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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 5:10         15,500 subscribers                May 12, 2005

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         From the Editor's Desk
         WRITER TO WRITER: Snail mail submissions
            by Peggy Tibbetts
         News from the World of Writing
         FEATURE: Selling Your Nonfiction Book, Part II: Making
            Your Pitch, by Moira Allen
         The Write Sites -- Online Resources for Writers
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

Silent Editors, Frustrated Writers
We chose this issue's "Writer to Writer" topic based on the
number of e-mails we receive asking whether SASEs are a waste of
time, and why editors can't seem to find the time to stuff a form
rejection into a prestamped envelope.  While the response can
hardly be considered a scientific survey, it does seem to
indicate that the writing life is growing more frustrating.  (Of
course, we only received 25 e-mails, which could mean that the
other 15,475 of you are completely satisfied with the writing
life and have found all editors to be warm, compassionate,
considerate human beings -- like me!)

Have things really changed for the worse?  My own perception is
that they have.  When I began to freelance full-time in 1996,
sending queries and submissions by e-mail was almost unheard of.
Yet I received a response to nearly every submission I sent out.
If that response was a rejection, it usually arrived within two
to three weeks.

Nearly a decade later, technology has radically changed how we
interact with editors. Today, the majority of editors EXPECT
submissions by e-mail.  At the same time, I've observed what so
many writers complain about: An increasing lack of response --
specifically, a lack of rejections.  As we all know, rejections
hurt -- but they also tell us that we can move on.  Otherwise,
we're stuck waiting for the two to four months (or more) of a
publication's listed response time before we can ASSUME that our
material is not wanted and that we can resubmit it elsewhere.

I can't help but wonder if at least part of the change IS due to
"improvements" in technology.  It seems that the more time we can
save, the less we have to spend.  Our workload always manages to
increase to compensate for -- and outstrip -- any benefits from
faster technologies.  Thus, even though we can write and respond
to messages faster than ever, this simply means that we have far
more messages to write and respond TO.  For example, I recently
cleaned out my e-mail folders for last year -- and still managed
to keep more than 3000 messages.  In the days of paper and
stamps, I couldn't have imagined dealing with 3000 letters in a
single year!

It also seems that whenever we "improve" our way of doing things,
we also lose something along the way.  In the writing world, it
seems that a great many people (on both sides of the desk) no
longer have "time" for such old-fashioned, time-consuming
concepts as professionalism or courtesy.  As an editor, the
majority of the queries I receive are one-liners: "Would you like
an article on such-and-such?"  It's tempting to respond to such
queries with a simple "No" rather than even a "No, thank you"
(though I do, at least, always manage to provide the "no"!).

But tempting as it is to blame technology for all our problems, I
don't believe that's the only issue.  Another change I've noticed
in the past decade is that I've gotten older -- but editors
haven't.  Increasingly, I find myself working with editors who
are ten to twenty years younger than I -- and who, consequently,
have had far less experience in the writing world.  More to the
point, a great many of those editors have never BEEN writers --
they have never even ASPIRED to be writers.  They are utterly
oblivious to the harsh realities of life on our side of the desk.
Like the editor mentioned below who honestly didn't know what to
do with a SASE, they have no idea what it means to our budget if
our work is tied up for months without a response.  This is not
the result of technology; it is the result of huge publishing
conglomerates gobbling up more and more magazines -- and trying
to hire the youngest and least expensive editors they can find.

So what can we do?  As Peggy points out, the first thing we must
recognize is that frustration always has been, and always will
be, a part of the writing life.  We can let it overwhelm us, or
we can find ways to deal with it.  We can also strive to remain
professional and courteous even when those we deal with are not.
And, perhaps, we can consider trying, very gently, to educate the
editors that we deal with.  Perhaps, instead of sending a "check
the box" postcard with our submissions, we should simply send a
reply postcard that doesn't have to be checked at all -- if the
editor can manage to flick it into her outbasket rather than her
wastebasket, we'll know that we've been rejected.  To that end,
we might consider adding something like the following to our
queries and cover letters:

Dear Editor,
I realize that you are extremely busy and I do not wish to take
up any more of your time than necessary.  However, your rejection
is important to me; it lets me know that I am free to submit my
work elsewhere.  If you don't want my material, all I ask is that
you toss the enclosed postcard into your outbox; no response or
checkboxes are required.  By doing so, you'll have done me a huge
favor, for which I thank you from the bottom of my heart!

