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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 1:16-1           6100 subscribers           October 4, 2001
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       From the Editor's Desk
       News from the World of Writing
       New on Writing-World.com
       FEATURE: How to Make Sure You Get Your Check,
            by Felicia Hodges
       The Write Sites - Online Resources for Writers
       WRITING DESK: No More Dull Words, Charging for a Column
            by Moira Allen
       Market Roundup/Writing Contests

                      FROM THE EDITOR'S DESK

Drawing Winners
Congratulations to the winners of the drawing for five copies of
"The Writer's Guide to Queries, Pitches and Proposals":

Coralaine De Coe (California, USA)
Barbara Falk (Alberta, Canada)
Jolene Johnson (Wisconsin, USA)
Connie Kuykendall (Virginia, USA)
Liz McDonnell (Ontario, Canada)

New Columnists Chosen!
Four new columnists have been selected for Writing-World.com, to
cover (respectively) Mysteries, Romance, Science Fiction/Fantasy,
and Self-Publishing. Here's a bit about them:


Paula L. Fleming's science fiction and fantasy has appeared in a
variety of publications, including the Such a Pretty Face
anthology, Tales of the Unanticipated #20 and #22, the Extremes
3: Terror on the High Seas anthology, and at Alternate Realities
Ezine. At her website, Paula maintains a speculative fiction
market listing (updated bi-monthly) and reviews and recommends
stories published on-line (updated weekly). That's not enough to
do, so for a day job, she's a management consultant. To help her,
she has two big dogs, two cats, and one husband. In her spare
time(?!), she enjoys hiking, cross-country skiing, the theater,
and worldbeat music.  IMAGINATION'S EDGE premieres this month at

MYSTERY INK - Stephen D. Rogers

Stephen D. Rogers has had 42 mystery acceptances at publications
including About.com Mysteries, Blue Murder Magazine, Crimestalker
Casebook, Ellery Queen's Mystery Magazine, Murderous Intent,
Mysterynet, The Mystery Review, and Rex Stout Journal.  He is
also a graduate of the Framingham Police Department Citizen's
Police Academy and has an immediate family member on each side of
the police/private detective fence (though no criminals that he's
aware of!). He has taught creative writing at Worcester
Polytechnic Institute, business writing at Keefe Technical
Vocational Adult Ed, and the writing programs for the non-profit
literacy organization Literature Is for Everybody, Inc.  His web
site (http://www.stephendrogers.com) has a short how-to that
changes monthly. MYSTERY INK will premiere in November.


Anne M. Marble has published articles in Gothic Journal and
Writer's Digest, as well as book reviews and articles for All
About Romance, "the back fence for lovers of romance novels." In
her "spare time," she moderates AARlist, a busy list of romance
readers sponsored by All About Romance. Just about everything she
writes includes a romance element, even if it's not a romance;
her current projects include a fantasy novel about a female
werewolf who unearths a mystery, and a romantic suspense novel
set in Ellicott City, Maryland. Her day job involves editing
articles for the Journal of Biological Chemistry. ROMANCING THE
KEYBOARD will premiere in December; however, you can check out
one of Anne's feature articles at


Brian Jud is an author, book-marketing consultant, seminar leader
and television host.  He is a prolific writer of articles about
book publishing and marketing, a syndicated columnist, and a
frequent contributor to the Publishers Marketing Association
Newsletter.  He also hosts the television series The Book
Authority, and has appeared on over 500 television and radio
shows.  Brian is the founder and president of the Connecticut
Authors and Publishers Association, and was also on the Executive
Committee of the Greater New York Independent Publishers
Association.  He is the founder and president of Publishing
Directions, a book-marketing consulting firm
(http://www.strongbooks.com/).  SELF-PUBLISHING SUCCESS will
premiere in November.

