Copy Link
Add to Bookmark
Report
Inklings Issue 2.11
===============================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 2.11 June 26, 1996
===============================================================
<http://www.inkspot.com/inklings/issues/ink0211.html>
FROM STAGE TO SCREEN: THE PLAYWRIGHT'S BAG OF TRICKS
by Laura Brennan, PBS writer/producer
INTERVIEW WITH DIAN CURTIS REGAN
FRESH INK - resources for writers on the net
Market Information - First Sale Stories - Subscriber
Publications
COLUMN TOPICS:
Not giving up - Carol Henson
Illustration medium for a picture book? - Lee Wardlaw
Apologies to those who were confused by Laura Brennan's missing
article last issue. "From Stage To Screen" appears in this issue
instead. For reference, corrections to the most recent issues can
always be found at the Inklings website (see end of issue for
URL).
This issue we also have an interview with Dian Curtis Regan,
author
of more than 30 books for young people (over a million copies in
print).
=================================================================
====
This issue sponsored in part by:
* Samurai Consulting *
<http://www.samurai.com/>
Services include internet consulting, WWW page design, electronic
newsletters (like INKLINGS!), mailing lists, FTP sites, system
maintenance, and training. Contact Bryan Fullerton at
bryanf@samurai.com for more info.
=================================================================
====
ISSN 1205-6413. Copyright 1996 Debbie Ridpath Ohi. See end of
issue
for more copyright details, and info on how to subscribe and
unsubscribe. Send questions and comments to ohi@inkspot.com.
=================================================================
====
FRESH INK
=========
San Diego Writer's Monthly
--------------------------
Online version of a hardcopy magazine. Writing-related articles,
fiction, editorials.
<http://www.sandiego-online.com/forums/writing/writing.htm>
When Copyrights Expire
----------------------
Useful chart compiled by Laura Gasaway.
<http://www.FPLC.edu/tfield/copyTerm.htm>
Guide For Writing Research Papers
----------------------------------
Includes suggestions about getting started, how to do research,
how to
cite resources (parenthetical documentation, works cited, etc.),
including documentation of electronic resources. Based on MLA
style
guide, with link to APA style guide.
<http://webster.commnet.edu/Library/mla.htm>
Mystery Writers of Northern California
--------------------------------------
Norcal info, plus lots of links to resources for mystery writers.
<http://user.aol.com/mwanorcal/index.html>
Songwriting Articles
--------------------
Bi-weekly column by award-winning songwriter and consultant
Molly-Ann
Leikin.
<http://websites.earthlink.net/~songmd/advice.html>
Finding Data on the Internet: A Journalist's Guide
--------------------------------------------------
Categorized links with useful descriptions. Uses frames.
<http://www.probe.net/~niles/>
WARNING: Authors magazine
-------------------------
Subscriber reports that although AUTHORS magazine (located in
Medicine
Hat, Alberta) has an ad claiming to print any new author's work,
the
author ends up having to PAY for this privilege ($10/page).
=================================================================
=====
MARKET INFORMATION
==================
Please note: Inklings does its best to print only accurate market
info. However, it cannot be held responsible for lost postage,
time,
etc. that you may incur due to inaccuracies. Do not send
submissions
by email before inquiring first. You should get current, detailed
guidelines before submitting. Include SASE for snailmail replies.
More
market info at:
http://www.inkspot.com/~ohi/inkspot/marketinfo.html.
SPECIAL THANKS TO THE FOLLOWING MARKET SOURCES:
***SCAVENGER'S NEWSLETTER***
Excellent monthly market info letter for
sf/fantasy/horror/mystery
writers and artists with an interest in the small press. Sample
copy
$2. SUBSCRIPTION INFO -- Bulk: $15.50/yr, First Class: $19.50/yr,
Canada: $18.50/yr, Overseas: $24.50/yr air mail, $15.50 surface.
All
orders in U.S. funds, MO, or mint US stamps. Contact: Janet Fox,
519
Ellinwood, Osage City, KS USA 66523-1329.
