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WINTER 2015
Writer’s Yearbook 2015
EXECUTIVE EDITOR Tiffany Luckey
GRAPHIC DESIGNER Elyse Schwanke
WRITER’S DIGEST STAFF
EDITOR Jessica Strawser
contents
MANAGING EDITOR Adrienne Crezo
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PREPARE YOURSELF
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2014: The Year in Review
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developments mean for your writing in the
year ahead.
BY JANE FRIEDMAN
F+W, A CONTENT + ECOMMERCE COMPANY
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A FREELANCER’S WORKSHOP
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Cracking Major Magazines
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Sell your first-person story in 9 simple steps.
ADVERTISING SALES COORDINATOR
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Feeling locked out of top publications? The
key to your first byline may be as simple as
knocking on the right door.
BY ROGER MORRIS
VICE PRESIDENT, COMMUNICATIONS
ADVERTISING
Sneak in Through the Side
What Literary Journals Want
In this roundtable, acquiring minds behind
five top markets for short fiction, creative
nonfiction and poetry discuss how much
they love finding new voices, what makes
for eye-catching submissions, and why
a byline in their pages could just be the
beginning of a beautiful career.
BY JAMES DUNCAN
22
The Editor-Writer Marriage
Professional relationships require
work just as romantic ones do. Here’s how
to stay happily married to your editor.
BY DON VAUGHAN
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24
Andrew McCarthy:
Off the Beaten Path
The actor, director and former Brat Packer
shares his best tips from his current career
as an award-winning travel writer.
FOR YOUR REFERENCE
40
BY KERRIE FLANAGAN
101 Best Websites for Writers
Help us celebrate our most definitive annual
list yet—a breadth of resources for scribes of
all types.
BY TIFFANY LUCKEY, WITH LAURA WOOFFITT
BUILD YOUR BOOK’S SUCCESS
26
BY JEREMY GREENFIELD
Major Genre Awards
at a Glance
Use this quick guide to read up on the best
awards in your target genre—and set goals
for your own published work.
The Top 100 Markets for
Book & Magazine Writers
Our annual list will help you spend less
time finding markets to pitch and more
time writing.
The E-Book Market: What
You Need to Know
When it comes to a changing marketplace,
knowledge is power. Here’s a look at how
digital books are changing publishing as we
know it—and what that means for you, your
writing career, and the future of your work.
32
49
BY KARA GEBHART UHL
ENDNOTES
72
5 Minute Memoir:
The Art of Failing Well
A freelance writer learns that
opportunities—and success—can
be found even in rejections.
BY SCOTT ATKINSON
COMPILED BY OPHELIA THOMAS-HOBBS
34
Finding an Agent
Get personal and establish a connection
when researching the right representative for
your work.
BY C. HOPE CLARK
37
The Rules for Creating
a Writer Platform
Whether you write fiction or nonfiction, a
platform is crucial to prove to publishers
that you are able to help promote your work.
Make waves with these 8 core principles for
author visibility.
BY CHUCK SAMBUCHINO
ON THE COVER
49 Best 100 Book & Magazine Markets
for Writers
Find the Right Agent
The Top 101 Websites for Writers
The Year in Publishing
9 Easy Ways to Get a Career-Changing
Byline
26 What Every Writer Needs to Know
About E-books
37 8 Secrets to Power Up Your Platform
16 Literary Journals: Insider Tips for
Breaking In
34
40
5
13
WritersDigest.com
3
The Year
in Review
Find out the latest on the book and magazine
ne industries—
and what these new developments and trendss mean for your
writing in the year ahead.
PHOTO © FOTOLIA.COM
BY JANE FRIEDMAN
WritersDigest.com
5
PREPARE YOURSELF
OURSELF
L
ooking back, we might remember 2014 as one of upheaval
and discord—a year that
brought us the AmazonHachette standoff, which
divided the traditional and
self-published author ranks.
It’s also been a significant time for
mergers, spin-offs and closings across
major print and digital properties.
Here’s an overview of what happened
in publishing this year.
HEADLINES
AMAZON AND
HACHETTE STAND OFF
A contract dispute between Amazon
and “Big Five” publisher Hachette
started making national headlines
in May. As of press time, the conflict
still remains unresolved. The news
broke as Hachette authors noticed
delayed shipment of their titles
and removal of pre-order buttons
on Amazon’s site. While the exact
disagreement remains unknown,
Amazon’s public statements say its
key goal is to secure lower e-book
prices on Hachette titles because
more units are sold at lower prices.
Meanwhile, after seeing sales
plummet, a group of Hachette
authors, including Douglas Preston
and Donna Tartt, publicly pleaded
for a resolution, as self-published
authors responded with their own
public letter of support for Amazon.
6 Writer’s Yearbook 2015
MEDIA CORPORATIONS
CUT BACK THEIR PRINT
OPERATIONS
This was a big year for major media
conglomerates to spin off their
print franchises, divorcing them
from more profitable media divisions. Three of the biggest players
in American newspapers—Gannett,
Tribune Company and E.W. Scripps—
downsized their print properties,
as did Time Warner and Rupert
Murdoch’s News Corporation. David
Carr wrote in an August New York
Times article that “print is too much
of a drag on earnings, so media companies are dividing back up and print
is being kicked to the curb.” Many of
the print publications affected have
already dramatically reduced their
work force, and advertising dollars
continue to decline.
Industry pros have questioned the
economics of these subscription services, which typically offer unlimited
reads to customers for $10 a month,
but also pay full royalties to authors
for each access. If these services gain
momentum and a large customer base,
industry observers predict there will be
lower payouts to authors.
NEWS CORP
BUYS HARLEQUIN
News Corp, the parent company of
HarperCollins, acquired Harlequin
from Torstar for $455 million in May.
So far, the publisher is expected to
keep its Toronto headquarters and 350
employees, and remain a division of
HarperCollins. Harlequin [Fig. 1] has
seen declining revenue and profits since
2010, due to challenged mass-market
print retail and direct-to-consumer sales.
E-BOOK SUBSCRIPTION
SERVICES ENTER THE
SPOTLIGHT
Even though e-book subscription services have existed in some form for
many years, 2014 brought renewed
attention and interest with the launch
of Amazon’s Kindle Unlimited (KU)
in July. KU’s initial offering includes
600,000 books; of those, 500,000 are
self-published titles. No Big Five publishers are currently participating in KU,
even though some have signed with two
other competing e-book subscription
services, Scribd and Oyster.
[ Fig. 1 ]
The romance genre was one of
the earliest to adapt to and grow in
the e-book environment, and while
Harlequin initially benefited from that,
it has also seen increased competition from self-published authors, small
presses, and digital presses launched by
mainstream publishers. How the acquisition will change Harlequin or affect
readers has yet to be seen.
tal activist Peter Matthiessen, who
cofounded The Paris Review.
JAMES PATTERSON
PLEDGES $1 MILLION
TO INDEPENDENT
BOOKSTORES
In February, bestselling novelist James
Patterson—who earns an estimated $90
million per year according to Forbes—
announced he would be donating $1
million of his personal funds to established independent bookstores to spur
innovation and reading. The first round
of grants, totaling a quarter of a million
dollars, was distributed among 55 stores.
In May, he issued a second round of
grants to 43 additional stores. Patterson
corresponds directly with the booksellers who receive grants and reviews the
ideas shared with him, and encourages
bookstores to disseminate information
on best practices they learn.
ANGELOU PHOTO © WIKIMEDIA.ORG; HOWEY PHOTO © AMBER LYDA
IN MEMORIAM
over to Canadian-based Kobo. Open
Road Media, one of the most prominent e-book publishers, acquired the
pioneering e-book publisher E-Reads
(1,200 titles), as well as Premier Digital’s
list (300 titles). Amazon acquired
ComiXology, a digital comics, graphic
novel and manga publisher; and
Dropbox acquired Readmill, a socialreading community website. Finally,
Bookish, the online book retailing site
launched in 2013 by Big Five publishers Simon & Schuster, Hachette, and
Penguin Random House, was sold to
Zola Books, a startup e-book retailer.
[ Fig. 2 ]
BOOK PUBLISHING NEWS
2013 FINISHES ON
PAR WITH 2012 FOR
TRADITIONAL PUBLISHERS
According to the companies who
report to the Association of American
Publishers, 2013 sales were down only
1 percent from 2012. This is widely
considered a success for traditional
publishing, since 2012 was boosted by
bestselling successes of The Hunger
Games and Fifty Shades trilogies. The
results might be seen as even more
impressive given that overall e-book
sales declined very slightly in 2013,
attributable to a decline in juvenile
e-book sales (again, no blockbuster
equivalent to the Hunger Games,).
AAP calculates that e-books
comprised 21 percent of all trade sales
in 2013, which makes it the third most
popular format after trade paperbacks
and hardcovers, respectively.
This year we said goodbye to several
literary legends, including author,
poet and Pulitzer Prize nominee
Maya Angelou [Fig. 2] (I Know Why
the Caged Bird Sings); Nobel Prize–
winning Colombian novelist Gabriel
Garcia Marquez (One Hundred Years
of Solitude); and Nobel Prize–winning
South African author Nadine Gordimer THE E-BOOK MARKET
(The Conservationist).
EXPANDS MERGERS AND
Other great losses includes poet and ACQUISITIONS
author Maxine Kumin (Up Country);
The e-book retailing and publishAmerican fiction writer Daniel Keyes
ing market saw increased merger and
(Flowers for Algernon); children’s author acquisitions activity this year. Sony left
Sue Townsend (The Adrian Mole
the e-book business and closed its Sony
series); and novelist and environmenReader Store, turning its customers
HUGH HOWEY LAUNCHES
AuthorEarnings
Bestselling hybrid author Hugh
Howey [Fig. 3], in collaboration with
a programmer, launched the website
AuthorEarnings.com, which regularly
analyzes bestseller lists and Amazon
rankings to extrapolate yearly sales
and earnings. The reports immediately
sparked discussion and controversy
over the research methodology and
conclusions. Predictably, traditional
publishing insiders have been quick
to dismiss the findings or point out
the flaws, while the indie author community has embraced the research.
However, most agree that Howey’s
call for greater industry transparency
has opened up important discussions
about authors’ access to sales information and data.
[ Fig. 3 ]
WritersDigest.com
7
PREPARE YOURSELF
AUDIBLE REDUCES
AUTHOR ROYALTY
PAYMENTS
In a move that brought a major outcry from the self-publishing community, Amazon-owned company Audible
reduced royalty payments to authors
who use its ACX program to create and
distribute audiobooks. As of March,
authors started receiving a flat rate of
40 percent for audiobooks distributed
exclusively through Audible, and 25
percent for nonexclusive audiobooks.
Prior royalty rates were between 50
and 90 percent. The change has driven
speculation that it may only be a matter
of time before Amazon’s KDP program
(for e-book self-publishers) also cuts
royalty rates.
LIBRARIES INCREASE
STOCKS OF E-BOOKS
Two significant deals in 2014 made
libraries more accessible than ever to
self-published authors: Smashwords
announced a partnership with
OverDrive, which makes 200,000 of its
titles available for sale to librarians; and
digital library platform BiblioBoard
partnered with Library Journal [Fig. 4]
to distribute a curated selection of selfpublished books to libraries.
Meanwhile, the Big Five publishers
are also increasing e-book availability to
libraries. Simon & Schuster expanded
its pilot e-book lending program to all
libraries nationwide over the summer,
and Macmillan broadened its lending
8 Writer’s Yearbook 2015
program to include frontlist e-books for
the first time in 2014.
[ Fig. 4 ]
JOURNALISM NEWS
SECOND-LARGEST
MAGAZINE DISTRIBUTOR
CLOSES
After losing Time Inc.’ s business,
newsstand distributor Source Interlink
(previously the industry’s second largest) was forced to close in May, laying
off 6,000 workers. The closure added
to the problems plaguing magazine
retail sales, which have shrunk 40 percent in the last five years. In August,
the Alliance for Audited Media
reported that single-copy magazine
sales had dropped by nearly 12 percent in the first half of the year.
THE NEW YORK TIMES
REPORT ON INNOVATION
IS LEAKED
In spring, the website Buzzfeed went
live with an exclusive of The New York
Times’ internal report on its ability to
innovate and compete against digital
media companies. The nearly 100page report was combed over and
commented upon by the media, with
the main takeaways being: (1) the
Times is indeed threatened by digital
upstarts, and is losing talent to such
companies; (2) the challenges that
the Times faces are cultural and not
easily remedied—for instance, there
remains an obsessive focus on the
front page of the print edition; and
(3) the Times needs better collaboration among all departments. The
report was seen as broadly applicable
to many “legacy” publishers that need
to evolve quickly to compete against
digital media companies.
EXPLANATORY AND
DATA-DRIVEN
JOURNALISM RISES
When Nate Silver made headlines
during the 2012 presidential election
with his FiveThirtyEight blog [Fig. 5]
at The New York Times, data-driven
journalism took center stage in
the public eye, driving traffic and
becoming sought-after content for
traditional and digital publications
alike. After Silver left for ESPN, the
Times launched The Upshot, a cross
between data-driven journalism and
“explanatory journalism.” Explanatory
journalism’s goal is to help readers
understand complex stories, and its
power as a digital media
m
trend was on
display with the lau
launch of Vox.com
in April, which focuses
focu on explaining
the world more so th
than reporting
on it. (Popular headlin
headlines on the site
from summer 22014 include “The
20
2014 Ebola Outbreak,” “40 Maps That
Explain the Roman Empire” and “The
9 Biggest Myths About ISIS.”)
or annual subscriptions to a diverse
library of previously published content at major publications. But in June,
the company’s CEO departed, along
with several other executives; as of
press time, it is still seeking partners
to invest in its future.
many believe that cover ad space will
continue to grow.
While some magazines have experimented with advertising on covers in
the past, no company the size of Time
has ever done so. Many consider the
move necessary to make up for lost
advertising revenue, and point out
that ads have long graced the covers of The Wall Street Journal and The
Financial Times.
CONCLUSION
[ Fig. 5 ]
IS THE END NIGH
FOR BYLINER?
One of the most prominent companies publishing long-form digital
journalism appears to be coming to
an end. Byliner, launched in 2011,
worked with top-shelf authors such as
Jon Krakauer, Margaret Atwood and
Elmore Leonard—as well as lesserknown authors—to publish and distribute short, original e-books. The
website also offered readers monthly
[ Fig. 6 ]
TIME INC. BREAKS MAJOR
INDUSTRY TABOO
Starting in May, the nation’s largest
magazine publisher, Time Inc., began
running advertising on its covers [Fig.
6], breaking a long-standing tradition
and also violating guidelines from the
American Society of Magazine Editors.
For now, the ads are tiny—a small line
of type running along the corner—but
While some have speculated that
digital change is finally “quieting
down”—given the slight decline
of e-book sales—disruption of
the market is far from over, and
will continue to directly affect
authors, journalists and freelancers.
Some analysts predict much more
consolidation ahead in the e-book
industry, and Amazon’s role in the
future of all forms of writing and
publishing continues to evolve.
Look for further debate, and, with
hope, more transparency for writers
about the the industry and its ongoing
evolution, in 2015. YB
Jane Friedman has spent more than 15 years
of experience inside the publishing industry.
She is the former publisher of Writer’s Digest
and co-founder of Scratch magazine. Visit her
at janefriedman.com.
WritersDigest.com
9
A FREELANCER’S WORKSHOP
Sneak in Through
the Side
Feeling locked out of top publications? The key to your —rst
byline may be as simple as knocking on the right door.
PHOTO © FOTOLIA.COM
BY ROGER MORRIS
10 Writer’s Yearbook 2015
I
f the main entrance is locked, try the PREPARING THE PITCH
To paraphrase an old business dictum,
side door.
“Th
e purpose of the first article is to sell
FOB articles are not to be taken any less
Certain magazines have an emoa second article, hopefully a bigger one.”
seriously than features. Flub one and
tional allure for us—we’ve dreamed
At least six magazines for which I now
you probably won’t be asked back.
of seeing our bylines in them. Highwrite features started me out with FOB
Study the departments carefully, as
profile, large-circulation publications these are very targeted pieces. Many
assignments. And truth be told, I still
pay the highest rates and often have
pitch them ideas of lesser importance as
magazines have editorial calendars
the most prestige. Part of the allure,
FOBs.
It’s extra money.
with theme issues announced in
admittedly, is the challenge, but unless
Moving
up isn’t easy or guaranteed.
advance, which you can usually access
I’ve sold seven front-of-the-book pieces
we know someone inside, it can start to in the “advertising” section of their
to one national mag without achieving
seem useless to keep repeatedly knock- sites. These calendars can both guide
a features byline—I have yet to pitch the
ing. It’s time to look for another way in. you to new ideas and better target
right
idea at the right time. But I’m get“It is rare that we will assign a feature those you already have.
ting paid, colleagues and other editors
article to a writer with whom we have
Before making the pitch, answer
comment on my pieces in this flashy
these questions: Why would the reader
not worked,” read the editorial guidepublication,
and every pitch I send
care? What’s the best angle? Why now?
lines for freelancers on the Travel +
them—FOB or feature—gets real conWhy me? Your query for a short piece
Leisure website. “The best sections to
sideration because they now recognize
might
sound
very
much
like
the
fi
nal
start with are those in the front of the
my
name.
article—consider
it
your
writing
test.
magazine.” Most major magazine ediFinally,
department editors generally
tors would echo that advice.
become your advocates in moving up to
MAKING THE PITCH
The front of the magazine, comfeatures.
They are often young, ambiFinding
the
right
editor
to
pitch—or
monly called “the front of the book,”
tious
and
loyal to those they consider
even any editor to contact—may not
refers to the pages of shorter articles
be easy. As with any business, a maga- “their writers.” They will remember you
that appear before the feature articles
in their next editing incarnation.
zine may be run top-down with the
begin. Often they are grouped into
executive
editor
calling
the
shots
on
“departments,” each covering a subject
FINDING THE THIRD DOOR
all assignments. At other publicasuch as travel, people, style or enterIncreasingly, there is a third door to
tions, department editors are kings
tainment. But sometimes they are not
publications, one I think of as the “stage
and queens of their own fiefdoms. But
organized at all—a string of pearls.
regardless of who sees your query first, door.” That is website features, very sim(Hint: Writer’s Digest FOB is the Inkwell
ilar to FOB pieces, but generally lighter
most pitches that pass the first hurdle
section. And, yes, it’s the easiest place to
and more topical or timely. There is perwill likely be further vetted by others
break in.)
haps less pay and prestige in these Web
on staff.
FOB articles have a little less graviarticles, but they get you in the door,
For editorial guidance and contact
tas, are often more of-the-moment,
and give you an opening to become
info, I first check the current Writer’s
and typically pay less than features. If Market or writersmarket.com (both
part of the site editor’s entourage.
a writer’s byline and existing credits
from Writer’s Digest Books), and then
are not on a par with the magazine’s
look at the magazine’s website. Some
Of course, always be bold enough to
reputation, an FOB piece is usually his have staff directories with email conpitch a great feature idea to a great
starter assignment to see if he is wortacts, but many give only one entry:
mag—it can and has worked for many
thy of being considered as a features
[email protected]. In those cases,
writers. But don’t give up easily if you
writer. It gets you invited into the
I select an editor from the magazine’s
fail. There’s more than one way to get
house when you could still be banging masthead, title my message “Writer’s
that coveted byline. YB
at the front door.
Query” and give the salutation to the
Roger Morris writes from Pennsylvania,
In my own case, some sympathetic
chosen editor.
primarily about wine, food and travel for
editors who have turned down my feapublications including Town & Country, USA
Then I wait.
Today’s
Go/Escape, Wine Enthusiast, Beverage
tures pitches have instead asked me to
Media and The Drinks Business. His most
write a short article—an unspoken but
LEVERAGING YOUR
recent book, The Brandywine Book of the
Seasons, was co-authored with his wife, Ella.
FIRST FOB
welcome consolation prize.
WritersDigest.com
11
Free
Guide!
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Cracking Major
Magazines With
Personal Essays
Sell your —rst-person story in 9 simple steps
BY SUSAN SHAPIRO
check, but a single piece that strikes a
chord can lead to radio and TV appearances, film options, and calls from top
literary agents and major publishers
clamoring for the book you haven’t
written yet. I’ve helped students of all
ages, fields and backgrounds get it right.
But in a sea of submissions—you’ll be
writing these columns on spec, not
merely pitching an idea—it’s also easy
to get it wrong. Here’s how to frame
your own story for top newspaper,
magazine and Web markets, in nine
simple steps.
1. FOCUS FROM THE
FIRST WORD.
Don’t write a vague essay in hopes that
you can pitch it everywhere; attempt
a piece that’s a perfect fit for a specific
market. Every section of a newspaper,
magazine, Webzine and literary journal
has a different voice, style, word count
and raison d’être, and there’s nothing
efficient about crafting catch-all prose
that won’t get published. The editors of
The New York Times’ Modern Love column require a six-page unusual romantic saga, while the same paper’s Sunday
magazine Lives column editors look for
WritersDigest.com
13
PHOTO © FOTOLIA.COM
“W
rite what you
know,” Mark
Twain supposedly said. Here’s
what I know: A
fantastic firstperson essay is
the best way for an unknown writer to
see print fast.
As a memoirist by day and creative
nonfiction teacher by night, I am constantly thrilled and astounded by how
far a heartfelt three pages can take
you. Not only can a brand-new author
receive a prominent byline and a big
A FREELANCER’S WORKSHOP
narratives that are shorter, timely and
global. So before picking up a pen or
turning on your computer, ask yourself:
Where am I aiming this?
2. STUDY THAT
TARGET AUDIENCE.
When I hoped to break into The New
York Times Magazine’s Lives column, I carefully read 100 installments
that had already run. It turned out
my idea—how as a bride I’d worn all
black—was too frivolous by comparison. So I revised, throwing in that my
mother was an orphan who had only
one daughter, as well as (violins in the
background) the lingering ghost of my
dead grandmother. The editor bought
it on my first try. “You’re so lucky,” a
colleague told me. Well, the harder you
work, the luckier you get.
When I sold three pieces in a row to
Marie Claire, a magazine for younger
women, I did not write my age or
say, “Thirty years ago, when I was in
college….” I merely used past tense.
Nobody had to know how long ago
my crazy carnal coed days were. On
the other hand, for a piece I submitted
to AARP The Magazine, I shouted my
age—and my father’s!
Here are some intensely intimate
subjects tackled by authors I know that
led to big bylines: Liza Monroy chronicled marrying her best gay friend for a
green card in Psychology Today. Abby
Sher cured her OCD with prayer in Self.
Cat Marnell confessed her longtime pill
addiction in Vice. David Itzkoff went
to therapy with his cocaine-addicted
father in New York magazine. Aspen
Matis hiked 2,650 miles to walk off a
rape in Modern Love. Maria Andreu
confessed in Newsweek to being an illegal alien. Julie Metz even paved the way
for her debut memoir Perfection with
an essay in Glamour on how she found
proof of her late husband’s infidelity on
his computer.
I personally don’t have an international, dramatic life—more like
dumb relationships and addictions in
Michigan followed by psychotherapy
in Manhattan. Luckily, my weekly writing group, tough editors and even my
therapist help push me to go darker and
examine my motives, pain, problems
and regrets. In more than 100 publications and nine books, I’ve mined my
interior dramas and ramped up the
humor and emotional panic. With practice, you can learn to dig deeper, too.
a hit TV show’s series finale to frame
her essay about her one attempt at trying meth: “How a Breakup Inspired My
Attempt at Breaking Bad” was published on Nerve.com. As an editor once
drummed into my class: “It’s called
newspapers, not oldpapers.”
5. BE UNUSUAL,
PROVOCATIVE OR
CONTROVERSIAL.
Even students who choose extreme topics and traumas tend to pick obvious
angles that editors still see too much of:
Tales of alcoholism and horrible dates
proliferate, along with “the creep who
divorced me” and “the creep I should
have divorced sooner.” To tackle overdone subjects like these, you’ll need a
surprising take or an unexpected happy
ending. Consider Ophira Eisenberg’s
Screw Everyone: Sleeping My Way to
Monogamy or Sophie Fontanel’s chronicle of 12 years of celibacy in The Art of
Sleeping Alone.
“There’s a moratorium on dead
parents and grandparent stories,” a top
editor recently told my students. So my
student Bryan Patrick Miller twisted
his theme. Instead of chronicling his
mother’s death, he focused on how he
followed her deathbed wish for him
to go meet their family in Ireland. It
4. FIND A TIMELY HOOK.
3. GO FOR THE JUGULAR.
turned out they weren’t quite as well
A smart way to a quick sell is to use
The first mistake I often see new writnewsworthy pegs to frame your foibles. thought of as she’d told him. That flip
ers make is to pick lightweight topside of the story led to the terrific Lives
I found that no editors were interested
ics that have already been everywhere.
essay “Return of Glavin” that opened,
in my macabre childhood obsession
Sorry, but no editor I know wants a
with my Barbies (where I’d change their “My pilgrimage to my mother’s ancestral
mild-mannered slice of life from an
home in Ireland began with the wrong
heads instead of their clothes)—until,
unknown scribe on how cute your kids that is, the popular plaything’s 35th
bus, to the wrong village.”
or your cats are. Think: Drama. Conflict. birthday became my lead. I had so
Tension. The worst experience of my life. much success exploiting my old Barbie 6. TAKE ACTION.
The day I got held at gunpoint. The first
adventures that I revised them for
Often I see pieces by beginners about
assignment I give my students is: Write her 40th and 50th—and wound up in
a conflict that isn’t resolved. They are
three pages about your most humiliatstuck in a bad relationship or lousy
The New York Times, Daily News, The
ing secret. Ask yourself the Passover
Daily Beast, Vogue Australia and on TV addiction that has no ending or soluquestion: Why is this night different
tion in sight. It’s hard to write well
documentaries on ABC and Oxygen.
than all other nights? If it’s not, pick a
My student Melanie Gardiner also uti- about drinking or drugging unless
lized this technique, riding buzz about you’re sober and drug-free, and it’s
more compelling true-life tale to tell.
14 Writer’s Yearbook 2015
7 MAJOR MARKETS FOR PERSONAL ESSAYS
Even unknown writers have a shot at these big bylines. Visit the corresponding URLs for submission guidelines.
•
•
•
•
•
•
•
The New York Times Modern Love: nytimes.com/2010/12/21/fashion/howtosubmit_modernlove.html
The New York Times Magazine Lives: 6thfloor.blogs.nytimes.com/2012/03/08/how-to-write-a-lives-essay
Psychology Today Two-Minute Memoir: psychologytoday.com/writers-guidelines
Self: self.com/contact/contactus
Cosmopolitan: cosmopolitan.com/about/faq
AARP The Magazine: aarp.org/about-aarp/info-05-2010/writers-guidelines-aarp-magazine.html
Salon.com Lifestyle section: salon.com/about/submissions
hard to have perspective on your dating woes if you’re still single. Instead
of staying stuck, chronicle your plan to
change. I’ve written humorous essays
and even books about visiting my worst
old boyfriends to get their take on why
we broke up, interviewing my mentors
for advice, quitting all my addictions,
and seeing eight shrinks in eight days
(going speed shrinking instead of speed
dating). A.J. Jacobs famously spent 12
months getting healthy, and another
year “living Biblically.” Gretchen Rubin
searched for happiness. Ryan Nerz
traveled around the country trying to
win eating contests. Maria Dahvana
Headley said yes to any nice single guy
who asked her out (and met her husband along the way). My student Kayli
Stollak joined JDate with her divorced
Jewish grandmother and wound up
with a blog, book and TV pilot called
Granny Is My Wingman.
7. GET FEEDBACK.
It’s rare that someone finishes an essay
on his own, nails it, presses “Send” at
3 a.m. and gets an acceptance. After
you’ve reworked your pages several
times, and before you submit, get
feedback—and I don’t mean from
your spouse or your mom, who’ll tell
you how brilliant you are. Instead, try
a critical workshop, an in-person or
online writing class or seminar, or
even a hired editor (this is one of my
own secret weapons). If you have a
out and follow submission guidelines
friend or colleague who has published
for that specific market. In the subsimilar work you admire, offer to pay
ject line, put “Submission:” and the
him for a serious critique. Then, don’t
title of your essay. If it’s timely, help
argue or disregard the comments. If
the editor out by saying “Submission:
they are hard to digest (personal essays Celebrating Yom Kippur With Bacon
are personal, after all), take a week off
Cheeseburgers Oct. 3” (which Danielle
and read them again. I often find that
Gelfand sold to The New York Times
the difference between my writing
in 24 hours). Unless it’s a very timely
students who don’t get published and
piece pitched to a daily or online news
the ones who do comes down to their
magazine, wait a month to follow up.
ability to incorporate criticism. After
After you send it, take a breath, then
one essay class, an 18-year-old student start your next piece.
who didn’t like my suggestions asked,
“Why should I listen to your take on my 9. LET EDITORS EDIT.
story?” I said, “Because I’ve been doing If an editor expresses interest in your
this for 30 years and you’ve been doing essay but requests a revision, be willthis for 30 minutes.” He took my advice ing to revisit your words or structure.
