Erica Verrillo's Blog, page 52

March 07th, 2018

When my agent asked me for loglines for my book, I had no idea what she was talking about. I pretended I understood. (FYI, "faking it" is a required skill for writers.) Once I was off the phone, I immediately looked it up.

Loglines, I discovered, were a way of pitching movie ideas when a filmmaker only has a minute (or less) to pitch an idea to a producer.

In brief (no pun intended), a logline is a one- or two-sentence summary of your book's plot.  If someone asked you, "What's your book about?" and you only had a few seconds to describe it, that would be your logline (also known as a pitch).

Loglines are becoming increasingly important in the age of Twitter. Agents have realized that reading a tweet takes less time than reading a query. As a consequence, Pitchfests, or Pitch Parties, have gained considerable traction. (The most popular of these is #PitMad. You can read about it here.)

So, on to some examples of loglines:

a) An unwilling wife who despises her roguish husband eventually comes to adore him. (Taming of the Shrew)

b) A young FBI cadet must confide in a manipulative convicted killer to receive his help on catching another serial killer who skins his victims. (Silence of the Lambs )

c) The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. (The Godfather)

Notice that in each of these examples, we have a main character, a goal, and a source of conflict.

Now, try it yourself. Pick a book that you know well, and boil it down to one sentence. Now do another. Now try your own book. Not so easy, eh?

Writers are simply abysmal at reducing their books to a sentence. That's because we are too close to our own work. A typical logline from a writer would sound like this: "My book is an exploration of the nature of love in modern times encompassing the pitfalls of friendship and romance in an academic setting."  No conflict, no goals, no protagonist, no antagonist ... sounds of snoring.

Fortunately, there are some online tools that can help you. (I would suggest that you try both the YA Writers Toolbox and the Killogator. Between the two, you will have some great loglines.)

YA Writers Toolbox has a pitch generator that is absolutely fabulous. You can choose between Character Journey, High Stakes, Romance, and World/Setting. The pitch generator form asks a series of questions. Plug in a word or two, and the generator gives you several pitches.

Graeme Shimmin also has a great tool for generating loglines. He calls it the Killogator. It’s a simpler tool to use than the Toolbox, but just as valuable.

Helpful articles:

Book Logline: What It Is & How To Write It

How to Write a Logline that Sells

What's Your Book About? How to Make a Pitch

Costs for Editing a Self-Published Book

If you are thinking of self-publishing your book, you will need to get your manuscript edited before you put it on the market.

Every writer needs a second pair of eyes (and frequently a third), because there are always mistakes. These can range from simple grammar and spelling errors, to internal logic (your character is drinking coffee, and two lines later is sipping tea), to structural problems.

Editing can catch all these errors. But unless you know an editor who is willing to work for free, you will have to pay for this essential service.

(If the thought of shelling out money for an editor makes you squirm, consider the fact that Amazon is now allowing readers to report errors in self-published books, and is penalizing authors accordingly.)

_________________

What kind of editor do you need?

There are basically three kinds of editors:

Developmental editors look at your manuscript as a whole. They are concerned with plot, pacing, character development, voice, motivation and other large components of your book. If you feel as if your manuscript is still rough around the edges, then you will need a developmental editor.

Copy editors make sure a manuscript is free of errors in the text. They check for grammar, spelling, and internal logic errors, word choice, repetitions, consistency, clarification, ambiguity in sentence structure, dialogue, and other aspects of your manuscript that require a narrow focus. (Note: Some editors make a distinction between copy editing for simple errors and line editing for sense, logic, and style.) If your book is finished, has been soundly critiqued, and you are fully confident that your concept, plot, and character development are tight, then you will need a copy or line edit.

Proof readers do a final check for errors in spelling, punctuation, formatting, typos and other small errors. This is the last step before printing or epublishing. Do not skip this step! There are always typos.

Here is a helpful article that explains the different types of editing in greater depth: 4 Levels of Editing Explained: Which Service Does Your Book Need?

A word to the wise

Before you consider hiring an editor, read his or her site carefully. If sample edits are available, read those as well. I have noticed errors in grammar, punctuation, and spelling (!) on some editing sites. If you spot an error, or even a typo, run away, run away!

Make sure your editor is experienced. What other books has he edited? (Read the testimonials, then look up the authors and their books on Amazon. Use "Look Inside" to read the first few pages. Do you notice any errors?) What credentials does she have? Does the editor have experience in your genre? (This is very important!) Does the editor offer a clear contract? And finally, do you like her (or him)? You are going to be doing some painstaking, often difficult, work together, so it's best if you get along.

How much does editing cost?

The cost of editing depends on the length of your book, the editor, and the type of edit. This cost can vary quite a bit from editor to editor. To get an initial idea of how much a professional edit should cost, as well as how to find an editor,  the Editorial Freelance Association is the best place to start.

The Association's member directory includes bios of the members. You can look up a member by name, or you can search by skills (such as proofreading, line editing, etc.), nonfiction specialty or fiction genre, and by language. Click on the names in search results to read details about the editor, including years of experience and background.

You can post a job for free on this site. Interested freelancers will then contact you with their credentials and pay rate. There is a handy table of editing rates on the site that should give you a good idea of what editors normally charge. (One of the questions on the job listing form concerns how much you can pay, so consult this table before you post your job.)

More resources for finding an editor

Here are more resources for finding editors. (These are not personal recommendations, as I have not used any of these services):

Professional Editors To Help With Your Book - Joanna Penn's list is extensive. She includes prices, interviews (when available), types of services offered, and editors she has personally worked with.


The Northwest Independent Editors Guild connects clients with professional editors of the written word in the Pacific Northwest. You search for an editor on this site, or post a job. Their "For Clients" section has good information on how to choose an editor, different types of editing, how to work with an editor, sample contract, and more. Even if you do not live in the Northwest, this site is worth checking out.

New York Book Editors actually match you to an editor. First you tell them about your book, and then they find an editor for you. You get a chance to evaluate your working relationship through a trial edit. (This is important!) The editors in this outfit are former editors who have worked for major publishing houses, so they know what they're doing. (My editor at St. Martin's is one of them.)

Lewis Editorial - Cecilia Lewis is the sole editor at Lewis Editorial. She explains in detail what she offers, including different service plans, and how much it will cost. Even if you go with a larger service, explore this site, because it is everything an editor's site should be - clear, succinct, and detailed.

Examples from the website:

Line edit

"This service provides an intensive, prose-focused line-by-line edit that evaluates issues including sentence structure, word choice, word repetition, clarification, dialogue, consistency issues, voice breaks, verb tense, point of view issues, grammar, syntax, cadence, diction, missing words, etc. This edit does not include plot or characterization analysis. This step is crucial in ensuring that your manuscript features quality prose.

Rate: $12.50 per 1,000 words"

Full edit

"The most comprehensive package, this service is a 3-round process that includes developmental editing, line editing, and proofreading. You’ll receive focused, in-depth attention on all aspects of your manuscript, and I will be available for discussion or questions throughout the project. This is a great option for writers who are self-publishing or who want additional in-depth editing of their manuscript.

Rate: $1200-$2000, depending on the length of your MS and the level of editing it requires. Payment plans are available."
You might also like:

38 Calls for Submissions in March 2018 - Paying markets

There are over three dozen calls for submissions in March. All of these are paying markets, and none charge submission fees. As always, every genre, style, and form is wanted, from speculative fiction to poetry to personal essays.

