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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 2:09           9100 subscribers                 May 2, 2002

        From the Editor's Desk
        News from the World of Writing
        FEATURE: Trim the Fat From Your Writing
             by Marg Gilks
        The Write Sites - Online Resources for Writers
        WRITING DESK: Critiquing a Novel, by Moira Allen
        From the Managing Editor's Mind
        What's New at Writing World
        Market Roundup/Writing Contests

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                     FROM THE EDITOR'S DESK

Writing-World.com Welcomes Debbie Ridpath Ohi!
Inkspot/Inklings fans rejoice; she's BAACK!  Debbie Ridpath Ohi
has just joined Writing-World.com as a columnist.  Her new
column, "Press Kit: An Author's Guide to Self-Promotion" debuts
this month at http://www.writing-world.com/press/press01.html
Debbie was the founder of Inkspot and the Inklings newsletter
(and my former employer!).

Genre Columns Go Bimonthly
Thanks to your generous donations, our genre columns have now
moved to a bimonthly schedule (instead of quarterly).  These
columns include:

Imagination's Edge: Writing Science Fiction and Fantasy,
     by Paula Fleming

Murder Ink, by Stephen D. Rogers

(Check out Stephen's new class, "Writing Genre Poetry," at

Romancing the Keyboard, by Anne Marble

To learn more about how you can help support Writing-World.com
(and how to get a copy of my new e-book, "The Writer's Guide to
Rights, Contracts, Copyright and Permissions") please stop by

Are You an E-Published Author or E-Publisher?
I've gotten the go-ahead from my publisher to prepare an updated
edition of Writing.com: Creative Internet Strategies to Advance
Your Writing Career, and would like your help.  If you're an
e-published author or e-publisher and would be willing to provide
some input on the e-publishing section, please let me know.
(Authors: Please indicate whether you are e-published through a
commercial, subsidy, or POD publisher -- or if you have
self-epublished.)  Send an e-mail to Moira Allen with
"epublished" in the subject line, and I'll be in touch shortly.

                        -- Moira Allen (Moira Allen)

Writing-World.com growing and thriving with a contribution of $5
or more -- and receive a free copy of Moira Allen's new "Writer's
Guide to Rights, Contracts, Copyright and Permissions." See
http://www.writing-world.com/admin1/rights.html for more info, or
donate at http://www.amazon.com/paypage/P2UTPRKYGU4AA1
Join Writer's Digest this summer for 2 on-site, one-day seminars:
"Writing Your Novel" and "Writing for Children." For more info,
visit http://www.writersdigest.com/information.asp?WRWOnl5202 -
but do it soon to take advantage of Early-Bird discounts!

                  CLASSES!  CLASSES!  CLASSES!


Instructor: Linda Shertzer (aka Linda Kreisel, Melinda Pryce)
8 weeks - $125
Start Date: June 17

There's more to writing a popular historical romance than
heroines in long skirts, heroes on horseback, and fiery
embraces.  This course will show you how to give your plot,
characters, dialogue, and narration the special touches that put
the historical romance in its own, significant genre. Each lesson
helps you to discover your own writing strengths, and how to
overcome any weaknesses to improve your writing and your
manuscript. The class covers research, plot, building realistic
historic characters, the special issues involved in Regencies,
and more. Includes a critique of up to 50 pages of your

Linda Shertzer has written 20 historical romance novels.  She has
served as a judge in both local and national level romance
writers' contests. Enrollment is limited to 25 students, so sign
up soon!

For complete details or to enroll, go to:



Instructor: Marg Gilks
8 weeks - $125
Start Date: June 3

You've written a novel or short story that just doesn't seem
quite right, but you don't know how to fix it -- or even what
needs fixing. Or perhaps the piece has been rejected several
times, and you'd like to figure out why. Haven't written it yet,
but you'd like to make your story the best it can be, and avoid
common pitfalls along the way? If you nodded "yes" to any of the
above, then this course is for you.

