Writing World Newsletter Archive
Return to Newsletter Index · Home

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

   A World of Writing Information - For Writers Around the World


Issue 4:05          12,800 subscribers              March 4, 2004

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 moirakallen"at"writing-world.com.


         From the Editor's Desk
         News from the World of Writing
         FEATURE: Contesting: Why and How, by Kathryn Lay
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Questions about rights, by Moira Allen
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

Get published! Get published! Get published! Get published!
Get published! Get published! Get published! Get published!
Get published! Get published! Get published! Get published!
Visit http://www.1stbooks.com/getpublished/no_rejection.html
EARN AN MFA IN WRITING through the brief-residency program at
Spalding University in Louisville, KY. Call (800) 896-8941x2105
or e-mail gradadmissions"at"spalding.edu and request brochure FA90.
For more info: http://www.spalding.edu/graduate/MFAinWriting
WRITERSCOLLEGE.COM has 57 online courses. Prices are low.
If you can reach our web site, you can take our courses.
StoryCraft, WritePro, MovieMagic, StyleWriter, plus many more.
THE WELL-FED WRITER by Peter Bowerman - Learn how you can make
$50-100 an hour as a freelance writer and easily earn $1000 a
week or more working 2-3 good days. Details:

SELL YOUR WRITING TO 1700 MARKETS!  Writing-World.com's themed
market guides are fresh off the press.  Each e-book offers from
100 to 200 markets; pay only for the markets in YOUR topic area,
or buy the entire set for just $25.  Not just a list of URLs -
each listing offers detailed market info.  It's one of the best
market deals around! For details or to order, visit:


                     FROM THE EDITOR'S DESK

What's that Funny Yellow Stuff?
Oh, right -- SUNSHINE!  I'd just about forgotten what it looked
like.  This week, I've been rediscovering it, along with other
half-forgotten concepts, like "warmth" and "my deck." Of course,
pessimist that I am, I can't help but think that March has come
in decidedly "lambish," or worry that such early warmth signals
a long, hot Virginia summer.  But for now, I'll enjoy my
rediscovered deck!

And now back to our discussion of taxes...

Misperception #3:
You Can Write Off Things You Write ABOUT
Can you write off the expenses of an activity or hobby on the
basis that you WRITE about that activity?  The answer is, of
course, "it depends."

I came across an article last year that recommended writing off
the expenses of another home business (presumably one that wasn't
making money) as writing expenses, because the author wrote
articles about that other business.  For example, let's say that
you raise orchids or make stained glass windows.  You might do
either of these as a hobby OR as an actual business.  But you
also decide to write about these topics -- and your writing is
more profitable than your orchids or your stained glass.  So
since your hobby is the primary source of your writing income,
why not write off the expenses of that hobby as a "writing"

To see why this doesn't work, let's carry the question to an
extreme.  Let's say that you make most of your writing income
from parenting articles.  Why not simply write off the cost of
raising children as a "business" expense?  Sounds good -- but we
all know the IRS isn't going to accept deductions of Pampers,
braces or soccer fees on your Schedule C.

If, however, you decided to write about orchids, and took a class
on the subject so that you could gather information for the
article, you COULD deduct that expense, because that expense is
directly related to writing.  You would not have incurred the
expense if you were not writing the article.  This would be true
even if, in the course of researching that article, you became so
fascinated by orchids that you decided to raise them yourself.
However, if you do, any future orchid-raising expenses will no
longer be deductible as "writing" expenses, because you're not
incurring them for the express purpose of WRITING.

The difference is simple.  If you are engaged in an activity --
whether a hobby or home business -- regardless of whether you
WRITE about that activity, then its expenses are unrelated to
your writing income.  If you would raise orchids or make stained
glass regardless of whether you wrote about those topics, those
expenses have nothing to do with your writing.  They may be
deductible as the expenses of another business, or they may fall
under hobby expenses, but they are not WRITING expenses.  If,
however, you would NOT have engaged in an activity UNLESS you
were writing about it, the expense is probably a legitimate
writing expense.

