Writing World Newsletter Archive
Return to Newsletter Index · Home

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

   A World of Writing Information - For Writers Around the World


Issue 2:21           11,130 subscribers          October 17, 2002

         From the Editor's Desk
         News from the World of Writing
         FEATURE: Interview with Bruce Boston, by John Amen
         The Write Sites - Online Resources for Writers
         WRITING DESK: Are pay rates for freelancers getting
             better or worse? by Moira Allen
         JUST FOR FUN: A Quick Guide to Business Writing,
             by Pete Geary
         From the Managing Editor's Mind
         WHAT'S NEW at Writing World/Prize Drawings
         MARKET ROUNDUP/Writing Contests
         Writing Events

Get published! Get published! Get published! Get published!
Get published! Get published! Get published! Get published!
Get published! Get published! Get published! Get published!
Visit http://www.1stbooks.com/getpublished/no_rejection.html
EARN AN MFA IN WRITING through the brief-residency program at
Spalding University in Louisville, KY. Call (800) 896-8941x2105
or e-mail gradadmissions[at]spalding.edu and request brochure FA90.
For more info: http://www.spalding.edu/graduate/MFAinWriting
WRITERSCOLLEGE.COM has 57 online courses. Prices are low.
If you can reach our web site, you can take our courses.
DISCOUNTED WRITERS' SOFTWARE -- PowerStructure, DramaticaPro,
StoryView, WritePro, MovieMagic, InkLink, plus many more.
is a weekly ezine for business and technical writers featuring
career tips, how-to articles, software and book reviews, an
extensive North American jobs list, and Guerilla WriteFare!
Subscribe at http://www.writethinking.net/

HELP SUPPORT WRITING-WORLD.COM! Your $5 contribution helps us pay
our writers -- and entitles you to a copy of Moira Allen's ebook,
"Writer's Guide to Rights, Contracts, Copyright & Permissions."
See http://www.writing-world.com/admin1/rights.html for details,
or donate at http://www.amazon.com/paypage/P2UTPRKYGU4AA1


                     FROM THE EDITOR'S DESK

Where Does the Time Go?
That's not a rhetorical question.  It's a question all writers
should take a moment to ask themselves -- particularly those for
whom "time is money."

Most writers have more than one project in the works at any given
time.  For example, in addition to handling Writing-World.com, I
have two monthly columns for The Writer, another book deadline at
the end of the month, an e-mail class starting next week, a short
story in progress, and a novel in the works.  I also have some
major projects that I want to tackle just as soon as I get a few
of the current tasks out of the way.  Somehow I must determine
how to best divide my time between these tasks.

In addition, it's often necessary to reprioritize our tasks.
When a project is completed, we need to decide where to invest
those extra hours.  When a new project comes up, we need to ask
where we will FIND the time.  We also need to be able to
determine whether the time spent on a project is justified by its
return.  That return isn't always monetary; personal fulfillment
can be just as important!

To make such decisions, we need to know how our time is spent.
Over the past year, I've tried to keep an activity log, but it
consisted primarily of "guesstimates," based on how much time I
THINK I've put into a task.  Now that I'm finishing up some major
projects and looking ahead to others, I've realized that I need
more accurate figures.

So, in my classic obsessive-compulsive way, I've launched a new
"time-tracking" procedure.  The primary tool is a timer that can
be used to "count up".  I simply push a button when I sit down to
a task, and push it again when I finish.  If I take a break, I
can stop the count, and restart it when I come back.  (That way,
my e-mail time count isn't inflated by a break to bake cookies.)

The next tool is a spreadsheet.  Mine has six columns: Date,
activity, hours, status, payment, and hourly rate.  I use
consistent categories for the activities (e.g., "Writing-World:
Newsletter" or "Column: Writer"), so that I can sort on those
topics later.  The "hours" column records time spent in 15-minute
increments.  The status column indicates whether a project has
been submitted and the response.  The payment column shows how
much I'm being paid for a project, and the hourly rate column
divides the payment by the number of hours spent on the project.

