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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 9:03            7,407 subscribers          February 5, 2009
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THE EDITOR'S DESK, by Moira Allen
THE INQUIRING WRITER - Writing in a Recession, by Dawn Copeman
FEATURE:  Writing to Win, by Moira Allen
THE WRITE SITES -- Online Resources for Writers
The Author's Bookshelf

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Why We Do What We Do...
I was going to use this space to plug my new book, "Writing to Win:
The Colossal Guide to Writing Contests" (see, couldn't resist) --
but I'll get to that later.  Instead, I'm going to maunder on a bit
about a thought that occurred to me as I polished off the latest
mystery on my "to read" stack.

It's not simply that it was a good mystery (it was).  What struck
me was the physical history of the book.  You see, I bought it for
a mere 99p (about $2) at the Oxfam used bookstore in downtown
Hastings (just about my favourite shopping destination in Hastings,
not that there was a lot to choose from).  It's a paperback, a bit
over 20 years old, and a bit shabby (which is a good sign; like the
Velveteen Rabbit, good books tend to get a lot of wear, while
not-so-good books tend to remain "good-looking"!).  

I brought it home to America and read it in my living-room in
Columbia, Maryland.  Soon, I'll be sending it off to my
mother-in-law, who lives near Seattle, Washington.  When she's
finished, she'll either give it to a friend, or, more likely,
donate it to either the library booksale or her retirement
community's annual "patio sale" (an event so popular that it
actually brings in customers from across the country).  

That's quite a journey for one small book published in 1985, and
it's probably far from its journey's end.  (Nor do I have any idea
how far it may have travelled in the 20 years before it reached
me!)  That's what got me thinking... Is there any other "thing"
that we can create that has the same type of lifespan?  Is there
anything else that gets passed so far, from hand to hand, not only
from one state to another but from one COUNTRY to another?  

I love crafts, but if I were to design, say, a charming bead
necklace for someone as a gift, and they tired of it, that necklace
would most likely end up in a garage sale or a thrift shop. 
Someone else may pick it up and enjoy it, but only as a "thing" -
they'll have no emotional connection, no shared experience, with
that necklace's previous owner, let alone its creator.  And even
more to the point, it would be passed along precisely BECAUSE its
owner tired of it -- not because someone liked it so much that they
wanted to share it with someone else.

But the amazing thing about a book -- not just this book but any
book that travels from hand to hand -- is that every person along
that book's journey shares the SAME experience.  They live the SAME
adventure.  More importantly, they share the experience, the
emotions, the adventure that was intended by the book's creator,
even though this particular book was written nearly a quarter of a
century ago.

What can be more exhilarating than the realization that when you
create a book, your creation will live on for decades -- and that
every person who picks up your book will experience precisely what
you intended them to experience?  Surely this is a true form of
immortality!  And surely, this IS why we do what we do!

-- Moira Allen, Editor


CHILDREN'S WRITER - Read by most of the children's book and
magazine editors in North America, this monthly newsletter can be
your own personal source of editors' wants and needs, market tips,
and professional insights to help you sell more manuscripts to
publishers in this growing market segment.  Get a Free issue.      


THE INQUIRING WRITER - Writing in a Recession, by Dawn Copeman

Last month I wanted to know if you were working as a writer in the
recession of the early nineties.  If so, I wanted to know how the
recession affected your writing business and if you have any tips
for your fellow writers this time around.  I also wondered if the
current recession already had an impact on your writing and if so,

It seems that the recession has indeed already started to affect
many of you. Laurie Higgins emailed me to say: "I'm a freelance
writer on Cape Cod and the current recession has already had a huge
impact on my writing income.  The newspaper that I primarily write
for has had its freelance budget slashed so that now each editor
can only use one freelance story a month, rather than one a week. 
That means that my weekly income has just turned into my monthly
income.  They also laid off six employees, including the editor of
the Lifestyle page who I used to work for.  They have decided to
use more 'wire' stories to fill the pages so our local paper is not
quite as local as it used to be.

"For now I'm focusing my attention on my blog and on finishing my
first novel, but as satisfying as these writing ventures are, they
don't pay the bills.  

"I'm not sure how I will make up for the loss of income, but I look
forward to your story about this in the next issue."  

