it could be used. Who would take it out of the factory one to put it in this? I sure wouldn't...

Randall Flagg
08-25-2015, 04:51 AM
Sounds fascinating for a copy where the coffin case itself has been destroyed beyond repair, which I'm sure MUST exist out there.

That would be the only way it could be used. Who would take it out of the factory one to put it in this? I sure wouldn't...
I suppose you don't remember the leather bound Trade 1st edition copy of The Stand Uncut from earlier this year?

webstar1000
08-25-2015, 04:55 AM
Sounds fascinating for a copy where the coffin case itself has been destroyed beyond repair, which I'm sure MUST exist out there.

That would be the only way it could be used. Who would take it out of the factory one to put it in this? I sure wouldn't...
I suppose you don't remember the leather bound Trade 1st edition copy of The Stand Uncut from earlier this year?

yes I do. I am saying I would not take my S/L and buy a new fancy case for it.... it would stay in the coffin case to whence it came:)

Randall Flagg
08-25-2015, 05:06 AM
I agree I wouldn't do that either. I know of a Stand S/L box that exists w/o a book, but I'm unaware of a Stand S/L book that needs a box.

biomieg
08-25-2015, 05:18 AM
Why not make a custom case that holds the book inside its original coffin case?

Mr. Rabbit Trick
08-25-2015, 05:28 AM
Why not make a custom case that holds the book inside its original coffin case?

That would be a bookcase?

webstar1000
08-25-2015, 05:41 AM
Why not make a custom case that holds the book inside its original coffin case?

Now that isnt a bad idea...,.

Dolso
08-25-2015, 07:09 AM
Why not make a custom case that holds the book inside its original coffin case?

Now that isnt a bad idea...,.

A case for a case for a book.......... We'll have to take that on a case by case basis........:biggrin:

biomieg
08-25-2015, 07:19 AM
Great idea! Dick, can you make me an IKEA Billy replica that fits only a single book (e.g., an S/L The Stand)?

Dolso
08-25-2015, 07:26 AM
Great idea! Dick, can you make me an IKEA Billy replica that fits only a single book (e.g., an S/L The Stand)?

I think shipping costs might be a bit prohibitive....:unsure:

Randall Flagg
08-25-2015, 08:06 AM
Back on topic!

jsweet
08-25-2015, 11:15 AM
Mr. Schneider - Thanks for all the interesting info so far.

I'm wondering, when creating these limited editions, how involved are the authors in the decisions? I'm sure it varies by author, but how much say do they have into what happens or doesn't happen with the books? (design, etc.)

Ari_Racing
08-26-2015, 08:32 AM
Hello, Mr Schneider. Thank you very much for doing this and posting so interesting answers and details!

You asked a question about what happened that Centipede Press didn't publish anything with King for some time. King spoke poorly about Jerad during an interview with Liljas Library (www.liljas-library.com). I can search for the link of the interview if interested.

In my opinion, the best King S/L I've seen "live" are:

The Regulators S/L
The Stand S/L
Blockade Billy S/L
The eyes of the Dragon S/L
Skeleton Crew S/L

As for the worse, Transgressions S/L and Under the Dome (US edition) are probably the ones I like the less. I don't own any lettereds. Both The Regulators Lt. and Firestarter Lt would probably be the best ones but until I touch one I can't tell.

Is there any particular King book you thought about proposing a S/L/Lettered edition?

And you mentioned you liked Stephen Gervais illustrations. Can you mention other illustratros/artists you like?

PeterSchneider
08-27-2015, 09:33 AM
Mr. Schneider,

So far it seems that all of the Regulators checks were hand written by you (or someone else) in black ink. I know you were on a time deadline and used outside references (Spignesi's Encyclopedia). Did the date of every check coincide with the reference?

Please describe the (it sounds like) frenetic process for writing out the checks-literally did you sit at your desk, at home, how long did it take to prepare then for shipping to Mr. King?

Once King signed the checks, where did he send them (Charnel House?) to be separated and bound?