I've already made some interesting discoveries.  I had
"guesstimated", for example, that I was spending 35 to 40 hours a
month on e-mail -- the highest rate of time for the lowest
return.  I was seriously considering hiring an assistant to take
over some of the e-mail and administrative tasks, to free my time
for more "important" projects.  My timer tells me, however, that
I'm actually spending closer to 16 hours a month on e-mail, and
that only a fraction of that involves e-mail that could be handed
off to an assistant.  So rather than spend money hiring someone
ELSE to handle that task, my priority has shifted to finding even
more effective ways to handle it myself.

Not every category can be measured in terms of "profit," needless
to say.  The hours I spend on my novel or short stories may bring
a profit some day -- or they may not.  On the other hand, it's a
no-brainer to realize that I'm never going to SELL a novel (or
short story) unless I actually WRITE it, so that time can be
counted both as "personal fulfillment" and as "future

Do you know where your time goes?  If you depend on your writing
income, then I firmly believe that you should!  For example, if
you spend ten hours on a $300 article, and two hours on a $100
article, that $100 article is actually worth more ($50 per hour
vs. $30 per hour)! Conversely, if you can write a $250 article in
the same amount of time that it takes to write a $25 article --
well, again, that's pretty much a no-brainer!  Most of all,
however, once you know where your time goes, you can determine
whether it's going where you WANT it to go -- or whether it's
time for a change.

                         -- Moira Allen (Moira Allen)


MOIRA ALLEN'S NEW "1500 Online Resources for Writers" offers the
best of the web for only $6.95! Find out more or order direct at


Once these are done, there will be no new classes until spring!

Instructor: Moira Allen
Starts: October 21 (8 weeks, $100)

If you've been trying to market your work to magazines or other
periodicals with no success, or if you're just getting started as
a freelance writer, this is the class for you. Allen will walk
you through the process of developing topics and ideas, preparing
a query, and outlining and developing the article itself. By the
end of the class, you'll have an article "ready to go" and a
selection of markets to approach.


Instructor: Bruce Boston
Starts: November 4 (6 weeks, $100)

An intensive workshop and discussion group for poets actively
writing in the genres of science fiction, fantasy, and horror.
Students will be expected to post at least one poem per week. All
poems will be discussed and critiqued by the instructor and the
class as a whole. There will be no formal lectures. The
instructor will introduce topics each week along with poems that
illustrate the material being covered.


Instructor: John Floyd
Starts: November 4 (7 weeks, $100)

An introductory course in how to write mystery/suspense short
fiction and get it published. It is intended for beginning
writers as well as for established writers who want to hone their

You've got a great story. We can teach you how to write it.  Join
a craft-oriented, supportive community of writers. Online 10-week
workshop begins 9/23. Tutorials also available. NYTimes: "The
most personal of the programs." http://www.writerstudio.com
The Book Sage will edit your novel, short story, article or
poetry. We specialize in science fiction, fantasy, romance and
cross-genre. Check us out at http://www.thebooksage.com.


MJ Rose retires column
MJ Rose has officially retired her weekly E-publishing Ink
column, which covered e-publishing for Wired.com since 1998. In a
statement to readers, Rose said, "When I started reporting on all
things e-publishing, someone asked me what I thought was going to
happen to e-books in five years. I said that electronic
publishing would no longer be singled out but become part of the
whole publishing process and I'd be out of a job." She'll
continue to cover e-publishing for Wired.com as appropriate. For
up-to-date news and information about e-books and e-publishing,
see Electronic Book Web: http://ebookweb.org

Who's buying the books?
According to the American Booksellers Association, in the US: 80%
of families did not buy or read a book last year; 70% haven't
been in a bookstore in 5 years; 58% haven't read a book since
high school; 42% of college graduates haven't read a book since
graduation; adults spent $25.6 billion on books last year.
Independent bookstores sold 28% of the books, chains 20%, book
clubs 16%, and food/ drug/discount stores 19%. Books account for
6% of all mail order purchases. Online book sites move millions of
books and are still growing.

