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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 5:12         15,500 subscribers                June 9, 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: Finding Your Writing's Occasion,
            by Sheila Bender
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Are one-time rights the same as first
            rights? by Moira Allen
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

Where's My Shovel?  Heck, Where's My Flamethrower?
I discovered something rather disturbing this week: I didn't want
to go downstairs and work in my "office."  Instead, I tried to
find things to do on the upstairs computer.  Finally I tried to
determine what (besides the desire to extend my vacation) was
keeping me away from my desk.  I tried to visualize that desk --
but couldn't, because I can't actually SEE it.  It's piled too
deep with clutter.

My "do something about this" box has been overflowing for weeks.
Immediately above that is a four-inch stack of folders, mostly
"great link sites" that I have been wanting to check for more
useful links.  Above that is the shelf where I stuff everything
relating to TimeTravel-Britain.com -- don't ask me what's on it,
because I don't know!  Above that is another heap of papers which
are, I think, the results of my quest for photography contests.
To the left of my keyboard is the "shuffle stack" of loose papers
that haven't been shifted to any other pile -- either what I'm
looking at "right now" or what has just been printed or shifted
over from the roll-top desk.

Could I have become "clutter-phobic"?  Instead of braving my
desk, I sat down on the couch and grabbed a book from the shelf
at random -- "Smart Couples Finish Rich."  I flipped to a chapter
toward the end at random, and began to read.

Guess what the advice was?  "Go to your office and clean up the
clutter!"  Doing so, the book assured me, would improve my
attitude and my productivity.  It also advised arming oneself
with several large trash bags.

We writers tend to believe that a tidy desk is the sign of an
untidy mind, and vice versa.  Or that clutter proves that we're
working, surrounding ourselves with ideas and information and
who-knows-what-else.  Or that we just don't have TIME to organize
the mess when we could be writing instead.

Looking at the piles that surround me, however, I realized that
clutter -- my clutter, at least -- wasn't inspirational.  It
wasn't there because I was too busy writing The Great American
Novel.  Instead, it was sitting there like a huge pile of
"should" statements -- "You SHOULD read these articles, you
SHOULD check these sites, you SHOULD explore these markets."  It
was a giant paper nag, a constant reminder that there were more
things that I "should" do than I would ever have time to

So the rest of this week is going to be devoted to de-cluttering.
 It's not that I'm disorganized -- I actually consider filing a
form of recreation.  It's that reluctance to admit, "I just don't
have time for that, and I probably never will."

As writers, we fight a constant battle for time.  The number of
things that fight for our attention keeps increasing.  E-mail is
wonderful, but the fact that we can now keep in touch with just
about anyone in the world instantly bears the corresponding
downside that we are conducting hundreds of times the amount of
correspondence that we did when we had to type, fold, and mail a
letter.  The fact that we can find information on just about any
topic, anywhere, at any time, leads to the temptation to click
just one more link, spend just a few more minutes following up
search leads.  And let's not even start talking about

One thing is certain: With all the "time-saving" devices
available to us, the one thing we're NOT getting is "more time."
Instead, if you're anything like me, you're getting more tasks --
tasks that consume your energy without contributing to your goals
as a writer.  So this summer, let's consider a challenge: Let's
look for ways to take back control of our time, and use that time
to focus on those things that made us choose to become writers in
the first place!

                                          -- Moira Allen, Editor


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

Thank you to all the new and experienced writers who have weighed
in so far on your email vs snail mail submissions. I will be
extending this survey through the next two issues, so if you
haven't had time to respond, here's your chance to speak out. To
the new writers, I know you're out there, but I didn't hear from
many of you. Feel free to join the discussion! I'm also putting
out a special call to editors and agents to share your feelings
about email submissions. You may remain anonymous, if you wish.

Our email submissions discussion would not be complete without
paying homage to the award-winning writers' web site, Inkspot and
companion email newsletter, Inklings. When Moira Allen signed on
with Debbie Ridpath Ohi 1996, they were one of a few online
paying markets about writing that accepted only email
submissions. Moira shared her thoughts on the evolution of email:
"I ran a survey for Inkspot on whether editors were willing to
accept email submissions, and if memory serves, only about half
the respondents said 'yes'. I suspect that it was the experience
of WRITERS who began to push print editors to move into the
electronic age." And experienced writers back up this view. C.
Jones said she takes email markets more seriously, "because I
feel the publisher/agent isn't living in the dark ages." That
attitude is echoed by K. McNamara: "I suspect publications that
require snail mail are probably not as professional as those that
accept email. Maybe the snail mail requirement is a red flag that
the operation is not progressive. Why waste effort and postage?"

