TOP SPONSOR 

EDITOR'S THOUGHTS

ON BECOMING GOOD

We have to endure a certain degree of a learning curve when we decide to be writers. We must decide what type of writing we'll hope to hone and hope to be known for. Then from there, we decide if we'll take this talent seriously. But, without question, we must master the craft to excel. Nobody is born writing well. 

We advance by knowing our field of study, and like in college, we specialize and absorb intelligence from those who have gone before us through examples, published works, studies, and how-to. In other words, as writers we must do lots of reading of other writers. It's essential to understand what failed and what worked before we jump on the train. 

I've heard the argument that every writer is different, and writing is an individualistic approach. Every profession out there has a certain degree of individualism, but every profession also has standards, and track records, and evidence of how short-cuts can cause more damage than success. 

The problem is, where do you stop? When is it okay to stop the study and do the practice?

I've sat in writing groups with writers who read how-to books ad nauseum, thinking they'll one day reach a point where they grasp all the rules. I've also sat in groups with writers who read and read their genre and were afraid to start because they couldn't see themselves ever being that good. 

Others take the stand that they are so unique that they do not have to study. They'll be unique and diverse and not be influenced by the published, thinking they don't want to "copy" anyone else's ideas.

Then there are those who get paralyzed by too much material to study, so they do not write. 

These mind sets can trip you up, mire you down, and screw you over. 

Study, read, and write. Learn, observe, and practice. You'll naturally reach a point where you develop an easy working understanding about the lessons and the examples. You recognize the lessons in published works. You think twice before writing certain ways. 

There's too much to read, and you'll never know it all. Study is a part of the journey. But to study it all before writing . . . or writing without studying at all . . . is to not write well.

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SUPER SPONSOR 

HOPE'S APPEARANCES

 
SUCCESS QUOTE

SUccess Story

Hi Hope, 

Yoooooo, Hope! 

I was encouraged to, applied for and then won a scholarship to the James River Writers Conference which was in October here in the Richmond Virginia area! The virtual aspect was brand new for me, a veteran in-person conventioneer from my 40 years as a music radio DJ (mucho confabs and conferences, from Billboard to Impact and the CRS), but I was thrilled.

Keep the good stuff coming.

Naphtali Jimi B



 - - - 

If you have a success story you believe was prompted by FundsforWriters, please share with us! Send to [email protected] 

 

Featured article

Writing Lessons (I Learned During COVID-19 Lockdown)

By Alex J. Coyne

When the world began entering COVID-19 lockdowns, the writing landscape changed overnight. Market closures, budget cuts, and simultaneous personal disasters proved that the near-future was to be one hell of a ride.

Almost any major crisis can force exceptional circumstances on a writer. As Hunter S. Thompson noted, “When the going gets weird, the weird turn pro.” At the start of this roller coaster, I had no idea how many challenges would hit within a few months. But we can learn from this road we’ve travelled.

Are you a writer faced with sudden uncertainty (or a series of unfortunate events)? Here are some of the lessons I learned during COVID-19 lockdown, and how they can be useful for writers everywhere, during all sorts of catastrophes and types of obstacles.

By Any Means Necessary

As a start, my computer crashed – and laptop parts weren't available for months under tight countrywide restrictions. It was time to adapt or die.

I discovered that a writer can type using almost anything. For a while, writing meant using an older Android-tablet with word-processing software. It also took writing 17,000 words by hand in two days by candle-light.

What's the lesson? Get jobs done, and by any means necessary.

Watch Your Niche

When markets closed and cut back, it felt like disaster on top of an already rough situation. Financial writing markets didn't exactly flourish during lockdown, and neither did freelance budgets. I had to rely on writing outside my usual scope.

I was surprised when certain niche markets flourished. Online bridge (the game) and health writing boomed, which helped me stay afloat.

If you undergo a crisis period or markets change, remember to watch or adjust your niche.

Seeing Expenses (in Markets and Words)

Difficult times impose the pressure of finance. When COVID-19 hit, some markets cut back or stopped hiring entirely. The budget didn't look good on paper – and that's when my perspective about budgeting had to shift.

Expenses had to be calculated – literally – using markets and word counts. “What's paying the electric bill? Oh, a feature piece, not a short story.”

