By: Jojo Moyes
Broken Ground (Karen Pirie)
By: Val McDermid
The Tattooist of Auschwitz
By: Heather Morris
Liar Liar: (Harriet Blue 3) (Detective Harriet Blue Series)
By: James Patterson (Author), Candice Fox (Author)
The Woman in the Window
By: A. J. Finn
Need To Know
By: Karen Cleveland
By: Christine Mangan
By: Lisa Jewell
Eleanor Oliphant is Completely Fine
By: Gail Honeyman
The Brooklands Girls (The Maitland Trilogy)
By: Margaret Dickinson
The Queen Mary Wasafiri New Writing Prize 2019
Closing Date: 28th June
There are three categories: Fiction, Poetry, and Life Writing.
The winners in each category will receive a £1,000 cash prize. They will also be published in Wasafiri and offered the Chapter and Verse or Free Reads mentoring scheme in partnership with The Literary Consultancy (dependent on eligibility).
Entry Fee: £6 for one entry, £10 for two, £15 for three.
Closing: June 29, 2019.
Prizes: £600, £300, £150, two highly commended prizes of £75 each.
Entry Fee: £3 per poem
The competition is open to anyone who was either born, educated, working or resident in Suffolk, or is a Suffolk Poetry Society member.
All winning poems (including commended poems not attracting a monetary prize) will be read at an awards event in early October and will be included in the 2019 Crabbe Poetry Prize Anthology.
If you're just breaking into the writing business, you may be wondering if you should start by offering your work to nonpaying markets. Do new writers need to serve some sort of "apprenticeship" in such markets before moving on to those that pay? Are nonpaying markets the only way for a new writer to break in?
Sadly, some writers don't ask this question at all, assuming (for various reasons) that the answer must be "yes." Too many talented writers end up wasting considerable time writing for free, unable (or refusing) to believe that they could be paid for their material.
At the heart of this issue are two misperceptions. The first is the assumption that one must somehow pay one's dues, "crawl before one can walk," in the writing business -- and that this involves working for no money. The second is the phrasing of the question itself. Instead of asking "Should I write for nonpaying markets?" many writers should be asking "When should I write for nonpaying markets?"
The Apprenticeship MythMany writers believe that one's career must begin with nonpaying markets. Many articles extol the value of such markets for building clips, enabling one (theoretically) to move on to paying publications. Writers often assume that without a history of publication, no paying market will consider their work -- and thus, that they have no real choice.
It isn't true. My own experience offers a good example: In the beginning of my career, I wrote exactly three "unpaid" articles. The first (my first-ever publication) was for a monthly community paper. The second and third were for a weekly newspaper -- and these were based on the editor's promise that he would pay me once he had a freelance budget. By my fourth article, he did, and I was earning a whopping $15 per feature!
Did those unpaid articles help me break into better markets? No. My first magazine sale was to Omni -- and was due to a chance meeting between my boyfriend (now hubby) and the editor at a conference. My second was to Quilt, and was due to a query that described my enthusiasm for, and knowledge of, crazy quilts. (My career has been a bit of a patchwork ever since...)
Omni, alas, is dead, but specialty magazines like Quilt abound, and are more than ready to welcome new, unpublished writers. All you need are a good idea, the ability to turn that idea into a well-written article, and the confidence to send that article to an editor. If you can do all of the above, many editors truly do not care whether you've been published before or not.
In short, if you have a choice between offering your material to a paying or a nonpaying market, there is no logical reason to choose the latter. The nonpaying market will always be there if you fail to sell the piece -- but it need not be your first choice, or even your second or third. If your goal is to become a paid professional, it's far better to exhaust all possibilities of payment before turning to markets that don't pay (rather than the other way around). After all, you only have to "break in" once to be considered a paid author!
When Should You Write for Free?Does this mean you should never write for free? Not at all! There are many excellent reasons to do so; it's just that "being new" isn't necessarily one of them. Here are some better reasons:
Ways to Profit from Writing for Free - Audrey Faye Henderson
Copyright © 2001 Moira Allen
Moira Allen is the editor of Writing-World.com, and has written nearly 400 articles, serving as a columnist and regular contributor for such publications as The Writer, Entrepreneur, Writer's Digest, and Byline. An award-winning writer, Allen is the author of eight books, including Starting Your Career as a Freelance Writer, The Writer's Guide to Queries, Pitches and Proposals, and Writing to Win: The Colossal Guide to Writing Contests. In addition to Writing-World.com, Allen hosts VictorianVoices.net, a growing archive of articles from Victorian periodicals, and The Pet Loss Support Page, a resource for grieving pet owners. She lives in Maryland with her husband and the obligatory writer's cat. She can be contacted at editors "at" writing-world.com.
