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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 12:08          13,183 subscribers            April 19, 2012
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THE EDITOR'S DESK: Brave New World... Or Not?  by Moira Allen
THE WRITING DESK: One Time Rights, By Moira Allen
FEATURE: Ways to Profit from Writing for Free, 
by Audrey Faye Henderson   
THE WRITE SITES -- Online Resources for Writers
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Brave New World... Or Not?

It seems one can't open a writing publication, print or electronic,
without finding a headline proclaiming that "the way we read is
changing."  The gist of most of these articles is that print books
are rapidly headed the way of the dinosaur, and that soon (the
definition of "soon" not always being crystal clear), we'll all be
clutching some form of e-reader, downloading texts, and explaining
to our grandchildren just what "paper" was.

An article in the May issue of "The Writer" sums up this prediction
nicely.  It quotes from another article, by Michael Todd of
"Miller-McCune," who shares his view of the future of reading.  In
Todd's brave new world, he walks down the street "with an
electronic device that fits in my pocket... As I walk, I pass a
handful of newspaper stands.  There aren't actual papers in them,
but electronic bulletin boards.  I like a couple of headlines...
and so I press a button..." whereupon his device "uploads the day's
content... while subtracting a very minimal amount from either my
bank account or a media escrow account... If I go to a bookstore,
it's the same procedure.  There will probably be a few proper books
for me to examine, but it's button-pushing time when I want

OK, so far, nothing really thought-provoking here.  I mean, we've
heard it all before, and we're going to hear it again -- and one
day it may even be true.  But then, a few days after reading this,
I received an e-mail from my friend "John" in Nigeria.  

John and I were brought together in the first place over the
subject of books.  John wanted them, but couldn't get them.  He
couldn't set up an account on Amazon and have books shipped
directly, so  I agreed to act as his intermediary.  (You can read
his account of what it's like to actually try to pick up a package
delivered from overseas to Nigeria at 
http://www.writing-world.com/coffee/coffee21.shtml)  Since then
we've maintained a correspondence.

In his most recent e-mail, John was explaining why I was getting a
fairly long e-mail a section at a time.  It was, he said, because
he had to compose it in segments on his cell phone.  "I'll only get
a home internet when I'm able to have... a fairly used laptop or
notebook. So I read with the phone on charge because you never know
when you'll see electricity. For example, we are just coming out of
almost a day of outage and I've just rushed to put the phone on
charge while I compose this email. Isn't it interesting to complete
a novel under such condition? But I bet you, Moira, you would write
better and faster here when you remember the bulb glowing above you
won't shine the next minute."

I couldn't get that image out of my head.  Somehow, I don't see
John strolling along with his pocket-size electronic device,
pushing a few buttons to download today's news or tomorrow's
bestseller at the book or news kiosk of the future -- not anytime
soon, anyway!  Michael Todd and John of Nigeria write of two very
different worlds.  Michael's is a rosy projection of the future;
John's is a not-so-rosy picture of a world that is all too real,
for too many people, right here and now.

What bothers me about Michael's "vision" is that it's not simply a
vision of how the reading world will change.  It's a vision of how
the world will change for people who can AFFORD it.  Michael's
vision is of a future for the affluent.  He describes his pocket
device as being inexpensive enough that he won't be devastated if
he loses it, but costly enough that he's "careful with it" -- and
he adds, "think iPod."  

One doesn't have to travel all the way to Nigeria to find people
who can't afford to own an iPod, iPad, Tablet, Kindle, SmartPhone,
SmarterPhone, BlazingGeniusPhone, or whatever the latest gadget
happens to be.  Nor does one have to travel to Nigeria to find
people who can't afford the cost of a home Internet connection --
who, if they go online at all, must do so at a public library or an
Internet café.  

Yet, increasingly, the world seems determined to leave such people
behind, no matter where they live.  More and more companies insist
that one transact business with them via their website, rather than
on the phone or in person -- and impose extra fees on people who
insist on speaking to an actual human representative.  Such tactics
impose extra hardships on the people who can least afford them.  

