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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 4:21          14,400 subscribers           October 14, 2004

SPECIAL NOTICE: Please DO NOT REPLY to this e-mail; any messages
sent to the listbox address are deleted. See the bottom of this
newsletter for information on contacting the editors.


         From the Editor's Desk
         News from the World of Writing
         FEATURE: Lights, Camera, Action! How to Get Paid to
            Write About Motion Pictures, by Paul Armentano
         The Write Sites -- Online Resources for Writers
         WRITING DESK:  Using Public Places in Fiction,
			by Moira Allen
         JUST FOR FUN: Characters Will/Will Not, by Suzanne Mead
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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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:
LOOKING FOR PAYING MARKETS?  Absolute Write Can Help! Subscribe
to the Absolute Markets PREMIUM Edition for just $15 a year and
get all the writing markets we can cram into your inbox!  We've
got calls for freelance writers, screenwriters, editors, greeting
card writers, translators... http://www.absolutemarkets.com

2000 ONLINE RESOURCES FOR WRITERS -- Just updated, with hundreds
of new links for every kind of writer!  Still only $5.

as an e-book!  Find out how to write the perfect query, book
proposal, novel synopsis, column proposal, or grant application.
Only $8.95 (save $5 from the print edition.)

To order, visit http://www.writing-world.com/bookstore/index.shtml


                     FROM THE EDITOR'S DESK

This is Your Mind on Bugs...
Only one alert reader apparently caught the fact that, in my
flu-buggy state last issue, I made a number of changes to the
newsletter but never updated the table of contents!  Thus, the
TOC referenced a Writing Desk that didn't exist and a "Just for
Fun" piece that also didn't exist.  (The "Just for Fun" piece
is in this issue.) Oh, well!  Fortunately, I'm feeling much
better this week, which simply means that I don't have as good
an excuse for any mistakes I might happen to make THIS issue!

Announcing a New, Improved Contest Database!
We've just made a major change to the Writing Contest Database.
Instead of being divided into a series of twelve monthly
databases that must be searched separately, our list of writing
contests is now in one single, searchable database. That means
that you can access an entire year's worth of contests -- nearly
900 entries -- with a single search.

One reason for the change is to make it easier for contest
sponsors to post their contest listings.  Organizations that
offer multiple contests (such as quarterly or bimonthly contests)
no longer have to register for each separate monthly database;
they only need to register and log in ONCE to list all their
competitions.  Similarly, when WE update contests, we no longer
have to switch back and forth between databases, but can input
everything much more quickly and easily.

Another reason for the change is to make it possible for anyone
seeking contest information to be able to look at an entire year
of data, including listings for contests that have not yet posted
information for the current year.  We try to keep the database
updated for about three to four months ahead of the current month
(the database is currently checked through January 2005).

However, no system is perfect.  Now that the database is ONE
database rather than twelve MONTHLY databases, it is now less
easy to search for contests within a specific month.  At present,
the only way to search by date is to enter an entire date in the
"deadline" field (e.g., December 31 2004).  I'll be talking to
the database support people to determine whether we can set it up
so that the database can be searched by month and/or year (e.g.,
all December, or all 2005 contests).

It's also just a little more difficult to find all the contests
in a specific category (such as poetry, fiction, nonfiction,
etc.).  We wrestled with a tradeoff here: Whether we should make
the contests easier to post, or easier to search.  Since part of
our goal is to encourage people to post their own contests
(rather than having to ask us to do it for them), we opted for
"easier to post."  Previously, if a contest had more than one
category of entry, the sponsor had to post a separate listing for
each category.  Now a contest sponsor can specify up to three
categories for each listing -- but this means that one must now
SEARCH each of those three categories separately.

However (another "however"), here's a cool thing: If you LOG IN
to the contest database, you can run a search and have the
results of your search e-mailed to you!  The online search page
displays only 10 listings per page, which means you have to keep
clicking to the next page if you have a lot of results.  If you
have the results e-mailed to you, however, you'll get them all in
one nice document.  To log in to the database, go to
http://www.writing-world.com/contests/submit.shtml and REGISTER
(you don't have to do anything else).  This puts your e-mail into
the system, so that you can have the results of your search sent
to you.

