SPONSOR OF THE WEEK

Are you a new freelancer struggling to find writing jobs?

You’ve taken the leap into freelance writing, but now you’re wondering how you’ll ever get your career off the ground. Other freelancers say there’s an endless stream of writing jobs online but you’re not sure how to find them.

If this scenario sounds familiar, listen up. The vast majority of writing jobs CAN be found online - if you know where to look. How To Win At Freelance Writing has created the Ultimate Guide to Finding Freelance Writing Jobs Online for freelancers who are in the exact same position as you.  

This Ultimate Guide covers every possible way freelancers can find writing jobs without leaving their laptops.

Ready to find high-quality clients and build the freelance writing career of your dreams? Check out this Ultimate Guide to find out how!

WHY YOU SHOULD NOT EXPECT A REJECTION LETTER

Publishers, editors, and agents either accept or reject your work, but all too often, the rejection is just a matter of. . . silence. No answer. No letter. No hint as to what you could have done better.

The following is why you rarely receive rejection letters. 

1) A rejection letter means someone took the time to write to you with no hope of a return on that investment of time. Not every entity can afford to use the manpower to do that. 

2) Cost. Time is money, and as referenced above, using it to tell you no is consuming time to accept others. Those are the ones needing the letters. And those are the ones that generate the income. It's just business.

3) Nothing positive comes out of the rejection. . . for the person writing the rejection. It's energy going out with none coming in. Does anyone really appreciate a rejection? So why do it?

4) Better silence than an argument. If an entity sends rejection letters, guess what? Some of those rejected are going to write back, call back, email back, and get on social media and complain. So why court that?

Therefore, you should embrace rejection letters and hold them dear. Why?

1) Someone took the time to write back. 
2) Someone may have even given you intel on how your work missed the mark, which can help you become better.

Publications receive hundreds to thousands of submissions. If you were them, would you hire someone just to write rejections? Is that an expense you'd be willing to make? 

My advice is always, be grateful for a rejection, regardless of what it says, because someone took the time...and expense...to do so. 






AND A NOTE: I hope to see you in St. Louis! The time is creeping close! I'll be teaching a 50-minute class on Grabbing the Gold Ring, and a Master Class for two hours on Funding Streams for Writers which comes with a free book from me! 



 

SUPER SPONSOR WORTH NOTING

Developmental Editor and Writing Coach - Douglas Silver
 
Douglas Silver specializes in editing and providing constructive feedback for all narrative-based writing,  be it short stories, novellas, novels, memoirs, or narrative essays. While literary fiction is his primary focus, he appreciates genre-bending work that defies easy categorization. Douglas loves working with emerging and established writers committed to honing their craft and elevating their manuscripts to achieve new heights. Given that much of his fiction incorporates historical elements, he has completed extensive research in the areas of stand-up comedy, nineteenth and twentieth-century American history, post-WW II Japan, and Jewish culture. Aside from narrative manuscripts, he is eager to assist writers with book/story research and literary magazine submission strategies.

He also has considerable experience editing grants, academic papers, college and graduate school admissions essays, statements of purpose, and cover letters.  Please contact him  for rates, availability, and testimonials. For more information, visit www.DouglasSilver.com





 

HOPE'S APPEARANCES

 

SUCCESS QUOTE

SUccess Story

I am a new subscriber to your email, and in one of the first emails I received you shared about the Next Generation Indie Book Awards. With just a few weeks to spare, I filled out the application and sent in copies of my book. What a joy to have just been informed that I am a finalist in the Christian Non-Fiction category.

Thank you for sharing the information with authors. I never would have found the opportunity to enter without your information. Now I can officially say, "I have an award winning book!"

Thanks Hope.

Blessings-
Susan K. Macias
susankmacias.com

- - - 

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

 

Featured article

20 Terms Every Content Writer Needs to Know

By Dan Brotzel

Crafting content for businesses and their marketing agencies can be a decent earner for aspiring writers. But if you want to be taken seriously, you need to get the lingo right. Dan Brotzel of UK agency Sticky Content walks us through some of the essential terminology...

So, you've got your first content commission – a series of blog posts perhaps, or some new web copy. What usually comes next is a briefing form.