Now imagine a world -- Michael's world -- where there are, in fact,
few of what he (rather oddly, I think) refers to as "proper" books.
 At least today, if John in Nigeria wants a book, I can buy one and
mail it to him.  But as publishers and distributors (like Amazon)
place tighter and tighter restrictions on how e-books can be
purchased, viewed, and most of all, SHARED, there is a growing
danger that more and more people will, in fact, be cut off from the
growing flow of information.  John, for example, says that he can't
even use the free Kindle reader that Amazon provides -- which means
that he has no means of accessing books that are available only on
Kindle.  And if you have to sit at a library computer or take your
laptop to an Internet café just to read a novel, how many novels
will you actually read?  

There was a day when books were so rare and precious that only the
very wealthiest could afford them.  To highlight their value, they
were bound in fine leather and their covers often embellished with
gold and jewels.  The printing press changed that -- forever, we
fondly imagined.  But I am beginning to fear that part of the
driving force behind this brave new electronic world of the future
is a desire to shift information back into that elite sphere. 
Publishers aren't creating e-books out of a warm, humanitarian
desire to share knowledge and entertainment with the world. 
They're doing it because there's a PROFIT to be made.  

For example, a few months ago, my book "Starting Your Career as a
Freelance Writer" was available on Kindle for $9.99.  Today, it's
selling for $13.83 -- that's just $2.64 LESS than the print
version, for an edition that requires no printing or shipping
costs!  Now, it may prove that I, as the author, will get a higher
royalty out of this (not having seen a royalty statement in months,
I don't know) -- but you can bet that the real profits are going
somewhere else.  More to the point, I can't help but fear that such
a price increase will simply discourage people from reading my book
and benefiting from it. 

And there's the question that I think pundits like Michael Todd are
overlooking as they visualize this future filled with handy
electronic devices: Who benefits?  Is it the authors?  The readers?
 Or is it the publishers -- and those who MAKE the devices in the
first place?  

The articles that I keep reading about "how reading is changing"
seem to assume that this change is a consumer-driven choice.  We
are reading on devices because we LIKE devices -- and print books
are going to vanish because we, the enlightened public, have
decided that we don't want them anymore.  But here's a not-so-rosy
vision: Imagine a future in which publishers decide to issue
information ONLY in electronic format, thereby REQUIRING consumers
to purchase expensive devices if they want to keep up with the news
or with their field of expertise, or just read the latest
bestseller.  Imagine a future where, if you can't afford a device,
you can't read -- and if your power goes out, you're out of luck.

The printing press was the great leveler in the information field. 
It took books -- information -- out of the hands of the rich and
the elite, and redistributed it to the world at large.  Today,
thanks to the printing press, even if John in Nigeria has to read
by candlelight, he can still read a book.  So can a child in Inner
City USA, so can my 89-year-old mother-in-law, so can you, and so
can I.  And while I do enjoy my Kindle and I am delighted when
people buy electronic versions of my books, I don't look forward to
a future where the person who controls my device can control what I
can, and can't, read.  Let's make sure that as we rush toward
Michael's future, we don't leave John's in the dust! 

-- Moira Allen, Editor

Copyright 2012 Moira Allen 


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The Writing Desk:  One Time Rights   
By Moira Allen

What is a magazine buying, if it wants one-time rights but no
Q: I am confused when magazines state in their guidelines that they
will buy one-time rights but also mention that they don't buy
reprints. What rights are they saying they will buy then--first
rights but one-time usage? There is a magazine that offers certain
payment for first rights, and another magazine that pays less but
buys one-time rights and no reprints. Can I sell my article to
both? Also, what if the situation changed a little: I find a
suitable market to sell my article to and they buy only
non-exclusive one-time electronic rights. Can I sell first rights
after this to a different publication or will this count as first
even though it is one-time use?

