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EDITOR'S THOUGHTS

SNARING FREELANCE PITCHES

"Keep it (pitches) short and sweet and to the point. Editors get hundreds of pitches every single day and if you can help them get to a "yes" fast, do it."

~Six-figure freelance writer Mandy Ellis, https://www.mandyellis.com/

Yes, the key is to write such a pitch as to make the editor sigh with relief at a writer finally "getting it." They have to read your pitch and be so happy at a writer who writes well, has a voice, gets the publication, and has a halfway decent topic. So many writers shoot themselves in the foot by not trying hard with the pitch, when they ought to struggle writing it as much or more than the article itself.

Suggestions on how to break into freelance assignments (magazines, blogposts, newsletters):

1) Read a dozen articles from that publication until you have down pat the style, tone, and ideas they prefer. 

2) Identify which sections allow freelancers (some sections, even with newsletters like FundsforWriters, have sections written in-house).

3) Study headlines hard. Yes, people start there in deciding whether to read further.

4) Do not use AI if they say do not use AI. You won't be just rejected, but may be black-listed forever.

5) Do not send your resume and ask an editor what they need for the magazine. That's so insulting, so lazy as a writer, and eats up an editor's time. Understand a publication well enough to know whether you should pitch or send an LOI (letter of introduction). 

6) Do not send a PDF. 

7) Do not send an already formatted article with pictures. It comes across as stolen and plagiarized. 

When I receive a request to write for me, it should come in the form of a pitch. That pitch should show that the writer has read the newsletter and its articles, understands its purpose, and has dissected the guidelines. Theoretically, a pitch initially should be whether an idea clicks, not a study in whether the writer knows what they are doing. But when it strays into asking for the guidelines (when they are already online), asking for ideas to write (also online in guidelines and examples), sending a CV without delivering a pitched article (we are interested in the pitch first), they've wasted everyone's time and are guaranteed a rejection. 

Some editors never send rejections. Think about it. When a writer hasn't done their homework, hasn't read guidelines, and asks an editor what they should write, it's not worth an editor's already wasted time to tell a writer why they've missed the mark. They've already shown they don't pay attention anyway.

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SUCCESS QUOTE

SUccess Story

Featured article

The Power of the Editor

By Catherine Shields

Forty years ago, while taking a college course in children's literature, I set out to write a children's book. But my career as an elementary school teacher interfered, and my publishing dreams evaporated. When I became a mother of a child with a disability, the next twenty years blurred the boundaries between order and chaos.

By the time I took another creative writing class, my children were teenagers, and I was in my late forties. The teacher wielded his pen like a sword, a grizzled old guy who yelled at students when they couldn't explain where to place a comma in a sentence. Still, he walked around the room cajoling us with, 'write what you know.' I wrote about my chaotic life. The idea for my book jelled with a theme that revolved around raising a child with disabilities.

I joined writing groups to help develop my skills. I learned about first, second, and third persons, first, second and third drafts, how to identify weak verbs, how to self-edit, how to revise, and the differences between passive and active voice. Fast forward another two years. 

I attended my first writing conference, ready to query my manuscript. I met an editor who taught the craft of memoir. After I described my book, she told me the next step should be a developmental edit.

I did not yet understand what an editor could do and, unwilling to make the financial commitment, I relied on my writing groups and scores of beta readers for feedback on whether my book was ready before I researched agents. Responses bounced between form rejections and silence. After fifty queries, I got one request for a full manuscript and within two weeks, a rejection.

Would I ever get my book published? I thought my story about how I faced an internal struggle to accept my child with intellectual disabilities, had a universal interest. The theme: learning acceptance. I had fought my child's diagnosis until I gradually came to the realization that my daughter did not need to change; I did. Perhaps I had revised the story so many times that I had become shortsighted. Maybe it was time to find an editor.

The one I found appreciated the story I was trying to tell, and with her help, I revised and sent out a new round of queries. A well-known press showed interest with a request for the full manuscript. It was quickly rejected, and I am still astounded that I emailed them as to why.

Their response?
Too much reporting about doctors and specialists.

I sought out a new editor. This time I asked writer friends for recommendations. The person I chose, Monica, taught creative writing at a university and had published a memoir about a difficult subject, the imminent death of her baby. Although her editing wouldn't guarantee I'd get published, I believed her insight could add a new perspective to the narrative arc of my story.

