Vintage Trevor

Not sure how long this story will be online, but if you're looking for something to read this weekend consider checking out William Trevor's short story, "The Afternoon," in The New Yorker.

He's a magician, that one. Especially when it comes to point of view.

Avoiding Plagiarism

All the recent focus on (possible) plagiarism in the work of a certain young writer has reminded me of an excellent book I reviewed little over a year ago. See my Community College Week review of Charles Lipson's Doing Honest Work in College: How to Prepare Citations, Avoid Plagiarism, and Achieve Real Academic Success (University of Chicago Press), subsequently posted at Lipson's Web site.

Lipson also provides many useful links to resources to help writers and teachers do honest work.

From Our Newsletter

Yesterday the newest issue of "The Practicing Writer," our free monthly newsletter for fictionists, poets, and creative nonfiction writers, went out to our subscribers. As usual, this issue includes plenty of submission calls, contest announcements, and more (including many items not previously listed here at the blog).

Each newsletter issue also contains a feature article. Below you'll find the one included in this issue, written to complement the recent publication of our newest resource guide, WRITERS' MARKETS: Where to Sell What You Write When You Write About Writing. (UPDATE, July 19, 2007: This e-book is no longer available.)

Hope you enjoy this look into our newsletter! If you want to read past issues/articles, they're archived (for subscribers only) here.


WRITING ON WRITING: 10 WAYS TO WRITE WHAT YOU KNOW BEST

by Erika Dreifus

If there's one subject practicing writers know, it's writing. And for those who'd like to convert this expertise into paid publication, opportunities abound. Not sure what I mean? Consider these 10 types of "writing on writing":

1. Craft/"how-to" articles. Instructional pieces form the proverbial meat-and-potatoes of many, if not most, writing magazines and newsletters. You'll need some genuine expertise here. Don't try to tell other people how to write a (presumably publishable) short story if you've never completed one yourself. Don't offer tips on book promotion if you've never promoted a book.

2. Market updates/profiles. These articles, often including information for those who want to break in to a specific niche, are also staples of many writing publications. I've written about literary magazines, alumni magazines, family history magazines, and more.

3. Essays on "the writing life." If you have something new to say--something other than a familiar story about rejection, for instance--try some of the writing magazines that look for these pieces. (Humor is often a plus.)

4. Poems on "the writing life." Yes, it's true. Some publications actually do seek poetry specifically about writing. Again, better to "make it new," as Ezra Pound advised.

5. Interviews/Profiles. Think outside the box here. Writing magazines publish interviews with agents and editors as well as with poets and writers. Find out where a writer went to college--the alumni magazine may well be interested in a profile. Where does the writer live? Look into the relevant city/regional magazines.

6. Literary travel pieces. You can pitch some writing magazines with these, but don't forget travel publications, including newspaper travel sections.

7. Literary education pieces and/or reading lists. Time these to coincide with National Poetry Month (April, in the United States and Canada); National Book Month (October); Back-to School, etc.

8. Book reviews. Write about books on writing and/or writers' memoirs. Don't limit yourself to writing-focused publications for placements here. A memoir, in particular, may hold wide appeal for a general readership. (For more book review markets, consult our own Directory of Paying Markets for Book Reviewers).

9. College/Career Columns. Don't forget that writing is a part of academic life. I once sold an article to a publication for college students advising collegians how to negotiate the senior thesis-writing process. I sold another article to a parenting publication advising parents on seeing their kids through the college application essay process. And while it may not be easy to remember during breaks between paychecks and publications, writing is a career option, and it's one others want to know about.

10. Op-eds. Writers can (and have) opined, frequently in major newspapers and magazines, on everything from the writing section of the new SAT to the qualities that should define a memoir.


So go ahead, fellow writers. Write on.


© Copyright 2006 Erika Dreifus. All rights reserved.

Bio: In addition to her fiction and her other freelance work, Erika Dreifus has published more than 150 writing-related articles, essays, interviews, op-eds, and book reviews since 2003 in The Writer, Writer's Digest, Poets & Writers, and many other print and online publications. Visit her Web site and/or her blog for much more writing advice and commentary.

This article may be freely reprinted provided it is unchanged and is reprinted in its entirety, from title through bio. Please send a courtesy reprint to erikadrei-at-yahoo-dot-com. Thank you!

Family Travel Writing

FamilyTravelFiles.com describes itself as "one of America's top-rated family travel websites," specializing in "displaying family vacation experiences, destination information, ideas and advice about family travel." New content is added 24 times/year.

Pays $25/100 words, on acceptance. Also pays for images.

For guidelines, click here.

(via the PayingWriterJobs list)

New Contest: The O. Henry Short Story Competition for Young Writers

If you're a U.S. resident between the ages of 14 and 22 and you're an aspiring fiction writer you'll want to take a look at the new O. Henry Short Story Competition for Young Writers.