Laurie is not the only one having to accept pay cuts, as Joyce Lee
confirmed.  She wrote: "I have been a freelance writer for more
than 20 years, and have built up some regular clients--mostly
regional magazines. I was shocked when two of my main clients
lowered rates on me--one from $100 to $75 per article, the other
from .25 to .15 a word--after their editing, not per assignment (I
was often assigned a specific number of words, which I always hit,
but then they'd cut it down and pay me only for the cut). I decided
the second client wasn't playing fair and said no thanks. I simply
had to decide whether my time was worth that much less--and that
much jerking around. I decided I can do better, and I will. As for
the other client, I agreed to the cut because I was promised it
would be temporary. Still, I don't think I will be putting in the
extensive research I always did before. For lower pay, I will have
to readjust to work fewer hours. My quality will still be good--I
only roll that way--but I will have to hustle other jobs to make up
the difference, and so will have to cut time I spend on this one."

Hustling for other jobs is something that Shaunna Privratsky is
also doing.  She emailed to say: "Yes, the recession has affected
my writing.  My accepted article for December '08 was cut since
that issue never went to print due to lack of advertising money. 
Since I did not have a contract, there will be no kill fee, either.
"I decided to take the reins and contacted some of my steady
editors.  Although none could raise the pay rates for my regular
contributions, they agreed to accept more of my work.  So hopefully
I will make more this year, even in a struggling economy.  I also
keep my eyes open for new markets and new opportunities, as I never
know when one will crop up.
"In downturns, it is the writer who is willing to go the extra mile
that stands out.  I strive to be that writer."

Good advice, Shaunna.  Another writer who wrote in with some
excellent advice is one who survived the last recession.  Juli
Schatz began her email in the form of a story, one that,
thankfully, has a happy ending and some useful tips for us all.
Juli wrote: "Once upon a time I was laid off from my job as the
marketing manager for a community newspaper group in 1991. After a
few months of unsuccessful job search an acquaintance suggested I
call on the owner of a local ad agency who needed a freelance
writer for a newsletter. 
"Vowing to myself not to accept any less than $200 for the job, I
went in for the interview. When asked how much I wanted, I replied,
'What's your budget?' He smiled and said, '$500' at which time I
learned my first freelance lesson: you can always bargain down, but
never up! (He was such an honest and forthright man, though, that
even if I had said $200 I think he would have given me more -- but
maybe not the whole $500!)
"Anyway, that's how I got into freelance writing during the '90s
recession. I stayed busy for 6-1/2 years before accepting a
full-time job with my current employer, who by 1998 was a client
making up about 75% of my income. 
"I was a commercial copywriter and had plenty of work most of the
time. There were slow times but I really didn't market myself as
aggressively as I easily and readily could have. 
"This is a tougher recession but not impossible; in fact, it may be
the tougher the recession, the better market for freelancers or
contract workers in many fields because so many staffs are being
cut drastically. 
"For those starting out or already working as a freelance writer, I
would advise:
"1) Join your Chamber of Commerce and ask the staff to recommend
you to anyone who needs a writer or whom they know is a business
that can use a copywriter (ad agency, PR firm, corporate). Chambers
were founded and primarily exist to network members to one another
-- don't be shy about exploiting that benefit. My Chamber's
referrals got me off the ground.
"2) Once you join, get on a committee or two and attend every
networking function you can including seminars, ribbon cuttings --
any function attended by more members than staff. Too many
businesspeople join the Chamber and then sit back expecting people
to stampede through the doors, without making an effort to get
involved in Chamber activities. You get out of it what you put into
"3) Schedule a time to talk to a Chamber staff member to learn ALL
of your benefits of membership: greeter programs, networking
groups, advertising opportunities, PR in the Chamber newsletter,
member-to-member discounts, etc.
"4) Check Help Wanted ads daily for writers' jobs (look under
Writers, as well as Advertising and Public Relations). Sometimes
freelance jobs are listed. For part- or full-time positions, the
advertiser might not have considered hiring a freelancer, either
temporarily while the job search goes on, or as a cost-saving
alternative to hiring an employee.
"5) Join a networking group, through your Chamber or better yet
(for wider exposure) an independent networking organization. In my
area was a group called Better Business Contacts with chapters
throughout Chicagoland; there is also a nationwide group called
LEADS with chapters (I believe) in most major metro areas.
"6) Devote 25% of your time to marketing. The tremendous digital
opportunities available to marketers today were non-existent when I
was freelancing. Email, blogging, websites, ads on others websites
-- all make the necessary function of marketing so much more
cost-effective, and a lot less effort than printing and mailing as
I had to do. Start by emailing a short-but-direct promo about your
availability, speciality and contact info (bullet points are best)
to everyone in your address book. Ask for referrals. Ask them to
forward to anyone who might be interested in your services. Start a
blog about anything in which you consider yourself an expert and
email the link to everyone you know. Email update promos about your
services, new clients, links to published articles you've written,
links to helpful articles about clients' and prospects' industries
that others have written. Send a press release to all related
blogs, and local online and print media, whenever you get a new
client, initiate a new service, win an award -- anything of general
business interest that involves you or your business.
"7) Digital marketing is efficient and cheap but must still be
supplemented by good ol' print:
    -- Think of your business card as a mini-billboard, on both
sides. Make it colorful and memorable (but not too far out in left
field!) and give prospects plenty of information about what you do. 
    -- Put your picture on the card so prospects remember who you
are when you call them after having met them at a networking
    -- Get 4x6 or 5x7 postcards detailing your business services to
hand out at networking functions. Go online and Google the word
'postcards' and you'll get hundreds of results for printers who wil
do 1,000 postcards for as little as $60. Don't forget your
    -- Bring copies of 1-2-3 brochures, articles, and other work
you've done to networking events. Always take advantage of the
availability of tables for attendees to put out samples.
    -- Put together at least five marketing packages, in mailing
envelopes, so that you can send them to inquiring prospects at
once. If they're not at the ready you might let it slide for a day
or two, and lose a possible client. 
"8) Always be 'on' -- I snagged a one-year contract with a local
non-profit just by having a casual conversation with its President
while we shared a shift in the info tent at an annual Ribfest. You
never know who could be a prospective customer and you never know
who someone else knows!"  

