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Please see individual URLs for complete contest and anthology information and submission guidelines.

Upcoming Anthologies

Deadline: 03/09/10.
Submit to: Anthology of Memories of Hispanic Grandmothers as Remembered by Their Grandchildren. E-mail to: icas@stlawu.edu and mllorente@stlawu.edu.
Theme: See title.
Type: Short stories, poems, songs, essays, interviews, recipes, folk stories, nonfiction writing, and drawings in black and white along with a short narrative (10-12 pages MAX).
URL: Google for more information.

Deadline: 03/15/10.
Submit to: Flashlight Memories Anthology. Silver Boomer Books, 3301 S. 14th, Suite 16, PMB 134, Abilene, TX 79605, or e-mail (via pasted-in text) to: SilverBoomerBooks@gmail.com.
Theme: Childhood reading.
Type: Poetry (1 poem, 50 lines MAX, prefers shorter) and prose (1,500 words MAX).
URL: http://silverboomerbooks.com

Deadline: 03/31/10.
Submit to: The Way of the Wizard. E-mail your story as a DOC file (preferred) or as an RTF file to jjadams.anthology@gmail.com. Include the words “Wizards Submission” and the title of the story and your byline in the subject line of the e-mail.
Theme: Wizards, witchs, sorcerers, sorceresses, magic, fantasy, etc.
Type: Short stories (5,000 MAX).
URL: http://www.johnjosephadams.com/2009/06/guidelines-the-way-of-the-wizard

Deadline: 03/31/10.
Submit to: Becoming Anthology. Send via e-mail: becominganthology@gmail.com.
Theme: Women's stories.
Type: Personal essays (1,000 words MAX) or one poem.
URL: http://becominganthology.blogspot.com/2010/02/call-for-submissions.html

Deadline: 04/01/10.
Submit to: Bitch. Submit via online form: http://bitchmagazine.org/contact/editorial. Theme: Make-Believe; MUST BE a feminist response to pop culture.
Type: Essays (4,000 words MAX).
URL: http://bitchmagazine.org/guidelines.shtml

Deadline: 04/01/10.
Submit to: Witness. Submit via online form: http://witness.blackmountaininstitute.org/submit/login.php.
Theme: Blurring Borders.
Type: Poetry (5 poems MAX), short stories, and essays.
URL: http://witness.blackmountaininstitute.org/submit

Deadline: 04/15/10.
Submit to: A Whodunit Halloween. E-mail submissions to: whodunit@pillhillpress.com. Please put SUBMISSION - Title of Story in the subject line.
Theme: Halloween mysteries.
Type: Short stories (15,000 words MAX).
URL: http://www.pillhillpress.com/atlantis.html

Deadline: 04/15/10.
Submit to: Align with Global Harmony: Rainmaker’s Prayers Anthology. Send via Word attachment or pasted-in text to: hazelheron.press@gmail.com.
Theme: Environmental topics.
Type: Personal essays (1,000 words MAX).
URL: http://shinanbarclay.vox.com

Deadline: 04/20/10.
Submit to: A Cup of Comfort. Submit via online form: http://www.cupofcomfort.com/memberlogin.
Theme: For Couples.
Type: Personal essays (2,000 words MAX).
URL: http://www.cupofcomfort.com/CallForSubmissions

Deadline: 05/01/10.
Submit to: The Christmas Spirit. Send via online form: http://www.christmasspiritbook.com/story.html
Theme: Christmas.
Type: Personal essays (1,300 words MAX).
URL: http://www.christmasspiritbook.com

Deadline: 05/01/10.
Submit to: The First Line. E-mail (via MS Word or WordPerfect attachment) to: submission@thefirstline.com.
Theme: Every story starts out the same: Paul and Miriam Kaufman met the old-fashioned way.
Type: Short stories (3,000 words MAX).
URL: http://www.thefirstline.com

Deadline: 06/01/10.
Submit to: Pockets. Lynn W. Gilliam, Editor. PO Box 340004, Nashville, TN 37203-0004. 
Theme: Respect. MUST BE appropriate for 8- to 12-year-old Christians. 
Type: Poetry (20 lines MAX), short stories (1,000 words MAX), and essays (1,000 words MAX).
URL: http://pockets.upperroom.org/themes

Deadline: 06/30/10.
Submit to: Cancer Anthology. E-mail to: info@divinetruthpress.com.
Theme: Your journey with cancer, the journey of a loved one, or your secondhand experience as caregiver or medical professional.
Type: Personal essays (500 to 1,500 words MAX).
URL: http://divinetruthpress.atwc1.com/submissions/cancer-anthology

Deadline: 06/30/10.
Submit to: The Haiti I Knew, The Haiti I know, The Haiti I Want to Know.  E-mail (via attachment) to: jessfievre@gmail.com. Put “Anthology” in the subject line.
Theme: Contemporary Writings by Haitian Women.
Type: Short stories and personal essays (3,000-5,000 words MAX).
URL: http://wwohd.blogspot.com/2009/04/call-for-submissions.html

Deadline: 08/01/10.
Submit to: Rattle. E-mail (via pasted-in text) to: submissions@rattle.com.
Theme: Masters of Mental Health.
Type: Poetry and essays (5,000 words MAX).
URL: http://www.rattle.com/callsforsubs.html

Deadline: 09/10/10 or until issue is full. Check Web site below.
Submit to: Workers Write! E-mail to: courtroom@workerswritejournal.com, or send a hard copy to: Blue Cubicle Press, PO Box 250382, Plano, TX 75025-0382.
Theme: Tales from the Courtroom.
Type: Short stories (5,000 words MAX).
URL: http://www.workerswritejournal.com

Deadline: 12/31/10.
Submit to: The Untidy Season: An Anthology of Nebraska Women Poets. The Backwaters Press, PO Box 8067, Omaha, NE 68108, or e-mail (via attachment) to: theuntidyseason@yahoo.com.
Theme: Contributors must be Nebraskan women, which includes all women born or currently residing in Nebraska. Poets who have previously lived in Nebraska for a period of not less than 10 years will also be considered.
Type: Poems (3-5 poems, 10 pages MAX).
URL: http://backwaterpress.com

Deadline: N/A.
Submit to: editor@dreamofthings.com
Theme: Various topics based on one of 15 themes. See http://dreamofthings.com/workshop-2 for more details.
Type: Personal essays (500-5,000 words MAX).
URL: http://dreamofthings.com/guidelines 

---

Upcoming Contests

Deadline: 03/15/10.
Submit to: Bellday Poetry Prize, Bellday Books, Inc., PO Box 3687, Pittsburgh, PA 15230.
Entry fee: $25.  First prize: $2,000 and 25 copies of the book.
Type: Poetry (60 to 90 pages MAX).
URL: http://www.belldaybooks.com/contest.html

Deadline: 03/15/10
Submit to: Noemi Book Award for Poetry, PO Box 1330, Mesilla Park, NM 88047.
Entry fee: $25. First prize: $1,000 and 10 author's copies.
Type: Poetry (48 to 70 pages MAX).
URL: http://noemipress.org/contest.html

Deadline: 03/15/10.
Submit to: The Pinch Fiction Contest or Poetry Contest, Department of English, The University of Memphis, Memphis, TN 38152-6176.
Entry fee: $20. First prize: $1,500 (fiction) and $1,000 (poetry) and publication.
Type: Poetry (1 - 3 poems) and fiction (5,000 words MAX).
URL: http://cassian.memphis.edu/pinch/contest/contest.html

Deadline: 03/15/10.
Submit to: Prairie Schooner Prize Series, Attn: Fiction or Poetry, 201 Andrews Hall, PO Box 880334, Lincoln NE 68588-0334.
Entry fee: $25. First prize: $3,000 and publication.
Type: Prose (150 pages MIN) and poetry (50 pages MIN).
URL: http://prairieschooner.unl.edu/prizes/index.html

Deadline: 03/15/10.
Submit to: The South Carolina Review Poetry Contest, 611 Strode Tower, Box 340522, Clemson University, Clemson, SC 29634-0522.
Entry fee: $20. First prize: $500 and an invitation to read at the Clemson Literary Festival in April.
Type: Poetry (4 titles, 10 pages MAX).
URL: http://www.clemson.edu/caah/cedp/cudp/scr/poetry_contest.pdf

Deadline: 03/15/10.
Submit to: So to Speak (Fiction Contest), George Mason University, MSN 2C5, 4400 University Drive, Fairfax, VA 22030.
Entry fee: $15. First prize: $500 and publication. 
Type: Short stories (5,000 words MAX).
URL: http://www.gmu.edu/org/sts/contests.php

Deadline: 03/15/10.
Submit to: Spokane Prize for Short Fiction. Willow Springs Books, c/o Inland NW Center for Writers, 501 N. Riverpoint Blvd, Ste 425, Spokane, WA 99202.
Entry fee: $25. First prize: $2,000, plus publication.
Type: Book-length manuscript (at least 98 pages).
URL: http://willowsprings.ewu.edu/spokaneprize

Deadline: 03/15/10.
Submit to: The Tusculum Review Poetry Prize, 60 Shiloh Road, PO Box 5113, Greeneville, TN 37743.
Entry fee: $15. First prize: $1,000 and publication.
Type: Poetry (5 titles, 10 pages MAX).
URL: http://www2.tusculum.edu/tusculumreview/contest

Deadline: 03/30/10.
Submit to: DPR/BRIERY CREEK, Department of English, Longwood University, 201 High Street, Farmville, VA 23909.
Entry fee: $20. First prize: $1,000 plus 50 books, a reading, and a letter-pressed broadside created by book-artist Kerri Cushman. 
Type: Poetry collection (48 - 60 pages MAX).
URL: http://www.brierycreekpress.org/mod/resource/view.php?id=3

Deadline: 03/31/10.
Submit to: Winning Writers, Attn: Tom Howard Short Story Contest, 351 Pleasant Street, PMB 222, Northampton, MA 01060, or send via online form: https://www.winningwriters.com/contests/tomstory/ts_subonline.php.
Entry fee: $15. First prize: $3,000 and online publication.
Type: Prose (5,000 MAX)
URL: http://www.winningwriters.com/contests/tomstory/ts_guidelines.php

Deadline: 03/31/10.
Submit to: Gemini Magazine Contest. PO Box 1485, Onset, MA 02558, or send via e-mail to: contest@gemini-magazine.com (pay via PayPal).
Entry fee: $4. First prize: $1,000 and publication.
Type: Short stories.
URL: http://www.gemini-magazine.com/contest.html

Deadline: 03/31/10.
Submit to: P53 Open Awards Contest, PO Box 30314, Winston-Salem, NC 27130-0314.
Entry fee: $15. First prize: in each category will receive the Press 53 Open Award (a beautiful, personalized, etched-glass award), publication in the Press 53 Open Awards Anthology, two complimentary copies of the book in which the work appears, and a winner's discount on unlimited additional copies to sell on his or her Web site or at readings.
Type: Poetry (3 poems, 10 pages MAX) and prose (see word count restrictions on Web site).
URL: http://www.press53.com/OpenAwards_2010.html

Deadline: 03/31/10.
Submit to: Four Way Books, PO Box 535 Village Station, New York, New York 10014, or send via online form (preferred): http://www.fourwaybooks.com/2010contest_form.php.
Entry fee: $25. First prize: $1,000 and publication.
Type: Poetry (48-80 pages MAX).
URL: http://www.fourwaybooks.com/contest.php?PHPSESSID=ea76006d2a72d8d7506c8fede4e79d7a

Deadline: 03/31/10.
Submit to: Stephen F. Austin State University Press, (Indicate FICTION OR POETRY PRIZE), c/o Department of English, PO Box 13007 SFA Station, Nacogdoches, TX 75962-3007.
Entry fee: $25. First prize: $1,000 and publication.
Type: Fiction (at least 150 pages) or poetry (60 pages MAX).
URL: http://sfapress.sfasu.edu

Deadline: 03/31/10.
Submit to: Writecorner Press, Koeppel Contest - Poetry, PO Box 140310, Gainesville, FL 32614.
Entry fee: $5. First prize: $500 and online publication.
Type: Poetry (40 lines MAX).
URL: http://www.writecorner.com/poetry_guidelines.asp

Deadline: 04/01/10.
Submit to: BOMB Magazine, 2010 Poetry Contest, 80 Hanson Place, #703, Brooklyn, NY 11217.
Entry fee: $20. First prize: $500 and publication. 
Type: Poetry (5 poems MAX).
URL: http://bombsite.com/issues/0/articles/3406

Deadline: 04/01/10.
Submit to: Passager, 1420 N. Charles Street, Baltimore, MD 21201-5779. 
Entry fee: $20. First prize: $300 and publication. 
Type: Poetry from writers over 50, (5 poems, 50 lines MAX). 
URL: http://www.ubalt.edu/passager/guidelines.htm