                        -- Moira Allen (Moira Allen)
Allen, puts all the "pitch" information you need in one handy
reference: How to query magazines, e-zines and newspapers; how
to sell (or syndicate) a column; how to write a book proposal or
novel synopsis; how to approach an agent; how to find corporate
freelancing jobs; how to find a teaching or speaking position;
how to get writing grants; more. For more details, see


Contentville Closes
You may recall the brouhaha that erupted when it was discovered
that Contentville was offering thousands of magazine articles for
sale -- without having received the right to do so from the
writers OR publishers of those articles. The National Writers
Union responded by cutting a deal with Contentville to act as a
rights licensing agency -- thus, to receive any royalties from
sales of one's article on Contentville (even if one owned all the
rights to that article and had never authorized its sale in the
first place!), one would have to register the material with NWU,
who would receive a percentage of all transactions.  That's the
background; now the good news: Contentville has closed.
Apparently its owner, Steve Brill, could not make it a financial
success -- and Brill may be having problems with other parts of
his empire, including Inside.com and parts of Primedia.
Ironically, the Contentville website still has its logo,
"Readers Rejoice", above the announcement that the site has
closed; as writers are certainly readers, they can rejoice

Return Addresses Required on All U.S. Mail -- or Are They?
I've been hearing conflicting rumors about a new FAA regulation
requiring return addresses on all U.S. mail. The first rumor
was that no mail would be delivered without a return address.
The next was that this was true only for parcels. So I thought
I'd ask the post office -- they'd know, right?  Wrong. The post
office tells me that a return address is required for all
PRIORITY mail.  The clerk THOUGHT it might be required for
parcels but wasn't sure.  She had not heard anything about such
a requirement for regular letters.  However, to be on the safe
side, if you're in the habit of sending out SASE's without a
return address, you might went to put your own on them.

Reader Tip: Promote Yourself through Barnes and Noble
A reader sent this tip: "Yesterday I called Barnes & Noble about
offering a writing workshop -- it coincided with their need for
writers to appear for their Oct. 4th national promotion. Writers
and authors will appear in each B&N that evening to talk to, and
answer questions from, aspiring writers. Our B&N had filled all
the slots EXCEPT one for freelance writers. Voila! I'm it. Now I
can promote my magazine writing course at our community college.
And, of course, get my name/face recognized a bit more, and who
knows what contacts that might generate. Bottom line: call your
local B&N, offer to appear and while you're at it -- offer a


                    NEW ON WRITING-WORLD.COM


Advice from a Caterpillar, by Peggy Tibbetts
Finding information on picture book proposals; submitting
illustrations with your manuscript; finding editors and agents.

Book Promotion on a Budget, by MaryJanice Davidson
"How to Keep Writing -- No Matter What"

NEW: Imagination's Edge: Writing SF and Fantasy, by Paula Fleming
"Aliens - Relatives of Ours?" Creating realistic aliens -- for
the right reasons.


How to Write Effectively for a Cause, by Mary Emma Allen

Master of Punmanship: An Interview with Piers Anthony,
by Moira Allen

The Subgenres of Romance, by Anne M. Marble

Write What You Know -- Because You Know More than You Think!
by Marg Gilks


New listings added regularly to the "Writers Wanted" section:

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

                         by Felicia Hodges (jumphigh[at]warwick.net)

Your query was given the go-ahead and the editor has
e-mailed you with specifics about the slant, word count and the
rights the publication is interested in buying. But even though
you got the article in well before deadline, you find yourself
waiting by the mailbox weeks after payment should have arrived.

Because a great many print and electronic publications pay
writers after the article is printed, waiting is often par for
the course in the world of freelancing. Still, since we have
overhead of our own to pay -- including on-line fees, telephone
bills, postage and that nagging need to eat on a regular basis --
it is more than a little frustrating to have checks arrive much
later than promised.

Some things -- like the speed of the US Postal Service once your
check has been mailed -- are almost impossible to control, but
there are few things you can do to help make sure your payment
finds its way to your bank account in a more timely manner.