                                          -- Moira Allen, Editor


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

Thank you to everyone who responded to the survey questions in
the last issue: Have you noticed problems with your snail mail
submissions? If so, what kind of problems? I received a lot of
great feedback, so let's get right to it.

Not surprisingly, slow response and no response are writers'
chief complaints. F. Prager also pointed out the inconsistencies
in editorial responses: "If I look at my spreadsheet program
where I keep tabs on what I've submitted, it is insulting to me
that so many don't respond, take forever to respond, don't return
my work, or just send my work back without even a rejection

According to J. Denison, agents are just as guilty as editors: "I
had one agent who did indeed take more than a year to respond and
an editor who still hasn't answered my numerous email inquiries.
While I'm sure that it can be challenging at times to balance
timely responses with working on current projects, there is a
point at which I believe it is reasonable to expect a reply. In
any other business it would be quite unthinkable to ask a
potential client to wait a year or so before their inquiry is
answered." And B. Deming chimed in with her own dismal
statistics: "Out of 16 agents approached, four answered within 6
weeks, two took 6 months, and ten didn't reply at all!"

Writers are natural problem-solvers, and respondents shared their
policies for dealing with snail mail submissions. "After four
months, I simply assume the submission wasn't of interest and
move on," said M. Schickling. "I also try to keep track of which
editors don't respond so that I can avoid sending anything to
them in future." Yet hard as we try, even our best efforts are
thwarted, as D. Schuller reported: "I have recently started
providing a 'fill in the blanks' postcard along with the SASE and
even that is never checked off or returned."

All of which brings us to the next question: Do you think it's
pointless to include an SASE? Respondents weighed in 2 to 1 with
a resounding "Yes!"

"Yep, snail mail SASEs are pointless," says J. McTaggart. "If the
editor wants a piece, he makes notification by telephone or
email. If he doesn't want it, he ignores the SASE or puts a form
letter in it and sends it on its way. Who needs rejection slips
to ruin an otherwise perfectly good day?"

P. Hendrickson writes for the magazine market and no longer
encloses SASEs. She says the clincher for her happened when she
queried a trade magazine: "The editor, who'd been hired for her
business acumen, called to assign something, and asked why I'd
sent her a self-addressed, stamped envelope. I told her it was
standard practice. She laughed and asked, 'Why? What am I
supposed to do with it?' That, I said, was the mystery."

Postage is a big problem for international writers. E. Dempsey,
who lives in Pakistan, said, "Our town's post office provides no
SASEs or IRC and one postal submission of 5 pages will cost you
1.5 dollars."

Sometimes what writers get back in the SASE is not what they
expected, as was the case with N. Taylor: "I sent a snail mail
submission with a SASE to a major women's magazine. It came back
with a form rejection letter but somebody else's manuscript. Her
email address was on it. I contacted her; she didn't get mine. So
I don't see how this method is more efficient."

Still, there are those who believe if the guidelines call for an
SASE, then part of being a professional writer is to honor that
request. "It is not pointless to include a SASE if that is what
the guidelines specify," said D. Fredericks. "In fact, the only
pointless submission is one which ignores editorial guidelines.
This would be as true of submitting dog stories to a cat magazine
as it is of including or omitting the SASE."

The majority of respondents agree that it is pointless to send
enough postage to cover the return of your manuscript. Editors
rarely return manuscripts anymore. If they do use your SASE, it's
for reply only. However R. Buehler is frustrated with
publications that request that writers provide enough postage for
a manuscript's return, but send back only a form rejection
letter. "It's one thing if it's stated in the guidelines that
they wouldn't, but if it does say the manuscript would be
returned, then they don't, that
troubles me."

Since this is not a scientific survey, we probably shouldn't leap
to any conclusions about snail mail submissions or SASEs. However,
I do think it's safe to say that writers should stop sending
enough postage to cover the return of their manuscripts, no
matter what the guidelines say. These days paper and ink are
cheaper than postage, so writers can save themselves time and
money -- and frustration -- by enclosing SASEs for reply only.

Finally, K. Brown expressed her concern with doing away with
SASEs altogether: "Some publishers actually say that if you don't
hear from us, then that means your proposal has been rejected.
Doesn't this sort of leave us in limbo?"