Deadline: 04/01/10. 
Submit to: TIFERET Poetry Contest. Send via online form at: http://www.tiferetsubmissions.com.
Entry fee: $5/poem. First prize: $500 and publication.
Type: Poetry (10 poems MAX).
URL: http://tiferetjournal.com/2010/01/01/enter-the-2010-tiferet-poetry-contest-500-first-prize

Deadline: 04/01/10.
Submit to: Wergle Flomp Humor Poetry Contest. Send via online form at: http://www.winningwriters.com/contests/wergle/we_subonline_step1.php.
Entry fee: FREE. First prize: $1,500 and online publication.
Type: Poetry.
URL: http://www.winningwriters.com/contests/wergle/we_guidelines.php

Deadline: 04/02/10.
Submit to: Creative Nonfiction. Attn: End of Life Stories, 5501 Walnut Street, Suite 202, Pittsburgh, PA 15232.
Entry fee: $20. First prize: $1,500.
Type: Essays that explore death, dying, and end of life care (5,000 words MAX).
URL: http://www.creativenonfiction.org/thejournal/submittocnf.htm#EndofLife

Deadline: 04/02/10.
Submit to: Creative Nonfiction. Attn: Animals, 5501 Walnut Street, Suite 202, Pittsburgh, PA 15232.
Entry fee: $20. First prize: $1,000 and publication.
Type: Essays on animals (5,000 words MAX).
URL: http://www.creativenonfiction.org/thejournal/submittocnf.htm#Animals

Deadline: 04/02/10.
Submit to: 2010 Robert Watson Poetry Award, sponsored by storySouth and Spring Garden Press. Send online at: http://www.springgardenpress.com/submissions.
Entry fee: $12. First prize: $500 and the publication of a beautifully designed, letterpress-printed, limited-edition chapbook. 
Type: Poetry collection (24 pages MAX).
URL: http://www.springgardenpress.com/spg/contests.html

Deadline: 04/11/10.
Submit to: 5th Annual Warren Adler Short Story Contest. Send via online form: http://www.warrenadler.com/writing-contest.shtml
Entry fee: $15. First prize: $1,000 and online publication.
Type: Short stories (2,500 words MAX).
URL: http://www.warrenadler.com/writing-contest.shtml 

Deadline: 04/15/10.
Submit to: 11th Annual Tupelo Press/Crazyhorse Award for a First or Second Book of Poetry. Send via online form to: http://www.tupelosubmissions.org, or mail to: PO Box 1767, North Adams, MA 01247. 
Entry fee: $25. First prize: $3,000 and publication. 
Type: Poetry (48 - 88 pages MAX).
URL: http://www.tupelopress.org/first.php

Deadline: 04/20/10.
Submit to: A Cup of Comfort for Couples / REDBOOK Story Contest. Send via online form: http://cupofcomfort.com/submit_story.aspx?StoryType=Submit%20Story
Entry fee: None. First prize: $1,000, plus publication.
Type: Personal essays. MUST BE uplifiting (2,000 words MAX).
URL: http://cupofcomfort.com/lovestory 

Deadline: 04/30/10.
Submit to: E.M. Koeppel Short Fiction Award Koeppel Contest, POB 140310, Gainesville, FL 32614.
Entry fee: $15. First prize: $1,100 and online publication.
Type: Short stories (3,000 words MAX).
URL: http://www.writecorner.com/printable.asp

Deadline: 05/14/10.
Submit to: The Annual Writer’s Digest Competition. Send via online form to: https://competitions.fwmedia.com/dynamiccompetition/wdannual2010/entry_form.
Entry fee: $15 for poetry and $20 for all other manuscripts. First prize: $3,000 plus a trip to New York City to meet with editors or agents. 
Type: Various types. See Web site for more info.
URL: http://writersdigest.com/annual

Deadline: 05/15/10.
Submit to: H.O.W. Journal Short Story Contest, 12 Desbrosses Street, New York, NY 10013.
Entry fee: $20. First prize: $1000 and publication.
Type: Short stories (12,000 words MAX).
URL: http://www.howjournal.com/submit-contests.html

Deadline: 05/15/10.
Submit to: Lorian Hemingway Short Story Competition, PO Box 993, Key West, FL 33041, or e-mail to shortstorykw@gmail.com.
Entry fee: $12.  First prize: $1,000 and publication.
Type: Short stories (3,000 words MAX).
URL: http://www.shortstorycompetition.com/guidelines.php

Deadline: 05/18/10.
Submit to: New Letters Literary Awards, University House, 5101 Rockhill Road,
University of Missouri-Kansas City, Kansas City, MO 64110, or submit online at http://www.newletters.org.
Entry fee: $15. First prize: $1,500.
Type: Poetry (6 poems MAX), essays, and short stories (8,000 words MAX).
URL: http://www.newletters.org/PDFs/2010%20Contest%20Guidelines%20.pdf

Deadline: 05/31/10.
Submit to: River Styx Poetry Contest, 3527 Olive Street, Suite 107, St. Louis, MO 63103-1014.
Entry fee: $20. First prize: $1,500 and publication.
Type: Poetry (3 titles, 14 pages MAX).
URL: http://www.riverstyx.org/contests/index.php

Deadline: 05/31/10.
Submit to: 2010 Linda Bromberg Literary Award, Quiddity, 1500 North Fifth Street, Springfield, IL 62702.
Entry fee: $12. First prize: $500 and publication.
Type: Prose poem (1 poem).
URL: http://www.sci.edu/quiddity/download/2010LindaBrombergLiteraryAward.pdf

Deadline: 05/31/10.
Submit to: Winning Writers, Attn: War Poetry Contest, 351 Pleasant St., PMB 222, Northampton, MA 01060-3961, or send via online form at: https://www.winningwriters.com/contests/war/wa_subonline.php
Entry fee: $15. First prize: $2,000 and online publication.
Type: Poetry on the theme of war (1 - 3 poems, 500 lines MAX),
URL: http://www.winningwriters.com/contests/war/wa_guidelines.php

Deadline: 06/01/10.
Submit to: Poetry Contest, Boston Review, 35 Medford St., Suite 302, Somerville, MA 02143
Entry fee: $20. First prize: $1,500 and publication.
Type: Poetry (5 poems MAX).
URL: http://bostonreview.net/about/contest/#Thirteenth

Deadline: 06/10/10.
Submit to: The Writers' Circle, 1087 Warwick Ave., Warwick, RI 02888.
Entry fee: $10. First prize: $500 and publication. 
Type: Short stories (1,000 words MAX).
URL: http://www.riwriterscircle.com/deadlines.html

Deadline: 06/30/10.
Submit to: Winning Writers, Attn: Margaret Reid Poetry Contest, 351 Pleasant Street, PMB 222, Northampton, MA 01060, or send via online form at: https://www.winningwriters.com/contests/margaret/ma_subonline.php.
Entry fee: $7 (for 25 lines). First prize: $3,000 and online publication.
Type: Poetry.
URL: http://www.winningwriters.com/contests/margaret/ma_guidelines.php

Deadline: 09/30/10.
Submit to: Poetry Editor, The Ohio State University Press, 180 Pressey Hall, 1070 Carmack Road, Columbus OH 43210-1002.
Entry fee: $25. First prize: $3,000.
Type: Poetry (48 pages MAX).
URL: http://www.ohiostatepress.org/Books/Series%20Pages/Poetry.html

Deadline: 10/15/10.
Submit to: So to Speak (Poetry or Nonfiction Contest), George Mason University, MSN 2C5, 4400 University Drive, Fairfax, VA 22030.
Entry fee: $15. First prize: $500 and publication. 
Type: Poetry (5 poems, 10 pages MAX) or essays (4,000 words MAX)
URL: http://www.gmu.edu/org/sts/contests.php

 

Upcoming Conferences and Events

USA

California

International Women’s Writing Guild: The California Conference – Entering the Writer’s Sacred Playground.
Conference dates: March 12 – March 14, 2010.
Workshops: The Form – When One Genre Meets Another: Mary Reynolds Thompson and Richelle McClain, The Craft – Playing with Language and Structure: Rachel de Baere, and The Power of the Collaborative Process – Creating in Community: Mary, Richelle and Rachel.
PROGRAM: What happens when an essay behaves more like a poem?  When memoir bleeds into fiction?  Or when reportage turns into reflection?  Spend a weekend dedicated to drawing from the repertoire of genres to create surprising and dynamic writing. Whether you’re a new or seasoned writer, this weekend will rejuvenate you and your craft.
Contact: ItsmeRach@comcast.net
URL: http://www.iwwg.org

Weekend of Poetry
Conference dates: March 12 - 14, 2010.
Dorianne Laux is the featured poet. The weekend offers workshops with award-winning poets, as well as opportunities to craft and receive feedback on your own work. A master class with Laux wraps up the weekend.
Contact: info@sbwriters.com
URL: http://www.sbwriters.com

White Lotus Poetry Workshop
Conference dates: March 12 - 14, 2010.
Ellen Bass's recent book of poems, The Human Line, was published by Copper Canyon Press in 2007 to favorable reviews. She is known for her lively and bold poems about the everyday. Her poems have the elements of quiet joy and true comfort.
Contact: victors75@rattlebrain.com
URL: http://www.esalen.org

Bay Area Independent Publishers Association 2010 Get Published! Institute
Conference date: March 13, 2010.
Where book publishing is going. Featuring Danny O. Snow - SNCR, Kemble Scott - author/SoMa Literary Review, David Mathison - Be the Media - Book/Speaker.
Contact: Lin A. Lacombe at llacombe@earthlink.net
URL: http://www.baipa.org

First-person Writing That Sells with Adair Lara
Registration deadline: March 18, 2010. Conference dates: March 20 - 21, 2010.
This is an opportunity to draw on your own life experience and find out how to get your work published. Whether you're just beginning or have already published, you will enjoy this time with the author of best-selling books such as Hold Me Close, Let Me Go, The Granny Diaries, and her newest, Naked, Drunk, and Writing.
Contact: crow@starwae.com
URL: http://www.starwae.com

Travel Writing That Sells
Registration deadline: April 15, 2010. Conference dates: April 17 - 18, 2010.
Spend a lively and supportive weekend learning travel writing from veteran travel editor John Flinn. Whether you’re new to professional writing or have been published, you’ll learn how to turn your travel experiences into magazine and newspaper articles that sell. John edited the award-winning San Francisco Chronicle Travel Section for 14 years and is a winner of a Lowell Thomas Award for Travel Journalist of the Year from the Society of American Travel Writers. His writing has appeared in Outside Magazine, Sunset, VIA, Coastal Living, Climbing, and numerous anthologies, including Travelers’ Tales: Tuscany and Not So Funny When It Happened.
Contact: crow@starwae.com
URL: http://www.starwae.com

Santa Barbara Writers Conference
Conference dates: June 17 - 23, 2010.
The Santa Barbara Writers Conference celebrates its 37th year with six days of craft-based workshops, panel discussions, and talks by celebrated authors Ray Bradbury, Pico Iyer, Catherine Ryan Hyde, Ron McLarty, and Luis Alberto Urrea. Join us for a week of writing on the beautiful American Riviera!
Contact: info@sbwriters.com
URL: http://www.sbwriters.com

California Writers Coalition
Year-round events.
California Writers is a club for, by and of writers – across all genres and level of skill. We educate, we learn, we grow, we support each other.
Contact: cwcsfv@gmail.com
URL: http://www.calwriterssfv.com/home.htm

Lakeshore Writers Workshops
Conference dates: Contact T. Burns Gunther to find out specifics.
Workshops are an outgrowth of the method developed by Pat Schneider, founder of Amherst Writers & Artists. The method is based upon the philosophy that "every person is a writer, and every writer deserves a safe environment in which to experiment, learn, and develop craft."
Contact: T. Burns Gunther at teresa@lakeshorewriters.net.
URL: http://www.lakeshorewriters.net

The 2010 Clarion Science Fiction & Fantasy Writers' Workshop.
Registration deadline: March 1, 2010. Conference dates: June 27 through August 7, 2010.
Established in 1968, the Clarion Writers' Workshop is the oldest workshop of its kind and is widely recognized as a premier proving and training ground for aspiring writers of fantasy and science fiction. Many graduates have become well-known writers, and a large number have won major awards. Instructors are among the most respected writers and editors working in the field today. The six-week workshop is held on the beautiful beachside campus of the University of California, San Diego. The instructors will be Delia Sherman, George R.R. Martin, Dale Bailey, Samuel R. Delany, Jeff VanderMeer, and Ann VanderMeer.
Contact: Hadas Blinder at Clarion@ucsd.edu.
URL: http://www.clarionwest.org

