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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 5:17         15,250 subscribers             August 18, 2005

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         From the Editor's Desk
         FALL CLASSES on Writing-World.com
         WRITER TO WRITER: What was your worst experience with an
            editor? by Peggy Tibbetts
         News from the World of Writing
         FEATURE: Writing for the Ear (Not by Ear),
            by Donnell King
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Is it okay to break up dialogue with
            mannerisms? by Moira Allen
         JUST FOR FUN: Cover Me, by Moira Allen
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

Last Chance for the Market Guides!
Our market guide closeout sale will end August 31, so don't miss
this chance to obtain all 14 of our themed guides -- a total of
more than 1700 markets -- for just $10.  For details, please
visit http://www.writing-world.com/bookstore/index.shtml

Do You Offer an Affiliate Program?
A reader recently asked a question about affiliate programs that
aroused my own curiosity.  He wanted to know how to set up such
a program for his book, and how well affiliate programs work.
I've participated in affiliate programs, but have never set up
one of my own -- but I know many of you probably have.

So -- if you've set up an affiliate program for your book, or
for any other type of product (e.g., a course, software package,
etc.), I'd like to hear about it.  Specifically, I'd like to
know about:

1) Whether you set up your own program or use a "clearinghouse"
such as Commission Junction

2) If you set up your own tracking program, what program you
used and where it can be found

3) How you've promoted your affiliate program, and how
successful you've been in getting folks to sign up and
promote your product(s) on their websites

4) Whether you consider your program successful (i.e., has it
sold a significant number of books or products for you?)

5) What tips you'd offer to another author interested in
setting up such a program?

Finally, if you're a USER of affiliate programs -- i.e., you JOIN
such programs and market other folks' products on your website --
I'd like to hear from you as well.  What persuades you to sign up
for a particular affiliate program (or perhaps turns you off from
another)?  Are you willing to sign up for programs offered by
individuals, or do you prefer to stick with the more established
programs, such as Amazon.com or Commission Junction?  How
successful have you found such programs to be: do you find that
they bring you a significant amount of income?  What tips would
YOU recommend to anyone considering signing up for affiliates?

Please send your tips or comments to editors"at"writing-world.com,
and please put the word "AFFILIATE" in the subject line! Thanks
so much for your help.

                                          -- Moira Allen, Editor


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Free sample issue. http://www.thechildrenswriter.com/N1852/


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

What was your worst experience with an editor?
Check out Moira's humor piece, "Cover Me" in this issue's Just
for Fun section. She pokes fun at some very funny cover letters,
from an editor's point of view. Her examples got me thinking
about some of the odd replies I've received from editors over the
years. My all-time favorite went something like this: "Your novel
is excellent and beautifully written. Unfortunately that doesn't
fit into our publishing program." Say what? Something tells me
she didn't proofread that letter. Sometimes the reply is
humorous. And sometimes it's the beginning of a year-long
nightmare. Like the editor from a reputable publishing house who
wrote a letter of intent, saying they wanted to publish my book
and she would be in touch very soon -- then I never heard from
her again. She never answered my phone calls or letters either.

Okay, now it's your turn! What was your worst experience --
humorous or horrible -- with an editor?

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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Publishers say changes in Google Print not enough
On August 11, Google Print announced changes that will address
publishers' objections to its Google Print for Libraries program.
In an online statement, Project Manager Adam Smith said: "We
think most publishers and authors will choose to participate in
the publisher program in order (to) introduce their work to
countless readers around the world. But we know that not everyone
agrees, and we want to do our best to respect their views too."
Google is asking publishers to notify the company as to which
books they don't want scanned, making the program an opt-out
instead of an opt-in. Association of American Publishers (AAP)
President Patricia Schroeder responded: "Google's announcement
does nothing to relieve the publishing industry's concerns.
Google's procedure shifts the responsibility for preventing
infringement to the copyright owner rather than the user, turning
every principle of copyright law on its ear." Google plans to
scan copyright-protected books from Harvard, Michigan, and
Stanford University Presses. Currently they are scanning public
domain works at the New York Public Library and Oxford
University. Google executives maintain that the project will make
it easier for people around the world to read valuable and rare
library materials. Publishers fear that making digital versions
of copyright books available on the internet could open the door
to unauthorized duplication and distribution. Also, so far Google
hasn't offered to pay royalties for any potential advertising
revenues gained. For more information: http://snipurl.com/gyyc

