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Inklings Issue 3.02
================================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 3.2 Wed.Jan.22, 1997
================================================================
<http://www.inkspot.com/inklings/issues/ink0302.html>
INTERVIEW WITH SUSAN IOANNOU - by Rand Bellavia
COLUMN TOPICS:
DAVID BREDEEN: What is a chapbook?
JUDITH BOWEN: Male authors and romance novels?
FRESH INK - resources for writers on the net
Market Information - Subscriber Publications - First Sale Story
Congratulations to Gregory Anne Cox (gacftfd@ix.netcom.com), who
is the 7000th subscriber to Inklings! Gregory Anne is an
experienced chef who is currently involved in Wellness Consulting
for corporations. She is currently putting together a book/video
proposal, "a culimination of the practical information of cooking
healthy foods that taste great". Gregory Anne has chosen THE
HANDBOOK OF SHORT STORY WRITING, VOL.I (Writer's Digest Books) as
her prize.
Thanks to Joanne Reid for mentioning Inkspot and Inklings in her
online markets article for the Winter/97 issue of Canadian Author
magazine. Joanne's website for writers is:
http://www.winnipeg.freenet.mb.ca/iphome/r/reidpage/
PRIZE GIVEAWAY: The following survey respondents were randomly
chosen to receive copies of THE WRITER'S GUIDE TO THE INTERNET
(by Dawn Groves, see http://www.skycat.com/~dawng/ for more info
about the book):
Nancy R. Smith (CZEP15A@prodigy.com)
Jeff Reeds (jreeds@spry.com)
Congratulations to the prizewinners! And thanks to those who
sent in their surveys (nearly 30% of subscribers responded).
This issue sponsored in part by:
================================================================
* Mercury Mail * http://www.merc.com
We deliver personalized news, stocks, sports scores and weather
updates directly to your e-mail. Every day. Absolutely FREE.
Visit http://www.merc.com or e-mail signup7@merc.com
================================================================
* The Reporters Network * http://www.reporters.net
Free E-mail services for reporters and freelance writers, online
media directory, bulletin boards and journalism resource pages.
News and Announcements- majordomo@reporters.net (subscribe news)
================================================================
* Samurai Consulting * http://www.samurai.com
Services include internet consulting, WWW page design, electronic
newsletters, mailing lists, FTP sites, system maintenance,
training. Email: Bryan Fullerton <bryanf@samurai.com>
================================================================
ISSN 1205-6413. Copyright 1995-1997 Debbie Ridpath Ohi. See end
of issue for more copyright details, and info on how to subscribe
and unsubscribe. Send questions and comments to
editor@inklings.com. For information on how you can become an
Inklings sponsor, send e-mail to editor@inklings.com with "rate
card" in the subject header.
================================================================
FRESH INK
=========
Garden Writers' Association Of America
--------------------------------------
Non-profit organization. Site includes publishers' resource list
and guidelines.
http://www.hygexpo.com/gwaa/
The Quill Society
-----------------
Online young writers' group. Polls, critiquing, message board,
monthly newsletter, chatroom.
http://www.quill.net/
Writeria Saryanja: free online fiction writing workshop
-------------------------------------------------------
Critique and be critiqued online. Site includes some useful
writing- related links.
http://206.155.205.4/saryanja/saryfict.htm
HorrorNet
---------
Good resource for horror authors and readers. Includes author
directory, publisher and magazine index.
http://www.horrornet.com/
TV Writer Homepage
------------------
Lots of television writing info, including writing for Star Trek.
http://home.earthlink.net/~lbrody/indexaa.html
The Young Writer's Club
-----------------------
Online writing, tips, chat, contests, networking opportunities.
http://www.cs.bilkent.edu.tr/~david/derya/ywc.html
Creating Comics
---------------
Has info useful to those interested in writing comics.
http://www.cadvision.com/dega/creating.htm
Creative Coalition of Artists
-----------------------------
Group of poets fighting censorship on the web.
http://www.on-net.net/~cca/
Screenwriter's Heaven
---------------------
Info about screenwriting and related links on the internet.