Running from May 15, 2006, through September 22, 2006, the contest invites you to submit an original short short story (maximum 1,000 words) via e-mail. You can submit only one entry. One winner and two runners-up will be chosen, and their stories will be published online at the O. Henry Prize Stories Web site. They'll also receive copies of the 2006 volume of the prize stories, signed by series editor Laura Furman.

The winner will also receive a $100 cash prize. His/her story will be sent, along with a letter of introduction from Laura Furman, to the editors of magazines represented in the 2006 prize story volume.

There is no entry fee.

As always, be sure to read the full guidelines before you submit. And you should also peruse that Web site to learn more about exceptional short stories and the magazines that publish them.

The Latest Literary "Scandal"

Although her writerly transgressions--apparently, instances of plagiarism--are by no means the same as those James Frey committed, Kaavya Viswanathan seems to be earning a similar amount of press attention regarding her highly-touted (and highly-paid) debut novel, How Opal Mehta Got Kissed, Got Wild, and Got a Life. Instead of sending you to many different sources to read about it, I'm just going to recommend that you keep up with the daily coverage over at GalleyCat.

Don't get me started on the faults in education today (yes, even at my beloved Harvard, where Viswanathan is a sophomore). Crediting others for their ideas and/or words isn't something that seems to matter very much anymore. And as students launch into the writing profession there's little reason to expect more specialized attention to such matters. Even in my MFA program (at another institution) I was treated as a totally unreasonable soul for suggesting that the curriculum should cover source documentation (MLA, CMS...something!) for the single "critical" project we had to do.

If writing educators don't attend to ethical issues where "critical" writing is concerned, I don't know how we might begin to hope the situation can improve with "creative" efforts. But it's obviously high time to think about some real ethics education for creative writers.

News on Creativity Coverage from Harvard Magazine

Just received my copy of Harvard Magazine yesterday, and was intrigued by this announcement, tucked between some letters to the editor:

Beginning this fall, Harvard Magazine will expand its coverage of arts, culture, and creativity, as practiced by alumni, faculty, and students. Reviews of books--the principal focus of "The Browser"--will remain important. But reporting, profiles, criticism, and interviews focused on works in other media (painting, sculpture, film, video), performance and recordings (theater, music), and other creative realms (architecture, design, fashion), as examples, will join the roster. Deputy editor Craig Lambert, editor of "Right Now" for 16 years, will direct this new effort; he welcomes ideas and suggestions at arts (at) harvardmag.com. Given the magazine's bimonthly frequency, coverage will emphasize context and depth over reviews of ephemeral presentations or sheer publicity.

Managing editor Jonathan Shaw will edit "Right Now," continuing its focus on developments in research.

For more information on writing for this magazine (and writing for alumni magazines more generally), see my article in the June 2004 Writer's Digest (reprinted in a special issue of Writing Nonfiction). You can also visit Harvard Magazine's Web site.

Letting You In On A Little Secret

I'll let you in on a little secret about me. Actually, for most people who know me, it's not much of a secret. This is it: sad to say, I am not a "pet person."

Still, I notice news and announcements for pet- and animal-related publications. Here are two.

First, Onthebitmagazine.com, a start-up monthly equestrian magazine, will launch in May 2006. They're looking for writers. They want features, interviews, and (listen up, my book reviewing friends!), reviews. They'll pay $.15/word (on publication). Note that they do buy all rights, so if that's an issue for you, be forewarned. To read the full announcement, visit craigslist.

The second item I'm listing just because I have a lot of writer acquaintances who love dogs. Dog Health Magazine is looking for personal stories "involving your relationship with a dog(s). The story should describe in as much detail as possible a situation or event that demonstrates how your bond with a dog was deepened in some way. The story should focus on the aspects of dogs as leaders, as teachers, as inspiration and as companions who are equal to humans (if not higher) in empathy, intelligence and understanding."

The announcement notes that "If your story is selected for our Web Magazine, you'll win one of our $100 story prizes." Which is fine. But I'm a little concerned about the fine print on "terms and conditions," including the following:

"DH companies shall exclusively own all known or later existing rights to the Submissions worldwide and shall be entitled to the unrestricted use of the Submissions for any purpose without compensation to the provider of Submissions."

I'd advise anyone thinking about submitting here to ask if this means all submissions (even those not selected for publication) are also then owned by the publisher. Hopefully, that's not the case. But it is nebulous. At least it seems nebulous to me.

To read the announcement for yourself, visit the Web site.

Writing Lives

For those of you whose writing interests connect with biography and/or oral history, I've found a few announcements that may be useful.

1) The UCLA Alumni Association is looking for three oral historians/senior writers. Job involves conducting interviews with faculty, staff, alumni, and others for use in an upcoming UCLA history book. Very research-intensive. Also involves taping/transcribing interview sessions and compiling post-interview summary reports.

