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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 4:16          13,500 subscribers             August 5, 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
         CLASSES on Writing-World.com
         News from the World of Writing
         FEATURE: Crafting the Perfect Profile, Part II: Writing
            the Profile, by John Rains
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Should I write from the heart or write for
            the market? by Moira Allen
         JUST FOR FUN: Two Verses, by Lawrence Schimel
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

It's Not All Bad News...
For the past few years, it seems I've been writing (and reading)
about nothing but bad news for writers: increasing demands for
our rights, decreasing pay rates, discourteous editors,
electronic piracy, publications that don't bother to respond, and
of course, the overall difficulty in getting published at all.

As I was mulling over my intended editorial, however, I began to
think about some of the things that have changed in our favor.  I
had planned to discuss "wannabe" writers who don't bother to take
time to learn the business -- people who send e-mails like "I
have decided to become a writer; please tell me everything I need
to know," or "I've just written XXXX; please tell me where to
find a publisher."  Many don't even include the "please."

My typical response to this type of inquiry is to point the
writer toward the abundance of free information on the Web
(usually with a URL or two).  Usually I never hear from the
writer again; sometimes, however, I get a response like "Gee,
thanks for nothing!"

As I pondered in curmudgeonly fashion over this topic, what
occurred to me is how much has changed for the would-be writer in
the past decade.  Ten years ago, if you wanted answers to those
questions, you had to pay for them, either by buying writing
books or subscribing to writing magazines (of which there were
only a handful).  Or, you could spend hours at a library,
assuming that you were close to one and it had this type of
information on the shelves.  If you wanted to take a class, you
had to sign up at your local continuing education program ("night
school"), or take an expensive correspondence course (I took one
once that involved waiting four to six weeks for a response to
each assignment).  Networking opportunities were limited to
real-world writing groups -- if you could find one.

Today, the would-be writer can probably find more FREE
information online than on a whole shelf of high-priced writing
books.  Instead of paying for a handful of print magazines, one
can choose from dozens of free e-mail newsletters or e-zines --
most of which offer market information.  Instead of having to
send a SASE for a magazine's guidelines, one can often look that
information up directly on the Web, or request it by e-mail.  And
while most online classes DO cost money (although there are some
free ones), you can take one no matter where you live, and you
don't have to wait a month for feedback.

Perhaps best of all, writers can talk to other writers, through
chats, discussion groups and critique groups.  And because we can
network with writers not just throughout the country but around
the world, we can find out things we could never learn before,
such as which publications have a reputation for slow payment or
non-payment, or which agents to avoid.  Writers can now help
other writers avoid scammers and sharks whose sole purpose in
life is to part the unwary wannabe from his or her money.

Of course, one could argue that the Internet is also behind a
number of developments that have made life HARDER for writers,
such as electronic piracy, scammers, spam, e-rights issues, and
more.  Plenty of writers have been burned by "here today, gone
tomorrow" e-zines that folded without paying their bills.  But
plenty has been written on these topics, and I thought it was
time to take a look at the bright side.

The bright side is simply this:  Today, a "wannabe" writer has no
excuse for ignorance.  The information is not only out there,
it's out there for free.  It's out there because hundreds of
writers have taken the time to share their expertise -- often for
no recompense whatsoever -- with the writers who will follow in
their footsteps.  All the information a would-be writer could
possibly need about "getting started" or "finding a publisher" is
being offered on the proverbial silver platter. All a writer has
to do is reach out and take it.

Perhaps that's why I, and a great many other writers I know, get
a bit testy when someone comes along and basically asks, "Do my
homework for me!"  It's not because we don't want to.  It's
because we already HAVE!

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

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The following courses are still open for enrollment through
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Free (and almost free) e-books for Writing World subscribers!
Two authors are offering free, or almost free, e-books for
Writing World subscribers this month. The free one comes from
Marshall Chamberlain, who is offering his massive, 323-page
e-book "Creative Self-Publishing in the World Marketplace" to
Writing World subscribers during the month of August. Just go to
http://www.gracepublishing.org/page44.html to request a copy of
the e-book any time between August 1 and August 31. I've
downloaded a review copy, and will say that this appears to be a
great resource for self-publishers. (Use "Writing World" for the
organization entered in the form; the e-book will be delivered
between September 1-3, as Chamberlain will be out of the country
during the month of August.)