This is all good, solid advice and I hope that if you are having a
hard time in this recession that you will take something from this
article. Be more professional, hunt down new markets, be flexible
on rates and consider copywriting or commercial writing. 
Copywriting is a useful tool to add to your writing skills and a
good way to make money from writing at any time, but especially in
a recession.  We will be running more articles on copywriting later
on in the year. 

Now onto this month's question, which is in a way related to
hunting down new markets. Ty Gardner emailed in with this problem:
"How does one find places (mags, newspaper, internet) that want
humor, and in particular, humorous personal experience pieces?
Writers' Market has little in the way of pure humor markets, and
it's difficult to find places to send humorous personal experience
pieces or humorous essay. There are a few of the latter in
mainstream magazines (end of the magazine type), but have you heard
of other markets for this specialized area? Is it best to look
under 'personal experience pieces' for the humorous ones? I thought
most places looking for personal experience pieces want serious
articles."  Do you have any advice for this writer?  If so, email
me with the subject line "Inquiring Writer" to 

Until next time, 


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Aaron Shepard is now offering f*ree sample copies in PDF of his two
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Google Book Search Settlement Summary is Issued
At the link below you will find details of the proposed settlement
of a class action lawsuit regarding Google's scanning of books and
other writings. Authors and publishers filed a class action
lawsuit, claiming Google violated the copyrights of authors,
publishers and other copyright holders ("Rightsholders") by
scanning in-copyright Books and Inserts, and displaying excerpts,
without permission.  Google denies the claims.  The parties have
agreed to a settlement. The proposed settlement affects the legal
rights in the United States of authors and publishers throughout
the world. 

To read detailed information about the settlement visit: 

Should you wish to read the full Notice, which has details about
the settlement, important terms, the claims process, and key dates,
visit http://www.googlebooksettlement.com/notice.html 

Finally, these documents and assistance with the claims process are
also available from the Settlement Administrator by email
(BookSettlement"at"rustconsulting.com) or telephone (1.888.356.0248).


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FEATURE:  Writing to Win, by Moira Allen

Who doesn't love the thought of winning a contest?  Writing
contests offer more than just the joy of being published.  They
offer something extra -- not only the sense of being accepted, but
the sense of having won.  They are the ultimate affirmation of
one's ability as a writer.