Alice Ash, ‘Eggs’
Thomas Chadwick, ‘Above the fat’
Mikaella Clements, ‘The Proci’
Holly Fitzgerald, ‘Little boxes’
Laura Kaye, ‘Girls’
Vijay Khurana, ‘Zenith’
Nicholas Petty, ‘It is summer at Camp Pomodoro’
Guy Ware, ‘Confidence interval’
Martha Whatley, ‘Good girl’
Anna Wood, ‘When can you start?’
And Special Mentions:
‘Keener sounds’, by Richard Strachan
‘Two’, by Laura Hayward
‘As for Tokyo’, by Gordon Collins
’Sal’, by Emma Hutton
‘What's for you won’t go by you’, by Uschi Gatward
‘Other people’s dirt’, by Alison Armstrong
“I would rather shit myself than give up onion and garlic.”
"Why are you wearing glow in the dark trainers, man?"
“Can I have twos cos I don't want cancer init.”
“So, I wifey’d her best friend.”
“Element names are rubbish though. If I discovered an element I'd call it Ricksteinium, he's lovely.”
"...of course, that was before gay was invented."
"Why are you marrying someone who doesn't like mash?"
"What she forgets is all that time I spent making sure mam didn't have her legs amputated."
“It's tenterhooks, not tinderhooks.”
"It’s not a duck, they don't fly. Probably a little goose."
Man: Got something that tastes like Fosters?
“Come on man. Three miles isn't far, and they’ve got chicken strips.”
“Why do you get lamb chops but never sheep chops?”
Woman 1: My problem is comfort food, I just can't stop.
Woman 2: I've got the same issue, except mine’s comfort booze.
"Come on, go faster! This is Arnold, cycle like you stole this bike!" - Spin class instructor
Man 1: Ey up, Keith. I haven't seen you in ages, y'alright?
Keith: Aye, been on holiday again. I get everywhere, I do.
Man 1: Yeah, like dog shit.
“I'm more conscious of shaking my nob in the toilets than any other man in this pub.”
Our free local paper, called LeftLion, prints a column called "Overheard in Notts" which I love to read! Some of these lines of dialogue can provide great ideas for short stories!
SF writer Isaac Asimov (1920-1992) is the only author to have published a book in nine out of the ten Dewey library categories.
Dickens’s house had a secret door in the form of a fake bookcase. The fake books included titles such as ‘The Life of a Cat’ in 9 volumes.
The Japanese word ‘tsundoku’ means ‘buying a load of books and then not getting round to reading them’.
When asked what book he’d like to have with him on a desert island, G. K. Chesterton replied, ‘Thomas’s Guide to Practical Shipbuilding.’
Stephen King suffers from triskaidekaphobia. When he’s writing, he will never stop work if the page number is 13 or a multiple of 13. Given that so much of his work plays on mankind’s deepest and darkest fears and superstitions, it’s quite apt that the bestselling horror author is himself superstitious when it comes to this dreaded number.
Gertrude Stein claimed the water-drinking patterns of her dog, Basket, taught her the difference between sentences and paragraphs in writing.
Amy Lowell once bought a stash of 10,000 cigars, claiming she needed them to help her write.
When Dr. Seuss was stuck writing his books, he would go to a secret closet filled with hundreds of hats and wear them till the words came.
Playwright Joe Orton went to prison in 1962 for defacing library books. One of the cartoons he drew shows an elderly tattooed man in trunks.
J.R.R Tolkein thought there were no new stories but only a ‘Cauldron of Story’ which writers dip into as they write.
Hugh Lofting, author of Dr Doolittle, thought books should have a ‘senile’ category to complement the ‘juvenile’ section.
Agatha Christie suffered from dysgraphia which meant she could not write legibly; as a result, she dictated all of her novels.
Anthony Trollope began his writing day at 5.30 every morning. He would write 250 words every 15 minutes, pacing himself with a watch.
Ernest Hemingway and Truman Capote both sharpened pencils to help them think while they were writing.
Truman Capote would often write while lying on his back, with a glass of sherry in one hand and a pencil in the other.
Graham Greene would write 500 words a day and then stop – even in the middle of a sentence.
Vladimir Nabokov and Gertrude Stein both liked to write while sitting in a parked car.
Flash Fiction Festival 2019 Fri 28th, Sat 29th & Sun 30th June 2019
£360 for the whole weekend
GO TO THE WEBSITE
The winner and the other short-listed poems may be published in the next issue of Boyne Berries.
Entry fee: €5 for one poem, €10 for three poems.
