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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 15:11             13,371 subscribers           June 4, 2015
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IN THIS ISSUE:
=================================================================

GUEST EDITORIAL, by Tom Bentley
     Pedal Your Bike to Pedal Your Mind
FEATURE ARTICLE, by Ginger Hanson
     Setting the Scene for Dialogue
NO-FEE WRITING CONTESTS FOR July
PLUS: OPPORTUNITIES; NEWS FOR WRITERS; THE WRITE SITES
                           
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=================================================================

GUEST EDITORIAL - by Tom Bentley
=================================================================

Pedal Your Bike to Pedal Your Mind
----------------------------------
A particular kind of grind that most writers know is when the words
just don't come. A disease variant for me can sometimes be,
"Writer's Pathetic, Strangled Bleat of Knowing That I'll Never,
Ever Write Anything of Consequence Again, Sob!" (Of course, that
presupposes that you've already written something of consequence.)
I'm a master of dithering when I'm beginning a writing project,
searching desperately for nits to pick up off the floor, needing
just another cup of coffee to add to the seven previous,
accidentally browsing a Tahiti travel site for 45 minutes and on.
But something always kicks in when I get that first paragraph done,
so in scooping out the first shovelfuls, I wondrously often see the
road being built. 

Thus one of the first things to do is get your first paragraph
written, no matter if it's for a 500-page novel or a 500-word blog
post. A lead paragraph (or perhaps even a paragraph deep within the
belly of the beast) can lead to a second, and a giddy third. I have
seen repeatedly that a spark can touch off a fire. But there are
things that can lead up to that lead, a setting of the writing
table, a kind gesture to welcome the Muse in, a curt gesture to
escort the idealess bum in the hammock out. 

The external things that seem to help for me are exercising,
reading something that's greatly unlike what I'm trying to write
(perhaps sewing-pattern books), or doing something that's mindless
but physical, like rearranging my nun puppets. Exercising is really
a good one for me: I get full sentences that honestly just jump
into my head, particularly when I'm bike riding, so the sentences
do get bounced around a bit before they get home.

The freelancer can choose from a mere umpty-trillion unusual
Internet suggestions on how to stay healthy while working at home:
wear Yoga Toes on your hands, drink smoothies made of blended
artichoke hearts and pages from pocket dictionaries, only drink
coffee from those famed beans that have been pooped out by civet
cats. (Anybody ever try those? Still married?) And of course there
are suggestions from the minds of middlebrow moderates, advocates
of the standard soporific: eat sensibly and get good exercise.

Bottle the Lightning: Exercise for the Creative Spark
-----------------------------------------------------
But neither the fringe nor the fair-to-middlings catch the bottled
lightning of exercising for the creative spark. I'm not talking
about how 10 downward dogs a day might keep you in good enough
shape to type another 200 words on your to-do list for 2016. I'm
talking about how exercising can open your skull so that ideas pour
directly in, and what was a stone soup becomes nourishment for your
noodle, and spicily stirred.

Here's my recipe: have a writing problem. As a writer, you have
writing problems. If you're a home-based knitter, you have knitting
problems. If you're a coder, you have coding problems. The world is
cruel that way. So, my writing problems are often of this nature:
There are no words to say what I have to say. I'm doomed! (Cue
sound of grown man bleating like a wounded lamb.) Here's a typical
situation from a few months back: I had no angle on a magazine
article I was writing, because the base material was abstruse, and
I couldn't find a way in. The second was that I was stuck in a
scene of the novel I was writing, and it was a scene needful of a
narrative explosion.

I took my standard approach to solving this problem: I found some
dust on the rear of my monitor, and I blew it off. I went in the
house and ate a handful of peanuts. I checked Google News to see if
Ted Cruz was advocating arming grandmothers with hand grenades so
they are safe while shopping. Surprisingly, my writing problems
weren't solved. But then I did something that has worked so many
times before, and because I have banana peels where rational
thought should be, something I always forget: I went bicycling.

But I didn't go bicycling to furiously pedal while I furiously
considered my writing problem. You see, I'd already done that while
I was working with dust, peanuts and Ted's grenades. Professorial
braniacs have discovered that when you prime the pump of the mind,
putting some pressure on that extraordinary neuronal glob within
your noggin, it will seem to work out the primed problems on its
own, without your direct intervention. In fact, in my case, it's
always better to stay out of the way.