Delaware

Writers at the Beach: Pure Sea Glass 
Early bird deadline: February 15, 2010. Conference dates: March 26 - 28, 2010. 
Over 35 nationally renowned authors, agents, and publishers volunteer their time to this event. Over 35 intimate workshops, numerous panel discussions, and 100% of net proceeds donated to charity. 
Contact: contactus@rehobothbeachwritersguild.com
URL: http://www.writersatthebeach.com 

Florida

Tallahassee Festival of Books and Writers Conference 
Registration deadline: March 12, 2010. Conference dates: March 19 - 21, 2009. 
Julianna Baggott, Mike Grunwald, Claudia Hunter-Johnson, Donald Maass, Lisa Rector-Maass, Jeff Shaara, Lucia Robson, Don Yaeger, and more. 
URL: http://www.tallahasseewriters.net

Iowa

David R. Collins Writers’ Conference
Registration deadline: June 23, 2010. Conference dates: June 23 - 25, 2010.
This three day conference will offer workshops in creative nonfiction, freelancing, nonfiction, poetry, publishing, and marketing. Cecil Murphey, coauthor of the New York Times best-selling book, 90 Minutes in Heaven, will teach a workshop on fiction and will speak at our author luncheon on June 24. 
Contact: mwc@midwestwritingcenter.org
URL: http://www.midwestwritingcenter.org/WhatWeDo/2009%20Conference.htm

The First Quad City Book Fair
May 8, 2010.
Offers authors a forum to personally display, promote and sell their books to the public, but also an opportunity to meet and discuss marketing, networking and advertising with their peers. See URL below for registration information.
Contact: mwc@midwestwritingcenter.org
URL: http://qcbookfair.blogspot.com or http://www.facebook.com/pages/Quad-City-Book-Fair/298387271635

Kansas

Called To Write Conference
Conference dates: April 9 - 10, 2010.
10 workshops, guest speaker Cecil Murphey.
Contact: Carol Russell at rlrussell@ckt.net
URL: http://www.christianwritersfellowship.blogspot.com

Maine

The Remembered Self: A Memoir Workshop
Conference deadline: May 1, 2010. Conference dates: July 16 - 18, 2010.
This workshop is for those who want to begin a memoir or for those who have already begun one and feel overwhelmed or stuck. Learn how to mine stories, align with authentic voice, and shape material into scenes.
Contact: joan@fifthhouselodge.net
URL: http://www.fifthhouselodge.net

Nebraska

The Kimmel Harding Nelson Center for the Arts in Nebraska City, NE offers 2- to 8-week residencies year-round for writers, visual artists, and music composers. Housing, studio space, $100/week stipend are provided.
Approximately 50 residencies are awarded per year. Two deadlines each year: postmarked March 1 for the following July through December 15; postmarked September 1 for the following January through June 15.
Contact: info@KHNCenterfortheArts.org
URL: http://www.KHNCenterfortheArts.org

Nevada

TMCC Writers' Conference
Registration deadline: April 8, 2010. Conference date: April 17, 2010.
This Reno event provides participants with a casual, intimate atmosphere where they can take in marketing and craft workshops and meet one-on-one with the speaker of their choice. The 2010 slate of speakers includes agent/author Sheree Bykofsky, Ebook publisher Mark Coker, nonfiction agent Ted Weinstein, natural world memoirist Robert Leonard Reid, science fiction author Susan Palwick, and more.
Contact: 775-829-9010
URL: http://wdce.tmcc.edu (click on classroom courses, then conferences)

New Jersey

Velocicon Workshops
Registration deadline: February 4, 2010. Conference date: March 6, 2010.
Enjoy workshops geared toward the sci-fi, fantasy and paranormal writer, as well as experience a full-day program of paranormal professionals. Luncheon keynote speaker Dr Dave Goldberg, astrophysicist, will discuss the science of time travel. Paranormal presenters inlude para investigator tv personality and author Jeff Belenger; New Jersey Ghost Hunters Society; Robert Murch, leading Ouija historian; Aura Photography, and more.Writing workshops taught by a Hugo Award winner and best-selling authors of the genre. Book Fair and Paranormal Fair open to the public at conclusion of conference.
Contact: velocicon@yahoo.com
URL: http://www.velocicon.com

Spring Writers Conference
Conference date: April 17, 2010.
Various writing workshops. Keynote speaker is David Means, author of Assorted Fire Events, The Secret Goldfish, and others.
Contact: parrasj@wpunj.edu
URL: http://euphrates.wpunj.edu/faculty/parrasj/Conference/default.htm

New York

 

Millay Colony for the Arts
Registration deadline: October 1, 2010. Program dates: April - November.
Promoting the vitality of the arts and the development of writers, visual artists, and composers by providing a retreat for creative work.
Contact: residency@millaycolony.org
URL: http://www.millaycolony.org

North Carolina

Blue Ridge "Autumn in the Mountain" Novelist Retreat
Registration deadline: October 3, 2010. Conference dates: October 3 - 7, 2010.
All you ever wanted to know about writing/improving a novel: morning large group sessions, afternoon writing time, workshops, evening large group panels, Q & A, and more.
Contact: ylehman@bellsouth.net
URL: http://www.lifeway.com/article/?id=164906

Ohio

Writing Works!
Registration deadline: April 23, 2010 by mail; at the door on May 1, 2010. Conference date: May 1, 2010.
This conference is the seventh year that Columbus State has offered a writing conference. Our keynote speaker is David Rakoff, author of Fraud; Rakoff will also be giving a one-hour writing workshop at this year’s event.
Contact: Rita Rice at rrice@cscc.edu
URL: http://www.cscc.edu/writersconference/index.shtml

Oregon

 

Pennsylvania

The Write Stuff
Early-bird deadline: February 25, 2010. Mail-in registration deadline: March 12, 2010. Conference dates: March 25 - 27, 2010.
Our keynote speaker, noted creative writing teacher James N. Frey (How To Write A Damn Good Novel), will give a 2-day pre-conference workshop, "How to Plot Like the Pros." Conference offers fiction, nonfiction, business of publishing, agents, editors, book fair, flash contest.
Contact: WriteStuffAdmin@gmail.com
URL: http://www.glvwg.org/conference/index.html or http://glvwgwritersconference.blogspot.com

2010 Pennwriters Annual Writers Conference
Registration deadline: April 25, 2010. Conference dates: May 14 - 16, 2010.
Join us for three days of pitch sessions, workshops, and networking opportunities. Agents/editors: Janet Reid, Jennifer Jackson, Jenny Bent, Alex Glass, Miriam Kriss, Barbara Lalicki, Leis Pederson, and David Pomerico. Keynote speaker: author James Rollins.
Contact: conference2010@pennwriters.com
URL: http://www.pennwriters.com

The Gettysburg Review Conference for Writers
Registration deadline: May 25, 2010. Conference dates: June 9 - 14, 2010.
Small, intensive workshops will be led this year by Stanley Plumly (poetry), Lee K. Abbott (fiction), and Rebecca McClanahan (nonfiction). Come join us in creating a community of writers in bucolic, convivial, and historic Gettysburg, Pennsylvania.
Contact: Kim Dana Kupperman at kkupperm@gettsyburg.edu
URL: http://www.gettysburgreview.com/conference/2010-conference-for-writers

Susquehanna Valley Writers Workshop 
Conference date: October 9, 2010. 
Various author presentations and workshops. 
Contact: ckwriter@evenlink.com
URL: http://www.marshahubler.com/workshop.html

Linda Oatman High Writing Workshops
Various dates throughout the year.
Author/playwright/journalist Linda Oatman High is available for school presentations, writing workshops, and other events.  
Contact: lohigh@frontiernet.net
URL: http://www.lindaoatmanhigh.com

Rhode Island

Tennessee 

Tennessee Mountain Writers Conference 
Registration deadline: March 17, 2010. Conference dates: March 25 - 27, 2010. 
We have major sessions on Fiction, Nonfiction, Poetry, Editing, and Writing for Children & Young People; we also have five single sessions on specialty topics such as Internet Research. Sam Venable is our banquet speaker. 
Contact: Carol Grametbauer at CarolGram@att.net
URL: http://www.tmwi.org/Annual%20Conference/2010confpage.html

Texas

Houston Writers Guild Conference
Early bird deadline: March 30, 2010. Conference date: April 10, 2010.
Various writing workshops. Agents attending are Amy Burkhardt of Kimberley Cameron & Associates, Peter Steinberg of The Steinberg Agency, and Sharon Bowers of The Millery Agency. Keynote speaker is Allison McCabe of Crown Publishing Group, Random House, Penguin, and Harper-Collins.
Contact: rpaulding@sbcglobal.net
URL: http://www.houstonwritersguild.org

Washington

Writing It Real Writers' Conference in Port Townsend
Registration deadline: February 15, 2010. Conference dates: April 23 - 25 2010.
Faculty members Sheila Bender, Meg Files, and Jack Heffron will offer you hands-on lectures, small group in-class writing instruction, manuscript workshops, and writing and publishing consultations.
Contact: sbender@writingitreal.com or danavischer@writingitreal.com.
URL: http://www.writingitreal.com/page.php?p=writers_conference

Various US (and international) locations

Creativity Workshops
We offer workshops in New York, Carmel-by-the-Sea, Crete, Barcelona, and Florence.
Conference dates in 2010: March 12 - 15 (New York), June 18 - 21 (New York), June 26 - July 4 (Crete), July 5 - 13 (Barcelona), July 14 - 22 (Florence), and November 5 - 8 (Carmel).
Workshops on Creative Writing, Drawing, Storytelling and Memoir. Get over creative blocks and the fear of failure.
Contact: admin@creativityworkshops.com
URL: http://www.creativityworkshop.com

Warrior Writer Workshop
Conference dates: Year-round. Check URL below for specifics.
A workshop that focuses on helping writers become professional authors.
Contact: bob@bobmayer.org
URL: http://www.bobmayer.org

France
Women's Writing & Meditation Retreat 
Conference dates: June 19 - 26, 2010. 
Join us a for a week of creative restoration on the Mediterranean! Immerse yourself in the light, warmth, and charm of mythic Côte D’Azur! Follow in the footsteps of Fitzgerald, Picasso,  Gertrude Stein, Matisse, Brangelina, James Baldwin, Van Gogh, Hemingway, and others—but don’t over-exert yourself and remember to chill by the pool while sipping on local Rosé wine and munching on olives. A week of playful and supportive writing, meditation and relaxation, flavorful healthy food, and exploration of colorful farmer’s markets in Provence (Saint-Tropez, Nice, Monaco, Cannes, Ramatuelle...). 
Contact: valentinephilos@gmail.com
URL: http://www.valentineleonard.com

Mallorca, Spain 
Writing For Our Lives 
Registration date: March 31, 2010.
Conference dates: September 25 - October 2, 2010.
Ellen Bass has been teaching at La Serrania for six years. In addition to ample time for writing and sharing, we'll also have the opportunity to visit the local Sunday market, and we'll plan a mid-week sightseeing excursion. This size of the workshop is limited to 13 participants. The earlybird fee for the workshop (which includes accommodations and all meals) is $1500 if you register by March 31, 2010.
Contact: victors75@rattlebrain.com
URL: http://www.ellenbass.com/writing-for-our-lives-la-serrania.php

 

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 Clients in the News

At Writer’s Relief we respect our clients’ privacy and don’t publish any information about them without permission. Whether our clients announce their honors and awards or not, we LOVE cheering for them and are proud of their amazing achievements. To get to our homepage, click here.

Notes from our December- February cycle:

Writer's Relief clients received 172 offers of publication in reputable, national literary magazines in the past 60 days. Way to go!

Clients’ complete novels were requested twelve different times by literary agencies, and client Keith Buie received multiple offers of representation (3!) for his novel!

Client Announcements:

Christy Ferrato was nominated for The Pushcart Prize!

Rosalia Scalia's short story "Unchartered Steps" earned her a Maryland State Art Council Grant for $1,000. Whoo-hoo, Rosalia!

Keith Buie has secured representation for Resistance, his moody contemporary novel about a disenchanted pharmacist, with McIntosh & Otis. A chapter excerpt from this novel is a finalist for publication in an anthology edited by best-selling author Chuck Palahniuk (Fight Club, Choke). Keith's work has also appeared or is forthcoming in The MacGuffin, Metal Scratches, Quiddity International Literary Journal, Rio Grande Review, and Willard & Maple. Go Keith! 

Jill Dearman (author of BANG The Keys, published by Penguin) will be holding Jan/Feb classes in the New York area. Visit http://www.jilldearman.com/blog.html for more.

Lori Kagan was nominated for The Pushcart Prize!

Jeffrey Kingman was recently a finalist in the 2009 Cutthroat Magazine contest. 

A blog post on James Harmon's blog was a finalist for 3QuarksDaily's Political Post of the Year.

Carolyn Light Bell is currently teaching a course in Creative Writing to high school seniors at Breck School in Minneapolis.

