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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

                  http://www.writing-world.com

Issue 12:16        13,369 subscribers             August 16, 2012
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IN THIS ISSUE:
=================================================================
 
THE EDITOR'S DESK: Some Things Never Change, by Moira Allen 
CRAFTING FABULOUS FICTION: Raising the Stakes, 
by Victoria Grossack 
NEWS FROM THE WORLD OF WRITING 
WRITING JOBS AND OPPORTUNITIES
FEATURE: How to Break Writer's Block, by Jacob Myers
THE INQUIRING WRITER:  Reading and Writing in the same Genre, by 
Dawn Copeman
THE WRITE SITES -- Online Resources for Writers                    
WRITING CONTESTS WITH NO ENTRY FEES                                
The Author's Bookshelf

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FROM THE EDITOR'S DESK
=================================================================
Some Things Never Change...
---------------------------
Prompted by the recent news about The Writer going on hiatus (see
last issue's editorial), I decided to take a look at some older
issues of that fine magazine.  I mean, REALLY older issues. 
Visiting my favorite (and most hazardous) site for antiquarian
books, ABEBooks.com, I tracked down three volumes of The Writer
from the 1890's and settled down for a good read.

And a good read they are.  But as I browsed one article after
another, I felt a curious sense of deja vu.  At least, I think it's
deja vu.  What would one call it, I wonder, when one is reading
about something in the PAST that makes you feel as if you've
already read it -- in the present?

For it seems that, in the world of writing and freelancing, things
haven't changed a great deal in over 120 years.  Just like any
writing publication you care to read today, The Writer of the
1890's is packed with articles by writers complaining about the
intransigence of editors -- and editors complaining about the
foolishness of ignorant writers.  

Writers complain of editors who don't respond to submissions, who
reject submissions without (apparently) reading them, who don't
provide the promised payment, who publish works without paying for
them, and who never let one know that one has been published. 
Editors, in return, complain about writers who don't read the
guidelines, don't study the magazine, send in unreadable
manuscripts, and submit material that is utterly inappropriate. 
(One complaint amongst editors is writers who will slip items such
as threads, eyelashes, flower petals, etc., between the pages of a
manuscript, to determine whether the editor has actually read it!)

Beyond these obvious similarities, however, I was struck by how
many other articles could have been torn from today's writing
headlines.  It seems, today, that we're always being told of a new
technology that will be a "must-have" for writers -- and 1891 was
no exception.  In 1891, writers and editors were coming to grips
with a modern thing known as the "typewriter" -- and speculating
that one day, most writers would be using one.  Editors were even
going so far as to have handwritten submissions typed up by a
secretary before reviewing them!  
Not so long ago, we ran a survey covering the question of whether
writers preferred newfangled or old-fashioned methods of jotting
down their thoughts.  In "The Inquiring Writer," Dawn asked "I if
there are still some writing tasks that you prefer to do the
old-fashioned manual, pen-and-paper way, or if you have gone all
techno-writer? I wondered if you had tried new technology and
reverted back to old ways, or if you had you found a technology
that really boosts your creativity and productivity."  Some readers
wrote that they preferred to use a computer for nearly everything;
others preferred pen and paper.

Contributors to The Writer addressed a similar question -- to
hand-write or use this newfangled typewriter thingie?  One writer
informed the magazine that she preferred to use a slate to jot down
notes and ideas, only turning to pen and paper when she was ready
to write more seriously.  Now, I'm sure most of you know what a
slate is -- it's literally a flat slice of stone (slate), on which
one can write with a hard stylus.  Today, we have tablets that are
about the same size as a slate, on which we can write, in our own
handwriting, with a stylus.  How the world changes... or not...

We've addressed the issue of RSI (repetitive strain injuries) on
Writing-World.com -- but writers of the 1890's were no stranger to
such problems.  Then, the issue was writer's cramp -- the result of
gripping a quill pen for hours on end.  An article in The Writer
came up with a number of intriguing solutions -- including
strapping a pair of carrots to your quill, to make it easier to
hold, or jabbing your pencil through a potato or an apple!  (This
might not work with your mouse.)

Other concerns facing the 1891 writer included changes to
international copyright laws, which were expected to have a
profound effect on the ability of American printers to re-publish
works from other countries.  (In fact, this volume included a copy
of the new laws as an appendix!)  Writers were also considering
launching a petition to reduce the costs of sending manuscripts
through the mail.  And speaking of the costs of mailing, one editor
bemoaned the failure of so many writers to include a return stamp
with their submissions -- the cost of all those 2-cent stamps was
really adding up!

