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

                             PART 1

  A World of Writing Information - For Writers Around the World


Issue 1:09-1           4800 subscribers            June 28, 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
       FEATURE: The Tasini Decision: A Victory for Writers?
           by Moira Allen
       FEATURE: The Tasini Decision: Implications for the
           Future - An Interview with Charles E. Petit,
           by Moira Allen
       Market Roundup/Writing Contests

                      FROM THE EDITOR'S DESK

A New Look...
Several readers have commented that Writing World is too long to
download easily, and I've observed that it doesn't always
reach some subscribers on Yahoo! or Hotmail (often because it
"exceeds mailbox quota"). To alleviate this problem, I will now
mail out the newsletter in two installments.  Each will be no
longer than 25K; if this exceeds your mail server's capabilities,
you may wish to contact your mail host to reset the limitations
on message length. Writing World is also archived online; each
issue is posted within a day of mailing, and can be accessed at
http://www.writing-world.com/newsletter/current.html. Back issues
are archived at http://www.writing-world.com/newsletter/index.html.

Who Will Be #5000?
We're only 200 subscribers away from the magic number of 5000!
(I'm not sure why 5000 should be a magic number, but it sounds
cool, and it's a fabulous achievement for a newsletter that has
been in publication for only four months!) I'll be counting the
subscribers from this point on, and the lucky #5000 will receive
a free copy of my new book, "The Writer's Guide to Queries,
Pitches and Proposals," as soon as it is available (hopefully
in September). To the other 4999, you have my sincere thanks for
making this newsletter such a success; your support has been
wonderful! (If you'd also like a free book, hang in there; I'm
going to be announcing some drawings and giveaways on the
Writing-World.com home page very soon.)

The Tasini Decision
It's somehow ironic to find myself reporting on the latest
Tasini decision (see the feature, below): A report on the
original Tasini decision in 1997 was one of the first articles
I sold to Inklings! Here we go again...

                        -- 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


We're delighted to announce a new section on Greeting Card
Writing, sponsored by CardReps, an agency that represents writers
to the greeting card industry. CardReps initially offered a
selection of articles on their site; when they dropped that
portion of their content, they generously offered it to us!
For info on CardReps, visit http://www.cardreps.com. The new
section includes:

A Basic Guide to Greeting Card Writing, by Terri See

Breaking into the Spanish-Language Greeting Card Market

Digging for Ideas, by Terri See

Fifteen Secrets for Crafting Verses, by Cindy Duesing

Following the Guidelines, by Holly Davis

A Humor Card Checklist, by Larry Sandman

An Interview with Hallmark Editor Devin Glenn

Make (Greeting Card) Writing Your Business! by Holly Davis

Marketing Your Greeting Cards, by Terri See

Setting the Mood for Seasonal Writing, by Cindy Duesing

Those Aw-Some Cutes, by Holly Davis

What Makes a Greeting Card Editor Tick? by Cindy Duesing


Advice from a Caterpillar: Coping with rejection, epublishing
a children's picture book, breaking into the graphic novel

Frogger's Main Man: An Interview with David Lubar,
by Peggy Tibbetts

From A to E-Book: Creating a Children's Picture E-Book,
by Sharon Martini

The Untraveled Travel Writer, by Isabel Viana

Be sure to check the "Writers Wanted" section of the Author
Services Guide; new listings are added regularly.

EDITING, CRITIQUES, TUTORING & MORE: Let a fiction specialist
take your writing to a new level. Member, Editors' Association
of Canada & published writer with 10+ years' experience. E-mail
Marg at Scripta Word Services for info: margilks[at]worldchat.com


Dot-Info Domains Go Online
A new domain suffix is now available: *.info. The suffix is
intended for sites that are "primarily informational," which can
include almost anything. Registration for trademark holders will
begin on July 25; open registration will begin on September 12.
The domain should go live a week later. The domain is hosted by
Afilias, a consortium of 18 registrars.

Akron Beacon Offers Daily CD-ROM
Ohio's Akron Beacon Journal claims to be the first newspaper in
the U.S. to offer a CD-ROM version of its daily issue at news-
stands right alongside the print edition. The electronic edition
display the pages exactly as they appear in print. Both print and
CD editions sell for 25 cents, though the production costs of
the CD are actually about half of those for the print edition.
So far, about 150 CDs have sold per day, compared to the daily
print circulation of 145,000.

