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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 11:18           12,462 subscribers       September 15, 2011
MANAGE YOUR SUBSCRIPTION: See the bottom of this newsletter for
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THE EDITOR'S DESK: E-books ReKindled, by Moira Allen 
THE WRITING DESK: More on Pseudonyms, by Moira Allen 
FEATURE: The Art of Negotiation - 
16 Tips on How to Ask for More Money, by Devyani Borade
THE WRITE SITES -- Online Resources for Writers
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E-Books ReKindled

The dinosaur (aka your beloved editor) has a confession to make: I
have finally bought a Kindle.  And... OK, I admit it.  I love it.

I rationalized buying a Kindle on the basis that, if my books were
being published on Kindle, I wanted to be able to see how they were
turning out.  I didn't really plan to USE it.  Much.  I then
discovered Amazon's array of free Kindle books -- primarily older
books that are now in the public domain.  Well, I happen to enjoy
G.K. Chesterton -- so what a delight to find that I could now get
just about every Chesterton book out there, for free, and load them
onto my Kindle instead of my bookshelf.  And then I discovered the
Scrabble game... 

So...  Does this mean I'm a Kindle convert?  Yes and no.  I am
delighted to be able to get FREE books.  I'm not so thrilled about
the prices being asked for "regular" books -- such as the latest
bestsellers.  If I have to choose between paying $7 or $8 for a
Kindle edition or a "real" book, I'll buy the real book every time.
 But having a Kindle now makes it feasible and downright
comfortable to read ELECTRONIC books -- such as books downloaded
from Project Gutenberg.  In the past, I'd sometimes go so far as to
convert an electronic edition from Gutenberg into a Lulu book just
so that I could read it more comfortably.  Now, I don't have to.

However, that's not why I'm writing this particular editorial. 
Granted, buying a Kindle for myself has helped me to understand why
this e-reader HAS become so popular -- and I am willing to concede
that its popularity is deserved.  But what really came as an
eye-opener this past month was not "Gee, I like my Kindle," or
"Gee, I see that Kindle is really taking off."

It was... Gee, I'm selling MORE copies of my book for Kindle than
in print.

Last fall, I talked with my POD publisher, DogEar, about issuing a
Kindle edition of "Coping with Sorrow on the Loss of Your Pet." 
(Technically, we issued an "electronic" edition that can be used on
multiple platforms, but since Kindle dominates the e-reader market,
I'll stick to talking about Kindle.)  This spring, I began to
notice that my monthly royalty check was showing higher and higher
numbers for "electronic sales."  When I checked my author sales
page, I discovered that this year, I've sold only ten more print
books than e-books to date.  That's just for the year "as a whole,"
however.  Even more significant is the fact that the ratio is
steadily shifting toward e-books; in May, I sold twice as many
e-books as print books.  

That leads me to conclude that it is about time Writing-World.com
started to address the Kindle phenomenon, because at a sales ratio
of two to one, this is a market that writers cannot afford to
ignore.  As writers, we need to know where our readers are -- and
it seems that a great many of our readers are on the couch with
their Kindles.  

That phrase, "on the couch," is key.  People have been proclaiming
the "age of the e-book" practically from the dawn of the Internet. 
The day would come, we have been told (for more than ten years now)
when print is obsolete and everyone will be reading e-books.  But
the great downside of e-books has always been the problem of having
to read them on your computer.  Some folks have never had a problem
with this; the majority of readers, however, still preferred to
curl up COMFORTABLY with a good book -- on the sofa, on a chair, on
the lawn, by the beach, in the pool, in a plane.  (Well,
semi-comfortably...)  The Kindle, the Nook, and the iPad have at
last brought together these two worlds: e-books and the couch.  

So to get started, I'd like to find out more about YOUR experiences
with the Kindle -- as a reader, as a writer, or both.  (Again,
while I realize there are other devices out there, the Kindle
dominates the market, so for writers, it's going to command the
largest share of our would-be readers.)  I've created a survey with
questions for Kindle readers, would-be readers and avoiders, and
for writers who have already published or are considering
publishing on Kindle.  The survey has a total of 22 questions, but
most will find only 10 to 15 applicable.  

I'd greatly appreciate your help in learning more about how writers
AND readers are approaching, and responding to, the Kindle.  The
survey is completely confidential, but if you are willing to be
quoted, you will have the option of entering your name in the text
boxes. To complete the survey, please go to:


I'm looking forward to your responses!