I am both a writer and an editor and I hear you -- all of you.
You are frustrated with snail mail submissions and SASEs. To stay
sane in this business, however, we'd better get used to it.
Frustration is a big part of the writer's life. Make your own
policy. Do yoga. Meditate. Insulate yourself. Find a way to deal
with frustration, for it will always be with you.

Dear Agents and Editors,
We know you're overworked and underpaid -- but so are we! A
little respect goes a long way. We are all in this communications
business together in the information age, and look how poorly we
communicate with each other! If you'd like to share your
opinions, I'd love to hear from you. Send your feedback to:


Peggy Tibbetts answers your questions about writing for children
in her monthly column, Advice from a Caterpillar:
She is the author of "The Road to Weird" and "Rumors of War".
Visit her web site at: http://www.peggytibbetts.net

Copyright (c) 2005 by Peggy Tibbetts


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Entrepreneur flexes muscle on trademark name
Entrepreneur magazine, which has had a long and controversial
history of flexing legal muscle against those it says infringe on
its trademark, is threatening Heather Tornincasa, a San Diego
clothing designer, with legal action against a recently published
trademark for her 3Entrepreneurs LLC clothing label. Some
entrepreneurs are banding together to cancel the magazine's
trademark altogether. Ron Young, general counsel for Entrepreneur
Media (EMI), Entrepreneur's parent company, said, "We're simply
doing what we'd hope other entrepreneurs would do if they felt
someone was violating their mark." Several small entrepreneurs
have been threatened or have gone to court over their use of the
word, and some have lost to the financial strength of the
company. EMI prevailed in a 6-year battle against Scott Smith, a
California publicist and founder of EntrepreneurPR, who had a
$1.4 million judgment levied against him. Protest web sites
devoted to the cases, such as entrepreneur.net, chronicle the
latest battles. Some say EMI's lawsuits, regardless of their
merit, place a financial and emotional burden on the very
entrepreneurial-minded people the magazine purports to inspire,
amounting to a risky business decision for the magazine.

Macmillan UK nixes advances for new writers
Macmillan UK has launched the New Writing fiction list. For
accepted novels the terms are non-negotiable: no advance and 20%
of royalties from sales. Macmillan will copy edit books, but if
manuscripts need more detailed work, they will suggest freelance
editors. According to notes sent to authors, such editors "will
charge realistic fees and this will not in itself guarantee
publication". According to Michael Barnard, Macmillan executive
director: "This is about Macmillan finding new authors. Like a
lot of mainstream publishers, we haven't in recent years been
accepting unsolicited manuscripts, but only ones sent through
agents. And we are not discovering as many authors as we need.
There are literally tens of thousands of writers out there -- and
we have a responsibility to help them. We can't do that by paying
a half million advance to every author." But writers and editors
are concerned about fairness, since the standard contract means
Macmillan will acquire all rights (such as overseas publishing
deals), and can publish a second book under the same terms as the
first. UK authors are calling the program a scam, atrocious and
wrong, and an exercise in futility. Hari Kunzru, author of "The
Impressionist", said, "It seems to be putting more risk onto the
shoulders of the writer. For writers the important thing is
having the publishing control and retaining your rights. I'd
publish on the net or think about a writer-led cooperative
before going down this road."

May is Reading the World month
This month marks the first annual Reading the World project, a
collaboration between booksellers and publishers to help
introduce literature from around the world to readers. Many top
independent booksellers in the country will be displaying a list
of recommended titles representing literature written outside the
US. Karl Pohrt, one of the project's founders, said, "This
project is an attempt to enlarge the cultural conversation in
America." For more information:


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                                                   by Moira Allen

Once you've found an appropriate publisher (or two) for your
book, it's time to start preparing a book proposal. While that
proposal will address a number of factors -- the content of the
book, its competition, your credentials, and so forth -- its
primary purpose is to answer one "master" question: What makes
your book marketable?

Publishers are in the business of making money. If you can't
convince them that your book will sell, they won't publish it.
However, a nonfiction book doesn't need an audience of millions
to be a "seller" -- in fact, the average nonfiction title may
sell only a few thousand copies. The question, therefore, is
whether you can convince the publisher that there are somewhere
between 2000 and 7500 people who will want to read your book!

A Question of Value
The best way to answer this question is to look at the value your
book offers to the reader, including what sets it apart from
other books on the same (or similar) topic. Readers buy books
that offer them something -- something of value, something to
take away, something that will improve their lives. It may be
educational value (an opportunity to learn more about a subject);
it may be "entertainment" value; or it may be instructional
value. But your book must have an implicit benefit to the reader
-- a reason for that reader to select your book out of the
thousands of others in the store. Or, perhaps more accurately,
your book must offer the reader a reason to select it instead of
the two or five or ten or fifty other books on the same subject.