New Canadian Writers Association Forms
The Territorial Writers Association has recently formed. The
TWA will join other writing organizations across the country
"in fostering a creative and supportive environment for its
members, while encouraging skills development and a sharing of
knowledge through communication... Membership is open to writers
at all stages of development who live or have lived in Canada's
North." Dues are currently CDN $25 per year. Contact TWA, c/o
The Aurora Arts Society, Box 1042, Yellowknife, NT X1A 2N7,
(867) 920-4942.

Dolce Vita Writer's Holiday
Michael Sedge is once again sponsoring the Dolce Vita Writer's
Holiday, in Latina, Italy, from October 13-20. "Become a better
writer. Learn how to market your work internationally. Discover
how to prepare authentic Italian food. What more could you ask
for? How about tours of Medieval and Etruscan sites in one of
the most beautiful countries in the world?" Registration deadline
is September 1; registration is limited to 10 students. Contact
Michael Sedge at pp10013[at]cybernet.it for more information.


                         THE WRITE SITES

Poetry Awards: Frequently Asked Questions
Tips on determining whether a contest is a scam.

[Poetry] Academy Awards and Prizes
A list of awards offered by the Academy of American Poets.

Major National Poetry Awards
Extensive list of poetry competitions and prizes.

Freelance Writers Market Page
Exclusive list of job listings for writers and editors.

Byline Magazine: Contests
Byline hosts numerous writing contests, with prizes generally
ranging from $15 to $40.  Entry fees required.

The Importance of Book Reviews
A good article, plus a lengthy list of book reviewers in
various genres, with e-mail contact information.

Online Writing Workshop for Horror
New fee-based workshop ($40/year), with some professional
reviews provided by the Odyssey Writers Workshop.

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)

On Monday, June 25, the Supreme Court ruled 7 to 2 that newspapers
and magazines could not sell freelance contributions to electronic
databases without the permission of the writers. This ruling
supports the U.S. appeals court decision of 1999, which overturned
a previous ruling in favor of the publishers.

Tasini in a Nutshell
First, a bit of history. In 1993, Jonathan Tasini (president of
the National Writers Union) and six other writers launched a
suit against several major publishers, including the New York
Times Company, Newsday, and Time Inc. The suit alleged that the
publishers had sold the authors' articles to electronic databases
such as LEXIS/NEXIS without the authors' permission (and without
any compensation), and that this was an infringement of the
authors' copyright. In most cases, no actual contracts existed
between the publishers and authors, so the authors claimed that
all the publishers could assume they had acquired was First North
American Serial Rights, and NOT any electronic rights.

The publishers claimed that the use of the articles in such
databases constituted a "revision" of the editions of the
publications in which the articles originally appeared. Section
201(c) of the Copyright Code grants holders of "collective
copyright" (e.g., the publisher who holds the copyright to a
publication such as a magazine or newspaper, but NOT to the
individual articles therein) were entitled to issue revisions
of that work without obtaining additional permissions. The
publishers argued that use of the articles in a database was
no different from, say, issuing a microfilm or microfiche
copy of the newspaper.

In 1997, a federal judge ruled in favor of the publishers,
agreeing with their interpretation of Section 201(c). That
ruling DID have a few benefits for writers -- it established,
for example, that:

1) "First rights" did not mean that a publication had first
rights in EVERY medium, but only in a single medium.  I.e.,
a purchase of first print rights would not automatically
confer first electronic rights.

2) A stamp on the back of a check indicating that signing or
depositing the check constitutes a "transfer of rights" is NOT
a legal contract, as a contract must be issued BEFORE the
transaction is completed, not after.

In 1999, a U.S. appeals court overturned the 1997 decision, and
in 2001, the case went to the Supreme Court.  The Supreme Court's
decision upholds the 1999 decision, in favor of the authors.

Not a Revision
The key issue in the decision was the definition of the term
"revision."  The Court rejected the publishers' assertion that
a database was simply a "revision" of an edition of a magazine
or newspaper.  In the majority decision, the judges noted that:

"Here, the three Databases present articles to users clear of
the context provided by either the original periodical editions
or by any revision of those editions...  When the user conducts
a search, each article appears as a separate item... An article
appears to the user without the graphics, formatting, or other
articles with which it was initially published... That each
article bears marks of its origin in a particular periodical
suggests that the article was PREVIOUSLY part of that periodical,
not that the article is CURRENTLY reproduced or distributed as
part of the periodical."

