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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 12:04          12,981 subscribers         February 16, 2012
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THE NEWSLETTER EDITOR'S DESK: Becoming a Full-Time Writer,
by Dawn Copeman
THE WRITING DESK: Step Into the Winner's Circle, by Moira Allen 
FEATURE: The Art of Becoming a Ghost, by Moira Allen
THE WRITE SITES -- Online Resources for Writers
The Author's Bookshelf

WRITERSCOLLEGE.COM has 57 online courses. Prices are low. If you 
can reach our web site, you can take our courses. 
PURSUE YOUR WRITING DREAM. If you've ever dreamed of writing and
seeing your words in print, this may be your best chance to test
that dream. Learn to create the kind of stories and articles that
will sell to editors. Train with an experienced pro author. Free
test. http://www.breakintoprint.com/W1760
* Feedback. Get feedback for every poem and story that you write.
* Contests. Over 40 contests are always open and free to enter.
* Rankings. Statistics will show you how your writing is doing.
DON'T GET SCAMMED!  Choose the right Self Publishing Company for
your book. What you need to know before choosing a self publishing
company and the questions you should ask.


Becoming a Full-time Writer
One question I have been asked a lot recently is how and when I
made the decision to become a writer. This question generally comes
from people considering giving up their day jobs to pursue writing
as a career. I always hesitate to tell people to give up their
full-time job, as it is hard to get started in writing. But in
reality, the decision on whether or not to become a full-time
writer is always a decision only you can make. 

I took up writing when my daughter was small and I was a
stay-at-home mum.  I was suffering badly from endometriosis at the
time and because of this I had recently given up studying to become
an accountant as the pain meant I couldn't concentrate on the math!

I used to study whilst my then two-year-old daughter had her
lunch-time nap.  I didn't want to do nothing, so I decided to
pursue a lifelong dream of becoming a writer instead. My husband
agreed that I should take the course and see how I did within a
year.  If it was working out for me, I would continue writing; if
not, I would return to my accountancy studies. Before my daughter
was born I'd been a teacher and I didn't want to return to that
full-time, which is why I'd been studying accountancy.

So, I took a course with the Writer's Bureau and wrote when my
daughter was asleep. Within three months I had a column with Moira
at http://www.timetravel-britain.com. Other writing successes soon
followed and I was earning money from my writing.  I never looked
at my accountancy text books again. 

But, and this is crucial, I wasn't the bread-winner for the
household.  My earnings helped, but weren't essential to pay the

As our bills grew I started teaching again, part-time, and tutored
others in French and German while writing when I could.  This
continued until last year when I gave up all my teaching due to
ill-health and depression brought on by trying to do too much. 

Since August I have had to rely entirely on my writing income. 
What's more, as bills have risen and pay has been frozen here in
the UK, I've had to contribute more and more to the household

That said, I now earn as much just from writing as I used to from
writing and teaching combined. Despite the recession, you can still
make money as a writer, but -- and it's a big but -- you have to
put in the work.

The Internet has made it easier than ever to find writing work.  As
we've discussed in previous editorials and Inquiring Writer
columns, some of this work is incredibly badly paid, but don't let
those poorly paying jobs put you off using the Internet as a tool
to find work. 

I hire myself out as a writer, or to be more precise, a copy
writer.  I write articles, blog posts, newsletters, booklets, web
content and press releases for my clients.  I use Elance to find
work and it has been good to me.  I have clients around the world
and now have several long-term writing jobs and several regular
writing jobs.  

Many writers shy away from sites like Elance as they say the wages
aren't good.  When you first begin, that can be the case, but as
you gain experience and more jobs on Elance, you also start to get
paid better rates.  Plus, and for any jobbing writer this is a big
plus, there is always work. True, some of it is dull, but that can
be said of any job.  Also, it doesn't always pay as well as writing
for magazines or newspapers, but there is lots of it and if you get
the right mix of jobs you can earn enough to pay your bills and you
don't have to spend time sending out query letters. At the moment,
I have so much writing work that I don't actually have the time to
research magazines and send out query letters.    

The thing is, there is no guaranteed way to success as a writer
other than hard work and persistence.  You need to constantly be
improving your skills. You cannot afford to rest on your laurels if
you want to be a full-time writer.  You must constantly be
marketing yourself, bidding for jobs or sending out query letters. 
You need to be organised and dedicated.  