One intriguing article listed some of the new words that had made
their appearance in 1891, or thereabouts, and speculated as to how
many would become permanent additions to the dictionary.  Some of
the newcomers to the American writer's vocabulary include:
Afro-American, bicyclist, bob-sled, boycott, cocaine, crematory,
milkshake, natural gas, pigeon-hole (as a verb), Pinkerton,
speak-easy, vaseline, and voltage.  Some new terms, such as bovine,
canine and feline, were considered "pedantic" and "barbarous" by
the author of that particular article.  And others more or less
failed to catch on, though it's a pity we no longer have in common
usage such terms as callithumpian, don't-care-ativeness, happify,
Mugwump, pigs in clover, scrimpage, tariff-monger, or trouserings!
Oddly, with all the advice that seems so closely akin to what we're
told today, I have not yet found one article on how to deal with
writer's block!  So I'm happy to be able to provide, herein, at
least SOME nuggets of information that haven't been passed down
virtually unchanged for over a century!

-- Moira Allen, Editor

Copyright 2012 Moira Allen 

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COLUMN: CRAFTING FABULOUS FICTION, by Victoria Grossack

Raising the Stakes 
=================================================================
Most of us want to write gripping fiction. We want our readers to
forego food and drink, to fight off sleep, even to resist calls of
nature in order to keep turning the pages to find out WHAT HAPPENS
NEXT. One way to ratchet up the tension for your readers is to keep
raising the stakes for your characters. The challenge, of course,
is figuring out how to do this. 
What Are Stakes? 
----------------
Stakes are what may be gain or lost. Your characters have wants,
goals, desires, or simply needs that can be classified as stakes.
It should not be clear -- it really needs to be in some doubt -- as
to whether or not your character will achieve these goals. 

You may argue that the outcome is not in doubt for all genres. In
many romances, the hero and the heroine will, by definition, get
together by the end of the story. Readers of any experience know
this. However, even though your READERS know that Hero and Heroine
are going to miraculously overcome their difficulties and live
happily ever after, Hero or Heroine are unaware of this foregone
conclusion. They, stuck inside the pages, can't see what's coming.
So even if your READERS know that all will end well, they can
identify with your CHARACTERS, and derive their suspense
vicariously. 

Examples of Stakes 
------------------
So, you need to come up with things that matter to your readers and
your characters. Let's say that your main character is Andrew. Here
are a few stakes that could matter to Andrew: 

         Whether or not he gets the new job 
         
         Whether or not he repairs his old car 
         
         Whether or not his team wins the football game 
         
         Whether or not he wins Heidi's love 
         
         Whether or not he finds the cap to the gas tank 
         
         Whether or not he loses ten pounds 
         
         Whether or not he saves the life of his child 
         
         Whether or not he is accepted into a barbershop quartet 
         
         Whether or not he trains his dog to use the pet door 
         
         Whether or not he keeps the local chemical plant from blowing up
        and killing everyone in a three-mile radius 
         
         Whether or not his friends/enemies achieve THEIR goals 

These stakes will matter to your characters if you, while writing
your story, MAKE them matter to your characters. They also help
define your characters; your characters, in turn, will help define
the stakes that matter to them. If Andrew is thin then he probably
won't want to lose ten pounds and you can eliminate that stake from
your list -- UNLESS he's trying to make a particular wrestling
class. 

Make the Stakes Entertaining 
----------------------------
We've already discussed a couple of attributes of stakes: they
should matter to your characters; and the achievement of these
stakes should be in some doubt. A third and important
characteristic is that these stakes should be ENTERTAINING. 

ENTERTAINING is often in the eye of the beholder; what thrills one
reader may bore another. In some respects this is determined by
genre; for example, the stake "winning the football game" may not
generate much empathy in the readers of romances. Then, again, if
you write it right, it just might -- it all depends! 

So, ENTERTAINING can be defined many ways. Perhaps you are trying
to increase suspense; this can be done by endangering your main
character or those he loves. Perhaps "entertaining" involves
romance, avoiding embarrassment, is a matter of attaining or
retaining power, or is simply odd or weird. My co-author and I open
one scene with a character, Dirke, looking around the room at all
the men, wondering which one she should seduce to get her pregnant
-- a pregnancy which she needs for political reasons. This seemed
-- at least to us, our test readers and our agent - intriguing,
entertaining, AND suspenseful. 

