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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 2:06            9000 subscribers             March 21, 2002
This issue sponsored by:
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       From the Editor's Desk
       News from the World of Writing
       New on Writing-World.com
       FEATURE: How to Make Your Picture Book Sparkle,
           	by Peggy Tibbetts
       The Write Sites - Online Resources for Writers
       WRITING DESK: Are Canadian writers subject to U.S. tax
            withholding? by Moira Allen
       JUST FOR FUN: Publishing and Lightbulbs (new section!)
       Market Roundup/Writing Contests


Contribute to Writing-World.com, and receive a copy of Moira
Allen's "The Writer's Guide to Rights, Contracts, Copyright and
Permissions" -- available ONLY to contributors!

To contribute:

1) Go to http://s1.amazon.com/exec/varzea/pay/T3IYF2XBLY0OSX

2) Or, go to http://www.paypal.com (send your contribution to
Moira Allen)

3) Or, contact Moira Allen if you'd prefer to send
a check.

For more info, see http://www.writing-world.com/admin1/rights.html

                      FROM THE EDITOR'S DESK

New Class: "How to Make Your Children's Picture Book Sparkle!"
Peggy Tibbetts, Writing-World.com's children's writing columnist
and an experienced editor of children's books, is offering an
8-week intensive course on children's picture books.  The course

* Understanding the Picture Book Market
* Creating a Dummy: How picture books are produced
* How to Define "Sparkle"
* Story: Elements of story, plot, conflict
* Character and Emotion
* Humor, Imagination and Word Play
* Line-By-Line: Going over your story to make it "sparkle"
* Submitting Your Picture Book Manuscript

Hands-on exercises and homework are included, with personal
feedback every step of the way.  The course is conducted via
e-mail; for registration information and a complete synopsis,
visit http://www.writing-world.com/classes/children.html

The "Breaking into Magazines Class" is BACK!
The "Breaking into the Magazine and Periodical Market" course is
back by popular demand.  This 8-week course gives you the tools
to find out what sells and how (and where) to sell it.  If you've
been trying to market your work to magazines or other periodicals
without success, or if you're just getting started as a freelance
writer, this is the class for you.  I'll walk you through the
process of developing marketable topics and ideas, preparing a
query, and outlining, researching, and developing the article
itself.  By the end of the class, you should have an article
"ready to go" and a selection of markets to choose from.

Correction to last issue's announcement; the class actually begins
on April 17.  It's filling up fast, so sign up soon! Registration
is $80; for details, visit

New Look
No, it isn't your imagination; Writing-World.com has a new look!
No more table borders and clunky "bio boxes"; plus, we have a
nifty new logo designed by artist Tom Dullemond
(http://www.asmoday.com).  The navigation bar has moved to the
top of the page, making it easier to find what's on the site --
and to get to the sections you want to visit.  And while you're
checking out our new look, check out our...

New "Basics" Section
Are you wondering how to "get started" as a freelance writer?
I've just redesigned the Basics section, turning it into a
"step-by-step guide" to getting started.  This section offers
nearly 40 articles designed to walk you through the process of
establishing your writing career -- whether you want to write for
the fun of it, or to make a profit.

"Just for Fun"
I've added a new section to the newsletter: "Just for Fun."  It
will appear irregularly -- i.e., whenever I (a) have room and (b)
have a humorous tidbit to share.  And yes, I'm "buying" for the
section, so if you have a humorous essay, poem, or other item on
the subject of writing, by all means send it along to
Moira Allen.

