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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 5:04         15,200 subscribers           February 17, 2005

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         From the Editor's Desk
         News from the World of Writing
         FEATURE: Location, Location, Location, by Jim C. Hines
         The Write Sites -- Online Resources for Writers
         WRITING DESK: How should I handle last names in my
            fantasy trilogy? by Moira Allen
         WRITER TO WRITER - by Peggy Tibbetts
         JUST FOR FUN: Writer's Prayer, by Alyssa Joy
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

Writing 101
No, it's not an announcement of a new class -- it's the 101st
issue of Writing-World! Why are we celebrating the 101st issue?
Because the 100th issue slipped right past me!

I knew it was coming.  I was watching for it.  Then, when Peggy
asked, "When is the 100th issue, exactly?" I checked the numbers
again and realized -- "Uh, it was LAST week."

We launched the newsletter in March 2001, shortly after launching
the website itself.  That year, we had 22 issues; we've had 25
issues each year since then.  We started with 2500 subscribers;
by the first issue in 2002, that had nearly tripled to just under
7500 subscribers.

As Peggy notes in her column, below, what makes this project
truly amazing is the ability to correspond with writers
throughout the world.  I chose the name "Writing-World.com"
because I wanted to project the image of a site that would not
just be helpful to U.S. writers, but to writers everywhere.  I
had no idea, however, how widely this publication would be read!

It's also a reminder that, no matter how much I grump and groan
about the demands of e-mail or the fact that I spend 90% of my
working day at the computer, a publication like this simply
wouldn't be possible without the Internet.  In fact, I have a
hard time imagining what my writing career would look like today
without the Internet!

What about yours?  In our 101st issue, we're asking -- how has
Writing-World (website or newsletter) changed YOUR writing
career?  Have you found your first market or made your first sale
through us?  Or have you perhaps just found the sort of
encouragement you needed to send that manuscript out the door
instead of filing it in your sock drawer?  Send your answers to
"How has Writing-World.com changed YOUR writing life?" to Peggy
Tibbetts, at peggyt"at"siltnet.net, and look for the results in

And finally, thank YOU.  Writing-World.com would not be here
today if not for all of you!

                                          -- Moira Allen, Editor


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Search engines bidding for About.com
About.com, the eight-year-old guide to the Web, is up for sale
with bids due this week. Google, Yahoo, AOL, and Ask Jeeves are
apparently bidding in a price range of $350-$500 million.
About.com was founded in 1997 as The Mining Company. Renamed in
1999, About.com uses "Guides", who are subject experts, as hosts
of over 700 topics. It was and acquired by Primedia in 2000.
Primedia touts About.com as "the Internet's largest creator of
original content," with over 1 million links and 250,00 articles
-- each one a potential vehicle for ads. Primedia is selling
those content pages at what could be the top of the market,
according to David Jackson, editor of the Internet Stock Blog and
a hedge fund manager. "Content inventory is getting very
valuable. Compared to three or six months ago, this is a very
good time to sell." Search engines are hungry for content as they
morph into what Jackson calls "content engines". Jackson added:
"One remarkable thing about the deal is the list of buyers."

Penguin introduces new paperback format
Penguin Group USA is introducing the Penguin Premium format, a
slightly larger and higher-priced ($9.99) mass market paperback
edition. The new format features high-quality paper stock with
wider margins and more space between lines of text. Penguin
tested the market in December 2004, with Minette Walters's
"Disordered Minds". It was so well-received, says the company's
new president of paperback sales, Norman Lidofsky, that the
publisher is releasing seven more Premium novels between July
2005 and January 2006.

Amazon Prime offers flat rate shipping
Amazon is touting the Amazon Prime program as "all you can
eat express shipping". The $79 annual fee for the new membership
program includes unlimited two-day shipping on all orders on
in-stock products, even orders placed by up to 4 family members.
Orders are shipped overnight for $3.99 per item. Amazon currently
offers free shipping on most orders of $25 or more, but not
necessarily in two days.

