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Inklings Issue 2.20
i n k l i n g s
Newsletter for Writers on the Net
Issue 2.20 Wed, Oct.30, 1996
=====================================================================
<ftp: ftp.samurai.com pub lists inklings v02-n020>
INTERVIEW WITH HAROLD UNDERDOWN
Children's book editor
FRESH INK - resources for writers on the net
Market Information - First Sale Stories - Subscriber Publications
COLUMN TOPICS:
KEN JENKS: Sending Stories via E-mail
LEE WARDLAW: Agents and multiple submissions
Last issue, I announced that Inklings was going to be seeking
sponsorship in order to continue publication. Thanks for all the
positive feedback, encouragement, and advice...so far not a single
subscriber has objected to the idea of sponsorship.
In this issue, I am pleased to introduce the very first Inklings
sponsor: Mercury Mail, a free e-mail service that delivers news and
other information to your mailbox. You can customize the news that you
receive to reflect your own interests and geographical location.
There's also an e-mail "reminder" service available for those who
spend a lot of time online. I've already signed up for the daily
morning news option, and am very pleased with the service so far. And
best of all, it's FREE. Check them out at http://www.merc.com.
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
=====================================================================
* Samurai Consulting * http://www.samurai.com
Services include internet consulting, WWW page design, electronic
newsletters (like INKLINGS!), mailing lists, FTP sites, system
maintenance, training. Email: Bryan Fullerton <bryanf@samurai.com>
=====================================================================
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 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
=========
Yearbook of Experts, Authorities, and Spokespersons
---------------------------------------------------
Search database of experts by topic or keywords or by
organization name. The hardcopy version (they sent me a copy) also
looks like an excellent resource. For more info, contact
Editor@YearbookNews.com or phone 1-800-YEARBOOK.
http://www.YearbookNews.com/
Ask Kathy
---------
New Q&A; advice column for young writers. Kathy Henderson is author of
the Market Guide For Young Writers (Writers' Digest Books).
http://www.inkspot.com/~ohi/inkspot/youngqa.html
Friendly Pencil Chat Site
-------------------------
Telnet to neato.ca.us.another.net (port 6667) or
together.vt.us.another.net Then type "/join #friendly pencil". Chat
takes place 5-8 PM on most any day of the week, but Thursdays is when
the folks from misc.writing show up, also on Sundays from 2-5.
Writers' Resources
------------------
Nicely-designed site maintained by John J. Beslanwitch. SF focus.
http://www.seanet.com/Users/warlock/writers.html
misc.writing home page
----------------------
This site has expanded since I last mentioned it. Lots of info about
the best-known general newsgroup for writers, useful links, and other
info.
http://vanbc.wimsey.com/~sdkwok/mwrit.html
Gary Conroy's Technical Writing Page
------------------------------------
Intended for the professional technical author. List of resources
on the Internet.
http://user.itl.net/~gazza/techwr.htm
======================================================================
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 letter for sf/f/h/m writers & artists.
http://users.aol.com/Lemarchand/scavenger.html
***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.
PAYING MARKETS:
Heliocentric Net/Stigmata update
--------------------------------
Note new address: 17650 1st Avenue S, Box 291, Seattle WA 98148.
Managing Editor: Lisa Jean Bothell. "Anthology - STIGMATA. OPEN to
submissions through 12/31/96 for a May 1997 publication date. Will
pay $5 + 1 contributor's copy for fiction, poetry, & art. FULL on
poetry and art. Fiction: Very dark, bizarre, unease-inspiring, quite
unique concepts/cultural supernatural myths, oddities, etc. Need LOTS
more fiction, so send 'em in, the odder the better - we already have
cool work by Wayne Allen Sallee, Donna Taylor Burgess, Charles Fallis,
Gordon Ross, Danya D'Arcy, Cindy Main, Bob Crouch, etc. 3500 words.
