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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 15:17             13,400 subscribers           Sept 3, 2015
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IN THIS ISSUE:
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FROM THE EDITOR'S DESK, by Moira Allen
     Should vs. Want
FEATURE ARTICLE, by Devyani Borade
     All Rights May Be All Right - 
	 And What To Do When They're Not
NO-FEE WRITING CONTESTS FOR OCTOBER
PLUS: OPPORTUNITIES; NEWS FOR WRITERS; THE WRITE SITES
                           
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FROM THE EDITOR'S DESK - by Moira Allen
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Should vs. Want
---------------
The other night, I found myself staring at the computer screen, torn between the task I felt I SHOULD work on, and the task I WANTED to work on.  Obviously, I didn't really want to tackle the "should" -- but guilt prevented me from diving into the "want."  Finally I ended up working on a completely different project -- which was at least productive, but didn't resolve my underlying issue.

So I decided to examine that issue a bit more closely, on the assumption that I'm probably not the only person who has this problem.  When "should" conflicts with "want," is the answer really as simple as telling yourself, "Well, you know what you SHOULD do, so just DO it?"  Sometimes it is.  And sometimes it isn't.

When this conflict arises at your own desk, here are some questions to ask:

1) Which task is more important?  My "should" task involves a project that needs to be finished next week.  The "want" task, however, involves developing an organizational scheme that could actually save me considerable time over the next five years.  Each task obviously has value, so choosing simply on the basis of "which is more worthwhile" may not be an option.

However, even when tasks aren't of comparable value, that doesn't mean that one automatically trumps another.  Perhaps you "should" start work on an article but you "want" to play your favorite computer game.  Again, the simple answer is that the article is more important than the game.  Sometimes, however, a better choice is to allow yourself half an hour to play the game before you begin work -- because sometimes, playing a simple computer game can actually help clear your head and make you more productive when you DO tackle that "should."

2) Which task is more urgent?  Again, sometimes this is less obvious than it seems.  Clearly, if the organizational task has no deadline, while the other project is due "next week," I should focus on the project with the deadline, right?  However, one reason I'm drawn to the organizational task is because I've been working with the materials involved for the past several weeks.  Right now, all that information is fresh in my mind.  If I postpone it for a month or so, it won't be.  I'll lose the edge I have today, and add delays while I reacquaint myself with material that, right now, I'm familiar with.  Sometimes, missing an opportunity may be worse than missing a deadline.

3) Which deadline is more urgent?  This isn't quite the same question as the one above.  Each task may have a deadline, but which deadline is more important?  For example, I consider this newsletter to have a "deadline."  It comes out the first and third Thursday of the month, and I doubt I've missed that date more than once in seven years.  But if I did, the world would not end.  I'm not about to fire myself, and I don't think any reader would suffer serious harm if an issue were a day or two late.  However, other types of deadlines are far more serious.  A missed assignment can mean not only the loss of pay but the loss of a working relationship with your editor.  And, ironically, deadline pressure is one of the key reasons we tend to procrastinate on our "should" tasks. An important step in determining which task to choose is determining whether we're avoiding something precisely BECAUSE it has an important deadline.

4) Which task requires more energy?  Sometimes, our reason for preferring a "want" to a "should" is an (often subconscious) awareness of the amount of energy and effort involved in each task.  Perhaps you've come to the end of a long day, and the thought of dealing with one more "important" task on your to-do list is too much to endure.  Your desire to choose a "want" over a "should" may be your body's subtle way of directing you toward a project that you can handle with the resources of time and energy available to you.  Even if the "should" has a tighter deadline, you may benefit from putting it aside until your energies are refreshed and you have time to give it your full attention.  

5) Which task excites you?  Chances are, the task you WANT to do is the task you're excited about right now.  Perhaps you've just been struck by an inspiration.  Perhaps you've just figured out how to solve a problem in a tricky scene.  Perhaps you've just discovered or learned something new and want to try it out.  Whatever the reason, postponing such a task means risking losing that excitement.  Even if it's not the most important task on your plate just now, "excitement" is another vital window of opportunity.  It doesn't last.  If you repeatedly push a task aside for "more important" projects, chances are that when you finally do get to it, it won't excite you anymore.  At that point, it's likely to shift from a "want" to a "should," the task that you start to push aside because there are other things that interest you more.