* Check Them Out. The truth of the matter is that there are
publications that take their time about paying writers. To make
sure the one you've just received an assignment from does not
have a history of slow or non-payment, check out Jenna Glatzer's
list of publishers to avoid at Absolute Write. If an agreed-upon
payment never arrives, you can post a warning on the site or even
file a claim with the National Writer's Union. Angela Adair-Hoy
also posts a list of "bad markets" on WritersWeekly.com.

* Get a Contract. Contracts that detail rights, kill fees and
payment terms protect both the writer and the publication buying
the article. Although some magazines don't offer contracts, a
great many do, even if it's not mentioned up front. It never
hurts to ask. [EDITOR'S NOTE: If a publication does not offer a
contract, you can always draw up a letter of agreement of your
own; see "Understanding Contracts" for more information.)

"I always advise writers to never, EVER work without a contract,"
says Angela Adair-Hoy, co-owner of WritersWeekly.com, a free
electronic magazine for writers that features freelance jobs and
paying markets. She says that any publication worth its salt
should be willing to draw up a contract if the writer requests
one. "If an editor refuses to work with contracts, there is
something very wrong with that publication," she adds.

* Consider an On-Line Payment Service. Some publications now
offer payment through Internet-based payment services like
PayPal.com. These networks allow writers to open an account that
publications deposit payments into. You can then transfer the
money into a personal bank account or have a check mailed to you.
Since payments can go directly to your bank, it saves time and
eliminates the daily mailbox run. Check with the editor to see
if on-line payment is an option.

* Send All the Information. Even when publications pay quickly,
editors are usually not the ones responsible for cutting the
checks. That means your social security number, address, phone
number, title of the article and the issue in which it was
scheduled to appear still have to find their way to the bookkeeper's
desk or computer. Even if you have written for the publication
before or contribute regularly, don't assume that everything is on
file. A search through back invoices to find your information could
delay payment up to a month.

* Include an Invoice. Late payments can sometimes result if you
don't send an invoice for your services. Some publications won't
even process your payment until they get a bill, so if your
editor never mentioned that one was needed, your check will be
delayed. Always attach an invoice to any article you send,
whether the editor asks for one or not. That way, when the
publication receives the article, you know they also get the

Sending an invoice doesn't always speed up the process, however.
"I've been in situations where I've had to send in the same
invoice multiple times because the editor-in-chief 'didn't have
it on hand,' 'didn't know why it wasn't taken care of,' claimed
she 'handed it in months ago but will do it again anyway,'" says
freelance writer Dawn Mocharski. Even though she usually sends an
invoice with her completed articles, Dawn often still finds
herself snail-mailing, calling and e-mailing the editor when
payment doesn't arrive. "I can't scream loud enough [about] how
much of a hassle it's been."

* Save Everything. Keep copies of all correspondence to and from
the editor (including e-mails) from the time the article is
assigned through acceptance (including all correspondence
relating to your efforts to collect payment). If there is ever a
dispute about the expected payment date or amount, the messages
you saved could help settle it a little quicker and easier.

* Check the Terms. Many publications have what are called 30-day
payment terms. In other words, if your article is printed in the
May issue, your check might not even be cut before the end of
June, a whole 30 days after the month of publication. Be sure to
check the writer's guidelines or the terms outlined in the
contract to be certain.

* Send a Reminder. If more than a little time has gone by and
you still haven't gotten your money, sending a certified letter
to both the editor and publisher is definitely in order. In it,
detail the agreed-upon payment, the date the article was
scheduled to run and any attempts you've made to contact the
person who agreed to buy the article. Allow at least 10 business
days for a response.

* Be Persistent. Whether writing is your livelihood or a hobby,
you have every right to expect to be paid in a timely manner for
your efforts. Once you've held up your end of the deal by getting
the article in on time with everything that was requested, there
should be no question about whether (or when) you'll get paid.
E-mail or call them, but do stay on top of it.

"No honor system applies to the world of writing, [but] I do
believe that publications and editors tend to respect you more
when you stand your ground," says Mocharski. "Don't be
wishy-washy. Be persistent. Eventually, you'll get it."