2) The Oral History Association has announced a grant of up to $3,000 "to undertake oral history research in situations of crisis research in the United States and internationally. These funds may be applied to travel, per diem, or transcription costs for research in places and situations in which a longer application time schedule may be problematic. Such crisis situations include but are not limited to wars, natural disasters, political and/or economic/ethnic repression, or other currently emerging events of crisis proportions." There's no fee to apply. Applications must be submitted by June 1, 2006. More information is available here.

3) Freelancers near Beverly Hills, California, may want to check out this job opportunity ($15-$40/hour) with NewsBios.com. Job involves "reporting and writing profiles of influential journalists for online biographical service."

4) And finally, if you just want to sit back and listen to some experts on the subject of "writing lives" (and you'll be in Cambridge, Massachusetts next Friday), consider attending Writing 20th Century Lives: Biography as History, a conference scheduled for 2PM at Harvard's Humanities Center on April 28. Panelists include historians Linda Gordon (New York University), Alice Kessler Harris (Columbia University), and Lizabeth Cohen (Harvard University), with Nancy Cott (Harvard University) moderating.

Call for Submissions: Missives to Mothers

Adams Media, Inc., (publishers of A Cup of Comfort and The Rocking Chair anthologies), is looking for stories written as letters for a new book. Tentative title: Letters to My Mother: Tributes to the Women Who Gave Us Life—and Love. The book is scheduled for publication in late 2006, and will contain "true stories written by people of all ages—who celebrate the valuable lessons learned from the mothers in our lives."

Be sure to read the very detailed guidelines, including links to sample letters. Some important points: letters "should have a clear beginning, middle, and end," and run 500-750 words. You can submit previously published material, "with the exception of stories that have been or will be published in a mass market anthology (print) distributed in North America." You may submit multiple letters. Electronic submissions are preferred. Deadline: May 14, 2006 (Mother's Day here in the United States).

Payment is low: $10, on publication. "The author whose letter is chosen as the most inspirational will receive $100. The best letter submitted by a child will receive $50." You'll also receive a copy of the book when it is published.

And if you're writing a letter for Mom anyway....

Weekend Reading

The new (May-June) Poets & Writers is available, and, as usual, some of its excellent content is online.

1) The current Contester column, by Thomas Hopkins, details the sad story of "The Collapse of Neil Azevedo's Zoo [Press]." (See my previous post on the subject, too.)

2) Literary agent Scott Hoffman answers Kevin Larimer's questions in "Q&A: Scott Hoffman's Reasons to Rep" (see what semi-encouraging news Hoffman has for first-time novelists).

3) I told you that the James Frey saga was still with us. It comes up in the Hoffman Q&A, and there's an entire piece on "The Literature of Lies", by Joe Woodward, in this issue too.

Geraldine Brooks on Facts and Fiction

How often do you get to hear a Pulitzer prizewinner talk about her work-in-progress two days after she has won the prize for her last book? That's what happened yesterday, when Geraldine Brooks spoke to a (very crowded) audience at the Radcliffe Institute for Advanced Study here in Cambridge. Brooks is an Institute Fellow this year, and her (pre-scheduled) talk focused on "Making Fiction From Fact."

I thought I'd share some of my notes from the talk:

1) In discussing the "factual" background to her work-in-progress, currently titled The People of the Book, Brooks cited William Styron, who noted that "While it may be satisfying and advantageous for historians to feast on rich archival material, the writer of historical fiction is better off when past events have left him with short rations." That's the case for Brooks's current project, which isn't as richly "documented" to date as, say, March (the book that just won the Pulitzer) was. For that book, one of Brooks's research resources was the 61-volume set of journals left by Louisa May Alcott's father.

2) Reprising some themes I remembered from her New York Times Writers on Writing piece, "Timeless Tact Helps Sustain a Literary Time Traveler," Brooks stressed the primacy of empathy in the historical fiction writer's toolbox. Emotions, she suggested, remain constant from generation to generation.

3) Detailing her own process, Brooks told us that the first thing she needs to do is find a voice for her character. The voice then reveals who the character is. This tells Brooks how the character acts. And what the character does leads Brooks to her research needs. She said that Cold Mountain author Charles Frazier had told her that halfway through writing his novel he made himself a rule: he would not go to the library until he needed to know at least 3 things. Apparently he was becoming too immersed in research. Let the story drive the research, Brooks advises.

4) In a delightfully digressive moment, Brooks (a former journalist) shared her views about the still-present James Frey story. She, for one, seems to wish the book would be off all the nonfiction lists. Calling his book nonfiction, she says, sets the bar too high for people who are trying to do the real thing: write nonfiction. Real nonfiction has to cope with the messiness of life in ways that fiction does not. If his book is considered nonfiction, she suggests, everyone will expect nonfiction writers to "accomplish' things that are really in the realm of fiction. And those nonfiction writers who can write exemplary seamless stories are devalued when Frey is held up as their peer.

