SPONSOR OF THE WEEK

LOVING THE SMALL PUBLISHER

Piggybacking on the feature story today, The Big Benefits of a Small Publisher, I wanted to insert my own experience with a small press. So many people ask me why I am not self-publishing, and I say this:

1) My publisher responds to my emails within 24 hours most of the time. She knows me. I can ask her for advice, and she responds. After eight years and ten books, she gets me. 

2) My publisher designs fantastic covers that are better than I could imagine. 

3) My publisher has the final say when it comes to manuscript edits, title, character development, etc. However, she bounces most things off me before making demands. 

4) My publisher puts my books just about everywhere. I don't have to do that. 

5) My publisher edits the book at least three times after I've turned it in, having edited it myself or had it beta read by several people. 

Do I agree with everything the publisher does? No, but the publishing house is open to communication. I've been required to change titles, take out characters, create new characters, and rewrite an entire climax. I've even been told to write a certain kind of book.  

They coaxed me to create a second series. I accepted begrudgingly and have counted my blessings ever since for them making me create the Edisto Island Mysteries.

They supported me through personal crises when I struggled to meet deadline. 

They've negotiated contract numbers with me, and when they couldn't, they went into a lot of explanation as to why. 

I wanted to add these things to the list in today's feature, to give you a complete idea of the benefits of a small publisher. I've considered pitching to New York, and I've considered indie publishing. But I don't trust the fickleness of the Big Five publishing houses, and my time is so limited that I don't want to think about making the book. Through my choice of a smaller press, a balance has evolved, and even after all the research I've done, this type of publishing suits me.
















Due to popular request, you'll find autographed versions of The Edisto Island Mysteries at my website, or through the online store.




 

SUPER SPONSOR WORTH NOTING

Autographed First Editions 

Collector Kathy Thompson is disposing of her huge library of autographed first edition novels. After a lifetime of collecting them, she's decided to declutter and simplify.

C. Hope Clark discovered her online and has already purchased four first editions for her own library. As thanks for being so courteous and prompt, Hope offered to mention these books to her readers. Here is a list of the authors she has available. Email her to request pricing, which is crazy reasonable. Email: [email protected]
 

Email: [email protected]

 

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Featured article

The Big Benefits of a Small Publisher

By Dan Brotzel 

When writers dream of getting published, their initial fantasies probably take the form of a massive advance from one of the big houses, perhaps with a nice little film deal thrown in. Because of this popular obsession with the big players, writers can easily overlook the benefits of a smaller, independent publisher. So here are six reasons why small is beautiful. 

You’re made to feel special. The obvious benefit of a smaller house is that you are made to feel more important and are likely to receive more attention. Writers with experience of publishers big and small often say that, with the latter, the levels of belief and enthusiasm are likely to be higher.

With a smaller independent publisher, you are likely to enjoy a more personal relationship. Larger publishers may be less responsive and agile in general, and so not as quick to come back to you if you have a question or request. With a small list, the publisher will try hard to make each and every author feel important.  

Debut writers get more attention. Big houses don’t always have a lot of time or budget to spend on debut authors, who may be seen as an unknown quantity that has to prove its worth before it can attract more attention. A first book that doesn’t live up to expectations sales-wise may threaten the author’s ongoing relationship with the house. 

With smaller publishers, however, there’s likely to be less pressure on the first book. Small presses tend to invest in an author rather than a title and to invest in their titles more equally, with a much less tiered approach. 

Greater input. Another area where small publishers benefit authors is in the consultation over things like cover design, blurb, and other marketing assets. With the publisher of my short story collection, I was asked to approve the cover design and also had input on the drafting of the blurb. Authors with big publishers, however, may find themselves saddled with a cover that they don’t think really fits with their idea of the book.  

You won’t get stranded. An author who is brought into a big house may well have been championed by one particular editor, who perhaps had to fight off the rival claims of other editors and their preferred authors. This is a feather in your cap, of course, but if your champion departs it can leave you feeling a bit orphaned, because there is no one else with the same appetite to really fight for your work. With a smaller house, on the other hand, this is far less likely to happen because you have a relationship with the entire firm. 
 
You get the best of both worlds. Small presses offer some advantages over self-publishing too, among them professional editing, proof, and cover design; marketing and publicity; and access to the buyers for the main book retailers and the wholesalers who supply independent bookshops. You’ll also be pitched to book festivals and events, and where the publisher has overseas rights, they will try very hard to sell the right for your book into those countries too. 