But what does it take to be a winner?  The enticement of prizes and
prestige lures thousands of writers every year to compete in
hundreds of competitions.  Of all those thousands of entries, only
a handful will reach the top prize levels.  Wanting to win isn't
enough.  There are steps you can (and must) take to elevate your
submission above the rest.  

Investigate Before You Submit
Before you begin to ask WHAT you should submit, ask WHETHER you
should submit.  Hundreds of contests are available to writers. 
While many seem similar, in fact, every contest looks for different
things, and offers different benefits. Before you pop that entry
(and that fee) into the mail, here are a few things you need to

1) Is the competition reputable?  Often, the best clue to a
contest's reputation is its longevity.  A "first annual" contest
suggests a competition in its infancy, and one that may have some
growing pains to get through before it achieves significant status
in the contest world.  A "50th annual" contest, however, suggests
an organization that knows precisely what it is doing and why.  At
the very least, no competition is likely to remain in existence for
years or even decades if, for example, it consistently fails to pay
its winners.

Longevity, however, isn't the only factor to consider. Check sites
like WinningWriters.com to see if a competition is "recommended"
and why (or why not). This site offers comments on such issues as
whether contest organizers respond to questions or provide lists of
previous years' winners, or whether a competition is more suited to
emerging or advanced writers. 

You can also learn a great deal from the contest site itself. Many
contests are hosted by literary magazines, and by reviewing the
material already posted on the site, you'll gain a good idea of
what the contest organizers are looking for.  Since many such
competitions will be publishing the winning entries, you can be
certain that material that doesn't match that particular
publication's style isn't likely to win!  

2) Is the competition appropriate for your writing style?  There is
little point in attempting to enter a competition for material that
you would normally have no interest either in writing or in
READING.  If you write literary fiction, don't waste time entering
genre contests, and vice versa.  If you don't ordinarily write (or
read) poetry, don't enter a poetry competition just because the
prize looks good.  If you're not sure what creative nonfiction is,
find out before submitting a creative nonfiction entry.

It's also important to determine whether a competition is
appropriate for your level of skill and expertise.  Some
competitions are more suited to new and emerging writers; others
are looking for writers with significant experience. It's important
to be honest with yourself about your abilities: If you haven't
been published before, or have only published a handful of pieces,
you may not be ready for the "top" competitions. There's no point
in squandering entry fees on contests in which you'll be unable to
successfully compete.  However, at the same time, there's also no
point in constantly "playing it safe" by aiming too low.

3) How is the competition judged?  The reputation of a contest
often hinges upon the reputation of its judges.  While some
competitions are judged by the editors of the sponsoring
publication, others seek judges whose names and reputations will
lend added prestige to the competition.  These are often published
writers who have themselves won awards in the field. In other
competitions, judges may be drawn from the professional side of
publishing -- editors or agents familiar with the type of material
being judged. 

Even if you're not familiar with the name of a contest judge, the
contest site should be able to provide you with crucial information
about a judge's qualifications.  Will your material be judged
either by someone who is published (and hence can be assumed to
know something about what it takes to be a published writer), or by
someone (such as an editor or agent) who regularly makes decisions
about what to publish?  

Another factor in a reputable contest is HOW material is judged.
Ideally, every entry should be judged on its own merits, NOT
against the merits of other entries.  In other words, judging is
NOT simply a matter of comparing entries and choosing favorites. 
In many competitions, judges are provided with score sheets that
assign point values to various aspects of the entries -- e.g.,
theme, voice, originality, technical ability, presentation,
appropriateness of subject, and so forth.  Each entry is scored
individually and the winning entries are determined by the total
number of points scored.

Perhaps the least effective form of contest judging is the "reader
vote" method. This type of competition either publishes or posts
entries, and the winner is chosen by the number of reader votes it
receives.  Unlike the method described above, this is a purely
"comparative" method of judging. Readers are not judging each story
on its own merits, but declaring simply that they like this story
better than that story.  One has no guarantee that readers have, in
fact, read every entry (as a judge must), or that you have won due
to merit or simply because your entry was slightly less awful than
the rest.

4) What does the competition offer -- and what does it require? 
Prize money is nice, but it is only part of the contest picture. If
you win, what else will you gain?  Will your work be published in a
reputable journal or magazine? Will it be published online?  Will
the award be an asset to your reputation and publication history?