***CHILDREN'S WRITERS MARKET LIST***
Available by e-mail or snailmail. Margaret Shauers, 1411 12th,
Great
Bend, KS 67530. $5.00 email listing; $6.00 snailmail. Contact
<mshauers@midusa.net> for free sample e-mail market
listing.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed,
stamped envelope, "simsubs" = simultaneous submissions, "mss" =
manuscript, "RT" = response time, "GL" = guidelines.
PAYING MARKETS:
RAM Chowder Magazine
--------------------
RAM Chowder Magazine, 60 Walnut Grove Avenue, Cranston, RI 02920
Rhode Island's Computing Magazine, is always interested in
material
that appeals to the novice- to intermediate-level, business or
home
computer user. Electronic submissions only. 7 cents/wd. For more
detailed guidelines, contact <ramchowder@aol.com>.
SF&F; Contest
------------
Per Betsy Mitchell, Editor-in-Chief, Warner Aspect is holding a
contest for new and unpubl SF & F authors. Winning ms will be
publ by
Warner Aspect as part of "New Aspects." Pays advance (probably
nominal
$5,000) & royalties against copies sold. Open to authors w/no
previously publ novel. Will be judged by Warner Books & author
C.J.
Cherryh. Reading 6/1/96- 1/31/97, no mult subs. Include
disposable
copy of synopsis + 60 pg max of first several chapters. Usual ms
standards, #10 SASE. Warner Aspect First Novel Contest, Editorial
Department, 1271 Avenue of the Americas, New York, NY 10020.
(Source:
FLASHNET. For free issue, contact <Lbothell@wolfenet.com>)
Storyworks
----------
STORYWORKS, 555 Broadway, New York NY 10012-3999: Tamara Rubin,
Editor. This is a Scholastic publication for 8 to 10 year olds
and it
is open to freelance! It is rare they accept unsolicited
fiction;
most of their fiction is from well-known, published authors.
They are
interested in articles about children who are doing something
interesting related to books, reading, or writing, how-tos in
this
area, word games, etc. See Scholastic, Inc. for more information.
(Source: Children's Market Listings. Contact
<mshauers@midusa.net> for
free market listing sample)
Scholastic
----------
SCHOLASTIC, Inc., 555 Broadway, New York NY 10012-3999: Most
Scholastic magazines use some freelance material, but the editors
ask
for it. To be considered at any Scholastic publication, send a
background letter to the specific magazine stating your expertise
in
that specific area. Probably clips are okay to show background.
They
then like to get back to you if you can help them. (See
STORYWORKS
listing above) (Source: Children's Market Listings. Contact
<mshauers@midusa.net> for free market listing sample)
Deadly Beauties anthology
-------------------------
Stories must center on strong female characters who use their
charm,
wit and sexual power to achieve their objectives. Key to
acceptance is
the character of the Deadly Beauty. Stories must have intriguing
plots
built on SF premise, and sensual erotic thrills involving well
defined
characters. Notes on Style: Romantic erotica derives from the
development of sexual tension and arousal through the skillful
use of
language. Blunt language and slam-bam-wham action is boring. The
plot
and the erotic nature of the characters must tie together. Please
keep
horror and supernatural elements to the absolute minimum.
Instead,
send emotionally and intellectually satisfying stories written as
plausible events. 3,500-7,500 wds. 2c/wd upon publication.
Forward
standard format manuscripts to: DEADLY BEAUTIES, P.O. Box 63017,
Dundas, Ontario, Canada L9H 4H0. (Source: Horror News. For free
subscription, contact DarkEcho@aol.com - please note this is NOT
the
email address for Deadly Beauties.)
Writer's Help Desk Online and Podunk Review
-------------------------------------------
THE WRITER'S HELP DESK, PO Box 4512, Harrisburg, PA 17111. WHDO
is a
monthly newsletter for writers, available by snailmail & email.