Moira also pointed out that email has changed the style of
queries: "The query letter format that I've taught through
various articles and classes really applies to the printed
letter. I've found that email queries are becoming less formal --
my own, and those I receive as an editor -- and when I receive an
email query that looks JUST like a print query, I actually wonder
a bit about the writer. I think one reason for the change in
formality is that email queries are often tailored to fit on the
SCREEN rather than the page, which means a bit less verbiage in
most cases." On the other hand, the editor of a literary magazine
described how that informality can lead to sloppiness: "Many
writers who submit by email ignore writers' guidelines (12-point
font, etc.) as well as the period during which we accept
submissions. Some use unprofessional email addresses (such as
superkisser"at"hotmail) or write cover letters which sound as if the
writer is conversing with a personal friend. Sometimes I am sorry
that we accept email submissions, but we continue to do so
because this enables international writers to submit."

Out of all the comments from experienced writers, one thing that
stood out is the difference between the way book writers submit
their work versus freelancers. "For initial queries and book
proposals, about 90% of mine are by snail mail, simply because
that's what the guidelines say to do," said E. Masters. "I write
children's books. When an editor answers and requests the
manuscript, I do it the old-fashioned way -- I put it in an
envelope, weigh it, stamp it, make a SASE, address both
envelopes, and drop it off at the post office. It's cumbersome
but it's what's required by the publishing houses." That policy
was echoed by B. Rich: "If I am querying a large publisher like
Penguin, then I understand that I need to fit into their
guidelines, because the bigger the beast, the more inflexible it
is." According to AC Watkins, even after a manuscript is
accepted, publishers still prefer to correspond by mail: "Most
contracts still have to be sent postal mail, and when I'm working
on a book, galleys and such are sent back and forth via postal

Recently I saw a cute wall hanging of a cartoon character in a
twisted position with the caption: "People who do yoga are
flexible." The same thing could be said of writers -- with the
same illustration! Many experienced writers were hard-pressed to
find any concrete percentages in their email submissions, they
remain flexible and follow editorial guidelines as expressed by
M. Bracken: "The cost of and/or method of submission does not
significantly impact my decision to submit to any particular
market. What impacts my decision most is whether or not I believe
I have material appropriate for that market. Then, and only then,
do I determine how the editor may be most receptive to seeing my
work." P. Hendrickson has also developed her own submissions
policy: "For new markets, I prefer snail mail (unless their
guidelines say they want email submissions) because I feel I can
make a stronger first impression if they're holding my clips and
letter in their hands."

Nearly half of the experienced writers who responded so far said
they are definitely fed up with snail mail submissions and now
submit exclusively by email. S. Lawrence said she no longer
submits by mail: "They take 30 minutes to rustle together and I
get no better response. I have been scolded by some writing gurus
for this, they say I should do what the editors want. But I am
running a business, too, and unless an editor can respect me as a
resource, I am not interested in working for that editor. If no
email contact is given, I call the publication and see if I can
get one. The problem is, when an editor is not interested, there
is often no response -- regardless of the method of contact. This
is such a tacky development in our business."

However, when it comes to the true motivation for email
submissions, perhaps E. Winkler said it best: "I recently
e-submitted an essay to an e-zine. I had an acceptance the
FOLLOWING DAY and three weeks later it was published. Such a
thing keeps a writer's juices flowing."

This discussion will continue in the next issue. Please keep
those responses coming in!

For agents and editors: Do you consider email queries or
submissions, and why? If not, why do you prefer submissions by

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?

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?

