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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 5:22         15,300 subscribers            October 27, 2005

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         From the Editor's Desk
         WRITER TO WRITER: What steps did you take to achieve
            your first sale? by Peggy Tibbetts
         News from the World of Writing
         FEATURE: What's Your Publishing IQ? by Marilyn Henderson
         The Write Sites -- Online Resources for Writers
         WRITING DESK: Authors and signed legal contracts,
            by Theodore P. Savas
         WHAT'S NEW at Writing World
         MARKET ROUNDUP/Writing Contests

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                     FROM THE EDITOR'S DESK

Better Late than Never...
Yes, I know, it's a day late! Yesterday my husband and I decided
to take a sort of impromptu vacation. Actually, technically, he
has been on vacation all week, but since he has been taking this
vacation at home, it has sounded something like this:

Ring, ring... Yes, this is Pat... Oh, you need what? When? OK,
just a minute, let me get to the computer...

Ring, ring... Yes, this is Pat... Yes, I got your e-mail... OK,
I'll let you know...

Ring, ring... Mumble, mumble... HONEY, I'm going to be on a
conference call for the next hour...

Ring, ring...

Yesterday, after about the fifth call from the office, Patrick
headed for the coat rack with a determined look in his eye.  We
managed to make it out the door just as the phone began ringing
AGAIN (when it's not for him, it's a recorded message urging us
to vote for so-and-so for governor).  So we spent the day at our
local "harvest festival" and finished it off with a fancy French
Bistro dinner.  And by the time we returned, the last thing on my
mind was firing up the computer and getting back to work.

But I haven't been idle...

Shameless Self-Promotion Department
I often get e-mails from people wondering how to start their own
line of greeting cards.  I always give them the same answer: I
don't know, as I'm no expert on greeting cards.

So with that brilliant credential in my favor, I've just -- you
guessed it -- launched a line of cards! I've been discovering a
growing passion for photography, and I have just developed a
series of photocards that I happen to think are pretty cool.
They're available as individual cards or in boxed sets -- so if
you're looking for the ideal holiday gift, surf on over to
http://www.allenimages.net and take a look!

                         -- Moira Allen, Fledgeling Photographer


Problem was, I was in the wrong writing business. Instead of
making a few hundred dollars a week writing articles for
magazines, I now pull in $2,500 per week writing simple letters.
Here's how: http://www.thewriterslife.com/idt/wworlda6


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

What steps did you take to achieve your first sale?

As a beginning writer, I wrote a story titled, "Bling! Blang!
Bloop!" about Cecil Bumby whose car falls apart one morning. He
has to walk to work and on the way he reconnects with all of his
old friends. I submitted it to several picture book publishers
without success. Eventually one unnamed editor scribbled on the
form rejection: "This is a good story but it's not strong enough
for the picture book market. Try magazines." I jumped on that
advice and submitted it to Wee Wisdom Magazine, where I made my
first sale. I will always be grateful to that unknown editor for
taking the time to steer me in the right direction. That first
sale gave me the confidence to apply for a job as an editorial
assistant with an educational materials publisher, which I got.
From then on, even though my career has ebbed and flowed over the
years, I have continued to work in some capacity as a writer
and/or editor. I also experienced first hand, how taking the time
to steer a writer in the right direction can have an enormous
impact on his/her career. That experience has influenced my
decision to reach out and help other writers along the way.

Please share with our readers: What steps did you take to achieve
your first sale?

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


create puzzles and get them published.  5 week e-course topics
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proposals, not manuscripts! Discover the secrets to getting
published in: Book Proposals That Sell, 21 Secrets to Speed Your
Success by W. Terry Whalin http://www.right-writing.com/ways.html



Publishers sue Google
On October 19, the Association of American Publishers (AAP)
announced the filing of a lawsuit that charges Google with
infringing the rights of authors and publishers. The AAP, which
is coordinating and funding the suit, filed the complaint on
behalf of the McGraw-Hill Cos., Pearson Education, Penguin Group
USA, Simon & Schuster, and John Wiley. "The publishing industry
is united behind this lawsuit against Google, and united in the
fight to defend their rights," said AAP President Pat Schroeder.
"While authors and publishers know how useful Google's search
engine can be and think the Print Library could be an excellent
resource, the bottom line is that under its current plan Google
is seeking to make millions of dollars by freeloading on the
talent and property of authors and publishers." As a way of
accomplishing the legal use of copyrighted works in the Library
Project, AAP proposed to Google that they utilize the ISBN
numbering system to identify works under copyright and secure
permission from publishers and authors to scan these works.
Google rejected the offer. Schroeder noted that while "Google
Print Library could help many authors get more exposure and maybe
even sell more books, authors and publishers should not be asked
to waive their long-held rights so that Google can profit from
this venture." For more information: http://snipurl.com/iva3