Two weeks later, I received the revised manuscript. The sculpting almost made me cry. The opening scene disappeared; the one everyone told me had to remain for my hook, the one where the doctor labels my child profoundly retarded.

In her editorial notes, she wrote: Don't give the whole story away in the first chapter.

She moved scenes and pointed out where I needed to build scenes or add dialogue, but she hadn't twisted my voice into her own words. What she had done was fiddle with structure. That's when I finally understood the power of a good editor. Monica was the surgeon, I was the intern. She taught me what to cut away to repair and restructure.

I sent out the newly edited version in my next batch of queries, surprised when I received multiple requests for the full-length manuscript. None of this would have happened without my writing community, the previous editors, my beta readers, and the editor with eagle eyes. Last week, I signed a contract to have my memoir, The Shape of Normal, published with Vine Leaves Press. The book will be out in the fall of 2023.


Bio: Catherine Shields writes about parenting, disabilities, and self-discovery. In her debut memoir THE SHAPE OF NORMAL A Mother's Journey from Disbelief to Acceptance, (Vine Leaves Press 2023), Catherine explores the truths and lies parents tell themselves. Her stories have appeared in Newsweek, Bacopa Review, Mother Magazine, Kaleidoscope, Write City, and Manifest-Station, and her work was nominated for the Pushcart Prize in 2019. She resides in Miami, Florida with her husband who she's been married forever. They enjoy taking long bike rides and kayaking in Biscayne Bay. 

This essay is a reprint, 1st published in June 2022 on Brevity Blog at
https://brevity.wordpress.com/2022/06/13/power-of-the-editor. 
 

19844263 © Corina Rosu | Dreamstime.com
 

COmpetitions

LIMNISA CONTEST
https://www.limnisa.com/shortstorycompetition2023
NO ENTRY FEE. Deadline July 2, 2023. Win a writing holidau. Send in your short story and win a week-long writing holiday by the sea in Greece. Theme: A room of one's own​. Send your short story of 1500 words maximum. First prize is one week Writers’ Retreat in 2023 or 2024 at seaside location near Agios Georgios, Methana, Greece. Full board, seven nights accommodation in single room, optional yoga sessions, literary evening, use of all Limnisa facilities: beach, bikes, international library etc. Subsequent prizes are discounts on the retreat. Your entry is FREE  but please provide a link to show you follow us on Facebook / Instagram and to show you have shared news of Limnisa and the competition. For a fee of £50 we offer a professional evaluation of your story. 

AURORA PRIZE FOR WRITING
https://writingeastmidlands.co.uk/for-writers/aurora-prize-for-writing/
£9 ENTRY FEE. Deadline July 19, 2023. The Aurora Prize seeks outstanding new writing in short fiction and poetry. The winners, in each category, will receive a cash prize of £500, feedback on a piece of work of their choice from a leading literary agent (or Editor as appropriate) and a years free membership to the Society of Authors, which includes access to advice and resources on all aspects of the business of writing. Second Prize £150 cash. Third Prize A one-day course of your choice from Writing School East Midlands.

REEDSY THEMED SHORT STORY COMPETITION
https://blog.reedsy.com/creative-writing-prompts
$5 ENTRY FEE. We'll send you five prompts each week. Respond with your short story and you could win $250! 

FICITON FACTORY FLASH FICTION CONTEST
https://fiction-factory.biz/flash-fiction-competition/
£6 ENTRY FEE. Deadline July 31, 2023. Length of story: max 1,000 words. Winning stories will be published on the website and, at a later date, will be included in a planned anthology. First prize £300. All genres will be accepted except Children’s and Young Adult Fiction

CALEDONIA NOVEL AWARD
https://thecaledonianovelaward.com/
£25 ENTRY FEE. Deadline November 1, 2023. An Edinburgh-based, international writing competition for unpublished and self-published novelists in all genres for adults and YA. Top prize: £1,500 and an exclusive framed award designed by Edinburgh artist Lucy Roscoe. Highly Commended prize: £500. Special prize: a free place on a writing course at Moniack Mhor Creative Writing Centre for the best novel from the UK and Ireland.

