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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 12:14        13,355 subscribers               July 19, 2012
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THE EDITOR'S DESK: Never Too Early to Give Thanks, by Moira Allen 
THE INQUIRING WRITER, Submission Guidelines, by Dawn Copeman
FEATURE: Processing Feedback, by Joni B. Cole
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Never Too Early to Give Thanks

My husband came home last night and declared that President Obama
had just insulted me.  Apparently he'd heard a quote from a July 13
speech in which Obama claimed that those of us who ran small
businesses hadn't "done it ourselves."  The much-quoted clip
stated, "If you've got a business -- you didn't build that. 
Someone else made that happen."  

Well, I'm happy to say that the President didn't actually insult
me, my business, or all the folks I know who run small businesses. 
In fact, the snippet cited above was deliberately taken out of
context.  Here's what Obama actually said:

"If you were successful, somebody along the line gave you some
help.  There was a great teacher somewhere in your life.  Somebody
helped to create this unbelievable American system that we have
that allowed you to thrive.  Someone invested in roads and bridges.
If you've got a business -- you didn't build that.  Somebody else
made that happen.  The Internet didn't get invented on its own. 
Government research created the Internet so that all the companies
could make money off the Internet.  The point is, is that when we
succeed, we succeed because of our individual initiative, but also
because we do things together."

Now, I can't claim to agree with everything our president says (or
even most things), but this statement truly resonated with me as a
writer.  It seems to me that just about every writer I've ever
talked to has a story about the person who helped.  Each of us has
a story about a defining individual, or moment, that made the
difference in moving our careers forward.  Dawn, for example, keeps
pointing her finger at ME, as the editor who bought some of her
first articles for my British travel website.  I look at people
like Debbie Ridpath Ohi, founder of the Inkspot website, who took
me under her wing and turned me into a "web writer."  

I suspect we can all remember a "great teacher" -- though that
teacher might not necessarily have come to us in a classroom.  Some
of our teachers were friends, coworkers, peers, partners, or
parents.  Sometimes, all it took was a single word of encouragement
or advice to set our careers in motion.  (For me, it was the day my
husband encouraged me to take a job as a magazine editor, for which
I felt woefully unprepared and unqualified, by saying, "You'll
never know whether you can do it unless you try.")  

Is there a writer among us who doesn't remember that first sale? 
The first time an editor or publisher chose to take a chance on an
unknown writer?  I still cringe at the memory of my first formal
"query letter."  I'd picked up a copy of a quilting magazine and
noted that it didn't have any articles on crazy quilting -- so I
typed up a letter extolling the virtues of crazy quilts and
offering to write a piece.  I didn't even know, then, what a query
letter WAS, and it never occurred to me to check back issues to see
if, perhaps, they'd covered that topic in the past.  Amazingly,
despite my ignorance, I got the assignment -- my first in a
national magazine.  

However, I would still have taken issue with Obama's statement if
he hadn't included one key point: "...when we succeed, we succeed
because of our individual initiative..."  Obama's speech is aimed
at emphasizing the power of working together, and that's great. 
He's right; none of us got where we are today alone.  Teachers and
infrastructures and government investments are vital tools, and
without them, it's true that none of us would, probably, be where
we are today.  But teachers and infrastructures and government
investments are not enough, in themselves, to make an individual
successful.  At the end of the day, it still comes back to the

Any teacher will tell you that the ratio of those who are willing
to be taught, vs. those who are just sitting there waiting for the
bell to ring, is exceedingly small.  At Writing-World.com, our
whole purpose, really, is to "teach."  We've posted nearly 700
articles that cover a vast array of writing topics, absolutely free
to anyone who wants to take the time to read them.  And we still
get lots of e-mails from people who can't be bothered to do so.   

I imagine these would-be writers as standing on the side of a road
that is clearly marked "To Success."  "But it's a long road," they
complain, "and I don't have a map.  Won't you give me a map?"  OK,
here's a map... "But it's a complicated map, and I don't know how
to read it, and anyway, I don't have a car..."  At this point, I
guarantee you, if someone drove up with a brand-new car, got out,
and handed this person the keys, the next complaint would be, "I
don't know how to drive, won't YOU drive me?"  