Sometimes the value of a book is easy for the author to define.
Often, we write a book because we have observed a lack of
information on a topic we consider important. One author, for
example, wrote a book on caring for a parent with Alzheimer's
because she was unable to find much useful information on that
subject when she needed it. Another wrote a book on rheumatoid
arthritis because, in the course of dealing with this disease,
she had learned of alternative treatments that were not commonly
known. I wrote my book on pet loss because, at the time, the only
books available on the topic were aimed at therapists rather than
the average pet owner. One of the most powerful motivations to
write a nonfiction book in the first place is the realization
that we have information that is needed by thousands of people
"like us."

Here are some other reasons why your book may have value to the

1) There is nothing else like it. No other book covers the topic.

2) It covers an aspect of the topic that is insufficiently
addressed by other books.

3) It answers questions you asked when you got involved in the
topic (e.g., caring for an aging parent) -- questions you
couldn't find answers to in other books.

4) It answers questions people ask you about the topic. For
example, my new book, "Starting Your Career as a Freelance
Writer", answers many of the questions people have asked me
through my website.

5) It addresses new, recent, or little-known research on the
topic. This can be particularly appropriate if you are an expert
involved in that research.

6) It makes technical or scientific knowledge more accessible to
the average reader.

7) It is more current than existing books on the topic. For
example, one author recently sold a medical history textbook
proposal partly on the basis that the current texts in the field
have not been updated in more than a decade.

8) It is more accurate than other books on the topic. Be careful,
though; you'll have to prove such a claim!

9) It is timely, or better yet, timeless. Be cautious about
trying to hitch your book to a trend; remember that it may be two
years or more before your book gets into print, by which time a
trend may be long gone. If, however, you can convince your
publisher that your book will be timely two years from now, that
can be a key selling point. Other trends, such as holistic health
care, healthy diets, and "doable" exercise programs, have longer
lifespans and need "fueling" with fresh books for years to come.

10) You are a recognized expert in the field and your name on the
cover will be a selling point all by itself.

Note that most of these "values" point back to a single issue:
Your book fills a need in the market. Most of us don't set out to
write a book that has already been written. What motivates us is
the recognition of a gap that needs to be filled -- and the
recognition that we have the information needed to fill that gap.

Who Needs to Know?
The next step you'll need to take before developing your proposal
is to identify, as precisely as possible, who will want to read
your book. Avoid overly broad, generic terms like "everyone" or
"every woman" or "every parent." No book, no matter how good or
useful, appeals to "everyone," and publishers know this. Instead,
look for solid numbers and statistics to support your claim.

For example, if your book is about canine  health, try to get
statistics on the number of dog owners in the US (One author, for
example, pointed out in her proposal that 40 percent of US
households keep dogs and 38 percent keep cats.) If your book is
about Alzheimer's, try to find out how many individuals are
diagnosed with Alzheimer's every year. If it's about depression,
your publisher might be impressed by the information that a major
health organization estimates that one woman in four suffers from
depression every year. And so forth.

To find these numbers, look for organizations that relate to your
topic. For pet statistics, for example, try pet magazines,
national pet or humane organizations, or pet trade organizations.
Keep in mind that companies that sell products to your target
audience often keep statistics on that audience. Your reference
librarian can point you to books that list thousands of
organizations and associations. You can also find much of this
information online.

In addition to gathering statistics on your target readership,
try to find out more about them. Look for information that can
help your publisher reach that audience. Find out what magazines
they read, or where they buy books or products that relate to
your topic. For example, would your target reader be most likely
to buy your book through a bookstore -- or through a specialty
store, magazine, or specialized book club?

Besides numbers, you also need a "definition" of your audience. A
good way to define your niche is to start thinking about "people
who ..." For example, a book on holistic animal health is going
to appeal to "people who love pets and who have an interest in
natural health and healing." A book on creative child-rearing
techniques might be of interest to "parents who seek ways to
nurture their child's individuality in a world that seems to
focus increasingly on conformity and materialism."

While some books appeal to a single market niche, others may have
several different audiences. For example, I know of a writer who
is working on the history of his ancestor, a former slave who
served an officer during the Civil War and later became a Buffalo
Soldier. Such a book might target not only the "black history"
market, but also audiences interested in the Civil War, American
frontier history, and American military history.