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:
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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Martha Ivery Indicted
On June 1, the U.S. District Court for the Northen District of
New York ruled that Martha Ivery, president of Press-TIGE
Publishing Company, "willfully and knowingly devised, and
intended to devise, a scheme and artifice to defraud prospective
authors and to obtain their money and property by means of false
and fraudulent pretenses, representations, and promises."  The
primary "pretense" was that of accepting fees to publish authors'
books without actually doing so, offering "a variety of excuses
for non-publication for years following the initial payment,
including problems with illustrations, problems with printers,
lost manuscripts, computer viruses, failed computer disks, and
production backlogs due to the large volumne of retail orders
placed through Press-TIGE." In addition to collecting
publication fees directly from authors, Ivery also referred
authors to "Kelly O'Donnell," allegedly a literary agent, who
collected additional fees for representation and book editing --
but who was actually Ivery herself. In 2002, Ivery filed for
bankruptcy, but then "reconstituted Press-TIGE in a new entity,
New Millenium Publishing House, Inc., and continued to solicit
payments from the same prospective authors under the auspices of
the new entity." Ivery was indicted for 17 counts of fraud,
including 15 counts of mail fraud, one count of fraud connected
with an access device (a credit card terminal), and one count of
"making a false oath in a bankruptcy hearing."  In his "blawg,"
Scrivener's Error, copyright lawyer C.E. Petit estimates the
losses to authors to be in the range of $500,000 to $800,000.
Read the official indictment at
Scrivener's Error - http://scrivenerserror.blogspot.com/
(scroll down to the June 3 entry)

Hooked on Harry Potter?
If you're counting the days till July 16 and the release of the
6th Potter book, "Harry Potter and the Half-Blood Prince",
there's a web site you can go to for help. Potter Parties.com has
information about over 150 parties around the world. Additional
information is available, including organizer name, activities,
and whether there will be Internet access. There's also a form to
add your own party, plus tips for activities, recipes, and
decorations for a Potter-themed party. For more information:

German book industry plans online book search
The Bšrsenverein of the German book industry, representing some
6,500 publishers, bookstores, second-hand book sellers,
wholesalers, and publishing agents, will set up its own platform
for a full-text search on the Internet. Responding to Google
Print, Amazon's "Look Inside the Book", and the digitalization
and networking efforts of European libraries, the new platform is
called "Volltextsuche online" and will provide access to digital
files of complete texts in German. Matthias Ulmer, publisher at
the Eugen Ulmer Verlag in Stuttgart and the initiator of the task
force for "Volltextsuche online" said, "The whole industry will
benefit from having its own platform. We have the potential, the
experience, and the technical expertise for such a solution, and
we should use it to protect our own interests against providers
from outside the industry to keep control of our own
publications." The set up costs of the service will be paid for
with advertising on the web site. Google Print is free to
publishers and users. The task force plans to present its draft
at the booksellers conference in Berlin this month.

Study reveals men read books by men
A study released on May 30 disclosed that men mainly read novels
by other men, but rarely read novels by women. Commissioned for
the Orange Prize for Fiction, an annual British award for female
authors, the research was carried out by Lisa Jardine and Annie
Watkins, professors at Queen Mary College, London. According to
Jardine, she's received dozens of emails from irate male readers
insisting that they are "immensely well-read in women's fiction".
Yet she adds, "These are the very men who turn out not to have
read any novel at all by a woman recently." The survey, sent to
50 British "opinion formers" (cultural critics, book festival
organizers, professors of philosophy, etc.), asked a variety of
questions. Jardine and Watkins found that 80% of male respondents
had most recently completed a novel by a male author, and many
had trouble remembering the last book by a woman they'd read.
Female respondents, on the other hand, were split almost 50/50,
with over half having recently finishing a work by a female
novelist, and the remainder, by a man. They also found that men
are aware of authors like Carol Shields, Monica Ali, and Andrea
Levy (past Orange Prize winners), and are willing to classify
their books as important. "But they were endearingly candid about
not having read many of them," said Jardine. The professors are
working on another, larger study on men's reading habits, which
they will release this fall.

Oprah's Book Club sticks with classics
One June 3, Oprah Winfrey departed from the usual one-author,
one-title format for her summer reading pick by selecting three
paperbacks by William Faulkner: "As I Lay Dying", "The Sound and
the Fury", and "Light in August". In the past, Winfrey's summer
picks typically sell more copies than titles selected at other
times. At Book Expo America (BEA) in New York, booksellers were
happy with her selection. "Name me one other person who could
hold up Faulkner and people would go out and actually read him,"
said Joe Holtzman, fiction category manager at Borders. Richard
Howarth, mayor of Faulkner's hometown Oxford, Mississippi, and
owner of Square Books store, was not as enthusiastic. He doubts
that much of Winfrey's audience will read all three books: "With
a good reading-group leader, they'll make it through 'As I Lay
Dying,' and they'll make it through 'Light in August.' But
they're going to start 'The Sound and the Fury' and say, 'What is
this?'" Then he feigned throwing a book over his shoulder. In
April, the Word of Mouth writers organization delivered an open
letter to Winfrey (signed by over 150 authors) asking her to
resume recommending contemporary fiction to her audience. For
more information: http://www.oprah.com/books/books_landing.jhtml


