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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 3:03          12,600 subscribers           February 6, 2003

SPECIAL NOTICE: Please DO NOT REPLY to this e-mail; any messages
sent to the listbox address are deleted.  If you wish to contact
the editor, please e-mail Moira Allen.


         From the Editor's Desk
         FEATURE: The Structure of Story, by Marg Gilks
         News from the World of Writing
         FEATURE: Morning Pages: Breaking Writer's Block,
            by Jo Parfitt
         The Write Sites - Online Resources for Writers
         FEATURE: How to Get on the Air, by Brian Jud
         From the Managing Editor's Mind
         WHAT'S NEW at Writing World/Prize Drawings
         MARKET ROUNDUP/Writing Contests

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.
Mail: Graduate Admissions-MFA, Spalding University, 851 S. Fourth
St., Louisville, KY 40203. For more info:

SPECIAL NOTICE: Spalding University's brief-residency MFA in
Writing program now offers a concentration in SCREENWRITING.
Deadline for application for May 2003 semester is 2/15/03.
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.
National Conference at The University of Texas at Arlington on
Feb. 21st & 22nd, 2003. Call us toll free at 1-866-821-5829.
E-mail us at naww[at]onebox.com or visit us at http://www.naww.org

February 28, contribute $5 or more to Writing-World.com and
receive a copy of "1500 Online Resources for Writers!" See
http://www.writing-world.com/books/1500.html for details, or go
to http://www.amazon.com/paypage/P2UTPRKYGU4AA1 to contribute.


                     FROM THE EDITOR'S DESK

First, a Brag
What's the point of having your own newsletter if you don't brag
in it occasionally?!  So here's my brag: My very first published
short story, Truthseeker, is online in the January issue of Rogue
Worlds (http://www.specficworld.com/story2b.html).  The story won
second place in last winter's SpecFicWorld "high fantasy"
contest; for more information on this year's contest, visit

Second, a Cry for Help!
I admit it: I suffer from obsessive-compulsive disease.  (I won't
call it an actual disorder...)  Last month, for example, I
decided that the contest section would be much more helpful if it
were arranged by category rather than just by date, and spent
nearly 20 hours hunting down new contests and revamping the list.
Somewhere, about two thirds of the way through the process, I
came to a realization: "I've got to get some help!"

So I am officially putting out a "help wanted" notice.  I am
looking for a person who can assist me with the site's regular
monthly web-update tasks and basic online research (e.g., looking
up resources or checking links).  While duties will probably be
light for the first two or three months (around 10 hours a
month), they will grow heavier toward summer, as I am planning to
launch some new features to the site that will involve a fair
amount of HTML (and also some database work).  In addition, I'll
have tasks relating to my other websites, including
http://www.pet-loss.net and a travel-related ezine I'm planning
to launch in 2004.

Here's a brief list of what I'd like to find in a "web/research

* Familiarity with HTML (ability to work with BBEdit a plus)
* Familiarity with the Web, ability to use search engines,
  conduct research, hunt down sites, and check links
* Fast turnaround
* Interest in writing, editing (if you want editing
  opportunities, so much the better!)
* Flexible schedule to accommodate increase in workload over time
* Low salary expectations!

Other "pluses" would include copyediting/proofreading skills,
design ability, experience with web databases, and experience
with ad sales.  (Yes, I know, I'm asking for the moon.)  I can't
discuss the details of upcoming projects here, but such skills
would definitely ensure more work and more pay down the line!

If you think you're the miracle-worker I'm looking for, please
send me a BRIEF e-mail explaining your credentials, why you'd
like to work for Writing-World.com, your availability (e.g., how
much time you might have to offer per week) and your salary
expectations.  Please do not send a resume; we're not that
formal.  Please put "HELP WANTED" in the subject line.
Candidates from any country are welcome.  I will ask potential
candidates to complete a couple of brief tests (e.g., an HTML
assignment and a link-checking assignment). I look forward to
hearing from you!

                         -- Moira Allen (Moira Allen)

Our team of professional editors -- including a Pulitzer Prize
nominee and an author published by Dell, Warner, Fawcett, etc.
-- specializes in novels written by first-time, novice writers.
See us at http://www.a1editing.com for prices, references, etc.