Another way to look at your niche is to determine whether there
is a particular audience for a book at a particular time. For
example, as Valentine's Day approaches, the bookshelves at most
major bookstores become filled with books on relationships,
dating, romancing one's spouse, and so forth. If you're writing a
book on how to strengthen a relationship or marriage, consider
pegging it not just to a specific audience, but to a season:
Convince your publisher that this is an ideal Valentine's Day or
"June wedding season" release.

Structuring Your Proposal
Once you've decided on the perfect pitch for your book, it's time
to present that pitch in a professional-looking proposal. Most
nonfiction proposals follow a specific format that includes the
following elements:

* Title
* Content
* Rationale
* Competition
* Format
* Chapter-by-Chapter Outline
* Credentials
* Sample Chapters

Title - According to author Amy Shojai, a title "must not only
describe the book and/or concept, but be that elusive thing that
editors/agents describe as 'sexy.' In other words, the title must
strike an instant chord of recognition with the editor." Don't be
surprised, however, if your sexy title gets changed to something
completely different by the time the book is actually published!

Content - This section explains what your book is about, usually
in one page or less. (A more expanded discussion of your content
will appear in the chapter-by-chapter outline.) Don't go into
excessive detail; instead, try to convey the general focus and
purpose of your book, including the benefits it will offer to
readers. For example, my proposal for "Writing.com: Creative
Internet Solutions to Advance Your Writing Career" begins with a
series of questions readers are likely to ask, followed by the
promise that:

	Writing.com is designed to answer these questions, and more.
	It is divided into three sections that correspond with the way
	most writers "experience" the Internet: exploration (research),
	interaction (using e-mail and networking), and creation
	(establishing an on-line presence). Each chapter highlights a
	particular aspect of the writing business and how that aspect
	has been affected (or can be improved) by the Internet.

Rationale - This is the place to include the information you've
put together regarding the value of your book -- why it will
benefit readers -- and your target audience. Tell the publisher
who will read your book, and why, and where those readers can be
found. Give numbers and statistics. Explain the information gap
that your book will fill. Explain why your book is timely -- why
it is needed now. For example, when I first proposed Writing.com,
there were no books, and very little online information, on how
writers could benefit from the Internet. (I actually spoke to a
publisher of writing books who felt that writers weren't going to
be very interested in the Internet!) Today, there are dozens of
websites and resources on this topic, so such a book would no
longer be timely or "new."

Competition - Your proposal must also address the competition
that exists for your book. That means researching the
competition; you don't want to reinvent the wheel! Your
discussion of the competition should list specific titles
(including author, publisher, and publication date). It should
then explain how your book differs from those titles: How it
improves, differs from, or goes beyond what has been written
before. For example, my pitch for "The Writer's Guide to Queries,
Pitches and Proposals" explained that while there were books on
how to write queries and books on how to write proposals, there
was no single book that brought together different types of
pitches and proposals in one place. Don't "slam" the competition
-- just show how your book meets a need that the competition

What if you can't identify any competition for your book? This is
not necessarily a good thing! As Shojai notes, "If nobody has
done the topic before, the publisher/editor will figure there's a
reason -- probably because it's not a saleable idea. You want
books on your topic to be out there and successful; that means
you have a ready-made market. Then it's a matter of making your
book different enough, bringing something new to the table, to
make the idea viable."

Format - This section of your proposal will explain any necessary
details about how your book will be presented. It should include
the book's title and subtitle, the number of words you
anticipate, and any other information that will be relevant to
the production of the book, such as the use of charts,
illustrations, photos or other graphics, and so forth. Let the
publisher know if you plan to include appendices or a glossary or

Market - While your rationale discussed the type of audience your
book  is likely to attract, this section gives you an opportunity
to discuss how to reach that audience. This is the place to list
the publications your target audience typically reads (including
circulation figures), organizations and associations that might
be interested in your book, schools or universities that might
consider your book for a text, specialty stores or catalogs where
your book might be sold, and so forth.

Chapter-by-Chapter Summary - This is simply a list of planned
chapters, with a one- to two-paragraph overview of each. Keep in
mind that your summary is not set in stone; you can always change
it later. Some publishers prefer that you simply provide a list
of chapter titles; others prefer summaries; still others prefer
that you provide this information after the initial proposal has
been reviewed.

