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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

                    http://www.writing-world.com

Issue 3:07          12,500 subscribers             April 3, 2003
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SUBSCRIBE/UNSUBSCRIBE INSTRUCTIONS AT END OF NEWSLETTER
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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.

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                           CONTENTS
=================================================================
         From the Editor's Desk
         News from the World of Writing
         FEATURE: Get It Done -- Now! Your No-Fret, No-Sweat Plan
            by David Taylor
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Defining Worldwide Electronic Rights
            by Moira Allen
         From the Managing Editor's Mind
         WHAT'S NEW at Writing World/Prize Drawings
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK
=================================================================

The Sun's Out!
--------------
I'm going to keep this editorial mercifully short, partly in view
of the fact that last issue's column was extremely LONG -- and
partly because the sun is shining and I'm getting a long-awaited
chance to enjoy my deck again.  Who knows how long this bliss
will last?  March came in with balmy days, and dumped at least an
inch and a half of snow on us last Sunday; on Monday, we went
from sunshine to a genuine "blizzard" (snow was flying
horizontally) back to sunshine in the space of half an hour.  So
I'm not taking the current sunny temperatures for granted!  Time
for some cocoa and a novel.

Speaking of novels, I want to share Peggy Tibbetts' good news!
Our beloved Managing Editor has gotten a book contract!  She
writes,

"I'm delighted to announce that I recently signed a contract with
Zumaya Publications for a 2-book anthology titled, 'The Road to
Weird,' which will include a re-release of 'Carly's Ghost' and
feature my new YA title, 'Harpo Marx is Seeing Things.' As soon
as I have a publication date, I'll let you all know."

Congratulations, Peggy!  May it be the first of many!

Now get out there, all of you, and enjoy the springtime!  In
another month or two, we'll all be complaining about the summer
heat, and remembering with fondness those days of shoveling snow.

                  -- Moira Allen (Moira Allen)

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NEWS FROM THE WORLD OF WRITING
=================================================================

Random House Receives Anthrax Threat
------------------------------------
On Tuesday, April 1, Random House officials received an anthrax
threat, which led to the evacuation of their new office building.
New York City police and fire departments responded, shutting
down the heating and ventilation system to the 24th floor, which
had been specifically targeted by the threat.  According to
Stuart Applebaum, a spokesman for Random House, a "substance" was
tested and the results were negative; additional results are
expected today.  Employees who worked on the 24th flor (the
offices of Bantam Dell) were told to stay home; other Random
House employees were given the option of staying home or
returning to work. Applebaum notes that the threat "struck us as
kind of a pernicious April Fool's Day prank" (the company's older
building received a prank bomb threat after 9/11), but says that
the company is proceeding with "all caution."

Amazon Adds Check Fees, Charges Advantage Vendors
-------------------------------------------------
Beginning in May, small presses and self-publishers who use the
Amazon.com "Advantage" program to sell their books will be
charged an annual fee.  According to Dan Poynter's "Publishing
Poynters" newsletter (http://ParaPub.com), that fee is expected
to be around $49.95.  In addition, Amazon will charge $8 for
check payments to Advantage vendors AND AFFILIATES.  If you're an
Amazon.com affiliate, you probably already received notice that
you would be charged $8 for check payments; there is no charge
for payments by direct electronic transfer.  The fee does not
apply to international affiliates, since such affiliates do not
have the option of electronic transfers.  For Advantage vendors,
Amazon.com will not send a check until one's balance totals more
than $100.

April is National Poetry Month
------------------------------
This year, National Poetry Month will focus on "poetry in your
community." In conjunction with the Academy of American Poets'
(AAP) launch of the National Poetry Map of America on its web
site, a new collection, "Across State Lines: America's 50 States
as Represented in Poetry" (Dover), is being promoted and
distributed free through a partnership with the American Poetry &
Literacy Project. The National Poetry Map includes state-by-state
listings of poetry resources, including journals, publishers,
bookstores with strong poetry sections, festivals, writing
conferences, and programs, in addition to the state's poets and
poems. AAP hosted an April 1 kick off event, "Poetry & the
Creative Mind -- a celebration and exploration of the ways in
which poetry helps shape America's culture by inspiring and
instructing the great individuals to which that culture gives
rise," held at the Julliard Theater at Lincoln Center, New York.
For more information on activities: http://www.poets.org

E-book sales lead off 2003
--------------------------
Electronic books, a new addition to the Association of American
Publishers (AAP) monthly sales report, began 2003 with impressive
numbers, up 1,447.4 percent, according to figures just released
by the AAP. The electronic book segment grew from $211,000 in net
sales in January 2002 to slightly more than $3.3 million in
January 2003, a sign that consumer interest in electronic books
is growing.