International Poetry Competition 2019
Closing Date: March 16th
First prize is €200 and the runner-up prize is €50
Entry Fees: €3.50 for one poem, €5.50 for 3 poems
Can be on any subject and presented in any form or style
Closing Date: March 29
Poems of up to 50 lines
Prizes: £250, £150, £50
Entry Fee: £5 for the first, £4 for subsequent
From the Website:
The Sapere Books Popular Romantic Fiction Award
The Lion Tamer Who Lost, Louise Beech, Orenda Books
One Thousand Stars and You, Isabelle Broom, Michael Joseph
You Me Everything, Catherine Isaac, Simon & Schuster
This Could Change Everything, Jill Mansell, Headline Books
A Sky Painted Gold, Laura Wood, Scholastic UK
The Goldsboro Books Contemporary Romantic Novel Award
One Thousand Stars and You, Isabelle Broom, Michael Joseph
The Little Cafe in Copenhagen, Julie Caplin, HarperImpulse
The Songs of Us, Emma Cooper, Headline Review
Where the Light Gets In, Lucy Dillon, Black Swan, Transworld
The House We Called Home, Jenny Oliver, HQ
The Lives We Touch, Eva Woods, Sphere
The Books and the City Romantic Comedy Novel Award
A Bicycle Made for Two, Mary Jayne Baker, Mirror Books
The Sister Swap, Fiona Collins, HQ Digital
Not Just For Christmas, Natalie Cox, Orion
Adventures in Dating … In Heels, Liam Livings, NineStar Press
One Summer in Rome, Samantha Tonge, HQ Digital
The Katie Fforde Debut Romantic Novel Award
Summer at the Castle Café, Donna Ashcroft, Bookouture
The Little Theatre on the Seafront, Katie Ginger, HQ Digital
The Rules of Seeing, Joe Heap, HarperCollins
The Fantasy Romantic Novel Award
Eve of Man, Giovanna and Tom Fletcher, Michael Joseph
Living in the Past, Jane Lovering, Choc Lit
Daughter of Light and Shadows, Anna McKerrow, Bookouture
The Goldsboro Books Historical Romantic Novel Award
The Palace of Lost Dreams, Charlotte Betts, Piatkus
The Silver Ladies of London, Lesley Eames, Aria
In the Far Pashmina Mountains, Janet MacLeod Trotter, Lake Union, Amazon Publishing
The Temptation of Gracie, Santa Montefiore, Simon & Schuster
Summer of Secrets, Nikola Scott, Headline Review
The Beekeeper’s Promise, Fiona Valpy, Lake Union, Amazon Publishing
The Shorter Romantic Novel Award
The Warrior’s Bride Prize, Jenni Fletcher, Mills & Boon Historical
A Little Christmas Charm, Kathryn Freeman, Choc Lit
Secret Baby, Second Chance, Jane Godman, Mills & Boon Romantic Suspense
A Rational Proposal, Jan Jones, independently published
The Map of Us, Jules Preston, HarperImpulse
"Bestselling historical novelist Alison Weir will present the Awards for 2019 during a ceremony in the Gladstone Library, One Whitehall Place, London SW1 on 4th March. Tickets for the awards are available here. We will also present our Outstanding Achievement Award to a writer who has made a truly exceptional contribution to the romantic genre.
Our annual awards are the only national literary prizes that recognise excellence in the genre of romantic fiction. In 2019 they comprise the Goldsboro Books Contemporary Romantic Novel Award, the Goldsboro Books Historical Romantic Novel Award, the Books and the City Romantic Comedy Novel Award, the Sapere Books Popular Romantic Fiction Award, the Fantasy Romantic Novel Award, the Shorter Romantic Novel Award and the Katie Fforde Debut Romantic Novel Award.
Since our inception in 1960 the RNA has promoted excellence in romantic fiction and RNA Chair, Nicola Cornick, commented, “Romantic fiction in the 21st century is diverse and exciting and this year’s shortlist brilliantly reflects the breadth of the genre. We are very proud to celebrate these outstanding books and authors, and the contribution they make to such a successful and popular genre.”
The Sapere Books Popular Romantic Fiction Award is a new prize for 2019 and we’re delighted to be able to welcome Sapere Books’ as sponsors for this award. This is in addition to our previously announced sponsors: Goldsboro Books, Katie Fforde and Books & The City.
David Headley, Managing Director of Goldsboro Books, commented, “The range of themes explored in this year’s shortlist is a testament to the many facets of the romantic fiction genre and Goldsboro Books is delighted to be sponsoring the awards for a third year, and bringing these diverse and entertaining books to readers’ attention.”
Books and the City Brand Director Sara-Jade Virtue said: “Championing the varied and diverse work of romantic fiction authors is at the heart and soul of everything we do at Books and the City, so we are delighted to be working closely for the first time with the RNA – an organisation we admire and respect greatly – by sponsoring the Romantic Comedy Award 2019.”
