VOLUME 24, ISSUE 24 | june 7 2024 |
How Do You Get Your Speaking Engagements? Trust me, they were not easy to land in the beginning. In the early days, when I had one book, even two, bookstores all but laughed in my face. One told me to come back when I had two books; they weren't interested in a one-book author. I remember that bookstore to this day. I have not been back to
them. I would pitch myself as a presenter, stating what I had published, and, yes, I spoke for free as long as books could be sold afterward. Some queries were cringe-worthy, even embarrassing. Others treated me kindly, even while saying no. However, enough said yes. Those are the ones to list as experience and to ask for testimonial from, because as you rise in popularity, they do, too. It's
definitely a symbiotic relationship. Honestly, starting local makes the most sense. Inquire in an area that already recognizes you, or at least appreciates that you are local. Even if there are only six people in the room when you present, act like it's a hundred, because those six will tell one or two more people. . . each. Being welcomed will NOT happen overnight. Not many people risk their free time on unknowns. Yes, you're proud of your published book, but others think publishing a book isn't that difficult, so they need either name recognition or word of mouth to convince them to show up. But slow and steady wins this race. Keep asking. Keep writing. Keep telling people
what your book can contribute to society (or their members/customers/followers). Be consistent. Be diligent. Don't do it one month then skip six before doing it again. Promise them a grand time and practice your presentation skills. Make people go back and start buzz about how great you spoke . . . which has to mean your book is good, right?
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WORK ETHIC
Here lately, when I sign books or speak, people look at my stack of books or my banner with all 19 books and say, "Wow, you must have some kind of work ethic to make yourself write that many books." Only one person in five years or
more has recognized my reality when they said, "You treat this as your job, don't you?" Absolutely yes. You do not accidentally get successful.
You do not suddenly become known.
You do not write books
overnight.
You do not short cut the process of writing well.
You do not stop reading good books or improving how well you write.
You do not "get discovered."
The books do not sell themselves. You have a greater chance of winning the
lottery rather than suddenly becoming famous as a writer. But it isn't all negative. The positive is you love writing. You love publishing. You love pushing stories into the world. But if you want this exercise you love so much to become a career. . . Decide why you write.
Decide why you want to be read.
Decide what your long game is as a writer.
Decide where you want to be in one year, two years, three, and more.
Decide to commit daily to the job. There has to be a work ethic . . . there has to be a
plan.
FREE MASTERCLASS FOR WOMEN WRITING NONFICTION BOOKS Finish Your Nonfiction Book: 3 Shifts You Need to Make This
masterclass is for you if you're a woman writing nonfiction and you feel like: - You've been working on your book FOREVER and you don't know if, how, or when you'll ever finish.
- You don't know if continuing to work on your book project is even worth it anymore.
- No one cares about your story or will want to read it anyway, so why
bother?
- You can never find the time or energy to give dedicated and focused attention to your writing.
- You're stuck and you don't know what your book needs, so you may as well just shelve it for a while.
- You really could use some extra support for your writing and book project, but you don't know how or where to get it.
Hi there, I'm Janna Maron and I'm a book coach for women writing nonfiction. It's my joy and pleasure to hold space for women telling personal stories that they know will help others. Click here to sign up for this free masterclass to learn about my philosophy for establishing a holistic approach to getting a book done (including the successes of many of my clients). -June 1-8, 2024 - The Gutsy Great Novelist Retreat, Bar Harbor, Maine - writer-in-residence -June 13, 2024 - Edisto Island Bookstore - Highway 174, Edisto Island, SC - 3-5 PM
-June 22, 2024 - Richland County Library, Ballentine, 1200 Dutch Fork Rd, Irmo, SC - 2:30-3:30 PM - July 9, 2024 - South Congaree-Pine Ridge Branch Library, 200 Sunset Dr, West Columbia, SC 29172 - 5:30-7:00 PM -October 5-12, 2024 - Edisto Bookstore, exact dates in that week
TBD -November TBD, 2024 - Irmo Chapin Holiday Market, Chapin, SC - 8AM - 2PM -May 17, 2025 - Pelion Library Book Club206 Pine St, Pelion, SC, Saturday,
1-2PM
Email: hope@chopeclark.com to schedule events, online or otherwise. Fiction is a lie, and good fiction is the truth inside the lie.” ~ Stephen King in On Writing
Hope - After many years being devastated by every rejection, I have recently adopted an attitude I call "Home for a Bunny," after my children's favorite Golden Book. In it, a bunny goes "down the road, and down the road" to try to find his home. After asking many
