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Inklings Issue 4.18
================================================================
i n k l i n g s
Inkspot's newsletter for Writers on the Net
Issue 4.18 * Over 39,000 subscribers! * Sept.2, 1998
================================================================
<http://www.inkspot.com/inklings/issues/ink0418.html>
This issue features a column by Charles Deemer (ASK THE
SCREENWRITER) and an article about queries vs. articles by
Moira Allen.
This issue sponsored in part by:
================================================================
XLIBRIS BRINGS YOU PUBLISHING ON DEMAND
If you are an author discouraged by the odds of corporate
publishing, there is now a new alternative for getting your work
in print. Xlibris on-demand electronic publishing provides a
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Thanks to the efficiencies of today's digital publishing and
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in the high quality trade paperback or hardback edition your work
deserves.
We're so sure you will be pleased with the quality of Xlibris books
that we want to send you a sample copy of a finished volume,
with absolutely no obligation on your part.
Just call Xlibris 1-888-7XLIBRIS and mention this advertisement.
Xlibris. The power to publish.
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================================================================
THE WRITER'S SOFTWARE COMPANION: multimedia software by Writer's
Digest's Nancy Kress. Uses advanced learning tech. and total
immersion to bypass years of trial-and-error, dramatically
accelerating a writer's progress. http://www.novalearn.com
================================================================
ISSN 1205-6413. Copyright 1995-1998 Debbie Ridpath Ohi. See end
of issue for copyright/contact info. http://www.inkspot.com
================================================================
CONTENTS THIS ISSUE:
From The Editor's Desk
Fresh Ink and Market Information
Ask The Screenwriter
Queries vs Articles: Which Is Best?
Writers' Classifieds
================================================================
FROM THE EDITOR'S DESK:
=======================
I've been experimenting with a new online chat/lecture
environment lately...in a text-based virtual "world", a user can
pick up and examine objects, receive and read handouts from
a lecturer, interact with other users, exchange information,
explore virtual buildings and worlds, and so on. I'm excited
about the educational possibilities of this new environment,
and am currently testing it out for future chats and lectures.
We had a small test chat last night with a few people, and
the results were encouraging.
I'd like to test with a larger group next time. If you're
interested in being a tester, please send email to
editor@inkspot.com with "chat tester" in the subject header.
I'm also looking for potential lecturers. If you're an author
interested in hosting a future chat or lecture, please send
email to editor@inkspot.com with "chat author tester" with
a brief description of your publishing credits.
MAC SUBMISSION TRACKING SOFTWARE:
Thanks to those who responded to my inquiry in the last issue
about Mac submission tracker software. I received the following
suggestions:
Bud SparHawk's submission tracker
http://www.sff.net/people/bud_sparhawk/tracking.htm
(download link is at the bottom of the page)
John Lindal's Mac Agent
Shareware fee
http://www.micro.caltech.edu/Grads/jafl/about.progs.html
JOB OPENINGS AT INKSPOT:
I am looking for people to help me maintain Inkspot. Applicants
should be familiar with uploading and downloading files from the
Internet. For a detailed job description and info on how to
apply, please send email to jobs@inkspot.com (just leave your
message blank), and you should receive information within 24
hours.
PRIZEWINNERS:
Congratulations to the following people, winners of the
1999 Writer's Market CD-ROM/book package donated by Writer's
Digest:
Julie-Ann Samuelson
Nancy Henderson-James
Mike Alvarez
FRESH INK
=========
BOOK PRIZE GIVEAWAY: How To Promote Your Children's Book
--------------------------------------------------------
HOW TO PROMOTE YOUR CHILDREN'S BOOK - A SURVIVAL GUIDE. By Evelyn
Gallardo. Primate Productions, 1997, $15.95.
http://www.evegallardo.com. Topics include press kits and other
writers' tools, and tips on working with publishers, librarians,
booksellers, and the media.
One name will be randomly drawn to win this book. To enter,
send email to giveaway@inkspot.com with your name and email
address with "promotion" in the subject header. By
entering, you agree to let Inkspot and Inklings publish your name
and email address if you win. Deadline: Sept.13, 1998. More info
about the contest and book (including ordering info) at:
http://www.inkspot.com/admin/giveaway.html
If you wish to contact Inkspot to volunteer a writing-related
giveaway book or product, please send email to editor@inkspot.com
with "book for giveaway" in the subject header.