This is why travel expenses can be so tricky.  Writers often
justify the deduction of travel expenses by writing articles
relating to the travel.  Sometimes, however, the IRS will
question whether you aren't just trying to write off the cost of
your vacation!  According to my accountant, you must prorate
travel expenses based on how much time was spent on "business"
and how much on "pleasure."  But how do you categorize a stroll
through a historic site that you later cover in an article?  BTW,
if 75% or more of your travel is business-related, you don't have
to prorate the cost of getting to and from your destination
(e.g., the plane fare).  As for the rest -- that's what
accountants are for!

Misperception #4:
Taking the Home Office Deduction Will Get You Audited
This is the first year that my accountant has urged me to
consider the home office deduction -- not because it raises "red
flags" with the IRS, but because in the past, claiming this
deduction on property that you own could mean having to pay taxes
on the sale of your property.  Now, according to my accountant,
"The IRS has said that they will no longer tax the percentage of
the home sale used for an office-in-home.  The only thing they
will now tax on a sale of a personal residence with a home office
is the depreciation that has been claimed."

In other words, if you have claimed the home office deduction and
sell your house, you won't be taxed on the percentage of that
sale that corresponds with the "percent" of your home that was
used for an office.  In the past, if you claimed a deduction for
the use of a room that was equivalent to 10% of your square
footage as an office, and then sold your home, you would owe a
tax on a portion of the sale, because part of your home was used
for "business".  That's no longer the case.

To take the home office deduction, you must have a space that is
clearly set aside for writing and no other purposes.  It's best
to have a space with walls and a door!  (If you're using a corner
of a spare bedroom that doubles as a craft room and exercise
room, you probably won't be able to take the deduction.)  To
calculate the deduction, measure the space, determine its
percentage of the total square footage of your home, and apply
that percentage to your mortgage or rent, property insurance, and
utilities.  Keep in mind that this deduction cannot be used to
create a loss on your taxes.

Next issue: Some tips on keeping good tax records!

                 -- Moira Allen (moirakallen"at"writing-world.com)


Get your copy with any contribution of $5 or more to Writing-
World.com (normally sells for $6.95).  Contributions accepted via
Amazon.com (http://www.amazon.com/paypage/P2UTPRKYGU4AA1) and
PayPal; for more details about this info-packed e-book, visit



The following courses begin April 5, 2004 -- so sign up soon!

Instructor: Moira Allen (8 weeks, $100)

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


Instructor: Kathleen Walls (4 weeks, $75)

This course will present a framework for a writer to create a
believable killer. This course will provide an understanding of
the traits and procedures required to create a realistic killer,
through a composite of real life criminals and fictional ones. I
am also going to look in depth at motivation. By the end of the
course, you should be able to craft a believable and fascinating


Instructor: Tami Cowden (6 weeks, $80)

If you've been struggling to create characters that connect with
your readers, this is the class for you. Cowden will explain the
16 heroic and 16 villainous archetypes to you, guide you in
creation of dynamic, well-motivated characters, and show you how
to convey the personality of the people in your stories. By the
end of the class, you'll understand the driving force behind
characters that evoke emotion from readers.


Instructor: Bruce Boston (8 weeks, $100)

Our definition of speculative fiction will be inclusive rather
than exclusive, ranging from the experimental work of writers
such as Italo Calvino and Donald Barthelme to the science fiction
and fantasy of writers such as Alfred Bester, Tanith Lee, and Kim
Stanley Robinson. Attention will be given to the special concerns
and aspects of craft that are relevant to the writer of
speculative fiction. Students may participate in group
discussion, have their work critiqued, and receive suggestions
for specific markets.


Instructor: Sue Fagalde Lick (6 weeks, $90)

Magazines, newspapers and web sites of all sorts publish reviews
not only of books, but movies, CDs, DVDs, computer programs,
plays, operas, dance recitals, new camera gear, cruises, bed and
breakfast inns, and almost anything else you can think of. Op-ed
pieces, commentaries and editorials offer a place to say what you
think, backing it up with facts to convince readers to change
their minds. Participants in this class will find out how to
write reviews and opinion pieces and where to get them published.


Instructor: Bea Sheftel (8 weeks, $75)

Learn all the elements of what it takes to write and sell a
successful confession story and then do it again, and again.