-- Moira Allen, Editor


Read by over 1,000 children's book and magazine editors, this
monthly newsletter can be your own personal source of editors'
wants and needs, market tips, and professional insights.  Get 2
FREE issues to start. http://www.thechildrenswriter.com/AK114 


The Writing Desk: More on Pseudonyms  
By Moira Allen

Can I use my maiden name as a pseudonym?  Do I have to legally
change my name to do so?
Q:  I was wondering if you can tell me the legalities of using my
maiden name as well as my married name now that I have changed my
name with the Social Security office.  Actually, I want to
hyphenate my name so that it includes both my maiden name and my
married name.  Do I have to get my name changed officially to do

A: It is perfectly legal to use your maiden name as a pseudonym, or
any other name you choose.  The issue you face with respect to
legality is primarily that of getting paid.  Unless you want to
conceal your identity from your editor or publisher, all you need
to do is make it clear that your real name (for pay checks, and
associated with your social security number) is "A", while your
"byline" (the name you want published on your material) is "B".
If you actually want to go by your maiden name "legally" in terms
of setting up bank accounts, getting paid in that name, etc., I
believe you would need to establish a "doing business as" (dba)
identity.  In a sense, you would be establishing your pen name as
your "business" -- while you, under your own name, would be the
sole proprietor of that business.
This enables you to establish a business bank account under your
pen name, and have checks made out to that name.  If organizations
file 1099's (a statement to the IRS and you on how much you were
paid as a "contractor" -- i.e., writer) in your "business" name,
you resolve this by putting your business name under the "doing
business as" section on your Schedule C.  However, I'm not
absolutely clear on how this works for a pen name, so if you wanted
to go this route, I'd suggest checking with a lawyer or accountant
come tax time.
Your bank can tell you what the local requirements are in your area
for establishing a dba, and can sometimes help you set this up. 
Your local business licensing office can also help.
Another alternative is not to hyphenate, but to use your maiden
name as your "middle" name.  For example, I have often written a
"Moira Anderson Allen," which incorporates my maiden name into my
"byline" without actually affecting my legal name.  (Some of my
earlier material is written under my maiden name, and I hoped this
might "bridge the gap" for my readers.) If I used hyphenation
("Moira Anderson-Allen"), my last name would then actually begin
with "Anderson" and this would thus not be my "legal" name.  

Is a different spelling of one's name considered a pseudonym?
Q:  Is it considered using a pseudonym if you are writing under a
different spelling of the same name?  For example, Jacqueline
instead of Jacklyn but the same last name?

A:  I'm not sure you'd call it a pseudonym per se, in that you
aren't actually disguising your name.  However, from a legal
standpoint, it is still a pen name in that it is not the legal
spelling of your name.  For tax purposes, since that spelling does
not match the spelling that accompanies your Social Security
Number, you could have problems if your publisher files 1099 forms
(indicating your income) in a name that doesn't match yours.
The best bet here is to tell publishers that you want your byline
spelled one way, but your checks and accounting to be handled under
another spelling.

Copyright 2011 Moira Allen


BEGINNERS! LEARN THE BASICS of writing for magazines and online
publishers FREE from an experienced freelancer. Learn how to find
ideas & markets, write queries that sell and get paid for your
writing. Sign-up for free weekly writing tips.


Gollanz Launches Largest Online Science Fiction Library
Gollanz is setting up SF Gateway to allow thousands of out-of-print
Science Fiction and Fantasy Books to be made available as ebooks.
Gollanz, the science fiction and fantasy imprint of Orion Books,
has launched the site to mark 50 years of science fiction
publishing. The site also hosts the third edition of the
Encyclopaedia of Science Fiction, 'the definitive reference work in
the field."  The new edition is searchable online at no costs.  The
site is due to launch during September.  For more information
visit: http://www.sfgateway.com/

Map Shows Bookstores across the US
With Borders finally closing the doors on its last few stores,
Publishers Weekly has produced an interactive map to allow users to
find bookstores in their local area.  The map identifies stores as
Borders (open or closed) Independent, Barnes & Noble, Indigo or
Books-a-Million.  This could be handy if you're heading out of
state or moving to a new town. 