To search the contest database, visit

To enter a contest listing, or to register your e-mail, visit

                                          -- Moira Allen, Editor

Your Travel Writing Career Could Start Here... Today Imagine
sliding out of bed and knowing your "work" for the day is to
scuba dive along the Barrier Reef…mountain climb in the Andes...
or kayak the San Juans... Here's the opportunity you've been
looking for. http://www.thetravelwriterslife.com/sh/wworlda6/
PROMOTE YOUR BOOK! Get your book media exposure & in bookstores &
distribution houses. New publication reveals how. Putting It On
Paper: The Ground Rules for Creating Promotional Pieces that Sell
Books http://snipurl.com/61m5 or http://www.cameopublications.com


Children's book donations wanted
Lullalee Publications provides free literacy services for
children with special needs and or disadvantages. They offer
story telling services with costumed characters, free books,
coloring books and teddy bears for children in crisis. They are
calling for children's authors to donate their books for ages
3-12. Authors who donate will be acknowledged on the web site.
For more information: http://www.lullaleepublications.org

Nonfiction authors wanted
First Voice is an author interview show on the web, looking for
authors willing to do phone interviews for their nonfiction book.
Authors can email a query to see if their book would be something
of interest. No children's books, ebooks, biography. They will be
doing a series on astrology books in November. Interviews are
long format, pre-taped. There is no charge to authors or
publishers. For more information: http://www.7to7.net/

I Love to Write Day
Founded by Delaware author John Riddle, I Love To Write Day will
mark its third anniversary on November 15. This year's honorary
chairperson is Jenna Glatzer, editor of Absolute Write. People of
all ages are encouraged to write something: a poem, an essay, a
letter to the editor, a short story, start a novel, finish a
novel, etc. Last year more than 12,000 schools all across the
country held special writing events and activities. For a media
kit and suggested activities, see http://www.ilovetowriteday.org

Google Print goes live
After a year of testing, Google Print, which puts book
content into the company's databases, went live October 5. Under
the program, Google scans a book's content into its information
archive and the material becomes part of Google's search
services. When a user does a search, books that contain the
search term will show up among the results. The term will be
highlighted in an excerpt from the book, along with the book's
title, author, publisher and the page number. Users can browse
only two pages backward and forward from any page where their
search term appeared. According to Director of Product Management
Susan Wojcicki, Google has taken other security measures, such as
disabling the copy and paste function, to ensure that a book's
content isn't copied illegally. Google executives did not specify
how many titles have been scanned, but it is believed to be more
than 100,000. The company is working with most major houses with
their permission. Smaller publishers can sign up online. For more
information: http://print.google.com

Lightning Source and Ingram revise POD fulfillment
On October 4, Ingram Book Group and Lightning Source (LSI)
announced a new program for the stocking and fulfillment of
print-on-demand (POD) books. Beginning in 2005, books will be
printed as they are ordered, and all LSI titles will display as
active and available for ordering from Ingram and on iPage.
Backordering of these titles will not be necessary. Ingram will
continue to stock certain titles with a demonstrated sales
history. During the transition period, LSI will fund the printing
of at least one copy of all new books and any currently
out-of-stock books with a recent sales history. These books will
be placed in inventory at Ingram. However for most POD titles,
booksellers will find no stock on hand and will need to

How much time do Americans spend reading?
In September, a Time-Use Survey by the Bureau of Labor Statistics
of the US Department of Labor reported that in 2003, reading as a
primary leisure activity varied greatly by age. The oldest age
group, 65 and older, averaged an hour of reading per day, while
the youngest, 15 to 24-year olds, averaged about 8 minutes. The
overall average is .33 hours/day (about 19 minutes) for men, and
.40 hours/day (about 24 minutes) for women.

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                        by Paul Armentano (paularmentano"at"aol.com)

When I was a young child in the early 1980s, my family and I
would gather around the television to watch Siskel & Ebert's
Sneak Previews (now Ebert & Roeper's At The Movies). Eight years
old and wide-eyed, I'd think, "Wouldn't it be great if someday I
could make my living watching movies?"

Twenty-four years later, I'm pleased to say that I've enjoyed
ample opportunities to live out my childhood dream to write about
motion pictures. Below are some tips on how you can too.