If the contest is for a book-length manuscript and part of the
"prize" is a publication contract, be sure to evaluate the
publishing company and its contract very carefully before
submitting.  How will your book be published?  How will it be
distributed?  Will you receive a cash award that is equivalent to a
commercial advance?  Does the contract include future royalty
payments?  While some competitions offer cash awards of $5000 or
more and a standard royalty contract, others offer as little as
$150 and a "publishing contract" that makes no mention of future
royalties. (Note that small literary presses that host "chapbook
contests" typically offer a flat fee and a number of copies of your
published book; this is standard for this type of publisher.)  

Some competitions offer critiques in addition to prizes, often for
an additional fee.  This can be particularly helpful to the
emerging writer, but before you shell out that extra fee, make sure
that the feedback will be provided by someone qualified to evaluate
and comment upon your material.  Most RWA romance contests, for
example, offer feedback as a standard part of the competition. 
Their fees can be steep, so make sure that you'll be getting
comments from published writers, agents or editors.  Keep in mind
as well that all feedback is subjective, regardless of who offers
it; you may not always agree with it. Regardless of how you feel
about the evaluation you receive, ALWAYS remain polite and
professional; never argue, complain, or challenge the judges'

In addition to asking what you will gain from a contest, you should
also determine what you stand to lose.  What rights will you give
up if you win the award? If the material is published, will you
lose the right to submit it elsewhere? Some competitions state that
ALL submissions will be considered for publication -- but only the
winning entries will actually receive payment. Are you willing to
risk having your work published for free just for a chance at a

5) Why is the competition being held?  The "ideal" purpose for a
competition is to recognize and reward good writing, and most
competitions seek to do just that. For the majority of literary
magazines and small presses that host competitions, entry fees are
simply a means of funding that recognition through cash awards.  In
most cases, judges and contest organizers receive no fees for their

Since the goal of most literary publications and small literary
presses is to publish material that they consider of high literary
merit but that has, to be blunt, little commercial appeal, many
such organizations also rely upon contest entry fees to fund their
operations throughout the year.  In this case, your entry fees are
helping fund the publication of writers who might not otherwise be
able to "get into print."  Many small and university presses also
use competitions to select and fund the publication of an annual or
biannual chapbook of literary poetry, short fiction or creative

Other competitions, however, seem to exist solely as a means of
harvesting thinly disguised reading fees for submissions.  This is
often the case if "all entries are considered for publication" or
the "contest" is a means of soliciting submissions for an
anthology, where everyone has to pay to be considered but only a
handful of entrants will actually BE paid for inclusion. Be wary of
publishers or individuals engaged in "commercial" (for-profit)
publishing who expect you to pay for the privilege of being
considered for publication.

Finally, avoid at all costs those so-called "contests" whose only
goal is to entice you to buy the publication in which your "winning
entry" appears.  In this type of contest, EVERYONE is a winner: No
matter how dreadful your entry, you can be sure of receiving a
nice, almost-personal letter praising it to the skies and asking
your permission to include it in the next anthology, which you can
acquired for just $39.99 (or $49.99 if you'd like the deluxe
leather-bound edition).  Keep in mind that if no one can lose,
winning means nothing. (For more information, see "When Winners are
Losers" at http://www.writing-world.com/rights/contests.shtml.)

Improve Your Chances of Success
Before you read further, it's important to understand one thing:
There is absolutely nothing, no magic formula or "insider secret,"
that can GUARANTEE a contest win.  The only way to improve your
chances is to do your best -- and hope that it's better than
everyone else's "best."

Keep in mind that failing to WIN a contest is not the same thing as
LOSING. If a competition offers three prizes, then only three
entrants can "win."  This does not make the remaining entrants
"losers."  Those entries (and yours) may indeed be every bit as
good as the winning entries -- but only three prizes will be given,
even if 100 entries were WORTHY of those prizes.  And many
competitions attract, not just a hundred entries, but several

There are, however, some foolproof ways to GENUINELY lose a
contest: By submitting poor work, inappropriate work, or work that
does not meet the contest requirements.  Your first goal,
therefore, is not so much to attempt to win as to ensure that you
aren't actually an "automatic loser."