                  CLASSES! CLASSES! CLASSES!

Announcing our spring course line-up!  All classes begin March 3;
for full details on each course, click the link, or go to
http://www.writing-world.com/classes/index.html for more info. To
register via PayPal, go to the class page and click the PayPal
button at the bottom of the page; to enroll with a check or money
order, download our "check payment" form at


Moira Allen - 4 weeks - $60

Isabel Viana - 4 weeks - $60

Kathleen Walls - 4 weeks - $60

Lisa Beamer - 6 weeks - $90

Catherine Lundoff - 6 weeks - $90 (max. 10)

Sue Lick - 6 weeks - $90 (max. 12)

Michael Knowles - 6 weeks - $90

Natalie Collins - 6 weeks - $100

Brian Jud - 6 weeks - $100 (max. 10)

Linda Phillips - 7 weeks - $105 (max. 12)

Bruce Boston - 8 weeks - $100 (max. 12)

Jo Parfitt - 8 weeks - $100

Laura Brennan - 8 weeks - $120

Marg Gilks - 8 weeks - $125 (max. 20)


*NOTE* These courses will only be offered once in 2003; our summer
semester will have a completely different course selection.

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 Marg Gilks (editor[at]scriptawords.com)

What is structure? Basically, it's how the plot is organized; how
the writer chooses to tell the story.

Every plot-driven story consists of an introduction, rising
action, a climax, and an end, or denouement.

The introduction begins with the opening hook. It sets the stage
by introducing the main character(s) and setting, and it ends
with the introduction of the story problem.

The story problem is a change in the protagonist's circumstances
that forces him or her to act -- to do something to rectify the
problem. This activity is the plot. In short, the story problem
and the pursuit of its resolution is the reason for the story --
it's what the story is about.

As the protagonist pursues a solution, there is rising action --
cause and effect -- shown through scenes. One obstacle overcome
leads to another. This creates conflict, which moves the plot
along -- until the climax, which is the turning point of the
story, and the most exciting scene in the story.

This is quickly followed by the denouement -- the wrap-up.
Brevity is essential here. There should be relatively little
between the climax and the end of the story.

In the beginning
Both the novel and the short story begin with an opening hook --
a beginning so appealing, readers feel they have no choice but to
keep reading. When readers pick up your story, they expect to
learn where and when they are, and they expect to encounter an
interesting character to focus on -- usually the protagonist they
will be following through the story. Basically, you're setting
the stage.

But readers are impatient. Once they know who, where, and when,
they don't want to dwell on details right away. They want to get
to the meat of the story -- they want to know what the problem
is. Stories may be about people, but what makes those stories
interesting are those people's problems.

When the protagonist is faced with a problem that somehow alters
the circumstances of his life, conflict is born. Scene by scene,
that conflict builds as the character works to solve the problem
through the rising action of the story. Other problems --
subplots -- may appear along the way, but the pursuit of a
solution to that one, overriding story problem is what moves the
story forward -- it's the reason for the story.

Rising stakes, rising action
It's called rising action for a reason -- you're building
tension, keeping the reader engrossed in the story and turning
the pages, eager to learn what will happen to the character next.
If at any point in the story that steep upward climb in the
rising action plateaus -- if there's a lull in the tension while
the protagonist goes to Suzy's wedding and has a wonderful time,
thank you very much -- the reader's interest will wane. And your
story's number one enemy is reader boredom.

Stay focused: The protagonist is presented with the problem
(cause). He reacts (effect), and circumstances change slightly --
perhaps he's one step closer to a solution, perhaps he's made
things worse. Either way, the protagonist now has a new set of
obstacles (stimuli) that affect the way he reacts (response). And
so on and so on; smaller obstacles being overcome only to have
new ones rear their heads, until -- ideally -- things hit rock

The climax
Things can't get any worse; your protagonist is backed into a
corner, stymied, ready to admit defeat. Something has to give.
You've reached the turning point in the story, the most exciting
scene of all, where the protagonist finally solves the story
problem. The climax. In traditional stories, the protagonist
usually prevails. But he or she doesn't have to. Happy endings
leave readers feeling satisfied, but perhaps you're trying to
unsettle the reader, and the protagonist dies to make a point.
Look at "Romeo and Juliet."