You feel under less pressure. A big advance sounds wonderful, but a publisher who has invested a six-figure sum in you will be ruthlessly committed to earning that money back. This can put a lot of pressure on the author, who may well have to follow a punishing promotional schedule. 

With a more modest advance from a smaller house, however, you can – with your publisher’s support - build up a following organically over time. 

BIO: Dan Brotzel (@brotzel_fiction) is author of a collection of short stories, Hotel du Jack, and co-author of a new comic novel about an eccentric writers’ group, Kitten on a Fatberg (Unbound). For 10% off your order, quote KITTEN10

 

COmpetitions

THE WATERMAN FUND ESSAY CONTEST
https://www.watermanfund.org/essay-contest/enter-essay-contest/
NO ENTRY FEE. Deadline February 2, 2020. We are interested in your personal experience with changes to the wild and changes in perceptions of the wild in the last 20 years. What aspects of the wild endure the tests of time? The winning essay will be awarded $1,500. The runner-up essay will receive $500. Both will be published online and in Appalachia. For the purposes of this contest, an emerging writer is considered someone who has a solid writing background or interest but has not yet published a major work of prose on this topic or been featured in national publications. 



THE WRITER ESSAY CONTEST
https://writermag.submittable.com/submit
$25 ENTRY FEE. Deadline March 3, 2020. Submit your best essay in 2,000 words or less. Any topic or subject is fair game as long as your submission is a work of nonfiction. First prize $1,000 and publication. 



STOCKHOLM WRITERS PRIZE
https://stockholmwritersfestival.com/stockholm-writers-prize
https://www.pw.org/content/stockholm_writers_prize_accepting_submissions
$25 ENTRY FEE. Deadline February 25, 2020. We are especially interested in writers using the tools of fiction, poetry, and drama, to create change (large or small) in the world. Emerging writers of all ages and experience levels and from all regions of the world are invited to submit a 1,500-word creative writing sample (in English) which exemplifies their polished work tied to social justice issues. Additionally, the writer must submit a 1,000-word personal statement (in English) on how they foresee their writing creating change, why this particular social justice issue matters to them, and how they could benefit from this residency. The winner will receive a seven-day residency in Stockholm, Sweden, from the dates of May 21 to May 27, including attendance at The Stockholm Writers Festival of 2020 (May 22-24). They will also receive $1,000 (USD) towards flights and travel costs, free tuition to the Stockholm Writers Festival, six nights' accommodation in Stockholm, a one-on-one meeting with an agent, and individual feedback from our guest judge.



BRIDPORT PRIZE
https://www.bridportprize.org.uk/
ENTRY FEE £20 FOR NOVELS. Poetry: 42 lines max. No minimum. Title not included in the line count. Dedications not included in the line count. Lines between text/stanzas are not counted. Short story: 5,000 words max. No minimum. Title not included in the word count. Flash fiction: 250 words max. No minimum. Title not included in the word count. Novel: 8,000 words max. 5,000 words minimum from opening chapters, plus 300-word synopsis. The competition welcomes entries from writers across the globe writing in English, aged 16 years old and over at the time of the closing date. The Novel award is ONLY open to writers in Great Britain (including N. Ireland, Channel Islands and Isle of Man) and the Republic of Ireland. Poetry: first prize £5,000, second prize £1,000, third prize £500, Highly Commended 10 x £100. Short story: first prize £5,000, second prize £1,000, third prize £500, Highly Commended 10 x £100. Flash fiction: first prize £1,000, second prize £500, third prize £250, Highly Commended 3 x £100. Novel: first prize – £1,500 plus up to a year’s mentoring from The Literary Consultancy through their Chapter & Verse mentoring scheme (worth £2,640) plus a short, written report on the winning entry from the named judge. If, after the mentoring process, the finished novel is suitable, A.M. Heath Literary Agents will have first option to represent the winner and to offer it to a recommended publisher. Runner-up – £750 plus full manuscript appraisal from The Literary Consultancy.



GEIST LITERAL LITERARY POSTCARD STORY CONTEST
https://www.geist.com/contests/postcard-contest/
$20 ENTRY FEE. Deadline March 15, 2020. Send us a story and a postcard—the relationship can be as strong or as tangential as you like, so long as there is a clear connection between the story and the image. The story can be fiction or nonfiction; maximum length is 500 words. First Prize: $500. Second Prize: $250. Third Prize: $150. All winning entries will be published in Geist and on geist.com. 