For More Information:

WritersWeekly.com -

Absolute Write - http://www.absolutewrite.com/forum/index.html

NWU - http://www.nwu.org

"How to Send an Invoice," by Moira Allen (Writing Desk)

"Understanding Contracts", by Moira Allen


Felicia Hodges is a freelance writer and photographer who lives
in upstate New York

Copyright (c) 2001 Felicia Hodges

For advice on writing and getting published, visit The Published
Writer at http://www.thepublishedwriter.com. Features articles
and interviews with published writers and authors. For updates,
subscribe at http://www.thepublishedwriter.com/msubscribe.html
Writers' competition website, specialising in fiction with a
surprise twist . Cash prizes and publication, plus mini fun
fiction series. http://www.thetwistinthetale.com
SERIOUS WRITERS UNITE!  Absolute Write offers tons of articles,
interviews, markets, and free contests for freelance writers,
novelists, screenwriters, and more. Sign up for the free weekly
newsletter and get the FREE Top-Paying Online Markets Report
now. http://www.absolutewrite.com ****************************************************************
Weekly, the FREE inspirational/how-to e-mag for women, and get
PUBLICATION. Send blank e-mail to naww[at]onebox.com or visit our
Web site - http://www.naww.org *****************************************************************

       The Write Sites - Online Resources for Writers
       WRITING DESK: No More Dull Words; Charging for a Column
            by Moira Allen
       Market Roundup/Writing Contests

                         THE WRITE SITES

Fiction Critiquing 101
Tips on how to benefit from a critique group, and how to become
an effective critiquer.

Internet Publishing
Piers Anthony's extensive list of electronic publishers, with a
review of each (find out who doesn't pay, etc.).

Links to the websites of a wide range of professional,
scientific, and academic journals.

American University Presses
Links to an extensive list of university presses.

The Writer's Lounge
This site is all about writing essays, essay markets, and
personal journaling.

The Internet Public Library
Vast collections of articles, e-zines, links to magazines and
periodicals, electronic texts, and more.

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)

Could we put a ban on boring words?

Q: Are there any books out there devoted to banning snoozers like
unique, interesting, boring, good, bad, important, singularly
distinctive and special? For example, in Sin & Sintax I found one
or two helpful suggestions: "instead of unique, try suis generis"
and "instead of 'a delicious, inviting attractive spread of food'
try 'A luau of fruits and fishes' ". My problem is, I need a
library of this stuff! I'm a restaurant critic and cringe when I
use/read lethargic, ubiquitous prose to describe the food,
service and atmosphere. I've found few alternatives to the
overused: flavourful, good, appetizing, delicious, fresh, crisp,
rich, excellent, wonderful, tender, special, warm, dry, spicy,
perfect, hot, soft, pleasant, simple and unusual, not to mention
the judgments: like and love. Please help me kick-start my
search for a library of sensual options!

A: Alas, I know of no such compendium. Which leaves the market
wide open, of course, for you to compile such a list yourself!

However, I would never advocate using "suis generis" in place of
unique. How many folks have a background in Latin to know that
this means "of its own kind" with the implication of "one of a
kind"? And while a "luau" might be appropriate to describe a
spread that has a tropical nature, I don't think it would work
for, say, a smorgasbord! Always be sure that the imagery your
chosen word invokes is the imagery you want.

Sadly, if lettuce is crisp, there aren't too many other ways to
say it. But let your imagination play, and you'll surely come up
with something better than "very, nice, wonderful, lovely," and
all the rest. Ask yourself what the environment reminds you of,
what feelings it evokes -- in a French restaurant, did you feel
for a moment that you might truly be on the Left Bank (say "Rive
Gauche" only if you're writing for a VERY trendy publication) and
that you were almost surprised that your neighbors weren't
discussing poetry in French? Did the Italian restaurant make you
half-expect to be able to step outside and into a waiting
gondola? Note that the words are simple; the issue is the ideas
you wish to convey; simple words are often the best to convey
complex ideas or images.

How much should I charge for my column?