For the holidays, the current Heliocentric Net anthology is reduced to
US$8.95 (add $2.00 for international/Can orders). Payable to BAST
MEDIA only. The Network: We need more articles aimed at helping
writers, poets, artists, etc. develop and sell their work, including
tips on submissions, queries, styles, characters, brainstorming,
researching markets, meeting/dealing with publishers & editors, how
editors select work for their ezines, and other pertinent aspects of
freelance / independent publishing, editing, writing, art, etc. 1/97
the payment will go to 1¢/wd + 1cc. May also consider obscure but
helpful reprints for 1/2 ¢/ wd +1cc. If you are online, get an
abbreviated NETWORK FREE at LBothell@wolfenet.com. Send a #10 32¢ SASE
for a FREE Flashnet interim issue. As of 1/97, the price will go UP to
$3/issue, $18/year US ($4/ea, $24/yr Int'l)." (info rec'd Oct.21/96)
Chickadee magazine
------------------
CHICKADEE, 179 John Street, Suite 500, Toronto, Ontario M5T 3G5,
CANADA: Catherine Jane Wren, Managing Editor. This nature publication
for 3 to 8 year olds uses adventure and humorous fiction to 800 words
and pays $210 US on acceptance for ALL rights. They also use puzzles,
activities and observation games. They use "read-to-me" stories about
children and/or animals in natural settings. Don't send IRC for
return--send $1.00 money order. They use puzzles. Website:
http://www.owl.on.ca/ (Source: Children's Writers Market List)
Nuts and Volts
--------------
Electronics industry publication. "Experience levels range from
beginning electronics students through seasoned engineers." 1500-2000
wds for full-length articles, not including sidebars. Pays up to
$150/page, max $450. Full guidelines on website.
GL: http://www.nutsvolts.com/writers.htm
Prism
-----
PRISM international, Department of Creative Writing, University of
British Columbia, Buch E 462 - 1866 Main Mall, Vancouver, BC, Canada.
V6T 1Z1. Buys FNASR. Pays $20 Cdn per printed page + 1 yr
subscription. "Welcomes submissions from both established and unknown
writers living anywhere in the world. We print short fiction, poetry,
drama, translation and creative non-fiction. Our only criteria are
originality and quality." Seeks original, unpublished material. No
simsubs, no material previously published on internet. Recommends
reading back issues to get a sense of the magazine. Full guidelines on
website:
GL: http://edziza.arts.ubc.ca/crwr/prism/submit.html
Twisted magazine
----------------
(West) G. Keith Burgin, Editor/Publisher. POB 41807, Sacramento, CA
95841. Email: BlakkSoul@aol.com. (East) John M. McIlveen,
Editor/Publisher. 131 North Main St., Boscawen, NH 03303-1106. Email:
Twistedmag@aol.com. Either address okay; Email submissions okay.
Horror, fullsized, FNASR. Rights revert to creator upon publication.
Fiction pays $25 flat rate + 2 contrib. copies. FICTION: "We are
looking for the strangest, funniest, weirdest stuff you've ever
written - character definition, plotline, originality, and above all,
a sick and TWISTED sense of humor. Try to be scary if you can manage
it. If you wrote something you thought would never see the light of
day because it is just too weird and offbeat, send it our way! We love
slashers, werewolves, beasties, maniacs, tragi-humor, etc. seen from a
new angle. We are not fond of vampires, but if you have a fresh angle,
please send." "New writers not only accepted but encouraged!" Paper
submissions should be standard mss format. (Source: Scavenger's
Newsletter, Oct/96)
Guideposts For Kids
-------------------
GUIDEPOSTS FOR KIDS (formerly Faith 'n Stuff), P O Box 538A,
Chesterton In 46304: Mary Lou Carney, Editor; contact: Sailor Metts.
Published by Guideposts, this magazine is aimed at children 7 to 12.
Articles run from 300-1500 words; fiction 700-1300 words. Pay ranges
from $100 to $400 for all rights. They prefer queries and want to work
with professional writers, but they do read unsolicited fiction.