After the talk, the Institute held a reception to honor Brooks. With champagne. (That's where I snapped the photo.)

Five Easy Questions?

If you want to hear still more about writing and publishing from yours truly, check out Jason Boog's serialized interview with me (I can hardly believe it!) throughout this week over at The Publishing Spot.

I was so pleased to receive Jason's kind invitation to participate, and I really enjoyed responding to his "Five Easy Questions" (not that they were so easy!). Thanks, Jason!

And Still More on the Online Poetry Spotlight

If you thought you'd missed your chance to submit a poem for The Writer magazine's Online Poetry Spotlight, you'll be happy to know that until May 15 you can submit a poem for expert critique in the second "session."

If your entry is selected for critique (provided by several award-winning poets) you'll receive a one-year subscription to the magazine. The poem (with critiques) will be posted on the Web site's Poetry Spotlight forum in June. The best Spotlight poem posted on the Web site in 2006 will receive $100. There's NO ENTRY/READING FEE.

More guidelines/submission instructions available here.

More MFA News

Just found out about another new low-residency MFA program. Hamline University's low-residency MFA in Writing for Children and Young Adults will hold its first residency in January, 2007. Looks like I have another program to add to the directory in our primer.

Congratulations, Andy Furman

I love hearing good news about my writer friends. Then I want to spread the word. So lately I've been pestering Andrew Furman for the official announcement of his recent "Researcher of the Year" award (Creative and Scholarly Category) from Florida Atlantic University.

Andy is both a skilled literary critic and a talented novelist. Sanford Pinsker nicely discusses both areas of accomplishment here.

And all you writing and/or literature teachers (and students) out there should definitely read Andy's Poets & Writers "Teachers Lounge" article on "Reading and Writing in the MFA Program, and Beyond."

Brave New Words

Here's a new resource for all you practicing writers with an interest in translation: Brett Jocelyn Epstein's Brave New Words blog. I'm not a practicing translator myself, but I do review plenty of books in translation, so the process interests me quite a bit.

First Photo?

My afternoon photography class--which was supposed to teach me how to work with the photos I've been taking on my new digital camera--was cancelled. So I'm struggling along in autodidact mode. Please have patience!

My goal is to get this photo posted over in my "profile." Among other things getting in my way is the photo file size. I think I figured out how to take "smaller" pictures in the first place (amazing what the user manuals can teach us). But I'm beginning to get the sense that I need an updated iPhoto program; at the moment I'm reluctant to shell out the money for one. Anyone have Mac-specific advice here?

Adventures in E-Publishing: My Life as a Lulu

[I've recently received a few questions about my e-publishing experiences. So I thought it would be wise to revisit, slightly revise, and repost an article I published awhile back. Hope you find it helpful!]

Adventures in E-Publishing: My Life as a Lulu

by Erika Dreifus

Within the last couple of years I've learned a lot about e-publishing. Late in December 2003, I published a resource book for writers with one of the better-known print-on-demand (POD) companies. It appeared in paperback, a privilege for which I had to pay a considerable "set-up" fee, but at the same time--at no charge--it was made available as a downloadable "e-book"-- a PDF document.

To be honest, back then I didn't know very much about e-books, but working on this first manuscript taught me some important tips (about formatting, for example), and once the book was launched I learned much more. Many buyers seemed to prefer the e-book version to the paperback, probably because the e-book was considerably cheaper, not only in retail price, but also thanks to its lack of shipping costs. As an author, I couldn't help appreciating that e-books offered me higher royalties, presumably because there was so little effort and so few materials involved, technically, in putting the book together for the consumer.

Over the following months I developed other ideas for resource guides for writers, and I realized that e-publishing was the route I wanted to pursue with them. In my case, many of the resource guides included time-sensitive information. Publishing e-books would allow me to revise and update the content, uploading new editions of the book when necessary.

While I researched and drafted those resource guides, however, I was working on another project: the launch of my Web site, The Practicing Writer. That was a pretty big deal. To put it bluntly, I'm not very technologically savvy. And while I wanted to provide these e-books for the visitors to my site, I wasn't crazy about the idea of getting involved with "merchant accounts" and other things that quite frankly frightened me.

That's where Lulu.com came to my rescue.

I learned about Lulu during the summer of 2004 as I researched the various companies that would allow me to list my e-books with them--and offer links to the book pages on my own website. The more I learned about Lulu, the more I liked it. Why?

1) Lulu, not the author/publisher, handles the transactions and order fulfillment.

2) Lulu tracks and pays the royalties. Authors may log into their accounts at any time, day or night, to check the latest sales, and they set their own royalties. Lulu's commission is 25% of that royalty (or $.19, whichever is greater). Example: You publish an e-book. You set the royalty at $4.00. Lulu adds a $1.00 commission. The e-book price is $5.00. You are earning 80% of the total profit.

3) Lulu charges no "set-up" or "hosting" fees.