Literary agents back Google lawsuits
On October 20, the Association of Authors Representatives (AAR)
released an open letter saying it supported both the AAP's
lawsuit and the similar suit filed last month by the Authors
Guild. In the letter, addressed to Google chairman and CEO Eric
E. Schmidt, AAR President Gail Hochman said her organization
believes Google's digitization project poses "an egregious
violation" of copyright law and that it is "an affront to the
rights and integrity" of both authors and their books. Hochman
said that the AAR would, in a show of support, offer assistance
to any of its agent- or author-clients "resisting and opposing
Google's Library project."

German publishers planning online book network
German book publishers have formed an association that is
planning to build an online book network similar to Google Print
Library. In 2006, they will allow the full texts of their books
to be accessed by search engines, but will not hand the texts
over to the companies. They want to build their own search engine
to rival services offered by Google, Yahoo or Lycos. They also
plan to offer readers the chance to borrow books online. "We
don't want Google to hold the texts in its servers; we want the
publishers to keep them," said Matthias Ulmer, who is leading the
project. In the German model, publishers will scan their books
into their own servers. The publishers' association will build a
network that will allow Google or other companies to search those
servers without being able to see their full content. Ulmer said
the association was talking to various search engines and he was
confident of reaching a deal with Google.

Publishers compete with online booksellers
Major book publishers have quietly begun selling directly to
customers over the internet, in a move that could transform the
trade by putting them in competition with online retailers like
Amazon.com. The publishers, including Simon & Schuster, Random
House, and Penguin, claim to have limited retail ambitions and
are simply trying to use their web sites to help readers. "We can
offer features, services and guidance that might be difficult for
another retailer to provide," said John Makinson, chairman of the
Penguin Group. "What we're not going to be is competitors to
Amazon or any other retailer in this area." Nevertheless,
publishers have not been happy with retailers like Barnes & Noble
self-publishing a range of books, including classics by Fyodor
Dostoevsky and Mark Twain. "The retailers have become publishers,
so why can't publishers become retailers?" said AAP President Pat
Schroeder. "It's an experimental thing. Everyone's trying to
figure out what the right thing to do is." Publishers are
struggling to adapt to evolving technology that is forcing them
to rethink their business models.

Children's Book Week
The 86th annual Children's Book Week, sponsored by the Children's
Book Council (CBC), will be November 14-20. CBC, the nonprofit
trade association of publishers and packagers of books and
materials for children and young adults, holds the annual event
to celebrate the written word and to introduce young people to
new authors and ideas in schools, bookstores, libraries, and
homes. This year's theme, Imagine, encourages young people, and
their caregivers, to discover the complexity of the world beyond
their own experiences through books. Over the past decades, CBC
has developed a wide range of materials and project ideas for
booksellers and others to enhance the commemoration of Children's
Book Week. To view and order materials, animated emails, and
promotional ideas go to: http://www.cbcbooks.org/cbw/


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                                             by Marilyn Henderson

That editor has had the manuscript of your novel for three months
and you haven't heard a word. There's no excuse. Or is there?

Most writers have only a vague idea of how a publishing company
works. That knowledge can be very helpful to your career as a
writer, however, and the sooner you understand how the process
works, the better. These few insights will give you a more
realistic picture and a better appreciation of the other side of
the desk.

Here's how the big publishers whose names you'd love to see
printed on the spine of your hardcover book operate. Smaller
publishing houses follow scaled-down versions that fit their size
and staff.

When an editor likes your novel, she (it could as easily be "he",
of course) must present the book at the weekly editorial meeting.
Editors, possibly the publisher, and representatives from the art
and sales departments attend the meeting.

Your editor has about two minutes to "pitch" the book she is
recommending. Like the plot statement or log line you develop to
answer an agent or editor's question, "What's your book about?",
her pitch is aimed at rousing excitement in those at the meeting
so they agree the company should publish the book.

