VOLUME 24, ISSUE 11 | MARCH 8, 2024 |
WRITING CRITIQUE GROUPS I no longer belong to a writer's critique group. I used to belong to two at the same time. One in person and one online. The first was 25 miles away, and we met biweekly, with a limit of ten double-spaced pages. The second was online and international. It was understood to submit a chapter
at a time. I belonged to both for a while. One for a decade and the other several years past. I left the first one after publishing two books. My contract required me to write faster than the group could critique. At best I could workshop 3/4 of a book per year. As time went on, I had to write faster than the group could accommodate. The other lost two members to deaths that gutted us. The remainders try to keep on, but personalities got into play, and it disbanded. This week, however, I revisited the first group, to see old friends. I am thoroughly enjoying
reading their feedback on my Chapter One from Slade's next book. But they only accept seven pages now (roughly 1800 words), so again, I cannot continue, but the group reminded me of why groups are important. Feedback is important. So important. If you cannot find a critique group, then form one. Try to keep the experience level about the same. Someone
too novice will be overwhelmed. Someone too experience will be bored. They can catapult you faster than editing alone. Gracious, I miss having a group. They can make your work better. They helped my writing grow phenomenally faster than it would have otherwise. |
C. Hope Clark
Editor, FundsforWriters
Email Hope | Visit Website | Sign up for Newsletter
Newsletter: ISSN: 1533-1326
FFW has been on the Writer's Digest's 101 Best Websites for Writers list every year since 2000
Our subscriber list is
NOT made available to others. Use information listed at your own risk. FundsforWriters gives no warranty to completeness, accuracy, or fitness of the markets, contests, and grants although research is done to the best of our ability. FundsforWriters finds open submission calls, contests, and markets from a wide variety of sources, including Erika Dreifus' Practicing Writer newsletter, Erica Verrillo's
blog, Authors Publish, Poets & Writers, Duotrope, Winning Writers, Write Jobs Plus,
LinkedIn Jobs, Emily Stoddard, and other newsletters and online sites. Many announcements are submitted directly to FundsforWriters. All must be paying opportunities. Contests must pay a minimum of $200 first place. Submit potential listings to hope@chopeclark.com
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REFERRALS Most of you reading this have published somewhere. In newsletter, magazines, or blogs. Maybe you've done podcasts or YouTube episodes. Or you've published in an anthology, or even published a book or two. Along this journey, you've met people in
the business. Don't forget these people. Some will be editors and others marketers. Some helped you design your cover, and others selected you for a book of anecdotes. Someone interviewed you live, or on a blog. You may even run into peers who praised you. Peers who have done well for themselves, or may
have knowledge of people you don't have connections to. The point is to use your connections. If you've worked with anyone who can speak to your writing, publishing, or editorial skills, then ask for a testimonial, or a referral to someone you don't know but wish you did. Using your contacts doesn't come natural to many writers,
especially the introverted ones. However, the moment you are give a positive reaction to anything you've done, ask the following: 1) Can you refer me to your person?
2) Can you write a testimonial I can use?
3) Can you make an email introduction between your person and me?
4) Can
we meet for coffee? As much as you'd love to remain in your hole to write, sooner or later, if you expect to be read, you'll have to talk to people, collaborate with people, and connect with people. Just don't forget who you've already met, and let them help you meet others halfway. You cannot do everything yourself. Donkeys and starry skies, oh my! Venture into the rolling foothills of Appalachia for a unique residency opportunity in a farm-stay style experience. Follow the long tradition of writer's
retreating into nature for inspiration and the quiet rhythm to focus on your work. Whether you are planting seeds of a new project, giving yourself a challenge like NaNoWriMo, or ready to edit, organize, or polish before sending your words into the world, you will find this residency the place that will nourish you and your work.
Escape the hubbub of the normal world and routines that may be challenging to carve out focus time. Spend 1, 2, or 3 weeks
in a special place where time is a bit squishy and there's little light pollution. Interact with our 15 donkeys (mostly minis), chickens and roosters, two peacocks, camp cats, and two farm dogs during your stay. Or maybe you are ready to sink into a month or two of writing and exploring, which is also an option.