Credentials - No matter how convincing the rest of your proposal
may be, the publisher's "make or break" question will still be,
"why are you qualified to write it?" This is your chance to prove
that you know what you are talking about. Your bio should be no
longer than a single page, and written in third-person narrative
format (e.g., "John Smith is an award-winning decoy carver who
has practiced and taught the craft for more than twenty years").
Typically, a publisher will expect your credentials to fall into
one or more of the following areas: Educational background
(including academic degrees); professional background or
expertise (including memberships in appropriate professional
organizations); personal experience; and/or previous writing
credits. Different publishers will place different weights on
each of these areas, so be sure you know what type of credentials
are expected by the publisher you're targeting!

Sample Chapters - In the past, a nonfiction book proposal
typically consisted of an outline and three sample chapters.
Today, however, many publishers no longer wish to see sample
chapters with your initial proposal, so be sure to check the
publisher's guidelines before sending them! If you are asked to
submit sample chapters, keep in mind that these can often be
"representative" rather than "sequential" -- i.e., you can send
the best chapters of your book rather than the first three
chapters. If you haven't begun to write the book yet, but do have
published articles on the topic, you may be able to submit those
in lieu of sample chapters.

A good book proposal tells a publisher the things he most needs
to know: What your book is about, why it's important, whom it's
important to. Perhaps the best way to approach your proposal is
to ask those questions of yourself -- not as a writer, but as a
reader. What would persuade you to pick this book up from the
shelf? What would make you want to buy it? The answers just might
be the arguments you need to make a sale!

More Information:

Selling Your Nonfiction Book, Part I: Finding the Right Publisher

Sample Book Proposals


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


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!


FREE SPECIAL REPORT! How to Write Your Book in 14 Days or Less!!
Guaranteed!! Mark Victor Hansen (Chicken Soup for the Soul)
called this information outstanding!



National Association of Hispanic Journalists
An organization dedicated to the recognition and professional
advancement of Hispanics in the news industry.

Anthologies Online
Markets, contests, and articles all about anthologies.

Top Ten 10 Quik-Hints
Ten sure-fire suggestions to improve your fiction.

The Art of the Interview
How to make the most of your interviews by JM Cornwell.

Utmost Christian Writers
Markets and contest listings for Christian writers.

News, resources, links, articles, and book reviews for children
writers and illustrators.


WRITE IN STYLE AND SELL MORE! We edit and evaluate manuscripts,
proposals, synopses and more. Bobbie Christmas (author of Write
In Style) BZEBRA"at"aol.com. Sign up for our free tips/markets
newsletter! Zebra Communications: http://www.zebraeditor.com.


BOOK PUBLICITY & PROMOTION Smith Publicity -- One of the most
creative publicity and book promotion agencies in the country.
Flexible, affordable publicity packages.  Radio and TV
interviews, features and reviews in newspapers and magazines;
book tours, special events.  Interviews placed on virtually every
top show; stories and reviews in most major newspapers and
magazines.  Check out http://www.smithpublicity.com or call
(215) 547-4778, ext. 111; e-mail: info"at"smithpublicity.com



Romancing the Keyboard, by Anne Marble
What's My Line? -- Character Professions in the Romance

Selling Your Nonfiction Book, Part I: Finding the Right Publisher
by Moira Allen

Tourism Authorities: The Travel Writer's Best Friend,
by Susan Miles


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



Ellen Datlow, Fiction Editor
PMB 391, 511 Avenue of the Americas, New York, NY 10011-8436
EMAIL: datlow"at"yahoo.com
URL: http://www.scifi.com

SCIFICTION is looking for literate, strongly plotted science
fiction and fantasy stories on a variety of subjects and themes.
We want to intrigue our readers with mind-broadening, thought
provoking stories. Characterization is crucial. Stories must be
written in clear, understandable prose.

LENGTH: 2,000-17,500 words
PAYMENT: 20 cents/word up to $3,500
RIGHTS: First publication rights in any form for 6 months
exclusive from publication. After that archival rights but
authors can resell for reprint.
SUBMISSIONS: By mail only
GUIDELINES: http://www.scifi.com/scifiction/ (Click on
"submission guidelines")


4019 SE Hawthorne Blvd, Portland, OR 97214
EMAIL: submissions"at"storyhouse.com
URL: http://www.storyhouse.com

Submit art, a story, a letter, an article, or anything you think
might be suitable for publication on our coffee labels. Please
see web site for detailed submission guidelines.