When looking at my career through this sort of lens, I began seeing opportunities instead of disasters. I approached new markets with excitement, instead of just “needing more money” in a panic.

Submitting Early (Accounts for Disaster)

Firmware updating, laptop chargers malfunctioning, or protests blocking roads: The nature of a sudden emergency could be anything that takes up necessary working time you cannot afford to lose. By submitting earlier than deadlines, you buy breathing room for when these difficulties occur. Buy this extra time whenever you have the opportunity to do so, in order to better weather a future problem or collect time to seek those much needed new markets. Get into the habit of submitting early.

Categorize Markets (by Hiring Likelihood)

In the event of an emergency, create a list with (i) previous clients, (ii) current clients, and (iii) potential future clients. Now categorize them further to answer the following questions: Who is definitely hiring, maybe hiring, and unsure for now?

Working through pitches this way is enlightening, especially when markets change fast.

It's a good way to discover forgotten clients, and to find new ones. It's also much more efficient than pitching to a randomized list in a panic.

Collaborations During Crisis

I approached other copywriters for sub-out work, with a fresh idea: emergency rates. I offered discounts for editing and copywriting. Collaborations ensured a steadier work-flow, and managed to help small writing agencies or other freelancers in need on a tight budget.

When times are hard for everyone, ask what you can do for others and it might help you.

BIO:
Alex J. Coyne is an author, copywriter, and card writer. He has written features for leading markets that include FundsforWriters, Great Bridge Links, Bridge Canada Magazine, People Magazine, and a myriad of others. He also writes a daily bridge column for Bridge Base Online (BBO) Prime.
 

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COmpetitions

Submissions are now open for the DISQUIET Literary Prize! Fiction, nonfiction, and poetry winners will be published; one grand prize winner will recieve tuition, lodging, and travel stipend to attend Disquiet summer literary program in Lisbon.

$500 cash prize for genre winners.
Reading fee: $15.
Deadline: January 24, 2022.

https://disquietinternational.org/the-program/contests-scholarships/the-disquiet-prize/

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NARATIVE FALL STORY CONTEST
https://www.narrativemagazine.com/fall-2021-story-contest
$27 ENTRY FEE. Deadline November 30, 2021. Looking for short shorts, short stories, essays, memoirs, photo essays, graphic stories, all forms of literary nonfiction, and excerpts from longer works of both fiction and nonfiction. Entries must be previously unpublished, no longer than 15,000 words, and must not have been previously chosen as a winner, finalist, or honorable mention in another contest. Awards: First Prize is $2,500, Second Prize is $1,000, Third Prize is $500, and up to ten finalists will receive $100 each. All entries will be considered for publication.



30 BELOW CONTEST
https://www.narrativemagazine.com/30-below-2021
$26 ENTRY FEE. Deadline November 19, 2021. Narrative invites all writers, poets, visual artists, photographers, performers, and filmmakers between eighteen and thirty years old to send their best work. They are looking for the traditional and the innovative, the true and the imaginary. They are looking to encourage and promote the best young authors and artists working today. First Prize is $1,500, Second Prize $750, Third Prize $300, and ten finalists will receive $100 each. The prizewinners and finalists will be announced in Narrative. All N30B entries are eligible for the $4,000 Narrative Prize for 2021 and for acceptance as a Story of the Week or Poem of the Week. Prose submissions must not exceed 15,000 words. Each poetry submission may contain up to five poems. 



JEFF MARKS MEMORIAL POETRY PRIZE
https://decembermag.org/2022-jeff-marks-memorial-poetry-prize/
$20 ENTRY FEE. Deadline December 1, 2021. First Prize: $1,500 and publication. Honorable Mention: $500 and publication. All finalists published in Spring/Summer 2022 Awards issue. Finalists will be paid at regular contributor rates. Each submission is carefully considered for publication. Each entry should include no more than three poems.



ETHOS LITERACY SHORT SHORT STORY CONTEST
https://www.ethosliteracy.org/event-info/3rd-annual-short-short-story-contest
$10 ENTRY FEE. Deadline January 31, 2022. This contest is open to anyone of any age that is up to the challenge. You will need to write a complete story using only 100 words. Best of Contest: $250. Best of Category (four prizes): $100. Best Youth Story (for authors 14 years and younger): $100. People’s Choice: $100.



