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Knowledge is something you acquire so you can share it, not keep it.
Issue 7 - Editor John Dunne
February 29 2000
ISSN - I 466-756J
WOW! - The Writers Open Workshop is the new ezine for all creative
freelancers.
Website: http://www.zyworld.com/voyagemag/WOW.htm
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Wolverhampton. WV45HH. Tel/fax: 01902 652999
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To subscribe send an email to john@voyage99.freeserve.co.uk
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Contents
Editorial
New - Global Competition news
Latest Market needs
Competitions
Markets & Guidelines
--------------------------------------------------------------------------------
Editorial
We're Open( http://welcome.to/Regentbooks )
Many of you complained that you could not get a response from the address
of
our new site. After months of preparation and hours of making
sure all the links
worked properly hours after we opened our server developed problems.
Not only
were you locked out but we could not get into edit anything.
We have spent the
whole of the week changing links and moving to the new address above,
so if any
of your e-mails have gone unanswered please bear with us.
If you find any links that don't work please let us know. Some
are in place for new
pages of extracts, book reviews and achieves which are being prepared
now, but we
want this site to be truly interactive and welcome your input.
Our aim is to provide a site which brings to writers, artists, poets
and photographers
the most comprehensive resource on the Net. All of this takes time,
but the beginning
is a wonderful time because that is when the greatest changes
take place in the
shortest space of time. Make a point of coming back every week,
because you will
be garnered to find something new.
Part of our commitment to providing the best service on the net for
Creative
freelancers is to offer authors and prospective authors with a way
to get their
books published, promoted and sold with the best royalties. If
you are looking
to self publish either in print or ebook format, need somewhere to
sell your
book, artwork or photography we want to hear from you. We have
already had
thirty equerries for selling books and have just taken on a major
combined print
and ebook contract for a series of 10 poetry anthologies from one of
Britain's
leading poets of the passed thirty years. We want to share the
benefits we
are offer with all of you, so please drop into our site an see whats
on offer.
John Dunne
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Start the New Millennium in style
Writing For the World Market
"I've never seen so much useful information packed into one book"
- Angela Weston, Stourbridge.
"I'd no real idea how big the world market is. A good buy for any writer.
Well done."
- Tony Leather, Nelson.
"At last a book for writers by a writer, someone who has been there,
done it and
now published a book about it. There's nothing comparable on the market."
- Sean Brown, Como, Italy
ISBN 0953527 4 0 190 pages £16.99 (US$35/ Can/Aus$49)
voyagemag@zyworld.com?subject=WWM_Details_Please
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Latest Market Information
The Internet Writing Journal® ("The IWJ")
is seeking original articles. Please read the
guidelines carefully before submitting. Remember, we only publish nonfiction
articles -- please do not submit poetry or fiction! We recommend that writers
read articles published The IWJ to get an idea of our editorial style and
the types of articles that we publish. Click here to see a list of links
to prior articles. We look forward to seeing
your submission!
Article Submissions
The IWJ is seeking articles on improving writing skills (any genre),
the
publishing industry, journalism, screenwriting, songwriting, business
writing, playwriting, writing markets, Internet writing, and articles
on
writing-related topics. The articles should be between 1500-1750 words
in length. If you have a proposal for an article that deviates from
this length,
please query first.
We are looking for how to, informational and journalistic articles.
Personal
experience articles should focus on a learning experience which would
be of interest to other writers, or should describe how a particular
writing
technique has proven helpful.
Articles must be the work of the original author. The IWJ generally
does not
accept reprints; however, we will consider excerpts from published
books or
scholarly articles. For works which have already been published,
please query
first describing the piece and where and when it was published.
The IWJ does
not accept simultaneous submissions. The IWJ takes first worldwide
electronic
publishing rights with the right to archive the material indefinitely
in any electronic
medium and to publish the article in a possible print or electronic
anthology in the
future. Rights return to the author thirty (30) days after the
first date of
publication, subject to the archiving and anthology rights described
above.
The IWJ does not offer monetary payment at this time. However,
articles will be
published on a separate webpage as part of The IWJ with an author
bio and
links to the author's webpage and novels, if applicable. All
articles will be
archived on the Web, when the next month's issue is uploaded.
Submissions should be sent to: journal@writerswrite.com. Sorry,
we only
accept electronic submissions. If you cannot include the entire
article in the body
of your email, please attach the article to the email as a text
document. If the
document will not fit in the body of an email, please attach
it to the email in either
Microsoft Word, Corel Wordperfect or text format. Writers may
also submit
queries to the above email address. Please include a short author
bio written in
third person with any submission!
Product and Book Reviews
If you would like to submit your product or book for possible review
in The
IWJ, please submit it to our snail mail address below.
Writers Write, Inc.
Attention: Reviews
8214 Westchester Suite 500
Dallas, TX 75225
Important note: At this time, we do not review e-books.
++++++++++++++++++++++++++++
The Stinging Fly
is an excellent publication, beautifully presented, imaginatively designed,
full of intelligent, provocative material and striking pictorial images...
The editors, the contributors, the artists, have all combined to produce
as good a literary magazine as I have seen in a long, long time.'
Seamas Keenan, Review of Issue Two, Local Ireland Web site,
October 15 1998. Submission Guidelines The postal address for submissions
is The Stinging Fly, PO Box 6016, Dublin 8. No more than two stories
and/or four poems should be submitted at any one time. Wait until you
receive a reply before sending in more material. Short stories should
not
exceed 3000 words. We will publish longer stories from time to time,
but it
is recommended that first-time submissions be within the 3000 word
limit.
There is no restriction on the length of poems. The Stinging Fly is
interested in publishing works of creative non-fiction. It is recommended
that
people contact the editor to discuss the subject of the work prior
to submission.
It is recommended that people read at least one back issue of the magazine
before submitting work. E-mail submissions are not encouraged. Always
include a stamped self-addressed envelope (or international reply coupons)
with
submissions. Submissions to The Stinging Fly are read on an ongoing
basis.
All submissions are read by at least one member of the editorial panel.
The editor's decision may not be correct but it is final. Please allow
at least
three months for a response. The magazine is not currently in a position
to pay
contributors. Copyright remains in all cases with the author. Some
work selected
may be included in future versions of this website. Contributors do
receive a
copy of the issue in which their work is featured and can order further
copies
at a discounted rate.
The Stinging Fly Dublin's Literary Magazine PO Box 6016 Dublin 8 Ireland
E-mail: stingingfly@hotmail.com Editor: Declan Meade Associate Editors:
Aoife Kavanagh, Maria Pierce, Gerry Ruane
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***************************************************
THE WRITE LIFE / FRESH WAVE
http://welcome.to/thewritelife
mailto:thewritelife-owner@onelist.com
***************************************************
==================================================
FRESH WAVE WRITER'S GUIDELINES
==================================================
1) POETRY PAD - Poems may be traditional or
experimental. It may cover various matters. We consider
poems up to a 30 line maximum with 60 characters per line.
