SPONSOR OF THE WEEK

CORRECTING OTHER PEOPLE'S GRAMMAR

A suggestion . . . don't do it.

Every once in a great while, a typo or grammatical error appears in the newsletter. I have a wonderful proofreader, and, between us, we comb the newsletter each week. But hey, sometimes when the stars align and we both have a bad week, an item slips by. And someone will inevitably, gleefully correct us.   

There is little more insulting than for someone who never offers positive feedback, to smugly tell someone that their grammar is wrong. Let me explain why.

1) Once the words are said and/or published, they cannot be taken back, regardless of how noble the criticism. "You did wrong," becomes more the message.

2) Rather than educate the person (as the critic often states is their motive), they've insulted them. Unless the critic is personally close to the individual, their criticism will be considered critical, not enlightening.

3) The critic is remembered as a critic. They are burning a bridge.

4) The mistake might be a one-time thing. Better to wait and identify a trend rather than pounce on a happenstance slip.

Critics will often begin their assessment with one of the following remarks:

1) I normally love your work, but this mistake bothered me...

2) You are normally keener than this, but I couldn't help but notice...

3) I used to be an English teacher/bestselling novelist/editor/term paper grader and cannot help myself...

4) Sorry, but I've always been fanatical about grammar, and I couldn't help but notice...

If it's not repetitious, don't do it. Even then, think twice. Trust me; you aren't remembered in a fond light. 

A week ago, a gentleman wrote about using THEIR as a singular pronoun, stating that I made a mistake. Then he downplayed it, joking, typing in jumbled up, misspelled words that he wasn't necessarily a professional but just wanted to bring it to my attention.

My response was that I don't correct other people. Once something is published, it cannot be undone. However, since he opened that door, I wanted to cite places that use/endorse/explain using THEIR in a singular context. In return, he got mad for being corrected and unsubscribed.

Just think twice before correcting someone else. We aren't always so perfect ourselves.






AND A NOTE: I hope to see you in St. Louis!




 

SUPER SPONSOR WORTH NOTING

WOMEN READING ALOUD hosts writing workshops and retreats for an international writing community. WRA dedicates itself to the support of women writers. Looking for a retreat to find a perfect balance of solitude and community?

We'd love to welcome you. Join our mailing list for updates. 

Email founder/director Julie Maloney: julie@womenreadingaloud.org
Visit our website: www.womenreadingaloud.org 


 

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If FundsforWriters has enabled your writing career in any way, let us know so we can share. Email hope@chopeclark.com 

 

Featured article

10 Tips for Crowdfunding a Novel

By Dan Brotzel 

I'm the co-author of a new comic novel, Kitten on a Fatberg, which is currently crowdfunding on Unbound. 

Unbound uses a different model to the traditional publishing one. Essentially, a book's author(s) have to raise a certain amount of through pre-ordered copies before the book goes into production. 

Once that happens, Unbound handles promotion and distribution. And because the publisher has covered its costs up front, the payment deal isn't a royalty percentage but a 50:50 profit share. Another advantage of this approach is that the publisher gets to see what sort of demand there is for a particular title, and who the market is. 

At the time of writing, we're currently 31 percent funded. Here are some of the many things we've learned along the way...  

Don't mistake crowdfunding for vanity publishing. Getting accepted by Unbound is just as tough as getting accepted by a conventional publisher. You need to make sure that your submission is as ready as possible.

Understand your potential base. With crowdfunding, you have two target audiences – those who know YOU (family, friends, co-workers) and those interested in the book (who may not know you at all). Focus your efforts on the first group.

Work your network. Beyond your inner circle, you have lots more connections you could approach: former colleagues, old school friends, social media contacts. These people are all easier to interest than strangers because you are a known quantity, so long as you approach them with care.

Get your approach right. There is no one right way to approach people, but a personalised message is essential. Some education about crowdfunding may be useful. Humour can be effective. Above all, nothing too hard sell.

Don't beg. Avoid framing your ask as if you are seeking donations. You are selling a book, not asking for a handout.

Avoid the temptation to batch-and-blast. Don't just email all your contacts in one go. Far better to send a handful of emails every day, topped and tailed with a personal message.

Explore press and PR options. In our case we've written a series of articles on writers' blogs, in literary magazines, and in the local press. Where there's a fee for an article, we put that towards our target too.

