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                    W R I T I N G  W O R L D

  A World of Writing Information - For Writers Around the World


Issue 1:04              3850 subscribers          April 19, 2001
This issue sponsored by:
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       From the Editor's Desk
       New on Writing-World.com
       News from the World of Writing
       The Write Sites
       COLUMN: The Writing Desk:
               When to schedule interviews
               Seeking payment
       FEATURE: Five Reasons to Write Nonfiction for Children
                by Rita Milios
       Market Roundup/Writing Contests

                      FROM THE EDITOR'S DESK

First, the Bad News...
If you're a Themestream contributor, or even a former contributor
(e.g., anyone with money due from Themestream), you've probably
already heard the bad news: The site has shut down completely. In
addition, Themestream states in its FAQ that "we believe it is
very unlikely that we will be able to pay any other creditors --
including contributors." That means if you had amounts due from
Themestream for the first quarter of 2001, you may never see them.
(Read the FAQ at http://www.themestream.com/closed_faq.html).

Angela Adair-Hoy of WritersWeekly.com questions the legality of
such a statement, pointing out that companies are legally
obligated to pay their creditors (including contributors!)
unless they actually declare bankruptcy. Angela is running a
survey of how much writers are owed; to participate, go to
http://www.writersweekly.com/survey/theme.html .  (Angela, who
wrote a scathing review of "pay-per-click" markets, is trying
hard not to crow "I told you so!" TOO loudly!)

What can you do? At the moment, unless someone launches a class-
action suit against Themestream on behalf of its contributors,
the answer is "very little." Themestream is not responding to
inquiries. However, you do have one recourse: If you know how
much you were owed, you can claim that amount as a bad debt on
your taxes. The catch is that you DO have to know the amount
(and you should probably have something to support your claim,
such as a print-out of your total earnings).

Then, Still More Bad News...
Themestream may be the most dramatic example of a business
model that failed, but it isn't the only one.  About.com has
just announced that it will be cutting compensation by as much
as 80% in some cases, and stipends for new guides are back to
pre-1997 levels. The site has also eliminated at least 85 of
its guide sites. 
Is Any of this "Good News"?
In a peculiar way, this may prove to be good news to writers
in the long term. Many writers have gotten their start on
Themestream, in a safe haven where they could test the waters
without fear of rejection slips. Now that haven is gone. Some
writers are likely to feel that they've been "kicked out of
the nest" -- but many will also soon discover that they now
have wings -- wings that can carry them far beyond Themestream!

                        -- Moira Allen (Moira Allen)
WRITING.COM - by Moira Allen - Your guide to making the most of
online resources and information for writers.  Find new markets,
learn online research secrets, get the most from networking
opportunities. Available as print or e-book; electronic edition
includes FREE bonus book, "1200 Online Resources for Writers."
For details, see http://www.booklocker.com/bookpages/writing.html

                    NEW ON WRITING-WORLD.COM
April Columns:
Book Promotion on a Budget (by MaryJanice Davidson) - a look at
the pros and cons of joining a discussion list.

The E-Publishing Frontier (by Terje Johansen) - an overview of
five basic models of electronic publishing, and how to choose
the one that's right for you.

Cowboy Poetry, by Kennerly Clay

Here's to (Writing About) Your Health! by Jenna Glatzer

Improving Your Global Image, by Huw Francis

Interview with Ursula LeGuin, by Faith Justice

Poetic Forms: The Sonnet, by Conrad Geller

Self-Promotion for the Emerging Writer, by Gayle Trent

Writing the Perfect Press Release, by Maggie Frisch

You can also read my new article on Writer On Line:

Writing with Bite: An Interview with Susan Sizemore
(or: How to Write Vampire Fiction that Doesn't Suck)


The international and sf/fantasy resource sections (links) are
now online at:

And check out more than a dozen international writing contests
for April and early May at:



POD Books Back to Normal on Amazon.com
The very day that I announced that Amazon.com was listing POD
books as "unavailable," the issue was resolved. So -- no more
worries for POD authors; your books are as "available" as ever!

