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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 3:05          12,700 subscribers              March 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
         News from the World of Writing
         FEATURE: Writer's Block: The Four Real Causes
             by David Taylor
         The Write Sites - Online Resources for Writers
         WRITING DESK: One-time Rights and "Sneaky" Editors
             by Moira Allen
         JUST FOR FUN: Nine Ways to Cope with Rejection Letters
             by Jim C. Hines
         From the Managing Editor's Mind
         WHAT'S NEW at Writing World/Prize Drawings
         MARKET ROUNDUP/Writing Contests

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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

What's That Bright Stuff?
It took me a few minutes to identify that unfamiliar yellow stuff
coming from the direction of the sky: Oh, right! Sunshine! It's
even been balmy enough to sit on the deck, if I can make my way
around the slowly receding snow-bank.  The cats have been playing
tag with the squirrels (who show little fear of our 20-pound
black puss trying to "hide" behind a step), and in the garden,
the first tips of bulbs are peeking above the soil.  The optimist
in me says that spring may be coming at last; the pessimist keeps
whispering phrases like "When March comes in like a lamb..."

Murder Ink Wins Award
It's no mystery to me why Stephen Rogers' column, Murder Ink, won
a 2002 "Reader's Poll" Award from Prededitors & Editors!  But if
you're not sure why it happened, go check out his latest column
for at http://www.writing-world.com/mystery/murder08.html

Speaking of Columns and Content...
Several readers have asked whether it would be possible to offer
our online content by e-mail as well.  While the information is
available for free on the site, many folks (myself included)
prefer the convenience of getting that information by e-mail
rather than having to visit the site itself.  Thus, the idea
struck me as intriguing, so I thought I'd conduct an informal
market survey.

How many of you would be interested in receiving an e-mail
newsletter featuring the columns and articles that are normally
posted only online?  There would be a small fee for such a
newsletter, to compensate for the extra work involved in putting
together the newsletter and maintaining a mailing list (or lists)
for it.  I'm considering offering the following options:

1) Subscriptions to individual columns (i.e., sign up only for
the column or columns that interest you)

2) Subscriptions to a monthly newsletter featuring the "new
articles" posted on the site during the month (usually between
five and seven articles per month)

3) Subscriptions to a bimonthly newsletter covering ALL new
content posted that month -- columns AND articles

If you would be interested in one of these options, please send
me an e-mail with "Newsletter" in the subject heading and let me
know the following:

A) Which option (or options) you would prefer

B) What fee you would consider reasonable for such a publication

Providing this information does NOT obligate you to subscribe. As
I said, this is just an informal market survey; my goal at the
moment is to determine whether there would be sufficient interest
to proceed with such a publication (or publications).  If you're
not familiar with our columns and regular articles, check out our
"What's New" section (below) for more details, and determine
whether you'd like to have this content "delivered."

                         -- Moira Allen (Moira Allen)

THE WRITER'S HANDBOOK 2003. This definitive career resource for
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Creative Journeys Writing Workshops bring women together to honor
their creativity and spiritual nature through writing.  Workshops
in Arizona, Michigan, Oregon Coast, Mexico.  For details, visit
http://www.creativejourneys.net - gail[at]creativejourneys.net


We've extended the deadline for our spring semester!

Friday, March 7 is your last chance to sign up for these exciting
classes. Each class link below will take you to a page where you
can enroll via PayPal, and each page also has a link to a
downloadable "check payment form" if you would prefer to send a
check or money order.


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)

Our team of professional editors -- including a Pulitzer Prize
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National literacy campaign launched on Dr. Seuss's birthday
In honor of Dr. Suess's birthday on March 2, Random House
Children's Books, in partnership with First Book and the National
Education Association (NEA), launched a national literacy
campaign dedicated to providing children from low-income families
with new books. The campaign is taking place in conjunction with
the NEA's Read Across America celebration. For every two Dr.
Seuss books purchased from now until March 31, 2003, Random House
will make a book donation to a child in need, and is committed to
donating a minimum of 500,000 new books to First Book National
Book Bank through this program.