Wrap it up
The conclusion, or denouement, should follow quickly on the heels
of the climax, and it should be short and sweet. A conclusion
that lingers too long weakens the impact of the climax. In fact,
in short stories, climax and denouement are often one and the
same. Wrap up any details that need final clarification, and then
write "The End."


Sign up now for Marg Gilks' class, Fundamentals of Fiction,
beginning March 3 at Writing-World.com!


Marg Gilks is a freelance editor who specializes in fiction. For
twelve years she has worked one-on-one with authors to prepare
their manuscripts for publication, and has edited and/or evaluated
over 25 novels and countless short stories, cover letters, and
synopses. A writer herself, she's written three novels and has a
list of writing credits for poetry, articles, and short stories
that spans twenty years and includes publications as diverse as
Seventeen Magazine, Cats Magazine, Home Business Journal, Inkspot,
Writing-world.com, Writers' Forum, The Writer, Tales of the
Unanticipated, Spaceways Weekly, and Orpheus Romance. Read her
"Fundamentals of Fiction" series on Writing-World.com at

Copyright (c) 2003 by Marg Gilks

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


Poetry symposium cancelled
The symposium on the poetry of Emily Dickinson, Langston Hughes
and Walt Whitman, which was to be held by First Lady Laura Bush
on February 12, has been cancelled. Sam Hamill, poet and founder
of Copper Canyon Press, had declined the invitation, but emailed
those who planned to attend and encouraged them to bring along
anti-war poems. Over 1,500 poets responded. The First Lady's
spokeswoman, Noelia Rodriguez, said: "While Mrs. Bush respects
the right of all Americans to express their opinions, she, too,
has opinions and believes it would be inappropriate to turn a
literary event into a political forum." An alternative symposium
called "A Poetry Reading in Honor of the Right of Protest as a
Patriotic and Historical Tradition" is being organized by
Northshire Bookstore, Manchester Center, Vermont, on February 16.

Fictionwise and OverDrive team up to create Libwise
Ebook publisher Fictionwise and digital services company
OverDrive have teamed up to offer ebook "loaning" systems to
small libraries. OverDrive will license its Digital Rights
Management (DRM) software to Fictionwise for use in the new
Libwise product line. Library patrons will be able to download
ebooks to either a PC or handheld devices, such as Palm,
PocketPC, and even some cell phones. LibWise will offer a number
of options to host ebooks for loan. Patrons will be able to
download encrypted copies of the book, which will be readable on
their device for a limited time period. After the "due date"
expires, the MobiPocket reader will refuse to open the file
again, rendering it useless. Depending on the ebook, the server
software may allow the library to loan only a fixed number of
ebooks simultaneously, and may also have a limited number of
loans. After that, the ebook will expire and the library will
need to repurchase it.

Harpercollins will sell ebooks to libraries
In a related story, HarperCollins Publishers announced agreements
with netLibrary and OverDrive to sell PerfectBound ebooks to
libraries across the country, making them the first major US
publisher to do so. DRM technology will be used to protect
authors' copyrights. According to David Steinberger, President of
Corporate Strategy for HarperCollins, the library market "has
enormous potential" and "will play a critical role in educating
readers about the benefits of this developing format. This deal
represents another opportunity for us to serve our authors and
market their books to the broadest possible audience in as many
formats as possible."

HELP TO YOU, THE SCREENWRITER...from an Industry professional
with vast experience in script analysis, charging reasonable
rates.  Increase your chances for success!  See my website for
details before submitting your script to an agent/producer/studio
or contest. http://www.coverscript.com

            by Jo Parfitt (joparfitt[at]career-in-your-suitcase.com)

Even the best writers suffer from writers' block. One of the best
ways to fill yourself up with ideas is by writing a few pages in
long hand at the start of the day. It is important that you
complete the exercise with a pen in your hand as you need to
access the right, creative side of your brain, and using a
computer tends to use the left, logical side. Buy yourself an
attractive notebook and a nice pen. My current notebook is bright
orange and has a ring binding. The ring binding is important,
because it makes it as easy to write on the left side of the page
as the right, and lets the ideas continue to flow more easily. If
you choose a notebook with a spiral at the top, you have to flip
the book to write on the other side. Choose the book that works
best for you.