1) Read the contest guidelines carefully.  The very first and most
important step you must take is to read everything the contest
organizers want you to know.  In some cases, this may not seem like
a great deal ("send us your best story" -- duh!).  In other cases,
the guidelines may specify format requirements, eligibility
restrictions and other details that can go on for pages.  In a
sense, the contest guidelines are like a test: The very first thing
that organizers will look for is evidence that you've "passed."  It
only takes a single deviation from the stated rules -- putting your
name on a submission, or single-spacing your story, or using the
wrong font -- to have your entry disqualified.  The guidelines will
also tell you exactly where to send your submission, how many
copies to send, and how to pay the required fee.

2) Send exactly, and only, what the competition requests.  If a
contest says "no genre fiction," don't send your vampire story.  If
it says "1000 words," don't send 1200 and hope no one will notice. 
If it says "poetry to 60 lines," don't write 61 (and remember that
stanza breaks may count as lines).  If it says that entries must be
printed in 12-point Courier, don't send a manuscript in 10-point
Times.  The very fact that so many contests specify that entries
MUST be typed on WHITE paper suggests that there are, even now,
people who send in handwritten entries on pink stationery.  Don't
be one of them!  

3) Submit your material on time. Make sure that you know whether
the contest "deadline" is a postmark deadline or an "in-hand"
deadline. Many contests require entries to be RECEIVED by the
deadline, rather than simply mailed.  If the entry deadline falls
upon a weekend or holiday, mail it early enough to be postmarked
PRIOR to that date.  Keep in mind as well that many competitions
have a "start date" prior to which no entries will be accepted.
Submitting an entry too early can be just as bad as submitting it
too late -- if it arrives at the wrong time, it will simply be

4) Send only your best work.  One might think this goes without
saying, and yet...  There are many writers who simply send whatever
they happen to have handy or that seems to meet the contest
criteria.  Some send the same entries to contest after contest.  In
a competition that I have regularly judged over the past 20 years,
there are no limits on the number of entries a writer can submit --
and I've seen 20 and even 30 submissions from the same writer. 
This has always struck me as sheer laziness: It suggests a writer
who can't or won't choose his or her "best" work.  Instead of
flooding a contest with material and hoping that at least one piece
will rise to the top, make sure that you've selected or crafted a
piece that has the BEST CHANCE of rising to the top. 

Again, nothing can guarantee that your submission will win.  By
taking steps to choose the RIGHT contests and send them the RIGHT
material, however, you'll be putting your entry far ahead of those
that fail to follow these simple rules.  If you do, you can't


Excerpted from "Writing to Win: The Colossal Guide to Writing
Contests," by Moira Allen, a month-by-month guide to more than 1200
writing contests offering cash prizes.  Now available on 
Amazon.com and at http://www.createspace.com/3364376/


Copyright (c) 2009 by Moira Allen
For more information on writing contests visit: 


RELAXING WITH THE MUSE was conceived by a Counseling Psychologist
to help writers deal with the specific stress that creates writer's
block. It starts with simple exercises and builds to a unique way
of acquiring new information hidden in the recesses of your
imagination. The system is fun and eye opening. You will be amazed
at the personal discoveries you will make.


FROM THE EDITOR'S DESK, REDUX - More About CreateSpace.com

And Now a Word from Our Sponsor...
I did say I'd get in a plug for my book, didn't I?  I also promised
to tell you more about my experiences with CreateSpace as they
unfold, so let's kill two birds with one stone.  (Sometimes,
cliches have their place...)

My experiences with CreateSpace.com would have to be described as
"so far, so good!"  I was a bit concerned about the fact that while
my book had appeared in the CreateSpace.com e-store (which offers
higher royalties, BTW), it had not appeared on Amazon.com itself. 
I inquired, and was told that it takes about 15 days from the
moment you approve your proof for actual sale before your page on
Amazon.com is completed.  I've checked, and my book is now up on
Amazon itself.  I've also just completed the book details form,
which should take another five days or so to "propagate."

