VOLUME 24, ISSUE 31 | july 26, 2024 |
When the World Is
Too Loud and Opinionated Right now in these trying times I find it a little difficult to read social media, but on the other hand I can hardly keep away from it, amazed at how the world seems to be on fire. One evening, it literally made me tear up at the animosity and sarcasm. Honestly, some folks just hurt my heart. Also, lately, I've received more than the usual number of requests for book reviews. I just don't have the time to accept all the requests, so that leads me to be selective. First, I usually limit reviews to mystery, how-to writing guidance, and Southern fiction, which are genres I am most familiar with. If a book sounds promising, I then look at the author.
They don't have to be debut or well-seasoned. They don't have to be traditional or self-published. I just look at what resonates with me. And I realize that my review can be used by that person either on a cover, on a website, or in social media. I love that. Or, let's say I usually love that. These days, however, people are being big and bold with their political affiliations, opinions, and
memes. I don't want to be openly affiliated with anything political. I'd rather my readers want to read my books for the writing, and remember me for my books and services. I'd like to reach any and all readers. But when I review someone else's book, and they are politically active, I usually stop and think twice. My review could be perceived as not only an endorsement for the book but also
for the author and what they represent and are openly soliciting or campaigning for. Maybe even something I don't want to be affiliated with, or something I may feel quite the opposite about. My review could be next to a meme making dark jokes about a candidate I don't personally endorse or a candidate that many readers disagree with. I might be part of a minority who thinks that way, and some may
find me too sensitive about politics, but in these heated political times, I just wanted to throw out there that the stands you take can impact sales and reviews . . . maybe even acceptance by an agent or publisher. Just a thought. |
Free
Cheatsheet - Ever thought, "I want the steps seasoned freelance writers know by heart?" Get them for free when you grab the step-by-step client, marketing, and onboarding checklist to forge gold-standard freelance writing success. Nail your next steps with the Seasoned Veteran Cheatsheet! It's a golden checklist of how to structure your website and LinkedIn for more top-tier work, specific questions to ask on calls to unearth gem clients, proven LOI and pitch processes for hole-in-one marketing, and a superstar client onboarding strategy to knock it out of the park like the big-league
writers. Master the major metric movers to make more money from marvelous clients as you commit these simple steps to memory. Know them inside and out. See the ginormous home run derby of wins swing in. Snag the sheet here! ASSUMING HAS THE SAME RESULTS TODAY AS IT ALWAYS HAS
Remember as a kid, we chanted that assumption makes an ASS out of U and ME. We thought it clever. It's a little baby rant that has endured the test of time, and it still
applies. Seth Godin touched upon that baby mantra recently when he spoke about "Assume lack of context." https://seths.blog/2024/06/assume-lack-of-context/ When
we speak to someone or write to someone or pitch to someone to put our words in their publication, we often don't slow down to take the time and analyze where they stand versus where we stand. Like Mr. Godin states, the person on the other side, the person we are attempting to communicate with, may not know what we know. They may not see things as we see them. This day and time, too many look upon
that as the other person being stupid, dense, or narrow-minded, when in fact, they may not have had to think about that thought at all. Or they've only been introduced to a thought one way. Not knowing is not something you judge. When we write, we have to know the audience. Otherwise you risk insulting them, berating them, or writing over their heads. On the other hand we may write too elementary,
too simply, or not smart enough to be interesting. Know who you are writing to, writing for, and writing about. Never assume. Let research dictate how and what you write about. Be smart in your writing and pitching. Let the person who reads you feel you respected them, and that you'd like to offer them food for thought. That's how you gain readers.
-October 5-12, 2024 - Edisto Bookstore, exact dates in that week TBD -October 5-12, 2024 - Edisto Island Library, Hwy 174, exact dates in that week TBD -October 28, 2024 - St. Andrews Church Women's Club, 6952 St. Andrews Road
Columbia, South Carolina 29212 - 2PM (tentative) -October 29-30, 2024 - South Carolina Library Association's Annual Conference, Columbia Convention Center, 1101 Lincoln St, Columbia, SC 29201 - TBD -November 23, 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.