Try writing three pages of long hand every day. Morning is best
because that's when you remember your dreams. However, you might
find it easier to write at some other time of day. Halfway
through the three pages, the trivial writing will disappear and
your subconscious will start to talk. Many established writers
see morning pages as their talisman.

Through morning pages you can learn about yourself. Write about
the things that gripe you, or worry you. Talk things through. The
notebook is like a counselor. It cannot make judgments.

Try not to take the pen off the paper. Keep on going. It's as if
another force is driving the pen. Find the skeletons in the
cupboard. Find what makes you tick. Use the pages to find
solutions. When you write something down you stop worrying about
it. In her excellent work book, "The Artist's Way," Julia Cameron
uses morning pages as therapy and a method of self-understanding.

Natalie Goldberg, author of  "Writing Down the Bones," is another
advocate of this kind of writing. As a full-time writer she uses
the pages as a place to find ideas and slow her mind. She calls
it speedwriting. Natalie writes far more than three pages a day.
She goes to a cafe and writes all day long at times. She bribes
herself with cappuccinos and Oreo cookies along the way and just
keeps going. Natalie reckons this is the only way to quiet her
internal censor, which she calls monkey mind. Like a monkey on
your shoulder, he tells you that what you write is rubbish,
selfish and useless. Keep the pen on the paper and keep writing.
If your mind seems blank just write, "I don't know what to
write." As if by magic, after about a page and a half, that
monkey will go away!

Go out and be inspired
You cannot expect your morning pages to be filled with great
insights and ideas if you do not allow yourself to think. Try to
give yourself at least half an hour a week for thinking time.
Take the time to switch off and let the ideas come. Take a bath,
a walk, shop alone, or sit down and listen to some classical
music. You must be alone and not distracted by conversation for
this to be effective.

Go outside to a park, a lake, even a shopping mall or restaurant
and just observe, listen, think. This is how you fill the well
with ideas. Go to a cafe like Natalie Goldberg did and observe
while you write. Make up things about people. Turn them into the
characters in your stories. Fill that well.

Paying attention
One of the first things you discover when you take time out for
inspiration is that you start to notice things -- the way the
light falls on a leaf, the way a blackbird scuffles in the dry
beech leaves. You notice the silvery purple of the pigeon's
breast and the way the mountains are a different color every day.

Now you have lots to write about in your morning pages. And more
still to put into your articles and stories.


Sign up now for Jo Parfitt's class, Expatriate Writing: How to
Write and Sell from Abroad, beginning March 3 at


For more than 15 years, Jo Parfitt has earned her living writing
and speaking all over the world. She has had hundreds of articles
published in a range of magazines, newspapers,  and web sites.
Her books have been published on subjects ranging from cookery to
computers to careers. Writing and portable careers have become
her specialty subject and she travels all over the world teaching
and inspiring others to take the plunge and create a career that
is grown from their passions. Jo's book, "A Career in Your
Suitcase 2," is now in fully revised edition. Visit her web site:

Copyright (c) 2003 by Jo Parfitt

Where do great writers get those super ideas for their stories -
those wonderful stories we never forget?  Same place YOU can get
great ideas for YOUR unforgettable stories. For details, see OUT
OF YOUR MIND AND INTO PRINT, http://whortleberrypress.com


A new online literary journal.

The Sowers Syndicate
A small, independent syndication service for columnists and

Blue Phantom Critique Group for Children's Writers
Free critique group and newsletter for children's writers.

The Vocabula Review
An online journal about the state of the English language, with
tips on grammar, articles, and more.

Daily Planner
You can download a free daily planning calendar in PDF format at
this publisher's site.

Online Writing Workshop for Romance
The sponsors of the online writing workshops for horror and
sf/fantasy now have a romance workshop. The workshop has a fee,
but the first month is free.