It’s an editor’s job to know her audiand had a published clip by the end of
ence better than you do. More than a
the term.
few have changed their minds about
8. COVER YOURSELF.
publishing a new writer who is givCraft a very concise cover letter (think ing them a headache with a “You can’t
six lines). If possible, address the
change a comma” attitude. If, after your
acquiring editor by name (to find it,
piece runs, you hate minor changes
check mastheads, search online or
you didn’t OK, write her a long letter
call the publication and ask). Start by
detailing the stupidity of her every cut
mentioning something similar she
or punctuation change. Then tear it up
wrote or published that you admired.
and send her a note saying, “Thank you
Describe your piece in a succinct
so much for the beautiful clip. I’m so
Hollywood movie pitch. Don’t overdo honored you published me.” YB
your bio—just add a line or two. If
Susan Shapiro (susanshapiro.net) is a writing
you’ve published before add one link
professor and the author of nine first-person
(not 10 with four attachments). Most
books, including Lighting Up, Five Men Who
editors want you to paste your piece in Broke My Heart, and the co-authored memoir
The Bosnia List.
an email, as well as attach it, but seek
WritersDigest.com
15
A FREELANCER’S WORKSHOP
What Literary
Journals Want
In this roundtable, acquiring minds behind —ve top markets for
short —ction, creative non—ction and poetry discuss how much
they love —nding new voices, what makes for eye-catching
submissions, and why a byline in their pages could just be the
beginning of a beautiful career.
PHOTO © FOTOLIA.COM
C
BY JAMES DUNCAN
16 Writer’s Yearbook 2015
L
iterary magazines publish only
famous authors. Or friends
of the editor. Or people with
a Master of Fine Arts writing
program in their bio. Those are
the rumors, especially among
writers who may have had a
hard time breaking in. But like most
stereotypes, those misconceptions of
the modern literary journal are not
only untrue, but shortsighted.
If anything, literary magazines
now offer writers more opportuni-
ties than ever before. Their editors
today are busy not just compiling their
next issues, but building a community
online and off—branching out into
Web editions, book imprints, workshops, conferences and podcasts. And
those editors have seen proof that
agents and publishers are paying close
attention to writers who make the cut.
Yes, there is a high standard of quality, and names like Munro, Saunders,
Eggers, Shepard and Lethem do appear
with regularity. But it has become less
and less surprising to find a newcomer’s byline next to that of an author
recently shortlisted for the National
Book Award. So the question is, then,
how can yours be among them?
We gathered a roundtable of editors
from top journals—all of them welcoming to new writers—to discuss how
literary magazines are evolving, their
role in the publishing world, and their
best advice to writers looking to catch
their eye when submitting short stories,
poetry and essays.
HOUSLEY © STEPHEN REICHERT; LYNN © JOHN SEAVOIT; NEMENS © JEREMIAH ARIAZ; SPILLMAN © THOMAS SAYERS ELLIS
THE ROUNDTABLE
DAVE HOUSLEY
DAVID H. LYNN
EMILY NEMENS
TODD SIMMONS
ROB SPILLMAN
is one of the founding
editors of Barrelhouse,
a literary magazine
that bridges the gap
between serious art and
pop culture. A writer,
Web person and selfdescribed normal dude,
he is the author of Ryan
Seacrest Is Famous, and
has been published in
Mid-American Review,
Nerve, Quarterly West,
Wigleaf and elsewhere.
has been the editor
of The Kenyon Review
since 1994. He is the
author of Year of Fire,
Wrestling With Gabriel,
Fortune Telling and
The Hero’s Tale:
Narrators in the Early
Modern Novel, a critical study. Lynn is also a
professor of English at
Kenyon College.
is co-editor and prose
editor of The Southern
Review. Her first book
of stories, Scrub,
was published in
2007, and her writing has appeared
in The Gettysburg
Review, Alimentum
and on Esquire.com.
As an illustrator she
has collaborated with
Harvey Pekar and has
a painting blog with
90,000 followers.
is the publisher and
editor of Wolverine
Farm Publishing Co. and
Matter Journal. He lives
with his wife and their
two children within arm’s
reach of Fort Collins,
Colo. On their farm,
chickens outnumber cats,
but cats outweigh chickens. It’s a topsy-turvy
world, and things are
always resurfacing, especially when the children
can find their shovels.
is editor of Tin
House magazine and
editorial advisor of
Tin House Books. He
has written for The
Baltimore Sun, British
GQ, Connoisseur, The
New York Times Book
Review, Rolling Stone,
Spin, Sports Illustrated,
Vanity Fair, Vogue
and Worth, among
other publications.
WritersDigest.com
17
A FREELANCER’S WORKSHOP
IN TERMS OF QUANTITY, QUALITY
decades, but it’s exciting to see how
AND COMPETITIVENESS, WHAT
global we’ve become. In a recent
TRENDS ARE YOU SEEING IN
issue we featured Canadian writer
SUBMISSIONS? ARE THERE STYLISTIC Tamas Dobozy and his story about the
OR TOPICAL AREAS WRITERS ARE
Eastern Bloc; another upcoming piece
LEAVING UNEXPLORED?
is a translation about Argentinian
DAVID H. LYNN (THE KENYON
soccer that will coincide with the 2014
REVIEW): Each generation has its
World Cup. I could always read more
fashions, its tastes. I think we are
seeing stories set more in the present
tense and first person, engaged
with the immediate, rather than
with larger historical or political
overviews. We are also seeing more
work from different communities,
especially involving the experience
of immigrants, whether Chinese or
ambitious nonfiction pieces.
TODD SIMMONS (MATTER
JOURNAL): I see a lack of place-based
and informed writing—short stories
or creative nonfiction that really gets
a landscape, an ecosystem, or a skilled
way of working in the world. Writing
that goes beyond what we have now,
where the characters exude a place.
“The role of the modern literary magazine is still
to —nd the unconventional or the writer lacking
con—dence, take a chance on them, and thrust
them into the hands of readers.”
—Todd Simmons, Matter Journal
Korean, African or Caribbean. This
leads to great freshness.
DAVE HOUSLEY (BARRELHOUSE):
There’s no shortage of people writing
ROB SPILLMAN (TIN HOUSE):
short fiction, essays and poetry, that’s
Encouraging trends include more
for sure. As for trends, I think
international submissions, and the
we’re through the part where a lot
overall competence has increased
of short fiction writers were imitating
in the 15 years since we started Tin
George Saunders. You could certainly
House. But I do see a lack of humor,
do worse in choosing somebody
and most of the “humorous” pieces we to imitate, but that particular imitado see are slapstick and go for the easy tion is extremely hard to pull
laughs. I also find a lack of engageoff (I know, because I also spent a
ment with real-world issues. There’s a
few years trying).
stunning amount of navel-gazing with
WHAT REALLY IMPRESSES YOU IN A
tiny emotional epiphanies.
SUBMISSION, ASIDE FROM SOMEONE FOLLOWING THE GUIDELINES
and quantity of submissions increase— AND READING A FEW ISSUES?
SIMMONS: I’m impressed by a writer
which means that the competitiveEMILY NEMENS (THE SOUTHERN
REVIEW): I’ve only seen the quality
ness has also gone up. In terms of
trends, The Southern Review hasn’t
been exclusively “Southern” for
18 Writer’s Yearbook 2015
who takes our theme, shakes it around,
and throws it back at us in a way we
were not expecting. Catching us off
guard with good writing is rewarding.
We all know what we want, but when
we come across something we didn’t
expect, something that cuts in a new
and exciting way, that is a great way to
attract attention.
SPILLMAN: … I’d much rather read
an ambitious failure than a perfect
little story of no consequence.
LYNN: Great writing is always
unpredictable. I believe that successful
stories, poems and essays must offer
hearty dashes of surprise and delight.
Surprise, because one needs tension to
keep reading. Delight—a deliberately
capacious term—because stories and
poems must always involve the emotions in some way. The emotion can
be fear or sadness or rage or indignation—which can all delight us as
readers. I’m also always looking for
mastery over the craft, over the diction
and sentences and rhythms of prose,
over the lines and images of poetry.
HOUSLEY: Good stories just have
an authority about them—you have a
feeling that you’re in good hands, that
the author knows what they’re doing
and this is a story that could work. It’s
hard to pin down exactly what that
means, but you know it when it’s there,
and you feel the absence immediately
when it’s not. And for me, humor really
helps. I’m thinking of humor the way
somebody like Steve Almond or Stacey
Richter uses it—stories that aren’t
funny just to be funny, but humor is
one of the things the author is working
with, a color in his or her palette. I also
tend to like stories that engage with
the world we live in, which means their
characters watch TV, listen to music,
play games, do all the things people do
in real life that sometimes writers back
off of because they don’t seem highminded enough.
NEMENS: A nuanced character
is one of the toughest things in the
world to describe, especially in short
fiction. … When I’m still thinking
SIMMONS: Disrespect for the
about a character a few days later, then medium. We don’t need another
I know it’s a good piece.
piece of literature that tries to keep
up with television, the movies or the
ON THE FLIP SIDE, WHAT ARE THE
Internet. I’ve seen a marked increase
MOST COMMON MISTAKES THAT
in submissions that seem too loud and
KEEP WRITERS OUT OF QUALITY
aggressive—almost as if the writing
LITERARY JOURNALS?
were shouting at me, and all I want
HOUSLEY: On the writing side:
to do is turn it off. Not that literature
Stories that take too long to get
shouldn’t be loud or aggressive, because
started, stories where nothing really
there is a lot of interplay between all the
happens or where most of the action
different forms of media and expression,
is presented as backstory or flashback,
but when I read literature that feels
stories that don’t trust the reader to
like it belongs somewhere else, I’m less
understand or figure out what’s going
inclined to keep reading.
on (usually this means the story halts
at a certain point so a character can
WHAT DO YOU FEEL WRITERS
sum up what’s happened and/or what OF ALL LEVELS HAVE TO GAIN BY
it all means). I generally have a pile
REMAINING ACTIVE IN THE LITERARY
of stories in front of me, and if yours
MAGAZINE ARENA? DO YOU KNOW
doesn’t really start until page 3 or 5,
FOR A FACT THAT AGENTS, EDITORS
the odds are very strong that I’m going AND PUBLISHERS READ LITERARY
to reject that story and pick up the
MAGAZINES WITH AN EYE OPEN FOR
next in the pile.
NEW TALENT?
On the submitting side: Writers
LYNN: I hear it all the time from many
really shouldn’t worry too much about agents and editors: They do read
cover letters. The work is the thing.
literary journals, looking for new talent.
If your work is amazing, I don’t care
It’s also true that, more than ever before,
what your cover letter says.
there’s a sense of a national community
LYNN: Too many sloppy mistakes of of writers who read and correspond
grammar or diction. Stories or poems (or email or Facebook) with each other.
They’re a big audience for literary
that are predictable or too familmagazines because they want to see
iar. More profoundly, while beginwhere their friends are publishing. nings are the most important part
of any story or poem … endings are
HOUSLEY: If you’re a writer, this
always the hardest. So often I’m halfis the conversation you’re hoping to
way through a story and just in love
join, so I think you’d be crazy to not be
with the characters and situation, am
active in the literary magazine world.
moved by the drama, and then the
This is one of the very few places where
writer will paint herself into a corner,
people are doing what they’re doing
with no way out.
because they love writing and they
want to support it and get it out into
NEMENS: Many people send
the world. I can’t imagine not wanting
work that’s not really done—stories
to be a part of that community.
with plot holes, unresolved conflicts,
We get contacted by agents every
underdeveloped concepts or unbelievnow and then. I can’t speak for largeable dialogue. I can’t fix every story,
but when I see a promising piece that market editors and publishers, but I
know the independents are all reading
needs more work, I try to write an
literary magazines, and I think there
encouraging note back to the author.
are some people whose trajectories
you can track pretty well by reviewing
the literary magazines over a certain
period of time.
NEMENS: Christine Sneed is a great
example of this—her first story publications were in literary journals, including The Southern Review, and she says
that her agent and editor were much
more willing to take on her manuscripts
because of those journal publications.
A few years later, she’s on the cover of
The New York Times Book Review!
SPILLMAN: Literary magazines
act as a giant filtration system for
the publishing industry. We are very
actively reading through the 15,000
submissions we receive each year
(each piece is read by at least three
readers). We get calls from agents as
soon as every issue comes out asking
if our new voices have representation.
It is also a good place to see what is
on the cutting edge, what the masters of the form—Jim Shepard, Karen
Russell, Kelly Link, Alice Munro, et
al—are doing in real time.
WHAT ARE SOME COMMON
MISCONCEPTIONS ABOUT LITERARY
JOURNALS AND EDITORS? WHAT
ARE SOME STEREOTYPES THAT ARE
ACTUALLY TRUE?
SIMMONS: That literary culture
doesn’t exist outside of bookstores and
college campuses. That we all come
from MFA programs. That we don’t
know how to wield an axe or a hammer. That we can’t sew. That we would
be stimulating dinner guests.
NEMENS: True: We want to get
excited about your writing. It helps
that we, as editors, have lives outside
the office (another misconception is
that we don’t). My co-editor, Jessica,
is a mom who has written song lyrics for critically acclaimed albums.
I’m an accomplished illustrator and
have toured the world playing bariWritersDigest.com
19
A FREELANCER’S WORKSHOP
tone sax. We know what it means
to be engaged with a subject, and I
think it helps us recognize that kind
of energy when it comes across our
desks in a poem, an essay or a story. LYNN: That we only publish our
friends, or that we only publish writers who are already famous. I can’t
speak for other editors—though I
suspect they will affirm the same
truth—but we read every single submission that arrives at The Kenyon
Review because we are always looking
for exciting new voices. The single
best part of editing is coming across a
piece by an unknown writer that just
knocks my socks off.
HOUSLEY: One misconception
is that the whole process of evaluating somebody’s writing could be
anything other than wildly subjective. Every so often, somebody does
that thing where they submit a story
from The New Yorker or something
to a bunch of literary magazines, and
it gets rejected by all of them, and
the conclusion is something along
the lines of “gotcha!” But the idea of
judging the merit of a story or poem
is totally subjective. The editor who
accepted that story at The New Yorker
originally is probably not the same
person rejecting it now. The idea that
those two people would necessarily
share an opinion about a particular
piece of writing, or that they absolutely have to, just doesn’t make sense
to me.
HOW DOES THE ONLINE LITERARY
SCENE FARE AGAINST PRINT JOURNALS IN TERMS OF QUALITY? IS
THERE STILL A GAP, OR IS LITERARY
EXCELLENCE IN ONLINE AND PRINT
MAGAZINES MORE SYMBIOTIC THAN
PEOPLE REALIZE?
SUBMITTING TO THE ROUNDTABLE MARKETS
Sept. 1–Feb. 1. It rarely publishes
Barrelhouse:
Matter Journal:
Submit one piece of fiction or nonfic-
Each issue is a handcrafted
pieces longer than 8,000 words.
tion at a time, or up to five poems in
exploration of a specific theme
Simultaneous submissions are
a single document. Essays must be
(listed at wolverinefarm.
accepted; no previously published
pop-culture related. Accepts submis-
org). Submissions that do not
work. Send submissions by mail (with
sions through a Submittable.com
acknowledge this theme—as
an SASE) to: The Southern Review,
account only. No previously pub-
wonderful as they might be—will
3990 W. Lakeshore Dr., Baton Rouge,
lished work; simultaneous submis-
be a sad interaction for all involved.
LA 70808. Include your email and
sions are OK. Pays $50 to print con-
Considers fiction, nonfiction and
phone on the manuscript. Query
tributors; good karma and free beer
interviews (up to 5,000 words), or
after 6 months. More details at
to all others (“If you don’t believe us
up to five single-spaced pages
thesouthernreview.org.
about the free beer, ask around.”)
of poetry. Include name, address,
Response time 2–3 months. More
phone number, email and titles of
Tin House:
details at barrelhousemag.com.
pieces in a short, bare-bones letter.
Considers one story or essay (up
Simultaneous submissions are OK.
to 10,000 words), or up to five
The Kenyon Review:
Response time 3–6 months; query
poems, during the Sept. 4–May 31
Considers submissions (up to 7,500
after. Submit electronically (as an
reading period. Cover letters should
words) of fiction and essays; up to
attachment to mattersubmissions@
include word count and identify the
submission as fiction, nonfiction or
six poems (in one document); plays
gmail.com) or via mail to Wolverine
and excerpts (up to 30 pages);
Farm Publishing, P.O. Box 814, Fort
poetry. Simultaneous submissions are
and translations. Simultaneous
Collins, CO 80522.
accepted, but multiple submissions
will be returned unread. Response
submissions are accepted; no
previously published work. Writers
The Southern Review:
time averages 3 months; please query
should use a Submittable.com
Accepts fiction and nonfiction (one
after 90 days. Submit by mail (with
account to submit. Response time
submission per author) during the
an SASE) to: Tin House, P.O. Box
varies (usually within 4 months).
Sept. 1–Dec. 1 reading period, and
10500, Portland, OR 97210, or via the
More details at kenyonreview.org.
poetry (no more than five) from
submission manager at tinhouse.com.
20 Writer’s Yearbook 2015
HOUSLEY: I don’t know that there
ever was a gap. There may have been
a perceived gap, but I think that was
mostly a transitional thing—people
who were used to print, who really
love print objects, getting used to the
idea that something online wasn’t
necessarily inferior. If anything, we’re
seeing the lines blur, with print mags
going online and online mags putting out physical books. (I’m thinking
of FiveChapters, which [released] Ian
Stansel’s excellent collection of short
fiction, Everybody’s Irish.)
At the Barrelhouse writers’ conference, I was talking with a very
accomplished writer who told me that
he tries to place things online lately,
because he knows so many more
people will see them and they’ll have
a longer shelf life than something in a
print journal.
SIMMONS: … The online community seems much stronger in terms
of interpersonal relations than that
of print. They read and support each
other much more. The medium makes
this so. I see a lot of good in this, but
the transitional period we are still in
makes it difficult for much to stick.
Things online don’t last very long;
they burn up like meteors entering
the atmosphere, and it always seems
to leave me either hungry for more,
more, more, or ready to pull a good
book off the shelf.
LYNN: I’m very excited about
online publishing. In fact, we publish
two entirely separate but complementary literary journals, the print The
Kenyon Review and the electronic
KROnline. I’d argue that the work we
publish in KRO is every bit as good
as in The Kenyon Review. There’s a lot
of very good work indeed being published online.
SPILLMAN: There are a few online
ventures that are doing really quality
work, notably Electric Literature and
their offshoot Recommended Reading. many, many writers who are masters
I think there is still an overall gap
of the short-story form and rarely, if
mainly due to money—most online
ever, write novels. Look at Nobel winvenues haven’t figured out how to
ner Alice Munro … or Jim Shepard,
pay contributors.
Antonya Nelson, Amy Hempel, et al.
SIMMONS: The role of the modern
WHAT IS THE ROLE OF THE MODERN
literary magazine is still to find the
LITERARY MAGAZINE? DO YOU SEE
unconventional or the writer lacking
IT AS A BREEDING GROUND FOR
confidence, take a chance on them,
NEW TALENT, OR PERHAPS AS THE
and thrust them into the hands of
LAST PRINT MARKET STANDING FOR
readers. I also think the literary magaESTABLISHED WRITERS LOOKING
zine has a lot of potential for improveTO KEEP THEIR NAMES OUT THERE
ment, both online and in print. In
BETWEEN BOOK PUBLICATIONS? OR
print, our design and intent need to
SOMETHING ELSE ENTIRELY?
be more stimulating and involved
NEMENS: Something else! Sure, it’s
with the text—these things are objects,
both a breeding ground and a place for
and we might as well make them
established writers working between
interesting to look at! Online is more
bigger projects, but journals are also
dangerous and exciting territory—it’s
their own literary creature. It’s fascinatsuch a hybridized landscape that anying to follow the narrative of a journal
thing is possible.
itself—how pieces are arranged in each
HOUSLEY: I also think it’s the place
issue and how themes interplay, how
where the most interesting work is
writers’ relationships with the journal
being published. We’re just smaller
grow over time, the editorial voices that
and more agile, and our meager ecoemerge over years.
nomic structure plays to our advanObviously, following those kinds
tage in that it allows us to take more
of developments takes more commitrisks. I also think there’s a movement—
ment from readers, writers and ediand I hope Barrelhouse is a part of
tors alike, but it’s an investment that
this—toward not just thinking about
pays dividends. the literary magazine as a print object,
LYNN: I’d argue that the modern litbut as a larger organization that proerary magazine remains a vital, vibrant
motes and supports writers in any
part of the literary community and
number of different ways and places.
marketplace. We feature new talent, as
At Barrelhouse, we do the print magaI said [earlier], but I’m tickled when we
zine, and books, and also the writer’s
can publish exciting new work by writconference, a podcast, online writing
ers I’ve long admired, too. One dual
workshops, and events, and we’re kickexample: In our fall 2013 issue, we pubing around a few other ideas. We’re
lished a marvelous story by the distinnot the only ones: PANK does a lot of
guished and talented T.C. Boyle. Sidethe same things, and One Story. More
by-side with him is a dazzling story
and more, I think the literary magaby a very young writer named Austin
zine is becoming a platform for all
Smith. His is called “Cicadas” and is
kinds of exciting things to happen. YB
miraculously good.
SPILLMAN: It is a combination of
James Duncan (jameshduncan.blogspot.
a proving ground for new talent, a
com) is the founding editor of the Hobo
showcase for the avant-garde, and a
Camp Review literary magazine and the selfshowcase for the masters of the essay,
published author of The Cards We Keep:
Ten Stories.
story and poetry forms. There are
WritersDigest.com
21
A FREELANCER’S WORKSHOP
The Editor-Writer
Marriage
Professional relationships require work, just as romantic ones
do. Here’s how to stay happily married to your editor.
A
re you a literary bigamist?
By that, I mean are you
involved in two marriages:
the one between you and your
spouse, and another involving
you and your editor? If you’ve
been writing professionally for
any length of time, the answer is probably yes, though you’ve likely never
thought of it that way.
22 Writer’s Yearbook 2015
The similarities between the two
relationships can be striking, however.
When things are going well, there’s
love all around. When they’re not, you
may experience communication problems, unmet needs, financial arguments and other difficulties.
As with many romantic relationships, the writer-editor marriage often
begins with love at first sight. You
pitch an idea your new editor likes,
then bask in the glow of her approval.
The relationship grows from there,
and pretty soon you can’t live without
each other.
But no marriage is perfect. Here,
two relationship counselors lend their
expert advice for dealing with the five
most common “writer-editor marriage” problems.
PHOTO © FOTOLIA.COM
BY DON VAUGHAN
THE ISSUE: POOR
COMMUNICATION
be clear regarding assignments, offer
support when needed and submit
Clear communication is integral
payment on time. When any of these
to the success of any relationship—
needs goes consistently unmet, the
including the writer-editor partnerrelationship suffers.
ship. Without it, misunderstandings
Jeannie Bertoli, PhD., a relationmay develop and affect everything
ship counselor in Washington, D.C.,
from payments to future assignsays the problem of unmet needs can
ments. Problems arise when one
be avoided with one simple quesparty doesn’t listen to the other, or
tion: What do you need from me that
one party hears everything through
you’re not getting? Asked regularly,
a hypercritical lens that makes him
this question can keep small probfeel judged and criticized, says Paul
lems from turning into big ones.
Hokemeyer, J.D., PhD., a licensed
If you’re the aggrieved partner,
marriage and family therapist in
address the problem head-on by
Manhattan. “It’s important for
starting the conversation. For examcouples to make sure what they are
ple, “I need this and this from you,
saying is being heard in the spirit in
but I’m not getting it. How can we
which it is intended.”
fix this?”
As a writer, one effective way to do
“If both of you start with that openthis is to mirror back what is being
ness to feedback, you may be sursaid to make sure you understand
prised at what you hear,” Bertoli says.
it correctly. Similarly, make sure
“Often, an issue is easy to correct.”
THE ISSUE: MONEY WOES
Money has doomed many a relationship, especially between a writer
and editor. When seeking a higher
payment for a potential assignment,
Hokemeyer recommends first doing
your homework to determine both
your professional worth and your
value to the publication. When it
comes time to talk, be courteous and
professional. “You don’t want to come
[to this situation] antagonistically,”
Hokemeyer says. “Instead, try to
align yourself with the other person.”
Also, avoid defining the discussion as
a competition, because the publication always has more leverage.
THE ISSUE: FILING
FOR DIVORCE
Not every marriage lasts. But before
you separate from an editor, schedule a meeting with her to see whether
the relationship can be saved. If
not, discuss a mutually agreeable
A successful writer-editor marriage can
exit strategy, suggests Bertoli. Most
importantly,
try to end the relationhappen only if both people are willing to
ship on a positive note—“I enjoyed
work at it. Do just that, and you’ll be on
writing for XYZ Magazine; I’m sorry
your way to a happily ever after.
it didn’t work out.”—so you don’t
burn any professional bridges.
A variety of issues may bring a
communication to your editor is
THE ISSUE: NEGOTIATION writer-editor relationship to an end,
emotionally tempered, clear and
HANG-UPS
says Hokemeyer. Verbal or other
concise. “You don’t want to respond
In a romantic marriage, negotiation
abuse from an editor is certainly
negatively or passive-aggressively
might involve simple problems, such grounds for leaving, as are irresolvbecause it could compromise the
as where to spend the holidays or
able personality conflicts, lack of
integrity of your relationship,”
who should clean the house this week. support and consistently late payHokemeyer says.
In a writer-editor marriage, it can
ment for services.
involve a far wider range of issues.
A successful writer-editor marriage
THE ISSUE:
Negotiations go more smoothly when
can happen only if both people are
UNFULFILLED NEEDS
both parties are clear at the onset
willing to work at it. Do just that,
We often forget that meeting each
regarding their expectations.
and you’ll be on your way to a hapother’s professional needs is the foun“One of the biggest obstacles is
pily ever after. YB
dation of every successful writerexpecting the other person to know
editor relationship. Editors need writ- what you need or what you meant
ers to meet deadlines, adhere to spec- without expressing it,” Hokemeyer
Don Vaughan (donaldvaughan.com) is a
ified word counts and submit clean
says. “You must be clear, because no
North Carolina–based freelancer and founder
of Triangle Area Freelancers.
copy, while writers need editors to
one is a mind reader.”
WritersDigest.com
23
A FREELANCER’S WORKSHOP
Andrew McCarthy:
Off the Beaten Path
The actor, director and former Brat Packer shares his best tips
from his current career as an award-winning travel writer.
BY KERRIE FLANAGAN
A
lthough he’s best known for
his roles in ’80s classics such
as Pretty in Pink and Weekend
at Bernie’s, Andrew McCarthy
isn’t just another celebrity dipping a toe into the writing
world—he’s a writer who happens to be a celebrity. In the years since
his first published article in National
Geographic Traveler in 2006, McCarthy,
51, has proven himself to be the real
deal, being named Travel Journalist of
the Year by The Society of American
Travel Writers in 2010, and hitting the
bestseller lists with his travel memoir
The Longest Way Home in 2012.
24 Writer’s Yearbook 2015
Ten years prior to his first byline,
McCarthy was spending his time off
from his acting career traveling the
world and filling notebooks with anecdotes. As he read travel magazines, he
found they weren’t capturing the sorts
of deep transformative connections
he experienced on his trips. Someone
suggested he write professionally
about his travels, and a friend put him
in touch with the editor of National
Geographic Traveler. When the two
met and McCarthy asked to write for
the magazine, the editor said, “You’re
an actor.” McCarthy replied, “Yes, but
I know how to tell a story.” After a year
of emails in which McCarthy pleaded
his case, the editor finally relented and
sent him on assignment to Ireland.