different animals (baby birds, frogs, a grumpy groundhog, and several more) if he can share their home (and finding them unsuitable for a bunny), he goes "down the road" and meets a bunny willing to let him share her home, "and that was his home." Like the bunny, my writing has to find the right "home." This attitude shift, and constantly sending writing out to contests and opportunities found here and a couple of other sites, has garnered some success, including the most recent, first place in
Sunspot's "Goldilocks Zone" competition (https://sunspotlit.com/2023-%26-2024-winners) for the poem, "How We Learned to Fly." Thanks for keeping me going "down the road" with your insights and places to send my little bunnies. Anita Hunt
<<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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Almost Famous: Interviews in the Music Industry
By Alex J. Coyne Almost Famous and Spinal Tap are two of my favourite movies – but also (rather accurately) depict the niche of music industry interviews. I've shared the stage with many but switched to journalism and decided to bring some
of the music along. Here's how to 'make it happen' for interviews in the music industry. Publications and Editors in Music There are two types of publications: ones about music, and ones that aren't. Rolling Stone and SA Music Magazine are the aforementioned; mainstream news and blogs are the second. The good news: it's possible to sell a music industry interview anywhere. I sold the story "Band on the Road" to Moneyweb, a financial publication. We interviewed Cortina Whiplash about their finances for a great piece. Mainstream publication Maroela Media let me interview musician Koos Kombuis in 2024, along with other celebrities, about their favourite apps. Beware the Lawsuit Musicians and their agents can be sensitive about
what goes to print. Confirm an article's draft with the subjects or press team – sometimes it's a conditional clause in the agreement. Make sure they're okay with the draft, or your reputation could take a hit. For The sports bet & the bunny chow
(LitNet), I suffered through edits once someone said: “You can't say that, he/she/they might sue.” Connecting via Press Packs Bands are advised to have Press Kits, and this is where you
start – as the press. A press kit contains basic biographical details, usually some songs, and images with permission to use in articles. Sometimes they're called Electronic Press Kits (EPKs). Three press kit examples: guitarist Tony Cox, jazz musician Melorie Jane, and rock artist Sarah Smith Start with the press information, even if you think you're their biggest fan and don’t need
it.. Press kits are usually on the band website, but can also be asked for if they aren't posted there. Press releases, usually also from band social media and sites, inform you of new albums. Going to Gigs (and Getting to Know Bands) There are many journalists who prefer interviews at live gigs. No, I'm not one
of them, because I prefer sitting down and talking outside their work environment! Still, going to gigs (and getting to know bands) can be the best way to connect for a full-time music industry career – and that's often where you hear new things first. People in the Music Industry It's not all about the musicians,
you should know. There are also others in the music industry, from their road crew to producers and competition judges. Branch out, and you might score a great interview with a choir director. I've interviewed Deon Maas (LitNet, 2023), who has
been active in the music industry in many ways – including a judge on Idols: South Africa. Think outside the box, and beyond the stage. Knowing Music and Genres A music writer develops a feel for their genre, or at least feels their way through one. If you don't know a particular genre (or artist), get to know
them by taking some time and listening. Research the genre you're writing about. Would you know the difference between metalcore, grindcore, and heavy metal as well as readers or fans would? Musician Jean Morrison has a great press kit featuring his songs, which
led to my features features on TheSouthAfrican.com. I branched into hip-hop and rap artists, classical musicians, and rock. I'll admit that I don't know too much about jazz, but if I interviewed a jazz saxophonist tomorrow, my preparation would get to know
the genre (e.g. their inspiration or early work). Does a Music Journalist Need to Play Guitar? Not necessarily, no. I haven't produced any rap beats recently, yet I've done great interviews with Isaac Mutant for LitNet, Vrouekeur, and The South African. While I play guitar, background in music isn't necessary to write a good interview – as long as you know your subject and genre well enough to join a conversation. Bio: Alex J. Coyne is a gonzo journalist, writer, and proofreader. Sometimes, he is joined by his
cowriters. His features have been published in a wide array of international publications, like People Magazine, The Citizen, Caribbean Compass, and Writers Write.