Amy Durant from Sapere Books said, “We are very excited to be sponsoring the RNA’s Popular Romantic Fiction Award. We hope that this new award will encourage more romance writers to submit to the annual RNA Awards and will be able to reward romance writing loved by readers.”
Katie Fforde said, “It’s an honour and a delight to be sponsoring the Debut Romantic Novel Award with such a strong shortlist.”
Tickets to the awards presentation are available here."
Amateur: A true story about what makes a man by Thomas Page McBee
Astroturf by Matthew Sperling
Educated by Tara Westover
Freshwater by Akwaeke Emezi
Heart: A history by Sandeep Jauhar
Mind on Fire: A memoir of madness and recovery by Arnold Thomas Fanning
Murmur by Will Eaves
My Year of Rest and Relaxation by Ottessa Moshfegh
Polio: The odyssey of eradication by Thomas Abraham
Sight by Jessie Greengrass
The Trauma Cleaner: One woman’s extraordinary life in death, decay and disaster by Sarah Krasnostein
This Really Isn’t About You by Jean Hannah Edelstein
The shortlist for the prize will be announced on Tuesday 19 March, with the winner revealed at an evening ceremony on Wednesday 1 May at Wellcome Collection.
2019 - KEY DATES
Longlist Announced: 13th March
Shortlist Announced: 9th April
Winner Announced: 21st May
Sol Stein's 10 Commandments for Writers
Thou shalt not sprinkle characters into a preconceived plot lest thou produce hackwork. In the beginning was the character, then the word, and from the character’s words is brought forth action.
Thou shalt imbue thy heroes with faults and thy villains with charm, for it is the faults of the hero that brings forth his life, just as the charm of the villain is the honey with which he lures the innocent.
The characters shall steal, kill, dishonor their parents, bear false witness, and covet their neighbor’s house, wife, manservant, ox, and ass, for readers crave such actions and yawn when thy characters are meek, innocent, forgiving, and peaceful.
Thou shalt not saw the air with abstractions, for readers, like lovers, are attracted by particularity.
Thou shalt not mutter, whisper, blurt, bellow, or scream, for it is the words and not the characterization of the words that must carry their own decibels.
Thou shalt infect thy reader with anxiety, stress, and tension, for those conditions that he deplores in life he relishes in fiction.
Thy language shall be precise, clear, and bear the wings of angels, for anything less is the province of businessmen and academics and not of writers.
Thou shalt have no rest on the Sabbath, for thy characters shall live in thy mind and memory now and forever.
Thou shalt not forget that dialogue is a foreign tongue, a semblance of speech and not a record of it, a language in which directness diminishes and obliqueness sings.
Above all, thou shalt not vent thy emotions onto the reader, for thy duty is to evoke the reader’s emotions, and in that most of all lies the art of the writer.
During an upgrade on the 3rd Feb we experienced downtime of the site.
We were expecting the downtime to be no more than an hour but unfortunately it was much longer!
We apologise for any inconvenience caused because of this and have awarded every Drabble entrant 5 points each in compensation.
The competition for 2019 is open to submissions
Judges: Holly McNish for Poetry, Kirsty Logan for Short Stories and Flash Fiction
Naomi Wood for The Peggy Chapman-Andrews Award for a First Novel.
Close on 31 May at midnight BST.
The Judges for the Women's Prize for Fiction, 2019, are:
Chair: Professor Kate Williams
4th March 2019 - The Longlist to be Announced
29th April 2019 - The Shortlist to be Announced
5th June 2019 - The Winner to be Announced
Visit the Website
Anyone can enter the prize, as long as their story (of up to 5,000 words) is previously unpublished.
Every year, a single judge is asked to choose three winning stories, to feature in the autumn issue of The Moth.
Previous judges include John Boyne, Martina Evans, Donal Ryan, Belinda McKeon and Mike McCormack.
Previous winners include Marc Phillips, Nikki McWatters and June Caldwell.
1st prize €3,000
2nd prize week-long writing retreat at Circle of Misse in France plus €250 travel stipend
3rd prize €1,000
The prize is open from January to June annually (with a closing date of 30 June)
Closing Date: May 1st, 2019.
Submit stories of up to 4,000 words on any theme.
Prizes: £1,000, £500, £250. There are 17 runner-up prizes of £100 each. The twenty shortlisted stories will be published in the Bristol Short Story Prize Anthology.
Entry Fee : £9
Short Story Contest The Results
Fran Hunnisett – Just a Small Boat
Dominic JP Nelson-Ashley – Plastic is Better Than Meta
Rebecca Chadfield – The Diavel Rides Out
Kathryn Baggot – Eleanor
Nate Connor – Failure’s Door
Jo Derrick – With Interest
Marion Husband – The Eye of the Beholder
Alan Parkinson – The Wicker Man
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