Read an eBook Week
March 6-12 is Read an eBook Week. "The idea is for ebook
publishers and authors to hold special events during the week,"
said Rita Toews, Canadian author and originator of the idea. "By
uniting in a mass promotion, I am confident we can bring ebooks
to the attention of the media and the public." In honor of the
week, members of the ebook industry are encouraged to approach
local libraries, reading clubs, and the media to plan special
events and bring them to the attention of the media. "Authors can
hold readings at libraries," said Toews. "Publishers can offer
special discounts, contests, and other promotions in honor of the
event." For free banners, buttons and more information:

How to Get Published Day
To help promote March as Small Press Month, March 4 is "How
to Get Published Day." Across the country publishers and small
press writers will team up with their local bookstores and
libraries to present seminars on the publishing process. In
addition, posters promoting Small Press Month will be distributed
free to booksellers. New this year, the Small Press Center
compiled its own 10 notable small press titles after canvassing
independent booksellers. The list of titles is available on the
SPC web site. For more information, including a list of marketing
suggestions for bookstores and libraries as well as events, go
to: http://www.smallpress.org


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                                by Jim C. Hines (jchines"at"sff.net)

You're reading through the first draft of your story. You have an
interesting protagonist, an engaging plot, and a terrific opening
to hook your readers. You turn to page two, and it hits you: your
scene takes place in "a room with white walls," or "a grassy
field," or another of the cookie-cutter settings that can make an
editor toss the story into the rejection pile.

Setting is one of the trickier elements of fiction. How much time
should you spend describing the crenellations and gargoyles atop
the castle wall, or the old-oil smell of the neighbor's garage?
Too much description and the reader could lose track of the plot
line. Too little, and your story takes place in a vacuum.

Readers are unlikely to buy into a story if they don't believe in
the world where it takes place. It's not always easy to describe
unique, engaging settings, especially in a first draft. What
follows are some tips to help you in the process.

In college, my greatest fear was that I might disappear in the
bowels of the university library like many a freshman before me.
The library was a labyrinth with confusing colored tape trails on
the floor. The wise freshman brought a three-day supply of food
in case he got lost, as well as breadcrumbs with which to leave a

Others, like myself, simply avoided the library. Instead, I wrote
about settings I knew and invented details for the ones I didn't.

After a few dozen rejections, I wound up in the hospital with
diabetes. I stayed there for three days, and when I got out, I
returned to my computer to work on a story I had started a few
months before -- a story which happened to be set in a hospital.

This story had earned a number of rejections, and as I reread, I
began to understand why. My made-up hospital was simply wrong.
Beds and curtains and bustling nurses do not a hospital make. I
added details that had stood out when I was a patient and used
them to spice up the story. I talked about the over-moist
pineapple cake I got at dinner and the cramped space around my
bed where visitors barely had room to sit down. I described the
IV tube that snaked around the rails of the bed and the smell of
urine that wafted through the room every time my cathetered
roommate opened the bathroom door. By the time I finished, that
hospital was real. I printed it out, mailed it off, and voila --
it was rejected by an editor who didn't like vampire stories.

It did sell to the next editor, however, becoming my second
professional sale. Of course, life isn't always cooperative
enough to provide real-world research for every story. Sure, I
got lucky this time (if you could call it luck), but what about
the next story?

For real-world settings, the Internet is one of the easiest
places to do a bit of quick and dirty research. A search for
"Paris, France," for example, summons up a number of more-or-less
official sites that provide tourist information, maps, and
history, all of which can add depth to your story. Not only that,
but a search for the words "Paris trip" and "journal" calls up a
number of personal journals describing school-sponsored trips and
vacations. Between these two, you can find a good balance of
information. Online journals are unreliable as a source of
objective information, but they can add flavor.

