HOT OFF THE PRESS! We love to share our information with writers, and we’re happy to pass some of our INSIDER’S SECRETS along to you. Feel free to print these posts to use as a reference. Pass the links along to your writer friends. It’s packed with great information. DEADLINE-DATED lists of anthologies, theme issues, and contests are included at no charge!

In This Issue:

* * ARE “WHO’S WHO” AWARDS, HONORS, AND DIRECTORIES A SCAM?

* * GET 25+ SUBMISSIONS TO AGENTS AND EDITORS IN THREE DAYS!

* * HOW MUCH MONEY CAN I MAKE WRITING POEMS, SHORT STORIES, OR BOOKS?

* * ELECTRONIC SUBMISSIONS TO LITERARY AGENTS AND EDITORS: WHY THEY’RE HERE TO STAY

* * RESEARCHING YOUR HISTORICAL FICTION

* * HOW TO PROPERLY USE THE TERMS "LADIES" AND "GENTLEMEN" IN YOUR WRITING

* * You won’t find a better list anywhere (AND IT’S FREE!) of upcoming ANTHOLOGIES, SPECIAL-THEMED JOURNALS, and CONTESTS. Visit: http://www.writersrelief.com/blog/post/Anthologies-Contests.aspx.

↓Scroll Down to Read These Exciting and Useful Articles!!↓

At Writer’s Relief we’re committed to informing our clients and Newsflash readers of publishing industry scams when we see them. Below you’ll find an article that discusses the possible pitfalls of “who’s who” scams that target writers. There are many “who’s who” organizations—organizations that claim to be the definitive list of professionals in a given industry. Some are legit, some are scams, and some are just questionable. In this article we refer to all such organizations as “who’s who” directories, since many of these companies use the term “who’s who” to describe themselves. Writer’s Relief is not referring to a specific company or scam. So before you add a “who’s who” credit to your bio in your cover and query letters, be sure that you are not being sucked into a money-making scheme.

A letter arrives, informing you that you are being considered for inclusion in a prestigious directory for writers, professionals, and executives. This is a reference publication containing brief biographical information on a particular group of people, supposedly people of note, and as a writer, you are thrilled to be included among the nation’s top professionals. What an honor! Just think of the networking possibilities! You can’t wait to add your who’s who credit to your cover or query letter, since you’re sure it will impress literary agents and editors. The letter encourages you to fill out the enclosed application and turn it in—with special emphasis on this line: There is no cost to be included in this fabulous directory.

Well, that’s all you need to hear, so you fill out the online form and sit back, feeling good. A few weeks later you receive a congratulatory phone call from this esteemed directory, and the caller has quite a few questions for you, which you confidently answer. After this lengthy interview, you are feeling rather important and validated. Finally, your talent as a writer has been recognized.

Once you’re feeling good about being included in a who’s who listing, that’s often when you’ll be hit with the hard sell.

If you’ve felt this way when a who’s who company got in touch with you, don’t feel bad. Writers have to deal with rejection on a daily basis, and sometimes our need for validation can lead to costly mistakes. At some point, the lure of a who’s who or a contest scam tempts everyone. Writers must be careful not to fall prey to such scams.

No, there is no cost to be included in this directory. There is, however, increasing pressure to purchase a membership so that you and your friends and family can access the directory. See your name in print. Peruse the competition. Plus, for a mere thousand bucks, you’ll get fabulous travel vouchers, gift certificates, even a nice award certificate to put up on your wall. Some who’s who directories even (gasp!) send you a personalized press release announcing this great honor.

When you fall over half-dead from shock at being asked to pay so much money, the friendly salesperson relents and decides to offer you a super special deal—the same price offered to nonprofit charities and libraries—but this is a once-in-a-lifetime offer, and you’d better sign up quickly. How can you refuse?

How can you not?

The sales tactics of scam who’s who directories can be downright aggressive. Aside from the “prestige” of being listed in their directory—and you’re likely to find prisoners and people who have been deceased for quite some time among this prestigious group—the focus of the sales pitch is often the promise of social-networking opportunities. But in this age of online social-networking sites, do you really need a thousand-dollar directory? Especially when its listings are randomly solicited? You’re more likely to make a useful connection through LinkedIn or Facebook, and the best part is that they’re free.

Many who’s who directories are not legitimate credits to add to your publishing bio; they work the same way as many poetry contest scams. If you list a who’s who credit that literary agents and editors do not recognize as legitimate, you’ll peg yourself as an amateur and a dupe. When a who’s who organization calls you and asks for your money, do your research before you commit to anything. Then, if necessary, head for the hills. Ask that your name be taken off of their list.

One final note: There are legitimate who’s who directories out there—one of the most respected is the Marquis Who’s Who, an organization that actually researches its candidates (rather than randomly harvesting names from the Internet) and only includes those deserving of inclusion. Marquis doesn’t care if its members actually purchase the directory, and there are no high-pressure sales calls. Who’s who directories that are NOT scams can be a great asset to your writing bio. We at Writer’s Relief watch for scams and keep our clients from mistakenly listing dubious credits in their cover and query letters.

Let us research the 25+ best-suited markets for your work! Our A La Carte Services are affordable, there’s no commitment, and you don’t have to go through the Review Board.

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Let us research markets that specialize in your type of writing AND prepare 25+ mailing labels for your submissions. PLUS, you’ll get an important step-by-step Submission Guide to achieve professional results!! Partner with us to get your work into the right hands AND save time for writing. Learn more: http://www.WritersReliefBlog.com/post/Our-A-La-Carte-Service.aspx.