Hit movie increases book sales
------------------------------
According to Canada.com, sales are up for books mentioned in
popular movies and television programs. Of particular interest
was Virginia Wolfe's "Mrs. Dalloway," which was prominently
mentioned in the current Academy Award winning movie "The Hours."
In fact, many booksellers are having difficulty keeping the title
in stock. Book publishers have long known that Hollywood mention
of books is a strong bet for increased sales.

Barnes & Noble launches online Book Clubs center
------------------------------------------------
Barnes & Noble.com has launched its Book Clubs center as a way to
offer the book club community new ideas for what to read next.
Each week B&N editors recommend titles for reading groups. The
center includes suggestions from authors, and free printable
reading group discussion guides. It also provides advice on how
to organize, run and maintain a book club, and information about
how to join a group or hold a group meeting at a B&N store. CEO
Marie Toulantis said the center helps readers "navigate through
thousands of great fiction and nonfiction titles to find a book
and print out companion reading guides that are sure to inspire
interesting debate and enhance the book club experience."

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GET IT DONE -- NOW! YOUR NO-FRET, NO-SWEAT PLAN
=================================================================
                          by David Taylor (info[at]peakwriting.com)

[Ed.'s Note: This is Part 3 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 3
teaches you a technique called "block writing" to develop
discipline.]

Here's a technique that can help you develop the discipline to
stay in the harness and get the job done. I call it "block
writing," and it can save you time and help you overcome
self-doubt and procrastination. If you're like me, chances are
you'll need tricks like this one at some point. Here's why.

Other than an empty mailbox, perhaps the most frightening sight
for a freelance writer is the blank page. Its terrors have driven
many of our brethren to strong drink, greatness, or both.
Sometimes I even hate finishing a page because I know another is
waiting, its vastness daring me to fill it with my puny thoughts,
meager vocabulary and -- by the way -- how could I produce
anything worthy of the writers who have gone before me? I used to
make "C's" in high school English! And so goes the constant
babble of recrimination spewed by the monster of self-doubt
lurking behind every blank page, which often becomes a mirror for
our deepest insecurities.

The Monster's Source
--------------------
The source of the monster's power is not merely the risk of
humiliation we take every time we write, when we reveal parts of
ourselves as personal as our underwear. There's also the mystery
of the creative act. Although humans have explored deep space and
the mysteries of DNA, we still know frighteningly little about
creativity except that some of us have more of it than others,
and that if we study our craft and work real hard, maybe, just
maybe, the magic will happen -- but maybe not. It's that
possibility of not measuring up, of Monster Doubt's voice
drowning out our own, that makes some of us write not at all,
others of us write less than we would like, and many of us write
at a lower level than we could if sitting down and doing it were
not so anxiety-ridden, so unpleasant, so frightening.

When I left my job as a teacher of writing in order to freelance
full time, I was forced to deal seriously and quickly with these
issues of self-doubt, procrastination and their effect on my
daily output. I developed a technique I call "block writing" that
helped me overcome three common mistakes that self-doubting
writers make, especially when the writing clock strikes high noon
and it's time to create that crucial first draft.

Mistake 1: Writing too slowly. Ever watch a painter or sculptor
work? They rarely pause after each brushstroke or chisel strike.
But I know writers who cannot pen more than a sentence without
stopping to reread and revise it, as if perfect prose should flow
from them like birdsong and the final product should take shape
sentence by perfect sentence.

Au contraire.

On a first draft, the writer must probe the amorphous cosmos of
thought where words and vision, form and intuition come together.
Taking that inward journey means a commitment to writing in an
uncensored way, and that usually means writing quickly and
without stopping to second guess. By writing quickly, we can
finally silence the critical monitor, the little devil who sits
on our shoulder interrupting the creative process: "Is that the
best word?" "This is probably a dead end." "Will the reviewer
think that's stupid?" The devil gets his turn in the revision and
polishing stages, not now. Writing quickly also gets us in sync
with our internal voice, which gives writing its authenticity and
resonance. The bottom line is that there is a time to create and
a time to evaluate. Although both are legitimate parts of
writing, they are best done at separate times.