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                                                 by Sheila Bender

Poet Stanley Plumly used to say that poems must weigh more at the
end than at the beginning. What matters to us has emotional
weight, and as with poetry, the personal essay also supplies a
vehicle for writers to find out what matters and to feel the
weight of what matters. As writers, we take ourselves, and
ultimately our readers, on a journey during which we learn from
our experience as we relive it on the page. The best essays allow
the writer and the reader to establish and maintain solid footing
as they go. This solid footing comes partly as a consequence of
the speaker inside the essay revealing the reason the essay is
being written right now. Although you as a writer may have been
interested in your topic for a while, the speaker inside the
essay must have an occasion upon which to start talking in the
"now" of the essay.

In other words, inside each personal essay, you, in the form of
the essay's speaker, have a clear occasion for assembling images
and anecdotes that add up to discovery and emotional insight. At
the completion of this journey, you will have learned from your
writing as well anyone who reads it. Moreover, anyone who reads
it will experience the same enlightening journey you took rather
than a mere string of events or ideas that do not move toward an
emotional destination.

Let's take a look at how this works:

Recently, I assigned university students the task of writing a
description essay about a place for which they have strong
feelings. One student came to see me in my office.  He had chosen
Dodger Stadium in his home city of Los Angeles as his topic
because he loves baseball and thought he could write about it. He
had associated many images with the topic, including the voice of
Vin Scully, the game announcer he had listened to for years on TV
when he watched games at home with his father. "But where do I
start?" he said, "I have so many memories and thoughts about

You might be feeling something like this as you look over some of
your essay sprouts -- they may be something like morning glory
vines that spread everywhere instead of maintaining a succinct
space. Herein lies the magic of occasion! As we talked, my
student told me that he had recently gone to Dodger Stadium for
the first time after years of listening to the games at home. At
the ballpark, he searched for a glimpse of Vin Scully and could
almost make out where he was sitting. He suddenly realized,
though, that he wouldn't be able to hear Scully like his father
would be at home because Scully's voice was being broadcast over
radio and TV, not over the playing field. He experienced a moment
of shock when he realized that this game, the first live one he
had ever attended, would not be narrated for him by Scully's
familiar voice.

As I listened to my student talk, I realized that one occasion
his speaker could write from would be going to Dodger Stadium the
first time and missing the voice of the adored and familiar
sportscaster! I knew this because not being able to hear Scully
made this game emotionally different from others for this young
man. I asked him to describe the moment when he went to Dodger
Stadium and looked for Scully and saw him. What did he think at
that very moment? He said he wondered about his dad, listening at
home, who had turned his son onto baseball, but had never gone to
the stadium himself and now refused to go. And yet, unlike his
father, the son wants to see the game live. So the occasion of
the essay is going to Dodger Stadium for the first time and
realizing he would not hear Scully's familiar voice. That
realization leads him to explore what it felt like going to
Dodger Stadium without his father and what that meant to him.
Emotionally, this sounds like an essay about having learned from
one's dad, going beyond what he has taught you and then not being
able to share that new experience with him. The journey to this
emotional information ultimately occurred in the written essay
through descriptions of the event at Dodger Stadium, comparisons
to watching games at home, memories of what the student's dad
taught him about baseball and times he played baseball to impress
his father. His father's refusal to attend a live game made the
student aware of his father's support and the need to grow beyond
what his father could offer.

Here is a second example of how reviewing the essay's occasion
helps writers embark on their essays' emotional as well as
physical journeys. A journalist and technical writer approached
me to coach her on personal essay writing. She wanted to describe
her mother, an Italian immigrant who raised her daughter with
gestures and words about the evil eye. She knew that her mother's
old country superstitions had made a great impact on her, and she
wanted to write about them as a way of exploring who she is as a
mother raising her own children. The topic encompasses so much.
It's that question again: Where to start? Well, what is the
speaker's occasion? What has prompted her to speech as the essay
starts? Has she had an interaction with her son and responded in
a way that reminds her of her mother? Is she facing a situation
with her son that she doesn't know how to handle but thinks her
mother would have handled by invoking fear of the evil eye? If
this is so, she can start the essay with the situation and her
hesitation in handling it and the knowledge about how her mother
would have acted. Then she can write about what she was taught
about the evil eye and what it takes to discourage the evil eye.
She can write about the resulting effect on her thinking and
feeling. Finally, she can return to the interaction with her son,
ready to either do as her mother did or do something else she has
figured out from thinking about her mother and her upbringing.