Everyone at the meeting has a vote. If there are objections, such
as "Not another serial killer" from the sales department, or
"We've done enough swastika covers to start World War III" from
the art department, she does her best to refute them. She may
have persuaded another editor to read the manuscript and support
her at the meeting. If she makes the book sound like a winner and
refutes any objections, others may want to read the book before a
final decision is made. The decision includes how much to offer
the writer as an advance, and other terms of the contract.

Now the editor writes the letter that has you jumping for joy, or
she calls your agent and discusses it with him, and he calls you.
You, of course, accept.

The advance offered for a first novel by an unknown author is
usually $10-15,000. Not a lot for the many months you labored
over the book, granted. But look at what the publishing company
has already invested on your behalf: personnel time (mailroom,
editors and other employees who took part in the decision
process), plus the advance they are now offering you. Sure, you
and your novel are worth much more, but from here on, you need to
prove it.

Now the editing process begins. Once the contract is signed and
counter-signed, a slot is determined for the book to go to press.
Unless there's a special reason the book should be ready to sell
quickly, the release date is usually a year to 18 months from the
date the contract is signed, so the editing and various other
departments can fit it into their schedules.

Your editor reads it again for content and marks anything she has
a question about. A copy editor corrects mistakes in grammar,
spelling, repetitions, changes in earlier facts (someone's blue
eyes turning brown) and other discrepancies. She may answer some
of the editor's questions or attach notes asking you to clarify
or cite sources for information. She creates a style sheet to
keep track of characters' names and how you spell them, their
physical traits such as eye and hair color, specific locations,

You get this "corrected manuscript" next. You read it and pay
attention to the corrections so you can become familiar with the
proof marks and use them. Any marks you make on the corrected
manuscript must be done in a different color ink than the editors'
marks. If questions are attached, you answer them, either by
making the change on the manuscript or attaching your reply to
the editor's note. You do not remove notes that come with the
package, since the editor needs them for reference.

For example, I once got a note from a copy editor saying she had
consulted a professor of Spanish to verify a line of Spanish
dialogue I had my detective say to his wife. The professor
suggested a rewrite in grammatically perfect Spanish. I sent a
reply to the editor saying my LA cop was a Mexican-American
street cop who had worked his way up through the ranks and would
not talk to his wife of ten years in perfect Spanish when she
woke him up early to respond to a homicide call. They would
communicate in an easy, natural way as they had for more than ten
years. I added that I had asked a Mexican-American friend to
translate the English version of what I wanted my detective to
say into everyday Spanish, and my own Spanish was good enough to
know he hadn't changed the meaning. The editor left the line as I
had written it.

Since your book is now in production, you must return the
corrected manuscript within the time limit set, usually two to
four weeks. The book goes back to the editing department and is
corrected to include the changes. Today, all publishing houses
are computerized. The document is corrected on the computer and
proofread carefully, since it becomes the source of all future
copies. An ISBN, Library of Congress number and other identifying
information are added to the back of the title page. The author's
dedication and other introductory material are put in place to
complete the package. The printer runs the entire book off for a
final proofreading.

You receive a copy of the new print-out or "galley proof". The
pages are now book-size and set up exactly the way they will
appear in the finished book. They are usually folded in
"signatures" for easy handling. You proofread the galleys one
last time. You are not allowed to make story or arbitrary changes
at this point.  You can, however, note typos that were missed
earlier by the proofreader, changes that weren't picked up from
the first edit, or errors that may have been introduced when the
last edits were made. Your book is now in the hands of the
printer, not the editors. Most houses have a strict limit on
changes that are introduced by the author (i.e., not the
typesetter's fault), and you may be charged for any beyond a
certain amount.

While all this is going on, the art department is creating the
cover art. This is shown at editorial meetings, but you don't get
to see it or have any input.

The sales department has also been at work. Your book is listed
in the monthly new releases brochure. The lead book for the
month, the one getting promo money, is on the front cover, the
second lead on the back cover. The rest, and some earlier
releases, are inside. There may be a small picture of the cover
along with the ISBN, retail price, and a brief paragraph about
the storyline. An order form is included in the catalogue.
These are sent to bookstores, wholesalers, distributors, etc. for
ordering purposes. Company sales reps also carry them so they can
discuss books with buyers.

When the scheduled print run date of your book arrives, the
presses roll. Boxes of your finished book are stacked on pallets,
ready for shipment.