Lisa Alexander was nominated for and won UCLA's James Kirkwood Prize in Creative Writing (first place!). 

Anthony J. Mohr's essay, "The Doberman Dates," has been accepted by Chicken Soup for the Soul (True Love).  

The World's Smallest Bible, by Dennis Must, has been accepted for publication by Red Hen Press, Los Angeles, CA. Also, his novel, Hush Now, Don't Explain, was a finalist in both the recent William Faulkner-William Wisdom Creative Writing Competition and the Michigan Literary Fiction Award, University of Michigan Press. 

Eli Langner was one of three finalists for the Creekwalker Poetry Prize. Check it out: http://creekwalker.com/poetry/EliLangner.html.

Finishing Line Press poet Susanna Rich (Television Daddy and The Drive Home) and Emmy-Award winning documentarist Craig Lindvahl have been nominated for 2009 Mid-America Emmy Awards in the category "Writer/Program" for the film Cobb Field: A Day at the Ballpark. A winner of multiple Emmy Awards, Lindvahl found Susanna's poem "Squeeze Play" in Spitball: The Baseball Literary Magazine and commissioned her to write and voice-over poetry for Cobb Field. For details, link to http://www.emmymid-america.org and check out section 46A. For the film, link to http://www.callanfilms.com. Susanna's Web site is http://www.susannarich.com.

Doris Ferleger, Ph.D, was recently named the Poet Laureate of Montgomery County, Pennsylvania, in a competition judged by Tony Hoagland. Her book, Big Silences in a Year of Rain, was published by FootHills Publishing. 

Stephanie K. Cohen announces the launch of her site http://www.stephaniekaplancohen.com. Visit to learn more about In My Mother's House (published by Woodley Press), her memoir about Long Beach, Long Island. She recently signed a contract with Plainview Press for a book of poems.

Poet Donnell McGee has just launched a new Web site: http://www.donnellemcgee.com.  


Joanne Weck has signed with The Joy Harris Agency for her novel, Sweet William and Rosemary. She also wishes to announce that her story, "A Bracelet of Glass Beads" was accepted in the North Atlantic Review. Find out more about Joanne's books and writings at: http://www.joanneweck.com.

Lisa Dale’s latest novel, It Happened One Night ($6.99, Grand Central Publishing) recently went into a second printing. A free spirit and dreamer, Lana Biel owns a wildflower farm in Vermont with her sister. When a lighthearted fling leaves her expecting, she turns to her best friend Eli for help. But Eli’s keeping secrets that will change their friendship forever. RT Book Review gave the book 4.5 stars (their highest rating) and said the story “knocks the wind out of you.” More at www.LisaDaleBooks.com.

Tracy DeBrincat’s prize-winning short story collection Moon Is Cotton & She Laugh  All Night has been newly published by Subito Press/University of Colorado. Visit http://www.mooniscotton.com for more!

 

Rosary Hartel O'Neill (www.RosaryOneill.com) is thrilled to announce that eleven of her plays have been published as acting editions by Samuel French, Inc. In Lexington, Kentucky, she will be signing copies on March 5 at the 61st Southeastern Theatre Conference Convention, Lexington Convention Center Heritage Exhibit Hall, located at 430 W. Vine St. She will also be presenting two workshops/panels there: Breaking into the NYC Playwrighting Scene (March 4) and Being Pecked to Death by Ducks: Play Development by Workshop and Reading (March 6). On April 26, there will be a reading of her play Blackjack: The Theif Of Possession at Grand Gallery, The National Arts Club, 15 Gramercy Park South, New York, NY 10003.


Bang The Keys by Jill Dearman ($11.53, writing how-to, Alpha/Penguin Group). Jill Dearman is the rising writing guru of the modern era who has already helped legions of published, but pressured authors as well as searching yet serious new inksters to apply a method to their artistic madness. There is no problem a writer faces that she cannot empathize with and throw an armful of clever and penetrating exercises at. If you’re game to write yourself out of a corner, and re-invent your writing life, she just might be able to solve her most challenging mystery yet … you!  Four elegant steps, for when you’re ready to dance with your muse, instead of  singing the blues: •  B is for Begin with your strongest idea. •  A is for Arrange your material into a concrete form.  •  N is for nurture your project with love, so that others may love it too. •  G is for complete it, and let it GO out into the world to live independently. CLICK HERE TO BUY.

 

Has a literary agent offered to represent you and your book? Congratulations! This is an exciting and important milestone on the journey to getting published. It’s also the beginning of a process that can be a little more complex than meets the eye. Below you’ll find a list of questions to ask a literary agent while you’re in the “getting to know you” stage.

At the heart of the agent-writer relationship often lies a legal contract, so you should find out what you’re getting into before you get into it. While it might not be wise to inundate a prospective agent with too many questions, there are certain things that you should consider asking before you sign any contract.

Please note: some of these questions may be answered on the agent’s Web site or in other supporting materials. Be sure you don’t ask questions that don’t need to be asked if the information is already available to you!

* How long have you been in business as a literary agent?
No one goes to school to learn how to be a literary agent, but experience within the publishing industry can give an agent the edge when it comes to selling your book. Agents profit from their intimate understanding of editors’ reading preferences, so you’ll want someone who has strong connections. That said, don’t write off new agents. New agents are always hungry for manuscripts, so if you connect with a new agent at an established literary agency, you both may benefit from the partnership. Just be sure to do your homework and ask the right questions!

* What is your experience with this particular genre?
An agent who only handles romance novels might not have the right contacts to shop a thriller around. An agent might be trying to broaden his or her genre horizons, but you have to ask yourself if you want your book to be the guinea pig. If the agent’s enthusiasm is strong, it might be to your benefit to work with the agent in a genre that he or she doesn’t historically represent. Again, weigh the pros and cons by getting all the necessary information before you make a decision.

* Who will be handling my work within the agency?
Make sure you know who will be familiar with your book and to whom you can go if you have any specific questions down the road. Some agents at bigger companies will assign you to an assistant or a junior agent rather than rep your book personally. However, if you’re working with a boutique agency, you’ll probably be working with the agent you queried. Just be sure you know!

* What is your game plan for this project?
You should always be aware of what an agent has in mind for your book, including how the book will be positioned within the larger market and if there is a possibility of selling secondary rights (film, audio, electronic, etc.).

* How often will I be updated on what you’re doing on my behalf?
No one should do anything with your book that you are not aware of. Writers put a lot of trust in their agents, but what’s at stake here is your career. Communication is crucial. Does your prospective agent prefer e-mail correspondence or a phone call for a quick chat every once in a while? Find out ahead of time.

* Are you a member of the Association of Authors’ Representation (AAR)?
You may take heart in knowing that your agent is part of the AAR; however, if an agent is NOT an AAR member, you probably shouldn’t consider it a deal-breaker. The important thing is that the agent is in line with the AAR's requirements for ethics and handling clients' funds.

* What are your commission rates?
Anything over 15% on domestic sales suggests less-than-honest business tactics. Ditto to agents who require an up-front “marketing” fee or an editorial fee upon contract signing. See our articles Warning Signs: How To Spot A Literary Agent Scam: Part One and How To Spot A Literary Agency Scam: Part Two  for more information.

* What is the minimum time requirement on my contract?
Find out how long you are expected to work with this agent and what happens when one side no longer wants to work with the other.

* How will you be involved in my ongoing career?
Every agent has a different approach to building an author’s career: some are collaborators (working with authors on their projects in a very hands-on way), and others are more aggressively involved in the negotiation process. Ask your potential agent how he or she likes to work with clients.

In the end, your gut might be your best gauge when considering a literary agent. If after all your questions have been answered and you still feel wary of signing, it may be best to gracefully decline the offer. As nice as it is to be offered representation, proper treatment of your work by a trustworthy agent is paramount.

Writer’s Relief would love to help you find the right literary agent for your book! Our submission strategists can help target your book to distinguished literary agents to find which ones are best for you and your work. For more information about our services, please visit www.WritersRelief.com.

Guest blogger Suzan L. Wiener has had many greetings accepted by Andrew McMeal, Gallant Greetings, Peaceable Kingdom Press, Yippie Cards, etc. Many of her tips on writing, short stories, poems, and other short works have appeared in major publications.

Do you wonder how some poets and writers manage to sell their greeting card verses while others miss the mark completely or only get an acceptance on a rare occasion? This Q & A will give you the information you need to see your writing in the greeting card aisle (and help you make a little money at the same time!).

Q. Where do you find companies who will buy your greeting card verses?

A. I look in market books for writers or online at www.google.com. Then search for "paying greeting card markets."

Q. How do I know what type of greetings to send to each company?

A. Always request the company's guidelines. Follow them to the letter. If you don't, your ideas may be disqualified just for that reason.

Q. If I only write rhyming verses, should I try to write unrhymed verses or one-liners?

A. Definitely. Why limit what you are writing? Who knows, you may have a flair for writing unrhymed verses. If you don't give it a try, you will never know. You could be losing out on sales. I find it is a lot of fun to write different types of greetings rather than limiting myself to one form.

Q. When should I give up on a company if I keep getting rejections?

A. Only you can decide that. If submissions have been rejected for a year, it's time to rethink what you are sending to the company. Something obviously isn't meshing. Either you can sell your greeting card verses to another company, or you can rework them and try again. I always find it is best to send my ideas to another company, wait a few months, and then send other ideas to the first company. An editor might move on to another greeting card outfit, and the new editor might love your work. This has happened to me.

Q. What if I'm not an artist? Can I still get my verses published?

A. In fact, unless you are a professional artist, publishers prefer you send submissions without artwork. They have in-house artists to do the illustrations. You can, of course, suggest a visual for your text directly on the card you are sending. Editors even appreciate stick figures. If you cannot draw, just give them an idea of what you are trying to convey.

Q. What rights do greeting card companies acquire?

A. Each company is different. Some will ask for all rights, others will ask for first-time rights, etc. Some will send you a contract and others just an acceptance letter. Giving away all rights isn't the best way to go, but if you want to write for that particular company, you will have to relinquish them, unfortunately. That means you cannot resell your card ideas at all. When acquiring all rights is their policy, they don't normally negotiate different terms.

Q. Do greeting card companies send you free copies of your cards?

A. Usually they do. It's a great feeling to see the greeting that you wrote on the card itself. Some companies will even include your name on the card!

Q. Is there any way to guarantee that a card idea you wrote will sell?

A. The answer, in a nutshell, is no. But if you keep practicing your verse writing, gear your ideas to what editors prefer, make them a me-to-you message—which greeting card enthusiasts refer to as "sendable"—you will have a much higher rate of sales.

Q. How much can I get paid for writing greeting cards?

A. Greeting card payments vary from company to company—anywhere from $50 to $300 per card. These rates can change, and it's best to check each publisher's writers' guidelines.

* * If you’re not already subscribing to our FREE Writers’ Newsflash, you’re missing out on regular publishing leads like this one. Get time-saving tips and important industry etiquette information delivered to your inbox monthly. Just visit this link!

At Writer’s Relief our submission strategists are always on hand so our clients know the best ways to interact with literary agents. Even if you’re not a client, here are some deal breakers you’ll want to avoid when submitting your book. 

1. Beginning your novel with long descriptions of the weather or the scenery. Avoid an “information dump” right off the bat, including drawn-out descriptions of the main character or backstory.

2. Beginning your novel with a cliché. If it feels even mildly familiar, skip it.

3. Asking an agent for a detailed critique of your submission or for a detailed explanation of a rejection.

4. Writing clueless query letters. Queries that brag, grovel, and show a lack of professional know-how are a no-go to literary agents.

5. Missing deadlines. Writers who promise a synopsis within a week should deliver.

6. Insisting on becoming “part of the process” in areas best left to other professionals. Writers should not push their cover art ideas on a literary agent or second-guess the agent’s advice on legal contracts. There’s a big difference between integrating yourself in the process in an intelligent, well-informed way and being a royal pain.

7. Querying with inappropriate material. Agents who specifically represent one genre (westerns) are annoyed by submissions of other genres (horror). Do your research, or have Writer’s Relief do it for you.

8. Being a prima donna. If you land a contract, this is not the time to become high-maintenance.

9. Trying to get noticed with gimmicks. Agents aren’t impressed by authors who write their queries with silver gel pens on black paper or who include a miniature doll to represent their main character.

10. Reacting immaturely to rejection. Blasting an agent for rejecting your novel by blogging about them will only tarnish your reputation as a serious and professional writer.

If you’ve written a book and are trying to get published, Writer’s Relief would like to suggest the following strategy to get literary agents and editors excited about your book:

Publish an excerpt.

That’s right. Create a stand-alone short story or essay from within your book.

Creating a short story or essay from within your manuscript may seem time-consuming and counter-productive, but many writers have used this strategy to great effect. Often, when you crack open a book, you’ll notice in the copyright section that the publisher wishes to acknowledge other small presses that previously printed selections from the book. Professional writers will frequently convert the first chapter of a book into a story or essay and then publish it in a literary magazine years before the book is even done.