The second, "not quite free" offer comes from Jennifer Lawler,
author of "Dojo Wisdom for Writers." Lawler is offering a
selection of three e-books to any subscriber who purchases "Dojo
Wisdom" from Amazon.com on August 31. The free e-books include
"Queries that Sold" and "Ten Tips for Finding a Writing Goal
Buddy," plus your choice of any writing e-book on her website.
Just forward your Amazon.com confirmation e-mail to
jennifer"at"jenniferlawler.com and she'll give you information on
how to download your free books. For more information on "Dojo
Wisdom," visit http://www.jenniferlawler.com

Lewis Carroll scrapbook released
The Library of Congress has just released an electronic edition
of a scrapbook kept by Lewis Carroll (Charles Lutwidge Dodgson)
between the years of 1855 and 1872. The scrapbook includes a
collection of newspaper clippings, articles, poems, playbills,
photographs, and a handful of manuscript materials. Each page is
provided in a low resolution version that is viewed onscreen as
you "flip" through the scrapbook; you can then click on any page
to "zoom in" on a high-resolution image that is clearly readable
(though it can take a bit of time to load!). The site also
includes a timeline written by Edward Wakeling, former chairman
of the Lewis Carroll society, that helps put the scrapbook
materials in context. Visit the scrapbook at:

Amazon overhauls review policy
In late June, Amazon.com adopted a new review policy titled, Real
Names which encourages reviewers to use their real (or pen) names
when submitting reviews. Company spokesperson, Patty Smith said,
"What we're doing with the Real Names feature is saying that we
believe that by posting their real names to the content that they
provide their opinions will be viewed as more credible and more
thoughtful." The change is expected to cut down on reviewers
posting opinions under multiple names although Smith said abuses
of the system are rare: "The vast majority of people who post
reviews do so because they have a strong opinion." For more
information: http://snipurl.com/86uv

EDITOR'S NOTE: Abuses don't seem as rare as Amazon.com seems to
think; there are people with far too much time on their hands who
enjoy posting "spoof" reviews (some of which, admittedly, are
actually quite funny). I came across one such reviewer who has
posted nearly 200 spoofs. Fortunately this reviewer gives each
book a five-star rating, perhaps to ensure that no "real" harm is
done.  The really scary thing is to see how many people indicate
that the spoof reviews are "helpful"!

and ideas for that next project at Profitable Pen's newest
forums! Register for free at http://www.profitable-pen.com.

                            by John Rains (johnrains"at"hotmail.com)

Once you've done the research outlined in the previous issue,
it's time to write the profile. A profile can take a number of
forms -- it can be short or long; it may be a narrative story, or
a day-in-the-life.

However you choose to structure a profile, try for a high-octane
beginning. With a profile, perhaps more than with many other
kinds of stories, we need to give readers a reason to stay with
us. Unless we are profiling a celebrity, many readers won't care
unless we grab their interest early. And once we grab it, we have
to work to keep it.

Whatever the form, a profile should do one thing well: It should
give the reader a feeling that he knows the subject as a person,
a three-dimensional human being instead of a cardboard figure.
Ideally, the reader should find surprises. Even the reader who is
close to the profile subject should come away knowing something
he didn't know before. Sometimes this can be accomplished
directly through another one of those evergreen questions: "What
would surprise people who think they know you well?"

More often, it emerges from laborious reporting. Remember that
personalities are often a bundle of complications and
contradictions. Nothing would be more boring than writing about
someone who was totally predictable -- if such a person exists.

Powers and Perils of Description
Think about how we know a person.  We first judge people by our
first impression: What they look like.  Then we come to know them
by how they act, what they do, what they say and how they say it.

That's exactly how we let readers get to know the profile
subject. We show the character through appearance, mannerisms,
quirks and eccentricities, acts, what he says. All of this comes
under the broad term "descriptive writing."  This is more than
mere physical description; it blends physical description with
many other details.

Here are some pitfalls many writers fall into in descriptive

* Going overboard on description. You don't need to write an
all-points-bulletin. These can  be tedious and even confusing.
One or two well-chosen details can often be more effective than a
bunch of them.