Red Dress Contest OK'd by RWA
Several readers wrote with concerns about last issue's listing
of the "Red Dress Ink" contest, noting that the Romance Writers
of America had issued a warning that this contest demanded all
rights, not just to winning entries, but to ALL entries.  I
have since been told that the publisher has sent an explanatory
letter to RWA, stating that it was not their intention to take
rights to contest entries. However, this is a good time to
remind readers to thoroughly check ANY contest before entering.
No matter how reputable the source in which you learn of a
contest, you still need to find out exactly what rights are
being demanded of entrants (and winners). 
Free Issue of Working Writer
Maggie Frisch is offering a free sample copy of Working Writer
to Writing World readers. Working Writer is "a print newsletter
for people who write, by people who write... filled with first-
hand information... with articles on getting published, self-
promotion, different genres, freelancing, how-to, how-not-to."
Send mailing address to working-writers[at]aol.com, or to Working
Writer, P.O. Box 6943, Libertyville, IL 60048-6943.

Random House Sues Rosetta Books
Random House has sued Rosetta Books, an electronic publisher,
for issuing titles by William Styron, Robert Parker and Kurt
Vonnegut -- titles originally published by Random House.
Random House claims that it owns all electronic rights to all
its backlist titles, through electronic rights were not
specifically listed in the contracts in question.  (Random
House amended its contract in 1994 to include electronic
rights.) Details, arguments, and court documents are online
at http://www.rosettabooks.com/pages/legal.html

Highlights for Children Offers Workshop Series
The Highlights Foundation is offering several mini-workshops
for professional children's writers and illustrators, including:

The Heart of the Novel: Developing Characters that Readers Care
About, led by Patricia Lee Gauch, April 19-22

Room to Create: A Working Retreat for Writers and Illustrators,
led by Andrea Early, June 3-10

Life in the Spotlight: Polishing Your Presentations and
Promoting Your Books, led by Peter Jacobi, September 12-16

For details, visit http://www.boydsmillspress.com/currentevents/spotlight2001.html
or contact Maggie Ewain at maewain[at]highlights-corp.com.

Independent e-Book Awards Celebrated
The first Independent e-Book Awards took place at the Virginia
Festival of the Book on March 24.  Winners included:

Children: Nessie and the Living Stone, by Lois June Wickstrom
and Jean Lorrah (CrossroadsPub.com)

Fiction: Mozart's Wife, by Juliet Waldron (Online Originals)

Short Fiction: The Cavemen in the Hedges, by Stacey Richter
(Zoetrope All-Story)

Digital Storytelling: Homecoming, by Pamela Gay (self-published)

Nonfiction: The Spirit of the Internet, by Lawrence Hagerty
(Matrix Masters)


                         THE WRITE SITES

CORRECTION: The Bookwire Index: Author Websites

This new writing list offers reviews of research sites for
writers; members are welcome to contribute their own
favorites. It also aims to be a resource where members can
share their personal expertise and find experts to interview.

SF Canada
You don't have to be Canadian (or a Canadian SF writer) to
find something useful on this site. It offers an archive of
great "how-to" articles and one of the best sets of SF links
I've seen, plus membership information for SF writers.

WebSeed Publishing
If you're not totally turned off by promises of revenue sharing,
you might want to look at WebSeed Publishing, which will give
you your own domain and a rather attractive publishing template.
The site is discussed on Content Exchange at

Independent Writers of Color
Designed to "cultivate independent writers of color," this site
offers a number of interesting essays and resources. You have
to hunt around a bit, as not all the internal links are listed
on the front page.

BookWeb.org: Member Directories
If you're looking for independent bookstores, this is a good
place to start your search.

Adobe Acrobat Readers
This is the place to go if you want to download free Acrobat
readers for different systems and for various languages
(including Chinese, Japanese, French, Italian, German, etc.)