SO TO SPEAK CONTEST
http://sotospeakjournal.org/contests/
FREE to $9 ENTRY FEE. Deadline November 14, 2021. Fiction, nonfiction, and poetry. Submissions are free for Black and Indigenous writers, who may use the genre-corresponding submission portal designated as free submissions for Black and Indigenous writers. If you are not a Black or Indigenous writer but the fee poses a serious barrier to you, please reach out to us via [email protected] rather than using this submission portal. Poetry limited to three to five poems. Winner receives $500. Fiction limited to 4,000 words. Winner receives $500. Nonfiction limited to 4,000 words. Winner receives $500.



QUARTERLY WEST POETRY AND PROSE CONTEST
https://www.quarterlywest.com/contests
NO ENTRY FEE. Deadline November 15, 2021. The winners will each receive $500 and publication in a forthcoming issue of Quarterly West. Runners-up in poetry and prose will each receive $200 and all entries will be considered for publication. To enter, please submit up to three poems or a prose piece (i.e., fiction, non-fiction, or any hybridization therein) through our Submittable. There is no fee to submit to the contests, and please submit no more than one entry per genre. 



TREEHOUSE CLIMATE ACTION POEM PRIZE
https://poets.org/academy-american-poets/prizes/treehouse-climate-action-poem-prize
NO ENTRY FEE. Deadline November 15, 2021. First place will receive $1,000; second place, $750; and third place, $500. In addition, all three poems will be published in the popular Poem-a-Day series, which is distributed to 500,000 readers. Poems may also be featured in the award-winning education series Teach This Poem, which serves 35,000 educators each week. 



NEW YORK ENCOUNTER POETRY CONTEST
https://www.newyorkencounter.org/2022-poetry-contest
NO ENTRY FEE. Deadline November 15, 2021. Theme: "This Urge for the Truth." The contest is open to all poets writing in English. Prizes are $300, $200 and $100. Winners will be invited to read their poems during the 2022 Encounter (February 18-20). The winning poems will be published on the New York Encounter website after the reading. Submit one unpublished poem. 

 

GRANTS / FELLOWSHIPS / CROWDFUNDING

 

ITVS HUMANITIES DOCUMENTARY DEVELOPMENT FELLOWSHIP
https://itvs.org/funding/itvs-humanities-documentary-development-fellowship
Deadline November 12, 2021. A one-time, 12-month unrestricted fellowship to help pandemic-affected independent documentary filmmakers with early development of high-potential projects that increase the diversity, urgency, and relevance of the nation’s humanities-centered documentary pipeline.



IRELAND D/DEAF AND DISABLED ARTISTS SUPPORT FUND
https://universityofatypical.org/ddasf/
Deadline November 19, 2021. The University of Atypical will be awarding a minimum of 60 grants of £2,000 through the D/deaf and Disabled Artists Support Fund 3, which is funded by the Arts Council of Northern Ireland and the Department for Communities, to support D/deaf, disabled and Neurodiverse artists.



GOTHAM CREATIVE WRITERS FELLOWSHIPS
https://v2.writingclasses.com/scholarships/creative-writing-scholarship
Deadline November 15, 2021. The Creative Writing Scholarship is open to people of color who have an interest in creative writing—any type of writing, any level of experience. All we ask is the desire to write creatively. Three scholarships will be offered every year. Each scholarship includes: 
One 6-week course of the writer’s choosing
Two 10-week courses of the writer’s choosing 
Two Intensives of the writer’s choosing
One 12-hour Mentorship, after the writer has completed at least one ten-week course



VERMONT ARTS COUNCIL ARTIST DEVELOPMENT GRANTS
https://www.vermontartscouncil.org/grants/artists/artist-development
Deadline February 14, 2022. Artist Development Grants support artists at all stages of their careers. Grants can fund activities that enhance mastery of an artist’s craft or skills or that increase the viability of an artist's business. Funding may also support aspects of the creation of new work when the activity allows the grantee to accept a rare and important opportunity. Maximum grant $2,000. 