For this reason, I would still advise anyone who is thinking of
becoming a full-time writer to try it part-time at first.  Work on
evenings or the weekends and see how that goes for you.  See if you
can sell your writing or your writing skills before depending upon
it for your income. 

You can still earn a living as a writer, even in these days of
content farms (which I avoid like the plague).  But as ever, you
need to be prepared to put in the hours to achieve the success. 

I would advise anyone thinking of taking up writing as a career to
hone their skills as much as they can and also to read this
excellent article by Moira: 

If you do decide to make the leap, let me know.  I'd love to hear
how you are getting on. 

Until next time, 



YOU WILL NETWORK WITH 30+ EDITORS. Over 400 editors contribute
their unique news and views each year. That's news and views to
improve your chances to get published. Monthly newsletter. Get 2
issues FREE.  http://www.thechildrenswriter.com/AK270 


The Writing Desk: Step Into the Winner's Circle!    
By Moira Allen

Wouldn't you love to be known as an "award-winning writer"?  The
phrase has such a lovely ring to it -- a cachet of success.  You
may imagine that only a fortunate few will ever claim it. 

Well, I have a little secret to share: It's not that difficult.  It
takes only ONE win, ONE successful entry, to make you a bona fide
"award-winning writer."  It takes only one prize to give you the
right to add those magic words to your resume, your query letters,
your bio.  And once you've achieved it, it's an honor that can
never be taken away.

That's the good news.  The bad news is, thousands of writers want a
taste of that same glory.  (That's why writing contests are called
"competitions.")  If so many writers have their eyes on the prize,
what are YOUR odds of being a winner?

The odds are, actually, surprisingly high -- and become even higher
when you realize that it isn't about "odds" at all.  Winning a
writing competition is not a gamble; it's not about throwing the
dice or drawing the winning card.  It's not a matter of chance. 
Speaking both as an award-winning writer AND a contest judge, I can
tell you that the "odds" aren't stacked nearly as strongly against
you as you might think.  While it is true that hundreds of writers
may enter a single competition, a significant percentage often
disqualify themselves before they even leave the gate.

So before I talk about what it takes to WIN, let's look at what it
takes to LOSE.  As a contest judge, I've seen three qualities that
guarantee to keep a writer OUT of the winner's circle: Arrogance,
laziness, and inattention to detail.

Arrogance is that tendency of many writers to suppose, "I deserve
to win simply because I'm ME.  My work is brilliant... because I
wrote it."  Such writers imagine that they have no need of
improvement, that they cannot possibly fail.  They promptly do.

Laziness is often the outgrowth of arrogance.  It is the assumption
that no particular effort is needed when entering a contest.  A
lazy entry is typically characterized by sloppy writing, wandering
prose, unclear thoughts, lack of polish, and text that suggests the
writer has never grasped the concept of a "second draft."  It
usually shows problems in areas of grammar, spelling, and
punctuation -- not to mention proofreading.

Inattention to detail is perhaps the most common issue, and can
result in an entry being disqualified before it ever reaches a
judge.  It includes such sins as failing to adhere to the stated
word count; failing to provide the correct materials (e.g., sending
rhymed poetry to a contest that specifically precludes it); failing
to pay the entry fee; failing to format the entry correctly;
failing to have the entry postmarked (or delivered) by the stated
deadline; failing to send or e-mail it to the right person or
address... the list goes on and on.  Quite simply, if a competition
states "type your entry on white paper in a 12-point serif font,"
entries printed in blue calligraphy on pink paper will be
disqualified.  Instantly.

If at this point you're frowning and thinking, "But I would never
do ANY of those things," well, stop frowning and start smiling. 
Because if you can honestly say that, you already have an edge on a
lot of the competition.  The fact is, there are thousands of
writers out there who not only would do those things but do them

Now that you know how to avoid instantly LOSING a competition, what
DOES it take to win?  Unfortunately, there is no "formula."  But
there are steps you can take to boost your chances (note that I
didn't say "odds").  