"The Easy Way to Write a Novel". This popular writer's resource
shows you, step by step, how to achieve your dream of writing a
great novel in the shortest possible time. Suitable for any level
of expertise. Free writing courses. http://www.easywaytowrite.com

                                  by Brian Jud (brianjud[at]msn.com)

In order to be successful at becoming a media guest, you have to
think like a producer. These people are responsible for creating
the idea for a segment, or a show, as well as finding guests to
appear on a show. The topic has to be of interest to the
audience, and the guests have to be interesting and entertaining
enough to hold the audience's attention. Producers do not care
about your book. They want to increase ratings and keep their

Rita Thompson, Field Producer for CNBC, says, "A producer looks
for story ideas, tries to find good interviews and pictures, and
then puts together a segment for airing. I have to think of the
viewer first. It's not my job to sell books, but to make
interesting television. If a book helps me get interesting
television, that's good."

Although each producer has his own preferences and
idiosyncrasies, you will increase your chances of success by
contacting the producer of the show, not the host, or president
of the network. You might think it will save time to go directly
to the host on major shows with your show idea, but this is not
so. Your package will be intercepted long before it gets to him,
and you won't make friends with the producers by trying to bypass
them. Know the hierarchy and pitch to the appropriate person.

Call ahead of time to find out if the show engages authors of
books such as yours. You will spend time leaving unanswered
messages with humans or on voice mail, mostly the latter.
However, you are more likely to get a return call if you leave
the right message.

Before you call, have a 30-second sales pitch prepared that will
get the producer's attention and make him willing to read your
complete kit once it arrives. It doesn't have to be long; in fact
it's better if it's not long. For an example of what to say,
listen to how the media use 5-second promos to entice you to
watch their shows: "Women who leave their husbands for other
women, today on Oprah."

Creating a press kit
Knowing the name of the appropriate people to contact is not
enough. You need to send a proposal that will compel them to
pursue you as a guest. That tool is called a press kit (or media
kit). This is a folder containing the basic facts about why you
and your topic will make an interesting show. It's not about you;
it's about what you can do. There are no standards for what
should be in the kit, except it should be written from the point
of view: "Here is what I can do for your audience and make your
life a whole lot easier."

The objective is to entice the producer to call you for more
details. Present a unique, positive image of yourself as a
qualified guest who can talk about your topic better than any
other authority.

According to Patty Neger, Producer of Good Morning America, a
producer may receive 50 proposals every day, so your press kit
must stand out from all the others. The key to a successful
submission is your one-page summary. Make it compelling and
personal. Get the reader's attention immediately by demonstrating
you know the audience and how you can help them. In one page,
persuade the producer to consider you as a guest by being clear,
concise, and creative.

Your press kit will be much more effective if you remember one
thing: producers do not care about you or your book. As discussed
before, all they care about is creating a good show; and they're
constantly looking for ways to do that. Begin your letter with a
headline describing why your idea will be important to the show's
audience. Here is an outline you can use to tell a producer
concisely what you can do for him or her:

   * Headline: Why your idea will interest the show's audience.
   * What your idea is about.
   * Why it's perfect for this show's audience.
   * How it ties in with a major current event.
   * Why you are the best person to talk about it.
   * Other guests you can provide for the show.
   * Name, address, and telephone number of the contact person
     for booking.

Tell who you are and why you have the credentials to make these
statements. List the two or three major points that will hold the
attention of the audience. Tie your subject in with a major
national news event, if appropriate. Be creative, but not
frivolous. Do not include "confetti" just to get the recipient's
attention. You want the producer to focus on your proposal by
proving you know the audience, and you have an interesting idea.

Your proposal should always make a connection between your
subject and what will interest the audience. Is yours a timely
subject that sheds light on a late-breaking event? Is there any
controversy or debate value in your topic? Is it a new story (or
a new twist on an old story) that will convey something different
to the viewers, readers, or listeners? Describe why your book is
unique, different from all the other ones written on the same
topic (if that's the case).