Want more writing links? 1200 ONLINE RESOURCES FOR WRITERS, by
Moira Allen, offers the obsessive-compulsive's guide to the
absolute best on the web -- and it's free with the electronic
edition of Writing.com! For details, see

                        by Moira Allen (Moira Allen)

When To Look for Interviewees
Q: For a non-fiction article, should you conduct interviews
before sending a query in order to state in the query that a
particular expert(s) will be quoted in the piece? Of is it
sufficient to state your intention to interview experts in a
particular field?

A: It's generally best to get the assignment before you conduct
the interviews. Otherwise, you could waste a lot of your time,
and that of your interviewees, if the query is not accepted.
However, you can always approach the interviewees FIRST and ask
them if they will willing to GRANT the interviews. Then, in your
query, you can state that you will be interviewing certain
people, knowing that you already have confirmation that they'll
talk to you.

I usually don't even bother to specify whom I'll be interviewing
when I send a query. I just state that I'll interview various
experts on the topic, whatever topic that is, so that I'm free to
choose the experts later. It may happen, for example, that one
person I interview doesn't give me as much information as I need
(some people don't interview well), and I'll need to look for
someone else. By not specifying that the information will come
from a certain person, I'm free to find it where I can.

Should I Send a Second Article Before Being Paid for the First?
Q: An editor received my first story submission and e-mailed me
stating that she liked it and would love to use it on her site.
She said that she would also like me to do some freelancing for
her and to submit additional story ideas, which I did. She
responded again, assigning me another story, and reminded me to
include an invoice with it. I was curious about my first story
and today I checked her site and saw that my first piece has
already been added. I then e-mailed her stating that along with
story #2 I would include an invoice for story #1 as well as #2.
Should I hold out on story #2 until I receive payment for #1?

A: There's no hard-and-fast answer to the question of "holding
out." How comfortable do you feel with this editor? Sometimes
it's a matter of "gut feeling." If you feel at all uncomfortable
or nervous about this relationship, then I would recommend
waiting until you have some sort of commitment BEYOND this type
of correspondence as to what the editor plans to pay you and when.

Usually, an editor doesn't use a piece until both parties have
agreed to the terms involved. Had the editor given you a price
quote before putting the piece online? When you offer an article
for publication, the normal procedure is for an editor to say,
"Yes, I want to use it, I will pay such-and-such for it." In some
cases the editor will also specify the rights being purchased; in
others, the editor does not, in which case it is wise for the
author to specify the rights being sold (e.g., in this case,
first electronic rights might be appropriate.) When you agree to
the terms, that authorizes the editor to use the article. It's
generally not appropriate for an editor to use the article FIRST,
before all the terms have been settled.

Another issue to consider when selling pieces to online
publications is "duration." For how long will your piece be used?
At what point will you be free to sell it again? For example, is
your piece being used only electronically, leaving you free to
sell print rights to the same material? Or is this a "first use"
that ties up all your rights for a specific period of time (e.g.,
a few months to as much as a year, but NO LONGER!)? Is this an
exclusive electronic use (meaning you can't sell it to any other
publication that would put it online, including a print
publication that also has a website), or can you post the piece
elsewhere online?

Definitely invoice her for story #1, and be sure you have a sense
of commitment for payment. In terms of "holding out" for the
actual pay, I'm not sure that's necessary -- the main thing you
want is a commitment for pay. Payment often takes considerable
time if it has to go through an accounting department, which
means that it could take a month or more to get your check
through no fault of the editor. But I'd definitely want to see
some "absolute" commitment on a price and an anticipated date of
payment (e.g., 30 days).


Moira Allen has been writing and editing for more than 20 years.
If you have a question for "The Writing Desk," please e-mail it
to Moira Allen. 
Copyright (c) 2001 Moira Allen


                                by Rita Milios (rita[at]milios.net)

Most children's writers, it seems, are writing fiction. There's
something about cute bunny stories, rhyming text and talking
animals that many children's writers find irresistible. Alas,
few children's editors agree. Finding a home for that cute bunny
story may be almost as difficult as, well, finding a real talking

On the other hand, publishers of children's nonfiction are often
desperate for good manuscripts from talented writers.