Instructor: Chris Gavaler (6 weeks, $100)

Keep your readers on the edge of their seats as danger stalks
your characters -- and romance finds them! Learn how to weave
together the elements of romance, mystery and suspense; create
dynamic heroines and villains; and use the elements of dialogue,
background, plot and description to the best (chilling) effect.


Instructor: Laura Brennan (8 weeks, $120)

Do you have a secret -- or not-so-secret -- longing to write for
the small screen? The "spec script" is the calling card
of the entertainment industry. A great one can help you break
through to agents, win competitions, and impress show runners.
The class will include an overview of the television industry,
finding your unique voice, and the special requirements and
challenges of writing for television. Brennan will take you
through the process of choosing a show to spec, developing your
ideas, "breaking" the story, and writing a killer opening.


We're offering three class sessions in 2004, beginning in April,
June and August.  For the full list of 2004 classes, visit


READY TO PUBLISH? Book packager SP Press provides services to the
writing community seeking options to traditional publishing.
Considering self-publishing, but don't know where to begin? Send
email to: info"at"sppress.com or visit http://www.sppress.com.
Can You Write a Simple Letter? If yes, you can be in high demand
and make a great income as a copywriter. Work from anywhere. Set
your own hours. Find out more about this great career at


Harlan wins appeal against AOL
The U.S. Ninth Circuit Court of Appeals has upheld Harlan
Ellison's appeal against district court's summary judgment
dismissal of his copyright infringement action against AOL.
Ellison filed suit against AOL in the spring of 2000 when he
discovered that Stephen Robertson (also a defendant in the case)
had scanned and uploaded several of his works to a USENET
newsgroup.  AOL moved for a summary judgment (i.e., to dismiss
the case), arguing that it qualified for one of the four "safe
harbor limitations of liability" under the Digital Millenium
Copyright Act.  The district court granted the summary judgment,
holding that AOL did qualify for the safe harbor limitation.  The
Court of Appeals, however, ruled that while AOL was not guilty of
"vicarious infringement" (i.e., that it could be shown to have
profited by allowing the infringement to continue), it did not
meet the "threshold requirements" for the safe harbor limitation
of liability.  One issue was whether AOL could have had
reasonable knowledge of the infringing activity.  The Court of
Appeals decision noted that though AOL had changed its copyright
infringement notification e-mail in 1999, by April 2000, it had
not yet registered this change with the Copyright Office, nor had
it configured its address so that e-mails to the old address
would be forwarded, or so that senders would be informed that
their e-mail had not been delivered.  "Because there is evidence
indicating that AOL changed its e-mail address in an unreasonable
manner and that AOL should have been on notice of infringing
activities," the Court of Appeals ruled that "AOL had reason to
know of potentially infringing activity occurring with its USENET
network."  The summary judgment was therefore dismissed, clearing
the way for Ellisons's suit to go to trial. (For ongoing coverage
of this case, see http://www.authorslawyer.com/c-ellison.shtml)

Readers want book descriptions
TheBookReportNetwork.com co-founder and president Carol
Fitzgerald got "fed up" after seeing print ads for books "Where
we saw ad after ad that we felt did not convey a strong selling
message for the books being advertised." So she conducted an
online poll, held over three weeks and drawing 955 responses, to
see what readers regard as the single-most important feature in a
book ad. Over 83% picked "A description of the book that tells
you what it is about," with "quotes from reviews" a distant
second, at just over 10%. When asked, "What would you like to
see in an ad for a book to help influence your decision to buy
it?" and given the chance to select multiple options, 90% voted
for descriptions of the book. Over half the people also voted
for "quotes from reviews," and seeing a cover photo was a close
third, with almost 47% approval. The survey also indicates that
well-constructed ads can have some impact. Over 77% of the
respondents agreed that print and television ads influence their
book purchases "some of the time."

Newspapers are getting nosier
Once upon a time a handful of newspaper web sites required user
registration. Now most of the widely circulated US newspapers,
including The New York Times, the Chicago Tribune, the Los
Angeles Times, and The Washington Post, require users to complete
an online form to read articles. Rob Runett, director of
electronic communications for the Newspaper Association of
America, says small and medium-sized papers also require readers
to provide data, such as age, zip code, gender, and information
about income and personal interests. Newspapers want to make
money from their web sites, and since most readers are unwilling
to pay for content, making money requires selling advertising. To
convince advertisers to spend online, newspapers say they need to
get enough data about their users to tailor ads to the audience.
Sites are required to reveal what they plan to do with reader
information in their online privacy policies. Runett said the
fact that registration databases are filled with phony names like
"Mickey Mouse" indicates many readers won't trade personal
information for free content.