Rhyming or Non-rhyming. Enlightening poems will be given
priority.
2) PROSE PANTRY - We will look into materials from
essays, vignettes to prose-poems, and other forms.
Word limit is 3000 words. Shorter submissions are
preferred. Humor, enlightenment, sad and heartbreaking
stories that reflect hope are good examples of content
that we're looking for.
3) STORY STUDIO - These may be novel excerpts,
short stories, or short shorts. Any genre is open for
consideration. Profanity may be used sparingly, and should
mostly identify "the bad guy" or change of heart by the
hero/heroine. Word limit is 3500 maximum.
Literary Reviews of Books, Performances, and other Artistic
Endeavours will be accepted. Word limit is 1500. Photo and graphic
interpretations are also welcome.More detailed guideline fromThe Write
Life/Fresh Wave Editorial Staffmailto:thewritelife-owner@onelist.com http://welcome.to/thewritelife
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
Ycaze.com
As the U.K. Editor of a new youth Website (http://www.Ycraze.com),
I'm
looking for U.K.-based writers who are connected to contribute to our
international Website dedicated to the life and loves of Generation
Y. Our
target market is 15 to 22 years old and the key journalistic elements
to
remember are: amuse and inform.
We are going to be on the cutting-edge of all aspects of Generation
Y life,
and we want writers who can relate with our audience and write engaging
stories that don't put our readers to sleep. Also, deadlines are just
that;
no exceptions.
The U.K. content will span youth culture from entertainment, music and
sports to fashion and lifestyle with punchy and pacey features. So,
if
you're witty and have your finger-on-the-pulse, and love to bask in
the
afterglow of beating tight deadlines and smoking the competition, drop
me a
line with a few feature ideas and some brief samples of relevant cuttings
This is a great opportunity to get some excellent exposure for your
work
and be part of a top quality Webitorial team. Pay rates vary with
experience. For more information, contact Juliet Kinsman
(JulietKBK@aol.com), U.K. Editor.
~~********************************88888
Bridge Works Publishing (http://www.atlanticbridge.net), is
currently seeking submissions in the following subject areas:Fiction:
Adventure, Romance, MysteryNonfiction: Memoirs, Self-help, Motivational,
How-to for Business Writingand/or Publishing Poetry: Words for
the SoulChildren/Young Adult: Fiction or nonfiction -- any interactive
e-books for kids are a plus.Sci-Fi/Fantasy: Again, any interactive
work welcomed.Women/Family: Women's issues, parenting, marriage,
relationships Around Home: Cooking, Gardening, Home ImprovementBridge
Works Publishing pays 70 percent commission and author
retains all rights. There is no set period of contract and authors
are
encouraged tolist their work on their own Websites or anywhere else
they
choose. The contract and legal details can be viewed at my site.Commission
checks are paid monthly. Notification of sales are made
via e-mail to author and a monthly recap statement is provided with
checks.Bridge Works Publishing opens its doors in welcome to independent
author to support, enhance and promote their e-books. Further details
on
our provided promotion services can be found at the site.For further
information and/or contact, feel welcome to e-mail LindaEberharter (linda@atlanticbridge.net).
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
Afterimage (http://www.vsw.org/afterimage)
is a nonprofit bimonthly journal
of photography, independent film and video and alternative publishing.
It
is interdisciplinary both in topic, making connections among the visual
arts and between the visual arts and other areas of study, and in voice,
featuring writing by emerging and established artists an theorists.
Afterimage accepts both commissions and unsolicited manuscripts. With
unsolicited manuscripts, include writing samples and a SASE if you
would
like the manuscript returned. All writers are encouraged to discuss
article
ideas with the editors before submitting finished articles. We do not
reprint previously published pieces.
Articles must be formatted in Microsoft Word, version 5.0, and submitted
on
a standard 3.5 inch disk for Macintosh. Always mail a double-spaced
hard
copy as well.
Features: Ranging from 4,000 to 10,000 words, original investigative
reporting or scholarly research; biographies of or interviews with
important
media artists or critics; they may use an event, exhibition, book,
video, etc.
as a jumping-off point fora discussion of larger economic, political
and cultural issues.
Reviews are generally 700 to 1,500 words. individual or group exhibitions,
installations,
screenings and performances;
Essays: range from 1,500 to 3,000. Most essays are written on commission,
though
Afterimage will consider unsolicited manuscripts.
Reports: This section includes articles (700 to 1,500 words) about
particular conferences, symposia, film and video festivals and other
formal
gatherings.
Any article, including features, that reviews a particular work or event
must include separately the following information:
1. Exhibitions: title; name of artist if it is a solo show; name and
city
of venue; opening and closing dates; name, city, and dates of all venues
to
which the show has travelled or will travel
2. Books and catalogues: title, author/editor, publisher (with address
if it
is not well known), number of pages, price for hardback and soft cover
copies
3. Films/videos not shown in a formal exhibition: title, artist,
distributor(s) (with address if not well known), rental format and
price
4. Festivals/conferences: title, location, sponsor, dates.
Afterimage pays $.05/word for articles, with a maximum of $100 for news,
reports and reviews; $150 for essays; and $300 for features. Payment
is
made after publication, not acceptance; checks may take some months
to
process. Feature writers receive 10 free copies of the issue; reviews,
reports, essay and news writers receive five. Writers also receive
a
half-price subscription voucher. To publicise Afterimage articles,
we send
tearsheets to galleries, publishers, distributors and event sponsors.
Karen vanMeenen, Editor
Cynthia Young, Managing Editor
E-mail (afterimg@servtech.com )
Afterimage
The Journal of Media Art and Cultural Criticism
31 Prince Street, Rochester, N.Y. 14607
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
Contributions 2000
7/2/2000
Cutting Teeth
Literature Magazine based in Glasgow is currently planning a Scottish
- Irish
edition of this popular Scottish publication. Funded by the Scottish
Arts
Council & Glasgow City Council, the Editorial board are : John
Ferry -
Editor & Arts & Cultural Development Officer, Catherine McInerney
-
Literature Development Officer, Glasgow City Council, Anne Donavan
- Writer
& Teacher,
Chris Dolan - Writer and currently Writer in Residence in
Glasgow.
John Ferry will be visiting Ireland in the weeks ahead to make
contact with new writers and to invite contributions to the August
edition of
Cutting Teeth.