Material is targeted to 10 year olds. Have been looking for
mini-mysteries & historical fiction. They buy secular puzzles; pay
$15. Website: http://guideposts.org (Source: Children's Writers Market
List)
Sense Of Wonder
---------------
SENSE OF WONDER Update #3: Paul Recchia, Editor, Sense of Wonder
Press, 2215 N. Ridge Ave. #2B, Evanston, IL 60201-2743. "We're happy to
say that science fiction and fantasy submissions are looking great. In
fact, due to the large volume of good stories in these genres, we are
temporarily closed to science fiction and fantasy submissions. All
such stories will be returned unread. At this moment, we need to see a
LOT more HORROR stories. Please send us your best psychological horror
short stories. Specifically, we are interested in horror that explore
how people rationalize the consequences of a traumatic event. Go
beyond the normal feelings of loss and violation. What can the human
mind do to cope with horrific events? Show us something truly new or
baffling about the inner workings of the human mind. Make the readers
pause in their normal mode of thought and perhaps transcend their own
thinking process. That is the sense of wonder we seek from horror
writers. We have not found vignettes and short shorts awe-evoking.
Stories must be at least 3,000 words, but no longer than 5,000 words.
Include a cover letter with a short bio and a #10 SASE for response.
We buy First North American serial rights for fiction that will be
paid 1-3 cents per word upon publication. No poetry, simultaneous
submissions, serials or reprints. Average response time of six weeks.
A sample issue for prospective contributors may be purchased for
$3.95. Again, our new submission count range is 3,000-5,000 words.
Send psychological horror." (Source: The Market List,
http://www.greyware.com/marketlist/)
Dazzler's Digital Domicile
--------------------------
Webzine targeted at readers of speculative fiction, technology fans
and gamers. Seeks original science fiction and fantasy fiction, news
and reviews in sf/f and computers & technology. Payment to
contributors will be based on the advertising revenue for the issue in
which the work appears. Detailed guidelines available from David E.
Brumbaugh at Debour@aol.com; put "guidelines request" in the subject
header. (Source: Writers' Classifieds, confirmed Oct. 19/96)
http://www.redbay.com/dazzler/biz/index.htm#contrib
NON-PAYING MARKETS:
Zuzu Petals Quarterly Online
----------------------------
"Welcomes submissions of high quality poetry, fiction, essays, and
articles." See website for full guidelines.
http://www.lehigh.net/zuzu/w-guid.htm
=====================================================================
INTERVIEW WITH HAROLD UNDERDOWN
---------------------------------------------------------------------
by Debbie Ridpath Ohi <editor@inklings.com>
Harold Underdown is a freelance children's book editor who has worked
with Orchard Books (Editor) and Macmillan's Children's Books
(Associate Editor). His web page is an excellent resource for both
beginning and advanced writers, with articles such as "Really Basic
Info For Writers And Illustrators", "Primer On Agents", and "Trends In
Children's Books: The Business Side". You can find out more at:
http://www.users.interport.net/~hdu/
I see you used to be a grade school teacher. How did you make the jump
from teaching to editorial work?
---------------------------------------------------------------------
I simply jumped. I had been teaching in an alternative elementary
school program, though my training was in HS. I enjoyed working with
the kids individually, liked reading out loud to them, but did not
like classroom management. After considerable soul-searching I decided
that I might do better and enjoy more a job in which I had a hand in
creating the kinds of books I knew were hard to find for my classroom.
I left my job in June, took the summer off, and in September started
looking for an entry-level position. In six weeks, I was hired at
Macmillan Children's Books as an editorial assistant.
What kind of work did you do as an editorial assistant?
-------------------------------------------------------
Like all editorial assistants I typed, filed, answered the phone, and
read manuscripts for my boss.
I also gradually took over the reading of the slush (from the
freelancer who had been coming in weekly to read it), seeing it as a
source of projects that would lead me to a better position. And sure
enough, within 18 months of starting there I was promoted to associate
editor, a position in which I edited some books for our publisher
(mostly imports), but mainly got to edit stuff that I had found in the
slush or otherwise initiated. These included _Fire in the Forest_, the
first book idea I had, within a couple of months of starting at
Macmillan, a book about the fire cycle in a Western forest, which was
just published last fall (the art took a long time) with text by Larry
Pringle and Bob Marstall; _The Footwarmer and the Crow_ by Evelyn
Coleman, illustrated by Daniel Minter, the third or fourth ms. I had
seen from an author I originally met in the slush; and the _Macmillan
Book of Baseball Stories_, which came in as a proposal and some sample
stories.
What did you like best/least about being a children's book editor?