A La Carte PLUS Service: $200 - $250
Along with the step-by-step Submission Guide and targeted mailing labels, you’ll also get 25+ personalized cover/query letters—each strategically composed AND individually addressed. We rescue you from the tasks that eat up your valuable time: writing and designing your cover/query letters; researching addresses and agent/editor names; individually addressing and printing each letter; PLUS making coordinating mailing labels. Learn more:http://www.WritersReliefBlog.com/post/Want-Us-To-Create-Your-CoverQuery-Letters.aspx.

When your work gets into the right hands, it’s more likely to be published. Get the professional advantage you need.

We’re in your corner. We get results.

Our A La Carte Services are a great way to combine your do-it-yourself abilities with all the knowledge we’ve gained since 1994.

Call us TODAY at (866) 405-3003 to get your writing on the market—it’s easy, fast, and affordable! Or e-mail info@wrelief.com.

We’re looking forward to hearing from you.

Many writers wonder, “How much money can I make as a writer?” And while it may seem frustrating, the answer is “It depends.” How much money you can make on a book, story, poem, or novel depends on many factors: the market for your writing, the strength of your voice, your ability to research and submit regularly, etc. Here’s a breakdown by genre to help you understand how much money you may or may not make with your writing. This will help you as you learn how to get published.

Writing is the only profession where no one considers you ridiculous if you earn no money.  Jules Renard

How much money will I make writing poems (or books of poetry)?
Individual poems are most often published by colleges and universities—institutions that do not have much money since they are funded mostly by grants. Therefore, it’s unlikely that poets will make any significant money by publishing their individual poems. Occasionally, a magazine will choose a poem from among those it published in a given year and award that poem a prize—however, that’s not income a poet can bank on.

Some independent presses will pay their poets for a collection of poetry or a chapbook of poems; however, the advances rarely produce a living income. Often books of poems are published via competitions sponsored by independent and university presses (the poet pays an entry fee, which is then put toward the payment for the book of poems once a winner is chosen). Established poets have been known to enter many contests (and pay many contest fees) before securing a win. So be prepared to make a significant investment if you’re going to attempt to make money by entering publication contests.

See our article Five Ways To Make Money As A Poet for more information.

How much money will I make writing and selling a book?
Advances (payments guaranteed for publication) vary at traditional publishing houses. In the larger New York City publishing houses, you may expect a publisher to pay you anywhere from $2,000 and up for your book or novel. A small book deal may be $5,000 to $20,000. A middling deal may be $20,000 to $60,000. A significant deal may be $60,000 to $150,000. And, of course, advances can go through the roof for a book that every publisher wants. Some smaller independent houses may pay less than $2,000, especially for new writers or for books that may not have a wide appeal. (NOTE: These numbers are approximations, since there are no “rules” that dictate what is considered a big or small book deal.) Ultimately, the size of your book or novel advance depends on your platform, the excitement surrounding your book, and the size of the editor's budget. A good literary agent can help you negotiate the most amount of money and best rights deal for your book or novel.

If you are self-publishing, how much money you make on your novel depends on how much legwork you’re willing to do to promote it. Statistically, the majority of self-published novels do not make a profit that goes beyond the cost of printing. However, other self-published novels go on to do very well under the love and care of their writers.

How much money will I make writing short stories? How much money will I make writing essays?
Short stories and essays are generally published in literary magazines funded by universities and colleges. Unfortunately, most academic institutions don’t generally have big budgets for their presses, so writers will generally not make much money—if any—by publishing their short stories and essays in literary magazines.

As with poetry, story and essay writers may sometimes be awarded prizes for their work by the publisher (but there’s no guarantee). Story and essay writers can also compete to win a publishing contract for a collection of their writing. Please see our “How much money will I make writing poems” section above for more information on writing contests.

Some commercial publications do publish short stories, and they do pay their short story authors a significant amount of money. However, commercial markets are especially hard to break into for short story writers. If you want to have the best shot at getting your short story published in a paying market, you’ll most likely need to build a strong bio, with a history of having published in college and university literary magazines, before moving on to bigger and better known publications.

If I can’t make money, why should I write?
First of all, if you would like to make money writing poetry, short stories, or novels, then you must BUY poetry, stories, and novels. In other words, when publishers of poetry, short stories, and novels can count on turning a profit, advances will be more likely to rise.

Most writers write because they love it; they will write regardless of how much money they make or don’t make. Some of the most successful writers report that being paid for publishing is an afterthought—that an advance is just “gravy.”

That said, many writers do go on to make a LOT of money. But in order to get to that point, writers often have to “pay their dues” by not getting paid any money for their early work. A writer’s success in nonpaying markets will often determine how much a writer is paid when he or she approaches paying markets (since payments are sometimes determined by how much buzz surrounds a given writer). For more on this, please read Building Publication Credits.

Writer’s Relief can help you submit your novel or book to agents; we can help you target your poetry, short stories, and essays to the best-suited literary journals. Some writers may go on to make a significant amount of money on their writing, but we can’t guarantee writers a big income. What we can promise is that our clients have more time to write because we tackle the submission process for them, making it more effective and increasing their odds of publication. We help our writers build up their literary bios so that literary agents and editors with significant budgets will take them more seriously. How much money you’ll make writing poems, stories, and novels or books ultimately depends on your talent and stamina. If you love writing and want more time to write, Writer’s Relief can help.

The writing business is ever-changing, constantly evolving to keep up with the times. The most recent trend in publishing is the switch to online submissions. We have seen many good literary journals and agents fall through the cracks created by the sickly economy, but those left standing are eager to change if it means they can stay in business. Many of them have switched to electronic submissions to keep up with technology—to the joy of some and the chagrin of others.

To stay abreast of publishing trends and keep our clients’ acceptance rates high, Writer’s Relief has been incorporating electronic submissions into the targeting process—and with great success! Sending submissions through the Internet might feel like you’re dropping your work down a dark hole, but rest assured that there are more pros than cons.