New web site offers low-cost magazine samples
Leading magazine publishers are fighting back against the high
costs of circulating copies to newsstands. They know readers
won't subscribe to a magazine unless they've read a copy, so
they're making copies available to the public through a new web
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MagSampler.com founder Ed Rust reports that in the first month
the catalogue has been in operation it has more than 300
magazines on board, "and we're adding new ones almost every day."
For more information: http://www.magsampler.com

Authors hold eBay auction
Michael Chabon and 16 of America's most prominent authors,
including John Grisham, Rick Moody, Nora Roberts, Stephen King,
and Amy Tan have banded together to raise money for the First
Amendment Project (FAP) through eBay Giving Works, the dedicated
program for charity listings. From September 1-25, the authors
will auction off the chance to name a character in their upcoming
books, and donate the proceeds to the FAP, a nonprofit
organization that is dedicated to protecting and promoting
freedom of information, expression, and petition. After 12 years
of assisting activists, journalists and artists, FAP is
struggling financially and in serious danger of closing. Michael
Chabon, a member of FAP's Advisory Board, turned to his
colleagues in the literary world and enlisted them to rally to
FAP's defense. For more information: http://www.ebay.com/fap

UK's Richard & Judy host memoir contest
UK TV hosts Richard & Judy, in conjunction with Random House UK,
are offering viewers from across Britain and Ireland the
opportunity to share their true life stories about love,
adventure, loss and overcoming tremendous odds. Eight winning
stories be filmed for the hosts' "True" program. One winner will
be chosen to work with a ghost writer to write his experience in
a book, toward a publishing contract for a 25,000 advance plus
royalties. Contestants must call in to the True Hotline, and tell
their story in 2 minutes. Telephone lines will remain open until
October 16, 2005. For more information: http://snipurl.com/gw0v

Judge dismisses Da Vinci suit
New York district court Judge George Daniels has dismissed a
copyright infringement lawsuit against Dan Brown, Random House,
and Sony, its Columbia Pictures division and distributor Imagine.
Author Lewis Perdue had claimed that Brown had illegally taken
elements from his novels and used them in The Da Vinci Code.
Perdue's "Daughter of God" and "The Da Vinci Legacy" are both
thrillers with religious themes. After reading all three books,
Judge Daniels concluded: "A reasonable average lay observer would
not conclude that 'The Da Vinci Code' is substantially similar to
'Daughter of God'. Any slightly similar elements are on the level
of generalized or otherwise unprotectible ideas." Perdue
indicates on his web site that he will appeal the ruling.


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                                                  by Donnell King

People don't write the way they talk.

If you didn't know that already, just listen to the typical
student speaker deliver a paper out loud when he thinks he's
giving a speech. Oh, God, it hurts.

In some ways, writing for the ear requires the same skills as any
other format. The ABCs -- Accuracy, Brevity, and Clarity --
always mark quality writing. Although most of us learn not to
move our lips as we read, we still "hear" ourselves reading in
our heads, and so things like rhythm and rhyme and alliteration
always matter.

But speeches, radio copy, commercials -- anything that ultimately
aims at an audience who will hear the final version rather than
read it -- also have some unique requirements. Because you are
writing material someone else will read out loud to the final
audience, keep this baker's dozen of suggestions in mind when
you're writing for the ear.

1. Use shorter sentences with a basic structure. Avoid compound
or complex sentences. Remember the structure from early
composition classes: SVO -- subject-verb-object.

2. Use present tense more than past tense. This is especially
true if you're writing broadcast news instead of print news.

3. Use a simple, basic vocabulary. Readers can stop to look up
unfamiliar words and come back to the same place; listeners will
simply get lost. According to linguist James L. Fidelholtz, the
average person has a usable vocabulary of about 70,000 words.
However, Laurie Bauer, another linguist, says a reader whose
vocabulary comprises only 1,000 words will be able to understand
about 70% of what other people write. If you stick with the 500
most common words (you can find such a list at
http://www.world-english.org/english500.htm), you probably won't
cause listeners to wish for a rewind button.