This residency program was founded and is managed by a former tenured design professor who is a book aficionado, an advocate of the arts and
humanities, and an artist with various interests such as photography and ceramics. She is also a certified Forest Therapy guide and those staying at least two weeks will receive a complimentary guided walk on a special section of the 17 acre 'campus' that includes about 500 ft of Buffalo river and riparian zone. Camp Wonder Wander is located twenty minutes between two small towns and about 2 hours
drive southwest of Nashville. Creative and comfortable furnished lodging with several room style options. Dog and family friendly. Ask about Farm-stay scholarship and Family-friendly summer program. For more information and to apply visit www.sarasvati.space -March 8, 2024 - Colleton County Library, 600 Hampton St, Walterboro, SC - 1-2PM -March 24, 2024 - Writer's Digest Mystery/Thriller Virtual Conference - presenter - Keeping Pace in the Middle of
Your Mystery - 1 PM Eastern -May 29, 2024 - A Moveable Feast, presenter C. Hope Clark, Restaurant TBD, Pawley's Island, SC -June 1-8, 2024 -
The Gutsy Great Novelist Retreat, Bar Harbor, Maine - writer-in-residence
-June 22, 2024 - Richland County Library, Ballentine,
1200 Dutch Fork Rd, Irmo, SC - time TBD - July 9, 2024 - South Congaree-Pine Ridge Branch Library, 200 Sunset Dr, West Columbia, SC 29172 - 5:30-7:00 PM
Email: hope@chopeclark.com to schedule events, online or otherwise. “Improvisation is too good to leave to chance.” – Paul Simon
Dear Hope, I wanted to take the time and say "thank you, thank you" for your newsletter and resources. I have pitched long form pieces to a variety of outlets through the years and I often get the following: 1. Absolutely no response and if I follow up with the publication, continued silence.
2. A curt "no thank you" as they only work with established credible writers, unlike me 😆
3. Or the publication lifts my pitch and then I see the story arrive online or in print and I am STUNNED! But
I recently pitched to The Daily Yonder, which you referenced a few weeks back. To my surprise, a very lovely editor responded and encouraged the story and even offered a kill fee! If I can send you a gift card for your favorite coffee/tea/hangout near you...I would love to pay it forward! Take care,
COLLEEN MCNATT ENGELBRECHT
Grant Writer | McNatt Media
858-349-2791
colleen@mcnattmedia.com
www.mcnattmedia.com <<If you have a success story you believe was prompted by FundsforWriters, please share with us! Send to hope@chopeclark.com >>
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Top 7 Things a Producer Wants From Your Screenplay
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By Mark Heidelberger What makes a screenplay successful? This question has haunted many a writer since the dawn of motion pictures. No single genre, subject or storyline has so dominated the box office as to be dubbed a surefire winner. If one had, that’s all Hollywood would make. We’ve seen hits and flops from every kind of film imaginable. For every Spartacus, there’s a Cleopatra. For every Godfather,
there’s a Billy Bathgate. For every Lawrence of Arabia, there’s an Ishtar. But that doesn’t mean there aren’t key elements producers look for in a script as bellwethers of success, because most understand that while you can make a so-so movie from a great script, you can’t make a great movie from a so-so script. It all starts with the material. As such, here are seven things your script should have, regardless of the scope and storyline. Originality Producers may want your material to fit a certain formula, style or genre, but that doesn’t mean they want derivative. Everyone is looking for the next great concept. Some unique take or spin on an idea that we haven’t seen yet. If you think every idea has been done already, just look at films from Guillermo del Toro, Wes Anderson or Christopher Nolan. Give your material a new angle or sui generis