Vermont bookseller deletes customer records
Reacting to the 2001 Patriot Act, Vermont's Bear Pond Books has
deleted purchase records for members of its readers' club, and
will do so for other customers on request. According to co-owner
Michael Katzenberg, "When the CIA comes and asks what you've read
because they're suspicious of you, we can't tell them because we
don't have it. That's just a basic right, to be able to read what
you want without fear that somebody is looking over your shoulder
to see what you're reading."

Publishers cashing in on classics
Selling the classics is one of the few areas of growth in the
stagnant publishing business. Retailers say sales of the classics
have risen because of reading groups and an aging population.
Many editions include reading group guides. Imprints like Penguin
Classics, the market leader, as well as Modern Library and Bantam
Classics, two units of Bertelsmann, depend on the release of
literary works into the public domain. The biggest change has
come from Congress. The 1998 Copyright Extension Act sharply
limited the works that were scheduled to fall into the public
domain. The legislation ensured publishers' continuing exclusive
rights to modern classics like "The Great Gatsby" and "Mrs.
Dalloway," both first published in 1925. According to Modern
Library's publishing director, David Ebershoff: "The first thing
you'd do in classics publishing was keep a list -- a rolling
schedule of what was going into the public domain. That was item
No. 1. Now it's not only not item No. 1; it's not an item."

E-dictionaries go multimedia
Students of foreign languages can let go of bulky dictionaries in
favor of lightweight hand-held e-dictionaries. The focal point of
this not-so-new technology is a memory chip that can store
hundreds of bits of data. Aonepro Tech Co., a leading
manufacturer of hand-held e-dictionaries, is offering multiple
language formats in its latest models. "In the past,
English-Korean and Korean-English dictionaries in an electronic
format for a portable device were enough, but the trend is now
fast changing in a way that favors multi-lingual and multimedia
solutions," said Aonepro chief executive Kim Nam-joong.

Microsoft moves ahead with DRM technology
Microsoft Corp. plans to integrate digital rights management
(DRM) technology across its entire product lines. Windows Rights
Management Services (WRMS), a new technology for Windows Server
2003, will help secure internal business information including
financial reports and confidential documents. DRM technology
enables content creators, such as record companies, to encrypt
content and define who can decrypt it and how they can use it.
Microsoft is counting on increasing adoption of the technology to
help drive demand for its products. Last October, Microsoft paid
$7 million for US and foreign rights to a number of DRM patents
held by Liquid Audio Inc., thereby strengthening their DRM

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                         by David Taylor (info[at]peakwriting.com)

[Ed.'s Note: This is the first part of a four-part series that
examines the creative act of writing and offers valuable
techniques for increasing our productivity as writers. The
series, excerpted from David Taylor's new "The Freelance Success
Book," also encourages every writer to take a close look at the
details of their writing process and their motives for writing.
Part One offers a unique take on the most dreaded of writing
afflictions: writer's block.]

I don't believe in writer's block. It's like "dyslexia" and
"backache" -- terms so general as to be almost useless when it
comes to trying to help someone. A dyslexic can have problems
with short-term memory or visual discrimination. A backache can
be either muscle or nerve related -- or both. The first thing a
doctor has to do is get past the wastebasket terms and find out
what's really going on. Same with "writer's block." Here's what I
do believe: The persistent inability to begin or finish writing
projects has at least four origins, all of which are remediable.

Cause 1: Writers are sometimes not ready to write
Perhaps the hardest thing about writing is not knowing what to
write. This condition accounts for most instances of writer's
block as I've come to understand it. The key to knowing what to
write is knowing the format of the thing you're writing.

Imagine trying to make a chair without any concept of what one
looks like or what its purpose is. Yet everyday I work with
writers attempting to do just that: to create a how-to article,
novel, short story, essay, business letter, or even screenplay
without knowing it has a seat, legs and back designed to support
the weight placed on it.

I'm not talking about formula writing. A formula is used to
produce identical items in quantity, whether that's rubber
duckies or romance novels. I'm talking about form: the underlying
structure that gives shape to writing in the same way that a
glass gives shape to the water it holds.

Many experts tell you to "research and plan thoroughly." Good
advice. But often the real problem occurs prior to researching or
planning/outlining. That problem is: Not knowing the underlying
pattern for the kind of thing you're about to write. Without that
pattern (also called a "template"), the writing problem may
present itself as a lack of research or planning, but those are
merely symptoms of something else.