Internet Bookmobile delivers books in public domain
Created last month by Internet Archive director Brewster Kahle,
the print-on-demand van is equipped with a satellite dish,
duplexing color printer, a $1,200 desktop binding machine and
paper cutter. "We download a book from the Internet," says Kahle.
"We print it out, put a binding around it, you get to pick the
book you want. The idea is to put books on the Internet. We can
do this with these books because they're in the public domain.
That means they're free!" Working mostly with selected titles
from the 6,000 texts at Project Gutenberg such as "Alice's
Adventures in Wonderland" and "The Adventures of Huckleberry
Finn," the bookmobile has been a hit at elementary schools.

E-piracy a problem for SF publishers
According to Andrew Burt, chair of the e-piracy committee of the
Science Fiction and Fantasy Writers Association, pirated digital
texts, from Tom Clancy to Stephen King, are regularly posted to
Internet Usenet groups: "I talked with one fellow who had 5,000
pirated digital titles." Burt isn't sure how many people are
actually downloading these texts because pirated copies "are
pretty hideous to read, and the texts can be altered." In
response to the growing problem Penguin Putnam, which distributes
DAW Books, has begun placing a notice in its print books: "The
scanning, uploading and distribution of this book via the
Internet or via any other means without the permission of the
publisher is illegal and punishable by law."

DO YOU WRITE FICTION? Are you having problems with your prose?
Grappling with grammar? Not sure if it's ready? Get personalized,
specialized help -- pro editing, critiques, tutoring -- from Marg
Gilks. I'm author-friendly & affordable. editor[at]scriptawords.com
You CAN Take Credit Cards Online! What's the right solution
for YOUR product or service? Get the ebook Tom Mahoney of
merchant911.org calls "a must-read for anyone thinking about
establishing an e-commerce Web presence."

                          by John Amen, editor, Pedestal Magazine

Bruce Boston is the author of 30 books including Stained Glass
Rain and the fiction collection, Masque of Dreams. His work has
won a Pushcart Prize, the Asimov's Readers' Award, the Best of
Soft Science Fiction Award, and the Grand Master Award of the
Science Fiction Poetry Association. Excerpted from an interview
in Pedestal Magazine; read the complete interview online at:

JOHN AMEN: What is speculative poetry, and what is it about your
work that leads you to consider yourself a "speculative" poet?

BRUCE BOSTON: Mainstream and speculative poetry differ in subject
matter and the stance of the poet. Mainstream poetry deals with
the rendering and exploration of the here and now, reality as we
know it, internal and external. The poet is often present in the
poem as an "I" voice, explicitly or implicitly. Speculative
poetry has more to do with imagination, the world of dreams and
the world as it could be. The stance of the speculative poet is
closer to that of a fiction writer. If an "I" voice appears in a
speculative poem it is usually that of a fictional character
rather than the author. Like speculative fiction, speculative
poetry often poses and answers the question: "What if?"

   If gravity were like weather,
   fickle, girdling the planet
   in waves and pockets, there would
   be days on which we could not move.
   We would lie helpless, strapped
   to the slowly turning earth.
   For hours at a time we would consider
   the nature of such an existence,
   its underpinnings, its weights.

("If Gravity Were Like Weather", first published in Star*Line,
June 1979.)

JA: In your recent book Quanta, you mention the idea of "inspired
poems" or poems that "write themselves." What is the role of
inspiration in your work? Does a lot of your work "write itself?"

BB: Not as much as I would like. My poems arise from two sources.
One is a conscious, rational process that can begin anywhere,
with a scrap of conversation, an experience, a line from a book
or movie, some visual stimulus, etc. Any of these can lead me to
an idea for a poem or story, which I then set about to write.

The other process is the inspired kind, almost like automatic
writing, where a poem seems to come out of nowhere. Suddenly a
line or two pops into my head. If I take the time to drop what
I'm doing and pursue those lines, if I'm lucky enough, most of
the poem trails after them. I have to be in the right state of
mind for this to happen. I've noticed that it sometimes occurs
after strenuous physical exercise (endorphins at work?).

JA: What are some of the things you have done to try and
"master your craft?" And when you compare your early work with
later work, do you recognize qualities or abilities that
indicate, to you, an increase in mastery?

BB: Of course there are the basics, such as knowing correct
grammar, word usage, and punctuation. Also understanding the
different forms of poetry and how its various elements interact.
This merely involves spending some time with dictionaries and the
right reference works. I've spent that time, and I'm better at
the basics than I was thirty years ago.