Books are shipped before the announced launch date so stores have
them on the shelves, ready to sell, when the book is announced.
If you've ever wondered how popular authors hit #1 on the
bestsellers list the moment their books are in the stores, the
answer is the big national lists are based on the number of books
shipped, not those already sold to consumers.

Chains place initial orders for all their stores. The size of the
store as well as the expected popularity of the title determines
the number of books ordered. Barnes & Noble, for example, has
three categories, A, B and C. "A" stores are the largest, "C" the
smallest. Initial shipments are based on category.

Your advance is exactly that, an advance. The company is betting
your book will sell enough copies for them to earn that money,
and more, back. It's an advance against the royalties you will
earn, which means you do not get another payment until it earns
back the $10-15,000 for the company and thensome.

Some writers mistakenly assume that the publishing company gets
the 90% of the selling price left over after your royalty is
paid. Not quite. Matter of fact, not by a long shot.

In addition to office, printing and warehouse expenses, several
other people take their cuts off the top, which in this case is
the selling price. The publisher ships books to the distributor,
who "sells" them (with return privileges) to the wholesaler (at
another discount), who sells them to bookstores and shops with
return privileges, and the bookstores and shops sell them to
customers at the cover price. The stores make only the percent of
difference in price between what they paid the wholesaler or
distributor, and the amount they got for the book.

Don't even try to do the math on that; it's mind boggling and
means your book can sell for a lot of different prices depending
on who buys where. Just as the publisher's profit on each sale is
based on the actual amount they receive for the sale, so does
your royalty. Instead of 10% of the $20 printed on the cover,
your royalty may be whittled down to less than a dollar per book.
Yes, that's right. Royalties are paid on the selling price the
publisher receives.  [Editor's note: In some cases you may be
able to negotiate a royalty rate on "selling price" rather than
on "net."  The percentage will usually be lower, but the actual
return may be higher.]

You generally won't get your first royalty statement until the
book has been out for 18 months. Even then, the publisher may
hold back as much as 40% against returns since a large number of
books may still be in the payment or return grace period extended
by the wholesaler or distributor.

If paperback rights have sold, the mass-market edition usually
comes out about this time. You also should have your second book
finished and be ready to start the process all over again.

If you participated in marketing and promoting the first book,
and it sold well, the same house and editor will probably accept
and publish your second one. But never forget that publishing is
a business. If a book doesn't sell through (pay back its advance),
you will have a harder time selling the house your next one.

Hard as all this seems, it's worth it. Being published by a major
house means prestige for you and the book. It can be a big step
forward in your career. It isn't an easy way, however, to break
into the ranks of published authors.

Come to think of it, there is no easy way. You just have to keep
learning and writing, and be willing to work your way up by
selling to smaller markets first, if necessary, while growing
into the big time.

If you dream about seeing your book in the #1 spot on those
bestseller lists, knowing as much as possible about the
publishing business will help you learn how to market and promote
your book successfully and build your career.


Marilyn Henderson is a novelist, coach and manuscript critic.
Her book, "Writing A Novel That Sells: Beyond the Basics" helps
writers learn the advanced skills of novel writing to become
published authors. Visit her web site at:

Copyright (c) 2005 by Marilyn Henderson


       Spoken Books Publishing is now accepting submissions
       for inclusion in their audio book publishing program.
       For a complete explanation of how the program works
          visit http://www.spokenbookspublishing.com


GET SAMPLE COPIES OF HUNDREDS of magazines from MagSampler.com.
Magazines are $2.59 each, postage included. Find new titles or
old favorites such as The Atlantic, True Confessions, Ms. and
Psychology Today. Check us out at http://www.magsampler.com.



Authors and Editors
A free monthly ezine that offers writers the opportunity to see
things from the writer's side and from the editor's desk.

Kid Magazine Writers
A web site and ezine dedicated to the children's magazine market.

This program shows you how to use the writing process to learn
writing skills.

Grammar resource for writers offering tips, resources, and a

The Online Books Page
Access to books that are freely readable over the Internet, hosted
by the University of Pennsylvania Library.

Book Sale Finder
Listings for thousands of book sales, book fairs, book auctions,
and other book events held throughout the US and Canada.