Current interest can be sent to
:
jj.ferry@virgin.net
--------------------------------------------------------------------------------FeatureKnow
Your Rights- a guide to selling international rights to your workby John
Dunne Fifteen years ago when I was new to international freelancingI self
syndicated many stories and features to magazines and newspapers around
the globe. Over-enthusiastic and eager forevery sale I endangered my own
income by ignoring my Rights. One piece, an interview with a local scientist
sold well inBritain and Australia, but bombed in the rest of the world.So
when I received a letter from the British trade magazinewhich had bought
the first British rights for £250, asking for World Exclusive rights
so they could publish it in theirSpanish language sister publication I
was very tempted. I'd heard all about the dangers of selling all rightsto
your writing, but I figured the piece had sold as much asit was going to
and the extra £300 they were offering would come in handy, and there
was the added bonus of the newnotch on my keyboard of having my first Spanish
languagetranslation.. Have you guessed the rest? The story was reproduced
six times in Lain America and the Philippines, and worse,the BBC world
service which had ignored it in Britainpicked it up and decided it was
good documentarymaterial. Over the next five years it was used as the basis
for a TV and two radio documentaries . The former has been repeated
several times in Britain and sold to many (I have no idea of how many)
TV channels around the world. Of course, as I'd sold All Rights, I received
nothing.This early lesson in the value of retaining your rights toyour
work led me to learn which rights to sell where and which to hold on to,
regardless of the editorial pressure. Consider your resale markets before
you write the initial article. As you write underline words which will
have to bechanged to suit British or American English language markets.This
will help keep you focused on which rights you areselling. You can take
this one step further by targeting specificmagazines which break the trend,
such as those American and Canadian markets which use British English and
the African and Australian markets which use American English. Let's say
you have written a travel article for a British SundaySupplement magazine.
You will have sold your First BritishSerial Rights. When you send the same
article to the US do you sell the First North American Rights? You could,
but you might then find it difficult to resell it in Canada.Better to sell
the First United States Rights and the First Canadian Rights separately.
You may have to be prepared to accept a slightly lower rate for the FUSR
but being able to resell it again in Canada will more than compensate you.
By selling the individual national rights you will make moresales and more
money. Subjects such as travel, true life stories, self-improvement, health,
scientific and technical advances and fiction travel well and with little
need for amendments to suit language and culture. Just go to a map of the
world stick a pin it and you are likely to find another set Rights you
can sell. Even if English is not that countries first language they may
produce English language magazines, such as Scanorama and Blue Wings the
in-flight magazines of Air Sweden and FinAir respectively. So stop what
you are doing right now, sit down with a map and startlisting all the rights
you can sell. First British RightsFirst US RightsFirst Canadian RightsFirst
Australian RightsFirst New Zealand RightsFirst South African RightsFirst
Zimbabwean RightsFirst Hong Kong RightsFirst Malaysian RightFirst Irish
Rights... OK. Even with only the English language rights you should have
quite a long list and be beginning to realise just how valuable your rights
are.But now things get complicated. In certain parts of the world magazines
and newspapers are written for and distributed to several countries. Asia
Week for example, whichusually carries three syndicated travel features
each week is distributed with the largest Sunday newspapers in Hong Kong,
Malaya, Singapore,Brunei, China and Indonesia. In common with many publications
throughout the region they insist on First South Asian Rights. In this
instance you may have no option but to accept, but get written confirmation
of the countries included, so you can mop up any smallmarkets left. At
the other end of the scale, if you are considering writing andsyndicating
a newspaper column- which hopefully will sell to severalpapers in the same
country - you need to get detailed informationof their circulation areas
and offer First Rights Only: Exclusive toYour Circulation (For "Your" substitute
the name of the newspaper). For a while the Internet looked like it might
complicate matters becauseit crosses all national boundaries. Many writers
still refuse to sell theirwork on the Net because they fear print magazines
may not want to buy First Rights to material which has been freely available
world wide. The debate still rages but the fact remains that more and more
Internetpublications are paying for work, some quite well. The thing toremember
here is to sell only your First Electronic Rights For A Period of X Months.
Also check that this refers only to publicationon the Internet and does
not include distribution on disc or CD. *********
*************************************************************
THE TREKKER NEWSLETTER
Sends FREE Star Trek news, articles, reviews, trivia and much
more!
It is one of the best Star Trek email publications out there!
To join via email: thetrekkernewsletter-subscribe@egroups.com
Or just go to: http://thetrekker.webjump.com and visit
the official site!
************************************************************
INSCRIPTIONS (http://www.inscriptionsmagazine.com),
the weekly e-zine for professional writers, is now paying freelance
writers for their contributions. Payment is $40 for each accepted
and published article. To receive submission guidelines, send a
blank e-mail to Inscriptions@sendfree.com
--------------------------------------------------------------------------------
THE STRIP, an alternative newspaper, seeks freelance writers who
can generate feature and department articles aimed at the 18-35
demographic. Writers must be able to develop intelligent,
thought-provoking, truly exceptional pieces on a wide range of
subjects, such as music, current events, culture/
subculture, the arts, entertainment, and issues critical to
its demographic. Opinion/subjective pieces welcome. Magazine feature
style preferred over newspaper style; off-the-wall, unusual, and
potentially controversial stories favoured over run-of-the-mill
stuff. E-mail story pitches, info about yourself, and
writing samples to stripwriteapp@aol.com Do not attach
files.
~~~~~~
~^*^~^*^~^*^~^*^~^*^~^*^~^*^~^*^~^*^~^*^~^*^~
BOOK REVIEWS
*************************************
Visions Of Johanna - The new novel from
Award winning author and poet Ron Phillips
We are inventing a new and original world. Imagination is seizing power.
from a poster on the main door
of the Sorbonne 13th May 1968
Freedom. It isn't once, to walk out
Under the Milky Way, feeling the rivers of light,
the fields of dark -
Freedom is daily, prose-bound, routine
Remembering. Putting together, inch by inch
The starry worlds.
From all the lost collections.’
Adrienne Rich For Memory
This is the use of memory:
For liberation - not less of love but expanding
Of love beyond desire, and so liberation
From the future as well as the past. ‘
TS Eliot
The Four Quartets
PRELUDE (OCTOBER 1969)
------------------------------------------------------------
He was crossing a field in a familiar place, the sloping ground a rough mixture of raw earth and grass. Bright but not fierce, the sunshine lent the feeling of late spring. Once he almost stumbled, and it was then he realised Anna was by his side in a yellow dress that was long and intricately patterned. Her feet were bare, her hair even darker than he remembered it. Fearing she too might stumble, he wanted to take her hand, but she did not appear to be aware of his presence, nor did it seem appropriate to speak.
Then he saw them: the children, spread across the whole slope of the field in great numbers; most running about, absorbed in all kinds of play; but some standing still, as though within their own dream, or as if statues placed by some invisible hand. What was surprising was that they did not show any reaction to his and Anna's approach. Some stared at them curiously, eyes alert and wary; others continued running about, but none moved away or showed the slightest fear.
He was unsure when the shots actually began, only that they seemed to be coming from the copse at the bottom of the field. At once he stopped in his tracks. He noticed that Anna had stopped too, and that she was now bending forward, with her hair hiding her face and her hands pressed tightly to her ears. Then, as he went on standing where he was, and with the shots continuing intermittently, he realised that Anna was moving down the hill. She seemed to have no thought for her own safety. He wanted to shout her to stop or lie down, but he still could not find his voice, nor did he seem able to move. He noticed that Anna had gone over to where there had previously been a large group of children. They had all scattered as far as he was able to see, but then he realised that one had fallen to the ground, and that Anna was about to stoop down and lift up the struggling body. Again he tried to shout to her; once more no sound would come from his lips.