Think Local
Perhaps the most practical way to break into the film market is
to submit to your community's alternative weekly newspaper. These
are the free periodicals stacked knee-high each week at your
local newsstands and bookstores. These publications, so-called
alt-weeklies, highlight the local community's arts and
entertainment scene, alerting readers of what's playing, where
and when. Large sections of these papers are written by local

Query your paper's arts editor to see if they have a need for a
freelance writer to review local movie premieres, film festivals,
theater openings and/or other entertainment related topics. I
began my own writing career this way by submitting a manuscript
profiling three up-and-coming independent directors to the local
alt-weekly. The publication of that article eventually landed me
a position as one of the periodical's chief movie critics.

When writing film reviews, a few rules apply. Most importantly,
your review must be timely. This means that your critique should
be written and published before the film opens in local theaters.
Fortunately, most major motion pictures enjoy private screenings
several days before they open publicly. After becoming affiliated
with your local paper, you will be granted access (typically in
the form of a pass supplied by the film's distributor) to these
advanced screenings, which typically take place secretly at one
of the community's local movie houses.

Second, your critique must be impartial. How many times have you
decided not to attend a motion picture after reading a negative
review of it in your local paper? Well, now it's your words and
opinions that have the power to potentially influence the minds
(and wallets) of thousands of potential filmgoers. As such, it is
pivotal that you give them an honest, objective assessment of a
film's worth.

Lastly, your review should be concise and focus on a handful of
essential elements, including direction, storyline, genre (i.e.
Is the film a comedy, drama, etc.) and acting. Your review should
not be a plot synopsis, nor should it reveal any important plot
twists. Surprises are best enjoyed by audiences while they are at
the movie, not ahead of time.

Of course, there exist plenty of other opportunities to write
about the motion picture industry aside from reviewing movies for
the local paper. I've published numerous articles on various
aspects of cinema, including profiles of film directors, analyses
of motion picture scripts, and reviews of film-related books.
Many of these articles have been published in film magazines.

Take a trip to your local newsstand and you will be amazed at the
wide range of film publications available -- from mainstream
publications like Cineaste to scholarly journals like Film
Quarterly to niche and fanzine publications like Video Watchdog.
Most of these publications rely primarily on freelancers.

A quick and relatively easy way to crack the film magazine market
is to submit reviews of film-related books. Many magazines such
as Creative Screenwriting and Cineaste devote several pages per
issues for book reviews -- often commissioning freelancers to
write them. Querying to write a book review is one of the most
practical ways to gain assignments from an unfamiliar editor. A
well-written book review demonstrates that you can be analytical,
objective, and to the point. Once you have established a
relationship with an editor, you will have better success
querying them for larger feature topics.

More "Getting Started" Tips
Here are some additional hints for getting started:

1. Be passionate about films and filmmaking. For the successful
freelancer, it (literally) pays to write about what you know and

2. Seize opportunities locally. Many of my published articles
focus subjects of local interest or significance, such as area
filmmakers and film festivals. Often I pitch these stories to
local periodicals, and then later rework them for national

3. Familiarize yourself with the market. There is a wide range of
film magazines in circulation. Many of these publications are 50%
to 100% freelance written. However, most focus on particular film
genres (i.e., horror, sci-fi, etc.) and target specific, often
narrow audiences. Therefore, it's vital to be familiar with the
magazine's guidelines, as well as its content and tone, before

4. Be creative. Films are open to a wide variety of
interpretations, so don't be afraid to propose articles that
explore alternative points of view. For example, several years
ago I queried an editor about comparing Ang Lee's action
adventure hit "Crouching Tiger, Hidden Dragon" to the
Shakespearean tragedies of yesteryear. Not only did he publish
the article, it's now on the required reading list for a film
studies course at St. Michael's College in Vermont.

5. Leave your comfort zone. Although I started out by penning
almost exclusively film and video reviews, I now publish articles
on a variety of film-related topics. In fact, just recently I
sold a feature entitled "Revenge of the Cheerleaders: A
Definitive Analysis of the Forgotten Cheerleader Films of the
1970s." Believe me, it doesn't get much more "out there" than

Reflecting upon my childhood days, I realize that I'll likely
never be the next Gene Siskel or Roger Ebert. But then again,
that doesn't mean that I -- or anyone else who possesses a
passion for both cinema and the written word -- can't be
successful freelancing for the film market.