Current Drawings on Writing-World.com
Over 75 Good Ideas for Promoting Your Book, by Patricia Fry

A Writer's Guide to Magazine Articles for Book Promotion and
Profit, by Patricia Fry

Free Membership in EbookoMatic

                        -- Moira Allen (Moira Allen)
easy template design tools offer writers professional sites with
personal style. Get a portfolio, email, calendar, search engine
submission, 24-7 admin access, custom domain support, unlimited
content updates, and much more. http://pro2.2-TierSoftware.com


Judge Rules Against Ellison
In 2000, Harlan Ellison sued AOL, alleging that it had violated
his copyrights by allowing unauthorized copies of his work to
remain on its Usenet servers.  (Ellison's suit against the fan
who uploaded the unauthorized copies was settled out of court.)
In March, U.S. District Judge Florence-Marie Cooper ruled that
AOL was covered by provisions in the Digital Millennium Copyright
Act (DMCA) that protect ISPs from liability if they remove
disputed content when notified.  The judge found that AOL "did
not induce or encourage Robertson to directly infringe Ellison's
work." Ellison's attorneys have not yet decided whether to appeal
the ruling.

Rosetta Wins Against Random House -- Again
The U.S. Court of Appeals has upheld an earlier decision
rejecting Random House's request for a preliminary injunction
against RosettaBooks that would have prevented Rosetta from
publishing electronic editions of books originally published by
Random House.  Random House sued RosettaBooks in 2001 for
publishing several works that had originally been produced (in
print) by Random House, claiming that Random House alone had the
right to produce the books in ANY form.  Much of the suit has
hinged upon the question of "what is a book" -- and upon whether
a publishing house can claim rights that were not in existence
(or foreseen) when a contract was originally issued.  For more
information, see http://laws.findlaw.com/2nd/017912.html

Writer's Digest Sold
F&W Publications, publishers of Writer's Digest and other special
interest and hobby magazines, has been sold to Aurelian
Communications, an investment group associated with Citicorp.

Cricket Magazine Group Goes to All-Rights Contracts
The Cricket Magazine Group, which publishes a variety of
children's magazines (including Cricket, Cobblestone, Calliope,
Spider, Muse and others) has adopted an all-rights contract for
all of its publications.  This is a change to its "30-year policy
of letting authors keep all rights."  The publisher stated that
"We love and admire our authors and illustrators and want to help
as much as we can to further establish their careers in this
field," but cited economic factors and the difficulty in tracking
down authors whenever permission for reprinting was needed.




Have Digicam, Will Travel, by Terry Freedman

How to Protect Yourself from Editorial Theft, by Kyle Looby

Writing the Prize-Winning Script, by Laura Brennan

So You Wanna Be a Children's Poet... by Linda Phillips

Tapping Your Innate Creativity, by Barbara Florio Graham


PLUS, new contests have just been added at

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

8-week course on Writing-World.com, beginning June 4 -- and get
one-on-one feedback from an experienced editor of children's
picture books! For more information or to enroll, visit

                           by Peggy Tibbetts (peggyt[at]siltnet.net)

"The major problem with the submissions we get... is that they
don't stand out in any way. They lack a sparkle that's hard to
define," says Stephanie Owens Lurie, Publisher of Dutton Books.

If the publisher can't define sparkle, how can writers be
expected to achieve it? What makes a story sparkle?

In that same interview (published in 2001 Children's Writer's &
Illustrator's Market), Lurie also said, "I look for a story that
speaks to me right away, a character I feel like becoming for the
duration of the book, or I look for humor, imagination, something
that touches my basic emotions. I enjoy good word play... fun to
read aloud."

Okay, now we're getting somewhere -- story, character, humor,
imagination, emotion, word play. Good concrete words we can use
to define sparkle.

Whether you've just come up with a brilliant idea for a
children's story or you have a finished manuscript ready and
waiting to submit to editors, you need to determine whether or
not the story is strong enough for the competitive picture book
market. Picture book manuscripts make up the largest number of
submissions to children's book publishers.

Make a dummy. Most picture books are 32 pages, which only allows
28 pages for text and illustrations. Children's writers are
usually advised to make a dummy after the story is written.
However to create a strong story, you must consider the
illustrations right from the start. Outlining your story idea in
28-page blocks is an excellent way to begin. Writing With
Pictures: How to Write and Illustrate Children's Books by Uri
Shulevitz, includes a section on making book dummies.

