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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 5:11         15,500 subscribers                May 26, 2005

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         From the Editor's Desk
         WRITER TO WRITER: Email submissions, by Peggy Tibbetts
         News from the World of Writing
         FEATURE: Selling Your Nonfiction Book, Part III: Check
			the Competition on Amazon! by Moira Allen
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Are one-time rights the same as first
            rights? by Moira Allen
         JUST FOR FUN: Un-Cluttering Tips for the Self-Realized
            Non-Writer, by Suzanne Mead
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

Look, up in the sky, it's... Super-Curmudgeon!
One of my contributors asked me recently whether I was really one
person, or whether, perhaps, I was actually a pseudonym for a
team of "supereditors".  Supereditors, for those who don't know,
are able to leap tall deadlines in a single bound, and are faster
than a speeding rejection slip. We also use our X-out-ray vision
to detect inappropriate submissions through manila envelopes.

Most days, though, I confess I don't feel much like a
supereditor.  And some days I'm just plain old "Grouchy Editor."
In the previous issue, we talked about some of the annoyances of
dealing with editors.  So it seems only fair to swap chairs for a
moment and speak up from the OTHER side of the desk -- and
mention a few of the everyday annoyances in an editor's life.

1) Writers who have obviously NOT read the guidelines.  My
guidelines always state when I am closed to submissions.  So when
I get an e-mail from someone who has just come across the site
and wants to know if I'd like an article on such-and-such, it's
obvious that this person hasn't bothered to click the very
prominent "Writers' Guidelines" button.  (More savvy writers do
read the guidelines, and then preface their submission with
something like "I know you're not reviewing submissions right
now, but...")

2) Writers who expect to be paid more -- much more -- than the
rates specified in the guidelines.  This harks back to annoyance
#1 -- they haven't read the guidelines in the first place.  They
then respond with shock and outrage at the puny, insulting offer
that is made for their article, generally noting that they are
accustomed to being paid FAR more than that.  My only response to
that is -- "if you are accustomed to being paid more than I
offer, why did you bother to submit to me in the first place?"

3) Writers who think that because e-mail travels at the speed of
light, responses should arrive at the same speed. Few things are
more annoying than an author who sends three follow-up e-mails
(each more testy than the last) within two days (sometimes even
two hours) of a submission!

4) Writers who steal.  All of the above problems are annoying --
but tolerable.  But every so often one encounters the
intolerable: The plagiarist. I've learned a number of warning
signs to alert me to possible word-thieves, though I detected one
simply because, a few weeks earlier, I'd read online the very
article she was passing off as her own.  Another wished me "good
luck in finding writers at the rates you pay" after I confronted
him; I was tempted to respond that my rates didn't seem to bother
HONEST writers!

Such nuisances can turn even the most mild-mannered editor into a
curmudgeon at times.  However, common as these problems are, they
are still no excuse for "editors behaving badly."  Such
irritations are all part of the job of being an editor -- and I
LOVE being an editor.  The annoyances tend to vanish in the glow
of being able to put together something -- a magazine, a
newsletter, a website -- that is somehow greater than the sum of
its parts.

They also vanish in the joy of being able to work with a group of
truly wonderful writers -- and I've been blessed with fabulous
writers for both Writing-World.com and TimeTravel-Britain.com. 
And you know what?  It's these writers that editors remember.  I
couldn't even tell you the names of the "nuisance" writers who
come my way; such writers are all too forgettable.  But I
remember the names of every one of the wonderful, professional
writers I've worked with!

If there is a moral in here somewhere, I suppose it is simply
this: No matter which side of the desk you're on, you're going to
be plagued with annoyances.  If you're a writer, you're going to
feel as if the world is filled with uncaring, unresponsive, and
downright nasty editors.  If you're an editor, you're going to
feel that the world is filled with incompetent, unprofessional,
and even dishonest writers.  But there are gems on both sides of
the desk, and the best thing we can do for our careers is to
strive to BE a gem.  Because, in the long run, it's the gems that
will be remembered!