NOTE: I post upcoming calls for submissions at the end of every month. But as I am collecting them, I post them on my page, Calls for Submissions. You can get a jump on upcoming calls for submissions by checking that page periodically. (I only post paying markets.)
________________

Texas Home School Coalition Review. Genre: Nonfiction articles about home schooling. (See website for topics.) Payment: $40 for nonexclusive print and electronic rights to feature articles that have been published previously, or works to which the author wishes to retain the copyright. (Authors should confirm that agreements with previous publishers will not conflict with THSC’s nonexclusive rights.) $110 for the exclusive print and electronic copyright to previously unpublished works.Deadline: March 1, 2018.

Left Hooks. Genre: Poetry: formalism, free verse, translations. Payment: $10. Deadline: March 1, 2018.

Furrow Magazine. Restrictions: Open to undergraduates. Genre: Poetry, fiction, nonfiction, art, and comics. Payment: $100 for top submission in each category. Deadline: March 1, 2018.

Copper Nickel. Genre: Poetry, fiction, essays, and translation. Payment: $30 per printed page + two copies of the issue. Deadline: March 1, 2018.

Upstreet. Genres: Fiction, CNF. Payment: $50-$150 per work. Deadline: March 1, 2018.

Contrary Magazine. Genres: Fiction and poetry. Payment: $20 per author. Deadline: March 1, 2018.
The Blue Route. Restrictions: Undergraduate students. Genres: Prose – Submit 1-3 pieces of fiction or creative nonfiction totaling no more than 3000 words. Poetry – Submit up to 3 poems. No genre fiction. Payment: $25. Deadline: March 1, 2018.
THEMA. Genres: Fiction, poetry, essays on theme "New Neighbors." Payment: Short story, $25; short-short piece (up to 1000 words), $10; poem. Deadline: March 1, 2018. Accepts reprints.

Body Parts Magazine. Genre: horror, erotica, speculative fiction, essays and art. Theme: Primal Fears. Payment: $5 for flash fiction and $10 to $20 (depending on length) for short stories and nonfiction. Deadline: March 1, 2018.

Hex Gunslinger. Genre: Speculative, mysterious, and romantic weird western tall tales. Payment: $0.01USD per word. Deadline: March 1, 2018.

Planet Scumm. Genre: Speculative fiction. Payment: $20. Deadline: March 1, 2018.

The Cincinnati Review. Genres: Prose and poetry. Payment: $25 per page (prose), $30 per page (poetry). Deadline: March 1, 2018.

Baba Yaga Anthology. Genre: Stories from Baba Yaga’s point of view, or the point of view from those she helps or hurts, or from anyone who might be a protagonist worthy of the Baba Yaga story. You can set the story in the past or present. The story can take place anywhere in the world. It can include romance or action or tragedy or comedy. Payment: $50. Deadline: March 1, 2018.

Winter Tangerine. Genre: Prose, poetry, art. Payment: $50. Deadline: March 1, 2018.

Goblin Fruit. Genre: Fantastical poetry. Payment: $15.00 USD on publication for original, unpublished poems, and $5.00 for solicited reprints. Deadline: March 3, 2018.

Wordworks. Restrictions: Canadian writers? (Not clear from site) Genres: Short stories, poetry, CNF. Theme of Publishing. Payment: .22/word for prose submissions, $50 per poem, $100 per cover art. Deadline: March 5, 2018. (No indication of year on site.) Reprints accepted.

Arkansas International. Genre: fiction, poetry, essays, comics, and works in translation. Payment: $20 a printed page (capped at $250). Deadline: March 10, 2018.

The Lifted Brow. Genre: Writing that focuses on the arts, gender, race, ecology, economics, politics, work, and sexuality. Australian focus preferred. Payment: $75-$100. Deadline: March 12, 2018.

Lamdba Literary. Genre: LGBT poetry. Payment: "Honorarium." Deadline: March 13, 2018.

Southword. Genres: Prose and poetry. Payment: €30 per poem and €120 per short story. Payment to writers within the Republic of Ireland is made by cheque. Writers abroad must accept payment through Paypal. Deadline: March 15, 2018.

Eye to the Telescope. Genre: Speculative poetry. Payment: US 3¢/word rounded to nearest dollar; minimum US $3, maximum $25. Deadline: March 15, 2018.

Transmundane Press. Genre: Short stories exploring DREAMS, NIGHTMARES, VISIONS, and HALLUCINATIONS. Payment: $15-20, depending on length. Deadline: March 15, 2018.

Blue Mesa Review. Genre: Fiction (up to 6,000 words), Nonfiction (up to 6,000 words), Poetry (up to 3 poems), and Visual Art. Payment: $25. Deadline: March 15, 2018.

Gordon Square Review. Genre: Poetry and prose. Payment: $10 per poem, $15 for prose. Deadline: March 15, 2018.

Typewriter Emergencies. Genre: Stories, book reviews, articles featuring furry characters. Payment: $0.01 per word. Deadline: March 17, 2017.

Enchanted Conversation Fairytale Magazine. Genre: Stories and poetry. Fairy tales on theme "Animal Tales." Payment: Story pay: $30, Poem pay: $10. US dollars. Deadline: March 20, 2018.

Psychopomp. Genre: Fiction that "dares to redefine traditional storytelling and genre borders." Payment: None for reprints, but 2 cents a word for original stories. Deadline: March 23, 2018.
The Puritan. Genres: Fiction, nonfiction, poetry. Payment: $100 per nonfiction piece, $50 fiction, $15 per poem. Deadline: March 25, 2018.

Cosmic Roots and Eldritch Shores. Genre: Speculative stories. Payment: 6 cents/word for original work. 2 cents/word for reprints. Deadline: March 28, 2018.

Corpus Press: Halloween Anthology. Genre: Horror. "Not previously published short stories of 4,500-8,500 words that have a central theme associated with Halloween and can be characterized within the broad realm of “horror” fiction." Payment: $.03 per word. Deadline: March 30, 2018.

Sycamore Review. Genre: Poetry, fiction, non-fiction and art. Payment: $50 per short story or non-fiction piece, or $25 per poem. Deadline: March 31, 2018. Submit at the beginning of the month! Once submissions reach 800 for the month, they begin to charge $2.

EIR Longform Prose Poems and Lyric Essay. Genre: Longform lyric essays, prose poems, hybrids.  Payment: $7.  Deadline: March 31, 2018.

Notre Dame Review. Genres: Fiction, poetry. Payment: Small gratuity. Deadline: March 31, 2018.

Hippocampus Anthology: Greasy Spoons: Essays on Bottomless Coffee, Homefries, Pie, and Other Things We Love About Roadside Diners. Genre: Essays or memoir excerpts. Payment: $40 + 2 contributor copies upon publication. Deadline: March 31, 2018.

Mojo. Genre: Fiction, poetry, and nonfiction. Payment: $15. Deadline: March 31, 2018.

HoosierLit. Restrictions: Indiana writers. Genre: Fiction, nonfiction (creative nonfiction, essays), screenplays, scripts, black-and-white photography, and poetry. Payment: Not specified. Deadline: March 31, 2018.

Post Mortem Press: She's Lost Control. Restrictions: Women writers only. Genre: Dark Fiction, all-female anthology. Payment: 1/2 cent per word, plus royalties. Deadline: March 31, 2018.

The Fiddlehead. Genre: Creative nonfiction. Payment: $60 CAD per published page, plus two complimentary copies of the issue. Deadline: March 31, 2018.