In his book, The Business of Writing for Children, Aaron Shepard
says, "The number of scenes determines whether a story is best
suited to a picture book or a magazine."

Take a closer look at your favorite picture books.  Study the
ratio of illustrations to text. Some picture book illustrations
cover a two-page spread, so you don't necessarily need 28 scenes.
But if you can't come up with at least a dozen concrete visual
images for the illustrator to choose from, you might want to
re-think your picture book idea. It may be better suited to the
magazine market and should be written that way. Page space is
limited in magazines, so editors look for action stories that
lend themselves to a few cartoon-like drawings or clever border

For a picture book or a magazine story, keep the plot structure
simple. Novels contain several conflicts, but short stories only
have room for one.  The action should move forward in
chronological order.  Flashbacks disrupt the flow and are
difficult to illustrate.

Your main character should be a child, or a character with
child-like sensibilities, within the story's target age group.
Keep the number of characters to a minimum. For every rule there
is an exception, so let's get it out of the way -- the exception
is folktales.

During a panel discussion at a regional SCBWI conference,
Stephanie Owens Lurie and illustrator Lynn Munsinger emphasized
that the job of the writer is to tell a great story, and let the
illustrator do the rest. Don't spend a lot of words on narrative
or description of the characters. In fact, it's a good idea to
ignore species altogether; don't presume your characters will be
illustrated as humans. Leave character portrayal up to the

Instead, use your words to create a sympathetic character, someone
a child can identify with. Use telling details to identify your
character, such as a physical characteristic, a mannerism, or
favorite phrase.  Consider Sesame Street's beloved Big Bird. Even
though he's an over-sized, yellow Muppet, children everywhere
adore him. Why? Because he frets, worries, and makes mistakes,
exactly like children do.  They can relate to him because he acts
out and gives voice to their fears.

Emotion affects the pacing of your story. Does your story flow?
As you review the dummy of your outline or story, make sure
you've given the reader good reasons to keep turning the pages.

In a novel, the writer makes use of the five senses -- sight,
smell, sound, taste, and touch -- to invoke emotion in the
reader. With picture books the job is somewhat different. Think
about the illustrator again. How do you draw smell? Or taste? Or
touch?  Most senses don't lend themselves to illustration.

Look at this sentence:
   "Cubby stepped into a meadow of sweet-smelling flowers."

This doesn't tell us much about Cubby or the meadow. Nor does it
convey a mood. The reader has no idea how Cubby feels. How would
you illustrate it?

Now look at the sentence revised:
   "As Cubby bounded through the tall grass, sweet lavender tickled
   his nose."

The words "bounded" and "tickled' imply happiness. The reader can
tell Cubby is happy. The "sweet lavender" instantly conjures a
specific visual image, not to mention smell. In one sentence your
reader is engaged.

Humor, Imagination, and Word Play
Humor and imagination go hand-in-hand. Humor triggers a child's
imagination. Kids love to laugh. Funny picture books sell. Even
if your story isn't humorous, make sure you include some funny
moments. Humor adds another layer to your story. When a group of
six-year olds shout, "Aha!" and get the joke, they are engaged.

Avoid preaching.  There's an age-old saying among editors, "If
you want to send a message, write a letter."  This doesn't mean
your story can't have a moral; it simply means any lesson to be
learned from your story must be implied. A good story awakens a
child's imagination and invites him to come to his own
conclusion. In Aesop's fable, "The Fox and the Grapes," he didn't
state outright, "it's human nature to express disdain for what we
can't have," even though that's what the story's about.

Cut unnecessary words, like "very," "big," "little," and words
ending in "-ly."  If you use two words to describe a character or
action, choose one word to convey a concrete image. Look for
words like "that," "was," and "had," which indicate passive
voice. Substitute strong action verbs. The best way to judge
whether a word is necessary is to go through the manuscript,
remove the word, and decide if the sentence makes sense without

Let's go back to Cubby in the meadow and look at this sentence:
    "Cubby was looking for his very best friend."