The profound affect of travel on
McCarthy’s life is the undercurrent in
every piece he writes. After years of
success on screen, he’s grateful to have
found his way to the page.
“It is our job as writers to do the
work, have the courage to bring it out
and present it to the world, because
that’s why we are here,” he says.
Here, McCarthy shares his three
keys to fantastic travel writing.
1. WALK THE TERRITORY.
The best way to learn about a locale
you’re documenting is to get out of
the hotel as soon as you arrive, walk
around, get a little lost and pay attention to details. “Walking gives you a
rhythm in a place, and you need to
begin to understand the rhythm so
you’re not an outsider,” McCarthy says.
He believes asking for help is a good
way to connect with people and begin
to gain a deeper insight into where
you are. A good travel writer must do
whatever he can to approach a story
from a local point of view, instead of as
a tourist—and that means connecting
with people, and true immersion.
“Getting quotes from taxi drivers
shows me a lazy travel writer,” he says.
McCarthy always carries a notebook
with him, and he jots down more than
lists of where he’s been and what he’s
seen. He captures feelings, anecdotes,
vignettes, scenes and moments that
truly reflect his experience of a place.
The basic facts about a destination, he
points out, you can get later if you need
to. Good travel writing is about far
more than the hours a place is open or
a rundown of nearby tourist attractions.
There are days when McCarthy takes
copious notes and other days that pass
with nothing. And often toward the
end of a trip he does exactly what he
did when he arrived: He walks around.
“Lines, phrases, entire paragraphs will
come up and I will stop where I am and
write them down; often they end up in
that form in the final draft. It’s important not to start writing too early in
the process—but when it wants to start
coming, you have to be open to it.”
2. FIND YOUR HOOK IN
THE DETAILS.
McCarthy believes a singular, seemingly minute detail or incident can
embody the essence of a place, and
give a piece real depth, taking it
beyond a mere travelogue. “Once you
find that nugget you can hang the
whole story on it,” he says. “The rest is
basically arranging furniture.” In other
words, you follow that hook with a nut
graph (explaining the story “in a nutshell”), give three or four supporting
examples, and then circle back to the
lead at the end.
Finding that telling detail isn’t
always easy, but it’s worth the effort.
“I was in Seville and I had wonderful vignettes that I was going to put in
the story, about bull-fighting, about
flamenco, but I didn’t know what the
story was,” he says. “I still needed
to find the thread to give the story
any kind of purpose.” Eventually,
McCarthy began to notice a picture
of a Virgin Mary statue crying crystal
tears in every restaurant he visited, and
he went on a quest to find the actual
statue—and, in the process, his hook.
“I’d seen the picture of the Virgin
Mary 20 times before I realized, Wait
a minute—that’s Seville. … [The Statue
is] laced in history, it’s mysterious, and
those were all the things that Seville
was to me.”
Another example: In 2011,
McCarthy wrote a piece called
“Courting Vienna” for National
Geographic Traveler. His assignment
was to go to Vienna and live the most
“local” life possible. He ended up hanging the whole story on a one-sentence
conversation he had with a café waitress. “I had gone to that coffee shop
every day while I was there, and she
waited on me every day. … Finally,
one day, I asked, ‘How long have you
worked here?’ She said, ‘Too long.’”
She became the lead to the article,
which ended up focusing on Viennese
coffee houses. “It wasn’t just about
some grumpy waitress. It captured
something about the whole culture.
Those coffee houses and what life is
like—how you endure.”
3. TELL A STORY, DON’T
SELL A DESTINATION.
One of the reasons McCarthy feels
he has found success in travel writing
ties back to what he told his National
Geographic Traveler editor years ago:
He knows how to tell a story. He points
out that one of the biggest mistakes
travel writers make is they write about
destinations. But it’s storytelling that
grabs people. “It is how we communicate, and that is how we should
approach travel writing,” he says.
He’s partial to quest stories, for
instance, because they have a strong
built-in hook, a clear direction that
naturally engenders a story—like when
he went searching for the perfect cup
of tea in Darjeeling, India.
And then there’s the time McCarthy
wanted to write about Tahiti, but
needed an angle to pitch to the editor.
In the course of doing some research,
he discovered that 95 percent of all
black pearls come from Tahiti. Because
his mother had a big birthday coming up, he combined the two ideas and
went on a quest to Tahiti to find a pearl
farmer who would let him dive down,
pluck an oyster from its bed and bring
home a black pearl for his mom.
That became the article’s narrative,
which then gave McCarthy a means
to detail the country and its pearls
(the resulting piece, “In Search of the
Black Pearl,” ran in the October 2010
National Geographic Traveler). He could
have easily written a simple destination
article, but by making it a concrete tale
with a beginning, middle and end, he
created something that connects with
readers on an emotional level.
And that is the difference between
telling a story and selling a destination—
and the heart of great travel writing. YB
Kerrie Flanagan (kerrieflanagan.com)
is a freelance writer and the director of
Northern Colorado Writers. Her work has
appeared in Writer’s Market, and she is a
frequent contributor to WOW! Women
on Writing (wow-womenonwriting.com).
WritersDigest.com
25
BUILD YOUR BOOK’S SUCCESS
The E-Book
Market: What You
Need to Know
When it comes to a changing marketplace, knowledge is power.
Here’s a look at how digital books are changing publishing as
we know it—and what that means for you, your writing career,
and the future of your work.
E
-books have dramatically
changed the landscape for
authors looking to get published. Now, with the press of
a few buttons, an unknown
author can go from manuscript
to book available for sale in
online stores trafficked by millions of
people—with or without the backing
of a publishing house.
For established authors with agents
and/or publishers, e-books have
changed everything, too. Digital dis-
26 Writer’s Yearbook 2015
tribution through major retailers such
as Amazon, Barnes & Noble, Apple’s
iBookstore and Kobo has given published authors fresh and exciting ways
to reach worldwide readers with their
new titles as well as their backlists—
which, thanks to e-books, never go out
of print.
E-books have truly leveled the playing field. Kindle, Nook and Apple
bestseller lists feature titles from big
publishing’s all-stars right alongside
fierce competition from the world of
independent publishing. Through the
first half of 2013, self-published e-books
appeared on the weekly Digital Book
World E-book Bestseller list 66 times,
putting independent authors collectively fourth among all “publishers,”
ahead of such powerhouses as Simon &
Schuster, Macmillan and HarperCollins.
Revered New York Times book critic
Michiko Kakutani even named a selfpublished work among the top 10
books of 2012 (The Revolution Was
Televised: The Cops, Crooks, Slingers
PHOTO © FOTOLIA.COM
BY JEREMY GREENFIELD
and Slayers Who Changed TV Drama
Forever by Alan Sepinwall).
By early 2013, e-books accounted for
nearly 29 percent of all trade publishing revenues in the U.S., according to
the Association of American Publishers.
In the U.K. and Canada, publishers are
reporting similar trends, and newer
e-book markets such as Germany and
Japan are catching up quickly. A quarter of Americans read an e-book in
2012 (according to the Pew Internet &
American Life Project)—a proportion
that has surely gone up since. And a
2013 survey by Digital Book World and
PlayCollective revealed that some 54
percent of kids ages 2–13 read e-books,
suggesting that as that generation grows
up, e-book reading will become even
more popular.
The trick to building a successful
career as an author in the digital arena
is understanding the marketplace.
Here’s what every writer really needs
to know.
enue in 2013 from taking a small cut
of sales from titles it’s distributed to
e-book retailers outside of Amazon.
[Editor’s Note: In 2012, Writer’s
Digest published a comprehensive
overview of the leading services for
formatting and distributing an e-book,
comprising single-channel providers—
Barnes & Noble PubIt!, Google eBooks,
iTunes Connect and Kindle Direct
Publishing—as well as multi-channel
services BookBaby, Publish Green and
Smashwords. To read the complete article,
visit writersdigest.com/feb-14.]
And there are other rising digital
distribution models. All “Big Five” U.S.
publishers (Hachette, HarperCollins,
Macmillan, Penguin Random House
and Simon & Schuster) now sell
e-books to libraries for lending in some
form. Most smaller publishing houses
have been doing so for years, placing
digital titles in libraries through vendors such as OverDrive and 3M Cloud
Library. And self-published authors
are getting into the act, too, utilizing
HOW E-BOOKS HAVE
library distribution programs through
CHANGED DISTRIBUTION
Smashwords and similar providers.
Today, anyone with a smartphone,
Business models for digital books are
e-reader or tablet computer has the
evolving almost daily. In late 2013, sevworld’s largest bookstore in her pocket. eral consumer-facing e-book subscripWhile stats vary between countries,
tion services launched, including a New
publishers, genres and even titles, it’s
York–based mobile-focused platform
thought that Amazon has the largcalled Oyster, which opened for busiest part of the worldwide e-book sales ness with over 100,000 titles available
market share. In the U.S., the comfor a $9.99 monthly fee. Scribd, an
pany is estimated to account for about established document-sharing platform
60 percent of all e-book sales, with
with some 80 million monthly users,
Nook and Apple each comprising
also launched a competitive e-book
15–20 percent, and Kobo and other
library, accessible for $8.99 per month.
smaller players making up the rest.
Oyster co-founder and CEO Eric
(In Canada, however, where Kobo is
Stromberg predicts that business modbased, it is estimated to have a slight
els such as his own will actually broaden
lead over Amazon.)
the spectrum of what people read. “In
Myriad smaller retailers are
an unlimited [e-book subscription]
also cashing in on digital titles.
model, because the barrier to starting
Smashwords, a company that distria new book is so low and requires no
butes self-published e-books, reports
additional purchase, it’s really easy to
that it generated $20 million in revstart a new book you may not have oth-
erwise read,” he says. “This encourages
people to try new books, and can ultimately lead to more reading overall.”
Innovative companies are experimenting with additional models even
as this article goes to press. Among
them: e-book apps for tablets and
smartphones, and free e-books funded
by ads.
HOW E-BOOKS HAVE
CHANGED MARKETING
In the digital marketplace, discoverability (how readers will find your title
in the rising sea of available e-books)
has replaced distribution as the key
buzzword. And rightfully so. After
distribution, it might be marketing
that has changed the most in the digital age.
Today, a book that once would
have taken years to go to market can
now go from concept to e-bookstore
shelves in a matter of months—sometimes in a matter of days. The shift has
implications at every stage of the book
production chain, affecting everything
from timelines for editing and design
to those for marketing and promotion.
It has also created unprecedented
opportunities to meet market demand.
Capitalizing on “Linsanity” (when
NBA basketball star Jeremy Lin
quickly and unexpectedly rose to
prominence in 2012), independent
publishing service Vook conceived
and published an e-book about the
Harvard graduate in six days. Other
titles, including one about retired
Pope Benedict XVI, followed suit,
coming to market nearly as quickly
when opportunity arose.
Such compressed publishing
deadlines mean altered marketing
timelines—both before and after publication. “Publication dates are less
important, and promoting an author’s
book for a longer time is much more
important,” says Fauzia Burke, presiWritersDigest.com
27
BUILD YOUR BOOK’S SUCCESS
dent of New Jersey–based marketing
firm FSB Associates.
What that promotion entails is also
changing. Perhaps even more than
e-books themselves, electronic communications through email and social
media have changed the way books are
marketed. “Electronic communication
has given authors the tools to develop
a relationship with their readers; this
ing chapters) unexpectedly caught
fire online.
“From the creative standpoint it’s
very empowering,” says Dan Blank,
CEO of marketing firm We Grow
Media. “It shortens the space between
writers and readers.”
Innovative Illinois-based publisher Sourcebooks has pioneered the
practice of “agile publishing.” The
Despite all the dramatic innovations
in digital publishing, distribution and
marketing, readers want the same thing
out of a book today that they always have:
good writing and a great story.
is the biggest and most fundamental
shift,” Burke says.
Beyond using new means to promote electronic versions of what
we traditionally think of as a book,
innovative authors and publishers are
going digital to create products that
simply didn’t exist before. Bestselling
author Lee Child released “High
Heat: A Jack Reacher Novella” for
$1.99 in 2013 with Random House
in part to promote the upcoming
release of Never Go Back: A Jack
Reacher Novel later in the year. He’s
just one of many authors bolstering a
career with short works that, because
of their format and turnaround time,
would be impossible to sell in print.
Short-form e-book content can
also be used to test what readers
want. Well-known self-publishing
success story Hugh Howey, whose
viral saga, Wool, was eventually
picked up by Simon & Schuster in
a landmark six-figure print deal
that let Howey keep digital rights, is
one example: He produced Wool in
installments after a short initial segment (what would become the open28 Writer’s Yearbook 2015
more information about readers than
ever before. Innovations in marketing
can be as simple as gathering contact
information from electronic book
purchases to continue to reach these
readers after they’ve left the “store.”
“You get their email address and you
can stay connected with them to sell
them other things,” Blank says. “Their
contact information is an incredibly
powerful thing to have from a marketing standpoint.” That’s one thing
authors and publishers never got
when a reader walked into her local
bookstore to buy a print book.
HOW E-BOOKS HAVE
CHANGED PRICING
For better or worse, a confluence of
factors has contributed to much lower
company worked with author and
prices for e-books than their print
futurist David Houle to build an
counterparts. Lower overhead when
online audience feedback platform
creating e-books (in terms of printing,
for his new title Entering the Shift Age. storage and distribution) is a prime
He wrote and posted the book to the factor. The largest cost to a publisher
site in sections, then used real-time
in creating a book in any format
feedback from those readers to shape is acquiring, managing and develthe finished book in tandem with
oping content, said former Penguin
his audience. At a glance, this might
Global Digital Director Molly Barton
look simply like innovative creation,
in a 2012 interview, but when that
but make no mistake that it’s marsame content is used across multiketing, too—it breeds readers who
ple formats, the cost can be split and
have a vested interest in buying the
therefore lowered.
book and promoting it to their social
Retailers have also played a role
circles. Sourcebooks has since signed in driving e-book prices lower.
a similar deal with Toronto-based
Following lawsuits filed by the U.S.
e-book platform Wattpad (known as Department of Justice and other law
“the YouTube of e-books”) to create
enforcement bodies in 2012, Amazon
“agile” young adult books.
and other retailers gained control of
Beyond dedicated e-book plate-book pricing for titles published
forms, other electronic media such
by the world’s largest publishers—a
as apps, video and online slideshows power they had lost in 2010 when
give authors and publishers the abil- those publishers signed distribuity to reach out to readers to drive
tion deals with Apple, then new to
interest in new e-book releases, back- the e-book business, allowing them
list titles and preorders for forthcom- to set their own prices and requiring
ing work.
them to have the same power at other
All of these platforms are empow- retailers. In this so-called “agency”
ering book marketers by giving them pricing model, these large publish-
ers would often set e-book prices
at $12.99, $14.99 or even higher in
some cases. Retailers now wield
the power to price e-books at much
lower levels—often $9.99 or less. To
promote their platforms to readers, retailers such as Sony have run
promotions for bestselling titles by
brand-name authors for as little as $1.
Self-published authors, in an
attempt to compete with big publishers, have perhaps inadvertently contributed to the downward trend. It’s
rare to see self-published e-book titles
on bestseller lists for more than $3.99
or $4.99; they are sometimes priced as
low as $0.99.
These trends have combined to
create powerful price pressure on
e-books. The average price of a Top 25
bestselling e-book peaked at $11.79
in the summer of 2012; about year
later, the price dipped as low as $5.41,
according to data provided by Iobyte
Solutions, a New York–based firm.
AGENT PERSPECTIVES
What do agents do for
authors in the e-book era?
Kristin Nelson of Denver-based
Nelson Literary Agency: “As I am a
literary agent, I imagine my answer
to this question is going to be a little
biased. However, I think you can
ask any of my clients (and it actually
won’t matter if they are traditionally published or if they are indie
published) and their answers will be
the same. All of them truly understand and appreciate the efficacy and
importance of having a partner in
publishing. Whether I’m the conduit
to explore partnering with a big
While “electronic book rights” were
granted in at least one book contract
dating back to 1966 (according to Tim
Knowlton, CEO of Curtis Brown literary agency), they weren’t common
until relatively recently—generally the
early ’90s—leaving some digital rights
up for debate.
In fact, even older book contracts
that did aim to clearly spell out the
grant of electronic rights can be in
dispute. The most famous case of
this is HarperCollins vs. Open Road
Integrated Media, which at press time
was working its way through the courts.
HarperCollins claims that a 1971 contract gives it the right to publish author
Jean Craighead George’s middle-grade
novel Julie of the Wolves in any format.
In conjunction with George, Open
Road—a New York–based start-up
need badly and will need even more
of as the world of self-publishing
becomes more and more competitive. The indie authors who don’t
think they need agents will find
themselves buried in the details of
contracts, collections, interpreting
sales reports and more, and will
have less and less time to write,
which is how they earn a living and
grow their careers.”
What should e-book authors
think about when seeking
representation?
house or if my job is to merely have
Nelson: “It’s the same … as it’s ever
conversations that will lead to change
been. Writers need to define what
in terms of royalties or contract terms, they need an agent to do; they
I’m invaluable.
“To add to that, all have had their
careers greatly enhanced by the
HOW E-BOOKS HAVE
CHANGED CONTRACTS
thing many self-published authors
need to talk to colleagues to find
reliable, effective agents; and they
need to interview those agents
foreign rights and film deals I’ve
and be comfortable with them and
done on their behalf. They will all tell
trust that they will help develop
you that my 15 percent commission is
their careers.”
worth every penny.”
Dystel: “Be sure the two of you
Jane Dystel of New York–based
are aligned—in your career vision
Dystel & Goderich Literary
and goals. There are some agents
Management: “Agents are always
who have no interest in exploring
a great sounding board, and even
this new digital frontier, and that is
if the author self-publishes domes-
totally fine. But if you are an author
tically, they need agents to sell
who wants to explore all the options,
subsidiary rights. Many agents also
make sure you have an agent who
provide editorial support, some-
supports that path.”
digital publisher—released an e-book
version of the work in 2011, prompting
a lawsuit from HarperCollins.
Of course, the nature of publishing contracts has changed now. “In
the last three years, three of the Big
Five publishers have radically changed
their publishing contract boiler-
plate language in direct response to
digital changes in this industry,” says
Kristin Nelson, owner of the Denverbased Nelson Literary Agency and
agent to such digital-focused authors
as Hugh Howey. “I’ve seen stricter
non-compete clauses, new types of
royalty clauses to tackle sales that
WritersDigest.com
29
BUILD YOUR BOOK’S SUCCESS
haven’t been envisioned before, and
more movement toward bundling the
e-book [and audiobook editions].”
In response, agents have carved
out new rules for royalties and rights
exploitation on behalf of other clients.
The unofficial royalty that agents are
thought to be able to negotiate for
e-book authors is 25 percent of their
digital sales, much higher than the 15
percent typical for hardcover books.
And the ability to instantaneously
distribute e-books worldwide makes
the monetization of e-books abroad a
more enticing, achievable and complicated issue than ever before.
“I am still a strong believer in the
fact that publishers are paying far too
low a digital royalty rate [to authors]
at 25 percent of net,” says Dystel &
Goderich Literary Management’s
Jane Dystel, who has made headlines for her work with self-published
authors. “In time, traditional publishers are hopefully going to be forced to
increase their digital royalty rates; I
am predicting up to 40–50 percent.”
E-BOOK CONTRACT NEGOTIATION 101
There are many issues authors need to be aware of when it comes to negotiating e-book rights. “It’s important to limit the disadvantages of working with
a traditional publisher,” says Sylvia Day, bestselling hybrid author. “Ask for a
limited grant of rights (number of years, territories) and escalating royalties,
question availability to vendors and libraries, secure cover approval, and ask
for a detailed marketing plan.”
Here are six key clauses to look for:
1. Duration: The time frame that governs the commitments in an
e-book contract.
2. Territory: Where an e-book can be published by a publisher and in
what languages.
3. Consent: Who gets to make and influence decisions about e-book
creation, distribution and marketing.
4. E-functionality: What a published e-book can and can’t do (for instance,
have embedded video or other features).
5. Medium: Formats, features, enhancements and iterations of an e-book.
6. Royalty: The amount of money an author gets as a percentage of the
sale price of an e-book.
nurturing authors with “hybrid”
careers that combine traditionally
published and self-published work
Some have even started facilitating digital publishing partnerships,
HOW E-BOOKS HAVE
launching their own e-book platforms
CHANGED THE AGENTfor clients.
AUTHOR RELATIONSHIP
One example of this took shape in
The fact that agents now find them2011, when Nelson Literary launched
selves negotiating more compliNLA Digital Liaison Platform to help
cated rights with publishers is just
some of its authors self-publish. “We
the beginning of how e-books have
are not a publisher,” Nelson says. “The
changed the world of agenting.
authors maintain all rights and full
For starters, agents have new ways
control of their content.”
of finding clients: Many now spend
Other agencies have made similar
time scouting blogs, e-book sites and
moves,
though business models for
self-published e-book bestseller lists.
agent-assisted digital publishing vary.
“In this new world agents find new
There are questions of potential
talent almost more easily, as there is
confl
icts of interest that can arise
so much writing online,” Dystel says.
“Spending time every day scanning the when agencies also begin operating
Internet can turn up a large number of as publishers, however. Literary agent,
publisher and e-book retailer Richard
new, fresh and creative ideas.”
Curtis launched E-Reads, one of the
And their relationships with those
first e-book publishers, complete with
clients might not look the way they
its own retail website. Once the head
used to. More and more agents are
30 Writer’s Yearbook 2015
of the widely respected Association of
Authors’ Representatives (which has
codes of conduct designed to protect
authors), he no longer qualifies for
membership. One of the AAR’s bylaws
stipulates that agents can’t run publishing imprints.
However, agencies may be finding
ways to in essence do so while complying with the AAR: In 2013, Gersh, a
New York–based literary agency, signed
a deal with New York–based digital
publishing start-up Diversion Books to
launch an e-book imprint. And many
agencies have signed deals with Argo
Navis, an author services platform
run by book publisher and distributor
Perseus Books Group, to help their clients self-publish. YB
Jeremy Greenfield is the editorial director
of Digital Book World (digitalbookworld.
com, a subsidiary of F+W, parent company
of Writer’s Digest), a leading conference
and online resource for e-book and digital
publishing news and analysis. Follow him on
Twitter at @JDGsaid.
g
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r
c LV
W
z
84th ANNUAL WRITER’S DIGEST
WRITING COMPETITION
e
GET YOUR
WORK NOTICED!
f
10 CATEGORIES. 101 AWARD WINNERS.
Exposure is the single most valuable commodity in the publishing
world—and that’s exactly what you’ll get if you win.
Not to mention up to $3,000 and a trip to the Writer’s Digest Conference.
j
GRAND PRIZE:
D
r
r:PVSOBNFPOUIFDPWFSPG
Writer’s Digest (subscriber edition)!
r"USJQUPUIF8SJUFST%JHFTU
"OOVBM$POGFSFODF
r-JWFPOFPOPOFNFFUJOHTXJUIGPVS
literary agents at the conference
p
n
Early-Bird
Deadline:
May 4, 2015
Entries accepted online
at writersdigest.com.
Y
q
o
s
VIEW PRIZES AND CATEGORIES OR ENTER ONLINE AT
WRITERSDIGEST.COM
b
t
A
h
Q
With 101 award winners across 10 categories, there’s plenty of
recognition to go around! The grand prize winner and top 10 winners
in each category will be listed in the November/December 2015 issue of
Writer’s Digest. Enter by May 4 for the chance to gain access to agents,
editors and readers.
BUILD YOUR BOOK’S SUCCESS
Major Genre Awards at a Glance
Use this quick guide to read up on the best awards in your target
genre—and set goals for your own published work.
COMPILED BY OPHELIA THOMAS-HOBBS
Mystery
Thriller/Suspense
THRILLER AWARDS
THE EDGAR AWARDS
AGATHA AWARDS
Sponsor:
International
al
Sponsor: Mystery Writers of America.
Recognizes: Best hardbound novel,
R
Sponsor: Malice Domestic.
Recognizes: Best novel, first novel,
Thriller Writers.
riters.
first novel, paperback/e-book original, fact
short story, nonfiction, children’s/YA, his-
Recognizes:
zes: Best
ccrime, critical/biographical book/e-book,
torical fiction. Awarded: Every spring
at an awards banquet. Founded: 1988.
Notable Winners: Nancy Pickard,
hardcover novel, first
sshort story, juvenile, YA, TV series epi-
novel, short story,
ry, young
sode, Mary Higgins Clark Award (novel).
adult novel, lifetime/career
Awarded: Every spring at an awards
banquet. Founded: 1946. Notable
e
Winners: Tony Hillerman, James Lee
achievements, e-book
original novel, paperback original novel.
Awarded: Every July at ThrillerFest.
Founded: 2006. Notable Winners:
Tonyy Hillerman, Laura Lippman, Rhys
Bowen. Online: malicedom
malicedomestic.org.
Burke, T. Jefferson Parker, Lawrence
Block. Online: theedgars.com.
Ann Rule, Lisa Gardner, Karin Slaughter,
Brad Meltzer. Online: thrillerwriters.org.
Romance
THE ANTHONY AWARDS
S
MACAVITY AWARDS
Sponsor: Bouchercon World Mystery
Convention. Recognizes: Best novel,
Bouchercon. Founded: 1986. Notable
Sponsor: Mystery Readers International.
Recognizes: Best novel, first novel,
short story, nonfiction. Awarded:
Annually. Founded: 1987. Notable
Winners: Nancy Pickard, Laura
Winners: Michael Connelly, Charlaine
Lippman, P.D. James, Bruce DeSilva.
Harris, Lee Child, Harlan Coben.
Online: mysteryreaders.org.
first novel, paperback original, short story,
critical nonfiction. Awarded: Every fall at
RITA AWARDS
Sponsor: Romance Writers of America.
Recognizes: Best historical, inspirational, long contemporary series, novel,
Online: bouchercon.info.
short contemporary series, paranormal,
novella, suspense, YA, first book, contemporary single title. Awarded: Every
Horror
rror
summer at the RWA Annual Conference.
Nora Roberts/J.D. Robb, Susan Elizabeth
Phillips, Anne Stuart, Ann Aguirre.
Online:
nline: rwa.org.
32 Writer’s Yearbook 2015
BRAM STOKER AWARDS
Sponsor: Horror Writers Association. Recognizes:
gnizes: Best novel, first novel, long fiction,
short fiction, anthology, YA novel, fiction collection,
ction, nonfi
nonfiction,
ction, graphic novel, screenplay,
poetry collection. Awarded: Annually at an awards ceremony. Founded: 1988. Notable
Winners: Peter Straub, Stephen King, Joyce Carol Oates, Joe Hill. Online: horror.org.
PHOTOS © FOTOLIA.COM
Founded: 1980. Notable Winners:
ners:
Science Fiction/Fantasy
Christian Fiction
HUGO AWARDS
MYTHOPOEIC AWARDS
THE CHRISTY AWARDS
WARDS
Sponsor: The World Science Fiction
Society. Recognizes: Best novel, novella,
Sponsor: Mythopoeic Society.
Recognizes: Best adult literature (fan-
Sponsor: A coalition
novelette, short story, related work, graphic
tasy novel, multi-volume novel, single-
Recognizes: Best
story, dramatic presentation (long form),
author story collection), children’s litera-
Christian contemporaryy
editor (long form), dramatic presentation
ture (from picture books to YA), myth
romance, contemporary
ary
of Christian publishers.
(short form), editor (short form), profes-
and fantasy studies (scholarly books),
series, contemporaryy
sional artist, semiprozine, fanzine, fancast,
Inklings studies (books on J.R.R. Tolkien,
novel, first novel,
fan writer, fan artist. Awarded: Every
C.S. Lewis and/or Charles Williams).
historical novel, historicall
summer at the Annual World Science
romance, visionary, YA, suspense.
Notable Winners: Ursula K. Le Guin,
Awarded: Every summer at the society’s annual conference. Founded: 1971.
Notable Winners: Michael Chabon,
Orson Scott Card, J.K. Rowling, Jo Walton.
on.
Terry Pratchett, Susanna Clarke, Jonathan
Jon
Online: thehugoawards.org.
Stroud. Online: mythsoc.org.
Fiction Convention. Founded: 1953.
Awarded: Annually at an awards
ceremony. Founded: 1999. Notable
Winners: Steven James, Ted Dekker,
Julie Klassen, Lynn Austin. Online:
christyawards.com.