While "excitement" can't always be the only factor governing your choice of tasks, it's not one to ignore.  If you continually turn away from tasks that excite you in favor of those that are simply higher on the priority list, you end up sacrificing your joy.  Eventually, you'll be stuck with a list of tasks that bring you no joy whatsoever -- an endless list of "shoulds" without a "want" in the bunch.  When that happens, you may start to wonder why you're doing this in the first place, because the things that brought you joy and excitement about your work have become only a distant memory.  Which brings me to...

6) Is there a reason you don't want to tackle the "should" task?  Often, we find ourselves avoiding those "shoulds" because they're actually tasks that we really don't want to do at all.  When you don't want to do something -- and I mean really, really don't want to do it -- then almost any other task, down to scrubbing the bathroom, looks more appealing.

If that's the case, it may be time to evaluate why you have this task on your plate in the first place.  Is it important?  Is it necessary?  Is it something you enjoyed once but now find a tedious obligation?

As freelancers, we often end up burdened with a host of projects and obligations that we've taken on simply because they provide income.  We've lost sight of the whole reason why we quit our day jobs and started freelancing in the first place:  Because we wanted to be FREE.  Freelancers, by definition, are seekers of independence.  We set out to do what we loved, to do our own thing.  And all too often, the result is longer working hours, fewer (or no) vacations, and the joy of working for a dozen unreasonable bosses instead of just one.

Discovering that a "want" constantly arises to distract you from a "should" is one sign that, perhaps, your to-do list is full of tasks that bring you no joy.  Writing simply to keep food on the table is no different from being a wage-slave at any other job.  It's not "doing what you love" if you don't love it anymore. Worse, it brings the added risk of destroying your original love of writing -- the kind of writing you keep wishing you could find time to do, if not for all the things on your "should" list.  

Sometimes, evaluating "should" vs. "want" simply means evaluating what you're going to do for the next few hours of your life.  And sometimes... it means evaluating what you're going to do for the REST of your life.


Copyright 2015 Moira Allen

This article may be reprinted provided the author's byline, bio and copyright notice are retained. (For an author bio and complete details on reprint terms, please visit 
http://www.writing-world.com/admin1/reprints.shtml)

Link to this article here:
http://www.writing-world.com/coffee/coffee101.shtml

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OPPORTUNITIES FOR WRITERS
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Women's Studies in the Library: 
Case Studies of Innovative Programs and Resources
-------------------------------------------------

One or two chapters sought from U.S. practicing academic, public, school, special librarians, LIS faculty, sharing practical know-how about what works for women's studies programs and resources. Chapters are encouraged that could apply to more than one type of library: useful to public, school, special, LIS faculty. Proven, creative, case studies encouraged. How-to chapters based on experience to help colleagues; innovative workshops, outreach, grant resources highly valued.

No previously published, simultaneously submitted material. One, two, or three authors per chapter; each chapter by the same author(s). Compensation: one complimentary copy per 3,000-4,000 word chapter accepted no matter how many co-authors, or if one or two chapters: author discount on more copies.

Please e-mail titles of 4 proposed chapters, each described in a few sentences by October 28, 2015, brief bio on each author; place WOM, Your Name on subject line: smallwood@tm.net

Book Publisher: McFarland.  Carol Smallwood, co-editor.

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FEATURE ARTICLE: All Rights May Be All Right...
And What to do When They're Not
By Devyani Borade

================================================================

When I was invited to guest-blog for a software technology company, I was in seventh heaven. "We would love to have you contribute to our blog," said the manager. "You are a very experienced writer and we are always looking for truly creative and informative content. I've read some of your material and I think your type of work would be great for us. I need someone with a technical background who understands how to reach out to our audience of techies." The gig promised regular lucrative work and I couldn't wait to start.
	
Until I read the contract.
	
"We would need sole publishing rights for whatever content you would be providing to our blog," the manager explained. "When paying for content, it is our policy that we must attain original content that has not been, and will not be, published on other sites or blogs."
	
What had floated my boat just a moment ago, now brought it to a grinding halt. All rights? I thought. Why?

Writers often hear "all rights" bandied about in contracts and assignments. One point of view for requesting (or demanding!) all rights is that posting non-original content to blogs can hurt their SEO ratings, because Google apparently penalises for duplicate content. "And if our readers see a post on our blog that they've already read elsewhere, it could look as though we've plagiarized it from the original publication," the manager added. So, would I be willing to give away UNLIMITED EXCLUSIVE ALL RIGHTS to my work?