Here is a simpler, more vivid, even slightly humorous, way to
show the action:
   "Cubby searched for his pal Stinky."

Poetic devices can be a good way to inject light humor and word
play into your story. Common tools are rhythm, repetition, and
alliteration:  "Cubby captured the crazy cat."  Using rhyming
words within the story can also be effective; however avoid
writing your story in verse. Even though there are plenty of
picture books written in verse, as a rule, children's book editors
publish very few. If your story is written in verse, it might be
more suited to the children's magazine market. (Again, there are
always exceptions.

Test your concrete word imagery by performing a simple exercise
that's popular with many picture book writers. Dissect your
manuscript by re-typing it and skipping two lines between every
sentence. Read it aloud. Analyze it sentence by sentence, make
sure every word, every sentence, every scene creates a visual
image. You'll see that sparkle is not some elusive ideal to
strive for but simply a matter of technique. A marriage of
colorful words and vibrant pictures is what makes your story

For more information:

Aaron Shepard's Kidwriters Page -

The Business of Writing for Children, by Aaron Shepard

Writing With Pictures: How to Write and Illustrate Children's
Books, by Uri Shulevitz


Peggy Tibbetts is Writing-World.com's children's writing
columnist, and has been a professional writer, editor, and full
member of the Society for Children's Book Writers & Illustrators
for the past 26 years. She began her career in children's
literature as a children's columnist for her local newspaper.
From there she moved into the job of contributing editor for a
middle school history tabloid, then worked for six years as an
associate producer and scriptwriter for an educational film
company. She was contributing editor for Children's Magic Window
magazine and Children's Writing Resource Editor at Inkspot.
Tibbetts has edited several successful children's book manuscripts.

Peggy will be teaching an 8-week course on "How to Make Your
Picture Book 'Sparkle'", beginning June 4.  For details, visit

Copyright (c) 2002 Peggy Tibbetts

Barbara Florio Graham's popular online course, Tapping Your
Innate Creativity, will be given this summer in a new, flexible
format to accommodate participants who may be on vacation for one
or two weeks. The 10-week course begins July 1; for info, see
Looking for a poetry class that jumps? Instant feedback? Weekly
poetry whoopees? Then join the POETRY EXPRESS led by Tad
Wojnicki, the author of LIE UNDER THE FIG TREES and WRITE LIKE
A LOVER! (forthcoming). $25/month. AOL only. wojnicki[at]aol.com


Stop the International Library of Poetry
Several lawyers are seeking to file a class action lawsuit
against Poetry.com.  If you've submitted poetry or purchased an
anthology, you may be eligible to participate.

Book Fairs and Festivals
Looking for a literary event?  Here's a list of festivals around
the world.

Print-on-Demand Publisher Database
Helpful chart showing POD publishers' fees, rights requested,
formats, free copies provided, and other details.

The Rock
Free weekly online newsletter from Painted Rock.

Merlyn's Pen
A site for teen writers.

Libel Checklist
Wondering if you might be at risk of libeling or defaming
someone in your writing?  This checklist can help.

Newsletter is a weekly journal for the practical technical
writer. Every Monday you'll find career tips, how-to articles,
software and book reviews, a HUGE North American jobs list, and,
of course, Guerilla WriteFare! http://www.writethinking.net/

                         by Moira Allen (Moira Allen)

Are Canadian Writers Subject to U.S. Tax Withholding?

Q: I am a Canadian freelance writer and I want to expand my
submissions into the United States. I'm told that I will need a
"TIN" number to send to any publishers who accept my work and
that I should get it now, before I submit, because it takes a
while to process. If I don't do this, I'm told that the publisher
will have to with hold 30% of the pay for tax purposes.  I got
this information from the Periodical Writers Association of
Canada, but when I talked to other Canadian writers, they had
never heard of this.