The point is, while we all have someone (and probably many
someones) to thank for our success, we also need to remember to
thank ourselves. Because in reality, if someone took a chance on
you by accepting your query or article or proposal, you had to have
taken a chance FIRST -- by sending it in.  If someone gave you good
advice that pointed you in the right direction, you had to TAKE
that advice.  If someone suggested that you try, you had to have
TRIED.  If someone opened a door, it was still up to you to walk
through it.  

It may not be Thanksgiving yet, but it's never too early, or too
late, to give thanks.  So by all means, take a moment to thank a
teacher, or a friend, or a loved one, for helping you get to where
you are today.  And then... take a moment to thank yourself, for
choosing to follow the path instead of standing on the sidelines.

-- Moira Allen, Editor

For the full text of President Obama's speech, visit:

Copyright 2012 Moira Allen 


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THE INQUIRING WRITER: Submission Guidelines
By Dawn Copeman

Last month's question came from Toni Becker, who wrote:
"After a long break from freelance writing, I just resumed
submitting features/photos to newspapers.  My previous submissions
were hard copy and slides or negatives sent by snail mail, (tells
you how long it's been since I've last written!)

"What are the general format rules for electronic article
submissions to newspapers -- line spacing, headers, etc.  Also, is
it alright to e-mail a completed article without query?  

"And what are general rules for electronic submission of photos
taken by a digital camera?" 

Sadly, we had no replies to Toni's question, so I will answer it

Firstly, welcome back to freelancing, Toni!  Some things have
changed a lot, whereas many things are still pretty much the same
as they were in the days of snail mail submissions. 

One thing that hasn't changed at all is that it is not a good idea
to submit a complete article.  Always, always query first, UNLESS
the guidelines say otherwise.  

With most submissions being electronic these days, editors do not
want their inboxes filled with long article submissions they
haven't asked for.  This will only make them view you as an
amateur. As Moira Allen states in her fantastic book "The Writer's
Guide to Queries, Pitches and Proposals," which I strongly
recommend you read, "An editor doesn't want you to send in that
brilliant work.  An editor wants you to explain why you should be
permitted to send in your work." 

Query just as you would before, but make sure your query is short
and to the point.  Editors don't like to have to scroll down to
read long queries. 

As with postal queries, your email query needs to be addressed to
the correct person.  For newspapers, check the masthead, for
magazines, check out the masthead and the website. 

In short, your email query needs to contain: 

Subject: (include the word query)

Main Body of Email: 
Hook, Pitch, Main Body, Credentials and Close.

Most email queries are between three and five paragraphs in length.
Here is an excellent guide to writing and submitting email queries
and articles: http://www.writing-world.com/basics/email.shtml

As for article submissions themselves, again you need to read the
guidelines.  Most newspapers and magazines will specify what font
or spacing to use.  If they don't, go for an easy-to-read font in
size 12 and use double spacing. 

Make sure, however, that what you send doesn't come through as
gobbledegook!  Ensure you turn off special characters such as curly
or smart quotes, as these do not always come through as quotes in
electronic submissions. 

Some editors prefer you to paste your article into the body of an
e-mail, while others that you attach your query as a Word.doc. 
Check the guidelines carefully if you want your article to be read. 

Finally, when it comes to submitting photos, editors usually want
fairly high resolution jpegs submitted.  These are easier to resize
as necessary.  Again, check the guidelines. Here is a handy article
that explains what writers need to know about digital photography:

I hope this helps. 

[Editor's Note: While editors need high-resolution photos for
publication, they are not happy to receive an e-mail with a string
of high-resolution photos as attachments for review.  When
submitting photos for review, first find out how the editor wants
to receive them.  This can be part of your query process; you can
state, for example, that you have photos available to accompany the
article.  If the editor wants to see them, he or she will usually
tell you the best way to submit.  Sometimes, the editor will want
to see lower-resolution "samples" (not thumbnails, but scaled-down
versions) to determine which photos to use.  You may then be asked
to send the full-resolution photos on disk.  