Tell Book Buyers Why They Need Your Book! Putting It On Paper:
The Ground Rules for Creating Promotional Pieces that Sell Books
shows you how to create a book press kit that gets results.
http://www.cameopublications.com or
Interested in writing nonfiction or fiction?  Find inspiration
and ideas for that next project at Profitable Pen's newest
forums! Register for free at http://www.profitable-pen.com.

                                  by Kathryn Lay (RLay15"at"aol.com)

I won my first writing contest when I was in high school. I had
been writing for many years, but with the busyness and activity
of high school, time with friends and family, I put away my
writing. And then the contest was announced. My biggest fan, my
mother, encouraged me to enter, so I wrote and entered a thriller
short story. The judges were professors from the local college. I
believed I had no chance to win. But as I sat in class one
afternoon, the announcements were made over the loud speaker. My
writer's heart leapt when my name was called and a girl from the
creative writing club came into the room, placing a beautiful
engraved First Place plaque into my hands.

Since that time, I've placed over 100 times in various writing
contests. Contests are profitable (in more than one way),
encouraging, a chance for learning and preparation, and
motivating. Opportunities abound for entering prose and poetry in
contests, whether through local writer's groups, magazines, online
sites, or book publishers. There are many ways that entering
contests can be beneficial to your writing.

Learning manuscript preparation
You won't win a contest with a sloppy, ill prepared, hard-to-read
manuscript. As a contest entrant, I've seen how manuscripts sent
in a hurry kept me from winning at all. Sometimes after studying
the scoring points or judge's comments, I found that my 3rd Place
or Honorable Mention would have placed higher if I had been more
careful checking my spelling, making sure the my ink wasn't too
light, and making sure to follow every rule. As a contest judge,
I've often had to choose between one or another well-written
entry as final winner. Sometimes, the manuscript mechanics
becomes the final decision. If it's bad enough, it is weeded out
right away for the same reason. By making sure your manuscript is
in the best shape for a contest, you'll be ready to send it on to
an editor. And by taking the time to carefully read and follow
the rules of a contest, I've learned to be more careful about
reading guidelines for publishers.

As a judge, I've seen plagiarized entries, or manuscripts that
were sloppy with typos, strange margins, a light ribbon or dot
matrix printer, single spacing, etc. These were placed in a
separate pile for judging. Although I've tried not to be too
picky, I knew I wasn't doing the writers a favor by not letting
them know the errors that would shout, "amateur" to an editor.
Some stories had no point, or rambled on without a plot or
believable character. As essays they might have worked, but not
as fiction. Some had limited marketability.

Entering contests is a good way to receive an unbiased critique
from someone who doesn't know who you are. Judges are comparing
your piece to others entered in the same category, much like an
editor reviewing the huge pile of manuscripts received every day.
You don't always have to win a contest for it to be worth your
time to enter, as long as critiques are promised. A manuscript
that doesn't win may still be very good and publishable. I've
used the critiques received for both winning and non-winning
manuscripts to make them more saleable. Some suggestions have
made the manuscripts better. Other suggestions I've ignored. So
don't let a loss get you down, but do let a win encourage you.

Rejections come hard, but winning contests can re-build your
self-confidence. When you've learned that your manuscript
competed against 500, 100, or even 25 others and came out on top,
you feel recharged, ready to pound on those editor doors once
again. And, if you don't win, well, you know that you were up
against many others and if you can handle it, you can handle
whatever happens to your "babies" when they're shipped off to

Monetary awards
In 1996, nearly one-third of my writing income came from contest
wins. Some of my stories made more money in contests than when
they finally sold. Another advantage of contests is that you can
enter the same manuscript in several different contests, though
not in the same contest the next year. Several wins on one
well-written manuscript is very profitable.  If the contest
includes publication, your story may receive more money and
prestige than other pieces accepted by the same publication.