4. Use "you" and "I" forms of verbs. Casual writing for the eye
also uses these constructions, but business and academic writers
sometimes strive for a more objective sound by using third person
constructions (he, she, it, they, or the stuffier "one"). This
writer believes such constructions get in the way of good
writing. One shouldn't create such distance between oneself and
one's readers. You see the problem when you're reading it. It's
much worse for your listeners.

5. Avoid parenthetical statements, since they're difficult for
the ear to handle. People can't hear the parentheses as easily as
they can hear periods, or even commas. Break parentheses into
separate sentences or leave them out altogether.

6. Paraphrase more, quote less. A speaker has trouble indicating
a direct quote without pecking the air with the first two fingers
of each hand. Radio broadcasters don't even have that option.
Attribution is also harder. When you use a direct quote, give the
attribution at the beginning of the sentence -- a variation from
the AP Stylebook and most guides to writing for the eye. For
example, instead of writing your quote, followed by "John Smith,
Article Title, 2004", write, "As John Smith noted in his 2004
article... (title)," and then follow it with your quote.

7. Go for the big picture. Memory researcher Tony Buzan says
listeners remember less than 10% of what they hear, partly
because they have no way to go back over the material unless they
take notes or record what they hear. Reader may reread a
paragraph; listeners can't. For that reason ...

8. Round off and "verbalize" statistics. Rather than tell us,
"This year's city budget will run $286,726,090," tell us, "This
year's city budget calls for nearly three hundred million

9. Spell out numbers. Speakers really should look at your copy
before they deliver it, but many don't. Spelling numbers out
helps keep them from stumbling, and also helps make sure the
number gets reported accurately.

10. Use stories more than numbers. Stories create more of an
impression than numbers, and listeners remember them more easily.

11. Make your structure clear. You can develop a story for the
eye in a fairly complex way, even using typographic conventions
to indicate things such as flashbacks. Listeners have few such
cues. "Signposting" (e.g., "Today we'll consider three reasons to
buy a new car. First ... second ... third ...") helps them keep
track of the talk, understand the structure, and remember the
main points.

12. Use simple language. Don't say "e.g."; say "for example", and
make it a separate sentence instead of a parenthetical statement.

13. Polish both the introduction and the conclusion. If you
learned to write in journalistic inverted-pyramid style, break
the habit for the ear. Listeners remember the first and last
thing they hear more than anything in the middle. Beginning
speech writers tend to work hard on the main message and tack on
introductions and conclusions as afterthoughts.

Remember: people don't talk the way they write. If you keep that
in mind, your writing will help your clients speak more


Donnell King is a professional writer, speaker, and teacher from
Knoxville, TN, where he is an associate professor of speech and
journalism. He has spent 30 years writing for newspapers and
magazines, and in public speaking. He is the co-author of
"Responsibly Spoken" Visit his web site at:

Copyright (c) 2005 by Donnell King


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The South Africa Online search engine offers an excellent list of
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Duotrope's Digest of Fiction Fields
An excellent, regularly updated list of fiction markets
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Free idea of the day, What Ifs, database of historical events,
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Vision: A Resource for Writers
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Common Errors in English
Alphabetical listing of misused words in the English language.


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                                                   by Moira Allen

Is It Okay To Break Up Dialogue With Mannerisms?

Q: When I began writing seriously, I studied as much as I could
about sentence structure and such. I have an editor friend who
keeps telling me that I use too many mannerisms and adverbs in my
writing. For example, I have a sentence that reads: "No ... I
don't know," Scott answered. He tapped the pen on the assault
file spread out on his desk. "This guy might know her, but I'm
not altogether certain it's the same person the feds are hunting

My friend tells me this type of mannerism is useless and detracts
from the dialogue. (This friend works as an editor for a
newspaper and is himself learning how to write fiction.) I
frequent a forum  with various other writers and editors, and so
far he is the only one who voices this opinion. Is he correct?
And what is the general rule about adverbs?  He keeps telling me
to never use them. I'm on the final rewrite of my novel and I
hate to think I will have to go through it and remove various

A: While I'm not yet a "successful" fiction author, the type of
"mannerism" you're using here looks perfectly in line with what I
would expect to see in a mystery novel. Personally, I like to see
dialogue broken up with a bit of "action" -- otherwise, you tend
to get long stretches of quote marks with nothing much in between
them. Most fiction writers I have talked to or read articles by
also recommend interspersing dialogue and action in this way, as
it improves the narrative flow.