For students, not being ready to write can mean: not knowing how
to decode the writing assignment and identify an appropriate
template that will supply what the teacher wants; or not knowing
how to write a controlling statement that predicts the chosen
pattern. During my 15 years of teaching college writing, almost
without exception, once I helped a student to understand the
underlying pattern of what the teacher wanted and we came up with
a solid controlling idea that fit the pattern, the student was
miraculously "cured."

Applying this same analysis to freelance writers, "not being
ready to write" can mean: not knowing the project's format well
enough, whether a roundup article, profile piece, advertising
slim jim, or infomercial TV script; or not knowing how that
format is being adapted to the target magazine or outlet.

Now, before you start lifting nostrils into air upon reading the
word "form" or "template" in connection with your writing, recall
Shakespeare's sonnets: 14 lines of rhymed iambic pentameter. Bill
wrote some pretty good stuff within that rigid form. All writing
has patterns, even post-modern "plotless stories." It's what you
put in the pattern that counts.

Cause 2: Writers are sometimes afraid to write
The fear of writing can come from as many places as there are
individual neuroses. Here's a general list that applies to most
of us low-grade neurotics:

* Favorite writers sitting on the shoulder saying you'll never
write like them. And they're right. By definition, you'll never
write like Faulkner, Woolf, Bellow, or Beattie. They are them,
you are you. And you should never try to write like them, unless
it's an exercise. You have to write your own stories in your own
voice. They did their thing, now it's time to do yours.

* Confusing the fear of failure with the likelihood of failure.
When we sit down in front of the blank page, we often have an
irrational fear of not being able to duplicate our successful
writing efforts of the past. And that's silly, because our prior
success was gained through skill and work, not magic or luck.
Your skills haven't gone anywhere. All you need to do is put in
your normal time and effort.

* Being confused and humiliated by poor teachers who are
themselves poor writers. This used to drive me nuts when I was
teaching. My most important work was salvaging egos and undoing
the harm these teachers had done and myths they had promulgated.
Not intentionally. But when nonwriters try to teach writing, it
can get pretty ugly.

Cause 3: Writers often try to compose in their heads
Headwriters fail to distinguish between editing and composing.
They try to come up with the right thought and its correct
expression at the same time in their heads. Ouch. There is a time
to create and a time to evaluate. Both are legitimate parts of
writing, but they are best done at separate times. Otherwise, the
normal writing process becomes an exercise in task overload and

What is the normal writing process? Individuals differ, thank
goodness, but generally writers go through the following stages,
sometimes looping back to them as the work moves toward its final

1. Prewriting: This is everything you do before you sit down to
write: read, surf the web, take notes, talk it over with others,
do interviews, daydream about it, scribble on napkins, whatever.
The subject, slant and materials are being stuffed into your mind
and tumbled together.

2. Planning: Sitting down and making a list, drawing a schematic,
writing a summary or treatment, maybe even the dreaded outline.
"Speed zero drafts" fit in this stage when used to explore
possible structures.

3. Composing: Your attempt to match thought with words as you
explore the soft underbelly of thought, and try to use writing to
discover what you really think and feel. Initial drafts should be
seen as experimental works, written quickly and considered
disposable -- in whole or part.

4. Editing: This is where the shaping begins. You shape the
work's overall structure, its paragraphs and its sentences so
that they form a unified whole and march toward the effect you
want them to have. You delete stuff, add stuff, move stuff
around. You fret over sentences and the nuances of individual
words. You make it sing.

5. Proofing: OK, time for the grammar police. Pull out the
dictionary and style book. Apply polish to your punctuation. Make
it shine.

I hope you took time to read about each of those steps. If you
did, you couldn't help but notice how very different and even
conflicting they are. How on earth can you "explore the soft
underbelly of thought" and worry about the grammar police at the
same time? If you're trying to do so, review your ingrained
writing process with an eye to separating writing tasks that
should be kept discrete.

Make no mistake about it: Changing your writing habits will be
hard and will require discipline. Things might even get worse
before they get better. But, man, is the change worth it.