LGBT
BRAM STOKER AWARDS
Sponsor: Science Fiction and Fantasy Writers of America. Recognizes: Best novel,
novella, novelette, short story, Ray Bradbury
bury Award (script). Awarded: Every spring at an
awards banquet. Founded: 1965. Notable Winners: Harlan Ellison, Elizabeth Moon,
Neil Gaiman, Nancy Kress. Online: sfwa.org/nebula-awards.
LAMBDA LITERARY
AWARDS
Sponsor: Lambda
Literary Foundation.
Recognizes: Gay/
Children’s/Young Adult
lesbian categories: best
PHOTOS © FOTOLIA.COM
erotica, general fiction,
NEWBERY MEDAL
CALDECOTT MEDAL
memoir/biography, mys-
Sponsor: Association for Library
Service to Children. Recognizes:
Sponsor: Association for Library
Service to Children. Recognizes:
anthology, children’s/YA, studies, nonfic-
Best original creative work in the field
Artists of the most distinguished
tion, debut fiction, drama, sci-fi/fantasy/
of books for children; one Medal win-
American picture books for children;
horror. Bisexual/transgender categories:
tery, romance. LGBT categories: best
ner and a few Honor Books designated.
one Medal winner and a few Honor
best fiction and nonfiction. Awarded:
Awarded: Every January at an American
Books designated. Awarded: Every
Every spring at an awards ceremony.
Library Association press conference.
January at an ALA press conference.
Founded: 1988. Notable Winners:
Founded: 1921. Notable Winners:
Founded: 1937. Notable Winners:
Michael Cunningham, Jeanette Winterson,
Rebecca Stead, Avi, E.L. Konigsburg,
Jon Klassen, Jerry Pinkney, Chris Raschka,
Sarah Waters, Dorothy Allison. Online:
Katherine Paterson. Online: ala.org/alsc/
David Wiesner. Online: ala.org/alsc/
lambdaliterary.org. YB
awardsgrants/bookmedia.
dia.
awardsgrants/bookmedia.
awardsgrant
Ophelia Thomas-Hobbs is a writer based
in Cincinnati. She is currently working on her
first novel.
WritersDigest.com
33
BUILD YOUR BOOK’S SUCCESS
Finding an Agent
Get personal and establish a connection when researching the
right representative for your work.
PHOTO © FOTOLIA.COM
BY C. HOPE CLARK
34 Writer’s Yearbook 2015
I
clicked from website to website,
one blog to another, all telling me
my chances of finding an agent
were slim. Statistics spouted success rates of one half of 1 percent.
One agent read 8,000 queries in
a year and signed only five new
clients. Some agents even posted the
number of queries they received each
week versus the number of manuscripts requested. All too often the
percentage equaled zero. Hell-bent on
beating the odds, I devised a plan to
find my agent match.
Throughout the course of 20
months, I submitted 72 queries,
opened 55 rejections and received
invitations for seven complete manuscripts. I managed to secure an 88
percent response rate and, finally, a
contract with an agent. How did I do
it? I got personal.
you might want to query, finding
those who represent the types of
books you write.
mini-versions of agents’ lives can
spark ideas for you to use in a query,
and can help you see the publishing
world through professional eyes.
AGENT BLOGS
Agent blogs reveal clues about what
they prefer. Here, agents offer information on publishing changes, new
book releases, and even their personal
interactions with movers and shakers
in the industry.
Some agents also solicit feedback
with dynamic dilemmas or ethical
obstacles. Kristin Nelson (Nelson
Literary), Mary Kole (formerly of
Movable Type Literary) and Rachelle
Gardner (Books & Such Literary) have
been known to post short contests for
their blog readers, if for no other reason than to emphasize what they seek
in a client.
CONFERENCES
Margot Starbuck, author of The Girl
in the Orange Dress, met her agent at
a writing conference. “He had given a
seminar that was essentially themed
‘My Perfect Client,’ describing the type
of writer he’d want to represent,” she
says. “When I got home, I crafted my
letter to his own specs.”
It’s easier to query an agent you’ve
met or otherwise heard articulate what
she likes. An agent’s subtle Midwestern
accent might trigger you to pitch her
your romance novel set in Nebraska. A
one-hour class might empower you to
query a particular agent after hearing
her pet peeves and sought-after genres.
GUIDEBOOKS AND DATABASES
WHERE TO FIND AGENTS
Your manuscript is ready to go. You’ve
edited and re-edited your query. Now
it’s time to focus on finding the right
agent. But where do you start?
AGENCY WEBSITES
Most literary houses maintain websites where they post submission
guidelines and list books they’ve
pushed into the marketplace. They
also list individual agents on staff—
bios, favorite reads, writing preferences, photos and more. Study the
websites of the agencies and agents
The annual Guide to Literary Agents
(Writer’s Digest Books) is a premier
example of a guidebook resource. Use
it to cull the agents who seek writers
just like you. PublishersMarketplace.
com and WritersMarket.com (both
available for a subscription fee) offer
online, fingertip access to websites,
addresses and desires of most agents—
and also point you in other directions
to learn more.
FACEBOOK AND TWITTER
Social media has enabled writers to
see yet another side of agents. These
ONLINE INTERVIEWS
Do an Internet search for an agent’s
name along with the word “interview.”
Authors, writing organizations,
magazines and commercial writing
sites post such interviews to attract
readers. A current Q&A might
prompt you to reword your query. The
agent might express a wish to read less
women’s fiction and more young adult
novels—information that might not
be spelled out on her agency’s website.
She might even reveal a keen interest
for Southern writing. Reps also hop
from agency to agency, and a timely
WritersDigest.com
35
BUILD YOUR BOOK’S SUCCESS
interview might let you know she’s
changed location.
PREVIOUS MEETINGS. Make a
point to meet and greet agents at conferences. Give and take in the conversations, but don’t smother agents with
ZING FACTORS
your views. Listen for advice. Be polite.
The human connection between you
and an agent is what I call the zing fac- The zing factor comes later in the form
tor. Agents receive hundreds of queries of instant recall when you remind an
agent you met her over dinner, or dura week, with many being skimmed or
ing a pitch session. You evolve into an
simply unread. You have no control
over the timing that places your query actual person instead of another facein an agent’s hands. What you can con- less query.
trol is a creative opening that doesn’t
RECOGNITION. In your query,
echo like the 30 before it and the 20
include where you found the agent’s
after, and rises to the top of the pile.
name. Congratulate her on recent contracts for books that sound similar to
Agents don’t like to be taken for
granted or treated like an anonymous your own. You can find this information on PublishersMarketplace.com, or
personality (e.g., “Dear Agent”). The
attention you give to zing factors will through the agency’s website, blog or
social media accounts.
demonstrate that you respect the
FAVORITE READS. Agents are voraagent as a person. Suddenly you have
cious readers and have favorite genres,
that magical connection that holds
authors and styles. Their public bios
her attention long enough to read
often mention what books sit on their
your query.
nightstands; some even blog about
What makes for a great conduit
writers they admire. In your query,
between you and your agent? Here’s
note where you uncovered this infora list:
CLIENTELE. If you intend to
mation and marvel at your similarities.
become part of an agency’s stable of
GEOGRAPHY. Not all agents are
authors, become familiar with who
based in New York. With the ease of
occupies the neighboring stalls.
communication these days, agents
Author Tanya Egan Gibson not only live and come from everywhere. Their
emphasized her knowledge of agent
roots might even mirror yours. For
Susan Golomb’s clients in a query, but example, a New York agent who grew
she contacted one of those authors
up in Georgia might have a soft spot
and asked permission to use him as
for your Civil War nonfiction.
a reference after having met him at a
PERSONAL INTERESTS. Agents
conference. The query won her rephave lives and off-duty pastimes.
resentation and, later, a contract with
In my initial pitch to my own literDutton Penguin.
ary agent, Verna Dreisbach, I revealed
36 Writer’s Yearbook 2015
a common interest in mentoring teenage writers, knowing Dreisbach had
founded Capitol City Young Writers, a
nonprofit for youth interested in writing and publishing. And because I am
married to a federal agent, I also commented favorably on her past work in
law enforcement. “Of course it made
an impact,” Dreisbach told me later. “I
looked forward to reading your work.
I choose to represent authors that
I have a connection with, and your
interests and aspirations certainly fit
well with mine. As I expected, we hit it
off immediately.”
PASSION
No matter where or how you search for
an agent, nothing replaces the ability to
show passion in your work. Genuine
excitement over your book is contagious, and agents spot it in an instant.
You’re the biggest advocate for your
book. Everyone in your path should
feel that energy. When an agent senses
it, she’ll jump on your bandwagon,
knowing that readers will do the same.
But don’t cheapen yourself. Be
genuine. Be your passionate self and
the person who obviously has done
his research.
A relationship with an agent is to be
entered seriously and practically, with
both parties sharing excitement for a
common goal. YB
C. Hope Clark is the the author of the
Carolina Slade suspense series founder of
FundsforWriters.com. Find her on Twitter
@hopeclark.
A FREELANCER’S WORKSHOP
The Rules for
Creating a
Writer Platform
Whether you write —ction or non—ction, a platform is
crucial to prove to publishers that you are able to help
promote your work. Make waves with these 8 core principles
for author visibility.
PHOTO © FOTOLIA.COM
BY CHUCK SAMBUCHINO
WritersDigest.com
37
BUILD YOUR BOOK’S SUCCESS
PLATFORM DEFINED
Simply put, your platform is your visibility as an author; it is your personal
ability to sell books instantly. Think
of your platform like this: When you
speak, who listens? When you have
something to say, what legitimate
channels exist for you to release your
message to audiences who will consider buying your books?
The the most frequent building
blocks of a platform are:
• A blog with a sizable monthly
readership (at least 20,000).
• A newsletter with a sizable
amount of subscribers (at
least 5,000).
• Writing for larger publications
(print or Web), radio and TV.
• Contributions to successful
websites and blogs periodicals.
• A track record of strong past
book sales that ensures
past readers will buy your
future titles.
38 Writer’s Yearbook 2015
• Networking, and your ability to
meet power players in your community and subject area.
• Public speaking appearances.
• An impressive social media
presence on Twitter, Facebook
and others.
• Membership in organizations
that support the successes of
their members.
• Recurring media appearances
and interviews (print, radio,
TV, Web).
• Personal contacts (outreach to
organizations, media, celebrities,
well-positioned relatives) who can
help you market your work.
books and downloads, for free. Share
sources of good, helpful information.
Make them laugh. Access people and
places they want to learn more about.
Help them achieve their goals.
After they’ve seen the value you
provide, they’ll want to stay connected
with you, becoming followers. And
the more followers you have, the bigger your platform becomes.
2. DON’T GO IT ALONE.
Building a large and effective platform is daunting. But you don’t have
to swim out in the ocean alone; you
can—and are encouraged to—work
with others. Don’t hesitate to team
with others before (and after) you’ve
Not all of these methods will be of
found success. There are many opporinterest or relevance to you. As you
tunities to latch on to bigger publicalearn more about how to find success
tions and groups in getting your work
in each one, some will be practical and
out. And once your own platform
feasible, while others will not.
outlets (blog, website, Twitter, etc.)
get large enough, they will be popular
THE FUNDAMENTAL
sources for other writers seeking to
PRINCIPLES OF PLATFORM
contribute guest content in order to
Here are eight core concepts of
build up their own platforms.
a platform.
1. YOU WILL GET ONLY AS
GOOD AS YOU GIVE.
This concept is perhaps the fundamental rule of platform. Building a
platform means that people will listen,
respect and trust you, and therefore
will consider buying whatever you’re
selling. But they will do only that if
they like you—and to get readers to
like you is to help them. Answer their
questions. Give them stuff, such as
3. PLATFORM IS WHAT YOU
ARE ABLE TO DO, NOT WHAT
YOU ARE WILLING TO DO.
I review nonfiction book proposals
for writers, and each of these proposals has a marketing section. Whenever
I see bullet points in this section that
say I am happy to go on a book tour, or,
I believe that Fox News and MSNBC
will be interested in this book because it
is controversial, I stop reading, because
PHOTO © FOTOLIA.COM
H
aving an effective platform has
never been more important,
and with so many books available and so few publicists left
on payrolls to help promote
them, that responsibility now
lies largely with the author.
In other words, the pressure is on
for writers to act as their own chief
marketers to make sure copies of their
books fly off shelves.
it shows what the writer is willing to
do, not what he’s already done or can
make happen immediately.
Your platform is not what you hope
will happen. It’s also not what you are
willing to do, such as “be interviewed
by the media” or “sign books at trade
events.” (Everyone is willing to do
these things, so by mentioning them,
you’re making no case for your book
because you’re demonstrating no
value.) The true distinction for writer
platform is that it must be absolutely
what you can make happen right now.
4. LEARN BY EXAMPLE.
Don’t be afraid to study and mimic
others who are succeeding at what
you aspire to do. To see what works,
visit blogs, websites and Twitter
feeds of those writers’ platforms you
admire—then take a page from what
they’re doing. If you notice your
favorite, popular blogs include all
their social networking links at the
top (“Find me on Twitter,” “Find me
on Facebook”), then guess what? Do
the same. If people are getting large
followings doing book reviews of
young adult fantasy novels, why not
try that?
5. MAKE YOURSELF EASY
TO CONTACT.
simply making yourself available, and
taking the next step to encourage people with similar interests or questions
to contact you.
to analyze how you’re doing, then
slowly transition so you’re playing to
your strengths and eliminating your
weakest elements. No matter what
you want to write about, no matter
what platform elements you home in
6. START SMALL AND
on, don’t ignore the importance of
START EARLY.
analysis and evolution in your journey.
A true writer platform is something
Take a look at what you’re doing right
that’s built before your book debuts,
so when it hits your hands, you will be and wrong. Feel free to make all kinds
of necessary tweaks and changes along
above the masses for all to see.
the
way to better your route.
The beginning of the platform
process is difficult. It’s full of effort
8. NUMBERS MATTER—SO
and not a lot of return. “What frusQUANTIFY YOUR PLATFORM.
trates most people is that they want
If you don’t include specific numto have platform now,” says literary
agent Roseanne Wells of The Jennifer bers or details, editors and agents will
assume your platform is unimpressive.
DeChiara Literary Agency. “It takes
time and a lot of effort, and it builds Details are crucial.
on itself. You can always have more
WEAK: “I am on Twitter and just love it.”
platform, but trying to sell a book
before you have it will not help you.” BETTER: “I have more than 10,000 folBut fear not; this will pass. Building lowers on Twitter.”
a platform is like building a strucWEAK: “I do a lot of public speaking
ture—every brick helps. Every brick
on this subject.”
counts. Small steps aren’t bad. You
BETTER: “I present at 10 or more
must always consider what an action
events a year—sometimes as a keyhas to offer and if it can lead to bigger
note. The largest events have up to
and better things.
1,200 attendees.”
7. HAVE A PLAN, BUT BE
WILLING TO TWEAK IT.
At first, uncertainty will overwhelm
you. What are you going to blog
Besides visibility, another way to
about? How should you present yourthink about your platform is to
self when networking? Should your
examine your reach. You do not want Twitter handle be your name or the
to limit people’s abilities to find and
title of your book/brand? All these
contact you.
important questions deserve careful
I love when a member of the media thought early on. The earlier you have
finds my info online and contacts me. I a plan, the better off you will be in the
don’t mind when another writer sends long run—so don’t just jump in blind.
me an email with a random question.
The more you can diagram and strateI’ve made long-term friends that way— gize at the beginning, the clearer your
friends who have bought my book and road will be.
sung my praises to others. It’s called
As you step out and begin creatnetworking, and networking starts by
ing a writer platform, make sure
WEAK: “I run a blog that has won
awards from other friendly bloggers.”
BETTER: “My blog averages 75,000
page views each month and has grown
at a monthly rate of 8 percent over the
past year.”
Also, analyzing numbers will help
you see what is and isn’t working in
your platform plan, allowing you to
make healthy changes and let the strategy evolve. Numbers reflect the success
you’re having, so be sure to note—and
share—that success. YB
Excerpted from Create Your Writer Platform
© 2012 by Chuck Sambuchino, with
permission from Writer’s Digest Books.
WritersDigest.com
39
FOR YOUR REFERENCE
The 16th Annual
101 Best Websites
for Writers
Help us celebrate our most de—nitive annual list yet—a breadth
of resources for scribes of all types.
BY TIFFANY LUCKEY, WITH LAURA WOOFFITT
40 Writer’s Yearbook 2015
For easy reference, the list is
divided into nine sections: Creativity,
Writing Advice, Everything Agents,
General Resources, Publishing/
Marketing Resources, Jobs
and Markets, Online Writing
Communities, Genres/Niches and
Just for Fun. We’ve also included
symbols for a glimpse at what each
site offers: advice for writers, classes/
workshops/conferences, contests,
critique sections, e-newsletters/RSS
feeds, forums, content for young
writers, job listings that pay, markets
for your work and a Twitter feed. To
continue the fête, we’ve highlighted a
“Best of the Best” in each category—a
site that’s deserving of a closer look
from virtually every writer.
Join us in the festivities with this
essential roundup of useful resources
to keep your career moving forward.
To help us celebrate, all you have to
do is look on the next page.
KEY TO ICONS
Advice for Writers
For Young Writers
Classes/Workshops/Conferences
Jobs
Contests
Markets
Critiques
E-newsletter/RSS
Forums
On Twitter
# First Appearance on Our List
ILLUSTRATION © FOTOLIA.COM
T
he phrase Sweet 16 conjures
up images of celebration,
and we are reveling in a
Sweet 16 of our own: Writer’s
Digest’s 16th annual 101 Best
Websites for Writers—our
most festive list yet.
Each year we scour the Web and
comb through a bevy of nominations
submitted by the writing community
to spotlight the best websites catering to writers. We’ve narrowed down
the list to a carefully chosen mix of
sites that have earned a place in our
rankings because of their abundance
of useful resources. Some sites have
regained their spots after time away,
while newcomers (whose numbers are
circled in dark gray) make their grand
debuts. All are meant to provide you
with excellent information, inspiration
and advice—so you can spend less
time hunting online and more time
doing what you love: writing.
1–5
Creativity
BEST
OF THE
BEST
based on quotes by well-known scribes.
Writers can post their responses in the
comment section of each prompt or just
get inspired to continue their writing
journey on their own time.
5.
1. CREATIVITY PORTAL
creativity-portal.com
Spark your imagination with the
Creativity Portal. Alongside how-to
articles and exercises focused on
brainstorming ideas for your work,
check out this site’s Imagination
Prompt Generator, Travel Adventure
Writing Prompts and 100 Creativity
Interviews sections.
2. SIX-WORD MEMOIRS
sixwordmemoirs.com
Everyone has a story to tell—and sometimes it only takes six words to do it.
Register for free and submit your pintsized tale for a chance to be featured on
the site’s homepage.
3. THE STORY STARTER
thestorystarter.com
Now with more than 100 billion (!) random opening lines packed into this database, The Story Starter renders enough
ideas to jump-start your short stories,
novels, scripts and more. Kids can try
The Story Starter, Jr. (thestorystarter.
com/jr.htm), which generates more than
170,000 additional story openers.
4. THE WRITER’S JOURNEY
ROADMAP WITH AUTHOR
LAURA DAVIS
lauradavis.net/roadmap
Bestselling nonfiction author Laura
Davis posts a weekly prompt on her site
WRITING PROMPTS
writingprompts.tumblr.com
If your imagination runs on visual fuel,
head over to Writing Prompts on the
popular Tumblr platform. Here, you’ll
find writing prompts alongside stunning graphic images and photos to
ignite your creativity.
6–26
Writing Advice
6. DAILY WRITING TIPS
dailywritingtips.com
Get tips on fiction, freelance writing, grammar, style and more online, or become a
Pro Member ($9.90 monthly) to receive
these tips plus daily exercises, courses and
info on online writing jobs.
7. EVIL EDITOR
evileditor.blogspot.com
This humorous site dishes out toughlove advice on crafting queries, synopses
and the beginning chapters of a book.
8. GRAMMAR GIRL
Inspiration, Structuring Your Novel and
Editing Your Novel.
10. INKYGIRL
inkygirl.com
Children’s author and illustrator Debbie
Ridpath Ohi offers tips and inspiration
for writers of all levels through how-to
articles, author interviews and humorous
comics on the writing life. Be sure to also
follow Ohi’s highly active Twitter feed.
11. JANE FRIEDMAN
janefriedman.com
Writer’s Digest contributing editor Jane
Friedman helps writers build their
platforms with informative interviews,
guest blog posts and more. Search the
Free Advice For Writers segment for
archived tips on everything from writing
basics to pitching your novel to agents.
12.
JASON ALLEN ASHLOCK
jasonashlock.tumblr.com
Movable Type Management president
and The Rogue Reader co-founder Jason
Allen Ashlock helps authors and organizations find fresh approaches to publishing. His blog offers the latest news and
trends in the industry as well as his overall take on publishing, focusing mainly
on multimedia prospects.
13.
McCARTHY DIGITAL
quickanddirtytips.com/grammar-girl
mccarthy-digital.com
Grammar Girl Mignon Fogarty takes on
Book marketer Peter McCarthy shares
difficult grammar dilemmas that trip up
his expertise on how publishers and
even the most seasoned experts. Check
writers can stay ahead of the game by
out her podcasts, or read her tips on
incorporating strategic innovation through
punctuation, word usage and developonline advertising and social media.
ments on the English language.
HELPING WRITERS
BECOME AUTHORS
14. NATHAN BRANSFORD
helpingwritersbecomeauthors.com
Historical and speculative fiction
author K.M. Weiland uses her blog to
mentor other authors on novel writing.
Navigate the site to explore hundreds
of posts divided among five sections:
Characters, Writing Life, Writing
blog.nathanbransford.com
Both a published author and a former literary agent, Nathan Bransford offers
a balanced position on publishing.
Join the site’s forum and get direct feedback from Bransford on various facets of
the industry.
9.
WritersDigest.com
41
FOR YOUR REFERENCE
BEST
OF THE
BEST
15. A NEWBIE’S GUIDE
TO PUBLISHING
jakonrath.blogspot.com
If you’re wondering how to break
in and become a successful genre
writer, bestselling thriller author J.A.
Konrath offers his brutally honest
opinion on how to do just that—
whether by traditional publishing or
self-publishing. His end-of-the-year
Konrath’s Publishing Predictions are
usually eerily accurate.
16.
19.
THE SHATZKIN FILES
idealog.com
For the past 50 years, Mike Shatzkin has
worked in many roles in the publishing
industry: author, agent, bookseller and
marketing director. On The Shatzkin
Files, he presents his vast knowledge of
the industry to authors in clear, easy-tofollow posts.
20. STORYFIX
story—x.com
Get the scoop on what it takes to get your
book published with instructor Larry
Brooks’ no-nonsense guide to character
development, story structure and other
writing topics.
21. TERRIBLEMINDS
terribleminds.com/ramble/blog
Easily offended? Then this probably isn’t
the site for you. Author Chuck Wendig
doles out unadulterated advice on the ins
and outs of publishing.
NO RULES, JUST WRITE!
22. WORDSERVE WATER
norulesjustwrite.com
COOLER
New York Times bestselling writer CJ
wordservewatercooler.com
Lyons shares her experience as a hybrid
This community of agented authors (all
author (one who both traditionally and
represented by WordServe Literary)
self-publishes). Check out her popushares tips and tricks of the trade to
lar Frequently Asked Questions About
help other authors reach their publishPublishing section (norulesjustwrite.
ing goals.
com/category/faq) to begin your journey
on the path to publishing success.
23. WOW! WOMEN
ON WRITING
17. PLOT WHISPERER FOR
WRITERS AND READERS
and exposes scammers, keeping writers up to date on the latest schemes and
hoaxes in publishing.
25. WRITER UNBOXED
writerunboxed.com
A staple on the 101 list, Writer Unboxed
enlists top experts in the field, including
journalists and bestselling fiction authors,
to dole out business and craft advice to
aspiring writers.
26.
WRITERS IN THE STORM
writersinthestorm.wordpress.com
Writers must weather every storm in the
writing process, from deadlines to rejection to self-doubt. This blog helps you
do just that with inspiring, encouraging
articles and guest posts to support you on
your journey.
27–36
Everything Agents
27. ADVENTURES IN
AGENTLAND
adventuresinagentland.blogspot.com
Bradford Literary Agency’s Natalie M.
Lakosil runs this fun, energetic blog and
answers writers’ questions about queries
and submissions.
28. BABBLES FROM SCOTT
EAGAN
wow-womenonwriting.com
Helping to stimulate creativity throughplotwhisperer.blogspot.com
out all the stages of the writing process,
Writing instructor Martha Alderson helps WOW! is an e-zine devoted to raising the
you tackle your biggest plot problems
standards of the writing community. Be
with useful and practical advice. Sign up
sure to click on the Resources tab for a
for her e-zine and receive free monthly
collection of handy author sites, books for
plot tips in your inbox.
writers, critique groups and more.
scotteagan.blogspot.com
Scott Eagan, founder of Greyhaus
Literary Agency, cranks out a bevy of
posts each week on subjects ranging from
query revision to building your social
media presence.
18. PREDITORS & EDITORS
24. WRITER BEWARE
pred-ed.com
Protect yourself against industry scams.
Preditors & Editors offers the help you
need to bypass publishing scams and
fraudulent organizations.
accrispin.blogspot.com
Alhough co-founder A.C. Crispin
passed away in 2013, Writer Beware
lives on with co-founder and author
Victoria Strauss and contributor Michael
Capobianco. This watchdog group tracks
theblabbermouthblog.com
Headed by agent Linda Epstein of The
Jennifer De Chiara Literary Agency, this
blog is a great first stop for writers who
want advice on tried-and-true topics such
as crafting the first pages of a book and
agent preferences on submissions.
42 Writer’s Yearbook 2015
29.
THE BLABBERMOUTH BLOG
30. CARLY WATTERS, LITERARY
AGENT
34. RACHELLE GARDNER
carlywatters.com
Carly Watters of P.S. Literary Agency
instructs readers on important subjects
such as synopsis writing and how to offer
a critique, and also keeps readers abreast
of her own clients’ successes. rachellegardner.com
A mainstay on our annual list, agent
Rachelle Gardner of Books & Such
Literary Management shares helpful
advice on all facets of writing—from
craft to business to the future of
the industry.
31. DYSTEL & GODERICH
BEST
OF THE
BEST
LITERARY MANAGEMENT
RAPID-PROGRESSIVE:
THE BLOG
39. THE REVIEW REVIEW
dystel.com
Dystel & Goderich is a large agency with
a great number of agents writing for their
blog. Not only do they share insight and
opinions on the industry, they also frequently link to excellent articles writers
can enjoy.
victoriamarini.com/rapidprogressive-the-blog.html
We’re not sure Victoria Marini ever takes
a break. An agent at Gelfman Schneider
Literary Agency/ICM Partners, she
speaks at conferences, sells books and
runs an instructive blog on writing—
Rapid-Progressive. Soak up her enthusiasm and words of wisdom.
thereviewreview.net
If you’re looking for literary venues
for your work but are intimidated
by the vast number of journals
available, then head to The Review
Review. Read reviews of the latest
issues of a wide selection of mags
before submitting your work.
32
35.
LITERARY CARRIE
literarycarrie.blogspot.com
Carrie Pestritto of Prospect Agency
addresses unusual but helpful subjects on
publishing and writing and loops in the
opinions of others. Pestritto works with
many new writers and explains the
process from her end—which can help
scribes understand what it takes to be a
good client.
BEST
OF THE
BEST
36. SLUSHPILE HELL
slushpilehell.tumblr.com
A self-proclaimed “grumpy literary
agent” vents about query mistakes and
submission pet peeves on this blog. If
nothing else, it teaches you everything
not to do when querying.
37–41
General Resources
37. AUTHOR MEDIA
authormedia.com/blog
Author Media is all about helping
authors promote themselves online,
offering easy, step-by-step tutorials. Visit
its blog for tips on blogging, platform
building and more.
33. QUERYTRACKER
38.
querytracker.net
As far as free online resources for
writers go, QueryTracker is among
the best. The site helps you seek
agents and publishers and tracks your
submissions’ progress. Be sure to also
check out the accompanying blog for
publishing tips.
BABYNAMES.COM
40. SHAWGUIDES
writing.shawguides.com
Attending a writing conference or retreat
is a great way to meet industry experts
and other writers to broaden your circle
of connections. With ShawGuides, search
thousands of domestic and international
conferences to help you travel to your
writing destination.