Travelwriters.com
-----------------
Rates, guidelines, and contact info for travel markets. How-to
tips, forums, polls, free personal web pages for travel writers
and photographers, free marketing newsletter.
http://www.travelwriters.com
Writers.Net
-----------
Searchable directory of writers, editors, publishers, and agents.
http://www.writers.net/
WritePro
--------
Software by Sol Stein, author of STEIN ON WRITING. Free demo
download available from website, which also includes useful
writing tips.
http://www.writepro.com/
LEO: Literary Education Online
------------------------------
Collection of online handouts on many style and grammar topics.
Courtesy St. Cloud State University.
http://leo.stcloud.msus.edu/
A Bowl Of Writer's Cereal
-------------------------
How-to articles and tips, links, and an "interactive arena"
which guides you through the steps in writing a story.
http://www.geocities.com/SoHo/Cafe/5287/
Flash Fiction Writing Workshop
------------------------------
For serious writers of short short pieces (approx. 500 wds).
Critiquing, discussion of markets, writing theory, sharing
publishing successes. Participation is mandatory (no lurkers) and
copyrights are taken very seriously. You must be over 18 to
subscribe. To subscribe send a message to:
listserv@listserv.uta.edu and in the message section write:
subscribe flashfiction-w Your Name.
Fresh Squeezed Writing
----------------------
Inspirational quotes, poetry, chat, guestbook, resource links.
Great page design! :-)
http://members.xoom.com/freshwriting
** Please send suggestions for Fresh Ink to freshink@inkspot.com
================================================================
MARKET INFORMATION
==================
Please get current, detailed guidelines before submitting to
publications if possible. Don't submit to email addresses unless
specifically stated. Include a SASE for surface mail replies.
More market info at: http://www.inkspot.com/market/.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed, stamped envelope, "simsubs" = simultaneous
submissions, "mss" = manuscript, "RT" = response time, "GL" =
guidelines, "wds" = words, "cc" = contributor's copy,
"IWGL" = Inkspot Writer's Guideline Library.
Markets Editor: Sal Towse (ST).
If you are a paying market and wish to add your listing to
Inkspot/Inklings, request a form from mktform@inkspot.com.
Check out the *INKSPOT WRITERS' GUIDELINES LIBRARY* at:
http://www.inkspot.com/cgi-bin/guidelines/guide.cgi
ASIMOV'S SCIENCE FICTION
------------------------
Asimov's Science Fiction. 1270 Avenue of the Americas, 10th
Floor. New York, NY 10020. (212) 698-1313 FAX: (212) 698-1198.
Editor: Gardner Dozois. Science fiction. Monthly except for a
combined Oct/Nov issue. Circ: 35K. 144pp/issue. Audience: ~42 yo.
75% male. Looking for: "character oriented" stories, those in
which the characters, rather than the science, provide the main
focus for the reader's interest. Serious, thoughtful, yet
accessible fiction will constitute the majority of our purchases,
but there's always room for the humorous as well. Borderline
fantasy is fine, but no Sword & Sorcery, please. Neither are we
interested in explicit sex or violence. A good overview would be
to consider that all fiction is written to examine or illuminate
some aspect of human existence, but that in science fiction the
backdrop you work against is the size of the Universe. RIGHTS:
FNASR plus certain non-exclusive rights. Do not publish reprints.
Do not accept simultaneous submissions. NO E-MAIL SUBMISSIONS
PAY: On acceptance. $.06/wd to 7,500 wds. $.05/wd for stories
longer than 12,500 wds. $450 for stories between those lengths.
We seldom buy stories longer than 15,000 words, and we don't
serialize novels. $1 a line for poetry, not exceed 40 lines. RT:
5 wks. Do _not_ query. SAMPLE: $3.50 and an SASE to address
above. TIP: Our editors are looking in particular for
originality. Writers should avoid the use of tired themes and
concepts. (ST)
URL: http://www.sfsite.com/asimovs/
GL: http://www.sfsite.com/asimovs/guide.htm
E-mail: asimovs@asimovs.com
THE MINORITIES' JOB BANK
------------------------
The Minorities' Job Bank: 140 Carondelet St., New Orleans, LA
70130. Online Editor: Kathy Dejoie. (504) 523-0154.ext 225. Under
the aegis of the Black Collegian Magazine, the Minorities' Job
Bank is a web-based publication dedicated to providing career and
self-development information to minority job seekers. The MJB
goal is to link qualified job applicants with corporate
recruiters through the largest online database of equal
opportunity employers committed to workplace diversity. Our
mission is two-fold: *to assist readers in finding and succeeding
in their career objectives, and *to provide them with the
political, economic and spiritual information necessary to help
them achieve their desired level self-fulfillment. Send clips and
resumes to the address above, attn: Kathy Dejoie. Reference where
you found the listing. The MJB reflects the rich cultural
heritage of all minorities through the use of virtual villages.