But, you’re thinking, how can I turn part of my book into a story?

A short story or essay is easiest to place when it is shorter than 5,000 words (here's why). If you decide to create some stand-alone prose from within your book, keep in mind that you are allowed to revise your text. Your story does not need to match the portion of your book word for word. Feel free to play with your prose in order to give your excerpt the best shape for the medium. Also, if you’d like to write a story that is very loosely based on an event in your book—or maybe even a spin-off—that’s fine too. The point is to be able to say in your query letter:

My story “Footsteps in the Hall,” which is [based on/excerpted from] my novel The Monster Keeper, was published in The Name-of-Magazine-Here Review.

Why do writers want to see their excerpts published? There are a number of reasons excerpts can get you where you want to go.

Book excerpts generate enthusiasm. When a literary agent or editor sees that a portion of your book has been published in a reputable literary magazine, you are immediately bumped to the head of the class. Literary agents and editors like to see that you are actively publishing—and it’s even better if what you’re publishing is from the book that you’re pitching.

Published excerpts indicate that there is a pre-existing audience. If a literary agent doesn’t have to hem and haw over how to position your book within the larger market, then you just might strike gold. When you publish an excerpt, you hint that there is already interest out there for your writing. You indicate that the masses are ready and eager for a writer like you.

Excerpts build up your bio. We’ve already discussed how extremely important it is to build up your bio when you’re approaching literary agents with a book project. Publishing an excerpt of your book demonstrates that you are a writer who is serious, professional, and capable. Skip this step at your own peril.

Writer’s Relief often recommends to our clients that they publish excerpts of their books in the literary magazine market, and we can help you submit your excerpt for publication. If you’re not ready for our intensely effective Full Service program, check out our A La Carte services. We can do as much or as little as you like to help you build up your bio and get your submissions to the literary agents and editors who will be most likely to enjoy your work!

It’s easy to label yourself a writer. Jot down a poem and call yourself a scribe. But building a reputation for yourself as a writer is the evidence others need to label you a writer. Whether good or bad, writers’ reputations follow them wherever they go, either paving the way for success or putting up roadblocks in the path to getting published or developing a readership. It’s essential that creative writers take into consideration the way their peers, agents, editors, and readers view not only the quality of their writing, but their credentials and career path as well. It’s far easier to create a solid, professional reputation than to undo the damage of a spotty record and poor public persona.

Creative writers can brand themselves in any number of ways, and successful writers use more than one self-marketing method.

1. Take advantage of social-networking sites. Competition in the writing world is fierce, and when a creative writer wants to generate interest in their novel, it takes more than word of mouth. Attending writers’ conferences and joining writers’ groups have always been good ways to connect with others in the industry, and now writers can also take advantage of online social-networking sites such as Facebook, MySpace, and Twitter to create a buzz about their work by shaping connections nationwide—even worldwide—quickly and efficiently.

Facebook, for example, offers the opportunity to create both a personal profile and a “fan page”—a space where artists and writers can highlight their work. Writers can connect with readers by sharing news, writing samples, photos, and links. MySpace also allows users to create extensive profiles, while Twitter is a simplified version of the two. Social networking online helps writers engage others in their work and melds well with more traditional marketing efforts like book reviews, book signings, and tours.

2. Join an association. If you are published, investigate joining a professional writing association, such as the Mystery Writers of America or the Horror Writers Association. It’s another opportunity to network, and belonging to an association of like-minded writers offers other benefits to your craft such as industry news, useful links, and discussion groups.

3. Create a Web presence. It’s important that someone doing an online search of your name is able to find a profile page that showcases you and your work. Many authors have Web sites in addition to user pages on social-networking sites to maximize their exposure. A profile page should feature your name, photo, and a brief biography. You can post your writing credentials, excerpts from your novel, poems and/or short stories, and favorable reviews. If you are a published author, your profile should link to a site where your books can be purchased. Be sure to use links to your profile at every opportunity—in e-mail and forum signatures, on Facebook, MySpace, or other social-networking sites, and on business cards and stationery.

4. Blog. It seems that everyone has a blog these days, but it is especially useful for writers to take advantage of this marketing strategy. Your entries are firsthand examples of your writing—so make them good and edit well—and this can generate interest in your other work. Update frequently and be creative in your blog; include helpful links, insights, even humor to keep readers interested. If you are published, make sure it’s easy for a reader to purchase your work with a handy link to Amazon.com, for example, and include links to any site that features your writing or reviews of your writing.

Another useful feature of blogging is that it is interactive and personal—readers can leave comments or suggestions, and you can respond to them directly. You can keep them informed of any book signings or works in progress and answer any questions. It's best to update your blog as often as possible to keep it fresh and interesting. Be sure to use keywords in each post (title and text) to optimize search engine results. The Internet is an amazing tool for writers looking for exposure, so be sure to use it to its full potential.

5. Explore different genres. Working outside your usual genre can expand your writing palette and even improve your writing. If you’re working on a full-length novel, for example, you might also consider pitching some article ideas (about something you're proficient in) to magazines. Not only will you be boosting your publication credits and exhibiting flexibility in your talents, but the things you learn in one genre can nourish your skills in another.

6. Exude personal professionalism. Whether you’re submitting query letters or have already secured an agent, it’s crucial that you handle yourself professionally and put forth your best efforts. Wrinkled, stained, misspelled query letters give a bad impression to a potential agent. For those who have agents, return their phone calls promptly, follow their instructions or requests conscientiously, and deliver materials on time. Develop a professional reputation with agents and editors, and remember that you’ll be judged for every piece of writing—this means not firing off a quick e-mail riddled with errors and Internet lingo.

7. Finally, stay current. Keep up with publishing trends and market preferences by reading industry magazines, newsletters, and articles. Take courses and seminars whenever possible to brush up on your writing skills, and practice the actual craft of writing at every opportunity.

What is an exclusive (or right of first refusal) from a literary agent? Sometimes, when a writer sends a query off to a literary agency, the agent will request an “exclusive”—that is, the privilege of reading a manuscript before any other literary agent is allowed to see it. An exclusive is a kind of “right of first refusal” for agents.

The word “exclusive” tends to make writers panic. What if I grant an exclusive and another agent wants to read the book? What if I don’t want to grant an exclusive because I’m holding out for some other agent? What if I’ve already given the manuscript to someone else before the request for an exclusive?

In any of these situations, there’s no reason to panic. In fact, you should be THRILLED to have such a great problem. If a reputable agent wants to see your work badly enough to request an exclusive, you’re in a good position. Congrats!

Here are a few “problem” scenarios and some steps you might take to wiggle out of them. Keep in mind that every situation will be unique, so these concepts cannot work as a one-size-fits-all solution to your problem. But they may help.

What if the first literary agent who wants to read my book asks for an exclusive?
If the first agent who requests your book wants a guarantee that you won’t send it to anyone else until he or she is finished, don’t panic. First, evaluate your feelings about the agency. Is it your first choice? If so, you may need to be flexible. You do have the power to decline an agent’s request for an exclusive; however, we recommend that instead of turning an agent down flat, consider granting an exclusive for two weeks only. Another option is to indicate to the agent that she or he is the first to request the complete manuscript, and while you cannot grant an exclusive read, you will keep the agent informed if any other literary agencies request the manuscript. This may be enough to put the agent at ease.

What if a literary agent asks for an exclusive, but there’s already another agent reading the book?
If this happens, thank your lucky stars. It means there’s a lot of interest in your book—and you can use that momentum to keep the enthusiasm going. Politely state that the response to the book has been very positive, and you’re unable to grant an exclusive because another agency is already reading the book. Then be sure to go back and tell the first agent that another agent has put in a request. (Note: This isn’t something you’ll want to do unless you can be tactful. You can take the “I was just checking in and oh by the way” approach, or you can say, “I felt it was only right to let you know that another literary agency has requested to see the complete manuscript.”) When agents think other agents are interested in you, they become more interested in you.

How to approach big-time agents who have a lot of rules and demand exclusives.
If you’re querying a big-time agent and he or she wants an exclusive, you may need to be prepared to give it or lose a potential deal. When you approach the bigger agencies (the ones that don’t accept unsolicited queries, the ones that don’t take unpublished writers, the ones that refuse simultaneous submissions, etc.), the rules of making submissions change. You’ll want to query just one agency at a time. If your top agent wants an exclusive, give it—and then stop sending out queries and be very patient. Why? Because if you continue to query agents after you’ve given your top agent an exclusive read, it's like a tease to tell any others who request your book, “Can you wait until I hear back from someone I like better than you?” You’ll botch that deal faster than you can say New York Times Best Seller.

At Writer's Relief, our submission strategists work closely with our clients to answer any of the questions that arise when writers get serious about their submission strategies. To learn more about how to make our submission services part of your effective publishing strategy, visit our Web site today!

Imagine yourself in a secluded cabin overlooking a peaceful lake. With laptop in, well, lap, you gaze out at the local wildlife as you work, uninterrupted, on your novel. The only other people around occupy the cabins nearby, but they are also quietly pursuing their writing projects. Sounds ideal? This is the beauty of writers’ colonies.

The demands of everyday life often leave little time for the actual craft of writing. Between day jobs, errands, family, and the never-ending submission process, it’s hard to carve out time each day for creativity. This is why many writers seek residencies or writers’ colonies. They offer a place for writers to live in a community of fellow writers and artists for a specific period of time. They offer instructors, discussion groups, and direction for those who want it; best of all, it’s a place where writers can set their own schedule and concentrate on craft. Personal space and free time for creative writing—who wouldn’t jump at the chance?

Here’s how to begin the search for the perfect retreat:

There are hundreds of writers’ retreats and residencies to choose from. Would your muse take flight in a cabin in Alaska or in the southwest desert regions? Perhaps even overseas? Keeping transportation costs in mind, narrow your choices to those areas that appeal to you. Search the Internet for “writers colonies,” “writers retreats,” or “writers residencies,” and you’ll be amazed by the diversity of choices. The Alliance of Artists Communities (www.ArtistCommunities.org) maintains a comprehensive database for a small yearly fee. Also check out www.writing.ShawGuides.com.

Start the application process early, as spaces are highly coveted and limited. Be prepared to go through the application process, which can be lengthy. You’ll provide samples of your work and a mission statement outlining your goals and/or projects. You may be asked to submit details on a specific project, although some colonies are more flexible and writers can work on whatever they choose. You’ll also submit professional references and, of course, an application fee. Some programs offer scholarships as well.

Your work will be judged by a panel of professionals who will choose the most outstanding candidates. There will also be a short list to replace candidates who are unable to take their spots.

Apply for residencies that pertain to your genre or area of interest, and make note of what they’ll require once you’re there. If you work best in total and utter silence, do not choose a residency in which you will be sharing a house with six other people. Some people are stimulated by urban settings, while others flourish in the mountains. Some programs offer more amenities than others, and some can be more like camping trips. Are you prepared to hike your food in to a remote area, or do you require Internet access and close proximity to a Starbucks? Are you looking to network with other writers or simply hoping for total seclusion?

If you want to work with writing gurus and have your writing critiqued, look for programs where this type of interaction is available. You should also be aware of any expectations—will you be expected to lead a group, teach a class, or share your work with others?

To improve your chances of acceptance, apply to as many programs as you can afford. Summer residencies are the most popular, and you might have more luck applying for spring, fall, and winter programs. Include a few high-end residencies in your application process, plus a few that might be easier to get into. It’s a competitive venture, but one well worth investigating…especially when the cat is throwing up on the carpet, the plumbing’s on the fritz, the car won’t start, and the kids want dinner.

The gift of free, uninterrupted time is yours if you want it.

REMEMBER TO CHECK OUT OUR LIST OF WRITING CONTESTS and ANTHOLOGIES! You won’t find a better list anywhere (AND IT’S FREE!) of upcoming anthologies, special-themed journals, and contests. Find it by visiting:
http://www.writersreliefblog.com/post/Anthologies-Contests.aspx 

1. Get the look. If you want people to take you seriously, you’ve got to present yourself in a serious way. When making your submissions to agents and editors, skip the bright-colored paper, the “clever” query letter intros (editors get sick of them fast), the thumbnail image of your face on the manuscript. Just be brief, straightforward, and businesslike. Also, follow industry standard formatting and have your work proofread. Interestingly enough, it’s often the veteran writers who are more inclined to appreciate proofreading than the newbies—but that’s probably why they earn veteran status to begin with.