HINT: Be innovative in your approach, but not outlandish. Eric
Marcus, Producer of Good Morning America, tells about a woman
with a book about the ease of clandestinely transporting atomic
weapons. She proved her point when she came to his office,
through security, with a mock atomic bomb. It got Eric's
attention and a segment on the show.

A little help from your friends
The producer is responsible for creating a cohesive show, not
just a series of guests. Instead of pitching yourself as the
perfect guest, send him your idea for a complete show revolving
around your topic. This could focus on you, or it could involve a
panel of guests made up of people you recommend.

Your proposal will be ineffective in breaking through the
producer's preoccupation if your message is not clear. Don't bury
your important words in clichˇs and rhetoric. Briefly state what
you want to occur and why it is in the audience's best interest
to hear what you have to say.

Just before Abraham Lincoln gave his famous "Gettysburg Address,"
Edward Everett gave a two-hour oration. Lincoln's speech was
written on one page and took less than ten minutes to deliver.
Yet there isn't an educated person in the US today who cannot
recite at least the first line.

Your proposal should be as concise as the "Gettysburg Address."
Do not waste time warming up with extraneous information. Be
succinct. Present your story so the producer immediately sees a
connection between the needs of the audience and your ability to
meet them. Demonstrate how you can solve problems and make the
show more successful. End your cover letter by summarizing the
reasons the audience will benefit from your information, and tell
the producer you'll be calling soon to follow up.


Sign up now for Brian Jud's class, Marketing Your Book on the Air,
beginning March 3 at Writing-World.com!


In 1990, Brian Jud founded and became president of Book Marketing
Works, LLC, a company dedicated to helping publishers of all
sizes sell more books through media performances and
special-sales marketing. Brian has written and published seven
books that are distributed internationally, and is the author,
narrator, and producer of two video programs, including the
media-training video program "You're On The Air" and it's two
companion books, "Perpetual Promotion" and "It's Show Time." He
is a media trainer and host of the television series, The Book
Authority. Brian has appeared on over five hundred television and
radio shows. Read Brian's monthly column, Self-Publishing
Success, at http://www.writing-world.com/jud/index.html

Copyright (c) 2003 by Brian Jud

Are you a Freelance Writer?
FreelanceWriters.com is the only global online directory of
freelance writers.  Your writing skills, experience and contact
information can be listed in the database so that clients and
editors will have your information at the touch of a button. Go
to: http://www.freelancewriters.com/writers_faqs.cfm


Since the Supreme Court's recent decision to uphold the 1998
Sonny Bono copyright extension law, we artists of word and image
appear to be gradually dividing up into two camps -- copyright vs
copyleft. In the copyright camp you'll find big publishing and
production companies interested in protecting potential profits,
as well as creators who feel a strong sense of ownership of their
works. Copyleft campers are creators who want people to have free
access to their works, and users who advocate the free flow of

Before we plant ourselves firmly into our separate opinion camps,
we need to take a step back and understand what is copyright. At
this moment in time, my definition of copyright is the
registration, or declaration, of ownership for a work to prevent
others from copying, or stealing it. While my definition is
wrong, it represents the most common misconception about
copyright. The World Book dictionary says, in essence, "the
exclusive right to publish or sell and otherwise control a book
... or other original work ... granted by a government for a
certain number of years." But my definition, World Book's
definition, and your definition don't matter.

What matters is how the Constitution defines copyright. Before we
can begin to grasp the issues dividing copyright and copyleft,
first we have to understand copyright as it was intended by the
framers. Article I, section 8, clause 8, of the US Constitution,
provides that Congress shall have the power "to promote the
Progress of Science and useful Arts, by securing for limited
times to Authors and Inventors the exclusive Right to their
respective Writings and Discoveries." In the 18th century, the
word "science" meant knowledge and learning. Therefore, the
purpose of copyright is to promote the progress of knowledge and
learning. The Constitution does not say anything about ownership,
publishing, or selling.

As you can see, copyright is too large and too complex to cover
in a few paragraphs. So stay tuned, my next column will look at
how copyright was intended to avoid censorship and monopolies.