“A teacher who is attempting to teach without inspiring the pupil with a desire to learn is hammering cold iron.” – Horace Mann
<<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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What Book Authors Should Know
About Adapting Their Material for the Screen
By Mark Heidelberger Many storytellers have an unquenchable thirst to share their tales with the widest possible audience, often with agnosticism
toward medium or format. This is why so many book authors have tried their hand at screenwriting – Agathie Christie, John Steinbeck, Stephen King and J.K. Rowling to name a few. Toiling away to satiate this thirst is admirable, but adapting a novel for the (big or small) screen presents its own unique benefits and challenges, and the more an author understands them before beginning their journey, the better prepared they’ll be. As a producer, here are a few questions about the book-to-screen
adaptation process I help writers evaluate so as to best position them for success. How do I best judge adaptability? As with books, the best screenplays boast originality, developed characters, solid structure and themes that resonate. But remember, film is a visual medium. (I use the word film synonymously with TV unless otherwise noted.) Books that are cerebral,
psychological and introspective are more challenging to adapt. On the flip side, genre-heavy material that’s inherently visual, with a large cinematic audience, already has adaptability baked in. Think action, adventure, thriller, horror, sci-fi. Ask yourself, “What new and distinct layers will a film adaptation bring to my story’s universe?” If you can see strong visual elements that would lend well to the lens, chances are a producer will, too. Moreover, a book series that features extensive
worldbuilding is especially attractive in that it offers the possibility of a TV series or film franchise with longevity. What are the core differences between books and scripts? A book allows the author to spend as much time as he needs delving into a character’s psyche or describing the perfect spring day. But screenwriting is about brevity – saying as much as you
can in as few words as possible. Many authors struggle with this, which is why producers often hire pro screenwriters to adapt their novels instead. If you’re going to adapt your own work, be prepared to “kill your darlings.” What works in a book might not work in a film. Also, remember that while a book is in itself a finished product, a screenplay is just a blueprint for something else, and that something else has considerations, from production budgets to technological limitations to the
desires of global distributors. What are some key challenges? Books that are worthy of adaptation often have built-in fanbases, and while this is a benefit, pleasing them can be difficult when the exigencies of filmmaking require you to cut, trim and alter. You have to decide how best to balance the integrity of your story with those exigencies so you don’t alienate
your core fanbase, but also so you give yourself the best chance at a greenlight. And unlike the isolated process of book writing, film is a very collaborative medium where hundreds of other people are going to be involved in bringing the work to the screen, many in a creative capacity, like producers, directors, actors and studio executives. Be prepared to make hard choices, compromises, creative changes you promised you’d never make. I’m not saying to sell out, but the more flexible you can
be, the better chance you have of seeing your work make it to the screen. What will a producer do for me? A good producer who believes in your work and sees it the way you do will be a valuable ally. But you also want a producer who is going to be honest with you and tell you “no” when the situation warrants. Trust between you and your producer is key. The producer
will help you shape your story for media they likely know better than you. They will get it in front of movers and shakers who can advance it toward production while ensuring proper chain-of-title, which is to say clear ownership of all creative rights stemming back to your source IP. They will look for chances to expand the material into other ancillary markets like comics, animation, video games and merchandise. But they can only do all of this if you surrender some of that autonomy you
enjoyed as a book author. And while that might be the biggest challenge of all, it will also help you find storytelling success in a whole new medium. As you start on this journey of adapting your own work, here are a few resources to check out that may give you additional insights, including a couple books I admire and a recent interview I did on this topic: “Story” by Robert
McKee
https://mckeestory.com/books/story/ “"The Anatomy of Story: 22 Steps to Becoming a Master Storyteller"” by John Truby
https://truby.com/the-anatomy-of-story/ Elder Glade Publishing Presents: An Interview With Producer Mark Heidelberger
https://www.eldergladepublishing.com/egpblog/an-interview-with-producer-mark-heidelberger 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 just-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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EDINBURGH FLASH FICTION PRIZE
https://www.scottishartstrust.org/flash
£10 ENTRY FEE. Deadline August 31, 2024. First Prize: £2,000. Second
Prize: £300. Third Prize: £150. Golden Hare Award: £500. Write Mango Flash Award: £300. Publication is offered to authors of the top twenty stories (or more) in the next anthology. Limit 250 words (not including title). Open to all writers worldwide, published and unpublished, who are over 16 years. Any theme or subject. PETER PORTER POETRY PRIZE
https://www.australianbookreview.com.au/prizes-programs/peter-porter-poetry-prize/2025-peter-porter-poetry-prize
AU$20-$30 ENTRY FEE. Deadline October 7, 2024. First prize: AU$6,000. Four other shortlisted poets: AU$1,000. Open to all international poets. Entries must be an
original single-authored poem of not more than 60 lines written in English. SOLASTALGIA NONFICTION ANTHOLOGY CONTEST
https://fourpalaces.org/nonfic-anthology-contest
NO ENTRY FEE. Deadline July 31,
2024. We’re interested in creative nonfiction essays on change over time with an environmental lens, particularly dealing with the concept of solastalgia—"the homesickness you have when you are still at home." We believe that the work our writers create has value, so we pay an honorarium of $100 for selected work. The author with the winning creative nonfiction essay will receive $1000 and mentorship in either craft or professional development from our guest judge, Erica Hoffmeister.