The judges' decision also confirmed the rights that a publication
could assume it owned in the absence of a contract, noting that
Section 201(c) of the Copyright Code states that:

"In the absence of an express transfer of the copyright or of
any rights under it, the owner of copyright in the collective
work is presumed to have acquired ONLY the privilege of
reproducing and distributing the contribution as part of that
particular collective work, any revision of that collective
work, and any later collective work in the same series."
(Emphasis added by the court.)

What Does It Mean for Writers?
While the decision is being touted as a "victory" for writers,
what the actual effect on writers in general, and the business
of freelance writing, is not clear. The Tasini suit itself was
not a class action lawsuit, so the damages that may be received
by the plaintiffs will not be shared by writers at large.  Those
damages remain to be determined; the case has been returned to
federal court for that phase.  Another Manhattan federal judge
will be hearing three consolidated class action suits against
fourteen electronic databases; the outcome of those suits will
have a greater impact on the "relief" that freelance writers in
general may be eligible for, though that relief is likely to be

Richard Marini, vice president of contracts for the American
Society of Journalists and Authors (ASJA), felt that the positive
impact on writers was likely to be minimal.  "I don't think this
is going to change much day-to-day in the fight for freelance
rights," he noted in a public statement. "Many publishers will
continue to write contracts in such a way as to deprive writers
of their copyright... This is not going to end the fight."

Indeed, that seemed to be the primary result of the original
Tasini suit: As early as 1993, publishers began the rush to
all-rights and work-for-hire contracts, assuring that they
would thus retain any and all rights they might wish to use in
the future (whether they would actually use them or not),
without the need to give any additional compensation to writers.
"As a result of Tasini, publishers increasingly are attempting
to pay writers the same -- or even lower -- rates for all rights
than they traditionally have paid for first print rights," notes
Jim Morrison, president of ASJA. The New York Times Company has
required freelancers to sign away such rights since 1995, and
informed the court that "given its superior bargaining power,"
it has not had to pay freelancers extra for those rights. Since
freelancers generally lack that bargaining power, it is likely
that the push toward "all rights" contracts as an "industry
standard" will continue.

Meanwhile, rather than attempt to contact freelancers or offer
compensation for articles already archived electronically, the
defendants have already begun to purge electronic databases of
freelance contributions.  The New York Times will remove
115,000 articles, or about 8 percent of its content from 1980 to
1985, while Time, Inc., will purge about 10 percent of its
database. (It is worth noting that in similar cases in other
countries, including France, Holland and Norway, publications
entered into agreements to compensate writers for the continued
use of the material in electronic databases.)

So -- is this truly a "victory for creators and consumers," as
the National Writers Union has declared?  In principle, perhaps.
The decision has legally established that publications can't
use writers' contributions in ways that exceed the terms of a
contract without obtaining permission (and, perhaps, without
providing additional compensation). But if the end result is
simply to encourage more publications to demand all rights
from writers from the beginning, robbing writers not only of
the right to ask for additional compensation from the original
publication but also of the right to resell that material
elsewhere, that victory may be sadly hollow.

For More Information:
National Writers Union - http://www.nwu.org

American Society of Journalists and Authors - http://www.asja.org

Supreme Court Opinions on New York Times Co., Inc., et al. v.
Tasini et al. - http://laws.findlaw.com/us/000/00-201.html


Moira Allen has been writing and editing for more than 20 years.
She is the author of Writing.com: Creative Internet Strategies
to Advance Your Writing Career, and The Writer's Guide to
Queries, Pitches and Proposals (forthcoming in September 2001).

Copyright (c) 2001 Moira Allen

       FEATURE: The Tasini Decision: Implications for the
           Future - An Interview with Charles E. Petit,
           by Moira Allen
       Market Roundup/Writing Contests

                         by Moira Allen (Moira Allen)

To gain additional insight into what the Tasini decision will
mean for writers, I interviewed Illinois attorney Charles E.
Petit, who has contributed to Inkspot and Writing-World.com.
Here are his comments on the case:

Q: What do you consider the most important aspect of this
decision, from the perspective of writers?