The brief may be a detailed document of several pages, or it may be a couple of pages in an email. It may have been written just for you, or – more likely – for lots of other people working on the project as well, from marketers to web developers.

Your first job is to go through the brief, understand what's required, and come back with any questions. Here's a handy guide to some of the phrases you may come across...

Amends. Content work always goes through several rounds of amends on its way to approval. Your agreement may cite a certain number of rounds of amends that you will carry out; if not, it's worth asking about this up front. While you shouldn't worry that there will be things to tweak, you should make sure that the amount of amends isn't getting unreasonable or turning into a rebrief.  

Brand voice. This is the verbal personality that your copy should convey. Guidance may come in a tone of voice document or in a brief description, e.g. friendly, straightforward, positive. If in doubt, ask for examples of voice they like.

Call to action (CTA). All content should lead to a next step you want your reader to take, such as Call us now or Get a quote. Knowing the CTA will help you focus your writing.

Compliance. In heavily regulated industries such as finance, a Compliance team will review the copy for potential issues such as making claims ('the cheapest cover ever!') that can't be backed up. It's worth asking up front what sorts of things they normally look for.

Conversion. The action that you want people reading a piece of content to take, such as downloading a report or making a purchase.

Copydeck. Simply the document that contains your copy. This may take the form of a templated doc that you are asked to write content into.

Distribution. How your content will reach people, for example via email, social channels or search results.

Engagement. A slippery word that really just means people acting on your content in some way, e.g. by sharing it socially or forwarding an email.  

Evergreen content. Content that's designed to have a very long shelf-life so needs to be written in a way that won't quickly date.   

Hygiene content. Essential content that keeps a website working, such as FAQs, Help content and About us content. This is distinct from Hub content (regular editorial-style content such as posts and articles) and Hero content (big campaign material).  

Key phrases. Words you may be asked to work into your copy, to help it appear in relevant search results pages.

Landing page. The page that people arrive at after clicking on a search result, especially a paid-for one. There is a whole best practice for writing and designing these to drive conversions.  

Listicle. An article written in list form, usually beginning with a number.

Localization. Translation. Sometimes you will be asked to write copy that's easy to localize, meaning it should steer clear of idioms and very specific cultural references that could get lost in translation.

Newsjacking. The practice of creating some content triggered by a very topical news story.

Optimization. Basically, improving things through an ongoing process of testing and learning. A page that's been 'optimized for search,' for example, is one that has been written and designed to have the best chance of driving search traffic.

Personas. Many bigger companies will have developed character sketches that stand in for key segments of their target audience. Often they'll have a nickname such as 'Sally, the savvy shopper' or 'Dave, the silver surfer.' These profiles can be very useful to help you pitch your copy correctly. 

Pay Per Click. The paid-for ads that appear among your search results when you look for something via a search engine. Pay per click is abbreviated PPC. The search engine gets a small fee whenever anyone clicks on an ad.  

Stakeholders. People with a governance interest in your content, such as Compliance, Product, and Brand. All review the content, and some may have an input into its creation. Stakeholder reviews inevitably lead to amends.

Traction. A fancy word for response. As in: 'We want to see how much traction this first ebook gets, then we'll decide whether to do another one.'

Wash-up. A meeting where the work is reviewed after it's gone live. You may not be asked to attend this, but you may hear feedback from it that's useful for your next commission.

When 'interrogating' a brief (as marketers like to say) you can inspire confidence by asking some key questions and sprinkling in a few of these words and phrases. For example: Is there a secondary call to action? Do you have audience personas? What sort of engagement do you hope to drive with this content? Do you have tone of voice guidelines? How many rounds of amends do you anticipate? Always bear in mind that most of these concepts, however alien or complex they sound, are usually quite easy to decipher. And the explanation for any piece of jargon or technical terminology not mentioned here is always just a quick google search away. 

BIO - Dan Brotzel (@brotzel_fiction) is director of UK content agency Sticky Content and co-author of a new comic novel, Kitten on a Fatberg (Unbound). As a reader of this newsletter, you can pre-order Kitten on a Fatberg for a 10% discount – quote KITTEN10

 

COmpetitions

SERVICESCAPE SHORT STORY AWARD
https://www.servicescape.com/short-story-award
NO ENTRY FEE. Deadline November 30, 2019. All applicants should submit their original, unpublished work of short fiction or nonfiction, 5,000 words or fewer, to be considered. Along with receiving an award for $1,000, the winner will have his or her short story featured within our blog, which reaches thousands of readers per month. 



