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Inklings Issue 6.08
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i n k l i n g s
Inkspot's newsletter for Writers on the Net
http://www.inkspot.com
Issue 6.8 Over 45,000 subscribers April 26, 2000
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<http://www.inkspot.com/inklings/issues/ink0608.html>
In this issue: Literary agent Ginger Knowlton discusses synopses,
agents, and Harry Potter. Sue Emms critiques short story contest
entries from a judge's perspective.
This issue sponsored by:
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XLIBRIS exists to help authors publish. Promptly, permanently.
You retain control. We make it happen: your book in beautiful
hard cover and trade paperback editions, available on-demand,
forever. Call for a free information pack: 1-888-7XLIBRIS, email
info@xlibris.com or visit us online: http://www.xlibris.com/
*****************************************************************
ISSN 1205-6413. Copyright 1995-2000 Debbie Ridpath Ohi. See end
of issue for copyright/contact info. http://www.inkspot.com
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CONTENTS THIS ISSUE:
From the Editor in Chief's Desk
Fresh Ink and Market Information
Ask The Agent
Through Judge-Coloured Spectacles
Writers' Classifieds
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FROM THE EDITOR IN CHIEF'S DESK
-------------------------------
I'm very pleased to announce the appointment of Moira Allen as
Managing Editor at Inkspot. Moira will be overseeing the
production of Inklings as well as helping to manage the editorial
content of the website. Moira has been writing professionally for
nearly twenty years, and has been involved with Inkspot for for
almost four years; her _Freelancing 101_ column is one of the
most popular areas in the site (http://www.inkspot.com/moira/).
Her most recent book is _Writing.com: Creative Internet
Strategies to Advance Your Writing Career_ (Allworth Press,
1999).
Inkspot has grown tremendously since I created it in 1995. So has
the amount of time I spend on it...ironically, I spend far more
time "in the office" now than I ever did when I was in a fulltime
corporate job years ago. The main difference now, of course, is
that I love what I'm doing. :-)
Over the past while, I've been taking a hard look at the "Inkspot
Wish List" that I've been compiling over the years, based on
feedback from the online writing community and my own wild ideas.
Having Moira on board as Managing Editor will help give me the
time to start planning and implementing these ideas. And
speaking of continuing to improve Inkspot...
Show your support for Inkspot (and maybe win a prize :-))
---------------------------------------------------------
Inkspot's Annual Survey is now online. *Please* do take a few
minutes to answer a few questions; we value your input. You don't
have to answer all the questions; answer as few or as many as
you'd like. Ten respondents will receive Amazon gift certificates
of $20 each. You can find the survey at:
http://www.inkspot.com/survey/survey2000.html
Coming next week in Global Writers' Ink
---------------------------------------
Topics: Writing cross-cultural biographies; Writing for UK music
magazines. For more info, see http://www.inkspot.com/global/
- Debbie Ridpath Ohi
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FRESH INK
---------
PRIZE GIVEAWAY: THE WRITER'S LEGAL GUIDE
----------------------------------------
By Tad Crawford. Allworth Press, 1998 (second edition). Topics
include copyright, libel, contracts, syndication, electronic
rights, agents, self-publishing, collaboration, taxes, more.
Deadline: May 7/2000. For more info about these books and how
to enter, see: http://www.inkspot.com/admin/giveaway.html
Winner of WRITING BOOKS FOR KIDS AND TEENS by Marion Crook is
Lorelee Gordon. Winner of THE WRITER'S HANDBOOK is
Micheal O Doibhilin.