© Peter Schneider

This is going to be a tremendously long response, for the simple reason that I'm copying several pages of the piece I'm writing about the entire REGULATORS experience. It may sound a bit choppy -- that's because I've cut and pasted the relevant bits from the original piece. So, here goes . . .

(This post starts after Dutton had acquired the rights to THE REGULATORS and I'd been told that they'd also kept the limited edition rights because they knew I had directed THE STAND. At this point in the story, we've set up the production and so now I had to coordinate the signing of the tip-in sheets. As you'll see, things don't always go the way one plans.)

In the world of limited editions, one of the most important elements is to have the individual signature sheets printed and then sent off to the author for signing. Some authors are incredibly quick at this task, while others are incredibly slow. I figured I’d better check with Steve King to figure out what the best timing for this would be.
After calls to his agent and his office, I managed to locate a number for him out in Colorado, where he was involved in the shooting of the TV-movie “The Shining.” My understanding was that he had never been satisfied with the original Kubrick version and this was his chance to make a film much closer to the content and spirit of his original novel. A production assistant who answered the phone promised to have Steve get back to me once he was done with a particular scene. About two hours later my phone rang, and when I picked it up I heard his nasal Maine twang say, “Hi, Pete. It’s Steve King. What’s up.”
Regardless of the several times I had spoken with and met Stephen King, I was still nervous. “Hi, Steve. Well, I just wanted to say that we’re making good progress on the limited edition of THE REGULATORS. I also wanted to check with you to see what would be the best time for you to sign the tip-in sheets, as well as where we should send them.”
There was a brief pause, then King said, “Pete, I’m not going to sign any tip-in sheets. That book was written by Richard Bachman, and as you know, he’s dead.”
I managed to squeak out, “Oh, I see. But I thought Marvin had said that you were okay with Dutton doing a limited edition.”
Right back at me came, “Oh, sure, you guys can go ahead and do a limited edition. I’m just not going to sign ‘em.”
I managed to control my rising gorge and say in a thin, strangled voice, “Oh. I see. Okay, Steve, thanks for your time. Good-bye.”
Once the connection broke, I threw my head back and screamed an unprintable wordOkay, so King wasn’t going to sign. That was going to turn our book into a fancy expensive binding and nothing else.
Once I had assured the people who had rushed into my office after my scream that I’d not had a heart attack, I reviewed my options – which at that point were none.
I did go down to Marvin Brown’s office (Marvin was the President of Penguin and was the person who had arranged for Dutton to do the limited) and tell him what had happened, but Marvin just said, “Well, he’s right, the contract doesn’t call for a signed edition, just a limited edition. I’m sorry, Pete – he calls the shots here as you know.”
I then called Joe Stefko and managed to tell him what had happened. I then had to pull the phone away from my ear lest my eardrums ruptured from the screams that issued forth.
After a minute or two, Joe calmed down. He then said, “Look, we’re not going to solve this on the phone. Why don’t I put some ideas together and then I’ll come in to the city tomorrow and we can go over some options.”
The next day, the first idea Joe brought up was from a project published by the small press Underwood-Miller in 1987. This was a five-volume set of THE COLLECTED STORIES OF PHILIP K. DICK. Philip K. Dick had died in 1982, so he obviously could not sign tip-in sheets. However, his estate had a trove of Dick’s canceled checks from the 1970s. So Underwood-Miller published a limited edition of this set of books featuring Dick’s signature cut out from his checks and tipped onto the signature sheet. It was a rather surreal idea, of course, but in the end, a signature is a signature.
So Joe and I brainstormed. We too had a “dead” author – King had proclaimed in 1985 that “Richard Bachman had died as a result of cancer of the pseudonym.” The manuscript for THE REGULATORS had supposedly been found by his widow, Claudia Inez Bachman, among his papers.
Joe and I decided we had to create the backstory of Bachman in order to solve our problem. So Bachman died in 1985, and the manuscript of THE REGULATORS was found eight years later among his papers. Wouldn’t there be a lot of other stuff among those papers? And if he was a real packrat, as it seemed, wouldn’t he have a lot of canceled checks as well?