A: One-time rights are not synonymous with reprint rights. 
One-time rights simply means that the magazine is not buying FIRST
rights, and technically not buying exclusive rights.  I think,
however, that since the magazine also specifies that it doesn't buy
reprints, the editor is probably a little confused about what such
rights mean. Still, if you sell this magazine one-time rights, you
could turn around and resell the same material to someone else at
the same time.  Even if the other publication actually publishes
the material first, the first publication can't consider it a
"reprint," as they bought it before it was published.  (Doesn't
make a great deal of sense, does it?)
Next, the "two-magazine deal."  One magazine buys first rights. 
The second magazine buys one-time rights but no reprints.  I don't
think you can manage a deal here.  The magazine that buys first
rights has to be the first to (a) buy the material and (b) print
the material. The second magazine won't accept reprints, so if the
piece has already been purchased by the first magazine, they're
probably not going to take it.  If the second magazine buys it
because it hasn't been printed yet (even though it has been sold),
and the second magazine then actually publishes it before the first
magazine does, you've violated the terms of the first magazine
contract, because someone else was able to use it "first."  So I'd
avoid this one.
If a publication buys non-exclusive one-time electronic rights, and
uses them, that is still a use of "first" rights, even if the term
"first" is not actually used in the contract.  Keep in mind that
"first rights" is not simply a contractual term; it is also a usage
term.  The first time a piece is published in a particular medium
(or location, or language), that is a use of first rights --
regardless of what rights the publication actually claims to be
buying.  Again, keep in mind that there is a difference between
"buying" and "using." So regardless of what rights an electronic
publication buys, the first time your piece appears electronically,
those first rights have been used.
That publication is simply making sure that you have the right to
sell the same piece to other electronic publications -- the
"one-time" clause in this contract has nothing to do with "who's
first", but rather, with the issue of exclusivity.  You can sell
this article to more than one electronic publication, but whoever
uses (or buys) it first will the one to use "first rights" --
regardless of what rights were contracted for.
However, you can sell "first print rights" to that same article, if
you sell it to a print publication.  And keep in mind that you can
also sell different types of first rights -- e.g., "first UK
rights," "first English-language rights," and so on.  You don't
have to be limited to just "first print" and "first electronic"
To summarize:  I'm not sure what a publication is doing when it
buys one-time rights but no reprints; again, I think the editor may
be a bit confused.  If it buys no reprints, then it is asking for
first rights, by definition.
Second, once a piece has been published, first rights have been
used, regardless of what your contract may specify.  After that,
the piece is a reprint, simply because it has already been
This is important to understand, as many people feel that if they
aren't paid for a piece, they haven't "sold" any rights -- and so
can still offer "first rights."  Many also suppose that if they
publish something in their own e-zine or even on their own website,
they can still offer "first rights."  First rights, however, refers
to the usage of the piece -- once it has been used, whether it was
paid for or not, or whether it was used by the author in a
self-publishing venue, first rights are "used up" and the piece is
considered a reprint.

Copyright 2012 Moira Allen


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Are Publishers Turning Their Backs on Amazon?
Depending on which news site you read, the so-called "big" six
mainstream publishers, HarperCollins, Random House, Hachette, Simon
& Schuster, Penguin and Macmillan, have said they will not sign the
latest Annual Contract from Amazon.  Others say that two have
definitely refused to sign the contract and yet others that all six
will still be represented on Amazon.  The problem, it seems, is
Amazon's desire to be able to discount books as it wants, thus
lowering the profits made by the publishers.  For more on this
confusing story visit: 

Faber to Launch Shakespeare App
Faber's 'Shakespeare's Sonnets' app, read by actors, is due to hit
the shops by the end of April.  The app features all 154 sonnets
read by famous Shakespearean actors such as Sir Patrick Stewart,
David Tennant and Fiona Shaw. It will also include a commentary by
Shakespeare scholars.  The app will cost around £10. For more on
this story visit: http://tinyurl.com/bpu86bv

James Bond Returns Home to Cape for Next Novel
Yes, yet another James Bond novel will be written, but this time it
will be published by the original publisher of the series, Jonathan
Cape. The last two Bond novels were published by Harper Collins,
but it was Cape who published the first Bond novel by Ian Fleming. 
The new Bond novel will be written by William Boyd and will be set
in the 1960s.  For more on this story visit: 


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Writing Jobs and Opportunities
Adams Media Call for Submissions
Adams Media has a new romance ebook line called Crimson Romance. 
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take), they say they're not going to rule you out because you go
shorter or longer.