Cut to bike -- while I moved merrily along the Santa Cruz coast,
thinking that it's so wonderful how climate change had me in shorts
and a t-shirt that February afternoon and wondering if that means
the next Ice Age will start in June, my brain sent me an instant
message: problems solved. In succession, I heard in my brain the
full, word-for-word title of the magazine article I wanted to
write, and that title gave me the angle into the material. Next,
the solution to my slagging scene in the novel, complete with
several phrases I could use verbatim and a full sentence that set
the scene's full stage. Business-writing problem solved,
pleasure-writing problem solved. And I did not crash the bike.

But I did marvel. It occurred to me again, duh, that if you have
your clammy hands around the neck of your mind while trying to
extract a concept confession, relaxing your hands will let the
confession come out. This has happened to me many, many times,
often while biking, sometimes while hiking, and once in a while
picking nits off of the floor. (Note: you can buy bags of nits at
the Nit Store if you don't have any around the house.) Maybe you
can do it golfing, shooting skeet, or popping your head back and
forth over the neighbor's fence to see if there's any sunbathing
going on.

So, whatever the cognitive mechanism by which this works, it does
work. So whether you are avidly exercising so that you'll be a bite
of buff cake for your sweetheart, or you find the whole notion of
working up a sweat too much work, consider that it's actually a way
to receive useful gifts from the cosmos. The cosmos is a giver of
gifts -- just move into a position to catch them.

Grab That Fluttering Idea (But Don't Strangle It)
------------------------------------------------- 
Following that thought: grab the idea while it flutters, because it
will only be loose feathers when you come back to it later. If you
get a sentence in your mind without writing tools available, keep
writing it in your mind. Not only will the idea be refined, but it
will stick long enough to remember it, or at least its essence.
This is the method I most often practice on the bike. 

It's worth noting that during periods that seem the most
frustrating, when you're PLEADING with your brain to muster up
something your character needs to say, and all you get is the stone
wall of silence, what you need to do is relax: that often results
in the sought-after medal. So often I've looked at the mute letters
of my keyboard, given up and gone on to make a sandwich, and while
spreading the mustard, I hear the "pop" in my head. Ideas need to
incubate, to fledge, dear little birds that they are. 

You could also keep one of those small digital recorders close at
hand, if mental notes turn to mist for you. And of course, the old
reporter's notepad is a mainstay -- I just used one on a recent
travel assignment for the LA Times and though my scrawled notes
while hiking up at Pinnacles National Park were more twisty than
the trails, I was still able to salvage some copy out of my
cacography. (My camera does have a function to record audio notes
with every photograph, but I always forget to use it.) 

A 90-Proof Shot of Inspiration 
------------------------------
But truly, if you can empty the glass right when inspiration pours
you a shot, do it. Too often I've tossed and turned over an article
idea at night, come up with an angel-winged solution there in bed,
and then not written it down. Angel wings turned to broken bones
overnight -- the actual words, which for me are the batteries of
the idea, are often lost. I always get up and write ideas now, even
if Morpheus is pulling me back down. Let your great ideas get
thrown into the pit of dreams, and they will emerge as dead skin
and dross. 

I'll leave with the biggest way to chip that monolithic writer's
block: a slice at a time. Particularly for a long-distance swim
like a novel, it's easy to think you'd never get 400 pages down,
and thus, it's easy to quit. But giving yourself a narrow, easily
achievable goal -- writing 15 minutes a day -- and that Atlantic
swim becomes a few breast strokes through the pool. You might have
so much fun in your 15 minutes, you could even go for 20. Oceans
are crossed by the steady swimmers. 

=================================================================
Tom Bentley is a business writer and editor, fiction writer, and
essayist. (He does not play banjo.) He's published hundreds of
freelance pieces -- ranging from first-person essays to travel
pieces to more journalistic subjects -- in newspapers, magazines,
and online. (Venues include Forbes, Wine Enthusiast Magazine,
Writer's Market, Writer's Digest, Sailing Magazine, the Los Angeles
Times, Wired, the San Francisco Chronicle and many others.) His new
book, THINK LIKE A WRITER: HOW TO WRITE THE STORIES YOU SEE is now
available at Amazon. Visit his website at http://www.tombentley.com
=================================================================

Copyright 2015 Tom Bentley

This article may not be reprinted without the author's written
permission.