And so was born the concept of the canceled checks of Richard Bachman being used as the signature in the limited edition of THE REGULATORS.
This was too complicated a concept to try to relay over the phone to King without any physical prompts. So I asked our designer, Mary Ellen Ohliger, to come up with a check design. In an hour she came into my office with what looked exactly like a real check, only with her name and address at the top. She had simply scanned one of her own checks and changed the account numbers. So then I realized that we had to have an actual street address for Bachman.
Anyone who considers himself a true Stephen King aficionado will recognize the street name we used: “Marsten Street,” named after the infamous Marsten house from ‘SALEM’S LOT. The town, Starkeville, was a nod to the crime writer Donald Westlake. Westlake had written several of his more brutal crime novels under the pseudonym of “Richard Stark.” And Stephen King’s nod to Don Westlake was to name the villain of THE DARK HALF Richard Stark. As well, THE DARK HALF was written by King as a response to his public outing as Richard Bachman, so it all came full circle. King’s background for Bachman had already included the fact that he lived in New Hampshire, so at this point we had a full address.
Now we needed a name for the institution where Bachman did his banking. Remember, this was all pre-internet (or at least pre-Google) days, so finding the name of a bank that didn’t really exist was a bit difficult. But I finally came up with the generic “First Bank of New England,” a fine, upstanding name that had no basis in reality.
Then we had the account numbers to consider. The last thing I wanted was to issue checks that might allow a limited edition purchaser to drain the funds of an innocent. So I checked with my local bank and came up with a number that made absolutely no sense at all.
As I write this – and look at the scans of the checks to spur my memory – I notice one detail that I neglected to address. On almost any check you look at (and it’s getting quite hard to find any checks these days, with the advent of paying bills on-line), the final four or five numbers include the actual number of the check itself. So, if the check was numbered “#4” on the top right corner, the last four numbers of the number string at the bottom should read “0004.” Unfortunately, my usual eye for detail missed that point, and so all the checks featured the number “0001” at the end of the bottom number line.
One more element I wanted to add was something in the actual number line itself. Otherwise you left the bottom of the check with just a boring string of numbers. So, taking an element that appeared in both THE REGULATORS and DESPERATION, I used the phrase “TAK TAK” to add a little frisson to the line.
So now we had a finished check, with a relevant address for Bachman, a suitably fictitious bank, and the fun addition of “TAK TAK” at the bottom. But there was still something missing, I felt. I then remembered the sample checks I had received from my first bank, featuring the various add-ons you could include (at a cost). One of these was a monogram or some other symbol next to your name. And so I figured that we had to have some type of element next to the name that wouldn’t be too obvious (like the monogram “SK”) or too dopey (like “666” or a skull and crossbones).
Our art director vanished into her office and started thumbing through those huge volumes of clip-art that every designer seems to have at hand. In a minute she came running out and showed me a sheet of paper. “What about this?” she asked.
When I saw the symbol, I yelled, “That’s it!” She had pulled out the international symbol for radiation danger, designed at Berkeley in 1946 and adopted by the International Atomic Energy Agency to symbolize extreme danger from ionizing radiation. The design is called a “trefoil,” taken from the French for “three leaves.” This symbol was perfect as the ominous but understated hint of danger that we wanted for the check.
Once we had the final design, I asked our designer to print out four or five sheets (each sheet featured three checks, as you’ll see in the contents of this book).
I then filled out the checks with names and memo notations that I could remember from King’s books. Things like “Overlook Hotel” and “three nights stay.” (Remember, this were supposed to be Bachman’s checks, not those of Jack Torrance. Bachman obviously wanted to visit the hotel that had provided such an ungracious stay for Jack, Wendy, and Danny.)
Once done, I then composed a cover letter to Steve in which I pitched the whole idea of the checks and provided the backstory. At the end, I simply asked him to consider this idea and let us know what he thought.