Looks like an excellent resource.
http://www.impactpc.demon.co.uk/
Spamming, email address forgery, and abuse of Usenet
----------------------------------------------------
Site includes info about spamming, detecting forged email
addresses.
http://www.best.com/~mjf/woodside/
Also see the following article for info about author Jayne
Hitchcock's fight against cyberspace harassment:
http://www.capitalonline.com/news/newsgen4/newsgen1687.html
================================================================
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 (monthly market info for sf/f/h/m writers)
Janet Fox, 519 Ellinwood, Osage City, KS 66523-1329
More info at: http://users.aol.com/Lemarchand/scavenger.html
THE GILA QUEEN'S GUIDE TO MARKETS
POB 97, Newton, NJ 07860-0097 Email:K.Ptacek@genie.com
http://www.teleport.com/~alecwest/gila.htm
CHILDREN'S WRITERS MARKET LIST
Available by e-mail or snailmail. Email mshauers@midusa.net.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed, stamped envelope, "simsubs" = simultaneous
submissions, "mss" = manuscript, "RT" = response time, "GL" =
guidelines, "wds" = words.
PAYING MARKETS:
Computer Trader Magazine
------------------------
Steven C. Slawin, Editor, Computer Trader, P.O. Box 10265, Tampa,
FL 33679. Hardcopy magazine. Distribution 35,000 per month. Each
issue consists of 2-4 feature articles and a number of regular
columns, including: Netucation (educational resources),
http://destinations (neat websites), The Darkside (the
less-than-reputable side of the Internet), Web Wire (Internet
news), Net Deals (free stuff), The Untangled Web
(humor/observation) and Ask TC (general computer tech stuff).
Some recent feature articles published in the Computer Trader
include: Campaign '96 in Cyberspace, Audio Treats on the
Internet, Are You Ready for Net Football?, Gallery of the Absurd,
Worlds Chat, and Getting the Most from Your Browser, Christmas
Gifts for Net Surfers. Accepts 3-4 feature articles/month.
PAYMENT: 2c/wd upon publication. "We only buy first rights, but
require that you wait at least 90 days before you re-publish the
article." HINTS: "We're an Internet magazine that's very
'destination-oriented'. Writers will find it easier to land an
assignment with the Computer Trader if they're able to develop an
idea that will prompt our readers to visit Web sites even if the
subject isn't necessarily one of their areas of interest. The
World Wide Web is getting serious about content, and so are we."
Query first by e-mail; unsolicited articles will NOT be read.
(Confirmed Jan.17/97)
URL: http://pcgenerations.com/comptrader/wrguide.htm
Email: comptrader@pcgenerations.com
Renaissance Magazine
--------------------
Phantom Press Publications, 5A Green Meadow Dr., Nantucket, MA
02554. Editor: Kim Guarnaccia. Quarterly. New. Accepts
unsolicited mss related to Renaissance and Middle Ages. Best to
refer to the included list of open articles and pick from there
(please request if interested). Query first. Sidebar info and
graphics/photos encouraged. "Those interested in writing for RM
on a regular basis as a staff writer must query first, and
include a brief bio/resume and sample article." LENGTH: 3000 wds,
though will consider longer articles. PAYMENT: 3c/wd on
publication for NASR. "Cover letter should include a brief bio
and credits, where you heard of RM and any other pertinent
information. We encourage writers to e-mail their articles
directly, to save on mailing and paper costs. RT: 3-6 wks. Email
all queries and submissions to the email address below." (Source:
The Gila Queen's Guide To Markets, #82)
Email: 76603.2224@Compuserve.com
The Black Lily
--------------
Vincent Kuklewski, 8444 Cypress Circle, Sarasota, FL 34243-2006.