Articles max 2500 wds, Poetry: max 750 wds (Indicate submission
is to
WHD.) Hints and Tips: max 500 wds. Payment on acceptance:
Articles:
$18.00. Poetry: $10.00. Hints and Tips: $5.00. Buys First Serial
Rights THE PODUNK REVIEW is a quarterly short story magazine.
Short
stories: max 2500 wds. Poetry: max 1,000 wds (Indicate submission
is
to Podunk Review.) Payment on acceptance: Short stories $25,
Poems
$15. Buys First Serial Rights.
<http://members.aol.com/smsdespubl/guidelns.htm>
Email inquiries: <SMSDesPubl@aol.com>
AOL seeks original humorous material
------------------------------------
John Scalzi, Editor, America Online, 8615 Westwood Center Drive,
Vienna, VA 22182. Write "ATTN: AOL Delights" in the lower left
corner
of the submission envelope. America Online is seeking humorous
articles for a new area called "AOL Delights". Pays $100/article.
Especially looking for: satirical takes on news and politics,
short
humorous essays and "point of view" articles on general subjects,
seasonal material: quick, funny takes on Christmas, Halloween,
Thanksgiving, etc. Seasonal material should be submitted at least
three months in advance. Max 600 wds. No email submissions or
reprints. Reports within 8 wks. Include cover letter with email
address or SASE. (Source: subscriber C.L. Hamilton)
=================================================================
====
FROM STAGE TO SCREEN: THE PLAYWRIGHT'S BAG OF TRICKS
-----------------------------------------------------------------
----
by Laura Brennan
<lnbrennan@worldnet.att.net>
Writers beware: film may be glamorous, but theater is honest.
From
thunderous applause to catcalls, an audience's reaction is
brutally
candid. Out of sheer self-preservation, playwrights have
uncovered
ways to keep audiences entertained -- a bag of theatrical tricks
screenwriters can draw on as well.
* Enter laughing.
Or crying, or screaming. Start at a moment of crisis,
even if it
means tossing the first ten pages of your screenplay. Yes,
background
is important -- so important that you shouldn't give it all away
in
your opening scenes. Start with a bang, get us hooked on the
characters and events that make this script unique, then slowly
reveal
backstory.
* Keep your characters about their business.
Business is action that covers exposition. Two
characters
discussing why their marriage failed as they dig their way out of
a
collapsed tunnel is very different from the same couple on a park
bench feeding a horde of angry pigeons. Hide your exposition
behind
physical action, then use the activity to reveal conflict.
Whether
the tension is between two antagonists or inside your hero's
head,
physical action helps make subtext visible.
* Know when to breathe.
Through punctuation, inflection, and meter, Shakespeare
tells
actors exactly when to breathe. Read your own script aloud,
listening
to the rhythm of your words. Notice where you stumble over an
awkward
phrase. If you run out of breath, restructure the sentence.
Long
chunks of uninterrupted dialogue are deadly: if it's exposition,
trim
it; if it's preachy, cut it.
* Time is of the essence.
Plays of almost any length can still get produced;
features,
however, must run from 90 to 120 pages. While the
"minute-a-page"
rule may help sell a good script, it can get in the way of
writing
one. So forget it, at least for the first draft. Just write
your
story. Too long? Great! When you've cut everything that
doesn't
propel the story forward, you should have a real page-turner,
lean and
exciting. Too short? Don't panic -- and don't pad. Instead,
look at
how you can enrich your idea with a subplot, expanded theme, or
by
upping the stakes for your characters. If your script still
won't
hold two hours, look at venues other than features. Forcing
yourself
to write 100 pages when your story is finished in 40 can turn a
great
short film into a snoozer.
* Get the script on its feet.
Actors bring a script to life. Gather some actors and a
director
(if you don't have friends in the business, talk to a local
community
theater), arrange a rehearsal, then invite some trusted friends
to sit
in on a staged reading. During the reading, listen to the actors
(take copious notes), but also to the audience. When do they
laugh?
Cry? Snore? Unlike feedback from readers, a live audience will
give
you an immediate, visceral response. Not to mention some
well-deserved applause.