Here's what I might do to STREAMLINE this sentence a bit:

"No ... I don't know." Scott tapped his pen on the assault file.
"This guy might know her ... (etc.)"

You don't really need the "Scott answered," because it will be
obvious that (a) Scott is talking when you use his name with the
action, and (b) that he is "answering" because, presumably, the
previous bit of dialogue was a question. Also, you probably don't
need to indicate that the assault file was spread out on his
desk, as I imagine this might be clear from earlier information.
If it isn't, have Scott spread out the file earlier in the

I think the problem your friend is having is that he is coming
from a completely different editorial background. In newspaper
writing, you want to remove EVERYTHING that is the least bit
extraneous. You're not interested in "flow" or character
development or even in "atmosphere" or "color"; you're interested
in cramming as much information as possible into the fewest
possible words. This is not the type of person I'd ask for help
with on fiction editing. Since he is also the "lone voice"
speaking against your style, and everyone else (including me)
seems to like it, I wouldn't waste any time agonizing about the
one voice of dissent here. He hasn't recognized that he's
operating in a different world; you must recognize when someone
ISN'T familiar with your world.

On the subject of adverbs, I didn't see any here, so I can't
comment on whether you use too many. However, adverbs should be
used SPARINGLY. (As to whether they should never be used at all,
try to rewrite the sentence above without the adverb "sparingly"
and see how far you get!) Too many adverbs don't add clarity;
they add clutter. For example, I once picked up a book that
opened with a sentence something like this:

"He rode the lean, grey horse slowly down the winding road
beneath the gently swaying trees to the sparkling brook..."

Granted, that's a mix of adverbs and adjectives -- but the
thought of slogging through more sentences like that made me put
the book down in a hurry. (It was already on the remainder table,
and it wasn't hard to figure out why.) Most fiction-writing
experts agree that the EXCESSIVE use of adverbs is usually a sign
of sloppy writing -- they mean that you aren't picking your
nouns, verbs or adjectives carefully.

For example, why say "the eagle flew high" when you could say
"the eagle soared"? Why say "The horse walked slowly" when you
could say it ambled, or shuffled, or plodded? Why say "John
slammed the door angrily" when "slammed the door" by itself will
usually convey that anger? Watch out for adverbs in dialogue tags
-- "she said angrily" or "he replied scathingly". Whenever
possible, make the dialogue itself, OR an accompanying action,
convey the "way" something is said rather than using an adverb.

That doesn't mean you can't ever use adverbs. Use them when they
genuinely help a sentence, not just because you're trying to find
as many ways to describe a person or an action as possible. If a
sentence, or a paragraph, is full of "ly" words, you've got too
many adverbs.

It sounds to me, though, as if you haven't got much to worry
about. Just keep writing, get your book finished, and don't fret
over a little negative feedback. Feedback is nice, but we always
have to be our own judges in the long run. Good luck with it!


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


                                                   by Moira Allen

Should you send a cover letter with your manuscript? The answer
may be "it depends" -- on what you plan to put into that letter!
Make sure your "covers" don't fall into one of these three

More than I needed to know
"I am a 33-year old housewife and mother of four. Up until two
years ago I had never written anything." (I could tell.)

"I am a single parent of two children. My hobbies are reading,
writing and knitting."

"I am currently a substitute teacher with a lifelong penchant for
daydreaming with my thoughts and emotions." (As opposed to what?)

"I am a writer by nature, but only at the urging of my
contemporaries have I finally decided to submit my work for
publication." (Who else would urge you, if not your
contemporaries -- unless you're channeling?)