VERMONT ARTISTS IN SCHOOLS GRANTS
https://www.vermontartscouncil.org/grants/schools/artists-in-schools
Rolling deadline. Artists in Schools grants fund artist residencies in schools. Residencies may be funded for up to ten days, are intended to serve as a model for the integration of the arts across the PreK-12 curriculum, both in the classroom and through remote learning. Artists completing the residency must be selected from the Council's Teaching Artist Roster and are expected to collaborate with classroom teachers to ensure that the residency meets student learning objectives and that there is a sustainable impact in the school community.



NEBRASKA MICRO GRANTS
https://www.artscouncil.nebraska.gov/apply/micro-grants/
Micro Grants provide financial support to assist artists and community organizations applying for a grant for the first time. Community arts projects led by artists or community-based organizations for the benefit of the public. Examples of supported projects might include artist website improvements or equipment purchases, mural projects, virtual artist panels, music performances, etc. Arts Projects must be arts-related and benefit public audiences. Applications must be submitted no later than four weeks prior to the project start date or purchase of equipment. Maximum $500. 



NEBRASKA ARTIST ROSTER
https://www.artscouncil.nebraska.gov/artists/join/
Nebraska Arts Council's Artist Roster helps nonprofit organizations and schools bring accomplished artists and performers into communities, giving people the chance to enjoy art to which they may not otherwise have access while ensuring artists get paid for their work. The roster is split between the Artists in Schools and Communities (AiS/C) program and the Nebraska Touring Program (NTP). Professional artists in all disciplines can apply. Applicants must reside in Nebraska or within states contiguous to Nebraska.



BRONX ARTS FUND
https://www.bronxarts.org/grants/arts-fund-grant/
Deadline November 15, 2021. Bronx-based individual artists, artist collectives and 501c3 arts organizations with an organizational budget below $100,000 may apply for grants of up to $5,000 that contribute to the cultural life of the borough. Individual Bronx residents and artist collectives do not need a fiscal sponsor; they may apply directly to this program.


  

FREELANCE MARKETS / JOBS

CHICKEN SOUP - GRATITUDE
http://www.chickensoup.com
Deadline January 22, 2022. Please share your stories about handling challenges in your life, finding the silver linings, and counting your blessings, whether the challenges you are facing are COVID-19 related or other kinds. Stories can be serious or funny, but definitely should be inspirational and heartwarming. Limit 1,200 words. Payment is $200 and ten copies of the book. 



SCUBA DIVING MAGAZINE
https://www.scubadiving.com/how-to-pitch-scuba-diving-magazine
The stories we publish generally fall into the following categories: travel, what's it like, news, animal encounters, training, gear, conservation. The stories we publish in print generally fall into the following categories: travel features (1,500-2,500 words), travel roundup (word count varies), discovery (1,500-2,500 words), science/policy (1,500-2,500 words), Featurette, (500-1,200 words), front of the book (200-600 words), and special issues. Rates start at 25 cents a word. 



GIZMODO
https://gizmodo.com/about
Pitch Marina Galperina, Features Editor at [email protected]. Rates are $300 for shorter posts, $500 for longer features, and more for some projects. Non-narrative consumer tech desk rates vary based on scope. Gizmodo is a news and opinion website about gadgets, technology, science, environmental news, entertainment, and culture. From reviews of the latest phones, TVs, laptops, shows, and movies to the latest news about privacy, tech and environmental policy, and labor, we aim to cover the worlds of technology, science, and entertainment with transparency, accuracy, humor, and blunt honesty.



STREETSBLOG
https://mass.streetsblog.org/about-streetsblogmass/
Pays 50 cents per word. Pitch [email protected]. StreetsblogMASS is a daily news source dedicated to promoting sustainable transportation and safer streets throughout the Commonwealth of Massachusetts.



THE VERGE
https://www.theverge.com/write-for-the-verge
The Verge covers the ways that technology and science are changing the way we live. Pitches for written work are usually read by their subject area editor. Looking for strong angles for a smart audience, reported stories that show readers something new, like an unexpected side effect of an app, a new surveillance program, a cutting-edge research program, or a new community or trend, and how technology intersects with other fields, including business, health, politics, culture, and more. A common mistake when submitting pitches is pitching a topic rather than a story. We are looking for stories. Rates start at $350 per piece. That's the floor, higher depends on the scope of the piece, experience, etc. Rates are always negotiable.