Each village (content area) has feature articles by leading
writers, thinkers, academicians, politicians, and social
activists who share a common bond of history and language with
other village members. Many articles are assigned, but do
consider unsolicited material. Submit a brief, but detailed,
letter of inquiry to the village editor explaining the basic
concept of the proposed article. LENGTH: 600-1000 wds. PAY: On
publication. Fees negotiable (Range: $2-250). BUYS: 1st time
electronic rights and right to archive. NEEDS: (for
Hispanic-American village: extrapolate for other villages) 1. The
Politics of Cultural Identity: analysis and investigation of the
emerging political and economic trends of the U.S. Hispanic
population. 2. Spotlight on Hispanic Achievement: candid
interviews with and profiles of Hispanic celebrities, role models
and leaders past and present. 3. Job Hunting Information; how to
write effective resumes, prepare for job interviews, evaluate
prospective employers and job offers and how to market your
professional skills. (ST)
URL: http://www.minorities-jb.com
GL: Not online. E-mail for further information.
E-mail: Enrique Gili enrique@minorities-jb.com
STAR TREK: STRANGE NEW WORLDS II CONTEST (DEADLINE: 01 Oct 1998)
----------------------------------------
STRANGE NEW WORLDS II. Star Trek Department. Pocket Books. 1230
6th Avenue. New York, NY 10020 NO PURCHASE NECESSARY.
ELIGIBILITY: Open to non-professional writers who are legal
residents of the United States and Canada (excluding Quebec) over
the age of 18. Entrant must not have published any more than two
short stories on a professional basis or in paid professional
venues. Employees (or relatives of employees living in the same
household) of Pocket Books, VIACOM or any of its affiliates are
not eligible. This contest is void in Puerto Rico and wherever
prohibited by law. ENTRY: No more than 7,500 wds. Not previously
published. All entries must be original and the sole work of the
Entrant and the sole property of the Entrant. You may submit more
than one story but each submission must be mailed separately. No
electronic submissions. PRIZES: Grand Prize (one) Contract with
bonus advance of $1K above the Anthology wd rate of $0.10/wd.
Second Prize (one) Contract with bonus advance of $600 above the
Anthology wd rate. Third Prize (one) Contract with bonus advance
of $400 above the Anthology wd rate. All honorable mentions (no
more than 20) will receive contract withh payment at the
Anthology word rate of $0.10/wd. Each prize winner will also be
entitled to a share of royalties. See site for story
disqualification guidelines. LEGAL STUFF: All entries become the
property of Pocket Books and of Paramount Pictures, the sole and
exclusive owner of the Star Trek property and elements thereof.
Entries will be returned only if they are accompanied by a SASE.
DEADLINE: 01 Oct 1998. (ST)
URL: http://www.simonsays.com/startrek/features/rules.html
SALON contest (Deadline: Sept.15)
-------------
Get published in SALON and win a trip for two to Stuttgart,
Germany, and use of a Mercedes-Benz; or a Mercedes-Benz Sports
Cruiser Bike; or a Mercedes-Benz Dress Watch. Enter the
Mercedes-Benz Fantasy Drive Essay Contest, and in 2,000 words or
less take us on an adventure to an exotic island or down a
winding lane in the English countryside. This could be your
ticket to the Autobahn! Deadline for entry is Sep. 15, 1998.
Sponsored by Mercedes-Benz of North America Inc. and Lufthansa.
(ST)
GL: http://www.salonmagazine.com/promo/1998/06/mbusa
**Note from Sal about the following listing:
Take out your pencils, folks, just received from Randy
Dannenfelser: new e-mail, new snail mail, new wd reqs, new needs.
Warning: response time is slooooow.
ADVENTURES OF SWORD AND SORCERY
-------------------------------
Adventures of Sword and Sorcery, P.O. Box 807, Xenia, OH 45385.