But for me, the real winning point involved the aspects of the process where control continued (and continues) to remain with me. Even I could follow the instructions for getting started, and with my first e-book manuscript ready to go, I was able to publish it-- and begin selling it--within minutes.

Admittedly, my previous experience helped. I had some confidence in my ability to write and edit my material. Beyond that, I knew how to convert documents into PDF format, and I wasn't scared to write my books' descriptions. But for someone just starting out, Lulu offers step-by-step guidance. (Take the Lulu publishing tour to get started--you should be able to find it over at the home page.)

Of course, as with any independent publishing venture, getting your work in print-- or online--is just part of the process. Getting it to readers' attention is a whole other matter. That, too, has been part of my life as a Lulu.

What's been essential here are the resources Lulu provides its content creators (who include not only writers, but musicians and others). Many of these resources are geared toward assisting writers with the challenging job of marketing and promotion. And among the resources new/potential authors might want to peruse are:

1) Now for the Hard Part: Marketing Your Book: Annie Broadwater, Rachel Toor, and the Lulu staff offer tips for marketing a self-published book. Doesn't cost a penny. Download it here (you may need to register--at no charge--to download it).

2) The Community Page: Includes posts from the "Lulu Experts" blog (topics rotate and include pointers on everything from writing a press release to sharpening one's grammar).

3) Support Forums: Seek and find advice on all aspects of the publishing and marketing process (and more) here.


Lulu also offers each content creator several features that can be customized:


1) The storefront. Want to sell multiple e-books? This is where they'd all show up. Visit my storefront to see a sample. I set it up myself, following the simple instructions. And I'm pretty proud of it!

2) The blog. I never "blogged" before I became a Lulu, and the blog I kept there helped prepare me for the one I launched right here. Apparently others liked it, too, because within its first six months it had attracted five thousand visitors. Since my Practicing Writer newsletter is distributed only once each month, I began using the blog to post more news about writing jobs, contests, and other information that just won't fit into the newsletter, space-wise or time-wise. The blog is also a good place to inform readers about new e-book publications and updates to old ones, as well as the dates and details of special sales.

3) Previews. Lulu allows--and encourages--its writers to provide previews of their books for readers to download. If you return to my storefront and click on any of the e-books, you'll find that I've made previews available. In one case, for the Practicing Writer's Primer on Low-Residency MFA Programs, I hadn't, in fact, initially provided a preview. But I was motivated to add one after a reviewer harshly criticized the book solely for failing to provide what s/he had expected it to provide. Although truthfully I couldn't understand how the reader could have expected anything beyond what the book description (and other reviews) promised, I thought I'd be doing myself--and other readers--a favor by adding the preview and providing even more information ahead of time. You be the judge!

4) The ability to revise--on one's own. I've already referred to my appreciation for the control I maintain over my work at Lulu. The reason I can hold sales is because I can adjust the prices to reflect a discount at will--I control those settings. I don't have to wait for someone else to upload an updated version of an e-book--I control that. For me, that aspect of "customizing" the publishing process is the best feature of all. It's the perfect mix--independence in the writing and publishing but relying on far-more tech-savvy people I trust for the fulfillment and transactions.

I've learned a lot in this continuing life as a Lulu. Beyond finding out more about my own areas of interest and expertise for my e-books, I've learned about storefronts and blogs and previews. I'm continually keeping an eye on what needs to be updated and what the reviewers are saying. There's always more to learn, and to do. For me, this life is a good one.

Are You a Renegade Writer?

I'd been hearing about this contest for awhile--but I couldn't find it listed on its "own" Web site. So I contacted Linda Formichelli, co-author of The Renegade Writer, and she graciously supplied the press release. Once again, there's no entry fee (though it sure looks as though reading the book may help).

We’re Looking For a Few Good Renegades…
…renegade writers, that is! The Renegade Writer
"Ultimate Renegade" Freelance Writer Contest is seeking entries

Are you a rule-breaking renegade freelance writer? Then strut your stuff by entering The Renegade Writer "UItimate Renegade" Contest!
The Renegade Writer: A Totally Innovative Guide to Freelance Writing Success, by Linda Formichelli and Diana Burrell, is a guide to thriving in the freelance world by breaking the rules. In that spirit, publisher Marion Street Press, Inc. has launched The Renegade Writer "Ultimate Renegade" Contest to identify great renegade writers.
Entering the contest costs nothing. One "Ultimate Renegade" and two runners up will be chosen. The Ultimate Renegade will win:

— $500 cash
— Free entry into Linda Formichelli's Eight-Week Write for Magazines E-Course, including one-on-one consultation time with Linda.
— A Signed Special Second Edition Copy of The Renegade Writer: A Totally Innovative Guide to Freelance Writing Success
— A signed copy of Linda and Diana's new book, The Renegade Writers Query Letters That Rock, coming out this fall.
— A complete set of Marion Street Press books for writers and word lovers.
— A cool gold-plated pen and pencil set.