                                          -- Moira Allen, Editor


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

Based on the responses to my snail mail submissions survey, I
think it's safe to say that writers overwhelmingly prefer email
submissions. Feedback is still trickling in on the topic.
Although I haven't heard from any agents or editors yet, I do
hope they are paying attention. Among the comments from our last
discussion, I learned that email submissions are a necessity for
international writers for the reasons P.J. McNamara described: "I
live in Canada and just cannot get ahold of US stamps, so it's
impossible to send US publications a SASE. I tried using IRCs
[International Reply Coupons] for awhile, but many publishers
would just return them -- often because they had no idea of how
to handle them."

M. Pierce put forth an interesting theory about why editors
resist email submissions: "I'd like to believe that magazines,
book publishers and agents who use snail mail are attempting to
use it as a screening process. It makes a certain amount of
sense; if you have to find paper, an envelope, return address
label, and figure out postage you're more likely to slow down.
Add on the cost of postage and second thoughts about your
brilliant idea may begin to creep in. Thus, fewer submissions.
Those that come in are more likely to be from people who are
willing to work hard at getting published." Then she added: "Once
I've established a relationship with a magazine editor, email
becomes the more frequent mode of communication, making snail
mail look like a gatekeeper." Perhaps the best way to test her
theory is to look at how many of our submissions are by email,
compared to snail mail. So rather than talk about how much we do
or don't prefer them, let's talk about how much we actually use

For experienced writers (more than 5 years) what percentage of
your submissions are by email these days versus five years ago?
Or are you fed up with snail mail submissions and now submit
exclusively by email?

For new writers (5 years or less) do you find that most of your
submissions are by email? In other words, are snail mail
submissions about as rare for you as email used to be for the
rest of us?

Please send your responses to: peggyt"at"siltnet.net
Subject: Writer to Writer
Don't forget to tell me whether you are a new or experienced


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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BISG Trend Report is mixed
On May 16, the Book Industry Study Group (BISG) previewed the
results of its 2005 study, predicting that the industry will
continue to see overall growth of 18.3% over the next five years,
which translates to a $46.5 billion book market by 2009. However
the growth is expected to come as a result of higher prices, not
more unit sales. The overall general trade book market is down to
944 million units overall, from 965 million units last year.
Adult trade publishers' sales of $5.02 billion were up 4.8%; and
adult unit sales rose 3.1%. But juvenile book publishers' sales
of $1.77 billion were down 7.3%, and units fell 6.7%, to 480
million. Religious book sales rose 11%, to $1.95 billion, and
unit sales were up 8.5%, to 221 million units. But mass-market,
book club, and university presses sales continued to fall.
College textbooks were mixed, up slightly in dollars but down
1.7% in units. Overall units for the entire industry were 2.295
billion, continuing a 5-year downward trend, even as publishers'
sales rose to $28.58 billion. The most disturbing trend cited was
"the emergence of companies buying and selling used books" in the
elementary-high school (el-hi) market, following the trend that
is estimated to have already taken over $2 billion a year out of
the market for new textbooks. For more information:

AAUP director questions Google Print
On May 20, a letter from Association of American University
Presses (AAUP) Executive Director Peter Givler to Google senior
counsel Alexander Macgillivray was published at Business Week
online. While noting his members were initially enthusiastic
about Google Print, Givler cites "mounting alarm and concern"
over the library scanning program, saying it "appears to involve
systematic infringement of copyright on a massive scale." His
goal, he says, is to persuade Google that publishers have some
detailed concerns and it's time "to have a serious conversation."
The letter poses a series of 16 detailed questions, and points to
some of the gray areas in the library scanning program. The
biggest objection is that Google kept the library venture secret
while negotiating with publishers for rights to the basic Google
Print program, and an allegation that participation in Print is
being used as permission for the library program. Givler says
that at least one publisher has asked to opt out of the library
program and "to date, Google has not complied," which questions
their assurances that publishers can withdraw whenever they want.
Other areas of concern include fair use and copyright issues.
Givler and other professional organizations hope their efforts
will lead to clarity in Google's positions. For more information:

Storycode tells you what to read
Storycode, founded by Steve Johnston, is a book-recommendations
database for fiction titles, powered by a "coding" system. The
codes, culled from readers' responses to a series of questions
are used to classify and compare every book featured on the site.
In other words, if you just finished "The Da Vinci Code", loved
it, and want to read another novel just like it, Storycode will
provide a recommendation, complete with a percentage quantifying
the similarity between it and a list of matching books. Johnston
says he sees Storycode as "filling a hole in the retail book
trade," and predicts a time when booksellers could offer
customers a viable guide to more informed purchases. Leonie
Flynn, a former independent bookseller and an editor of "The
Ultimate Book Guide", says she thinks Storycode is a good idea
but doubts booksellers will latch onto it the way Johnston
predicts. Saying the site was "more a browsing tool than a fast,
immediate selling tool," Flynn foresees the site as a place for
book lovers over industry professionals. For more information:

College libraries go digital
By mid-July, the University of Texas at Austin will disperse most
of the undergraduate library's 90,000 volumes to other
collections to clear space for a 24-hour electronic information
commons, a fast-spreading phenomenon that is transforming
research and study on campuses around the country. "In this
information-seeking America, I can't think of anyone who would
elect to build a books-only library," said Fred Heath, vice
provost of the University of Texas Libraries. Removal of the
books raised anxiety among faculty and students. "This is a
library. It's supposed to have books in it," said Jessica
Zaharias, a senior in business management. "You can't really
replace books." Library staff members said they were taken by
surprise when told of the conversion. Similar digital library
centers have been built at Emory University in Atlanta, the
University of Georgia, the University of Arizona, and the
University of Michigan. The University of Houston, which is
doubling its library space, specializes in the publishing of
scholarly material online.


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                                                   by Moira Allen

In my previous articles on "Selling a Nonfiction Book", I
mentioned the importance of reviewing the "competition" in your
book proposal. A potential publisher will want to know what other
books are available on your topic, and what makes your book
different from, or better than, those books.

But what if there are a great many books on your topic? How can
you possibly review them all, even if you could afford to buy
them? This was a question I faced recently when crafting a
proposal for a new edition of my book, "Coping with Sorrow on the
Loss of Your Pet". A check of a major pet loss Web site
revealed no fewer than 82 books on pet loss!

Fortunately, my search led me to another Internet resource that
enabled me to review this competition, and discuss it
intelligently in my proposal, without buying a single book. That
resource was Amazon.com.

In fact, Amazon.com can be the best place to begin your research
into the competition. Try searching on keywords related to your
topic; chances are such a search will produce a list of titles.
Be sure to check the "Listmania" column on the right side of the
page; this is where readers compile their lists of "recommended"
books on the topic, which can help refine your search.

Once you've developed a list of books on your general topic area,
you can then use a variety of Amazon.com features to determine
just how those books compare to your own. These features can help
you answer just about any question a publisher might ask about
the "competition" for your book.

1) How is your book DIFFERENT from the competition? While many
books may be written on a subject, you'll quickly find that they
aren't all the same. Some will be written from a different
perspective, or about a different aspect of the subject. Some may
be more general than the book you want to write; others may be
more specific.

One of the first questions to ask is whether a book targets the
same audience as yours. Of the 82 books on pet loss, I found that
more than one third were aimed at children, which ruled them out
as "competition." Several others were technical books written for
professionals (e.g., psychologists and therapists). This quickly
reduced my "competition" list to a more manageable size.

Once you've eliminated books that are targeting a different
audience, it's time to look more closely at those that remain.
Your question now is "what makes this book different from mine?"
Start by checking the title and subtitle of each book. I quickly
discovered, just from reviewing titles, that a significant
percentage of the available books on pet loss were
autobiographical -- i.e., the author's personal account of the
loss of a beloved pet. Since my book is a "how-to" book, it was
easy to explain how it differed from books in the "personal
experience" category.