If you've ever found yourself in this situation, think hard and don't be too hasty with either a yay or a nay. Exclusive all rights, when they are given, are for a LIMITED period of time -- 4-6 months, a year and so on. Freelancers very rarely grant exclusive rights IN PERPETUITY. Doing so means loss of future sales for the writer forever, which is why owning these rights does not come cheap.

However, if the remuneration package offered is generous enough to cover this cost, then why not? You are a writer, you can always write some more!

"Major fiction publishers," says Jo Crum, Assistant Chief Executive at The Society of Authors, "may want a grant of licence for all rights in perpetuity and to some extent this is fine, providing they are paying a good advance upfront, you are confident that they have the ability to sell the rights on, and there are good termination clauses dealing with breaches, liquidation, and a good definition of 'out of print'.

"For academic and nonfiction publishing contracts, the terms are not as favourable as for fiction contracts, with royalties being based on receipts rather than the retail price," Crum adds. "If the work is part of a publisher-originated series, then they may very well want an assignment of copyright."

There are all types of writers in the world -- those who write volumes for pennies, as well as those who earn seven-figure sums from a single piece of work. The former end up hurting the whole trade. And, when the good writers start pulling out due to aggressive contract terms, it becomes a real possibility that the quality of writing in the entire industry then goes down. A contract demanding exclusivity is a no-win situation for the writer -- neither is he compensated enough for his work, nor is he afforded the chance to earn more in the future. It is for this reason that most established freelancers shy away from offering everything and the sun, unless the deal is worthwhile.

So if you are thinking of giving away all rights to your work, be sure to take the following points into consideration.

For those happy to offer all rights, consider:

* How many times the piece could have potentially been reprinted, and how much you could have earned from such reprints;

* If you offer the work on your own platform, for example, as a stand-alone download off your website, or a course/tutorial take-away;

* Whether you might have to purchase it back to include in a future compilation;

* Whether you intend to make a serialisation or any extension out of it, for example, use the characters and the world to recreate a similar work; and,

* Whether you are happy for the buyer to use, modify, resell and otherwise exploit your work as he sees fit, in places you may not want to appear or be associated with, without any obligation to inform you in advance, and probably without crediting you for it.

For those unwilling to offer all rights, consider:

* The non-monetary value (name and fame) of having the piece appear in that particular venue;

* Whether you have the time, energy, inclination and focus to find alternative venues to sell other rights to your work. For example, if you think about withholding translation (foreign language) rights, would you then be able to hunt down other publishers, in, say, Malaysia, Russia, India or Belgium, to sell these rights to? Or would you be inclined to pursue Hollywood moguls to sell your movie rights to? More importantly, would you be able to sustain your drive to do this? Finding publishers can take a long time and eat into the time you could spend creating more content and earning other money, and,

* Whether you really need the money. If the answer to this one point is Yes, then all else is moot!

Don't be surprised if the amount of all the above adds up to a four- or five-figure sum. In my case, when I quoted my asking price in return for giving up all rights, the manager appeared flummoxed. "That price will not work for us," he said. Apparently a lot of other big names in the industry were happy to agree to their terms, so he was confused about why I wouldn't want to. While I understood his perspective -- and I thought both our positions were very similar in that we were both trying to protect our respective businesses -- I was in no mood to give in. 
	
"I would always advise an author to retain film/television/stage/animation rights because publishers are not very good at selling these," says Crum. "Ideally any unexploited foreign rights would revert to the author if left unexploited after a period of time. This is quite rare to negotiate, but there is a move within the EU that contracts should be fairer in this respect. Authors could hop around this with shorter licences, but publishers will expect perpetuity. If an author is agented, he/she may very well retain certain or all foreign rights and the agent would sell these to their contacts."

If you've decided that giving away all rights is a bit too much and you don't want to yield, you can always try to negotiate your way to a compromise. When negotiating, use the following strategies:

1. ASK WHY. Never be afraid to ask why the publisher needs to have all rights to the work. It may be that they have simply offered you a standard contract and not put too much thought into what they actually need. It may be that they have the same contract for every writer to keep their administrative costs down, so that they don't have to keep track of different terms and conditions for different contributors. It may be that, upon reflection, they find that they are not really using several of the rights they are requesting (like asking for print rights when they are, and intend to always remain, an online e-zine), and so are willing to modify their demands. Questioning encourages debate and discussion. Demanding and accusing only breaks down communication.