I then sent the package off (via overnight FedEx to Colorado), I slumped in my desk chair and thought, “He’s never going to buy this. He’s going to think it’s way too gimmicky, and besides, he made it clear he doesn’t want to sign anything for the book.” I was fairly certain that I would receive no reply to my package, and if I ever dared call to check on it, he’d tell me that he’d already answered that question.
The next day I returned to my office from lunch. I found one of the ubiquitous pink “While You Were Out” message slips on my desk with huge, scrawled letters spelling out “STEPHEN KING WANTS YOU TO CALL HIM!!!!”
I sat there stunned for a moment, then Lori came racing in my office yelling, “Did you call him yet? Did you call him?”
I replied, “No, I just walked in this second. Did you actually talk to him when he called?”
“Yes, I did! I picked up the phone, said ‘Peter Schneider’s office,’ and this dorky voice says ‘Can I speak to Peter? It’s Steve King.’ So you gotta call him right now!”
Still reeling from all this, I called the Colorado number. This time it wasn’t a production assistant answering, it was Steve King.
I stammered, “Uh, hi, Steve. It’s Pete Schneider returning your call.”
There was a beat of silence, then he laughed a bit and said, “Jeez, Pete, you really got me with this check thing. I guess I’ve got to go ahead with it or people will think that Bachman really is dead.”
One small part of my mind was ready to reply, “What do you mean, Steve? That statement doesn’t make any sense.” But fortunately the rest of my mind was in control and I managed to squeak out, “Oh, that’s great, Steve. I’m glad you like the idea.” We talked for another minute or so about the logistics of getting the tip-in sheets to him, and then I was off the phone, still sitting stunned at my desk.
* * * * *
(flash forward a couple of months)
Everything was going great . . . until I got fired.
The woman who had hired me as VP, Director of Marketing at Dutton/Plume in 1994 was named Elaine Koster. In fact, Elaine was the person who, back in 1974, had offered Doubleday $425,000 for the mass market rights to CARRIE. Elaine had done very well since that time, having become Sr. VP, Publisher of Dutton/Plume.
So Elaine had offered me this job. However, New York publishing is an incredibly small world. Therefore, I knew even before I was offered the job that Elaine was not an easy person to work for. She had hired and fired three marketing directors in the five years before I came along, so I knew from the very beginning that this was going to be a short ride.
Here's how I've characterized my time with Elaine: for the first six months of my two years she agreed with absolutely everything I said and told people that they had to follow what I said. (I knew, of course, that no one is 100% right and that she was giving me way more credit than I -- or anyone, for that matter -- deserved.) For the following twelve months it was normal -- in other words, I was right part of the time and wrong part of the time -- which is as it should be for anyone. And then, for the final six months, she agreed with absolutely nothing I said. (I knew, of course, that no one is 100% wrong and that she was denying me any credit I -- or anyone, for that matter -- deserved.) And then I lost my job. One thing you should know about publishing is that most people lose their jobs at some point. It's very similar to the advertising business. One problem is the insane number of takeovers in the business – every time one publisher buys another, there's a whole staff that has to go. The other problem is that publishing is considered a "creative" business -- which it is, in the best of worlds. However, the word "creative" allows a lot of truly nutty people a lot of leeway -- at least until the powers that be realize that they're nutty and get rid of them . . . which doesn’t always happen.
* * * * *
Thanks to the intervention of Marvin Brown, president of Penguin, I had two weeks in the office before I was to leave. I was also given an incredibly generous severance package – again, I think, because the company knew how difficult Elaine was. Elaine enjoyed a risk-free position at Penguin because she had joined New American Library before they were bought by Penguin, so when the acquisition was made, she ended up with an enormous amount of stock in the new company. That, of course, was in no small part due to her long relationship with Stephen King.
At this point I could have simply abandoned the limited edition of THE REGULATORS and someone else would have had to fill in the checks. But I felt a real responsibility for the project, so I said I would finish what I’d begun. Unfortunately, by this point, I had approximately three days to do the whole thing – Friday, Saturday, and Sunday. They had to be sent to the printer on Monday morning.