Beyond the basics, there is gaining a comprehensive sense of
yourself as a writer, and a familiarity with the field in which
you are working. Apart from the practice of spending time
writing, I think I've learned more about craft (and style) by
reading other writers than in any other way. There have been
extended periods in my life when I read four or five books every
week. I think much of what I've learned as a poet I've picked up
at an unconscious level through the reading I've done. From Ezra
Pound to Billy Collins, Ginsberg to Plath, from Dylan (Bob or
Thomas) to Edgar Allen Poe. And there are also fiction writers,
both speculative and mainstream--Nabokov, Lawrence Durrell,
Angela Carter, Pynchon, Mervyn Peake, Ray Bradbury, Tanith Lee,
to name a few--who can deliver wonderful poetic passages in the
middle of a novel or short story. If you expose yourself to
quality writing, you begin to recognize whether or not you are
producing it yourself, and you also pick up on some of the many
ways it can be accomplished.

JA: In your opinion, has the advent of online publishing opened
new markets and created new publishing opportunities?

BB: At first glance, I see the Internet as a leveling of the
playing field for all writers. There was a time when the advice
given to a young writer who wanted to succeed was: "Go to New
York." Up until nearly a decade ago, my advice to young science
fiction writers who wanted to advance their careers was: "Go to
as many science fiction conventions as possible." The publishing
world is an establishment, and unless you can make the right
connections in that establishment, your chances of success are
greatly diminished. Yet the Internet is in the process of
changing all that, not only by offering numerous online publishing
opportunities, but by creating a worldwide network of instant
communication in which it is possible to make connections in the
publishing world without leaving your home.

On the other hand, the quantity and variety of online publishing
offers a bewildering array of choices for readers. It is so
relatively inexpensive to set up a website and start an online
magazine or press that anyone who wants to be an editor and
publisher, regardless of qualifications for the role, can do so.
Online publishing has also led to an increasing number of vanity
presses that will publish just about anything for a fee. The
result is that it is too easy to publish online. There is not
enough quality control, and thus the danger exists that quality
work will be lost in the deluge.

The one thing that is clear is that the Internet is radically
changing both the nature of publishing and the way we read.
Harking back to Marshall McLuhan, if "The medium is the message,"
what exactly is the nature of the Internet as a medium? The
medium of print is a linear one, and much of that carries over
onto the Internet. At the same time, reading as it is offered
online is a more spatial experience. Its transitions are more
instantaneous, its form often more fragmentary, and for certain,
it is more visual and colorful than the experience of reading a
book. I think it is too soon to tell where all of this is leading
for publishing and reading, but it is a fascinating time of
transition for both.

Read the rest of this interview, including tips on how to find
markets for speculative poetry, online at:


Learn how to write speculative poetry through Bruce Boston's
Speculative Poetry Workshop on Writing-World.com:


Copyright (c) 2002 John Amen. Reprinted with permission from The
Pedestal Magazine, Summer 2002.

Dr. Mary Ann Diorio, certified Life Coach and freelance writer,
specializes in coaching writers by helping them identify harmful
attitudes that are keeping them from success. For a FREE
CONSULTATION, write MaryAnn[at]LifeCoachingforWriters.com.
DON'T KNOW WHERE TO SEND YOUR WORK? We'll research & target
markets, prepare cover letters, track submissions. Reasonable
Rates, References. WRITER'S RELIEF, Inc., 245 Teaneck Rd. #10C,
Ridgefield Park, NJ 07660 (201)641-3003, http://www.wrelief.com


Writing 4 Children
Do's and don'ts, online markets, and FAQs for children's writers.

Articles and workshops on the craft of writing especially for
mystery/suspense writers.

The Daily Globe
A site focusing on calendars and "today in history" links and

Association of Personal Historians
A site dedicated to those who want to preserve personal history
(including life stories, oral histories, genealogy, etc.)

Utmost Christian Writers
The focus is on Christian poetry and support for Christian poets,
plus resources for all Christian writers.

Letter Removal Puzzlers
Just for fun! Test your knowledge of words and trivia.