A: Here is an excerpt from the U.S. instruction sheet to
"withholding agents" regarding income paid to residents of other
countries:  "A withholding agent must withhold 30% of any payment
of an amount subject to withholding made to a payee that is a
foreign person unless it can associate the payment with
documentation... [that proves exemption]."

The key phrase in this statement is "an amount SUBJECT TO
WITHHOLDING."  This is the phrase that makes all the difference.
In general, income paid to freelance writers (and artists) is NOT

To make it a bit clearer... Writers and artists are treated by
businesses as VENDORS or SUPPLIERS. They are paid just as a
company would pay any other VENDOR -- someone selling a product
or a service. For example, if a company buys office supplies,
obviously it does not withhold "income tax" on its payment to the
supplier. If a company hires a plumber to fix the pipes,
similarly, it does not withhold tax on the amount paid to the
plumber. The office supply store is supplying a product; it does
not work for the company it supplies. The plumber is supplying a
service -- but he does not work for the company that is getting
that service. The plumber may work for a plumbing firm, or he
might be self-employed -- but he is NOT employed by the firm that
has the leaky pipes.

Vendors and suppliers report their income in a different fashion
from people who WORK for a company. In the U.S., writers file a
"Schedule C" to report writing income -- including royalties. (In
fact, our tax forms are specific about reporting royalties from
writing or similar work on the Schedule C.) The Schedule C is for
income from which TAX IS NOT WITHHELD in some other fashion.

Where the PWAC may be concerned (or possibly confused) is over
the fact that, under certain circumstances, a writer or artist
COULD in fact be in a position to have tax withheld. This occurs
when a writer or artist becomes a CONTRACTOR with a company.
While a contractor is not an employee, a contractor's pay is
frequently handled through the payroll division, and treated very
much like "salary." At times, a contractor can even become almost
a "temporary" employee -- and this, by the way, leads to all
kinds of confusion in the U.S. over issues of taxation, benefits,
etc. -- none of which is really relevant here.

For example, I once prepared a monthly newsletter for a
corporation. I was treated as a contractor -- and received
something very similar to a paycheck. Since taxes were withheld
from this income, I did not report this income on my Schedule C;
instead, I reported it under "wages, salaries and tips" on the
main tax form. Even though I was "self-employed," my relationship
with the company was of a formal "contractor" nature that resulted
in this type of payment.

To give another example, when I worked for a pet magazine, we had
art directors who came in regularly to handle the magazines. They
were not employees; however, they WERE required to provide
certain services at certain times. Thus, they were treated as
contractors and paid differently from the way we paid our
freelance writers and photographers. In the old days, being a
contractor often meant being "local" -- you might go in "in
person" and do the work. Nowadays, with the Internet and all,
this would no longer be as important.

This type of relationship generally results when one works
regularly for a company and does very specific work (often on a
specific schedule) for that company. It would not apply to
someone who contributes regular articles or even a column.
However, if a person were "under contract" with a company to,
say, provide regular editorial services every month, the company
might decide to switch to the "contractor" relationship instead
of treating that person like a "vendor or supplier." This varies
from company to company; there are no "rules" on what determines
whether someone is going to be a contractor (and have tax
withheld) or a vendor (and have no tax withheld).

So -- the bottom line is that as long as you are simply
contributing articles as a freelance writer, this does not apply
to you. You are considered a "vendor," and your payments are NOT
subject to withholding tax (regardless of where you live). You
are considered to be providing a "product" -- rather than
"working for" a particular publisher.

I HAVE read that if one sells a book to a foreign publisher,
one DOES need to be concerned about international tax issues.
I've heard that foreign publishers may withhold taxes on
royalties unless appropriate forms are filed. I do not know the
details; I think I read this in Dan Poynter's newsletter (Publishing
Poynters). However, I know that U.S. publishers don't withhold taxes
on U.S. royalties, so I doubt that they would do so on international
royalties. Still, it would be something to ask if you ever decide
to have a book published by a U.S. publisher (or any publisher
outside of Canada).

