applied to the more experimental work that Moorcock was publishing, and New Worlds was soon regarded as the leading publication in the New Wave movement. In addition to the experimental material, Moorcock attempted to keep the existing readership happy by publishing more traditional science fiction; in the words of sf historian Colin Greenland, he "changed the contents of the magazine much more slowly than he pretended to". Traditional sf stories bought by Moorcock include Vernor Vinge's first story, "Apartness", which appeared in June 1965; he also printed material from Bob Shaw, early stories by Terry Pratchett, and, in March 1965, Arthur C. Clarke's "Sunjammer". Arts Council and after When Moorcock took over publication of New Worlds from Roberts & Vinter he changed the format from digest to a larger size with good quality paper that allowed better use of artwork. The first issue in this format, July 1967, contained part one of Disch's Camp Concentration, written for the magazine and refused by its American publisher because of the explicit language used by the protagonist. Disch afterwards recalled that some of the experimental language in the book was written in the knowledge that New Worlds was available as a market for unconventional fiction. Other new writers who appeared in the magazine include M. John Harrison and Robert Holdstock, who both appeared in the November 1968 issue, and Michael Butterworth whose work first appeared in the May 1966 edition. The December 1968 issue included Samuel R. Delany's "Time Considered as a Helix of Semi-Precious Stones", and Harlan Ellison's "A Boy and His Dog" appeared in April 1969; Ellison won a Nebula Award, and Delany both a Nebula and a Hugo, though it was not until the stories were reprinted in book form that they were widely noticed. The July 1967 issue of New Worlds contained Pamela Zoline's first story, "The Heat Death of the Universe", which used entropy, a frequent theme in New Worlds, as a metaphor. The story is one of the best examples of the new approach Moorcock was taking with the magazine: in the words of critic Edward James, the goal was to "use science-fictional and scientific language and imagery to describe perfectly 'ordinary' scenes of life, and by doing so produce altered perceptions of reality in the reader". "Inner space", a term originally coined by J.B. Priestley, was also used to describe the focus of the stories Moorcock