New Year; New Submission Strategy (one that actually works!)

We currently have a few openings on our Full Service client list, and we are reading for books, poetry, and short prose (short stories and essays). If you would like to know more about how we help writers prepare and target their submissions to the best-suited literary agents and editors, please click for packages and pricing.

Our Full Service program is the easiest and most effective method for submitting your writing to literary agents and editors. 

Click here for Submission Guidelines

Click here to learn about Our Clients.

Click here for Testimonials. 

Great writing gets published through great submission strategies. So contact us today!

NOTE: If you submitted work to us prior to this call for submissions, please know that your work will be reviewed during our upcoming meetings. Questions? Write to ReviewBoard@wrelief.com. 

 Click for submission guidelines.

IN A CLIENT'S WORDS...

February 1, 2010

Greetings:

To anyone considering joining Writer’s Relief, the numbers speak for themselves.

Two years ago I joined Writer’s Relief, and in that time I have had five stories published in credible, print literary journals, including The MacGuffin, Quiddity International Literary Journal, Williard & Maple, and Rio Grande Review.

And just recently, I have secured agent representation for my debut novel. In fact, I was able to have my pick between three agents who were all interested in my manuscript, and I ended up signing with the agency that had the most passionate vision for my novel.

Writer’s Relief lets you do the one thing you really want to do: write. They take care of the rest. They professionally proofread your work (a must-have for any serious writer). They research appropriate markets and agents that your work fits with. And they keep you motivated to never quit the marathon that is submitting, waiting, submitting, waiting…

If you take your writing seriously, then take your writing career seriously. Thank you very much to all the passionate, hard workers at Writer’s Relief. I can now call myself a professional writer, and for that I will forever be grateful.

Many thanks,

K.B.

Click for submission guidelines.

 

 

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:

** FIVE NEW YEAR’S RESOLUTIONS FOR WRITERS or HOW TO GET 25+ SUBMISSIONS OUT IN THREE DAYS

** 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!! ↓  

1. SUBMIT YOUR WRITING IN JANUARY AND FEBRUARY. Most agents and editors are reading at this time of year.

2. STOP STALLING. Start making submissions now! Make a pact with yourself to send out X number of submissions at given intervals. Our Full Service is the most inclusive and most beneficial level of service. However, if you can't afford it, there is an alternative. With using one of our A La Carte services, you’ll make 25+ submissions within a matter of days and significantly increase your odds of acceptance! The more you submit, the more likely you’ll find a home for your work.

3. WRITE EVERY DAY. Whether it’s three words or thirty pages, write every day. Can you do it? Can you make that kind of commitment to be your most creative and productive self?

4. STUDY YOUR CRAFT. Why not make a promise to yourself to improve on the techniques that will get your writing noticed? Set a specific goal (I will go to one writing conference, or I will attend one local writer’s event per month).

5. ASK FOR HELP WHEN YOU NEED IT. Writers have it tough when it comes to asking friends and loved ones to understand the demands of the writing life. But this is the year that you can get the help you need to accomplish your goals. Commit to finding a critique partner or hiring an editor. Ask for advice from those who know. And consider giving yourself the gift of being able to focus on your craft by partnering with Writer’s Relief. 

Get your work into the right hands—fast—with our A La Carte Services! Let us research the 25+ best-suited markets for your work! Our A La Carte Services are affordable, there’s no long-term commitment, and you don’t have to go through the Review Board. Save time and money! Combine your legwork with our expertise to keep costs down. Put our expertise to work for you!

Basic A La Carte Service: $100 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’ll 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.

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 send your work to the appropriate markets—it’s easy, fast, and affordable! Or e-mail info@wrelief.com. We’re looking forward to hearing from you.

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!)