==-----------------------------------------------------==
Laura Brennan, a founding member of The Open Door Theater
Company,
is a writer/producer on the national PBS news show, To The
Contrary.
Lately, she's been using all her theatrical tricks to write
interactive murder mysteries and her first feature-length
screenplay.
Copyright (c) 1996 Laura Brennan.
=================================================================
====
INTERVIEW WITH DIAN CURTIS REGAN
-----------------------------------------------------------------
----
by Debbie Ridpath Ohi
<ohi@inkspot.com>
Dian Curtis Regan is the author of more than 30 books, with a
million
copies in print. New titles include PRINCESS NEVERMORE (YA) and
MOMMIES, a 1996 ABA "Pick of the List" picture book. Middle
grade
titles include the GHOST TWINS series and MONSTER OF THE MONTH
CLUB
Quartet. Dian was SCBWI's Member of the Year for 1993, and lives
in
Oklahoma City.
Q. Is it true you wrote a novel in eight days?
---------------------------------------------
More than once! For me, getting the story down *fast* works best.
If
I have only four to six weeks to write a book, drafting the story
in a
week or two gives me the rest of the time to rewrite, re-think,
polish, add imagery, step up the pace, add humor, and heighten
the
suspense.
This involves a great deal of focused attention and uninterrupted
time. Not all writers have large blocks of time to work that
fast. We
all have to find a "system" that suits us best.
Q. What's your daily work schedule?
-----------------------------------
I think schedules are important because they make writing time a
priority, like a "real job." But it's easier said than done.
An ideal day for me is to write first thing in the morning (after
I
check my email, of course!) until early afternoon. I try to write
at
least two chapters a day. Three chapters puts me into a great
mood.
A four chapter day makes me feel like I've truly earned my
superwoman
bracelets.
If I'm polishing a book, reading galleys or a copy-edited
manuscript,
I work in "five chapter chunks."
Mid-afternoon I take a break to exercise and run errands. Again,
this
is my *ideal* day. At least once a week, I need time to attend to
the
business of writing--answering fan mail, sending out books
brochures,
requested information, planning presentations, etc.
I work best when I can remain focused on a book, which leads to
what I
call "marathon writing sessions." These involve writing the
entire day
and letting errands, mail, and other obligations pile up. (No
cooking
allowed!)
A new Ghost Twin title was published every eight weeks. My
deadlines
were incredibly tight because at the same time, I was *also*
writing
Home for the Howl-idays, Monsters in the Attic, and rewriting
Princess
Nevermore. I was truly amazed at how much I could accomplish by
staying "on task."
I think any writer who dives into a project and puts the rest of
her
life on hold would be amazed to discover how much she's capable
of
accomplishing.
The trick is to keep the story moving forward, and resist the
temptation to go back and rework previous chapters. This way, you
have
the great sense of accomplishment a quick rough draft brings.
Also
you know the plot will work because you've brought it full
circle.
Now you can relax and do the fun part--tinker to see how you can
make
the story better, scarier, funnier, more suspenseful, etc.
Writers who have family obligations or jobs cannot put their
world on
hold while they write, so this method isn't realistic for
everyone.
However, I've written books during especially busy times, so I
know
it's possible to write in bits and pieces and still move the
story
forward. My second book was written in various restaurants during
long
lunches. When unable to write in "chapter chunks" due to time
restraints, try writing scenes. Then you still have a sense that
the
book is moving forward.
It's important to find a writing schedule that works for you. I
used
to think I couldn't write until my house was clean and organized.
(Boy, was I wrong!) I once heard an author say, "A hundred years
from
now, what do you want to be known for? The cleanest house? Or for
all
the wonderful books you wrote for young readers." If that line
doesn't
help you set priorities--nothing will.
Q. What kind of preparation (if any) do you do before you start a
novel or series?