* Reliance on stock language. The details you choose to help
bring a character to life in print should be specific -- not
generic labels. If you are tempted to use a word or phrase that
you are accustomed to seeing -- such as "he was soft-spoken" --
ask yourself if there isn't another detail that will work better.
Or, at least, ask whether you can't find a fresh way to get the
idea across without using the worn phrase.

* Generalities.  Generalities are useless unless they are hitched
to particular details that give them meaning. For example, some
writers think they are being descriptive by using a phrase such
as "he dresses casually." A reader can't form much of a picture
in his mind from that phrase. Why not throw the phrase away and
tell what the person is wearing? BUT DO SO ONLY IF THERE IS A
POINT TO BE MADE! A catalog of someone's clothing doesn't matter
to the reader unless it helps give a picture or illuminate
character. If a banker dresses the way you expect a banker to
dress, there is little value in detailing this. If, on the other
hand, he stands out in a group of bankers as the guy wearing a
Loony Tunes tie, that may tell us something about his

* Using details of action in an awkward manner. It is useless to
focus on mundane movements, ordinary actions. The reader will
wonder why you bother to tell him that the person leaned back in
his chair. On the other hand, if you tell us the person slumped
in his chair when he got the bad news, that detail works.
Blending descriptive details with motion is a good technique, a
piece of advice that goes all the way back to Aristotle.

* Details dropped in at inappropriate places. A descriptive
detail dropped into a sentence where it has no relevance to the
main thought is likely to be jarring. Writing shouldn't call
attention to itself.

In a profile, description and character revelation can be used
throughout the story -- provided, again, that it is blended in
smoothly, not used haphazardly. A good technique  is to use a
sentence or two of character portrayal early on, high in the
story. Soon after the character is introduced, the reader needs
to start getting a sense of his personality. This, again,
parallels real life. If you introduce someone to a friend, you
provide the person's name and explain where the person is from
and a little more -- something that gives them both a bit of
common ground, so they can get to know each other. This idea
works in profiling people. The more intimately we know the
subject, the more we understand him, and the more interesting he
is. We needn't expect a profile subject to bare his soul in
print, although people will tell the most amazing things about
themselves. But if you don't get beyond superficialities, the
profile is never going to amount to much.

This business of descriptive writing is terribly important, not
only for profiles but for all kinds of stories. And descriptive
writing is a skill that many writers, especially newspaper
writers, don't develop fully. For those who want to learn more,
start with a couple of books: "Word Painting" by Rebecca
McClanahan and "Description" by Monica Woods.

Settings and Feelings

Let's move on to some other elements that enhance profiles.

One is setting. Eudora Welty said you can't write a story that
happens nowhere. Profile subjects don't live lives that happen
nowhere. They live in specific times and places, in particular
social environments, and the story should reflect that. Much of
what has been said about describing people applies to
establishing sense of place in profiles: Use concrete, specific
details. Again, we're talking about more than mere physical
detail. Setting involves atmosphere, emotional associations,

Speaking of emotion, that is another element that should be
present in profiles. We all have emotional lives. Things hurt us,
sadden us, scare us, depress us. Things make us happy, bring us
joy, make us laugh. At least some of this ought to show up in a
good profile. That is not to suggest that we engage in some sort
of emotional voyeurism or heavy melodrama. But a profile with the
approximate emotional content of a turnip is a profile people
won't want to read.

What else does a profile need?
One thing is change of distance. Think of a camera. In your
story, the perspective should shift, just as it does with the
camera in a movie. Move the camera in to show us a closeup of the

Humor is another element that ought to be used when it can be
done without being forced. If the profile subject has a good
sense of humor, you're in luck. Take advantage of it. Sometimes
there are opportunities for humor even when the subject isn't
especially witty. An illustration comes from a profile about a
judge. The judge seemed to be a pretty sober sort of person. In
the middle of the profile, howver, the writer had an anecdote
about the man making a slip as he was presiding over one of his
first cases. The judge forgot that he was no longer acting as
counsel, and when one of the lawyers said something out of
bounds, the judge blurted "I object!" It was a neat little
anecdote and it brightened the whole piece.

Every profile of any length at all should have a couple of
anecdotes, whether they are amusing or not. What exactly is an
anecdote? It is simply a short story, something that happened.
Good ones can often be told in a couple of paragraphs, or even a
single paragraph.