The next image was of a dying child actually in Anna's arms. There was a moment when he thought heard the child cry out, or perhaps the cry came from Anna herself. Now it seemed that at last he was able to move. He appeared to be approaching Anna, or rather it was as if he were floating above her. As he looked down, he could see the child's face wrinkled in pain: the eyes closed, the mouth a gaping hole; the blood beginning to trickle through Anna’s fingers and to spread over her lap, a burgeoning web of red across the bright yellow.
At the same moment, he was aware that the shots had begun again, except that this time there were more. They were coming from every direction now: continuous volleys of fire, as though from a nest of machineguns or a whole platoon of riflemen. And then it seemed there was a pain in the back of his head, and a spot that grew like a cancer across his brain; grew and deepened until there was only a blackness that became the half-darkness of his room.
*
Gazing down the broad steps of the Sir Samuel Anderson building towards the bus queue he was about to join, Nick Goodchild came to an abrupt halt. From that height, and with the easterly October wind in his face, it was impossible to be sure. Only when he descended the steps to the crowded pavement, and approached the queue itself, was he able to see clearly.
The line of people - mostly students and university staff, but others from the banks, shops and cafes across the street - curved away from the pavement in a thick straggling line. The part in which Nick found himself actually ran over the bottom two steps. From there he could look across to where Anna stood, dressed in a short brown suede coat and green scarf, and in jeans now instead of the grey pleated skirts she always seemed to be wearing in the library. She was cradling what looked like a carrier bag of books, and gazing indifferently at the traffic grinding up from the city.
Nick sighed, unable to comprehend the paralysis that had immediately gripped him. Why was it so difficult for him to walk over to her? For certain any positive move would have to come from him. There seemed not the slightest chance that Anna would recognise him, let alone acknowledge his presence. This was no more an opportunity than that other time in May. Like then he could only stare awkwardly before lowering his head. As he did so, the Anderson clock began to chime a quarter to five with what seemed an exquisite slowness. Each chime led him to reflect further upon this unexpected breaking of a dream of a few nights before, a dream in which he had watched Anna as helplessly as he watched now.
Since the dream Nick had been unusually tense and alert, as though he were waiting for something to happen, for a message to break through from the darkness that always seemed to press so hard against the edges of his life. The day like other days had been full of promising footfalls, but turning round to them only made him feel intolerably foolish. Now he felt foolish for a different reason. When the bus finally screeched to its stopping place, it was a relief to see that both decks were already full. The result was reassuringly predictable: Anna and a few others were able to mount the platform; the urgent press of bodies behind them, including his own, was held back by a zealous young conductor.
‘Sorry!’ he chirped, in a brisk, toneless voice.
‘Bollocks!’ exclaimed the long-haired student who had been rejected.
‘Tri-ollocks!’ yelled his equally hairy companion.
‘Boasting again, Trev!’ remarked the first student. ‘Come on, let's split!’
With half-hearted shrugs of the shoulder, they and one or two others immediately moved on up the pavement. As the bell rang, others approaching the bus queue groaned and suddenly changed direction. The bus was still only a few yards away. The conductor was watching the scene impassively.
‘A lot of nice bus conductors running the government isn’t my idea,’ some literary intellectual had smugly declared on television the previous year. It was one of a number of programmes launched in the wake of the Paris riots and the complementary unrest in various British universities. But what if the conductors weren’t nice? Which way did the argument then fall? – across socialism, or against the insouciance of literary intellectuals?
There had been a time when Nick would have eagerly debated such an issue. Now he could not bring himself to care. As the bus moved out of sight around the Mechanical Engineering block, he started to relax. There was nothing to tantalise him now, or add to the disorder of his day. He could throw his mind forward to the comforts that the next bus would take him to: the shower, the hot meal, the warmth of his centrally heated study bedroom back at Netherwood Hall. These, the concluding elements of his daily ritual, were the necessary preparation for a long evening’s study that had already been carefully planned.
To calm himself, Nick now ran his mind over the principal details. First, he would make additional notes on King Lear from the four books he had borrowed from the Anderson library the previous day. These would supplement the jottings he had been making on and off throughout the afternoon in the English department on the fifth floor of the Arts tower, all of this a necessary preparation for the usual Friday afternoon tutorial with Dr. Selwyn Holloway. In turn it would enable him to return the books in the morning, and borrow four more on Disraeli, Mrs. Gaskell, Dickens and Gissing. In this way, he could make detailed preparation at the weekend for a coming essay on the Victorian social novel.
That done, he would commence a reading of the Shakespeare play itself. He would cover the first two Acts: where Lear - after trusting to his elder daughters' wordy protestations of love, and rejecting the loving silence of the youngest - would be cast into the storm and darkness of the heath. There would then be ample time in the morning, when he had no lectures, to work his way through the play's bleak conclusions: Lear stumbling onto the stage, his lost child now silent forever in his arms. Old Dr. Johnson had found the scene so painful that he confessed he could hardly bear to reread it when he came to edit the play. The remark had always puzzled Nick. How could a man of Johnson's learning be so disturbed by what was merely a representation of suffering?
But such issues were hardly likely to arise tomorrow. Nick felt he could now allow his mind to wander. He was on schedule again, the recent emotional intrusion safely behind him. He even began to think about a late night visit to the chocolate machines by the kitchen in the central block. This was his usual reward for an evening’s work completed to plan, and another perk of living out at Netherwood. Then, his mind darted back to the previous Thursday and a more pleasurable experience, each detail lingering in his memory: the room, a familiar face strange in the half-darkness, his skin shivering between eager fingers; then, a rambling narrative voiced by someone he still held close. For an instant, until he reflected how this day too had closed on a goodbye, Nick felt able to smile.
Then he glanced down the street again. This wound by various twists and turns all the way to the city square. When he first arrived, he had to trust to its vagaries, all the time keeping his eyes on the Portland stone clocktower, commanding the skyline between the blackened spires of two churches. The wind had begun to spring up again, and the ascending traffic seemed heavier and noisier than ever. Below, splintering the darkening sky, were the giant cranes attending upon a ring road that would soon bring even more vehicles in and out of the centre. Beyond these, a desolate column of tower blocks began to light up in the early dusk.
There were times when the city simply oppressed him. It seemed full of changes that no one had chosen, beyond that is the anonymous planners. But that too was a debate that would easily bring his mind back to Anna, and a sunny day out on the Moor back in early June. The Moor was a park that spread around the apex of the campus across a hump-backed piece of land that overlooked the eastern side of the city. There they had met by chance one day on one of the benches by the children’s playground. In the teeth of the wind, he now half-conjured the scene: glimpsed Anna's pale face, as she had tried to focus his attention on what was actually happening all around him in the bright sunlight. Then, as though in tandem with that sentiment, he looked across the street at the trail of grey figures, alternately glimmering and vanishing between the slow procession of vehicles. But the contrast was too extreme, and he shivered again. Smoke from a man in front of him blew into his face. Two girls behind him were now to be heard discussing a dance they had been to the previous Saturday evening.