-----------------------------------------------------------------
-----
My ritual is to buy a new three ring binder--with pockets on the
inside. (A must!) The binder makes the book "official." It will
contain all my notes for the book-- meaning all those great ideas
one
gets while at the grocery, jogging, or in the shower. Jot them
down
on anything that's available, and file those scraps in the
binder.
All ideas are useful, if not for that particular book, maybe for
another. Each draft of the book goes into the binder, as well as
correspondence with editors, etc. And later--it's a place to keep
royalty statements and fan mail. At present, I have several
almost-empty notebooks-- projects still in the "thinking" stage
or
ones set aside because contracted work comes first.
Other preparation: I research everything I write, whether fiction
or
nonfiction, but rather than spending hours upfront researching, I
often write the rough draft first, then I know exactly what areas
to
research. Even with historical fiction, the story comes first.
Once I
have it down, I go back and fill in the blanks with researched
tidbits. This may sound strange to some writers, but it saves a
lot of
time.
Once, I had an interview assignment from a magazine. I wrote the
entire article (background information) while waiting for the
interviewee to fit me into her schedule. By the time we
connected, I
knew the exact questions to ask-- ones no one else had asked. The
interview went quickly and efficiently, and the article was
finished
the same day.
Q. What about an outline? Do you do one? If so, how detailed is
it?
-----------------------------------------------------------------
--
When this question comes up during a school visit, I ask students
if
they want me to answer the way their teacher *hopes* I'll
answer--or
tell them the truth. :>
I've heard many writers say, "Never begin a book if you don't
know how
it's going to end," but I do it all the time. For me, trying to
outline a novel before I start writing stifles my creativity. If
I'm
halfway through a rough draft and still don't know my ending, I
don't
panic because the ending always comes about in a logical way, due
to
the solving of the conflicts I threw at the main character in the
opening chapters. Everything always falls into place--thank
heavens!
For Ghost Twins, and other books I've written on assignment for
Scholastic (The Vampire Who Came for Christmas, Home for the
Howl-idays, Fangs-Giving.), I *do* have to pre-think the story.
I fax
my editor a one-page synopsis--mainly so she can start working on
the
cover copy and illustration. These synopses are loose and
general, and
I spend very little time writing them, meaning I don't sit down
and
plot out the entire story first so I can synopsize it in one
page.
I'll say *what's* going to happen, but I won't say *how.* For
example, my editor once asked how Robbie, the ghost twin, was
going to
get himself *out* of the computer in GT #3--The Mystery on Walrus
Mountain. My answer was, "I don't know right now, but I *will*
know
when I get to that chapter."
Many authors outline before starting a novel--some extensively.
Paul
Fleischman says his outlines are often longer than the finished
book.
Every writer has to find his/her own method. I love the
challenge of
jumping in and seeing "what's going to happen next" It's not
unlike
the feeling I get while *reading* a novel.
However, I must point out the fact that I wasn't able to do this
until I'd internalized plotting, and had a strong sense of a
novel's
rhythm. Without that ingrained in my brain, a story might wander
all
over the place without an outline to use as a road map. I feel
very
blessed to be able to write this way because it certainly keeps
me on
my toes--and entertained as well.
Q. What advice do you have for hopeful children's book writers?
---------------------------------------------------------------
If you're in a hurry, you're in the wrong business. It takes time
to
catch the interest of an editor. It takes time for a book to go
through production. For me, production has been as short as four
months and as long as four years. But even before that, it takes
time
for ideas to grow into books. My best example is Princess
Nevermore,
which began as a picture book in 1975 and was published as a
young
adult novel in 1995.
Writers tend to concentrate more on MARKETING than on CRAFTING a
superb story. The goal of every writer should be the completion
of a
manuscript that thrills an editor (and subsequent readers) --
from the
first sentence to the last. This takes time. Rushing a
manuscript
that's "not quite there" off to a publisher delays your success
and
contributes to the slush pile glut--the reason so many publishers
have
closed their doors to unsolicited manuscripts.
There's a book called: GREATNESS: WHO MAKES HISTORY AND WHY. It
says
that people who succeed most in any field are not necessarily the
most
intelligent or talented, but the ones who have the most passion
for
what they do-- the ones who put in the hours because they love
their
work.