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BARROW STREET PRESS POETRY BOOK PRIZE
https://barrowstreet.org/press/submit/
$30 ENTRY FEE. Deadline June 30, 2024. For the best previously unpublished manuscript of poetry in
English. The winner will receive book publication by Barrow Street Press, and $1,500. Submit a 50-80 page unpublished manuscript of original poetry in English. LASCAUX PRIZE IN FLASH FICTION
https://lascauxreview.com/contests/
$15
ENTRY FEE. Deadline June 30, 2024. Stories may be previously published or unpublished, and simultaneous submissions are accepted. True stories are welcome as long as they’re written in a narrative style. Winner receives $1,000, a bronze medallion, and publication in The Lascaux Review. Three stories may be submitted per entry (all pasted into one document). Individual story length should not exceed 1,000 words. All genres and styles are welcome. LASCAUX PRIZE IN CREATIVE NONFICTION
https://lascauxreview.com/contests/
$15 ENTRY FEE. Deadline September 30, 2024. Creative nonfiction may include memoirs, chronicles, personal essays, humorous perspectives, literary journalism—anything
the author has witnessed, experienced, or discovered. Pieces may be previously published or unpublished, and simultaneous submissions are accepted. Winner receives $1,000, a bronze medallion, and publication in The Lascaux Review. Length should not exceed 10,000 words. All topics are welcome. LASCAUX PRIZE IN SHORT FICTION
https://lascauxreview.com/contests/
$15 ENTRY FEE. Deadline December 31, 2024. Stories may be previously published or unpublished, and simultaneous submissions are accepted. Winner receives $1,000, a bronze medallion, and publication in The Lascaux Review. Length should not exceed 10,000 words. All genres and styles are welcome. THE MOTH INTERNATIONAL SHORT STORY PRIZE
https://themothmagazine.com/
€15 ENTRY FEE. Deadline June 30, 2024. The Moth Short Story Prize is an international prize, open to anyone from anywhere in the world, as long as their story is original and previously unpublished. 1st prize €3,000. 2nd prize a week at Circle of Misse plus open travel stipend.
3rd prize €1,000. There is a word limit of 3,000. GRANTS / FELLOWSHIP / CROWDFUNDING MID-AMERICA ART ALLIANCE
https://www.maaa.org/artists-grants-fellowships/artist-inc/
Artist INC is a cutting-edge professional development program that empowers
artists to take control of their careers and create opportunities they’ve only imagined. Artist INC addresses the specific business needs and challenges artists of all disciplines face every day. In its full iteration, Artist INC Live, participants gather for one night a week for eight weeks to learn business skills specific to their art practice and how to apply those skills cooperatively with their peers. Using a groundbreaking class design, artists learn and grow together through artist
facilitator mentoring, small group application activities, as well as large group discussion and multi-media workshop. Artist INC has been offered in communities—large and small—across M-AAA’s region and beyond, including Arkansas, Texas, Iowa, Missouri, Kansas, Nebraska, New Mexico, and Oklahoma. DIVERSE WORLDS GRANT
https://speculativeliterature.org/grants-3/slf-diverse-writers-and-diverse-worlds-grants/
Deadline July 31, 2024. The $500 Diverse Worlds grant is intended for work that best presents a diverse world, regardless of the writer’s background. The submitted project must be a book-length work of speculative
fiction. SOUTH ARTS EXPRESS GRANTS
https://www.southarts.org/grants-opportunities/express-grants
Distributed on a first-come, first-serve basis, Express Grants support rural organizations and communities
with expedited grants of up to $3,000. Express Grants are an opportunity for organizations in South Arts' nine-state region to receive fee support to present Southern guest film directors, visual and performing artists, or writers from inside or outside of the presenter's state. Projects must include both a public presentation (film screening, performance, reading, or exhibition) and an educational/community engagement component. Based on the artist fee, the maximum request is $3,000. The grant
requires a dollar-for-dollar cash match (for example, an applicant that requests $3,000 must provide a $3,000 cash match for a project with a $6,000 artist fee). Must be within South Arts' nine-state service area (AL, FL, GA, KY, LA, MS, NC, SC, or TN). SOUTH ARTS PROFESSIONAL DEVELOPMENT GRANTS
https://www.southarts.org/grants-opportunities/professional-development-and-artistic-planning-grants
These grants offer up to $1,000 to support artistic planning and the professional development needs of Southern presenters, programmers, or curators. Must be within South Arts' nine-state service area (AL, FL, GA, KY,
LA, MS, NC, SC, or TN).