Another option is to contact people directly. Most states,
countries, and regions are happy to send travel and recreation
information to potential tourists, often at no charge. If you
know a person who has been to the location in question, so much
the better! Many people are more than willing to talk you through
their photo album if you identify yourself as a writer.

For more exotic settings, the library is a good place to start.
Try to find a university library, if possible. Once there,
immediately find a university librarian to help you find what you
need. Librarians, as I eventually learned, are far more helpful
than breadcrumbs.

Remember, you're not required to become the absolute authority.
We're writing stories, not doctorate-level dissertations. In most
cases, we don't want to spend too much time on the setting, since
this can eventually distract a reader from the story. I've found
it helpful to focus on two things: details and differences.

One approach to setting would be to describe everything from the
color of the ceiling tiles in the restaurant to the clothes on
the customers to every item on the menu behind the counter. Go on
long enough, and any reader will know everything about the
restaurant, including the exact color of the kitchen sink.
Unfortunately, the average reader will have thrown the book
across the room after page three and moved on to the latest
Stephen King bestseller.

There's no room to talk about everything, especially if you're
writing a short story. Instead, take a few moments and make a
mental list of details about the last bar you visited. Think of
the smells, the sounds, the decorations, the customers.

Rather than following the "kitchen sink" approach, pick out a
few details that exemplify the setting.

There's a local bar where one spot of carpet is a brighter green
than the rest, marking the spot where the manager used spray
paint to hide a vomit stain. That one detail not only captures
the atmosphere of the place, it also gives us a bit of insight
into the manager.

One famous and oft-quoted example is Robert Heinlein's line, "The
door irised open." Heinlein found a single detail that
established the entire feel of his futuristic environment.

Usually, it takes more than one detail. Try to seek out details
that engage at least two or three of the reader's senses. Visual
details alone are less engaging than details that describe sight,
texture, and sound.

In general, readers do about ninety-five percent of the work when
it comes to description. If you provide those key details, the
reader will do the rest.

Think of your local post office. What three details truly capture
the feel of the place? That can be a bit tricky, since so many
post offices tend to share a lot of the same details. A wall of
PO boxes establishes the scene, but we could be in any one of a
thousand post offices.

What makes your setting different? What detail makes this
particular post office distinct from every other post office in
the world?

I'm sitting in my cubicle at work as I work on this article. I
don't need to describe everything to establish a sense of
setting. It would be a waste of time for me to talk about the
gray partitions or the oversized appointment calendar on the
wall. Almost every cubicle in America shares similar features.

I need to find a way to make this place interesting. How does my
cubicle stand out from the rest? Maybe it's the Mexican radio
station playing on my supervisor's computer in the next cubicle.
The array of Lego Star Wars models scattered around my work
station is another possibility, one that gives a bit of insight
into me as well. Or it could be the tiny black gnats who
colonized the plants by the fax machine and like to crawl across
the computer screens, looking like rogue pixels.

Think about difference in terms of your story. What makes your
spaceship/castle/dark alley/bookstore/portable bathroom
different? Choose the details that carry the most punch, the ones
that make your setting stand out. Irising doors do establish
setting, but these days, it's not enough. Lots of spaceships have
irising doors. Instead, describe the fact that your space
explorers are constantly tripping over rabbits scurrying through
the halls of the ship, a result of defective DNA freezers back
when it used to be a colony ship.

Be creative, but be careful as well. Make your details too unique
or silly, and you've made an implicit promise to the reader that
these details will be a relevant piece of the story. If you go
with the space rabbits, your readers may legitimately expect the
rabbits to come up later in the story. The details need to match
the kind of story you write.

Esther Friesner wrote a series of comic fantasy novels in which
she mentions various hamster-related beasts. The reader never
encounters the evil super-hamsters, but because the books are
comedies, and because these details aren't overused, they work to
establish a world gone silly. Mention a rifle hanging on the wall
while writing a murder mystery, on the other hand, and you had
better make sure somebody gets shot.