DC goes Digital with Comics Re-launch
Comic book publishers DC have just re-launched 52 of their action
hero comics, starting the stories again from the beginning.  Whilst
many comic book fans, (the newsletter editor included) have been
looking forward to this, DC is hoping to attract new readers too.
For the first time ever, in DC history, a digital version is
available at the same time as the print version. For more on this
story visit: http://www.pcmag.com/article2/0,2817,2392382,00.asp


how to negotiate agreements, choose pricing strategies, define
tasks, deal with difficult customers, and much more in "What
to Charge: Pricing Strategies for Freelancers and Consultants"
(2nd Edition) by Laurie Lewis. In print and Kindle from Amazon
at http://tinyurl.com/setyourfees


Writing Jobs and Opportunities
Writing Raw
WritingRaw is a monthly literary magazine dedicated to new and
emerging writers. Our goal at WritingRaw is simple - to serve the
literary community with the opportunity to have their work online
and out in the world. In this world of disappearing literary
magazines, WritingRaw is providing the blank pages for writers to

While WritingRaw.com does not afford us the income to compensate
authors for accepted pieces, we believe that the exposure the
author receives is compensation enough. In this day of vanishing
literary markets, the actual building of a name - in our opinion -
can be just as valuable as a monetary figure.

What We Publish
We publish original short fiction, poetry, assorted (non-fiction,
plays, and various other writings that do not fit in the fiction or
poetry category), writing related articles, book reviews, and
author interviews.

As for content in the fiction and poetry categories, we are open to
new ideas and concepts besides the traditional idea of how a piece
should be written or structured.

The assorted category is open to virtually anything - originality
and expanding ones talent in other aspects of the writing field
(that does not fall easily into the fiction or poetry category) are
submitted here. This can range from plays, general essays that are
not writing based, experimental, etc.

All articles should be related to the aspect of a writer's life or
the art of writing. For more information visit:  

Writing News Stories Wanted
Writers' Forum magazine is seeking 100 to 200 word maximum news
stories that would be of interest to writers worldwide.  The best
news story each month wins a year's subscription to the magazine
and all that are chosen for publication get a byline in the
magazine.  The snappier the writing, the better chance of it
getting published. All news stories must be verifiable and you need
to provide a web link to the source of your story. Send news items
to news@writers-forum.com 

Mills & Boon Search for New Romance Novelists
Mills & Boon are looking for two new romance novelists.  New
Voices, which launched on September 13, is a contest to put
potential new novelists through their paces.  To enter, you must
not have had a novel published and not have an agent.  The winner
receives a publishing contract with Harlequin Mills & Boon and an
editor for a year.  Last year, Harlequin hired two novelists in
this manner.
For more information visit: http://www.romanceisnotdead.com/


This inspiring, practical new book will help you write
your best story and improve your chances to get published.
These are the most durable, successful, and time-tested tips,
techniques and examples of best practices used by great writers.


FEATURE: The Art of Negotiation - 
16 Tips on How to Ask for More Money 

By Devyani Borade
How many times have you wished that you were being paid just a
little bit more? How many times have you wondered whether it was
"good form" to ask for just a bit more pay? How many times have you
actually done so?
If a magazine has shown interest in your article or story, chances
are they are inclined towards publishing you. In such a situation,
a little bit of negotiation might just bring you extra benefits. No
magazine minds some amount of haggling over price. In fact, a few
may even expect it and advertise their pay scales accordingly. As
long as you are not too pushy and know when to back down, you
should try to negotiate rates whenever you can.
Negotiation is an art that few are born with. It can be acquired,
learnt and gradually developed over time. As with any art, practice
makes perfect.
Like any good strategy, you need to prepare and arm yourself with
the right tools -- in this case, information -- before you actually
set out to negotiate.

1. Assess yourself
Are you a novice writer or a veteran? Are you a household name or a
relative nobody? Your personal situation is the first thing that
decides your place in the negotiation. That is not to say that if
you're just starting out, your status is just above the level of
dirt. Many magazines welcome new writers for the fresh approaches
and styles they breathe into the article. Such magazines are aware
that novice writers may well deliver the same quality with a
smaller price tag and virtually no "ego" baggage as compared to
more experienced writers. However, many other magazines prefer to
work only with established writers because of the know-how and
professionalism they bring to the table.
If you've already done a fair amount of writing -- you are the
author of five books and are often called upon for consultation by
your contemporaries -- you know exactly what you can command. For
the majority of us, however, keeping our pay expectations towards
the middle of the scale and then gradually raising them in small
increments is generally reasonable.
A step further from this is to know why you are the best person for
the job. Everyone wants to know, 'What's in it for me?' Your
editors and publishers do, too. Have you identified a gap in the
market that your particular skills could fill? Or do you cater to a
specialized market that is always looking for more content? Know
what makes your proposal beneficial to the magazine and be prepared
to point out the advantages to both parties during the negotiation
in order to persuade and convince.

