Definitely agree, but I have to wonder if the lack of enthusiastic comments direct from publishers is primarily due to lack of time (and energy, sadly). If an editor (or whomever) is juggling dozens of projects in a given year, accomplishing just the basics can be enormously demanding. (Lean staffs!) The “friendly” online marketing or buzz building has often been left to the authors, rightly or wrongly.

Back-Loaded Book Deals: No (and Low) Advance Contracts, Profit-Sharing and Other Innovative Business Models (with Robert Miller of HarperStudio, Rogert Cooper of Perseus Vanguard, and agent Susan Ginsburg of Writer's House)

New Business Models: Changing the Commercial Rules of Publishing (with Richard Nash, Eoin Purcell, Chris Morrow, and Diane Naughton)

Tuesday, November 03, 2009 7:24:22 PM (Eastern Standard Time, UTC-05:00)    Comments [5] Trackback

• Read my previous post: 5 Elements of Query Letters
  
• If my online class isn't for you, try our excellent guide by Wendy Burt-Thomas,  The Writer's Digest Guide to Query Letters (with specific tips by genre).
• Check Chuck's agent blog for his Successful Queries series.
  

Monday, November 02, 2009 6:16:59 PM (Eastern Standard Time, UTC-05:00)    Comments [2] Trackback

• I AM GOD. You think-know-believe you have what it takes to become the next Stephen King. This takes quite a bit of ego—enough to sustain you across years of rejection—and it also usually takes enthusiasm and energy to keep you going when all other lights have gone out. For novelists, having this goal (bestsellerdom) usually means that you're at the top of your game when it comes to storytelling or information.
  
• I AM GROWING. Most writers who I meet fall into some version of this. They have manuscripts in progress, may not be sure of what they should write, and seek some kind of validation that they should continue in their efforts. Rejections can be detrimental if not categorized for what they are—part of the business of getting published.
• I AM AN AUTHORITY. This category is especially relevant for authors in nonfiction genres who may be recognized experts in a subject matter, or have successful businesses or careers that can be successfully expressed in book form.

Monday, October 19, 2009 3:13:27 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

• Easy-easy (one-click publishing): Scribd
• Easy-easy (one-click publishing): Smashwords
• A little more complicated: Amazon DTP (Kindle)
• Add-on option with POD services like Lulu

Monday, September 28, 2009 3:14:38 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

Excited to receive such an e-mail, I wanted to go. But did I want to fly to Ohio in December? It gets cold in Ohio, and I live in the South. So far south it only snows once every five years—at the most. And rarely sticks to the ground. The cold sort of scared me. And the name of the event scared me, too: An Editor's Intensive. I imagined a group of editors, squinting at manuscripts, lines etched between brows, faces frozen in frowns.

But fifty pages of manuscript! For the past two years I’d been working with boxing champion, Deirdre Gogarty, on her memoir. And in those (inevitable?) moments of doubt, we had questions: Are we headed in the right direction? Or wasting our time? We wanted answers. And if Deirdre and I both signed up, we could submit a hundred pages!

So we signed up online. And the first thing I did was buy a Michelin-Man coat. Down-filled and puffy. And warm—make that hot, worn indoors made me sweat—a lot. I bought gloves and socks, a scarf and wool cap, while Deirdre (who packed a light jacket) found someone to feed her two cats.

And then we flew to Cincinnati (actually to Kentucky but on the state line). Into a taxi to Hannaford Suites, no need to rent a car. Okay, we needed a car. But managed just fine (thank you Sharon Pielemeier and Barbara Weibel for the rides!). After the first day, Chuck, Jane, and Alice left us wiser than wise (and their faces were not frozen in frowns or squinting lines!).

We learned about Facebook and Twitter, WordPress and blogging, platform and publishing. And made the kind of friends you keep for life: Other writers from around the country who were as nervous as Deirdre and I. For the next day was Sunday, the day of our appointed critique. So Saturday night, a group of us went out to eat.

And then we searched for bookstores, which closed by nine. So we pressed our noses to the windows and visualized: the books of Barbara Weibel, Sean Miller, Kent Ostby, Caitlin O’Sullivan, Amber Gardner, Mark Benedict, Deirdre Gogarty, and mine. It was magical, really. Bonded by a desire to publish stories we write. And by doubts, questions, and obstacles that plague a writer’s life.