Q: I am an Internet advice columnist (soon to be featured in a
local print magazine as well), and I would like to know how much I
should charge for my column. The print magazine (which is fairly
new) is offering 15 to 20 cents per word.

A: The rate you're receiving from the print magazine seems fairly
standard, depending on the "level" of the magazine (e.g., it
would be acceptable for low- to mid-level magazines, but
ridiculous for, say, Woman's Day).

Regarding syndicating your Internet column, however, you may not
have a great deal of luck with this. The Internet removes the
primary element that makes it possible to syndicate print
columns: Geography. When you syndicate to regional print
publications, readership is separated by geography, even when it
is united by interest. Thus, you could sell the same gardening
column to a publication in one county, then sell it again to a
similar publication in another county, or another state, or city,
or whatever, and have no overlap in readership. Even though all
your readers would be interested in "gardening," they will be
reading only their own local publication, and not the one "next

On the Internet, all that changes. If a reader is interested in
gardening (and hence a gardening column), that reader can access
ALL the gardening or gardening-related publications on the
Internet (and probably will). Thus, you no longer have any type
of regional separation. Consequently, publications online are
often not willing to have any overlap in content with other
publications that cover the same interest areas. Without
separation, you can't effectively have syndication.

What you should charge is a separate question. Rarely do authors
get to "set their price." Instead, one simply finds out what a
publication is willing to pay, and determines whether that rate is
acceptable. If it isn't, move on; don't try to argue an editor
into a higher price (unless you're talking pennies). In the
writing business, editors and publishers generally set the fees,
not writers.


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 by 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

                          MARKET ROUNDUP

Mary Collins, Editor
P. O. Box 387, Nutting Lake, MA 01865
E-MAIL: mary[at]survivorwit.com
URL: http://www.survivorwit.com

SURVIVOR WIT is a free e-mail newsletter of humor for survivors
of childhood sexual abuse and their supporters. Okay, so the
subject isn't inherently funny. Like all painful topics, it can
be a rich source of humor when approached with the proper
irreverent attitude. My aim in publishing this newsletter is to
undermine the power of the difficulties that survivors and their
supporters face when survivors try to heal from this trauma.
Write about therapy, denial, addictions, relationships, or any
other topic in relation to healing from childhood sexual abuse.
As long as it's funny and relatively within the bounds of good
taste (nothing obscene or libelous), I want to publish it!

I'm looking for short pieces of writing. Jokes, poems, stories,
essays and any other prose formats are appropriate as long as
submissions are not much more than 700 words. Payment is $5-$20
on acceptance for one time rights to publish in the newsletter
and the right to archive the piece on the Survivor Wit website
for up to 6 months after the piece appears in an issue of the
newsletter. If this newsletter is a wild success, I will be
increasing payment rates in the future. Tell all your friends
about it! Submit by email to mary[at]survivorwit.com or by snail
mail to the address above. I look forward to seeing your writing.

LENGTH: 700 words
PAYMENT: $5 to $20, on acceptance
RIGHTS: One-time and archival rights
SUBMISSIONS: E-mail or surface mail


Call for Submissions:
Maxim Jakubowski & M. Christian, Editors

U.S. Submissions: M. Christian, 41 Sutter Street #1012, San
Francisco, CA 94104

European and UK Submissions: Maxim Jakubowski, Murder One Books,
71-73 Charing Cross Road, London WC2H OAA, UK

E-MAIL: M. Christian, zobop[at]aol.com
URL: http://www.mchristian.com

rocket ships and aliens, "To boldly go where no-one has gone
before", or pure-hearted heroes fighting black-hearted villains.
The future in The Mammoth Book of Future Crime/Cops is dark -- a
world of ambiguity, of good men gone bad and bad men doing good.
The world of this book is our world of today, turned sideways.
This is the future of Blade Runner and Akira, the world of cops
and crooks written across a bleak, end times landscape of urban
decay, pollution, corruption, of multinational organizations
pulling the strings of governments and controlling the world and
our daily lives in an occult manner and cyber big-brothering. A
world on its last legs, barely holding together. It's a world
where hardcore noir crime fiction has expanded into nightmarish