Each lesson covers a fundamental element of fiction writing --
showing instead of telling, characterization, point of view...
all the way through to putting the final polish on your
manuscript. Learn what each element is, what part it plays in a
story, how to utilize it successfully and why, and how to
recognize problems and fix them. By the time you've finished this
course, you'll have a manuscript ready for submission -- or
you'll know how to create one.

For complete details or to enroll, go to:

***Read Marg Gilks' article on "Trimming the Fat," below.***


Instructor: Stephen D. Rogers
6 weeks - $75
Start Date: June 12

Literary magazines and ezines may pay in exposure, but you can
use your skills to write for editors who pay cash for mystery,
horror, and speculative poems.  Rogers will walk you through each
of these often overlooked genre markets through weekly e-mailed
lectures and critiqued assignments.  By the end of the class,
you'll have a submission in the mail.  (Stephen D. Rogers is
Writing-World.com's Mystery Writing columnist; see his column at:

For complete details or to enroll, go to:

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Courses begin every month.  Register today!


Got "Moxie?"
As of April 1st, online magazine "Moxie" (moxiemag.com) began
charging a $10 reading fee for each submission. According to
Editor Emily Hancock, in return the writer gets editorial
feedback. If the piece is accepted, the $10 fee is refunded. The
piece is then professionally edited and published, and
automatically entered in their bi-annual contest offering a $100
prize. Plus the writer can choose between a $10 payment or a copy
of "Ties that Bind, Bindings that Break" (the last print issue
published in February 2001). In an interview with Wooden Horse
Editor Meg Weaver (http://woodenhorsepub.com), Hancock offered
several explanations for the new policy, including: Moxie has no
corporate funding or other financial backing, the staff decided
against charging readers to view the site, they have been flooded
with submissions, and too many are multiple submissions which are
often careless and sloppy. "If they [writers] stop sending work
to Moxie, we will have to reconsider," Hancock said.

Lessons learned from iPublish
Even though iPublish failed on its own terms, in his keynote
address at the e-publishing seminar "Publishing in the 21st
Century," Time Warner's Larry Kirshbaum reflected on lessons
learned on the digital publishing highway:  "Publishers should
encourage wide distribution of their books rather than this
obsession with piracy," calling it "a huge mistake." Publishers
"have always used libraries as a major way of promoting and
selling" and they need to use all means available to reach
readers. "Let the digital rights go, let the book be out there,"
and let readers "come back to the bookstore" for the printed

IeBAF is Dead; Long Live IeBA?
On April 19th, one day after they announced closing the IeBAF
(International eBook Award Foundation) and ending the Frankfurt
eBook Awards, Microsoft announced the formation of the new,
improved IeBA (International eBook Association), which will be
based in Europe and support the worldwide ebook community.
Microsoft Technology Development VP Dick Brass said, "As the
ebooks industry evolves past its first critical years, the need
for large monetary awards to attract interest and attention has
been replaced by the need to address commercial and technological
issues. We believe that creating an ongoing force aimed at
eliminating barriers to acceptance will help the industry move
forward faster than putting these resources into big prizes." The
IeBA plans to announce its own set of ebook awards in the future.

Amazon.com in Canada, eh?
Canadian booksellers and buyers are buzzing as evidence mounts
that Amazon.com plans to launch a Canadian site this summer.
Sources say Amazon is in talks with Canada Post (postal service)
to handle fulfillment and mailing. Rumor has it that Vancouver's
Raincoast Books will handle most of the book distribution. A
Canadian partnership would be advantageous for customers because
they'd get quicker delivery, and would no longer pay duties. And
beneficial for publishers because orders would be filled with
Canadian editions instead of American. "We can't confirm or deny
rumors or speculation about what we may or may not be doing,"
Amazon spokeswoman Kristen Schaefer said.

Nonetheless Press provides comprehensive editing, production,
marketing and distribution services to self-publishing authors.
Nonetheless Press - for every self-publishing author's budget
and book genre.  http://www.nonethelesspress.com
CHOOSE A FICTION SPECIALIST! Affordable, author-friendly editing,
critiques, & tutoring by a member of the Editors' Association of
Canada & published writer with 11+ years experience in American
& Canadian markets. Email Marg for info: editor[at]scriptawords.com

                              by Marg Gilks (margilks[at]rogers.com)

Too long! You may see it in a rejection letter, or you may
think it as you search submission guidelines, trying to find
a market that will take your 20,000 word story.

