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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 3:20          12,500 subscribers            October 2, 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: A Writer in Motion: Newtonian Laws for the
            Modern Author, by Jim C. Hines
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Lost in the Novel Synopsis Twilight Zone
            by Moira Allen
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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Get your copy with any contribution of $5 or more to Writing-
World.com (normally sells for $6.95).  Contributions accepted via
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PayPal; for more details about this info-packed e-book, visit


                     FROM THE EDITOR'S DESK

I'm upgrading computer systems and have the following for sale:

* Apple G4 12-inch laptop, BRAND NEW, 0SX with 9.2 "classic",
  Combo DVD/CD-R/W drive, 40GB, 256MH, $1500

* Dell Pentium 8200 with Windows ME and XP, EXCELLENT CONDITION,
  $650; monitor, keyboard and printer available for extra $50

* Lexmark Z705 and Z65 printers, $35 each

Contact Moira Allen for details; reasonable
offers will be considered!  (Prices include shipping.)

The Market Guides are a "go" -- but I have bitten off more than
I can chew.  With everything else on my plate, they're more of a
"stop and go" -- so I'm looking for HELP!

I'm looking for five or six people to assist with some of the
basic preliminary formatting of the guides.  This is mainly a
matter of getting all the right information into the right places
in the templates; no editing required, just a lot of cutting and
pasting.  Each guide requires between 5-10 hours of work.  I'm
offering a compensation package with a total value of $100,

* $50 cash

* A complete set of guides (worth $25)

* A copy of my new book, "Starting Your Career as a Freelance
  Writer" (signed; worth $19.95)

*1500 Online Resources for Writers (worth $5)

I'm hoping to get this part of the task finished over the next
two weeks, so please contact me ONLY if you'll be available in
that time-frame.  If you'd like to help out with the guides, drop
me an e-mail!

Hmm, a computers-for-sale ad and a help-wanted ad...  OK, I'll
grant that this isn't much of an editorial!  Actually, my
original intent was to use this space to rant about the
Seattle/King County Library's decision to move its annual
booksale online -- to Amazon.com.  Instead of offering its
patrons bags of books for $10, it's now charging anywhere from $8
to $16 per book -- not exactly what most of us call a "bargain"
for used books!  Its sale page offers a whopping 640 pages of
books -- not exactly an easy "browse!"

On the other hand, if the primary purpose of a library booksale
is to raise funds, it's hard to argue with success:  Apparently
this sale has already brought in over $43,000.  Some of that will
go to the organization that is handling the actual sale; most,
however, will presumably go to the library.

If the purpose of a library booksale is just about raising money,
then more power to them.  But I can't help but think that a
booksale is about more than just money.  It's about the people
who visit the library, who look forward each year to the chance
of bringing home a bag (or two) of treasures they might not find
anywhere else -- and who look forward to being able to contribute
to their library at the same time.  Booksales are an opportunity
for readers to discover new authors (whom they may then start
buying "new").  When I visit a booksale, I also see parents
buying bagfuls of books for their children -- which surely
contributes both to literacy and to creativity.

Many of the library patrons were extremely disappointed to find
their traditional sale cancelled -- but their dismay didn't seem
to count for much with the library administration.  "I imagine
they will miss this, and I think that's regrettable," said one
representative.  "But when you look at the charge to King County
Library System, it isn't to provide rock-bottom prices for
citizens to actually buy and take the material."

But if the "charge" to a library system isn't to put its citizens
and patrons first, what IS its charge?  To make as much money as
possible from whoever is willing to pay, regardless of whether
those buyers are part of the library system and the patrons it
serves?  Undoubtedly the library would argue that by selling
their books to whoever is willing to pay the price, they are able
to serve their own patrons better.

Again, I can see the library's position; what library doesn't
need more money?  But as a dedicated library booksale fanatic
myself, I can only hope that this trend doesn't catch on!