I was also able to determine that many books on the list focused
on a single aspect of pet loss (e.g., whether pets have an
afterlife). Since my book was designed to cover "all" aspects of
pet loss, again, this made it easy to define another subcategory
of "different" books -- in this case, books that were more
narrowly focused than mine. Conversely, if you're writing a
narrowly focused book, explain how your book offers more
"in-depth" information than books that offer more general
"overviews" of the topic.

Once you've exhausted the information that can be gleaned from
titles, it's time to check for an official summary. In many
cases, the publisher or author will provide a capsule description
of the book, which may be all you need to determine how the book
differs from your own. If a summary is not available, check the
reader reviews; readers often summarize the books that they
review. If that doesn't help, see if the book includes a "Search
Inside" option. If it does, you should be able to review the
table of contents, the index, and even a sample chapter.

2) How is your book BETTER than the competition? Once you've
eliminated those books that offer substantially different
information from your own, you may find that there are still a
number of books that, unfortunately, look a great deal like the
one you're proposing. If someone else has already covered the
same topic, how can you prove that there's a need for your book?
The answer is to show that your book is somehow better than the
others -- without actually trashing the competition!

One of the easiest ways to build such an argument is to find out
what people are saying about the competition. The most obvious
way to do this is to check those reader reviews again.

Before you do, keep in mind that actual "ratings" are
meaningless. A book that has only one review can have a five-star
rating, while another book that has garnered dozens of rave
reviews can have a lower rating simply because it also has one or
two negative reviews. A more important measure of a book's
popularity is the actual number of reviews. If a book has been in
print for five years and has only one or two reader comments,
chances are that it hasn't been very popular.

Next, focus on what the reviews actually say. Are they positive,
negative, or somewhere in between? Do certain criticisms come up
again and again? Look for comments that apply not only to
individual books, but to entire categories of books within the

For example, I found that the books that seemed most directly
competitive with my own were those written by therapists and
psychologists -- people with credentials that I lack. However, I
found a consistent theme in the reader comments on these books:
Readers complained that they were often too cold, too clinical,
too psychological. Many complained that such books spent more
time explaining the psychological basis of grief, but not enough
on discussing actual coping strategies. This gave me the perfect
opportunity to explain that my book was "better" because it was
written in a warm, compassionate, and accessible tone.

Another item to check is the length of the book, by checking the
page count in the book description. Is your book considerably
longer (and therefore, presumably, more comprehensive) than the
competition? I was startled to find that many of my competitors'
books were only 50 to 80 pages long.

You can also check the book description to determine when your
competitors' books were published. If most of your competition is
five to ten years old, you can easily make the argument that your
book will be more current than most of the existing books on the

A final item to review is the pricing of the competition,
particularly if you have an idea of the price range in which your
book is likely to fall. If, for example, you expect your book to
cost around $16.95, and you find competing books selling for $25
to $50, you can argue that readers will be more likely to buy
your book simply because it is less expensive!

Pulling It Together
Your publisher does not expect a capsule description or review of
every single title on the competition list. Instead, divide the
competition into subcategories that you can discuss as a group.
Provide four or five representative titles for each subcategory.
For example, I devoted one paragraph to a discussion of how my
book differed from "personal experience" pet loss books, and
another on how it differed from "books written by psychologists."

Don't hesitate to use the information you've found online to
support your arguments. Consider quoting selections from reader
reviews of the competition -- particularly those that highlight
the need for the book you want to write. Keep in mind that even
a positive review can support your case. For example, if a
reviewer notes that "the one problem with this book was that it
seemed far too short," use that comment to demonstrate the need
for a longer, more comprehensive book on the subject.

If you wish to provide a more detailed comparison of titles,
create a list or table as an appendix to your proposal. List the
competition by title and author, and include any other
information you consider relevant, such as publication date,
publisher, or page count. Add a brief, one-sentence explanation
of why the book is different from, or inferior to, your proposed
title. Such a table provides evidence that you've researched the
competition, without overwhelming the main proposal.

And only you need to know that you did that research in a single
day, without spending a penny!