50 Free Writing Contests in March 2018 - No entry fees

Spring is right around the corner! The birds are singing, the flowers are (almost) blooming, and there are new opportunities for writers.

With 50 to choose from, March is a great month for free writing contests. As always, every form and genre is represented. There are prizes for novel manuscripts, poetry, short stories, essays, works of nonfiction, children's books and more. Some of these contests have age and regional restrictions, so be sure to check submission guidelines before submitting.

Many contests are offered annually, so if you miss your ideal contest this year,  you can always enter next year. For a month-by-month list of free contests see: Writing Contests. (You can also get a jump on next month's contests by checking that page periodically.)

__________________________


Madeline P. Plonsker Emerging Writer's Residency Prize. Restrictions: Open to an emerging poet under forty years old—with no major book publication. Genre: Poetry - manuscript in progress. Prize: Stipend of $10,000 with a housing suite and campus meals provided by the College, and three weeks in residence on the Lake Forest College campus during the Spring 2017 term. Possible publication. Deadline: March 1, 2018.

The Naomi Long Madgett Poetry Award is sponsored by Broadside Lotus Press. Restrictions: This competition is open to African American poets only. If you have already had a book published by Lotus Press, you are ineligible. However, inclusion in a Lotus Press anthology does not disqualify you. Genres: Poetry collections of approximately 60-90 pages. Prize: $500 in cash and publication  by Broadside Lotus Press within the first three months of 2017 as well as free copies and discounts. Deadline: March 1, 2018.

Honeysuckle Chapbook Contest. Genre: Poetry and short stories. Manuscripts should be no shorter than 20 pages and no longer than 40 pages. This does not include the table of contents, title page, or identity statement. You may submit one chapbook in poetry and in prose. There should be no more than one poem per page. Prize: $500, print publication, author copies, distribution in bookstores across America, and a jar of berry jam. Deadline: March 1, 2018.

Balticon Poetry Contest. Sponsored by the Baltimore Science Fiction Society. Genre: Speculative poetry. Prize: 1st prize: $100; 2nd prize: $75; 3rd prize: $50. Deadline: March 1, 2018.

Beverly Hopkins Memorial Poetry Contest for High School Students. Restrictions: High school students living within 100 miles of St. Louis. Genre: Poetry. Prize: First prize $200, Second prize $125, Third prize $75. Deadline: March 1, 2018.

The Irish Post's Creative Writing Competition. Restrictions: Open to Irish residents of the UK. Genre: Fiction on an Irish theme. Prizes: €500, publication in the Irish Post, and a trip to the Listowel Writers’ Week in Co. Kerry. Deadline: March 1, 2018.

Lewis Galantiere Award. Restrictions: Open to US citizens or permanent residents. Genre: Translation of book-length literary work from any language, except German, into English. Entries must have been published in the US in the past two years. Prize: $1000. Deadline: March 1, 2018.

The Premises:CLOTHES. Write a creative, compelling, well-crafted story in which one or more pieces of clothing play an important role. Genre: Short story. Length: Between 1,000 and 5,000 words. Prize: Between US$60 and US$220, and publication. Deadline: 11:59 PM Eastern US time, March 2, 2018.

Christopher Tower Poetry Competition. Restrictions: Open to UK students between 16-18 years of age. Genre: Poetry, one poem, maximum 48 lines. Theme is "wonder." Prize: £3,000. Deadline: March 2, 2018.

"It's All Write!" Teen Short Story Contest. Restrictions: Open to Grades 6-12. Genre: Short story, and flash fiction, unpublished. Prize: 1st Place $250, 2nd Place $150, 3rd Place $100. Deadline: March 4, 2018.

RBC Bronwen Wallace Award for Emerging Writers . Genre: Short fiction. Restrictions: Candidates must be: A Canadian citizen or permanent resident; Under the age of 35 as of March 5, 2018; Previously published in an independently edited magazine or anthology; Unpublished in book form and without a book contract. Prizes: Winner: $5,000; Finalists: $1,000. Deadline: March 5, 2018.

NEA Literature Fellowships  are sponsored by the National Endowment for the Arts. Prize: $25,000 grants in prose (fiction and creative nonfiction) and poetry to published creative writers that enable recipients to set aside time for writing, research, travel, and general career advancement. Deadline: March 7, 2018.

Common Good Books Poetry Contest is sponsored by Common Good Books, proprietor Garrison Keillor. Genre: Poetry. Poems must be set in St Paul, in the winter. Prize: Grand prizes of $1000 each, and four poets will receive $500 for poems of particular merit. Deadline: March 9, 2018.  

Nantucket Directory Poetry Contest.  Genre: poem about Nantucket Island. Prize: $250 and publication in the print and online editions of the Nantucket Directory. Deadline: March 10, 2018.

Nature-Saving Scholarship. Restrictions: Open to High School and College students. Genre: Original list of nature-saving rules. Prize: $1,000 or $500 scholarship. Deadline: March 11, 2018.

BBC National Short Story Award. Restrictions: Open to UK residents or nationals, aged 18 or over, who have a history of publication in creative writing. Genre: Short fiction. Prize: £15,000 to the winner, £3,000 for the runner-up and £500 for three further shortlisted writers. Deadline: March 12, 2018.

North Carolina Poetry Contest. Restrictions: Open to residents of North Carolina (including students). Genre: Poetry. Prize: $1,000. Deadline: March 12, 2018. Snail mail entries only.

Wilbur Smith Adventure Writing Prize. Genre: Adventure writing novel. Separate categories for published and unpublished books. Self-published books accepted. Prize: £15,000. Deadline: March 12, 2018.

Hodson Trust–John Carter Brown Library Fellowship. Genre: Nonfiction (includes creative nonfiction). A book-in-process  relating to the literature, history, culture, or art of the Americas before 1830. Award: $20,000. Deadline: March 15, 2018.

Alpine Fellowship. Genre: Pieces of any genre up to 2500 words on the theme of “Childhood.”  Prize: The first place winner receives £3000 and an invitation to enter the symposium in Venice (two runners-up also receive the invitation). Deadline: March 15, 2018. 

Gordon Burn Prize. Restrictions: Open to permanent US or UK residents. Genre: Fiction or nonfiction book first published in the US or UK between July 1 of the preceding year and July 1 of the deadline year. Prize: 5,000 pounds and 3-month writing retreat at Gordon Burn's cottage in Berwickshire. Deadline: March 15, 2018.

Governor General's Literary Awards. Restrictions: Books must have been written or translated by Canadian citizens or permanent residents of Canada. They do not need to be residing in Canada. Genre: The Governor General’s Literary Awards are given annually to the best English-language and the best French-language book in each of the seven categories of Fiction, Literary Non-fiction, Poetry, Drama, Young People’s Literature (Text), Young People’s Literature (Illustrated Books) and Translation (from French to English). Prize: $25,000. Deadline: March 15, 2018.

Iris N. Spencer Undergraduate Poetry Award. Restrictions: Open to undergraduate poets who are enrolled in a United States college or university. Genre: Poetry composed in the traditional modes of meter, rhyme and received forms. Prize: First prize $1,500, and a runner-up prize $500. Deadline: March 15, 2018.

Myong Cha Son Haiku Award. Restrictions: Open to undergraduate poets who are enrolled in a United States college or university. Genre: Haiku. Prize: First prize $1,500, and a runner-up prize $500. Deadline: March 15, 2018.

Rhina P. Espaillat Poetry Award. Restrictions: Open to undergraduate poets who are enrolled in a United States college or university. Genre: Original poems written in Spanish and translations of English poems to Spanish. Prize: First prize $1,500, and a runner-up prize $500. Deadline: March 15, 2018.