                 -- Moira Allen (Moira Allen)

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House votes permanent Internet tax moratorium
The Internet Tax Nondiscrimination Act, which passed the US House
of Representatives on September 17, is intended to ban taxes
unique to the Internet. But it could also end up exempting many
telecommunications services from state and local taxes. HR 49,
which has not yet passed the Senate, would permanently replace a
moratorium on Internet-only taxes that has been in place since
1998. Backers of the bill argue that taxes unique to the
Internet, such as bit taxes on information that flows through
each taxing jurisdiction, would hamper the growth of the
Internet. "This moratorium makes sure e-tailers have an equal
shot at success in today's economy, and I believe they should be
protected once and for all from unfair taxes that threaten their
survival," said Senator Ron Wyden (D-OR), sponsor of the bill.
"States have never proven they've been injured by their inability
to discriminate against online sellers." According to Sen. Wyden
the bill does not intend to do away with all telecommunications

Book Industry approves 13-digit ISBN
On September 18, members of the Book Industry Study Group (BISG)
unanimously approved the Product Identification Policy Statement
that endorses a 13-digit ISBN as proposed by the International
Organization for Standardization, with an implementation date of
January 2007. The statement also called for the Bookland EAN
barcode to replace the price-point UPC where it is currently used
on books and book-related products, effective January 1, 2005.
Also, the Policy recommends that companies in the publishing
industry become compliant with the Global Trade Identification
Number (GTIN), which would allow trading partners to specify
packaging information when placing electronic orders.

Time Warner drops AOL from its name
Acknowledging the failures of the largest merger in US history,
the board of AOL Time Warner has voted to remove the letters AOL
from the company's name. The largest media and entertainment
company in the world will now be called Time Warner, as it was
before the January 2000 merger. "We believe that our new name
better reflects the portfolio of our valuable businesses and ends
any confusion between our corporate name and the America Online
brand name for our investors, partners and the public," said
Richard Parsons, chairman and chief executive. The name change
will be phased in over the next several weeks, and will affect
the company's logos, the way it promotes its brands and even its
ticker symbol, which is "AOL" but will revert to "TWX".

Small publishers' revenue exceeds industry expectations
Small publishers in the US are a fast-growing group, with
estimated total revenues last year of $29.4 billion and sales
that have grown by 21% a year for the past five years, according
to a study by the Publishers Marketing Association, titled,"The
Rest of Us 2003: An Update of the 1998 Report on America's
Independent, Smaller Book Publishers." The revenue estimate is
based on the 73,0000 publishers listed by R.R. Bowker as having
between one and 10 active titles. If the next tier of publishers,
those with 11 to 199 active titles, is included, the revenue
estimate jumps to $34.3 billion. Even the smaller estimate
exceeds total market figures released by other industry groups.
By calling attention to the sheer size of the small publisher
community, the study may increase the group's clout within an
industry that has become increasingly dominated by a handful of
giant companies. Seventy percent of the publishers included in
the study reported revenues of $100,000 or less. The fastest
growth is coming among publishers with revenues of $120,000 or
more. The study also shows that 43% of the publishers have been
in business five years or less, while another 20% have been
operating 6-10 years.

Borders wants prices removed from book covers
Borders Group wants publishers to stop putting prices on books
and plans to begin working, in cooperation with publishers,
toward that goal next year. "Bookselling is one of the few retail
environments where the price is fixed by the supplier of the
goods and not by the seller," says spokesperson Anne Roman.
Borders maintains that if prices weren't set by publishers, the
retailer would be free to price books strategically to give
consumers more incentive to buy certain titles -- such as
offering books by new authors at a lower price. Roman says it's
too soon to say exactly how Borders will go about pursuing the
change: "We will move toward working together on the pricing
issue with more of a focus next year, always in the spirit of
partnership with our vendors."

Tell Book Buyers Why They Need Your Book! Putting It On Paper:
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                                by Jim C. Hines (jchines[at]sff.net)

As I browse through the online writing journals that have become
more and more popular over the past few years, two things occur
to me. The first is a question: Why am I surfing the net when I
should be writing? The second is a common theme that recurs in
many journals, as well as in conversations I've had with other
writers over the years: How can we be more productive with our

Forcing the question are those writers who produce enough
manuscripts each year to depopulate a small forest. While dealing
with my own struggles to remain productive, I've tried to look at
what works and what doesn't, both for myself and others. I
discovered ... Isaac Newton. With only a few small changes in
word choice, Newton could have written his three laws about the
writing process.