"The Worst Sport Ever" was a humorous short story I entered into
the Pockets fiction contest. It didn't win. But I was just as
thrilled when I received a letter notifying me that they wanted
to purchase and publish my story in a future issue. Other writers
have entered Highlights for Children contests and had similar
experiences. Sometimes, you don't win the contest, but you do win
an acceptance. Contests are one way some publishers have of
finding publishable stories.

Amanda Jenkins researched publishers for edgy YA novels and found
there weren't a lot of places to market her book. The Delacorte
contest seemed a good way to get a foot in the door at Random
House. When the contest winners were announced in April 1996,
Amanda learned that she was the winner of the 14th annual
Delacorte Press Prize for First Young Adult Novel for "Breaking
Boxes." Amanda believes winning the Delacorte launched her
career. She has since acquired an agent and sold four more novels
to Harpercollins. Her books have been nominated for the
California Young Reader Medal and the Los Angeles Times Book
Award. Amanda says, "Many people in the YA business are aware of
the Delacorte contest. The contest not only gets you published,
it automatically gives your book a slightly stronger push off the
starting block. Winning the Delacorte helped attract attention in
my cover letter to my agent."

Martha Moore, the 1994 winner of the Delacorte, author of "Under
the Mermaid Angel", "Angels on the Rooftop", and "Matchit",
agrees that winning this award launched her career. "I
immediately received invitations to speak, sign books, and more.
I will always be grateful for getting this wonderful
opportunity." Another author won the children's story category
for a Writer's Digest competition and soon after sold his story
as a picture book.

Sitting in an awards ceremony, hearing your name called and going
forward to receive your award amidst applause is a great boost to
your writing ego. How exciting to learn there were 50 entrants in
a category and you won first place. Contest wins also help
balance those rejections. I frame my winning certificates and
hang them on the wall in front of my computer. When I'm down or
frustrated with rejection, I look over the awards and get a boost
to my self-confidence. Every writer craves assurance and approval
of their work. A contest win or encouraging word from a judge has
kept me submitting a manuscript that I might otherwise stuff in a
file and give up trying to sell.

Are you excited? Find a contest by checking writer magazines
online and off or getting in touch with your local writers group.
Prepare your manuscript as if an editor were reading it. Send it
in. Then, rejoice over your wins and learn from your losses.

A few contests
SCBWI Golden Kite published book awards and SCBWI Magazine Merit

The Children's Writer contests

Byline Magazine contests

Marguerite de Angeli for first middle grade novel and Delacorte
Press contest for first YA novel

The Ursula Nordstrom Fiction Contest, sponsored by
HarperCollins Publishers for unpublished children's writers.
Deadline: April 15, 2004

Pocket's fiction contest

Highlights for Children's annual short story contest (see the
magazine for details)

(For more contest listings, see Writing-World.com's Contest
Database: http://www.writing-world.com/contests/index.shtml)


Kathryn Lay has placed in over 100 contests and had 900 articles
and stories published in Woman's Day, Kiwanis, Family Circle,
Cricket, Spider, Guideposts, Chicken Soup books, and hundreds
more. Her first children's novel will be out this Fall. Visit her
web site at: http://hometown.aol.com/rlay15/index.html

Copyright (c) 2004 by Kathryn Lay

http://www.writingusa.com/power.html. Discover the secrets of
using your creativity to promote yourself, manage your writing
career and increase your income.


Grammar Grabbers
Subtitled "A not so serious guide to English grammar."

Critique Circle
Dedicated to on-line critiques, but also offering forums,
exercises, character creation shop, etc.

Credits, Permissions, Releases and Consents
Information and forms for obtaining author releases and
permissions for use of copyrighted material.

Tips on writing porn, erotica, etc., plus markets and news

Tell You a Tale
A site where authors can record their stories for download, or
work with professional actors to have their work read and

Martindale's Calculators On-line Center
Currently offers more than 17,000 "calculators" on every
imaginable subject, including calendars and date conversions,
scientific calculators, home and office, finance, arts and
crafts, code translators, mummy dating methods -- must be seen to
be believed.