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.

                         by Moira Allen (Moira Allen)

Are Pay Rates For Freelancers Getting Better Or Worse?

Q: Are pay rates for freelancers any better today than a few
years ago?

A: No; in general rates are actually getting worse. For example,
when I was editor of Dog Fancy magazine, between 1985 and 1987,
we paid an average of $150 to $200 for a feature article (2000
words). Guess what Dog Fancy pays today? You guessed it: around
$200. That means their pay rate hasn't changed in 15 years --
despite inflation. So from the writer's perspective, the rate has
dropped (even though the dollar amount may be the same).

Then let's take a look at typical rates for fiction. While there
are a handful of magazines that MAY pay as much as 5 cents a
word, so-called "professional" rates (as defined by organizations
like the Science Fiction Writers of America) begin at 3 cents a
word. Yet when the "greats" of sf and fantasy began selling short
stories back in the 1930's, they were getting paid around 2 cents
a word. That means that the PROFESSIONAL rate for genre short
fiction has risen a whopping ONE CENT in 70 YEARS!  Now compare
that against inflation. In the 1930's, you could buy a stamp for
5 cents (or less). That's about 3 words to a stamp.  Today, a
first-class stamp costs 37 cents -- so if you're getting paid 3
cents a word, you have to write 12 words to buy that same stamp.
Most markets still pay around 1 and 2 cents a word.

I read an article awhile back that indicated that for the "big"
publications -- the women's magazines -- the situation is the
same. Pay rates have not risen substantially (if at all) in
decades, and in some cases have decreased. Thus, writers are
constantly victimized by inflation -- even when their rates
remain the same, the amount they are paid is worth less and less
in today's economy.

In addition to the fact that rates aren't going up, publishers
are also demanding far more RIGHTS for those same rates. In the
past, you might be able to sell your article for $100 -- and then
resell it as often as you liked. Today, more and more publishers
will still pay you $100 -- but demand all rights, meaning that
you can never earn another dime off the piece.

I wish I could predict a future in which things looked brighter
for writers, but it looks as if things are going to get worse
before they get better.


Moira Allen is the author of "The Writer's Guide to Queries,
Pitches and Proposals," "Writing.com: Creative Internet
Strategies to Advance Your Writing Career" (second edition
forthcoming in May 2003), and "1500 Online Resources for
Writers." For details, visit:

Copyright (c) 2002 by Moira Allen

Need promotion but aren't sure where to start or can't afford to
do as much as you'd like?  Join Promo Blitz for December 2002.
The rule of seven dictates that you must get your name and book
in front of readers at least seven times to make an impact.  We
can help and inexpensively.  Details at

JUST FOR FUN: A Quick Guide to Business Writing
                               by Pete Geary (peteg53[at]yahoo.com)

OK, you've just finished up that $70,000 university education and
you want to put those English skills to work in your new career
in Business Writing. Unfortunately, the most successful business
writers are those who have forgotten everything they learned in
college. The prime maxim of business communications is: never say
anything that might come back to haunt you. The best way to
assure yourself a long and profitable career is to follow these
simple rules for business communication.

Eschew clarity
Wrong: This division will increase profits by 10 next year.

Right: The highly desirable possibility of a positive trend in
the relationship between total costs and total revenues is
tempered by market anomalies and fluctuating interest rate
complications that will necessitate a level of inter-divisional
cooperation not seen since the building of the Pyramids.

When in doubt, wade in with modifiers
Wrong: We hire only the best people.

Right: Our hiring practices are brilliantly designed to match
qualified employees to the miasma that permeates our work place.
By carefully funneling employees into highly fluid job functions,
we achieve the proper balance of workers who have acclimated
themselves to the notion that we only hire temps.

Your boss believes this stuff, don't disappoint
Wrong: We produce a quality product.

Right: Melding our "Zero Defects or Die" philosophy with the
regular repetitive actions of at least seven prosperous people
whose cheese was relocated during their search for excellence can
only accentuate the positivity of our struggle to produce
products that rise slightly above the level of mediocrity. And,
of course, that's a big ditto for our other divisions.