FITZCARRALDO EDITIONS NOVEL PRIZE - UK/IRELAND
https://fitzcarraldoeditions.com/prizes/novel-prize
NO ENTRY FEE. Deadline July 15, 2019. The judges will be looking for novels which explore and expand the possibilities of the form, which are innovative and imaginative in style, which tackle subjects and themes relevant to the world we live in. The winner will receive a £3,000 prize in the form of an advance against publication with Fitzcarraldo Editions. The winning novelist will subsequently be published in Fitzcarraldo Editions’ fiction list. The competition is open to residents of Great Britain and Ireland only. Entrants should submit a full manuscript of their novel (minimum 30,000 words). 



GOLDENBERG PRIZE FOR FICTION
https://bellevueliteraryreview.submittable.com/submit/54967/contest-submission-fiction
$20 ENTRY FEE. Deadline July 1, 2019. The annual BLR Prizes award outstanding writing related to themes of health, healing, illness, the mind, and the body. First prize is $1,000 (in each genre) and publication in the Spring 2020 issue of BLR. Honorable mention winners will receive $250 and publication in the Spring 2020 issue of BLR. The Bellevue Literary Review seeks character-driven fiction with original voices and strong settings. We do not publish genre fiction (romance, sci-fi, horror).  Our word max is 5,000, though most of our published stories tend to be in the range of 2,000-4,000 words.



FRANCINE RINGOLD AWARD FOR NEW WRITERS
https://nimrodjournal.submittable.com/submit/139657/2019-francine-ringold-award-for-new-writers-fiction
$13.70 ENTRY FEE. Deadline July 15, 2019. The Francine Ringold Awards for New Writers honor the work of writers at the beginning of their careers. Prizes: $500 prizes will be awarded in both the fiction and poetry categories, and the winning manuscripts will appear in the spring issue of Nimrod. Open only to writers whose work has not appeared or is not scheduled to appear in more than two publications in the genre in which they are submitting. (Self-published works or works with a distribution of fewer than 100 copies are not considered toward the count of two publications.) Fiction: 5,000 words maximum (one short story or a self-contained excerpt from a novel). 



SAPIENS PLURUM
http://sapiensplurum.org/fiction-contests.html
NO ENTRY FEE. Deadline June 9, 2019. Your story should be consonant with the Sapiens Plurum mission: to inspire us - the first species that can intentionally impact its own evolution - to aspire beyond what was humanly possible. And with the Future of Life Institute mission: Technology is giving life the potential to flourish like never before, or to self-destruct. Let's make a difference. Submissions should include 1,500-3,000 words in English. 



DAILY MAIL'S CHANGING YOUR LIFE NOVEL CONTEST
https://www.dailymail.co.uk/femail/article-6965669/Change-life-story-winning-20-000-Mails-novel-competition.html
NO ENTRY FEE. Deadline June 14, 2019. The winner of our competition will receive a £20,000 advance fee, the services of top literary agent Luigi Bonomi and guaranteed publication by Penguin Random House UK. By entering the Daily Mail competition, your novel leapfrogs the notorious ‘slush pile’ of unsolicited manuscripts at a publisher's office and comes straight to the experienced, commercial experts who can judge your potential. They will then team you up with an editor who can lead you through the process of shaping your plot, refining your characters and sharpening your dialogue. And, even if you don’t win the competition, you might be signed up to write your novel anyway, as several previous runners-up have been. So, there’s absolutely no excuse not to have a go. The only categories not allowed are sagas, science-fiction, and fantasy. Entrants must be 16 or over — but don’t worry, there’s no upper age limit! And we don’t need the finished novel, just the first 3,000 words plus a 600-word synopsis of the complete work: beginning, middle, and end. 