Here are some of the advantages of making online submissions. But don’t just take our word for it; we’re including comments submitted to us by some of our clients!

* It’s the green way to go. No paper, no envelopes, no mail delivery truck gas. One of our clients says: I don't use a cell phone and am reluctant to use my computer much. But electronic submissions save me a lot of time hassling with copying, envelopes, postage, and using my car running from place to place. Damn, I'm saving the environment.

* Less money spent. When submitting online, you’re saving money on paper and printer ink or, if you get your copies done professionally, gas and copy charges. All you have to do is fill out a form. Think of it as something exciting you are signing up for, like a race. Sure, you're nervous, but just try it—you might like it.

* The ease of working from home. As one client pointed out, You can do it in your bathrobe and slippers. Online submissions can be made quickly (between your other daily tasks), and you can even make them on a Sunday (when the post office is closed)!

* Quicker response time, quicker results. According to one client, Typical magazines that require mail submissions will respond anywhere between 3 - 6 months later. Most of the magazines that accept electronic submissions respond in 3 - 6 weeks. Some even sooner. One agent in particular requested an online version of my entire novel, and she read the entire manuscript and responded to me in three weeks.

* Things don’t get lost. When using online forms, you’ll get a confirmation e-mail and the ability to track your submissions electronically, which means you’ll know your work went through. And even if something does go wrong, you can always re-send a form or e-mail much faster than mailing another packet.

* Submit from around the world. We have many clients who live outside of the US. Submitting online gives them the ease of sending their work from wherever, whenever. One of our clients in Ireland agrees: Since I live outside America, electronic submissions work very well for me due to the speed of submission and, let's face it, the reduced costs!

* It’s the wave of the future. The industry has already changed and will likely go even more electronic as time passes. Why not get in on that early? You are demonstrating that you are an up-to-date writer and part of the electronic community, a client says. I think your work gets better attention by submitting online.

If you would like Writer’s Relief to help you target your work to the best-suited literary agents and editors (via both online and print submissions), please see our Services Overview to find a program that meets your needs and budget.

When it comes to writing historical fiction, don’t panic at the word research. If you follow popular advice—write what you know—then researching your novel will help you do just that. And if you write what you love, then your research will also be a labor of love. Immerse yourself in the process and bring your novel to life.

First, find a happy medium. Don't just throw your characters into costumes and alter their speech just a tad, but don't overwhelm the reader with hundreds of pages of historically accurate detail and end up with more of a nonfiction history text either. Find a good balance. Readers of historical fiction are usually well-informed, and while they don’t want to be bogged down with useless information, they also don’t want to see a Celtic maiden wearing pleather, or a World War I soldier using laser sight.

Secondly, decide how you’re going to approach your project. You can either write your story and then do the research, or you can research your setting and then create the story, depending on how much the story relies on accurate data. For example, if you’re writing about a medieval battle in England, certain details will be crucial to your plot—the landscape, weapons, existing castles and cathedrals—but if your story takes place 200 years ago in a small town you’ve made up, you’ll have a little more leeway (although it will still bother your readers if the small town has an Internet café or a multiplex).

The basics.

You’ll need to research their style of dress and your characters’ names—a 17th-century woman is unlikely to be called Kaitlyn or Tamesha. What type of clothing would a pirate wear, exposed to the wind and rain, and what type of footwear? And don’t put a confederate uniform on a union soldier. Sometimes looking at old photographs or paintings can give you a good sense of the clothing and hairstyles of the period.

If your setting is New York City in the 1800s, find out what streets, buildings, and parks existed at that time. If the location isn’t crucial to your story, or if you’ve created a fictional town or city, keep track of the basic information and stay consistent.

Dialect is a pretty important area to get right. Nineteenth-century Southern belles will speak differently than 16th-century Irish farmers, and neither will use “thee” or “thou.” An English earl will use vastly different language than a peasant from the same time period, and neither of them will use the word "dude." Also, make sure you’ve got the correct terminology. An Australian mother will change her baby’s nappies, and an English mother will push her baby in a pram—not diapers or strollers.

Where to find information.

You can get absolutely everything you need from just one source: Wikipedia.

Okay, just kidding. Internet sources are not always reliable (although reference links on Wikipedia can be helpful), and any information gleaned from them should be carefully cross-checked. The Internet is full of great sources, and you might start at a historical fiction writers’ site for some valuable and pre-tested Web site links.

If possible, personally visit the location you’re writing about. Tourism offices and historical societies are often helpful and usually have the most accurate information about their cities and towns. Visit the local museum, attend re-enactments, or interview old-timers. Take a tour, take some time, take pictures, and immerse yourself in the depths of the setting. If this is impossible, check with historians and/or the local library.

The library is an obvious place to start, and a good librarian can be invaluable. They may have original documents and maps hidden away from the general public, or they can steer you in the right direction. Books aimed at younger readers can also boil down the basics of a time period—what people ate, how they dressed, what their bedrooms looked like, what their mother might say and more. Also, check out the history section of bookstores, and don’t forget about used bookstores—they often have out-of-print history books that can offer a glimpse of the past.

Ask the experts. Find a local expert on the Civil War, or check out the Web site of a well-known Roman Empire scholar. Many experts are happy to answer your questions as long as you’re professional and have done some of your own research in advance.

Keep in mind that you can’t please everyone. There are bound to be gray areas where you’ve taken some liberties, or you may have overlooked some pretty obvious anachronisms. If your plot and character development are strong, editors and readers will be more forgiving of technical inaccuracies, but remember—one glaring anachronism can cast doubt on the rest of your research and, ultimately, on your writing. If you're writing and researching historical fiction, check out Writer's Relief!