2. DON'T BEG. 	You have a good piece that the publisher obviously wants to run. You get money, but so does the publisher, in the form of more subscribers and advertisers. It is a level playing field and in most cases, neither party has a grossly unfair advantage over the other. So when putting across your counter-offer, be professional and practical, not emotional and personal. Influence them, interest them, even agree with them when you can. You will portray yourself as a person who is willing to reach a mutually acceptable conclusion.
 
3. DON'T THREATEN OR INTIMIDATE OR OTHERWISE ANTAGONISE WITH AGGRESSION. You don't have to bully them into backing out. You can be just as persuasive by presenting facts politely and respectfully, and letting them draw their own conclusions. They've been in the business for a while, they know how things work. Don't be that "difficult" writer. Reduce conflict by offering sensible options to solve problems, not by being a trouble-maker. Be positive.

4. DON'T LIE. Don't pretend to have another interested party that is supposedly just waiting for the chance to grab the piece. Also don't demand too much and then pretend to "climb down" to the terms you had wanted all along. These strategies can backfire and leave you high-and-dry with no deal and no going back. Define your "pain threshold", then stick to what is important to you and concede all else. Being honest doesn't mean you need to lay your heart bare. Let them have enough to reciprocate with trust. 

5. DON'T "DO OR DIE." It's not personal. Don't take it as an affront if someone asks for all rights. They are not all trying to undermine your sweat and toil. You can negotiate in parts.  Offer to accept a smaller fee if they left you electronic rights, or offer another piece within a certain time period if they accepted non-exclusive all rights. Delivery times ("I'd like to hand in the finished piece two weeks later than usual"), guarantees ("I can guarantee this piece will generate at least 400 'likes' on FaceBook"), repeat business ("I have another piece along similar lines that I am sure will interest you"), methods of payment ("If you pay me via PayPal, I can offer a 5% discount") can all be valuable for you. This makes the negotiation process feel like it is making progress in increments, instead of a "take it or leave it" approach. THAT is called a "Zero-sum game". Put yourself above those kind of petty games. Let them have some wins. Co-operation and collaboration is the key. Don't react. Engage.
	
6. QUOTE INDUSTRY STANDARDS. "Magazine/newspaper contracts are a different matter from fiction and non-fiction books contracts. Authors may be able to grant first serial rights, so that they are free to sell the article on elsewhere, but some magazines will want an exclusive licence and some may want an assignment," says Crum.
	
In my own personal database of the periodicals market, less than 3% of the viable/paying markets are recorded as requesting for all or exclusive perpetual rights or copyright ("work for hire"). The norm across the industry for periodicals appears to be for first rights, often including electronic and web archival rights. Put yourself in a strong bargaining position by claiming that you can offer the industry standard terms and conditions. This will shift the onus on the publisher to make a case for why they are the exception to the rule and how it is going to benefit you.

7. READ BETWEEN THE LINES. Do your homework about the publisher and make sure you can see beyond the black-and-white of the contract. Understand their motivations. Are they asking for all rights because they have a poor track record of retaining talent? Do they appear financially sound, or are they requesting for more donations, inviting more advertising, running kickstarter (crowdfunding) campaigns, and making a lot of noise about any and every little thing? Getting the context and background can be a great point of leverage in the negotiations. The editor could be on a tight deadline and looking to fill a gap in the pages, or the business manager could have a monthly sales target to hit. Know what risks you and they are taking.

Be aware of your own expertise, be firm with what you want, be flexible with everything else, be realistic with your expectations, and be prepared to let the deal fall through.

My deal ended in a no-deal. But while I walked away from some big bucks, I did it with no regrets. When I sell all rights to my work, I'll be sure I do it on my terms.

=================================================================
Devyani Borade writes for magazines across the world. She has successfully negotiated higher payment rates for the majority of her articles and stories, and survived to continue writing. Visit her website Verbolatry at http://devyaniborade.blogspot.com to contact her and read some of her other work.
=================================================================

Copyright 2015 Devyani Borade

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

Link to this article here:
http://www.writing-world.com/rights/borade.shtml

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NEWS FROM THE WORLD OF WRITING  compiled by Devyani Borade
================================================================= 

A Costly Education
------------------
Over the past 40 years, college textbooks have become more expensive by 1000%. Bureau of Labour Statistics data seems to indicate that since 1977,  textbook prices have risen over three times the rate of inflation. This is allegedly because students are forced to buy the books assigned to them by professors, who in turn, are being courted by publishers to adopt their books. Students are finding it difficult to keep up despite borrowing or purchasing used books. However, the Association of American Publishers claims that the data is misleading when looking at percentage figures instead of absolute amounts. For more, visit: http://nbcnews.to/1M5zUFE