Cause 4: Writers often start in the wrong place
We know how important the first paragraph is when someone
evaluates our work. Yet it's often difficult to write a final
version of this crucial paragraph until the rest of the piece is
done or close to it. That's because the first paragraph must set
the stage with just enough suggestion without giving it all away.
It must set the tone for the entire piece and compel the reader
to continue on.

Sure, it's imperative to get the first paragraph just right. And,
I promise, you'll have plenty of time to do so. But instead of
sitting with pencil or fingernail stuck in your mouth, trying to
write the first paragraph before anything else is written, maybe
you could just start somewhere else. Anywhere will do. If you're
stuck on the first paragraph, bag it. Write down, "First
paragraph goes here," leave a space, then write "Second
Paragraph" and start there. Be prepared to skip over anything
that tries to keep you stuck. Save that part until later. The
answer will likely become obvious later on when you've done more
writing and know more about the thing you're creating. Or, at the
very least, write a first paragraph and be prepared to throw it
away or substantially revise it. Again, approach writing in
stages, not under the gun to produce a polished first draft.

Confession: There are times when I spend more time writing the
first paragraph than any other part of the piece. Writers who do
this are, I think, actually using the first paragraph as a time
to think through the piece they are about to write. The
inordinate amount of time spent there isn't wasted if you're
productively working out a slant, tone, and organizational
structure. Just be conscious that this is your method and don't
get so frustrated that you end up "blocked."

Excerpted from "The Freelance Success Book" (2003).


David Taylor served as an executive editor for nine years at
Rodale Press, where he worked on magazines such as Prevention,
Men's Health, Runner's World and Scuba Diving. Prior to Rodale he
was a professor of English and journalism.  Find out more about
his new book, "The Freelance Success Book," at

Copyright (c) 2003 by David Taylor

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Links to SF People
A long list of speculative fiction author web sites.

Creators Federation
A new organization "that will strengthen bonds between all
creators' organizations and expand the rights of creators
throughout the nation."

Canadian job search site.

Horror Web
New site covering horror writing, movies, games, and "lots of
other fun stuff."

Links to world newspapers, current and "hot" topics, and more --
great for finding news items.

Sites and Magazines that Publish Teens' Short Stories
If you're a young writer looking for markets, check this page.

"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 Moira Allen (Moira Allen)

One-time Rights and "Sneaky" Editors

Q: If I sold one-time rights to a paper for my article, can I
sell it again for second rights to a different market? Do I need
permission from the original editor? Also, I emailed this article
to an editor, who said she really liked it, but never let me know
whether she was going to use it. I found out it was published
because a reader called to tell me how much she liked the
article. I was surprised that the editor did this -- but was I
supposed to tell her right away (when I emailed the ms) what
rights I was offering and what I expected for payment? Normally I
do this once the editor has accepted my story. Was the editor
being sneaky?

A: If you only sold one-time rights to the article to begin with,
you can sell one-time rights (or second serial or reprint rights)
to the article wherever you like without asking the first
editor's permission.  "One-time" means that the editor has no
exclusive rights to the piece.

Yes, the editor was indeed being sneaky. The editor did NOT have
a right to use your article until an actual agreement was made
between you. Since she had not formally "accepted" it (but had
told you that she was still reviewing it), there was no reason
for you to assume that a discussion of rights and payment should
have ensued at that point.  You were right to have waited until
the editor actually said that she WANTED the piece (which she

Do you know what the going rate at this newspaper is? If so, I
would recommend that you simply invoice the editor for that rate,
and note on the invoice that it is for "one-time rights" to the
piece published. Include the title of the article and the date on
which it was actually published.

If you don't know what the rate is, you can either set a fee of
your own, based on the size of the newspaper (if it's a small
paper, $25 would probably be the top fee), or you can call the
editor and discuss the matter. If you call, be polite; thank her
for accepting the piece and ask when you can expect payment. Keep
in mind that she CANNOT attempt to impose a contract upon you
that takes more rights than you want to sell AFTER having already
run the piece (without your permission!). Her use of the article
constitutes an "understood" use of, at most, First North American
Serial Rights, but I think specifying that you are only providing
one-time rights would be appropriate.

Using a piece WITHOUT clearing it with the author first, and
establishing the terms, is definitely not ethical.