On Sunday, we huddled together and waited our turn. We discussed our manuscripts and scanned faces of fellow writers as they emerged. And every one I talked to went in nervous but left satisfied. Some were sobered by reality, others floated on cloud-nine. But questions were answered, and manuscripts were marked with professional advice: Valuable information that defied any price.

Never wore the down-filled coat at the conference. Turned out Deirdre was right to pack only a light jacket (though I brought one of those, too). I’ve only worn my Michelin-Man coat once since I bought it last year.  A short time later, the magic I found in Cincinnati seemed to follow me home—and it snowed. So I bundled up and played outside. And my grandson, Milas, built the first real snowman of his life.

Friday, September 25, 2009 6:55:32 AM (Eastern Daylight Time, UTC-04:00)    Comments [14] Trackback

Go through your phone book, call people and ask them to drive you to the airport. The ones who will drive you are your true friends.

• The Four Stages of Marketing & Promotion (MWW 2009 Recap)
• MWW 2008 Day 1 Recap
• MWW 2008 Day 2 Recap
• MWW 2008 Day 3 Recap
  

Thursday, September 24, 2009 9:05:24 PM (Eastern Daylight Time, UTC-04:00)    Comments [1] Trackback

• Meryl Evans has compiled Tweets from the event, which I've made available for printing and download on Scribd.
• You can also read this fabulous recap from an attendee: 8 Gatejumper Tips Heard at the Writer's Digest Conference.

So, earlier today, in the hallway, I overheard one writer speaking to another. She said, "I don't have the time to handle all this."

I was not surprised to hear this kind of statement at a conference on publishing and marketing and communicating and podcasting and basically everything we've been going over since Friday. But, of course, I started thinking about how successful writers should be, at least, trying.

Well, after a long pause, she continued speaking to the other (very good listener) writer, "But I have to make the time if I'm serious about making this work."

• Christina Katz: Platform is everything you do with your expertise. So many tools are available; must prioritize, maximize your time. Do you see yourself as the producer of your writing career and take 100% responsibility for your success?
• Jane Friedman: Platform comes first! Book second. Without a strong platform and topic—creating demand—your book will have a difficult time finding its place in the market. Any changes publishers want to make to the book is what they believe will help increase book sales. They basically want what's economically best for your book—and that's ultimately a good thing.
• Scott Sigler and Seth Harwood: Once you show you can move (sell) books, publishers will take notice. That's why giving away your first book online for free and building up an audience is essential to getting publishers—who have ignored you for years—to wake up and realize your talent and value. "You are the best person to sell your book," says Hardwood.
• Alice Rosengard: Sees organization as a common problem with nonfiction proposals.
• David Mathison (Be the Media) keys: Have a direct relationship with your audience. Control your rights. Repurpose your content.
• Chris Brogan: The best way to get a book published is to not try to get a book published. The whole trick about promoting is to not talk about yourself. Learn to talk about other people. Twitter is not about talking; it's about listening.
• Agent Miriam Kriss: A lot of "overnight successes" are 10 years in the making.
• Agent Panel (Jessica Sinsheimer, Regina Brooks and Michelle Humphrey): Difference between freelanced editing and traditional editor is the latter cares, has a vested interest in the book. Professionally edited, professionally typeset, professionally designed are critical for success via POD.

Tuesday, September 22, 2009 5:33:06 PM (Eastern Daylight Time, UTC-04:00)    Comments [6] Trackback

• Read up-to-the-minute reports from our conference floor, by the Writer's Digest staff, at our conference blog.
• Follow the event on Twitter: #wdc09. Here's a direct RSS feed/page if you're feeling a little confused by those instructions.
  
• Join us at our first-ever Poetry Slam, at the NYC Bowery Club, Friday night, 8p. Mention Writer's Digest at the door, and you can still get in even if you're not registered for the conference.
• Or join us Saturday night! Speakers and staff from the conference are having a NYC Tweetup. At 6p, everyone will meet at the Atrium Cafe (8th floor of Marriott Marquis). At 7:30p, the group moves to Joe Franklin's Comedy Club (713 Eighth Ave at 45th St). $10 cover charge. Here's a link to the Facebook invitation.