HASTINGS BOOK FESTIVAL PRIZES
https://www.hastingsbookfest.org/competitions
£7.50 ENTRY FEE. Deadline July 14, 2023. In each competition first, second and third place will be awarded a cash prize of £250, £100 and £50, respectively. Categories are short fiction of under 2,500 words. and poetry maximum of 40 lines. You may submit on any theme. We offer bursaries for UK-based writers who are negatively impacted by recent cost of living increases. The main prize entry is open to all, including non-UK based writers. There is no geographical restriction on entrants.

MONO POETRY PRIZE
https://www.monofiction.org/poetryprize
£6 ENTRY FEE. Deadline August 1, 2023. Looking for your short-form poetry - send us your Haikus, Sonnets, Tankas, Acrostics, Limericks and any other short-form poem up to 14 lines. The theme is 'BEAT' - which is open to wide interpretation. First prize £650. Second prize £200. Third prize £100. The top three poems will be put forward to next year's Forward Prize, a prestigious award which is not open to submissions from the general public.

BLACK VOICES IN CHILDREN'S LITERATURE WRITING CONTEST
https://www.teachercreatedmaterials.com/free-spirit-publishing/black-voices-childrens-literature-writing-contest/
NO ENTRY FEE. Deadline July 24, 2023. The contest is open to Black authors who at the time of entry are at least 18 years of age and residing anywhere in the United States. Eligible entries will include original children’s books for ages 0–4 (50–125 words) or for ages 4–8 (300–800 words) featuring authentic, realistic Black characters and culture and focusing on one or more of the following topics: character development, self-esteem, identity, diversity, getting along with others, engaging with family and community, or other topics related to positive childhood development. First prize $1,000, second prize $500, third prize $250. 

THE BEDFORD COMPETITION
https://bedfordwritingcompetition.co.uk/BWC/php/homepage.php
£7.50 ENTRY FEE. Deadline October 31, 2023. Submit stories up to 3000 words and poems up to 40 lines. First prize £1500, second prize £300, third prize £200. An International Competition, open to everybody from around the world aged 17 or over. Any theme. 

 

GRANTS / FELLOWSHIPS / CROWDFUNDING

FREELANCE MARKETS / JOBS

PLANET PRINCETON
https://planetprinceton.com/about/
Seeks investigative, accountability and explanatory journalism freelance stories about New Jersey, paying $500-2,500+ per story. Publication provides original, fair, and accurate reporting on the local news of the greater Princeton area in Mercer County, New Jersey. Send clips and pitches (we also grant assignments) to jerseyvindicator@gmail.com.

QVC
https://community.qvc.com/?qq=ft
QVC seeks personal stories for its Menopause Your Way project, exploring various subjects like: empty nesting and reclaiming your space at home, navigating career transitions, pursuing hobbies, discovering new passions and interests, and challenging stereotypes surrounding menopause and middle age. Pays £300 for 800-1000 words. Submit stories to jessica.metliss@qvc.com

CENTRAL COAST FARM & RANCH
https://www.farmbureauvc.com/new/assets/pdf-forms/CCF&R-contributor-guide.pdf
Central Coast Farm & Ranch is a quarterly magazine circulated in Ventura and Santa Barbara counties. It is distributed as a benefit of membership in the Santa Barbara and Ventura County Farm Bureaus, and its primary audience is members of the Central Coast agricultural community. stories and photographs
that appeal to supporters of local food, fans of local restaurants that feature local food, and members of the general public interested in learning about the past, present and future of the region’s signature industry. Each issue includes several features on topics specific to Central Coast agriculture, as well as departments devoted to local history, edible gardening, agri-tourism destinations, and industry news briefs. Length varies: 1,000-1,500 words for a cover story or feature, 500-700 words for departments, and 300 or fewer words for news briefs. Pay ranges from 50 cents to $1 a word for features, depending on placement and other factors, and is a flat $350 for departments. Pay rate for feature photographs is $75-$150 per assignment, with a bonus of $300 for cover art.