Putting it All Together
What happens when setting gets glossed over in the writing
process? If a writer isn't aware of setting, if we aren't
consciously looking for details to help the reader know this
place, we fall back on stereotypes and clichˇs. This is both
forgivable and normal, right up to the point where we submit the
story. After all, we're trying to keep track of characters and
plot and voice and the rest of it; setting can easily slip
through the cracks.

Discovering the setting can be one of the joys of revision. It's
a way to add depth and creativity to a story. In other cases,
when setting is more central to the plot, world-building might be
the first step in the writing process. Like most other aspects of
writing, there is no one right way to create setting.

When we skimp on setting, we tend to fall back on things we've
read before. One of my first science fiction stories took place
on a ship which, upon looking back, seems remarkably familiar. I
can almost hear the characters proclaiming their need to "seek
out new life and new civilizations."

Read through your story and ask, "Have I ever read a story that
takes place in this setting, or is this world truly unique?"

If it's the former, it's probably time to do a bit of research.

It's not that hard, and you almost never have to check in to the


Jim C. Hines has been writing for ten years, appearing in such
markets as Realms of Fantasy, Turn the Other Chick, Sword &
Sorceress, and many more. He currently lives in Holt, Michigan,
with his wife and daughter, both of whom have been amazingly
patient with his writing-related neuroses. And by the time this
article is published, there may be a new member of the Hines
clan. For more info, excerpts from Jim's writing, and soon, tons
of baby pictures, visit his web site:

Copyright (c) 2005 by Jim C. Hines


Let Patricia Fry help you meet your writing goals.  Full-time
freelance writer, author of 19 books, president of SPAWN (Small
Publishers, Artists and Writers Network).


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A community for men and women over 18, where over 380
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Colossal Directory of Children's Publishers
This is a new link for Sandy Cook's directory to children's
publishers' web sites.

The online market guide for horror writers.

Kid Magazine Writers
Market guides, interviews with editors, articles and more
especially for children's magazine writers.


SUNPIPER PRESS is dedicated to giving exposure to new, emerging
and established writers. Showcasing poetry, short stories and the
works of self-published writers.  Also offers two essay contest
for students. We want you to read AND participate. Join us at
http://www.sunpiperpress.com. Promoting the Voices of Our Future!


THE WRITE STUFF: Writer's conference in Allentown, PA, April 1-2,
2005. Keynote: Writer's Digest fiction columnist/sci-fi author
Nancy Kress. 18 sessions: fiction, NF, journalism, children’s,
poetry. Network with agents, editors, published authors.


                                                   by Moira Allen

How Should I Handle Last Names In My Fantasy Trilogy?

Q: I'm currently writing a fairly complicated fantasy trilogy.
The basic setup is a country split into fairly autonomous
city-states, each ruled by their own Lord or Prince or Duke.
They all look to a king who's not much more than a figurehead.
Each city-state will have its own laws, rules, customs, etc,
depending on the ruler and on the weather and the physical
conditions in each city-state.

As this will be a detailed world, set in a medieval time frame,
I'm wondering if my characters should have last names. I've seen
similar type books where they use last names, some where they
don't and some where the last name is the town or village the
character was born in. Do you think last names are necessary?

A: I'd say this breaks down into a couple of questions (or more).
First, what is the benefit (or disadvantage) of having last names
for your characters? Will it make a difference if someone
introduces himself as "Simon" or as "Simon de la Mere"?

Second, MOST cultures have SOME form of identification for an
individual beyond a "given" name. In some cultures it is a
"patronymic" -- i.e., the family name, usually the name handed
down by the father's side of the family. In other cultures, of
course, naming is also matrilineal (or combined). Some cultures
base a "last name" upon one's location -- a village or province
(that's where names like "de la" come in). Some base it on

Most cultures actually have a combination of the above. For
example, if you are at the level of society where "family"
matters -- i.e., your family is important -- then your "last
name" is generally going to be family-based. (However, it may
also be a combination of family and property -- for example,
"John Scarborough, Lord Ravenscroft" is John from the
"Scarborough" family but he is "lord" of the "Ravenscroft"
property. In society, this man would be referred to as "John
Scarborough" (last name) or "Lord Ravenscroft" (title) -- but not
as "John Ravenscroft".)