TOWSON PRIZE FOR LITERATURE
https://www.towson.edu/cla/departments/english/documents/towson_prize_for_literature_rev.pdf
NO ENTRY FEE. Deadline June 15, 2019. Awarded annually for a single book or book-length manuscript of fiction, poetry, drama or imaginative nonfiction by a Maryland author. The first prize is $1,000. The work must have been published within the three years prior to the year of nomination or must be scheduled for publication within the year in which nominated. Self-published works will not be considered.



GREAT LAKES NEW AWARDS CONTEST
http://www.glca.org/glcaprograms/new-writers-award
NO ENTRY FEE. Deadline June 25, 2019. An award is made each year for a first published volume of poetry, fiction, and creative nonfiction. Each award winner receives invitations to visit several of our colleges, where they give readings of their work, meet students and faculty, and participate in discussions or classes. Nominations should come from the publisher and should emphasize literary excellence. Pays $500 in each category. Open to Americans and Canadians. 



LOUISE MERIWETHER FIRST BOOK PRIZE
https://www.feministpress.org/louise-meriwether-first-book-prize/
NO ENTRY FEE. Deadline June 28, 2019. For debut books of fiction and narrative nonfiction by women and nonbinary authors of color. The prize is granted to a manuscript that follows in the tradition of Meriwether’s Daddy Was a Number Runner, one of the first contemporary American novels featuring a young Black girl as the protagonist. 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.



JAMES WHITE AWARD
http://www.jameswhiteaward.com/rules
NO ENTRY FEE. Deadline June 28, 2019. The James White Award is a competition for original short stories of not more than 6,000 words by non-professional writers. This year’s prize is £200 plus publication in Interzone. It is open to writers of any age and nationality, but it is not open to professional authors.



BLUE MOUNTAIN ARTS POETRY CARD CONTEST
http://www.sps.com/poetry/index.html
NO ENTRY FEE. Deadline June 30, 2019. First prize $350. Second prize $200. Third prize $100. Poems can be rhyming or non-rhyming, although we find that non-rhyming poetry reads better. We suggest that you write about real emotions and feelings and that you have some special person or occasion in mind as you write. Poems are judged on the basis of originality and uniqueness. English-language entries only, please.

 

GRANTS / FELLOWSHIPS / CROWDFUNDING

EMERGING VOICES FELLOWSHIP
https://pen.org/emerging-voices-fellowship/
$10 APPLICATION FEE. Deadline August 2, 2019. The Emerging Voices Fellowship, run out of our Los Angeles office, is a literary mentorship that aims to provide new writers who are isolated from the literary establishment with the tools, skills, and knowledge they need to launch a professional writing career. While Emerging Voices encourages applications from writers living all over the country, this rigorous fellowship is based in Los Angeles. Weekly meetings combine with an intense reading and writing schedule. If you are not a resident of Los Angeles, and you are awarded the fellowship, you will need to relocate for the seven-month period, from January to July of 2020. Housing is not provided. 



WYOMING FELLOWSHIPS
https://wyomingartscouncil.submittable.com/submit/137403/creative-writing-fellowships
Deadline June 12, 2019. Creative Writing Fellowships are awards of merit, based on a writer’s body of work, and honoring Wyoming’s literary artists whose work reflects serious and exceptional writing. One fellowship will be awarded in each category of Poetry, Creative Nonfiction, and Fiction, for a total of three fellowships. Applications are juried by noted authors, literary agents, or writing professionals from outside the state. 



MAINE ARTIST FELLOWSHIPS
https://mainearts.maine.gov/Pages/Funding/Individual-Artist-Fellowships
Deadline June 30, 2019. Maine Artist Fellowships recognize artistic excellence and advance the careers of Maine artists. Fellowships are not grants; they are merit-based awards that are informed by an applicant’s work as documented through the application and support materials. Maine Artist Fellowships are available in the categories; Belvedere Handcraft, Craft, Literary Arts, Multimedia/Film, Performing Arts, Traditional Arts, and Visual Arts. Limit $5,000. 



UNDISCOVERED VOICES FELLOWSHIP
https://www.writer.org/get-involved/contests-2/
Deadline June 28, 2019. The Writer’s Center invites promising writers in the Washington, DC area earning less than $25,000 annually to apply. The fellowship provides up to $1,000 of complimentary writing workshops over the course of one year and is designed to help writers work on a book-length project.