For more information:

PWAC - http://www.pwac.ca
Publishing Poynters - http://ParaPub.com


Moira Allen has been writing and editing for more than 20 years,
PROPOSALS (Allworth Press, 2001) and WRITING.COM: CREATIVE
Press, 1999).  For more information, visit

If you have a question for "The Writing Desk," please e-mail it
to Moira Allen.

Copyright (c) 2002 by Moira Allen

Editing, critiques, mentoring by multi-published author and
editor. We work with nationally known writers as well as
first-time authors, and while we can't guarantee your book will
sell, we can promise some of the best advice available.
http://www.bookpartners.net  consult[at]bookpartners.net

JUST FOR FUN:  Publishing and Light Bulbs
                          from Shel Horowitz (shel[at]frugalfun.com)

Q: How many copy editors does it take to screw in a light bulb?
A: I can't tell whether you mean 'change a light bulb' or 'have sex
   in a light bulb'. Can we reword it to remove the ambiguity?

Q: How many editors does it take to screw in a light bulb?
A: Only one. But first they have to rewire the entire building.

Q: How many managing editors does it take to screw in a light
A: You were supposed to have changed that light bulb last week!

Q: How many art directors does it take to screw in a light bulb?
A: Does it HAVE to be a light bulb?

Q: How many copy editors does it take to screw in a light bulb?
A: The last time this question was asked, it involved art
   directors. Is the difference intentional? Should one or the
   other instance be changed? It seems inconsistent.

Q: How many marketing directors does it take to screw in a light
A: It isn't too late to make this neon instead, is it?

Q: How many proofreaders does it take to screw in a light bulb?
A: Proofreaders aren't supposed to change light bulbs. They should
   just query them.

Q: How many writers does it take to screw in a light bulb?
A: But why do we have to CHANGE it?

Q: How many publishers does it take to screw in a light bulb?
A: Three. One to screw it in, and two to hold down the author.

Q: How many booksellers does it take to screw in a light bulb?
A: Only one, and they'll be glad to do it too, except no one
   shipped them any.

Shel Horowitz offers many articles for writers and publishers at http://www.frugalfun.com and http://www.frugalmarketing.com.

SELF-PUBLISHING.  Control your costs by working directly with
America's oldest bindery to print and bind your books. Hardcover
and paperback books in runs of 25 to 1,000.  Acme Bookbinding
(617) 242-1100  http://www.acmebook.com  pete[at]acmebook.com
Seven Seas Magazine, a new monthly (alas, non-paying) online
publication is looking for English-language personal essay
writers from around the globe! http://www.sevenseasmagazine.com


CALL FOR SUBMISSIONS - Wild Mamas, Wandering Babes:
Adventurous Women Explore the Mother-Daughter Bond
Wendy Knight, Editor, 304 Four Winds Rd., Ferrisburgh, VT 05456
E-mail: wendymknight[at]hotmail.com

A special bond often exists between mothers and daughters, a
sense of comfort and security the depths of which are not found
in other relationships. But complicated feelings of rejection and
competition can be part of the mix. How do these issues get
tested when we travel or recreate in the outdoors? Spending time
in the wilderness forces us to focus on basic necessities: food,
shelter and survival.  Such simplicity can free us from the daily
distractions of life.  What elements of our mother-daughter
relationships do we see more clearly when our minds are settled?
What do we come to value or question about our mothers or
daughters in the sparseness of the outdoors?  Adversities of any
kind require quick decisions and sound judgment, but in the wild
simple actions can have life-threatening consequences.  How do we
manage such challenges? Do our mothers or daughters serve as role
models? Has motherhood tamed our sense of adventure or
intensified our awareness of the beauties and dangers of the
outdoors? A majority of adventure writing centers on the male
experience: the lone male hiking a desolate trail, buddy road
trips, father-son fishing outings. But what's it like when a
mother and daughter defy societal and physical expectations and
go off elk hunting or traversing the Continental Divide? I'm
interested in exploring the broad issues of mother-daughter
relationships in the context of the outdoors.  Contributed pieces
can be humorous, witty, contemplative, heartbreaking, poignant or
any range or combination in between.