voice that feels fresh and new. A Coherent Theme Your screenplay should have a raison d'être. Craft a message that makes audiences think, that espouses a point of view, that leaves people talking long after the credits roll. Sadly, too many scripts exist only for entertainment or spectacle, but storytelling is man’s way of sharing ideas, and film is no different, so share one. What your hero
learns on his journey – how he grows or changes – should, in essence, embody the script’s theme. Three-Act Structure The first quarter of a script is Act 1, culminating in the hero making a choice. The second and third quarters are Act 2, with rising action to a midpoint followed by falling action to a low point. The last quarter is Act 3, where the hero finds strength and forces a climax. If
this seems too rigid, sorry, it works, and producers want to see it. Yes, some successful filmmakers may eschew traditional three-act structure, but their track record gives them leeway that up-and-comers don’t have. First, show you can play by the rules, then you can break them. And then maybe someday you can make them. Conflict The biggest way to suck the soul from a script is through a lack
of dramatic tension. If the hero’s goal is to eat a banana and the antagonist’s goal is to eat an orange, there’s going to be zero conflict because they’re in two different movies. This may sound elementary, but all too often even pros make this mistake. If the hero’s goal is to eat a banana, the antagonist’s goal better be to stop them from eating it! The more conflict, the more interesting the hero’s journey will be. Proper
Formatting Learn how a script should be formatted. Font type and size should be Courier 12, while margins should be one inch from the top and bottom, and 1.5 inches from the left side. Scene headings should generally be “INT.” or “EXT.” followed by the name of the locale and “DAY” or “NIGHT.” Character names should be capitalized the first time the character is introduced only. And a proper title page will include the author’s name and draft
date. While software like Final Draft helps with much of this, there’s still plenty of room for error, so be sure to get it right. Read Syd Field’s Screenplay for more specifics on formatting. The Right Length Nothing makes a producer’s eyes go crossed more than a 145-page script with long blocks of action. Scripts should almost never be longer than 120 pages and should have plenty of white
space on the page. In screenwriting, less is more. In fact, unless it’s an epic, 100 pages is usually a great length. If your script is running long, there are undoubtedly areas that can be trimmed or streamlined. Mastery of Language Quality of the writing is key. Producers know that the script will be read literally hundreds of times before it makes it to the screen – by crew, cast,
executives, agents and everyone in between. A good story won’t save a poorly written script. A producer judges the writing in the first five pages, and if it’s bad, they won’t get to page six. Craft tight, punchy action lines that paint a visual and dialogue that feels true to your characters. Moreover, make sure spelling and grammar are on point. While nothing guarantees that your screenplay will get the attention of a producer, employing these key
elements will almost surely put you head and shoulders above many other writers out there. BIO
Mark Heidelberger co-founded Beverly Hills-based Treasure Entertainment in 2000, serving as a film executive, producer and literary manager until 2011 before going freelance. Film and TV credits include Harsh Times, Comfort, Ninja Apocalypse, The Basement, Take the Night, Pray for Rain,
Hallmark Channel's You've Got a Friend and the soon-to-be-released Last Night on Earth. Often times, he performs ghostwriting services on screenplays in addition to his producing duties. He is a member of the Producers Guild of America. He holds a BA in Film Studies from UCSB and an MFA in Producing from UCLA's School of Theater, Film, and Television.