I'd never suggest that a children's fiction writer turn to
nonfiction simply because there's more market potential. But I
would suggest that if you can adjust your creative flow to
include researching and writing interesting nonfiction pieces
that children will enjoy, you might just see your name in print
more often -- and your bank account filled with a few more bucks.

Here are some practical reasons why you might want to consider

1) It's Fun!
Perhaps the best thing about writing nonfiction is all the neat
stuff you get to learn about. I've learned why we sleep and
dream, why storms produce thunder and lightning, how we got the
first circus and the first carrousel horses, how birds build
nests, and much, much more. I've also learned how to make better
choices, how to support a friend who's sick, and how to set and
accomplish my goals -- all while writing articles and books for
which I was paid. Not a bad way to extend one's education.

2) The Options Are Endless
The topics mentioned above are just a few that I've covered in
over 20 years of writing nonfiction for children. Not only are
the possibilities for topics unlimited, I almost always get to
choose what I want to write about. I pick topics that interest
me. I also look for an unusual angle or a bit of mystery or
intrigue. When writing Sleeping and Dreaming for Childrens Press,
I included information on how kids could remember their dreams
and use their dreams to solve problems. I also included a funny
story about a sleepwalking butler who set a table for 14 people
-- on the bed of his master as he lay sleeping!

3) The Markets for Nonfiction Are Growing
There are many new markets, and market categories, for nonfiction
children's writers. Today, publishers are aware that even the
youngest children want to learn more about the world around them.
Early reader and emergent reader books now feature nonfiction
topics as often as they do fiction stories. Fresh ideas for
concept books (shapes, colors, numbers, alphabet, etc.) are always
in demand as new parents search for ways to stimulate their pre-
schoolers. Supplemental materials for curriculum and educational
publishers include such things as BIG Books, workbooks, anthology
passages and hi-lo (high interest, low vocabulary) books. Many
middle school and high school publishers now include topics on
current social issues as well as "self-help" for kids.
Biographies are a staple, of course, and books featuring "pop
culture" (dirt biking, skate boarding) are hot, along with
multicultural books showcasing ethnic diversity.

Such books are published by both trade and educational publishers,
who each have their own unique style and viewpoint. A savvy
nonfiction writer will adjust his or her style and presentation
to appeal to a variety of publishers, while writing at a number
of different grade levels.

4) You Can Establish Positive Relationships with Editors
Writing nonfiction, especially for educational publishers, can be
a bit different from writing fiction. Often a publisher and
author will collaborate on an idea. An editor may e-mail or call
to discuss strategies, especially if the piece is to be part of
an anthology or series. I've found that most editors are happy to
have me suggest ideas, even when the overall concept has already
been established. Editors welcome a new angle, a fresh approach,
or a great new title they can add to an already existing series.
If you can be a good source of creative ideas, can produce
quality writing on time, and if you always conduct yourself in a
professional manner, you'll be an editor's dream author... which
brings us to our last reason for writing nonfiction...

5) You'll Get Assignments!
Yes, believe it or not, you can have editors calling you to offer
you freelance writing jobs. Of course, you can't expect this the
first time you write a nonfiction piece. But once you have a few
under your belt -- and especially if you specialize in something
that not every other writer in the world is doing (like writing
anthology passages, test assessment passages or assessment test
questions), you can quickly join the "stable" of on-call writers
that editors of these pieces turn to each and every school year
for new material.

This kind of writing is not for everyone (thankfully!). But for
those of us who are closet school teachers (or maybe former
school teachers), it is perfect. Anthology or test assessment
passages are quick to write, and they offer me a great opportunity
to hone my skills at being creative while maintaining an
educational focus.