* What do you encounter when you spend time with your
  mother/daughter/both in the outdoors? Serenity? Tension?
  Cooperation? Competition?
* Is there a specific element of your relationship that motivates
  you to travel and seek outdoor pursuits? Holds you back?
* What personal challenges, fears or ambitions do you face when
  traveling in the outdoors as mother-daughter teams?  Societal
* Have these assumptions or beliefs been changed or confirmed?
* What have you learned about each other? Yourself?
* What memories are triggered or forgotten in your outdoor
* What tensions in your relationship are heightened or eased?
* What bonds are strengthened or challenged?

Possible themes/issues to explore:

* Regular outings, e.g. annual fishing trip
* Monumental or subtle discoveries
* Once-in-a-lifetime adventures, e.g. African safari
* Expeditions/explorations, e.g. studying primates, sailing
  across the Atlantic
* Different approaches to nature, adventure travel, life
* Underlying tensions resolved, discovered, ignored
* Acceptance
* Rituals, e.g. morning hikes, setting up camp
* Breaking through emotional, cultural, societal and spiritual
* Wildlife encounters
* Human encounters
* Male/female encounters
* Learning a new outdoor sport
* Seeking approval
* Rebellious behavior
* Illness, injury, disappearance, death
* Birth of a daughter and its impact on outdoor pursuits/travel
* Mother-daughter adventurous vacations, e.g. white water rafting
  trip, Himalayan trek
* Pushing physical limits
* Expectations
* Reasons for pursuing outdoor adventures

"My Mother's Boots," by Susan Spano, published in A Woman's
Passion for Travel (edited by Marybeth Bond and Pamela Michael,
1999 Travelers Tales, Inc.) is an excellent example of a
mother-daughter inspired story.  A Mother's World: Journeys of
the Heart (edited by Marybeth Bond and Pamela Michael, 1998
Travelers Tales, Inc.) also offers good examples.

LENGTH: 1200-7500 words
PAYMENT: $100 per essay, on publication
DEADLINE: December 1, 2002


Elbow Creek Magazine
E-mail: editor[at]elbowcreek.com

Elbow Creek will focus on the American West, primarily the 1800s.
While we may occasionally break from tradition and purchase a
story that is based on modern times, that will be an exception.
No sexual content.  We are an open readership, from ages ten to
ninety. Innuendo is fine, courtship encouraged, but let the
reader savor your words rather than your character's hooters.
Gunplay is fine, I mean c'mon, this is the west, but let's not
focus on horrific, graphic death scenes.  If your story is built
around a gruesome death, you're not trying hard enough. Stories
should be more than straight out shoot 'em ups.  I want the
reader to pause after finishing your story and reflect a moment
on the ending or on the slant of the story. Characters should
learn from their actions or seek to improve themselves, even if
they 'die trying.'  Throw a moral in there, if you can be subtle
about it. PLEASE NOTE:  For rights and payment of our shared
world environment, please refer to the document entitled "Elbow
Creek Shared World Guidelines". We welcome all independent
submissions of articles, fiction and poetry.  However,
submissions to the shared world environment are by inquiry only.
Because we will need to be careful about character and story
development, it will be much more difficult to get published in
this section of the magazine.