For more information:
The Purpose of Copyright, by Lydia Pallas Loren

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

Be more prolific!  Increase your income! Write your book
faster than you ever thought possible.  Learn to create your
book's blueprint in 2 hours, buy a best-selling plot and more.


Advice from a Caterpillar, by Peggy Tibbetts
Finding word requirements for children's books; becoming an
illustrator; finding small presses.

Press Kit, by Debbie Ridpath Ohi
Promotion Through E-mail Newsletters, Part II

Self-Publishing Success, by Brian Jud
Getting on the Air, Part I

Ask an Agent, by Natalie Colins
Interview with Jeff Kleinman

Imagination's Edge, by Paula Fleming
Stranger than Fiction: Weird Science

The Screening Room, by Laura Brennan
The Best Software and Websites for Screenwriters

Going for the Knockout Punch! by Nadia Ali
People may pick up a card because of the cover; they buy it
because of the punchline!

Win one of three copies of John Rains' book, Shooting Straight in
the Media / A Firearms Guide for Writers, at

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


Adler & Robin Books, Inc. and the Lyons Press
3000 Connecticut Avenue NW, Washington, DC 20008
EMAIL: outwitting[at]adlerbooks.com
URL: http://www.adlerbooks.com/outwitting.html

The Outwitting books are more than just off-the-rack how-to's.
Outwitting means coming up with some clever new tricks, looking
at the problem from an offbeat perspective; in today's business
jargon, "thinking outside the box." What we don't want are
ordinary how-to book proposals.

In your proposal, don't  just tell us what you plan to write
about, show us. Give real examples of how you plan to outwit your
topic. Your proposal shouldn't read like a glorified Google or
Nexis search. We can do that just as easily as you can. Your
proposal needs good ideas -- no, great ideas. For this you may
need to talk with people who have intimate insight into your
subject. If you're already an expert, you're one step ahead, but
if you're not, simply doing online research probably won't yield
enough insightful material to create a saleable proposal.

One of the best ways to get a better sense of what we are looking
for is to read one of the Outwitting books, which are available
on Amazon and elsewhere. Please see our web site for more
detailed guidelines. (Editor's Note: You can also download a
sample successful book proposal from the site.)

LENGTH: Proposals should be 15-35 pages; completed books are about
75,000 words
PAYMENT: Modest advance (under $5,000) and royalties
RIGHTS: Exclusive rights
SUBMISSIONS: Query us with your proposal by email, fax or snail
mail. You can also email to ask if a particular subject would work
as an Outwitting series book. Fax: 202-478-5211
GUIDELINES: http://www.adlerbooks.com/submit.html


John O'Neill, Publisher & Editor
New Epoch Press, 815 Oak Street, St. Charles, IL 60174
EMAIL: submissions[at]blackgate.com
URL: http://www.blackgate.com/index.htm

Black Gate publishes epic fantasy fiction at all lengths,
including novel excerpts, as well as articles, news and reviews.
We're looking for adventure-oriented fantasy fiction suitable for
all ages, as long as it is well written and original. Please see
detailed submission guidelines at web site.

LENGTH: No word limit
PAYMENT: Fiction: 4-6 cents/word up to 7K; $280-$420 for 7K-14K;
3 cents/word for longer works
Nonfiction: 3 cents/word
RIGHTS: FNASR and electronic rights
SUBMISSIONS: By email, no attachments. By mail, include SASE
GUIDELINES: http://www.blackgate.com/bg/guide.htm


Lorin Oberweger, Editor/Publisher
2420 W Brandon Boulevard, #198, Brandon, FL 33511
EMAIL: editor[at]free-expressions.com
URL: http://www.free-expressions.com

I'm looking for instructional articles for writers, primarily
geared toward the writing of fiction and poetry. I will, however,
use the occasional piece related to nonfiction. Material should
be geared for the intermediate or advanced writer. No beginner
topics. I assume my readers have "been around the block" a time or
two, and I'd like my material to reflect that. Also interested in
interviews with successful authors/agents/editors.

LENGTH: 600-word maximum, please! (query for longer pieces)
PAYMENT: 10 cents/word for original material; 4 cents/word for
RIGHTS: One-time rights. All rights remain w/the author.
REPRINTS: Prefer original material, but will consider
SUBMISSIONS: Query first to email above.