Now for the two greatest MYTHS of nonfiction writing:

Myth #1: Nonfiction Is Not Creative
Think again! I write both fiction and nonfiction (although I
prefer the "non"). I can say unequivocally that I blister just
as many brain cells when I'm writing nonfiction as when I'm
writing fiction. The truth is, good nonfiction has a lot of
fiction in it (and vice versa). Today's discriminating readers
expect, and publishers require, nonfiction that is a cut above
what we had even a few years ago. "Creative nonfiction" is a
genre that purposefully combines the elements of fiction and
nonfiction. Nonfiction children's writers, today more than ever
before, must produce fresh, exciting ideas and they must write
with a unique voice.

Myth #2: Nonfiction Writing is "Second Class" to Fiction Writing
Excuse me? Perhaps there was a time when that was the sentiment.
But not today. Current nonfiction titles figure just as
prominently in most publishers' line-ups as fiction.

It is true that some educational publishers have been slower to
embrace the changes in pay structure that reflect nonfiction's
growing importance. Some, but fewer than several years ago,
still offer only flat fees to writers. But more offer advances,
and the advances of educational publishers are inching closer to
those of trade publishers. Consider, too, that educational
publishers often keep their books in print longer. So overall,
the pay is comparable to that of fiction publishers.

These are just a few of the reasons I write nonfiction. If, by
some chance, my sharing them with you has ignited a spark of
creativity in you toward a nonfiction topic... well, great.
Welcome to my world. I can promise you that around here you will
never get bored; you will never stop learning; and you just might
get published a little more often. Good luck!


Rita Milios, MSW, is a freelance writer and editor of over two
dozen books and numerous magazine articles for children in grades
K-8, for publishers including MacMillan, Prentice Hall, Harcourt
Educational, Rosen and others. A former writing instructor for
Long Ridge Writer's Group (a division of The Institute of
Children's Literature), Rita has critiqued both fiction and
nonfiction manuscripts, and yes, a few were "cute bunny" stories.

Copyright (c) 2001 Rita Milios


                          MARKET ROUNDUP

E-mail: bookreviews[at]authorshowcase.com

AUTHORSHOWCASE seeks reviews of writing books, from 200-250
words. E-mail reviews to AuthorShowcase with the title of the
book in the subject line. Include your name and mailing address
in the text of the e-mail. "At the top of your review, be sure
to include the name of the book, author's name, publisher,
publication date, ISBN, number of pages, and price (if price
varies, use Amazon.com's price) -- in that order. No attachments,
please. You may include a short (25 words or less) bio of
yourself. Please include a copyright notice at the bottom of the
article (Reviewed by: Author Name,  2001 Author Name, All Rights
Reserved.) We look at the reviews every couple of weeks, so you
may not hear back from us immediately. You will, however, receive
an e-mail acknowledging receipt of your review. The idea is to
help other writers decide what books are worthwhile to buy. So,
the more specific you can be on why the book was better or worse
than other writing books, and what in particular made the book
useful or not, the more likely your review will be used.

LENGTH:  200-250 words
RIGHTS:  Nonexclusive electronic
PAYMENT: $25, on acceptance


Karen Scott, Editor
E-mail: karen[at]author-network.com

THE eBOOKSELLER "aims to provide a database of market information
that will enable individual e-publishers and authors to monitor
market trends in e-publishing. We are looking for e-book industry
information that will provide up-to-the-minute news on
developments in e-publishing, and articles/editorials that take
a considered, in-depth and long term view of all aspects of the

LENGTH:  From 500 to 2000 words
RIGHTS:  Electronic rights for one month, after which material
         will be archived on website, but author is free to
         republish elsewhere.
PAYMENT: $20-$50