Kentucky Her Story 2012
Now accepting submissions for a collection of short stories about
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Authors can be any gender. Stories should be 2,000 - 10,000 words.
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FEATURE: Ways to Profit from Writing for Free

By Audrey Faye Henderson

Writing is one of those functions that many people don't think
anyone should be paid to do. Worse, a whole segment of the
population believes that anyone who can produce a sentence,
coherent or not, is entitled to call himself or herself a writer. 
As a professional writer, you may resist perpetuating such ideas by
producing your work for free, and you would be well justified in
harboring that resistance.  Nonetheless, whether you're writing
guest blog posts or producing your own blog, distributing a
newsletter or providing writing services for a worthy cause,
writing for free now can pay significant dividends in the long run.
In many cases, you'll realize monetary benefits much sooner.  

In his book "Get Slightly Famous," Stephen Van Yoder promotes the
idea of generating more clients by taking a proactive approach to
the Law of Attraction. Namely, the best clients are those who seek
you out, and his book spells out the means to cultivate those
clients.  And he's right. If someone approaches you, he or she is
more likely to be willing to pay your going rate without balking
because, and this is important, that client is already positively
disposed toward you.  In other words, you've been pre-sold. A
definite potential advantage of foregoing immediate cash
compensation for your writing is the opportunity to reach that
pre-sold client.  

Your efforts may also generate publicity that would otherwise cost
big bucks in ad space or air time, if you could manage to generate
that sort of publicity at all.  You may not wind up on Today, but
you may very well find yourself invited to appear on your local
newscast at noon or during the dinner hour as an expert on a given
subject.  If you are so inclined, you may be able to generate
lucrative speaking engagements or a paid position as a commentator
for print publications, radio or television.

Guest Blogging
Although guest bloggers sometimes receive financial compensation,
more often than not, guest bloggers are not paid for their posts.
At least not in money.  My guest blog posts not only serve as
high-profile writing samples, they have increased my "street cred"
as someone who possesses expertise in my field.

If you decide to seek guest blogging gigs, target blogs that are
compatible, or at least not in conflict with your work, and, just
as important, in line with your core values. For instance, I
focused on blogs that deal with issues such as affordable housing
and progressive politics.  I wrote several guest blog posts for
JustMeans, a website promoting socially responsible business
practices.  I also wrote a one-time guest blog post immediately
after the 2008 Presidential election for tcrBLOG, the online venue
for the left-leaning, well-respected publication The Chicago

One indirect benefit I realized from guest blogging was to be
invited in 2009 and again in 2011 to be a presenter for the Chicago
Green Festival. After my 2011 presentation, I was approached by a
staff member from the Chicago Metropolitan Agency for Planning, who
informed me that she had specifically sought me out. Since our
initial encounter at the Green Festival, this individual has
provided information and contacts for organizations in and around
Chicago that are involved with sustainable development, many of
whom frequently use research services such as mine.

Your Own Blog
You may also choose to launch your own blog.  However, unless you
have already built a following, your blog is unlikely to generate
more than pennies in revenue, if that. Instead, the purpose of
maintaining your own blog would probably be either to provide
increased exposure for your work to potential clients, produce work
product samples for your portfolio, or both. 

In the former case, you must supplement your writing with efforts
to increase online traffic to your blog.  Specific strategies to
accomplish this goal can be found elsewhere on this website (see
"To Blog or Not to Blog" at 
http://www.writing-world.com/promotion/blog.shtml).  At the same
time, your blog entries must contain sufficient substance to avoid
giving the impression of serving as so much window dressing for
banner ads and affiliate links.

In the latter case, you have the luxury of focusing on your writing
without an overt emphasis on increasing eyeballs examining your
blog or enhancing the bottom line by prompting ad click-throughs or
page views.  What you don't have is license to produce written or
electronic diarrhea pouring forth any random thought that comes to
mind. Choose a theme or direction for your blog that you would be
willing to maintain over the long haul.  You don't have to box
yourself into a corner -- acceptable themes include subjects as
broad as commentary on current events, reports on local nightlife
or as specific as your favorite hobby or following the career of  a
single prominent person.