Paul Armentano's work has appeared in dozens of newspapers and
magazines, including Creative Screenwriting, the San Francisco
Weekly, the Washington City Paper, and Penthouse Magazine. He
recently published the e-book "Stranger Than Fiction: The 99 Cent
Video Review Guide to The Most Bizarre and Intriguing Documentary
Films Ever Made." Excerpts are available online at:
http://www.suite101.com/topic_page.cfm/4651/4557 He also manages
the film review web site, 99 Cent Video Reviews:

Copyright (c) 2004 by Paul Armentano

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Write and Publish Articles on Topics You Love! Christina Katz has
a proven track record inspiring and guiding emerging writers and
recently appeared on Good Morning America. To learn more about
writing classes and services, visit http://www.christinakatz.com.


Lists of names, some with meanings and some without, from around
the world.

Writing Full Time: A User's Guide
A look at some statistics about publishing and writing for a
living by Robert Weinberg.

Hiring a Personal Publicist
What to do, where to go for help, and what to consider by Nancy

I Don't Really Have to Use Roman Numerals, Do I?
Alternatives to "traditional" outlining, including mindmapping
and others by Jeff Kirvin.

The Glossarist
Links to a huge selection of glossaries on a vast range of

PoynterOnline: Organization Links
Huge collection of writing, editing, publishing and media

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

Using Public Places in Fiction

Q: When making a reference in a book to such buildings as the
Sears Tower or a sport team as the New York Yankees, will I need
to get permission?

A: Generally the answer is no.  If you are writing fiction that
is set in the real world, there is no law against referencing
real places, people, events, etc.  If you want to have your
character watch a Yankees game, they can do so; they can also
visit the Sears Tower, or have dinner at a real restaurant in
some back street in New York.

However, you should limit your use of "real" places to "setting"
-- i.e., if your story is set in New York, by all means use real
places as part of your setting.  Use real people or events as a
way of establishing the time -- that is, what is going on in the
"real" world in the background of your story.  But be careful of
moving beyond setting and making real places or persons an actual
part of the ACTION of your story.  For example, if your story
involves a bomb being planted in a high-rise building, I wouldn't
use the Sears Tower -- I'd invent a building.  If your story
involves a character interacting with a sports star, I would
invent a team and an individual rather than using a "real" person
for this fictional interaction.

Good examples of how to combine fictional and real locations and
events in a story can be found in the work of Stephen King.  He
uses a number of REAL places to set his scenes (unless, of
course, they're set in one of his fictional towns) -- but when he
wants to weave a setting more closely into the action, he invents
that setting.  Thus, many of his stories are set in a fictional
town in Maine, which may resemble a real town, but doesn't
involve actual places.  If he wants to describe a mass shooting
in a restaurant chain, he'll invent that restaurant, rather than
using a real one.

Another thing to keep in mind is that while public figures can be
referenced in a story, private individuals cannot, without
permission.  Thus, you could include a reference to, say, Mayor
Giuliani, or a major sports figure, or a movie star, or any other
celebrity or public official, in a fictional story (again, best
used as background rather than as part of the story).  Private
individuals, however, are protected by privacy laws, and cannot
be referenced in a story (fictional or nonfiction) without
permission. This includes private individuals who may have been
in the news at one time, but are no longer "news items."  So
while you could have your character observe, or even possibly
encounter, a movie star or political figure, that character
CANNOT legally interact with, say, your ordinary next-door

The bottom line is: It's OK to use real places and people as
background setting, but keep them in the background.  When they
become part of the action, it's better to invent fictional places
and people.

NOTE: Please don't confuse this column with actual legal advice!


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

WRITERS. Filled with answers, insider information and markets for
your writing. Become the writer you've always wanted to be, order
now http://www.CreativeCauldron.com/mybooks.shtml

JUST FOR FUN: Characters Will/Will Not
                           by Suzanne Mead (Word2Pen"at"jnsmead.com)

1. Characters will divulge story plot and descriptions at a
comfortable pace, in a place where obtainable writing (or
recording) material is available (cars are off-limits), and will
adhere to strict times of quiet during the author's need for
sustenance, "real" work, and sleep.