Be savvy about social media. Find different ways to spread you message. Ask for influencers in your world to help spread the word. If you've been published by online litmags, for example, editors are usually only too happy to share news of your book. Imagery and video play very well in social media too.

Work those nudges. People often need to hear a message three or four times till they act on it. So find ways to subtly remind people about your book – add a message to your email signature, share updates on Facebook, put up flyers in local cafes and bookshops – the more imaginative your ideas, the better.

Be patient. Crowdfunding is a marathon, not a sprint. There will be days when you get flurries of interest – especially near the beginning – and days when nothing happens, despite your best efforts. All you can do is keep plugging away, keep emailing, keep thinking of new ways to reach people...

BIO: Dan Brotzel (Twitter handle: @brotzel_fiction) is co-author of a new comical novel, Kitten on a Fatberg (Unbound). As a reader of this blog, you can pre-order Kitten on a Fatberg for a 10% discount – simply quote promo code KITTEN10 







 

COmpetitions

RETREAT WEST NOVEL PRIZE
https://www.retreatwest.co.uk/the-retreat-west-novel-prize/
£15 ENTRY FEE. Opens May 2019 with deadline August 2019. The Retreat West Novel Prize is an annual prize looking for new, unagented authors with exciting novels to share. First Prize: a standard publishing contract with Retreat West Books for a paperback and ebook edition of the novel, with a £500 advance. Second Prize: full MS critique and editorial report from Amanda Saint. Third Prize: A year’s Gold Author Membership with Retreat West. Every writer that enters the competition will also receive an ebook copy of the winning novel when it is published. Send the first 7,500 words only of your novel and a maximum 500-word synopsis all in the same document. 



LOUISE MERIWETHER FIRST BOOK PRIZE
https://www.feministpress.org/louise-meriwether-first-book-prize/
NO ENTRY FEE. Deadline June 28, 2019. The Louise Meriwether First Book Prize is open to fiction and narrative nonfiction by women of color and nonbinary writers of color. We do not accept poetry, plays, or academic texts. One winner will be awarded a $5,000 advance (half at the time of the initial award and half upon publication) and a contract to publish their book with the Feminist Press in print and digital editions in spring 2021. We expect to work closely with the winner and provide editorial guidance on their manuscript. Must be a resident of the 50 United States, the District of Columbia, or US territories and possessions. 



BOA SHORT FICTION PRIZE
https://www.boaeditions.org/pages/boa-short-fiction-prize
$25 ENTRY FEE. Deadline May 31, 2019. Winner receives book publication by BOA Editions, Ltd. in spring 2021 and $1,000 honorarium. Entrants must be a U.S. citizen, a legal resident of the U.S., or have Deferred Action for Childhood Arrival (DACA) status, Temporary Protected Status (TPS), or Legal Permanent Status (LPS). Minimum of 90 pages; maximum of 200 pages. 



BEST IN SHOW SPRING SHORT STORY CONTEST
https://writermag.submittable.com/submit
$25-$70 ENTRY FEE. Deadline May 31, 2019. Show us something new this spring. Submit your very best fictional short story in 2,000 words or less. Any theme, subject, or genre is fair game, as long as it falls under 2,000 words. First prize $1,000 and publication in The Writer magazine. Second prize $500 and publication on the website. Third place $250 and publication on the website. 



BOOK PIPELINE
https://bookpipeline.com/shop/fiction-contest
Deadlines April 15, 2019, May 15, 2019, August 15, 2019, and November 15, 2019. The Book Pipeline Fiction Competition is open to unpublished and published books, graphic novels or comics, short stories, and plays for film/TV adaptation consideration. There are no genre restrictions, and judging criteria are weighed evenly between concept originality, marketability in the current landscape, and overall writing talent. Now in its sixth season, Book Pipeline seeks new properties to connect with producers for development at all levels - from big-budget studio films and series to smaller indies. Pays $5,000 to winner, $500 to runner-up. Also, long-term circulation and promotion to producers and other execs, as well as project development with Book Pipeline to prepare a film or TV series pitch. 