If, however, you're of a lower class, then your name is much more
likely to be based on just location or occupation. So you might
be "John the Tanner" (or eventually "John Tanner"), or "John of
Westville" (eventually "John Westville").

"Last names" as we know them in America are actually a more
recent convention. Many immigrants in the past two centuries
didn't have "last names" but were asked to provide them when
immigrating. Officials tended to write down occupational or
geographical identifiers as last names, thus making them "last
names" for the first time. So while someone might have been "John
Johnson", his father, John, could have been "John Ericson," whose
father, Eric, might have been "Eric Olafson." But at a particular
point, "Johnson" gets "frozen in time" as a last name for
everyone in the family.

Another naming structure is clans. These are also closer to "last
names" as we know them -- you might be a "Ross" or a "MacDonald."
In this case, a last name refers to the extended family/clan/kin
group to which you belong. In the situation you describe, where
you have autonomous city-states, the ruling family of each state
would probably have its own "name".

In many cultures, NOT having some form of "identifier" beyond a
given name meant that you were literally a nobody. John of
nowhere? John of nothing? (I'm borrowing from Lloyd Alexander
here, in case anyone catches me ...) The identifier told people
where you "fit" in society. (Not always a good thing, of course.)
So it would be unusual to have a "world" in which no such
identifiers exist.

So your challenge, really, is not so much "whether" to give
people last names, but rather, to determine the social/cultural
basis of those names. Again, keep in mind that it is probably
going to vary by class. It's also likely to vary by other factors
-- for example, the differences between Saxon names and
French/Norman names in England after the Conquest. Names like
"Mandeville" and "de Montfort" are clear signs of Norman descent,
so if you had a "conquest" in your world at some point, it's
likely that the conquerors/ruling class will have a different
naming structure than the underclass/conquerees.

Names are tons of fun. But it's also important to stick to a
consistent "convention" for your names. If one character is
"John," another character had better have a very good reason to
be "Beregard" or "Alvandiel". Have fun!


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) 2005 by Moira Allen


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                           by Peggy Tibbetts (peggyt"at"siltnet.net)

Celebrating our 101st issue (see Moira's Editor's Desk) makes
sense to me. As writers, before we finish one project we're
looking forward to the next. We celebrate a sale or book
contract, then we celebrate the publication. The sale validates
our existence in a society where professionals bring in a
paycheck. Publication validates our work. Our 101st issue honors
the past and represents a bold step into the future as we look
forward to our next issues -- 102 and beyond.

Back in the days of Inkspot.com and the Inklings newsletter, I
thought Debbie Ridpath Ohi and Moira Allen had the coolest jobs
in the world. I longed for my own Internet writing gig.
Eventually I was lucky enough to land the Children's Writing
Resource Editor position at Inkspot, and the opportunity to work
with Moira Allen. When they pulled the plug in 2001, Moira
plucked me out of the talent heap and offered me a job. Now, as
managing editor and columnist for Writing World, I realize it's
so much more than a job where I don't have to dress up or
commute. The work is perfectly compatible with my writing
schedule. I love my job! Moira is a friend as well as my editor.
Our great working relationship gives me an insight that helps me
in my contacts with other editors. But there's another bonus I
never anticipated during my Inkspot-envy years. Over the past 4
years -- has it really been 4 years? -- I have virtually met and
actually corresponded with writers around the globe, including
Indonesia, Kuwait, India, Australia, South America, Germany,
Japan, the UK, and the US. The cornerstone of every writer's
career is building readership. Writing World has given me the
gift of the world of writers, readers, and friends.

Thank you Moira and all our writers, readers, and friends!