Poetry submissions to Rachael Michael, Gustavus Adolphus College,
800 West College Ave., St. Peter, MN 56082. Prefers computer disk
submissions: IBM Word or ASCII. Fantasy and Medieval Review.
Originals and reprints if not published within the past 2 yrs.
Fiction/horror/mysteries set in a *pre-1600 milieu*. Fiction to
7500 wds, pays $5, up to 15,000 wds, pays $10. Serializes longer
works to 120,000, pay negotiable. Poetry: base fee of $1 for up
to 30 lines. Articles: 3,000-5,000 wds. For longer poems, pay is
negotiable to $10. "We prefer traditional Tolkien/European
medieval work, but gladly publish work from other realms."
(Source: Scavenger's Newsletter, Jan/97)
Email: gkuklews@ix.netcom.com
Corel Magazine
--------------
Editor Scott Campbell or Features Editor Mary LaMotte. Corel
Magazine, PO Box 203550, Austin, TX 78720-3550. Street address
(for those who like to send things express: 9801 Anderson Mill
Rd., Austin, TX 78750) Phone: Scott - 512.219.3128; Mary -
512.219.3147. Seeking users of CorelDraw, Photo-Paint, Dream 3D
and CorelXara who are interested in writing step-by-step, how-to
articles. These could be anything from short tips and tricks to
full-blown, start-to-finish projects. "If you've got the right
stuff, get in touch with us. It's better if we discuss your
article idea(s) before diving right in (although we will consider
unsolicited manuscripts)." PAYMENT: negotiable, on publication.
LENGTH: varies. "At this stage we are looking for shorter (2-3
pages) step-by-step articles with lots of graphics." TOPICS:
"Think instructional. Corel Magazine readers like to prop the
magazine next to their computers. They look at the pages and say,
'Teach me something I don't know.' Think in the vein of: 'How to
create a ....'; 'Tips on such-and-such Design'; 'The Best Way to
....' Query first. (verified Jan.20/97)
Email: scottc@corelmag.com (Scott) or mjl@corelmag.com (Mary)
GL URL: http://www.corelmag.com/PAGES/ONLINE/edconten.htm
Biblio magazine
---------------
Colleen Sell, Editor, 845 Willamette St., Eugene, OR 97401-2918.
541.345.3800 (voice) 541.302.9842 (fax). Monthly consumer
magazine providing comprehensive coverage of the specialized
world of book, manuscript, and ephemera collecting. BIBLIO is
available in many bookstores, including Barnes & Noble and
Borders. Rarely assigns articles, but actively seeks freelance
contributors on a query-first basis. Freelance writers without
direct knowledge of collecting and related fields are encouraged
to study the magazine and to familiarize themselves with the
subject matter before submitting queries. The query should
include a brief synopsis or outline clearly defining the topic,
focus, structure, and "major points" of the proposed article.
Indicate relevant writing and subject matter credentials. Include
an SASE and writing sample. BIBLIO responds within 30 days.
ARTICLES: 2,000-3,000 wds, though "we are also now accepting
shorter pieces of 1000-2000 words". POETRY: up to 32 lines.
"Willing to work with new writers." Paid on publication: $150-600
for articles; $25-50 for poetry. Independently submitted art:
photos, $25-100; illustrations, $100-500; cartoons, $25-50.
Bylines and credits given. Contributor receives two complimentary
copies of the issue in which the submission appears. Query first.