TULIPTREE REVIEW NEW WRITERS STORY CONTEST
http://www.tuliptreepub.com/new-writers-contest.html
$20 ENTRY FEE. Deadline May 23, 2019. Winners published in the Summer issue of TulipTree Review. First prize: $1,000. All Honorable Mentions/contributors will be paid depending on contest turnout (previous contest paid $50 each). Open to writers who have not yet been published in a journal, magazine, or anthology, or self-published a book. Stories can be fiction, nonfiction, or poetry.



JUXTAPROSE NONFICTION PRIZE
https://juxtaprosemagazine.submittable.com/submit
$13-$18 ENTRY FEE. Deadline April 22, 2019. Awards $1,000 and publication in JuxtaProse Literary Magazine to the winning piece. Up to three additional pieces, each by a different author, may be awarded "Honorable Mention" status, for which they will receive $100 and publication. All entries will be considered for publication, regardless of whether they receive honorable mention status. Manuscripts must not have been previously published in any form - including any form of online publication - in order to be eligible. Entries should contain a single piece of creative nonfiction that is between 500 and 7,000 words. 



JUXTAPROSE NONFICTION CHAPBOOK PRIZE
https://juxtaprosemagazine.submittable.com/submit
$23-$28 ENTRY FEE. Deadline June 23, 2019. Cash $1,000 will be awarded to the winner. They will also receive 50 free print copies of their chapbook if they are a U.S. based writer, or 40 copies if they are internationally based. Print copies will be saddle stitched and will ship by the end of 2019. Manuscripts must not have been previously published in any form - including any form of online publication. Entries should consist of a single poetry manuscript of between 20 and 40 pages.  



FORCE MAJEURE FLASH CONTEST
https://stormcellar.submittable.com/submit/72759/force-majeure-flash-contest
$5-$12 ENTRY FEE. Deadline April 30, 2019. Top prize for a single flash $300. Two second prizes $100 each. Two ways to enter: Upload one flash (you'll receive an ebook of the prize issue) for $5, or upload one to three flashes in a single file (receive a print copy of the prize issue) for $12. What is a flash? Shorter than 1,000 words. Not more than five pages. May contain fiction, nonfiction, marks, or images, in any combination. May bend genre, form, brains. 



REFLEX FICTION FLASH CONTEST
https://www.reflexfiction.com/flash-fiction-contest-schedule/
£7 ENTRY FEE. Deadline May 31, 2019. Prizes: £1,000 first, £500 second, £250 third (approx. $1,320, $660, $330). Limit 180 to 360 words. 

 

GRANTS / FELLOWSHIPS / CROWDFUNDING

WELLSPRING HOUSE FELLOWSHIP
https://wellspringhouseretreat.com/fellowship/
NOTE SHORT DEADLINE April 15, 2019. The Fellowship will provide housing and a monthly stipend of $2,000 to an emerging writer, for a term of six months to a year. Fellows will have their own bedroom and workspace at Wellspring House, a gorgeous retreat for writers and artists nestled on the edge of the Berkshires, in the village of Ashfield, MA.



POLLY CROSBY BURSARIES
https://www.bridportprize.org.uk/sites/default/files/2019/Polly%20Crosby%20bursaries%20TC's.pdf
Deadline April 30, 2019. Polly Crosby, a huge advocate of the Bridport Prize, is generously funding five bursaries to enable writers who consider themselves disabled or who are living with a long-term or debilitating illness, to submit their novels to the 2019 PC-A competition free of charge. Polly, who has cystic fibrosis, will offer one bursary each to a writer living in Scotland, Wales, England, N Ireland and the Republic of Ireland. The    bursaries are for entrants to the novel award only. The winners' names will be posted on the website www.bridportprize.org.uk.



SMALL BUSINESS GRANT
https://www.businessownersideacafe.com/20th-small-busines-grant/application
Deadline May 19, 2019. The 20th Small Business Grant will award $1,000 in cash, free hosting for two years, provided by LiquidWeb, a total of $1,500 in advertising credits and tons of free publicity. Idea Cafe is pleased to announce the beginning of a new Grant campaign in honor of all forward-thinking businesses. If you plan on expanding your business or just want to live out your dreams, enter the competition - your business deserves to be the next big thing. Also, feel free to use the Idea Cafe site as your year-round resource for turning your idea into an empire.