LINDA FLOWERS LITERARY AWARD
http://nchumanities.org/content/linda-flowers-award-guidelines-and-submission-instructions
Deadline June 28, 2019. The North Carolina Humanities Council invites original, unpublished entries of fiction, nonfiction, or poetry for the Linda Flowers Literary Award. The award is given to exceptional North Carolina authors whose work celebrates the North Carolina experience and conveys excellence in writing. The winner of the Linda Flowers Literary Award will receive a cash prize of $1,500 and a stipend for a writer’s residency at Weymouth Center for the Arts and Humanities in Southern Pines, North Carolina. The winner will be announced at the North Carolina Writers’ Network’s Fall Conference in November. Entries should detail examinations of intimate, provocative, and inspiring portraiture of North Carolina, its people and cultures. Entries should be deeply engaged with North Carolina by drawing on particular North Carolina connections or memories. Limit ten pages. 



BECKMANN EMERGING ARTIST FELLOWSHIP - INDIANA
https://indyarts.org/grants/grants-for-individuals/beckmann-emerging-artist-fellowship
Deadline June 21, 2019. Program awards two $3,500 fellowships each year to qualified and talented artists in music, dance, theatre, literature, media and/or the visual arts. The program consists of two distinct components. The first component, a monetary award in the amount of $3,500, will be awarded for supplies, instruction, workshops, studio or rehearsal space, or other uses specifically related to the growth and development of the artist’s artistic work. In addition to the grant, the fellows will receive professional development and growth opportunities through the Arts Council of Indianapolis. This fellowship offers opportunity to emerging artists throughout central Indiana.

 

FREELANCE MARKETS

CLARKESWORLD
http://clarkesworldmagazine.com/submissions/
Clarkesworld Magazine is a Hugo, World Fantasy, and British Fantasy Award-winning science fiction and fantasy magazine that publishes short stories, interviews, articles and audio fiction. Issues are published monthly and available on our website, for purchase in ebook format, and via electronic subscription. All original fiction is also published in our trade paperback series from Wyrm Publishing. We are currently open for art, non-fiction and short story submissions. Pays ten cents per word for the first 7,000 words, and eight cents for each word over 7,000.



ASIMOV'S SCIENCE FICTION
https://www.asimovs.com/contact-us/writers-guidelines/
Asimov’s Science Fiction magazine is an established market for science fiction stories. Asimov’s pays eight to ten cents per word for short stories up to 7,500 words and eight cents for each word over 7,500. We seldom buy stories shorter than 1,000 words or longer than 20,000 words, and we don’t serialize novels. We pay $1 a line for poetry, which should not exceed 40 lines. In general, we’re looking for “character oriented” stories, those in which the characters, rather than the science, provide the main focus for the reader’s interest. 



SLICE
https://slicemagazine.org/submit/
SLICE magazine welcomes submissions for short fiction, nonfiction, and poetry. We’re looking for anyone with a fresh voice and a compelling story to share, and we are particularly enthusiastic about championing emerging voices. The next reading period is October 1 – December 1, 2019, for Issue 26: Persistence. The maximum word count for submissions is 5,000 words. You may submit up to five poems, two stories, five flash fiction pieces, and two essays. 



VETERANS OF FOREIGN WARS
https://www.vfw.org/media-and-events/vfw-magazine/frequently-asked-questions
Recognition of veterans and military service is paramount at the VFW. Articles related to current foreign policy and defense along with all veterans' issues are of prime interest. Topics pertaining to American armed forces abroad and international events affecting U.S. national security are particularly in demand. Articles dealing with military history must take a fresh approach. Some national political and social issues also qualify for inclusion in the
magazine, especially if covered by VFW resolutions. And, of course, we are always looking for up-to-date stories on veterans' concerns. Insight into how recent legislation affects the average veteran is always welcome. Manuscripts are usually 1,000 words, depending on the subject. 