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

Upcoming Anthologies

Deadline: 02/15/10.
Submit to: Diverse Voices Quarterly. E-mail (via DOC, RTF, or WPD attachment) to: submit@diversevoicesquarterly.com.
Theme: Writing from all ages, races, religions, and sexual orientation.
Type: Poetry (5 titles MAX), short stories and essays (3,000 words MAX), and artwork/photography (.jpeg attachments, 2 images MAX).
URL: http://www.diversevoicesquarterly.com/submission-guidelines

Deadline: 02/20/10.
Submit to: Align with Global Harmony: Rainmaker’s Prayers. E-mail (via attachment or pasted-in text) to hazelheron.press@gmail.com. To be published by Hazel Heron Press. Contributors receive a free complimentary copy, a 50 word bio with contact info both in print and on web site and the opportunity of being in print with such notables as Mary Oliver, Barbara Kingsolver, Jose Stevens, etc.
Theme: Co-creation of Spirit, Nature & Humankind.
Type:  Short personal essays, 500-1000 words. Environmental topics: Ban the Plastic Bag; Green Teens, Restore a River; Sustainability; The Heart as Sacred Space; Dance as Prayer; Personal Responsibility; Bios of Environmentalists; Sustainable Towns; Living in Harmony with Mother Earth; Indigenous Wisdom & Climate Change; etc.
URL: http://shinanbarclay.vox.com  

Deadline: 02/28/10.
Submit to: Quest for Atlantis: Legends of a Lost Continent. E-mail submissions to: atlantis@pillhillpress.com. Please put SUBMISSION - Title of Story in the subject line.
Theme: Stories that celebrate the legend of The Lost Continent of Atlantis. 
Type: Short stories (10,000 words MAX).
URL: http://www.pillhillpress.com/atlantis.html

Deadline: 03/01/10.
Submit to: Bombay Gin. Naropa University, Writing and Poetics Department, 2130 Arapahoe Ave., Boulder, CO 80302.
Theme: Translations. Must include work in original language and translation.
Type: Poetry and prose (8 pages MAX).
URL: http://www.naropa.edu/bombaygin/sub_guidelines.cfm

Deadline: 03/01/10.
Submit to: Northampton Anthology. E-mail (via attachment) to: nohoanthology@aol.com.
Theme: Historic and modern poetry about Northampton, Massachusetts.
Type: Poetry (3 poems MAX).
URL: http://nohoanthology.blogspot.com

Deadline: 03/01/10.
Submit to: Thema. Gail Howard, Poetry Editor, or Virginia Howard, Prose Editor. Box 8747, Metairie, LA 70011-8747.
Theme: The trip not taken. Be sure to specify theme on cover letter. (NO adult language or sexual material.)
Type: Poetry (3 titles MAX) and short stories (20 pages/5,000 words MAX).
URL: http://members.cox.net/thema/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: 04/20/10.
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 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: 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

 

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Upcoming Contests

Deadline: 02/12/10.
Submit to: Normal Prize Contest - "Genre," 5245 N. Backer Ave, M/S PB 98, California State University-Fresno, Fresno, CA 93740.
Entry fee: $20. First prize: $1,000 and publication.
Type: Fiction and nonfiction (10,087 words MAX).
URL: http://www.thenormalschool.com/contestguidelines.html

Deadline: 02/15/10.
Submit to: New Women's Voices, Finishing Line Press, P O Box 1626, Georgetown, KY 40324.
Entry fee: $15. First prize: $1,000 and publication for a chapbook-length poetry collection
Type: Poetry (26 pages MAX). Open to women who have never before published a full-length poetry collection.
URL: http://www.finishinglinepress.com/submissionguidelines.htm

Deadline: 02/16/10.
Submit to: Kundiman, PO Box 2565, Staunton, VA 24402-2565.
Entry fee: $25. First prize: $2,000 and book publication.
Type: Poetry (50–70 pages MAX, single spaced).
URL: http://kundiman.org/[CLB]_Brightside/1.Source/prize.html

Deadline: 02/28/10.
Submit to: The American Poetry Journal Book Prize, PO Box 2080, Aptos, CA 95001-2080.
Entry fee: $25.  First prize: $1,000, publication, and 20 copies.
Type: Poetry (50 to 65 pages MAX).
URL: http://home.comcast.net/~jpdancingbear/dhpcontests.html

Deadline: 02/28/10.
Submit to: Connecticut River Review Poetry Contest, CPS, PO Box 270554, West Hartford, CT 06127.
Entry fee: $15. First prize: $400 and publication.
Type: Poems (3 titles, 80 lines each MAX).
URL: http://www.ct-poetry-society.org/contests.htm#crrcontest