Some writers post photos on a photo-sharing service, where an
editor can scan through the options and select those that are
desired.  You can sign up for a free service on sites like
Shutterfly.  In some cases you can set it up so that the editor can
download the desired photos directly.  

Be sure that you really DO have high-resolution JPGS -- a minimum
of 300 dpi.  Nothing frustrates an editor like finding out that you
just have a tiny little file that looks perfectly good to you on
your computer screen -- but will NOT work in print.  Remember, too,
that you don't have to have "digital" photos or a digital camera;
if you have prints or slides, and the editor wants electronic
files, you can scan them for publication.]

This month, our question comes from our beloved editor herself.
Moira wants to know: "Do you find it helpful, or a hindrance, to
read novels of the type you are writing while you're in the midst
of a writing project?  For example, if you were writing a cozy
mystery, do you find that reading similar mysteries helps 'keep you
in the mood'?  Or do you find that it's distracting to get involved
in someone else's style and plot?"

Email your answers and any questions with the subject line The
Inquiring Writer to editorial@writing-world.com

Until next time, 
Copyright 2012 Dawn Copeman


NEED HELP WITH YOUR STORY? Fiction Writing Guides are designed to
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Beacon Press Publishes a Book of Tweets
Beacon Press has just published its first ever Tweet book; "Tweet
Land of Liberty: Irreverent Rhymes from the Political Circus" by  
Elinor Lipman.  The book only took Lipman four months to write and
she started each day by writing her tweets as her warm-up writing
activity.  For more on this story visit: http://tinyurl.com/btgzj4x

Curtis Brown Looking for New Authors at Foyles Bookshop
Literary agent Curtis Brown is taking part in a Discovery Day at
Foyles Bookshop, Charing Cross Road, London on September 22 to find
new writers. New writers will get the chance to pitch their novels
to the agents one-to-one. A 'surgery' will give writers the
opportunity to ask general questions about writing, agents and
publishing.  To find out more about this story, visit: 

New Short Story Prize Announced by Costa
Costa has announced it is funding a new prize for short stories.
The new award will run alongside the Costa Book award and will
award 3,500 for the best new, previously unpublished short story
of up to 4000 words.  For more on this story visit: 


FEELING PRESSURED TO PRICE A JOB? Follow the 3-step process in
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NOW. This brief e-book is by the author of the award-winning What
to Charge: Pricing Strategies for Freelancers and Consultants.
Get it now at http://tinyurl.com/86qfupw


Writing Jobs and Opportunities

About.Com Looking For Guide Writers
About.com, which is part of the New York Times Company, is seeking
more guide writers.  About.com guide writers are paid for each
article they write for the site.  

Food Bloggers Needed for New Latin Food Site
A new Latin food site is seeking writers/contributors to pitch
articles surrounding recipes, chefs, entertaining ideas, how-to's,
food travel and more. Writers must have experience in the food
space and be able to quickly turn around copy for accepted pitches.
Writers will be paid $40-50 per post, based on length & experience. 

Send a resume, cover letter and clips to relevant work, plus 3
pitches that could work on our brand new Latin food site!

The Slant is looking for Writers
The Slant is a satirical online newspaper that takes a different
'slant' on news from the UK.  The magazine is looking for UK-based
writers (amateur or professional) or, alternatively international
writers who can appeal to, and cover topics and issues relevant to,
a UK audience. Can you write about the news in an intelligent,
engaging style, with humour, wit, and, what the hell, maybe even
(if you're feeling extravagant) a bit of panache as well? If so, we
want to hear from you!