------------------------------------------------------------------
It's hard to say what are the best/worst things, but some of the
things I most like include the thrill of reading a manuscript that has
just come in and knowing at once that it has to be published, the give
and take of working with an author or illustrator, especially when the
book ends up better than either one of us expected, and the
satisfaction of holding a finished book in my hands.
Some of the things I do not like include dealing with the realities of
children's publishing in the 90's, when it has become a business in
which doube-digit profits are expected every year, a review by a
reviewer who has simply misunderstood a book, and having to cancel a
contract.
What are the "realities" of children's publishing in the 90's?
--------------------------------------------------------------
Ugh. Well, I mentioned one of them--the expectation of high profits on
the part of corporate owners. Others include higher returns from
bookstores, making children's publishing more like adult, in that
there is a desire for the "sure thing" (when no such thing exists);
and related to that a greater reliance on the unreliable bookstore
market, due to the continued shrinkage of the library market. Also of
course the downsizing of the last few years, which has made it very
hard for many authors and made editors and other publishing staff
nervous about their jobs (and therefore cautious) or like me working
as freelancers. There's more on this in my article on "Trends in the
Business" at my WWW site so I won't go on and on.
But there are some good developments too--whole language has brought
more real books into schools, and this is a rich and still growing
market, in spite of some backlash from conservatives, who prefer
textbooks. Multicultural publishing, though not always done with a
concern for both authenticity and quality, also seems to be fairly
healthy. And paperback sales are growing, with the result that many
more are being published. Not all of these are Goosebumps, either.
There are more reprints of quality hardcovers too, which makes these
books more affordable, and that is a Good Thing.
In your opinion, what makes a good editor?
------------------------------------------
In the popular imagination an editor checks an author's grammar and
spelling, and then takes she or he out to lunch. This is an accurate
picture so far as it goes but a good editor has to play a number of
different roles:
A good editor has a passion for children's books (or whatever the
chosen field is), a strong sense of what he or she feels is good
writing, and a desire to publish it.
A good editor must be able to intuit where a manuscript _could_ go and
offer suggestions and questions that do not impose an outside standard
but help the author make it more what it could be.
A good editor must be able to "sell" other people at her or his
publishing company on a book, especially if not by a big name, both
when signing it up and setting its budget, and when the marketing and
sales people get involved. If they are excited about the book, then
that excitement will be passed on to librarians and booksellers.
A good editor must be a team player, able to work productively not
only with author and illustrator but with copyeditor, art director,
designer, and anyone else involved with a book.
A good editor sees beyond each book to the author who wrote it and
provides encouragement when needed and guidance in building a
career--What book should come next? Did you consider...?
A good editor has a head for business. It does no one any good if all
the books an editor signs up lose money for a publisher.
I could go on but I think you get the idea....
When you're reading a mss for the first time, how long does it take you
(approx. how many pages? chapters?) to figure out whether it's worth
publishing?
-----------------------------------------------------------------------
That depends....if it is really bad or absolutely wonderful I usually
get a sense of it in the first few lines. Ones I don't like I reject
as soon as I can, as I feel that there's no point to reading them. If
I'm excited by a manuscript, though, I'm going to read the whole
thing: after all, it may not continue to grab me. In fact, in a few
cases I haven't been able to stop myself from reading the whole thing,
even though I had other things I needed to do. Some manuscripts may
intrigue me less, but still enough to put them aside for re-reading.
After a few readings, I'll decide whether I want to publish, reject,
or suggest revisions.
(Such is the ideal process, but of course in today's market
manuscripts often sit unread on editors' desks for months, as they
struggle to get books out.)
What kinds of things "turn you off" a manuscript right away?
------------------------------------------------------------
Bad verse, cliched writing, animals with alliterative names, stories
with messages, wordiness (particularly in a picture book)--any number
of things. Probably 95% of the manuscripts that a publisher receives
are of this sort and can be rejected without having to read beyond the
first page. Those who have access to the WWW can read more on this
topic in my article, "Getting Out of the Slush Pile," and they can
access the relevant section by typing in:
http://www.users.interport.net/~hdu/slush.htm#toomany
I've given 45 minute talks at conferences on this subject and find
that there is always more to say. Beginning writers need to get their
manuscripts critiqued by professionals--other writers--not family
members, to improve their chances of not submitting something that
will be rejected without a moment's hesitation.