Deadline: 02/28/10.
Submit to: Omnidawn Chapbook Poetry Prize, Omnidawn Publishing, 3263 Kempton Ave., Oakland, CA 94611, or submit online: http://www.omnidawn.net
Entry fee: $15. First prize: $1,000, publication, and 100 complimentary copies of the chapbook.
Type: Poetry (20 to 30 pages MAX).
URL: http://www.omnidawn.com/contest/chapbook.htm

Deadline: 03/01/10.
Submit to: DRT Press. E-mail to Kay Marner at kay@kaymarner.com.
Theme:  Essays written by parents of children with ADD, ADHD and/or other mental, emotional, and behavioral disorders.
Type: Essays (4 pages MAX).
URL: http://www.drtpress.com/anthology.html

Deadline: 03/01/10.
Submit to: 2010 Poetry Chapbook Contest, Plan B Press, PO Box 4067 Alexandria, VA 22303.
Entry fee: $15. First prize: $250 and 50 copies of your book.
Type: Poetry (28 to 32 pages MAX).
URL: http://www.planbpress.com/contestnew.html

Deadline: 03/01/10.
Submit to: 2010 Gulf Coast Prizes in Poetry, Fiction, and Nonfiction. Send via online form: http://www.gulfcoastmag.org/submissions.
Entry fee: $20. First prize: $1,000 and publication.
Type: Poetry (5 poems, 10 pages MAX) and prose (25 page MAX).
URL: http://www.gulfcoastmag.org/index.php?n=7

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: 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: 03/31/10.
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: 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: 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: 05/18/10.
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: 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: 06/30/10.
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

Upcoming Conferences and Events

USA

California

2010 San Francisco Writers Conference
Registration deadline: February 9, 2010. Conference dates: February 12 - 14, 2010.
The 7th Annual San Francisco Writers Conference will feature 100 presenters—literary agents, editors from top publishing houses, and bestselling authors including Jacquelyn Mitchard (Deep End of the Ocean), Steve Berry (The Templar Legacy), and Susan Wiggs (Fireside).  
Contact: Barbara@SFWriters.org
URL: http://www.SFWriters.org

Southern California Writers' Conference
Registration deadline: February 9, 2010. Conference dates: February 12 - 15, 2010.
Founded and run by working writers, the SCWC has facilitated nearly $4 million in first-time author book and screen deals over 23 years.
Contact: wewrite@writersconference.com
URL: http://www.WritersConference.com

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

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

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

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

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

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

New York

North Carolina

Write2Ignite! Conference for Christian Writers of Children’s Literature
Registration deadline: February 15, 2010. Conference dates: February 26 - 27, 2010.
Keynote speaker Vonda Skelton, author of the Bitsy Burroughs Mysteries, will inspire writers to set children’s hearts afire for Christ. Along with hosting other workshops and presenters, the conference also boasts a Teen Track for the younger generation of aspiring writers.
Contact: Jean Hall at write2ignite@jeanmatthewhall.com
URL: http://www.write2ignite.wordpress.com

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

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

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 October - December cycle:

Writer's Relief clients received 189 offers of publication in reputable, national literary magazines in the past 60 days. Way to go! PLUS, the following literary agencies requested complete manuscripts from our clients for the previous cycle: Collins Literary Agency, Donadio & Olson, Inc., Elyse Cheney Agency, Jean V. Naggar, Joy Harris Agency, Literary Group International, Maria Carvainis, McIntosh & Otis, Meredith Bernstein, Steinberg Agency, and Sterling Lord Literistic, Inc.

Client announcements:

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

Tracy DeBrincat invites you to "Judge Her Book By Its Cover." Her prize-winning short story collection Moon Is Cotton & She Laugh All Night has been newly published by Subito Press/University of Colorado. For a limited time, you can choose from among various cover art designs. Visit http://www.mooniscotton.com to vote for and purchase the one you like best!

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.

Big congrats to Suellen Wedmore, who was one of only three poets to place in the New Millennium Writings Obama Inaguration Contest.