The two runners up will win the same package, except the cash.

How do you enter?
Write a quick essay about your renegade writer lifestyle, including info about rules you've broken and how breaking those rules helped your career. Feel free to mention broken rules from The Renegade Writer, or rules not found in the book. Email your essay, and your snail mail address, to Renegade Writer publisher Ed Avis at edavis(at)marionstreetpress.com. Then get back to your renegade writing ways!
The deadline is July 1, 2006. Winners will be announced September 1, 2006.

The Renegade Writer (ISBN 1933338008, $14.95, Marion Street Press, Inc., 2005) is published by Marion Street Press, Inc., (www.marionstreetpress.com.) an independent publisher in Oak Park, Illinois that specializes in books for writers, journalists and word lovers.

Good luck, all you rule-breakers out there!

Attention, Writers in Scotland!

If you currently live, work, and/or study in Scotland, you may want to look into this competition.

The Eco Prize 2006 for Creativity awards a prize of £1,000 to an "Emerging Talent" plus a prize of £1,000 to an "Established Talent." According to the guidelines, "work by students (whether taught or self-taught), school pupils or community groups, and by fledgling artists within three years of course completion, should be submitted as works of 'emerging talent'. Work by established creatives and creative companies should be submitted as 'established talent'."

The prize is awarded "for a creative, literary or artistic work which positively and imaginatively inspires people to be environmentally-friendly and adopt greener lifestyles."

Submission deadline is June 30, 2006. There's no entry fee.

Read the very extensive terms of entry/submission guidelines right here.

New Paying Publication for Poets

Zoland Poetry, an annual anthology of contemporary poetry from poets worldwide, is a new venture from Steerforth Press. Each book will include original English language poems, work in English translation, and interviews/recent work by featured poets. Submissions are now welcome for the second anthology. Pays $25/page, up to $200. Purchases First World Rights, non-exclusive one-time anthology rights, and the right to publish part of the work on the Web site. Authors and translators also receive one copy with payment. Deadline: February 1, 2007. Find out more here.

Writing for Family History Magazines

As a follow-up to last week's post on my own writing for family history and genealogy magazines, here's an article highlighting some market possibilities in that field. Enjoy!

SPU MFA Program Coordinator Position Available

Sorry about this, folks. I noticed this announcement in the April 1, 2006, ImageUpdate newsletter, but am only posting it today.

Seattle Pacific University’s MFA in Creative Writing program has an open Program Coordinator position. The job is half-time but is more demanding—and, dare we say it, rewarding?—than your typical 20 hour a week job. The MFA Program Coordinator will both attend and coordinate all the details for the program’s two annual intensive, ten-day residencies—one at Camp Casey on Whidbey Island in Washington, and one in Santa Fe, New Mexico during the Glen Workshop. In addition to working at the residencies, the PC gets to attend lectures, readings, concerts, and worship services—and there’s even some time for hiking and goofing off. Perhaps most importantly, the PC builds strong relationships with the MFA students, frequently serving as “den mother” to the group. The PC will also attend and coordinate all the details of travel, accommodation, and attendance for the annual AWP conference, which features many fascinating panels, keynote addresses, and plenty of literary camaraderie. Other duties include working with the MFA director (Gregory Wolfe) on the admissions process, working with the MFA budget, and other related tasks. The PC may also choose to volunteer to work with the Image staff on a number of projects—they’re right down the hall. This position provides an opportunity to deepen your own passion for writing and the arts. We are trying to fill this position no later than mid-May. Please contact Gregory Wolfe with any inquiries, gwolfe(at)spu(dot)edu.

For more information on SPU’s MFA program, please go to www.spu.edu/mfa.

(You can read the entire newsletter here.)

Another Research Gleaning

A couple days back I wrote about some market tips gleaned from my recent research conducted while updating our directory of paying short story markets. I held back on one piece of news, however, because something in the announcement didn't make sense to me.

It concerned submission dates for an upcoming Southern Review special issue. So I contacted the journal and they just wrote back with a clarification. Now I can go ahead and tell you what I found!

The Southern Review announces a call for manuscripts to be considered for a winter 2007 special issue, "Writing in the South." There's an extensive explanation at the Web site detailing exactly what they're looking for in fiction, poetry, creative nonfiction and criticism.

Remember, this is a paying market.

Also remember that this journal does not normally read manuscripts during June, July, and August. For this special issue, though, they'll begin considering submissions on August 1, 2006. Submit work by October 15, and mark your envelope "Writing in the South."

Call for Submissions: Chicken Soup for the Stepfamily Soul

Recently found out about this call on the PayingWriterJobs list.

Stories are sought for a volume of Chicken Soup for the Stepfamily Soul. Pieces must be "inspirational true stories, 1500 words or less, that will make readers laugh, cry, or be inspired. Stories should be positive, universal, and non-controversial. The 'point' or 'message' should be evident without preaching."