See website for full guidelines. (Verified Jan.20/97)
GL: http://www.bibliomag.com/writers.htm
Email: csell@asterpub.com (Colleen Sell)
The New York Review of Science Fiction
--------------------------------------
David G. Hartwell, Reviews and Features Editor; Kevin Maroney,
Managing Editor. Dragon Press, P. O. Box 78, Pleasantville, NY
10570. Monthly review publication. Reviews "We seek thoughtful,
insightful and well-written reviews of worthy science fiction,
fantasy, and horror books. We are not interested in reviewing
every book published, nor even the majority of books published;
please query us if in doubt about a specific title. We tend not
to publish negative reviews, though we do publish reviews that
examine with precision the unsuccessful elements of worthwhile
books. Reviews need not be limited solely to one book; we
encourage reviewers to compare books with similar titles and to
place individual works in context within an author's oeuvre. We
expect revised prose, not first-draft material. We edit reviews
frequently and will request revisions if needed." FEATURES: "We
seek popular articles, essays, parodies, studies, and
thought-pieces on topics related to science fiction, fantasy, and
horror literature. The same provisions regarding the writing
quality of reviews applies to features. Please query with
specific topics." PAYMENT: $10.00/review, $25.00/feature. Pays
upon publication. See website for full guidelines. Queries
accepted by email. Do NOT send submissions by email. (Confirmed
Jan.20/97)
GL: http://ebbs.english.vt.edu/olp/nyrsf/writers_guidelines.html
================================================================
INTERVIEW WITH SUSAN IOANNOU
----------------------------------------------------------------
by Rand Bellavia
<rjb4@ACSU.Buffalo.EDU>
Susan Ioannou is the author of several poetry collections,
including WHERE THE LIGHT WAITS (Ekstasis Editions, 1996), and
CLARITY BETWEEN CLOUDS (Goose Lane Editions, 1991). Her literary
articles, poems, and stories have appeared in over seventy
magazines and anthologies across Canada.
Susan is director of Wordwrights Canada, "an organization serving
those who strive for a high professional standard in their
writing, whether nonfiction, fiction, or poetry". Her website
offers handbooks for writers, editing and author coaching
services, a poetry tutorial correspondence course, samples of her
poetry, and a list of useful Canadian writing links.
Website: http://home.ican.net/~susioan/
Email: susioan@ican.net
When did you start writing? Why?
--------------------------------
I began writing in grade two, as soon as I had mastered enough
words and approximate spelling to get my ideas across. My first
effort was a detective story, "The Death of the Murdered Girl",
broadcast over a local radio station. To me, creating another
world out of words was fun. It still is, although I've added
magazine articles, writers' handbooks, and two novels as well as
poetry to my genre repertoire. Writing makes me happy. Writing
makes me high. Fiction is expansive, roaming memory and
imagination, making big things happen. Nonfiction thinks. But
poetry is language concentrated, sniffing out nuances,
discovering music and magic.
You obviously write in several mediums. How do you determine
which ideas belong in which mediums?
----------------------------------------------------------------
To me, the word "medium" (or several "media") suggests a physical
material by which to communicate artistically, such as paint,
television, film, marble, etc. In this sense, I use only one
medium: language, although that can be subdivided into the words
printed on a page and those my voice performs aloud in the ears
of an audience.
Within this one medium fall my three different "genres": fiction,
nonfiction, and poetry. But I don't choose them. They choose me.
In the earliest stages, idea is not separable from expression:
the two arrive intertwined. For example, one morning I am
daydreaming through my chores and overhear a voice in my head,
lecturing. I stop to listen, and realize that an article is
forming. I listen to the voice a while longer until I imagine the
overall shape the explanation or argument will take. Only then do
I write anything down.
Poems and stories begin in a similar way, except that often I'm
given the first few dozen words; the rest of the process is like
freeing a long ribbon. The process may remain aural, my listening
inwardly for the phrases that creep up little by little. Or it
may grow faster, more visual, as picture after picture dizzies
and I snatch at words -- any words at all in the first draft --
to try to pin them down in scribbles. How I tell apart emerging
poems and stories is in the hearing. Poems lay themselves out
in my ear in lines. Stories wraparound as sentences.
For me, creating is intuitive and holistic. I never decide not to
put an idea on paper. Every idea gets at least a beginning on the
page, although some soon thin and trickle out.
What are your writing habits?
-----------------------------
My working method varies according to the type of material.