Your characters' stakes may be more mundane. In fact, I think it's
fun to include stakes that are trivial but a little peculiar --
stakes that readers experience but rarely read about -- such as
trying to find the cap to the gas tank that was accidentally lost
because your main character forgot to put it back on while filling
up the tank at a gas station (obviously an older car). You can
increase the significance of these stakes. For example, your
protagonist may want to lose the ten pounds in order to take
advantage of a modeling opportunity -- or needs to find the gas cap
because the character's father will scold her for her
scatterbrained ways. 

Sequencing the Stakes 
---------------------
Given the stakes that will consume your character, which has the
least impact and which has the greatest? In a way this decision is
personal/artistic/subjective -- all nice words for arbitrary, for
both you as author and even in some sense for the characters,
because we all have different priorities and these priorities shift
with time. My own particular choice would be to decide that
training the dog to use the pet door has the least impact while
keeping the local plant from blowing up and killing everyone has
the most. 

You may want to introduce the lower-impact stakes first. These help
your readers get to know your main characters, especially if they
are quirky. Tension increases as the stakes increase. On the other
hand, if Andrew knows that the local chemical plant is about to
blow up, it can make for a very exciting beginning.

Resolving the Stakes 
--------------------
Resolving the stakes in an entertaining manner is what makes your
stories great; what makes your readers keep turning pages; what
makes your readers search bookshelves hoping for more books by you.
How you go about resolving them is a matter for other columns, so I
won't go into that here. However, I will mention a few principles
here. 

All of them have to be resolved, the small as well as the great.
Anything left hanging and unresolved is sloppy. Sometimes authors
will leave a few things unresolved on purpose because they're
planning a series. This may not please your readers (unless these
unresolved items go unnoticed) but at least it's better than you,
the author, leaving a plot hole unintentionally. 

Not all stakes have to be resolved positively. For example, in the
first two Harry Potter books, Gryffindor, Harry Potter's house,
does not win the Quidditch championship, partly because he had
other priorities, such as fighting the Dark Lord and saving the
lives of other characters. It is only in book three that Gryffindor
wins, and in this case the stakes have been raised because it is
the team captain's last year at the school and he has never won
(partly due to Harry Potter's injuries). 

Artistic Interweaving 
---------------------
Some stakes may be resolved immediately. Andrew is hungry. Andrew
eats a sandwich and so this is resolved before it gets serious. 

A stake may be resolved only to be replaced with another, more
urgent stake. Jane Austen's "Emma" has a brilliant example of this.
Austen resolves the mystery and intrigue involving one character,
Jane Fairfax. And just as we readers think we can exhale and relax,
Austen replaces it with another dilemma that threatens the lifelong
happiness of Emma, the protagonist. 

Often authors will use a sort of nesting technique, in which the
stakes are introduced in an ascending order -- they keep getting
raised -- and they are resolved in a descending order. To use some
of Andrew's stakes above, a story might be arranged thus: 

A1. Andrew tries to teach his dog, Rex, to use the pet door 

B1. The local chemical plant is in danger of exploding. Andrew
works to prevent it 

B2. The plant explodes (not a happy ending, but perhaps Andrew got
out all the people) 

A2. Rex, terrified by the noise, finally uses the pet door 

It is wonderful when the stakes interact with each other, bringing
the disparate threads of your story together. In this example above
stake B has an unintended but positive impact on stake A. In other
stories, it will be impossible for two stakes to have a happy
ending -- not without some interesting creativity on the part of
the author (but that's what we're there for). 

In the end, your story will have many stakes, resolved happily or
not. The order in which you put them and how you go about resolving
them is a large part of what makes your story. 
>>--------------------------------------------------<<

A version of this article appeared at the Coffeehouse for Writer's
Fiction Fix. Victoria Grossack studied Creative Writing and English
Literature at Dartmouth College, and has published stories and
articles in publications such as Contingencies, Women's World and I
Love Cats. She teaches a variety of writing classes at 
http://www.coffeehouseforwriters.com/courses.html.  Victoria
Grossack is the co-author of the Tapestry of Bronze series
(Jocasta; Children of Tantalus; The Road to Thebes; Arrow of
Artemis) based on Greek myths and set in the late Bronze Age. 
Besides all this, Victoria is married with kids, and (though
American) spends most of her time in Europe.  Her hobbies include
gardening, hiking and bird-watching.  Visit her website at 
http://www.tapestryofbronze.com, or contact her at tapestry (at)
tapestryofbronze (dot) com.   