If you know the topic you want to write about or the subject you
want to explore and yet feel unable to make what is at the bottom
of your heart and mind come into being on the page despite many
details, images, anecdotes and much dialog, you might have some
confusion about your occasion. Ask the writer inside your essay,
the one on the page recounting your experience, this question:
"Why are you writing this essay now?" "Because I missed hearing
Vin Scully at Dodger Park and I missed having my dad there, too."
"Because I caught myself in the act of doing something my mother
had done in raising me, and I wanted to explore how her actions
affected me so I might choose a different way of behaving as a

Remember, a personal essay, like all genres, is a "made" thing.
You are the writer but you have created the speaker in the essay
who represents you. The personal essay requires its speaker to
reveal a reason for speaking now. Once you realize what the
reason is, you will find a way to start and to end your essay.
You will also find the words that both tell your story and evoke
your struggle toward understanding its meaning. Your success in
winning the struggle is the very thing that makes your essay
weigh more at the end than it did at the beginning.


Sheila Bender is a  poet, essayist and book author whose newest
book is "Writing and Publishing Personal Essays". She is also
publisher of Writing It Real, an online premium content magazine
for those who write from personal experience. Visit the site to
read free sample articles and to learn about subscribing as well
as about Sheila‰s online and in-person workshops at:

Copyright (c) 2005 by Sheila Bender


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A site by UK writers for fiction writers to showcase their work,
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                                                   by Moira Allen

Are One-Time Rights The Same As First Rights?

Q: If you sell one time rights to an ezine, can you then sell one
time rights again to someone else once the first ezine no longer
has it on their site? One time rights aren't the same as first
rights are they?

A: You can sell "one-time" rights as often as you like, AND at
the same time. One-time rights are non-exclusive by definition.
The first e-zine doesn't have to have taken the article down for
you to sell those rights again.

One-time rights are often used for "syndication," i.e., when you
sell the same article to multiple newspapers at the same time.
Each has the right to use it "once," no one has the right to be
"first," and you can sell the same article again and again.
One-time rights are also often used for selling reprints.

"Nonexclusive" is an important term to keep in mind. If you have
sold one e-zine "non-exclusive archival rights," for example, you
can sell reprint rights to another e-zine (or a print
publication), as long as IT is only interested in nonexclusive
rights. However, you cannot sell nonexclusive rights to one
publication and exclusive rights to another (if those rights
overlap). For example, if e-zine "A" has your material in its
archive, and e-zine "B" wants an exclusive reprint, you'd have to
contact e-zine A and ask them to remove their archival copy

Fortunately, most e-zines are pretty understanding about the
archival issue -- everyone wants to keep archives, so different
publications don't tend to object to OTHER publications having
material in their back-issue archives. Also, I'm finding that
ONLINE publications seem to be developing their own distinct
readership just like print publications -- they don't overlap
nearly as much as we probably expected in the beginning.
(Probably for the same reason -- who has time to read everything
online?) So e-zines are recognizing that if your material appears
somewhere else, that doesn't mean that it's going to be
"overlapping" with their own readership.


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



Advice from a Caterpillar, by Peggy Tibbetts
Writing Creative Nonfiction; Proposing a Series; Pitching to
Multiple Agents in One Agency

Ask the Book Doctor, by Bobbie Christmas
Good Rejections, Story Classifications and Interview Release Forms

Imagination's Edge, by Paula Fleming
Pull Science from the Headlines, Then Make It Science Fiction

The Screening Room, by Laura Brennan
Selling Pitches from Australia; Writing a Book About a Show;
Finding a Writer

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
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



Meghan Saar, Managing Editor
PO Box 8008, Cave Creek, AZ 85327
EMAIL: editor"at"twmag.com
URL: http://www.truewestmagazine.com

True West magazine is published 10 times per year. The magazine
does not publish fiction or poetry. Departments relate the
history of the American West to the modern Western lifestyle,
with articles on Western collectibles, artists, movies, fashion
and craftsmen, plus one feature-length historical travel article
per issue. Articles that are accompanied by historical
photographs, drawings, paintings, etc., receive more
consideration than those without art. Seeks to establish
long-term relationships with writers who do excellent research,
give a fresh look to an old subject, write well, hit deadlines
and provide manuscripts at the assigned word length.