WHITING NONFICTION CREATIVE GRANT
https://whiting.org/writers/creative-nonfiction-grant/about
Deadline April 22, 2019. The Whiting Creative Nonfiction Grant of $40,000 will be awarded to as many as eight writers in the process of completing a book-length work of deeply researched and imaginatively composed nonfiction for a general readership. It is intended for multiyear book projects requiring large amounts of deep and focused research, thinking, and writing at a crucial point mid-process, after significant work has been accomplished but when an extra infusion of support can make a difference in the ultimate shape and quality of the work. Whiting welcomes applications for works of history, cultural or political reportage, biography, memoir, the sciences, philosophy, criticism, food or travel writing, and personal essays, among other categories. Again, the work should be intended for a general, not academic, reader. Self-help titles and textbooks are not eligible. 

 

FREELANCE MARKETS

NIGHTSCAPE PRESS
http://www.nightscapepress.pub/p/submissions.html
Deadline April 30, 2019. "Payment will be six cents per word. I prefer shorter pieces, but I will accept exceptional tales that are longer; however, the payment will be capped 6,000 words. The theme is heavily inspired by Robert Aickman's fiction. Initially, I envisioned a book of stories where it is ambiguous as to whether the nature of the horror/weird element is supernatural or not. But I've recently decided to make that a more openly interpreted theme of ambiguous horror/weird fiction. Whether it be ambiguously supernatural or whether what exactly has or is happening is ambiguous, or any creative idea playing off of ambiguity could be interesting to see explored. But the element that is ambiguous must be intrinsic to the story."



ISSUES IN EARTH SCIENCE
http://earthscienceissues.net/submissions
IES takes submissions for fiction and nonfiction articles. We expect to publish one story and one or two articles every six months or so. Fiction should be written for the feature, "Eww, there's some geology in my fiction!" We are interested in MG and YA fiction that incorporates Earth Science concepts as key, rather than incidental, elements.  Stories with adult characters but written for MG or YA will also be considered. The science element should be more substantive than "cool facts" or jargon that is slipped into a story. Rather, the Earth Science concept should both be integral to the story and represent a key idea that might be taught in an Earth Science classroom. Stories should be between 1,000 and 3,000 words, with preference for stories around 2,000 words. Payment will be $0.06/word ($60 minimum). Nonfiction should be written for the feature "Topics for Debate," and address a topic of interest in earth science, science education, or science in fiction Care should be taken to make sure that your presentation is carefully reasoned and not unnecssarily inflammatory. We will publish essays periodically, although not necessarily in every issue. Articles should be 500-1,000 words in length with a preference for lengths closer to 500 than 1,000 words. Payment for articles selected for publication will be $60. 



INSITE
https://www.ccca.org/ccca/publications.asp
InSite magazine informs and inspires professionals serving in the Christian camp and conference community. The magazine primarily prints practical how-to pieces related to the following critical aspects of Christian camping ministries: outdoor setting; purpose and objectives; administration and organization; camper and guest needs; personnel development; programming; health and safety; foodservice; site, facilities, and maintenance; business and operations; marketing and public relations; and fundraising. In addition, it features profiles of influential camp and conference professionals and inspirational, in-depth features related to what God is doing in and through Christian camp and conference ministries.  The article length for profiles and features is 1,200–1,500 words; how-to pieces are 1,000–1,200 words, and sidebars are 250–500 words. Pays 20 cents/word.



OUTSIDE BOZEMAN
http://www.outsidebozeman.com/magazine/submissions
Outside Bozeman is a seasonal publication that explores and celebrates the outdoor world of southwest Montana. Our magazine examines not only the dramatic beauty of the landscape and the innumerable recreational possibilities it affords but also the issues surrounding its use and the wide range of lifestyles it engenders. It is both an interesting, entertaining journal and an informative where-to guide for fun and adventure in Bozeman's outdoors. We run four to six feature articles per issue. Length should be 800-1,600 words. Pays 10 to 20 cents/word, depending on quality, originality, amount of editing required, and writer tenure with Outside Bozeman. 



TENNESSEE WILDLIFE
https://www.tn.gov/twra/wildlife/tennessee-wildlife-magazine.html
Tennessee Wildlife Magazine is the official publication of the Tennessee Wildlife Resources Agency. It is published quarterly and provides our agency with an excellent way to communicate with everyone interested in the great Tennessee Outdoors. Within its pages, you'll find interesting stories about all species of wildlife in our state. Deer hunters will appreciate the stories that include tips on how and where to find white-tails on lands that our agency manages.  Fisherman will be amazed at the fabulous variety of fishing opportunities featured. Wildlife watchers will enjoy learning about agency restoration efforts, such as the bald eagle program. Articles are normally 1,200-1,500 words long. 