** The prize giveaway section will soon be managed by Bev
Walton-Porter, Inkspot Bookstop Editor (writing-related book
reviews). If you have a writing-related book you would like to be
considered for review and/or giveaway, please contact Bev at
bev@inkspot.com. The BookStop: http://www.inkspot.com/books/
The Art Deadlines List
----------------------
A list of a wide range of contests in the arts field, including a
number of writing contests. (MA)
http://custwww.xensei.com/adl
PublishersLunch
---------------
Daily, opinionated publishing news. (DRO)
http://homepages.go.com/~caderbooks/index.htm
Author.co.uk
------------
A good selection of articles and links. (MA)
http://www.author.co.uk/starting
Book Marketing on the Net
-------------------------
A twice-weekly e-zine with articles and tips on how to sell your
titles (self-published or otherwise) online. (MA)
http://www.SellYourBrainFood.com/bookmarketing.htm
Cookie Press: Publishers' Guidelines
------------------------------------
Guidelines for children's book and periodical publishers. (MA)
http://www.signaleader.com/chldwrit.html
Copyright Infringement
----------------------
Excellent article by Sal Towse discussing what constitutes
infringement, and how to avoid it. (MA)
http://www.computerbits.com/archive/19990400/copyright.htm
Creative Writing for Teens
--------------------------
Articles, exercises, and excerpts from books, plus links and
other resources. (MA)
http://teenwriting.about.com/teens/teenwriting
Writer's Resource Center
------------------------
Maintained by John Hewitt. Articles, job postings, resource
links. Rich source of info for writers of all levels of
experience. (DRO)
http://www.poewar.com/
Inkspot Daily Publishing News
-----------------------------
Inkspot's main page is updated throughout the day with publishing-
and writing-related news. (DRO)
http://www.inkspot.com
DRO: Debbie Ridpath Ohi, MA: Moira Allen.
** 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, "cc":
contributors' copies.
Markets Editor: Sal Towse (ST). Research assistants: Shane Stacks
(SS), Margaret Shauers (MS), Jan Edwards (JE), Jerri Ledford
(JL), Moira Allen (MA).
**-----------------------------------------------------**
SCIFI.COM
Fiction Editor: Ellen Datlow
48 Eighth Avenue, PMB 405, New York, NY 10014; (212) 989-3742
Great news! Ellen Datlow is back. SCIFI.COM is a new,
professional webzine. FREQ: "We'll be putting up at least one
piece of fiction a week -- either an original story, a classic
reprint or a section of a novella. We'll be running novellas
over a period of a month. So some months there will be one
novella and two 'Classics' and other months four original stories
and two classics." CIRC: 50K unique visitors per day. NEEDS:
"Literate, strongly plotted science fiction and fantasy stories
-- of any length -- on a variety of subjects and themes." DOES
NOT NEED: Sword-and-sorcery, space opera, or unsolicited poetry.
GL: Submit in standard ms format, include SASE and relevant
personal info. Send complete ms. Don't query. E-mail or any form
of electronic submissions not accepted. No previously published
material or simultaneous submissions. RTS: "First serial world
internet and print for a 6-month exclusivity period and anthology
rights for a SCIFI.COM anthology. The rest is negotiable." PAYS:
20c/word, on acceptance. RT: Approx. 3-5 wks. TIPS: "We want to
intrigue our readers with mind-broadening, thought-provoking
stories that will excite their sense of wonder. Characterization
is crucial. And since many of our readers are not familiar with
technical jargon, the stories must be written in clear,
understandable prose." (SS)
URL: http://www.scifi.com/
GL: Send SASE. (Coming soon on website)
E-Mail: datlow@scifi.com (Do *not* use for submissions!)
[INKSPOT NOTE: This market has not launched yet, but *is*
actively seeking material. Inquire with editor for more details.]
**-----------------------------------------------------**
ROUTE 66
Editor: Bob Moore
326 West Route 66, Williams, AZ 86046; (520) 635-4322; fax (520)
635-4470.
ROUTE 66 is "the first and only slick, four-color publication
written expressly for the Route 66 Roadie." FREQ: Quarterly.
CIRC: 42K. NEEDS: Feature articles covering "travel and life
(both past and present) along Route 66 between Chicago and Los
Angeles, often bringing the past to the present. Stories also
focus on interesting and unique locations nearby or within a few
hours drive of Route 66 and the interstate numbers that
graphically depict its changing face." LENGTH: 1,500-2,500 words.
GL: Query first, via e-mail or postal mail. If accepted, submit
in standard ms format, also via postal or e-mail (if by e-mail,
plain text is best). If submitting on disk (PC-formatted ZIP or
floppy only), include hardcopy. If sending images, include 35mm
color transparencies and b&ws; (include captions with images). No
multiple submissions or simsubs; previously published material
okay. RTS: FNASR. Note: "Photographer releases all after-market
rights or further fee(s) to images after such images appear in
Route 66. If such images appear in other printed matter, the
photographer will receive credit for such images." PAYS:
$60/page, 45 days after publication. RT: 45 days. TIPS: "When
writing an article about places to see or visit on Route 66, or a
side trip (within 100 miles of Route 66 or a two-hour drive),
include accurate, current information on costs the traveler will
encounter (i.e.: overnight accommodations, entrance fees, etc.).