2. Characters will not wake the author at 3 AM to reveal some
important tidbit of information, and then allow the idea to
evaporate before proper writing materials are located (See Rule

3. Characters will not change their name once a moniker is placed
upon them. This goes for eye and hair color, age, race, height,
body type, gender, clothing style, home village, job, etc.

4. Characters who manage to change their name or personal
description will do so early in the story, without several more
changes, and not close to the end of the project.

5. Characters will not swap places in the story. Antagonists will
remain as such. Ditto for Protagonists.

6. Characters will not balk at who (or what) is offered them when
suitable mates or sidekicks are created.

7. Characters will absolutely, positively NOT visit the author's
"real" place of work during business hours.

8. Characters will not take a vacation when the author finally
has time to write.

9. Characters will willingly accept their demise as the story
dictates. They will agree to leave the scene when called to do
so, and will not return to haunt the author or beg for a
miraculous "comeback."

10. Characters will not slip into other works-in-progress.
Cross-book/genre relationships are not permitted.

11. Characters brought into a story for the sole purpose of
delivering a message, or nodding their head in reply to a
question, will not be named. Take it or leave it.

12. Characters who are walk-ons (and who end up with a name),
will not displace already developed characters, nor take up
precious time or page space by divulging their life story. Under
no circumstances will they fall in love with the main character!

13. Characters will describe settings with enough detail to get
the scene rolling. The history of the land, or one's love life
exploits is not a one scene monologue.

14. Characters will never, ever utter the words: "Well, as you
know ..."

15. Characters will not offer information critical to the story
once the end is written and the story proofed, packaged, and sent

16. Characters who divulge the ending before the middle is
written will hang around long enough for the author to discover
how the heck they got that far!

17. Characters will not show up unexpectedly in the middle of a
hot writing session, only to start a whole new story (see Rule
10), but will wait patiently until the author has time to jot
down notes and get around to it. (See Rule 8.)

18. Characters will not divulge scenes and information pertaining
to the next six sequels and three "prequels" while the author is
in the middle of writing the first "stand alone" novel. (See Rule

19. Characters will limit their sequels to five books. Anything
beyond that may cause the author fall into a rut and produce
solely for the sake of money and fame.

20. Characters will not sulk when a manuscript is rejected, but
will get right back into the stream of things and offer a
brilliant rewrite!


Suzanne Mead lives in upstate NY and works as a musician and
gardener, and will admit to having an office job on the side.
She and her husband live in the country with an odd assortment of
characters who have yet to learn how to follow the rules.

Copyright (c) 2004 by Suzanne Mead



Imagination's Edge, by Paula Fleming
Refreshing the Palate:
How Writing in Other Genres Can Help Our SF/Fantasy

The Key to Success: Write More! - Lee Tobin McClain

Why You Can't Rely on Your Spellchecker, by Jan K. the Proofer

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


Angela Fountas, Editor
10039 49th Ave NE, Seattle, WA 98125
EMAIL: anthology"at"writehabit.org
URL: http://www.sealpress.com

To be published Fall 2005, by Seal Press. First-generation women
straddle two cultures, often struggling to carve an identity that
finds a place in both, which may or may not be accepted by
either. I am seeking first-person essays from women in their late
teens through early thirties who immigrated to the US during
childhood and are American-born of at least one foreign-born
parent who immigrated as an adult. This anthology aims to spark a
conversation about the generation of first-generation women who
will help shape the 21st century -- specifically women in their
late teens through early thirties -- and ways in which the
sociopolitical climate has come into play in their lives. This
anthology will collect emerging as well as established writers
and give voice to all women. Essays from women of all
nationalities, religions, belief systems, socioeconomic classes,
sexual orientations, and abilities are encouraged to submit. See
online guidelines for a list of possible topics

DEADLINE: November 1, 2004
LENGTH: 3,000-6,000 words
PAYMENT: $100, plus 2 copies
RIGHTS: Subsidiary rights
SUBMISSIONS: Email submissions are preferred as attachment in
.doc or .rtf format


Camille Cusumano, Editor
1270 D Storey Avenue, San Francisco, CA 94129
EMAIL: ocaramia"at"earthlink.net
URL: http://www.sealpress.com

To be published Spring 2005, by Seal Press. We are looking for
compelling essays by women who have great stories to tell about
their travels or experiences in Italy. Send your finest
nonfiction writing. Whether traditional or creative personal
essays, we‚re looking for more than memoir or travelogue, though
these genres may lend appeal to a story. We're looking for a
strong narrative -- stories that build toward a satisfying
dénouement -- something changed, learned, understood more deeply.
Strong character development is helpful. A good sense of humor is
desirable, though tragic accounts are welcome. Stories may be
rooted in some aspect of traveling there, the joy and/or
difficulty of living and/or studying in Italy, an insightful
moment of culture shock, the agony and ecstasy of immersion,
loves lost or gained with Italian men or women. We‚re looking for
substance, but style is encouraged.