WRITER-EDITOR
Location Washington DC
https://www.usajobs.gov/GetJob/ViewDetails/529378300
Deadline April 18, 2019. This position is located in the Office of Analysis and Research Services (OARS). As a Writer-Editor you will provide expertise in the review, editing, composition, and publication of factual and analytical reports as well as providing guidance to the international trade analyst, economists and other staff members on the presentation of materials, effective writing styles, and publication format. Salary $56,233 to $73,105 per year. 



EDITOR
Location Washington DC
https://www.usajobs.gov/GetJob/ViewDetails/529297400
Deadline April 16, 2019. This position is located in the Voice of America's South and Central Asia Division. The incumbent serves as a Bridge Editor responsible for identifying, coordinating, writing and editing original stories from the South and Central Asia Division language services into English for wider distribution. Salary $96,970 to $126,062 per year. 



WRITER-EDITOR
Location Del Rio, TX
https://www.usajobs.gov/GetJob/ViewDetails/529769900
Deadline April 16, 2019. This position is with the Department of Homeland Security, within U.S. Customs and Border Protection, Office of US Border Patrol, Del Rio Sector Headquarters, LE Programs, Del Rio, TX. This position will allow you to use your expertise in writing and editing to create and revise written information published by the agency. This position starts at a salary of $74,596.00 (GS-12, Step 1) to $96,978.00 (GS-12, Step 10). 

 

Publishers/agents

 
STORM LITERARY AGENCY
https://www.stormliteraryagency.com/
A boutique literary agency representing quality children's literature from exceptional authors and illustrators. Locations in Minneapolis, New York, and London.



THE RIGHTS FACTORY
https://www.therightsfactory.com/about-us
Every agent at TRF is looking for work they can get excited about, in every genre and category. If you’re in the market, we encourage you to look at the agents here and see if one of them seems like the perfect business partner for you.



EMERALD CITY LITERARY AGENCY
https://emeraldcityliterary.com/
Emerald City Literary Agency is a boutique literary agency located just outside of Seattle, Washington– otherwise known as the Emerald City. Emerald City Literary represents picture books, middle grade, young adult, and children’s nonfiction. We welcome submissions with LGBTQ themes and diverse characters and by traditionally underrepresented authors. Please do not query with screenplays, poetry, short stories, or any projects aimed at an adult audience.



JOHNSON & ALCOCK
http://www.johnsonandalcock.co.uk/about
Now well into our sixth decade, Johnson & Alcock boasts a vibrant list of fiction and nonfictio n, for both children and adults, and are proud to represent prizewinning and bestselling authors across the genres and in all forms of media, both in the UK and internationally. Our ethos is a simple one: be exactly the representative our authors need us to be. And the selected co-agents we use are charged to do likewise. We believe a smaller agency is able to offer authors a tailored, more personal service, and the continuing success of our authors and the agency is a testament to this.



JO UNWIN LITERARY AGENCY
http://www.jounwin.co.uk/
JULA Ltd is a dynamic literary agency based at Somerset House in London.  The agency represents debut and best-selling authors published in the UK, US and internationally.  Whilst always looking for the best publishing deals and relationships for their authors, JULA Ltd also works closely with talent agencies in London and LA for book-to-film deals. 



ARTELLUS LTD
http://www.artellusltd.co.uk/
Artellus Ltd has been operating as an international literary agency since 1986, representing writers in all fields. Our authors include historians, scientists, economists, investigative journalists and writers on culture, fashion and food. We handle a wide range of fiction, from literary to fantasy and sci-fi, encompassing crime writing and fiction for young adults. We are also interested in fine writers in translation.

 

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FINE PRINT

Please forward the newsletter in its entirety. To reprint any editorials, contact hope@fundsforwriters.com for permission. Please do not assume that acknowledgements listed in your publication is considered a valid right to publish.

C. Hope Clark
E-mail: hope@fundsforwriters.com
140-A Amicks Ferry Road #4
Chapin, SC 29036
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ISSN: 1533-1326

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