Good anecdotes are little gems that can serve any of several
purposes. They can reveal character. They can provide a change of
pace. They can drive home a point, illuminate a theme, deepen the
reader's understanding. They can be funny or poignant or ironic.
They tend to stick in readers' minds, which is reason enough to
use them.

Another element that can help make a profile more compelling is a
scene. Not a static view. We are talking about scenes in the
narrative sense -- an action happening in a simulation of real
time. Again, think of a movie camera, or a play. A scene has a
beginning, a middle, and an ending. It shows the character doing
something or having something happen to him. Sometimes a profile
might open with a narrative scene. The reader meets the character
right in the middle of something happening. But a scene might
happen anywhere in a story.

Creating a Profile Sheet
One more suggestion on writing profiles. Make up a profile or
character sheet. On it, list the areas we have been talking about
here: roots, education, family, work, civic life, military
experiences, etc. One thing you might put at the top of the sheet
is a line labeled "first impression" -- what is your subjective
reaction on meeting the subject? Add any other categories that
you think might be helpful.

A profile sheet can help you remember to deepen and broaden your
reporting. It can help you sort out your perspective when you
start to write.

The idea of profile sheets was stolen from novelists. Some
novelists use such sheets for all the main characters to make
sure they keep the story consistent and to help make the
character "real." It works for fictional characters and we can
adapt the idea to work for real characters as well.

Try a little experiment. Find a profile you like and get yourself
a handful of highlighters. Assign colors to different elements.
Go through and highlight such things as humor, emotional detail,
anecdotes, sensory details. See what kind of color patterns you
get. It's a good bet that you'll find a rich mosaic.

Every story, every profile, will be different. Not every profile
will use every one of the possible ingredients that you could
add, and certainly they will not use them in the same
proportions. One profile might be lighter or heavier on humor
than another, or on some other quality.

But these elements have been proven by good writers. If you think
about them and learn to use them, your profiles will be richer
and more satisfying to write -- and more satisfying to read.


John Rains is a newspaper writing coach in North Carolina and has
self-published three books: "Shooting Straight in the Media/A
Firearms Guide for Writers," "Writing Beyond the Routine/For More
Readable Newspapers," and "Write Your Way into the Papers." Visit
his weblog: http://www.smalltownpress.net/blogger.html

Copyright (c) 2004 by John Rains

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


Write Craft Writers Resource Center
Contests, conferences, articles, and more to help writers learn
the trade.

Tips and tricks, advice columns, market news and book reviews are
some of the things you'll find here.

Writer's Hood
A professional site dedicated to assisting aspiring writers by
providing a place to present their talent to an audience.

Writing on the Run
A site dedicated to helping writers find time to write, including
articles, a free weekly tip and contest.

An online sharing marketplace for books, DVDs, CDs, games, and a
whole lot more.

Subtitled "Your Guide to the Gods," this site offers a database
that "aims to cover every known deity from all cultures and

20,000 Names
Not just names, but names by cultural and ethnic heritage.

SUNPIPER LITERARY & CONSULTING, P.C. is looking for authors
possessing creativity and vision in fiction and nonfiction
genres. Agency fees are on a strict contingency basis. You don't
profit, we don't profit. Visit http://www.sunpiper.com/ for more
info. "In the business of representing ideas!"

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

Should I Write From The Heart Or Write For The Market?

Q: I am aspiring to be a Christian writer. I write in several
styles: poetry, essay, plays, etc. From my research of the
writing market, I could not find any publishers who publish the
kind of work that I do. Many articles say to write about what is
in the heart. Other articles say to write about things that the
publishers are looking for. Even though these are not totally
contrasting views, and in reality, it seems like the latter is
correct, I cannot do that. I write down the words that come from
my heart, and if it is not in my heart, then it would be
difficult putting it on paper. I really do not know what to do or
how to begin.

A: Since you are writing Christian material, you will need to
familiarize yourself with the Christian marketplace. This tends
to be a little different from the ordinary "freelance"
marketplace, and includes both magazines and book publishers.
You'll find a lot of links to information on Christian writing at

Plus, I recently found a site that focuses on Christian poetry:
http://snowfaux.com/utmost.htm -- and you may find something more
specific to the type of work you're doing there.