41. UNITED STATES COPYRIGHT
OFFICE
copyright.gov
Protect yourself and your work by learning everything about copyrights. Look up
definitions, search frequently asked questions and stay up to date on fees.
42–51
Publishing/Marketing Resources
babynames.com
Coming up with names for your
characters is no simple task, but
BabyNames.com makes it a little easier.
The site not only provides a comprehensive resource of thousands of names
with origins and meanings, it also has
a Tips for Writers section dedicated to
character naming.
42. THE BOOK DESIGNER
thebookdesigner.com
Need help with self-publishing your
work? Visit this site for a slew of
resources including articles on book
planning and marketing and helpful
information for indie authors on the
WritersDigest.com
43
FOR YOUR REFERENCE
importance of creating great designs for
their books.
theindependentpublishing
magazine.com
With the constant changes in the indus43. BOSACKS
try, this online magazine has narrowed
bosacks.com
its focus to independent and selfFor more than four decades, media guru publishing. Founder and Editor Mick
Bob Sacks has been sharing poignant
Rooney offers an excellent source of
industry news alongside his fair-minded news and developments in the industry,
commentary through his e-newsletters. as well as his consulting services (check
Sign up for his popular mailings, and
site for pricing).
don’t forget to check his daily blog posts
on book and magazine publishing.
47. MARIAN SCHEMBARI
BEST
OF THE
BEST
marianlibrarian.com
Marian Schembari, who successfully
used a Facebook ad to land a job as an
associate publicist at Jane Wesman Public
Relations in 2009, gives advice on publicizing your work via social media and
other online platforms.
48. MASHABLE
44. THE COALITION OF
INDEPENDENT AUTHORS
AND PUBLISHERS
coalition-independent-authors.
com
Created by a group of self-published
writers, The Coalition of Independent
Authors and Publishers offers a place
for independent authors to promote
their books (fees range from free to
$30 a year). Join this supportive community of writers and get the exposure you need for your work.
mashable.com
Read Mashable daily to stay ahead of the
curve on social and digital media, technology and the Web.
thecreativepenn.com
Though fairly new to publishing, independent author Joanna Penn has a keen
perspective on the industry. Visit her site
for her blog posts on the writing life and
podcast interviews with agents, authors,
publishers and book marketers.
46. THE INDEPENDENT
PUBLISHING MAGAZINE
44 Writer’s Yearbook 2015
Jobs & Markets
52. ALL INDIE WRITERS
allindiewriters.com
Formerly All Freelance Writing, this site
allows you to browse its writing directories for free to find leads on new paying freelance jobs. Search by category or
specific markets.
53. ED2010
ed2010.com
Learn the secrets of the trade from these
young magazine editors who offer writing advice as well as opportunities to
meet other magazine professionals in
your area. Be sure to scope the Whisper
Jobs section, too, for both freelance
and full-time magazine jobs as well as
internship postings.
54. FREELANCE WRITING JOBS
49. PUBLETARIAT
freelancewritinggigs.com
publetariat.com
Check out the latest freelance gigs—
Run by self-publisher April L. Hamilton
including those originally appearing on
(author of The Indie Author Guide, from
Craigslist,
Dice and other online venues—
Writer’s Digest Books), this online news
daily
on
this
useful site.
hub is specifically for small, independent
presses and self-published authors. Check
out the Write and Sell sections for tips on 55. FREELANCE WRITING
ORGANIZATION-INT’L
craft and platform building, respectively.
50. SETH’S BLOG
45. THE CREATIVE PENN
52–59
sethgodin.typepad.com
Bestselling author and entrepreneur
Seth Godin has mastered the skill of
self-marketing and promotion. He
shares his expertise and insight with
daily blog posts.
51.
WRITERCUBE
bookmarketingdb.com
Search this free database of more than
20,000 listings of marketing resources
for writers, including bloggers, book
designers, literary magazines and other
media contacts.
fwointl.com
For easy access, download this site’s
free writing resources toolbar and get
instant access to thousands of job listings and resources, as well as info on
writing grants.
56. FUNDS FOR WRITERS
fundsforwriters.com
Author C. Hope Clark supplies
information on fellowships, grants,
contests and other monetary
opportunities for writers.
BEST
OF THE
BEST
freelancing, book publishing and
editing—so you’ll be in good company.
61. CRITIQUE CIRCLE
57. JOURNALISMJOBS.COM
journalismjobs.com
Journalists and reporters, unite! As
one of the largest and most-visited
resources for journalism jobs, this
site is your one-stop shop for fulltime, part-time and freelance job
listings. Filter your search by specific
industry, position, location or status
to find your next gig.
58. THE MARKET LIST
critiquecircle.com
All ages and experience levels are
welcome to this highly active online
community. Here you’ll find writers of
all genres and tools to track submissions,
measure manuscript progress, generate
characters and more.
62. CRITTERS WORKSHOP
critters.org
Andrew Burt, a former vice president of
the Science Fiction & Fantasy Writers
of America, founded this site as a
critique group for serious writers in
the genre. Still focused mainly on sci-fi,
fantasy and horror, Critters Workshop
is now a hub where almost any writer
in any genre can benefit and improve
his craft.
marketlist.com
If you’re looking to publish genre fiction,
this site is for you. The Market List specializes in magazine and book listings, agents
and other resources for writers of young
adult, mysteries, science fiction and more.
BEST
OF THE
BEST
60–68
Online Writing Communities
60. ABSOLUTE WRITE
absolutewrite.com
With nearly 60,000 members (and
counting), the Absolute Write Water
Cooler is a terrific forum where advice
and discussion flow freely. And many
of the members have experience in
65. NATIONAL NOVEL
WRITING MONTH
nanowrimo.org
Take part in the annual NaNoWriMo
challenge in November by churning
out a 50,000-word novel, or partake in
Camp NaNoWriMo (campnanowrimo.
org)—lighter versions of the challenge
held in April and July. Use these sites
to connect with other participants and
to track your book’s progress with the
online word counters.
66. REVIEW FUSE
reviewfuse.com
Give and you shall receive: For every four
reviews of others’ works you complete,
you get three back. And no one but those
with a free membership to the site can
access those reviews, as all critiques are
done behind the privacy of a wall.
67.
59. MEDIABISTRO
mediabistro.com
Mediabistro remains a top resource for
freelancers, keeping them up to date
with the latest scoop on industry news,
workshops, contests and job offerings.
Join My Writers Circle, and submit
your material to the workshop section
to receive straightforward and helpful
feedback from fellow scribes.
63. MOONTOWNCAFE.COM
moontowncafe.com
Billed as a social networking
site that caters mostly to poets,
MoonTownCafe.com allows you
to create your own free My Café
account to connect with other
writers and share your poetry. The
site is also filled with contests, free
poems, YouTube videos and more.
64. MY WRITERS CIRCLE
mywriterscircle.com
SCRIBOPHILE
scribophile.com
Scribophile is a free writing group
that works on a karma points system.
Members earn points by critiquing the
works of others; they can then spend
those points to post their own work to
garner feedback. Be sure to also check
out the forums and blog for writing tips
and tricks.
68. THE YOUNG
WRITERS SOCIETY
youngwriterssociety.com
The Young Writers Society is a free online
community for scribes in their pre-teens
to early 20s, with the mission to “promote
creative writing as a pastime.” Five new
works that receive the most “likes” within
24 hours are displayed on the site’s
homepage—a nice incentive.
WritersDigest.com
45
FOR YOUR REFERENCE
69–96
72.
Genres/Niches
CHILDREN’S/YA
69. ADVENTURES IN YA
PUBLISHING
childrenspublishing.blogspot.com
This group of YA authors helps make the
trek to publishing success easier with
advice for writers in the genre. Posts
cover finding an agent, landing book
deals and more.
70. RACHELLE BURK’S
RESOURCES FOR CHILDREN’S
WRITERS
resourcesforchildrenswriters.
blogspot.com
Famed children’s author Rachelle Burk
shares hundreds of links to articles for
children’s writers. Find resources on everything from publishing tips to techniques
for networking with other authors.
BEST
OF THE
BEST
YA HIGHWAY
www.yahighway.com
Take a drive on the YA Highway and join
this union of young adult authors on a
road trip to writing success. Make a pit
stop on the site’s Publishing Road Map
for tips on setting and world building,
choosing the right point of view, landing
book deals and much more.
FANTASY/SCIENCE FICTION
73. SCIENCE FICTION &
FANTASY WRITERS OF
AMERICA
sfwa.org
A paid membership to this organization
($70–110, with the requirement of being
published in the genre) grants access to the
site’s forums and personal support from
SFWA. But content won the latest sci-fi
news, book releases, writing tips and more
is available for free to nonmembers.
FREELANCE
74. FREELANCEWRITING
71. SOCIETY OF CHILDREN’S
BOOK WRITERS &
ILLUSTRATORS
scbwi.org
If you write children’s books, then
this site is a must, with information
on grants, awards, conferences and
more specific to the genre. While
most of the info is available to nonmembers, signing up for an SCBWI
membership ($95 for the first year,
$80 per year after that) grants access
to the bimonthly magazine The
SCBWI Bulletin, discussion forums
and info on the genre’s markets,
publishers and agents.
freelancewriting.com
Founded in 1997, FreelanceWriting
helps writers become profitable freelancers by showcasing more than a
thousand articles on perfecting the craft,
from business writing to copywriting to
querying magazines.
75.
MAKE A LIVING WRITING
makealivingwriting.com
Award-winning writer Carol Tice shares
her expertise on the best ways to make a
successful career as a freelancer. Have a
specific question? Ask it in the Answers to
100 Freelance Questions—Including Yours
section, and Tice will answer directly in
the comments section.
76. THE RENEGADE WRITER
therenegadewriter.com
46 Writer’s Yearbook 2015
Take the calculated risk of throwing out
the rulebook of freelance writing and do
what’s best for you with help from renegades Linda Formichelli (author of Writer
Digest’s Conference Scene column) and
Diana Burrell.
HORROR
77. DARK MARKETS
darkmarkets.com
Write horror, but find it difficult to track
down markets in your genre? Dark
Markets makes that task much easier: The
online hub features literary magazines,
e-zines, book publishers, anthologies and
contests exclusively for horror writers.
78. HORROR WRITERS
ASSOCIATION
horror.org/writetips.htm
Get tips on boosting your craft with
the bounty of helpful articles and links
from the Horror Writers Association.
Consider a paid membership ($21–115,
open to writers at all levels) and get
special access to members-only markets,
the discussion forums and the twicemonthly newsletter.
MYSTERY/CRIME
79. JUNGLE RED WRITERS
jungleredwriters.com
Described as “‘The View’ with bodies,” seven crime fiction authors (many
of them bestselling) serve up all things
writing related—and do it with a side
of sass.
80. MYSTERY WRITERS
OF AMERICA
mysterywriters.org
Join this community of mystery authors
($95 yearly) and get special access to the
organization’s The Third Degree newsletter, discounts to numerous entertainment venues, admission to the MWA
University one-day conference and more.
Nonmembers can access info on classes
and contests for free.
POETRY
81. POETRY DAILY
poems.com
Poetry Daily features a new poem from
recent books and literary journals daily,
with a year’s worth of previous content archived for easy browsing. Sign up
for the free weekly e-newsletter for the
scoop on up-and-coming poets, special
editorial features and poetry reviews.
82. POETRY FOUNDATION
poetryfoundation.org
Spearheaded by Poetry magazine, this
independent organization celebrates
the best in American poetry, past and
present. The site offers an abundance of
resources including craft advice, podcasts, content for children, and Harriet,
a blog that features special guest poets
on a monthly rotation.
83. POETRY SOCIETY OF
AMERICA
poetrysociety.org
Check out the official site of the Poetry
Society of America to stay current on
annual poetry contests, awards and
fellowships. The organization is also
behind the poetic initiatives Poetry in
Motion and Poem in Your Pocket Day.
84. POETS.ORG
poets.org
The Academy of American Poets’ official
website includes a poetry map to help you
find poets, events and writing programs
in your surrounding area. Receive a new
poem by a contemporary poet daily by
signing up for the e-newsletter.
85.
THEthe POETRY
thethepoetry.com
Taking its name from a line in Wallace
Stevens’ poem “The Man on the Dump,”
THEthe Poetry blog is a forum for
poetic ideas, exploring poetic aspects
in fiction, nonfiction, music, film and
visual art. The blog is driven by a core
community of friends who see poetry in
everyday life.
Frankenweenie), shares his expertise on
the craft and business on his minimalist
yet visually stunning blog. He also produces a podcast series called Scriptnotes
with screenwriter Craig Mazin; the most
recent 20 episodes are available for free
on the site.
ROMANCE
86. ROMANCE DIVAS
romancedivas.com
Romance authors and divas Jax Cassidy
and Kristen Painter are here to help you
get serious about writing and publishing
romance—and to have fun while doing
it. The forum provides a community of
support to those in the genre, offering
advice on all aspects of the field.
87. ROMANCE UNIVERSITY
romanceuniversity.org
Need hands-on training in crafting romance? Romance University
offers free online lectures three days a
week: Crafting Your Career (Monday),
Anatomy of the Mind (Wednesday) and
Chaos Theory of Writing (Friday) to
help aspiring romance writers succeed
in the genre.
88. ROMANCE WRITERS OF
AMERICA
rwa.org
Join a community of more than
10,200 romance writers and find the
latest news and resources on the genre.
Many of the features on the RWA site
are free to browse, but a membership
($95 annually) is required to access the
forum and info on scholarships and
other funds.
90. MOVIEBYTES
moviebytes.com
Get the latest info on screenwriting
markets and contests on MovieBytes.
Subscribe to the e-newsletter to have those
listings sent directly to your inbox.
91. THE SCRIPT LAB
thescriptlab.com
The Script Lab is a comprehensive
screenwriting resource, from the basics
of the craft to breaking into the field.
The site also provides downloadable
links to full scripts of recent award-winning movies.
SPIRITUAL
MORMON MOMMY
WRITERS
92.
mormonmommywriters.
blogspot.com
This group of Mormon authors (many of
them published), who are also mothers,
share their inspiring commentary on the
writing life with likeminded individuals.
93. SEEKERVILLE
seekerville.blogspot.com
Seek a spiritual boost and support from
(who else?) The Seekers, a league of 13
published Christian writers who offer
encouragement and information on the
writing process.
THRILLER
SCREENWRITING
94. INTERNATIONAL
89. JOHN AUGUST
THRILLER WRITERS
johnaugust.com
Screenwriter John August, who’s written numerous movies (including the
Tim Burton projects Big Fish and
thrillerwriters.org
As the premier association for writers
of thrillers, ITW has more than 1,500
members who represent 22 countries,
WritersDigest.com
47
FOR YOUR REFERENCE
BEYOND 101: THE WRITER’S DIGEST FAMILY OF SITES
WritersDigest.com: For everything writing-related,
WritersDigest.com/editor-blogs: Get the writing
check out WD’s online hub of free articles and downloads.
advice you need with a friendly, authoritative voice. Our
Make it your virtual writing home for useful craft tips, practi-
family of WD bloggers has you covered, ranging from staff-
cal career advice, creativity-sparking prompts and more.
led discussions of writing and publishing to poetry, agent
news and more.
WritersMarket.com: Along with 9,000-plus market
listings updated daily, subscribers receive submission
DigitalBookWorld.com: DBW offers year-round
trackers, articles, industry updates and more. Annual, six-
education, networking and resources, online and off, for
month and monthly paid subscriptions are available.
publishing professionals and their partners.
WritersDigestUniversity.com: Get one-on-one
ScriptMag.com: Script Magazine is a vital online
instruction from professional authors in the comfort of your
resource in the screenwriting world—delivering essential
own home. WDU classes start year-round and cover every-
advice and must-read news on craft, spec-scripts, film festi-
thing from grammar to novel writing to marketing.
vals, how to make it in Hollywood, and more.
including New York Times bestselling
authors James Patterson, R.L. Stine and
Catherine Coulter. Sign up to receive its
free monthly e-zine, The Big Thrill, to
get the latest scoop on the genre, author
interviews and more. Be sure to check
out its annual ThrillerFest event.
95. THE KILL ZONE
killzoneauthors.blogspot.com
Get insider industry perspectives from 11
of today’s hottest thriller writers, including
James Scott Bell (a regular Writer’s Digest
contributor), Jordan Dane and PJ Parrish.
96. MURDER BY 4
murderby4.blogspot.com
These authors (who mostly post about
thrillers but are open to discuss just
about any genre) have joined forces
to share their writing lives openly and
honestly on this forum. Murder By 4
includes the latest industry news, writing tips, book reviews and more.
97–101
Just For Fun
48 Writer’s Yearbook 2015
97. BO’S CAFÉ LIFE
boscafelife.wordpress.com
Get a daily jolt of laughter from Bo’s
Café Life, a comic strip by Wayne E.
Pollard on the novel writing life.
sign up for DailyLit to receive free
daily installments, via email, of
classic and contemporary works of
literature such as Anna Karenina
and Little Brother.
98. BOOKMOOCH
bookmooch.com
Here’s how BookMooch, a book swapping 100. LITERARY REJECTIONS ON
program, works: List the books you want DISPLAY
to swap, receive requests from others for
literaryrejectionsondisplay.
your books, mail those books and receive blogspot.com
points, then ask for books from other
Literary Rejections on Display posts
members with your earned points. It’s a
anonymous query rejections from
great way to keep your bookshelf fresh!
magazines, agents and book publishers
sent by readers. This highly entertaining
site is for any writer looking for a better
BEST
OF THE
outlet to cope with dismissals from
BEST
industry experts.
101. WORDSMITH
99. DAILYLIT
dailylit.com
Want to read a lengthy book but
can’t find the time to do it? Then
wordsmith.org
If you’re a logophile (that is, a lover
of words), sign up for Wordsmith’s
A.Word.A.Day e-newsletter to expand
your vocabulary and discover new
locutions to impress your writerly colleagues and friends. YB
The Top 100
Markets for
Book & Magazine
Writers
Our annual list will help you spend less time
—nding markets to pitch and more time writing.
PHOTO © FOTOLIA.COM
BY KARA GEBHART UHL
WritersDigest.com
49
FOR YOUR REFERENCE
F
or many writers, pitching a
beloved book manuscript or
fantastic idea for a feature article falls somewhere between
“doing taxes” and “seeing your
name in print” on the writinglife spectrum. At times, finding just the right market for your work
can become a long, tedious process
that takes you away from developing your characters, or interviewing
subjects—but you understand that it’s
necessary for publication success.
Well, we’re here to help you track
down that perfect market.
With help from the latest edition
of Writer’s Market (Writer’s Digest
Books), we’ve spent hours combing
through hundreds of market listings, pinpointing 100 great ones—50
book publishers open to first-time or
unagented authors, and 50 magazines
looking for new contributing writers.
The markets were chosen based
on specific criteria. The book publishers were selected because of their
willingness to accept work from both
unagented and established authors in
a wide range of genres, both fiction
MARKET LINGO
BIO:
CIRC:
Author biography briefly highlighting your credentials
and nonfiction. For easy reference, the
publishers are arranged alphabetically.
All magazines listed here draw at
least 50 percent of their content from
freelancers, boast a solid pay rate and
are currently open to submissions. To
facilitate your search, these listings are
grouped by subject matter. (Want to
write about history? There’s a magazine for that. What about gardening?
There’s one for that, too.)
Although the listings were current
at press time, it’s always good to check
for any updates and changes on the
magazine or publisher’s website, as the
industry is constantly changing.
Now, get ready to submit or query,
because the search for the right market for your work has just gotten easier.
The number of copies a magazine distributes
BOOK PUBLISHERS
CLIPS:
KILL FEE:
MS(S):
QUERY:
Samples of a writer’s published work
Fee for a complete article that was assigned and later canceled
Manuscript(s)
A letter that pitches a book or article you’d like to write
(typically for nonfiction) or have written (typically for fiction)
SASE:
Self-addressed stamped envelope
50 Writer’s Yearbook 2015
1. ANVIL PRESS
“Anvil Press publishes contemporary adult
fiction, poetry and drama, giving voice
to up-and-coming Canadian writers,
exploring all literary genres, [and] discovering, nurturing and promoting new
Canadian literary talent.” P.O. Box 3008
MPO, Vancouver, BC V6B 3X5, Canada.
(604)876-8710.
FAX: (604)879-2667.
EMAIL: [email protected].
WEBSITE: www.anvilpress.com.
CONTACT: Brian Kaufman, publisher.
NEEDS: Creative nonfiction, contemporary fiction, modern literature, literary fiction, short-story collections, poetry.
RECENT TITLES: Sensational Vancouver
by Eve Lazarus; Mirror on the Floor by
George Bowering; The Delusionist by
Grant Buday.
TIPS: “Audience is informed, educated,
aware, with an opinion, culturally active
(films, books, the performing arts). No U.S.
authors. Research the appropriate publisher for your work.”
2. ARBORDALE PUBLISHING
“The picture books we publish are usually, but not always, fictional stories that
relate to animals, nature, the environment,
math and science. All books should subtly convey an educational theme through
a warm story that is fun to read and that
will grab a child’s attention.” 612 Johnnie
Dodds, Suite A2, Mt. Pleasant, SC 29464.
(843)971-6722; (843)216-3804.
EMAIL: [email protected];
[email protected].
WEBSITE: www.arbordalepublishing.com.
CONTACT: Donna German, editor; Katie
Hall, associate editor.
NONFICTION NEEDS: Science, math.
FICTION NEEDS: Picture books (animal,
folktales, nature/environment, mathrelated), no more than 1,500 words.
RECENT TITLES: The Beavers’ Busy Year
by Mary Holland; Daisylocks by Marianne
Berkes; Kali’s Story: An Orphaned Polar
Bear Rescue by Jennifer Keats Curtis.
TIPS: “Please make sure that you have
looked at our website to read our complete
submission guidelines and to see if we’re
looking for a particular subject. Mss must
meet all four of our stated criteria. We
want the children excited about the books.
We envision the books being used at home
and in the classroom.”
3. ARTE PÚBLICO PRESS
“Arte Público Press is the oldest and largest publisher of Hispanic literature for
children and adults in the United States.”
University of Houston, 4902 Gulf Fwy.,
Bldg. 19, Room 100, Houston, TX 77204.
FAX: (713)743-2847.
EMAIL: [email protected].
WEBSITE: artepublicopress.uh.edu/
arte-publico-wp.
CONTACT: Nicolas Kanellos, editor.
NONFICTION NEEDS: Hispanic civil
rights issues for a new series, The Hispanic
Civil Rights; ethnic; language; regional;
translation; women’s issues; women’s studies.
FICTION NEEDS: Contemporary, ethnic, literary, mainstream—“written by
U.S.-Hispanics.”
POETRY NEEDS: All forms.
RECENT TITLES: Feminism, Nation and
Myth: La Malinche edited by Rolando
Romaro and Amanda Nolacea Harris; Sofía
and the Purple Dress by Diane Gonzales
Bertrand; Kick the Ball/Pateo el Balón by
Gwendolyn Zepeda.
TIPS: “Include a cover letter in which you
‘sell’ your book—why should we publish
the book, who will want to read it, why
does it matter, etc. Use our ms submission
online form.”
4. AUTUMN HOUSE PRESS
“We’re a nonprofit literary press specializing in high-quality poetry, fiction and
nonfiction.” 87½ Westwood St., Pittsburgh,
PA 15211. (412)381-4261.
EMAIL: [email protected].
WEBSITE: www.autumnhouse.org.
CONTACT: Michael Simms, editor-in-chief
(fiction); Sharon Dilworth, fiction editor.
NEEDS: Memoirs, literary, poetry.
RECENT TITLES: Mass of the Forgotten:
Poems by James Tolan; A Poet’s Sourcebook:
Writings About Poetry, From the Ancient
World to the Present edited by Dawn
Potter; Bear Season by Katherine Ayres.
TIPS: “Please note that Autumn House
accepts unsolicited mss only through its
competitions. The competition to publish
with Autumn House is very tough. Submit
only your best work.”
5. BARRICADE BOOKS
“Barricade Books publishes nonfiction,
mostly of the controversial type, and
books we can promote with authors who
can talk about their topics on radio and
television and to the press.” 185 Bridge
Plaza N., Suite 309, Fort Lee, NJ 07024.
(201)944-7600.
FAX: (201)917-4951.
WEBSITE: www.barricadebooks.com.
CONTACT: Carole Stuart, publisher.
NONFICTION NEEDS: Business, economics, ethnic, gay, lesbian, government, politics, health, medicine, history, nature, environment, psychology, sociology, true crime.
RECENT TITLES: Pickett’s Charge by
Bruce Mowday; The Violent Years by
Paul R. Kavieff; Gangsters of Miami by
Ron Chepesiuk.
TIPS: “We look for quality nonfiction
mss—preferably with a controversial lean.
Do your homework. Visit bookshops to
find publishers who are doing the kinds of
books you want to write. Always submit to
a person—not just ‘Editor.’”
6. BLACK MOUNTAIN PRESS
“Black Mountain Press is dedicated to
promoting work of emerging authors of
literary poetry, novels and short stories.” P.O. Box 9907, Asheville, NC 28815.
(828)273-3332.
EMAIL: jackmoe@theblackmountain
press.com.
WEBSITE: www.theblackmountain
press.com.
CONTACT: Jack Moe (how-to, poetry) and
James Robiningski (short-story collections,
novels), editors.
NONFICTION NEEDS: Coffee table books,
how-to, self-help. Subjects include architecture, art, language, literature, sports.
FICTION NEEDS: Comic books, experimental, literary, short-story collections.
POETRY NEEDS: All forms, including
poetry-in-translation.
RECENT TITLES: After the Octopus by
Mark Spitzer; The Hoards of Torment by
William R. Hincy; Miami: A Survivor’s Tale
by Frank Abram.
TIPS: “Don’t be afraid of sending your
anti-government, anti-religion, anti-art,
anti-literature, experimental, avant-garde
efforts here. But don’t send your work
before it’s fully cooked. We do, however,
enjoy fresh, natural and sometimes even
raw material, just don’t send in anything
that is ‘glowing. …’”
WritersDigest.com
51
FOR YOUR REFERENCE
7. BREWERS PUBLICATIONS 9. CARDOZA PUBLISHING
“BP is the largest publisher of contempo“Cardoza is the foremost gaming and gamrary and relevant brewing literature for
bling publisher in the world with a library
today’s craft brewers and homebrewers.”
of more than 200 up-to-date and easy-toImprint of Brewers Association, P.O. Box
read books and strategies.” 5473 S. Eastern
2072, Georgetown, TX 78627.
Ave., Las Vegas, NV 89119.
EMAIL: [email protected].
EMAIL: [email protected].
WEBSITE: www.brewerspublications.com. WEBSITE: www.cardozapub.com.
CONTACT: Kristi Switzer, publisher.
CONTACT: Acquisitions editor.
NONFICTION NEEDS: Homebrewing,
NONFICTION NEEDS: Hobbies, gaming,
professional brewing, starting a brewery,
gambling, backgammon, chess, card games.
“books on particular styles of beer, industry RECENT TITLES: 100 Bridge Problems by
trends, ingredients, processes and the occa- Mike Cappelletti; Book My Vegas!: Top
sional broader interest title on cooking or
10 Las Vegas Lists by Avery Cardoza and
the history/impact of beer in our society.”
Ron Charles; Lottery Super System by
RECENT TITLES: American Sour
Professor Zing.
Beers: Innovative Techniques for Mixed
TIPS: “Publishes exclusively gaming and
Fermentations by Michael Tonsmeire;
gambling titles. Audience is professional
Water: A Comprehensive Guide for Brewers and recreational gamblers, chess players
by John Palmer and Colin Kaminski; The
[and] card players. Currently seeking more
Brewers Association’s Guide to Starting Your books on various non-casino card games,
Own Brewery by Dick Cantwell.
such as bridge, hearts, spades, gin rummy
or canasta.”
8. BY LIGHT UNSEEN MEDIA
“Our mission is to explore and celebrate the
variety, imagination and ambiguities of the
vampire theme in fiction, history and the
human psyche.” P.O. Box 1233, Pepperell,
MA 01463. (978)433-8866.
FAX: (978)433-8866.
EMAIL: vyrdolak@bylightunseen
media.com.
WEBSITE: www.bylightunseenmedia.com.
CONTACT: Inanna Arthen, owner/
editor-in-chief.
NONFICTION NEEDS: Alternative lifestyles, contemporary culture, creative nonfiction, history, language, literary criticism,
New Age, science, social sciences, folklore,
popular media.