If you're blogging to provide a showcase for your talents, the key
is to develop a consistent voice and unique perspective that makes
your blog compelling. Come to think of it, this is important for a
blog for which you wish to cultivate an audience, as well. In
either event, a well-produced blog effectively presents you to
potential clients as someone who is capable of providing
high-quality work.

Working with Nonprofits and Charities
You would be far from the first professional writer who obtained
lucrative freelance work by offering your services gratis to a
local charity or nonprofit organization. By working for free, you
become a known quantity.  When the opportunity for paid work
arises, nonprofit organizations, many of whom have no dedicated HR
staff, are often relieved to turn to you rather than plow through a
physical or virtual stack of résumés.

Find an organization that is launching a major initiative, such a
collecting warm coats for needy families or conducting a food drive
to restock local food pantries. Offer to write press releases and
promotional materials supporting the initiative to submit to local
media. Another approach is to offer to generate website copy for a
charity or nonprofit agency, assist with drafting the annual report
or write letters designed to reach out to potential donors.

Email and Hard-Copy Newsletters
Many people, probably including you, already suffer from email and
junk mail overload.  However, a well-written, content-rich
newsletter that is targeted to the interests of the recipient(s) is
more likely to generate a reaction of "I want to read future
issues."  Your newsletter can provide a soft-sell, value-added
vehicle to promote the services for which you charge money. For
instance, if you write white papers and other content for corporate
clients, your newsletter could include as analysis of current
events as they relate to the general business climate.  If you are
a grant writer who works with nonprofit agencies, your newsletter
can provide insight about how to motivate donors to give.
For an e-mail newsletter, it is absolutely essential to include a
prominent opt-in (preferable) or safe unsubscribe (acceptable)
mechanism. Most people are tolerant of one well thought-out
prospecting email.  However, no matter how well written your
newsletter is, no one wants to receive an endless deluge of
unsolicited e-mail in-box traffic.

Hard copy newsletters should allow would-be subscribers to opt-in
via a postage-paid subscription card or some other convenient
means.  However, unless you have an angel investor or a very flush
personal bank account, conducting an unsolicited direct mail
campaign to generate an audience for your newsletter may not be
financially feasible. Direct mail marketers often consider a return
rate (i.e. responses or paying customers) of 1 or 2 percent to be
excellent, which translates to an expense far out of reach for many

A better tactic may be to arrange to leave copies of your
newsletter with merchants or in offices in your local area where
your prospective readers are likely to see it. How do you find
merchants or offices willing to serve as pickup points for your
newsletter?  You already know the answer -- generate a carefully
constructed prospect list and contact the individuals on that list
personally, a process that will be explained below.

Approaching Your Prospects
Once you've determined the appropriate vehicle(s) for your unpaid
writing, it's time to construct a proposal and generate a list of
prospects.  Whether you've chosen to write a blog or newsletter or
if you've decided to offer your writing services for hire, one of
the best ways of finding receptive markets (yes, they're still
markets even though you're not being paid in cash) for your work is
to make contact  with individuals included on a carefully
constructed mail or email list.  Check that, a VERY carefully
constructed mail or email list.  

The idea is to prequalify those organizations and publication
outlets that could benefit from your writing services.  Perform
your due diligence about the type of person who is likely to want
to read what you have to say on a given subject. Start with an
Internet search using your blog subject or cause you wish to
promote as a keyword. Talk with friends and professional
colleagues, especially those who are experienced writers, subject
matter experts or who have connections with potential targets for
your work. 

When talking with fellow writers who might be potential
competitors, you don't have to give away the store.  A general
inquiry like "I was interested in writing a blog about cats, what
are your thoughts?" can yield fruitful results. On the other hand,
be as specific as possible with subject matter experts who may be
potential interview targets or contacts who may provide leads to
possible outlets for your work. 

The end result will be a list of potential organizations, news
outlets or individual subscribers (in the case of a blog or
newsletter).  Because you've done a lot of work on the front end,
your efforts will be more likely to generate positive responses
from the recipients of your outreach efforts.