Copyright 2012 Victoria Grossack

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NEWS FROM THE WORLD OF WRITING
=================================================================
Google Takes Tougher Stance on Copyright Infringers
---------------------------------------------------
Good news for all of us who have ever had our work copied: Google
is now placing sites that have received copyright violation
notifications further down the results list. Google is now
receiving more requests every day for content to be removed due to
copyright violation than they did in the whole of 2009!  For more
on this story visit:  http://tinyurl.com/cjderlv
  
Kindle Books Outselling Traditional Books on Amazon in UK
---------------------------------------------------------
Amazon has reported that it is now selling 114 Kindle books for
every 100 traditional books it sells in the UK.  This figure does
not include free eBooks. For more on this story visit: 
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Google Buys Travel Guides from Wiley Publishing
-----------------------------------------------
Google has purchased the Frommer's Travel Guides from publishers
John Wiley and Son.  The purchase will strengthen Google's ability
to provide more tailored local reviews.  At the moment it is
unclear whether Google will continue to publish the travel guides
or whether they will now be available online only.  For more on
this story visit: http://tinyurl.com/bug469t

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Writing Jobs and Opportunities
=================================================================

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-------------------
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Basic requirements:

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How to apply:
--------------
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Preference will be given to applicants who intend to commit
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New Market for Flash Fiction
----------------------------
Jean Martin is the editor of Free Flash Fiction, a new flash
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authors. For submission details visit 
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Freelance Reviewers Wanted by new ebook Company                    
-----------------------------------------------
We are an indie publishing house founded weeks ago. Our first eBook
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Do any of the freelancers you are in touch with cover eBooks or
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*****************************************************************
 
FEATURE: How to Break Writer's Block
=================================================================
By Jacob Myers

Writer's block. All writers suffer from it at some point during
their writing career. Some can bypass it pretty quickly, but for
others, it takes time, time, and more time. Writer's block can hit
a writer at any time. You could have the best intentions to sit
down and spend hours writing. You have a strong desire to write
something new, refreshing... something meaningful. Yet, when you
sit at your desk and put your pen to paper, your mind draws a
blank. That void is simply writer's block, and though it often
seems to come at the worst time possible, thankfully, there are
ways to break it. 

While some see writer's block as a sign of true weakness, an
indication of doubt, or a sign that the imagination is truly
failing, the fact is that writer's block is not only common, but
shows just how complicated and complex writing of all types,
including fiction writing, can be. Here are some tips, tricks, and
ideas to help break your writer's block. Not all of them will work
for everyone. Pick and choose which ones to try, and see how
effective they are for you. If one doesn't work, move onto the next.

1. Realize. 
-----------
Sometimes, as writers, we tend to drift into our stories more than
we should. We tend to leave the real world and go to another. When
writing, it's important to realize that you're only human, and
while you may push and push to be the greatest fiction writer out
there, the fact is that when we lose this sense of realization, our
works suffer. Your imagination flags, and before you know it,
there's a huge void of nothingness floating around in your brain.
There are times when, as a writer, you have to step back and
realize that things won't always go as planned. Make mistakes; they
only make you a stronger writer. This just may get your brain out
of a certain mindset and into one that allows you to explore and
write.

2. Give yourself a break. 
-------------------------
Remember that nothing and no one is perfect. Your writing isn't
perfect, you're not a perfect artist, nor is any other story or any
other author. The point is that, as a writer, it's not rare to set
goals that are too high. High standards are great to have, but when
they are too high, writer's block can easily set in, as you're too
focused on finding that one detail that seems like pure perfection.
The goals and standards you have for yourself should be attainable.
Out-of-reach goals are merely that: out of reach, stressful, and
frustration-inducing. Cut yourself some slack. It really does help.

3. Bend your structure. 
-----------------------
The most important part of any piece of literature, especially
fiction writing, is structure. Writers tend to stick to this
structure, but they often stick to it a little bit too much. Just
because your story needs strict structure doesn't mean that your
ideas and imagination do as well. Restricting yourself too much can
cut off your creative thinking. With so much structure, your
imagination isn't able to run wild. Instead of creating your
structure out of steel, turn it into rubber -- something flexible
that allows you some leeway. Otherwise, you'll be stuck in a
one-idea mindset.