‘A cattle market,’ one of them said.
‘Yes, but wasn't he dishy, the one with long hair?’
‘I've seen worse, but he never shut up about Vietnam - really got on my nerves.’
‘Bet Vietnam wouldn't have been on his mind, if he'd got you outside. They're all the fucking same.’
As he listened, Nick idly reflected how the offending word was in a sense being used accurately for once, and this, together with the word ‘Vietnam’, immediately reminded him of a more distant conversation. That had also taken place on the Moor, one night after a similar Union dance: he and poor Jeff Harrison, each with a skinful of Tetley's worst, plus shared disappointments with two such girls. The one that Nick had spent the evening with he had afterwards walked home and then completely forgotten about, as surely as she had forgotten about him. Jeff’s encounter: well, the less said about that the better, although how he had laughed at the time! Where was Jeff now? How often, over the past year, Nick had woken in the night and wondered. But what finally was the point? It was better to try and sneak a glimpse of the speakers. One seemed smallish and blonde, the other taller, dark-haired and thin: but he did not recognise either. As this enterprise petered into nothing, a gust of wind started up, as if it had skimmed the terrace of houses opposite for no other reason than that it could now swoop effortlessly down upon him. Shivering again, he fastened the top buttons of his donkey jacket, and tightened his scarf.
But the wind felt like a nagging question that was suddenly too much for Nick. Why, after all those months of silence and waiting, had he let Anna go? His mind seemed about to spin down a familiar dark vortex. As if to climb out again, he actually began to fashion Anna out of the drizzle that the streetlights had transformed into a glittering mist. It was only gradually that he was able to fully take in her presence, let alone catch what she had to say. How she came to be back at the bus stop, standing just ahead of him again, scarcely mattered. The only important thing was: she was here.
‘I'm sorry I didn't write. I expect you must have wondered - ’
‘It doesn't matter now.’
‘Can we still go to that lake?’
‘To Ainsthorpe Dam? Yes, of course. We can go on Sunday. There will be time, then.’
‘And now, where shall we go now?’
‘I don't know.’
He never had done. That was his trouble, wasn't it?
‘Nick, old mate!’
And Anna vanished, as Nick turned towards the evening’s second intrusion. He could not know there was potentially a third.
‘Ken!’
‘In person! Well, this is amazing! I just saw someone in the Anderson stack who put me in mind of you! How are you? It's been ages!’
Nearly a year. Nick had called one afternoon the previous November, but he hadn’t stayed long. Ken and Mary were studying their Bibles in preparation for a prayer meeting. Nothing had changed.
‘I'm fine!’
‘Excellent! We keep hearing rumours about your amazing academic exploits, all lies I expect!’
Nick caught the familiar chortle.
‘Of course!’
‘Look, can't stop now, but you must come round! And don't leave it too long; we'll be off to Kenya soon: Church Missionary Society project, developing drought-resistant crops in one of the northern areas.’
‘Sounds exciting!’
‘Should be a hoot, providing we can dodge the cattle raiders! No spears these days; it's all machineguns!’
‘Can’t wait to come and visit you! How's Mary?’
‘Of course, you won't know. She's expecting again.’
Ken's eyes gleamed through the rain on his round National Health spectacles.
‘That's marvellous news!’
‘Rather terrifying actually. But I suppose we'll manage. Look, must dash home with this lot; but don't forget you've promised to come round, and make it soon!’
‘You're not vanishing just yet surely?’
Ken paused, as though there was much more he could say.
‘Well, the Lord willing, we just could be. Something’s just reared its very ugly head, quite a palaver actually. So you'll have to come round now! Otherwise, you’ll probably hear a garbled version by some other route. Oh by the way, who was that big chap you went off to lodge with?’
‘Barry Smith - why?’
‘Well, he's the one I just caught sight of down in the stack. Hadn't seen him for ages either! Must be a sign - have to dash!’
And Ken was gone, calling out as he did so: ‘it's going to be a girl this time. I have it on high authority!’
For a moment, Nick watched him struggling through the thickening rain in his plastic mac: an old briefcase in one hand, a carrier bag of groceries in the other. Then he turned, and headed back up the steps again to look for Barry, momentarily relieved to escape the rain and cold. He saw no point in actually searching the library. Instead he hung round the concourse outside, thinking this gave him the best chance of heading Barry off. Given his size, it would be difficult to miss him. But the concourse was almost empty now, and Nick’s enthusiasm for hanging around quickly waned.
Why on earth should Barry have been in the stack, of all places? Why should he be here at all? And where had he been for the past fifteen months? Presumably he was making a fortune in the city, a job always said to be waiting for him in his uncle's investment company, once his degree was completed. Not that Barry needed money. His mother was understood to have given him five thousand pounds on the day he graduated. All that for a lousy third; life wasn't fair. What would he and Barry have to say to one another now? The thought of how little that might be, plus the possibility that Ken was mistaken, soon had Nick hurrying down the steps again.
This time a half-empty bus was pulling into the kerb. He reached a seat upstairs just as the bus moved off. They were soon passing the Moor. He glanced up at the metal swings and the surrounding benches, and his thoughts swung inevitably back to Anna. When she had risen to go that day, she had refused his invitation to accompany her back to the library. ‘I would rather you didn’t! You should stay in the sun. We’ve so little time to do so really!’
So little time. As the words sounded once more in his head, Nick shut his eyes. Since that parting, he had never ceased to think of Anna. He had woken, eaten, drunk and slept her, included her in every inner conversation. Only in Holland, where there had been other distractions, had there been an interlude of a kind. But even here there were moments when her face filled his mind to the exclusion of everything, and there could not have been a day when he did not breathe her name. It could have been said that Anna had replaced Jeff as the central unanswered question of his life, though of course this was not quite the case. He still thought of Jeff. The possibility of finding out what had happened to him might have been the one good reason for seeing Barry. But then why couldn’t Jeff have got in touch himself? - or was this all his own fault? Did Jeff feel that he had been let down, that he did not understand about that girl Jo?
Was this the meaning of that other dream in the spring? There had been footsteps on the landing outside his door, followed by a loud knocking. When he opened the door, Jeff came striding into his room. ‘Well, have you decided - do you know what you want, now?’ he demanded. Nick put out a hand to try to placate him, but it was as though he were trying to touch a mist, or a shadow that was floating along the wall. Then he woke, and Jeff’s London narrative returned to his mind: a screaming crowd, police everywhere; the girl he had never seen falling, falling ..
Opening his eyes again, Nick saw that the bus was pulling into the Hegglesworth shopping centre a mile and a half out of the centre. Positioned as he was on the street side, he found himself watching an old couple who had been sitting near him, as they struggled across the zebra crossing with their shopping bags. As he continued to gaze over the street, he saw the familiar coat and scarf. For an instant, Anna was etched against the giant windows of the new Safeways supermarket. Then, moving with her customary speed along the teeming pavement, she vanished into the crowds again.