Thursday, September 17, 2009 5:32:19 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

• Read an excerpt from the book here: Test Your Story Ideas
• The book's editor, Kelly Nickell, comments on NM Kelby and the project
• Discover Kelby's other book releasing this fall, A Travel Guide for Reckless Hearts (I love this title!)
  

Thursday, September 10, 2009 9:58:13 AM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

1. One glacier experience is probably enough to satiate your curiosity about glaciers.
2. You haven't experienced Alaska unless you take advantage of the ubiquitous bush air services. Air is the most efficient form of transportation to and within the state; most towns do not have road or highway access, and that includes the state capital of Juneau.
3. Weather is extremely changeable. Think Gore-Tex.

Thursday, September 03, 2009 10:39:06 AM (Eastern Daylight Time, UTC-04:00)    Comments [2] Trackback

“Hello, Liesel,” Daniel said as he grinned, brushed fresh snowflakes from his wavy brown hair.

“Danny, what are you doing here so late?”  Liesel asked from behind the hostess stand. “Look at you.  Are you drunk?”

“It’s wonderful to see you, too.  You look exceptionally lovely tonight.  Hey, is Andre still here?  What kind of mood is he in?”

“He’s in the back room.  He’s bearable tonight,” she whispered.  “Danny, seriously, why are you here?”

“Tonight deserves one more.  Then I’ll be on my way home,” Danny replied.

“Oh?  What’s the occasion?  A Christmas party?  Your birthday?”

“It is an anniversary of sorts.  But I’m not celebrating.  It’s a day to forget, and so far, alcohol is the only way I’ve found.  Just a little something for the pain, you know?”  Looking around, he asked, “Who are all these people?

“Hello, Liesel,” Daniel said as he grinned, brushed fresh snowflakes from his wavy brown hair.

“Danny, what are you doing here so late?”  Liesel asked from behind the hostess stand. “Look at you. 

"Danny! Are you drunk?” Liesel stood with arms crossed behind the hostess stand.

“It’s wonderful to see you, too. You look exceptionally lovely tonight. Hey, is Andre still here? What kind of mood is he in?”

“He’s in the back room.  He’s bearable tonight,” she whispered.  “Danny, seriously, Why are you here?”

“Tonight deserves one more. Then I’ll be on my way home,” Danny replied.

“Oh? What’s the occasion?" A Christmas party?  Your birthday?”

“It is an anniversary of sorts.  But I’m not celebrating.  It’s a day to forget, and so far, alcohol is the only way I’ve found.  Just a little something for the pain, you know?”  Danny looked around. “Who are all these people?

• Make sure it's really time to pay for a professional edit. (And realize it's not the key to publication or an agent.) I recommend you read about writer Jim Adam, and his advice on how/when to hire a professional.

• Make sure you know what kind of editing help you need: developmental, content, copyediting, or proofreading. The editing I've done above could be part of a developmental edit or an extensive content edit, which are far more expensive than a copyedit or proofread. A developmental edit will give you high-level feedback on how to rewrite and revise (on your own), often with major structural changes or complete redirection. A content edit may be just as thorough, but may not require a lot of new material or restructuring. Copyediting and proofreading looks at your material at a surface level (grammar, syntax, punctuation, typos).
  

• Follow a thorough process to hire someone. Do your research. And try to get some kind of sample or idea of their work before committing. Here's an article that describes how one writer did it.

• Critters.org
• Authonomy
• Online Writing Workshop for SFF & Horror
• Ray Rhamey's blog offers a free critique of your first 16 lines
• Writer's Digest forum

Thursday, August 13, 2009 2:23:17 PM (Eastern Daylight Time, UTC-04:00)    Comments [4] Trackback

1. Keep it short. (Brevity is your friend!) Just because you have three minutes (or 5 or 10) doesn't mean you should take up all the time. Never talk for as long as possible—it can take a mere 15 seconds to deliver a convincing storyline. The longer you talk, the less time the agent or editor is talking. And isn't that why you're meeting with them—to hear THEIR feedback and reaction?
   
2. Focus on a character and the character's problem. When it comes to fiction, it's much easier to follow a pitch and remain interested when we can connect to a character and immediately understand the problem or conflict facing that character. Why are we going to care? What are the stakes? So what?
   
3. Stop at a moment of tension and wait. Rather than talk and talk (which sometimes happens because you're nervous), remind yourself that it's OK not to explain all the details or the final outcome. It's more effective to stop just as you've established the key stakes or tension, and wait for a reaction from the agent. Let them guide the discussion; find out what's caught their attention or what piece is missing.