* Law 1: A writer at rest tends to stay at rest, and a writer in
motion tends to stay in motion, unless acted upon by an outside

Many writers, myself included, discover an endless list of chores
that simply must be finished before they can work on their story.
The carpets need vacuuming, the dishes aren't done, the cats have
to be fed ... and when we finally sit down at the computer,
there's email to check, web journals to read, and "just one more"
game of Minesweeper to play.

The longer we wait, the harder it is to get to work. After
finishing a draft of a novel this November, I took a week off "to
recover." Fair enough, right? A novel is a lot of effort, and
even Olympic athletes need a breather after an event. I took a
second week off because, "I needed some distance from the book
before I revised." I wanted to make sure I could read
objectively. The third week was Christmas, so naturally I didn't
do any writing then. The fourth week I didn't even bother with an
excuse. I said, "I'm tired, and I'll get to it later."

By the time I finally sat down to begin revisions in early
January, I had over a month of momentum working against me. The
first few days were worthless, and not until a week had passed
did I reach a good pace, one where I could revise a chapter per
day. How much easier would it have been if I had kept writing
something each day -- a short story, an article, even a page of
freewriting gibberish -- anything to maintain my momentum?

Which brings us to the second half of this law. Once you start to
write, inertia can actually help you to continue. I had the
opportunity to listen to Kevin J. Anderson speak two years ago.
An incredibly prolific author, Kevin talked about hitting the
million-word mark, the point where a writer produces a million
words in a single year. That's ten novels.

After overcoming a bit of raw envy, I began to understand. The
more you write, the more momentum you gain, and the easier it is
to increase that productivity even further.

* Law 2: Quality is equal to the product of talent and effort.

Some people claim talent is everything. Others claim talent is
irrelevant compared to dedication and effort. For now, let us
assume that, just as every object has some measurable mass, every
writer has some quantity of talent, however great or small.

Since we can't request more talent from our manufacturer, talent
functions as a constant. We can decide how much effort we're
going to put into our writing. Among any group of people, some of
us will need to do a lot more work than others. I know, because
writing has always been one of my worst subjects.

Nobody has it easy. Sure, we all hear stories about the brilliant
girl who sold her first bestseller at the age of fourteen.
Likewise, I've grumbled about how easily writing comes to some of
my friends, the ones who sold stories to Analog while I was still
collecting badly Xeroxed form rejections.

Maybe they're more talented than me. In fact, most of them
probably are. I can't do anything to change that, so why worry
about it? If one writer naturally produces smooth, flowing prose
while I churn out a page and a half of stilted garbage, that
simply means I have to put in more effort. It's a simple
equation. Increasing effort will improve productivity and
success, regardless of how talented the writer may or may not be.

I've even seen an abundance of talent work against a writer.
Greater talent requires less effort to achieve the same result.
But when the demand grows, productivity needs to increase as
well. I saw this phenomenon most clearly when I was teaching
freshman composition at Eastern Michigan University. The kids who
had the hardest time learning to write at a college level were
not the ones with the least talent, but the ones with so much
talent that they had breezed through high school. The students
who were used to giving greater effort did fairly well.

So talent, while a nice thing to have, is not the ultimate
measure of a writer's success. All we can control is our effort.
I believe everyone can produce brilliant, bestselling work, as
long as they balance the equation. That kind of quality will
always require a matching level of work.

* Law 3: For every action, there is an equal and opposite

Writing is hard. How many of us have been told, "If you can find
anything else to do with your life, do it. If you don't have to
write, quit." Success comes with a price, and the higher your
goal as a writer, the higher the cost. One of the greatest costs
has nothing to do with the slow-but-steady rise in the price of
stamps, the money shelled out for that old word processor, or for
bills to the therapists who help us through another bout of
Rejection-Depression. One of the greatest costs is time.

Over the past month, I had a long list of things I wanted to
accomplish. I was going to exercise more. I wanted to volunteer
at a local crisis center. I wanted to revise the aforementioned
novel and write a few short stories. Of course, I also had to go
to work so I could pay off the Christmas bills. Somewhere in the
midst of everything I hoped to visit a few friends I hadn't seen
in months.