The CreateSpace.com process as a whole is a bit more cumbersome
than Lulu.com.  On Lulu, you upload your book, decide whether it's
for sale publicly or just available to you, order a copy, make
corrections if you need to, and that's it.  There's no "review"
process, which certainly saves time.  On CreateSpace, your files
must be checked by some unseen reviewer.  And CreateSpace seems to
have more "compatibility" problems than Lulu.com.  I have a book on
Lulu that works just fine; CreateSpace, however, couldn't "read"
the very same PDF file (so that one is still in limbo).  They also
complained about a low-resolution image on my Contests cover, which
looked just fine in the cover proof.  And the fact that you have to
order your proof, wait for it to be delivered, and then "approve"
it before your book goes "live" does build in a bit of a delay.  

However, I was EXTREMELY pleased by the quality of the interior
print (and, if I do say so myself, design, which was my own).  I
did decide to make changes to my cover, as I'd misunderstood the
guidelines on the cover template.  (Lulu's cover "wizard" is a bit
easier to use; on CreateSpace, you have to design a complete
one-piece cover, but they provide a template for Photoshop, so that
works out OK.)    

Like Pearl Harris, who answered Dawn's "inquiring writer" question
on CreateSpace, I've found that they're very responsive to
questions.  One of my questions was whether I could order books at
the author rate and have them mailed directly to reviewers (thus
saving having to pay shipping to me and THEN pay postage to send
them out again).  The answer was yes, and I've also been told that
if I order a quantity of books, I'll be charged the actual shipping
cost rather than some flat "per book" rate.  (Which means, in fact,
it may be cheaper to order in quantity and send books to reviewers
than to have a flat rate charged on each single book sent directly
from CreateSpace.)  

And speaking of reviewers, if you run a newsletter, blog, or other
publication for writers and you'd like an electronic review copy of
the book, please just drop me a note and I'll send you one.  And if
anyone would like a sneak preview of the book, I've pulled together
all the February listings and posted them as a free sample at 

And if you'd like to order, just to go:

-- Moira Allen, Editor



Bookrix is a new social network site that aims to do for writing
what FLICKR did for photography. It is a new community that offers
aspiring authors social media tools for creating, sharing and
getting feedback on their work. Members can build their own
profiles, communicate with other writers and collaborate with one
another virtually. You can create, upload and publish your story or
book online, share it with others and get feedback without having
to take the traditional publishing route.

This is a timely blog with useful hints and tips on how to survive
the recession as a writer. 

Yes, we've found yet another must visit blog to add to your
bookmarks.  This is a wonderful writing blog and as well as reading
the current posts, you can search by category too.  The blog covers
children's writing, nonfiction, fiction, screenwriting, pitching,
rewrites and much more.  Plus you can even receive a free email
bulletin of writing tips too. 


WORLDWIDE FREELANCE WRITER - You can download a free list of
writing markets if you subscribe this week. Discover almost 2,000
writing markets from USA, Canada, UK, 
Europe, Australasia. http://www.worldwidefreelance.com


CAN'T GET PUBLISHED? Be a Well-Fed Self-Publisher and make a
living! Control the process and timetable. Keep the rights AND most
of the profits.  Here's the step-by-step blueprint used to create a
full-time living from ONE book!  By the award-winning author of The
Well-Fed Writer. http://www.wellfedsp.com


AUTHOR'S BOOKSHELF: Books by Our Readers

The Anna-Mae Mysteries: The Golden Treasure, by Lillian Cauldwell

Beyond the Quiet, by Brenda Hill

Plot Your Way to Publication, by Brenda Hill

Writing to Win: The Colossal Guide to Writing Contests,by Moira

Find these and more great books at

Have you just had a book published?  If so, let our readers know:
just click on the link below to list your book.


how to reach 60,000 writers a month with your product, service or
book title, visit


Writing World is a publication of Writing-World.com

Editor and Publisher: MOIRA ALLEN (editors"at"writing-world.com)

Newsletter Editor: DAWN COPEMAN (editorial"at"writing-world.com)

Copyright 2009 Moira Allen
Individual articles copyrighted by their authors.
Back issues archived at

Writing World is hosted by Aweber.com

Subscribers are welcome to re-circulate Writing World to
friends, discussion lists, etc., as long as the ENTIRE text of the
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World may not be circulated for profit purposes.

Copyright © 2017 by Moira Allen. All rights reserved.
All materials on this site are the property of their authors
and may not be reprinted without the author's written permission,
unless otherwise indicated.
For more information please contact Moira Allen, Editor