The terms “lady” and “gentleman” imply a degree of respect for the person they describe. A lady does not speak with her mouth full. A gentleman does not discuss his wealth with strangers. And a rough character, such as a drifter or a con man, a prostitute or a child molester, does not warrant the label. Recently there have been complaints about news reporters using the term “gentlemen” to refer to characters under suspicion of criminal behavior. “The gentleman in question is out on parole despite the murder charge.” It would seem that “man” would be a better choice of words.

When writing fiction, keep in mind the terminology you use. Aside from the titled women of Great Britain (a countess, baroness, or the daughter of a duke, for example), a lady is generally defined as a woman of refinement and manners, implying “good breeding.” A gentleman is defined as a man of noble or gentle birth; a man belonging to the landed gentry; or a man who combines gentle birth or rank with chivalrous qualities (Merriam-Webster).

So if you have a group of rugby players or roller derby champs who happen to be female, even if they’re individually ladylike and courteous in their personal lives, it would be best to refer to them as “women,” as in “The women ran roughshod over the competition.” Otherwise your reader might picture a group of delicate, prissy women politely scoring goals and gently pushing their fellow “ladies” out of harm’s way.

Be sure to use “ladies” and “gentlemen” with care and consciousness of the implications of the words and the effect your choice will have on your readers.

More articles like this:

The Use Of Gender-Neutral Language In Your Writing

Agreeing To Agree: Basic Pronoun Rules

Using Sensitive Language

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 

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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.

 

HOT OFF THE PRESS! We love to share our information with writers, and we’re happy to pass some of our INSIDER’S SECRETS along to you. Feel free to print these posts to use as a reference. Pass the links along to your writer friends. Our Newsflash For Writers is packed with great information this month. DEADLINE-DATED lists of anthologies, theme issues, and contests are included at no charge!

In This Issue:

** QUERY LETTERS: WHEN (NOT) TO TALK ABOUT MULTIPLE BOOKS

** 5 STRATEGIES TO MAKE YOUR SHORT STORY STAND OUT IN A CROWD

** HOW TO SUBMIT POETRY TO LITERARY JOURNALS AND MAGAZINES

** FEMALE TROUBLE: “FEMALE” VS. “WOMAN”

** HOW AND WHEN TO START A SENTENCE WITH A CONJUNCTION

** You won’t find a better list anywhere (AND IT’S FREE!) of upcoming ANTHOLOGIES, SPECIAL-THEMED JOURNALS, and CONTESTS.

↓ Scroll Down to Read These Exciting and Useful Articles!! ↓  

Often, we at Writer's Relief read query letters from writers who will mention more than one book. They mention prequels and sequels, previously published books, unpublished books, self-published books, and more. But is it a good idea to mention other book projects in your query letter? 

Though every writer’s situation is unique, here are some things you’ll want to take into account before you mention other projects when you are pitching via query letter.

Books designed to be part of a series. Certain books are by their very nature meant to be part of a series—such as some fantasy and mystery novels. But always keep in mind that before your agent can sell a second or third book, she or he has to sell a first book. So focus on book one, and then casually mention that the book could be developed into a series (saying “could be” makes it clear that you’re not going to put the cart before the horse by writing the series before the first one has proven that it is viable). 

Manuscripts you wrote a long time ago. Many new writers who do not have writing credits tend to include phrases in their bios such as “I have written five books.” This leads the agent to wonder: five published books (if so, why didn’t the writer mention the publisher?), five self-published books (if so, what is the writer trying to hide?), or five books that are sitting under a bed somewhere (if so, will the writer try to pawn off those stale old manuscripts on the agent who takes that writer on?). If the writer is deliberately vague about the “five books,” the agent will generally assume the writer is an amateur. Rather than mention that you’ve written five books that you were not able to publish traditionally, it may be better not to mention them at all. Focus on building up your bio with publication credits in the literary magazine market or by demonstrating a commitment to the craft. 

Self-published books. Unless a self-published book does well, agents will generally regard self-published books the same way they will regard books that have not been professionally bound and printed. For more on the question of whether or not to mention a self-published book, read this. 

Spin-offs. Some writers will indicate that they are already in the process of spinning their single title book into an alternate venture—perhaps developing the story of the secondary characters, or perhaps taking the story to the next level with a prequel. Again, be sure you’re only pitching one book at a time. If you’ve already completed your spin-off projects, it may be better to hold off on mentioning that those projects are already complete until you and the agent are in serious talks. 

Other unrelated books or genres. If you’re writing a romance novel and you want an agent to work with you on another project (a thriller), it's best to focus on one project at a time. The query letter is not necessarily the place to mention multiple projects. If an agent shows interest in one of your projects and you feel you can develop a rapport, then that’s the time to mention your other ventures. But until that point, try not to overwhelm him or her. 

The moral of the story: an agent can only represent one of your books at a time. Generally, if you are entering a new relationship with an agent, you don’t want to overwhelm him or her by suggesting he or she represent previous projects, future projects, or side projects. A good query letter pitches one book only—and perhaps in certain circumstances, it may casually allude to other projects (if the writer is careful in his or her allusions). Play it safe by focusing on one book and one book only. 

At Writer’s Relief we work with our clients to write strong query letters, and we advise them on strategies and tactics regarding the submission process. For more information, visit www.WritersRelief.com. 

Imagine for a moment that you’re the editor of a well-known literary journal. Every day, hundreds of short stories cross your desk in a relentless stream, blurring together, melting into one huge pile of “no.” 

And then—BAM! A story out of left field strikes a chord deep within you. Now that’s something you might want to publish. It goes in the other pile, the much smaller and elusive batch of wonderful “yes.”