Your manuscript may not just be too long -- it may be too fat.
Here's how to trim away the excess wordage and end up with a
lean, clear piece.

Many writers fear simple words; they think that simple words mean
simple ideas. In most cases, though, plain language creates
concise, lucid prose that conveys your message more effectively.
Why send your reader to the dictionary for "prognosticate" when
"predict" will do? Your reader will resent being put to so much
work, and think you're a sno, as well.

In fact, plain language is invisible to the reader, leaving only
the story without any interference from noticeable writing. It
immerses the reader in the story without distractions.

Some writers go to great lengths to avoid the simple --
literally. Instead of using "now" they use "at this point in
time"; instead of "because" they choose "in view of the fact
that"; instead of "to" they opt for "for the purpose of." One
simple, understandable word is inflated into four, five or six
words. And readers? They'll probably come away from your piece
not knowing what it was about.

Don't smother your action words, your verbs. Let's plow through
-- oh, sorry -- let's look at this example:

   The discovery of Tahiti was made by Captain Cook.

The sentence is cumbersome, propped up with only the weak verb
construction "was made." Let's dig up a better verb:

   Captain Cook discovered Tahiti.

In changing the noun "discovery" to the verb "discovered," the
sentence is less convoluted and -- a bonus! -- it's also five
words shorter.

Are you guilty of convoluted constructions, obscure words, and
smothered verbs? Search and destroy! Challenge yourself to find the
clearest, tightest way to convey your message.

Eliminate redundancies
Redundancy is saying the same thing two ways, or more than once
-- repeating it (as I just did). I divide redundancies into three
categories: redundancies on the word level, those on a larger
line or paragraph level, and those that are just plain

Word-level redundancies can often slip by because they're catch
phrases that familiarity has blinded us to: "past history" (if
it's in the past, it's history); "close proximity" ("proximity"
means "closeness"); "pre-approved" or "pre-registration"
(purchase or participation comes only after an application has
been approved, or after the participant has registered). To catch
these, you have to read your manuscript with a skeptic's eye,
picking each word or phrase apart. Serious crisis? Yeah, right.
Is there such a thing as a frivolous crisis?

Sometimes the author wants to make sure the reader understands
the message or the action, so he writes it one way, and then

   "Mavis was a skilled seamstress who had studied under the master
   costumer, Ribaldi. She knew every detail of the materials she
   worked with: the velvets and muslins and damasks, the cotton
   threads and the silk flosses, the pearl buttons and bone stays."

Then, a paragraph or so later:

   "Expert at sewing, Mavis knew everything there was to know
   about the cloth and accessories she used."

This often happens when the writer isn't totally clear in his own
mind how best to convey his message. If he's not certain of what
he's saying, he subconsciously fears the reader might not
understand. So he over-explains. The solution is simple. Pick one
version and cut the other.

Here are two examples of redundancy that's a waste of words:

   "The island of Cuba is not part of a larger landmass." (If it's
   an island, of course it isn't.)

   "I'm scared," Jenny said fearfully. (She just said she's scared;
   the dialogue itself implies she's fearful, so "fearfully" is

Looking at these with your new skeptic's eye, they're just plain
silly, aren't they. Don't restate the obvious.

Choose vibrant, active writing over passive, lazy writing. Use
the active voice rather than passive voice. What is passive
voice? It can be identified by its form alone. The main verb is
always a past participle, or in the past tense, such as "caught"
or "was running" and is preceded by a form of "be" (is, was, am,
are, were, being, or been).

   Passive: "He was being ridiculed by them."
   Active: "They ridiculed him."