Regarding writing from the heart vs. writing what publishers
want -- these aren't really contradictory. However, sometimes
these pieces of advice are given in response to two separate
questions. If someone simply wishes to WRITE -- where the act of
writing and getting what is "in one's heart" on paper is the
primary goal -- then the correct advice is to "write what's in
your heart." If, however, your goal is to SELL your writing --
i.e., you are interested in approaching writing as a BUSINESS --
then you need to be aware of what sells. It's the same as any
other business. Writing from the heart and the heart alone means
writing for yourself, and that's a wonderful thing; there is
nothing wrong with that. If, however, your goal is to be
successful in the marketplace, then you need to learn what that
marketplace will and won't buy. It's basically two different
approaches to writing. Consider it the difference between writing
as vocation (a business) and writing as avocation (a matter of
personal fulfillment).

The choice is yours, and one that you will need to make. If your
goal is to "make money as a writer," then you have chosen to
approach writing as a business, and you'll need to learn how the
business works (including identifying what publishers are
interested in buying). If your goal is personal fulfillment, then
you won't need to do this.

At the same time, you can often combine the two. The key is to
define what issues that are close to your heart AND of interest
to paying publishers. The next step is to learn how to craft an
article that expresses what you want to say, in the manner that
is acceptable to a publication (and to the typical reader). You
don't have to write about things you don't care about to get
published; you simply need to learn how to express the things you
care about in a manner that is likely to lead to publication.

What ISN'T an option is to say, "I want to do it MY way and still
get paid for it." That doesn't work in any business -- it
wouldn't work if you were selling shoes, fixing cars, or selling
real estate -- and it doesn't work in the writing business. The
challenge that faces anyone in the BUSINESS of writing is to hold
onto the values that we cherish (including the things that we
WANT to write about) and meet the needs of the marketplace.


A Correction from the Previous Issue
In response to the previous issue's "Writing Desk" on disability
benefits, a reader writes:

Dear Moira,

I too am disabled from full-time work and have turned back
heavily to my freelance writing. There is a maximum of money I
can earn each month without endangering my payments. When I sold
my first freelance column two years ago, I called to see how it
would affect the status of my disability payments.

The numbers differ from person to person, depending on their
earnings, etc. For example, if I sell an article for more than
$531 (and others tell me this limit has increased, I haven't
checked) I must report it as income above my allotted amount.
However, this will have no bearing in ending my payments.  I must
make above that amount for nine months before my disability would
end. So, if I sold that article, it would be my first of nine
months. If I don't go over the limit for another eight months,
then sell another one, that is only the second of the nine
months. Same story if I received a $10,000 advance for a book. It
is the earnings of one month. Say I do not go over the limit of
earnings for five years from the second or third sale, then sell
another piece a few months later, I am back to the first month of
a nine-month accrual of earnings outside my disability.

It is complicated and easy at the same time. Due to the disparity
in benefits paid, though, it is best to contact a local office
and get the numbers from them. I simply told my benefits officer
what I was doing. At the time the column was only drawing $40 per
month; therefore, it wasn't even reportable. I went further,
though, asking about scenarios like the ones in your answer.

I am sure many people are afraid to ask this question, I know I
was. By the way, that was three years ago and I have yet to chalk
up my first of the nine months. I would welcome a book advance to
show my husband I do not sit on the computer all day and twiddle
my thumbs!

Thank you for the newsletter,
Nanette Clark


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", "The Writer's
Guide to Queries, Pitches and Proposals" (now available as an
e-book) and "Writing.com: Creative Internet Strategies to
Advance Your Writing Career". For more details, visit:

Copyright (c) 2004 by Moira Allen


JUST FOR FUN: Two Verses
                    by Lawrence Schimel (lawrenceschimel"at"mac.com)

Vanity Plates

To help promote his magazine,
to help increase its fame,
an editor ordered license plates
with the magazine's name.

Now, when he parks illegally,
he deals with police ambitions;
instead of tickets under the wipers
he gets story submissions!

Counting Rhyme

Robert Frost
Turned and tossed
Unable to fall asleep;
He was counting iambs instead of sheep.