Tech talk is never wrong; make it up if you must
Wrong: This division will guarantee share holders an Internal
Rate of Return of 3%.

Right: Integration of the postprandial IRR and the final solution
of the armed conflict between Accounting and Production over the
LIFO-FIFO controversy will permit partial quantification of the
NPV for the upcoming quarter, thus allowing this division to
assure share-holders that the IRR will be a number of some

Anything less than total obfuscation is unacceptable
Wrong: We ship all orders within twenty-four hours.

Right: Our orders are inevitably processed into the outflow
structure of the supply chain management cycle. This assures our
end-product recipients that a conveyance of some sort will be
secured and energetically set in motion, God willing.

Follow these simple rules and soon your co-workers will look at
you differently -- most often with a confused and wary look, but
also with a new respect for your ability to do things to the
English language that even Mrs. Malaprop never imagined possible.


Pete Geary is a native of Memphis, Tennessee, and has had several
humor essays published at the Clever Magazine and the Laughter
Loaf e-zine web sites.

Copyright (c) 2002 by Pete Geary

your MS.  Critiquing, Line Editing, Submission Assistance.
info[at]writersconsultant.com, http://www.writersconsultant.com


Eldred v Ashcroft

In 1998, Congress passed the Copyright Term Extension Act,
sponsored by late Congressman Sonny Bono. Authors of copyrighted
works, and their estates, now hold a copyright up to 70 years
after the author's death.

Online publisher Eric Eldred and Stanford University professor
Lawrence Lessig think that Congress violated the Constitution
when it passed laws that let copyright owners renew the ownership
rights to their works. On October 9, the US Supreme Court heard
arguments on both sides of the issue, with a decision expected
sometime in the next few months.

My plan for this week's column was to study both sides of the
issue and explain it here. But after searing my eyeballs with
countless mind numbing articles (copyright is really boring!), I
can assure you there's not enough space to explain the issues
involved in this case. Here is the best primer I could find:

There are always two sides to every issue, and this one is no
different. At the very least I think a special provision in the
law is called for in the case of works under copyright that no
one seeks to protect.

Beyond that I only have to look as far as my soon-to-be one year-
old granddaughter's blue eyes to find my own answer. As an
author, I have no health or life insurance benefits, no social
security or 401K. My published work is my legacy. Whether it's 70
years from today or 70 years after my death, my granddaughter and
her granddaughter should be entitled to a portion of any profits
from the sale for publication or adaptation of my works. It's all
I have to give them.
                           -- Peggy Tibbetts (peggyt[at]siltnet.net)

'Write Again!' is the perfect material, market, submission and
deadline management software for your writing career.  Buy for
$29.95 or download 30-use demo at http://www.asmoday.com/WA.htm


Imagination's Edge, by Paula Fleming
"When we go through hell, does our writing go nowhere?"

Enforcing Boundaries, by Kristi Holl

Headhopping, Authorial Intrusion, and Shocked Expressions,
by Anne Marble

An Interview with Fern Michaels, by Gayle Trent

An Interview with JoAnn Ross, by Gayle Trent

Writing Speculative Poetry: An Interview with Bruce Boston,
by John Amen

Win one of three copies of Julie Hood's The Organized
Writer: 30 Days to More Time, More Money, and Less Frustration!

Win one of two copies of Karen Wiesner's ELECTRONIC PUBLISHING
The Definitive Guide {The Most Complete Reference to Non-Subsidy

Win one of three copies of Julie Duffy's new "21st Century
Publishing" (all about print-on-demand)

Win one of three copies of Rusty Fischer's new book," BEYOND THE
BOOKSTORE: 101 (Other) Places to Sell Your Self-Published Book!"