CLUBHOUSE JR
https://www.focusonthefamily.com/clubhouse-jr-magazine/about/submission-guidelines/
Focus on the Family Clubhouse Jr. is a 32-page magazine designed to inspire, entertain and teach Christian values to children ages 3-7. The magazine, which has a circulation of over 50,000, reaches young readers and their parents. While our stories aren’t always explicitly Christian, they should be built on a foundation of Christian beliefs and family values. Key elements in a strong story are humor and charm. Fiction stories should be 800-1,000 words in length. Rebus stories should be 200 words. We are always looking for unique and interesting nonfiction stories and articles, especially stories about animals. Every article should have a Christian angle, though it shouldn’t be overbearing. We generally pay between 15 and 25 cents per word, depending on the amount of editing required.

INTERNATIONAL LIVING
https://internationalliving.com/about-il/write-for-il/
Here at International Living, we believe in one simple idea…in the right places overseas, you can live better, for less. A healthier, safer, freer, more affordable retirement can be yours in one of the many retirement havens around the world. Website articles: If we publish your article, we will pay you a one-time rate based on word count, $100 for 1,000 words, $150 for 1,500 etc. Postcard articles: If we publish your postcard, we will pay you a one-time rate of $100, including any photos you may wish to include. Magazine articles: Payment is upon publication. International Living buys all rights and we pay $225 for 900 words and $350 for 1,600 words. As regards photographs, if we use one of yours we pay $50 for one-time use and you retain the rights.
 

Publishers/agents

PAGE STREET PUBLISHING
https://www.pagestreetpublishing.com/submission-guidelines
We publish young adult (YA) fiction (for ages 12 and up), in all genres, and a variety of nonfiction books in such categories as cooking, sports, science, nature, interior design, crafts, and parenting. We also publish picture books in all genres for ages 4-8 with particular focus on new talent, artist-led narratives, engaging story arcs, and visually driven concepts. We do not publish board books, early readers, chapter books, or middle grade at this time.

TWO DOLLAR RADIO
https://twodollarradio.com/pages/submissions
Please submit only completed manuscripts—no samples, excerpts, proposals. We will accept submissions for work that is out of print from another publisher. We do not currently accept poetry submissions. Two Dollar Radio is a family-run outfit founded in 2005 with the mission to reaffirm the cultural and artistic spirit of the publishing industry. We aim to do this by presenting bold works of literary merit, each book, individually and collectively, providing a sonic progression that we believe to be too loud to ignore.

MIGHTY MEDIA PRESS
https://mightymediapress.com/submissions.html
Mighty Media Press delivers captivating books and media that ignite a child's curiosity, imagination, social awareness, and sense of adventure. We only publish books that fit all four parts of this mission. Why? Because we know the stories kids experience help shape their minds, and we want to produce books that guide kids on the path to becoming great adults.

FLYING EYE BOOKS
https://flyingeyebooks.com/flying-eye/submissions/
We will accept submissions for picture books that are 24 pages or 32 pages long (story) with a word count 500 words (1000 max) for picture books. For children’s non-fiction submissions, we will accept pitches for books of up to 90 pages.

JO FLETCHER BOOKS
https://www.jofletcherbooks.com/landing-page/jo-fletcher-books/jo-fletcher-books-contact-us/
Jo Fletcher Books is part of the Quercus family, a small but perfectly formed list publishing the very best in best science fiction, fantasy and horror. Jo Fletcher Books currently accepts unsolicited submissions, but only by email. If you wish to submit, please email the first 10,000 words, or the first three chapters of your novel to submissions@jofletcherbooks.co.uk. 

CANELO BOOKS
https://www.canelo.co/submissions/
We are always looking for new and exciting voices within commercial fiction. We want books that are absorbing, immersive and compelling. What we're looking for: Saga: historical novels about families facing adversity, generational series and women finding love; Action: military thrillers, spy and espionage, conspiracy thrillers; Adventure: historical adventure, mythical retellings, historical fantasy
Escape: romance, romantic comedy, exotic locations; Commercial women's fiction: issues led narratives, moral dilemmas; Crime and psychological thrillers: cosy crime, police procedural, amateur sleuth, murder mystery, hardboiled.
.

FUNDSFORWRITERS CONTACT INFO

FINE PRINT

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C. Hope Clark
E-mail: hope@fundsforwriters.com
140-A Amicks Ferry Road #4
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ISSN: 1533-1326

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