The Mammoth Book of FUTURE CRIME/COPS is open to many different
styles and genres, but all stories must be about crime and
criminals set in a very near, familiar future environment - think
noir rather than science fiction. Suggested themes include: last
good cops stalk murderers across corrupt cities torn apart by
violence, sagging with decay; two-bit hoods and gangstahs
scavenge for that one score that will finally lift them out of
their death-trap lives; bizarre drugs and even more bizarre
criminals lurk in the pitch-black warrens of continent-sized
urban battle zones; men and women equipped with frightening
weapons and grotesque body modifications try to hold back the new
waves of evil and crime.

THE MAMMOTH BOOK OF ROAD STORIES: The road is an enduring,
enthralling symbol of transition, adventure and discovery. From
Jason and the Argonauts to Jack Kerouac, the Road has represented
journeys more exciting than the destination, and transition from
one place and state of mind to another. The journey, the quest,
the road tale/movie has for ages immemorial fascinated writers
and film makers and been the consistent backbone of the art of
the narrative, from Chaucer's Canterbury Tales to modern
exponents such as Alex Garland's The Beach.

The Mammoth Book of Road Stories is open to many different
styles and genres, but all stories must be about the love of the
open road, of rolling down the window to feel the miles breeze
by. Suggested themes include: cops and crooks barreling down
midnight boulevards; summer vacations gone wildly wrong;
sentimental journeys made in hope and despair; ancient travels of
wandering wise men; post-apocalyptic road warriors and
high-octane nightmares; tales of truck stops and gas stations;
parodies and variations on such classic road pictures as Thelma
and Louise and Vanishing Point or even the "Road" films of Hope
and Crosby; stories of fast driving and reckless cornering;
explorations of the seduction of the open road and modern
wanderlust; stories of the lives of traveling salesmen and hard
driving, hard living truckers; and many, many more.

Participants in this anthology will have the honor of being
published alongside such notables as Jack Kerouac (On The Road),
John Steinbeck (The Grapes of Wrath), and Hunter S. Thompson (The
Rum Diary) and many others.

PAYMENT: $150 for original stories, $100 for reprints
LENGTH: 2,500 - 10,000 words maximum
DEADLINE: January 1, 2002 (for both volumes)


Call for Submissions:
Brian A. Hopkins, Editor
Lone Wolf Publications, 13500 SE 79th St., Oklahoma City, OK 73150
E-MAIL: lwpub[at]aol.com
URL: http://www.dm.net/~bahwolf/e5queue.htm

EXTREMES is looking for 20 original dark fantasy and horror
stories set in locations other than the continental U.S. NO
reprints. NO word limit. NO taboos. NO stories that don't have a
reason for being set in the locale the writer has chosen.

The ideal EXTREMES story reflects the culture, mythology, and
people... yea, verily, the entire milieu of another world (so to
speak). Take horror somewhere it hasn't been, write a good story
with believable and engaging characters, a consistent plot, a
logical resolution, and you're a shoe-in. The reading period for
this anthology will begin on October 1, 2001 and close as soon as
the editor has 20 stories he likes.

Proposed publication date is January 2003. As with the
Stoker-nominated first volume in the series, EXTREMES 5 will be
published as a signed, limited-edition CD-Rom featuring
multimedia extras (digital audio, digital video, photographs,
supporting essays, etc.). Contributors will be paid an equal
share of all profits earned through sales of the anthology.

Manuscripts may be submitted by snail-mail (send to above address)
or electronically by e-mail, attached (any format) or embedded, to
the above e-mail address ONLY. Be sure your e-mail address is
included on the cover of your manuscript, as your original e-mail
will not be saved. Do not attach more than one file to the same
e-mail. Submissions sent to the editor's other e-mail addresses
will be deleted unread. All submissions will be acknowledged and
assigned a queue number within 48 hours (unless the editor is off
somewhere sailing, in which case he'll get to it at first
landfall). Once assigned a queue number, you may check the status
of your submission at any time by visiting the submission queue
at the Lone Wolf web site (URL above).