Passengers were boarding now. As Nick rushed down the stairs, he had to elbow aside a number of disgruntled people, whose displeasure was repeated by the conductor as he rang the bell at the bottom. Unheeding, Nick leapt off the platform onto the pavement and began to cross the street without really looking, forcing a van to break and loudly sound its horn as he did so. By the time he reached the other side, Anna had disappeared. Almost certainly, she had turned up the road which wound round the back of the centre out towards the ‘Deeps’, a steep-sided valley that thrust a tongue of green almost into the centre of the city.
Nick negotiated the corner. Yes, there she was: rounding the next bend. He increased his speed yet again. Beyond the bend, he saw Anna ahead; she was rapidly approaching yet another turn. Someone came towards him that he half knew. He feared this might fatally slow him, but as if on cue they crossed the road to a pub on the other side.
As Anna was about to vanish yet again, Nick started to run. Yet though he must have rounded the corner only a few seconds after her, by the time he did so she had disappeared. She must therefore have taken a right turn into a road that actually backed onto the Deeps. He hurried to the corner. It was a straight road lined with trees on either side. Behind the trees was a row of large detached houses, each nestling in spacious gardens. Apart from a few security lights, they seemed uniformly devoid of life. Anna was nowhere to be seen. He walked down a little way and stared into the windows of one or two of the houses. From one window, an elderly woman - her neck swathed in a pearl necklace and shawl - stared in return. Then, he decided this was pointless and came back.
For a few moments he stood still, looking down the road. Then he walked on to where the houses could no longer protect him from the wind. It now occurred to him that this was also a way Anna could have taken. A path would have led her down into the valley, then up to the council estates on the other side, but it was very badly lit. Looking into the well of shadow, Nick could see nothing. If she was down there somewhere, he had left it too late. Or was he simply afraid to go any further? Just as at the bus stop, he felt a relief that was much deeper than any frustration he might now be experiencing. For a whole minute he stood gazing across at the lights. A car was moving steadily down the hill.
But Nick was shivering now. Turning from the shadows where Anna had vanished, he walked quickly back along the dark road.
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Competitions
The Second Voyage International Short Story & Poetry Competition
As Last years winners - James McKinty(According to Frank) and
Ron Phillips (This Monkey Land) - books are nearing completion it is
time to
start the search for their successors.
With over £15,000 ($24,000) of prizes on offer, two winners and
20 runners-up,
this is one of the world's premier competitions for short story writers
and poets.
A full set of rules are available by clicking on Voyage Comp and putting
that in
the subject. But here is a brief guide to what's on offer:
Short Stories upto 10,0000 words.
Poems upto 250 lines.
Entry fee: £4 (US$7) (CAN/AUS$10)
Closing date: September 1
Prizes: £15,000 ($24,000) of publication prizes.
About last years competition: Both Winners and 6 of the 20 runners
up sent
in their submissions before April.James McKinty entered 6 stories.
One won,
one was a runner up and another was short listed. Ron Philips
poem
'This Monkey Land' was 240 lines long. Of the 10 poem runners
up, 4 were
under 40 lines. 5 of the best 22 poems and stories came from
writers previously
unpublished.
New Millennium Novels
Regent Publications
14 Honor Avenue, Goldthorn Park, Wolverhampton. WV4 5HH. UK
A new magazine due for launch in March 2000 serialising upto 8 new
unpublished novels in the each issue.
If you have a novel still waiting for a publisher to snap it up this
is the
place to go. Not only do the readers has a chance to make advanced
orders for your book but it also goes out to all the major publishing
houses
in the hope that as many new writers can be launched in to successful
writing careers as possible.
++++++++++++++++++++++++++++
NORFOLK POETS OPEN POETRY COMPETITION
DISASTERS IN THE GREENHOUSE
Comic Verse Launching a new series of comic verse competitions
(closing dates: 30th April, 31st August, 31st December 2000)
NORFOLK POETS egroup provides news, reviews, support and shared
critique for any UK poets on the Internet. This new series of competitions
is open to anyone by post or email. First stage judging will take place
by a marking system organised through Norfolk Poets. We proudly announce
our final stage adjudicator for our first competition is:
PEGGY POOLE
PRIZES: 1st prize: a cash sum of £50 2nd, 3rd (plus discretionary
awards):
book prizes.
A competition anthology will be published of prize-winning and other
selected poems.
You will be notified of acceptance with competition results. If you
would like to join
Norfolk-Poets then email:
*Monthly newsletter
*News, reviews, shared critique
*Free Ebook "Disasters in the Kitchen. Comic Verse. Revised 2nd Edition"
(also available in print).
Send email for entry form to:
ENTRY CONDITIONS
Norfolk Poets Open Poetry Competition
Disasters in the Greenhouse - Comic Verse
CLOSING DATE: 30th April 2000
Full Rules &
ENTRIES TO: wendy@webbw.freeserve.co.uk
When you email your entry you will be sent a "reply to sender" with
your reference number,
together with the address to post your cheque.
CHEQUES: WENDY WEBB (£2 for one poem, or £5 for three poems).
Please also despatch me ___ copy(ies) of DISASTERS IN THE KITCHEN
(price £1.50 each inclusive). I enclose £_______ (for book
orders).*
*Printed book OR Ebook available. Please state which you require.
TOTAL CHEQUE TO FOLLOW: £_______ (in UK pounds sterling).
NORFOLK POETS 2ND OPEN COMPETITION
Disasters at the Vets, comic verse
Adjudicator: Jeremy Duffield
Closing date: 31st August 2000
More details to follow. Wendy Webb
Author of "Paradise mislaid and found" NEW (poetry collection, Feb
2000)
"Broadly Norfolk" revised second edition (April 2000)
eZines for writers, poets, and special needs
Website: http://www.zyworld.com/wendywebb/home.htm
WENDY WEBB BOOKS is launching a new series of small books geared at
the
children's market A number of stories are on offer for a charity publication
We now need illustrations to launch these titles this Summer.
1. WANTED - children/young people's drawings
A line drawing (clear dark lines) for any aspect of the theme below,
any size up to A4
(but do not draw at the edge of your sheet):
An old-fashioned passenger boat (paddle steamer), a sailing boat capsizes
among
the rocks offshore, gull island, a helicopter rescue. Note: this story
is aimed at 6 to 8
year olds.
PRIZE One prize of a £10 (UK Pounds 10) gift voucher for the
drawing chosen for the
cover design on this title in print.
CONDITIONS Anyone in full-time education, up to age 18.
It is a condition of entry that drawings will be used for a charity
publication in
various media (including eBook and printed book and website promotion).
All entrants will be informed of results provided they enclose a stamped
addressed
envelope (or email address). Entrants will receive 50% discount on
the purchase
price of the finished book, or one free eBook copy. Entries by email
(TIF file)
Or post (request by email in the first instance)
wendy_webb_books@yahoo.com
EVERYONE
*Please print off this form and pass it to your local middle or high
school.*
2. WANTED - adult drawing
For possible use as a series cover design or logo. The book will sell
for charity,
so no cash award is on offer. However, if your design is chosen you
will receive
up to 5 printed copies and 10 eBook copies forwarded to email addresses
of
your choice (your personal contacts).