These are just a few of the ways Writing World has helped my
career. Join us in celebrating our 101st issue. Please drop me a
note and tell me:

How has Writing World helped your career?

Please send your responses to: peggyt"at"siltnet.net
Subject: Writer to Writer


Peggy Tibbetts answers your questions about writing for children
in her monthly column, Advice from a Caterpillar:
Visit her web site at: http://www.peggytibbetts.net

Copyright (c) 2005 by Peggy Tibbetts


JUST FOR FUN: Writer's Prayer
                           by Alyssa Joy (Alyssa.Joy"at"verizon.net)

Now I sit me down to write.
My head I scratch; my nails I bite.
The clock is chiming half-past ten,
I heave a sigh, begin again.

Now I rub my aching head,
The clock strikes twelve; my eyes are red.
My page reads "The," and nothing more.
My cozy bed I must ignore.

Now to sleep I go at last.
My expectations I've surpassed.
For I have made my goal today.
"Another word!" I think. "Hurray!"

Now I lay me down to sleep,
I pray my full-time job to keep.
"Or better yet," my silent plea,
"Somebody to publish me."


Alyssa Joy is a student at NOVA, triple-majoring in drama,
creative writing, and mathematics. Her passion for writing is
exceeded only by her love of the dramatic arts. She hopes to
transfer to UCLA to complete her three degrees, and there
continue her acting and writing careers.

Copyright (c) 2005 by Alyssa Joy




The Art of Assembling Anthologies,
by Arlene Uslander and Brenda Warneka

The Numberless Hordes: Keeping Your Fantasy Armies a Little Less
Fantastic, by John Savage

The CONTEST DATABASE is back online with updated listings for
February, at http://www.writing-world.com/contests/index.shtml


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



Indi Zeleny, Editor
Box 1312, Carmel Valley, CA  93924
EMAIL: zindiz"at"yahoo.com
URL: http://www.herstoryinfo.homestead.com

Adams Media Inc., is compiling an anthology of stories for a new
book tentatively titled "HerStory: Why I Live in my Bathtub and
Other True-Life Stories about the Moments that Make Us", to be
published in Fall 2005. The book will contain 30 true stories --
written by strong women like you -- that celebrate the moments
that help women everywhere deal with the cathartic stuff of life.
They are stories about women who have taken charge of their lives
and inspire us to take charge of our own destinies. See our
online guidelines for a list of suggested themes.

DEADLINE: March 10, 2005
LENGTH: 2,000 words
REPRINTS: We do not seek stories previously published in
anthologies (with the occasional exception of small regional
RIGHTS: Anthology, archival (data storage/retrieval), promotional
use, and serial rights
SUBMISSIONS: Email is preferred
GUIDELINES: http://www.herstoryinfo.homestead.com (Click on
"Submission Information")


823A Ferry Road, Charlotte, VT 05445
EMAIL: editors"at"eatingwell.com
URL: http://www.eatingwell.com

The best way for a first-time contributor to introduce us to his
or her work is through our regular departments. Our two
short-feature departments, "NutritionWatch: The Science of Eating
Well" and "Observer: News From the World of Food," rely heavily
on freelancers. Each issue contains a mix of solid journalistic
profiles, science reports, investigative articles, and travel
pieces in combination with several cooking/recipe-oriented
service features. We expect thorough, accurate research (vetted
by our staff nutritionist and scientific advisory panel) and
thought-provoking writing. At the same time, articles must be
readable -- filled with detail and the creative use of anecdotes.
Please query first for features and departments. We also publish
recipes. See our online guidelines for more information.

LENGTH: Features: 1,500-3,000 words; Departments: 200-500 words
PAYMENT: Features: $1.00-$1.50/word; Departments: $150-$200;
Recipes: $100-$175
SUBMISSIONS: Query first please. Submissions may be made on disk
by mail, or via email, as an MS Word attachment.
GUIDELINES: http://snipurl.com/co2k


Stephen D. Rogers, Publisher
EMAIL: submissions"at"stephendrogers.com
URL: http://www.stephendrogers.com

Stephen D. Rogers Presents is an online quarterly publication
that showcases one story every January, April, July, and October.
I'm seeking stories of exactly 1,000 words in any genre, with a
bare minimum of graphic sex, violence, and obscene language. The
story I select will be the one that makes me jump out of my seat
in excitement at what the author has accomplished. Stories with a
twist are always welcome.