Be sure to include accurate directions and approximate mileage.
We want the sounds, sights, tastes, and smells of a place so one
will have the feel of being there before and will want to go
back." ALSO: "The readers of ROUTE 66 MAGAZINE are especially
interested in stories with a personal touch, and lively,
entertaining anecdotes, as well as stories that focus on
historical locations that the reader may visit. Additional areas
of interest include nostalgia, overnight accommodations
(including campgrounds), humor, interviews, personal experiences,
recipes, activities for children (at destinations and during
trips), unusual places, interesting people, old diners, bridges,
good restaurants in small communities, and unusual, small town
annual events. Filler material may include short stories about
vintage automobiles, interesting signs, outbuildings, new
products, water towers, and mailboxes. Don't overlook any subject
with a human interest." (SS)
URL: http://www.route66magazine.com/
GL: Available via e-mail and postal mail
E-Mail: hwyrvr@worldnet.att.net
**-----------------------------------------------------**
BRAIN, CHILD: The Magazine for Thinking Mothers
Co-Editors: Stephanie Wilkinson, Jennifer Niesslein.
P. O. Box 1161, Harrisonburg, VA 22801; (540) 574-2379
BRAIN, CHILD is a magazine celebrating the diversity of mothers
and their styles that "treats motherhood as a subject worthy of
literature." FREQ: Quarterly. CIRC: 10,000. NEEDS: Please see
guidelines on the web site for more detailed information.
Personal Essays (1,000-5,000 wds): The signature pieces of the
magazine. Essays that share specificity and insight, contain
illustrative anecdotes, a personal voice, and a down-to-earth
tone. Poignancy is fine, sentimentality isn't. Humor is a plus.
Six major essay categories include: The Domestic Life; Identity;
Memory/Family; Love Life; The World at Large; Crisis. Feature
(1,500-3,000 wds): At least one per issue, a piece that relies
more heavily on reporting than introspection. Please query with
clips and a one-page story outline. Nutshell (200-800 wds): News
section. Please query with clips and a pitch. Debate (700 wds):
"friendly fire" -- Please query with clips, an issue and your
take on it. Fiction (1,500-5,000 wds): literary stories, strong
character development. "We're looking for fiction that speaks to
readers as mothers and individuals." Book Reviews (200-800 wds):
Reviews of new and not-so-new books of fiction, nonfiction,
memoir, autobiography. Best to query first with clips. Parody
(800 wds): Parodies that target people, institutions or media who
don't take mothers seriously. "The more important aspect is that
it makes us laugh." RTS: FNASR; also First Internet Rights,
Rights to a Brain, Child Anthology (March Press), should one ever
happen. PAY: "Varies, depending on a number of considerations,
but in general, our fees are modest." RT: Usually about one
month. "If it's been more than a month and a half, please contact
us with the date you submitted your manuscript." SAMPLE COPIES:
$5.00 . COMMENTS: "Our mission is to explore the personal
transformative nature of motherhood, so stand-out submissions are
ones that focus more on the mother than on the child(ren)."
SUBMISSION: Send double-spaced manuscript with a cover letter and
SASE, or e-mail mss to: editor@brainchildmag.com with
"submission" as the subject heading. Writers should e-mail mss in
the body of the e-mail -- no attachments. For Features, News
Items, Debate Essays, and Book Reviews, please query first. No
simultaneous submissions. (JE)
URL: http://www.brainchildmag.com
GL: http://www.brainchildmag.com/guidelines.html
E-mail: editor@brainchildmag.com
**-----------------------------------------------------**
OPEN SPACES QUARTERLY
Nonfiction Editor: Tom Allen; Fiction Editor: Anne Bradley;
Poetry Editor: Susan Bucharest Open Spaces Publications Inc.,
6327 C SW Capitol Hwy., PMB 134, Portland, OR 97201-1937;
503-227-5764, Fax 503-227-3401
OPEN SPACES QUARTERLY is "the magazine of politics, culture,
science, the arts from the Northwest. Our readership is
thoughtful, intelligent, widely read and appreciative of ideas
and writing of the highest quality." CIRC: 5,000 NEEDS: "We seek
thoughtful, well-researched articles, insightful fiction, reviews
and poetry on a variety of subjects from a number of different
viewpoints. Although we take ourselves seriously, we appreciate
humor as well. Nonfiction: Topics of interest include: public
affairs, medicine, business, law, education, the family,
economics, the environment, natural history, science, the arts,
religion, culture and society. Columns/Departments: Personal
experience and observation, humor, travel, etc. Fiction:
1,500-6,000 wds. Poetry: Maximum of three per submission. Book
Reviews: We seek reviews written by established authorities.