1) Choose wisely.  My new edition of "Writing to Win" (you knew the
book plug had to get in here sooner or later, right?) offers over
1600 contest listings.  That doesn't mean there are 1600
competitions for you to enter.  First, consider the category or
genre in which you wish to compete.  What area of writing do you
consider your strongest?  Poetry?  Short fiction? Flash fiction?
Essay?  Memoir?  Start your search for contests in the area where
you feel your work has the greatest chance of success.  Then narrow
it by topic.  Are you a "literary" writer?  Or do you consider your
work more "mainstream" or "genre."  If you write science fiction
lyric poetry, there are, in fact, several competitions that would
like to hear from you -- but you can rule out just about any
literary magazine on the planet.  Next, consider your level of
expertise.  If you are a relative beginner, consider starting with
one of the many sites that offer inexpensive monthly competitions;
if you have extensive publication credits, consider some of the
organizations that give awards to high-quality published works.  

2) Read the guidelines.  That should go without saying, but for the
cadre of writers who fail due to "inattention," it can't be said
often enough.  Or perhaps it's just a waste of breath to say it at
all.  But that's not YOU.  YOU read the instructions.  YOU pay
attention to what contest organizers are looking for, both in terms
of content and submission guidelines.  At the same time, try not to
get frustrated with the many competitions that say nothing more
enlightening than "send up to three poems" or "send us your best
work."  When you see those, take the next step...

3) Read the winning entries.  Many competitions post winning
entries online, or compile them in a booklet or PDF file.  Some
publish them in their magazine, which may also be available online.
 If such entries are available, there's no excuse for not knowing
what is most likely to catch a judge's eye in a particular

Then, ask yourself, honestly, whether you can envision your work
sharing space on the same page.  In some cases, you may be asking,
"Can I write this well?"  In other cases, you might think, "Is this
the best they could get?  I could write circles around this, in the
dark, with one hand."  But be cautious!  It's easy to assume that
the winner was the best of a bunch of unspeakably awful entries. 
But a more likely possibility is that the judge actually really
LOVED that entry.  He didn't think it was the best of a bad lot; he
thought it was wonderful.  And if the judge thought that entry was
wonderful, chances are he won't like yours.

4) Learn more about the judges.  Back in the days when my sister
was involved in dog-showing, she and her friends spent as much time
discussing the characteristics of the judges as of the dogs.  While
everyone thought they had "winning" dogs, they knew that beauty was
in the eye of the beholder; thus, it was important to find out who
the "beholder" was going to be.

Writing competitions are no different. While some competitions have
guidelines that assign points to various characteristics (e.g.,
style, grammar, theme), in the end, it boils down to a judge's
personal preference.  I liked this entry better than that one. 
That entry didn't "grab" me; this one did.  Part of your research
involves trying to find out what is most likely to "grab" the
attention of whomever is judging the competition.  Read the bios of
the judges.  Visit their websites, if possible, or find some other
way to read their work.  Read their comments on previous years'
entries, if they've judged the competition in the past.  Find out
what floats their boats.  And never, ever assume that YOUR entry is
going to be the one that changes a judge's mind about, say, rhymed
poetry or humorous memoirs (see my comment on arrogance, above...).

5) Submit your best work.  That SHOULD go without saying, but I've
judged competitions where writers could submit an unlimited number
of entries -- and did.  That's not submitting your best work; it's
shot-gunning a contest and hoping something will stick.  (It also
means that you're competing against yourself!) Rarely does this
approach work.  Worse, it means that a judge ends up reading a
bunch of entries that sound pretty much the same -- making that
judge more likely to choose something that comes across as
"different" from the herd.

This means refraining from knocking off a piece in the morning and
submitting it that afternoon.  It means re-reading, rethinking,
polishing, letting the piece "sit" for a few days and then visiting
and polishing it again, until it doesn't simply shine but sparkles.
 Don't aim for a piece that will take the judge's breath away;
write a piece that takes YOUR breath away.

6) Be bold -- and honest.  Be bold in submitting.  If something
sparks your interest, give it a shot.  Yes, contest fees can add up
-- but the surest way to NEVER become an "award-winning writer" is
to never enter a competition at all.  Don't assume that you don't
have what it takes.  Try, try, and try again.