LENGTH: Exactly 1,000 words
RIGHTS: First publication rights
SUBMISSIONS: Send your story in the body of an email with the
word "submission" in the subject line.
GUIDELINES: http://www.stephendrogers.com/guidelines.htm


Please send Market News to: peggyt"at"siltnet.net

"FNASR": First North American Serial Rights, "SASE":
self-addressed, stamped envelope, "GL": guidelines. If you have
questions about rights, please see "Rights: What They Mean and
Why They're Important"


This section lists contests that charge no entry fees. For more
contests, check our online contests section.


          WriteCraft Spring 2005 Short Story Contest

DEADLINE: March 15, 2005
GENRE: Short story
LENGTH: 1,500-5,000 words

THEME: The story must be based on the photo prompt displayed at
contest web page.

PRIZE: $25 cash or Amazon gift certificate


EMAIL: shortstorycontest"at"writecraftweb.com
URL: http://www.writecraftweb.com/wcSScontestguidelines.html


          Halagu's Web Poetry Contest

DEADLINE: March 15, 2005
GENRE: Poetry
LENGTH: No word length requirements

THEME: Subterfuge Publishing will award 3 prizes to some lucky
poets in the coming months. Anyone can enter this competition by
simply submitting an original poem, in any style with a theme
based on the story of "Hulagu's Web: The presidential pursuit of
Senator Katherine Laforge". Go to the web site, download and read
the first five chapters of the book, this will give you
sufficient information needed to create the appropriate poem. The
poetry should demonstrate poetic excellence, be inspiring, and
relative to the theme of the subjects covered in the novel.

PRIZES: 1st Prize: $350; 2nd Prize: $100; 3rd Prize: $50

ELECTRONIC ENTRY: Yes, use online entry form

ADDRESS: Subterfuge Publishing, 10450 Cooks Lake Rd, Lumberton,
TX 77657

URL: http://www.hulagusweb.com/frm_contest_poem.htm


          The All Destiny Short Story Competition

DEADLINE: March 31, 2005
GENRE: Short story
OPEN TO: European,  Canadian, UK, and US residents
LENGTH: 1,000-5,000 words

THEME: The story can be scary, funny, or simply thought
provoking, we don't mind but we ask you to send us stories on the
genres of science-fiction/fantasy, supernatural, or horror.
Warning: No excessive profanity or unacceptable entries with
racism, etc.

PRIZE: $100, plus publication on our website and in an anthology

ELECTRONIC ENTRY: Yes, in body of email, no attachments

EMAIL: comp"at"destiny.com
URL: http://www.alldestiny.com/comp2004.htm


          Poems Niederngasse Poetry Contest

DEADLINE: March 31, 2005
GENRE: Poetry
LENGTH: No word length requirements

THEME: If you are dedicated to poetry, Poems Niederngasse is
seeking your best work. Surprise us, make us see our world in a
new way, use language that demands to be read. Write to appeal to
our senses! Show us a world we can reach out and touch! Remember
that we've been reading poetry for a long time, so we're not
likely to be impressed with poems about your kitty, your lovely
baby, or how bad your daddy was. Send up to three poems.

PRIZE: $50

ELECTRONIC ENTRY: Yes, in the body of an email, no attachments,
subject line: Poems Niederngasse Contest: Your Name

EMAIL: contest"at"niederngasse.com
URL: http://snipurl.com/co0f


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Managing Editor (Newsletter): PEGGY TIBBETTS (peggyt"at"siltnet.net)

Copyright 2005 Moira Allen
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