If you're not promoting your book with a press kit, then you're
not promoting your book. A unique, powerful press kit can land
those interviews and appearances that everyone dreams of; but
yours has to be better than the rest - and it can be. Visit
http://www.powerfulpresskits.com for more info.


                      by Theodore P. Savas (teds"at"savasbeatie.com)

Authors And Signed Legal Contracts
This is a brief comment in response to the last issue's "Writing
Desk" column answering this question: "Is a contract binding
without a signed copy?"

According to the scenario provided by the reader, the answer is
almost certainly yes, there is a valid contract. This is
especially true if the other party begins implementing its terms,
or is not trustworthy. Why? Because action usually signifies
acceptance and he/she can countersign her copy anytime and simply
back-date it. After all, it already has your signature, right?

Generally speaking, a publisher is offering a bi-lateral
contract, i.e., a promise for a promise. "I will do ABC if you
will agree to do XYZ." If you sign a contract and send it back
(assuming all the elements of a contract are present, such as
offer, acceptance, consideration, etc.) you must at least
"assume" you have a binding contract and operate accordingly
because you have signed the document demonstrating your

The existence of a binding contract usually has nothing to do
with whether one party or the other kept his/her copy, or whether
the other contracting party simply forgets to send one back. A
copy exists with your signature.

The counter argument-question is whether there has been
acceptance on behalf of the person who drafted the document.
Performance thereafter (whether you received a signed copy or
not) can indicate acceptance. If the other party is fulfilling
its promises as outlined in the contract, most courts will deem
that acceptance and thus a valid contract. (Remember, it is not
uncommon for people without scruples to sign and back-date the
document long after the fact and claim it was executed the day it
arrived in the mail from you. All one side has to do is produce
the signed document and prove whose signatures are on it.)

Some parties add a clause that the document you are signing is
not enforceable until both parties acknowledge receipt in writing
of copy with the original signatures of all parties to the
contract. That can be a bit clumsy in practice. If that is not
included in the document, when you sign a contract and return it,
let the drafting party know that you are expecting their executed
contract forthwith; if you don't receive it within a reasonable
period of time, notify them in writing that you have not received
it, keep a copy for your records, and make another demand for the
executed document. Use delivery confirmation or certified mail.

If you still do not receive a signed copy within a reasonable
time, send a letter revoking your acceptance and terminating the
agreement on the grounds of a failure to reasonably communicate
and perform in good faith.

Most headaches can be avoided before signing on the dotted line
by knowing who you are dealing with in advance. Ask for author
references, do credit checks, and perform a bit of due diligence
before signing a contract with anybody.


Theodore P. Savas is an attorney and the director of Savas Beatie
LLC, a military and general history publishing company. He has
published widely on a number of subjects and acts as a consultant
to the publishing community. Visit his web site at:

Copyright (c) 2005 by Theodore P. Savas


and ideas for that next project at Profitable Pen's newest
forums! Register for free at http://www.profitable-pen.com.


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



Advice from a Caterpillar, by Peggy Tibbetts
Finding Information about Pop-up Books; Getting Published Fast;
Interactive E-books for Children

Ask the Book Doctor, by Bobbie Christmas
Style Issue or Punctuation Rule?

Murder Ink, by Stephen Rogers
Nothing but the Truth

Romancing the Keyboard, by Anne Marble
Outlining -- Can It Work for You?

Increase Your Market with a Creative Commons License,
by Josh Smith



Angela Challis and Marty Young, Co-Editors
EMAIL: macabre"at"shadowedrealms.com.au
URL: http://www.shadowedrealms.com.au/macabre

We want the darkest, most disturbing horror story you've ever
written. It may be urban, psychological, gothic, supernatural,
blasphemous, taboo, or gory -- but above all else, we're looking
for works that transcend the hackneyed images of the genre. We
want horror in its rawest form -- the unsettling, the terrifying.
Compelling stories demonstrating a mature vocabulary are actively
sought. Original stories only -- no unsolicited reprints. Also, no
multiple or simultaneous submissions. Open to Australian and New
Zealand citizens and residents only.