Randy Dannenfelser, Editor. Sword & Sorcery, Heroic and High
Fantasy fiction. PAYMENT: On acceptance. $0.03-0.06/word for
FNASR. E-mail submissions (ASCII files) okay. Include a cover
letter with credits and submit the story in the standard format
for fiction submissions. (Include SASE with sufficient postage.
Use IRCs if submitting from outside the U.S.) LOOKING FOR: We are
looking for Sword & Sorcery, Heroic and High Fantasy, fiction
from 1K to 20K wds. We want fiction with an emphasis on action
and adventure, but still cognizant of the struggles within as
they play against the struggles without. As examples, think of
the fiction of J.R.R. Tolkien, Fritz Leiber, and Katherine Kurtz,
but with 90's sensibilities for a 90's audience. Include sexual
content only as required by the story, but not excessive/porn.
The best way to determine what type of stories we want to buy, is
to see what we have already bought. In other words, we recommend
picking up a sample copy of the magazine at a bookstore, or
ordering one directly from us (a sample copy is $6 to the same
address above). TIP: Iâm recently looking for fiction with a wide
variety of pre-industrial settings and fiction that makes the
reader truly feel something. Look at your storyâs ending and
make sure it is appropriate, provides closure, and has resonance
with the rest of the story. Think about the audience we are
targeted at, and send us suitable stories. (ST)
E-mail: double_star@yahoo.com
MARKET UPDATES FROM SAL:
OUT WEST NEWSPAPER (http://www.outwestnewspaper.com) needs no
freelance written material but is still in the market for
stand-alone photos with captions. BAY AREA ADVENTURER is not a
paying market, but may be in the future.
=================================================================
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) jbowen@max-net.com
David Breeden (POET) drpoetry@ktc.com
Charles Deemer (SCREENWRITER) cdeemer@teleport.com
Mark Fowler (LAWYER) askthelawyer@inkspot.com
Susan Graham (AGENT) slgraham@mindspring.com
Carol Henson (BOOK DOCTOR) bookdoc@Prodigy.net
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
Bob Sablatura (JOURNALIST) bob.sablatura@reporters.net
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) lwardlaw@gte.net
Marcia Yudkin (FREELANCE WRITER) send to yudkin@inkspot.com
Columnists may be unable to reply privately to every message,
but will answer selected questions in future issues of Inklings.
Please keep your question BRIEF and send it to *one* columnist.
=================================================================
ASK THE SCREENWRITER
---------------------------------------------------------------
by Charles Deemer <cdeemer@teleport.com>
Getting an agent
----------------
A: How does a screenwriter acquire an agent?
A: This is one of the first questions my screenwriting students
ask, and they always ask it several years too early. They ask it
because they have heard that they cannot get a script read unless
they have an agent. This is not true.
Now there WILL be a time in a screenwriter's career when an agent
is a necessity but there is much to do early in a career that
does not require an agent. You do NOT need an agent to get read
by most independent producers. They will send you a release form
to sign, which reads as if you are signing away your life (bite
your lip and sign it). Even if you get lucky and a producer
wants to buy an option on your script, you can hire an
entertainment attorney to handle the deal for you.
So when is it time to look for an agent? When you have some
credits, such as indie producer interest or contest placement.
All beginners should be entering the Nicholl Fellowship
competition yearly because this has proven to be the quickest way
for "newbies" to enter the industry. But this contest is hugely
competitive. A strategy more likely to get you started is the
aggressive pitching of your script to independent producers via
query letters.
Let me say a few more things about agents. Agents prefer that
you live in Los Angeles, and if you aren't willing to move you
will have a harder time finding one (it can be done: I'm from LA
but haven't lived there in years and have an agent who is getting
me top readings). This is because a good deal of screenwriting
income - and 10%, the agent's cut, of nothing is nothing - comes
from rewrite work, which is assigned during meetings in LA. Not
being in LA is definitely a disadvantage for a screenwriter.
Also, an agent is more interested in representing a CAREER than a
script, which is why it's good to have several scripts available
when you start shopping for an agent. Even if these scripts
aren't sold, they can be good writing assignments that, if you
are in LA, can get you assignments.
Getting an agent is a late development in a screenwriting career.
First comes learning the craft, then testing the waters by
entering contests, and finally aggressively querying indie
production companies. This process takes most writers about five
years. Unless you live in Los Angeles, don't waste time worrying
about an agent until then.