WINE ENTHUSIAST
https://www.winemag.com/contact-us/#submission_guidelines
Wine Enthusiast Magazine welcomes pitches from freelance writers, but full manuscripts on spec are discouraged. A pitch only needs to be one paragraph, and it should be accompanied by materials (a resume, curriculum vitae or clips) that demonstrate the submitter’s qualifications to write that particular piece. Print works about six months out and is generally looking for pieces around 350 words; digital works about two months out and assigns at a variety of lengths. Pays $1/word for print, $.50/word for digital. 



LADIES WHO LEVERAGE
https://ladieswholeverage.com/
Ladies Who Leverage is a global network of diverse women who collabosource to leverage their influence to create impact and increase their income so they can live life unapologetically AF. Pitch [email protected] . Seeking stories for a digital magazine launching in January: pieces that cater to female entrepreneur + lifestyle pieces on health, self-care, food, beauty/style, innovation. Pays $150 per article.



REBELLIOUS MAGAZINE
https://rebelliousmagazine.com/
Deadline December 1, 2021. Pitch [email protected]. Type in ATTN: Submission in email subject line. Pays $250 for 750 words, $350 for 1,000 words. Seeks judgement-free, feminist-focused sexual health and reproductive justice stories. 



THE GRADE
https://kappanonline.org/category/the-grade/
The Grade provides independent analysis of media coverage of education, helping to promote and improve the quality of that coverage.The Grade publishes weekly columns, a free newsletter featuring timely media commentary, and an annual update on newsroom diversity in education journalism. While hosted by KappanOnline, editorial decisions are The Grade's. We're looking for people who can produce high-quality opinion pieces. We can pay $600 per 1,200-word piece or slightly more for pieces that feature original reporting. No journalism degree or beat experience required, but you do need to be brave about expressing strong opinions, quick at writing them down, and responsive to editing. Pitch [email protected] with "OPINION" in the subject line.



THE INFORMATION 
https://www.theinformation.com
Pitch Jon Steinberg, Editor at [email protected]. Launching a Weekend section covering tech, culture, parenting, and the way we squid now. Averages $1/word but rates are very negotiable.


 

Publishers/agents

TRELLIS LITERARY MANAGEMENT
https://www.trellisliterary.com/submissions
Our interests range from literary to commercial to genre-bending fiction, from narrative to memoir to pop culture nonfiction and everything in between. Please read our bios and our submissions policies before you send us your work.



HOMEBOUND PUBLICATIONS
https://homeboundpublications.com/
We are an award-winning independent publisher founded in 2011 striving to ensure that the mainstream is not the only stream. More than a company, we are a community of writers and readers exploring the larger questions we face as a global village. It is our intention to preserve contemplative storytelling. We publish full-length introspective works of creative non-fiction, literary fiction, and poetry. Please be advised, the reading periods for all imprints are from January 1st to April 1st and August 1st – October 1st. If you submit your work to us outside of the reading window, it will be reviewed in the next period. (We do have a paid, express submission options for those who submit to us during an off season. Should you choose this channel, you will receive an answer 4 weeks from the date of your submission.)



OWL HOUSE BOOKS
https://owlhousebooks.com/index.php/submissions/
As a highly selective press, we publish only two to four full-length works a year. Owl House Books specializes in genre fiction. We seek works of science fiction, fantasy, mystery, and thriller. We are a royalty-based publisher. Our authors do not subsidize the publication of their book in any way. We do not currently offer advances; rather, we offer an above average royalty rate. Every Editor in Owl House Books is also a working writer, as such we respect an author’s voice. We always like to ensure that our authors are pleased with the final product. Working under this philosophy, we involve our authors in the interior/cover design process.

 

SPONSORS

FINE PRINT

Please forward the newsletter in its entirety. To reprint any editorials, contact [email protected] for permission. Please do not assume that acknowledgements listed in your publication is considered a valid right to publish.

C. Hope Clark
E-mail: [email protected]
140-A Amicks Ferry Road #4
Chapin, SC 29036
http://www.fundsforwriters.com

Copyright 2000-2021, C. Hope Clark
ISSN: 1533-1326

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