I set out to do everything on my list. It didn't happen. Every
time I tried to do something, another goal slipped through the
cracks. If I worked on my writing, I didn't get to visit friends.
If I played racquetball, I came home too exhausted to work on the

We all know this isn't an easy field. Simply knowing, however, is
not enough. Every time we sit down at the keyboard, brush off the
typewriter, or lug out the old notebook, we pay a price. We give
up something else we could have been doing with that time. If we
aren't aware of those costs, if we don't deliberately choose to
work on writing instead of something else, there's a tendency to
end up frustrated and resentful.

Sometimes the choice is an easy one. Should I watch a rerun of
"The Simpsons" or write another three pages of the novel? For me,
the novel takes priority. (Unless it's a Halloween special, of

Sometimes it's not so easy. If I spend a week visiting friends
out of state, that's a week when I'm unlikely to write, but I'm
not willing to sacrifice all human contact, either.

I still watch "The Simpsons" from time to time, and I still visit
friends. That means I'm not as productive as I might be.
Sometimes I choose to write instead of exercise. This means I'm a
few pounds heavier than I want to be. Choice, cost. Action,
reaction. As long as we're aware of those reactions, we'll be
better able to cope with them.

What it comes down to is this: we have the power to control how
productive we are as writers. The more we write, the easier it
will become. (This should not be taken to mean that it will ever
be easy.) The harder we work, the more we succeed -- eventually.
Likewise, the more energy we devote to writing, the more we
sacrifice in other areas. After all, I could have seen "Lord of
the Rings" this afternoon instead of sitting here with my laptop,
working on this article.


Jim C. Hines' first novel, "Goldfish Dreams" was recently
released. 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

UNDER THE VOLCANO 2003-2004 Join Magda Bogin, Nancy Milford,
Jessica Hagedorn, Russell Banks and Abigail Thomas for master
classes, nonfiction retreats and beginners fiction intensives in
the legendary Mexican village of Tepoztlan.   Next workshop:
January 2004.  http://www.underthevolcano.org


If your writing job is starting to get in the way of your search
for the perfect meal, it's time to consider switching to food

A huge collection of US databases.

A variety of dictionary and language tools.

Publishing Central.com
A comprehensive guide to all methods of publishing.

"Questions You May Have About Planning an Author Visit"
Children's author Verla Kay answers all your questions about
author visits including what to expect and what to charge.

Xword Interactive Crossword Puzzles
Need another timewaster? Try these interactive puzzles or print
them out for distribution. Also, a puzzle generator to create
your own.

http://www.thewriterslife.com/a72j If yes, you could be in big
demand, earning big money, writing just a few hours a day from
anywhere in the world. Take a risk-free look now and learn the
secrets of this little-known, lucrative writer's market.

                   by Moira Allen (Moira Allen)

Lost in the Novel Synopsis Twilight Zone

Q: Here's a new twist on procrastination: I've had six positive
responses to my novel queries. Each agent has requested the
synopsis and first three chapters. Some want a one page synopsis,
others two or three pages. I feel like I'm lost in the twilight
zone! I stare at the keyboard, I work on the synopsis (which is
much too long for those one-page wonders), and then I cry. Any
suggestions how I might get over this hurdle?

A: I think the novel synopsis makes just about EVERY writer cry.
My own experience with procrastination is that it sets in when a
task seems too big, too overwhelming -- or too IMPORTANT and I'm
horribly afraid of screwing up. Your challenge looks like all of
the above.

First, you're being asked to write a synopsis -- and not just one
that you can send to everyone, but two or three separate
versions. Most writers find the process of writing a synopsis
intimidating at the best of times -- the general word is "dread."
So right off, you have an alarming project.

Second, you're facing "the big moment." You actually have a
positive response to your queries. So I'm guessing that what must
be going through your mind every time you think about tackling
this job is, "I have to do this just right or they won't accept
my novel." Everything seems to hinge on this one task. Even
though you have confidence in your NOVEL, it's not the quality of
the novel that (possibly) will matter here -- it's your ability
to summarize it in the dreaded synopsis. You're probably afraid
that if you screw up, the novel won't sell -- but you're not sure
what will actually WORK.