LENGTH: 2,000 words or less
PAYMENT: $150-$800
SUBMISSIONS: Query first, by mail or email
GUIDELINES: http://www.truewestmagazine.com/guidelines.html


Grady Jaynes, Editor
Ballantine Hall 465, 1020 E Kirkwood Ave., Bloomington, IN
EMAIL: inreview"at"indiana.edu or
URL: http://www.indiana.edu/~inreview/

Indiana Review is proud to announce a call for work by Latino &
Latina writers. We are seeking Poetry, Fiction, and Non-Fiction
by Latino & Latina writers that that is well-crafted and lively,
has an intelligent sense of form and language, assumes a degree
of risk, and has consequence beyond the world of its speakers or
narrators. We also welcome interviews with established writers.
Content that addresses political, social, and cultural aspects of
the Latino and Latina identity and community are welcome but not
a pre-requisite for consideration. Our intent with this issue is
to showcase the vibrant and diverse voices of new and established
Latino and Latina Writers.

LENGTH: Poetry: 10 pages or less; Fiction: 40 pages or less;
Nonfiction: 30 pages or less
PAYMENT: $5/page ($10 minimum)
RIGHTS: Rights revert to author upon publication
SUBMISSIONS: By mail only


Andris Taskans, Editor
Prairie Fire Press, Inc., Artspace, 423 - 100 Arthur Street,
Winnipeg, MB R3B 1H3
EMAIL: prfire"at"mts.net
URL: http://www.prairiefire.mb.ca/

Prairie Fire publishes literary, not commercial writing.

LENGTH: 10,000 words or less
PAYMENT: $30-$50/page, please see Rates of Payment:

SUBMISSIONS: By mail only
GUIDELINES: http://www.prairiefire.mb.ca/guidelines.html


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

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


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


            Richard J. Margolis Award

DEADLINE: July 1, 2005
GENRE: Journalism/Essay
LENGTH: Two examples of the writer's work, published or
unpublished, 30 pages maximum

THEME: The Richard J. Margolis Award of Blue Mountain Center is
given annually to a promising new journalist or essayist whose
work combines warmth, humor, wisdom and concern with social
justice. The award was established in honor of Richard J.
Margolis, a journalist, essayist and poet who gave eloquent voice
to the hardships of the rural poor, migrant farm workers, the
elderly, Native Americans and others whose voices are seldom
heard. He was also the author of a number of books for children.

PRIZE: $5,000, plus 1-month residency at the Blue Mountain
Center, a writers and artists colony in the Adirondacks in Blue
Mountain Lake, NY


ADDRESS: Richard J. Margolis Award, c/o Margolis & Associates
LLP, 137 Newbury Street, 2nd Floor, Boston, MA 02116

EMAIL: harry"at"margolis.com
URL: http://www.margolis.com/award/index.html


          CrownAtude Essay Contest for Women

DEADLINE: July 1, 2005
OPEN TO: Women only
LENGTH: 500 words or less

THEME: We want to know where you found CrownAtude. Women
possessing CrownAtude have formed bonds with other women to
create an attitude of community and by doing so they promote,
enrich and lift each other up. To find out more about CrownAtude
visit our blog. We are looking for well-written essays based on
personal experience.

PRIZE: $75

ELECTRONIC ENTRY: Yes, no attachments

EMAIL: dawn"at"queenpower.com
URL: http://www.queenpower.com/CrownAtude.html



Monday's Mysteries, by Larisa Long

   Find these and more great books at

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on how to reach 50,000 writers a month with your product, service
or book title, visit

WRITER'S SUCCESS: 400+ Paying Markets, Freelance Jobs, Classes,
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LIFE! Visit the National Association of Women Writers Web site at
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SPAWN (Small Publishers, Artists and Writers Network) is
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Chapter near you. Contact us if you'd like to start one.
Patricia"at"spawn.org. Subscribe to newsletter http://www.spawn.org
WRITERS: FIND MARKETS EASILY - Worldwide Freelance has a NEW
fully-searchable Markets Database. Discover writing markets from
North America, Europe, Australasia and other places. It's free,
so come and try it out here: http://www.worldwidefreelance.com
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WRITERONLINE is an e-publication dedicated to writers and lovers
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and much more, published biweekly. Completely renovated! Visit
us at http://www.writer-on-line.com

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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