2. Assess the market
Your client's ability to pay is the next thing that you should
consider before starting the negotiation process. Try to find out
what the magazine's budgets are and where they get their funding.
Check out how big their subscriber base is. Study their advertising
rates. You can ask a higher price for an article for a corporate
publication that is privately owned but catering to a small niche
section of society, than for a story that will appear in a
Literature department journal run by college students.

An offshoot of the above is also to identify any potential
weaknesses in your market. Is it a niche area that doesn't find
many takers, and could therefore be susceptible to buying articles
with a little 'marketing' push? Does the editor want to meet a
deadline and might therefore happily pay a little extra for a quick
turn-around on an assignment? This strategy helps you to capitalise
on the publication's constraints and better set up a middle ground.

3. Keep your finger on the pulse
Be aware of the current going rates in the market for similar types
of articles. Seek out four or five different writers whose work you
like and is aligned to your own, and inquire about their asking
prices. This is where having contacts or being part of a regular
writers' network helps. If you belong to a writers' group, consult
them. There may be organisations in your local area that help
freelancers with writing and selling.

Another approach is to find out about the editor's preferences.
Websites like Duotrope's Digest provide handy interviews of editors
of numerous magazines. Read up on these and focus your energy on
stressing aspects of your story that you know will appeal to that
particular editor. Align it as much as possible with the style and
theme of the magazine. The less work the editor has to do to
improve your story, the more favourable they will be towards you.
This gives you a stronger bargaining position.

4. Have a holistic view
Other factors, like location and general economic climate, play a
big role in going rates, but are outside your control. A magazine
based in New York might pay twice as much as one that is based out
of Midwest. Similarly, a magazine that would have happily parted
with $1000 five years ago may, in these days of recession, be
reluctant to part even with $500.

5. Keep an eye on your budget
What have you had to do to write and complete the article or story?
What are your normal writing-related expenditures? Do you spend
money on advertising, writing materials, a home office with a
broadband connection, a library membership, a subscription to a
writers' forum? Your asking rate should depend on how much you can
get away with, by taking into account the need to earn a reasonable
profit after factoring in the deductions from your income.
Keep in mind that payment method have their own hidden costs. If
you live outside the US and are submitting an article to a US
magazine, work out what the fees will be for a PayPal transaction,
a foreign cheque collection, demand draft or direct electronic
funds transfer. Then include this in your asking price or ensure
that the payment covers a percentage of it.

6. Consider the complexity
What type of article or story have you written? Research-related
articles require investment of time and energy from writers.
Coordinating photography or imagery to go along with your article,
collecting external links and references, writing sidebars,
arranging interviews or getting quotes from famous people in the
line, multiple draft revisions -- all this requires extra effort.
On the other hand, writing personal experience stories may not be
quite so taxing. Decide what level of commitment is justified for
the story and negotiate accordingly.

7. Learn the legalese
Understand what rights you are giving away. "All rights" is a big
deal. "One time non-exclusive electronic rights" is not. Don't
waste time moving heaven and earth to get a slightly higher pay
rate for the latter. But do raise a stink if someone demands the
former and is willing to pay only $20 for the lot. Know what you're
getting into and gauge whether it is worth it.

8. Be principled
Principles are any guiding rules that we live by. Every person has
different ideas about what is important to them and there is no
one-size-fits-all. For example, when it comes to writing, I have a
principle that I don't write for free and don't submit to
non-paying markets. Identify your goals and objectives. Be clear
about what you want and what you are willing to forgo. Then stick
to your principles, no matter what the temptation. 

9. When to compromise
Obviously if your financial situation is in dire straits and you're
a starving artiste, you will take every opportunity you get. Once
in a while, you may come across an offer to write something outside
your normal repertoire. The subject matter may be varied, exotic or
wildly out of your line. If you find yourself interested
nonetheless, consider foregoing a little bit in monetary terms to
the benefit of adding an unusual dimension to your writing
portfolio. It may open up an entirely new vista of work in the

Once you've done your homework, it's time to roll out that silver
tongue. Here are a few tips to ensure that you get their money's

10. Be polite and respectful
Depending on the medium of negotiation -- face to face, over
telephone or via e-mail/post -- the communication style differs
slightly. However, it is of paramount importance that both parties
remain on impersonal, neutral and entirely professional grounds. As
the seller, you must always be courteous, no matter how aggravating
the circumstances. Regardless of whether it's the spoken or written
word, a smile on your face will always shine through to the other
side. It also helps to develop an outlook of being able to take
things lightly when the occasion demands it. At best, most of your
negotiations will be carried out amicably. No one goes out looking
for unpleasantness. At worst, if you have the misfortunate of
dealing with a short-tempered editor, ignoring their barbs is often
the best policy.

