Just before the release date, (March 19 — a week from today!) I’ll post a video trailer, which will be a little different than you’re expecting — some guerilla theater that’s actually got very little to do with the book. I can offer a very good reason for this disconnect. It has to do with the nature of comedy. Have you ever seen a trailer for an Adam Sandler movie, then go out to see the actual movie? Did you end up saying, “Hey, I just spent ten bucks on this movie, but I saw all the funny bits a month ago for free!” I want to avoid that syndrome.

We plan to shoot the trailer March 17, and it shouldn’t take too long to edit together. I’ll load it here, to YouTube and to the rest of LTILWorld as soon as it’s pieced together. At some point after that, I’ll post a sample chapter.

In the meantime, though, I have so many people to thank, including you. So yesterday I took a few minutes, sat down and wrote my acknowledgments.

I just sent this to my invaluable editor, Jayne Southern. She promptly sent it back with suggested corrections. (Hey, it’s her job.) So here’s the second draft:

There are two characters in the book, Gene and Bertie, who are anachronistic representations of Gene Roddenberry and H.G. Wells, respectively. The author expresses his debt to both these giants of speculative fiction.
For three generations, there has not been an American science fiction writer whose work has not been informed by Mr. Roddenberry’s Star Trek milieu in all its incarnations, or who is unaware of such catch-phrases as “Beam me up!” Strip away all other elements of the story, and the reader can confirm that the plot of this novel is a direct descendent of the plot of Mr. Wells’s The War of the Worlds. Late in the book, Bertie quotes from that classic’s uniquely styled narrator, and the present author is indebted to the original science fiction master for crafting that language.
The satirist’s dilemma is to at once offend contemporaries who desperately need offending while showing the utmost respect to those who have come before. It is the hope of the author, the editors and the publishers of Land That I Love that the estates of Mssrs. Wells and Roddenberry accept all due apologies and consider this work to be an homage to our shared cultural forebearers.
Further, the author would like to thank the excellent team at Rebel ePublishers: editor Jayne Southern and her vast, authoritative host of proofreaders and fact-checkers; publisher Joan de la Haye who was the first to see potential in a first-time novelist’s manuscript that so many others discarded; publisher Caroline Addenbrooke, whose professional gloss raises the stature of the whole enterprise to another level; and cover artist Jacques Stenvert who, along with his bride and muse Anina, shares the author’s irreverent streak. Thanks also to Anna A. Volkova, Esq., for her sage counsel and, more so, for her abiding friendship.
The author would also like to thank those who reviewed early drafts of the chapters which came together to form a novel. These include a host of participants in Charles Coleman Finlay’s Online Writers Workshop, as well as classic-lineup members of LISciFi, the New York-based face-to-face critique circle: Wendy Delmater, Eric Bresin, Amy Lau, Daniel Braum, and Elizabeth Glover. Current members Ken Altabef, Kat Hankinson, Ben Parris and Miranda Suri have also provided invaluable support and encouragement during the publishing process, as have the scores of Facebook fans, Twitter followers and WordPress blog readers, many of whom are also longstanding friends or beloved family.
Finally, the author thanks and dedicates this book, for their infinite patience, his own wife, Eileen, and their sons Eddie, James and John Liberty.
William Freedman
11 March, 2010
West Hempstead, N.Y.

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