FEATURE:  Processing Feedback
By Joni B. Cole

Here is what most writers forget. You are the boss of your own
story. Not the other writers in your critique group. Not the famous
author whose workshop you were lucky enough to get into at the Iowa
Summer Writing Festival. Not even your mother-in-law who comes into
your house while you are at work and vacuums the mattresses because
somebody has to protect her grandchildren from dust mites. When it
comes to applying feedback, you -- and only you -- are the one who
gets to determine what stays and what goes in your story. And that
is a good thing. 

So why do so most writers forget this fact? Why do most of us, when
confronted with feedback, automatically relinquish authorial
control and start scribbling copious notes all over our manuscripts
like some junior intern on Red Bull, determined to meet everyone's
demands? "Yes sir, I'll rewrite the whole novel in first person and
add more sex scenes, no problem..." "No ma'am, I don't need to kill
off the grandfather in the end; I thought he was a nice guy,
too..." "Yes sir, I'm sure my memoir would sell better if I was
raised in a Chinese orphanage. I'll get on it right away." 

When processing feedback, most of us need assertiveness training,
if not for the sake of our stories then for our mental health. For
one thing, you will never be able to please everybody. Newton's
third principle of motion explains that for every action there is
an equal and opposite reaction, and any given writing workshop
underscores this same reality. For instance, if your well-respected
writing instructor hates the scene depicting your main character's
long bus trip to Reno, it is inevitable that another respected
feedback provider in that very same workshop -- likely the graphic
novelist/performance artist whom you have had a crush on since day
one -- will drill his tortured eyes into your soul and insist that
the long bus trip is the one part of your story that rocked his
world. So now what do you do?

There is only one thing you can do. When processing feedback, you
must plant yourself figuratively in the corner office, plunk down
one of those massive paperweights on your desk that reads "Head
Cheese," and claim creative control. Because if you don't, whenever
you sit down to revise your work you are likely to start
second-guessing and compromising and rewriting by committee, until
your story starts to read more like word salad than impassioned,
polished prose.

Acknowledging that you are the boss of your own story makes
processing feedback a lot more palatable, even when you are in the
hot seat. Who doesn't have a silent meltdown when their writing is
up for review by a trusted reader or writing workshop? I know when
the time comes for my work to be critiqued, I always have a strong
urge to toss back a few in the powder room, if only to stop the
soundtrack in my head. They're gonna hate it, I know they're gonna
hate it... Oh, I can already hear the workshop star, Roberta, with
her usual refrain, "Kill your darlings..."(which she keeps
attributing to Mark Twain). And Lars with that weary note of
resignation in his voice, "It doesn't matter if it really happened,
you have to make it convincing on the page," and Marilyn throwing
her fifty-thousand dollar advance in my face by telling me, "Add
more conflict. Only trouble is interesting."

But then I remind myself that I am the boss of my own story, so
there is really no need to get all worked up in my head. If someone
does trash my work -- "Well, this is a sorry excuse for a story" --
I can and should hold that person accountable. "What exactly do you
mean by 'sorry excuse'? What part was sorry? Why was it sorry?"
Like any good boss, I should strive to be inclusive, encouraging
all my readers to speak up and be forthright. I can listen to their
comments with equanimity, even appreciation, knowing that soon I
will return to my corner office, shut the door on the cacophony,
and continue to process all feedback on my own time, and in my own

Over the years, I have calculated that feedback on any given piece
of writing always falls into one of three categories, and breaks
down into the following percentages: 14 percent of feedback is
dead-on; 18 percent is from another planet; and 68 percent falls
somewhere in between. I am not a statistician (actually, I am
hopeless in math), but I find it reassuring to know that there is
an element of predictability to the art of processing feedback.