Creating a novel's first draft is the hardest. Once I have a
general idea of how I'd like to start, the only way I can cope --
the length alone seems overwhelming -- is to break it into
smaller parts and assign a schedule. I become like Pavlov's dog,
conditioned by walking to the same place (the near empty food
court of a shopping mall), at the same time (8:00 a.m., two
mornings a week), and following the same pattern (first warming
up by rereading what I wrote the day before, then writing either
for three hours, or until I have a first draft, and finally
jotting down ideas for the next day). Walking home clears my head
and lets me spin fresh twists to the plot. After lunch I type.
For a decade I wrote columns for every issue of two different
literary publications. Such nonfiction I find easier, because a
deadline forces discipline. As soon as I have the topic, for an
hour or two at my desk I poke through whatever reference or other
sources I have at hand and scribble every idea that floats up. At
this stage I amass possibilities without making judgments. If
nothing takes shape, my subconscious needs a day or two to
kaleidoscope the bits and pieces. Again I sit down with my notes.
Usually by this point something begins to emerge. Once I have
roughed in my opening sentence, the worst is over. The rest I
work out on the computer, choosing other ideas from the mess in
my notes and shifting chunks around, until the sequence is clear,
convincing, and lively. In a sense, I discover what I want to say
as I am writing it.
Serious poems the Muse provokes, often at night or when I'm
tired. Sometimes I am given the first line or two, sometimes an
image to circle around until I can find the right words.
Occasionally, the Muse and I collaborate if the piece needs
factual research. For example, in my collection WHERE THE LIGHT
WAITS, "Appointment above Florence" describes the villa of Sir
Harold Acton. As well as a friend's account, to complete the
picture I consulted photographs and books on Italian architecture
for more details to enrich the texture. I never write to music.
White noise (like the mall or household sounds) fades into the
background. But a melody tells its own story that distracts me
from mine.
As a published poet, what advice do you have for less
experienced poets?
------------------------------------------------------
Many begin writing as self-expression or even therapy, and
venting emotion on paper can satisfy a personal need. To become a
serious poet, however, means reaching beyond ego. One can still
write lyric poems, but the "I" must be a public voice that speaks
to and for others as well.
How? First, open out antennae to the world. Just as painting is
about seeing, writing poetry is about sensing: colours, shapes,
scents, sounds, textures, and nuances both physical and
emotional. A serious poet is curious and empathetic. What's
happening out there? Why? How do others feel about it? And -- a
crucial question -- is it right? For, in using language to create
meaning from a multitude of sensory impressions, the poet is
implicitly a moralist too.
Second, record these impressions as vividly and precisely as
possible. Be exact not only in the literal meaning, but also in
the pictures you paint, the sounds and rhythms words build in the
ear, and the subtle layers of association that radiate into
images. Don't settle for a word that's just close. You must be
able to justify every single word in the poem -- or drop it. Then
test your line breaks and flow by reading the poem out loud
several times. Revise, revise, revise, until phrasing perfectly
captures what you are trying to say. Be ready to rack up 20 or
more drafts. Artistry has rules (I've detailed them in my
handbooks THE CRAFTED POEM and WRITING READER-FRIEND POEMS),
and these you can learn in writing courses and workshops, and
master with practice. So much of what passes for genius is simply
long, hard work.
Third -- and this point applies especially to writers seeking
publication -- ask why anyone else would want to read the poem
anyway? Are all its references clear and complete enough for a
stranger to grasp? Does the theme offer an insight, a chuckle, a
shared emotion? Is the language itself fresh and exciting? If
someone else had written this poem, would you read it right
through? Would you enjoy it?
In short, publishing a poem is a kind of giving. Whatever
qualities you want in a gift, make sure your poem holds them out
to others.
How has the Internet changed your poetry?
-----------------------------------------
The Internet hasn't changed the way I create my poetry, any more
than shifting from pen to typewriter did. At present it's simply
another medium that makes my own and other poets' work available
to more people, like a huge magazine to leaf through.