2. Write to the right people. The first mistake of making submissions is taking the “blanket” approach: wallpapering the whole country with your query and cover letters. A few well-placed and specific queries truly mean much more than 50 that are almost well-placed. Queries that are almost well-targeted will almost get you published. Do the research (or hire someone who will) to make your submissions matter. (NOTE: We’ve found that writers who take this seriously tend to be more successful. Submitting selectively is a sign of a writer who knows what she or he is about. Selective writers put so much love into their manuscripts that they won’t submit to just anyone. Selectiveness is a very good sign because it demonstrates the right attitude for success.)

3. Be the tortoise, not the hare. Make submissions part of your writing habit. Submitting your work in dribbles and drabs is NOT a strategy; it’s a crapshoot. Sustainable and steady wins the race. To a certain extent, submissions are a numbers game. When you submit more regularly, it’s likely you’ll get published more often and more regularly. And the more you build up your bio, the more likely you’ll be well-received. Don’t give up on a story just because twenty places rejected it. Plan to submit to at least 100 markets. AND create a schedule to lock yourself into making submissions. When you create a calendar for your submissions (and deadlines for your writing so that you can make submissions) you will see your publication rate increase.

4. Organization is your friend. Some people are naturally well-organized but others are not. To truly make the most of your submissions, you need to keep track of who read what, who liked what (and why), who rejected what (and why), who wants to see more work from you, and who acquired what rights. It is a TON of work (that’s why Writer’s Relief takes on this burden for our clients). When the acceptance letters start coming in, you’ll thank yourself for the extra effort.

5. Chin up! Last but not least, work to maintain a good attitude. Negative thinking, getting glum about rejections, and believing yourself less than worthy... It’s easy to fall into those traps. Positive thinking takes real work when you’re getting bombarded by rejections (and you WILL get bombarded—it’s part of the process). Start looking at your rejection letters as proof of your dedication, devotion, and all-around awesomeness. Attitude is often the only difference between a nobody and a rising star. Every rejection brings you closer to acceptance, so submit regularly and chip away at those numbers. If you’d like to stay positive and motivated, we’re willing to give you a free E-book, Rejoice in Rejection (details here). We know it will help!

If you’re not able to develop a submission strategy on your own, or you just don’t have the time and patience for it, do yourself a real favor and check out Writer’s Relief. We can take on as much or as little of the submission process as you like so that you can focus on what you love: writing.

At Writer’s Relief it’s our business to work with our clients to develop a submission strategy that 1) keeps them focused on writing, 2) eases the stress and frustration of the submission process, 3) circulates manuscripts regularly (with no spamming) to generate interest, and 4) targets the BEST literary agents and editors (those most likely to enjoy the writing in question).

For more tips on making strong submissions, visit:

How To Write Cover and Query Letters That Get Attention 

Why Length Matters When Submitting Your Stories And Poems For Publication

How To Build Up Your Writing Bio Super Fast

Seven Techniques You Must Know To Make Editors Notice Your Poetry

We’re approached by countless writers every year who want us to help them submit their short story collections to literary agents. The short story is a unique art form that many writers enjoy. But few writers ever truly understand how to get a collection of short stories published.

It takes talent to make short stories work. Some novelists begin their careers writing stories and working their way up to longer works (novels or memoirs). Other writers prefer to work in the short form and, eventually, find themselves with a stack of stories inches high, wondering, “Why not turn my short stories into a collection?”

Short stories are becoming increasingly popular, not only because they are mini works of art, but also because busy people have shorter attention spans. There are hundreds of literary magazines and journals looking to publish individual stories (and Writer’s Relief keeps tabs on all of them), but finding a home for a collection of short stories is no easy task.

Major publishers want novels because they sell and infrequently consider novellas or collections of short stories. Short story collections are harder to place because editors are unwilling to take chances on unknown writers; unless you’re Alice Munro or William Faulkner, you will find it considerably more difficult to sell your work. Publishers tend to do some marketing for their novels, and perhaps if the same marketing momentum were applied to short story collections, authors of short stories would stand a greater chance of landing a deal with the big boys.

Before you protest about the number of successful anthologies on the market, be aware that anthologies are generally collections of stories by a number of different authors—collections appealing to those who are looking for a particular theme or subject matter. Anthologies of work by a single, unknown author are very difficult to sell.

Don’t let us thoroughly discourage you from trying to get your collection published—there are some things you can do to increase your chances.

Publish selected works. It’s easier to sell a collection if you’ve had at least a few short stories previously published in reputable literary journals. Submit individual stories to quality magazines on a regular basis, and with each publication credit, your credibility will increase. At Writer’s Relief we highly recommend that writers build their credits first rather than approaching agents with a collection of unpublished stories. National exposure in quality magazines is key to attracting an agent or editor’s attention.

Theme. It also helps if the stories have a common theme or subject to tie them together. James Herriot was a country vet, not an aspiring author, but his collection of stories had a cohesive theme, and the series is still popular today.

Go for a novel. Some agents recommend scrapping the whole idea of a collection and refashioning the collection into a novel. They might also recommend selling the collection as part of a two-book deal, with the story collection designed to generate interest in the second book, which would be an actual novel.

Win big. Enter as many short story writing competitions as possible. An award-winning story can land a publishing deal. It can also boost a writer’s self-confidence—always a bonus.

Market. Many writers get frustrated and end up self-publishing their work, especially if they’re simply looking for limited quantities to give to family and friends. But for a writer looking to sell a decent number of books and see his or her collection at the major bookstores, the marketing process can be a nightmare. When you self-publish, you are responsible for nearly all the marketing and publicity efforts.

Consider small presses. There are far more small presses than big publishing houses, and they tend to specialize in niche marketing. They also tend to publish out of love for the genre and may be more receptive to a short story collection if they love the quality of your work.

Get an agent. If you have an agent, your chances of selling a collection are better than for unagented writers. To be a writer who gets an agent for a short story collection, you’ll need a strong bio. Also it may help in your query letter to mention that you have a novel in the works.

Get schooled. Short story collections are far easier to sell when their authors have top-notch credentials: publication credits in quality magazines, awards, grants. Graduating from a quality MFA program is a plus as well.

To learn more, check out How To Write A Query Letter For A Short Story Collection. We help writers submit their individual stories for publication because we’ve found it’s the best way to help writers improve their bios (so that they can be competitive when approaching agents). If you would like Writer's Relief to help you submit your individual short stories for publication, or if you would like us to consider working with you on a collection, please give us a call!

If you’re writing literary or mainstream fiction (also called general fiction), the word-count requirements and style guidelines are often not as strict as they are for genre novels. In a previous Newsflash, we offered an article to help you determine if your genre fiction novel meets editors and literary agents’ guidelines for publication. Now, we’re tackling nongenre books. How do you know if your novel is literary or mainstream? Let’s start by looking at the difference between mainstream and literary fiction genres.

What is Literary Fiction? How Do You Know If Your Book Qualifies As Literary?

Literary fiction is fiction of ideas. While the story must be good, emphasis on action is not often as important as emphasis on the ideas, themes, and concerns of the book. Literary fiction tackles “big” issues that are often controversial, difficult, and complex.

Aside from subject matter, literary fiction tends to be written with emphasis on prose style. While genre fiction is “transparent” (readers can see through the text to escape into the story itself), literary writers want the reader to notice how beautiful the writing is. Sometimes the writing prevents the reader from escaping into the story, but that’s not a bad thing in this genre.

Many writers wrongly assume that if their book is not genre fiction (like mystery, romance, or thriller), then it must be literary. But that’s not the case. Literary fiction is very specialized and difficult to do well. Literary readers (especially readers of experimental and “high literary” forms) are very demanding and are sometimes regarded as a niche market.

What is General Fiction? How Do You Know If Your Book Qualifies as Mainstream?

Mainstream fiction, which goes by many other names (like general fiction and literary light), is driven by a mix of genre fiction and literary fiction techniques. In mainstream fiction, the writer must have a strong “hook” or premise. The story must be readable (it must have a traditional plot arc and be relatively plot- and character-driven). Controversy is welcome, but it is not presented in as nuanced a way as in literary fiction. Insight and emotionality are important, but they are often of equal importance as the story.

Mainstream fiction tends to blend transparent language with occasional bouts of prose that feel more literary in tone. Writers of general fiction can have a variety of voices and write in a variety of styles, but all are accessible and not too difficult to read. Insight and perspective are important but should not overshadow story.

Determining How To Market Your Book (Whether To Market As Mainstream Or Literary)

Most novels that don’t fall into the literary category or the genre fiction category are mainstream fiction. If you do not know if your book is literary or mainstream fiction, it is probably mainstream (given that literary fiction is so specialized). Trained literary writers know literary fiction when they see it (and some tend to look at mainstream fiction as one of the commercial genres, as opposed to art). So if you’re not sure that your book is literary, you may want to err on the side of caution by calling your book “mainstream.”

If you are writing literary fiction, it will likely help your cause to have been formally educated or very widely read in modern literary fiction. Having a degree or lots of publication credits in literary journals and magazines goes a long way when an editor is deciding whether to market you as mainstream or literary. For more information on why having a strong bio matters, read Building Publication Credits. Writer's Relief has been helping writers build up their bios by preparing professional submissions since 1994. We can help you build your writing credentials.  

If you don’t have a strong background, you may want to position yourself as a writer of accessible, mainstream fiction (and if you’re trying to produce a best seller, that’s a great place to be).

How Long Is A Literary Novel? How Long Is A Mainstream Novel?

A literary novel can be between 40,000 and 120,000 words long. If you’re a new writer, literary agents and editors will likely want to see a novel between 70,000 and 100,000 words from you. A mainstream novel is usually best-suited when it hits the 70K-100K mark as well.

If you’ve written a literary or a mainstream novel and would like help submitting your work to literary agents, please check out our various packages. Writer’s Relief takes the headache out of the submission process and increases your odds of acceptance. Our clients are multipublished and award winners. For questions, e-mail info@wrelief.com.

Guest writer Suzan L. Wiener has had numerous articles, short stories, poems, and other shorter pieces published in major publications such as Cross & Quill, Verses, Impetus, FellowScript, etc. She also has her love poetry E-book up at http://72.249.118.251/taxonomy/term/83464, and her greeting cards have been published through several major greeting card companies.

On the Internet you need to start your story where the action is. That is most important. You need to build the conflict (action) to keep the editor and reader interested. The climax of your story must be credible. For instance: If you are writing a story for children, don’t have an adult solve the child’s problem. Have the child solve it. Otherwise the editor will lose interest.

I always do a plot outline when I write short stories. Here is a rough outline that I follow to help organize my story:

I. Major characters—
            List the main character(s)
II. Minor characters—
            List the minor character(s)
III. Complications (should always move the story forward)
IV. Subplot (if any)
V. Crisis (turning point)
VI. Resolution (end of story)

Below are several tips to help you get that most-welcomed acceptance.
 
1. Write about something you love—write from the heart and from experience.

2. Look for a new spin on an old concept. (There aren’t really any unique ideas anymore, but when a person can put a new spin on old idea, that makes it interesting.)

3. Don’t be afraid of lesser known e-zines. If you do a Google search for “fiction guidelines,” you will likely find many places you’ve never heard of before. Just always make sure any magazine that you submit to is open to your kind of story. (Writer’s Relief editor’s note: OR you can ask us for help identifying the best markets for your writing!)

4. Network. Having friends who also write fiction opens up a lot of new markets to you. Don’t be afraid to share markets. You might find that your friend has had a good experience with Internet markets, or you might pass your own information along.
 
If you follow the above rules, you will most likely see a publication acceptance in your inbox.

Writer's Relief editor's note: For more help with your short stories, check out this link: Short Story Checklist: Techniques for Getting Short Stories Published. Enjoy!  

REMEMBER TO CHECK OUT OUR LIST OF WRITING CONTESTS and ANTHOLOGIES! You won’t find a better list anywhere (AND IT’S FREE!) of upcoming anthologies, special-themed journals, and contests. Find it by visiting:
http://www.writersreliefblog.com/post/Anthologies-Contests.aspx 

If you have written a book or novel, you’ll want to be sure that your book meets the basic criteria of book publishers and literary agents. If your book follows the “rules” of your genre (whether romance, Western, thrillers, or horror), you will be more likely to be published.

The Rules Of Genre Fiction
Genre fiction refers to books that are published widely for popular appeal. Publishers tend to place high value on genre fiction books, especially when a writer shows a palpable enthusiasm for his or her particular genre. Usually, genre books are published in the smaller, mass-market book size.

Genre writing is all about crafting great stories that appeal to a distinct audience who have particular preferences. Do your research and learn what is expected from your genre. Read widely in your genre. Join a creative writers’ group. Research recommended book lengths and what publishers are buying—and not buying. Again, you don’t have to be a slave to the standards, but—just like with grammar and punctuation—a professional writer must know the rules in order to effectively break them.

Disclaimer: Please keep in mind that the below is an overview of generalized genre guidelines: always research information about your specific project for the best results.