You don't like stories "with messages"? Or do you mean stories that
push a message too obviously?
---------------------------------------------------------------------
We need to make a distinction here between themes and messages. A
story can be "about" something without having a message. And what it
would be "about," I would hope, would be the theme, a theme
appropriate to the audience--coping with new experiences,
relationships, ideas... If, on the other hand, a writer says in a
cover letter that "this story teaches children the importance of
obeying their parents," then I expect to find a message-driven story,
and usually do. But a story can be about growing up, for example,
without having a message about growing up that can be expressed in one
sentence. So, yes, a story with good characters and a compelling plot
could have a message in it, but it shouldn't overwhelm the story.
Writers should tell stories and leave the sending of messages to
politicians.
How should a beginning writer (with very few contacts in the writing
field, if any) go about finding someone to critique his/her
manuscript?
----------------------------------------------------------------------
The best place to go in my opinion is a local SCBWI conference, or the
equivalent in Canada. They are held coast to coast and one can get a
critique from either an editor or an experience writer for $40 or
less. Failing that, a writer should look into classes at local
colleges. Many published children's writers supplement their incomes
teaching children's writing in continuing ed. programs. General
writing conferences are not a good idea--their main focus is books
for adults and the children's authors tend to be shunted aside and
condescended to. There are also people online doing critiques and
other freelance work, but one should tread warily. A writer should
find out as much as they can about someone contacted on the Internet
before sending them a manuscript--not because they might steal it, but
because they might not be qualified.
Do you have any other words of advice for beginning writers?
------------------------------------------------------------
There are any number of other things to say but I'll limit myself to
one general comment--stick to it, and don't count on anything. It can
take several years--of learning, writing, researching, and so on--to
get published from the time someone starts writing for children to
that first contract, and in today's market many people aren't going to
make it even that far. If the writing itself is interesting, and one
enjoys the process of getting better at it, that may have to be
enough. After all, it's a long road and it may not lead to
publication in a glossy hardcover book, so if someone's primary goal
is to be published, rather than to write, he or she probably shouldn't
even set off.
=====================================================================
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ASK THE ROMANCE WRITER) jbowen@max-net.com
Susan Graham (ASK THE AGENT) slgraham@atl.mindspring.com
Paula Guran (ASK THE HORROR WRITER) DarkEcho@aol.com
Carol Henson (ASK THE BOOK DOCTOR) UBKX12C@Prodigy.com
Ken Jenks (ASK THE ELECTRONIC PUBLISHER) MindsEye@tale.com
Michelle Sagara (ASK THE SF/FANTASY WRITER) mms@turing.toronto.edu
Lee Wardlaw (ASK THE CHILDREN'S BOOK WRITER) Katknip2@aol.com
Marcia Yudkin (ASK THE FREELANCE WRITER) send to editor@inklings.com
Sharon Zukowski (ASK THE 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 ELECTRONIC PUBLISHER
---------------------------------------------------------------------
by Ken Jenks <mindseye@tale.com>
Sending Stories via E-mail
--------------------------
In INKLINGS 9-19-96, I wrote the following advice: "Avoid e-mail
attachments whenever possible." I received several notes asking why.
Unless your recipient is a computer guru or has really terrific e-mail
software, it's hard to decode attachments. For example, at Mind's Eye
Fiction, I receive attachments as uuencoded, MIME and binhex. The
attached files are sometimes further encoded as base64, zip, sit, hqx,
tar, gz or maybe arc or zoo. The files can be formatted in HTML, MS
Word (for Mac or DOS or Windows), Write, WordPerfect, WordStar, MS
Works, ClarisWorks, RTF, ASCII and only-the-gods-know-what.
Your intended recipient, an average literature major -- the editor --
probably can't figure all this stuff out. If he can't open the
electronic envelope, he can't read your work, and he won't send you a
check. This is bad.
But there's hope! To send a story or article via email, use one of the
following four options:
OPTION 1: It's really best just to paste the text of your work into
the body of the e-mail note. That's the simplest method of all.