Thursday, August 06, 2009 1:19:37 AM (Eastern Daylight Time, UTC-04:00)    Comments [1] Trackback

In the trade space, one of the big ebook topics (which we plan to explore in depth at DBW) is “pricing.” What should ebooks cost the consumer? The convention among trade publishers has been to peg ebook retail prices to the least-expensive edition available in print. So if there is a cloth edition and a paperback edition, the publisher would be guided on ebook pricing by the paperback (usually setting at or slightly below the print book price.)

But in academic publishing, hardcover and paperback editions are often published simultaneously. The publisher figures that the paperbacks are for the students; the hardcovers are for the libraries. Since ebooks in the academic space are considered primarily library items, and because they have often become part of larger searchable databases, the academic publishers would set their ebook prices based on the hardcover, the more expensive print book available. He also said that sometimes they are even more expensive than the hardcover, because of the additional functionality they have, like links and embedded video.

This was important information for our client, who works across publishing segments. But if presented without a clear contextual frame, it could well be confusing information to a consumer trade publisher (or an academic publisher) trying to figure out a pricing strategy. Because we are tightly focused on consumer trade publishing, our panel(s) at DBW might not mention a tie-to-hardcover pricing, but if we did, we’d pose the model and talk about why it made sense in some other context, but not in ours. We’ll be talking about lots of other things that affect price: discounts, retailer strategies and control, the impact of the publisher selling direct to the consumer, and the extent to which there is enrichment or enhancement, for example. All of those things, as well, are somewhat different in the consumer space than in the others, where aggregation and value-added capabilities are critical components of ebook development.

Wednesday, August 05, 2009 5:01:30 PM (Eastern Daylight Time, UTC-04:00)    Comments [2] Trackback

1. Sign up, observe, and educate yourself (sometimes called lurking). Many people stay at this stage for a long time, simply soaking up good information.
2. Participate. Start to make yourself known. This could be as simple as making status updates, posting photos or sample writing, or creating a profile.
3. Share something and grow relationships. Focus on what you give people or what you can share that's of value. As you participate and share with others in the community, and do things for each other, relationships grow and develop.
4. Ask for help. This is when you might actually put your connections to work as a means of soft or hard marketing. Maybe you want to tell people to pre-order your book on Amazon on a specific day. Or you're hoping that your network will spread the word about an upcoming event you're hosting. So you ask.

• I had a good conversation with author Kelsey Timmerman, who wrote Where Are You Wearing (Wiley). He found his agent at Midwest Writers two years ago, and is now shopping his second book. He's a great example of an author with a strong online brand, partly due to the kind assistance of his publisher. Also: Check out this YouTube video he did on book signings versus book clubs.
  

• Dennis Hensley gave a rousing keynote about the "re-create 8" — or eight ways to be a better creative thinker (e.g., reduce, rearrange, expand, reverse).

• Eric Butterman, an expert freelancer, gave sessions on how to earn more money writing even in a down economy. He struck me as one of the most engaging and prolific freelance writers I've met in a very long time, who really knows his stuff. (If you can manage to find a workshop or class with this guy, jump on the chance.)

• I was alerted to a poetry contest that has first prize of $500 or a colonoscopy. Go here to read more about the Bottom Line contest. Tip of the hat to Irene Fridsma, who also shared this Dave Barry column on the topic. And note that Irene's blog was set up in the past 48 hours by following my advice in the online marketing and promotion session! 
  

• Check out the Writer's Digest Conference.
• Our very own Chuck Sambuchino is hosting an online class on how to find an agent using online tools. Visit his blog on agents.
• One of our best books on establishing relationships to further your career is Get Known Before the Book Deal by Christina Katz. Visit Christina's site, read an excerpt (Why All Authors Need a Platform), or view the table of contents.
  

Tuesday, July 28, 2009 5:01:58 PM (Eastern Daylight Time, UTC-04:00)    Comments [3] Trackback

• Writer's Mart, where editorial services advertise with Writer's Digest
• Advanced Novel Writing Workshop at WritersOnlineWorkshops.com, a long-term course that offers critiques of your work by the instructor and peers
  
• As always: the next Writer's Digest Editors' Intensive (upcoming in October and December)

Monday, June 22, 2009 1:32:31 PM (Eastern Daylight Time, UTC-04:00)    Comments [5] Trackback

Here's some more information about the conference and why Ron Hogan wanted to produce it.