Let's go back to the idea of the task being too big, and start
breaking it down. You've been asked for two types of synopses --
a one-page version and a two/three page version. I would bet that
an agent who has asked for two pages would settle for two and a
half, so look at this as TWO synopses -- a one-page version and a
2.5-page version. (Frankly, if someone asked for two pages,
they're not going to throw your submission out if you send three
-- but the one-page version is probably not negotiable.)

You've also been asked for three chapters. So start by simply
printing out or copying the set of three chapters, and setting
those aside. That's easy; it's mechanical. Next, prepare your
mailing envelopes. Prepare the address labels for each agent, put
them on the envelopes, put in the set of three chapters, and set
THOSE aside in a nice stack. Now you have half your mailing ready
to go. You've "worked" on the project and made progress -- and
this was something that would have to be done eventually, so it's
not a complete timewaster.

Next, prepare a basic form cover letter along the lines of "thank
you for requesting more information about my novel, "Title."
Enclosed, as per your request, is the synopsis of the novel and
the first three chapters. I look forward to hearing from you."
Print that out for each agent and shove the letters in the
appropriate envelopes. (Date them a bit ahead, since you still
have the synopses!)

Once all that is done, you're going to have to sit down and face
the keyboard. One of the problems I've found with a synopsis is
that once the book is written, you have "too much information."
There is so much detail that you feel is important; what do you
include, and what do you leave out? Conversely, I recently wrote
a synopsis for a book I HADN'T written yet (for a contest), and
found that this was almost a piece of cake. I knew what was going
to happen in the plot, beginning middle and end -- but because
the book wasn't written, I didn't have all that detail yet. It
was still a skeleton. That made the synopsis easy to write and to
keep to three pages.

So you might want to take a step back and try to look at your
plot the way you looked at it BEFORE you wrote the book. Get back
to the bare bones. Before you wrote the book, you might have
written in the synopsis: "Mary discovers that John is cheating on
her." AFTER you write the book, you're more tempted to write,
"Mary visits John's office unexpectedly on the night of their
anniversary, and comes across him in a clinch with his secretary,
Paula." The latter has more detail -- but it's also going to take
up a lot more room. The first sentence, however, really conveys
all the information you need in the synopsis.

Focus on the big picture, the overall story arc, not what happens
in specific scenes. One approach might be to write a paragraph
about the beginning, a paragraph about the primary conflict in
the middle, and a paragraph about the end. Then see what you need
to link those paragraphs together.

Most of the articles I've found online deal with the LONG
synopsis (ten pages or so). However, Elizabeth Lyon's book, "The
Sell Your Novel Toolkit," also covers the shorter synopsis. You
might find that helpful!

Good luck, and congratulations on SIX positive responses! Wow!


Moira Allen has been writing and editing professionally for
more than 20 years.  A columnist for The Writer, she is also
the author of "Starting Your Career as a Freelance Writer"
(just released!), "The Writer's Guide to Queries, Pitches and
Proposals," and "Writing.com".  For more details, visit

Copyright (c) 2003 by Moira Allen

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
Writing for All Rights Markets; Submitting Illustrations; School
Fundraiser Ideas

Imagination's Edge, by Paula Fleming
Living La Vida Loca: Writing Full Time

The Screening Room, by Laura Brennan
Pitching a TV Show

Self-Publishing Success, by Brian Jud
Preparing for Media Interviews: Practice Makes Perfect!

What Is Libel? by David Taylor

"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


Bridgett Torrence, Editor
73 East Market Street, Middleburg PA 17842
EMAIL: editor[at]peaceofthevalley.com
URL: http://www.peaceofthevalley.com

We want you to stir our souls, make us think, bring tears to our
eyes, and put a spring in our steps; educate us about your faith,
culture, lifestyle, and beliefs; and demonstrate once and for all
that the art of the written word is not dead. Sections include:
Culture and Spirit, Holistic Mental Health, Volunteer/Non-profit,
Environment, The Basics, On the Road, Friendship, Marriage and
Family and A Little Bit More. All sections are currently open but
we have a particular need for environmental and outdoor
recreation articles. Please visit our web site for complete
writer's guidelines.