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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Code of Fair Practice
The Freelance Editorial Association's Code of Fair Practice
defines ethical standards and contract guidelines for editorial
freelancers and clients.

So, You Think You Want to Be a Freelance Proofreader
Jan K., freelance proofreader and copyeditor, discusses the ins
and outs of the copyediting profession.

Online Etymology Dictionary
Etymologies are explanations of what our words meant and how they
sounded 600 or 2,000 years ago.

Reasons for Rejections
Eight most common reasons why your work is being rejected.

Standard Journalism Contracts
National Writers Union's Standard Journalism Contracts for
viewing, downloading, printing, or using as a template.

Laughing Bear Newsletter
News, information, and inspiration for small publishers.


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JUST FOR FUN: Un-Cluttering Tips for the Self-Realized Non-Writer
                            by Suzanne Mead (smead2"at"nycap.rr.com)

OK. You've tried. You've written, polished, sent and sent, year
after year, only to realize that your purpose in life seems to be
to keep the US Postal workers and paper recyclers employed.
Rejection notices come back in short order, stamped: "Get a real
job!" The mailman avoids you.

Deciding not to write takes courage. You threw everything (and
nearly everybody) out of your life to become a writer, only to
realize now, that you just-might-not-be-a-writer. It's OK. You
know yourself more than anyone. Now, you just have to stand up to
those who have "made it" -- look them in the eye and say, "I'm OK
with this!" And after that, take a deep breath, grit your teeth
and dive into your office to begin rearranging your room and your

Here are a few helpful garden, home, and social tips:

* Pens are great for marking seed rows, and won't rot like
pencils do. Write the name of the flower or vegetable on the back
of one of your old business cards, and tuck it under the pen's
pocket clip to mark what you've planted. (A box of 1000 business
cards will last one or two seasons, depending on how many times
you have to replace the card due to wind and rain.)

* Rejection notices? Get out that document shredder! Slicing up
all those editor's lame excuses into the compost pile gives one a
deep sense of satisfaction and well-being. While you're at it,
add all your old manuscripts! You don't need bulky reminders of
your failed career laying about.

* That perky little wastebasket you "needed" to finish decorating
your office? A waste no more! Drill several small holes in the
bottom, add a layer of stones, fill with potting soil (and some
of that "rejection" compost!), and plant some pretty posies to
perk up your day!

* File away your little problems! Once the manuscripts are
shredded, your empty file cabinets make a great emergency place
to stuff those "gotta hide" items when company pops in
unexpectedly -- toys, dirty clothes, unwashed dishes, stacks of
bills, or the cat you're keeping in a "no pets" apartment.

* Highlighters are the perfect scratch repair tool! Match color
to object and rub away the ugly scratch! (It helps if you have a
lot of items that are bright pink, day-glo yellow, eye-popping
orange, or brilliant blue.)

* Become an interior decorator. You have what it takes. What with
all that "writer's block" and procrastination busy-work you've
been doing over the years, your place is a showpiece! Put those
basement-cleaning, office-painting, garage-dusting,
carpet-pill-picking skills out on the market. You might find a
"real" job!

* Donate your time (now that you have some): join a local
volunteer organization and offer to stuff envelopes for their
mailings. You certainly have the credentials for that!

* Reconnect with family and friends -- use up that pile of excess
stamps by sending out late, late birthday cards, holiday
greetings and letters to people you've ignored all these years.
Drop them a "You were right" note. They'll appreciate the contact
and you'll help build their self-esteem. After all, they said
you'd never be a writer.

* Get to know your letter carrier better. He may be a little
cautious at first, now that you are taking an interest in him
instead of kneeling on the porch sobbing and begging to be handed
a response from an editor. Go slowly to build trust.

* Don't forget to indulge yourself. You deserve it after all
those years of working and slaving at the keyboard, agonizing
over this word and that, untwisting plots, arguing with
characters, ignoring friends and family, and shutting yourself
away from the rest of the world because the "muse" demanded it.
You deserve to be pampered. Lock all the doors, light the scented
candles and take a long, hot bath in the middle of the day and
read that steamy novel you've always wanted to finish. If the
phone rings, ignore it. This time, you know it's not an editor.