Length 2000-6000 words. Must be a brand new or emerging writer—if you’ve published a book on a national level, please leave room for those who haven’t sunk their teeth in the writing industry yet. Chapbooks, magazine and literary journal publications are okay. ON THE PREMISES SHORT STORY CONTEST
https://onthepremises.com/current-contest/
NO ENTRY FEE. Deadline August 30, 2024. For this contest, write a creative, compelling, well-crafted story between 1,000 and 5,000 words long in which one or more characters with significant expertise in some area matter to the story. First $250, second $200, third $150, honorable mention $75. BIOGRAPHICAL NONFICTION CONTEST
https://www.storyhouse.org/contest2024.html
NO ENTRY FEE. Deadline August 31, 2024. A biographical entry must be a true story of an individual(s) known to the author personally-not a
fictional or historical character. Autobiography, of course, must be a true story about the author's life, the whole or an episode. Biographical stories, especially those from older people, or about them by children and grandchildren, are especially appropriate for our mission-to "preserve the extraordinary stories of ordinary people." Stories must be between 1,000-5,000 words in length. There are no international limitations. NOTE: all contest entries will be posted on our web site and we
expect them to remain on the site for as long as the Preservation Foundation exists. One prize of $200 for the winner, $100 for the runner-up, and certificates of achievement for all finalists.
GRANTS / FELLOWSHIP / CROWDFUNDING YADDO
https://yaddo.slideroom.com/#/Login
Deadline August 1, 2024. Yaddo is an artists' community in Upstate New York, offering creative artists uninterrupted time to work, good
working conditions, and a supportive environment. Artists who qualify for Yaddo residencies are working at the professional level in their fields. An abiding principle at Yaddo is that applications for residency are judged on the quality of the artists' work and professional promise. JAMES CASTLE HOUSE RESIDENCIES
https://www.jamescastlehouse.org/residencies/the-residencies/
Deadline August 9, 2024. Residencies offer artists, curators, writers, performers, and other creative individuals an opportunity to live and work at the James Castle House. Visitors are invited to explore works by our residents, and engage through tours, talks, and workshops.
Location Boise, Idaho. HYPATHIS-IN-THE-WOODS RESIDENCIES
https://hypatiainthewoods.org/apply/
Deadlines August 15, 2024 and November 1, 2024. Women in the arts, academe, and entrepreneurship may apply for a
residency of from one to three weeks. While in residence at Hypatia-in-the-Woods, we offer residents the opportunity to give a public reading, a book signing, showing of works, or appropriate venue for a performance. Holly House is the cottage where a guest stays during her residency at Hypatia-in-the-Woods. Nestled in several acres of Pacific Northwest second growth forest on Washington State’s Olympic Peninsula, the retreat center provides an ideal setting for women to find solitude and time
for their creative work. LA PORTE PEINTE RESIDENCIES
https://laportepeinte.com/
Applications are accepted on a rolling basis. Please note that July, August and September are the most sought-after residency periods. If you are applying for
a partnership residency such as a Themed Residency, a Mentored Residency, or an Invitational Residency, please indicate this on the form in the “Further Information” section. If you are applying for an Emergency Residency due to war, natural disaster, or some other grave situation, please indicate this on the form in the “Further Information” section. La Porte Peinte is an international arts centre located in Noyers sur Serein, a medieval village in Burgundy that is recognized as one of the 100
most beautiful villages in France. SARASVATI SPACE RESIDENCIES
https://www.sarasvati.space/residency-overview
Fees $200 to $850 per week. Writers, artists, graphic designers, and creatives of all walks of life are
welcome, even part-time creative peeps, and are encouraged to coordinate your time in this supportive environment where you can hug donkeys, pet cats, laugh with Chickens. The residency fee includes all access to the land, unlimited interactions with the animals, and a designated studio, if needed. You'll be surrounded indoors by creatively designed spaces that have been organized as conducive to your work, and outdoors by all of the natural splendor that is slowly being curated in tamed and
untamed ways. Located halfway between Hohenwald and Waynesboro, TN.