Nonetheless, the Internet has enlarged the meaning of
"publishing" to an activity as electronically easy and widespread
as pinning announcements on a grocery-store notice board. Will
this mass access bring thousands of new fans? That depends on the
quality of the texts and how much patience viewers have to sift
gold from the printed dross, since most poetry still appears in
the form of a transposed book.
The greatest impact will come when Internet screens of text give
way to fully audio-visual performances: poets shown and heard as
they read their work aloud. That combination of immediacy,
intimacy, and entertainment, I believe, can't help but revitalize
poetry within popular culture.
==----------------------------------------------------==
Rand Bellavia was born in a log cabin in 1809. He has edited
several collections of poetry, most notably LET THE EYE FALL
THROUGH: The Selected Poems Of William T. Allen and INSIDE
LOOKING OUT, a collection written by the residents of the MonDay
Community Correctional Facility, where he taught creative
writing. He currently works as a librarian in Western New York,
and reads way too many comic books. On the evening of April 14,
1865, he attended a performance of _Our American Cousin_ at
Ford's Theatre in Washington...
================================================================
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) jbowen@max-net.com
David Bredeen (POET) drpoetry@ktc.com
Susan Graham (AGENT) slgraham@atl.mindspring.com
Paula Guran (HORROR WRITER) DarkEcho@aol.com
Carol Henson (BOOK DOCTOR) UBKX12C@Prodigy.com
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) Katknip2@aol.com
Marcia Yudkin (FREELANCE WRITER) send to editor@inklings.com
Sharon Zukowski (MYSTERY/SPY WRITER) 76372.2252@CompuServe.COM
Columnists may be unable to reply privately to every message, but
will answer selected questions in future issues of Inklings.
================================================================
ASK THE POET
----------------------------------------------------------------
by David Bredeen
<drpoetry@ktc.com>
What is a chapbook?
-------------------
Q: What exactly is a chapbook? Is it a small collection of
self-published poems - or a more involved publication handled by
those who actually know what they're doing? I also do artwork -
would illustrated poems being the sort of thing you'd find in a
chapbook?
A:
"Chapbook" (ie, "cheapbook") originally referred to a pamphlet
peddled on the streets of eighteenth century England and America,
much as the broadside had been sold earlier. In those days, the
chapbook sometimes contained poetry or ballads, but also works on
such topics as politics, medicine, and travel. Chapbooks were
the popular journalism of their day but died with the growing
popularity, and more sophisticated distribution methods, of
magazines and newspapers.
Since the Second World War, the chapbook has enjoyed a revival,
this time in the narrower field of literature.
Generally speaking, a chapbook has fewer than fifty pages and
usually has a soft cover. Chapbooks vary in quality from the
stapled mimeographs of the early 1950's (some worth a fortune to
collectors nowadays) to elaborately printed, hand stitched
productions on handmade paper which collectors snap up as much
for their workmanship as for the poetry inside.
In addition to the wide range of production values, chapbooks
also vary wildly in editorial practices, as you surmised. Many
poets do self-publish chapbooks, but many literary presses
support a chapbook series or publish one as part of a contest.
These can be highly competitive. Publication through these means
can gain the poet recognition and cash.
Most chapbooks, naturally, fall between the extremes in terms of
production quality and recognition, yet they all tend to have one
thing in common. Chapbooks remain close to their old family tree
in terms of distribution. "Chapmen" once sold them on street
corners, and still today chapbooks tend to be sold face to face,
in the coffee house or reading series.
To publish or not to publish a chapbook? The downside is
distribution. If the author doesn't want to carry around a stack
or books, and do chores such as make change, then a chapbook is a
bad idea. Somebody will lose money. The upside is seeing the
work in print, and the satisfaction of having a few like-minded
people seeing it in print, which provides a glimmer of
encouragement to those dark, lonely writing days.