Lynn DeCaro Poetry Contest. Restrictions: Open to Connecticut Student Poets in Grades 9-12. Genre: Poetry. Prize: 1st $75, 2nd $50, 3rd $25. Deadline: March 15, 2018.

The Eugene & Marilyn Glick Indiana Authors Award seeks to elevate the written arts in Indiana. Restrictions: Any living published writer who was born in Indiana or has lived in Indiana for at least five years will be eligible. Authors who have published works of fiction, prose, poetry and/or non-fiction are eligible; reference works, scholarly monographs and books of photography will not be considered. Self-published authors are considered. Prize: National Author: $10,000 cash prize and $2,500 grant for his or her hometown Indiana public library. Regional Author: $7,500 cash prize and $2,500 grant for his or her hometown Indiana public library. Emerging Author: $5,000 cash prize and $2,500 grant for his or her hometown Indiana public library. Deadline: March 16, 2018.

Thresholds International Short Fiction Feature Writing Competition. Genre: Nonfiction feature in one of two categories: Author Profile: exploring the life, writings and influence of a single short story writer. We Recommend: personal recommendations of a collection, anthology, group of short stories or a single short story. Prize: 1st prize of £500, runner-up prize of £100. Deadline: March 18, 2018.

Jane Martin Poetry Prize (UK). Restrictions: Open to  UK residents between 18 and 30 years of age. Genre: Poetry. Prize: £700, second prize, £300. Deadline: March 19, 2018.

Eliza So Finish-Your-Book Fellowship. Restrictions: There are two fellowships, one for immigrant writers, and one for Native Americans with affiliations to Montana. Genre: A novel, collection of stories, or memoir in progress (100 pages minimum) or poetry collection in progress (30 pages minimum). Prize: The fellowship includes room and board at Las Vegas' Writer's Block in the fall or winter of 2018, along with a $500 food stipend and $400 toward airfare. Deadline: March 25, 2018.

Nicholas A. Virgilio Memorial Haiku Competition for High School Students. Restrictions: Open to students in Grades 7-12. Genre: Haiku. Prizes: $50. Deadline: March 25, 2018.

The Gover Story Prize. Genre: Short Fiction & Creative Nonfiction. Works of short prose must be less than 10,000 words, previously unpublished, or published with a circulation of less than 500. Prize: $250.00. Deadline: March 25, 2018. No reprints or simultaneous submissions.

Digital and Technology Scholarship. Restrictions: Open to college students. Genre: Article or essay or info graphics in at least 1000 words on tech topic. Prize: $500.00 scholarship. Deadline: March 25, 2018.

The Lakefly Writers Conference. Restrictions: Open to residents of Wisconsin. Genres: Short story fiction:  1500 words or less. Any genre. Flash fiction:  500 words or less. Any genre. No theme. Poetry:  All poems, free verse to formal and everything in between—75 lines max. Theme: Wisconsin Choices. The Jean Nelson Essay for Young Adults: For young adult writers (ages 12 through 17). 2500 words or less. Theme: Notable Wisconsin figure (living or dead) who most inspires me. Prize: First place winners will receive a cash prize of $100; second place winners will receive $75; and third place winners will receive $50. Winners must be able to attend an awards ceremony. Deadline: March 30, 2018.

Sunken Garden Poetry Festival's Fresh Voices Competition. Restrictions: New England high school students. Prize: Reading at the Sunken Garden Poetry Festival on August 5, 2018 and publication.  Deadline: March 30, 2018.

The Golden Baobab Prize for Early Chapter Books. Restrictions: Entry is open to citizens of an African country. A copy of a passport or comparable document will be required of winners and long listed entrants. There are no restrictions on age or race. Genre: Unpublished manuscript for an early chapter book targeting readers aged 9 to 11 years old. Stories must be set in Africa or have a very evident African content. Prize: $5,000 (USD), the opportunity to publish with and receive royalties from Golden Baobab’s African and international publishing partners. Deadline: March 31, 2018.

Rachel Wetzsteon Chapbook Award. Genre: Poetry chapbook (30 pages). Prize: $250. Deadline: March 31, 2018. (After this date, there is a $5 fee to submit)

Natan Book Award. Genre: Nonfiction. The book should address one or more of Natan’s grant areas. Broadly understood, these are: the reinvention of Jewish life and community for the 21st century; changing notions of individual and collective identity for 21st century Jews; and the evolving relationship between Israel and world Jewry. The award is open to non-fiction books that have an existing publishing contract with a recognized commercial publisher. (Academic publishers are also acceptable in certain cases where the book is intended to appeal to mainstream audiences.) Prize: The Award is a two-stage award, offering at most a total of $25,000, to be divided as follows: a cash award to the author of $10,000, to be used during the writing process; and customized support for the marketing and publicity strategy for the book, up to $15,000. This is a pre-publication award and the prize winner will be announced prior to the book's publication date. Deadline: March 31, 2018.

Foley Poetry Contest. Genre: One unpublished poem on any topic. The poem should be 30 lines or fewer and not under consideration elsewhere. Prize: $1000. Deadline: March 31, 2018.

The Willie Morris Award for Southern Fiction. Genre: Novel published in 2017 (50,000 words minimum). Book has to be set in one of the original eleven states in the Confederacy. (Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas and Virginia.) Prize: $2,500.00, and an expense paid trip to New York City. (The winner must come to NY to receive the award, attend a luncheon with the contest judges and a reception in his/her honor.) Deadline: March 31, 2018.

L. Ron Hubbard's Writers of the Future Contest. Restrictions: open only to those who have not professionally published a novel or short novel, or more than one novelette, or more than three short stories, in any medium. Genres: Science fiction, fantasy and dark fantasy up to 17,000 words. Prizes: Three cash prizes in each quarter: a First Prize of $1,000, a Second Prize of $750, and a Third Prize of $500, in US dollars. In addition, at the end of the year the winners will have their entries rejudged, and a Grand Prize winner shall be determined and receive an additional $5,000. Deadline: March 31, 2018.

Jack L. Chalker Young Writers' Contests. Restrictions: Open to writers between 14 and 18 years of age as of May 29 in the contest year who reside in, or attend school in Maryland. Genre: Science fiction or fantasy, 2,500 words max. Prizes: $150, $100 and $75. Deadline: March 31, 2018.

Sarah Mook Poetry Prize for Students. Restrictions: Students in grades K-12. Genre: Poetry.  Prize: $100. Deadline: March 31, 2018.

Saif Ghobash Banipal Prize for Arabic Literary Translation. Genre: Poetry or literary prose. Translation of modern Arabic literature into English. Books must have been published between April 1, 2017 and March 31, 2018 and be available for purchase in the UK via a distributor or online. The source text must have been published in the original Arabic in or after 1967. Must be submitted by publisher. Prize: £3,000. Deadline: March 31, 2018.

Archibald Lamp­man Award. Restrictions: Open to residents of Canada's National Capital region (Ottawa). Genre: Book of any genre published by a recognized publisher. Prize: $1500. Deadline: March 31, 2018.

Jacklyn Potter Young Poets Competition. Restrictions: Open to high school students in the Washington, DC region. Genre: Poetry. Prize: A reading with honorarium in the Miller Poetry Series, a summer program occurring in June and July. Deadline: March 31, 2018.