That’s a scene any writer would love to see play out starring their own short stories, but floating to the top of that river of submissions takes effort, persistence, and a couple of tricks up the sleeve. Here are a few ways to make your story stand out: 

1. Open with a bang. Unless he’s turned into a giant cockroach, starting your story with your main character waking up is as average as it gets. You have a small space in which to tell your story, so get straight to the point—try dropping the audience in medias res (right into the heart of the action), and get them excited for the ride.

2. Keep it short. Pack a punch in very few words. Throw away unnecessary frills. For more on this issue, read: Why Length Matters. 

3. Create larger-than-life characters. Dull characters make for dull short stories. While you want your characters to be relatable, you don’t want them to be ordinary. If they are dynamic, have their own unique voices, and approach their world in their own distinctive ways, there’s a good chance they’ll stick in a reader’s mind and so will your story.

4. Paint your world vividly. Whether it’s a bustling metropolis or the middle of the unforgiving Sahara, the setting in which your story takes place influences everything that happens within it. Don’t just plop your characters into a generic town—create your own world and reveal to the audience the intricacies therein.

5. Keep the stakes high. There’s a certain aspect of human nature that likes to experience intense situations vicariously. Never let the lifeline of your story run flat. Every decision your characters make should propel the story forward, keeping the plot taut and engaging. The higher the stakes, the bigger the catharsis your readers will experience when the conflict is resolved. 

As always, Writer’s Relief helps writers target their stories to the literary journal editors who are most likely to enjoy them. For more information about this process, please visit an overview of our services.

Writer’s Relief has helped hundreds of writers submit their poetry to literary journals and magazines, and as those of you who regularly read our Newsflash for Writers know, we’re pleased to share our techniques with you. If you’ve been hoping to publish your poems by submitting poetry to literary magazines, here’s a step-by-step guide to help you get your poems to editors to increase your chances of getting an acceptance letter. 

Write awesome poems. One would think this goes without saying. However, if you’re not reading the poetry that is being published in literary journals and magazines, then you won’t know how your poetry stacks up. Read to improve your technique, to support the underfunded literary journals that publish poetry like yours, and to engage with modern aesthetics. In other words, don’t just think your poems are awesome: know that they’re awesome. Then you'll be ready to successfully submit. 

Research markets. We’ve written quite a bit on our blog about how to find the best markets for your poetry. You can research journals online, or you can buy a market guide. Be prepared for researching to take a lot of time (generally, Writer’s Relief has found that you’ll need to send any given poem to 100 markets before you throw in the towel). You’ll have to reevaluate:

Reading dates

Calls for submission (theme, topics, etc.)

Editorial preferences

If you’re not up to the task of doing the research, you can use our A La Carte Service (we will target 25+ markets that will be a nice fit for your particular type of poetry). Or you can read more about how to research markets on your own.

Choose 3 to 5 of your best poems for submission. Most literary magazines will not read more than five poems per submission. The poems may or may not be thematically related. Here is an article about why length matters for poetry, and how to write poems of the best length.

Format and proofread your poems. Skip the big, unique fonts—stick with something simple and traditional. Put your name and contact info on every poem. Also, note page numbers on poems that are longer than one page. 

Write your cover letter. Keep it simple. Include the titles of your poems, a brief professional bio, and a courteous closure. If you want to be clever, do so at your own risk. Click for an article with more information on how to write a cover letter.

Put your submission together. Paper clip or staple? SASE or e-mail address? Here’s an article with information on how to physically mail your work.

Keep track of where you send your poems. Be prepared to send out many, many submissions and receive many, many rejections. Embrace the large numbers of submissions and the equally large numbers of rejections as part of the process. You’ll need to find a way to keep track of who is reading what, who has rejected what, and who made a nice comment and/or asked to see more work from you in the future so that you can send work to them again. 

Get ready to do it all again. Making submissions habitually and regularly is what gets acceptances. So suck it up and get those poems out there, soldier!

At Writer’s Relief we manage all of the above processes for our clients (with the exception of writing your awesome poems!) For an overview of our services, visit www.WritersRelief.com.

Female. It’s a word that can be both a noun and an adjective. But unless you’re referring to farm animals or giving a lecture on the diversity of nature, someone is sure to be offended if you refer to a woman as a female—as in Carole is a female who knows what she wants. While it’s true that, historically, many renowned authors have used female as a noun, it’s also true that the practice is less accepted in modern usage. 

George and Scott met some good-looking females at the nightclub on Saturday.

In this context, female smacks of depersonalization and disrespect. Most women will agree that being referred to as a female is somehow offensive, even if they’re not exactly sure why. More and more we find that female and male are used to imply inferiority, whether in noun or adjective form, as in That’s just the female side talking, or Typical of a female. Or If it weren’t for the male mentality, we wouldn’t have any wars.

Note that the same objections can be raised when referring to men:

I am determined to get to know that male.

When used in this context, male seems more mammal than human, and the man in question has been effectively depersonalized. But as an adjective, male is appropriate: 

The choir is composed of young male voices. 

In the following sentence, female and male are acceptable as nouns: 

The females lay their eggs in spring, while the males provide constant watch over the nest.

As adjectives, male and female are also perfectly acceptable: 

The newcomers were divided into two groups, female recruits to the left, male recruits to the right.

And while we’re on the subject of sensitivity, perhaps a word about girls. 

There are four girls and three men working at the office.

The (hopefully) unintentional result of this sentence is the trivialization of the contributions of the girls in the office, some of whom have probably not been called a girl for years. The sentence would be less insulting to women—or at least equally insulting to both sexes—if it read There are four girls and three boys working at the office, but this conjures up an image of seven kids running around the office—safer to change girls to women. 

Technically, this whole female vs woman issue is up for discussion. Dictionary definitions of female and male categorize the words as both noun and adjective, with female (n) = woman or girl and male (n) = man or boy. It’s more an issue of context and the importance of word choice when making an impression on the reader, whether intentional or not. If you want to avoid alienating your readers, opt for writing with sensitivity and avoid using biased language. What may be mere words to one reader may be construed as patronizing or insensitive to another, which may leave him or her less receptive to the content of your writing overall. And doesn’t that defeat the whole point of writing?