Publishing a chapbook can't hurt you, since they routinely show
up as parts of longer books (with proper credit given, of
course). And they can help, by feeding that greatest desire of
writers, which is having someone to share the work with.
==-------------------------------------------==
David Bredeen's poetry and essays have appeared in numerous
magazines, including Mississippi Review, North Atlantic Review,
Paragraph, Pikestaff Forum, Turnstile, and The Quarterly and four
books. In addition to editing the literary magazine Context South
and the Press of the Guadalupe, he is working on a novel and
screenplay. You can see his other poetry column at:
http://www.on-net.net/~cca/Dr.Poetry/DPMAIN.html
Copyright (c) 1997 David Bredeen.
================================================================
ASK THE ROMANCE WRITER
----------------------------------------------------------------
by Judith Bowen
<jbowen@max-net.com>
Male authors and romance novels
-------------------------------
Q: I've toyed with the idea of writing a romance novel for a
number of years now, but am plagued by one question: Is there
room in the romance field for a 55-year-old, married,
heterosexual male? BTW, I'm a journalist by profession.
A:
Of course! One of my favourite authors who wrote for many years
for the Mills & Boon lines out of London, England, is a man. He
wrote under the pen name Madeleine Ker. Unfortunately, I do not
know his real name and believe he is retired and no longer
writing. I have many of his novels on my keeper shelf.
Another wildly successful romance author is Victoria Gordon,
known to friends and family as Gordon Aalborg, formerly of
Tasmania, Australia and now living in Canada. He has written
over 20 books for Harlequin Romance and is a former journalist.
He has a Harlequin Romance available in February, 1997, entitled
"An Irresistable Flirtation."
Texan Tom Huff, now deceased, wrote contemporary romance novels
for many years as Jennifer West, and historical romance author
Leigh Greenwood is, in fact, Harold Lowry.
Go for it. Don't be surprised, though, if you're asked to choose
a feminine pen name. The days are probably gone when male
romance novelists were warned to keep their real identities a
secret or else, but it is still true that most publishers do not
believe that women want to read romance novels written by men.
Still, when romances such as "Bridges of Madison County" and "The
Horse Whisperer" do as well as they've done, both written by men
under their own names, one has to wonder if those days are not
well and truly over.
==-----------------------------------------------------==
Judith Bowen is an award-winning romance author and currently
teaches classes on writing popular fiction in Vancouver, Canada,
and will be teaching an online course in Jan/Feb (see
http://www.writers.com/).
Copyright (c) 1997 Judith Bowen. All rights reserved.
================================================================
FIRST SALE STORY: Marina Richards <Litmari@aol.com>
----------------------------------------------------------------
"After reading what the editor of the Hawaii Pacific Review was
looking for, I sent my short story, Sulley's Silence, to her in
September 1995. I felt she might like it. She did. She said she
wanted the story but the Board wouldn't make final decisions
until spring. I kept submitting. In March, I got another letter
saying, "Congratulations! Your story is being published in Volume
10 of the Review." I was paid in copies, but didn't care. That
first sale made my year!"
================================================================
SUBSCRIBER BOOKS
================
If you have a book coming out in 1997, send the info (BRIEF,
please, no press releases) to editor@inklings.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!
***Kingsley, Samantha. SANDS AND SHORES (Commonwealth
Publications, Feb/97). http://iavbbs.com/kingsley/
Majure, Janet. RECIPES WORTH SHARING (Breadbasket Publishing
Co.), April 1997. From author's Kansas City Star column.
Pierce, LuAnn. GROWING UP SANE (In Uncertain Times).
(Bohemian Publications, 1997). http://www.affinitybooks.com
Schuler, Betty Jo. CAMP CHEER (Castle Hill Publishers).
Young reader mystery. http://users.aol.com/castlh
Zatz, Arline. 30 BICYCLE TOURS IN NEW JERSEY (Countryman Press,
Spring/97). More info from: azatz@usa.net
***first sale!
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