See the volume guidelines for more chapter topics and submission instructions.

Payment will be $200 for stories, $50 for poems. Submission deadline: April 29, 2006.

Lessons Learned from Market Research

I've just updated our Directory of Paying Short Story Markets. And in rechecking all those magazine and journal Web sites and submission guidelines in the process, I've learned a few things:

1) Although it previously accepted submissions year-round, Indiana Review will be on a reading hiatus beginning May 1, lasting until the end of September.

2) Meridian, the semiannual literary journal from the University of Virginia, can no longer pay all its authors. For details, click here.

3) The Southern Review has a new Book Review Editor.

The Directory, by the way, now includes 135 markets. Check out the free preview (with sample market listings) here.

From My Bookshelf

The Boy Who Fell Out of the Sky: A True Story
by Ken Dornstein
Random House, 2006


Late last month the Boston Globe ran a piece about Ken Dornstein and his new book, The Boy Who Fell Out of the Sky. Titled "Brother's Keeper," the article bore this subtitle: "In a new book, Ken Dornstein preserves the memory of a sibling lost over Lockerbie." It ran on the front page of the newspaper's "Living/Arts" section--Dornstein is a Boston-area author--and it captured my attention immediately.

That sibling lost over Lockerbie was named David Dornstein, and he was 25 years old the December night in 1988 when he boarded Pan Am Flight #103 at Heathrow Airport in London. Ken Dornstein, then a Brown University undergraduate, was home in Pennsylvania on winter break when the phone call from the airline came. Seventeen years and a few months later, Ken has been reading from the book--in New York, in Philadelphia, in California, in Seattle, and here in Massachusetts, where I attended one of those readings Wednesday evening.

When you first see Ken Dornstein standing and smiling at the bookstore's lectern; then as you listen to him read; and, finally, as you watch him accept and answer questions from the audience, it's hard to imagine how he can do this. How can he stand there and read this incredibly sad story so calmly? And how can he respond to strangers' inquiries so politely?

How can he talk about this loss?

Then you read the book, as I have these past few days. At Wednesday's reading Ken seemed to read mainly passages "about David": an episode in which one of David's cherished notebooks was lost; pieces chronicling David's final months in Israel; that phone call from the airline. They were powerful; they were poignant (I was going to quote from one, but it's better for you to read more extensively online, or spend a few moments with the video preview at the book's Web site). They made me (and, judging from the brisk sales following the reading, lots of others) want to read more.

But there are really two storylines running through this book. One is the life of David Dornstein, as remembered (and reconstructed, via David's voluminous notebooks and letters and the "oral histories" Ken collected from David's friends) by his beloved younger brother. (Not incidentally, Ken's first job after college was in a private investigation company.)

David was not a private investigator. He was a writer; he envisioned a time when biographers would pore over his notebooks, write books about him. He wrote and wrote and wrote, leaving behind a true "archive" for Ken to sift through, over time, and to rely on in composing a different sort of book about the writer David Dornstein.

The other storyline concerns the life of Ken Dornstein from the age of 19 forward, and that is a story utterly shaped by his brother's death. It ends, the author suggests, with the book's completion: now, perhaps, he can say good-bye more peacefully.

The two stories overlap and connect, of course. There is shared family history, shared times as brothers. Without waxing sentimental--often citing David's own letters--Ken makes it clear that these brothers were very close. As Ken "reconstructs" David's life he uncovers pieces of his brother's history he never knew. He meets people who were important to his brother. At a train station one day several years after Lockerbie, he runs into a woman David loved. They begin a relationship. They struggle--the circumstances would seem to demand that they struggle. But she is now Ken's wife.

That article in the Globe caught my attention for a reason. There is now a short story prize honoring David Dornstein's memory. In 2003, one of my stories won that prize.

I knew that David Dornstein had loved fiction; I knew that he had been killed on Flight 103; I knew that he had worked at the Coalition for the Advancement of Jewish Education (CAJE), where the contest is administered. But I didn't know anything else about him.

I waited my turn to ask Ken to sign my book last week. I introduced myself and told him I'd won the prize a few years ago. His face lit up. "No kidding?" he said.

Then he mentioned his idea that the book should be given to future prize winners, so that they'd know more about the person behind the "David Dornstein Memorial Creative Writing Contest for Young Adult Writers." I agreed. Writers should read about this passionate writer, David Dornstein. And they may learn from the beautifully crafted and remarkably researched prose of his brother, Ken, too.

News from Descant

Descant (the Canadian literary journal, not the Texas-based one) is currently accepting work for general and themed issues. For the themed issues, they're looking for original, unpublished poetry, fiction, non-fiction, essays, art and photography on "Fashion" (for Fall, 2007) and "Iran" (for Winter, 2007).

Read the full submission guidelines/payment information here.