And more here.

Tuesday, June 09, 2009 6:30:20 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

• Is the book really done? Is it really the best you can make it? And have professionals (whether editors, agents, or published authors) encouraged you, because they see and know you are ready? Do you feel confident that it's ready to submit?

• Are you informed enough about the publishing business to understand where to submit the work, how to submit the work, and what obstacles you might face? Does your work break the rules of the industry? (If so, that's OK, but know it going in!)

Tuesday, June 02, 2009 5:47:47 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

• LA Splash has the most comprehensive take on the event, and offers insight into several of the sessions, as well as the writers attending. And there's a photo of me.

• Literary agent Janet Reid (and blogger behind QueryShark) helped with pitch slam practice by entertaining a crowd of nearly 400 writers, showing them how to tighten and structure their pitches. Here's her inspiring take.

• Literary agent Robin Mizell also mentions starting to receive submissions from writers at the pitch slam, plus shares wonderful insights from Mike Shatzkin, who gave an educational session at BEA on the day following our event.

• WD author and presenter Christina Katz has a great scrapbook of the event, with videos of Karin Slaughter's keynote address and the bookstore signing!
  

• Writer's Digest editor Chuck Sambuchino has a brief recap on his Guide to Literary Agents blog, as well as a summary of agent Ted Weinstein's advice from the agent panel.

• Conference attendee Michelle Reynoso blogged about her experience here and here.
  

Monday, June 01, 2009 6:40:22 PM (Eastern Daylight Time, UTC-04:00)    Comments [2] Trackback

Do not go to the BookExpo America trade show to pitch your book or self-published book to a traditional publisher or to an agent.

1. Agents/editors do not like to be pitched on the show floor. Most have to take care of existing authors/clients and have many other obligations and meetings while at the show. We're also dirt-tired, thirsty, and cranky as the day wears on.
   
2. The trade show is for and by publishing industry professionals. That's why it's called a trade show. You wouldn't go to a trade show for lawyers and prospect for a new lawyer, would you? You don't go to a trade show for publishers and do prospecting, either.
3. If you decide you're the exception to the rule, and decide to pitch anyway, you'll have trouble finding the right people to pitch (very few editors actually attend BEA—it's mostly sales/marketing/executives), and once you DO find them, they will likely put a black mark next to your name, diminishing your chances of success later.

• The Fire in Fiction by Donald Maass — based on Don's all-new book for us this spring. Don is known as a superlative speaker on the craft of fiction. Not to be missed.

• Self-Promotion & Social Networking by Alice Pope — one of our most active editors in social media will teach writers the ropes of using Facebook, Twitter, and blogs to help grow your career.

• The Closet Writer's Workshop: How to Write Fiction That Sells by N.M. Kelby — we're very proud to feature award-winning novelist N.M. Kelby at our conference for the first time this year. Later in 2009, Writer's Digest will release her craft & technique title, The Constant Art of Being a Writer.

Wednesday, May 20, 2009 1:49:41 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback

• Lucienne Diver (Twitter: @luciennediver), Knight Agency
• Colleen Lindsay (Twitter: @colleenlindsay), FinePrint Agency
  
• Becca Stumpf, Prospect Agency
  
• Paige Wheeler (Twitter: @pwheeler_agent), Folio Literary Management

• Paige Wheeler gets 35 e-queries/day. Stender gets 135 queries/day. Colleen Lindsay is closed to submissions. Becca Stumpf and Lucienne Diver get queries through an agency system.
• Lucienne Diver: Only thing that matters is VOICE and characters to deeply care about. This can and should come through in the query letter.
• Colleen Lindsay looks for amazing characters she can get excited about every time she reads the story. No self-indulgent navel gazing.
  
• Colleen Lindsay says granting exclusives can be bad for your career. You can say no. If you say yes, limit to short period (e.g., a week and not a month).