==----------------------------------------------------==
Charles Deemer is on the graduate writing faculty at Portland
State University, where he teaches screenwriting. Since 1994 he
has been the webmaster of The Screenwriters & Playwrights Home
Page. His electronic book SCREENWRIGHT: THE CRAFT OF
SCREENWRITING was released last summer. For a preview, see:
http://www.teleport.com/~cdeemer/book/index.html
Copyright (c) 1998 Charles Deemer.
================================================================
QUERIES VS. ARTICLES: WHICH IS BEST?
----------------------------------------------------------------
by Moira Allen <moira@inkspot.com>
Q: Which comes first, a "query" or an article? You could wait
6-8 weeks for a response to a query; why not devote that time to
writing an article and submitting the completed article instead
of a query? I don't understand the benefit of waiting so long
for a nonbinding indication of interest -- or perhaps I don't
understand the purpose of a query.
A: When trying to make this decision, it may help to remember
that "query vs. article" isn't so much a question of what you
should write first, but how to best MARKET what you write. In
some cases, writing the article first may be your best choice,
either because you risk losing enthusiasm for the idea if you
wait, or because you aren't sure exactly how the piece will turn
out.
Even if you do write the article first, however, that doesn't
mean that you should ignore the query process. Think of the
article as your product -- and a query letter as the marketing
tool that will help you sell that product. Simply put, a query
letter is a sales pitch for your article.
To be an effective sales tool, a query should contain the
following information:
* A "hook" -- perhaps the opening sentence or two of your article
-- to grab the editor's attention and indicate why the article
would appeal to the publication's readership.
* A concise summary of the article. I usually provide a title,
then four or five bulleted points. Don't tease; give enough
information to help an editor determine what the piece will be
about (and to prove that you know what you're talking about).
* An indication of why the article is appropriate for this
particular audience. (Avoid phrases like "Your readers will love
this story;" be specific about audience benefits.)
* Your qualifications for writing the article -- e.g.,
credentials, education, writing experience, personal experience,
etc. If you don't have any writing experience, don't say so;
instead, describe some other qualification that will demonstrate
your knowledge of the subject.
* A suggested word count and delivery date (e.g., 30 days after
receiving the assignment).
Needless to say, it's also essential to make your query look as
neat and professional as possible; typos in a query are the kiss
of death (as are cliches!). Keep it to one page if possible, and
don't forget the SASE.
Why Bother?
-----------
But if you've already written the article, you may ask, why
bother sending an advance sales pitch? Why not let the article
"sell itself"? There are several reasons.
* Most editors prefer queries -- so why not give them what they
want? From a query, an editor should be able to learn the
following things without having to wade through a 10-page
article:
-- Whether the material is appropriate for the magazine. Does it
address a relevant topic, from an angle or slant tailored to the
magazine's audience? Does it sound interesting or useful? (Nine
out of ten queries don't; similarly, nine out of ten articles
aren't. The folks who wrote the queries, however, saved
themselves, and their editors, a lot of time.)
-- Whether the topic has been covered recently or is in the
works. This is a key reason for writing queries: You don't know
what articles the editor has on hand or has contracted for. Why
waste weeks writing an article just to discover that someone else
had a similar idea first? (And no, this doesn't mean that
editors read queries and then rush to assign "your" ideas to
"their" writers.)
-- Whether you are capable of presenting a well-developed,
well-written proposal -- and by extension, a well-written
article. A query helps an editor assess a writer's abilities
quickly. Besides issues of grammar and professionalism, an
editor will also look at tone and style, so polish your query as
you would a finished article.
-- Whether you have the qualifications to write the piece. Some
magazines won't accept technical articles from nonprofessionals.
Others are willing to work with writers who can interview
professionals. Use your query to develop a convincing argument
as to why you should be given this assignment.
* Many publications now accept queries only, due to the time and
cost involved in reading unsolicited submissions. Consequently,
a query may be the only way to be considered at all.
* Many publications pay more for assigned articles than for
unsolicited articles. Thus, while you might be able to sell the
piece "cold," you might also be able to get more for it if you
query first.
* Queries save you time and effort. Compare the amount of time
involved in researching and writing an article to the amount of
time required to write a query. Can you seriously afford to
spare valuable writing time on material that may not sell --
especially when research is involved?