4. Try freewriting. 
-------------------
Freewriting allows you to take your mind off the project at hand
and focus on something different. Stream-of-consciousness writing
seems a bit weird to some writers, as we like to have structure and
coherence, but sometimes writing something as it comes along gives
our mind the freedom it needs. Freewriting is truly a gift to
writers, as you'll think of many new things you'd otherwise never
consider writing down. No matter whether you're stuck beginning a
piece of work, trapped in the middle, or struggling to create a
great ending, freewriting gives you the chance to think without any
sort of boundaries or restrictions.

5. Think! 
---------
Take some time alone, sit down, and just think. Think about the
things that interest you. Think about a story or article that
caught your mind recently. Think about things that always seem to
catch your attention but that you don't give much thought to.
Consider your past, or future events. Think about your secrets.
When you think of all these things, write them down, write about
them. The point is to think about something new so that you can
take your mind off the project you have it set to. Minds need and
enjoy freedom, and sometimes as a writer you have to give it that.
Take some time and think about something OTHER than your story, and
before you know it, you'll think about the perfect idea that brings
you back to your story again.

Try these suggestions, and see which ones help to break your
writer's block. Don't stress if your writer's block doesn't go away
as quickly as you'd like. Give yourself and your imagination some
time. Allow your expectations to settle, give your mind some rest,
and soon enough the writer's block will be a thing of the past.

>>--------------------------------------------------<<

Jacob Myers grew up in Indiana and has always loved writing.  His
childhood teachers challenged him to write new and creative
stories, and he intends to go on writing far into his old age.  

Copyright 2012 Jacob Myers

For more information on beating writer's block check out these
articles from our archives: 
http://www.writing-world.com/life/sterne.shtml
http://www.writing-world.com/life/lifeblock.shtml

****************************************************************

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The Inquiring Writer: Reading and Writing in the same Genre
=================================================================
By Dawn Copeman

Last month Moira came up with a question to put to us all. She
wanted to know "whether 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?"

Kathleen Ewing said: "I make a point of never reading anything in
the genre I am currently writing. I don't want anything -- facts,
phrases or plot points -- to bleed over into my work." 

Jeff wrote that "I am always reading something, but never in the
genre that I'm writing in. I find it creeps into my own work.  But
I do love reading -- most writers do -- so I try to read in other
genres or read nonfiction when I'm working on a plot of my own."

Louis said: "I can never read in the same genre I am writing in.  I
find it makes me too critical of my own work and I'm not sure my
ideas are my own or taken, even subconsciously, from the books I am
reading."

Claire, however, said that she has found it "very useful to read
lots of works in my genre just before setting out to write.  I find
it helps me get the pace, tone and nuances of the genre down better
if I have read a lot of books in that genre before sitting down to
begin work on mine.  When I'm actually writing it, however, I read
books in other genres, still fiction, but in a completely different
genre to the one I'm currently working in. So for example, if I'm
working on a 'cozy' I will read science fiction, fantasy, horror or
a 'great' novel, a classic instead.  This keeps my writer's mind
working but also gives it a break at the same time."

I hope that helps, Moira!

This month's question comes from Maxine Holmgren, who has a
decidedly different question for us all.  She wrote: "I want to
create an anthology of inspirational stories.  My question is, how
do I find submissions?  How do I get people to send me their
stories?  And, very important, what legal forms are necessary, such
as permission to use, what rights to acquire, etc. And, since I
can't pay for stories, what incentive, such as how many
copies of the finished book to offer them, author discounts, etc?

"I've been searching all over for these answers, so hope you can
help!"

If you can help Maxine, or if you have a question to put to our
community at Writing-World.com, send me an email with the subject
header: "Inquiring Writer" to editorial"at"writing-world.com.