You've heard it before, but it's worth repeating. Read the
how-to
books, attend the conferences, read the type of books you want to
write, note who publishes them, and be excruciatingly critical of
your
own work. Take advantage of all the online information, insights,
and
tips, posted by experienced authors.
Never take a rejected manuscript out of a mailer, slip it into
another
and send it out again. (Popular advice, but not *good* advice.)
Always go back to work on your story. Pretend you're an editor,
reading it cold. Is it a gripping page-turner? With layers of
depth?
With complex characters who talk like real kids? Be honest.
You can
*always* trim, tighten, and speed up the action. As a matter of
fact,
above my computer is a small sign that says "Pare Cut
Trim"
just to remind me.
Beneath that, is another sign that says, "Do the right thing and
risk
the consequences." Good words to write by. Now--get busy on
that
first chapter. :>
Copyright (c) 1996 Dian Curtis Regan.
=================================================================
====
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
ASK THE AGENT: Susan Graham at
<slgraham@atl.mindspring.com>
ASK THE BOOK DOCTOR: Carol Henson at <UBKX12C@Prodigy.com>
ASK THE CHILDREN'S BOOK AUTHOR: Lee Wardlaw at
<Katknip2@aol.com>
ASK THE ELECTRONIC PUBLISHER: Ken Jenks at
<fictions@aol.com>
ASK THE SF/FANTASY AUTHOR: Michelle Sagara at
<mms@turing.toronto.edu>
Columnists may be unable to reply privately to every message, but
will
answer selected questions in future issues of Inklings.
=================================================================
====
ASK THE BOOK DOCTOR
-----------------------------------------------------------------
-----
by Carol Henson
<UBKX12C@Prodigy.com>
Q: I've been working on my manuscript forever. Now I'm ready to
submit it. I've heard all the horror stories about beginning
writers
trying for years to get published. How will I ever be able to do
it
and NOT give up?
A: Heavy sigh. A writer writes because he has to write. It's
easier
than tossing and turning worrying about characters and plots,
dreaming
about scenes and dialogue. If you have finished your manuscript,
now
it's time for fun. Yes, fun. Think of submitting as a game. Make
you
list of agents/publishers. Send out five packages a week and
watch
your mailbox. If you get all five back, laugh. Laugh because
you've
already sent out five more! Keep this routine (and your chin) up
and
above all else, trust yourself.
==-----------------------------------------------------==
Carol Henson is a Book Doctor/editor/author and is happy to
respond
to your questions about Book Doctors, editing, writing, etc. Her
web
page is located at:
http://pages.prodigy.com/MI/ubkx12c/bookdoc.html.
Copyright (c) 1996 Carol Henson. All rights reserved.
=================================================================
====
ASK THE CHILDREN'S BOOK AUTHOR
-----------------------------------------------------------------
----
by Lee Wardlaw
<Katknip2@aol.com>
Illustration medium for a picture book?
---------------------------------------
Q: What medium should the illustrator be working in when
presenting a
children's book story to a publisher?
A: Whatever medium in which you, the illustrator, work best! And
just
about anything goes . . . publishers produce pictures books done
in
oils, colored pencils, pastels, collage, pen-and-ink, etc.
Publishers
will also want to see your illustrations done in a medium which
best
tells your story. For example, soft pastel drawings will best
portray
the mood of a quiet bedtime book, whereas bold, bright splashes
of
color will express the rollicking good time of a fun adventure.
Whatever medium and type of story you choose, make sure your work
is
that of a professional (no sketchbook quality pictures). And
*never*
send original art. Two or three color photocopies only.
==-----------------------------------------------------==
Lee Wardlaw is the author of 16 books for young readers, ranging
from
picture books to young adult novels. Titles include THE TALES OF
GRANDPA CAT (illustrated by Ronald Searle) and SEVENTH-GRADE
WEIRDO.