Lake Superior State University High School Short Story Prize. Restrictions: Open to high school students students residing in the Midwestern United States (Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin) or Ontario, Canada. Genre: Short fiction. The theme is Historical Fiction. Prize: $500 and publication.  Deadline: March 31, 2018.

Save the Earth Poetry Prize. Restrictions: Open to high school students, grades 11 & 12. Genre: Poem (1). Poems submitted should, in any way possible, evoke humankind’s awareness of the natural world and nature as such. Prize: $200 awarded to seven winners. Deadline: March 31, 2018.

Speculative Literature Foundation Older Writers Grant. Restrictions: Open to writers who are fifty years of age or older at the time of grant application. Genre: Speculative fiction. Prize: $500.   Deadline: March 31, 2018.

Value of Being Fit Scholarship Program. Restrictions: Open to students who are currently enrolled in colleges, universities or high schools. Genre: Essay, info graphics, or article (750-1000 words) on “How can you remain fit forever.” Prize: $750.  Deadline: March 31, 2018.

28 Awesome Writing Conferences in March 2018

March is officially the beginning of spring, and time for writers to come out of hibernation and congregate!

There are some great conferences this month. If your manuscript is complete, you can pitch it to agents at several conferences, including Sleuthfest in Florida (for mystery writers), Write Stuff in Pennsylvania, and the big New York Pitch Fest. There are also retreats and workshops for writers who just need to get away for awhile to get the creative juices flowing.

Attending a conference is one of the best things you can do for your writing career. Conferences offer a unique opportunity to network with other writers, meet agents and pitch your book, and learn how the publishing industry works from editors and professionals.

I strongly urge you to plan ahead if you are thinking of attending a writing conference. Many offer scholarships that can significantly reduce the cost. And all of the intensive writing workshops have application deadlines. For a month-by-month list of conferences throughout the year see: Writing Conferences. (You will also find links to resources that can help you find conferences in your area on that page.) If you miss your ideal conference this year, plan for next year.
______________________

Sleuthfest. March 1 - 4, 2018, Boca Raton, FL. Sponsored by the Florida Chapter of Mystery Writers of America a conference for writers and fans. Features writing workshops, social events, and pitch sessions, including:
* Agent Appointments to pitch your finished work
* Critiques of your 10 page manuscript submission
* Forensic track with current forensic techniques & hands-on workshops
* Social events to mingle with agents, editors and your favorite authors
* Auction to purchase critiques of your work by bestselling authors
* Sessions on the craft of writing
* Sessions on marketing and promoting your work
* Practice your Pitch sessions with experienced authors

Winter Writers' Weekend. March 2 - 4, 2018, Princeton, New Jersey. Workshops on self-publishing, book covers, getting book reviews, How to Sell 10,000 Books, The Editor/Author Relationship: What You Can Expect and more. Cost $200.

A One Day Retreat for Poets and Writers. March 3, 2018, Princeton, NJ. "Do you want to publish your writing but struggle with a lack of know-how and fear of rejection? Join us for this hands-on workshop where we will guide you through the process from blank page to published piece. If you are an aspiring author you will learn how and where to submit your work. If you are experienced you will discover new markets and resources to expand your readership. Whether you are working on a novel, memoir, short stories, personal essays or poetry, you will go home with an action plan and the tools to carry it out."

Redrock Creative Writing Seminar, St. George, Utah, March 3, 2018. Classes and readings in poetry, fiction, and creative nonfiction. The faculty includes poet Jim Barton, Dr. Cindy King, and Lara Candland.

Association of Writers & Writing Programs Conference. March 7 - 10, 2018, Tampa, FL. "The AWP Conference & Bookfair is an essential annual destination for writers, teachers, students, editors, and publishers. Each year more than 12,000 attendees join our community for four days of insightful dialogue, networking, and unrivaled access to the organizations and opinion-makers that matter most in contemporary literature. The 2016 conference featured over 2,000 presenters and 550 readings, panels, and craft lectures. The bookfair hosted over 800 presses, journals, and literary organizations from around the world. AWP’s is now the largest literary conference in North America."

Algonkian Novel Retreat, Sterling, Virginia, March 7 - 11, 2018. "In keeping with the spirit of this place and the goals of this retreat, you can be as goal-oriented or as hesitant in approach as you wish. You can show us your manuscript, improve your skills, clear your head, have your work read by our writer mentors, whatever works for you, whatever helps you grow and discover your vision as a writer. You discuss with us ahead of time via the Algonkian Writer Retreat Application the goals you wish to accomplish, and we'll work with you to make it happen. Do you desire a review of your short stories or flash fiction? A line edit? Do you wish to discuss the reality of the current fiction market, your novel project, plot and characters, or perhaps get feedback on the opening hook or a few sample chapters? Or would you simply like a relaxed and productive dialogue about your goals as a writer?"  Registration is first come, first served.

Writer’s High Retreat. March 9 - 11, 2018, Dawsonville, Georgia. The retreat features workshops for poets, fiction writers, and creative nonfiction writers, as well as readings, talks, and open mics. Featured speakers include fiction writer Patti Callahan Henry and agent, fiction writer, and nonfiction writer Nick Chiles. The cost of the retreat, which includes lodging and all meals, is $733 for a single room and $579 for a double room. Space is limited; Registration is first come, first served. The registration deadline is February 23.

Atlanta Writing Workshop, March 10, 2018, Atlanta, GA. A full-day of “How to Get Published.” Attending literary agents and editors: Ali Herring (Spencerhill Associates), Cherry Weiner (Weiner Literary), Sally Apokedak (Leslie H. Stobbe Literary Agency), Latoya C. Smith (L. Perkins Agency), Kristy Hunter (The Knight Agency), Samantha Fountain (Corvisiero Agency), Lauren Jablonski (St. Martin’s Press), Julie Gwinn (The Seymour Agency) and more to come.

Bay to Ocean Writers Conference. Wye Mills, Maryland, March 10, 2018. Sponsored by the Eastern Shore Writers Association. "The BTO conference features workshops, presentations, and panel discussions on a wide variety of topics pertaining to the craft of writing, publishing, marketing, the Internet, and the intricacies of particular genres. It is an opportunity to meet with many writing peers in the region. Speakers include accomplished authors, poets, film writers, writing instructors, editors, and publishers. BTO also offers one-on-one manuscript reviews with experienced writing instructors and editors for registered attendees for a fee."

Wik '18. Society of Childrens Book Writers and Illustrators. Hoover, Alabama, March 10-11, 2018. Conference for children's book writers and illustrators. Faculty includes writers, illustrators, agents, editors, and publishers.

Moravian College Writers' Conference. March 16 - 17, 2018, Bethlehem, PA. Workshops, craft talks, and more on the theme of Writing & Health. Writers of all genres & at all career stages welcome! Keynote speaker Marie Myung-Ok Lee and special guest faculty including Nina Angela McKissock, Gillian Pidcock , Mary Heather Noble, and Fran Quigley. Costs: $125. Includes workshop, craft talk, and faculty roundtable; faculty readings and book signings; Fri. welcome reception and Sat. lunch. Hotel discounts in historic Bethlehem, PA.

Colrain One-Day Retreat: What is a Poetry Manuscript? March  17, 2018, Barred Owl Retreat, Leicester, Massachusetts.The Colrain One-Day Informational Retreat is designed for poets who wish to learn the basics of a poetry manuscript before submitting to presses and/or applying to the Colrain Poetry Manuscript Conference.  In a small group (8-10 poets) team-led by two seasoned Colrain Poetry Manuscript facilitators.