For more on gender and prose, read Using Sensitive Language.

Question: In fiction, is it okay to begin a sentence with a coordinating conjunction (and, but, yet)?

Answer: Not according to many high school English teachers and not according to Strunk and White (The Elements of Style). The long-enduring rule has been that using a coordinating conjunction to begin a sentence implies a preceding clause to which the sentence should be connected, leaving an incomplete sentence or fragment. However, the majority of modern fiction writers agree that using a conjunction to begin a sentence is an acceptable practice. In fact, creative writers have been doing it for centuries, happily ignoring this “rule” as well as other restrictions, like Thou Shalt Never Use Sentence Fragments or A Comma Must Separate Two Conjoined Sentences. In fiction, the lines between convention and creativity can be blurry. 

Coordinating conjunctions include the words: for, and, nor, but, or, yet, and so. Beginning a sentence with one of these conjunctions can lend impact or emphasis to the sentence:

I’d really like to go to college. But who’s going to pay for it?

It was a frigid night, with the wind whipping off the lake. Yet she stripped down and dove in anyway.

It is unnecessary to use a comma after a coordinating conjunction. One exception is “so,” which is often used at the beginning of a sentence as a kind of summing-up device, and in this context, it is usually set off with a comma:

So, needless to say, we ended up moving across the country.

As a creative writer, if you begin a sentence with a coordinating conjunction, fear not—no grammatical rules have been broken, although it’s best to use this technique sparingly for maximum effect. However, keep in mind that in formal communication, business correspondence, and academic writing, you’d be wise to follow the advice of Strunk and White and avoid starting sentences with conjunctions. And not use sentence fragments. (Kidding!)

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.

HOT OFF THE PRESS! We love to share our information with writers, and we’re happy to pass some of our INSIDER’S SECRETS along to you. Feel free to print these posts to use as a reference. Pass the links along to your writer friends. Our Newsflash For Writers is packed with great information this month. DEADLINE-DATED lists of anthologies, theme issues, and contests are included at no charge!

In This Issue:

**AFTER SELF-PUBLISHING: HOW TO FIND AN AGENT AND A PUBLISHER FOR YOUR SELF-PUBLISHED BOOK

**BEST GIFTS FOR WRITERS

**THE LANGUAGE OF MUSICALITY IN POETRY: VOCABULARY FOR POETS

**A FEW SHORT MINUTES

**HOW TO CHOOSE A FREELANCE EDITOR FOR YOUR WRITING

** You won’t find a better list anywhere (AND IT’S FREE!) of upcoming ANTHOLOGIES, SPECIAL-THEMED JOURNALS, and CONTESTS.

↓ Scroll Down to Read These Exciting and Useful Articles!! ↓

 

Often, writers e-mail us with variations on the same question: How can I get a literary agent for a self-published book?

Dear Writer’s Relief,

I self-published my book [enter number of months ago] and now I’m [A) Not happy with my publishing company or distribution B) Disappointed because I’m not getting any sales of my self-published book and/or C) Thinking of expanding my efforts by getting a literary agent and a traditional publisher for my self-published book]. Can you please tell me whether or not I can send my self-published book to literary agents and editors?

While each author who has self-published is in a unique situation and there is no single answer for every writer, it is possible to submit your self-published book to literary agents.

If you do want to transition from self-publishing to traditional publishing, here are some tips for getting a literary agent:

1. Be as positive as you can be about your self-publishing experience. If you chose that route, be sure to demonstrate that your choice was deliberate, educated, and professional (hopefully it was!). You don’t want to come off as the kind of person who forgets to look before she or he leaps.

2. Emphasize the success of your book by citing sales, quotes, and media coverage, if possible.
 
3. Be sure you hold all rights to your book. You can’t offer publishing rights if you don’t own them.
 
4. Don’t expect to use your own cover art, title, layout, etc. When you transition to a traditional publisher, you need to be prepared to give up much of your autonomy.

5. Be honest. If you find yourself in serious talks with an agent, don’t hide your self-publishing history. Agents will look you up online.

6. Be prepared to remove your book from Amazon and other online retailers. If you sell your book to a traditional publisher, you don’t want to undercut their sales. You’ll need to think about whether or not you want to “freeze” your book sales before you attempt to get an agent or editor. A freeze will cut into your sales, but it may also demonstrate a firmer commitment to traditional publishing. Weigh the pros and cons before making your decision.

7. Don’t mess with the system. Some writers have asked us if it’s possible to sell SOME rights to a publisher, but keep others for themselves. This is probably not going to happen. Publishers develop rigorous ideas about how they want to market, and for that reason they generally want control over nearly all rights. If you hold some rights and the publisher holds some rights, you will set yourself up as a competitor against your publisher.

8. Don't query with your finished book; query with plain-old, 8.5 x 11 manuscript pages when necessary—as if the book had not been typeset and bound. Always follow agents' submission guidelines.

If you’ve self-published a book, Writer’s Relief may be able to help with the submission process if you’d like to begin sending your book to literary agents. Visit www.WritersRelief.com to learn more.

Fretting over what to buy for your writer friends or family members ? Get them something practical and thoughtful at the same time.

* A light wedge. The cooler older brother of the traditional book light, a light wedge tucks under the pages of a book and illuminates from behind. Perfect for the reader or writer who is always trying to sneak in just a few more chapters before bed.

* Moleskine notebooks. Hemingway, Picasso, and van Gogh were among the more famous Moleskine users. Sturdy yet flexible, these sleek notebooks can fit easily into a pocket and come in a variety of shapes and sizes—perfect for the writer whose best ideas come everywhere but the writing desk.