OPTION 2: However, on many e-mail packages (including on-line services
like America Online), there's a size limit on the amount of text you
can paste into the body of a note, so you must use attachments for
longer works. If so, save your work as a flat ASCII text file, with no
formatting, then attach the ASCII file.
OPTION 3: If you really must send formatting, save your work as a Rich
Text Format (RTF) file (which is just a fancy text file) then paste
the text of RTF file into the body of your note. Follow this little
procedure: (1) Save your file in RTF, (2) Open the RTF file in a text
editor that doesn't understand RTF -- you should see the fancy text
file, which starts with something like "{\rtf1\ansi" and ends with
something like "\par }", (3) Select All and copy this stuff to the
clipboard, (4) Start your e-mail program, compose a note and paste the
text into the body of the note, (5) Send!
OPTION 4: As a last resort, attach an RTF file.
For options 2 and 4, use MIME or UUENCODE as your attachment method.
Avoid BIN HEX -- it's mostly for Macintoshes and many PC users can't
understand it. Don't compress your attachment with ZIP or Compress or
Stuff It. If you have more than one file to send, send each in a
seperate e-mail note.
These options will work almost all of the time, with almost all e-mail
packages and almost all word processors. It might even work with
almost all literature majors.
==-----------------------------------------------------==
Ken Jenks is the editor-in-chief and owner of Mind's Eye Fiction, a
paying market for short stories on the Internet. He is pleased to
correspond with readers, writers, agents and publishers about on-line
publishing. Mind's Eye fiction can be found at <http: tale.com/>.
Copyright (c) 1996 Ken Jenks. All rights reserved.
=====================================================================
ASK THE CHILDREN'S BOOK AUTHOR
---------------------------------------------------------------------
by Lee Wardlaw <katknip2@aol.com>
Agents and multiple submissions
-------------------------------
An agent has requested my mss. What should I send with it, ie; cover
letter, proposal, or what? And while she's taking ages reading it, do
I refrain from querying publishers, or sending sample chapters and
perhaps work on something else?
A: If an agent has asked to see your manuscript, you should send the
entire piece, plus a cover letter which briefly outlines your
experience, publishing credits (if any), and other manuscripts you
have available for submission.
It's not kosher to send your mss out to publishers or other agents
while the first agent is looking at your work. If, however, you
haven't heard a 'yes' from the agent within about six weeks, you can
safely assume he/she is not interested in representing you. Then you
can resume sending out your work.
And yes, you should definitely be working on something else! Agents -
- and publishers - - like to know that you have a future with them, so
as soon as the manuscript is in the mail, get working on a new piece!
==-----------------------------------------------------==
Lee Wardlaw is the award-winning author of 15 books for children,
ranging from picture books to young adult novels. Her two most recent
titles are 101 WAYS TO BUG YOUR PARENTS (middle grade, Dial; American
Bookseller "Pick of the Lists" book) and THE GHOUL BROTHERS (first
chapter book, Troll). PUNIA AND THE KING OF SHARKS (picture book,
Dial) will be published in January 1997. Lee's web page is at
http://www.inkspot.com/~ohi/inkspot/a-lee.html
Copyright (c) 1996 Lee Wardlaw. All rights reserved.
=====================================================================
SUBSCRIBER BOOKS
================
If you have a book coming out in the near future, 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!
Hale, Bruce. MOKI AND THE MAGIC SURFBOARD (Words + Pictures Publishing,
Nov. 96). Children's picture book.
Dobrow, Marty. GOING BIGTIME: THE SPECTACULAR RISE OF UMASS BASKETBALL.
(Summerset Press, $23.95, Nov/96) To order, call: 1-800-74READS
Zweifel, Karyn. DOG-GONE GHOST STORIES (Crane Hill Publishers, 1996).
13 stories about unearthy dogs. More info: kzweifel@pipeline.com.
***First book!
=====================================================================
EDITOR: Debbie Ridpath Ohi (editor@inklings.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
editor@inklings.com. All articles copyrighted by their authors.
Inklings is a free newsletter for writers on the net, published every
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Inklings is part of the writers' website INKSPOT:
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