"I'm 77, without too many years left, and I don't wish to use
that time writing an article that will be unpublished." (This
was typed in faded grey ink on pink paper; I didn't feel I had
enough years left to read an entire manuscript like that.)

"Reader's Digest returned this manuscript. I was advised to
submit it to your company. Enjoy!" (I didn't.)

How's that again?
"Have you ever dreamed of being agent 007? An other dream you
might have you looking for some drug smuggle or diffusing a bomb
at the last second?"

"Life is a donut hole; we are surrounded with great expectations,
yet, in the end -- nothing." (Pretty much described the

"It is a human interest comment with a moral regarding
sensitivity and compassion."

"You will find enclosed one humorous personal experience plus one
SASE." (Good; I haven't had a humorous experience all day.)

"Enclosed are four letters from my dog."

"This whole article is, of course, just a thought."

Anything you say!
"Decisions - Decisions - Make this one fast!" (I did.)

"Please publish the enclosed character study." (I didn't.)

"Incidentally, after checking your word rates in the Writer's
Market, I'm quite disappointed to find them on the very low end
of the scale -- compared to other magazines with which I'm
presently working." (For you, anything!)

"Give me info on how I can draw funnies and caricatures for your
magazine. Make sure I WILL be paid (CASH ONLY). Send postage-free
envelopes." (This was written on the back of a magazine blow-in
subscription card.)

But what about GOOD cover letters, you ask? Don't editors
remember them? Perhaps. But the best cover letter of all is the
type that is instantly forgotten -- because it accompanies a
memorable manuscript!

For more information on cover letters:

Cover Me - I'm Going In! by John Floyd

Cover Letters: When, Why, and How to Use Them, by Moira Allen


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




An Interview With Kevin J. Anderson, by Lynne Jamneck

Digital and Personal Tech: Writing for The Next Generation of
Technical Magazines, by Mridu Khullar

Marketing Your Novel: Building the "Buzz", by Marilyn Henderson


MARKET GUIDE CLOSE-OUT SALE! Writing-World.com will soon be
discontinuing its market guides, so we're offering a one-month
close-out sale.  During the month of August, buy the entire set
of guides (14 categories and over 1700 markets) for just $10. At
the end of August, the guides will be gone forever, so don't wait
too long!  For more information and a complete list of guides,
visit http://www.writing-world.com/bookstore/index.shtml



Fiction Editor, Woman's World, 270 Sylvan Ave., Englewood Cliffs,
NJ 07632
EMAIL: DearWW"at"aol.com

Romance guidelines: Contemporary stories must revolve around a
compelling, true-to-life relationship dilemma; may feature either
a female or male protagonist; and may be written in either the
1st or 3rd person. Characters may be married, single, divorced or
widowed; should be down-to-earth (no yuppies or jet-setters); and
their dilemma should be poignantly or humorously conveyed. Please
think carefully about a story's setting, mood and plot, and tell
the story with interesting action and dialogue. (Every sentence,
paragraph, and scene of the story should deliver more information
about your characters and their situation and/or briskly advance
the storyline). We are not interested in stories involving
life-or-death matters, nor are we interested in fluffy,
flyaway-style romance. When we say romance, what we really mean
is relationship -- whether it's just beginning or is about to
celebrate its 50th anniversary. The emphasis in our stories is on
real life -- which is why we do not buy science fiction, fantasy
or historical romance.

Mini mystery guidelines: We purchase short "solve-it-yourself"
mysteries. Stories should be cleverly plotted, entertaining
cliffhangers that end with a challenge to the reader to figure
out whodunnit or howdunnit. The solution to the mystery is
provided in a separate box. Robbery, burglary, fraud and murder
are acceptable subjects, but spare the readers any gory details
or excessive violence, please! We are also not interested in
ghost stories, science fiction or fantasy.