Dead-on feedback is the kind of feedback that feels right the
moment you hear it, usually because it confirms something you
already knew on a gut level. Oh, yeah, you think when you hear
dead-on feedback, now I remember not liking that passage myself,
but I was having such a good writing day I just kept going and
forgot all about it. Dead-on feedback is also the kind of feedback
that can lead to those wonderful Aha! moments. For example, a
reader might tell you that he isn't hooked by your story until the
scene on page eight when the surgeon amputates the wrong leg (as
opposed to the long-winded summary of the protagonist's medical
school education outlined in the first seven pages). For weeks, you
had been struggling with those opening pages, trying and failing to
get them right. Now, just like Archimedes in the bathtub, you see
the solution all at once. Cut the opening! Cut the opening! It only
gets in the way. Processing dead-on feedback is easy because a
small region of your brain -- the right hemisphere anterior
superior temporal gyrus -- flashes you the instant message: Eureka!

The 18 percent of feedback from another planet is also relatively
easy to process, once you catch on to the fact that the feedback
provider has issues. See how long it takes you to figure out where
this feedback provider is coming from: "I think your main character
should kill off her boyfriend. Why? Because men are pigs! All men
are pigs! They're born pigs, they die pigs, and in between they
give you a promise ring on Valentine's Day, but then they make out
with your ex-best friend Sheena at Happy Hour two Fridays ago, and
I know this for a fact because my new best friend Heather saw the
whole thing while I was out in the parking lot throwing up after we
did all those two-shots-for-two-dollars..." Feedback from another
planet should be discounted for obvious reasons, but make sure you
don't discount the feedback provider along with it. She may
surprise you when critiquing your next story. 

Which brings me to the remaining 68 percent of feedback, which
falls somewhere in between dead-on feedback and feedback from
another planet. This category of feedback may include a timid
suggestion that speaks volumes about a weakness in your plot. It
may include a brilliant insight that ends up being wrong for your
current story, but will certainly apply to another story down the
road. Or it may include a blunt comment that raises your hackles,
but also the level of your prose. 

One of the first things to look for when processing in-between
feedback is a consensus of opinion. Say you present your work to
two or three trusted readers or members of a critique group, and
more than one of them found your ending confusing -- Did the father
reconcile with his teenage son or didn't he? If your intention is
to clearly show a reconciliation then you should pay particular
attention to any type of collective opinion. This doesn't mean you
should automatically change your ending, but it does mean you
should scrutinize your motives if you don't change it. Are you
preserving the ending because you really think it works and is
perfect as is, or because you are being lazy or overly attached to
the writing?

Now take the same story, but a different scenario. Let's assume
half your readers "got" the ending, but the other half didn't
understand your intent. If this is the case, first you should feel
good about batting five hundred. Then you should take the time to
process the feedback of your excluded readers more carefully, just
in case they offer any insights about how you might tweak or revise
the ending to make it more accessible to a broader audience. For
instance, Darla, the romance writer in the group, offered the
following feedback, "If you want to make it clear that the father
and son reconcile at the end of your story, why don't you just have
them hug in the last scene?"

Your knee-jerk reaction to Darla's feedback may be to dismiss it
outright because Darla writes genre fiction and you are a snob. But
part of processing feedback is getting over yourself, as well as
recognizing that sometimes feedback can be wrong in the
particulars, but right over-all. 

Okay, so the father in your story is not a hugger. But what if he
did show some outward sign of love for his son at the end? What if
he offered the boy his prized pen-knife, for example, the one that
his own father gave him when he left home as a teenager? Now that
would maintain the integrity of the father's character, add a
wonderful symbolic gesture, and clarify the ending for more

One of the biggest mistakes writers can make when processing
feedback is to categorize readers too quickly -- good reader, bad
reader -- and to do the same with their comments--good advice; bad
advice. Sixty-eight percent of the time, that's not how feedback
works. As writers, we have to be vigilant to fight the impulse to
accept or ignore feedback wholesale. Just recently, someone gave me
some heavy-handed advice that I thought was totally ridiculous,
until I took the time to scale it down in service to my story.     

Processing feedback effectively means being receptive to hearing a
variety of opinions, but filtering it all through your own writerly
lens. What serves your intent? What rings true? What is your own
inner voice telling you to do? Sometimes it can be hard to tune in
to your own instincts after a feedback session, especially when the
comments have been coming at you like the arrows flying at St.
Sebastian. But that is when you need to hightail it to your corner
office and rest your cheek on the cool weight of your Head Cheese
paperweight. Breathe. Give yourself some space and quiet. 