A: Do I have to choose just one?

There are two very important aspects of this decision for writers,
and for all other content creators.

(1) The Court made very clear that a contract means what it says,
regardless of later attempts to redefine terms. Most of the
opinion turns on the definition of the word "revision," and
Justice Ginsberg said:

"The crucial fact is that the Databases, like the hypothetical
library, store and retrieve articles separately within a vast
domain of diverse texts. Such a storage and retrieval system
effectively overrides the Authors' exclusive right to control the
individual reproduction and distribution of each Article."

Thus, if a term is not defined to include a specific concept *at
the time of the making of the contract*, later changes in
technology do not perforce enlarge the publisher's rights at the
expense of the author. Justice Ginsberg repeatedly noted that the
purpose of the 1976 revisions to the Copyright Act was to enlarge
author rights, not shrink them.

(2) The Court considers this final. In many, if not most, cases,
the case is remanded (sent back down) to the court from which it
came with instructions to proceed "consistent with" or "not
inconsistent with" the Supreme Court's opinion. No such luck for
the publishers here. The Supreme Court granted summary judgment
and sent the case back to the District Court for a remedy.

Q: What will the effect of this decision be on other copyright
cases currently pending (e.g., Rosetta Books vs. Random House)?

A: Random House v Rosetta Books is now a dead issue. The Court
has made clear that retroactive redefinition is not authorized
by the Copyright Act. If Random House and its executives have any
sense of honor, they will withdraw their less than well-taken

Morris v Business Concepts is not quite dead, but very close to
it. This is the case in which a District Court judge found that,
despite admitted infringement, the author of the pirated articles
could not sue -- because the copyright registration certificate
was for the compilation, and issued in the name of the compilation
publisher. Comments throughout Justice Ginsburg's opinion
demonstrate that such a conclusion is not going to get a very
sympathetic reading in the Supreme Court.

The various Northern Lights matters now clearly fall in the
authors' favor. The only possible objection is that Northern
Lights is Canadian -- but Canada has made great efforts over the
last twenty years to ensure that its copyright law tracks US
copyright law very closely on all but certain procedural issues.

Although I'm only reading tea leaves, I think this opinion
demonstrates exactly how the Court will rule on Napster if
Napster is brought before it. In this context, Tasini means that
a database provider -- which, in essence, is what Napster,
Gnutella, etc. act like -- does in fact infringe on a creator's
rights unless the creator explicitly granted database rights.

Q: As this was not specifically a class action suit, will other
freelancers be able to make claims against publishers based on
the outcome of this suit?

A: This is a difficult question. My gut instinct is no, because
what the publishers did was either covered by the contracts
uniformly imposed since the mid-1990s that either explicitly do
or explicitly do not authorize placement in a database, or the
publishers completed their acts (providing the material to the
database) outside the three-year statute of limitations. [Note:
This refers to the consolidated class-action suit now pending.]

That's not to say that there is no remedy available to authors.
The authors remain free to go after the databases, because each
appearance of an article on the database is a new infringement.
The authors may also try to sue the publishers for breach of
contract, which has a much longer statute of limitations (up to
ten years), although this is a much more difficult matter. The
failure to file Tasini as a class action was, in my opinion, a
nontrivial error that does not assist the writing community
nearly as much as a class action would have.

Q: What are the primary implications of this decision for
writers, overall?

A: The primary implication is simple: Read your contract. Make
sure you understand it. If there's an ambiguous term, make the
publisher define it in writing. None of this is news;
unfortunately, most of it is all too seldom done.

More subtly, however, this opinion answers one of the primary
objections to copyright. The Court has clearly stated that
information does NOT "want to be free":

"Congress' adjustment of the author/publisher balance is a
permissible expression of the 'economic philosophy behind the
[Copyright Clause],' i.e., 'the conviction that encouragement of
individual effort [motivated] by personal gain is the best way
to advance public welfare.' "

Q: Do you believe the long-term effects of this decision will
beneficial, mixed, or harmful to writers (e.g., possibly
prompting even more publishers to demand all rights)?

A: I'm not sure what "even more" publishers making such demands
would be -- that's already the default demand, and ironically
enough has been since Tasini was originally filed in the mid-
1990s. The key is how authors react to such demands, not the
demands themselves.