Nicole Thomas and Elizabeth Peake, Editors
PO Box 22744, Louisville KY  40252
EMAIL: nthomas[at]3fpublications.com, erpeake[at]3fpublications.com
URL: http://www.3fpublications.com
GL: http://www.3fpublications.com/guidelines.html
CONTEST: http://www.3fpublications.com/contests.html


The reading period for our next anthology project, "The Decay
Within," is January 1st 2003 to March 31, 2003. Guidelines:

1. Your short story MUST contain something decayed or rotting.
2. Word Limit is 3000-6000 words.
3. Zombies are okay, but surely you can find another type of
   decay or rot to write about.
4. No vampires, werewolves or the like.
5. Keep the sex intricate to the story.
6. We pay 5 cents a word, send us only your best.
7. Payment upon publication, if you are accepted.
8. The reading period will begin April 1st, 2003 and the
   publication date is set for October 1st, 2003.
9. No submissions before January 1 or after March 31, 2003.
10. We can't stress enough to edit your story thoroughly. We will
    overlook a mistake or two, but not much more than that.
11. No reprints
12. Send your story in an email as a Word attachment, and the
    words THE DECAY WITHIN in the subject line, to:


Attention all horror writers AKA wannabe published authors: Here
is your chance to see your horror stories in a print anthology.
3FPublications is holding its first Halloween-themed contest. The
anthology is tentatively entitled, "Something Good To Eat".
Obviously, all submissions must be based on Halloween. The word
limit is 3000-5000 words, with a rate of 3 cents a word and one copy.
There is a contest entry fee of $5. The entry fee is to cover the
printing and shipping costs, along with promotional costs.

Be professional in all submissions. Edit your submission to the
best of your ability. If it is filled with misspelled words,
improper grammar and POV discrepancies, it will be rejected. We
prefer third person POV and 99% of the time, we will reject 2nd
person POV. We will reject any story where sex is slipped in as a
filler and contributes nothing to the storyline. We will look at
all types of horror but if it is a rehash of a storyline done to
death, rewrite it with a new twist and then submit.


Marion Lane, Editor
345 Park Ave S, New York, NY 10010
EMAIL: editor[at]aspca.org
URL: http://www.aspca.org/site/PageServer?pagename=animalwatch
GL: http://www.aspca.org/site/PageServer?pagename=awatch_writersguide

The ASPCA encourages responsible stewardship in areas such as
companion animal selection, socialization, training, exercise,
spay/neuter, and veterinary care. Others include animal
sheltering, horse and farm animal welfare, animals in research,
zoo and circus animals, protection of wildlife, exotic and
endangered species, and animals used in entertainment. Topics are
assigned, but we invite detailed queries. We are interested in
profiles of humane individuals and groups, pioneers in animal
protection, first-person reports on humane issues abroad, and
light humor that honors animals and people who care for them. New
sections include: first-person essays; tip sheet suggestions for
performing animal-related tasks; plus anecdotes, humor,
surprising facts, light news items, and puzzles.

LENGTH: Features: more than 600 words; Short articles: less than
600 words; Fillers: 75 - 250 words
PAYMENT: Features $150 - $650; Short articles/Fillers $25 - $75
RIGHTS: FNASR and electronic rights for 6 months
SUBMISSIONS: Queries for feature articles should be mailed or
emailed, include sources and publication credits. Send complete
manuscripts for short articles and fillers. Reponds in 4-6 weeks.


Hope Clark, Editor
EMAIL: HopeClark1[at]aol.com
GL: http://www.chopeclark.com/submissions.htm

FundsforWriters is constantly looking for new articles and ideas
for its newsletters.  Anyone familiar with FFW knows we do not
print articles on the art of writing.  We want information on
making a buck through writing.  Some examples have been:

* Write a grant as if you were the grantor
* Use regional markets to pad your pocketbook
* Partner with nonprofit organizations to win grant money
* Find state humanities and arts councils in your state
* Earn income as a resident scholar in public schools
* Decide whether to start your own nonprofit
* Journalism-friendly foundations that support writers
* Unique market sources for writers
* How much entry fee, if any, is fair for contests?

We want short and concise chocked full of facts, sources, and
pointers. Articles should not exceed 600 words. Each
FundsforWriters and FFWJunior newsletter lists only one article.
That leaves more space for awards, contests, grants and markets.