Any size from thumbnail sketch up to A5 (half A4 paper).
THEME Children's adventure series, age range 6-12, boys and girls stories.
CONDITIONS
It is a condition of entry that drawings may be used for a charity
publication in
various media (including eBook and printed book and website promotion).
All entrants will be informed of results provided they enclose a stamped
addressed
envelope (or email address). Entrants will receive 35% discount on
the purchase
price of the finished book, or one free eBook copy. Entries by email
(TIF file)
Or post (request by email in the first instance)
CLOSING DATE: Children's - End of term (Easter)
Adult's - 31st March.
wendy_webb_books@yahoo.com
******************************************************
CHERRYBITE PUBLICATIONS
OPEN SHORT STORY COMPETITION
1st Prize: £200
2nd prize: £100
3rd prize: £50
Entry fee: £5
Closing date: June 15th 2000
The top three stories will be published in the July issue of Peninsular
magazine
and the readers will vote for 1st, 2nd and 3rd place.
For competition rules, send SAE to:
Short Story Comp Rules (June)
Cherrybite Publications,
Linden Cottage,
45 Burton Road,
Little Neston,
Cheshire, CH64 4AE
*********************************************************
When replying to advertisements, competitions etc.
please mention you saw it in WOW! Newsletter
+++++++++++++++++++++++
Global Competitions Newsletter
++++++++++++++++++++++++++++
Volume 1 Issue 1, January 2000
New FREE e-mail newsletter providing news of upto 50
competitions each month, How To Win competitions
features plus your letters, hints and tips. Links to useful
resources. results news. To Subscribe put GCN in subject
of e-mail to Voyagemag@zyworld.com
--------------------------------------------------------------------------------
MARKETS & GUIDELINES
Voyage magazine
John Dunne
Editor
Regent publications
14 Honor Avenue, Goldthorn Park, Wolverhampton. WV4 5HH. UK
Tel/Fax:01902 652999
Email: john@voyage99.freeserve.co.uk
Web http://www.zyworld.com/voyagemag/Voyage_Magazine.htm
Now rated number 1 on Yahoo - just search for Voyage magazine and go
straight to our listing
A multi-genre short story & poetry magazine which takes readers
and writers
on a voyage of discovery to the four corners of the universe and all
corners of your mind.
Recently voted the best new small press magazine. Short stories 1000
- 6000 words,
poems upto 60 lines. We buy First British Serial
Rights but the magazine is now
distributed to 36 countries so no reprints please.
Your stories should be character driven and have the ability to create
strong mental
pictures in the mind of the reader. We welcome new writers, working
with you where
possible to improve your work and perhaps suggest other markets which
might be
interested. We also give reasons for rejecting your work. Send
completed manuscript
by email to john@voyage99.freeserve.co.uk or snail mail to the address
above.
NEEDS: Horror, Dark Fantasy of the sort found in the mags Peeping Tom
or Flesh & Blood.
Artwork & Photography - there are four slots, general illustrations
to support stories and
poems, Final Thoughts, Alternative Histories and the Front Cover.
A careful study of past
issues is essential to understand the type of artwork and photography
we use.
Tips: Since opening to e-mail submissions we have received several
hundred stories and
poems from overseas. 95% have been rejected because the writer
submitted without
having properly researched the magazine. Read at least one issue
before submitting
to avoid wasting your time and increasing our work load.
Payment: £10 (US$16) per 1000 words on publication. Response
time 14 days.
Publication within 6 months.
Sample copy £3 ($5)/ 6 issue subscription £18 ($30) Cheques/POs
payable to JGD
+++++++++++++++++++++++++++++++++++++++++++
Colonies Scifi Magazine
John Dunne
Editor
Regent Publications
14 Honor Avenue, Goldthorn Park, Wolverhampton. WV4 5HH. UK
Tel/Fax:01902 652999
Email: john@voyage99.freeserve.co.uk
GUIDELINES FOR CONTRIBUTORS http://welcome.to/Regentbooks
sample copy £3 ($5) / 6 issue sub £18 ($30) cheques/POs
payable to JGD
Newswire
Read a sample issue at: http://welcome.to/Regentbooks
NOW 12.5% bigger
If you like the information in WOW you'll love Newswire. Imagine
a whole
months worth- 4 issues of WOW- plus much more market news. competitions,
interviews and articles, and all of just £3 a month. And
what's more you can
now get it in print format, on disc or delivered directly to your email
as a
html attachment.
Please read a copy to see how we do things. Most recent submissions
were rejected because
contributors are sending us what they imagine we want, not what we
actually use.
Submissions should be made by e-mail (in the body, no attachments except
for photographs). For market news our response time will be 48
hours. For
features the response time will be 2 - 3 weeks.
Payment is on publication at the rate of US$0.05 per word.
Sample copies of Newswire can be obtained for £3/ $5. 8
issue subscription
£20/ $32 (Cheques payable to JGD) from the address below.
John Dunne
Editor
Regent publications
14 Honor Avenue, Goldthorn Park, Wolverhampton. WV4 5HH. UK
Tel/Fax:01902 652999
Email: john@voyage99.freeserve.co.uk
--------------------------------------------------------------------------------
E-Zine AdSource weekly is the Free weekly newsletter which brings you
essential
information about hundreds of Ezines, including advertising prices
which will get your
products and services infront of thousands of potential customers and
details of which ones
are currently seeking submissions. Subscribe by sending
a blank email to
ezineadsource-subscribe@egroups.com
++++++++++++++++++++++++++++++++++++++++++++
The Editor of SCI-FRIGHT, Sian Ross (probably one of the few female
science-fiction
magazine editors) is announcing the new format and layout of the anthology.
Although a small press publication, SCI-FRIGHT is now being printed
professionally,
and several changes have been made to layout and typesetting.
Every twice-yearly issue is filled with over twenty short stories from
the fantasy genre
plus features, artwork and poetry.
CURRENT NEEDS: We still are seeking sci-fi features and articles, perhaps
of SF
figures/biographies. Although we do accept fiction, we are currently
overstocked
and won’t be reading until winter 2000. Artwork is also sought - black
& white only.
To see fully the many changes in both editorial and appearance, the
editor
advises you see the latest issue (#6). £4.00 – UK/Ireland. Please
make cheques
payable to Springbeach Press. Editorial Address: SCI-FRIGHT, Springbeach
Press,
11 Vernon Close, Eastbourne, East Sussex BN23 6AN. Email (queries only):
sian@springbeachpress.freeserve.co.uk.
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
PROTOONER magazine P.O. Box 2270, Daly City, CA 94017-2270 PH (650)755-4827/FAX
(650)994-4131E-mail: protooner@earthlink.net
ATTN: Ladd A. Miller/Art DirectorSeeking freelance writers who can
reflect their writing in a humorous content.