The Rules Of Romance Genre Novels
A romance novel ends with a happily ever after. It starts with the introduction of characters and the conflict, and at some point the relationship is consummated in some way. The story usually emphasizes the heroine’s experience, and the reader should be drawn into caring about the characters and cheering on the eventual romance.

How long is a romance novel? A single title (or stand-alone) romance novel runs between 80,000 and 100,000 words. A category romance novel (like those published by Harlequin) is generally shorter, and each “line” or “imprint” will have its own strict specifications. Save yourself a lot of trouble: Research before you write!

Subgenres of romance include: paranormal, Regency, historical, contemporary, women’s fiction, Christian, time travel, erotica, fantasy/science fiction, and more.

The Rules Of Fantasy Genre Novels
Create the rules of your fantasy world in advance and stick to them. Design the environment (geography, weather), the characters (race, creatures), and other rules, such as magic, the history of your environment (wars, etc.), and limitations of powers. Avoid clichés in your characterization (no The Lord of the Rings impersonators), and let your theme (good vs. evil?) be consistent yet subtle. Pay attention to publisher guidelines: One publisher specifically states caveats such as “no time machines, please.”

Fantasy novels can be a little longer than traditionally published novels, and they are sometimes serialized as trilogies. Fantasy novels can be between 80,000 and 150,000 words (approximately).

Subgenres of fantasy include: alternate history, urban, dark, high, historical, steampunk, wuxia, fantasy of manners, and more. Be sure you’re familiar with the subgenres before you attempt to position yourself as an expert author in your field!

The Rules Of Western Genre Novels
Westerns should be set in the Old West (west of the Mississippi River and before the year 1900). Historical details should be accurate, but the story is what really counts: Focus on three-dimensional characters and strong plots, with the hero facing some sort of conflict. While Westerns are very specialized, take care to be sure that you’re not relying on clichés!

How long is a Western book? Westerns tend to be on the shorter side of fiction books, anywhere from 45,000 words to 75,000 (loosely).

The Rules Of Historical Fiction Genre Novels
The details are important in this genre. Set the stage carefully and accurately so that your 18th-century character doesn’t wear clothing and/or use products that weren’t around at the time. Pay attention to social customs, holidays, transportation, and food, and make sure they are relevant to the period. And don’t judge your characters by modern standards—a person’s behavior should be dictated by the customs and society of your time frame. Careful research is especially important for this genre.

How long is a historical novel? Generally, a stand-alone historical may be 85,000 to 100,000 words. For first-time writers, submitting a book longer than 100,000 words is especially difficult, but historical novels have been known to be longer than 100,000 words.

The Rules Of Mystery Genre Novels
Pay special attention to plot in this genre. Introduce the murder or the crime early in the story, and research the methods by which the crime was committed (is it really possible for a five-foot woman to decapitate a large man?) and how the investigation proceeds. Research forensics, criminal justice, and detective procedures to lend credibility. Avoid supernatural or unbelievable methods of solving the case, and create a solvable puzzle for your readers—mystery novels are supposed to be fun to read and fun to solve, and if the reader isn’t provided with plausible clues to follow, they’ll lose interest.

How long is a mystery novel? Mysteries vary in length depending on subgenre. Single-title mysteries may be between 75,000 and 100,000 words. Cozy mysteries, like those in a mystery series, may be on the shorter side of the genre.

Subgenres of mystery include: hardboiled, supernatural, crime, true crime, amateur sleuth, police procedural, cozy, and more. Be certain of whether or not you are writing a mystery or a thriller.

The Rules Of Thriller Genre Novels
Thrillers are designed to do one thing: thrill. Strong characters, tight plots, and an emphasis on action over flowery prose drive this genre to daring storylines. Thrillers often feature determined protagonists and clear antagonists, and they can be set in nearly any location imaginable. Thrillers can be graphic (gritty) or somewhat more subtle, but focus is always on suspense.

How long is a thriller novel? Thriller novels hit the genre-standard sweet spot of 90,000 to 100,000 words for new writers (loosely). Thrillers tend to go a little longer as well, but new writers will tend to see better results with shorter books.

Subgenres of thrillers include: action, conspiracy, disaster, crime, eco, political, erotica, legal, and more. 

The Rules Of Horror Genre Novels
Horror novels capitalize on emotion (fears, phobias) more than plot. Create a feeling of dread for your reader, and sustain the suspense throughout until you reach a climactic conclusion. Avoid clichés, like the monster that seems dead but really isn’t.

Horror novels vary in length, but generally, a stand-alone novel will be between 80,000 and 100,000 words.

Subgenres of horror include: psychological, ghost, weird menace, erotic, body horror, occult detective, and more.

The Rules Of Young Adult (YA) Genre Novels

Young adult (YA) fiction targets boys and girls between the ages of 12-18. The tone, style, and content of YA novels changes significantly, depending on the specific age a writer is targeting. YA writers write for a specific audience without "talking down." The genre can tackle G-rated issues or it can be very edgy. In all cases YA provides a safe place for young readers to explore the challenging situations that they may face in real life.

Young adult novels vary in length depending on demographic, but generally run between 40,000 and 75,000 words.

Subgenres of YA include most of the same subgenres of adult fiction. "Edgy" YA tackles especially controversial or difficult issues.

CLICK HERE FOR PART TWO: How Do You Know If Your Novel Is Literary Or Mainstream Fiction? How Long Is A General Fiction Book?

 

Editor's note: This article pertains largely to self-publishing with a third-party publishing house, as opposed to starting a publishing company from scratch. Both processes present their own difficulties and advantages.  

Thinking of self-publishing your book because you’re tired of the stress and frustration of making submissions to literary agents and editors? Feel like self-publishing is the easiest way of making your dreams of being a published novelist come true?

Self-publishing is NOT necessarily the easy route to achieving your dreams. Self-publishing companies strive to make the process of typesetting, binding, and printing your book appear stress-free and easy. But when you buy into the easiness hype, you may be opening yourself up to even more difficulties than if you’d continued trying to publish the traditional way. Here are just a few of the reasons self-publishing isn’t always as easy as it seems:

HYPE: Publishing with a self-publishing company is simple and stress-free.
FACT: Self-publishing is NOT necessarily simple and stress-free. First, you have to research self-publishing companies. We get calls and e-mails all the time from optimistic writers who naively got locked into bad (or just plain disappointing) contracts. To self-publish, you must be able to read, negotiate, and interpret contracts, you must research distribution packages, you must develop and implement a marketing plan…in short, you must develop as much business know-how as if you were seeking a traditional book deal. It’s not impossible develop all the knowledge you’ll need to be successful, but it’s far from easy.

HYPE: Self-publishing will easily satisfy your desire to share your story with the world.
FACT: Unless you have an amazing (expensive) book distribution company in your corner, your book won’t make it to the shelves. And even if it does physically get on the shelves, readers won’t buy your book unless they already know it’s there. Very few sales are made because readers stumble across books. Many self-publishers offer to list their books on Amazon.com; but be warned: it’s unlikely that anyone will buy your book from Amazon.com unless you’ve already enticed them to go there and buy it. You’ll have to do a lot of hard work to get your audience to notice your book; writers who are looking for the instant gratification of being an overnight success will not likely find it in self-publishing.

HYPE: Self-publishing your book could “make” your writing career.
FACT: For every self-publishing success story you hear, there are literally tens of thousands of self-published books that get no attention at all. How hard and long you work to sell books relates directly to your book’s success. For that reason, self-publishing appears easy, but is not necessairly the path of least resistance.

The Truth About Self-Publishing
If you’re trying to figure out where you’re going to get the most bang for your buck in terms of reaching your dreams, the answer may or may not be self-publishing. Our advice (based on watching industry trends) is to exhaust all avenues available to you before you decide to self-publish. If you haven’t queried 100 literary agents for your book project, you don’t have enough information to make the decision to self-publish.

If you self-publish because it seems simpler, be aware that literary agents and editors tend to be somewhat suspicious of the writer who can be tempted to take the easy way out, or the writer who chooses instant gratification over perseverance. If you self-publish, you’ll need to work extra hard to distinguish yourself and your writing. You’ll need to make some serious sales or get some truly reputable and impressive reviews in order to be taken seriously.

The Moral of the Story (aka The Good News)
Self-published books (and all early-career books) are very important in the life of an aspiring writer. Writing a book is a huge accomplishment and should never be dismissed! If you’ve written and self-published a book, celebrate your accomplishments! Literary agents will view your first books as very important life credits, even if they don’t end up being important publishing credits.

The good news is that even in these tough economic times, more books are being published now than ever before!

• Are you ready to commit to spending more time doing what you love (learning about writing and improving your techniques)?
• Can you get your submissions out effectively (can you send them to the right people in a professional format)? 

If you can do those two things, you may have a shot at getting a book published. Not all writers achieve a pie-in-the-sky book deal with a major New York publishing house, but those who quit too soon NEVER have a chance.

Visit www.WritersRelief.com if you would like to learn how we can make the submission process easier and more effective.

If you have an interesting article that pertains to an aspect of creative writing, you may be able to see it published in our Newsflash! We’re always looking for articles that make grammar easy and fun, that inspire or motivate creativity, or that clear up frustrating aspects of the writing life.

Here’s what you need to know:

Previously published work is acceptable, but you must tell us the details of the prior publication.

We acquire first-time rights or one-time rights (you can publish your article elsewhere after we post it).

Articles should be no more than 500 words.

To get ideas of our tone, style, and interests, please read through the articles posted on our blog.

Before you write your article, make sure that we haven’t already written about your topic. Use the search tools on our blog.

Our pay rate is $25 per article.

E-mail your completed article AND a short bio to Lisa@wrelief.com. No attachments, please.

We’re looking forward to reading your work!

Are you looking for the best literary agent to represent your book manuscript or novel so you can get published? Are you researching the literary agencies most likely to enjoy your particular type of writing? If you’re wondering how to get published by landing a literary agent, look no further. Writer’s Relief has helped hundreds of writers (novelists) just like you reach the literary agents who are best-suited for their book manuscripts or book proposals. Our goal is to help you land a literary agent and get published.

Writer’s Relief is an author’s submission service, not a literary agency, publisher, or publicist. We prepare and target our clients’ submissions to the best-suited literary agents and editors. Working with us is like working with a team of industry-specific personal assistants who save you time and who know the strategies that work. In other words, we help our clients get literary agents and get published.

Writers face many hurdles and difficulties during the submission process. All the hours and hours it takes to prepare successful submissions can get very discouraging, especially for writers working alone. Here are just a few ways Writer’s Relief saves our clients from the burden of making submissions to literary agents:

Problem 1. “I’ve been spending endless hours researching via Web sites, directories of literary agents, and market books (like Writer’s Market and Guide to Literary Agents) to find listings of the best agents. It’s discouraging and it’s a headache, and I’m not getting the results I want. Plus, it seems like I have no time to write and work on my books anymore!”

The Writer’s Relief solution: Our job is to save you time and stress. Our professional advice, research, and support can increase your acceptance rate. We prepare your query packets in the proper way and we target your submissions to the literary agents who will be most likely to appreciate your work—you just sit back and wait for the results to come in.

Problem 2. “How do I know if literary agent listings contain outdated contact information, especially if I’m looking for literary agencies on the Internet? I want to send my work to the right agents and be sure that I don’t get roped into a trick, scheme, or scam, but the information out there is unreliable and it wastes my time! Who can help me find a literary agent for my book?”

The Writer’s Relief solution: There are many online writers’ resources (and lists of literary agents) to help you land a literary agent, but many of them are out of date. Our database contains thousands of literary agents and agencies that are updated on a daily basis and are cross-checked through many sources. We carefully vet each agent or agency in our database, and we don’t submit to literary agents who are less than trustworthy. We’ve got our ear to the ground in the publishing industry at all times, and we help protect our clients from getting scammed. Also, we receive personal feedback on thousands of literary agent responses (rejections and acceptances) from our full client base—so we have detailed, personal information on literary agents and editors that you won’t find anywhere else!

Problem 3. “How do I write a query letter that gets a literary agent’s attention without looking like I’m trying too hard? Should I mention my self-published book in my query, or not? Should I mention if I’ve never been published? How do I write a ‘book blurb’ that will make agents pay attention to my novel?”

The Writer’s Relief solution: When you become a Full Service client of our submission services, we help you with the entire process of submitting your book or novel to literary agents. Our submission strategists will write an effective cover or query letter based on the strengths of your book. We KNOW what phrases, information, and organization works in cover and query letters to literary agents and editors. Our clients see results and are frequently asked by literary agencies for complete manuscripts for further review.

Problem 4. “I understand that I need to submit a lot of queries to literary agents before I should start expecting results. But it’s overwhelming. Once I start submitting, how do I keep track of all my submissions and responses? It’s such a pain and I’d rather be writing than doing paperwork!”