Market Roundup correction
The correct email address for nonfiction submissions to Writer
Online is: nonfiction[at]writeronline.us


"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, visit our newly redesigned contest section (now listing
contests by categories: poetry, short fiction, nonfiction, books,
scripts and screenplays, and competitions for young writers).
More than 200 contests have just been added as of February 3.


                 Highlights 2003 Fiction Contest

DEADLINE: February 28, 2003
GENRE: Children's story
LENGTH: 800 words or less; 400 words or less for beginning

THEME: Stories about friendship. Reach beyond the ordinary. We
are seeking all types of stories -- humor, world cultures,
adventure, you name it -- within the theme of learning to get
along with others. Indicate the word count in the upper right-hand
corner of the first page of your manuscript. No crime, violence,
or derogatory humor. Manuscripts or envelopes should be clearly
marked "Fiction Contest." Those not so marked will be considered
as regular submissions to Highlights. Enclose SASE with each entry.

PRIZE: Three prizes of $1,000 each


ADDRESS: Highlights for Children, 803 Church Street, Honesdale,
PA 18431

EMAIL: emberger[at]highlights-corp.com
URL: http://www.highlights.com/about/


        The Faux Faulkner and Imitation Hemingway Contests

DEADLINE: March 1, 2003
GENRE: Humorous parody
LENGTH: 500 words or less

THEME: William Faulkner and Ernest Hemingway knew just how to
write a clean, well-lighted sentence or a paragraph full of sound
and fury and it seems that there are plenty of other folks who do,
too. And they proved themselves by submitting entries to
Hemispheres' renowned literary parody contests, the Faux Faulkner
and Imitation Hemingway competitions. Write in August (and
September and October) and keep writing until you have the words,
the good words, the words that make the judges laugh.

PRIZE: Prize for Imitation Hemingway: Free trip for two to Europe.
Prize for Faux Faulkner: Free trip to Memphis for the Faulkner and
Yoknapatawpha Conference.


ADDRESS: Faux Faulkner: Yoknapatawpha Press, PO Box 248, Oxford,
MS 38655, Fax: 662-234-0909
Imitation Hemingway: Hemispheres, 1301 Carolina Street, Greensboro,
NC 27401, Fax: 336-378-8265

EMAIL: Faux Faulkner: faulkner[at]watervalley.net
Imitation Hemingway: hemiedit[at]aol.com
URL: http://www.hemispheresmagazine.com/home.htm (follow the
"fiction" links to information about the contests)


                    2003 Science Writing Award

DEADLINE: March 1, 2003
GENRE: Nonfiction
OPEN TO: Science articles, books, and programs published within
specified time frames. See web site for dates.
LENGTH: No word length

THEME: To promote effective science communication in print and
broadcast media in order to improve the general public's
appreciation of physics, astronomy, and allied science fields.
There are 4 categories:
* Journalist: Articles and books
* Scientist: Articles and books
* Children's: Books, articles, or booklets intended for children
  from preschool to 15-years old.
* Broadcast Media: Scripted radio or television programs shorter
  than 15 minutes, and longer than 15 minutes

PRIZES: Winners in each category will receive a $3,000 cash
award, an engraved Windsor chair, and a certificate of


ADDRESS: American Institute of Physics, Media & Government
Relations Division, One Physics Ellipse, College Park,
MD 20740-3843

E-MAIL: fgonzale[at]aip.org
URL: http://www.aip.org/aip/writing/



The Complete Guide to Writing Fantasy, edited by Tom Dullemond
     and Darin Parks

Nebraska Farm Life WWI to WWII, edited by Richard McCall

Parallel Logic: A New Yorker's Move to an Eskimo Village,
     by Elise Sereni Patkotak

The Sacrificial Lamb, by Jack Doepke

Shooting Straight in the Media: A Firearms Guide for Writers,
     by John Rains

Write Industry Reports: Work at Home and Start Earning $5,000 in
Royalties per Month, by Jennie S. Bev

   Find these and more great books at

   Advertise your own book on Writing-World.com:


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