That same weekend was the wedding of my wife’s youngest brother, out in Stony Brook, Long Island. (My wife is Jennifer Brehl, who is a SVP, Executive Editor and Director of Editorial Development at William Morrow, a division of HarperCollins Publishers. She’s also the editor for Neil Gaiman, Neal Stephenson, Joyce Maynard, and Debbie Reynolds, among others.)
We raced out to Long Island on Friday for the rehearsal dinner. By the time we got to the motel in Stony Brook, we were too exhausted to do anything. Saturday was the wedding and the reception. We stayed at the reception for only two hours and then raced back to our motel. There we set up two desks, a number of pens, and the big pile of check sheets. I started out, using the Stephen Spignesi ENCYCLOPEDIA to make a lot of the connections.
Here’s what we were faced with: a very thick stack of pages, each of which featured three printed checks for the numbered, lettered, and Publisher’s Copies. There were 167 pages containing 500 checks for the Numbered edition; there were seventeen pages containing fifty-two checks for the Lettered edition; and there were sixteen pages containing forty-eight checks for the Publisher’s Copy editions.
Once I finished twenty or so sheets, I gave them to Jennifer to use as she started filling out the checks starting at number 400. That is why the handwriting on the checks changes from my scrawl to Jennifer’s lovely rounded handwriting for the last one hundred checks.
I also had to do the Lettered Edition checks and the few checks for the Publisher’s Copy editions. (Known informally as PC copies, these are the most abused element of limited edition publishing today. We did approximately fifty PC copies of the numbered edition. These copies were intended to be given to all the top executives at Penguin as well as a number of other employees who had worked very hard on making this book work. This included the sales staff out in the New Brunswick order office and several of our top sales representatives. There are no hard figures on how many PC copies some of the small press publishers issue, but it certainly seems to many people in the business that there are almost as many PC copies as there are numbered copies.)
We had guests scheduled for dinner at our home Sunday evening, so I knew we had to finish these checks that night. But toward the end of this all-night ordeal, I ran out of references from Stephen Spignesi’s ENCYCLOPEDIA. I also knew that we were now at the checks for the Lettered Editions, so it wouldn’t be fair to have Jen simply copy my previous entries on checks that would be included in books that cost more than $1,000.
And so my mind started to go wild. I’ve been a big fan of H. P. Lovecraft since I discovered him in 1971, and I certainly knew that King was a fan of Lovecraft’s as well. So I started free-associating. Therefore, you’ll see such checks as Letter WW, made out to “Mr. Nyarlathotep” for the purchase of “eleven of the thousand young.” You’ll also see check VV, made out to “Miskatonic University” for “old books.” Lovecraft fans reading this will know that Miskatonic University was one of the few institutions in the world that held a copy of Abdul Alhazred’s NECRONOMICON in its collection. And then I started going farther afield, as witnessed by check XX, made out to author Robert Bloch for the purpose of purchasing “a jar w/heart.) This referenced Bob Bloch’s joke (told many times while he served as toastmaster for dozens of the various fantasy and horror conventions). He would say, “You know, people ask me how I write all these crazy stories. And you know what I tell ‘em? “I have the heart of a young boy.’ Then they’d nod and smile, thinking that ‘Oh, he’s just kept his youthful innocence.’ And then I’d say, ‘I keep it in the bottom drawer of my desk.’ And then their faces would fall and they’d know they were in the presence of some kind of monster.”
And then I went even further back. The notation for check YY was payable to Chris Chesley, who was Steve King’s childhood friend. They wrote magazines together and formed their own publishing company called “Triad.” (This company, of course, was based on three pre-teen boys and so had no legal standing.) And finally, check ZZ was to Robert Weinberg, for “keeping a secret.” This secret was a reference to the fact that Bob Weinberg was the one who determined conclusively that the Richard Bachman books were written by Stephen King.
And so, very early Sunday morning, my lovely wife and I finished filling out all the checks. I couldn’t bear to look them over, knowing that I would find many mistakes and incorrect references. So, I squared up all the pages, wrapped them with a rubber band, and then, on Monday morning, took the train into New York City and dropped them off at the Penguin offices (where I no longer worked) so that they could be incorporated into the final numbered and lettered editions of THE REGULATORS.
© Peter Schneider