Link to this article here:
http://www.writing-world.com/life/pedal.shtml

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FEATURE ARTICLE: Setting the Scene for Dialogue
By Ginger Hanson
================================================================

Setting -- the time and place of the action of a literary work --
carries a lot of weight in storytelling because it puts the reader
into your imaginary world. It enables her to step through the door
you have opened and enter your story. It also changes constantly in
the sense that each scene has its own setting within the overall
setting of the story.

For example, your story may be set in the heyday of the cowboy
West. This is the pervasive time and location of your story; it
colors how the characters think, what they can do, their dialogue,
their health, etc. In addition to that general setting, you will
design dozens of additional settings for each scene in the book.
Perhaps your story stars a schoolmarm and a cowboy. She lives in
town, he lives on a ranch. As they interact in different scenes,
the smaller scene setting changes offer the writer a variety of
ways to incorporate the surroundings into the dialogue. So each
scene, while framed by the time period of the late 19th century,
will also have its own setting, such as the school house, the
corral, or the local mercantile store. Each setting is filled with
countless opportunities to enrich the dialogue. 

Physical setting also includes tone, which can have different
meanings for a writer. There's the tone of a person's voice, but
there is also the tone of a setting. In this sense, we are talking
about the general characteristics of the setting. The tone of
gothic novel is gloomy and frightening and usually features an
isolated castle full of danger. To keep the tone of the story
valid, the writer would want to reflect these feelings with the
dialogue, too.

In order to utilize setting to its fullest when writing dialogue,
you need to anchor each scene's location as soon as possible. Not
only will this help you weave the setting into the dialogue
exchanges, but you'll also plant the reader firmly in the time and
place of the scene. This keeps reader confusion (as to where the
characters are) to a minimum and also insures that the reader
experiences the scene more fully. 

Story and script consultant Michael Hauge says: "One of the biggest
mistakes screenwriters make is rushing through the opening, rather
than allowing enough time for the reader to move from the real
world into the fantasy world the writer has created."

This is valuable advice for a fiction writer, too. The overall
setting of the book needs to be identified at the opening, but the
setting of each scene should be vividly evoked for the reader, too.
Hauge suggests:   

"...picking two or three details that will create a vivid image in
the reader's mind. An apartment strewn with old pizza boxes and
cigarette butts, where posters of Pamela Lee adorn every wall, is a
lot more vivid and interesting than the words INT. APARTMENT. The
details also tell us a lot more about the character who inhabits
the apartment."
 
Thus, the elements of a setting include the physical surroundings,
the environment in general, and the less tangible mood of the
chosen place. In fact, setting can be such an important presence,
it's almost like another character. Cold weather permeates Tami
Hoag's novel "Night Sin" as well as the movie "Fargo" and the
recent television mini-series.

The physical surroundings would be the physical setting of the
scene. By that, I mean a room in a house, perhaps the kitchen. Or a
fast food restaurant with the scene set in the manager's office. Or
the physical setting could be outdoors, such as at a lake. 

When we speak of the environment of a setting, we mean the
surroundings that affect a character, such as heat, smog, or an
open window that allows a cool breeze to come in. Look for things
in the environmental setting that can add texture to the scene.
Close your eyes and imagine yourself in the setting to get a better
feel for the environment. 

Lastly, there is the mood of a setting. This is an intangible
factor that can vary depending on the mood you wish to convey in
the scene. For example, if you wanted the setting to reflect the
hero's depression, you put things in the surroundings that would
give the feeling of depression: cloudy day, dirt-grimed room. If
you want the mood to be in direct contrast to the hero's
depression, you would concentrate on bright and cheerful aspects of
the setting such as a sunny day and children's laughter at a
playground.

Three Key Points
----------------
Dwight Swain says that there are three key points you need to
remember about the world in which your story takes place.

1.	 Your reader has never been there.
2.	 It's a sensory world.
3.	 It's a subjective world.

Let's look at these key points. 

YOUR READER HAS NEVER BEEN THERE.

How could she? You just made it up!

Although your reader has never been to your imaginary world, she
has probably been somewhere like it, which is how we build bridges
into our story worlds. For example, if your scene is set in a fast
food restaurant, you can be fairly certain your reader has probably
experienced a fast food restaurant. Thus, she will be immediately
familiar with certain aspects of your setting. 