The best type of negotiation is a win-win situation for both
parties and allows some measure of satisfaction to both. You want
the editor to feel that they have got a good deal while ensuring
that you don't get the raw end of it. Never embarrass or try
one-upmanship. In the unlikely event that the editors find
themselves in a spot, for example by having promised you something
and then backing out because the decision was superseded by a more
senior executive, always allow them to save face. Be gracious. Who
knows, the next time it might be you stuck in a similar situation.

11. Be forthright
When you are offered a rate and you'd like a bit more, always put
your request in the form of a polite open-ended question like, "Do
you think your budget would allow for a little more?" and then in a
few succinct words explain your USP (unique selling point) -- why
you believe you should be paid more -- to back your request. If
you're absolutely certain about what you want for your article or
story, mention it. If not, don't mention any figures at all. Let
the editor consider the situation and come back to you with a
revised figure. If the editor is not in a position to raise the
fee, they will let you know at this point. Make it clear that your
intention is to sell at the right price. Be ready to walk away from
the deal if both your expectations don't match. But never be rude
or worse, threatening, while parting ways. Never demand, shout,
argue, be sarcastic or humiliating. Your words may come back to
haunt you.

12. Be alert and read the signs
During face-to-face communication, body language such as nodding
the head, direct eye contact, folding the arms across the chest,
etc., all give signals of how your proposal is being received. Over
the telephone, pauses in conversation and lightning-quick responses
can give away vital clues about what the editor is thinking. In
writing, words play the same role. Words such as 'can', 'would',
'possible', 'perhaps', 'maybe', 'anxiously awaiting', 'eagerly
awaiting', 'looking forward to' or 'concern' will reveal the
editor's state of mind and feelings and are indicators of which way
the deal is likely to swing.

13. Be persuasive, not defensive
Here's where all your preparation comes into play. Apply the
knowledge you have gained as leverage for the right price. Cite
verifiable examples of other magazines or writers. If possible,
reveal your sources as well.
Convince the editor of your qualifications and why you are the best
person for the job, by providing them with clips of previously
published credits, preferably those that are relevant to the
current work. The editor of Ancestors magazine is not likely to be
impressed by a publication in Asimov's Science Fiction. Give them
an undeniable reason to want to publish your article. Even they may
have to answer to somebody else.

14. Silence is golden
After making your bid, give the editor a little time to think
things over. The editor may not be the one who holds the
purse-strings and may have to consult with a higher authority. They
will get back to you when they are good and ready. Bombarding them
with incessant follow ups will make you appear either too pushy or
too desperate, neither of which is an image you want to portray.
Patience is a virtue.
However, don't get too lackadaisical either. If you haven't heard
after a reasonable amount of time has passed -- a week is usually a
safe assumption, but this varies on a case-to-case basis -- nudge
with a gentle reminder like, "I was wondering if you've had any
further thoughts on this?"

15. Don't overdo it
Again, like any good strategist, learn when to withdraw. Over time,
you'll develop the knack of reading the signs and signals that an
editor is giving out, and be able to tell when they have reached
the limit of how far they are prepared to go to pay you. Replies
may get shorter or curter. Responses will take longer. The editor
may start hinting about their inability to continue with the
conversation along the same lines. They may bring up the topic of
their financial status or their publication's status in the market.
 This usually means you should feel privileged to appear within
their pages, but don't let any editor browbeat you into accepting
what you don't want. Writing is a mutual business - magazines need
writers just like writers need magazines. It is generally
acceptable to bargain twice and then settle at the best case
If you feel that the current time is not the best time to undergo
negotiations, take a break and arrange to carry on the process
later. You will come across as a person who sincerely believes that
a deal can be worked out and that you are willing to invest time
and effort to make that happen. While waiting for the next
opportunity, mentally review what happened during the previous
exercise (did the editor seem pre-occupied or did they imply that
other factors may have an impact?) and make a note of it for the
next occasion.
Most importantly, develop the attitude of never regretting your
decisions. Remember that everything appears easy in hindsight, but
what matters is what you were able to do with the information you
had at that moment in time.