LENGTH: No word length requirements
PAYMENT: Microfiction (under 500 words): $25;
General Fiction/Non-fiction (over 500 words): 10 cents/word;
Opinion/Issue: 20 cents/word; Romance/Mystery: 15 cents/word;
Poetry: $1.00/line; Graphic Art: $50/piece
RIGHTS: Licensing agreement, author retains rights
SUBMISSIONS: By email only with attachment
GUIDELINES: http://www.storyhouse.com/stories/submissions.html


* Managing Editor's note: The following market publishes 13
stories/issue, but only pays for one. Nonetheless, we felt this
is an intriguing new market to share with our readers.

EMAIL: editor"at"thirteenmagazine.co.uk
URL: http://www.thirteenmagazine.co.uk

Despite our rigid adherence to things thirteen-related (thirteen
stories an issue, thirteen issues a year), we are remarkably
liberal in what makes for a great horror story. For us, there is
no difference between the ghost of a madman haunting an abattoir
or the mere suggestion of something odd and out of place in an
otherwise normal environment. In fact, the less we talk about
story guidelines the better. All that matters is that there is a
good idea behind the story that makes the reader think or makes
them squirm. Funny, serious, futuristic, visceral, suggestive --
anything goes.

LENGTH: 2,500 words suggested length
PAYMENT: 50 for best story in each issue
RIGHTS: One time rights, all rights revert to author
SUBMISSIONS: Use online submission form
GUIDELINES: http://www.thirteenmagazine.co.uk (Click on "Submit a


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.


          30th Annual Chicano/Latino Literary Contest

DEADLINE: June 1, 2005
GENRES: Poetry collection
OPEN TO: US citizens, or permanent residents
LENGTH: 60-80 manuscript pages

THEME: The Department of Spanish and Portuguese at the University
of California, Irvine invites submissions of unpublished short
story collections in Spanish or English.

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

ELECTRONIC ENTRY: Yes, on a diskette or as an attachment

ADDRESS: Irvine Chicano/Latino Literary Prize, Dept. of Spanish
and Portuguese, University of California, 322 Humanities Hall,
Irvine, CA 92697-5275

EMAIL: cllp"at"uci.edu
URL: http://www.hnet.uci.edu/spanishandportuguese/contest.html


          Deathlings.com Short Story Contest

DEADLINE: June 1, 2005
GENRE: Short story
LENGTH: 4,000 words or less

THEME: Family Values? Give us your best dark tales (well, okay,
they can be quirky/black humor if you prefer) about family values
(or lack of them.)

PRIZE: 3 cents/word and web site publication

ELECTRONIC ENTRY: Yes, send a cover letter with your submission
attached in rich text format only.

ADDRESS: Include SASE. Send to: deathlings.com, c/o 130 E
Willamette Avenue, Colorado Springs, CO 80903-1112

EMAIL: editor"at"deathlings.com
URL: http://www.deathlings.com/contests.html


          1st Annual Emily Dickinson First Book Award

DEADLINE: June 15, 2005 (postmarked no earlier than May 15, 2005)
GENRE: Poetry book
OPEN TO: 50 years of age or over by June 15, 2005
LENGTH: 48-96 pages

THEME: The Poetry Foundation seeks one book-length poetry
manuscript to be published in the forthcoming Emily Dickinson
Poetry Series. The competition is open to American citizens who
has not previously published a book-length volume of poetry. All
poems must be original. Translations are not accepted.

PRIZE: $10,000, plus publicaton


ADDRESS: The Poetry Foundation, Attn: Emily Dickinson Award, 1030
North Clark Street, Suite 420, Chicago, IL 60610-5412

EMAIL: mail"at"poetryfoundation.org
URL: http://www.poetryfoundation.org/prizes_dickenson.html


2000 ONLINE RESOURCES FOR WRITERS -- 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



Open Spaces: My Life with Leonard J. Mountain Chief, Blackfeet
Elder from Northwest Montana, by Jay North

The Windowsill Organic Gardener, by Jay North

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Writing World is a publication of Writing-World.com

Editor/Publisher: MOIRA ALLEN (writing-world"at"cox.net)
Managing Editor (Newsletter): PEGGY TIBBETTS (peggyt"at"siltnet.net)

Copyright 2005 Moira Allen
Individual articles copyrighted by their authors.

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For more information please contact Moira Allen, Editor