Mistake 2: Not distinguishing between fear of failure and
possibility of failure. It amazes me that every time I sit down
to write, I still get that panicky fear in my gut that makes me
want to wash dishes, sharpen pencils and walk the cat -- anything
to procrastinate. I still have to remind myself of the important
difference between the fear of failure and the likelihood of
failure.

Rooted in our insecurities, fear of failure usually has little
connection to its actual possibility. The reality is that if I've
done good research, know the format and market I'm writing in,
and I'm willing to put in the time, then failure is unlikely.
Although I've learned to accept my irrational fear of failure as
a part of my writing personality, even to welcome it because it
makes me try harder and keeps me humble, I've also learned to
trust reality: I recall all the other times I've sat down to
perform this same act and been successful. Why should it be any
different this time? The strong likelihood is, I tell myself, it
won't be.

Mistake 3: Focusing on the final product. While fox hunting and
occasionally teaching writing at the University of Virginia,
William Faulkner talked of the difference between "those who want
to write and those who want only to have written." I think he
meant that we are better off focusing on the challenges of
writing, the potential it offers us for personal artistic growth,
the satisfaction of creating something -- rather than the
by-products of our work, whether ego or money. Books and articles
are mere things. Their completion offers only momentary
fulfillment. In the end they will be read by few, remembered by
fewer. What's left to sustain us? The doing.

Over the years, block writing has taught me the following four
simple but important lessons, without which I don't think I could
make a living doing this:

1. To write, no matter my mood or level of fear.

2. To focus on discrete steps and problems as they arrive in
predictable sequence, not the final outcome.

3. To keep my head down and butt in chair, ignoring the long,
arduous road I must travel to produce final copy.

4. To derive primary satisfaction from the actual process of
creating, not its outcome. While I always hope that the final
product will be one of my best, I know that there will always be
successes and failures and things in between, but the
satisfaction and joy of my craft will never abandon me.

How To Block Write
------------------
To begin block writing you need a timer, preferably with an
alarm, to divide your writing day into 45-minute or one-hour
blocks, each followed by a short break. The goal is simple: to
sit derriere in chair and not get up during that time period.
Eventually, doing this will become automatic. You'll give it no
more thought than you do to brushing your teeth. You just do it
-- without the complaining, the hesitation, the extra push of
will. And when things aren't going well, when the demons of doubt
snarl their loudest, when the writing chair seems a green mile
away -- you'll have a simple ploy: "Well, I guess I could sit
down for at least one block."

* The law of regularity

Tell yourself: "If I sit down for enough writing blocks,
eventually the work WILL get done. All I have to do is show up."
Avoid commitments like, "During each block I will produce two
pages of copy." It doesn't work that way. You never know what's
going to happen once you sit down. You could produce 20 pages or
2 or none at all. Each outcome will have occurred for a
legitimate reason. All you know is this: Spend enough time in the
chair and, eventually, it will get done.

* The need for commitment

Like any regimen, whether a weight-loss diet, exercise program or
good dental hygiene, block writing will work only if you give
yourself to it and play by the rules. That means that no matter
how much you dread writing that day, no matter how unprepared you
feel, no matter how frightened of failure you may be, no matter
how sleepy you are, the simple act of putting your tush in a
chair and starting the timer becomes the most important thing you
can do to ensure your eventual success. It means you are
acquiring a writer's discipline.

* The need for trust

You must know and believe that during each block something will
get done. Even an hour of false starts is important. Sometimes
you have to write stuff you won't use in order to clear the way
for stuff you will, or say things the wrong way in order to find
the right way. But, most of all, you must trust that if you
simply sit down for your time in the harness, block after block,
eventually the work will get done. At the end of each writing
period, you are always one block closer to success.