At the same time, be honest with yourself about your level of
ability.  Assess your entries as objectively as possible.  Compare
them with the winning entries from previous years, and ask yourself
if YOU would choose your piece over the ones that have already won.
 If not, don't stress; instead, look around for another competition
that more closely matches your abilities.    

Winning prizes is nice, but money is quickly spent.  Being able to
declare yourself an "award-winning writer" gives your career a
boost that lasts a lifetime.  Go for it!

Copyright 2012 Moira Allen


"Writing to Win: The Colossal Guide to Writing Contests" is now
available.  This is the largest, most comprehensive guide to
writing competitions available in print (and, shortly, Kindle). The
2012 edition features over 1600 contest listings for writers
worldwide - including over 450 listings new to this edition.  No
matter where you live or what you write, you'll find a competition
that's right for you! The guide is fully updated with the latest
deadlines, entry fees and prizes. Get it now at
https://www.createspace.com/3778183 or visit Amazon.com to order
the Kindle edition.


Random House Allows Libraries Unlimited Loans of eBooks
Random House has informed libraries that it will charge them a
higher trade price for their eBooks but once the library has bought
the eBook, they can lend it out as many times as they would like.
This makes Random House the only publisher currently allowing
libraries unlimited lending rights on eBooks.  For more on this
story visit: http://tinyurl.com/7cu5glh

Libraries Targeting the Other Publishers
Whilst the libraries are pleased with Random House, they are not so
impressed with Penguin, which has, this week, pulled out of a deal
with Overdrive to supply its eBooks to libraries.  A library in San
Rafael has published a notice asking borrowers to boycott
publishers who won't supply eBooks to libraries.  For more on this
story visit: http://tinyurl.com/7acyvdz

Bloomsbury to Open In India
Bloomsbury has been operating in India for the past 25 years as
part of a deal with Penguin Publishers, but as of May 2012, they
expect to have their own publishing headquarters open in Delhi.
Bloomsbury India will encourage publication of work by Indian
authors and follows on from the launch of Bloomsbury Australia last
For more on this story visit: http://tinyurl.com/7c7ffdn


how to negotiate agreements, choose pricing strategies, define
tasks, deal with difficult customers, and much more in the award-
winning "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
Caravan Press Need Submissions for Book
Caravan Press is a group of expatriate writers based in Brussels,
Belgium. Caravan Press invites you to send us your stories for
consideration to be included in our exciting 2012 book project! We
are currently seeking original, unpublished tales of interesting,
funny, serendipitous or barely thinkable (but mostly true, of
course) expat observations and experiences. Topics may include, but
are not limited to the following:

Culture Shock (classic or "reverse")
Travel & Adventure
Life Experiences

Submissions should be limited to 1,500 words and sent via
http://www.caravanpress.eu by May 15, 2012. All authors of selected
stories will be notified by Caravan Press prior to mid-July 2012.

Little India Magazine Sees Writers Worldwide
Little India is seeking full-time, part-time and freelance writers
to write articles and features on overseas Indians worldwide and
stories of interest to this community. Reporters with extensive
publishing experience interested in full/part time opportunities
should send their resumes to editor@littleindia.com

We consider feature articles, columns, commentaries and essays. Our
feature articles are hard on information: interviews with key
sources, relevant statistics, and anecdotal evidence. Our columns,
commentaries and essays are written from a distinctive point of
view and we encourage hard analysis as well as strong, even
controversial and provocative, personal viewpoints in opinion
Features and essays typically range from 500 to 3,500 words.
Columns and commentaries run from 800-1,500 words. The compensation
for articles depends on treatment and length, ranging from $50 to
$700 for articles that are published in the print edition.
Typically, we pay between 6-12 cents a word.
Summary Writers Wanted (No idea what payment is)
Mixergy.com needs you to go through transcripts of their
conversations with entrepreneurs and turn them into actionable
summaries. (Think of them as Cliff's Notes for entrepreneurs.) Each
of the conversations you will summarize is focused on helping
startup entrepreneurs solve a specific challenge. 

Your job is to pull out the key points or tactics from each
conversation and explain them. The summaries you write will guide
entrepreneurs at the most challenging moments of their careers and
help them come out ahead. 