Historical, sci-fi, and fantasy writers can't always summon up
instant settings, so they often build their scenes with more
detailed descriptions to entice the reader into an unfamiliar story
world. How do they achieve pulling the reader into this strange
world? Just like the writer who uses a contemporary setting, the
scifi writer builds bridges from the familiar to the unfamiliar.
We'll look into this a little more deeply later in the book. 

IT'S A SENSORY WORLD.

You bet our world is! We live in a world of colors, smells,
textures, sound, and tastes. Blue sky, freshly mowed grass, silky
hair, the drone of an engine, and the taste of an ice cream cone.
When you add these sensory impressions to your dialogue, what your
characters see, hear, smell, touch, and taste will add vivid
imagery and impact to what they say.

The five senses are also useful in determining how a character
perceives the world around them, because we often favor one sense
over the other. For example, your character could have an elevated
sense of taste. He doesn't have to be a wine taster, just someone
who enjoys the taste of food and drink. Or your heroine could have
an artistic bent and be especially attuned to colors. 

How does this is play into dialogue? Your hero could be sipping a
fine wine that now tastes like crap because he's mad at the
heroine, which fuels his displeasure with the whole situation. Or
your heroine could be depressed because they're having this
important relationship conversation in a dimly lit, gray room that
makes her feel even more emotionally out of sorts.

IT'S A SUBJECTIVE WORLD.

This means we each have our own version of reality based on our
life experiences. When writing dialogue, chose a focal character
through which the scene flows, using that character's worldview as
a frame for the dialogue. This enables you to tie the reader
emotionally to the setting by the character's reactions to it. 

Remember, different aspects of the setting are going to impact each
character differently. The age of the character, the gender of the
character, the socioeconomic background of the character, etc., all
impact how the character is affected by the setting. For example,
put a small child in a room and from her point of view, the adults
will seem larger than life, as will the furnishings. Put a large
man in a woman's frilly bedroom and he's usually uncomfortable,
worried whether the fragile chair will hold his weight or if the
ceiling fan will behead him.

Once you have chosen your focal character, another tool you can use
when writing dialogue is to figure out how your character absorbs
information. According to educational research, the three basic
ways of learning are visual, kinesthetic, and auditory. Thus, a
visual learner gathers new information via pictures and reading. A
kinesthetic learner gathers information through touching or doing.
An auditory learner gathers new information through listening.

The best learner utilizes all three ways of learning, but most of
us tend to rely more on one way than another. Why is this
important? Because the way in which we process new information
influences how we perceive the world around us. 

How does this affect the dialogue, you ask? Well, in a
conversation, an auditory learner will pick up much better on the
tones and nuances of the speaker than a kinesthetic speaker will.
The kinesthetic learner will be more tuned into what the body is
doing than what the person is saying. And as a verbal learner, I
know I tend to absorb more from reading than from talking, so it's
easier for me to lose track of a conversation.

Setting is a Mental Image
-------------------------
Whatever your setting, always remember that it is the mental image
the reader forms while reading your story. Story settings encompass
several aspects. As I mentioned earlier, there's the overall
setting of the story such as the historical era, alien planet, or
modern office, as well as the setting that changes from scene to
scene. Jules Verne's "Around the World in Eighty Days" exemplifies
extreme change as the hero travels around the world. This leads to
frequent changes of scene settings, while the story remains set
within the larger framework of the 19th century.

Scene settings don't have to change that much, but this is
something we tend to see more often in plays than books. This is
probably due to the fact that it doesn't cost anything but time and
imagination to build a new scene in a book. Scene changes in plays
are much more expensive to build and move during the play.

For those who like to act in regional theater, plays with only one
setting keep the expense of performing low. The Belle of Amherst, a
lovely play about Emily Dickinson, is an excellent example. The
play is set in her parlor. This is a logical setting if you
remember anything about Emily from high school English class. She
lived a pretty quiet life in a Amherst, MA and seldom left her home.

Recap
-----
We've discovered that the setting our characters are located in is
important to know when we write dialogue. The physical location can
impact how much they can move and how they can move, while there
are the environmental factors such as noise that can hinder or
enhance their conversation and understanding. When a writer
establishes the setting, it's good to remember that the reader has
never been there. You want to anchor them in the scene with details
that evoke the setting you wish to convey.