Beall Poetry Festival. March 21 - 23, 2018, Waco, TX. The festival features readings, panel discussions, and the Virginia Beall Ball Lecture on Contemporary Poetry. Participating poets include Kwame Dawes, Dania Gioia, Mark Jarman, and Lisa Russ Spaar. All events are free and open to the public.

University of North Dakota Writers Conference. March 21 - 23, 2018, Grand Forks, North Dakota. Theme: Truth and Lies. This year's authors/artists include Molly McCully Brown, Nicholas Galanin,
David Grann, Marlon James, Lauren Markham, and Ocean Vuong. FREE and open to the public.

Virginia Festival of the Book, March 21 - 25, 2018. "The Festival is the largest community-based book event in the Mid-Atlantic region and has attracted audiences of more than 20,000 for each of the past thirteen years. We have presented a captivating list of authors, ranging from international bestsellers to topical specialists to debut authors." Book exhibits, talks by authors, readings, workshops on book promotion, finding an agent, poetry, publishing, agents roundtable - you name it, this conference has it.

Write Stuff Writers Conference. March 22 - 24, 2018, Bethlehem, Pennsylvania. Workshops, sessions on craft and business of writing. Meetings with agents, editors, and book coaches, book fair, and more. Keynote Speaker: Bob Mayer. Pre-conference workshops: Bob Mayer, Jane Cleland. Additionally on Saturday will be the above plus Ben Sobieck, Matt Betts, Tabitha Jorgensen, Richard White, and Dan Krippene.

The Furious Flower Poetry Center Collegiate Summit. March 22-24, 2018. Harrisonburg, VA. Open to undergraduate and graduate students from any college or university program, this three-day summit invites participants to explore how poetry reaches across geographical borders and beyond conventional literary and ideological boundaries. The program includes in-depth workshops facilitated by distinguished poets Brenda Marie Osbey and Anastacia Reneè, a reading and presentation by the 2017 Pulitzer Prize winner Tyehimba Jess, roundtable discussions, a day-trip to Charlottesville for the Virginia Festival of the Book, and a closing open mic session for participating student poets. The registration fee is $50 per person. Registration is open until full.

Algonkian Writers New York Pitch Conference, March 22 - 25, 2018, NY, NY. "The event focuses on the art of the novel pitch as the best method not only for communicating your work, but for having you and your work taken seriously by industry professionals. More importantly though, it is also a diagnostic method for workshopping the plot, premise, and other elements of the story to determine quality and marketability. Simply put, you cannot successfully pitch a viable commercial novel if you don't have a viable commercial novel. Our goal, therefore, is to set you on a realistic path to publication."

Everything You Need to Know About Children’s Book Publishing A Crash Course. Honesdale, PA. March 22 -25, 2018. Sponsored by Highlights for children, this is an intensive workshop covering  every aspect of publishing children's books.

14th National Black Writers Conference, "Gathering at the Waters: Healing, Legacy, and Activism in Black Literature." March 22 -25, 2018, Brooklyn, NY. Award-winning writers Colson Whitehead, Kwame Dawes, David Levering Lewis, Susan L. Taylor, speculative fiction writers Steven Barnes and Tananarive Due, and cultural historian Eugene B. Redmond are 2018 National Black Writers Conference Honorees.

Mountain Valley Writers Conference. March 23 - 24, 2018, Guntersville, Alabama. Author signings, giveaways, workshops, learning sessions, and networking opportunities. An introducing Word War,  a community-wide event featuring panel discussions, author readings, contest winners, word war competitions, and an after party!

The Work Conference. March 23 - 25, 2018, New York City. "The Work is a boutique writers’ conference, meaning it’s purposefully small, highly personalized, and focused on bringing 30 hard-working authors together for an unforgettable weekend." Faculty: Leon Husock, Sarah Levitt, Daniel Kirschen, Heather Flaherty, Natalie Halla, Kerin Wicks, Adriann Ranta Zurhellen, Jennifer Udden, Alex Arnold, Monica Odom, Stephanie Delman, Annie Hwang, Tiffany Liao, Laura Chasen, Katie Grimm.

WonderCon, March 23 - March 25, 2018, Anaheim, CA. HUGE comic book convention.

Authors' Salon at Clockwork Alchemy. March 23 - 25, 2018, Burlingame, California, Faculty Harry Turtledove, Kirsten Weiss, TE MacArthur, AJ Sikes, BJ Sikes, Anthony Francis, David Drake, Katherine Morse, Dover Whitecliff, Mike Tierney, Lillian Csernica, Sumiko Saulson, Kale Lawrence.

Great Plains Writers Conference. March 23 - 25, 2018, South Dakota State University. "Intimate conversations about the writing craft."

Antioch Writers' Workshop. March 24, 2018, Yellow Springs, Ohio. "Explore all the elements, from start to finish, that you'll need to master to tell YOUR story, whether in the form of fiction (novel, short story) or creative nonfiction (memoir, personal essay, or narrative.) We'll start with generating ideas, move on to drafting, revising and editing techniques, and finish up with submitting your work. After a full day chock-full of helpful and inspirational tips and techniques, you'll go home with a tool-kit to help you on every step of the way to telling your story!" The cost for the full-day program is $150.00

Create Something Magical Conference. March 24 - 25, 2018, Woodbridge, New Jersey and Edison, New Jersey. Workshops and panels. Faculty: J. Kenner, Dee Davis, Chris Redding and more.

33rd Annual National Undergraduate Literature Conference, March 29 - March 31, 2018, Weber State University, Ogden, UT. "Each year, nearly 200 undergraduate writers and poets throughout North America, and sometimes beyond, come to Weber State University to present their work and learn from some of the most important writers in contemporary literature."

2 New Agents Actively Seeking Kidlit, Scifi, Fantasy, LGBTQ+ Characters

Here are two agents currently building their client lists. Kieryn Ziegler is accepting queries for all genres. In fiction, she especially loves books about exciting new worlds, found families, fantastic female characters, and stories with diverse POVs, and would love to see more LGBTQ+ characters in sci-fi and fantasy. Elizabeth Rudnick's interests primarily lie with middle-grade and young adult fiction of all types—from realistic fiction to fantasy (with a special soft spot for horse- and dragon-related titles). In addition to building her client list, she is focusing on packaging efforts, pairing high-concept ideas and story-lines with strong writers.

ALWAYS check the agency website before submitting. Agents may switch agencies or close their lists, and submission requirements may change.

If these agents do not suit your needs, you can find a comprehensive list of new and established agents seeking clients here: Agents Seeking Clients.

_________________________


Kieryn Ziegler of Dystel, Goderich & Bourret

Kieryn Ziegler joined DG&B in 2017 as the assistant to Michael Bourret in the West Coast office. She grew up in central Pennsylvania and moved to LA to study at USC’s School of Cinematic Arts, where she graduated with a BFA in Writing for Screen & Television. Aside from good books and good TV, she’s a big fan of dogs, road trips, and coffee shops with lots of outlets.

What she is seeking: Kieryn is accepting queries for all genres. In fiction, she especially loves books about exciting new worlds, found families, fantastic female characters, and stories with diverse POVs, and would love to see more LGBTQ+ characters in sci-fi and fantasy.

How to submit: Please send queries to kziegler@dystel.com, along with the first 25 pages (or nearest chapter break) of your manuscript. See these submission guidelines for more query guidelines and information on nonfiction proposals.