Here is the site: http://mixergy.com/interviews
To apply visit: http://mixergy.com/apply-to-write-for-mixergy/


FEATURE:  The Invisible Writer: The Art of Becoming a Ghost
By Moira Allen

The world is filled with people who have brilliant ideas, valuable
information, or fascinating experiences to share -- but who lack
the writing or communication skills to share them.  Enter the
ghostwriter -- the "invisible" writers among us who labor, not to
make their own voices heard, but to enable others to make their
voices heard.  

Ghostwriters make it possible for experts in fields of science,
technology and medicine to share their findings and recommendations
with the world.  They enable business gurus to share their
expertise with the next generation of entrepreneurs.  They provide
a means for stars and celebrities to "tell all."  And, of course,
without ghostwriters, politicians might never be able to share
their wisdom and experiences.  (Well, I suppose there's a downside
to everything...)  

What does it take to become a ghostwriter?  Most articles on this
topic point out the obvious need for good writing skills.  After
all, if you can't write better than your client, what's the point? 
However, the ghostwriters I interviewed for this article pointed
out that there is something just as important as good writing
skills: good people skills!

"A ghostwriter needs a special knack for crawling inside people's
heads and understanding what they really want to say," says Bobbi
Linkemer.  She also notes that a ghostwriter needs empathy and
compassion, patience, a sense of humor, the ability to read
nonverbal cues, and excellent listening skills.  A ghostwriter
needs to know how to "translate feelings into words."  

Marcia Layton Turner considers good interviewing skills to be at
the core of a ghostwriter's toolkit.  "You need to be able to ask
interesting questions that get at more than surface information and
in such a way that your source is comfortable answering them."  She
also feels that "you need to be interested in people in general. 
The more inquisitive you are... the more comprehensive and
insightful your finished product."  A ghostwriter needs to be able
to relate to the client and establish comfort level, she points
out; the lack of social skills can disqualify even an excellent

"Everyone has a story inside them," says Sean Platt.  "A good
ghostwriter knows how to listen well enough to draw that story from
the 'author.'  But a great ghostwriter is able to extract the story
the 'author' would never have found within them."

Wayne Pollard points out the importance of being pleasant to work
with, suggesting that a ghostwriter needs to be more "Casper" than
"poltergeist."  Don't create disturbances, such as arguing with
your client.  "Sure, you are there to provide guidance, but you
must not argue with your client because few people want to be
around a person who argues with them.  People will only continue to
work with you if they like you and trust you."

One aspect of building a relationship with your client is being
able to understand, interpret and convey your client's "voice." 
While most books and classes on writing emphasize the importance of
"finding your voice," for a ghostwriter, the key is finding a way
to express your client's voice -- generally at the expense of your
own. "As a ghostwriter, there is absolutely no place for your own
writing style," says Pollard.  "You must be a chameleon; you must
be able to assume your client's voice.  You must put your ego aside
because it is not your byline."  He suggests having a client help
determine what style she prefers by giving examples of books she

"I think ghostwriting can be a little bit like acting," says Mary
Anne Hahn.  "When you're writing for someone else, you almost try
to become that person, see what they saw, feel what they felt, and
know what they learned."

Amanda Evans points out that ghostwriting involves more than
adapting to a client's style or tone.  "You need to be familiar
with the language style of your client and the area they come from.
 Research the area they lived and try to listen to recordings or
how they speak.  Little things are important, such as commonly used
terms or phrases."  For example, there are many differences between
US English and UK English: "Trash in America is rubbish in England
and so forth.  Recording interviews with your client is a great way
to learn more about the way in which they speak... so that you are
capturing their voice."

Communication and "people skills" are an important aspect of the
business side of ghostwriting as well.  For make no mistake:
Ghostwriting is a business, and must be conducted as such.  Part of
that business involves making sure that you, and your client, share
a detailed understanding of what the project is about, the scope of
the project, the time-frame in which it is to be completed, and the
terms of payment.

Evans makes sure that all of these issues are spelled out in her
contract with a client.  "A lot of ghostwriters who are just
starting out have problems with payment or understanding exactly
what they are expected to do.  I clearly outline what it is I am
being contracted to do, along with what is expected of the client. 
If interviews are required, it is vital that the client has Skype
and that interview times and schedules are created.  The payment
schedule is probably the most important, as is laying out exactly
what it is you will be doing for the client."