* A Writer’s Relief gift certificate. Writer’s Relief is offering gift certificates for our A La Carte Services! Give one to your writer friend or relative, and we’ll research the 25+ best-suited markets. With the A La Carte PLUS option, we will also write, proofread, and prepare cover or query letters. Click here for more details about our gift certificates! Perfect for writers who have been meaning to submit work but just don’t have the time or focus!

* Magnetic poetry. Not just for your dorm fridge! These little word magnets can be arranged and rearranged for an endless source of inspiration—all before the morning coffee has finished brewing. Perfect for visual learners and haiku lovers.

* An idea board. Available in just about every form—from your average whiteboard to eco-friendly recycled corkboard options. Feel like doing it yourself this winter? Grab a bunch of old wine corks and create your own! Perfect for the disorganized writer whose desk is covered in a sea of Post-Its.

* A vintage typewriter. Turning the old into new, a typewriter is a unique gift for the writer you love. Cost-efficient options often crop up at flea markets or Web sites like etsy.com. Perfect for writers who want to wean themselves off their laptops.

* Literary action figures. Who said all gifts have to be serious? We challenge you to find someone who wouldn’t love to take a break from writing to play with their doll…ahem, their intellectual, literary-themed miniature effigy. Perfect for the bookworm who would sooner swoon over an author than an actor.

Find any of the above by typing appropriate keywords into the search engine of your choice.

Want to treat yourself? Visit our Web site at www.WritersRelief.com to learn more about our services and how we can help you get your work into the hands of literary agents and journal editors.

Because poetry tends to be an especially musical form of writing, there are a number of words that poets use to talk about their particular techniques. Here is some vocabulary to help you discuss the music of your poetry. Enjoy!

Alliteration
Repetition of consonant sounds, usually at the beginning of words.
 
Anapest
Two unaccented syllables followed by an accented one, as in un-der-STAND.

Assonance
Repetition of similar vowel sounds.
 
Caesura
A pause within a line.

Dactyl
A stressed syllable followed by two unstressed ones, as in SHUD-der-ing.

Diction
The selection of words in a literary work—for example, if a narrator says blood-red, that selection has different connotations than rose-red, even though the colors may be similar. 
 
Elision
The omission of an unstressed vowel or syllable—such as o’er for over.

Falling meter
Meters that move (or fall) from stressed syllables to unstressed syllables.

Foot
A unit of measure in a metrical line; syllables included in a kind of musical bar or measure.

Iamb (as in Iambic)
An unstressed syllable followed by a stressed one, as in at-TEMPT.

Meter
The pattern of accents in poems.

Onomatopoeia
Words that imitate the sounds they describe.

Pyrrhic
A metrical foot composed of two unstressed syllables (as in for the).

Rhyme
Matching sounds in two or more words.
 
Rhythm
The repetition of accents or stresses.

Rising meter
Poetic meters that move (or ascend) from unstressed to stressed.

Spondee
A metrical foot represented by two stressed syllables.
 
Style
The way an author selects and arranges words, and develops ideas using literary techniques.

Syntax
The order of words.
 
Tone
The writer’s attitude implicitly conveyed through diction, syntax, etc.
 
Trochee
Accented syllable followed by an unaccented one, as in MAY-be.

Guest blogger Diane Stark is a former teacher turned freelance writer. Her work has been published in Chicken Soup for the Soul: A Tribute to Moms and MomSense. She is the author of Teacher's Devotions to Go.

My dad loved football.

As a little girl, I would do everything I could to gain his attention while he was watching the game. I’d stand in front of the television, offer to get him a snack, ask him questions about the game, anything to get him to glance my way. My dad would try to ignore me, and then call for my mother to come and get me, and finally, in desperation, he’d promise to take me for an ice-cream cone if I’d just sit still and be quiet for the last six minutes of the game.

“Six minutes? What can happen in six minutes? Can’t we just get the ice cream now?” I’d ask. “The Dolphins are winning by fourteen points. There’s no way the other guys can catch up in just six minutes.”

My dad would just sigh and shake his head. “A few short minutes can change everything” was his answer.

I haven’t watched football with my father in more than a decade, but I’ve never forgotten his words.

A few short minutes can change everything.

Those words are true about more than just football.

A touchdown is nothing more than getting the ball across the field, yard by precious yard. A novel, or an article, or even a poem is nothing more than our thoughts and our research, written down one word at a time. Either can happen in tiny increments or in one long burst of energy. How it happens isn’t important, but only that it does.

A few short minutes can change everything.

A football game. Or your writing career.

Six minutes is more than enough time to accomplish one small step toward improving your writing career. It’s plenty of time to locate writer’s guidelines on the Internet. It’s enough time to learn something new by reading an article in a writing magazine or on a writing Web site, or to study an article in your target publication. It’s more than enough time to sign up to receive a writing e-zine or to read one that you’re already getting. It’s enough time to write down a great idea or start on a character sketch. You can begin an outline or locate an interview source online. You can even type a paragraph or two. It’s enough time to take a step in the right direction.

Six minutes may not sound like a lot of time, but it’s too much time to waste. Most writers have to scrape for extra time; we grab it whenever and wherever we can. Just a few minutes a couple of times a day can add up to several extra hours of writing time each week.

A few short minutes can change everything.

Think about your daily schedule. How many minutes do you spend waiting for something or someone? We wait at the doctor’s office, we wait to pick up our children from school and sporting events, we wait in traffic, we even wait for water to boil. Don’t waste those short blocks of time. Instead, use waiting time as writing time. Keep a notebook or small tape recorder in your car and use those minutes to get down a few paragraphs. Even if you just spend your wait time thinking about your writing, rather than about how terrible traffic is, you’ll be more prepared to write the next time you have a few minutes. You’ll also feel a lot better.