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) 2003 by Moira Allen

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

JUST FOR FUN: Nine Ways to Cope with Rejection Letters
                   by Jim C. Hines (jchines[at]sff.net)

9. Chocolate, chocolate, chocolate!

8. Make voodoo dolls representing all of your favorite editors.

7. Make voodoo dolls representing the disgustingly talented
friend who actually sold to the aforementioned editors -- on his
first attempt.

6. Write short humor lists to distract you from the latest batch
of rejections.

5. Read an inspiring book that talks about how Ursula LeGuin or
other Big Name Author was rejected.

4. Throw book across the room upon remembering you're not a Big
Name Author -- yet.

3. Read recent magazines/anthologies to assure yourself that your
short fiction is better than most of this junk.

2. Throw magazine/anthology across the room upon remembering the
editor of said magazine/anthology still refuses to buy your junk.

1. Write more stories. Mail them to editors. Repeat until you
become Ursula LeGuin.


Jim C. Hines' first novel, "Goldfish Dreams" will be released in
May 2003. Goldfish Dreams Newsletter provides monthly updates and
information about the novel-publishing process. Visit his web
site at: http://www.sff.net/people/jchines/

Copyright (c) 2003 by Jim C. Hines

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,
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If you think copyright is complex, try to get your mind around
the issue of fair use. The framers of the Constitution never
mentioned it. However, Congress adopted a fair use statute in
order to balance exclusive copyright ownership with the people's
right to access information.

What determines fair use? The Copyright Act states: "the purpose
and character of the use, including whether such use is of a
commercial nature or is for nonprofit educational purposes; the
nature of the copyrighted work; the amount and substantiality of
the portion used in relation to the copyrighted work as a whole;
and the effect of the use upon the potential market for or value
of the copyrighted work."

In cases where copyright infringement is asserted by the
plaintiff, and fair use is declared by the defendant, the court
must consider those factors. But, if the copyright owner wants
the user to pay a fee, he simply has to show the court how the
fee can be paid, allowing for a decision against fair use. As a
result, when a writer first seeks permission to use a portion of
copyrighted material in his own work, the publisher will often
charge a fee. Writers seeking permission for fair use are usually
advised to pay the fee to avoid a court challenge by the
publisher. When courts decide on behalf of copyright owners in
cases where fair use would normally apply, they are in essence
granting unlimited exclusive rights, which is not in the true
spirit of the Copyright Act.

When publishers charge permission fees for fair use, and courts
allow them, the emphasis is on money and it furthers the
misconception that copyright is intended to protect authors from
those who would steal their works. Again, the framers of the
Constitution intended for copyright to "promote the progress of

For more information:

Understanding Fair Use, by John Savage, Esq.

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 UK market directories; finding an illustrator; finding a
publisher for Wiccan coloring books.

Ask an Agent! by Natalie Collins
Interview with Jenny Bent

Murder Ink, by Stephen Rogers
Conflict and Complication
     Winner of the 2002 Prededitors & Editors Reader Poll!

Press Kit, by Debbie Ridpath Ohi
Promotion Through E-mail Signatures

Romancing the Keyboard, by Anne Marble
Romance Cliches to Avoid -- or Reconstruct

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

Writing and Marketing Erotica, by Catherine Lundoff

Looking for Work as a Scientific Communicator, by Geoff Hart

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

(This drawing is being held open through March because of a
glitch in our drawing system that made it impossible to enter in

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


Nancy Holder, Editor
TripleTree Publishing, PO Box 5684, Eugene, OR 97405
URL: http://www.tripletreepub.com/mota.htm

It is our intention to publish an extraordinary annual anthology
of fiction, devoted to the challenging issues of our times. We
encourage you to put voice to your Integrity in our third edition.

DEADLINE: November 1, 2003
LENGTH: 6,000 words maximum
RIGHTS: One time, non-exclusive rights
SUBMISSIONS: By mail only. Mark submission envelope MOTA.
GUIDELINES: http://www.tripletreepub.com/mota.htm


Don Muchow, Editor
EMAIL: editor[at]wouldthatitwere.com
URL: http://www.wouldthatitwere.com

Would That It Were is an Internet magazine of historical science
fiction. Stories submitted must contain an element of science and
a tie to the 18th or early 19th century, or an arguable tie to a
historical period clearly in the Industrial Age. We've expanded
the format to include gothic, neo-Lovecraftian fiction with loose
ties to SF and the historical angle. We've included Alternate
History and SteamPunk, which are William Gibson-like stories set
in the 1800's and early 1900's, along with the usual
Vernean/Wellsian material. We accept short stories, poetry, and
art. Please review the submission guidelines on the web site.