Linkemer includes a section in her contract that allows either
party to terminate the relationship if things aren't going well. 
This can happen, she notes, "when the client micromanages every
aspect of the project, doesn't honor the contract in terms of
actions, is not able to provide the information I need, or is
rude."  Linkemer attempts to negotiate problems first, but relies
on a well written contract as her backup.

Another common problem, according to Pollard, is "having a client
who thinks he knows more about writing than you do. He will ask you
to make edits that you feel will ruin the piece. When this happens,
it's your job to explain to the client exactly why you feel the
edits should not be made, but in the end, you must do what the
client wants.  Why?  It is not your byline; it is his byline.  And
he must be happy with the piece. To cover yourself, you should put
everything in writing. Send an email to your client stating your
concerns but let him know that you will do whatever he wants you to
do. If the edits actually do ruin the book, you want to have your
evidence in case he wants to blame it on you."

This raises a critical issue for the ghostwriter: The realization
that in this, unlike most forms of "creative" writing, the writer
is not the boss.  Though you may have been hired because you have a
skill the client lacks -- the ability to write effectively -- the
client still has the final word in how the material is presented.  

"I think the most common conflict is when the client wants
something included in the book, or stated a certain way, or
organized a specific way, and you, the writer, disagree," says
Turner.  "Or perhaps the client wants a certain source quoted
heavily, or a particular anecdote emphasized.  Conflict occurs when
you state the reasons for your disagreement.  I generally... try to
understand why that piece of information or that source is so
important to the client.  In many cases, there are other ways to
achieve your client's goal and your goal of producing a well
written book once you know the background.  I also think it's your
professional responsibility to explain why you don't think that
decision is the best for the book. It's very possible the author
hadn't thought about it in that way and may agree with you once you
state your case. Ultimately, it's the client's book, however, and
you need to decide if you are willing to work on the project and
approach it the way the client requests. It's their name on the
cover, after all."  

But what if you feel that a client's decisions are so bad that they
render a book unpublishable?  All the ghostwriters interviewed
agreed that the "publishability" of a book is not the writer's

"As a ghostwriter it really isn't my job to say whether or not a
client's project is publishable or not, and this is clearly stated
in my contract," says Evans. "I am in no way responsible for
publishing, contacting publishing or having anything to do with
publishing.  If I do not feel personally that the client's project
is suitable for publishing or that they don't have a good story to
tell then I will usually reject the work upfront.  This saves any
conflicts further down the line."

Linkemer addresses this problem by asking the client the sorts of
questions that would be included in a book proposal.  "If I
determine that the book has little chance of being published by a
conventional publisher, I say so. However, if the client wants to
self-publish, I spell out what is involved in doing so correctly." 
Respondents were quick to point out that no ghostwriter should
accept an agreement that links payment to the publication of the

Ghostwriting can be an effective way to make a living doing what
you do best: Writing.  As Sean Platt puts it, "The best part of
being a ghostwriter is getting paid well to articulate what others
can't. I'm natural with language and love to write, so it's a big
swinging bag of awesome to make good money doing what I love." 
Awesome... and spooky!

For bios and links to the website of the writers quoted here, visit

For "More Tips on Becoming an Effective Ghostwriter" from these
writers, including info on how to craft contracts, visit

Moira Allen, editor of Writing-World.com, has published more than
350 articles and columns and seven books, including How to Write
for Magazines, Starting Your Career as a Freelance Writer, The
Writer's Guide to Queries, Pitches and Proposals, and her most
recent book, Writing to Win: The Colossal Guide to Writing
Contests. Allen has served as columnist and contributing editor for
The Writer and has written for Writer's Digest, Byline, and various
other writing publications. In addition to Writing-World.com, Allen
hosts the travel website TimeTravel-Britain.com, The Pet Loss
Support Page, and the photography website AllenImages.net. She can
be contacted at editors "at" writing-world.com.
Copyright 2012 Moira Allen

If you are interested in ghostwriting you might also want to
consider commercial writing.  Check out our section at: 


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

Caravan Press
This is both a virtual and real writers' group for expatriate
writers. The site is just getting started but they are a friendly
group of writers and this could be just what you need if you are an
expat writer anywhere in the world. 