The Five Benefits of Block Writing
----------------------------------
To understand the benefits of block writing, it's important to
understand why it works. Although imposing artificial structure
on the creative act of writing may seem counterproductive, I
remind you of the formula for classical Greek tragedies, from
Sophocles to Euripides: the fall of a flawed protagonist in a
high position and use of dramatic irony to evoke pity and fear.
Structure and pattern, it seems, have the power to free our
creativity, whether it's the perfection of Oedipus Rex, the
symmetry of a sonnet, or the timed bursts of block writing. With
the structure of block writing come important benefits:

* Benefit 1: Defined limits

For writers plagued by doubt, simply sitting down isn't enough.
Without a tight seat belt, it's too easy to spring back up at the
first itch of doubt, the first wretched paragraph or unyielding
problem. By allowing yourself to arise in frustration, you
reinforce failure -- not success. On the other hand, successful
writers learn to stay in the chair and write through the
problems, to get the work done one way or another. Learning to do
that on a daily basis is, I believe, the defining characteristic
of a professional writer.

* Benefit 2: Artificial pressure

Freelancing on a part-time basis is psychologically more
difficult than full-time. For a full-time writer, the sheer fact
of having to sit down and write every day makes doing it as
normal as going to the loo. Motivation is also important.
Full-time writers have no problem being motivated. No write, no
eat. Simple enough. But as a part-time freelancer with a
full-time paycheck, you have little to lose besides pride
(doesn't that goeth before the fall?). Sometimes we need the
motivation that real-world pressure provides -- whether a
mortgage payment or an editor's deadline. Writing blocks apply a
helpful jolt of pressure that feels familiar, especially to the
procrastinator in us who often depends on outside pressure to
finally get things done.

* Benefit 3: Sharper focus

I used to watch college students make this mistake every day:
"I'm going to the library to study for three hours!" Well
intended, but few students knew how to break long study periods
into effective blocks with specific, achievable goals for each
block. The result was usually sadly predictable -- wasted time
despite honest effort, ending in frustration and disappointment.
But writing is like a construction project, and from foundation
to rooftop we must constantly ask, "What comes next?" Writing
blocks encourage focus on one thing at a time: an effective lead;
a main character's back story; a bridge section between main
points. If the specific goal is achieved in one block, great! If
not, what the heck -- have another block on me.

* Benefit 4: Required rest

How long you can sustain concentration and remain efficient is an
individual call. But one truth applies: going beyond your
productive limit eventually leads to frustration, which can
become its own problem. I have found 45-minute to one-hour blocks
to be the most comfortable work period for me. For you it could
be more, could be less. The key is to be disciplined and to give
up romantic notions of working furiously while in the breathless
grip of inspiration, losing all sense of self and time, emerging
with masterpiece in hand. On some days that may happen; when it
does, feel blessed and know it was possible because you treated
the other 364 days like a job, complete with coffee and chit-chat
(why do you think God gave us email?) during breaks.

* Benefit 5: Concrete goals

Vague dreams lack the juice to sustain us through the tough work
that a writing project requires. "I want to be published!" Fine,
but as a binding contract with yourself that's a little soft
around the edges, exclamation point notwithstanding. Writing
blocks are a series of concrete obligations reinforced by timers,
beeps, up and down movements, specific goals for each block. All
of these things help bind us to the ultimate writing contract: To
write our best, to grow from the challenges we've set for
ourselves, and to be proud that we're doing it -- not merely
dreaming it.

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
http://www.freelancesuccessbook.com

Copyright (c) 2003 by David Taylor

****************************************************************
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THE WRITE SITES
=================================================================

WriteGirl
-------------
Pairs young girls in grades 9-12 with practicing writers through
monthly interactive writing workshops.
    http://www.writegirl.org

Freshwriting.com
----------------
Quality new writing on the web from haiku to daring do.
    http://www.freshwriting.com

Chilling Effects Clearinghouse
------------------------------
Do you know your online rights? Have you received a letter asking
you to remove information from a web site or to stop engaging in
an activity? Are you concerned about liability for information
that someone else posted to your online forum? If so, this site
is for you.
    http://www.chillingeffects.org

Job Sources on the Net
----------------------
A lengthy list of job sites (writing and general), from Writer
Online.
    http://www.writeronline.us/guest/aflalo-12-16-02.htm

WritersWeekly Warnings Reports
------------------------------
We've listed it before, but it's worth listing again; if you have
concerns about a market, check here before proceeding! Lots of
new market listings and warnings.
    http://www.writersweekly.com/warnings/warnings.html