Interludes: Cartoons, interesting or amusing Northwest facts,
expressions, etc." RTS: FNASR, anthology rights and rights to
post to our web page. PAY: Varies, but is comparable to other
high-quality regional magazines. SUBMISSIONS: No e-mail
submissions. Submissions must be accompanied by SASE. RT:
averages one to three months. TIPS: Currently looking for
well-written, insightful fiction for summer issue. "We receive
many unsolicited manuscripts, but few of a quality to match our
readership. We love to find that special manuscript that does.
Additionally, beginning with our summer issue, Open Spaces will
be presenting a new section of short (100 to 1,000 wds or
cartoons, illustrations) expressions on a given topic. The topic
for summer is "Running Mates," and includes everything from
politics to partnerships to pounding the pavement. Interpretation
of the topic can be as creative as a writer's imagination." (JL)
URL: http://www.open-spaces.com/
GL: http://www.open-spaces.com/submissions.php
**-----------------------------------------------------**
CREATIVE NONFICTION
Editor: Lee Gutkind
5501 Walnut Street, Ste. 202, Pittsburgh, PA 15232; (412)
688-0304; fax (412) 683-9173
CREATIVE NONFICTION is a journal dedicated entirely to nonfiction
literature. FREQ: Published triquarterly. CIRC: 4,500. AUDIENCE:
Serious readers and writers of literary nonfiction. NEEDS:
Profiles, essays, book excerpts. LENGTH: 5,000 wds maximum. RTS:
FNASR. PAY: $10 per published page. RT: 3 to 6 months. SAMPLE
COPIES: $10. COMMENTS: Creative Nonfiction seeks: "Strong
reportage; well-written prose, attentive to language, rich with
detail and distinctive voice. An informational quality or
teaching element offering the reader something to learn; for
example, an idea, concept, collection of facts --strengthened
with insight, reflection, interpretation. A compelling, focused,
sustained narrative that's well-structured, makes sense, and
conveys a meaning." SUBMISSION: No submissions by fax or e-mail.
Include SASE. TIPS : Creative Nonfiction occasionally publishes
theme issues. Information about upcoming themes will be posted on
the web site and advertised in writers' publications like Poets &
Writers, AWP Chronicle, Writer's Digest. (JE)
URL: http://www.creativenonfiction.org
GL: http://www.creativenonfiction.org
E-mail: lgut@pitt.edu
Please send market news to Sal Towse, towse@inkspot.com.
*****************************************************************
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) judith@judithbowen.com
David Breeden (POET) dbreeden@schreiner.edu
Charles Deemer (SCREENWRITER) charlesd@inkspot.com
Mark Fowler (LAWYER) askthelaywer@inkspot.com
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
Ginger Knowlton (AGENT) agent@inkspot.com
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) lee@inkspot.com
Marcia Yudkin (FREELANCE WRITER) 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 AGENT
-----------------------------------------------------------------
by Ginger Knowlton <agent@inkspot.com>
Purpose of a novel synopsis
---------------------------
Q: What is the real purpose of a novel synopsis -- from an
agent's perspective? In other words, what are you looking for in
a synopsis? Are you wondering if the author knows how to pitch
and market her work? I'm asking because it seems to me that it is
possible to tell whether a novel is well-written from reading the
first few pages. And it should be possible to tell whether the
novel has an interesting "high concept" from the query letter.
A: You're correct in thinking that it's possible to tell if
a novel is well-written from reading the first few pages. An
agent requests a synopsis because, without having to read the
entire manuscript, she hopes to gain an idea of the novel's
pacing, structure, setting, characters, tone, and whether or not
the idea is a "high concept" or a variation of an old theme.
Does the success of the Harry Potter books mean fantasy is "in"?