______________________

Elizabeth Rudnick of Mackenzie Wolf

Elizabeth has been working in the publishing industry for over fifteen years. After attending Middlebury College where she majored in American Civilization, she completed the Columbia Publishing Course and discovered a passion for editing young adult and middle grade fiction. A ten year career at Disney/Hyperion followed, during which she worked with best-selling authors such as Melissa de la Cruz, Lisa Papademetriou, Melissa Kantor, and Kathryn Williams and helped bring box-office hits such as Pirates of the Caribbean, Tron, Enchanted, and Prince of Persia from big screen to the page. As a Senior Editor she worked with Miley Cyrus to develop her New York Times bestselling memoir, Miles to Go, and edited Jennifer Lopez's original series, Amigas. She was also responsible for developing a line of original fiction based on the worlds of Prince of Persia and Pirates of the Caribbean.

Elizabeth also writes her own children's books, including her original novel, Tweet Heart, as well as bestselling novelizations based on films such as Beauty and the Beast, Cinderella, Maleficent, Frankenweenie, and Frozen. To keep her finger on the pulse of the middle-grade reader, she has spent three years working as a 6th grade teacher, while continuing her writing and freelance editing.

What she is seeking: Her interests primarily lie with middle-grade and young adult fiction of all types—from realistic fiction to fantasy (with a special soft spot for horse- and dragon-related titles). In addition to building her client list, she is focusing on packaging efforts, pairing high-concept ideas and story-lines with strong writers.

How to submit: To submit a project, please send a query letter along with a 50-page writing sample (for fiction) or a detailed proposal (for nonfiction) to queries@mwlit.com. Samples may be submitted as an attachment or embedded in the body of the email. Please only query one agent at a time. A rejection from one agent means a rejection from all agents—please do not resubmit unless your project has been substantially revised.

Ursula K. LeGuin, My Hero: Dead at 88

Ursula LeGuin was my hero. And I made sure to tell her that.

In 1985, LeGuin was invited to speak at Dartmouth College by the Anthropology Department. At the time, I was an adjunct lecturer in the Anthropology Department, teaching a course in Linguistics. When I heard that LeGuin was coming to Dartmouth, I was thrilled. I was even more thrilled when I discovered that she had been seated right next to me.

"You are my hero," I whispered. I was not just starry-eyed, I was awestruck.

She ignored me.

LeGuin's book, The Left Hand of Darkness, had left an indelible mark on me when I read it in college. Up until the publication of her book, science fiction writers were essentially an old boys' club. From the first science fiction by Jules Verne, straight up through the post WWII titles of Asimov, Bradbury,  Aldiss, Vonnegut, and Anderson, men predominated. These were all great writers whose works focused on "hard" science, ethical dilemmas surrounding artificial intelligence, or space sagas, and in which women, if they appeared at all, were thrown in for sex appeal.

LeGuin changed all that with The Left Hand of Darkness, a book that explored gender. It hit the bookstores in 1969, just as the feminist movement was reaching a peak. The book not only broke the gender barrier, it featured a black protagonist, Genly Ai. LeGuin's wide-ranging explorations of sexuality, gender roles, social change, capitalism, race, Taoism, and civil disobedience struck a nerve. Those of us who were involved in the social activist movements of the 70s read, and discussed at length, every one of her books.

Because it was ground-breaking, The Left Hand of Darkness was roundly and soundly rejected by publishers. LeGuin, in an effort to encourage writers to "Hang in there!" posted the full rejection letter on her site. (Miss Kidd was her agent.)

Dear Miss Kidd, 

Ursula K. Le Guin writes extremely well, but I'm sorry to have to say that on the basis of that one highly distinguishing quality alone I cannot make you an offer for the novel. The book is so endlessly complicated by details of reference and information, the interim legends become so much of a nuisance despite their relevance, that the very action of the story seems to be to become hopelessly bogged down and the book, eventually, unreadable. The whole is so dry and airless, so lacking in pace, that whatever drama and excitement the novel might have had is entirely dissipated by what does seem, a great deal of the time, to be extraneous material. My thanks nonetheless for having thought of us. The manuscript of The Left Hand of Darkness is returned herewith. Yours sincerely, 

The Editor 

21 June, 1968 

(When it was finally published, The Left Hand of Darkness went on to win both Hugo and Nebula Awards. It has since been reprinted 30 times, and it redefined the genre.)

When I heard that Ursula LeGuin had died on January 22nd, I thought of that talk she gave at Dartmouth. She had brushed me off, but she regretted it. The next morning, she invited me to have breakfast with her. I brought my baby daughter, who was only two months old, and she expressed her joy in motherhood. And years later, when I published my first novel, a children's fantasy based on bedtime stories I had told my daughter, I sent her a copy. She wrote me a gracious note of thanks. Two decades had passed, but she had not forgotten me.

Ursula LeGuin was, and always will be, my hero.

February 13th, 2018

Ursula LeGuin was my hero. And I made sure to tell her that.

In 1985, LeGuin was invited to speak at Dartmouth College by the Anthropology Department. At the time, I was an adjunct lecturer in the Anthropology Department, teaching a course in Linguistics. When I heard that LeGuin was coming to Dartmouth, I was thrilled. I was even more thrilled when I discovered that she had been seated right next to me.

"You are my hero," I whispered. I was not just starry-eyed, I was awestruck.

She ignored me.

LeGuin's book, The Left Hand of Darkness, had left an indelible mark on me when I read it in college. Up until the publication of her book, science fiction writers were essentially an old boys' club. From the first science fiction by Jules Verne, straight up through the post WWII titles of Asimov, Bradbury,  Aldiss, Vonnegut, and Anderson, men predominated. These were all great writers whose works focused on "hard" science, ethical dilemmas surrounding artificial intelligence, or space sagas, and in which women, if they appeared at all, were thrown in for sex appeal.

LeGuin changed all that with The Left Hand of Darkness, a book that explored gender. It hit the bookstores in 1969, just as the feminist movement was reaching a peak. The book not only broke the gender barrier, it featured a black protagonist, Genly Ai. LeGuin's wide-ranging explorations of sexuality, gender roles, social change, capitalism, race, Taoism, and civil disobedience struck a nerve. Those of us who were involved in the social activist movements of the 70s read, and discussed at length, every one of her books.

Because it was ground-breaking, The Left Hand of Darkness was roundly and soundly rejected by publishers. LeGuin, in an effort to encourage writers to "Hang in there!" posted the full rejection letter on her site. (Miss Kidd was her agent.)

Dear Miss Kidd, 

Ursula K. Le Guin writes extremely well, but I'm sorry to have to say that on the basis of that one highly distinguishing quality alone I cannot make you an offer for the novel. The book is so endlessly complicated by details of reference and information, the interim legends become so much of a nuisance despite their relevance, that the very action of the story seems to be to become hopelessly bogged down and the book, eventually, unreadable. The whole is so dry and airless, so lacking in pace, that whatever drama and excitement the novel might have had is entirely dissipated by what does seem, a great deal of the time, to be extraneous material. My thanks nonetheless for having thought of us. The manuscript of The Left Hand of Darkness is returned herewith. Yours sincerely, 

The Editor 

21 June, 1968 

(When it was finally published, The Left Hand of Darkness went on to win both Hugo and Nebula Awards. It has since been reprinted 30 times, and it redefined the genre.)

When I heard that Ursula LeGuin had died on January 22nd, I thought of that talk she gave at Dartmouth. She had brushed me off, but she regretted it. The next morning, she invited me to have breakfast with her. I brought my baby daughter, who was only two months old, and she expressed her joy in motherhood. And years later, when I published my first novel, a children's fantasy based on bedtime stories I had told my daughter, I sent her a copy. She wrote me a gracious note of thanks. Two decades had passed, but she had not forgotten me.