REFLECTIONS
https://reflectionstv.substack.com/about
A space for thoughtful, creative responses to both television programming and the industry that makes it. Seeking a range of voices to
contribute to ongoing conversations about the industry and significant cultural discussions about TV programmes. Contributors are invited to produce pieces of reflective writing (with a guide of 1000-2000 words) with additional scope for original formats e.g., illustrations, poems. We are open to longer pieces should the topic and pitch warrant it. As a guide Reflections typically offers £100 per 1,000 published words. SAAG
https://www.saaganthology.com/submit
THE VERTICAL COLUMN - The Vertical is rooted in the belief that to fight the growing inequities and systemic oppression and injustice, the movements across South Asia and the world have to be connected, the voices amplified through solidarities. Our context
might be unique but the goals are common. Must have a degree of urgency, news-worthiness, or lack of local and/or international coverage, to indicate their importance. Each piece in The Vertical is remunerated a flat fee of USD$200. HIGH COUNTRY NEWS
https://www.hcn.org/about/submissions/
High Country News covers the West in all its complexity. We seek diverse narratives and original reporting that help illuminate the wonders and challenges of living in the Western U.S. in the 21st century. Our stories tend to be rooted in place, and they often fall at or near the intersection of social and environmental issues, while also fitting into one or more of our five main coverage
areas: climate change; land, waters and wildlife; Indigenous affairs; justice and equity; and Western life, culture and politics. HCN pays $1/word for reported content and .50/word for essays and reviews.
ARCADIA PRESS
https://www.arcadia-books.co.uk/landing-page/arcadia-submissions/
Arcadia proudly accepts unsolicited fiction submissions. If you wish to submit,
please email the first 10,000 words, or the first three chapters of your novel to submissions@arcadia-books.co.uk We will only accept submissions that can be categorized as Science Fiction, Fantasy or Horror. We are happy to consider YA/Crossover as long as it is firmly crossover; e.g., will appeal to adult readers and can be published on an adult list. BELLOWS PRESS
https://bellowspress.com/
Bellows Press is an independent publishing house that launched in 2021. We champion unagented writers of queer historical and speculative fiction for adults. Submissions have now re-opened. Please send a one-page synopsis of your work, the first 5,000 words, and a short paragraph telling us about you to hello@bellowspress.com Make sure you
include your NAME and the TITLE of your work in the subject line. We are not currently publishing children’s or YA fiction. Please note that we are only printing books in the UK, in addition to e-books, so if you are based outside the UK, we are still happy to work with you but we would not be able to support domestic sales of hard copies. RED ADEPT PUBLISHING
https://redadeptpublishing.com/submissions/
We are currently accepting only the following genres: Women’s Fiction, Romance, Chick-Lit, Mystery (General, Police, Cozy), and Thriller-Suspense. We do not accept erotica, non-fiction, short story collections, or poetry. We do not accept previously published works, including self-published works. We do
not accept mid-series books, only first books in a series. Minimum length is 50,000 words. WAYNE STATE UNIVERSITY PRESS
https://wsupress.wayne.edu/submissions/
We are actively acquiring books in African American studies;
fairy-tale studies; film, television, and media studies; health humanities; Jewish studies; labor studies; and regional studies: books about the state of Michigan, the city of Detroit, and the Great Lakes region. We also acquire books of short fiction, creative nonfiction, and poetry written by Michigan authors in our Made in Michigan Writers Series.
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 2000-2024, C. Hope Clark
ISSN: 1533-1326 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 **Note that FundsforWriters.com places paid advertising in this newsletter. ALL ads are related to writers and the business of writing, screened by FundsforWriters to make sure the information is suitable for writers and their endeavors to improve their careers. While the mailing list is not sold to third parties, other parties do advertise in the newsletter, to include
the occasional solo ad. You will not receive this newsletter without your permission. It's physically impossible since recipients must opt-in, giving us permission to send the newsletter. If at any time you no longer wish to receive the newsletter, click the UNSUBSCRIBE link at the bottom of each newsletter. We want you to enjoy this newsletter at your pleasure, not be forced to read anything you do not wish to receive. Direct any complaints, suggestions, and accolades to Hope Clark at hope@fundsforwriters.com. We are an anti-spam site. | |
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