Listen carefully and I promise you, your inner voice will speak up
over time. And here is what it will tell you: 1 percent of the
feedback feels dead-on. Eighteen percent is from another planet.
And 68 percent feels like Darla, coming at you with good intentions
and arms outstretched. Just remember, Darla can comfort you, or she
can squeeze you. As boss of your own story, it is up to you to

Tips for Processing Feedback
Be open: You can't begin to process feedback if you won't let it
in. I know how hard it is to curb the impulse to defend your work
against every little criticism, but try. If it helps, write a note
on your palm as a reminder -- Hush up! -- and refer to it whenever
you hear yourself going on and on. In a workshop setting, some
groups institute a "no talking" policy to prevent writers from
interrupting the critique, but I feel that's an extreme measure.
Writers should feel free to ask questions or raise issues that
inform the discussion.

Resist the urge to explain. A teacher I know who works with both
writers and actors once noted that if you tell a performer
something didn't work in his performance, he simply drops the line
or fixes it. Writers, conversely, have a natural impulse to explain
why they wrote something a certain way, or what they were trying to
do in the piece. As writers, we need to resist the urge to explain
because it gives feedback providers too much information, making it
harder for them to separate what is really coming across on the
page from what you have told them. 

Little by little: It is easy to get overwhelmed when processing
feedback, especially if you try to take it in all at once. After a
feedback session, sift through all the comments once, but then put
them away and only worry about addressing one issue at a time. For
example, if a reader has told you that your plot is slow and your
main character seems shallow -- forget about the plot issue for the
time being and concentrate on character. Or focus on moving your
story forward, and worry about character development in the next

Ignore feedback until you are ready for it. If you are on a roll
with your writing, don't let feedback stop you. Some writers avoid
feedback until they have taken their work as far as they can on
their own. This makes sense if hearing feedback too soon interferes
with your own creative vision. But feedback can also serve you in
the midst of a productive period. The value of hearing feedback,
and then putting it in your mental lockbox as you push forward, is
that this allows your unconscious to quietly process the outside
information in a way that informs your writing in sync with your
instincts -- without slowing you down.

Try out the feedback. Sometimes the only way to judge feedback is
to play it out on the page where your own writerly instincts can
react to it. For example, if a trusted reader is adamant that your
first-person coming-of-age novel should be written in third person,
try writing a couple chapters this way. See for yourself what you
lose or gain. If several readers think that your main character
isn't likeable, write a scene inside or outside the story that
shows your protagonist doing something endearing. Whether you
ultimately use the scene or not, this is a great exercise in
character development. No writing is a waste of effort.

Give yourself time. If you are at a point in the revision process
where you can't tell whether you are making things better or worse,
stop! Move away from the computer with your hands in the air,
before you do any permanent damage. Take a break from writing, or
start something brand new. It is remarkable how a good night's
sleep or a short period away from the manuscript can restore
clarity, and help you process feedback in a way that leads to


Excerpted from Toxic Feedback: Helping Writers Survive and Thrive
by Joni B. Cole, 2006, University Press of New England, Lebanon,
NH. Reprinted with permission.

Co-founder of the Writer's Center of White River Junction, Vermont,
Joni B. Cole is the author of Toxic Feedback: Helping Writers
Survive and Thrive. She is a frequent speaker at writing
conferences around the country, a contributor to The Writer
magazine, and a regular blogger on ThirdAge.com. She is also the
author of Another Bad-Dog Book: Tales of Life, Love, and Neurotic
Human Behavior, a collection of 28 true-life tales that mingle low
moments with high comedy, and the creator of the three-volume This
Day series, including Water Cooler Diaries: Women across America
Share Their Day at Work. For more information, visit 
http://www.jonibcole.com or contact Joni at jonibethcole at

Copyright 2012 Joni B. Cole

For more advice on getting, giving and receiving feedback and
critiques check out: 


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is happening and show you how to self-publish your own eBooks.