THE EASY WAY TO WRITE: Online communities, ebooks, and courses.
From inspiration, self motivation and fast writing - all the way
to getting published and successfully marketing your work. Free
writing lessons always running. http://www.easywaytowrite.com

                   by Moira Allen (moirakallen"at"writing-world.com)

Questions About Rights

Q: I received a contract from a national publication that is
asking to buy all rights forevermore to an article I submitted to
them. I'm grateful for the clip and $$ (though I still don't know
how much they're going to pay me for it), but I'm also attached
to the article and would like to try to resell it later, or at
least use it on my own web site. My question is: Is it bad form
to ask for a clause in the contract that establishes a reversal
of rights to me after a certain period of time, or at least in
the event that the publication goes under?

A: The first question I'd ask of them is how much they are
paying! Until you know how much you're going to get for the
piece, you don't even know if it's going to be worth parting with
all rights.

Rather than ask for a reversal of rights, I would ask for a
clause specifying that after a certain date (e.g., six months
after publication), you be granted the right to market reprints
of the article to noncompeting publications. While many magazines
will hang onto "all rights," many will still "give back" to the
author the right to sell reprints of a piece.

You'll find some additional discussion of "all rights" contracts
at: http://www.writing-world.com/rights/allrights.shtml

Q: I have a contract for a regular writing gig with a magazine
that buys First North American Serial Rights. When I cashed my
check Friday, I noticed the following statement typed on the

"The endorser, in consideration of negotiating this check, waives
and releases any claim or right to labor, services, materials or
intellectual property provided to Majestic Media, occurring on or
before the date on this check."

Does that mean they are trying to grab all rights? Is this

A: No, it's not legal, and you can sign and deposit the check
without a single twinge. The original Tasini decision (back in
1996) made it very clear that this type of "endorsement" contract
was not valid, and could not be enforced, and that a writer could
sign and deposit checks with this kind of notation without being
affected in any way.

I'm sure they know that, and just hope that you don't! OR, they
may simply have a supply of checks still imprinted with this
notice (though that seems a bit unlikely).


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) 2004 by Moira Allen

Publish your own book! Get one-on-one help from publishing
experts. New system takes you from "Idea to Book...to Success"
quickly and easily. Learn the secrets of book publishing success.
http://www.moneyinpublishing.com, http://www.inktreemarketing.com


Advice from a Caterpillar, by Peggy Tibbetts
Promoting Your Book; Becoming a Children's Book Reviewer;
Starting a Nonfiction Series

Murder Ink, by Stephen Rogers
Editing the Mystery

Romancing the Keyboard, by Anne Marble
When It's OK to Break the Rules

Ten Tips to Reaching Financial Success as a Freelance Writer,
by Bev Bachel and Jennifer Lawler



Brian K. Mahoney, Editorial Director
PO Box 459, New Paltz, NY 12561
EMAIL: brian"at"chronogram.com
URL: http://www.chronogram.com

A monthly magazine of arts, lifestyle, politics, environmental
issues, holistic health and culture. "While for the most part
Chronogram covers local events and profiles local people, our
political and environmental coverage is nationally and
internationally focused. Chronogram is also committed to
publishing insightful first person essays, short stories and

LENGTH: 1000-3500 words
PAYMENT: $75 to $200 for articles; $40-$80 per
assignment for photos/art/illustrations
RIGHTS: First North American print and Web rights; rights revert
to writer after three months.
SUBMISSIONS: Submit articles by mail or e-mail. Query for longer
article ideas.
GUIDELINES: http://www.chronogram.com/submissions.html


Jim Cullen, Editor
PO Box 150517, Austin, TX 78715-0517
EMAIL: editor"at"populist.com
URL: http://www.populist.com

A newspaper that reports twice monthly from the heartland of
America on issues of interest to workers, small business owners
and family farmers and ranchers. "Mainly, our mission is to give
progressive populists a forum, to give our readers the news and
views they may not be getting from their corporate-owned daily,
and to deflate some pompous plutocrats along the way." Covers
politics and economics, with the belief that big business is
exerting more control over both the government and ordinary
people's lives, and offering solutions as to what people can do
about it. Looks at the relationship between private interest and
the public good. Wants articles that look at ways citizens can
make corporations as well as government more accountable and
stories that tell what it is like in the writer's town or region.
Seeks news features, shorter dispatches, pieces for America's
Story, a profile of an individual working to make a difference,
essays, book reviews. Writers encouraged to include artwork or
photographs with stories.