Jennifer Reed, Editor
E-mail: submissions[at]weeonesmag.com

WEE ONES is seeking "lively writing that entertains and
educates for ages 3-8," including fiction - "read-aloud stories,
picture stories: adventure, animal, humorous, multicultural,
nature/environment, problem-solving, sports" and nonfiction -
"picture-oriented stories: animals, arts/crafts, concept,
cooking, math, nature/environment, problem-solving, puzzles,
science." Also uses rebuses, songs, games, puzzles, riddles,
and artwork. In addition to material for children, Wee Ones
uses material for "Big Ones" (adults) - "nonfiction, essays and
personal experience pieces." Reed says that "We are receiving
about 50-75 manuscripts a month and although we are on the
Internet we have to limit the amount we accept. I am already
filled through October and that's using 6 stories and 2-3
nonfiction articles per issue of Wee Ones. We have plenty of
poetry and fiction stories. Crafts, recipes and nonfiction
articles are desired; however, if you have a fiction piece that
is polished and different, send it. Also, we don't pay for these,
but we need pictures by kids to go in our Kids Korner section.
For Big Ones, we are looking for other e-commerce owners who
want to write about developing an e-commerce business. Articles
on reading are also needed. Have something funny or touching -
a parenting experience that you want to share? Send it along too.
No book reviews as we do these ourselves. NOTE: we are getting
picky about what we accept and don't accept. Because we are
receiving so many submissions, we're looking for things that
will get kids to think and want to read more. Stories have to be
engaging, have a plot and be unique. Make sure your piece is
polished - no spelling or grammar errors. If I have to edit it,
chances are it won't get accepted."

LENGTH:  Up to 500 words for Wee Ones and up to 800 words for
         Big Ones
RIGHTS:  One-time electronic rights. Material is posted for
         one month on webzine; rights then revert to writer.
PAYMENT: 3 cents per word, on publication. $5 for poems up
         to 150 words. $3 for photos; $10-$20 for original
         artwork, depending on size.


William P. Simmons, Editor
28 London Ave., Oneonta, NY 13820
E-mail: darknessanswers[at]hotmail.com

WHEN DARKNESS ANSWERS is an original horror anthology to be
released by the British Fantasy Society. It is accepting
submissions until June 2001 or until filled. Payment will be a
share of half the profits split evenly by authors and editor, for
stories around 4,500 to 7,000 words. "We invite you to consider
what would happen if we invited, shaped, or gave power to
sinister forces as a result of our seemingly harmless or
purposefully malevolent actions. By our very thoughts or
emotions. Through expressions of our art, grief, or curiosity.
We are looking for a frightful, dreadful atmosphere, with
characters whose personalities are crucial to plot development.
Stories that linger in the minds of readers long after the book
is closed, hovering on the edge of plausibility. Close the gap
between daylight logic and midnight possibility. This is a
project about sensation and dark possibility, not a particular
genre. Supernatural threat, psychological horror, surrealism,
slip-stream: any approach, point-of-view, or style is welcomed.
Feel free to experiment with various approaches and subject
matter, so long as the supernatural or psychological threat
results from a character action or desire." Include IRCs with
submissions for response. Include with your manuscript a brief
cover letter, complete contact information, and a short bio in
case of acceptance. Please feel free to e-mail William for more
information or queries.


Jenna Glatzer, Editor
Writer Online, 21 Water Street, Amesbury, MA 01913
E-mail: support[at]writeread.com

WRITER ONLINE has just experienced a bit of transition, with a
new editor (Jenna Glatzer) and new pay rates. Writers are now
paid a flat rate rather than per word, for articles that
"address the craft, marketing, or publishing of writing. We
strongly prefer articles that offer examples, and use direct
quotes from credible sources, such as books, papers, addresses
and URLs where readers can obtain further information... Of
premier value are articles connected to names or projects that
are recognizable to our readers, and interviews with established
authors, directors, playwrights, etc. Humor is welcome, and we
love 'quirky' stories." Also accepts quality fiction, up to
1200 words, in all genres, and poetry of all kinds, up to 40
lines. "Writer Online is especially seeking reprints of writing-
related articles (and fiction and poetry) that have NOT appeared
widely across other writers' publications. In the case of
reprints we prefer to see the entire manuscript, but we'll also
look at queries." When submitting reprints, note EVERY publication
in which the article appeared, not just the original. Also uses
excerpts from writing-related books, but does not pay for those.
Submit material by e-mail or surface mail; no attachments.
Response time is approximately 4 weeks.