LENGTH: Articles: 2500-5000 words; Essays: 800-1200 words
PAYMENT: 1 cent/word
RIGHTS: First serial rights
REPRINTS: Considered on a limited basis
SUBMISSIONS: Email query or complete manuscript (no attachments).
GUIDELINES: http://www.peaceofthevalley.com/pages/2/index.htm


Chris Clarke, Publisher
EMAIL: submissions[at]ideomancer.com
URL: http://www.ideomancer.com

Ideomancer publishes science fiction, fantasy, horror,
slipstream, and flash fiction. We are open to any story with a
speculative element-the supernatural, the unexplained, or the
undiscovered. Stories without this element will not be
considered. In other words, no matter how brilliant your
serial-killer story is, it won't pass muster with us; we want
that something extra that pushes a story beyond the bounds of

LENGTH: Flash fiction: up to 500 words; Fiction: up to 5,000
PAYMENT: 3 cents/word, maximum $100
RIGHTS: First Worldwide Electronic Rights
REPRINTS: By special arrangement only
SUBMISSIONS: By email only. Attach your story as an .rtf file.
See online guidelines for more information.
GUIDELINES: http://www.ideomancer.com/main/ideoMain.htm (click
on "Submissions")


Ronald D. Hardcastle, Editor
PO Box 3362, Dana Point, CA 92629-8362
URL: http://danaliterary.org

We are searching for people with something to say -- fiction,
nonfiction or poetry -- for display in our Online Journal, and we
will reward those contributors who provide it. Our requirements
are twofold: that the works be both well-crafted and thought
provoking. Admittedly this is subjective, but a review of our web
site will give you an idea of what we consider praiseworthy.
Newly selected compositions will appear each month.

LENGTH: Fiction: up to 2,500 words; Nonfiction: up to 1,200 words;
Poetry: up to 120 lines
PAYMENT: Fiction: $50; Nonfiction and poetry: $25
RIGHTS: One month electronic rights, all rights revert to author
SUBMISSIONS: By mail only
GUIDELINES: http://danaliterary.org/guide.htm


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

"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"


This section lists contests that charge no entry fees.  Send new
contest information to Judy Griggs (writeupsetc[at]yahoo.com).
For more contests, check our online contests section.


            Lord Acton Essay Competition

DEADLINE: November 15, 2003
GENRE: Essay
LENGTH: No word length requirement

THEME: Dedicated to fostering the integration of religious
principles with morality and economic thinking. The contest
encourages scholarly reflection on the role of religion in
promoting and securing a society of free and responsible persons.
Participants are encouraged to draw on their own research and
academic background to discuss the interrelationships among
religious believers and institutions, the mediating structures of
society, and economic and political systems. Submit a scholarly
paper, op-editorial, article (published or unpublished), or
treatise that expounds on the themes of personal or economic
liberty, theology, and/or their institutions of support.

PRIZES: First: $2,000; Second: $1,000; Third: $500

ELECTRONIC ENTRY: No; use application form on website

ADDRESS: Lord Acton Essay Contest, The Acton Institute, 161 Ottawa
NW, Suite 301, Grand Rapids, MI 49544

URL: http://www.acton.org/programs/students/essay/


            Mary Roberts Rinehart Awards

DEADLINE: November 30, 2003
GENRE: Fiction, Nonfiction, Poetry
OPEN TO: Unpublished works
LENGTH: Fiction & nonfiction: up to 30 pages; Poetry: 10 pages
of individual or collected poems

THEME: To help aspiring authors, a number of years ago the family
of the late Mary Roberts Rinehart began awarding smallgrants to
writers whose work showed particular promise. These grants were
given to honor Ms. Rinehart, a writer of fiction and nonfiction
whose work was popular in the earlier decades of the 1900s.
Writers seeking grants must be nominated by someone in the field
-- another writer, an agent, an editor or the like.

PRIZES: $2,000 Award for each category


ADDRESS: Mary Roberts Rinehart Awards, English Department,
MSN 3E4, George Mason University, Fairfax, VA 22030-4444

EMAIL: bgompert[at]gmu.edu
URL: http://www.gmu.edu/departments/writing/rinehart.htm



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