• Uwe Stender has noticed an impact on business due to changes in the industry: two YA books would've sold without a problem a year ago, now there is hesitation and revision before an offer.
• What's? hot: romance!! Harlequin is doing very well.
• Editors seeking middle-grade books suitable for boys (boy voice/protagonist, still accessible for girls)
• Plentiful interest in urban fantasy from publishers
• Market has compressed for mystery. Really need great hook or high concept that WOWS - people MUST read when hearing it.
• Romantic suspense still popular, but tough for a new writer to break in unless you can really blow the agent away.
• Trend is toward DARK and sexy. (Or the polar opposite: inspirational)
• Platform is particularly important for anyone writing literary fiction. You need street cred, placement in great journals and magazines.
  
• Biggest seller of books is word of mouth, which is often driven by author platform rather than publisher's publicity. (And Jane says: A great author platform spreads word. Platform is developed over life of career, not a one-time act, not overnight occurrence. A good resource for platform building? Get Known Before the Book Deal by Christina Katz.)
  

• Colleen Lindsay recommends Online SF&F Workshop as a fabulous writing group with lots of success stories. Run by a former book editor.
• Online reviews for genre fiction are key. E.g., Dear Author and Smart Bitches are two of the greatest review sites for romance.
  

Monday, May 18, 2009 5:06:39 PM (Eastern Daylight Time, UTC-04:00)    Comments [1] Trackback

• What Should You Include on Your Bio for Agents?

• Interview with Poet Justin Marks. Good tidbit where he says, "I've been given such large heaps of bad advice over the years I'm hesitant to offer any of my own. So maybe my advice should be, 'don't take any advice.' Then again, I've also gotten some good advice that has often helped sustain me: Trust yourself. Don't let anyone or anything stop you. Be willing to change. Perservere. Stuff like that."

• Veteran writer and editor Mark Garvey gives advice to writers who are new to blogging.

• Great agent advice from Jim McCarthy of Dystel & Goderich

• From Script Notes: Are webscripts useful writing samples?

• Download a PDF excerpt with great creative writing prompts, from our newest creativity title, Take Ten.

• Check out a conversation with The Office co-creator Stephen Merchant where he talks about where the idea for the show came from and how it got onto the air. (From an upcoming title, Here's the Kicker.)
  

• WDB/BEA Writers Conference (May 27). This is the big kahuna where you can pitch to 66 agents and 4 editors during a 2-hour window. Even if you aren't successful in your pitch attempts here, you will learn so many amazing things about what makes an agent or editor jump on a project. The interaction is invaluable and can shave years off your path to publication. The full day costs $199 and includes the pitch session (plus lunch and terrific networking). I'll be there, as will most of my colleagues from Writer's Digest.

• WD Editors' Intensive (June 20-21). Once again, we're opening up Writer's Digest HQ to 50 people for a personalized weekend of writing and publishing instruction. We spend a day coaching you about how to succeed in the changing landscape of publishing, then wrap it up with a one-on-one 30-minute appointment to discuss the first 50 pages of your manuscript or proposal. We've received excellent feedback from writers who've attended who love the up-close-and-personal interaction as well as the practical, hard-working information.
  

• Guide to Literary Agents editor Chuck Sambuchino is hosting a live session tomorrow on how to land a literary agent. There's still time to register; follow the link here.

• Writer's Market editor Robert Brewer (also known for his Poem-a-Day Challenge at Poetic Asides) is hosting a live session on May 29 on how to get your poetry published. You'll never meet a better expert, and you'll get an opportunity to ask him any question you like on the topic during the live event. Again, visit this site for registration links.

• Unsure if an online event (webinar) is right for you? You can find our FAQs here.

• We're launching a new WOW course, Hooked, which is focused on how to craft an amazing beginning to your novel—one that will catch the attention of agents and editors. It's nearly full, but we're still accepting students. Class starts on May 28. Go here for more info.
  

• The deadline for the Writer's Digest International Self-Published Book Awards has been extended to May 20. Enter in 10 different categories, from poetry to humor. You could win $3,000, plus some winners are noticed by agents. (Yep, we have success stories of authors who have been picked up by a traditional house after winning this contest.) Click here for more information or to register your entry online.

• This Friday marks the deadline for our biggest contest of the year: The Writer's Digest Annual Writing Competition, now in its 78th year. Grand prize includes a trip to NYC with a Writer's Digest editor to meet with agents.
  

Wednesday, May 13, 2009 4:49:40 PM (Eastern Daylight Time, UTC-04:00)    Comments [0] Trackback