Adjectives and adverbs, rather than being descriptive, are often
empty labels; they tell instead of show. Some writers mistakenly
feel that heaping adjective upon adjective, or adverb on adverb,
will heighten the drama. What they get instead is purple prose:

   "She lifted one delicate, soft pink foot and gently placed it
   on the muscular knee of the big man who was frowning angrily at
   her. 'Now, why don't you be a dear and rub it better,' she said

Let the characters show the reader, and cut the adverbs and adjectives:

   "She slid her foot onto his knee. He scowled at her. She smiled,
   unintimidated by his size. 'Be a dear, won't you, and rub it
   better.' "

Are you counting words by now? If so, you'll realize the revised
example says more, in thirteen words less.

A word here, a word there -- you'll be surprised how many you can
lose, just by trimming the fat from your writing.


Marg Gilks is a freelance editor who specializes in fiction. For
over 10 years she has worked one-on-one with authors to prepare
their manuscripts for publication, and has edited and/or
evaluated over twenty novels and countless short stories, cover
letters, and synopses. She has also written three novels and has
a list of writing credits for poetry, articles, and short stories
that spans twenty years.

Need help trimming the fat, showing rather than telling, or
choosing the right character POV in YOUR fiction?  Sign up now
for Marg Gilks' "Fundamentals of Fiction" class at

Copyright 2002 Marg Gilks

BREAK WRITER'S BLOCK FOREVER! Jerry Mundis, author of 40+ books,
Book-of-the-Month Club, Literary Guild, One Spirit Book Club
selections, will show you how. End paralysis, avoidance behavior,
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bestselling authors Lawrence Block, Judith McNaught, Suzannah
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The Green Man Review
Never argue with a folktale expert. Jane Yolen says, "Wherever I
am, I always keep in touch with the best mythic-centered books,
music, and movies through Green Man Review. I won't leave the
mundane world without it."

Firearms Tutorial
Don't put the wrong weapon in the wrong hands! This tutorial is
designed to give you a working knowledge of the types of
firearms, the types of ammunition used, the nature of injuries
that can be produced in the body, and much more.

Logophilia: A Web Site for Word Lovers
From quotations to crossword helps to word games, you'll get lost
in the words.

The Burry Man Writers Center
Freelance job links, plus resources for fiction and nonfiction
writers, working professionals and beginners with particular
support for writing about Scotland.

Online English Phrase Checker
Check any English phrase in seconds. World's largest collection
of written English using the alltheweb search engine. Find out
how many times the phrase (or word) is used. Check how the phrase
(or word) is used and in what contexts.

The Colossal Directory of Children's Publishers Online
Comprehensive, alphabetical listings of children's magazines and
book publishers, including links to submission guidelines and web
sites. Plus articles which focus on the submission process, not
the writing process.

Reasonable, competitive rates. Electronic or hard copy editing.
Free five-page sample edit provided. References available.
http://www.theweisrevise.com; weisrevise[at]nvc.net; (605) 229-0121.
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)

What's the Best Way to Critique a Novel?

Q: I've done lots of short story critiques, but now I'm being
asked to critique a novel, and I'm wondering what approach to
take.  I just don't think you can critique novels as though each
chapter were a short story.

A: It seems to me the best way is to literally approach the novel
as you would any book that you are reading. You pick it up, you
start the first chapter -- and very shortly you make a decision
as to whether you would continue with this book or put it down.
The difference is, you now have a chance to tell the author WHY
you are making that decision.

So start with the first chapter. Are you hooked? Do you want to
read more? If so, what is holding your attention? Conversely, do
you find yourself wanting to put the book down and go on to
something more interesting? Are you put off, confused, or bored?
What makes you want to put the book down? Maybe the author hasn't
started the book in the right place. Maybe the characters don't
seem interesting. Or maybe too much is happening, and you are
confused, without a chance to find out why you should even care
about all the fuss and bother. Maybe the world doesn't seem
"real" or you sense that things are contrived and derivative.
Again, these are all things the author needs to know -- because
if you can't get past the first chapter, chances are that an
editor won't either.

One thing to keep in mind is to be honest with yourself about
whether you would read this type of book in the first place. If
this is the sort of book you'd never read under ordinary
circumstances, you may have trouble critiquing it. I took a
novel-writing class in college from a professor who had never
read any science fiction or fantasy and had absolutely no idea
how it worked.  Needless to say, this created some problems for
those of us trying to write in the genre.