bdwyer19
08-27-2015, 10:07 AM
That was an amazing read, Peter! I want to go back and look at the check in my S/L again. I've noticed some things, like the radiation symbol and the "TAK TAK", but never really looked at the address before - if I did, it never registered. So that's a very cool back-story. Regulators is easily my favorite S/L, and now knowing how it all came to be, makes it even more special.

jhanic
08-27-2015, 10:13 AM
Fascinating! Thanks SO much for this, Pete!

John

Randall Flagg
08-27-2015, 10:16 AM
Fascinating. Thanks for sharing.

biomieg
08-27-2015, 10:18 AM
Thank you for a great read, Mr. Schneider!

Ben Mears
08-27-2015, 10:39 AM
Great story. Thanks for sharing.

zelig
08-27-2015, 10:43 AM
Wonderful backstory there. Thanks so much for sharing it Peter. The Regulators is one of the signed limiteds missing from my collection. It's going to have to be the next one I buy. Been putting it off too long. Thanks again for sharing.

webstar1000
08-27-2015, 10:44 AM
LOVED reading this... I have Letter NN and it is also reference to Lovecraft! SO cool! Thanks!

jsmcmullen92
08-27-2015, 12:24 PM
This is going to be a tremendously long response, for the simple reason that I'm copying several pages of the piece I'm writing about the entire REGULATORS experience. It may sound a bit choppy -- that's because I've cut and pasted the relevant bits from the original piece. So, here goes . . .
.

So what are the odds that you will be releasing more of this "piece [you are] writing"?

TCCBodhi
08-27-2015, 12:25 PM
Thanks for the great story Pete about what had to be an incredibly exhilarating and exasperating time all rolled in to one. These recollections really are what bring the editions to life for collectors, if I can enjoy a bit of hubris and call myself one. I don't have a Regulators myself, but it has quickly climbed my Want list.

biomieg
08-27-2015, 12:37 PM
Same here. I always imagined that, once I would start collecting S/Ls, I would limit myself to the early classics and the Philtrum Press editions. But my interest in a Regulators S/L has increased exponentially after reading this thread.

(as an almost blasphemous afterthought I would like to add that while I can objectively admire the Stand S/L, I never felt the urge to own that particular edition and I don't think I ever will)

Pasiuk57
08-27-2015, 12:43 PM
Peter
GREAT story!

Randall Flagg
08-27-2015, 12:43 PM
Just a reminder to members that Mr. Schneider has been very kind in answering our questions.
Many of his posts contain excerpts from things he may publish. Please do not copy, share, disseminate any of his excerpts without specific advance permission from Mr. Schneider.

amd013
08-27-2015, 01:18 PM
....
And so, very early Sunday morning, my lovely wife and I finished filling out all the checks. I couldn’t bear to look them over, knowing that I would find many mistakes and incorrect references. So, I squared up all the pages, wrapped them with a rubber band, and then, on Monday morning, took the train into New York City and dropped them off at the Penguin offices (where I no longer worked) so that they could be incorporated into the final numbered and lettered editions of THE REGULATORS.
© Peter Schneider

Hi Peter,

So in the years since, have you found any incorrect references?

Thanks,
Mike

idlewarnings
08-27-2015, 02:10 PM
Loved reading your story about the checks, Peter. Thanks for sharing it with us.

Rachel Readman
08-27-2015, 02:48 PM
That was a fantastic read! Thanks Peter.

jon10g
08-28-2015, 12:29 AM
Fascinating stuff.
Sorry if I missed it, but are you writing an autobiography?
Jon

Stockerlone
08-28-2015, 03:48 AM
Fantastic read !!!

Randall Flagg
09-08-2015, 02:24 PM
Look for an amazing video featuring Stephen King promoting "The Stand Uncut And Complete". The video was shot in late 1989/or very early 1990.
Peter Schneider has written a lengthy and amazing intro to the video; as well as a wonderful postscript.

Hope to have it all posted tomorrow.

The video has already been uploaded, so those of you that look and find it-DO NOT post the link or video here.
Allow and respect for the comments by Mr. Schneider to be posted here.

Merlin1958
10-23-2015, 04:35 PM
Bump. Anything new on the horizon?

Ari_Racing
02-16-2020, 08:04 AM
Every now and then I go back to this thread, read it again and I'm as amazed as I was the first time I read it.