Bang The Keys, by Jill Dearman ($11.53, writing how-to, Alpha). 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:

**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 and editors.

If you do want to transition from self-publishing to traditional publishing, here are some tips:

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.

Dear Friends,

We need your help.

Every month we write, edit, and compile our free Newsflash For Writers—and we LOVE doing it, even though it takes countless hours of time and attention.

If you like and appreciate this free Newsflash, please nominate our blog for Writer’s Digest’s “101 Best Websites for Writers” (another excellent source for free online information).

Here’s how to nominate us:

Send your comments and nominations to writersdig@fwpubs.com with “101 Best Websites” as the subject.

Thank you so, so much for your support as we continue to offer the writing community this free resource. As always, we welcome your comments and questions.

Best wishes,

Ronnie L. Smith, President
Writer’s Relief

P.S. Please tell your fellow writers about the nomination process as well and help spread the word!

[UPDATE: Thanks so much to all of you wonderful writers who have nominated us so far! We appreciate YOU too!]

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If you’d like our expert targeting help but you’re not ready for the commitment of our Full Service program, our easy A La Carte services might be a good choice for you. By combining our research and targeting with your legwork, you can save money AND time.

$100: A La Carte Service — Get started right away! This service combines our expertise with your do-it-yourself perseverance. Writer's Relief will target the best-suited markets for your work and guide you through the process. You'll get one round of 25 to 30 submissions out into the world within three days. It's quick and easy. We provide the best market research available to creative writers. You do not need to apply to our Review Board for the A La Carte Service. Visit http://www.WritersRelief.com/alacarte-submission-help-for-writers.aspx for details.

$200 - $250: A La Carte PLUS Service — Everything that's quick and affordable about our A La Carte Service, with the time-saving benefit of Full Service cover or query letter preparation. We will target the best markets for your work, prepare mailing labels, and create 25 to 30 personalized, professional cover or query letters. You do not need to apply to our Review Board for the A La Carte Service. Click here for more: http://www.WritersRelief.com/alacarteplus-help-with-query-letter-writing.aspx.

Please feel free to contact us with your questions (info@wrelief.com). And when you’re ready to sign up, just give us a call so that we can process your payment and begin gathering information about your writing so we can target your work to the literary agents or editors who are most likely to appreciate it!

If you’ve ever suffered through a bad critique, you know how damaging feedback can be to the creative process. Here are a few simple tips to help you determine how to find and choose a critique partner to help with your writing.

Why do I need a critique?
If you’re looking for an honest and objective viewpoint, a critique partner (or beta reader) may be the answer. Your best friend might shower you with well-intended praise, but a good critique partner will spot problems in your writing that you may be unable to see.

Where can I find a critique partner?
Check your local writers’ groups, libraries, bookstores, and the English department at local colleges and universities. If you live in an outlying or remote area, many online writers’ sites offer the opportunity for writers to connect with beta readers. If you write in a specific genre, check writers’ sites and critique groups dedicated to that particular genre (i.e., horror, mystery, romance, and science fiction).

What should I look for in a critique partner?
First, avoid family, friends, neighbors, or anyone who may be afraid to hurt your feelings. Feedback that showers you with praise and feeds your ego will not improve your writing skills.

Second, choose a fellow writer, someone with experience and credentials—someone who knows the ups and downs of the publishing industry and is familiar with the market, the genre, and the nitty-gritty business of writing. If your partner can’t qualify his or her opinion based on education and/or experience, you may be receiving bad advice. Get a sense of your potential beta reader’s writing in advance—if you don’t respect their writing, you won’t respect their comments.

Third, look for a critique partner who will be respectful and helpful. General comments such as “Pretty good story” or “I hated the plot” aren’t constructive—neither are rude and belittling comments like “Where’d you learn to write, anyway?” Your partner should be able to point out specific areas of concern without leaving you feeling small and stupid.

Above all, be patient. Like affairs of the heart, it might take several partners before you find that perfect fit.

Be clear about your expectations from the start.
Are you looking for an overall opinion on plot and pacing? Worried about your point of view? Concerned about your characters? Or are you simply looking for a line edit to catch grammatical errors and typos? Let your critique partner know exactly what you want and avoid conflict down the road.