NYC Public Schools to Benefit from Massive Amazon Ebook Contract
----------------------------------------------------------------
A unanimously selected 3-year $30 million contract with the online giant is in line to be approved by the Department of Education. It will create an e-book marketplace for the city's 1800 public schools and is touted as a boost for the department's technology profile. "We've listened closely to educators and this new marketplace will address many of the major current concerns of our schools relating to school texts: not having enough space for textbooks and primary resources, the physical decay and loss of books, not being able to easily compare options and prices, and not being able to exchange book licenses with other classrooms and schools," says DoE. Content can be viewed on a wide array of devices including smartphone, tablets and Macs. For details of the contract, visit:
http://bit.ly/1VMc5FZ

Happy Meals Books Causing Unhappiness
--------------------------------------
McDonald's has been accused of new deceptive marketing by angry parents in Australia. A new eight-week advertising campaign offers 10 books and 16 digital readers to children under the age of 7 with their Happy Meal. But children's health advocacy group The Parents' Jury is furious because this means a child would need to eat 23 meals in 56 days to obtain the complete collection, which means eating fast food nearly every other day. This "is fostering unhealthy eating habits" and "breaches advertising standards because it clearly encouraged excessive consumption of junk food." McDonald's deny the claim. For more, visit: http://bit.ly/1PZWnD0

ATM for books: Airline Offers Free Books Through Vending Machines
-----------------------------------------------------------------
A 2001 study commissioned by JetBlue illustrated that for every 300 children in under-served communities, there is access to only 1 age-appropriate book. In the  Anacostia area of the country's capital, this ratio is 1:830. Three vending machines have now been placed by the airline to dispense brand-new, free, unlimited books for kids aged 0  14, to provide books "in a fun and convenient way will encourage reading." There are currently 16,000 books in circulation and the company will donate another 84,000. For more, visit:
http://www.soarwithreading.com/pdfs/about-soarwithreading.pdf

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THE WRITE SITES
================================================================= 

LITTLE FREE LIBRARY
http://littlefreelibrary.org/
Encourage readers in your neighborhood (especially kids) by setting up your own "little free library" box - or find neighbors who have already done so!  (I checked the map and there are already three people in my own neighborhood doing this!)  You can get all the instructions and the library "box" from the website or build your own.

LANGUAGE LOUNGE: A MONTHLY COLUMN FOR WORD LOVERS
https://www.visualthesaurus.com/cm/ll/
If word origins and meanings are your cup of tea (they are mine!), this site will keep you occupied for hours.  This is a great place to find well researched and authenticated discussions of words and origins, rather than the hasty myths one tends to find elsewhere.  I came across it seeking to discover whether "bran-new" or "brand-new" was correct (answer: both are), and got lost in the entries.

PUBLISHED TO DEATH
http://publishedtodeath.blogspot.com
Massive current resource for agents, publishers, reviewers, conferences and markets calling for submissions. Bookmark and visit regularly.

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NO-FEE WRITING CONTESTS FOR OCTOBER
================================================================= 
This section lists contests that charge no entry fees. Unless 
otherwise indicated, competitions are open to all adult writers. 

ERNEST J. GAINES AWARD FOR LITERARY EXCELLENCE 
----------------------------------------------
Deadline: October 1 
Prizes: $10,000 
Details: Open to African-American writers who are US citizens. Any book-length work of fiction published during the preceding year.
Online/Electronic Entries: No
Contact: The Ernest J. Gaines Award for Literary Excellence, c/o The Baton Rouge Area Foundation, 402 N. Fourth St., Baton Rouge, LA 70802, gainesaward@braf.org 
URL: http://www.ernestjgainesaward.org/literary-award-criteria-registration/

ATLAS SHRUGGED STUDENT ESSAY CONTEST 
------------------------------------
Deadline: October 24 
Prizes: $10,000, 3x $2,000, 5x $1,000, 25x $100, 50x $50
Details: Entrants must be enrolled in a college degree program or High School. Submit an 800  1600-word essay on one of the topics on the website. Judges will look for writing that is clear, articulate and logically organized. Winning essays must demonstrate an outstanding grasp of the philosophic meaning of Atlas Shrugged.
Contact: Atlas Shrugged Essay Contest, The Ayn Rand Institute, P.O. Box 57044, Irvine, CA 92619, info@aynrandnovels.com
URL: http://essaycontest.aynrandnovels.com/AtlasShrugged.aspx