DEADLINE: November 30, 2004
LENGTH: 2,000-5,000 words
PAYMENT: $100, plus 2 copies
RIGHTS: One time anthology rights
SUBMISSIONS: Email submissions are preferred


Kimberly Gammon, Editorial Manager
EDGE Science Fiction and Fantasy Publishing
Attention: Series Editors, c/o Tesseracts10 Submissions, PO Box
1714, Calgary, Alberta, T2P 2L7, Canada
EMAIL: kimberly"at"hadespublications.com
URL: http://www.edgewebsite.com

Tesseract Books announces that Tesseracts10, the 2005 volume in
the award-winning anthology of Canadian Speculative Fiction, is
now open to both short fiction and poetry. Speculative fiction
includes the genres of magic realism, science fiction, fantasy
(this term incorporates dark fantasy and supernatural fiction),
horror, and la fantastique. In all these areas, the editors
prefer not to be presented with genre clichés, but with original,
well-written, well-crafted works of art.

DEADLINE: December 31, 2004
LENGTH: Up to 10,000 words, preferred length: 7,500 words or less
PAYMENT: Poetry: $20; Short stories: $50; Longer stories: up to
RIGHTS: Non-exclusive world rights
SUBMISSIONS: By mail, email submissions must be followed by
mailed hard copy


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.


          Koret Young Writer on Jewish Themes Award

DEADLINE: November 15, 2004
GENRE: Fiction, non-fiction, or poetry
OPEN TO: Age 40 years or younger and have published no more than
one book at the time of application
LENGTH: No word length requirement

THEME: Established in 2001, the Koret Young Writer on Jewish
Themes Award annually awards one emerging writer a prize and the
opportunity to spend a quarter as writer-in-residence at Stanford
University. The residency allows time for writing, participating
in and/or leading workshops on campus and within the Bay Area
community; and the option of designing and teaching a course at

PRIZE: $25,000, and three months in residence at Stanford

ELECTRONIC ENTRY: Yes, as Word attachment

EMAIL: kywa"at"koretfoundation.org

ADDRESS: Koret Young Writer on Jewish Themes Award, Koret
Foundation, 33 New Montgomery Street, Suite 1090, San Francisco,
CA 94105



          Donard Publishing Short Story Competition

DEADLINE: November 27, 2004
GENRE: Short story
LENGTH: 5,000 words or less

THEME: This is a free monthly short story competition. The
stories may have any theme or subject. You must select a genre
for your story from the following list and include this in the
subject line of the email when submitting your story: children's;
science fiction and fantasy; thriller; adventure; romance; humor;
adult (to include any story with an adult theme such as violence,
sex or language); other (if your story does not easily fit into
any of the other categories).

PRIZE: £25

ELECTRONIC ENTRY: Yes, as an attachment (Word file) or in the
body of email

EMAIL: submissions"at"donardpublishing.com

URL: http://www.donardpublishing.com/sscomp.html


          True Life Story Contest

DEADLINE: November 30, 2004
GENRE: Creative nonfiction
OPEN TO: 16 years of age and older
LENGTH: 5,000 words or less

THEME: The True Life Story Contest invites professional and
amateur writers to submit manuscripts exploring the creative
nonfiction form using themes of friendship, animals, Christmas,
or amazing coincidences. At the conclusion of the contest
selected entries will be compiled and published in a book to be
released in 2005.

PRIZES: 1st Prize: $1,000; 2nd Prize: $500; 3rd Prize: $250

ELECTRONIC ENTRY: Yes, in the body of email

EMAIL: submissions"at"truelifestorycontest.com

URL: http://www.truelifestorycontest.com/



Sparkle from Darkness, by Ronald Henderson

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