Once you're past the first chapter, the issue becomes whether the
book is true to the story, or setting, or ideas that it has
established in the beginning. You've met the main characters in
chapter one; are they consistent in chapter two? Are they still
interesting? Are they behaving "in character?" If they are
suddenly doing things you never expected, has the author
explained why? Or do they seem to be just puppets that the author
is manipulating for the sake of plot? Does the author suddenly
introduce a bunch of new characters, so that you wonder who the
"protagonist" really is? Does the setting continue to hold your
attention? Is anything happening? (If nothing is happening by
chapter two, I'd better know the author personally before I

At this point, you're also going to want to ask whether you have
a good sense of what this story is about. That doesn't mean the
author can't throw in twists, but you need to have an idea where
you're going, why you're going to continue to read this book. Is
that sense present? Could you tell the author that you understand
what s/he is trying to do, or are you lost? Did this start as
high fantasy and suddenly turn into a science fiction vampire

Another thing to look at as you move through the chapters is
"tone." Is the style consistent? Do you feel that you're reading
the same author from one chapter to the next?

You can also start looking at things the author does well, and
the things that need work. For example, maybe the author does
beautiful dialogue but writes poor, uninteresting "action"
sequences. You'll start to notice a pattern as you read further,
and you'll be able to discuss that pattern with the author. You
might note, for example, that "every time people get into a
difficult situation, they start talking to each other, and the
scene loses its sense of suspense." As you read, you'll probably
find out what the author is comfortable with and what s/he isn't;
again, you'll see patterns. For example, maybe the author never
really lets the main character get "hurt" -- and so the reader
starts to realize that the main character is never going to be in
any real danger.

One thing to keep in mind as well is that this is a first draft
(usually). So there will be kinks. Transitions may be awkward,
and some scenes may be cut while others are added. I often find
that I need to "write through" a sequence; then, I may discover
that I can dispense with it with a few lines of dialogue, thus
tightening the story. So don't be surprised to find everything
"written out" the first time, and tightened in the second pass.

Stylistic commentary is a tricky area. If the writing is just
plain poor, what do you say? The writer could be wasting a lot of
time trying to craft a mega-epic that will never get off the
ground because his/her writing ability isn't up to the task.
Here, I'd point out some general areas that need work, such as
flawed dialogue or inappropriate descriptions. (I recall
critiquing one novel where the author first described a wolf
puffing like a "locomotive," and then describing it as having the
grace of an "eagle." I thought both these descriptions were
jarring; the image of a wolf puffing through the woods like a
locomotive was off-putting, and comparing a wolf to an eagle
seemed the equivalent of saying "the animal was as graceful as
another animal.")

I think you'll find, however, that most people are more amenable
to hearing that an IDEA doesn't work ("I can't quite accept that
your heroine would do this in that situation") than that the
WORDS don't work ("I just can't get into your writing style"). So
it's probably better to focus on ideas than words. However, if
the writer needs a review course in grammar and punctuation, at
some point this needs to be brought to the writer's attention.
Whenever I hear a writer say that s/he doesn't have "time" for
that, that's when I figure that person doesn't have "time" to
become a writer.


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

Copyright (c) 2002 by Moira Allen

If you have a question for "The Writing Desk," please e-mail it
to 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
Don't settle for one opinion. We'll read your manuscript from
beginning to end, AND we'll give you as many opinions as you
choose. Visit us at http://www.readingwriters.com


Several people have written to me over the past week encouraging
me to use my editorial position to take a stand against Moxie
charging submission fees. However it's not my job to tell other
editors or, for that matter, writers what to do. We live in a
free market society. Right or wrong, the editors of Moxie have
every right to charge submission fees. Likewise writers have the
right to boycott the magazine, and encourage others to do the
same. If the editors can't find enough good, quality writing in
the paid submissions to fund the contests, they'll either change
their ways or go the way of iPublish, which demanded unrealistic
exclusivity rights for writers who posted their works on their
site, and unfair contract terms for works they chose to publish.