Response time will average 4 to 6 weeks (from the start of the
reading period).

LENGTH: No limit
PAYMENT: Profit-sharing
SUBMISSIONS: E-mail or surface mail; attachments OK
READING PERIOD: October 1, 2001 until filled


Market News: Several markets have folded recently, including
Mademoiselle, Cats Magazine, Mode Magazine, Aboriginal Science
Fiction, Biztravel.com, and Rightsworld.com.  MindKites e-zine
has ceased accepting fiction or poetry.


"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 contests open to all writers and that charge
no entry fees (unless otherwise noted). For dozens of additional
contest listings from around the world, visit


                  Inscriptions Interview Contest

DEADLINE: October 19, 2001
GENRE: Short fiction
THEME: With this contest, we decided to give you the chance to
leave the horrors of reality behind. Halloween and Samhain are
quickly approaching, and bring the return of the monsters of yore
-- vampires, werewolves, mummies, etc. These fantastical
creatures are the perfect heroes or villains for a bit of short,
escapist fiction. That's what we'd like to see.
LENGTH: Under 1,000 words
PRIZES: 1st place -- $75 gift certificate from Amazon.Com (or
cash equivalent); 2nd place - $25 gift certificate; 3rd place -
$10 gift certificate; all winners also receive a 1-year
subscription to Writer's Digest and publication in Inscriptions.
ONLINE ENTRY: Yes; e-mail entries only. Paste your entry directly
into the body of an e-mail and send to
Contest[at]inscriptionsmagazine.com with the subject heading
"Inscriptions Interview Contest." At the end of your e-mail,
include your real name, pen name (if applicable), mailing
address, e-mail address and word count. Enter as often as you
URL: http://www.inscriptionsmagazine.com/Monster.html
E-MAIL: Contest[at]inscriptionsmagazine.com (subject heading:
"Inscriptions Monster Mash Contest"

*Source: Inscriptions


                    John Gilgun Poetry Award

DEADLINE: October 15, 2001
GENRE: Poetry
LENGTH: Up to 5 poems, 100 lines maximum each, 10 pages maximum
FEE: None
PRIZES: 1st $500 + publication
CONTACT: Ruth Ellen Kocher, Icarus, John Gilgun Poetry Award,
Missouri Western State College, St Joseph MO 64507; (816)


                      Project Greenlight

DEADLINE: October 22, 2001
GENRE: Screenplay
OPEN TO: All legal residents of one of the fifty United
States or the District of Columbia  excluding Puerto
Rico and all other territories] who are 18 years old or older
[Individuals who are Professionals will not be eligible to
participate as Contestants in the Contest - although they may
participate as Reviewers]
THEME: Submit your very best--a story that has all the right
elements, including memorable characters, provocative drama,
dazzling imagery, and a strong underlying sense of theme or
purpose. Stories should have a resonant, literary quality. Those
rich in theme and dressed in layers of meaning are most likely to
take this year's prize. (Stories must be original and
LENGTH: 90-130 pages in industry standard screenplay format
PRIZES: Grand Prize will be an opportunity for the Winning
Individual Contestant or Winning Team, as applicable, to work
with Miramax Film Corp. to make a feature film based
on his, her, or its Winning Submission. Subject to availability
and contractual or professional commitments, Matt Damon, Ben
Affleck, and/or Chris Moore will act as executive producers of
the Film. Each of the Top 10 will receive a Top 10 Prize Package,
consisting of a kit of video production equipment [e.g., a
digital video camera, tape stock, tripod, etc.  Approximate
retail value of each Top 10 Prize Package $3,000.]
ONLINE ENTRY: Yes-screenplay must be submitted in electronic
format only and only through the Website
URL: http://www.projectgreenlight.com

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                 Copyright (c) 2001 Moira Allen
         Individual articles copyrighted by their authors.
Editor/Publisher: MOIRA ALLEN (Moira Allen)

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