LENGTH: From flash fiction (500 words or less) through novelettes
(over 10K by special arrangement)
PAYMENT: Flash fiction 5-10 cents/word to $50; Short-shorts 3-5
cents to $150; Short stories 3-5 cents to $250; Longer stories
2-3 cents to $300 (rare); Novelettes 1-2 cents/word
RIGHTS: First Internet rights (sometimes nonexclusive) plus
archival rights.
SUBMISSIONS: E-mail only, as text, RTF, MSWord, WordPerfect or
Works attachment. Subject line must include Author, title, word
count; do not put "Submission" in title.
GUIDELINES: http://www.wouldthatitwere.com/guidelines.html


Allison Gappa Bottke, President
The God Allows U-Turns Project, PO Box 717, Faribault,
MN 55021-0717
EMAIL: editor[at]godallowsuturns.com
URL: http://www.godallowsuturns.com

Christian inspirational book series. Each book in the series will
contain approximately one hundred uplifting, encouraging and
inspirational true short stories written by contributors from all
over the world. Multiple volumes are planned, to be released 1-2
per year, spring and fall. 100% freelance. Open to well-written,
personal inspirational pieces showing how faith in God can
inspire, encourage and heal. Hope should prevail. Human-interest
stories with a spiritual application, affirming ways in which
faith is expressed in daily life. These true stories MUST touch
the emotions. Our contributors are a diverse group with no limits
on age or denomination.

LENGTH: 500-1,500 words
PAYMENT: $50 honorarium and copy of the book
RIGHTS: One time and reprint rights
SUBMISSIONS: Use online submission form:
Or submit on PC disk by mail, Attn: Editor
GUIDELINES: http://www.godallowsuturns.com/writerguide.htm


"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).


                   Wergle Flomp Poetry Contest

DEADLINE: April 1, 2003
GENRE: Humor poetry
LENGTH: No word limit

THEME: Find a vanity poetry contest, a contest whose main purpose
is to appeal to poets' egos and get them to buy expensive
products like anthologies, chapbooks, CDs, plaques, and silver
bowls. Vanity contests accept nearly all poems, no matter how
bad, in their effort to sell as much stuff to as many people as
possible. Make up a deliberately absurd, crazy, laugh-out-loud
parody poem that pokes fun at vanity contests and what they do.
Submit your parody poem to a vanity contest as a joke. After
you're done, submit your parody poem to us, and tell us which
vanity contest you sent it to as a joke.

PRIZE: $817.70

ELECTRONIC ENTRY: Yes, use online entry form

EMAIL: flompcontest[at]winningwriters.com
URL: http://www.winningwriters.com/contestflomp.htm


                        Foley Poetry Award

DEADLINE: April 18, 2003
GENRE: Poetry
LENGTH: 30 lines or less

THEME: America, the National Catholic Weekly, sponsors the annual
contest in honor of William T. Foley, M.D. Submit only one poem.
No poems will be returned. Only typed, unpublished poems not
under consideration elsewhere will be considered. The winning
poem will be announced on the web site in early June and
published in the issue of America. The envelope containing the
poem for consideration must have "The Foley Poetry Award" clearly

PRIZE: $1,000


ADDRESS: Foley Poetry Contest, America, 106 West 56th Street,
New York, NY 10019-3803

URL: http://www.americamagazine.org/poetry.cfm



Creeton, by Boyd London

Crossing Kansas, by Diane Leatherman

The Freelance Success Book, by David Taylor

Learn the Elements of Fiction and Write Your Novel,
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Life as a POW, by Diana Saenger

Make Money Writing for Medical Trade and Health Publications,
   by Laura Gater

Rate Your Mate, by Donna Kordela and Anne M. Duquette

Rebecca, a Maryland Farm Girl, by Diane Leatherman

Secrets of a Successful Freelancer, by Nancy Hendrickson

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Copyright 2003 Moira Allen
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