LENGTH: 1,500 to 10,000 words
PAYMENT: $20 per item (story, article, poem); one story per issue
will be designated the "feature" article, for $50
RIGHTS: Exclusive electronic archival rights for 120 days,
nonexclusive archival rights for one year
SUBMISSIONS: Within text of e-mail; no attachments


Kristi Holl, Web Editor
URL: http://www.institutechildrenslit.com
E-mail: webeditor[at]institutechildrenslit.com

Do you have an article 850-1200 words long on some aspect of the
craft of writing? Payment is $50 for one-time use on the site,
whether it is original or a reprint. (Articles are online for 12
weeks, then removed. There are no archives.)  When you submit
your article, put it in the body of the email, noting the
category it's intended for. Do NOT send your manuscript as an
attachment. Include your publishing credits, please. Articles
MUST fit one of the current Writing Tips categories (Getting
Ideas, Characterization, Dialogue, Conflict and Plotting, Genres,
and Nonfiction).  To read current tips, visit

LENGTH: 850-1200 words
RIGHTS: On e-time electronic use
SUBMISSIONS: By e-amil (no attachments)


"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", at

Please send market news to Moira Allen

Don't waste time and $$ on promotions! Discover top authors'
methods in "Best Bang for Your Book," covering cutting-edge
promos, where to spend and not spend your $$, where to find free
advertising, more! Electronic; $6.95; e-mail juliawilk[at]aol.com.


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


                 Bulwer-Lytton Fiction Contest

DEADLINE: April 15, 2002
GENRE: Bad Opening Lines
LENGTH: One sentence of any length (50 to 60 words maximum

THEME: A whimsical literary competition that challenges entrants
to compose the opening sentence to the worst of all possible

PRIZES: Publication on site and possibly in forthcoming anthology


ADDRESS:  Send your entries to: Bulwer-Lytton Fiction Contest,
Department of English, San Jose State University, San Jose, CA

URL: http://www.bulwer-lytton.com/
E-MAIL: srice[at]pacbell.net


              IdeaFestival Short Fiction Competition

DEADLINE: April 19, 2002
GENRE: Poetry
OPEN TO: All undergraduate students in the U.S.
LENGTH: 5,000 words maximum

THEME: A Matter of Time: Keeping Time, Spending Time, Wasting
Time, Passing Time, Traveling Through Time...

PRIZES: $2,500 plus publication; two honorable mentions will
also be published.


ADDRESS:  Short Story Contest, Department of English, 1215
Patterson Office Tower, University of Kentucky, Lexington, KY
URL: http://www.ideafestival.com/Relation/downloadFile.cfm?DocNum=260
E-MAIL: story[at]pop.uky.edu (Dr. Gregory A. Waller)



How To Write, Sell, And Get Your Screenplays Produced,
     by Don Vasicek

I Thought There Was a Road There, by Lynn Assimacopoulos

Invest with a Genius, by Mike Levy

The Search for Sunfire, by Bonnie Anderson

     Check out these titles and more at:

eBooklet, RESOURCES FOR WRITERS by subscribing to NAWW WEEKLY,
the FREE inspirational/how-to emagazine for women writers. Send
blank e-mail to naww[at]onebox.com or visit http://www.naww.org
SPAWN (Small Publishers, Artists and Writers Network) is offering
a free monthly online newsletter for those interested and/or
involved in the writing and publishing process. Subscribe at
http://www.spawn.org or send an email to Subscribe[at]spawn.org.
NEED AN EDITOR?  Absolute Editorial employs top editors,
proofreaders, ghostwriters, and translators.  Visit us at
http://www.absolutewrite.com/site/editorial.htm or contact
awediting[at]absolutewrite.com for a FREE estimate.
FREE MARKETS REPORT - 25 Women's Interest Writing Markets Online.
Receive it now when you sign up for Worldwide Freelance Writer's
free newsletter. http://www.worldwidefreelance.com or send a
blank e-mail to: wwfw-subscribe[at]topica.com
FICTION FACTOR - The online magazine for fiction writers,
bringing you FREE articles on improving your fiction writing,
tips on getting published, free ebook downloads, heaps of
writer's resources and more! http://www.fictionfactor.com

month -- or less!  For details on how to reach 65,000 writers a
month with your product, service or book title, visit

                 Copyright (c) 2002 Moira Allen
         Individual articles copyrighted by their authors.
Editor/Publisher: MOIRA ALLEN (Moira Allen)

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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