What about your television watching habits? We all have our favorite shows, ones we’d feel deprived if we missed. But what about the shows before or after your favorite? Do you really need to sit and watch them too? Why not write during that time? See how much you can accomplish during the commercial breaks. You may surprise yourself.

A few short minutes can change everything.

In football, in writing, and in life, every big play starts with a decision. A decision to try. To work hard, no matter what happens. To keep trying, even when a 300-pound defenseman—or a less than tactful editor—tackles us to the ground. We get up and try again on the next play.

As many times as it takes.

We just keep plugging away, minute by minute, yard by yard, knowing that someday soon, we’re going to score. Big time.

So no matter how much time you have to write, use it wisely. Don’t waste those extra minutes. They can make a huge difference in your writing career.

Use those extra minutes in your life. Use them to change your life.

Remember, a few short minutes can change everything.

Agents and publishers are receiving more manuscripts than ever, and a writer needs every advantage to get noticed. A professionally formatted, well-polished manuscript has a much better chance of discovery than a manuscript riddled with grammatical problems and typos. It goes without saying that a writer should only submit work that has been carefully edited and proofed. The following tips and hints will help you find the right freelance editor to critique your fiction or nonfiction writing.

When should I hire an editor?

      •     Self-published books are not edited or proofed in-house unless you pay for the service. If you’re having a book edited by the book production company’s editors, you will likely have a choice between different levels of editing—from a line by line review (copy edit) to a more extensive edit (content edit). You can also hire your own freelance editor outside of your production company.

      •     An agent will tell you if your work needs revision before shopping it around. Many times these revisions are something you can take care of yourself. Other times the scope of the revision may require an editor’s helping hand.

      •     If a publisher requires revisions that are beyond your ability, a freelance editor may be able to help.

What type of editor should I hire?

Copy Editor. If you’re simply looking for someone to clean up your grammar and spelling, a good copy editor will not only go through your work line by line, correcting punctuation and grammatical errors, they will also flag inappropriate word choice, confusing sentences, redundancies, and other stylistic issues. Copy editors will standardize a manuscript, verifying that your characters’ names and location references are spelled consistently. They will perform fact-checks and alert you if there are any inconsistencies in the manuscript, such as faulty time lines.

Content Editor. For a more complete overhaul, you’ll need a content editor (often referred to as a book doctor). A content editor specializes in analyzing the work overall, making larger revisions and suggesting more sweeping changes. This may include a review of consistency of style, mood, or presentation of content; consistency of point of view and tense; clarity and effectiveness of content or story sequence, including support and resolution. A content editor will also examine the flow and transition (the continuous pace and progress) of the story and evaluate sentences for clarity, flow, and readability.

Substantive Editor. If you’re simply looking for an evaluation of your book to determine its marketability and general appeal, a substantive editor can help. Former acquisition editors at publishing houses and literary agents are well-qualified for this job.

Tips for choosing the right editor.

Match your genre. Editors specialize in many different areas—academic writing, magazine article writing, nonfiction, and fiction, for example—and in the general fiction category, editors tend to specialize in specific genres. If you’ve got a mystery, look for an editor who has experience in this style.

Ask for references. When you’re considering an editor, check his or her track record. Good editors will have editing experience in your genre or category and should have a list of published books they’ve edited under their belt (self-published books don’t count). Take a look at the quality of these books and judge for yourself. Also, take a look at the editor’s qualifications: education, previous experience, etc. If you find an editor who has worked at a large publishing house, all the better.

Recommendations. Ask colleagues, members of your writers’ group, members of university writing programs, or published authors for the names of well-qualified editors. Sometimes authors thank their editors on the acknowledgment page of their books.

Look it up. The Literary Marketplace has a listing of editors, updated annually, and The Editorial Freelancers Association (www.the-efa.org) maintains a Web site of freelancers who are generally well-screened. You can also take your chances on a general Google search, but keep an eye out for less-than-qualified freelancers and scam artists. No editor should ever promise they can get you a publishing contract, and make sure you are comfortable with their credentials and the quality of their work (with a sample edit, for example) before you send a check. (Most editors will ask for a certain percentage up front, with the balance due once the project is completed.)

Get specific information up front. Make sure you and your prospective editor are clear about what is expected. Do you want a line edit or an overall edit? What would each entail? What exactly will the editor be looking for, and what will they not take on? One way to make sure you’re on the same page is to ask for a sample edit. Most editors will edit a small section at no charge, say 5-15 pages, which you can then review. It’s important that the editor is able to follow your particular style and improve your writing without changing your voice.

If you do engage the services of an editor, take the time to study their changes and learn from them. Not only will it help your future writing, but you may have the confidence to make the edits yourself on the next go-round.

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 

HOT OFF THE PRESS! We love to share our information with writers, and we’re happy to pass some of our INSIDER’S SECRETS along to you. Feel free to print these posts to use as a reference. Pass the links along to your writer friends. It’s packed with great information this month. DEADLINE-DATED lists of anthologies, theme issues, and contests are included at no charge!

In This Issue:

* * NINE QUESTIONS TO ASK A LITERARY AGENT

* * DO YOU WANT TO COMBINE OUR EXPERTISE WITH YOUR LEGWORK?

* * HOW TO CHOOSE A CRITIQUE PARTNER FOR YOUR WRITING

* * UN-THINK YOUR POETRY: HOW TO WRITE BETTER POEMS

* * PUNCTUATING APPOSITIVES

* * LATERAL THINKING PUZZLES

* * You won’t find a better list anywhere (AND IT’S FREE!) of upcoming ANTHOLOGIES, SPECIAL-THEMED JOURNALS, and CONTESTS.

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