Potential Tax Savings
In working for free, you may generate out-of-pocket expenses, not
to mention the time you are taking away from paid work. You may be
able to recoup at least some of those expenses on your federal
income tax return. Keep diligent records of the expenses you rack
up in executing your unpaid writing gig, including receipts. A
signed statement or receipt from the news outlet or organization
would also enhance your claim.

If you're working with a nonprofit organization or even a
for-profit news outlet, you cannot claim a deduction for
compensation to replace your customary hourly or project rates.
However, the IRS may allow you to deduct the cost of the fruits of
your labors if you can demonstrate that you provide a tangible
product for which the organization would otherwise pay someone to
perform.  The distinction is subtle but real.

For instance, you cannot deduct your hourly rate for the time you
spend writing website copy.  However, if your organization paid
someone to write website copy in the past, you could claim that you
provided a tangible product to the organization by writing fresh
website copy. You may use the figure the organization paid
previously as the basis for claiming a deduction for the website
copy that you produce for the same organization.

You may be also able to deduct the costs of cross-town commuting or
even out-of-town travel you undertake on behalf of your client. You
may also deduct the cost of paper, stamps, phone calls and other
legitimate expenses directly related to your unpaid writing work.
However, you must be able to document your efforts or the IRS will
disallow the deduction, hence the need for a log and receipts. 
Consult with an attorney or accountant before claiming any tax
breaks pertaining to your unpaid writing work. You definitely do
not want to trigger an audit because of an improperly claimed

Negotiating Non-cash Compensation
One of the first determinations you must make when negotiating an
agreement with a publishing outlet or nonprofit agency is precisely
why you are willing to write professionally without receiving
monetary compensation.  The key to successfully writing for free is
to negotiate non-cash compensation that is mutually beneficial to
you and to your client.  Writing for free does NOT mean working
without a contract. 

An organization you choose to work with may have its own
boilerplate agreement for pro bono services. If the terms are
adequate to deal with the services you wish to provide, that's
fine. Otherwise, you may draw up your own specific agreement that
outlines exactly what you will provide for the organization. The
document need not contain an overload of legal jargon; however, it
can't hurt to have an attorney look over your agreement for
potential pitfalls. 

Your contract should state who owns the rights to whatever written
copy you produce along with how and where it will appear.  If you
are relinquishing the rights to your work, ask if you would be able
to provide excerpts on your website or as work samples to potential
clients. If you are negotiating a long-term working relationship,
consider provisions such as confidentiality agreements and

Your contract should also include provisions for the non-cash
compensation you will receive for your services. At the very least,
you should receive a byline for individual written features and
public acknowledgement for promotional materials. You should also
request copies of any printed materials including your work or
mentioning your contributions.  A written reference or verbal
referral for potential future clients is totally proper. Press
credentials or even a place on the masthead as a contributing
writer constitute legitimate compensation for ongoing contributions
to a newspaper, newsletter or magazine.

That said, you must be careful to avoid the appearance of quid pro
quo. It's well and good to receive recognition for your work or to
recoup the financial expenses of your pro bono efforts. However, if
it seems as though you've struck a deal with an organization or
charity to realize a profit for your efforts, you run the risk of
destroying your credibility. Back-links to your blog, Twitter feed
or public LinkedIn profile are fine. A week-long, all-expenses-paid
jaunt to an exotic resort destination, not so much.

Further Benefits of Your Efforts
Career experts often advise job hunters that volunteer
appointments, internships and similar experience can greatly
enhance their résumés. The same benefits apply to your freelance
pro bono efforts. By all means, include your blog, newsletter or
column contributions on your online portfolio or professional
website. Unless you are producing confidential documents, consider
including samples of your work along with testimonials or
references from your clients. If your work contributed to or was
directly responsible for a huge jump in donations, don't be shy
about claiming your share of the credit you're your own promotional
materials or in approaching potential new clients face to face.
Document your claims with statements from your client organization
or reports from published news sources.