One thing stands out that writers must heed. Moxie editors
complained that recent publicity has caused a glut of careless
and sloppy submissions which has taken them hours to wade
through. In order to avoid future submission fees by
publications, writers also bear a share of the responsibility to
know the markets and submit professional work according to the
submission guidelines.

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


Advice from a Caterpillar, by Peggy Tibbetts
     How an Illustrator can Break in; Finding Online Children's
     Markets; Getting Your Book Published

Murder Ink, by Stephen D. Rogers
     Don't Fire Blanks!  (Using firearms accurately)

NEW!!!  Press Kit, by Debbie Ridpath Ohi
     How important is self-promotion and marketing to writers?

Romancing the Keyboard, by Anne Marble
     Mining Romance Plots from the Classics

Self-Publishing Success, by Brian Jud
     Seven Habits of Ineffective Publishers (Part I)

Recession-Proof Your Writing Business, by Patricia Fry

Writing Proposals: An Interview with Paul Weber,
     by Barbara Yanez


Current Drawings on Writing-World.com
Free Membership in EbookoMatic


19 new contests have been added to the Contests section!

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

Break into the Regional Parenting Publication Market!  Successful
Selling to Regional Parenting Publications, ebook with editor
email database. Sell reprints, new articles to over 150 mags with
one email. $29.99  http://www.mooseinthebirdbath.com/Ebooks.htm
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


Bollix Playhouse Books
Staley Krause, Editor/Publisher
1609 West Callendar Avenue, Peoria, IL 61606

Bollix Playhouse is a small, family-owned fiction publisher of
literary, quirky and unusual children's picture books and
chapter books. Please don't confuse quirky or unusual with
scatological; Captain Underpants is the last thing we want to
publish. We are not interested in stories about puppies or
kitties or anything cute or fuzzy. In general, we do not publish
rhyming books unless they are at the level of Dr. Suess. Stories
that tackle social issues and incorporate moral themes that are
relevant but not overdone are especially interesting.
Non-fiction is not being considered at this time. Submissions
from illustrators and fully illustrated manuscripts are welcomed.

LENGTH:  Picture books and chapter books, no restrictions
PAYMENT: No advance; pays royalties quarterly
RIGHTS: Exclusive rights; copyright in author's name
SUBMISSIONS: No phone calls or e-mails please. By mail only. Send
two copies of your completed manuscript with SASE to address above.
Include the date of submission, author name, address, and daytime
phone number.


The Eternal Night
Steve & Lesley Mazey, Editors
EMAIL: methos[at]eternalnight.co.uk
URL: http://www.eternalnight.co.uk/index.html

We will be accepting submissions for fiction from now until the
end of May 2002 for the remaining 2002 issues. Please contact us
prior to sending any submissions. For fiction submission, any
story of a Science Fiction, Fantasy or Horror theme with no
restriction on minimum or maximum length. No overtly erotic
content can be accepted, nor can a story with an excess of
obscene language. All work must be original. Any stories
involving characters or situations from other writers' works will
not be accepted irrespective of whether it infringes copyright.

LENGTH: No restrictions
PAYMENT: First rights - 2 /word up to $30; Reprints - 0.75 /word
up to $30
RIGHTS: Non-exclusive, one time electronic rights
SUBMISSIONS: Please query by email before sending submissions
GUIDELINES: For more information go to:


Kevin Canelloni, Editor/Publisher
c/o Digital Enterprises, PO Box 1074, Laguna Beach, CA 92652-1074
Email: literoticaffeine[at]yahoo.com
URL: http://www.literoticaffeine.com

A new web site, LiterotiCaffeine, Stimulating Sex Stories and
Erotica, needs literary erotica. Pays per story. We are also
interested in work that has been previously published, but please
notify us in advance of the story's publishing history. All
published works are archived online. The archives will not be
updated if you edit your piece after publication. A brief bio is
optional but appreciated. We respond promptly, but do not offer
comments or suggestions. You must be the original author and own
the copyright to your submission. No bestiality, underage,
violence, or gross stories will be accepted.