LENGTH: To 600 words
PAYMENT: $20 for original articles, $10 for reprints
REPRINTS: Yes; list when and where published
RIGHTS: One-time electronic rights


"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


This section lists contests that charge no entry fees.  For more
contests (34 new listings added this week), visit:


                Inscriptions Haunted Heart Contest

DEADLINE: November 1, 2002
GENRE: Story/Essay
LENGTH: 800 words or less

THEME: Emily Dickinson observed that "You don't have to be a
house to be haunted." As the witching hour dawns the end of this
month and jack-o-lanterns practice their sneers for Halloween
night, we eschew the normal tales of haunted houses, vampires and
ghouls. Instead, we challenge you to wax poetic (or prosaic)
about your haunted heart (either real or imagined.) Guide us into
the dank crevices of your inner being. Be sensuous, be imaginative,
be engaging.

PRIZE: 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 Haunted Heart
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.

EMAIL: Contest[at]inscriptionsmagazine.com
URL: http://www.inscriptionsmagazine.com


                        Herstory Contest

DEADLINE: October 31, 2002
GENRE: Essay
LENGTH: 750 - 1000 words

THEME: Do you feel that you are part of the women's movement for
equality? Has the women's movement touched your life, opened
doors for you, changed your way of thinking? Womenspace has
decided to document the last thirty years of Canadian women's
progress towards equality with a timeline and a contest. Tell us
your story and make it evocative. We want to know what the time
frame was, how old you were, what you were wearing, what music
you listened to, what you saw around you, where you lived, what
you were reading or watching, what smells bring back the
memories, what you ate and what you cooked (recipes welcome).

PRIZE: First prize winners in 6 categories: $200 and web site
publication; up to 12 more $50 prizes

ELECTRONIC ENTRY: Yes, use online submission form:

EMAIL: herstory[at]womenspace.ca
URL: http://herstory.womenspace.ca/rules.html


                  Viagra Philosophy Essay Contest

DEADLINE: November 1, 2002
GENRE: Essay
OPEN TO: Adults, 18 and over
LENGTH: 500 - 1,000 words

THEME: The philosophical implications of Viagra. Essays will be
judged on creativity, clarity, relevance, and humor. All
submissions become property of Pretzel Publishing.

PRIZES: First prize: $150; $40 for all essays published on web

ELECTRONIC ENTRY: Yes, use online entry form
EMAIL: essay[at]viagraphilosophy.com
URL: http://www.viagraphilosophy.com/contest.shtml

WRITING  THE BREAKOUT NOVEL, with NY literary agent Donald Maass
and GET THAT CONTRACT WRITE THAT BOOK, with author/editor
Elizabeth Lyon. Tampa, Seattle, Dallas. For more information:
http://www.free-expressions.com or 1-866-I-WRITE-2.


November 2 - NJ Society of Christian Writers Annual Fall Seminar:
"You Can Write Nonfiction Books," Vineland, NJ

November 9-10 - Conscious Creativity Workshop, Palm Springs, CA

November 9-10 - Free Expressions Seminars - Writing Success
   Series, Dallas, TX

November 22-24 - Cat Writers Association 8th Annual Conference,
   Houston, TX


For more writing events, visit



Anything for a Buck, by Gayle Trent

The Cave Woman Diet Plan, by Coty Fowler

The Crisis in America's Nursing Homes, by Guy Seaton

Write Now! What ARE You Waiting for? by Kimberly Ripley

	Find these and more great books at

	Advertise your own book on Writing-World.com:

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
at Worldwide Freelance Writer. Subscribe today and get a FREE
list of 22 Outdoor and Recreational Markets. Send e-mail to
wwfw-subscribe[at]topica.com - http://www.worldwidefreelance.com
WRITING FOR DOLLARS! - the FREE ezine for writers featuring
tips, tricks and ideas for selling what you write. FREE ebook,
83 WAYS TO MAKE MONEY WRITING when you subscribe. Email to
subscribe[at]writingfordollars.com - http://www.WritingForDollars.com

on how to reach 80,000 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)

Writing World is hosted by Listbox.com - http://listbox.com
Subscribers are welcome to recirculate Writing World to
friends, discussion lists, etc., as long as the ENTIRE text
of the newsletter is included and appropriate credit is given.
Writing World may not be circulated for profit purposes.
To subscribe or unsubscribe from Writing World, DO NOT REPLY TO
THIS E-MAIL. Send an e-mail to: Majordomo[at]newsletter.listbox.com
in body of message.

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