What I expect to happen now is a concerted lobbying effort to get
this decision reversed by Congress. Although some publishers have
made such noises, it's not that simple; there are some
constitutional issues, such as impairment of contracts and whether
Congress can overrule a decision based so directly an enumerated
power (Article I, Section 8, Clause 8), that one cannot just shrug
off. Further, it would be bad policy, and completely inconsistent
with the evolving international practice, as the Court noted
itself. That doesn't mean that writers can just sit back; we need
to remain vigilant, and write to our Congressional representatives
in both the House and the Senate.


Charles Petit (cepetit[at]usa.net) practices intellectual property
and publishing law, complex litigation, and civil white-collar-
crime and antifraud litigation, almost entirely on the
plaintiff's side. He graduated magna cum laude from the
University of Illinois College of Law, and is admitted in
Illinois and 10 federal courts scattered across the country.
Prior to law school, he served as a commissioned officer in the

Copyright (c) 2001 Moira Allen


                          MARKET ROUNDUP

Courtney Caldwell, Editor-in-ChiefÊ
2424 Coolidge Rd., Suite 203, Troy, MI 48084
URL: http://www.roadandtravel.com
E-MAIL: courtney@roadandtravel.com

American Woman Road & Travel is a consumer website specializing
in automotive and travel topics, and targets upscale,
professional women aged 29-59. The AWRT reader ranges from mid-
management to woman business owner, and is typically active,
family-oriented, independent, and adventurous. She demands
literate, entertaining and useful information enabling her to
make educated buying decisions relative to her automotive and
travel needs. While we do include technical information in road
test reviews for buying decisions, the bulk of the articles are
more informational, educational, entertaining, and inspiring.
AWRT educates women on purchasing, leasing, renting, repairs and
maintenance as well as travel and personal safety on the road
topics. A glossary of terms should accompany each road test review.
In automotive, articles can relate to cars, trucks, mini-vans,
and sport utility vehicles, but are  not limited to this subject
matter. In travel, articles can relate to safety on the road,
hotels, airlines, bed & breakfasts, places to go and things to
do all around the world, cruises, chambers of commerce, state
tourism, business tools for the road, i.e.: laptops, cell phones,
pagers, etc., and health and fitness on the road. i.e.: how to eat
right while traveling, best gyms, restaurants, etc. We also seek
stories of women and adventure, as well as business related
stories. Safety and security are also important issues for women
who travel alone. We also seek:

Personality Profiles -- interview-format articles that focus on
inspiring women of accomplishment who break the traditional rules
"of a woman's place." We do not accept hard-core feminist man-
hating stories. Only positive, uplifting features of empowerment
and achievement. Humor is always welcome. We seek celebrity
profiles and women of leadership.  We prefer well-rounded
stories on women, which should have a travel and/or automotive
slant, but this does not have to be the focus of the story.
Profiles can be on women who work in any industry who are making
a difference, or women who are living their dream and inspiring
others.  She is typically active professionally and personally,
or an adventuress or leader who serves as a positive role-model
to other women and girls. Her many interesting qualities should
include her contributions, ability to balance life's challenges,
her passion and drive, and her unique accomplishments that make
her stand out. Please use quotes and humor whenever possible. We
like to hear about women who have endured, challenged and
overcome hardships. Be sure to include other hobbies and sports
she's involved in and add details about her career and family.

Travel and Safety -- articles relative to professional and
recreational travel, i.e.: places to go, things to do, vacation
spots, good deals on hotels, airlines, rentals, cruises, etc.
Articles on keeping women safe on the road are encouraged, and
supporting statistics are appreciated. Touring articles must be
accompanied by good, clear 4-color photos. Submissions may also
recognize female-friendly restaurants, hotels, campgrounds, etc.

Columns -- Commentaries are always welcome. Road humor is best.
Tell us your views about your respective automotive or travel
experience, or about anything that relates. Views on the woman
adventuress need an unusual slant to be valuable and interesting.
Bimbo stories are not welcome.

Buyer's Guides -- prearranged with editor-in-chief only, and only
accepted if they contain knowledgeable and diverse information
about the product and industry. A separate payment schedule will
be arranged upon acceptance due to the research and length they
usually require.