Update from The Loft Literary Center

This is a quick note to let you all know about an important development concerning the Speakeasy Prize in Poetry and Prose, administered by The Loft Literary Center, which was announced in the April issue of our Practicing Writer newsletter.

On Friday, April 7, The Loft announced that Speakeasy will publish its final print issue in June. See the press release here.

The information on the contest page has also been amended to include the following:

Because Speakeasy will not publish a print issue after this summer, it is our intention to find another nationally circulated magazine (to be announced soon) that will publish the Speakeasy Prize winners. We are hard at work on the details, and we will post them as soon as they are finalized. If you have already submitted your manuscript, we will contact you at the e-mail or mailing address on your cover sheet with the details and your subsequent options for participation. Thank you for your patience and understanding. If you have any additional questions, please e-mail speakeasy (at) loft.org.

To see that announcement, please click here.

Wanted to let you all know about this right away.

Are You a Lazy Housewife?

A new Web site, lazyhousewife.com, seeks humorous, witty writers. "If you can come up with ridiculous cleaning ideas, such as strapping scrub brushes onto the bottom of your feet to clean a shower stall, and write a clever article about it, we need you!"

Pay rates are quite low ($13/article, maximum), but they are pay rates, and the articles they're looking for are pretty short.

This is what they're seeking:

"Silly Cleaning Tool 'Invention' Articles"

"Ridiculous Cleaning Articles"

"Fictitious News Stories"

"Funny Stories"

"Ridiculous Cleaning Idea"

"Ridiculous Cleaning Tips"

Note that submissions "should be ridiculous, witty, and creative--in fact, the more ridiculous, the better. This website is not meant to be taken seriously; its purpose is to give housewives (and others) a good laugh. But please remember...there is a difference between ridiculous and stupid."

For details about the article categories, plus submission information, check the Web site.

Success Story

Well, now I have my own "success story" to share. If you haven't yet seen my account of writing for family history and genealogy magazines over at WritersWeekly.com, click here to read it.

(If you have a freelance success story to share, be sure to visit the WritersWeekly guidelines to see how you might go about submitting it.)

More from Robert Pinsky

Last week I referred to Robert Pinsky's review of David Rivard's new book. This week I'm happy to point to Pinsky again. In Sunday's Poet's Choice column in the Washington Post, Pinsky presents a poem, "Urban Renewal," from Major Jackson's new book, Hoops. For Seamus Heaney fans, Pinsky connects Jackson's poem with Heaney's well-known "Digging."

Major Jackson is another writer I admire not only for his poetry, but because he's a genuinely nice person. It's always nice to see good things happening to good people. I hope Pinsky's article brings even more attention to Jackson's already very well-regarded work.

Win a Workshop in Tuscany

If you've ever dreamed of spending summer days writing in Italy you may want to take a look at the Like Heaven Writing Holidays short story competition, which I recently saw posted over at placesforwriters.com.

Submit a short story (original, unpublished, 3,000 words maximum) no later than midnight, May 7, 2006. You may submit only one story, titled "Like Heaven." (Frankly, I'm not sure if this means the story must reflect the subject/theme of "Like Heaven" or not--you may want to inquire about that.) The winning entry and honorable mentions will be posted on the Like Heaven Web site.

The winner also receives an invitation to participate in the "Like Heaven Writing Holiday," free of charge. This includes accommodation, meals, and workshop participation. The prize does not include transportation costs. From what I've read on the Web site, this seems to be a prose-focused workshop.

There is NO ENTRY FEE.

To learn more, click here.

ADDED ON MAY 6, 2006:

Per an e-mail received today, submissions to this competition are now closed.

More on the Online Poetry Spotlight

Remember the post about The Writer magazine's Online Poetry Spotlight project? The first selected poem is now online, along with the professional critiques that comment on it.

Call for Authors

Facts on File is looking for scholars to write books that will advise students on how to research/write essays on major authors. According to the announcement posted on the UPenn Literary Calls for Papers list, ideal applicants "will have an intimate knowledge of the major works of the subject author, experience in instructing students on how to write well, and a graceful, jargon-free writing style." Available volumes include books on William Shakespeare, Edgar Allan Poe, Ernest Hemingway, F. Scott Fitzgerald, J.D. Salinger, Emily Dickinson, Nathaniel Hawthorne, and Toni Morrison. Check the announcement for more information/application instructions.

Attention, Boston Teachers Who Write!

Well, I'm back, and there's plenty to post.

Let's start with this opportunity for Boston area teachers who have ideas they'd like to develop into publications/presentations. The Calderwood Writing Initiative invites such teachers (K-14) to apply by April 28 for a two-week summer workshop at the Boston Athenaeum. The workshop will take place July 17-28. Accepted teachers will receive a $2,000 stipend for participating in the summer workshop and in monthly follow-up meetings during the school year. To find out more, consult the Calderwood Writing Initiative.