Lawrence Schimel's short stories, poems, and essays have appeared
in numerous periodicals--including The Wall Street Journal, The
Saturday Evening Post, The Boston Phoenix, Isaac Asimov's Science
Fiction Magazine, Physics Today, and others -- and in more than
140 anthologies. Visit his web page at:

Copyright (c) 2004 by Lawrence Schimel



Advice from a Caterpiller, by Peggy Tibbetts
Finding Funding for Self-Publishing; Finding a Market for a Poem;
Statistics on Children's Publishing

Imagination's Edge, by Paula Fleming
Using Current Events in SF/Fantasy

Press Kit, by Debbie Ridpath Ohi
Author Showcases and Syndication Services, Part II
     (NOTE: This is the last installment of this column.)

The Screening Room, by Laura Brennan
Should I Write My Own Screenplay from my Novel?

Whoops! The article URLs in the last issue were incorrect --
here are the correct links!

Creating Character and Characterization in Screenplays,
by Elizabeth English

The Field of Dreams: Conflict as Metaphor in Screenplays,
by Elizabeth English

The Making of a Hollywood Film: A Guide for Screenwriters,
by Elizabeth English

Two Brads Or Three? 21 Ways to Better Your Chances Winning
Screenplay Contests, by Elizabeth English

FIND 1700 MARKETS FOR YOUR WRITING! Writing-World.com's market
guides offer DETAILED listings of over 1700 markets, with contact
information, pay rates, needs and more.  Fourteen themed guides
are available for $2.50 apiece or $25 for the set.  For details,
see http://www.writing-world.com/bookstore/index.shtml


Jim Ross, Managing Editor
Mock Turtle Press LLC
PO Box 3168, Lynwood, WA 98046
EMAIL: americanroad"at"mockturtlepress.com
URL: http://www.mockturtlepress.com/americanroad.html

We publish well crafted, carefully researched articles on
prominent byways, whether named or numbered, former or current,
that have nostalgic appeal or historical significance and were
principally 2-lanes during their heyday. Articles on the
evolution of the roadway itself (or the documenting of pathways),
landmark establishments or icons (either famous or forgotten),
personal travelogues from the bygone era, town histories
(especially if connected with an historical event),
personalities, or any related subjects are acceptable. We are
also interested in stories from the era that are historical in
nature or have widespread appeal (Woody Guthrie, for example).
Write in-depth. We publish four feature articles per issue. See
online guidelines for issue deadlines. It is strongly recommended
that you first submit your story idea to determine its
suitability. We do not publish fiction.

LENGTH: Articles: 1,500-2,000 words, up to 3,500 is acceptable;
Fillers: 500 words
PAYMENT: Original articles: 13 cents/word; Reprints: one-half of
regular rate
RIGHTS: First serial rights
SUBMISSIONS: By mail only, queries preferred, please see online
submission guidelines
GUIDELINES: http://www.mockturtlepress.com/writersguide.pdf


Jennifer Sahn, Editor
187 Main Street, Great Barrington, MA 01230
EMAIL: jsahn"at"orionsociety.org
URL: http://www.oriononline.org/pages/om/index_om.html

A magazine about the issues of our time: how we live, what we
value, what sustains us. Informed by a growing ecological
awareness and the need for cultural change, it is a forum for
thoughtful and creative ideas and practical examples of how we
might live justly, wisely, and artfully on Earth. Six times a
year, Orion explores an emerging alternative world view through
essays, literary journalism, short stories, interviews, and
reviews, as well as photo essays and portfolios of fine art. The
editors look for compelling writing that connects readers to
important issues. We do not publish material that is academic or
theoretical. If you have not written for us before, we welcome
your thoughtful submission or query. Please see our online
guidelines for detailed information about our Features and

LENGTH: Feature articles: 1,500-4,500 words; Sacred & Mundane:
200-600 words; Departments: 750-1,500 words; Reviews: 250-600
PAYMENT: Features: $400-$1,000; Sacred & Mundane: $25-$50;
Departments: $250-$300; Reviews: $50-$100
SUBMISSIONS: Correspondence and queries via e-mail are welcome,
but we do not accept manuscript submissions electronically.
GUIDELINES: http://www.oriononline.org/pages/om/omguidelines.html


Peter Stiglin, Online Editor
187 Main Street, Great Barrington, MA 01230
EMAIL: pstiglin"at"orionsociety.org
URL: http://www.oriononline.org/index2.html

Although OrionOnline offers limited and abridged content from
Orion magazine, it is a separate publication with different
features and guidelines. For editorial guidance and descriptions
of our Feature Departments, please see our online guidelines.