=================================================================
Ginger Hanson writes contemporary and historical romance novels, as
well as short stories and essays. "She Sat, He Stood," her first
writing skills book, has ranked in the top 10 Kindle Short Reads
since its release. Ginger is also the author of a contemporary
romance series set in Tassanoxie, Alabama. Fall in love with the
town and its characters in "Feather's Last Dance, Ellie's Song,
Susannah's Promise," as well as three short stories and one
novella. Ginger's historical romances include a Regency, "Lady
Runaway," and two Civil War era novels, "Stealing Destiny" and
"Ransom's Bride." Ginger launched Saderra Publishing, a
micro-publishing company, two years ago. When not writing. Ginger
volunteers with the Friends of the Library and practices Tai Chi to
maintain her sanity. She and her husband live in southeast Alabama
with their various rescued pets. Visit her website at 
http://www.gingerhanson.com.
=================================================================

Copyright 2015 Ginger Hanson
Excerpted from "She Sat, He Stood"

This article may not be reprinted without the author's written
permission.

Link to this article here:
http://www.writing-world.com/fiction/shesat.shtml

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NEWS FROM THE WORLD OF WRITING
================================================================= 

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Is The Bard's New Face the Bard's True Face?
--------------------------------------------
A new image of William Shakespeare has come to light, the "first
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UK Publishers Win Court Case Against Ebook Pirates
--------------------------------------------------
The Publishers Association in the UK have won a lawsuit against
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Accordingly, major UK ISPs such as BT, Virgin Media, Sky, TalkTalk
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New Social Media Marketing Tool for Publishers Re-Launched
----------------------------------------------------------
BookGrabbr allows publishers to give away eBooks or excerpts in
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Returning To Roots -- A Book That Turns Into a Tree
---------------------------------------------------
A publisher and an ad agency in Argentina have joined together to
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DEADLINE: July 1 
PRIZES: Advance against royalties of $10,000
DETAILS: Open to any professional or non-professional writer who
has never been the author of a published "private eye" novel and
who is not under contract with a publisher for publication of a
"private eye" novel. Must be book-length (approx. 60,000 words) in
English. A "private eye" novel is defined as: A novel in which the
main character is an independent investigator who is not a member
of any law enforcement or government agency, and who receives a fee
for his or her investigative services. 
CONTACT: PWA Best First Private Eye Novel Competition, Thomas Dunne
Books, St. Martin's Press, 175 5th Avenue, New York, NY 10010
(entry form will provide submission address)
URL: 
http://us.macmillan.com/minotaurbooks/writing-competitions##privateeye

KATE TUFTS DISCOVERY AWARD, KINGSLEY TUFTS POETRY AWARD
-------------------------------------------------------
DEADLINE: July 1 
PRIZES: Kate Tufts $10,000; Kingsley Tufts $100,000 
DETAILS: Kate Tufts: For a first published book of poetry. Judges
seem to favor books that have already won prizes and/or come from
the top literary presses. Kingsley Tufts: For a published book by a
mid-career poet. Open to authors with a published book, "one who is
past the very beginning but has not yet reached the acknowledged
pinnacle of his or her career." Book must have been published
within preceding year. Open to US citizens/permanent residents.
CONTACT: Kingsley & Kate Tufts Poetry Awards, Claremont Graduate
University, 160 E. Tenth Street, Harper East B7, Claremont, CA
91711-6165, humanities@cgu.edu 
URL: http://www.cgu.edu/pages/6056.asp

AFTER THE FALL APOCALYPTIC SHORT STORIES
----------------------------------------
DEADLINE: July 15
PRIZES:  $£100 and publication
DETAILS:  5000 word maximum apocalyptic/dystopian short story. "
The key theme of the short story competition is "Apocalypse." We
value diversity, so stories written from a dystopian, dark fiction,
weird fiction or horror perspective are all welcome." 
ONLINE/ELECTRONIC ENTRIES: Yes, required 
URL: http://www.dystopianstories.com/short-story-competition-2015/

LINDA FLOWERS LITERARY AWARD 
----------------------------
DEADLINE: July 15 
PRIZES: $500 and stipend for residency
DETAILS: "Original entries of fiction, nonfiction, or poetry.
Submissions should detail examinations of intimate, provocative,
and inspiring portraiture of North Carolina, its people and
cultures, bringing to light real men and women having to make their
way in the face of change, loss, triumph, and disappointments.
While authors do not have to be North Carolinians, entries are
expected to draw on particular North Carolina connections and/or
memories. Above all, entries should celebrate excellence in the
humanities and reflect the experience of people who, like Linda
Flowers, not only identify with the state, but also explore the
promises, the problems, the experiences, and the meanings of lives
that have been shaped by North Carolina and its many cultures. To
2500 words.
CONTACT: North Carolina Humanities Council, 122 N. Elm Street,
Suite 601, Greensboro, NC, 27401 
URL: 
http://nchumanities.org/content/2015-linda-flowers-award-details-and-guidelines 