BENJAMIN FRANKLIN HOUSE LITERARY PRIZE (UK)
-------------------------------------------
Deadline: October 31
Prizes: 750, 500, plus publication in The Telegraph
OPEN TO:  Writers age 18-25 residing in the UK
Details: Benjamin Franklin is one of history's great figures. While he made lasting contributions in many fields, his first passion was writing. He believed in the power of the written word as the bedrock of a democratic society, to inform, and stimulate debate. Each year a question or quote exploring Franklin's relevance in our time is open for interpretation in 1000-1500 words.  
URL: 
http://www.benjaminfranklinhouse.org/site/sections/news/literary_prize.html

ERIC GREGORY TRUST FUND AWARDS (UK)
------------------------------------
Deadline: October 31 
Prizes: Prizes total 24,000
Details: For a poet under 30 who is a British national by birth and resident in UK or Northern Ireland. For a published or unpublished volume of poetry, drama-poems or belles-lettres (max. 30 poems).
Online/Electronic Entries: No
Contact: Paula Johnson, Awards Secretary, The Society of Authors, 84 Drayton Gardens, London SW10 9SB, UK, pjohnson@societyofauthors.org
URL: http://www.societyofauthors.org/eric-gregory

IRA CHILDREN'S & YOUNG ADULTS' BOOK AWARD
-----------------------------------------
Deadline: October 31
Prizes: Unspecified monetary award
Details: For a first or second book by a newly published author. Awards given in fiction and nonfiction in each of the three age groups. "The awarded book should serve as a reading and literary standard by which readers can measure other books.  If appropriate to the genre, the awarded book should provide believable and intriguing characters growing naturally out of the events and actions in the text. Nonfiction books should exhibit excellence in the areas of authority and accuracy, organization, design, and writing style." Picture books also accepted.  NOTE: No update for 2015, so check with contest administrators before submitting.
URL: http://www.reading.org/Resources/AwardsandGrants/childrens_ira.aspx

MCKITTERICK PRIZE (UK) 
---------------------
Deadline: October 31
Prizes: 4,000 
Details: For a full-length fiction novel by an author age 40 at the time of the competition. Must have been first published in the UK or unpublished; author must not have published any other novels except children's. Send four copies of published novel or first 30 pages of unpublished novel. Open to all authors.
Online/Electronic Entries: No
Contact: Paula Johnson, Awards Secretary, The Society of Authors, 84 Drayton Gardens, London SW10 9SB, UK, pjohnson@societyofauthors.org
URL: http://www.societyofauthors.org/mckitterick

INTERNATIONAL RADIO PLAYWRITING COMPETITION (UK) 
------------------------------------------------
Deadline: October 31
Prizes: 2,500 and trip to London
Details: Write a radio play of about 60 minutes (50-75 pages) on any subject. To be aired by the BBC. Open to anyone over 16 who is not normally resident in UK. Two categories: for entrants for whom English is a first language, and for entrants for whom English is a second language.
Online/Electronic Entries: Yes
Contact: Playwriting Competition 2012, BBC World Service, Rm 823B, South East Wing, BBC Bush House, Strand, London WC2B 4PH, UK, radioplay@bbc.co.uk
URL: http://www.bbc.co.uk/programmes/profiles/1DM9W7gGSVkjsg38mJHrzpm/rules-and-how-to-enter


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.
URL: http://www.fanstory.com/contests.jsp

FICTUARY
--------
Prizes: $50, promotion, publication; 2 runners up - publication
Details: Monthly short fiction contest.  Winning stories featured in Feed Me Fiction short story magazine.  Any type of fiction; 1000-4000 words.  Monthly; winners announced by 15th of following month.
URL: http://fictuary.com/short-story-contests/

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. 
URL: http://www.thenextbigwriter.com/competition/index.html

SCRIBOPHILE WRITING CONTESTS
----------------------------
Bimonthly/Quarterly
Prizes: $50 to $100 Amazon gift certificates
Details: Short stories, flash fiction, poetry, on themes posted on website.
URL: 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. 
URL: http://www.writersdigest.com/your-story-competition

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Writing World is a publication of Writing-World.com
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Editor and Publisher: MOIRA ALLEN (editors"at"writing-world.com) 

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Copyright 2015 Moira Allen





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