Names
-----
Find yourself or lose yourself in names, presented by Jerry Hill.
    http://anzwers.org/free/jhpn/

*****************************************************************
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THE WRITING DESK
=================================================================
                   by Moira Allen (Moira Allen)

Defining Worldwide Electronic Rights
------------------------------------

Q: I've noticed that in your guidelines you mention that you buy
first "worldwide" electronic rights. Are there any other first
electronic rights possible? I just read an article in a
newsletter in which the writer says that each country has its own
electronic rights. I think this is illogical and incorrect --
since the Internet is common worldwide, can there be editors who
buy such rights?

A: I say "worldwide" just to avoid any sort of confusion.
However, you're right; I can't imagine how you could have any
other kind. Perhaps you could subdivide electronic rights by
LANGUAGE -- for example, there are lots of web sites in other
languages that would only be read by people who speak that
language. So I could say, for example, "first ENGLISH-LANGUAGE
electronic rights," and leave a writer free to sell the same
article to a Japanese site. But language is the only way I could
imagine making a site limited to a particular demographic group
or locality.

I have never heard of anyone actually attempting to buy, or
designate, a geographical set of electronic rights (e.g., "first
British electronic rights" or "first French electronic rights").
As you say, it just wouldn't be feasible. This is why
publications finally began to realize that it made no sense to
apply the term, "First North American Serial Rights" to
electronic publications, as they could not be limited to North
America. (I think, however, you will occasionally find a
publisher who DOES list FNASR in an electronic contract; usually,
that's a person who just hasn't caught on yet.)

Each country may have its own electronic LEGISLATION, or may
attempt to. For example, some European countries, I believe, are
trying to impose VAT tax on Internet transactions (wherever they
originate), while the US still has a moratorium on sales tax on
Internet transactions (although this is applied rather
sporadically). But that's not the same thing as "rights" in the
sense of intellectual property rights.

It could be that the person has seen some sort of contract from a
publication outside the US. I haven't done much business with
non-US electronic publications, so it may be that someone else is
trying to claim that there are "country-specific" e-rights. I
haven't heard anything about it myself, though!

     >>-----------------------------------------------------<<

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:
     http://www.writing-world.com/moira/index.shtml

Copyright (c) 2003 by Moira Allen

*****************************************************************
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FROM THE MANAGING EDITOR'S MIND
=================================================================

As promised, I have more new developments to report on the
Freedom to Read Protection Act, federal legislation that would
remove a threat to the privacy of bookstore and library records
posed by Section 215 of the USA Patriot Act. The bill now has 58
co-sponsors.

According to Congressman Ron Paul (R-TX), "It's going to be
difficult to pass [H.R. 1157] because of the atmosphere and the
fact that we're at war. If you get enough people, say if you got
a thousand people per district -- your congressman will listen."
An urgent, bi-partison effort from the public is the best way to
assure passage of the legislation. Citizens opposed to the
Patriot Act, such as booksellers and librarians, need to inform
their customers and urge them to contact their congresspersons.
Paul said that it's crucial that people do not "fluff off [the
USA Patriot Act] believing it necessary. I think we live in very
dangerous times."

In response to the Patriot Act, some booksellers have chosen to
purge their customer databases, so if law enforcement comes
looking there's nothing to find. However Chuck Robinson, co-owner
of Village Books in Bellingham, Washington, feels the focus on
library and bookstore record keeping is wrong-headed. After all,
compiling customer/patron records is a normal procedure for any
business or institution. Village Books offers a frequent buyer
program that includes a rebate coupon after 15 purchases. The
program is voluntary, and when customers sign up, they are
advised that their purchases will be tracked. Robinson strongly
suggests a better way to respond: "The proper place to address
this issue is in Congress. All booksellers should contact their
representatives in Congress and urge them to support FRPA, and
they should encourage their customers to do the same."

Well there you have it, two good reasons to call or write your
congressperson today.