The Question of Commitment
--------------------------
Chances are that even if you receive a positive response, it will
be "nonbinding" -- e.g., "go ahead on speculation." Is that
worth waiting for?
Yes. Although "on spec" isn't a promise, it is a commitment on
the part of an editor to give your article careful consideration.
Most editors won't give such an assignment unless seriously
interested -- and though we've all heard horror stories, most
won't reject an on-spec piece unless it is seriously flawed.
Those flaws, however, are the reason for on-spec assignments.
Every editor has been burned at one time or another by a writer
who made glowing promises but didn't deliver. New writers,
therefore, are rarely given "firm" assignments. Instead, they
are given an opportunity, on speculation, to prove that they can
deliver well-crafted material.
If you can prove this, you're well on your way to "real"
assignments. Better yet, editors may start calling you with their
own ideas. You'll also need to spend less time on queries to
editors who know your work; you don't have to dazzle them with
your style or your credentials, but can simply pitch a brief
summary of your article idea. (Such as: "How about an article
on the basics of query letters?") But don't try this in the
beginning!
Unless a magazine's listing says e-mail queries are OK, don't use
this method to approach an editor for the first time. Instead,
wait until you have a relationship (or permission) before
e-mailing queries or submissions.
Ten years ago, it was much easier to approach the market with an
unsolicited manuscript. Today, queries have become an industry
standard; they are expected of the professional writer. Rather
than viewing queries as a time-consuming "middle step" between
writing and selling, think of them as a tool that will help open
doors to your writing -- doors that might otherwise remain firmly
closed.
==---------------------------------------------------==
Moira Allen is a former editor of _Dog Fancy_ magazine, and has
been a professional freelancer and editorial consultant for more
than 18 years. She is the author of three books and nearly 150
articles. She also teaches professional and creative writing at
a local community college. You can find out more information at:
http://www.olywa.net/peregrine/index.html
Copyright (c) 1998 Moira Allen.
================================================================
W R I T E R S ' C L A S S I F I E D S
=================================================================
Book Promotion empowers authors to self market their books Online
Charles Kessler 888-680-3223 http://www.bookpromotion.com
=================================================================
Over 400 up-to-date writer's guidelines of paying markets plus
"Writing for DOLLARS!" newsletter - FREE at http://www.awoc.com
=================================================================
FREELANCE SUCCESS newsletter gives nonfiction writers the tools
they need to earn a fulltime living. Detailed market information
for pros and those who aspire to be, plus online writing classes.
SASE to 801 NE 70th St., Box IK, Miami, FL 33138.
E-mail: freelance-success@usa.net http://www.freelancesuccess.com
=================================================================
Free award-winning fiction-writing tutorial disk. Great reviews
at www.writepro.com. 1-800-755-1124 or 914-762-1255 9-4 EST M-F
=================================================================
ReadingWrite Internet Workshops http://www.readingwrite.com
Online creative writing workshops in poetry and memoir.
=================================================================
CLASSIFIED RATES: US$20/line/issue. Min. 2 lines, max. 5 lines,
where a line = 65 characters including spaces and punctuation.
Pay for a 5-issue run and get an extra issue free. All contracts
must be prepaid. Write to classifieds@inkspot.com.
=================================================================
EDITOR: Debbie Ridpath Ohi <editor@inkspot.com>
ASSISTANT EDITORS RESEARCH/EDITORIAL ASSISTANT
Fox, Chris Donner Tina Kennedy
SYSTEM ADMINISTRATOR BUSINESS MANAGER LIBRARIAN
Bryan Fullerton Jeff Ridpath Noah Chinn
COPY EDITORS/ Gail Heinsohn <intrepidrider@taconic.net>
PROOFREADERS: Cathy Rutland <copyeditor@inkspot.com>
SALES & ADVERTISING: MediaGlue <sales@inkspot.com>
(CLASSIFIEDS: classifieds@inkspot.com)
CONTRIBUTING EDITORS:
Moira Allen, Judith Bowen, David Breeden, Charles Deemer, Mark
Fowler, Susan Graham, Paula Guran, Carol Henson, Ken Jenks, Tina
Kennedy, Bob Sablatura, Michelle Sagara, Sal Towse, Lee Wardlaw,
Marcia Yudkin
Full masthead info at http://www.inkspot.com/admin/contact.html
Thanks to Samurai Consulting for hosting the Inklings mailing
list. More info: http://www.samurai.com or bryanf@samurai.com
=================================================================
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