FICTION NEEDS: Fantasy, gay, gothic,
horror, lesbian, mystery, occult, sci-fi,
short-story collections, suspense, western, YA.
RECENT TITLES: All the Shadows of the
Rainbow by Inanna Arthen; Nocturnes
in Purgatory by Joseph Armstead; City of
Promise by Dawn Prough.
TIPS: “We strongly urge authors to familiarize themselves with the vampire genre and
not imagine that they’re doing something
new and amazingly different just because
they’re not imitating the current fad.”
52 Writer’s Yearbook 2015
Two by Christi Silbaugh; The Holy Ghost
Is Like a Blanket by Annalisa Hall; Willow
Springs by Carolyn Steele.
TIPS: “Our audience is rural, conservative,
mainstream. The first page of your ms is
very important because we start reading
every submission, but good writing and
plot keep us reading.”
11. CHELSEA GREEN
PUBLISHING CO.
“Since 1984, Chelsea Green has been the
publishing leader for books on the politics
and practice of sustainable living.” 85 N.
Main St., Suite 120, White River Junction,
VT 05001. (802)295-6300.
FAX: (802)295-6444.
EMAIL: [email protected].
WEBSITE: www.chelseagreen.com.
NONFICTION NEEDS: Agriculture, alternative lifestyles, ethical and sustainable
business, environment, food, organic gardening, health, green building, progressive
politics, science, social justice, simple living, renewable energy and other sustain10. CEDAR FORT INC.
ability topics.
“We want to publish uplifting and edifying
RECENT TITLES: In the Company of Bears
books [geared toward the Church of Jesus
by Benjamin Kilham; The Tao of Vegetable
Christ of Latter-day Saints market] that
Gardening by Carol Deppe; Energy
help people think about what is imporRevolution by Howard Johns.
tant in life, books people enjoy reading to
relax and feel better about themselves, and TIPS: “It would be helpful for prospective
authors to have a look at several of our
books to help improve lives.” 2373 W. 700
current books, as well as our website.”
S., Springville, UT 84663. (801)489-4084.
FAX: (801)489-1097.
12. CHRONICLE BOOKS
WEBSITE: www.cedarfort.com.
FOR CHILDREN
CONTACT: Acquisitions editor.
“Our aim is to publish books that inspire
NONFICTION NEEDS: Agriculture,
young readers to learn and grow creatively
Americana, animals, anthropology,
while helping them discover the joy of
archeology, business, child guidance,
reading. We’re looking for quirky, bold artcommunications, cooking, crafts, crework and subject matter.” 680 Second St.,
ative nonfiction, economics, education,
food, gardening, health, history, hobbies, San Francisco, CA 94107. (415)537-4200.
FAX: (415)537-4460.
horticulture, house and home, military,
EMAIL: [email protected].
nature, recreation, regional, religion,
social sciences, spirituality, war, women’s WEBSITE: www.chroniclekids.com.
NONFICTION NEEDS: Animals, art,
issues, YA.
architecture, multicultural, nature, enviFICTION NEEDS: Adventure, contemporonment, science.
rary, fantasy, historical, humor, juvenile,
FICTION NEEDS: Mainstream, contemliterary, mainstream, military, multicultural, mystery, regional, religious, romance, porary, multicultural, middle-grade, YA,
sci-fi, spiritual, sports, suspense, war, west- chapter books.
RECENT TITLES: The Meaning of Maggie
ern, YA.
by Megan Jean Sovern; Here Comes
RECENT TITLES: Gourmet Cooking for
Destructosaurus! by Aaron Reynolds; The
Falconer by Elizabeth May.
TIPS: “We’re interested in projects that
have a unique bent to them—be it in subject matter, writing style or illustrative
technique. As a small list, we’re looking for
books that will lend our list a distinctive
flavor. Primarily we’re interested in fiction
and nonfiction picture books for children
ages up to 8 years, and nonfiction books
for children ages up to 12 years.”
13. CRESCENT MOON
PUBLISHING
“Our mission is to publish the best in contemporary work, in poetry, fiction and critical studies.” P.O. Box 393, Maidstone Kent,
ME14 5XU, U.K. (44)(162)272-9593
EMAIL: [email protected].
WEBSITE: www.crescentmoon.org.uk.
CONTACT: Jeremy Robinson, director.
NONFICTION NEEDS: Americana, art,
architecture, gardening, government, politics, language, literature, music, dance,
philosophy, religion, travel, women’s
issues, women’s studies, cinema, media,
cultural studies.
FICTION NEEDS: Erotica, experimental,
feminist, gay, lesbian, literary, short-story
collections, translation. “We don’t publish
much fiction at present but will consider
high-quality new work.”
POETRY NEEDS: “We prefer a small selection of the poet’s very best work at first.
We prefer free verse or nonrhyming poetry.
Don’t send too much material.”
RECENT TITLES: The James Bond Movies
of the 1980s by Thomas A. Christie;
Homeground: The Kate Bush Magazine
(Anthology Two: “The Red Shoes” to “50
Words for Snow”) edited by Krystyna
Fitzgerald-Morris, Peter Fitzgerald-Morris
and Dave Cross (Editor); Principles of
Shamanism by Leo Rutherford.
TIPS: “Our audience is interested in new
contemporary writing.”
14. DAW BOOKS INC.
“DAW Books publishes science fiction and
fantasy.” Penguin Group, 375 Hudson St.,
New York, NY 10014.
(212)366-2096.
FAX: (212)366-2090.
EMAIL: [email protected].
WEBSITE: www.dawbooks.com.
CONTACT: Peter Stampfel, editorial director/submissions editor.
FICTION NEEDS: Fantasy, sci-fi.
RECENT TITLES: Sparrow Hill Road by
Seanan McGuire; Closer to Home: Book
One of Herald Spy by Mercedes Lackey;
Peacemaker by C.J. Cherryh; The Slow
Regard of Silent Things by Patrick Rothfuss.
TIPS: “Currently seeking modern
urban fantasy and paranormals. We like
character-driven books with appealing
protagonists, engaging plots and wellconstructed worlds.”
Shirley Adler; Awesome Duct Tape
Projects by Choly Knight; Compound
Christmas Ornaments for the Scroll Saw
by Diana L. Thompson.
TIPS: “We’re looking for knowledgeable
artists, craftspeople and woodworkers, all
experts in their fields, to write books of lasting value.”
17. FREDERICK FELL
PUBLISHERS INC.
16. FOX CHAPEL
PUBLISHING
“First established in 1943, Frederick Fell
Publishers has continued to be a leading trade independent book publisher
in the United States due to its commitment to excellence.” 2131 Hollywood
Blvd., Suite 305, Hollywood, FL 33020.
(954)925-5242.
FAX: (954)455-4243.
WEBSITE: www.fellpub.com.
CONTACT: Senior editor.
NONFICTION NEEDS: Business, economics, child guidance, education, ethnic, film,
cinema, stage, health, medicine, hobbies,
money, finance, spirituality.
RECENT TITLES: The Complete Guide to
Memory Mastery by Harry Lorayne; So
You Want to Flyfish? by Mark D. Williams
and Chad McPhail; Sex Ed Uncensored by
Taylor Puck.
TIPS: “We’re most interested in well-written, timely nonfiction with strong sales
potential. We will not consider topics that
appeal to a small, select audience. Learn
markets and be prepared to help with sales
and promotion. Show us how your book is
unique or better than the competition.”
“We inspire and inform readers who enjoy
a variety of crafts and hobbies, including
woodworking, jewelry making, scrapbooking, sewing, boating, backyard farming,
wine and beer-making, and much more.”
1970 Broad St., East Petersburg, PA 17520.
(800)457-9112.
FAX: (717)560-4702.
EMAIL: acquisitions@foxchapel
publishing.com.
WEBSITE: www.foxchapelpublishing.com.
CONTACT: Peg Couch, acquisitions editor.
NONFICTION NEEDS: Woodworking,
crafting, gardening, do-it-yourself projects,
cooking/food.
RECENT TITLES: Carving Spoons by
“We publish books that enrich and inspire
humankind.” P.O. Box 667, Layton, UT
84041. (801)544-9800.
FAX: (801)546-8853.
EMAIL: [email protected]; duribe@
gibbs-smith.com.
WEBSITE: www.gibbs-smith.com.
CONTACT: Acquisitions editor.
NONFICTION NEEDS: Art, architecture,
nature, environment, regional, interior design, cooking, business, western,
outdoor/sports/recreation.
FICTION NEEDS: Only short works oriented to the gift market.
15. FARRAR, STRAUS
AND GIROUX
“We publish original and well-written
material for all ages.” 18 W. 18th St., New
York, NY 10011. (646)307-5151.
EMAIL: [email protected]
WEBSITE: us.macmillan.com.
CONTACT: Editorial Department.
NONFICTION NEEDS: All levels, interests
and topics.
FICTION NEEDS: Adult mainstream and
literary, juvenile, picture books, YA.
POETRY NEEDS: All forms.
RECENT TITLES: Doctored: The
Disillusionment of an American Physician
by Sandeep Jauhar; The Girl Who Was
Saturday Night by Heather O’Neill; In the
Wolf ’s Mouth by Adam Foulds.
18. GIBBS SMITH
WritersDigest.com
53
FOR YOUR REFERENCE
RECENT TITLES: Edgar and the Tattle-Tale
Heart by Jennifer Adams; In and Out of
Paris: Gardens of Secret Delights by Zahid
Sardar; Frank Lloyd Wright on the West
Coast by Mark Anthony Wilson.
TIPS: “Currently emphasizing interior
decorating and design, home reference.
De-emphasizing novels and short stories.”
history, language, literature, music, dance,
CONTACT: Pat Bryce, acquisitions editor.
nature, environment, science, sports.
NONFICTION NEEDS: New Age,
FICTION NEEDS: Adventure, ethnic, hisspirituality.
torical, humor, juvenile, early readers, literFICTION NEEDS: Literary, spiritual.
RECENT TITLES: Jesus the Magician by
ary, mystery, picture books, suspense, YA.
Morton Smith; Grimoire of the ThornRECENT TITLES: A Death-Struck Year
Blooded Witch by Raven Grimassi; A
by Makiia Lucier; Mechanica by Betsy
Spirit Walker’s Guide to Shamanic Tools by Cornwell; The Trap by Steven Arntson.
Evelyn C. Rysdyk.
TIPS: “Faxed or emailed mss and proposTIPS:
“Fiction
should
have
one
or
more
of
als aren’t considered.”
19. GOOSE LANE EDITIONS
the
following
themes:
spiritual,
inspira“Goose Lane publishes literary fictional, or metaphysical (i.e., past-life recall, 23. HOW BOOKS
tion and nonfiction from well-read and
out-of-body experiences, near-death expe- “We look for material that reflects the
highly skilled Canadian authors.” 500
cutting edge of trends, graphic design
rience,
paranormal).”
Beaverbrook Ct., Suite 330, Fredericton,
and culture. Nearly all HOW Books are
NB E3B 5X4, Canada. (506)450-4251.
intensely
visual, and authors must be able
21.
THE
HARVARD
FAX: (506)459-4991.
to
create
or
supply art/illustration for their
COMMON PRESS
EMAIL: [email protected].
books.
”
F+W.
A Content + eCommerce
“We want strong, practical books that help
WEBSITE: www.gooselane.com.
Company,
10151
Carver Road, Suite 200,
people gain control over a particular area
CONTACT: Angela Williams, publishing
Blue
Ash,
OH
45242.
(513)531-2690.
of their lives.” 535 Albany St., 5th Floor,
assistant; Susanne Alexander, publisher.
EMAIL:
[email protected].
Boston, MA 02118. (617)423-5803.
NONFICTION NEEDS: Art, architecture,
WEBSITE: www.howdesign.com.
FAX: (617)695-9794.
history, language, literature, nature, enviCONTACT: Scott Francis, editor.
EMAIL: editorial@harvardcommonpress.
ronment, regional, women’s issues, womNONFICTION NEEDS: Graphic design,
com; [email protected].
en’s studies.
FICTION NEEDS: Literary, short-story col- WEBSITE: www.harvardcommonpress.com. creativity, pop culture.
CONTACT: Valerie Cimino, executive editor. RECENT TITLES: 20th Century Design
lections, contemporary.
by Tony Seddon; NY Through the Lens by
NONFICTION NEEDS: Child guidance,
POETRY NEEDS: All forms.
cooking, foods, nutrition, health, medicine. Vivienne Gucwa; Web Designer’s Idea Book,
RECENT TITLES: Canadians at War by
Volume 4 by Patrick McNeil.
RECENT TITLES: Smoke & Spice by
Susan Evans Shaw; Jonas in Frames by
Chris Hutchinson; Polari by John Barton. Cheryl and Bill Jamison; Red Velvet Lover’s TIPS: “Audience is comprised mostly of
graphic designers.”
Cookbook by Deborah Harroun; Good
TIPS: “Writers should send us outlines
Cheap Eats by Jessica Fisher.
and samples of books that show a very
TIPS: “We’re demanding about the quality 24. HUNTER HOUSE
well-read author with highly developed
of proposals. In addition to strong writing PUBLISHERS
literary skills. Our books are almost all
skills and thorough knowledge of the sub- “Hunter House publishes health books
by Canadians living in Canada; we sel(especially women’s health), self-help
ject matter, we require a detailed analysis
dom consider submissions from outside
health, sexuality and couple relationships,
of the competition.”
Canada. We consider submissions from
[and] violence prevention and intervenoutside Canada only when the author is
22. HOUGHTON MIFFLIN
tion.” P.O. Box 2914, 1515 ½ Park St.,
Canadian and the book is of extraordiAlameda, CA 94501. (510)865-5282.
HARCOURT BOOKS FOR
nary interest to Canadian readers. We
EMAIL: [email protected].
don’t publish books for children or for
CHILDREN
WEBSITE: www.hunterhouse.com.
the YA market.”
“Houghton Mifflin Harcourt gives shape
CONTACT: Jeanne Brondino, acquisitions
to ideas that educate, inform and, above
20. HAMPTON ROADS
editor; Kiran S. Rana, publisher.
all, delight.” Imprint of Houghton Mifflin
NONFICTION NEEDS: Child guidance,
PUBLISHING
Trade & Reference Division, 222 Berkeley
community, health, medicine, nutrition,
“Our reason for being is to impact, uplift
St., Boston, MA 02116.
parenting, psychology, sex, women’s issues/
and contribute to positive change in the
WEBSITE: www.hmhco.com.
health, self-help, fitness, relationships, sexuworld. We publish books that will enrich
CONTACT: Erica Zappy, associate editor;
and empower the evolving consciousness
Kate O’Sullivan, senior editor; Anne Rider, ality, personal growth, violence prevention.
RECENT TITLES: Your Magnetic Heart by
of mankind.” 665 Third St., Suite 400, San
executive editor; Margaret Raymo, editoRuediger Schache; The Eros Equation by Eve
Francisco, CA 94107.
rial director.
Eschner Hogan, M.A.; The DASH Diet to
EMAIL: [email protected].
NONFICTION NEEDS: Animals, anthropology, archeology, art, architecture, ethnic, End Obesity by William Manger, M.D., Ph.D.
WEBSITE: www.redwheelweiser.com.
54 Writer’s Yearbook 2015
for a sense of what we like—bright colors
FAX: (262)798-6468.
and lively composition.”
EMAIL: [email protected].
WEBSITE: www.kalmbach.com.
28. LEE & LOW BOOKS
CONTACT: Ronald Kovach, senior editor.
NONFICTION NEEDS: “Focus is on bead- “Our goals are to meet a growing need for
books that address children of color, and
ing, wirework and one-of-a-kind artisan
to present literature that all children can
creations for jewelry-making and crafts
identify with.” 95 Madison Ave., #1205,
and in the railfan, model railroading,
New York, NY 10016. (212)779-4400.
plastic modeling and toy train collecting/
EMAIL: [email protected].
operating hobbies.”
WEBSITE: www.leeandlow.com.
RECENT TITLES: Finding Style by Irina
CONTACT: Louise May, editor-in-chief
Miech; Creative Designs Using Shaped
(multicultural children’s fiction/nonfiction);
Beads by Anna Elizabeth Draeger; Basic
25. INTERLINK
Jennifer Fox, senior editor; Emily Hazel,
Painting and Weathering for Model
PUBLISHING GROUP
Railroaders, Second Edition by Jeff Wilson. assistant editor.
NONFICTION NEEDS: Picture books
“Interlink is an independent publisher of
TIPS: “Our how-to books are highly
(concept), middle readers (biography, hisgeneral trade adult fiction and nonficvisual in their presentation. Any author
tory, multicultural, science, sports).
tion with an emphasis on books that have
who wants to publish with us must be
FICTION
NEEDS: Picture books, young
a wide appeal while also meeting high
able to furnish good photographs and
readers
(anthology,
contemporary, hisintellectual and literary standards.” 46
rough drawings before we’ll consider his
tory,
multicultural),
middle readers
Crosby St., Northampton, MA 01060.
or her book.”
(nature/environment,
contemporary, his(413)582-7054.
27.
KAR-BEN
PUBLISHING
tory, multicultural, sports). “Also accepts
FAX: (413)582-7057
“Kar-Ben publishes 12–18 new, highthematic or narrative poetry collections
EMAIL: [email protected].
quality children’s titles with Jewish conwith a multicultural focus.”
WEBSITE: www.interlinkbooks.com.
POETRY: Young and middle readers.
CONTACT: Michel Moushabeck, publisher; tent each year. Subjects include fiction
and nonfiction for preschool through
RECENT TITLES: Drift by M.K. Hutchins;
Pam Thompson, editor.
Summoning the Phoenix: Poems and Prose
NONFICTION NEEDS: World travel, world middle school, including holiday books,
life-cycle stories, Bible tales, folktales,
literature, world history/politics, art, world
About Chinese Musical Instruments by Emily
board books and activity books, as well
music and dance, international cooking,
Jiang; Rebellion by Karen Sandler.
as stories that reflect the rich cultural
children’s books from around the world.
TIPS: “We only consider multicultural
diversity of today’s Jewish family.” Lerner children’s books. Check our website to see
FICTION NEEDS: “We’re looking for
Publishing Group, 241 First Ave., N,
translated works relating to the Middle
the kinds of books we publish. Don’t send
Minneapolis, MN 55401. (612)215-6229.
East, Africa or Latin America.”
mss that don’t fit our mission.”
FAX: (612)332-7615.
RECENT TITLES: Islam in Retrospect by
29. MILKWEED EDITIONS
Maher S. Mahmassani; Chinese Love Poetry EMAIL: [email protected].
“Milkweed Editions publishes distinctive
WEBSITE: www.karben.com.
edited and introduced by Jane Portal; Oh,
voices of literary merit in handsomely
NONFICTION NEEDS: Picture books,
Salaam! by Najwa Barakat, translated from
designed, visually dynamic books, exploractivity, arts/crafts, biography, careers,
the Arabic by Luke Leafgren.
ing the ethical, cultural and esthetic issues
concept, cooking, history, how-to, mulTIPS: “Any submissions that fit well in
that free societies need continually to
our publishing program will receive care- ticultural, religion, social issues, special
address.” 1011 Washington Ave. S., Suite
needs; all must be of Jewish interest.
ful attention. A visit to our website, your
300. Minneapolis, MN 55415.
FICTION NEEDS: Picture books (advenlocal bookstore or library to look at some
(612)332-3192.
of our books before you send in your sub- ture, concept, folktales, history, humor,
FAX: (612)215-2550.
multicultural, religion, special needs); all
mission is recommended.”
EMAIL: [email protected].
must be on a Jewish theme.
26. KALMBACH
WEBSITE: www.milkweed.org.
RECENT TITLES: Stork’s Landing by Tami
CONTACT: Patrick Thomas, editor and
Lehman-Wilzig; Latke, The Lucky Dog by
PUBLISHING
program director.
Ellen Fischer; Sadie, Ori, and Nuggles Go
“Kalmbach publishes reference materiNONFICTION NEEDS: Agriculture, anito Camp by Jamie Korngold.
als and how-to publications for hobmals, archaeology, art, contemporary
TIPS: “Authors: Do a literature search to
byists, jewelry-makers and crafters.”
culture, creative nonfiction, environmake sure a similar title doesn’t already
21027 Crossroads Circle, P.O. Box 1612,
exist. Illustrators: Look at our online catalog ment, gardening, gay, government, history,
Waukesha, WI 53187. (262)796-8776.
TIPS: “Audience is concerned people who
are looking to educate themselves and
their community about real-life issues that
affect them. Please send as much information as possible about who your audience
is, how your book addresses their needs,
and how you reach that audience in your
ongoing work. Include a marketing plan.
Explain how you will help us market your
book. Have a Facebook account, Twitter or
a blog. List any professional organization
of which you are a member.”
WritersDigest.com
55
FOR YOUR REFERENCE
humanities, language, literature, multicultural, nature, politics, literary, regional,
translation, women’s issues, world affairs.
FICTION NEEDS: Experimental, shortstory collections, translation, YA.
POETRY NEEDS: “Poetry manuscripts of
high quality that embody humane values
and contribute to cultural understanding.”
RECENT TITLES: The White Mountain by
Galsan Tschinag; Pictograph by Melissa
Kwasny; Crow-Work by Eric Pankey.
TIPS: “We’re looking for excellent writing with the intent of making a humane
impact on society. Please read submission
guidelines before submitting and acquaint
yourself with our books in terms of style
and quality before submitting. Many factors influence our selection process, so
don’t get discouraged.”
WEBSITE: www.neal-schuman.com.
CONTACT: J. Michael Jeffers, vice president/
director of publishing.
NONFICTION NEEDS: Computers, electronics, education, software, Internet
guides, library and information science,
archival studies, records management.
Formats: how-to, reference, textbook.
RECENT TITLES: The Personal Librarian
edited by Richard Moniz and Jean Moats;
The Network Reshapes the Library by
Lorcan Dempsey; Guide to Reference:
Essential General Reference and Library
Science Sources edited by Jo Bell Whitlatch
and Susan E. Searing.
TIPS: “Our audiences are professional
librarians, archivists and records managers.”
32. NO STARCH PRESS
“No Starch Press publishes the finest in
30. MOTORBOOKS
geek entertainment—unique books on
“Motorbooks is one of the world’s leadtechnology, with a focus on open source,
ing transportation publishers, covering
security, hacking, programming, alternasubjects from classic motorcycles to heavy tive operating systems, LEGO, science
equipment to today’s latest automoand math.” 38 Ringold St., Suite 250, San
tive technology.” Quayside Publishing
Francisco, CA 94103. (415)863-9900.
Group, MBI Publishing Co., 400 First Ave. FAX: (415)863-9950.
N., Suite 400, Minneapolis, MN 55401.
EMAIL: [email protected].
(612)344-8100.
WEBSITE: www.nostarch.com.
FAX: (612)344-8691.
CONTACT: William Pollock, publisher.
EMAIL: [email protected].
NONFICTION NEEDS: Science, technolWEBSITE: www.motorbooks.com.
ogy, computing, LEGO.
CONTACT: Zack Miller, publisher.
RECENT TITLES: The Incredible Plate
NONFICTION NEEDS: Americana, hisTectonics Comic: The Adventures of Geo,
tory, hobbies, military, war, photography,
Vol. 1 by Kanani K.M. Lee and Adam
translation.
Wallenta; The Art of LEGO Design by
RECENT TITLES: 50 Shades of Rust by
Jordan Schwartz; Penetration Testing by
Tom Cotter; Ayrton Senna: All His Races
Georgia Weidman.
by Tony Dodgins; JEEP: The History of
TIPS: “Books must be relevant to techAmerica’s Greatest Vehicle by Patrick Foster. savvy, geeky readers.”
TIPS: “State your qualifications for doing
33. OZARK MOUNTAIN
transportation-related subjects.”
31. NEAL-SCHUMAN
PUBLISHERS
PUBLISHING INC.
“Publishes only nonfiction metaphysical and spiritual material.” P.O. Box 754,
“Neal-Schuman publishes books about
Huntsville, AR 72740. (479)738-2348.
library management, archival science,
FAX: (479)738-2448.
records management, digital curation, infor- WEBSITE: www.ozarkmt.com.
mation literary, the Internet and informaCONTACT: Julia Degan, director.
tion technology.” 50 E. Huron St., Chicago,
NONFICTION NEEDS: New age, metaIL 60611. (312)280-5846.
physical, body/mind/spirit, philosophy,
FAX: (312)280-5275.
spirituality.
RECENT TITLES: Soul Speak: The
EMAIL: [email protected].
56 Writer’s Yearbook 2015
Language of Your Body by Julia Cannon;
Avoiding Karma by Guy Steven Needler.
TIPS: “Please don’t call to check on submissions. Don’t submit electronically. Send
hard copy only.”
34. PARAGON HOUSE
PUBLISHERS
“We publish general-interest titles and
textbooks that provide the readers greater
understanding of society and the world.”
1925 Oakcrest Ave., Suite 7, St. Paul, MN
55113. (651)644-3087.
FAX: (651)644-0997.
EMAIL: [email protected].
WEBSITE: www.paragonhouse.com.
CONTACT: Gordon Anderson, acquisitions editor.
NONFICTION NEEDS: Government, politics, multicultural, nature, environment,
philosophy, psychology, religion, sociology,
women’s issues, world affairs.
RECENT TITLES: Fire Up Your Life in
Retirement: 101 Ways for Women to Reinvent
Themselves by Catherine DePino; The
Destiny of the Universe: The Pursuit of the
Great Unknown by Gerard M. Verschuuren;
The Second Truth by James P. Danaher.
TIPS: “Submit proposal package, outline,
two sample chapters, market breakdown
and SASE.”
35. POTOMAC BOOKS INC.
“Potomac Books specializes in national and
international affairs, history (especially
military and diplomatic), intelligence,
biography, reference and sports.” Attn: KO,
22841 Quicksilver Dr., Dulles, VA 20166.
(703)661-1548.
FAX: (703)661-1547.
WEBSITE: www.potomacbooksinc.com.
CONTACT: Editorial Department.
NONFICTION NEEDS: Government, politics, history, military, war, sports, world
affairs, national/international affairs.
RECENT TITLES: Solider of Change: From
the Closet to the Forefront of the Gay
Rights Movement by Stephen Snyder-Hill;
Ancient Furies: A Young Girl’s Struggles
in the Crossfire of World War II by
Anastasia V. Saporito; European Air Power:
Challenges and Opportunities by John
Andreas Olsen.
travel, biography, coffee-table books, general nonfiction, gift books, humor, illustrated books, reference.
RECENT TITLES: Conversations With
36. QUITE SPECIFIC MEDIA Coach Wooden by Gary Adams; Destination:
Cocktails by James Teitelbaum; Forever
GROUP LTD.
“Quite Specific Media Group is an umbrella Young: The Rock and Roll Photography of
Chuck Boyd edited by Jeffrey Schwartz.
company of five imprints specializing in
TIPS: “Visit our website before submitting
costume and fashion, theater and design.”
to view our author guidelines and to get a
7373 Pyramid Place, Hollywood, CA
clear idea of the types of books we publish.
90046. (323)851-5797.
Carefully analyze your book’s competition
FAX: (323)851-5798.
and tell us what makes your book differEMAIL: [email protected].
ent—and what makes it better. Also let us
WEBSITE: www.quitespecificmedia.com.
know what promotional and marketing
CONTACT: Ralph Pine, editor-in-chief.
opportunities you bring to the project.”
NONFICTION NEEDS: Fashion/costume,
film, cinema, stage, history, literary criti39. SARABANDE BOOKS
cism, translation.
“Sarabande
Books was founded to publish
RECENT TITLES: Digital Costume Design
poetry,
short
fiction and creative nonfic& Rendering by Annie O. Cleveland; The
tion.
We
look
for works of lasting literScreenwriter’s Bible by David Trottier.
ary value.” 2234 Dundee Road, Suite 200,
37. RIO NUEVO PUBLISHERS Louisville, KY 40205. (502)458-4028.
FAX: (502)458-4065.
“We cover the Southwest but prefer titles
EMAIL: [email protected].
that are not too narrow in their focus.”
Imprint of Treasure Chest Books, P.O. Box WEBSITE: www.sarabandebooks.org.
CONTACT: Sarah Gorham, editor-in-chief.
5250, Tucson, AZ 85703.
FICTION NEEDS: Literary, short-story colFAX: (520)624-5888.
lections, novellas, short novels.
EMAIL: [email protected].