Copyright 2012 Dawn Copeman

****************************************************************

THE WRITE SITES
=================================================================
Mystery Writing is Murder
-------------------------
This site by cozy mystery author Elizabeth Craig is full of tips
and advice for mystery writers, including a roundup of useful
Twitter posts each week.  Scroll down through the posts and get
advice on writing cozy mysteries, naming characters and writing for
the marketplace. 
http://mysterywritingismurder.blogspot.co.uk/

Adventures in Children's Publishing
-----------------------------------
This blog is aimed at YA and children's writers in all genres.  It
is regularly updated and covers such topics as plotting, pitching,
conferences and creating a stronger manuscript.  It also runs a
monthly first five pages workshop where members can critique and
advise on a manuscript. 
http://childrenspublishing.blogspot.co.uk/

Burrst
------
If you feel like giving short fiction or flash fiction a go, then
this is the site for you.  At Burrst.com you can submit your work
up to a maximum of 1,250 words for review.  Most writers write
these pieces in less than 30 minutes.  This could be a good way to
warm up your muse. You don't have to post your work, but you can if
you wish.  You need to be invited to join, but you can request an
invite. 
http://burrst.com/

*****************************************************************

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find writers. Join us today at http://naiwe.com!

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WRITING CONTESTS
================================================================= 
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" 
(http://www.writing-world.com/bookstore/index.shtml).  
 
CONSEQUENCE PRIZE IN POETRY
---------------------------
DEADLINE:  October 1, 2012
GENRE: Poetry
DETAILS:   1 - 3 poems, any length, on the culture and consequences
of war.
PRIZES:  $200 and publication in Consequence magazine.  
URL: http://www.consequencemagazine.org/

THE OBSERVER/JONATHAN CAPE/COMICA GRAPHIC SHORT STORY PRIZE
-----------------------------------------------------------
DEADLINE: October 12, 2012
OPEN TO: Residents of UK and Ireland aged 16+
GENRE:    Short Stories, 
DETAILS:  A four page graphic short story (a narrative conveyed to
the reader using sequential artwork, typically in the manner of a
comic book). 
PRIZES: First Prize: £1000 and publication in The Observer Review,
Second Prize: £250 and online publication. 
URL: http://www.vintage-books.co.uk/Graphicshortstoryprize/

DISCOVERING NEW MYSTERIES COMPETITION
-------------------------------------
DEADLINE: October 31, 2012
GENRE:  Plays, Short Stories, Scripts,
DETAILS: Mystery writing in several genres: original plays,
screenplays, teleplays, and short stories for both adult and youth
audiences.  
PRIZE: Winning entries will be produced and presented before live
audiences on several stages within the RiverPark Center, home of
the International Mystery Writers' Festival in June of the
following year. Hotel expenses and royalties will be paid. 
URL: http://www.newmysteries.org/submission_guidelines/
   
ERIC GREGORY AWARDS
-------------------
DEADLINE: October 30, 2012
GENRE: Poetry
OPEN TO: British subjects by birth who reside in the UK or Northern
Ireland and will be under age 30 as of March 31 the year after the
deadline.
DETAILS: Submit a maximum of thirty poems
PRIZES: In total prizes are £24,000, with an average prize per poet
of £4000.
URL: http://www.societyofauthors.org/eric-gregory

NEW VOICES YOUNG WRITERS COMPETITION
------------------------------------
DEADLINE: October 31, 2012
GENRE: Young Writers
OPEN TO:  This contest is open to students worldwide, attending
public, private, or home schools. Students must be in junior
high/middle school or high school in the U.S., or the equivalent
grade level in their specific international school system.
DETAILS: Poetry fiction and essays on any theme can be submitted.
Middle School: Poetry 20 lines maximum, Prose 750 words maximum;
High school: Poetry 30 lines, Prose 1,000 words. 
PRIZES: Prizes vary from year to year, and have included eBook
readers or PDAs, gift certificates, and/or cash prizes. 
URL: http://newvoicesyoungwriters.com/    

TAPESTRY OF BRONZE ODES TO OLYMPIANS CONTEST
--------------------------------------------
DEADLINE: November 30, 2012
GENRE: Poetry
DETAILS: The Tapestry of Bronze is sponsoring a series of poetry
contests to celebrate Greek and Roman mythology and the Olympian
gods. The subject of the eighth contest is Aphrodite (also known as
Venus), the God of Love. 30 lines maximum.
PRIZES: $50   
URL: http://www.tapestryofbronze.com/OdeForm.html

*****************************************************************

THE COLOSSAL GUIDE TO WRITING CONTESTS... Moira Allen's "Writing 
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
=================================================================

Envious of the Clouds, by Amy Michelle Mosier

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Writing World is a publication of Writing-World.com
http://www.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









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