DEADLINE: March 31, 2006
LENGTH: 15,000 words or less
PAYMENT: $50 advance against royalties
RIGHTS: Anthology rights
SUBMISSIONS: By email as a RTF or DOC attachment
GUIDELINES: http://www.shadowedrealms.com.au/macabre/ (click on


Jaclyn Law, Managing Editor
Canadian Abilities Foundation, 340 College Street, Suite 401,
Toronto, Ontario M5T 3A9
EMAIL: jaclyn"at"abilities.ca
URL: http://www.enablelink.org/abilities.html?showabilities=1

Abilities is Canada's foremost cross-disability lifestyle
magazine. It is widely read by people with disabilities, their
families and professionals engaged in disability issues. The
editorial scope of the magazine includes travel, health, sport,
recreation, employment, education, transportation, housing,
social policy, sexuality, movie/book reviews and personality
profiles. Other topics such as specific events or conferences are
also considered. Please see online submission guidelines for
issue deadlines.

LENGTH: 500-2,000 words
PAYMENT: $50 to $350
RIGHTS: First-time rights
SUBMISSIONS: By mail or email
GUIDELINES: http://www.enablelink.org/abilities/writers.html


Alyice Edrich, Editor
URL: http://thedabblingmum.com

We prefer articles written on only one topic, instead of trying
to cover too many things in several short blurbs. We want
articles that sound as though you're holding a deep conversation
with the reader. We prefer articles that have a combination of
anecdotes, facts, and quotes. Since we are a Christian
publication, using Biblical quotes and references where
appropriate would be fantastic! Please see our online submission
guidelines for specific editorial needs.

LENGTH: 500-1,500 words
PAYMENT: Original article: $20-$40; Reprint: $5
RIGHTS: Original article: First-time, electronic & print rights
with one-month online exclusivity and indefinite non-exclusive
online archival rights; Reprint: Non-exclusive reprint electronic
rights with indefinite online archival rights
SUBMISSIONS: Use online submissions form
GUIDELINES: http://thedabblingmum.com/writersguidelines.htm


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

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


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


          The National Short Story Prize

DEADLINE: November 30, 2005
GENRE: Short story
OPEN TO: British nationals and UK residents, 18 years and older
LENGTH: 8,000 words or less

THEME: The National Short Story Prize aims to celebrate our
finest writers of short stories and is open to authors with a
previous record of publication who are either UK nationals or
residents. Entries may be stories published during 2005 or
previously unpublished.

PRIZES: Grand Prize: 15,000; Runner-up: 3,000; 3 shortlist
awards: 500 each

ELECTRONIC ENTRY: No, download entry form at web site

ADDRESS: The National Short Story Prize 2005, Room 316, BBC Henry
Wood House, 3-6 Langham Place, London W1B 3DF

URL: http://snipurl.com/iv9p


           Felix Morley Journalism Competition

DEADLINE: December 1, 2005
GENRE: Journalism
OPEN TO: Young writers (25-years old or younger as of December 1,
2005) and full-time students
LENGTH: No word length requirements

THEME: Applicants must submit clippings or legible copies of
three to five separate items published between July 1, 2004, and
December 1, 2005. Publications qualifying for consideration
include editorials, op-eds, articles, essays, and reviews.
Applicants are encouraged to submit news and feature pieces. Each
item must include the publication's name and date of publication.
At least two of the submitted items should explore or apply
classical liberal principles (such as individual rights and free
markets); the balance may, if an applicant chooses, be qualifying
publications that do not take up classical liberal themes but
indicate the applicant's range and quality of writing. All
publications much be in English.

PRIZES: 1st Prize: $2,500; 2nd Prize: $1,000; 3rd Prize: $750;
Runners-up: $250

ELECTRONIC ENTRY: No, download entry form at web site

EMAIL: IHS"at"gmu.edu

ADDRESS: Felix Morley Journalism Competition, Institute for
Humane Studies, 3301 N Fairfax Dr., Ste. 440 Arlington VA 22201

URL: http://www.theihs.org/subcategory.php/41.html


          Arleigh Burke Essay Contest

DEADLINE: December 1, 2005
GENRE: Essay
LENGTH: 3,500 words or less

THEME: Any subject relating to the goal of the Naval Institute:
"to provide an open forum for those who dare to read, think,
speak, and write in order to advance professional, literary, and
scientific understanding of sea power and other issues critical
to national defense."

PRIZES: 1st Prize: $3,000; 2nd Prize: $2,000; 3rd Prize: $1,000


ADDRESS: Naval Institute Essay & Photo Contests, 291 Wood Road,
Annapolis, MD 21402-5034

EMAIL: essays"at"navalinstitute.org
URL: http://www.usni.org/contests/contests.html#arleigh



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