We do not accept or review articles on fashion, relationships,
sex tips, horoscopes, politics, parenting (unless related to
child safety in cars and travel), or stories on a husband's new
car or his personal adventures. We seek stories on women.  AWRT
is a gender-neutral publication; its content appeals to both
 males and females.

LENGTH: Features 1000-1200 words; columns approx. 500 words
PAYMENT: Up to $100 for web articles; up to $500 for print
magazine forthcoming in 2003.
SUBMISSIONS: By e-mail or on disk as text-only document. Writers
are contacted only upon acceptance; response time is up to three


Thomas Deja, Fiction Editor
E-MAIL: frightful_fiction[at]address.com

FANGORIA: FRIGHTFUL FICTION. Okay, it's official. As of 1 p.m.
on May 30th, I took over as fiction editor for the Fangoria
website's FRIGHTFUL FICTION section. The dang thing has been
long neglected, and now it's time to make it rise again. When I
asked what FANGO is looking for, I was told "Good fiction."
Subject matter or style is unimportant. The goal for me is to get
one "name" author and one lesser-known small press author each
month. Keep in mind that boils down to only 12 stories a year, so
don't barrage me with filler; just give me the cream of the crop.
[Editor's note: sounds more like 24 to me.] Stories will be
accompanied by bios and photos, and we will plug away your
latest projects. There are no restrictions as to style or
subject matter; it just has to be really, really good and
really, really scary. I will say that, for me, standard horror
fixtures like vampires, serial killers (*especially* serial
killers; fully three-fourths of what I've been receiving is
unimaginative serial killer fiction) and the like are so played
out that your writing has to be mega-crisp and enticing for me to
accept it. But if you can write a killer vampire piece I can't
put down, I will pass it on for publication. Also note that there
are certain story elements, like child molestation and 'stalking',
that I will be a little harder on than normal due to personal
reasons. If you write a child molestation angle into the story,
it should be integral to the plot; I will not tolerate a
molestation angle used just for shock value or as shorthand to
get sympathy for a character, and I will reject it immediately...
Let me make this clear: you don't have to emulate splatterpunk
and carnage-chic. I want all kinds of horror represented. In fact,
if you write something that isn't all about the blood and gore
and wounds spurting body fluids, your chances of being noticed
*increase* because you'll stand out from the rest of the pack--
and also because it's tougher to get a reaction when you're not
going for the easy gross-out. Take a look, when it comes up, at
what I chose for June's entries: I've got a hardcore story about
an insane asylum up against a very sweet M.R. James-style ghost
story. It's that sort of variety I'm looking for here. Don't try
to write *to* what you perceive to be the site's wants; write to
your own strengths, and I will notice. I'm particularly interested
in presenting stories by authors who will be profiled in upcoming
issues of FANGO. If you are going to be profiled, or know of
someone who will be profiled, please let me know.

LENGTH: Up to 4000 words; longer material is accepted, but fee
will not increase.
PAYMENT: Up to $100 per story.
RIGHTS: First North American Electronic Rights; exclusive rights
for three months.
SUBMISSIONS: By e-mail; submit one story at a time; no
attachments. Put title of story in subject header.


The Gollancz Book of Horror
David Sutton & Stephen Jones, Editors
David Sutton, 194 Station Rd., Kings Heath, Birmingham B14 7TE

As with the previous volume, Dark Terrors 6 will be double-sized
(approximately 200,000 words) and will be published in hardcover
in the UK by Victor Gollancz in Autumn 2002, with a paperback
edition to follow. Because of the extremely high standard of the
award-winning horror series and a desire to see only the very
best examples of a writer's work, we are strictly limiting
submissions to one story per author (unless otherwise discussed).
We are interested in contemporary cutting-edge supernatural and
psychological horror and dark fantasy. No pastiches.

LENGTH: No word limits (although shorter stories stand more
chance of being accepted than novellas).
RIGHTS: First world publication rights.
SUBMISSIONS: Hardcopy with cover letter and e-mail contact
or SASE (with IRCS if submitting from outside the UK).
DEADLINE: October 31, 2001 (no submissions before July 1).