Go over your expectations of turnaround times. If you want to submit your novel or short fiction in a specific time frame, will your beta reader be able to deliver?

Will you be expected to critique your partner’s work as well? What kind of volume and frequency will be involved?

Online versus face-to-face critique partners.
Interacting with your beta reader online offers greater flexibility, such as submitting your novel at 2:00 a.m. while in your pj's, and allows for e-mail accessibility at all hours (why wait for next month’s meeting?).

Face-to-face critiques can sometimes get heated; online feedback can be more tactful. Your online reviewer has time to carefully frame his or her comments, and you have time to absorb the feedback in private, giving your ego a chance to recover before you respond.
                                                           
People can be influenced by a physical presence—sloppily dressed, mumbling and muttering people may be perceived as strange and sloppy writers, and witty, charismatic people may offer substandard writing despite their dazzling personalities—while online critiques are based solely on the writing itself.

Interacting in person with a critique partner offers a social respite and often inspires idea-generating brainstorming sessions. Writing can be a solitary business, and many fiction writers benefit from interacting with other writers on a regular basis. Online interaction is less personal, less social.   

Other considerations.
You don’t have to implement every change your critique partner suggests. Think about his or her suggestions carefully before you implement them.

Be prepared for criticism. This is a business rife with criticism and rejection, and thick skin and determination to improve your craft are essential to succeed. If you break down in tears every time someone finds a problem in your fiction, you may not be ready to take your writing to the next level.

If you are critiquing for your partner, give them the same respect and consideration you would expect in return. Provide concrete, specific comments and advice in a respectful manner. And don’t hesitate to point out what you like: well-developed characters, certain passages that really caught your attention, anything that stood out in a positive way. Writers should be aware not only of their weaknesses but also of their strengths. And let’s face it: a little good news is always welcome in this business.

Want to write better poems? Why not try a different technique to become a better poet?:

Stop trying to write better poems.

Because most good poetry comes from a place deep in the subconscious, judging your poems as you’re writing them can be problematic. If you’re worried that your poetry isn’t strong, that your metaphors are wobbly, that no one will be interested in your subject matter, then you’re clipping your poem’s wings at the same time that you’re asking it to take flight.

Here is one way of writing that works for some poets. Feel free to expand and alter this as you please to suit your own writing needs!

1. To write better poems, turn off the part of your brain that is conscious of what other readers might think of your poetry. Let your subconscious do the writing. Don’t go chasing after the words you want to write; instead, follow the words as they come from within you. Don’t censor, second-guess, or hesitate. Just open your mind so that it can make connections that you might not consciously see.

One way of “turning off your inner critic” is to set an intention before you sit down to write. Take a few deep breaths and gently tell yourself that you’re open to whatever it is that your mind is about to do. Consciously allow your subconscious to take over. Intend to follow where the muse leads—even if what you end up with is messy, garbled, clumsy, and unfocused. Embrace that lack of control as part of the process.

2. After you’ve done the brainstorming portion of your poem-writing, put it all down for a while. Don’t rush yourself into creating a masterpiece. Like good food, good writing takes time. When your poem sits quietly for a while, the various flavors of it will mingle and recombine in new ways. You open your poem up to new levels when you leave it alone for a while.

(However, if you’re worried that you’ll lose the “fire” behind your poem, start the revisions right away. You can always put down the revised poem for a while and come back to it later on.)

3. Finally, after you’ve taken the time you need to get a little perspective on your own writing, go back to your poem with your “editing hat” on. Because the creative act is generative and the act of editing is critical, it can help to break those two processes apart and tackle them one at a time. Edit carefully and without judging your own creativity. When critiquing your own writing, always strive to be the generous and sensitive editor that you would be for someone else.

Sometimes writing better poems isn’t a matter of learning more technique or doing more thinking. It’s a matter of NOT thinking. Dig deep to let your subconscious do some writing, and your poetry will grow.

Writer’s Relief helps poets place their poems in literary magazines and journals. For more information on how Writer’s Relief can help you, visit www.WritersRelief.com.