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ONLY POEMS PRIZE
https://www.onlypoems.net/contest
$15 ENTRY FEE. Deadline April 30, 2024. The entry fee includes a comped two-month Substack
subscription (worth $14). Poet of the Year will receive $3000 and a lifetime comped subscription to the ONLY POEMS Substack. Two Runner-ups will receive $300 each and a three-year comped subscription. All honorable mentions will receive a one-year comped subscription. Three to ten poems of all three winners will be published alongside an extensive interview in July. Submissions must be five to ten pages. FOURTH GENRE STEINBERG MEMORIAL ESSAY PRIZE
https://fourthgenre.org/submit/
$20 ENTRY FEE. Deadline March 15, 2024. All submissions will be considered for publication. Limit 6,000 words. Prize is $1,000 and publication. FOURTH GENRE MULTIMEDIA ESSAY PRIZE
https://fourthgenre.org/submit/
$20 ENTRY FEE. Deadline March 15, 2024. A prize of $500 and publication on the Fourth Genre website is given annually for a multimedia essay. Submit a video, audio, photo, graphic, or interactive essay. All
entries are considered for publication. JAMES JONES FIRST NOVEL COMPETITION
https://www.wilkes.edu/academics/graduate-programs/creative-writing-ma-mfa/james-jones-fellowship-contest.aspx
$33 ENTRY FEE. Deadline March 15, 2024. A prize of $10,000 is given annually for a novel-in-progress by a U.S. writer who has not published a novel. First runner-up will receive $3,000, second runner-up will receive $2,000. BLACK FOX PRIZE: FAIRY TALE REMIX
https://blackfoxlitmag.com/contests/
$12 ENTRY FEE. Deadline March 31, 2024. The theme for this round is “Fairy Tale Remix.” Please submit your strongest fiction, nonfiction, or poetry. The prize is $300 and publication in the Summer 2024 issue. All
submissions are considered for publication. CRAFT NOVELETTE PRINT PRIZE
https://www.craftliterary.com/craft-novelette-print-prize-2024/
$30 ENTRY FEE. Deadline March 17, 2024. Seeking
submissions of polished novelettes from 7,500 to 15,000 words. One grand-prize winner will receive $3,000, print publication, royalties, and twenty author copies. The winner will have the option of international distribution through drop-shipping at Bookshop.org, Barnes & Noble, and other platforms, earning fifty percent of royalties on their published novelette. GRANTS / FELLOWSHIP / CROWDFUNDING You think you know how to write a sentence? Think again. Taking notes from literature, advertising, and artificial intelligence, we’d explore how a sentence is formed, how it communicates an idea, and how you can create sentences worth reading (and actually enjoy
writing). Each week of this 3-week workshop contains four daily in-depth lessons, each with their own required response assignment that helps you read, understand, analyze, and engage with sentences in nuanced, thoughtful ways. Each weekend, you’d get to work on a project that further stretches your understanding and application of things you’re learning. I personally respond to each homework
assignment with thought-provoking feedback. - Materials:
Everything–lessons, assignments, project outlines, and detailed comments–will be provided via email.
- Cost: $195 USD
- Who this class is for: Artists, writers,
would-be authors and anyone who loves and/or works with words.
- Instructor:
I’m Odelia – freelance copywriter, AP English Composition teacher, and published novelist. I share my thoughts sporadically with the internet on my blog, where I explore the soul, mind, and environment of the creator.
Visit this page to learn more, see what past students have to say, and sign up! TELLING TRUE STORIES FELLOWSHIP
https://www.writerscolony.org/fellowships
Deadline April 22, 2024.
Writers of narrative nonfiction are invited to apply for this fellowship. It must be historically accurate, and it must tell a compelling story, but it can take a variety of forms, including memoirs, autobiography, biography, history, journalism, and even drama and poetry. The fellowship winner will receive a two-week residency at WCDH to focus completely on their writing. Location The Writers' Colony at Dairy Hollow, Eureka Springs, AR. VERMONT ARTS COUNCIL
https://www.vermontartscouncil.org/grants/find-a-grant/artists/creation/
Deadline April 9, 2024. The Vermont Arts Council is now accepting applications for its annual Creation Grant, which supports
Vermont artists or artist groups in creating new work. Grant funds may be used to compensate artists for time spent creating new work, to purchase materials, or to rent equipment or space for the process. Up tp $5,000. MID-AMERICAN ARTS ALLIANCE INTERCHANGE GRANTS
https://www.maaa.org/interchange-program-applications-open/
Deadline April 15, 2024. A program empowering individual artists dedicated to fostering social change in their This initiative will award $25,000 practice-based fellowships to 16 regional artists, providing vital resources for their socially engaged creative practices. Individual artists residing in M-AAA’s six-state region of Arkansas, Kansas,
Missouri, Nebraska, Oklahoma, and Texas are invited to apply. TENNESSEE ROLLING GRANTS
https://tnartscommission.org/news/rolling-grants-remain-available-for-arts-activities/
Tennessee Arts Commission fiscal Year 2024 Rolling Grants remain available to cover a range of arts activities and arts services throughout the state between now and June 2024. Applicants are encouraged to apply for projects that range from a focus on serving an underrepresented population to professional development, arts learning, or engaging audiences in performances and hands-on artmaking.