The Writer’s Relief solution: Let us do the tedious legwork for you. We have an effective system of targeting submissions and tracking literary agents’ responses. We help you develop a submission strategy that works. Please note that approximately 80% of writers who approach the Writer’s Relief Review Board are turned away. Our staff must feel confident in your book manuscript in order to ethically help you submit your writing to literary agents.

For pricing, packages, submission guidelines, and FAQs about Writer’s Relief, visit http://www.WritersRelief.com/.

If you’re interested in trying to get an agent without the advantage of professional assistance, here are some articles that may help:

• Top Reasons to Query Literary Agents before Editors.
• Do You Need an Agent for Your Book Project?
• How to Spot a Literary Agent Scam (part one).
• How to Spot a Literary Agency Scam (part two).
• The Query Letter.
• The Query Letter from a Marketing Standpoint.
• How to Write Cover and Query Letters that Get Attention.
• Savvy Salutations in Query and Cover Letters; How to Address an Agent.
• Submission Do’s and Don’ts.

Writer’s Relief was born with the intention of helping creative writers (poets, short story writers, novelists, and others) make well-prepared and well-targeted submissions to literary agents and editors. We’ve prepared query letters and query packets for thousands of writers seeking literary agents, and we can help you too. If you want to land a literary agent, you’ll need to use every tool available to beat the competition. We know we can help.

Take a moment to see how we can improve your submission strategy at www.WritersRelief.com.

“How can you tell if a literary agent or agency is legitimate and not a scam?” New novelists and veteran writers can fall prey to literary agency scams—hidden tricks that literary agents use to fake legitimacy or make a quick buck on a book. Writers should be wary of scams when approaching literary agencies or individual agents.

The way that a reputable literary agent should make money is by selling books. That’s it. If an agent is asking for any fees (reading, evaluations, marketing, or retainer fees), let the red flags unfurl.

Reading fees at agencies weren’t always a red flag, but because several agencies began abusing the system—charging fees without having any genuine interest in the material itself—the practice was abolished by the Association of Authors’ Representatives or AAR (the trade group for US literary agents).

The same goes for evaluation fees. If an agency offers an evaluation of your manuscript, it should be free. Disreputable agencies will sometimes charge the writer for a “critique,” which is generic, widely applicable, or performed by an underqualified staff member. The AAR frowns upon this practice and so should you.

Other dubious fees fall under the category of administration, marketing, or submission costs. A good agent will only charge the client for expenses that are above and beyond normal and reasonable expenses, such as long-distance phone calls and shipping costs. These are usually deducted from the client’s royalties and should not be up-front costs. Watch out for agents who demand money up-front, especially for such vague reasons; if in doubt, request an itemized list of any charges—you should not be billed for every Post-it your agent uses.

Sometimes an agent is not dishonest, but merely inept. This is an agent who uses questionable methods to submit your work to editors—sending your work to editors who aren’t looking for what you are trying to sell; bundling several queries into one package; using shotgun types of submission methods; and not doing their homework. These agents quickly develop a reputation among editors, and their clients can expect their work to be ignored. Some writers feel that any agent is better than none at all, but this simply is not the case.

Reputable agents do not need to advertise in magazines or search for clients online, and they never send spam. If you are approached by an agent without ever having contacted them, beware. Dishonest agents often troll online writers’ forums or purchase subscription lists from writers’ magazines to beef up their client list.

Note: Once in a great while, an agent will read your work in a magazine and contact you directly; this is a legitimate practice, and you should be able to tell that it is not a generic form letter, that the agent actually read your work and admired it.

Read Part Two.

If your dream is to land a publishing contract with Random House and see your book in stores across the country, we recommend that you consider building your publication credits by submitting shorter pieces to journals and magazines.

Some folks believe that it’s not important to have published any short works before approaching an agent. If you’ve written a fantastic book that can stand on its own, you may well be able to find an agent without any publication credentials at all. But getting shorter pieces published before querying an agent is a strategy that gets your foot in the door, and based on our experiences in preparing submissions since 1994, writers who can boast publication of shorter works tend to have an easier time getting agent interest.

There are a number of reasons publishing your individual poems, essays, and short stories can help you get ahead.

1. Being published shows agents that you can manage submission deadlines and guidelines and that you are a serious writer with serious goals. You establish yourself as savvy and in-touch by being published in smaller markets, and you lay the groundwork for a career in lengthier fiction.

2. If editors like publishing your short works, it means they believe that their readers will enjoy your writing. When an agent sees that other people are getting excited about your writing, he or she will be more likely to want in on the action.

3. Having credentials in the small press market may help you get a leg up on the competition. Most agents are aware of how difficult it is to secure one single publishing credit. It may be enough to sway an agent into representing you. If an agent is offered two books of equal merit—with the only difference being that one author has a history of publishing short works and the other doesn’t—you can guess which book will get the contract.

4. Not only will publishing your shorter works make you a more interesting prospect, having those publications is emotionally rewarding. Acceptance letters from literary magazines go a long way toward keeping you motivated as you write your book. A short story can be written in less than a week, whereas the novel can take years. Keep your dream alive with smaller publications of short fiction.

5. Also, publishing in literary magazines might help you directly with getting an agent. A number of our clients have been approached by big New York agencies because an agent read a story in a literary magazine. Getting your work, your name, and your bio out there can get you noticed in the same way that a model might get noticed simply by hanging around at the hottest nightclubs. Add a blurb to your bio that you are “currently working on a novel,” and those who have enjoyed your work can be on the lookout for future projects.

6. Collections are especially difficult to place for writers who have not published any of the works within the collection. Because collections are generally not considered as lucrative as other book-length forms, agents and editors like to be assured of an author's potential for "popularity" by seeing some selections from the longer work published.  

At Writer’s Relief we help our clients build their portfolios as they work toward publishing a book. Some of our clients publish stand-alone works from within a larger book in order to show that their book is marketable. Others write stories that are entirely separate from their books.

There are literally thousands of journals and literary magazines out there, and it should not be an impossible task to find a home for one of your short stories or poems—provided your writing is strong and your submissions are targeted and professional. We have an up-to-date database containing detailed information on hundreds of nationwide publications, their editors, and their guidelines, and we’ve helped hundreds of writers reach their publication goals.

Here are some general tips for submission.

Research carefully. Find the perfect home for your work by submitting to magazines and journals that publish work like yours. Don’t waste your time (or an editor’s) by not doing your homework or blindly submitting to any old publication.

Start small and work your way up. Naturally, if you’re confident, feel free to go straight for the big guns, but most writers start with the smaller markets. You may have to forgo paying markets at this time in order to get your foot in the door.

Follow guidelines to the tee. If the magazine is looking for work under 4,000 words, do not submit 5,000 and hope that your work is good enough to be accepted despite the length or assume that the editor will be willing to cut it down to size for you. Pay attention to submission dates, submission formats, seasonal themes, the genre and style the magazine accepts, and any other rules they set forth. Follow them carefully.

Submit to the proper person. Again, do your homework and make sure you have the most current editor’s name for your submission. Details like this go a long way in impressing an editor and can increase your chance of being noticed.

Call Writer’s Relief (or e-mail us at info@wrelief.com) if you’d like us to help you build up your publication credits. We’ve helped writers fine-tune their personal submission strategies since 1994. We’re looking forward to hearing from you!

The term “blog” is a derivative of “Weblog,” a phrase coined by Jorn Barger to describe his online journal, Robot Wisdom. A “blogger” is the person behind the blog—a collection of online journal entries. And the “blogosphere” is the community of blogging sites as a whole. Got it? Here’s some history.

Back in 1995 FrontPage was released by Vermeer Technologies. It was one of the first Web publishing tools, and it was designed to allow ordinary people (those without coding skills) to publish their own Web sites. Two years later Ritual Entertainment hired Steve Gibson to write journal entries online full-time, making him one of the first professional bloggers. And today there are too many blogging sites to document.

Weblogs originally were defined by one single characteristic: the site had to contain a series of dated entries. From there Weblogs differed in scope and content, style and tone, but they all contained individual commentaries, personal thoughts, and links to related sites. A blog may contain videos, photos, sketches, even music. Read one person’s journal-type blog over a period of a year, for example, and you get a pretty good idea about what it’s like to walk in that person’s shoes for a while. It’s socially appropriate voyeurism.

Blogs also help filter the unbelievable amount of information floating around the Web. The writer behind a literary blog has filtered through a great deal of other literary sites and blogs and has linked to his or her favorites. Depending on the expertise of the blogger, this can save the reader valuable time. Blogging also creates a platform for anyone to be published. You can practice your writing by making regular entries, and you may find yourself an appreciative audience. Many bloggers develop confidence, even fans, through the strength of their blogs alone.

There are so many different types of blogs. From personal reflections on the nature of life to topic-specific sites, there’s sure to be a blog for everyone. The following are just a few types of blogs you may come across:

Personal or journal blogs. This type of online diary is the most common form of blogging, usually containing personal feelings, day-to-day activities and observations, complaints, favorite quotes or poems, trivia, aspirations, or essays. Absolutely anyone can maintain a personal blog, whether it’s for select eyes only or for a community of readers.

Political blogs. These have become an important part of campaigning and can contain long essays or short comments on hot topics or current events, links to articles, etc.

Business blogs. Some corporations use blogs for branding purposes, public awareness, or to create a more personable “face” for the public. Some business blogs serve to advertise or sell products.

Literary blogs (“litblogs”). These blogs focus on the literary community, publishing, and the craft of writing. They are further categorized according to genre and specialty.

Media blogs (vlog). These are blogs comprised of video clips.

S-blogs. Blogs dedicated solely to the art of spam.

Photoblog and sketchblog. These are comprised of photos and sketches, respectively, and serve as a showcase for artists looking to share or promote their work.

Legal blog (blawgs). These are blogs by law students or lawyers (“blawgers”).

Travel blogs. Modern travelers can share their experiences with those unable to explore the world. They can include restaurant and hotel reviews, little-known hot spots, photos, and videos.

News blogs. These blogs can cover anything from celebrity gossip to sports happenings, to local and national news events.

Magazine blogs. These not only provide additional exposure for a specific magazine, but offer additional content that’s not in the print issue. For a magazine that comes out monthly or even quarterly, a regularly updated blog is a way to stay current and prominent in readers’ minds.

Book blogs. These blogs offer serialized stories via postings every few days, much like the way Charles Dickens' novels were serialized in the 19th century. A cousin of the book blog is the "wovel," or Web novel.  

And, of course, there are topic-specific blogs for anything from fire suppression technology to the study of earthworms. There’s even a blog called Disapproving Rabbits, chronicling the “constant judgment, censoriousness, and general moodiness of the rabbit kingdom.” You see the possibilities:

Clawging: blogging about animals or women with inch-long nails.
Log Blogs: blogs about the logging industry.
Emo Blogs: blogs for emoters and high disclosers.
Flog Blogs: blogs for those with a penchant for violence.
Hog Blogs: blogs for pork lovers.
Frog Blogs: blogs for dissectors.
Char Blogs: blogs for outdoor grilling enthusiasts.
Toblogging: blogging about the great sport of sledding.

Feel free to chime in with some of your own. It’s addictive.

Many of our clients here at Writer’s Relief tend to shy away from tooting their own horns. So we’re happy to do it for them this month!

Here’s some information about our wonderful writers!

We had 157 acceptances in this December – February cycle: Please note that many magazines accepted work presented by more than one client. (We love when this happens.) The following magazines will be publishing work from Writer’s Relief clients. All of these journals accepted work within the past two months alone:

Agni, Alabama Literary Review, Alembic, American Literary Review, Argestes, Atlanta Review, Bat City Review, Bayou, Cadillac Cicatrix, Cairn, Center: A Journal of the Literary Arts, Chaffin Journal, Chautauqua Literary Journal, Compass Rose, Connecticut Review, CQ (California Quarterly), Cresset, descant, Dislocate, Eclipse, ellipsis . . . literature and art, Emrys Journal, Eureka Literary Magazine, Evansville Review, Fourth River, Grasslimb, Healing Muse, Hurricane Review, Inkwell Magazine, Iodine Poetry Journal, Kerem, Lullwater Review, Lungfull!, Minnetonka Review, Old Red Kimono, Paper Street, Passager, Permafrost, Pisgah Review, Portland Review, Quercus Review, Quiddity Literary Journal, Rambler, Red Wheelbarrow Literary Magazine, Rhino, Rio Grande Review, RiverSedge, Salamander, Schuylkill Valley Journal of the Arts, South Carolina Review, Sou’wester, Sulphur River Literary Review, Tampa Review, and Willow Springs.

In addition, the following agents requested manuscripts this cycle:

Ann Rittenberg
Brandt & Hochman Literary Agents
Elyse Cheney
Nicholas Ellison Literary Agency

Also, we had six clients nominated last cycle for The Pushcart Prize and another client nominated this cycle!

We love to celebrate with you!