Make a Living Writing
This site is aimed at freelancers who are willing to do both
commercial work as well as magazine work to earn money.  It is in
blog format and comes with a useful report on how to market your
writing. This blog is run by Carol Tice who also runs the
membership only site The Freelance Writer's Den where writers get
advice from successful writers in many fields, such as our own
Moira Allen.

Andrew Crofts Ghostwriter
Andrew Crofts is a very successful freelancer and ghostwriter who
offers a guide to ghostwriting as well as an interesting blog.  

This month's AWESOME BLOG:

Writer Unboxed
A fascinating site packed with articles and interviews - dozens of
author interviews and "industry" interviews with editors, agents,
publishers, etc. My one quibble (and it's a small one) is that I'd
like to see the author interviews focus more on tips than on "tell
me about your latest book." The authors (and contributors) have put
in a truly awesome amount of work on this site! Hosted by Therese
Walsh and Kathleen Bolton.


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. WRITING TO WIN by Moira Allen is THE
one-stop resource you need to find contests around the world. 
Newly updated for 2012, with more than 1600 contest listings - 
over 450 listed for the first time in this edition! Buy it on
Amazon or CreateSpace at https://www.createspace.com/3778183


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 1600 writing contests throughout the 
world, see Moira Allen's book, "Writing to Win: The Colossal 
Guide to Writing Contests" 
DEADLINE: February 27
GENRE: Short Stories
OPEN TO: to British nationals and UK residents with a record of
publishing in creative writing (the author must have had works of
fiction, drama or poetry published by an established UK publisher
or print magazine, or broadcast by a UK national radio station).
DETAILS: Max. 8000 words.
PRIZES: 15,000, 3,000, and 500 for three shortlisted stories.
URL: http://www.booktrust.org.uk/prizes-and-awards/1
DEADLINE: February 27
GENRE: nonfiction, short stories
DETAILS: The entry consists of a "pitch" (max. 250 words) or story
idea that is an Environmental Comedy.  By Environmental Comedy, or
EnCom, we mean a movie that takes an entertaining look at behaving
badly in a beautiful environment. 
PRIZES: $500 and production
URL: http://www.dukecityshootout.org/ecologue/2012-rules

DEADLINE: February 29
GENRE: Nonfiction
DETAILS: One prize will be awarded to the winning essay in one of
two categories: Author Profiles - exploring the life, work and
influence of a single short story writer, or We Recommend -
personal recommendations of a single author, collection or short
story. Max. 2000 words; limit three submissions per entrant.
PRIZES: 250 and publication
E-mail: thresholds@chi.ac.uk
URL: http://blogs.chi.ac.uk/shortstoryforum/?page_id=8033

DEADLINE: February 29
GENRE: Short stories
DETAILS: Submit a short story of no more than 3,000 words on the
theme/title: 'Interrupted.'
PRIZES: $1,000
URL: http://www.flattprize.com/

OPEN TO:  U.S. and Canadian residents 18 years of age or older.
GENRE: Nonfiction or short stories
DETAILS: What have you lost in Las Vegas? Your money, your honey,
your virginity? Or maybe you found something in Sin City -- a big
poker game, a binge, a gorgeous spouse (freedom from that spouse),
whatever. We'd like to hear about it! Keeping within the spirit and
theme of Lost in Las Vegas-trouble, hard luck, good luck, or madcap
adventure -- we want your craziest Vegas true adventure story, or a
fictional story that happened only in the Vegas of your wildest
PRIZES: $2,500, $1,000; additional merchandise credit prizes
URL: http://tinyurl.com/88ehsuj
DEADLINE: March 15
GENRE: Short Stories
DETAILS: The long hours, the ethical quandaries, the contestable
notions of justice -- all force hard choices upon law students,
practitioners, judges, academics -- and the people in their lives.
These struggles can make powerful stories, and we want to read
them. Open to all. 5000 words max.
PRIZES: Publication
URL: http://www.swlaw.edu/jleweb/fictioncontestrules
AUTHOR'S BOOKSHELF: Books by Our Readers

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When Youth Fades: Don't Wither on the Vine - How to Celebrate Life
After 60, by Lillian Rhoades

The Magic of the Wolves, by Faye Stine

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.


on how to reach more than 100,000 writers a month with your 
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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 2012 Moira Allen

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