LENGTH: 750 - 2500 words
PAYMENT: $5 - $20, 2 weeks after publication
RIGHTS: FNASR; one time non-exclusive electronic rights,
and first anthology rights
REPRINTS: Yes, but must give publishing history
SUBMISSIONS: Email only. No simultaneous submissions.
For complete guidelines and LC Publishing Release Form send
blank email to auto-responder: litcaffeine[at]yahoo.com


"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"

Please send market news to Moira Allen

GET PAID TO WRITE GREETING CARDS! New book: "Sell The Fun Stuff:
Writers' and Artists' Market Guidelines For Greeting Cards,
Posters, Rubber Stamps, T-shirts, Aprons, Bumper Stickers,
Doormats, and More!" by Jenna Glatzer.  More than 200 companies.
Just $9.95.  http://www.absolutewrite.com/greetingcard.htm
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; 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


             Inscriptions Honoring Mother Contest

DEADLINE: May 24, 2002
GENRE: Story/Essay
LENGTH: 800 words or less

THEME: Write a touching story about how your mother or
grandmother made an impact on your life. Tug on our judges'
heartstrings with a warm, endearing tale and you may be the

PRIZES: Grand Prize -- $25 gift certificate from Amazon.com
(or cash equivalent) and publication in Inscriptions.

ELECTRONIC ENTRY: Paste each entry directly into the body of
an e-mail with the subject heading "Inscriptions Honoring Mother
Contest." At the end of your e-mail, include your real name, pen
name (if applicable), mailing address and e-mail address. Enter as
often as you like.

URL: http://www.inscriptionsmagazine.com/Mother.html
E-MAIL: Contest[at]inscriptionsmagazine.com


                     Peace Poetry Project

DEADLINE: Memorial Day, May 29, 2002
GENRE: Poetry

THEME: Sponsored by the Recovering Hearts Bookstore in
Provincetown, Massachusetts, this is poetry contest for folks
who want to express their feelings about 9/11. They encourage
poems related to or inspired by September 11 and/or peace.

PRIZES: The best poems will be published in a Memorial Book and
100% of the profits from the sales of this book will go to
charitable organizations. There is no fee for entering your poetry
and there will be no remuneration for poets. Multiple submissions
are accepted.


ADDRESS: Recovering Hearts Bookstores, c/o In Love United,
Provincetown, MA 02657

E-MAIL: inloveunited[at]hotmail.com


        Distant Worlds 3rd Annual Short Story Competition

DEADLINE: Midnight, May 31, 2002
GENRE: Science fiction/Fantasy
LENGTH: 6,000 words or less

THEME: Submissions must be of the Science Fiction/Fantasy
genre. They may not include or involve material or characters
copyrighted by another entity other than the author. No stories
of a "fan fiction" nature will be considered for award prizes.
Submitted works must be original and all of the copyrights
(including electronic rights) must belong to the author on the
date the submission is mailed to the contest organizers.

PRIZES: 1st $300, 2nd $200, 3rd $100

ELECTRONIC ENTRY:  Yes; no snail mail. Submissions
should be single spaced, in text (.txt) file format and included
as an e-mail attachment to the submission e-mail. Read the
Official Rules and Guidelines published on the web site for
specific instructions.

URL: http://www.distantworlds.net/archive/DWSSC.html

E-MAIL: Chris Filippone at: filtz[at]bellatlantic.net

THE COMPLETE WRITER: Combining Business and Creativity for
Writing Success -- Don't miss this seminar presented by Karen
Jones and Kathleen Brehony, June 15, in Virginia Beach, VA.
Visit http://www.jonesbrehony.com for more information.


"In Cold Sweat: Interviews with Really Scary Musicians,"
     by Thomas Wictor

"The Raven Woman," by Pinkie Paranya

"Through the Eyes of Friendship," by Elizabeth Peters

"You Can Write Greeting Cards," by Karen Ann Moore

     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)
Managing Editor: PEGGY TIBBETTS (peggyt[at]siltnet.net)

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For more information please contact Moira Allen, Editor