LAW STUDENT WRITING COMPETITION 
-------------------------------
DEADLINE: July 17
PRIZES: $2000
DETAILS: Any law student in good standing currently enrolled at or
graduated from an ABA accredited law school during the 2014-2015
academic year may enter the competition. Entries to the contest may
discuss any topic that lies within the procedure, substance, or
scope of the jurisdiction of the U.S. Court of Federal Claims.
ONLINE/ELECTRONIC ENTRIES: Yes, required, to CFCBA at
sandy@cfcbar.org
WEB:
https://www.law.asu.edu/Portals/16/Files/USCOFC%202014-15%20Law%20Student%20Writing%20Competition.pdf

LINDA BRUCKHEIMER SERIES IN KENTUCKY LITERATURE
-----------------------------------------------
DEADLINE: July 31 
PRIZES: $3,000 
DETAILS: Open to Kentucky residents, or writers whose work is set
in or is about Kentucky. Winner must be willing to travel to KY for
readings and events. Submissions may include: a collection of
poetry (48-100 pages); a collection of short stories, one or more
novellas, a short novel, a collection of essays or creative
nonfiction (to 250 pages). No history, scholarly works, children's
literature, plays, genre literature. No single stories or poems
under 150 pages.  
CONTACT: The Linda Bruckheimer Series in Kentucky Literature,
Sarabande Books, Inc,. 2234 Dundee Road, Suite 200, Louisville KY
40205
URL: http://www.sarabandebooks.org/bruckheimer

PLATT FAMILY SCHOLARSHIP PRIZE ESSAY CONTEST
--------------------------------------------
DEADLINE: July 31
DETAILS: Open to full-time students attending a US college or
university during the Spring 2014 semester (need not be US
citizens). Submit 1,500 - 5000 word essay on the Lincoln/Civil
War-related theme posted on the website (2015 is "If Lincoln had
lived").
PRIZES: $1,500, $750, $500
CONTACT: Don McCue, Curator -- Lincoln Memorial Shrine, 125 W. Vine
St., Redlands, CA 92373
URL: http://www.thelincolnforum.org/scholarship-essay-contest.php  


MONTHLY/RECURRING COMPETITIONS:
===============================
The competitions below are offered monthly unless otherwise noted;
all require electronic submissions.

FANSTORY.COM
------------
PRIZES: $100 and other prizes
DETAILS: Various monthly fiction, nonfiction and poetry contests;
for some, you must become a member of the site.
WEBSITE: http://www.fanstory.com/contests.jsp

THE NEXT BIG WRITER
-------------------
PRIZES: $100, $50, $25, plus review and membership
DETAILS: Must be a member. Competitions throughout the year,
including novels and flash fiction. 
WEBSITE: http://www.thenextbigwriter.com/competition/index.html

PENN COVE LITERARY ARTS AWARD
-----------------------------
PRIZES: $50
DETAILS: Submit fiction, creative nonfiction, prose poetry, and
writing for children/young adults to 1,000 words. The first story
that "knocks the judges' socks off" each month is declared the
winner. Use the link below to access the submission page - that
page has links to the guidelines for submissions.
WEBSITE: http://whidbeystudents.com/student-choice-contest/

SCRIBOPHILE WRITING CONTESTS
----------------------------
Bimonthly/Quarterly
PRIZES: $50 to $100 Amazon gift certificates
DETAILS: Short stories, flash fiction, poetry, on themes posted on
website.
WEBSITE: http://www.scribophile.com/contests/ 

WRITER'S DIGEST YOUR STORY COMPETITION
--------------------------------------
Bimonthly
PRIZES: $100 in WD books
DETAILS: We'll provide a short, open-ended prompt. In turn, you'll
submit a short story of 750 words or fewer based on that prompt.
You can be funny, poignant, witty, etc.; it is, after all, your
story. 
WEBSITE: http://www.writersdigest.com/your-story-competition

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