THE SELFIES BOOK AWARDS
http://selfiesbookawards.com/
$50 ENTRY FEE. Deadline February 29, 2020. Winner receives $1,000 and $5,000 worth of trade advertising, free display at five trade shows in 2020-21, feature in an issue of CBE Library Newsletter going to 30,000 librarians, plus free entry for all shortlisted authors to 2020 ALA Annual Conference. Adult fiction titles only can be submitted. Book to have been self-published between January 2019 and December 2019 by an author living in the US. Full novel (no unfinished works or short stories will be accepted) must be submitted as a digital file, ebook or PDF. Novels are generally 70k-100k words. 
 

GRANTS / FELLOWSHIPS / CROWDFUNDING

KENDALL VALLEY WRITERS RETREAT, June 19-21, Cora, WY – Join writer Kate Meadows for 3 days in the Rocky Mountains of southwest Wyoming to work on writing projects, attend craft workshops and explore nature! Free transportation from Jackson Hole, WY, airport. More info & to register: https://katemeadows.com/events.








HADASSAH-BRANDEIS INSTITUTE RESIDENCIES
https://www.brandeis.edu/hbi/programs/residencies/index.html
The HBI Scholars in Residence Program is open to scholars working on any aspect of Jewish women’s and gender studies in order to devote time to their research. These residencies take place during the academic year and range from two months to a full semester. Applications for a full academic year will be considered. Applicants living outside the U.S. and those whose work has an international dimension are especially encouraged to apply. (Thanks https://www.erikadreifus.com/)



JACK KEROUAC WRITER IN RESIDENCE PROJECT
https://www.kerouacproject.org/
Deadline March 15, 2020. The Kerouac Project takes place in the cottage where Jack Kerouac wrote his novel Dharma Bums. Accommodation, utilities, and a food stipend of $1,000 are included but writers must cover any travel costs. Applications are accepted in five categories: poetry, play, screenplay, fiction/short story, and nonfiction.



MARYLAND SEEKING GRANT PANELISTS
https://docs.google.com/forms/d/1OBE_54Gt7tl6GajHEz5aB8Kt7o-6_O3niZrj9e0l_L4/viewform?edit_requested=true
The Maryland State Arts Council (MSAC) is seeking panelists to review grant applications for the second year of Creativity Grants! MSAC relies on a diverse array of arts and grants experts from across the State of Maryland to do the important work of evaluating grant applications. Creativity Grant panelists will remotely review grant applications each month for six months. Serving as a panelist is a great opportunity to learn about MSAC's granting processes. NOTE FROM HOPE: And the best way to learn how to write a grant and get to know the people who organize the grants. Fantastic way to learn how to get your own grant right.



TIN HOUSE SPRING RESIDENCY FOR DEBUT WRITERS OF COLOR
https://tinhouse.com/workshop/residencies/
Deadline February 9, 2020. Our Spring Residency is intended to support two writers of color who are working on their first books. This residency aims to give these authors the time, space, industry support, and financial flexibility to help finalize their debut projects. The spring residents will be provided fully furnished one-bedroom apartments in Portland, Oregon, and a $1,000 living stipend towards air travel and food. The residents will also have the option to teach a one-day Craft Intensive during their stay. Our Craft Intensives, which feature no more than 12 students and last for three hours, combine close readings, discussions, and in-class writing. For this, we pay the resident an additional $600.



LUMINARTS FELLOWSHIP
https://luminarts.org/
The Luminarts Fellowship includes programs in Visual Arts, Creative Writing, Classical Music, and Jazz. In order to be eligible to apply for the Fellowship Program applicants must be between the ages of 18 and 30, live or reside within 150 miles of the Chicago Loop, and be currently enrolled in, or graduated from, a degree program, conservatory, or other professional artist development program. Luminarts also offers extensive opportunities for Luminarts Fellows through Fellow Project Grants to support special residency opportunities, lectures, workshops, mentorship, and facilitated conversations that provide valuable insights into building a successful career in the arts and strengthening our community of participating artists.



CENTRUM ARTIST RESIDENCIES
https://centrum.org/centrum-artist-residencies/
Deadline February 9, 2020. Since 1980, the Centrum Artists-In-Residence program has welcomed hundreds of artists and creative thinkers to immerse themselves in the historic charm and natural beauty of Fort Worden. The campus has sweeping views of the Olympic and Cascade Mountain ranges, miles of wandering beach and forest trails, and a peppering of World War I–era batteries and bunkers. Creative professionals from all disciplines and backgrounds can take advantage of charming cabins, studio spaces, and a rich array of resources. Residency Fees: $450 per week for a one to three bedroom cabin or apartment. A limited number of partial/full scholarships will be available in 2020. Please indicate interest on the application. 