LENGTH:  Cover story: 1200-1500 words; articles and interviews,
         800-1200 words; fiction, under 1200 words
RIGHTS:  FNASR, plus the right to archive material indefinitely
PAYMENT: $80 for cover stories; $50-$70 for articles and
         interviews; $40 for fiction; $10-$20 for poetry;
         $20 for reprints of articles, interviews and fiction;
         $10 for poetry reprints
REPRINTS: Yes; preferred


"FNASR": First North American Serial Rights, "SASE":
self-addressed, stamped envelope, "simsubs": simultaneous
submissions, "mss": manuscript, "RT": response time, "GL":
guidelines, "cc": contributors' copies.

Please send market news to Moira Allen.


                        WRITING CONTESTS

This section lists U.S.-based contests that are open to all
writers (around the world) and charge no entry fees (unless
otherwise noted). Unless otherwise noted, subject matter/theme
is open, and contests accept electronic entries (check contest
website for details).  For information on international contests.
see http://www.writing-world.com/international/contests.html



GENRE: Screenplay
THEME: The action takes place in a Karaoke restaurant bar. (All
scripts should reflect such a theme). All plots will be required
to allow for 3 singing parts.
LENGTH: 15-19 minutes (production time)
PRIZES: All nominated scripts will be produced and broadcast on
AT&T Broadband and Time Warner. Each episode will be nominated to
receive an Ayo Award. (The production and broadcast of each
nominated script is automatic.) Contestants can enter one script
each and every week or enter at their own pace or capability.
The Awards Show at the end of the competition will name the
winners of the Ayo Awards in different categories and styles.
FEE: $7.50
CONTACT: Zeno Pierre Media Works, In-Home Staff Support, 457 West
23rd St., San Bernardino, CA, 92405-3719



GENRE: Poetry, short fiction
OPEN TO: Writers who have published at least 1 poetry book/1
volume of short stories/novel [exc. self-publishing]
LENGTH: Book length poetry/short fiction MS
PRIZES: 1st $500 + publication
CONTACT: Sandeen/ Sullivan Prizes, University of Notre Dame Press,
Notre Dame, IN 46556, (219) 631-7526, fax (219) 631-4268
WEBSITE: http://www.undpress.nd.edu/undpsansull.htm
E-MAIL: undpress.1[at]nd.edu



GENRE: Short fiction
THEME: Can you conjure up a magical story of love that soars on
fairy wings or rides the back of a unicorn? The challenge for
this contest is to write a love story, 3000 words or less, that
features a FANTASY ELEMENT - for instance, fairies, dragons,
wizards, witches, charmed streams, magic mirrors, any magical
element that might guide, thwart or otherwise influence human
love. Your story MUST be romantic and must include love, lost
or found.
LENGTH: 3000 words maximum
PRIZES: WritingCollege.com gift certificates and other prizes;
see website for details.
ONLINE ENTRY: Yes; entries must be submitted by e-mail to
CATALYST8[at]aol.com; see website for full rules on submission
WEBSITE: http://members.aol.com/AmazingAuthors/contest.html
E-MAIL: CATALYST8[at]aol.com

Karaoke Soaps Screenplay Competition: A major career move
disguised as a contest. It's fun! Submit screenplays to be aired
on AT&T Broadband/Time Warner. Ongoing deadlines. Information:

Writing World's Contest Listings are sponsored by THE WORLD'S
BIGGEST BOOK OF WRITING CONTESTS - http://www.ult-media.com

HOW TO SELL YOUR WRITING OVERSEAS - Worldwide Freelance Writer
lists writer's guidelines for paying markets from all over the
world.  http://www.worldwidefreelance.com
"If you can dream it, you can do it!" Congratulations, Moira.
from Joan Bramsch, Empowered Parent Ezine and EmpoweredParent.com
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                 Copyright (c) 2001 Moira Allen
         Individual articles copyrighted by their authors.

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            Terje Johansen (The E-Publishing Frontier)
            Lawrence Schimel (Poetic License)
            Peggy Tibbetts (Advice from a Caterpillar)

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