CHICKEN SOUP FOR THE SOUL: THE FORGIVENESS FIX
http://www.chickensoup.com
Deadline June 30, 2019. At Chicken Soup for the Soul, we've come to believe that forgiveness is one of the keys to happiness. If you're carrying around the weight of past anger, resentments, and disappointments, it is hard to move forward. You get stuck in the past, reviewing all the wrongs that were done to you, and not focusing enough on all the blessings in your life. If your story is chosen, you will be a published author and your bio will be printed in the book if you so choose. You will also receive a check for $200 and ten free copies of your book, worth more than $100. You will retain the copyright for your story and you will retain the right to resell it or self-publish it. Limit 1,200 words.

 

Publishers/agents

 
TEEN CRUSH
https://entangledpublishing.com/teen-crush-submission-guidelines/
Crush, one of Entangled’s first teen category romance imprints is all about engaging, irresistible first-love stories set during the characters’ teen years. We specialize in heart-stopping feelings and never-ending drama, ranging from funny to emotional, flirty to dark. Contemporary, modern romances featuring characters that are 16-18 years old. Stories that are 45-60k words in length. Trope-driven stories with at least one strong primary trope and two more secondary tropes. Think boy/girl next door, ugly duckling, opposites attract, wrong side of the tracks, best friends to lovers, enemies to lovers, mistaken identity, etc. Stories must follow the traditional category story arc focused on the romance. High conflict and high tension are a must!



TEEN CRAVE
https://entangledpublishing.com/teen-crave-submission-guidelines/
Crave, one of Entangled’s first teen category romance imprints, is all about engaging, irresistible first-love stories set during the characters’ teen years—with an out-of-this-world, trope-driven bend. Did you love Twilight but wish it were focused solely on Bella and Edward’s romance? Crave is for you. Sci-fi, paranormal, fantasy, dystopian, steampunk, biopunk, and cyberpunk romances featuring characters that are 16-18 years old. Stories that are 45-60k words in length. We will consider novellas if they are tied to an existing Crave series or are a prequel to another Entangled series. Trope-driven stories with at least one strong primary trope and two more secondary tropes. 



ENTANGLED TEEN
https://entangledpublishing.com/entangled-teen-submissions
Entangled TEEN, our single-title young adult imprint, utilizes both digital-first and traditional publishing models to deliver the swoon-worthy young adult romances readers crave to online and brick-and-mortar bookstores near you. Whether they’re dark and angsty or fun and sassy, contemporary, fantastical, or futuristic, TEEN has exactly what teen (and teen at heart!) readers want. We are seeking fresh voices with interesting twists on popular genres. We are seeking novels in the following subgenres of romantic fiction: Contemporary, Science Fiction, Paranormal, Fantasy, Historical, Romantic Suspense and Thrillers, and 16-19 year old protagonists that will appeal to crossover audiences. Length 70k to 120k words for all genres, except contemporary romance, which we prefer to remain under 90k.



ALBERT WHITMAN & COMPANY
https://www.albertwhitman.com/submission-guidelines-for-unrepresented-authors/
Albert Whitman & Company currently has an open submissions policy. We will read and review un-agented manuscripts and proposals for picture books, middle-grade fiction, and young adult novels. As for picture books, we are seeking: Fiction and nonfiction manuscripts for picture books for children ages one to eight. Word count is up to 1,000 words.



HARLEQUIN DARE
https://harlequin.submittable.com/submit
Harlequin DARE stories push the boundaries of sexual explicitness while keeping the focus on the developing romantic relationship. Come meet the sexiest men alive! A word count of 50,000 means stories must be fast-paced and plot-driven. Contemporary only. We are open to many different story types, though we are not currently considering law enforcement (police, FBI, etc.), western-themed, military, sports, small-town romances, paranormal or historicals.


 

SPONSORS

Your publishing success is just as important as your writing success, and you deserve a return on your investment when it comes to both.

There's literary success and there's financial literary success, and you can achieve them both.

There's why you write, why you publish, and why you sell books, and you should know your 'why' for each.

There's the craft of writing, the business of publishing, and the skill of marketing, promoting, and selling your book, and you should learn them all if your book is a business and not just a hobby.

The road to publication and building your literary career isn't a joyride, it's a journey; one you shouldn't travel alone.

Register for the "Act Like an Author, Think Like a Business" 2019 Conference, where your literary companions, experts, and fellow Pathfinders await to both chauffeur you and join you along your literary journey!




 

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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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