16. Payment in kind
Everyone likes money. But cash is not the only reward for having an
article published. You may be equally well off negotiating for
other things that may be important to you - reprint rights, instant
payments, deadline flexibility, promotion of your latest book or
website, etc. 
Sometimes, saying that you are happy to waive the "kill fees" is
also an attractive option for the editor of a magazine whose
schedule changes frequently and cannot guarantee publication of an
accepted story.

Once you have settled the deal, honour the terms. Magazines are
often openly vocal about threatening to check whether your
submission is original or not, if they purchase only first rights
to a story. While you may wonder, given the vast number of
magazines and virtually limitless stories out there, exactly how
they intend to accomplish a feat like that, don't be the one to
find out. Reneging on a contract can be expensive both in terms of
money as well as reputation. Be honest and uphold your integrity.
It may pay off later when you least expect it.
While these negotiation tips may not land you an assignment big
enough to quit your day job over, they may well be able to give you
just that little bit more. And as the good folk at Tesco say,
"Every little helps!"

Devyani Borade writes for magazines across the world. She has
successfully negotiated higher payment rates for the majority of her
articles and stories, and survived to continue writing. Visit her
website Verbolatry at http://devyaniborade.blogspot.com to contact
her and read some of her other work.

Copyright 2011 Devyani Borade

For more information on negotiating fees visit: 


An epublishing revolution is sweeping the industry. We explain what
is happening and show you how to self-publish your own ebooks.


The Story Generator
This site offers a program that randomly generates plot ideas (more
fun than useful), and also has a wealth of information on building
characters based on psychological personality traits.

Proofreading Test
If you think you can accurately proofread you might want to think
again.  Try this free proofreading test from the Society for
Editors and Proofreaders to see just how good you are and where you
might need to do a little work. 

SF Squeecast
This site is a must for science fiction and fantasy readers and
writers.  Published writers like Elizabeth Bear, Paul Cornell and
Seanan McGuire talk to each other about science fiction and fantasy
works, authors and plots.  


WIN PRIZES AND GET PUBLISHED! Find out how to submit your stories,
poetry, articles and books to hundreds of writing contests in the
US and internationally. Newly updated for 2010, WRITING TO WIN by
Moira Allen is the one-stop resource you need for contests and
contest tips. Visit Writing-WorldCom's bookstore for details:


This section lists contests that charge no entry fees. Unless 
otherwise indicated, competitions are open to all adult writers. 
For a guide to more than 1000 writing contests throughout the 
world, see Moira Allen's book, "Writing to Win: The Colossal 
Guide to Writing Contests" 

DEADLINE: October 1, 2011
GENRE: Non fiction
OPEN TO: UK Residents age 18+
DETAILS: Travel writing contest, write an 800 word piece about a
family holiday in Britain.  
PRIZE:  200, passes to English Heritage, Weekend in York.    
URL:  http://tinyurl.com/433gcuy

DEADLINE: October 1, 2011  
GENRE:  Poetry  
DETAILS:  1 - 3 poems addressing the culture and consequences of
war and social injustice.  
PRIZES: $200 and publication
URL: http://www.consequencemagazine.org/
DEADLINE: October 14, 2011
GENRE: Short stories  
OPEN TO: Residents of UK and Ireland aged 16+
DETAILS:  4-page graphic short story
PRIZE: 1000 and publication in the Observer Review, Runner-Up
receives 250 and publication. 
URL: http://tinyurl.com/3yesl3u

DEADLINE:  October 15, 2011
GENRE: Short Stories, Non fiction
OPEN TO: Ages 18 - 25
DETAILS: 1000 - 1500 words short fiction or essays by writers aged
18-25 on a question exploring Franklin's relevance for our time.
2011 theme is "Light often arises from a collision of opinions, as
fire from flint and steel."
PRIZES: 750 and publication in British newspaper The Daily
Telegraph and on Benjamin Franklin House website. 2nd Prize: 500.
URL: http://tinyurl.com/c7zega

DEADLINE: October 31, 2011
GENRE:  Non fiction
OPEN TO: Ages 18+
DETAILS:  750 words maximum essay about professional writing life. 
Theme for 2011 is diligence.  
PRIZE:  $50, $25, $15
URL: http://www.fundsforwriters.com/annualcontest.htm


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