PAYMENT: Features $50; shorter dispatches and columns $10-25;
book reviews $15-$25; photos and drawings $15-50
RIGHTS:  We pay upon publication for first-time print rights
(which includes our controlled circulation email version and our
web site and licensed databases). If you wish to reserve online
rights, you can keep your story off our web site and restrict it
from licensed databases.
SUBMISSIONS: Prefers e-mail submissions
GUIDELINES: guidelines available by email


Marlane Liddell, Senior Editor
Smithsonian Institution, MRC 951, PO Box 37012, Washington, DC
EMAIL: articles"at"simag.si.edu
URL: http://www.smithsonianmag.si.edu/smithsonian/index.shtml

Wants articles that fall within the general range of Smithsonian
Institution interest, such as cultural history, physical science,
art and natural history. Also wants offbeat subjects and
profiles. No fiction, poetry, political and news events, or
previously published articles. If possible, include photographs
or illustrations with submissions. Seeks submissions for "The
Last Page" humor column. This is a humorous column that usually
relates to the author's own experience.

LENGTH: Full-length features, 4,000 words; humor columns,
550-700 words
PAYMENT: Rates begin at $1000-$1500 for humor columns,
departments and short pieces; "various rates" for longer items.
SUBMISSIONS: Query first for articles by mail or e-mail. Send
complete manuscripts for humor columns.


Find more information about these markets and more than 100
other General Interest & Environmental Publications listings in
Writing-World.com's Guide to General Interest & Environmental
Publications": http://www.writing-world.com/bookstore/index.shtml


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. For more
contests, check our online contests section.


            ESSENCE Fiction Contest

DEADLINE: March 30, 2004
GENRE: Short story
OPEN TO: Women and men who have never had a work of fiction
published in a major commercial book or magazine with a
circulation of more than 25,000 and who are more than 18 years
old at the time of entry
LENGTH: 2,500 words or less

THEME: Stories must be original fiction, featuring a Black adult
female as the main character in a contemporary setting.

PRIZES: 1st Prize: $1,000 and publication


ADDRESS: 2004 ESSENCE Short Fiction Contest, Essence Magazine,
1500 Broadway, 5th Floor, New York, NY 10036

URL: http://snipurl.com/4mry


            National Press Club (NPC) Awards

DEADLINE: April 1, 2004
GENRE: Journalism
OPEN TO: Professional journalists
LENGTH: No word length requirements

THEME: For works published in the previous calendar year in the
following 11 award categories: Consumer Journalism; Washington
Correspondence; Arthur Rowse for Press Criticism; Robin Goldstein
for Washington Regional Reporting; Edwin M. Hood for Diplomatic
Correspondence; Newsletter Journalism; Robert L. Kozik for
Environmental Reporting; Online Journalism; Freedom of the Press;
Excellence in Political Journalism; Excellence in Geriatric
Writing. Must submit 5 copies of each completed entry, including
entry form, (available to print online) tapes, etc.

PRIZES: Awards range from $500-$2000


ADDRESS: General Manager's Office, National Press Club, National
Press Building, Washington, DC 20045

URL: http://npc.press.org/programs/npcawards.cfm


            Aldo and Jeanne Scaglione Prize

DEADLINE: April 1, 2004
GENRES: Literary translation
OPEN TO: Book-length translations published in 2003
LENGTH: No word length requirements

THEME: The Committee on Honors and Awards of the Modern Language
Association (MLA) invites translators and publishers to compete
for the sixth Aldo and Jeanne Scaglione Prize for a Translation
of a Literary Work for an outstanding translation into English of
a book-length literary work. Six copies required, plus pages of
text in original language. Entry form available to print online.

PRIZE: $2,000


ADDRESS: Scaglione Prize for a Translation of Literary Work, MLA,
26 Broadway, 3rd floor, New York, NY 10004-1789

EMAIL: awards"at"mla.org
URL: http://snipurl.com/4h1y


            Paterson Fiction Prize

DEADLINE: April 1, 2004
GENRE: Fiction novel, or collection
OPEN TO: Fiction published in 2003
LENGTH: No word length requirements

THEME: For a novel or collection of short fiction which, in the
opinion of the judges, is the strongest work of fiction published
in 2003. Each book submitted must be accompanied by an
application form, which can be printed from the web site.