----------------------------------------------------------------
Q: Harry Potter seems to be all the rage now. Does this mean it's
the right time to submit children's fantasy book manuscripts? Or
does it mean that the market is going to be glutted with Harry
Potter clones so not to bother?
A: I don't think it's a good idea to "write to a trend."
However, if you have an excellent children's fantasy to market,
I'd urge you to submit it not because of the success of Harry
Potter, but due to your manuscript's own merits. It's inevitable
that a lot of people will be writing children's fantasies, trying
to cash in on the success of Harry Potter, but this is not new.
Publishers have been publishing excellent children's fantasies
for years and they'll continue to do so.
Should I find an agent for my first novel?
------------------------------------------
Q: I have just completed my first novel. Is it better for me to
try to shop it around first, or to look for an agent?
A: First, a confession: I am an agent and I am biased. Second,
approximately ninety percent of the publishing houses do not
accept unsolicited manuscripts. Others may tell you differently
but in my opinion, a first time author is well-advised to find a
reputable agent. There are always exceptions, of course. Some
authors are business-oriented and well-versed in the various
publishing houses. They know what editors are looking for and
what their novel is worth in the current marketplace. But for
the most part, if you can find an agent who loves your novel,
knows the market, can put your manuscript in the right hands, and
negotiate a better deal than you'd be able to, you'll be better
off.
Editors often become an author's friend and confidante but it's
important to remember that an editor works for the publisher.
You pay your agent to work for you so it's in the agent's best
interest to do all she can to make sure you're happy, well-paid,
and well-published.
Should I tell agents about my trilogy, or just the first book?
--------------------------------------------------------------
Q: Hello, I'm working on a trilogy. I know, I know, bad idea for
an unpublished author. However, as book one is done, book two is
in editing stages, and book three is being created, I'm past the
point of no-return. My question is about agents and how I should
approach them with this beastie. It is in the fantasy genre, so
series are more of a norm than an exception, but I am
unpublished. Should I let book one try to stand on its own? Or
fess up to the truth when contacting these agents? I appreciate
any help you can give me.
A: The short answer is that book one must stand on its own.
Period. But I realize I might have taken your question out of
context. I'll assume book one does stand on its own and you're
asking whether or not you should confess in your query letter
that it's book one of a trilogy. Since it's best to be up-front
and honest, I suggest you describe book one in detail and mention
that you envision it as a trilogy and would like the agent's
input on that. This shows that you're willing to listen to an
agent's advice and you know it's a partnership.
**----------------------------------------------**
Ginger is a literary agent at Curtis Brown Ltd. (please note that
she is currently not looking for new clients). Because of the
volume of mail she receives, Ginger is unable to reply to
messages privately, but will answer selected questions in future
issues of Inklings. If you wish to make a business-related query,
please use regular channels (surface mail). See the AAR FAQ for
tips on how to query an agent:
http://www.bookwire.com/AAR/FAQs.html
Copyright (c) 2000 Ginger Knowlton.
*****************************************************************
THROUGH JUDGE-COLOURED SPECTACLES
-----------------------------------------------------------------
by Sue Emms <Les.Emms@bigfoot.com>
Recently I was asked to judge a competition. A few days later, I
received a box of nearly 300 hundred stories -- and sat down for
a few days of great reading.
I had a game plan. I wanted good opening lines, strong characters
that read like real people, dialogue that rang true. I would look
for well-crafted, original stories, for the 'x' factor that
captures the reader and causes the story to linger in the memory.
I thought that perhaps half the stories would qualify.
Only 26 did.
You're shocked? So was I. Here are the main reasons many stories
didn't succeed:
Lack of Writing Ability
-----------------------
A good 20% of the stories were missing the basic skills of
spelling, grammar, sentence construction, story structure, tense,
etc. You don't need a degree in English to write well, but you
do need an understanding of the basics. If you feel you are weak
in this area, take time to learn. If your prose is improved, you
will have a greater chance of success.
Lack of Originality
-------------------
If you get a blinding flash of an idea, don't use it. I'm
serious: If it came to you that easily, there's a good chance it
has come to dozens of other writers as well. Here are two
examples of overworked story lines:
1) An older, female family member has a secret that, inevitably,
turns out to be that she had a baby out of wedlock years before.
2) A child is doing something (down by the water, usually) and
grandfather comes along for a chat, dispensing a few words of
wisdom before saying he has to go. The child goes back to the
house to find that grandfather died an hour before the visit.