WESTERLY MAGAZINE
https://westerlymag.com.au/contribute/
Westerly publishes short stories, micro-fiction, poetry, memoir and creative non-fiction, artwork, essays and literary criticism.
Poetry: maximum of five poems, with maximum 50 lines each. Fiction and Creative Non-Fiction: maximum 3500 words. Scholarly Articles: maximum 5000 words. Reviews: approximately 800 words. $250 for one poem or $300 for a poetic sequence. Prose (including scholarly work): $300. Online Publication (including reviews): $180. (NOTE: THESE ARE AUSTRALIAN DOLLARS) ATLANTA MAGAZINE
https://www.atlantamagazine.com/contact-us/pitches
We focus on Atlanta and the metro region. We’re looking for stories that haven’t been told before, that help us see the city, the state, the region, and ourselves in new ways. Pays as much as $1 per word. YES!
https://airtable.com/appkSvYIGhY8AEgbM/shrHrE4TsDOEtmU0w?
YES! Media produces nonprofit, independent, reader-supported journalism for people building a better world, both online and in the quarterly print magazine. Stories are focused on solutions by and for
communities (as opposed to innovations or aid). Pays up to 40 cents/word. THE DAILY BEAST'S OBSESSED
https://www.thedailybeast.com/obsessed/the-daily-beasts-obsessed-how-to-pitch-freelance-stories
The Daily Beast’s Obsessed is always looking for reactions, explainers, interviews, reviews, and opinion pieces. We cover everything that’s happening in pop culture that you—and we—can’t stop loving, hating, and thinking about. Rates start at $250. HOTHOUSE
https://hothouse.substack.com/about
Hothouse publishes investigative reporting about climate solutions. We love solutions journalism stories that challenge conventional wisdom. Pays 50 cents per word. Profiles are up to 800 words long and features are up to 1500
words.
BAOBAB PRESS
https://baobabpress.com/submissions/
Baobab Press constantly strives to discover, cultivate, and nurture authors working in all genres. We tend to select literary work with a strong
sense of place at its core. WHAT BOOKS PRESS
https://www.whatbookspress.com/submissions.html
The majority of their authors are, like What Books Press, Californian, and they take a keen interest in work that originates
in, mirrors, fantasizes on, disassembles, et cetera, special left coast circumstances. Please consider submitting if this geographical and cultural dimension of the press resonates with your own circumstances. LITTLE PRESS PUBLISHING
https://littlepresspublishing.com/submissions
Deadline March 30, 2024. Currently open for middle-grade and young adult submissions, only. PALIMPSEST PRESS
https://palimpsestpress.ca/submission-info/
Palimpsest Press publishes poetry, literary fiction, and non-fiction titles that deal with poetics, cultural criticism, and literary biography. We look for poetry that displays technical mastery, precise language, and an authentic voice, and fiction that is rich in imagery, well crafted, and focused on character development. Our non-fiction titles are essays or memoirs written by
poets, and books that examine Canadian poetry and the Canadian cultural landscape. Please forward the newsletter in its entirety. To reprint any editorials, contact hope@fundsforwriters.com for permission. Do not assume that acknowledgements listed in your publication is considered a valid right to publish out of ours.
C. Hope Clark
E-mail: hope@fundsforwriters.com
140-A Amicks Ferry Road #4
Chapin, SC 29036
http://www.fundsforwriters.com Copyright 2000-2023, C. Hope Clark
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