PRIZE: $1000


ADDRESS: Maria Maziotti Gillan, Executive Director, Poetry
Center, Passaic County Community College, One College Boulevard,
Paterson, NJ 07505-1179

URL: http://www.pccc.cc.nj.us/poetry/Prize/Fiction2004.html


             Wergle Flomp Poetry Contest

DEADLINE: April 1, 2004
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.

PRIZES: 1st Prize: $817.70; 2nd Prize: $132; 3rd Prize: $57.95;
plus all winners and honorable mentions will be published at

ELECTRONIC ENTRY: Yes, use online entry form

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


        PARSEC/Confluence Science Fiction & Fantasy Contest

DEADLINE: April 1, 2004
GENRE: Short story
OPEN TO: Non-professional writers who have not met eligibility
requirements for SFWA or equivalent
LENGTH: 3,500 words or less

THEME: Hard Port: Interpretation of both "Hard" and "Port" are up
to the author. This story could refer to difficulties in docking
a spaceship, connecting to a cyber port, brewing a fine wine,
listing to the left, and so on. Please remember, though, that
this is a family convention, and the story will be printed in the
program book. A certain restraint and subtlety is called for, as
well as use of the theme as an integral part of the story.

PRIZES: 1st Prize: $200 and publication; 2nd Prize: $100; 3rd
Prize: $50


ADDRESS: Ann Cecil, PARSEC/Confluence Short Story Contest, 2966
Voelkel Avenue, Pittsburgh, PA 15216-2036

EMAIL: cecil"at"city-net.com
URL: http://trfn.clpgh.org/parsec/conflu/contest.html


            Foley Poetry Award

DEADLINE: April 16, 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



Not Without Anna, by Vicki M. Taylor

The Quilt Maker, by Barbara Deming

   Find these and more great books at

   Advertise your own book on Writing-World.com:


on how to reach 80,000 writers a month with your product, service
or book title, visit

eBooklet, RESOURCES FOR WRITERS by subscribing to NAWW WEEKLY,
the FREE inspirational/how-to emagazine for women writers. Send
blank e-mail to: naww"at"onebox.com or visit http://www.naww.org
SPAWN (Small Publishers, Artists and Writers Network) is
launching local networking Chapters. Check with us to find a
Chapter near you. Contact us if you'd like to start one.
Patricia"at"spawn.org. Subscribe to newsletter http://www.spawn.org
1001 WRITER'S GUIDELINES ONLINE - Categories include parenting,
family, health, home, business, sport, outdoors, travel, animals,
Christian and more. Listing over 1000 publications with writer's
guidelines online.  http://worldwidefreelance.com/1001WW.htm
WRITING FOR DOLLARS! - the FREE ezine for writers featuring
tips, tricks and ideas for selling what you write. FREE ebook,
83 WAYS TO MAKE MONEY WRITING when you subscribe. Email to
subscribe"at"writingfordollars.com http://www.WritingForDollars.com

Writing World is a publication of Writing-World.com

Editor/Publisher: MOIRA ALLEN (moirakallen"at"writing-world.com)
Managing Editor: PEGGY TIBBETTS (peggyt"at"siltnet.net)
Contest Manager/Research: Judy Griggs (writeupsetc"at"yahoo.com)

Copyright 2003 Moira Allen
Individual articles copyrighted by their authors.

Back issues archived at

Writing World is hosted by Listbox.com - http://v2.listbox.com

Subscribers are welcome to recirculate Writing World to
friends, discussion lists, etc., as long as the ENTIRE text
of the newsletter is included and appropriate credit is given.
Writing World may not be circulated for profit purposes.
Do not reply to this message to subscribe or unsubscribe! To
subscribe to Writing World, send a blank e-mail to
subscribe-writing-world"at"v2.listbox.com. To unsubscribe, send a
blank e-mail to unsubscribe-writing-world"at"v2.listbox.com.

Copyright © 2017 by Moira Allen. All rights reserved.
All materials on this site are the property of their authors
and may not be reprinted without the author's written permission,
unless otherwise indicated.
For more information please contact Moira Allen, Editor