Suzanne Mead lives in the middle of an old apple orchard in
Charlton, NY. She's a gardener with a good supply of pens, paper
and writing stuff piled around her office that proves she's still
a wordsmith. She hopes never to become "uncluttered."

Copyright (c) 2005 by Suzanne Mead



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

Selling Your Nonfiction Book, Part II: Making Your Pitch, 
by Moira Allen

Selling Your Nonfiction Book, Part III: Check the Competition on
Amazon! by Moira Allen

I've just switched the Contest Database to a new program that is
easier to search and infinitely easier to keep updated.  The
database now lists more than 450 contests throughout the year
(and into 2006); new listings are added every month.  Search the
database at http://www.writing-world.com/contests/index.shtml

If you posted a listing to the old database, it will have been
transferred over to the new program; however, you will no 
longer be able to access it (as your "registration" information
is no longer valid), so if you need to make a change, contact me.
To post a new listing, go to


FIND 1700 MARKETS FOR YOUR WRITING! Writing-World.com's market
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Colleen Sell, Editor
Adams Media, 57 Littlefield St., Avon, Massachusetts 02322
EMAIL: wordsinger"at"aol.com
URL: http://www.cupofcomfort.com

We seek uplifting personal stories about the memorable
experiences that inspire, reassure, sustain, and delight women
during those wondrous and sometimes anxious months of planning,
conceiving, carrying, delivering, and finally welcoming home a
new bundle (or bundles) of joy. Any topic relevant to this unique
time in a woman's life is acceptable, as long as the story is
positive and meaningful to expectant mothers overall.
DEADLINE: July 15, 2005

We seek personal anecdotal stories (not prescriptive articles)
about the unique aspects of parenting a child with autism and
related disorders will provide parents of children with autism
and related disorders (Asperger syndrome, Rett's disorder,
disintegrative disorder, pervasive developmental disorder).
Possible themes include, but are not limited to: impact on other
members of family; creative solutions to everyday challenges;
breakthroughs; effective treatments; silver linings; tender
moments; helpful support; unexpected positive outcomes; blessings
large and small; reasons for hope; adult children with autism.
DEADLINE: October 1, 2005

LENGTH: 1,000-2,000 words
PAYMENT: $500 for lead story; $100 will be paid for each story
published. Payment on publication.
RIGHTS: The publisher (Adams Media Corporation) reserves limited
use rights for a specified period of time. Rights retained by the
author include serial (periodical) rights, live performance, and
film right. Authors also retain the right to publish the story in
a book comprised solely of her/his original works.
SUBMISSIONS: By mail, or fax. By email to address to:
GUIDELINES: http://www.cupofcomfort.com/share.htm


Hospital of Saint Raphael, 1450 Chapel St., New Haven, CT 06511
URL: http://www.srhs.org

Seeking perceptive articles on health, medicine, fitness,
nutrition and personal well-being. Our aim is to help people live
smarter, longer and make better-informed healthcare decisions.
Always query in writing. Never submit a finished article. In your
query, be sure to describe not just your story idea, but the
approach you will take and possible sources. All articles
published must contain some quotes and narrative from Saint
Raphael health professionals, or affiliates of the Saint Raphael
Healthcare System.

LENGTH: 1,500-3,000 words
PAYMENT: $250-$700; 20% kill fee
SUBMISSIONS: Query first by mail
GUIDELINES: http://www.srhs.org/bh_submit.asp


Regina Galvin, Managing Editor
PO Box 3607, Cedar Park, TX 78730-3607
EMAIL: rgalvin"at"militaryspousemagazine.com
URL: http://militaryspousemagazine.com

Military Spouse magazine provides unique entertainment and
insight into current events relevant to a military spouse's daily
life. We prefer to see detailed queries, rather than completed
manuscripts and suggest you provide sources/experts.