Erika Dreifus: Practicing Writing
This is an excellent blog by Writer contributing editor Erika
Dreifus.  It is full of writing advice and writing opportunities as
well as tips from Erika herself and general musings on life. She
also produces a monthly newsletter too. 

The Word Chef
Tea Silvestre is a wiz at creating unique brands for her clients
and she shares her advice with all writers who want to create their
own copywriting or business niche.  Packed full of resources to
help you identify and make the most of your unique talents, this is
a great site for all writers. 

Eclectic Writer
J.L. Walters is the author of 24 books in a wide variety of genres.
In her blog she not only shares her own tips and musings on the
writing life, but also interviews other well-known authors and gets
their tips on writing fiction.  


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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: July 31, 2012
GENRE: Short Stories
DETAILS: In ancient Athens, citizens voted to ostracize a fellow
citizen each year using shards of pottery known as the ostracon.
This challenge uses the ostracon as the theme, focusing either on
someone who has been banished, someone doing the banishing, or even
someone using the ostraca (plural for ostracon) as a weapon against
someone else. The style: Greek tragedy or comedy, 3000 words
PRIZES:  1st prize: Dover Thrift's "Five Great Greek Tragedies,"
and J. Michael Walton and Kenneth McLeish's "Six Classical Greek
Comedies." 2nd prize: Bernard Evslin's "Heroes Gods and Monsters of
Greek Myths."
URL: http://www.scribophile.com/contests/the-ostracon-contest/
DEADLINE:  July 31, 2012
GENRE: Poetry
DETAILS:  Five line limerick on sailors and the seaside, two
entries maximum per person. 
PRIZES: $15, 5  

DEADLINE: September 30, 2012
GENRE:    Short Stories, 
DETAILS:  Send up to five six-word stories. 
PRIZES:  A stay at The Algonquin Hotel in Manhattan, where
Hemingway bet the Round Table, "I can write a story in six words." 
URL:  http://www.fleetingmagazine.com/the-six-word-story-prize/

DEADLINE: September 15, 2012
GENRE: Poetry
DETAILS:  prize awarded for best poem in 4 categories: Dwarf,
Short, Long and Nonmember. Poems must also contain one or more of
the following elements: science fiction, fantasy, horror,
surrealism or straight science. 
PRIZE: $50
URL:  http://www.sfpoetry.com/news.html 

DEADLINE: September 30, 2012
GENRE: Short Stories
DETAILS: Short fiction that would appeal to the Jerry Jazz reader's
interests in music, social history, literature, politics, art, film
and theatre, particularly that of the counter-culture of mid-20th
century America. 1000 - 5000 words.
PRIZE:   $100

DEADLINE: September 30, 2012
GENRE: Poetry, Books
OPEN TO: US writers of color who have no prior published books in
this genre. 
DETAILS: Picture books for children aged 5 - 12.  Two categories:
Poetry: picture book in verse for readers aged 5 - 12, Prose:
picture book story for readers aged 5 - 12. Submit maximum of 2
stories, max 1500 words each. 
PRIZE: $1000 and publication with standard royalty contract. 
URL:    http://www.leeandlow.com/p/new_voices_award.mhtml


To Win" is completely updated for 2012, featuring over 1600 contest
listings for writers worldwide.  The 2012 edition has more than 
450 NEW listings.  You won't find a more comprehensive guide to 
writing contests anywhere.  Available in print and Kindle editions.
Print: https://www.createspace.com/3778183
Kindle: http://www.amazon.com/exec/obidos/ASIN/B007C98OUA/peregrine


AUTHOR'S BOOKSHELF: Books by Our Readers

Holiday Affair, by Annie Seaton 

A Kilo of Chocolate Sprinkles, by Wayne Pollard

Shadows and Dreams, by Joseph Lucilla

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.


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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
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