Winifred Halsey, Editor
E-MAIL: spress[at]speculationpress.com

The publisher of Speculation Press is looking for a few more
stories to round out an anthology titled "Heaven and Hell." She's
looking for stories about demons and angels -- fantasy stories,
tongue-in-check, light touch, NOT inspirational or religious.
She seeks humor, satire, romance. No horror. Contact Winifred
Halsey by e-mail for details.


MARKET NEWS:  Cats Magazine has ceased publication.  Beth
Adelman, editor, will become the editor of Dog World Magazine,
replacing Donna Marcel. // Jackhammer E-zine and Dark Matter
Chronicles have ceased publication. Spellbound will still be
published. // At present, due to cash flow problems, Writer
Online (listed in the previous issue) is only accepting reprints,
for which it pays a flat fee of $20.


"FNASR": First North American Serial Rights, "SASE":
self-addressed, stamped envelope, "GL": guidelines.
(If you have questions about rights, please see "Rights: What
They Mean and Why They're Important, by Marg Gilks, at

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: Children's novels in 8- to 13-year-old age group
OPEN TO: Authors who have previously published a book of fiction
or nonfiction for children or adults, or a minimum of three
pieces of fiction or nonfiction in nationally distributed
commercial or literary journals.
THEME: Milkweed Editions is looking for high-quality novels for
readers aged 8-13 for its children's book publishing program. At
this age, readers are ready for well-written books that range
widely in subject matter, from fantasy to fiction grounded in
history to books about everyday life. Manuscripts should be of
high literary quality, embody humane values, and contribute to
cultural understanding. We are especially interested in fiction
set in the contemporary world and fiction that explores our
relationship to the natural world. No picture books, collections
of stories, or retellings of legends or folktales.
LENGTH: Book manuscript
PRIZES: $10,000 cash advance on royalties and publication.
URL: http://www.milkweed.org/2_1_2_a.html

*Source: WriterOnline



GENRE: Short fiction
THEME: Submit a short story that takes place at Whiskey Bay.
Now you will have to do some research to find out about Whiskey
Bay. Use your creativity. This can be a story about place, but
character and all other elements of a short story must be
LENGTH: 1,000 words maximum
PRIZES: $75, posting on Peony Press website, and an autographed
copy of "The Train to Port Arthur and Other Stories."
CONTACT: Peony Press, P.O. Box 515, Sylva, NC 28779
URL: http://www.peonypress.net
E-MAIL: munch[at]peonypress.net

*Source: Inscriptions



DEADLINE: August 1
GENRE: Essay
THEME: "Essays must discuss strategic, geographic, and cultural
influences on individual or regional navies, their commitments
and capabilities, and relationships with other navies"
LENGTH: 3,000 words maximum
PRIZES: 1st $1,000, 2nd $750, 3rd $500, plus publication
CONTACT: Marine Corps Essay Contest, US Naval Institute,
291 Wood Road, Annapolis, MD 21402-5034, (410) 268-6110,
fax (410) 269-7940
URL: http://www.usni.org/Membership/CONTESTS.htm

disguised as a contest. It's fun! Submit screenplays to be aired
on AT&T Broadband/Time Warner. Ongoing deadlines. Information:

CASTING CALL! This non-paying position is a great opportunity
for new or aspiring actors to get that professional experience
and portfolio in order. Re: Karaoke Soaps pilot sitcom. Producer:
Zeno Pierre. Writer: Devi Snively. Casting Director: Joyce
Sharpe. Start Date: June 1, 2001 (talent search: Southern
California). To air on AT&T Broadband/Time Warner. Call Joyce
Sharpe at 909-232-9602.

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

                     AUTHOR'S BOOKSHELF
Find out how to list YOUR title at
month -- or less!  For details on how to reach 30,000 writers a
month with your product, service or book title, visit
                 Copyright (c) 2001 Moira Allen
         Individual articles copyrighted by their authors.
Editor/Publisher: MOIRA ALLEN (Moira Allen)
Assistant Editor/Researcher: NOAH CHINN
Columnists: MARYJANICE DAVIDSON (Book Promotion on a Budget)
            PEGGY TIBBETTS (Advice from a Caterpillar)

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Copyright © 2017 by Moira Allen. All rights reserved.
All materials on this site are the property of their authors
and may not be reprinted without the author's written permission,
unless otherwise indicated.
For more information please contact Moira Allen, Editor