Ursula LeGuin was, and always will be, my hero.

3 New Agents Actively Seeking Mysteries, Fantasy, Romance, YA & MG, Nonfiction and More

Here are three new agents seeking clients. Jennie Kendrick is interested in YA and MG fiction, particularly Own Voices works. Sandra Jordan represents mysteries exclusively. Whitney Ross represents middle grade, young adult, and adult fiction across all genres, with an emphasis on historical, SF & fantasy, romance, and contemporary fiction. She is also open to non-fiction submissions in the areas of design, cooking, and fashion.

ALWAYS check the agency website before submitting. Agents may switch agencies or close their lists, and submission requirements may change.

If these agents do not suit your needs, you can find a comprehensive list of new and established agents seeking clients here: Agents Seeking Clients.

_______________________

Jennie Kendrick at Lupine Creative

Jennie Kendrick is a former criminal defense attorney, history major, and continues to be a lifelong reader.  She began writing for Forever Young Adult, a popular review site for YA fans who are “a little less Y and a little more A” in 2013, and became an editor in early 2014. Her work with Forever Young Adult has included a review partnership with Kirkus books, travel to Book Expo of America, YALLFest and YALLWest, social media management, a podcast, and close work with many publicists and YA authors. She was a judge for the 2017 Elephant Rock Books Helen Sheehan YA publishing competition, is a part-time bookseller at The Booksmith in San Francisco, and leads the San Francisco chapter of the international Forever Young Adult book club. Her writing has appeared in Birth.Movies.Death., and Shipwreck, a humorous San Francisco literary competition.

What she is seeking: Jennie Kendrick is looking for well-researched, character-driven YA and MG fiction, particularly Own Voices works. She is particularly fond of historical fiction, paranormal fiction, classic 90s teen horror, and magical realism, but will gladly accept submissions from all YA/MG genres.

How to submit:  Please submit your query along with the first 10-15 pages of your manuscript.

She is accepting submissions immediately at: submissions@lupinegrove.com

__________________________


Sandra Jordan of Nancy Gallt Literary Agency: Mysteries

Sandra is an author and editor and now consultant and first reader for Nancy Gallt Mysteries. To submit your work, please send one attachment that includes a brief cover letter, a one-page outline of the book and 50 double-spaced pages of the finished manuscript (remember that it must be a mystery, as described above, written for adults).

Email submissions and queries: sandra@nancygallt.com

______________________

Whitney Ross of Irene Goodman

Before joining Irene Goodman in 2018, Whitney Ross worked as an editor at Macmillan for nearly a decade, culminating in her role as a senior editor for Tor Teen, Tor, and Forge. Over the course of her career, Whitney has had the pleasure of editing many talented authors, including Susan Dennard, Cora Carmack, Eric Van Lustbader, Steven Erikson, Katie McGarry, Ann Aguirre, Dan Wells, and Stacey Kade.

What she is seeking: Whitney represents middle grade, young adult, and adult fiction across all genres, with an emphasis on historical, SF & fantasy, romance, and contemporary fiction. She is also open to non-fiction submissions in the areas of design, cooking, and fashion.

Whitney loves to read novels set in unusual time periods and locations, whether that involves a fantastical element or not. She is rarely able to resist the trickster king motif, and has a weakness for read-between-the-lines subtle romances. Yet she's constantly surprised by books not on her "wish list," and is always open to stories with compelling characters and emotionally involving plotlines.

How to submit: Email a query letter and the first ten pages, along with a synopsis (3-5 paragraphs) and bio, in the body of an email to whitney.queries@irenegoodman.com.

2 New Agents Seeking Fantasy, Contemporary Fiction, Creative Nonfiction, Travel Writing and More

New agents are a boon to writers. They are hard working, enthusiastic, and are actively building their client lists. Joseph Parson is looking for Non-fiction – Including literary and creative nonfiction, travel and nature writing, current events, history, biography, long-form journalism and scholarly work written for a general audience; Fiction – Contemporary (post-1945) American literary fiction. Joseph is especially seeking new voices including the work of women, people of color, and others who may have been underrepresented in past years, in particular LGBTQ and immigrant authors. Natalie Grazian is currently accepting queries for commercial, upmarket, and literary adult fiction. She would love it if you sent her contemporary fantasy.

ALWAYS check the agency website before submitting. Agents may switch agencies or close their lists, and submission requirements may change.

If these agents do not suit your needs, you can find a comprehensive list of new and established agents seeking clients here: Agents Seeking Clients.
​ Joseph Parsons of Holloway Literary

Joseph has worked in publishing for more than two decades, most recently at the University of North Carolina Press, where he was a senior editor, acquiring broadly in the humanities and social sciences, as well as creative nonfiction, documentary arts, current events, and history, for which one title won the Bancroft Prize. Previously, he acquired broadly for the University of Iowa Press, including for the acclaimed Sightline Books, Muse Books, and New American Canon series. Joe has also worked as a manuscript editor, journal editor for the National Humanities Center, and independent editor and writer, as well as a researcher and reporter.

He has a bachelor’s degree in Russian and East European studies from the University of Michigan and a master’s degree in political science from the University of Illinois. When not walking his dog – itself a full-time job – Joe enjoys reading contemporary fiction, nonfiction, and long-form journalism and watching basketball. Follow Joseph on Twitter @JoePParsons.

What he is seeking: Joseph is currently accepting submissions for:

Non-fiction – Including literary and creative nonfiction, travel and nature writing, current events, history, biography, long-form journalism and scholarly work written for a general audience

Fiction – Contemporary (post-1945) American literary fiction.

Joseph is especially seeking new voices including the work of women, people of color, and others who may have been underrepresented in past years, in particular LGBTQ and immigrant authors.

How to submit: Email a brief query and the first 15 pages of your manuscript pasted in the body of your email to submissions @ hollowayliteraryagency.com In the email subject header, write: Joseph/Title/Genre. You can expect a response in 6 to 8 weeks. If Joseph is interested, he’ll respond with a request for more material. Due to the number of emails he receives, Joseph may only respond if he’s interested.
If you feel that more than one agent at Holloway would be interested in your work, please only send to one agent at a time. Once you receive a response from the first agent you queried, then you may submit to another agent. Any queries sent to more than one agent at the same time will be deleted. Natalie Grazian of Martin Literary & Media Management
Natalie has a BA in English and Minor in Spanish from Santa Clara University. Upon graduating, she worked as a sales representative for W. W. Norton & Co. and interned for two literary agencies, including Martin Literary & Media Management. For two years, Natalie was the Fiction Editor of The Santa Clara Review, the oldest literary magazine on the West Coast.

What she is seeking: Natalie is currently accepting queries for commercial, upmarket, and literary adult fiction. She would love it if you sent her contemporary fantasy (in the vein of Lev Grossman’s The Magicians). She’s drawn to dark comedy that still carries a beating heart—because at the end of the day, she turns to books to find humanity. She is highly interested in reimagined myths and fairytales from different cultures, historical fiction, and a good quest narrative in any genre. More than anything, she looks for complex characters who make the unrelatable relatable, and for a smart, distinctive narrative voice. At this time, she’s not seeking military thrillers, sports stories, or romance novels.

How to submit: Please include a query letter in the body of your email and attach the first ten pages of your manuscript, preferably as a Word doc. Please send your queries to Natalie@MartinLit.com