While I'm on the subject, avoid the use of Grandma's diary or the
bundle of love letters in the attic as a plot device. Don't
settle for tired, overused story lines.
Telling, Not Showing
--------------------
This was a major weakness in the stories I read. Telling a story
results in flat, lifeless prose that bores readers and can lead
to a judgmental, lecturing writing style. Don't say the monster
was scary, describe how "drool dripped over its scaly lips" and
let the readers make up their own minds. Draw readers in by
showing events as they unfold and characters as they develop.
Poor Characterisation
---------------------
This let down many stories that otherwise had good potential.
Children talked like adults, modern teenagers spoke as if they'd
stepped out of the 20's. Men sounded like women (when they
weren't supposed to). Actions and words contradicted
descriptions -- for example, writing "He was a mild-mannered man"
followed by a passage in which the character throws a tantrum and
smacks his wife. You might protest and say that the point of the
story is that he acted out of character, and there is a place for
that. I'm not talking about deliberate writing; I'm talking
about the muddled kind, where the author obviously hasn't planned
the character properly.
Overuse of Adverbs and Adjectives
---------------------------------
As an "accent," these have a place in writing, but when overused,
they weaken your prose. For example:
John sat at the table and tapped his foot steadily.
"Do you have to," asked Jane irritably.
"Have to what?" he asked nastily, and deliberately spilled
sugar on the table. He looked at her innocently. "What's wrong?"
he asked.
Jane thought, this marriage is what's wrong, and flounced
angrily out of the kitchen.
Long-winded Descriptive Passages
--------------------------------
In a short story, the reader almost never needs to know how green
the hills are, or how blue the sky, or how restless the sea,
unless the location is essential to the plot. You'd be surprised
at how often exact details don't matter if you've given the
"essence" of the place.
Stories that Weren't
--------------------
No matter how subtle or obscure a story may be, it should have a
beginning, middle and end. It should also have a theme, which
doesn't have to be overtly stated, but may run through the prose
in an unspoken motif. Essays, anecdotes, lectures or personal
reminiscences are not short stories. Likewise, writing that is
nothing more than a soapbox for personal beliefs is not a story.
I read several pieces that lectured on the need to be kind to one
another, that urged "young people" to respect older folk, and so
on. By all means, write about these issues if they concern you,
but decide if you're writing a short story or an essay.
General Inconsistencies
-----------------------
By this I mean lifestyle values, clothing styles, social
standards, manners of speech and so on that were not in harmony
with the setting. For instance, in Western culture today,
children almost never call their grandparents "Grandmother" and
"Grandfather." Terms like Granddad, Poppa, Nanna, Ning, and Gran
are far more likely to be used. And don't discount the large
number of kids who come from split families and have a confusing
number of grandparents: They're likely to use given names. Many
good stories were spoiled by a disparity between the stated
generation and the generation revealed by the prose.
Poor Presentation
-----------------
Stories arrived on coloured paper, handwritten, single-spaced and
in fancy fonts. They had borders, illustrations, and dedications
to loved ones. Did those writers think this would make their
story stand out? It did -- it marked them as amateurs. Some
manuscripts had so many typos and corrections that they looked
like a schoolchild's effort. Others were worn and torn; without
doubt they'd been around the block a few times. Some were full of
bold accents and italics, which do not add to your prose; they
weaken it. Another painful truth: Any busy editor would toss out
such manuscripts without even reading them. Don't waste your
time, energy and money sending out work in such formats. At one
end of the scale, a good short story can offer a few minutes of
relaxation and escape. At the other, it can make a reader laugh,
think or cry. It can entertain, illuminate, move or stir
someone, change the reader's perception of an event or person or
feeling -- in short, enhance our understanding of the world.
And that is exactly what the judges are looking for!
**----------------------------------------**
Sue Emms is a New Zealand writer and editor with work published
in New Zealand, Great Britain, the USA, and the World Wide Web.
She dreams of finding time to write a novel this year, and has
bigger dreams of getting it published. This article was based on
her experiences judging the Auswrite Short Story Competition.
Copyright (c) 2000 Sue Emms.
*****************************************************************
INKSPOT WRITERS' CHAT CENTER UPDATE - by Shane Stacks
-----------------------------------------------------
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