POETRY NEEDS: “Poetry of superior
WEBSITE: www.rionuevo.com.
NONFICTION NEEDS: Animals, cooking, artistic quality.”
foods, nutrition, gardening, history, nature, RECENT TITLES: Thrown by Kerry
Howley; The Do-Over by Kathleen Ossip;
environment, regional, religion, spiritualPraying Drunk: Stories by Kyle Minor; Wolf
ity, travel.
Centos by Simone Muench.
RECENT TITLES: Ghost Riders in the Sky
TIPS: “Make sure you’re not writing in
by Michael K. Ward; Modern Southwest
Cooking by Ryan Clark; When Dogs Dream a vacuum, that you’ve read and are conscious of contemporary literature. Have
by Jean Ekman Adams.
someone read your ms, checking it for
38. SANTA MONICA PRESS ordering [and] coherence.”
“Our eclectic list of lively and modern
40. SASQUATCH BOOKS
nonfiction titles includes books in such
categories as popular culture, film history, “Sasquatch Books publishes books for and
photography, humor, biography, travel and from the Pacific Northwest, Alaska and
reference.” P.O. Box 850, Solana Beach, CA California, [and] is the nation’s premier
regional press.” 1904 Third Ave., Suite 710,
92075. (800)784-9553.
Seattle, WA 98101. (206)467-4300.
EMAIL: [email protected].
FAX: (206)467-4301.
WEBSITE: www.santamonicapress.com.
EMAIL: [email protected].
NONFICTION NEEDS: Americana, architecture, art, contemporary culture, creative WEBSITE: www.sasquatchbooks.com.
nonfiction, education, entertainment, film, CONTACT: Gary Luke, editorial director;
Terence Maikels, acquisitions editor; Heidi
games, humanities, language, literature,
Lenze, acquisitions editor.
memoir, regional, social sciences, sports,
TIPS: “Our audience consists of general
nonfiction readers, as well as students,
scholars, policy makers and the military.”
NONFICTION NEEDS: Animals, art,
architecture, business, economics, cooking, foods, nutrition, gardening, history,
nature, environment, recreation, regional,
sports, travel, women’s issues, women’s
studies, outdoors.
FICTION NEEDS: Young readers (adventure, animal, concept, contemporary,
humor, nature/environment).
RECENT TITLES: Fresh & Fermented by
Julie O’Brien and Richard J. Climenhage;
Your Life Is a Book: How to Craft &
Publish Your Memoir by Brenda Peterson
and Sarah Jane Freymann; Fox on the
Loose! by Matthew Porter.
TIPS: “When you submit to Sasquatch
Books, please remember that the editors
want to know about you and your project,
along with a sense of who will want to
read your book.”
41. SEAL PRESS
“Seal Press is an imprint of Avalon
Publishing Group, a feminist book publisher interested in original, lively, radical,
empowering and culturally diverse nonfiction by women addressing contemporary issues from a feminist perspective or
speaking positively to the experience of
being female.” 1700 4th St., Berkeley, CA
94710. (510)595-3664.
EMAIL: [email protected].
WEBSITE: www.sealpress.com.
NONFICTION NEEDS: Americana, child
guidance, contemporary culture, creative
nonfiction, ethnic, gay, lesbian, memoirs,
multicultural, nature, environment, sex,
travel, women’s issues, women’s studies,
popular culture, politics, domestic violence,
sexual abuse.
RECENT TITLES: Under This Beautiful
Dome: A Senator, a Journalist, and the
Politics of Gay Love in America by Terry
Mutchler; Full Frontal Feminism: A Young
Woman’s Guide to Why Feminism Matters
by Jessica Valenti; The New I Do: Reshaping
Marriage for Skeptics, Realists and Rebels by
Susan Pease Gadoua and Vicki Larson.
TIPS: “Our audience is generally composed of women interested in reading
about women’s issues addressed from a
feminist perspective.”
WritersDigest.com
57
FOR YOUR REFERENCE
42. SEAWORTHY
PUBLICATIONS INC.
“Seaworthy Publications is a nautical book
publisher that primarily publishes books
of interest to recreational boaters and bluewater cruisers, including cruising guides
[and] how-to books about boating.” 2023
N. Atlantic Ave., #226, Cocoa Beach, FL
32931. (321)610-3634.
FAX: (321)400-1006.
EMAIL: [email protected].
WEBSITE: www.seaworthy.com.
CONTACT: Joseph F. Janson, publisher.
NONFICTION NEEDS: Regional boating
guidebooks, first-person boating adventure,
reference, technical.
RECENT TITLES: Cruising Guide to the
Windward Islands, 2nd Ed. by Stephen J.
Pavlidis; Street’s Guide to the Cape Verde
Islands by Donald Street Jr.; Escape From
Hermit Island by Joy Smith.
TIPS: “Our audience consists of sailors,
boaters and those interested in the sea,
sailing or long-distance cruising.”
44. SEVEN STORIES PRESS
“Seven Stories Press publishes works of the
imagination and political titles by voices of
conscience.” 140 Watts St., New York, NY
10013. (212)226-8760.
FAX: (212)226-1411.
EMAIL: [email protected].
WEBSITE: www.sevenstories.com.
CONTACT: Daniel Simon, publisher.
NEEDS: Nonfiction and literary fiction.
RECENT TITLES: The Disunited States
by Vladimir Pozner; My Depression: A
Picture Book by Elizabeth Swados; Hearts
& Hands: Creating Community in Violent
Times by Luis Rodriguez.
procedural), suspense, multicultural. “In
mysteries, we only publish series with
foreign or exotic settings [that are]
usually procedurals.”
RECENT TITLES: Rainey Royal by
Dylan Landis; Some Great Thing by
Colin McAdam; Forensic Songs by Mike
McCormack.; The Liar by Stephen Fry.
TIPS: “Soho Press publishes discerning
authors for discriminating readers, finding the strongest possible writers and
publishing them. Before submitting, look
at our website for an idea of the types of
books we publish, and read our submission guidelines.”
45. SOFT SKULL PRESS
47. TEN SPEED PRESS
“Ten Speed Press publishes authoritative
“We love books that are new, fun, smart,
books for an audience interested in innorevelatory, quirky, groundbreaking,
vative
ideas.” The Crown Publishing Group,
cage-rattling and/or otherwise unusual.”
Attn:
Acquisitions,
2625 Alcatraz Ave.
1919 Fifth St., Berkeley, CA 94710.
#505,
Berkeley,
CA
94705. (510)559-1600.
(510)704-0230.
FAX: (510)524-1052.
EMAIL: [email protected].
EMAIL: [email protected].
WEBSITE: www.softskull.com.
WEBSITE: crownpublishing.com/imprint/
NONFICTION NEEDS: Contemporary
culture, creative nonfiction, entertainment, ten-speed-press.
43. SELF-COUNSEL PRESS
NONFICTION NEEDS: Business, career
literature, pop culture.
“Self-Counsel Press publishes a range of
guidance, cooking, crafts, relationships,
FICTION NEEDS: Comic books, confesquality self-help books written in practical,
sion, contemporary, erotica, experimental, how-to, humor, pop culture.
nontechnical style by recognized experts
gay/lesbian, literary, mainstream, multicul- RECENT TITLES: Moosewood Cookbook
in the fields of business, financial or legal
by Mollie Katzen; The Pizza Bible by Tony
tural, short-story collections.
guidance for people who want to help
Gemignani; The Life-Changing Magic of
RECENT TITLES: Art of the Dead by Phil
themselves.” 1704 N. State St., Bellingham,
Tidying Up: The Japanese Art of Decluttering
Cushway; Octopus Summer by Malcolm
WA 92225.(360)676-4530.
and Organizing by Marie Kondo.
Dorson; The Ministry of Thin: How the
WEBSITE: www.self-counsel.com.
Pursuit of Perfection Got Out of Control by TIPS: “Study the backlist of each publisher
CONTACT: Richard Day, managing editor.
you’re submitting to and tailor your proEmma Woolf.
NONFICTION NEEDS: Business, econom- TIPS: “See our website for [regularly]
posal to what you perceive as their needs.
ics, computers, electronics, money, finance, updated submission guidelines.”
Nothing gets a publisher’s attention like
legal issues for lay people.
someone who knows what he or she is
RECENT TITLES: The Cottage Rules:
46. SOHO PRESS
talking about, and nothing falls flat like
An Owner’s Guide to the Rights &
“Soho Press publishes primarily fiction, as
someone who obviously has no idea who
Responsibilities of Sharing Recreational
well as some narrative literary nonfiction
he or she is submitting to.”
Property by Nikki Koski; Creating a
and mysteries set abroad.” 853 Broadway,
Happy Retirement: A Workbook for
48. UNION SQUARE PRESS
New York, NY 10003. (212)260-1900.
Planning the Life You Want by Dr. Ronald
“Publishes newsworthy and narrative
EMAIL: [email protected].
W. Richardson and Lois A. Richardson;
nonfiction books that illuminate unique
WEBSITE: www.sohopress.com.
Writing for the Web by Crawford Kilian.
achievements, offer revelatory discoverCONTACT: Bronwen Hruska, publisher;
TIPS: “If you want to write for us, please
ies and provide valuable corrections to the
Mark Doten, editor.
take a look at our website to see if your
historical record.” Sterling, 387 Park Ave.
NONFICTION NEEDS: Creative nonficproposed book might fit one of the catego- tion, ethnic, memoirs.
S., 11th Floor, New York, NY 10016.
ries in which we publish, and to make sure FICTION NEEDS: Adventure, ethnic,
WEBSITE: www.sterlingpublishing.com.
we haven’t already published the book you feminist, mainstream/contemporary,
CONTACT: Acquisitions editor.
wish to propose.”
NONFICTION NEEDS: Anthropology,
historical, literary, mystery (police
58 Writer’s Yearbook 2015
archeology, community, contemporary
culture, cooking, foods, nutrition, education, ethnic, government, politics, history,
hobbies, humanities, language, literature, memoir, multicultural, music, dance,
nature, environment, philosophy, recreation, religion, social sciences, sociology,
spirituality, sports, translation.
RECENT TITLES: 1948: Harry Truman’s
Improbable Victory and the Year that
Transformed America by David Pietrusza;
Covert: My Years Infiltrating the Mob by
Bob Delaney.
TIPS: “We will never reject a book based
solely on genre. Our audience is the general market interested in original concepts.”
regency, romantic suspense, paranormal,
mystery, thriller.
RECENT TITLES: Legacy of Deception by
Johanna Riley; The Harvest Club by Iona
Morrison; Always Yellow Rose by Lynn
Shurr; Double Exposure by MM Bordeaux.
TIPS: “Polish your ms, make it as errorfree as possible and follow our submission
guidelines [online].”
MAGAZINES
qualifications, and experts/professionals to
be interviewed.
LENGTH: 300-2,000 words. Pays $0.40/
word and up.
TIPS: “Queries by new writers should
include clips/background/expertise,
no longer than 1½ pages. Submit suitable
material showing you have read several [of
our] issues.”
53. DRAFT
Draft Publishing, 4742 N. 24th St., Suite
210,
Phoenix, AZ 85016. (888)806-4677.
GENERAL INTEREST
EMAIL:
[email protected].
51. AARP THE MAGAZINE
AARP, c/o Editorial Submissions, 601 E. St. WEBSITE: www.draftmag.com.
60 percent freelance written. Bimonthly
NW, Washington, DC 20049.
magazine covering beer and men’s lifestyle
EMAIL: [email protected].
49. WHITAKER HOUSE
(including food, travel, sports and leisure).
WEBSITE: www.aarp.org/magazine.
“[Our mission is to] advance God’s
Circ. 275,000. Offers 20 percent kill fee.
50 percent freelance written. Bimonthly
kingdom by providing biblically based
Accepts queries by email.
magazine covering issues that affect peoproducts that proclaim the power of the
NEEDS: Features, short front-of-book
ple over the age of 50. Circ. 22,721,661.
gospel and minister to the spiritual needs Offers 25 percent kill fee. Accepts queries
pieces, how-tos, interviews, travel, food,
of people around the world.” 1030 Hunt
restaurant and bar pieces, sports and
by mail, email.
Valley Circle, New Kensington, PA 15068. NEEDS: Features and departments coveradventure, anything guy-related. Query
EMAIL: [email protected].
with published clips.
ing finance, health and fitness, food and
WEBSITE: www.whitakerhouse.com.
LENGTH: 250-2,500 words; Pays $0.50nutrition, travel, consumerism, general
CONTACT: Editorial department.
0.90/word for assigned articles, $0.50-0.80/
interest, and relationships. Query with
NONFICTION NEEDS: Biography, general published clips.
word for columns/departments.
nonfiction, how-to, self-help,
TIPS: “Please see ‘what to pitch’ and ‘what
LENGTH: Up to 2,000 words. Pays $1/
FICTION NEEDS: Religious, Christian,
not to pitch’ in online writer’s guidelines
word for features.
historical romance, African-American
[on our website].”
TIPS: “The most frequent mistake made
romance, Amish. “All fiction must have a
by writers in completing an article for us
Christian perspective.”
is poor follow-through with basic research. 54. FAMILY CIRCLE
Meredith Corporation, 805 Third Ave.,
RECENT TITLES: 30 Meditations on the
The outline is often more interesting than
24th Floor, New York, NY 10022.
Names of God by Marilyn Hickey; The
the finished piece.”
WEBSITE: www.familycircle.com.
Hesitant Heiress by Dawn Crandall; Feels
80 percent freelance written. Magazine pubLike Heaven by Vanessa Miller.
52. THE AMERICAN
lished every 3 weeks. Circ. 4,200,000. Offers
TIPS: “[Our] audience includes those
LEGION MAGAZINE
20 percent kill fee. Accepts queries by mail.
seeking uplifting and inspirational fiction
P.O. Box 1055, Indianapolis, IN 46206.
NEEDS: Essays; opinion; personal experiand nonfiction.”
(317)630-1200.
ence; women’s interest subjects such as
FAX: (317)630-1280.
50. THE WILD ROSE PRESS EMAIL: [email protected].
family and personal relationships, children,
“Our titles span the sub-genre spectrum
physical and mental health, nutrition and
WEBSITE: www.legion.org.
from sweet to sensually erotic in all
self-improvement. Submit detailed outline,
70 percent freelance written. Monthly
lengths of romance, as well as mainstream magazine that considers itself “the maga2 clips, cover letter describing your puband women’s fiction.” P.O. Box 708, Adams zine for a strong America.” Themes include lishing history and SASE.
Basin, NY 14410. (585)752-8770.
LENGTH: 1,000-2,500 words. Pays $1/
economy, education system, moral fiber,
EMAIL: [email protected].
social issues, infrastructure, technology and word for features.
WEBSITE: www.thewildrosepress.com.
TIPS: “Query letters should be concise
national defense/security. Circ. 2,550,000.
CONTACT: Rhonda Penders, editor-in-chief. Accepts queries by mail, email, fax.
and to the point. Also, writers should
FICTION NEEDS: Contemporary, erotica, NEEDS: General interest, interview. Query keep close tabs on Family Circle and other
gothic, historical, regional, romance,
women’s magazines to avoid submitting
with SASE explaining the subject or issue,
suspense, war, futuristic, time travel,
article’s angle and organization, writer’s
recently run subject matter.”
WritersDigest.com
59
FOR YOUR REFERENCE
55. HARPER’S MAGAZINE
(310)556-2515.
FAX: (310)556-2514.
666 Broadway, 11th Floor, New York, NY
EMAIL: [email protected].
10012. (212)420-5720.
WEBSITE:
www.msmagazine.com.
FAX: (212)228-5889.
70
percent
freelance
written. Quarterly
EMAIL: [email protected].
magazine
on
women’s
issues and news.
WEBSITE: www.harpers.org.
Circ.
150,000.
Off
ers
25
percent kill fee.
90 percent freelance written. Monthly
Accepts
queries
by
mail,
email.
magazine for well-educated, socially
NEEDS:
International
and
national womconcerned, widely read men and women
en’s
news,
investigative
reporting,
personal
who value ideas and good writing. Circ.
narratives
of
prize-winning
journalists
and
230,000. Offers negotiable kill fee. Accepts
feminist
thinkers.
Query
with
brief
bio,
queries by mail.
NEEDS: Humorous fiction and nonfiction. published clips and SASE.
LENGTH: 300-3,500 words. Pays $1/word
Query by mail with SASE.
for features; $0.50/word for news stories
LENGTH: 3,000-6,000 words. Pays
and book reviews.
$0.50-1/word.
TIPS: “Some readers expect their magazines to clothe them with opinions in the
way that Bloomingdale’s dresses them
for the opera. The readers of Harper’s
Magazine belong to a different crowd.
They strike [us] as the kind of people who
would rather think in their own voices and
come to their own conclusions.”
58. THE OLD FARMER’S
ALMANAC
Yankee Publishing Inc., P.O. Box 520,
Dublin, NH 03444. (603)563-8111.
WEBSITE: www.almanac.com.
95 percent freelance written. Annual magazine covering weather, gardening, history,
oddities and lore. Circ. 3,100,000. Accepts
queries by mail.
56. MOTHER JONES
NEEDS: General interest, historical, howFoundation for National Progress, 222
to, garden, cook, saving money, humor,
Sutter St., Suite 600, San Francisco, CA
weather, natural remedies, obscure facts,
94108. (415)321-1700.
history, popular culture. Query with pubEMAIL: [email protected].
lished clips.
WEBSITE: www.motherjones.com.
LENGTH: 800-2,500 words. Pays $0.65/
80 percent freelance written. Bimonthly
word for longer articles.
magazine covering politics, investigative
reporting, social issues and pop culture. Circ. TIPS: “The Old Farmer’s Almanac is a
reference book. Our readers appreciate
240,000. Accepts queries by mail, email.
obscure facts and stories. Read it. Think
NEEDS: Exposé, interview, photo feature,
differently. Read [our] writer’s guidelines
current issues, policy, investigative reporting. Query with résumé and published clips. [on our website].”
LENGTH: 2,000-5,000 words. Pays $1/word.
TIPS: “Send a great, short query and estab- 59. PARADE
ParadeNet Inc., 711 Third Ave., New York,
lish your credibility as a reporter. Explain
NY 10017. (212)450-7000.
what you plan to cover and how you will
WEBSITE:
www.parade.com.
proceed with the reporting. The query
95
percent
freelance
written. Weekly magshould convey your approach, tone and
azine
for
a
general
interest
audience.
style, and should answer the following:
Circ.
32,000,000.
Off
ers
kill
fee (varies).
What are your specific qualifications to
Accepts
queries
by
mail.
write on this topic? What ‘ins’ do you have
NEEDS: “Spot news events aren’t
with your sources? Can you provide full
accepted, as Parade has a two-month
documentation so that your story can be
lead
time. No fiction, fashion, travel,
fact checked?”
poetry, cartoons, nostalgia, regular
columns, personal essays, quizzes or
57. MS. MAGAZINE
433 S. Beverly Dr., Beverly Hills, CA 90212. fillers. Unsolicited queries concerning
60 Writer’s Yearbook 2015
celebrities, politicians or sports figures
are rarely assigned.” Query with
published clips.
LENGTH: 1,200-1,500 words. Pays “very
competitive amount.”
TIPS: “If the writer has a specific
expertise in the proposed topic, it
increases the chances of breaking in.
Send a well-researched, well-written
1-page proposal and enclose an SASE.
Don’t submit completed mss.”
ANIMALS
60. CAT FANCY
I-5 Publishing, P.O. Box 6050, Mission
Viejo, CA 92690. (949)855-8822.
FAX: (949)855-3045.
EMAIL: [email protected].
WEBSITE: www.catchannel.com.
90 percent freelance written. Monthly
magazine covering all aspects of responsible cat ownership. Circ. 290,000. Accepts
queries by mail, email.
NEEDS: How-to, humor, photo feature,
travel, behavior, health, lifestyle, cat culture, entertainment. Query first.
LENGTH: 100-1,000 words. Pays $50-450.
TIPS: “Only accepts queries from JanuaryMay. Show us how you can contribute
something new and unique. Please read
recent issues to become acquainted with
our style and content.”
61. THE CHRONICLE OF
THE HORSE
P.O. Box 46, Middleburg, VA 20118.
(540)687-6341.
FAX: (540)687-3937.
EMAIL: [email protected] (feature stories); [email protected]
(news stories).
WEBSITE: www.chronofhorse.com.
80 percent freelance written. Weekly
magazine covering horses. Circ. 18,000.
Accepts mss by mail, email.
NEEDS: General interest; historical; history of breeds; use of horses in other
countries and times, art, etc.; howto trailer, train, design a course, save
money, etc.; humor, centered on living
with horses or horse people; interview of
nationally known horsemen or the very
unusual; technical horse care; articles
on feeding, injuries, care of foals, shoeing, etc. Columns/departments: Dressage,
Combined Training, Horse Show, Horse
Care, Racing Over Fences, Young Entry
(about young riders, geared for youth),
Horses and Humanities, Hunting, Vaulting,
Handicapped Riding, Trail Riding, news of
major competitions (clear assignment with
us first). Send complete ms.
LENGTH: 1,000–5,000 words. Pays $200
and up; for reprints, pays 50–100 percent
of amount paid for original article.
TIPS: “Get our guidelines. Our readers
are sophisticated, competitive horsemen. Articles need to go beyond common
knowledge. Freelancers often attempt too
broad or too basic a subject. We welcome
well-written news stories on major events,
but clear the assignment with us. We don’t
want to see portfolio or samples.”
62. DOG FANCY
BowTie Inc., P.O. Box 6050, Mission Viejo,
CA 92690. (949)855-8822.
FAX: (949)855-3045.
EMAIL: [email protected].
WEBSITE: www.dogfancy.com.
95 percent freelance written. Monthly
magazine for men and women of all ages
interested in all phases of dog ownership.
Circ. 268,000. Offers kill fee. Accepts queries by email.
NEEDS: General interest, how-to, humor,
inspirational, interview, photo feature,
travel. Query.
LENGTH: 850-1,200 words. Payment varies;
usually $0.40/word.
TIPS: “Note that we write for a lay audience (nontechnical), but we do assume
a certain level of intelligence. Read the
magazine before making a pitch. Make
sure your query is clear, concise and relevant. Reading period [is] from January
through April.”
63. TROPICAL FISH
HOBBYIST MAGAZINE
TFH Publications Inc., One TFH Plaza,
Neptune City, NJ 07753.
EMAIL: [email protected].
WEBSITE: www.tfhmagazine.com.
90 percent freelance written. Monthly
magazine covering tropical fish. Circ.
35,000. Accepts queries by email.
NEEDS: “We want factual, interesting
and relevant articles about the aquarium
hobby written by people who are obviously knowledgeable. We publish an enormous variety of article types.”
LENGTH: 10,000-20,000 characters with
spaces. Pays $100-250.
TIPS: “With few exceptions, all communication and submissions must be
electronic. Please break up the text using
subheads to categorize topics. We prefer
articles that are submitted with photos.
Don’t insert photos into the text—submit
those separately.”
science, computers, space/aviation, entertainment, history, music, animals, how-tos,
etc.). Query with SASE. No phone queries.
LENGTH: 500-1,500 words, including sidebars and boxes. Pays $400-1,500.
TIPS: “Write for a boy you know who is
12. Our readers demand punchy writing in
relatively short, straightforward sentences.
The editors demand well-reported articles
that demonstrate high standards of journalism. Learn and read our publications
before submitting anything.”
66. HIGHLIGHTS
FOR CHILDREN
803 Church St., Honesdale, PA 18431.
(570)253-1080.
64. BABYBUG
FAX: (570)251-7847.
70 East Lake St., Suite 800, Chicago, IL
WEBSITE: www.highlights.com.
60601. (800)821-0115.
80 percent freelance written. Monthly
EMAIL: [email protected].
magazine for children up to ages 3-12.
WEBSITE: www.babybugmagkids.com.
Circ. 1.5 million. Accepts queries by mail.
50 percent freelance written. Babybug is
NEEDS: Nonfiction, poetry and fiction
a look-and-listen magazine for babies
in the following categories: adventure,
and toddlers ages 6 months to 3 years.
fantasy, historical, humorous, animal,
Publishes 9 issues per year. Circ. 45,000.
contemporary, folktales, multicultural,
Accepts queries via online submission form. problem-solving, sports. Query by mail.
NEEDS: Very short fiction and nonfiction,
LENGTH: Varies. For nonfiction, pays $25
and rhythmic and rhyming poetry. Query
for craft ideas and puzzles, $25 for finger
via online submission form at www.cricket
plays and $150 and up for articles. For ficmag.com/submissions.
tion, pays $100 minimum.
LENGTH: Six-sentence max per submisTIPS: “Know our publication’s standards
sion. Pays $0.25/word.
and content by reading sample issues, not
TIPS: “Imagine having to read your story
just the guidelines. Avoid tired themes,
or poem—out loud—50 times or more!
or put a fresh twist on an old theme so
That’s what parents will have to do. Babies that its style is fun and lively. Write what
and toddlers demand, ‘Read it again!’
inspires you, not what you think the marYour material must hold up under repetiket needs.”
tion. And humor is much appreciated.”
CHILDREN’S
65. BOYS’ LIFE
67. NATIONAL
GEOGRAPHIC KIDS
Boy Scouts of America, P.O. Box 152079,
1325 West Walnut Hill Lane, Irving, TX
75015. (972)580-2366.
FAX: (972)580-2079.
WEBSITE: www.boyslife.org.
75 percent freelance written. Monthly fourcolor general interest magazine for boys
ages 7-18, most of whom are Cub Scouts,
Boy Scouts or Venturers. Circ. 1.1 million.
Accepts queries by mail.
NEEDS: Scouting activities and general
interests (nature, Earth, health, cars, sports,
National Geographic Society, 1145 17th St.
NW, Washington, DC 20036.
WEBSITE: kids.nationalgeographic.com.
70 percent freelance written. Magazine
published 10 times/year. Circ. 1.3 million.
Offers 10 percent kill fee. Accepts queries
by mail.
NEEDS: General interest, humor, interview,
technical, travel, animals, human interest,
science, technology, entertainment, archaeology, pets, history, paleontology. Query
with published clips and résumé.
WritersDigest.com
61
FOR YOUR REFERENCE
LENGTH: 100-1,000 words. Pays $1/word
for assigned articles.
TIPS: “Submit relevant clips. Writers must
have demonstrated experience writing for
kids. Read the magazine before submitting.”
EDUCATION & CAREER
68. AFRICAN-AMERICAN
CAREER WORLD
Equal Opportunity Publications Inc., 445
Broad Hollow Road, Suite 425, Melville,
NY 11747. (631)421-9421.
FAX: (631)421-1352.
EMAIL: [email protected].
WEBSITE: www.eop.com.
60 percent freelance written. Semiannual
magazine focused on African-American
students and professionals in all
disciplines. Accepts queries by mail,
email, fax, phone.
NEEDS: How-to get jobs, interview, personal experience. Query.
LENGTH: 1,500-2,500 words. Pays $350
for assigned articles.
TIPS: “Gear articles to our audience.”
69. gradPSYCH
American Psychological Association, 750
First St. NE, Washington, DC 20009.
FAX: (202)336-6103.
EMAIL: [email protected].
WEBSITE: www.apa.org/gradpsych.
50 percent freelance written. Quarterly
magazine covering issues of interest
to psychology graduate students. Circ.
60,000. Offers $200 kill fee. Accepts queries by email.
NEEDS: General interest, how-to, interview. Query with published clips.
LENGTH: 300-2,000 words. Pays $3002,000 for assigned articles.
TIPS: “Check out our website and pitch
a story on a topic we haven’t written on
before, or that gives an old topic a new spin.”
70. HISPANIC
CAREER WORLD
Equal Opportunity Publications Inc., 445
Broad Hollow Road, Suite 425, Melville,
NY 11747. (631)421-9421.
FAX: (631)421-1352.
EMAIL: [email protected].
WEBSITE: www.eop.com.
62 Writer’s Yearbook 2015
60 percent freelance written. Semiannual
magazine aimed at Hispanic students and
professionals in all disciplines. Accepts
queries by mail, email, fax, phone.
NEEDS: How-to, find jobs, interview, personal experience. Query.
LENGTH: 1,500-2,500 words. Pays $350
for assigned articles.
TIPS: “Gear articles to our audience.”
71. HOME EDUCATION
MAGAZINE
P.O. Box 1083, Tonasket, WA 98855.
(800)236-3278.
FAX: (509)486-2753.
EMAIL: [email protected].