LENGTH: 500-2,000 words. Accompanied with B&W illustration
(optional).Typed, double-spaced No e-mail submissions, please. SASE an
absolute must, if expected reply.Subject must pertain to the cartooning
or gagwriting field, or humorously themed.AVOID: Politics, celebrity or
wife-bashing themes.PAYS = Negotiated/On Acceptance.
Joyce Miller, EditorPROTOONER magazineCONTACTS:PROTOONERP.O. Box 2270Daly
City, CA 94017-2270PH: (650)755-4827E-mail:< protooner@earthlink.net>WEB
SITE: <http://protooner.lookscool.com>
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Clocktower Fiction
http://www.clocktowerfiction.com
Submission Guidelines
Who We Are: Deep Outside SFFH is a paying professional magazine of SF
and dark imaginative fiction, aimed at people who love to read well-plotted,
character-driven genre fiction. We are interested in fiction that transcends
the limitations and ventures outside the stereotypes of genre fiction.
What We Publish: short (1500-4000 words) Science Fiction, Horror,
and darkly imaginative fiction. We seek well-written, professionally
executed
fiction, with attention to basics - grammar, punctuation, usage. We
do not
accept Sword & Sorcery, pornography, or excessive violence and
gore beyond
the legitimate needs of a story.Also no derivative works (e.g., emulating
TV
shows and movies - no Star Trek stories, for example).
Clocktower Fiction
6549 Mission Gorge Road
PMB 260
San Diego, California 92120
******************************************************************************************
--------------------------------------------------------------------------------
THE TREKKER NEWSLETTER
Sends FREE Star Trek news, articles, reviews, trivia and much more!
It is one of the best Star Trek email publications out there!
To join via email: thetrekkernewsletter-subscribe@egroups.com
Or
just go to: http://thetrekker.webjump.com and visit the official site!
Do you have any Star Trek news, interviews with the stars etc.
The Trekker wants to hear from you.
--------------------------------------------------------------------------------
THE TTA LITERARY PRIZES
The TTA Literary Prizes will operate under the auspices of TTA Press,
who
reserve the right to cancel them at any time subject to full refund
of entry
fees. The TTA editorial staff will take no part in the judging procedure.
The
competition will not be restricted to the type of material that appears
in
The Third Alternative magazine and entries are not being considered
for
publication in that magazine. Peter Tennant will act as the Prize
Administrator.
PRIZES
There will a first prize of £1,000, a runner up prize of £500
and five second
runner up prizes of £100 each.
ELIGIBILITY CRITERIA
There is no official entry form, and writers may enter as often as they
wish
provided each individual story is accompanied by an entry fee of £5/US$8.
Cheques (including dollar checks), postal orders, etc should be made
payable
to "The TTA Literary Prizes".
Stories will be considered within the categories of Science Fiction,
Horror,
Fantasy, Slipstream and Cross-Genre fiction.
Entries must be no longer than 6,000 words in length and must be original
work in English which has not been previously published. Entries must
not be
under consideration for any other competitions, under consideration
for
publication or currently awaiting publication.
Stories must be typed double spaced on single sheets of A4 paper. The
title
page must carry the entrant's name, address and a contact telephone
number
and/or email address. The title of the story must appear on each subsequent
page, but no other author details must be shown. Pages must be clearly
numbered.
Entries should be sent to the Prize Administrator at 9 Henry Cross Close,
Shipdham, Thetford, Norfolk IP25 7LQ, Great Britain, and must be received
by
the closing date of 31 December 2000. Proof of posting will not be
declared
proof of receipt.
Manuscripts cannot be returned, so please retain a copy for your records.
Stories should be accompanied by a stamped self-addressed postcard
if
acknowledgement of safe receipt is required (postcard plus International
Reply Coupon in the case of entries from overseas).
Entries failing to comply with these criteria will not be considered.
JUDGING PROCEDURE
A shortlist of stories will be forwarded by the Prize Administrator
to an
independent panel of judges who will make the final decision. The membership
of the judging panel will be confirmed at a later date, but it is envisaged
the panel will consist of a professional author, a publisher's representative
and a literary agent. The judges' decisions are final and TTA Press
will not
enter into any discussion regarding them.
WINNERS
Details of the winning entries will be announced in the March 2001 issue
of
The Third Alternative magazine, published on the TTA website and elsewhere.
A
full list of winners can also be obtained by sending a stamped self-addressed
envelope to the editorial address: TTA Press, 5 Martins Lane, Witcham,
Ely,
Cambs CB6 2LB, Great Britain (email: ttapress@aol.com; website:
www.tta-press.freewire.co.uk).
Footnote: TTA Press are the publishers of the magazines The Third
Alternative, Crimewave and Zene. For more details of these publications
please visit our website (address as above).
--------------------------------------------------------------------------------
New ezine on the lookout for new talent!
The 'Write Advice' monthly ezine is an exciting source of writing-related
articles, tips, markets, and freebies for anyone who enjoys writing.
Members may submit fiction (must be suitable for family reading) and
writing-related articles up to 3000 words in length. Payment is in
the form
of a 10 line biography and links. We hope to become a paying market
soon,
so the more subscribers the better. Details: write-advice@aweber.com
To subscribe: marie@writeadvice.abelgratis.com (please place ‘Ezine
nws’ in the subject line).
--------------------------------------------------------------------------------
****You're taking care of children all day long! They run and
jump and make
lots of noise -- so cute! But how can you possibly get any writing
done?
You NEED The Writing Parent FREE E-Mag! Each issue is especially
geared
toward helping you find the time and concentration you need to reach
success
in the writing field. Receive your FREE subscription simply by
sending
e-mail to TheWritingParent-subscribe@onelist.com
Want to see an issue right now? Available by autoresponder -
TWParentEMag@sendfree.com ****
Angela Giles Klocke
http://pages.ivillage.com/ps/parentslikeus/MyLists.html
All of my lists in one place -- Subscribe to them all! :-)
*****************************************************************
Hedgehopping - Free newsletter for children's writers:
Hedgehopping is a new newsletter for "beginning writers
who write for children." Many writing newsletters are
for more advanced writers, but we hope to give beginners
the basics they need to get started in a writing career.
Helpful articles packed with information delivered free
every month!URL: http://homestead.com/hedgehopping/index.html
To Subscribe: Send a blank e-mail to:
Hedgehopping-subscribe@onelist.com
Owner: Debbie Stauffer - Deblanells@aol.com
--------------------------------------------------------------------------------
That's it for this week. Don't forget we will be back next week
with more
news, markets and features to help you sell more of your work.
We welcome your submissions of articles, news and comments.
--------------------------------------------------------------------------------
End Of Part 1
John Dunne
Editor
Regent publications
14 Honor Avenue, Goldthorn park, Wolverhampton. WV4 5HH.UK
Tel/Fax: (+44) 01902 652999
Email: john@voyage99.freeserve.co.uk