Copyright 2012 Audrey Faye Henderson

Audrey Faye Henderson is a writer, researcher, data analyst and
policy analyst based in the Chicago area. Her company, Knowledge
Empowerment (http://www.knowledge-empowerment.net/, specializes in
social policy analysis concerning fair housing, affordable housing,
higher education for nontraditional students, community development
with an asset based approach and sustainable development in the
built environment.

For more advice on writing for free and when you should and
shouldn't do it read:    

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


SERIOUS ABOUT WRITING? Join the National Association of Independent
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BooksandSuch blog
This is a blog written by the Books and Such Literary Agency and it
is jam-packed with useful advice for writers. It covers finding an
agent who is right for you, writing across different genres,
publicity for your books and much more. Scroll down to find the
articles that interest you the most.  You will be here awhile. 
This is another blog that any novelist would find of interest.  It
is updated constantly and features interviews with published
authors as well as articles and hints on tips on getting your novel

Query Shark
If you are brave, if you are very brave, you could submit your
fiction query to the Query Shark for a free critique, but be
warned, she is fierce!  Make sure you read the blog posts and don't
submit queries full of the mistakes she has already corrected, and
yours could be the next query to go from failure to success. 


"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 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 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.


This section lists contests that charge no entry fees. Unless 
otherwise indicated, competitions are open to all adult writers. 
For a guide to nearly 1600 writing contests throughout the 
world, see Moira Allen's book, "Writing to Win: The Colossal 
Guide to Writing Contests" 
DEADLINE:  April 30, 2012
GENRE: Short Stories 
DETAILS:  Entries must be the first 2000 words of a screenplay,
play, graphic novel, or other kind of script.
PRIZES: $50 first prize, $25 second prize 
URL:  http://www.scribophile.com/contests/script-frenzy-contest/

DEADLINE: May 5, 2012
GENRE: Young Writers
OPEN TO: 10th, 11th, and 12th graders.
DETAILS:  Answer one of the three essay questions on the website
about Rand's novel 'We the Living' 
PRIZES: $3000, five 2nd prizes of $1000,  five 3rd Prizes of $300,
25 finalist prizes of $50, 80 semifinalists of $25   

DEADLINE: May 31, 2012
GENRE: Short Stories, non fiction
DETAILS:  200 - 500 words of readable, well-written, even beautiful
writing (fiction or nonfiction.   
PRIZES: $200, $100, $50 and publication.
URL: http://www.vocabula.com/popupads/VRWritingContest.asp

DEADLINE: June 1, 2012
GENRE: Books
OPEN TO: Authors with no published books in that genre. 
DETAILS: Murder or another serious crime or crimes is at the heart
of the story, and emphasis is on the solution rather than the
details of the crime. The story's primary setting is the
Southwestern United States, including at least one of the following
states: Arizona, Colorado, Nevada, New Mexico, Oklahoma, Texas,
and/or Utah. Minimum 220 pages/60,000 words
PRIZE:  $10,000 advance against royalties and publication by St.
Martin's Press 
URL: http://www.wordharvest.com/contest.php  
DEADLINE: June 1, 2012
GENRE: Poetry, Short Stories, Scriptwriting
DETAILS: Poetry: 1-3 single-spaced pages; Fiction: Maximum 10
single-spaced pages; Drama: One-act play, maximum 15 single-spaced
PRIZES: Prizes of $500 for best poem and story, $250 for one-act
URL:  http://www.literarylaundry.com/submissions  

DEADLINE: June 30, 2012
GENRE: Short Stories
OPEN TO: Those who have not had professionally published a novel or
short novel, or more than one novelette, or more than three short
stories, in any medium.
DETAILS: 17,000 words maximum.   Fantasy, Sci-Fi or Horror: All
types of science fiction, fantasy and horror with fantastic
elements, are welcome. 
PRIZES: $1,000 first prize awarded each quarter; one of those
winners also receives the $5,000 annual "Gold Award" grand prize.
Each quarter, 2nd Prize $750, 3rd Prize $500
URL: http://www.writersofthefuture.com/contest-rules


AUTHOR'S BOOKSHELF: Books by Our Readers

Creating Blockbusters! How to Generate and Market Hit Entertainment
for TV, Movies, Video Games, and Books, by Gene Del Vecchio

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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