WEBSITE: www.unschooling.com/
homeeducationmagazine.
80 percent freelance written. Bimonthly
magazine covering home-based education.
Circ. 120,000. Accepts mss by mail.
NEEDS: Essays, how-to, humor, interview,
personal experience, photo feature and
technical—all related to homeschooling.
Send complete ms.
LENGTH: 750-2,500 words. Pays $50-150.
TIPS: “We would like to see how-to
articles (that don’t preach, just present options), [and] articles on testing,
accountability, working with the public
schools, socialization, learning disabilities,
resources, support groups, legislations and
humor. We need answers to the questions
that homeschoolers ask.”
ESSAYS, FICTION & POETRY
72. ALASKA QUARTERLY
REVIEW
Query with published clips.
LENGTH: Nonfiction: 1,000-20,000
words; fiction: 100 pages max; poetry: 10
lines max. Pays $50-100.
TIPS: “The voice of the piece must be
strong—idiosyncratic enough to create a
unique persona. We look for the experiential and revelatory qualities of the work.”
73. CRAB ORCHARD
REVIEW
Dept. of English, Southern Illinois
University Carbondale, Faner Hall
2380, Mail Code 4503, 1000 Faner Dr.,
Carbondale, IL 62901. (618)453-6833.
FAX: (618)453-8224.
WEBSITE: www.craborchardreview.siuc.edu.
90 percent freelance written. Generalinterest literary journal published twice/
year. Circ. 2,500. Accepts queries by mail.
NEEDS: Fiction (ethnic, excerpted novel,
translations), poetry, creative nonfiction,
interviews, reviews. Query with SASE.
LENGTH: Up to 25 pages double-spaced,
or max of 5 poems. Pays $25/published
page; $50 min. for poetry; $100 min. for
nonfiction/fiction; 2 contributors copies
and 1-year subscription.
TIPS: “Postal submissions only, and cover
letter is preferred. Wants all styles and
forms of poetry, from traditional to experimental. Indicate stanza breaks on poems of
more than 1 page.”
74. ELLERY QUEEN’S
MYSTERY MAGAZINE
Dell Magazines, 267 Broadway, 4th Floor,
New York, NY 10017. (212)686-7188.
FAX: (212)686-7414.
University of Alaska-Anchorage, 3211
EMAIL: elleryqueenmm@dell
Providence Dr. (ESH 208), Anchorage, AK
magazines.com.
99508. (907)786-6916.
WEBSITE: www.themysteryplace.com.
EMAIL: [email protected].
100 percent freelance written. Features mysWEBSITE: www.uaa.alaska.edu/aqr.
tery fiction. Circ. 100,000. Accepts queries
95 percent freelance written. Semiannual
by online submission form. Circ. 50,000.
magazine publishing fiction, poetry, literAccepts queries via online submission form;
ary nonfiction and short plays in traditional and experimental styles. Circ. 2,700. mss via email (Department of First Stories).
NEEDS: Mystery, suspense, short
Accepts queries by mail.
mystery verses, limericks. Query via
NEEDS: Nonfiction, experimental and
online submission form at eqmm.
traditional literary forms, contemporary
fiction, novel excerpts, drama (experimen- magazinesubmissions.com.
LENGTH: 2,500-8,000 words, or 1 page,
tal and traditional one-act plays), poetry
(prose, avant-garde, free verse, traditional). double spaced max of poetry. Pays $0.05–
0.08/word (occasionally higher for
established writers) for short stories;
$15–65 for poems.
TIPS: “Ellery Queen’s Mystery Magazine
welcomes submissions from both new and
established writers. We look for strong
writing, an original and exciting plot, and
professional craftsmanship. We have a
Department of First Stories to encourage
writers whose fiction has never before been
in print. Mark subject line [of email]: Attn:
Dept. of First Stories.”
75. GLIMMER TRAIN
STORIES
Glimmer Train Press Inc., P.O. Box 80430,
Portland, OR 97280.
FAX: (503)221-0837.
EMAIL: [email protected].
WEBSITE: www.glimmertrain.org.
90 percent freelance written. Triannual magazine of literary short fiction. Circ. 12,000.
Accepts queries via website, mail.
NEEDS: Fiction. Query via website. “In
a pinch, send a hard copy and include an
SASE for response.”
LENGTH: 1,200-12,000 words. Pays $700
for standard submissions; up to $2,500 for
contest-winning stories.
76. THE KENYON REVIEW
Finn House, 102 W. Wiggin, Gambier, OH
43022. (740)427-5208.
FAX: (740)427-5417.
EMAIL: [email protected].
WEBSITE: www.kenyonreview.org.
100 percent freelance written. Quarterly
magazine covering contemporary literature and criticism. Circ. 6,000. Accepts
queries via online submissions program.
NEEDS: Essays, interviews, condensed
novels, ethnic, experimental, historical,
humorous, mainstream, contemporary,
excerpts from novels, gay/lesbian, literary, translations; features all styles, forms,
lengths and subject matters of poetry.
Submit via online submissions form.
LENGTH: Nonfiction and fiction: 3-15
typeset pages preferred. Poetry: Submit up
to 6 poems at a time.
TIPS: “Reading period is Sept. 15-Jan. 15.
We look for strong voice, unusual perspective and power in the writing.”
77. THE THREEPENNY
REVIEW
P.O. Box 9131, Berkeley, CA 94709.
(510)849-4545.
EMAIL: [email protected].
WEBSITE: www.threepennyreview.com.
100 percent freelance written. Quarterly
tabloid. General-interest, national literary magazine covering politics and visual
and performing arts. Circ. 9,000. Accepts
mss by mail, online submission form.
NEEDS: Fiction; essays; exposé; historical;
personal experience; book, film, theater,
dance, music and art reviews; poetry (free
verse, traditional). Send complete ms.
LENGTH: Nonfiction: 1,500-4,000 words.
Fiction: 800-4,000 words. Poetry: 100 lines
max. Pays $200-400.
TIPS: “Reading period: Jan. 1-June 30.”
78. TIN HOUSE
McCormack Communications, P.O. Box
10500, Portland, OR 97210.
(503)219-0622.
FAX: (503)222-1154.
EMAIL: [email protected].
WEBSITE: www.tinhouse.com.
90 percent freelance written. “We’re a
general interest literary quarterly.” Circ.
11,000. Accepts queries by mail, online
submission form.
NEEDS: Book excerpts, essays, interview,
personal experience, experimental, mainstream, novel concepts, literary, poetry
(avant-garde, free verse, traditional).
Departments: Lost and Found (minireviews of forgotten or underappreciated
books); Readable Feasts (fiction or nonfiction literature with recipes); Pilgrimage
(journey to a personally significant place,
especially literary).
LENGTH: Up to 5,000 words for fiction
and nonfiction. Lost and Found: up to 500
words. Readable Feasts and Pilgrimage:
2,000-3,000 words. Pays: $50-800 for
assigned nonfiction articles; $50-500 for
unsolicited nonfiction articles; $50-500 for
departments; $200-800 for fiction; $50150 for poetry.
TIPS: “Remember to send an SASE with
your submission.”
HOBBY & CRAFT
79. THE ARTIST’S
MAGAZINE
F+W, A Content + eCommerce Company,
10151 Carver Road, Blue Ash, OH 45242.
(513)531-2690, ext. 11731.
FAX: (513)891-7153.
WEBSITE: www.artistsmagazine.com.
80 percent freelance written. Magazine
published 10 times/year covering primarily two-dimensional art for working artists.
Circ. 100,000. Offers 8 percent kill fee.
NEEDS: No non-illustrated articles.
LENGTH: 500-1,200 words. Pays $400-600.
TIPS: “Look at several current issues
and read the author’s guidelines carefully.
Remember that our readers are professional artists. Pitch an article [and] send
clips. Don’t send a finished article.”
80. BEAD & BUTTON
Kalmbach Publishing, P.O. Box 1612,
21027 Crossroads Circle, Waukesha,
WI 53187.
EMAIL: [email protected].
WEBSITE: www.beadandbutton.com.
50 percent freelance written. Bimonthly
magazine devoted to techniques, projects, designs and materials relating to
making beaded jewelry. Circ. 100,000.
Offers $75 kill fee. Accepts mss by mail,
email, fax.
NEEDS: Historical pieces on beaded jewelry; how to make beaded jewelry and
accessories; humor; inspirational; interview.
Email complete ms as Word attachment.
LENGTH: 1,000-1,2000 words. Pays
$75-400.
TIPS: “Our readership includes both professional and amateur bead and button
makers, hobbyists, and enthusiasts who
find satisfaction in making beautiful things.”
81. FAMILY TREE
MAGAZINE
F+W, A Content + eCommerce Company,
10151 Carver Road, Suite 200, Blue Ash,
OH 45242. (513)531-2690.
FAX: (513)891-7153.
EMAIL: [email protected].
WEBSITE: www.familytreemagazine.com.
75 percent freelance written. Magazine covering family history, heritage and genealogy
WritersDigest.com
63
FOR YOUR REFERENCE
research. Circ. 75,000. Offers 25 percent kill
fee. Accepts queries by mail, email.
NEEDS: Book excerpts, historical, howto, genealogy, new product, photography,
computer technical, genealogy software,
photography equipment.
LENGTH: 250-4,500 words. Pays $25-800.
TIPS: “Always query with a specific story
idea. Look at sample issues before querying to get a feel for appropriate topics and
angles. We see too many broad, general
stories on genealogy or records and personal accounts of ‘How I found my greataunt Sally’ without how-to value.”
HOME & GARDEN
82. THE AMERICAN
GARDENER
7931 E. Boulevard Dr., Alexandria, VA
22308-1300.
(703)768-5700.
FAX: (703)768-7533.
EMAIL: [email protected] and [email protected].
WEBSITE: www.ahs.org.
60 percent freelance written. Bimonthly
magazine covering gardening and horticulture. Circ. 20,000. Offers 25 percent kill
fee. Accepts queries by mail with SASE.
NEEDS: Columns: Natural Connections
(explains a natural phenomenon—plant
and pollinator relationships, plant and
fungus relationships, parasites—that may
be observed in nature or in the garden);
Homegrown Harvest (articles on edible
plants delivered in a personal, reassuring
voice; each issue focuses on a single crop,
such as carrots, blueberries or parsley);
Plant in the Spotlight (profiles of a single
plant species or cultivar, including a
personal perspective on why it’s a favored
plant). Query with published clips.
LENGTH: 600-2,500 words. Pays $100500, depending on complexity, length and
author’s experience.
TIPS: “The majority of our readers are
advanced, passionate amateur gardeners; about 20 percent are horticultural
professionals. Most prefer not to use synthetic chemical pesticides. Our articles are
intended to bring this knowledgeable group
new information, ranging from the latest
scientific findings that affect plants, to indepth profiles of specific plant groups and
64 Writer’s Yearbook 2015
leading horticulturalists, and the history of
gardening and gardens in America.”
83. EARLY AMERICAN LIFE
Firelands Media Group, LLC P.O. Box
221228, Shaker Heights, OH 44122.
EMAIL: [email protected].
WEBSITE: www.ealonline.com.
60 percent freelance written. Bimonthly
magazine for people who are interested in
capturing the warmth and beauty of the
1600-1840 period and using it in their homes
and lives today. Circ. 90,000. Offers 25 percent kill fee. Accepts queries by mail, email.
NEEDS: Nonfiction. Query before sending mss.
LENGTH: 750-3,000 words. Pays $250-700;
additionally for photos.
TIPS: “Write to entertain and inform at
the same time. We’re visually oriented, so
writers are asked to supply images or suggest sources for illustrations.”
84. ORGANIC GARDENING
ping, travel, refinishing, architectural elements, flower arranging, entertaining and
decorating. Query with published clips.
LENGTH: 400-600 words for departments;
1,000-1,200 words for features. Pays
$250-500.
OUTDOOR, HEALTH & FITNESS
86. CANOE & KAYAK
GrindMedia LLC, 236 Avenida Fabricante,
Suite 201, San Clemente, CA 92672.
(425)827-6363.
EMAIL: [email protected], joe@
canoekayak.com, [email protected].
WEBSITE: www.canoekayak.com.
75 percent freelance written. Bimonthly
magazine covering paddlesports. Circ.
70,000. Accepts mss by mail, email.
NEEDS: Historical; how-to canoe, kayak
camp, load boats, paddle whitewater,
etc.; personal experience; photo feature; technical; travel; essays. Columns/
departments: Put In (environment, conservation, events); Destinations (canoe
and kayak destinations in U.S., Canada).
Fillers: anecdotes, facts, newsbreaks.
Send complete ms.
LENGTH: 200-2,500 words. Pays $100800 for assigned articles; $100-500 for
unsolicited articles; $100-350 for columns/
departments; $25-50 for fillers.
TIPS: “Start with Put-In articles (short
featurettes) or short, unique equipment
reviews. Or give us the best, most
exciting article we’ve ever seen—with
great photos.”
Rodale, 400 S. 10th S., Emmaus, PA 18098.
EMAIL: [email protected].
WEBSITE: www.organicgardening.com.
75 percent freelance written. Bimonthly
magazine covering gardening. Circ.
300,000. Accepts queries by mail, fax.
NEEDS: Nonfiction. Query with published
clips and outline.
LENGTH: Varies. Pays up to $1/word for
experienced writers.
TIPS: “Read a recent issue of the magazine
thoroughly before you submit your ideas.
If you have an idea that you believe fits
with our content, send us a 1-page descrip- 87. GOLF TIPS
tion of it that will grab our attention in the Werner Publishing Corp., 12121 Wilshire
same manner you intend to entice readers Blvd., 12th Floor, Los Angeles, CA 90025.
(310)820-1500.
into your article.”
FAX: (310)826-5008.
EMAIL: [email protected].
85. ROMANTIC HOMES
Y-Visionary Publishing, 22840 Savi Ranch WEBSITE: www.golftipsmag.com.
95 percent freelance written. Magazine
Pkwy., Suite 200, Yorba Linda, CA 92887.
published 9 times/year covering golf
EMAIL: [email protected].
instruction and equipment. Circ. 300,000.
WEBSITE: www.romantichomes.com.
70 percent freelance written. Monthly mag- Offers 33 percent kill fee.
NEEDS: Book excerpts, how-to, interazine covering home decor. Circ. 200,000.
view, new product, photo feature, techniAccepts queries mail, fax.
cal, travel. Columns/departments: Stroke
NEEDS: Essays, how-to, new product,
Saver (clear, concise instruction); Lesson
personal experience, travel. Departments
cover antiques, collectibles, artwork, shop- Library (book excerpts, usually in a series);
Travel Tips (formatted golf travel). Send
complete ms.
LENGTH: 250-2,000 words. Columns/
departments: Stroke Saver: 350 words;
Lesson Library: 1,000 words; Travel Tips:
2,500 words. Pays $300-1,000 for assigned
articles; $300-800 for unsolicited articles;
$300-850 for columns/departments.
TIPS: “Contact a respected PGA professional and find out if they’re interested in
being published. A good writer can turn an
interview into a decent instruction piece.”
88. MEN’S HEALTH
Rodale, 33 E. Minor St., Emmaus, PA
18098. (610)967-5171.
FAX: (610)967-7725.
EMAIL: [email protected].
WEBSITE: www.menshealth.com.
50 percent freelance written. Magazine
published 10 times/year covering men’s
health and fitness. Circ. 1,600,000. Offers
25 percent kill fee. Accepts queries by
mail, email.
NEEDS: Nonfiction and submissions for
columns/departments. Query with published clips.
LENGTH: 1,200-4,000 words for features;
100-300 for short pieces; 750-1,500 for
columns/departments. Pays $1,000-5,000
for features; $100-500 for short pieces;
$750-2,000 for columns/departments.
TIPS: “The best way to break in isn’t by
covering a particular subject, but by covering it within the magazine’s style.”
89. MUSCLE & FITNESS
Weider Publications, part of American
Media Inc., 21100 Erwin St., Woodland
Hills, CA 91367. (818)884-6800.
FAX: (818)595-0463.
WEBSITE: www.muscleandfitness.com.
50 percent freelance written. Monthly
magazine covering bodybuilding and fitness for healthy, active men and women.
Circ. 500,000. Accepts queries by mail.
NEEDS: Book excerpts, how-to, training,
humor, interview, photo feature. Query
with published clips.
LENGTH: 800-1,800 words. Pays
$400-1,000.
TIPS: “Know bodybuilders and bodybuilding. Read our magazine regularly
(or at least several issues), come up with
new information or a new angle on our
subject matter (bodybuilding training, psychology, nutrition, diets, fitness,
sports, etc.), then pitch us in terms of
providing useful, unique, how-to information for our readers.”
90. OUTSIDE
Mariah Media Inc., 400 Market St., Santa
Fe, NM 87501. (505)989-7100.
FAX: (505)989-4700.
WEBSITE: www.outsidemag.com.
60 percent freelance written. Monthly
magazine covering active lifestyle. Circ.
665,000. Accepts queries by mail.
NEEDS: Book excerpts, new product,
travel. Query with clips and SASE.
LENGTH: 100-5,000 words. Pays $1-1.50/
word for unsolicited articles.
TIPS: “Queries should present a clear,
original and provocative thesis, not
merely a topic or idea, and should reflect
familiarity with the magazine’s content
and tone.”
91. OXYGEN
Robert Kennedy Publishing, 400
Matheson Blvd. W., Mississauga, ON L5R
3M1, Canada. (888)254-0767.
FAX: (905)507-2372.
WEBSITE: www.oxygenmag.com.
70 percent freelance written. Monthly
magazine covering women’s health and fitness. Circ. 340,000. Offers 25 percent kill
fee. Accepts mss by mail.
NEEDS: Exposé, how-to, training and
nutrition, humor, inspirational, interview,
new product, personal experience, photo
feature. Send complete ms with SASE and
$5 for return postage.
LENGTH: 1,400-1,800 words. Pays $2501,000 (CAD).
92. YOGA JOURNAL
Active Interest Media, Healthy Living
Group, 475 Sansome St., Suite 850, San
Francisco, CA 94111. (415)591-0555.
FAX: (415)591-0733.
EMAIL: [email protected].
WEBSITE: www.yogajournal.com.
75 percent freelance written. Magazine
published 9 times/year covering the prac-
tice and philosophy of yoga. Circ. 300,000.
Offers kill fee on assigned articles. Accepts
queries by email.
NEEDS: Book excerpts, how-to, yoga,
exercise, inspirational, interview, opinion,
photo feature, travel, and content for the
Om, Eating Wisely and Yoga Scene departments. Query with SASE.
LENGTH: 150-5,000 words. Pays $8002,000 for features.
TIPS: “Pitch your article idea to the
appropriate department with the projected word count, and what sources
you’d use. In your query letter, please
indicate your writing credentials. If we’re
interested in your idea, we will require
writing samples. Please note that we don’t
accept unsolicited mss for any departments except Yoga Diary, a first person,
250-word story that tells about a pivotal
moment in the writer’s yoga experience
([email protected]).”
RELIGION
93. B’NAI B’RITH
MAGAZINE
2020 K St. NW, 7th Floor, Washington, DC
20006. (202)857-6527.
EMAIL: [email protected].
WEBSITE: www.bnaibrith.org.
90 percent freelance written. Quarterly
magazine specializing in social, political, historical, religious, cultural, lifestyle
and service articles relating chiefly to the
Jewish communities of North America
and Israel. Circ. 110,000. Accepts queries
mail, email, fax.
NEEDS: Interview, photo feature, religious, travel. Query with published clips.
LENGTH: 1,000-2,500 words. Pays $300800 for assigned articles; $300-700 for
unsolicited articles.
TIPS: “Writers should submit clips with
their queries. Read our guidelines carefully
and present a good idea expressed well.
Proofread your query letter.”
94. CATHOLIC ANSWERS
2020 Gillespie Way, El Cajon, CA 92020.
(619)387-7200.
FAX: (619)387-0042.
WEBSITE: www.catholic.com.
60 percent freelance written. Monthly
WritersDigest.com
65
FOR YOUR REFERENCE
magazine covering Catholic apologetics
and evangelization. Circ. 24,000. Offers
variable kill fee. Accepts queries by email.
NEEDS: Book excerpts, essays, religious
conversation stories. Send complete ms.
LENGTH: 1,500-3,000 words. Pays
$200-350.
95. TRICYCLE
1115 Broadway, Suite 1113, New York, NY
10010. (646)461-9847.
EMAIL: [email protected].
WEBSITE: www.tricycle.com.
80 percent freelance written. Quarterly
magazine “providing a unique and
independent public forum for exploring
Buddhist teachings and practices,
establishing a dialogue between Buddhism
and the broader culture, and introducing
Buddhist thinking to Western disciplines.”
Circ. 50,000. Offers 25 percent kill fee.
Accepts queries by mail, email (preferred).
NEEDS: Book excerpts, essays, general
interest, historical, humor, inspirational,
interview, personal experience, photo
feature, religious, travel. Columns/departments: Reviews (films, books, tapes);
Science; Gen Next.
LENGTH: Features: 1,000-5,000 words.
Columns/departments: 600-700 words.
Negotiates payment individually.
TIPS: “For your submission to be considered, we ask that you first send us a
1-page query outlining your idea, relevant
information about your writing background and any Buddhist background,
your familiarity with the subject of your
proposal, and so on. If you have clips or
writing samples, please send them along
with your proposal.”
96. THE UPPER ROOM
1908 Grand Ave., P.O. Box 340004,
Nashville, TN 37203. (615)340-7252.
FAX: (615)340-7267.
EMAIL: theupperroommagazine@
upperroom.org.
WEBSITE: www.upperroom.org.
95 percent freelance written. Bimonthly
magazine offering a daily inspirational
message, which includes a Bible reading,
text, prayer, “Thought of the Day,” and
suggestions for further prayer. Circ. 2.2
66 Writer’s Yearbook 2015
million. Accepts mss by mail, email.
NEEDS: Inspirational, personal experience,
Bible-study insights. Send complete ms.
LENGTH: 300 words. Pays $25/meditation.
TIPS: “The best way to break in to our
magazine is to send a well-written ms that
looks at the Christian faith in a fresh way.
Standard stories and sermon illustrations
are immediately rejected.”
LENGTH: 1,500-3,000 words for features.
Above and Beyond: 1,500-2,000 words.
Flights and Fancy: 800 words. Soundings:
700 words. Pays $1,500-3,000 for features;
$150-300 for columns/departments.
TIPS: “Writing should be clear, accurate
and engaging. It should be free of technical and insider jargon, and generous with
explanation and background.”
SCIENCE, TECHNOLOGY &
HISTORY
99. AMERICA’S CIVIL WAR
Weider History Group, 19300 Promenade
Dr., Leesburg, VA 20176. (703)771-9400.
97. AD ASTRA
FAX: (703)779-8345.
National Space Society, 1155 15th St.,
EMAIL: [email protected].
NW, Suite 500, Washington, DC 20005.
WEBSITE:
americascivilwarmag.com.
(202)429-1600.
60
percent
freelance
written. Bimonthly
FAX: (202)530-0659.
magazine
covering
popular
history and
EMAIL: [email protected].
straight
historical
narrative
for
both the genWEBSITE: www.nss.org/adastra.
eral
reader
and
the
American
Civil
War buff.
90 percent freelance written. Publishes
Circ.
78,000.
Accepts
queries
by
email.
nontechnical, lively articles about all
NEEDS: Historical, book notices, preseraspects of international space programs.
vation
news. Query.
Circ. 25,000.
LENGTH: Up to 3,500 words. Pays $300
NEEDS: Book excerpts, essays, exposé,
and up.
general interest, interview, opinion,
TIPS: All stories must be true. Write an
photo feature, technical.
entertaining, well-researched, informative
LENGTH: 1,000-2,400 words. Pays $200500 for features. Query with published clips. and unusual story that grabs the reader’s
attention and holds it.”
TIPS: “We require mss to be in Word or
text file formats. Know the field of space
100. SMITHSONIAN
technology, programs and policy. Know
MAGAZINE
the players. Look for fresh angles.”
Capital Gallery, Suite 6001, MRC 513,
P.O. Box 37012, Washington, DC 20013.
98. AIR & SPACE
Smithsonian Institution, P.O. Box 37012, (202)275-2000.
EMAIL: [email protected].
MRC 951, Washington, DC 20013.
WEBSITE: www.smithsonianmag.com.
(202)633-6070.
90 percent freelance written. Monthly
FAX: (202)633-6085.
magazine for associate members of the
EMAIL: [email protected].
Smithsonian Institution. Circ. 2.3 million.
WEBSITE: www.airspacemag.com.
Accepts queries by online submission form.
80 percent freelance written. Bimonthly
NEEDS: Considers focused subjects
magazine covering aviation and aerothat fall within the general range of
space for a nontechnical audience. Circ.
Smithsonian Institution interests, such as
225,000. Offers kill fee. Accepts queries
cultural history, physical science, art and
by mail, email, fax.
natural history. Query using the online
NEEDS: Book excerpts, essays, general
submission form.
interest, historical, humor, photo
LENGTH: 700-word humor column to
feature, technical on aviation/aerospace.
4,000-word full-length feature. Pays various
Columns/departments: Above and
rates per feature; $1,500 per short piece.
Beyond (first person); Flights and
Fancy (whimsy); Soundings (brief items, TIPS: “Send proposals through online
submission form only. No email or mail
but not breaking news). Query with
queries.” YB
published clips.
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WritersDigest.com I 71
ENDNOTES
5–Minute Memoir:
The Art of Failing Well
BY SCOTT ATKINSON
I
was obsessed with my undergraduate writing classes, taught
by a man I thought of as my literary Dumbledore. I took notes
I actually read later. I turned in
assignments he never assigned
and even gave him my first novel
manuscript to read, hoping for praise
but expecting the usual—my pages
returned with more of his ink than
mine, scrawled in the margins with
the thick, flowing lines of a fountain
pen. I often sent accompanying emails
apologizing for the work not being
good enough, an invitation for him to
tell me I was wrong.
In one response, almost as an
afterthought, he wrote that he was
prepared to award me the class’ highest honor, and I spent the next 24
hours wondering what this honor
was but feeling sure my hard work
had paid off.
In a way, I was right. He announced
to the class the following day that I
had won the distinction of being the
class’ biggest failure.
I was always trying new things, he
said, and though I was not always
pulling them off (that might have been
putting it politely) I was searching for
my true voice and not settling for the
one that kept ending up on the page.
Even though I was crushed, I
understood what he was getting at.
72 Writer’s Yearbook 2015
And since then, I’ve been obsessed
with my failures—or rather, I’ve been
obsessed with failing well. Other than
a few moments of success, those failures are all I have.
That first novel was rejected by
everyone. Only one agent asked to
read a few chapters, and then quickly
dismissed them (rightly so—it was a
horrible novel). I collected form rejections from lit journals like trophies. I
put 17 chapters of another novel in
a drawer (at least I learned when to
quit). Article ideas were shot down,
sometimes outright ignored. Friends
landed staff writing jobs. I worked in
a bar.
But eventually, the form rejections
started coming in with encouraging
notes saying, You’re not good enough
but you might be, if you keep at it. I
discarded the others and began to save
those. Like my professor, they were
saying that I was failing, yes, but failing well, and that was what I needed to
hear to keep at it. Not publication. Not
success. Not yet.
I wrote another novel and lugged
the finished manuscript all over Ann
Arbor, Mich., during a writing conference, following the visiting literary agent everywhere. After a night
of dinner and drinks, momentarily
apart from the crowd, we stood on a
city sidewalk and she asked me what
my book was about. Then she asked to
read it.
In the end, she was one of six
agents to say no, but I will always
have that moment: When I stood
under a streetlight in one of my
favorite cities and an agent asked for
my novel. A great failure. (And, I’ll
always have the feedback I received
from those six agents, full of advice
I’m applying to the revision I’m
doing now.)
Amidst all the failures I’ve even
managed to have a bit of success. I’m a
full-time features writer and have won
some awards. I’ve published short stories, one of which was nominated for a
Pushcart Prize (it didn’t win, but that’s
not a bad way to fail).
I also teach writing at a university.
My job is to teach students to succeed, but I know that doesn’t happen
all at once. So I hope to leave them
knowing that failure is not only OK,
not only unavoidable, but that it can
be done well—the more they write,
the more they fail, the more scribbles
from my fountain pen and others’
they’ll receive, telling them all the
hard-earned reasons they should keep
at it. YB
Scott Atkinson writes for The Flint Journal
and teaches writing at the University of
Michigan–Flint.
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