Novella-length Fiction and Nonfiction. Sunspot Lit is dedicated to supporting longform prose (literary and genre) as well as epic poetry. For a limited time during each
quarter, the journal opens a call for single works of novella-length fiction or nonfiction, including scripts and screenplays. The journal accepts all categories including memoir, literary fiction, sci-fi, historical, and academic. CNF and fiction can range from 29,001 to 49,000 words. Scripts and screenplays over 120 pages are included in this call, as are graphic
novels between 51 and 100 pages. Single poems between 86 and 105 pages are also accepted. Please note that story, essay, and poetry collections are not accepted for this particular call. Works will be published in Sunspot's digital-only quarterly editions as well as in print at the end of the year. This quarter's call accepts
novella-length works from October 1 through October 31. Send in your work through Submittable or through Duotrope. 100-FOOT CROW
https://100footcrow.com/submission-guidelines/
Upcoming submission periods: August 15–September 15 and December 15–January 15. We want speculative
fiction (science fiction or fantasy) and accept horror, but it must have a speculative element. Drabbles (100-word stories EXACTLY). Even though they’re only 100-words, drabbles still need all the essential elements of a story: character, setting, conflict, theme, and plot. Compensation: $8.00 ($0.08 per word) via PayPal. FOOD52
https://food52.com/p/how-to-pitch-food52
A pitch is a paragraph-long explainer of a piece you'd like to write or a recipe you'd like to develop (and how you're going to do that and why we need it on our site). It should include a brief overview of what you intend to achieve, as well as interviews you plan to conduct with sources, and any other relevant details. We pay flat
rates, versus per word, based on the anticipated length and amount of work. This ranges from $200 for a short article or standard recipe (plus up to $50 in ingredient reimbursements) to $500-plus for bigger projects. LATENIGHTER https://latenighter.com/about-us/
LateNighter — a new site dedicated to the business of late night TV (past, present, and future). Payments generally range from $50-75 (for short, news-type) stories to $500+ for longform features. Send pitches to Jennifer M. Wood, Editor in Chief at jennifer@latenighter.com and include "pitch" in the subject line. Am not looking for op-eds or personal essays (unless you are writing from the
perspective of someone who works on a late-night show). DOCUMENTARY MAGAZINE
https://documentary.org/magazine-editorial-vision
Deadline October 4, 2024. Documentary magazine is dedicated to covering the art, craft,
and business of documentary films. Please direct all pitch emails to Editor Abby Sun at abby@documentary.org, copying magazine@documentary.org. Start your email subject line with “PITCH” so it’s clear what the email is about, followed by a brief one-line summary. For example, “PITCH: Interview with Director XYZ.” A pitch should be around 100–200 words. For print, we take pitches three-four months in advance. For online, pitch one–two months in advance. See the themed calendar. Pays from US$100
per 150–200 word capsule, to US$1,000 for >3,000 words. CONNECTICUT HISTORY
https://ct250.org/wp-content/uploads/2023/09/America-250-CT-Planning-Guide.pdf
https://connecticuthistory.org
ConnecticutHistory.org invites prospective authors to submit pitches for content related to the themes developed by the America 250 | CT Commission for the United States’ Semiquincentennial (250th) anniversary. Proposed content does not need to be strictly about the American Revolutionary period, but should consider how its questions of freedom,
representative democracy, and societal change continue in other aspects of Connecticut history. Encyclopedia entries (approx. 350-1,000 words) are compensated at $150 and interpretive articles (approx. 500-1,200 words) at $200 each. Submit connecticuthistory@cthumanities.org.
GINGER CLARK LITERARY
https://gingerclarkliterary.com/Submissions
Ginger Clark has a special focus on science fiction, fantasy, horror, romance, and women’s fiction. For children’s works,
she represents young adult and middle grade fiction and nonfiction in all genres. Nicole Eisenbraun is looking for middle grade and young adult in all genres. She is particularly interested in great fairytale retellings with colorful twists and stories that tackle difficult subjects in unexpected ways. LOOKING GLASS LITERARY
https://www.lookingglasslit.com/
We are a boutique agency with a full-service team of fierce advocates who support all facets of our clients' careers. Our priority is championing authors and books that reflect the diverse world around us. The books we work with leave lasting impressions that inspire growth, thought, and joy in the world. DOUGLAS & MCINTYRE
https://douglas-mcintyre.com/
Douglas & McIntyre is one of Canada’s pre-eminent independent book publishers, specializing in books of national interest including history, art, current affairs, Indigenous subjects, literary fiction and cookbooks. Publishes
predominately Canadian authors. SHAFFNER PRESS
https://schaffnerpress.com/submissions/
Fiction: literary adult fiction, short fiction collection, historical with socially relevant content, crime fiction. Non-fiction–memoir,
autobiography, biography. Journalistic Expose or Narrative, True Crime, Art, Culture, pop culture, World History, current events, science, arts and letters, US history, military history, music, are some of the preferred categories. No Children’s or Young Adult fiction or non-fiction. No science fiction, romance, or fantasy. Considers manuscripts between 60,000 and 100,000 words.
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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