LENGTH: Departments: 800-1,000 words; Feature Stories: 1,500
PAYMENT: $100-$400
SUBMISSIONS: Query first by email or mail


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.


             SPS Studios Poetry Card Contest

DEADLINE: June 30, 2005
GENRE: Poetry
LENGTH: No requirements

THEME: Poems can be rhyming or non-rhyming, although we find that
non-rhyming poetry reads better. We suggest that you write about
real emotions and feelings and that you have some special person
or occasion in mind as you write. Poems are judged on the basis
of originality and uniqueness. English-language entries only,
please. Enter as often as you like!

PRIZES: 1st Prize: $300; 2nd Prize: $150; 3rd Prize: $50

ELECTRONIC ENTRY: Yes, use online submission form

ADDRESS:  SPS Studios Poetry Card Contest, P.O. Box 1007, Dept E,
Boulder, CO  80306

URL: http://www.sps.com/b/poetry/contest/poetrycontest.htm


          Macmillan's Writers Prize for Africa

DEADLINE: June 30, 2005
GENRES: Fiction
OPEN TO: Age 16 or over who are nationals or naturalized citizens
of any of the countries which make up the continent of Africa and
to those who were born as citizens in those countries
LENGTH: No word length requirements

THEME: Entries must fall within one of the following two
classifications: Junior - unpublished story in English for
children between the ages of 8 and 12; Senior - unpublished story
in English for teenagers between the ages of 13 and 17. All
manuscripts must have a strong African content. Poems and plays
are not eligible.

PRIZES: Junior: $5,000; Senior: $5,000; New Children's Writer:


ADDRESS: Macmillan Writer's Prize for Africa, Macmillan Oxford,
Between Towns Road, Oxford OX4 3PP, UK

URL: http://www.writeforafrica.com/rules-and-cond.html


        14th Annual Contest for a First Middle-Grade Novel

DEADLINE: June 30, 2005
GENRE: Middle grade novel
OPEN TO: US and Canadian writers who have not previously
published a novel for middle-grade readers
LENGTH: 96-160 manuscript pages

THEME: Contemporary or historical fiction set in North America,
for readers age 9-12. Sponsored by Delacorte Dell Yearling.

PRIZE: $1,500 in cash and a $7,500 advance against royalties,
plus book contract (on the Publisher‚s standard form) for a
hardcover and a paperback edition


ADDRESS: Delacorte Dell Yearling Contest, Random House, Inc.,
1745 Broadway, 9th Floor, New York, NY 10019

URL: http://www.randomhouse.com/kids/writingcontests/


          Drue Heinz Literature Prize

DEADLINE: June 30, 2005
GENRE: Fiction
OPEN TO: Writers who have published a book-length collection of
fiction or a minimum of three short stories or novellas in
commercial magazines or literary journals of national
LENGTH: 150-300 typed pages

THEME: Eligible submissions include a manuscript of short
stories; one or more novellas; or a combination of one or more
novellas and short stories. Stories or novellas previously
published in book form as part of an anthology are eligible.

PRIZE: $15,000, plus publication by the University of Pittsburgh
Press under its standard contract


ADDRESS: Drue Heinz Literature Prize, University of Pittsburgh
Press, Eureka Building, Fifth Floor, 3400 Forbes Avenue,
Pittsburgh, PA 15260.

URL: http://www.pitt.edu/~press/BIP/DrueHeinz.html


          Southern Hum Fiction and Poetry Contest

DEADLINE: July 1, 2005
GENRE: Fiction; poetry
LENGTH: No word length requirements

THEME: Southern Hum seeks writing that is uniquely southern and
explores southern life, traditions, or just what it means to be
southern, or the southern experience. However, please do not send
genre writing, or writing that is stereotypical in its treatment
towards the South. Do send writing that is fresh in its approach
to the South. A writer does not have to be currently residing in
the South, nor does the story have to be set in the south, but
the writing should address some view(s) of the South or a
southern experience.

PRIZES: $250 in each category


EMAIL: southern_hum"at"yahoo.com
URL: http://www.southernhum.com/guidelines/



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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