For a complete list of sponsors:

Freedom to Read Protection Act Now Has 58 Co-Sponsors
http://news.bookweb.org/1280.html

For more information:

Freedom to Read Protection Act of 2003 (HR 1157)
   http://www.fas.org/irp/congress/2003_cr/hr1157.html

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

*****************************************************************
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WHAT'S NEW AT WRITING-WORLD.COM
=================================================================

APRIL COLUMNS
-------------
Advice from a Caterpillar, by Peggy Tibbetts
When to send a requested manuscript; whether to use real place
names; finding Christian publishers.
     http://www.writing-world.com/caterpillar/cat27.shtml

Imagination's Edge: Writing SF and Fantasy, by Paula Fleming
Dialog: When Space Bugz Speakie Funnie and Other Problems
     http://www.writing-world.com/sf/edge/edge09.shtml

The Screening Room, by Laura Brennan
Turning a Novel into a Screenplay
     http://www.writing-world.com/screen/screen06.shtml

Self-Publishing Success, by Brian Jud
Forecasting: Minding Your Own Business
     http://www.writing-world.com/jud/jud17.shtml


NEW ARTICLES:
-------------
Fighting Writer's Block, Part II: Seven "Blockbusters",
by David Taylor
     http://www.writing-world.com/basics/block2.shtml

The Nuts and Bolts of an Author Website, by Chris Gavaler
     http://www.writing-world.com/promotion/gavaler.shtml

Why Libraries Still Matter, by Ellen Metter
     http://www.writing-world.com/basics/libraries.shtml

*****************************************************************

MARKET ROUNDUP
=================================================================

CHICKEN SOUP FOR THE MUSIC LOVERS SOUL
Gail Swanson, Eve Hogan, Cris Sommers-Simmons, Co-authors
PO Box 613, Puunene, HI 96784
EMAIL: MusicLoversSoul[at]aol.com
URL: http://www.musicloverssoul.com

Go to the bookstore or library and read Chicken Soup stories
before you begin! Remember, you are submitting material to an
international best-seller book series so please take time to do a
little research before you write your story.  We want your
story to be accepted into the book. We can't stress this enough
as we are getting a lot of submissions that just are not
appropriate for this book series. Reading a chicken soup book
will give you the feel of what we are looking for. There are
example stories from each current book on the web site. Also,
study the "Ten ingredients to help you write a great story."

LENGTH: 300-1,200 words
PAYMENT: $300
RIGHTS: Author retains rights
REPRINTS: Yes
SUBMISSIONS: Submit via email. Attach as a Word document, include
all contact information at the bottom of your story (name,
address, phone, email). Title your story.
GUIDELINES: http://www.musicloverssoul.com

     >>-----------------------------------------------------<<

DAIKAIJU ANTHOLOGY
Robert Hood and Robin Pen, Editors
Agog! Press, Daikaiju Anthology, PO Box U302, University of
Wollongong, NSW 2522, Australia
EMAIL: daikaiju[at]roberthood.net
URL: http://www.roberthood.net/daikaiju-antho/

This anthology will be a collection of original "daikaiju"
stories -- tales of giant monsters and vastly oversized creatures
whose form, function and meaning are limited only by the author's
imagination (and certain copyright considerations). Note: Under
no circumstances can we include stories which feature Godzilla,
Gamera, Mothra, Anguilas, King Ghidorah, Gorgo, King Kong or any
other copyrighted character. Your characters, whether monstrous,
human or alien, must be original, though allusive reference to
famous daikaiju may be acceptable depending upon the context.
Please see our web site for more extensive guidelines.

DEADLINE: November 30, 2004
LENGTH: 12,000 words or less
PAYMENT: $30
RIGHTS: First publication rights
REPRINTS: No
SUBMISSIONS: Standard manuscript format; e-mail for electronic
submission guidelines.
GUIDELINES: http://www.roberthood.net/daikaiju-antho/

     >>-----------------------------------------------------<<

CALL FOR SUBMISSIONS: RUNES MAGAZINE
Teron Publishing, 311 Broadway, Bangor, ME 04401
EMAIL: Submit[at]Runesmagazine.com
URL: http://www.runesmagazine.com

Runes Magazine is a new print publication scheduled to launch in
June.  "The magazine will feature short stories, Illustrations,
game, book, and movie reviews, pen and paper adventures,
cartoons, and more.  Eventually when subscriptions reach our
projected levels we would like to take on some full and part time
talent."  Rune is looking for the following materials:

Short stories (3000-10,000 words) - $100
Game, book, movie reviews (1000 words) - $30
Pen and Paper Adventures - $40
Articles (on fantasy subjects, e.g., online gaming) - $100
Cartoons (1-12 frames) - $40
Illustrations - $200 cover, $100 inside, $50 half-page or less

LENGTH: See above
PAYMENT: See above
RIGHTS: Not specified
REPRINTS: Not specified
SUBMISSIONS: By e-mail or surface mail
GUIDELINES: http://www.runesmagazine.com/Our_Service.html

     >>-----------------------------------------------------<<

"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"
      http://www.writing-world.com/rights/rights.shtml

Please send Market News to peggyt[at]siltnet.net

*****************************************************************

WRITING CONTESTS
=================================================================
This section lists contests that charge no entry fees.  Send new
contest information to Jose Aniceto (jeb_aniceto[at]mail2me.com.au).
For more contests, check our online contests section.
      http://www.writing-world.com/contests/index.shtml

     >>-----------------------------------------------------<<

               Trail Days Writing Contest

DEADLINE: Email entries: April 24, 2003
Mail entries: April 17, 2003
GENRE: Essay & Poetry
OPEN TO: 18 and older
LENGTH: Essay: 10 pages or less; Poetry: 20 lines or less

THEME: Do you like to hike? Do you like to write? Trail Days (May
10-18, 2003) is an annual festival in Damascus, Virginia, that
draws thousands of hikers and bikers from across the country and
around the world. The Washington County Public Library, in
collaboration with its Damascus Branch, is proud to sponsor a
writing contest that celebrates our natural and literary
heritage. This year's contest has expanded to include two
categories: poetry and essay. Entries must relate to hiking on
the Appalachian Trail or in the Appalachian region. Winning
entries will be read publicly during Trail Days and will be
posted on the Washington County Public Library webpage. Serious
trekkers or casual traipsers, if you write essays or poetry, send
us your best!

PRIZES: In each category: 1st Prize: $150; 2nd Prize: $100;
3rd Prize: $50

ELECTRONIC ENTRY: Yes, by email text or attachment. The first
information in the submission should be your name, address,
phone number, email address, and fax number. Submit in Microsoft
Word or text format.

ADDRESS: Trail Days Writing Contest, Washington County Public
Library, 205 Oak Hill Street, Abingdon, VA  24210

EMAIL: jcromer[at]wcpl.net
URL: http://www.wcpl.net/trail/default.htm

     >>-----------------------------------------------------<<

                 CBA Short Story Competition

DEADLINE: May 1, 2003
GENRE: Short story
OPEN TO: Commonwealth citizens
LENGTH: 600 words

THEME: The aim is to promote the Commonwealth through
broadcasting high quality short stories submitted by Commonwealth
writers. The competition is administered by the Commonwealth
Broadcasting Association with funding from the Commonwealth
Foundation. The stories may have any theme or subject, and shall
be original and should not have been previously published
anywhere. All entries must be in English.

PRIZE: 1st Prize: 2,000

ELECTRONIC ENTRY: Yes, include the words "Short Story" in the
subject line. Please send your story as email text, no
attachments.

ADDRESS: The CBA, 17 Fleet Street, London EC4Y 1AA

EMAIL: story[at]cba.org.uk
URL: http://www.cba.org.uk/shortstory2003.htm

*****************************************************************

New Listings on THE AUTHOR'S BOOKSHELF:
---------------------------------------

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,
    by Sue Carol Nussbaum

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

   Find these and more great books at
      http://www.writing-world.com/books/index.html

   Advertise your own book on Writing-World.com:
      http://www.writing-world.com/books/listyours.html

*****************************************************************

ADVERTISE in WRITING WORLD or on WRITING-WORLD.COM!  For details
on how to reach 80,000 writers a month with your product, service
or book title, visit
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Writing World is a publication of Writing-World.com
http://www.writing-world.com

Editor/Publisher: MOIRA ALLEN (Moira Allen)
Managing Editor: PEGGY TIBBETTS (peggyt[at]siltnet.net)
Web Associate/Contests Manager: JOSE ANICETO
     (jeb_aniceto[at]mail2me.com.au)
Researcher: JUDY GRIGGS

Copyright 2003 Moira Allen
Individual articles copyrighted by their authors.

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