LENGTH: 1,200-2,000 words
PAYMENT: $100-$800
RIGHTS: Exclusive electronic media rights for a period of six
months (although we normally grant reprints on request), and
non-exclusive electronic media rights thereafter in perpetuity,
for archival purposes
SUBMISSIONS: Prefer to receive submissions in the body of an
GUIDELINES: http://www.oriononline.org/pages/om/omguidelines.html


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.


         Happy Tales Literary Contest

DEADLINE: September 1, 2004
GENRE: Fiction
LENGTH: No word limit

THEME: Have you ever read a great work of literature and been
disappointed by an ending that might have been more uplifting,
affirmative, or happy? Take any literary work with a sad,
disturbing, or negative ending and supply a happy, affirmative,
or uplifting ending. The new ending must more or less parody the
idiom, style, atmosphere, and so on, of the original.

PRIZES: Grand prize: $300 and the Nahum Tate Cup. Entries,
including the winning entry, may be read and praised and/or
ridiculed by contest judges in a public session of the Montana
Festival of the Book, October 1-2, 2004, Missoula, MT.
Winning entries will be weblished at the Festival web site or
published in other media.

ELECTRONIC ENTRY: Yes, also by mail

EMAIL: lastbest"at"selway.umt.edu

ADDRESS: Happy Tales, Montana Festival of the Book, Montana
Center for the Book, 311 Brantly Hall, The University of Montana,
Missoula, MT 59812-7848

URL: http://www.bookfest-mt.org/happy.htm


            Enlisted Essay Contest

DEADLINE: September 1, 2004
GENRE: Essay
OPEN TO: Active, reserve, retired, and former enlisted personnel
of all service branches and countries
LENGTH: 2,500 words

THEME: Any subject relevant to military service.

PRIZE: 1st Prize: $1,500; 2nd Prize: $1,000; 3rd Prize: $500


ADDRESS: U.S. Naval Institute, 291 Wood Road, Annapolis, MD

EMAIL: essays"at"navalinstitute.org
URL: http://www.usni.org/contests/contests.html#enlisted


           Marine Corps Essay Contest

DEADLINE: September 1, 2004
GENRE: Essay
LENGTH: 3,000 words or less

THEME: Any subject relating the Corps' warfighting excellence.

PRIZE: 1st Prize: $2,000; 2nd Prize: $1,500; 3rd Prize: $750


ADDRESS: U.S. Naval Institute, 291 Wood Road, Annapolis, MD

EMAIL: essays"at"navalinstitute.org
URL: http://www.usni.org/contests/contests.html#marine


         In The Beginning Literary Arts Contest

DEADLINE: September 1, 2004
GENRE: Short fiction, creative non-fiction, or poetry
LENGTH: 4,000 words or less

THEME: What we seek in poetry/prose are pieces that
engage/illumine/explore some question animating the human
spiritual quest. Many questions fall into that category, such as:
What is the relation of humanity to God, the universe, life?
How/Where does one touch Hope, Love, Grace, and Meaning, in
today's world?
What is the Good, the True, the Right?
What is the secret to the fullness of life?
What is the purpose of human existence?

PRIZES: 1st Place: $500; 2nd Place: $250; 3rd Place: $100

ELECTRONIC ENTRY: Yes, all submissions must be accompanied by an
official application form

ADDRESS: Lake Oswego United Church of Christ (Congregational),
1111 SW Country Club Road, Lake Oswego, Oregon 97034

EMAIL: loucc"at"pacifier.com
URL: http://www.loucc.org/literary.htm



The Simple Touch of Fate, by Arlene Uslander and Brenda Warneka

Two Journeys, One Path, by Margaret West

We Are More Than Our Wounds, by Stephen Mead

The Whitlow Sanction, by Betty Bradford Byers

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Editor/Publisher: MOIRA ALLEN (moirakallen"at"writing-world.com)
Managing Editor (Newsletter): PEGGY TIBBETTS (peggyt"at"siltnet.net)
Managing Editor (Site): DARCY LEWIS (darcylewis"at"sbcglobal.net)

Copyright 2004 Moira Allen
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