LENGTH: Romance: 1,100 words; Mini mystery: 1,000 words
PAYMENT: Romance: $1,000; Mini mystery; $500
SUBMISSIONS: By mail only, manuscript format, enclose SASE
GUIDELINES: Send email request to: DearWW"at"aol.com


Karl Johanson, Editor
4129 Carey Road, Victoria, BC, Canada V8Z 4G5
EMAIL: neoopsis"at"shaw.ca
URL: http://www.neo-opsis.ca/

Neo-opsis will consider the following material with a science
fiction or fantasy theme: stories/fiction, fact articles, opinion
articles, and poems. Please see our online guidelines for more

LENGTH: 6,000 words or less
PAYMENT: 2.5 cents (Canadian)/word, maximum $125
SUBMISSIONS: Prefer email, attached as a MS Word or .rtf file,
we will not refuse a story that is included in body of email
GUIDELINES: http://www.neo-opsis.ca/guidelines.htm


Dave Webb, Editor
Suite 900, 1080 Howe St., Vancouver, BC V6Z 2T1
EMAIL: editor"at"adventurousmagazine.com
URL: http://www.adventurousmagazine.com

Adventurous Magazine covers topics pertaining to outdoor sports
and activities in Western Canada. Geographically, British
Columbia and Alberta are covered, with the occasional adventure
destination piece -- this can be international, however, it must
have a BC or Alberta connection (i.e.: the subject of the story
is from one of those provinces). The readership is young, active
and knowledgeable, and the voice of submitted works should
reflect this. Fishing and/or hunting will not be covered. Please
see our online guidelines for more details.

LENGTH: Columns: 750-1,000 words; Features: 1,200-2,200 words;
Technique pieces: 1,000-1,500 words; News items: 100-400 words;
Profiles: 450 words
PAYMENT: Columns: $200; Features & technique pieces: $400; News
items: $50-$150; Profiles: $150
SUBMISSIONS: Query first by email, fax, 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.


            Vanity Fair Essay Contest

DEADLINE: September 30, 2005
GENRE: Essay
OPEN TO: US residents, 18 and older
LENGTH: 1,500 words or less

THEME: What is on the minds of America's youth today?

PRIZES: 1st Prize: $15,000, plus a trip to Donnini, Italy; 2nd
Prize: $5,000: 3rd Prize: $1,000

ELECTRONIC ENTRY: Yes, as a MS Word document or as Adobe Acrobat

EMAIL: EssayContest"at"vf.com
URL: http://www.vanityfair.com/magazine/pressroom2/


          4th Annual FundsforWriters Essay Contest

DEADLINE: October 31, 2005
GENRE: Essay
OPEN TO: 18 and older
LENGTH: 700 words or less

THEME: They Actually Paid Me to Write: see online contest
guidelines for a list of possible scenarios. We offer two
categories: the $5.00 fee category and the no fee category.

PRIZES: No Fee Category: 1st Prize: $50; 2nd Prize: $30
Fee Category: 1st Prize: $150; 2nd Prize: $30

ELECTRONIC ENTRY: Yes, in body of email

EMAIL: hope"at"fundsforwriters.com
URL: http://www.fundsforwriters.com/annualcontest.htm


          2006 Lee & Low Books New Voices Award

DEADLINE: October 31, 2005
GENRE: Fiction or nonfiction for children ages 2-10
OPEN TO: Writers of color who are residents of the US and who
have not previously published a children's picture book.
LENGTH: 1,500 words or less

THEME: Manuscripts should address the needs of children of color
by providing stories with which they can identify and relate, and
which promote a greater understanding of one another. Folklore
and animal stories will not be considered.

PRIZE: Grand Prize: $1,000, and our standard publication
contract, including our standard advance and royalties; Honor
Award: $500


ADDRESS: Lee & Low Books, 95 Madison Avenue, New York, NY 10016,

URL: http://leeandlow.com/editorial/voices.html


          Harlequin Epic Romance Contest

DEADLINE: October 31, 2005
GENRE: Epic romance
LENGTH: Proposal of 50 pages or less

THEME: Submit a detailed outline of your story (indicating, where
appropriate, points of view you plan to use, the narrative
structure and timelines), plus the first chapter. Please check
eHarlequin for further information on the series.

PRIZES: Three winning entries will receive a detailed and
personal critique with one of the program's editors, and the
possibility of publication.


ADDRESS: Paula Eykelhof, Executive Editor, Harlequin Books, 225
Duncan Mill Road, Don Mills, Ontario M3B 3K9

URL: http://snipurl.com/gv3g



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