101 WAYS TO BUG YOUR PARENTS (middle grade novel) and THE GHOUL
BROTHERS (first chapter book) will be released this fall.
Lee's web page is at
http://www.inkspot.com/~ohi/inkspot/a-lee.html
Copyright (c) 1996 Lee Wardlaw. All rights reserved.
=================================================================
========
"FIRST SALE" STORY: gibbs@uhavax.hartford.edu
=============================================
"By the time I got my first sale the rejection slips had piled
high
enough to wallpaper the bathroom! I decided to take the experts
advice and try target marketing, so I sent for and read many many
magazines. I was looking for a publication that specialized in
humorous short fiction. When I found one I sent them a story
about a
widow who refused to pay the undertaker's bill because she didn't
like
the smile he'd put on her late husband's face. They snapped it
up and
paid me!!!! (all of $2) I was really in print!!!! When I got the
notice, the check and the magazine, I jumped up and down so hard
I had
sore feet for a week!!!"
==-----------------------------------------------------==
Thanks to those who sent me "first sale" stories. I will be using
some
of them in upcoming issues. Published authors: please encourage
others
by sharing the story of how you made your first sale! Send your
paragraph to ohi@inkspot.com with "first sale" in the subject
header.
=================================================================
====
SUBSCRIBER BOOKS
================
If you have a book coming out this year, send the info (BRIEF,
please,
no press releases) to ohi@inkspot.com with "inklings book promo"
in
the subject header. Subscribers only, please. I will print a few
each
issue. If this is your first sale, please let me know so I can
highlight it!
***Fowler, Albert. PEACETIME PADRES (Vanwell Press). Sept/96.
History
of Cdn. military chaplains working with 20th c. peacekeepers.
Hammer, Kathryn. YOU'RE PREGNANT!!! A Guide to the Longest Nine
Months
of Your Life (Contemporary Books).
Meredith, Marilyn. FINAL RESPECTS (Renlow Books).
<http://www.erinet.com/renlow/books.html>
Permenter, Paris and Bigley, John. TEXAS GETAWAYS FOR TWO (Two
Lane
Press). Guide to romantic weekends in Texas.
***Whittle, David B. CYBERSPACE: The Human Dimension (W.H.
Freeman).
Intro to cyberspace and its potential impact on the world.
***First sale!
=================================================================
=====
WRITERS' MAGAZINE INDEX
=======================
Thanks to subscriber Lisa Ramaglia for the following:
The Writer (July/96)
--------------------
Pitch-Perfect Dialogue, Writing Historical Fiction, Some Clues to
the
Juvenile Mystery, Negotiating the Book Contract, Where to Sell
Manuscripts: Book Publishers, Straight Talk From A Book
Publisher,
Confessions of a Felonious Writer. (THE WRITER, 120 Boylston
Street,
Boston MA 02116-4615)
=================================================================
=====
EDITOR: Debbie Ridpath Ohi (ohi@inkspot.com)
COPY EDITOR: Cathy Rutland (cathyr@rom.on.ca)
Subscribers are welcome to recirculate or reprint Inklings for
nonprofit use as long as the appropriate credit is given and the
ENTIRE text of the newsletter is included (including credits and
information at the end of each issue). Others should contact me
at
ohi@inkspot.com. All articles copyrighted by their authors.
Inklings is a free newsletter for writers on the net, published
every
2-3 weeks. More info at
<http://www.inkspot.com/~ohi/ink/inklings.html>
Inklings is part of the writers' website INKSPOT:
INKSPOT: Resources for Writers
<http://www.inkspot.com/~ohi/inkspot>
To subscribe & unsubscribe: Send e-mail to majordomo@samurai.com
with
"subscribe inklings" in the message body. To unsubscribe, use
"unsubscribe inklings". Find out more information with "info
inklings". EMAIL: ohi@inkspot.com. SNAILMAIL: Inklings, 55 McCaul
St.,
Box 123, Toronto, ON Canada M5T 2W7 (for packages, contact me
first)
================================================================