SUSTAINABLE ARTS FOUNDATION
https://apply.sustainableartsfoundation.org/
Deadline February 28, 2020. This year, we will make awards of $5,000 each to 20 artists and writers with children. Additionally, we will name 20 finalists. Our awards offer unrestricted cash, and recipients can use the funds as they see fit. Our program is an award program that rewards excellence in a creative field (note that this is different from a grant program, in which the application is focused on a proposal for new work). Our selection process is focused almost entirely on the strength of the submitted portfolio. Writers may apply in one of the following categories: Creative Nonfiction; Early and Middle Grade Readers; Fiction; Graphic Novel/Graphic Memoir; Illustrated Children's Books; Illustrated Children's Books (Text Only); Long Form Journalism; Playwriting; Poetry; and Young Adult Fiction. The foundation will not consider portfolios of academic writing, self-help books, motivational writing, cookbooks, travel, or other kinds of guidebooks.



JM KAPLAN FUND
http://www.furthermore.org/apply.html
Deadline March 1, 2020. Supports nonfiction book publishing about art, architecture, and design; cultural history, the city and related public issues; and conservation and preservation. The program seeks work that appeals to an informed general audience; demonstrates evidence of high standards in editing, design, and production; and promises a reasonable shelf life. Individual grants will range from $1,500 to $15,000 and may be used to support writing, research, editing, design, indexing, photography, illustration, and printing and binding. Applicants must be tax exempt under section 501(c)(3) of the Internal Revenue Code. Trade publishers and public agencies may apply for grants in partnership with an eligible nonprofit sponsor. Recipients of Furthermore grants are located across the U.S. and abroad, but preference will be given to publishers in New York City, New York State, and the Hudson Valley.



MARYLAND HUMANITIES MINI-GRANT PROGRAM
https://www.mdhumanities.org/grants/grant-programs/
Deadline March 1, 2020. The organization welcomes applications from Maryland nonprofit organizations and schools to its Mini-Grant program. Through the program, grants of up to $1,200 will be awarded to public humanities projects, documentary film projects, and civic education initiatives designed to engage and benefit Marylanders. Individual artists should contact such entities in attempt to create a qualifying program. 

 

FREELANCE MARKETS

THE ATLANTIC
https://www.theatlantic.com/books/archive/2020/01/original-fiction-atlantic/604879/
Over the centuries, our magazine has prized great storytelling. Now we’re recommitting ourselves to publishing short fiction once again. Professional rates. We still need stories, and fiction specifically—storytelling is a defining characteristic that makes us human. 



COPYHACKERS
https://copyhackers.com/write-a-guest-post/
We only respond to posts we’d like to pursue. We accept one in fifty pitches, and only a third of those get published. Cool? Great. Check out the steps to follow below… and follow ’em. We love awesome pitches and the writers who write them. And we pay $325 for every accepted, completed post. Prefer at least 2,000 words. Subject professional copywriting.



SOUTHERLY MAGAZINE
https://southerlymag.org/submissions/
Southerly publishes in-depth, thoughtful, accurate journalism about the relationship between people, places, and ecosystems in the American South. Our main topics are climate, energy, land, water, culture, and justice. We define the South geographically as West Virginia, Kentucky, Virginia, Tennessee, North Carolina, South Carolina, Georgia, Florida, Alabama, Mississippi, Louisiana, Arkansas, and Eastern Texas. We also are interested in covering Puerto Rico and the U.S. Virgin Islands. We consider all pitches, but preference is given to journalists living and working in the American South. We currently pay $500 for 700-1,000 words, $750 for 1,200-1,600 words, and $1,000 for ~2,000 words.



CHICKEN SOUP: AGE IS JUST A NUMBER
http://www.chickensoup.com
Deadline May 31, 2020. We are looking for stories about the humorous or serious sides of life after 60. Limit 1,200 words. Pays $200 and ten copies. 

 

Publishers/agents

FARRAR, STRAUS AND GIROUX 
https://us.macmillan.com/fsg/about#
The firm is renowned for its international list of literary fiction, nonfiction, poetry and children’s books, and is currently accepting unagented submissions. All submissions must be submitted through the mail — we do not accept electronic submissions, or submissions delivered in person. Please include a cover letter describing your submission along with the first 50 pages of the manuscript. If you are submitting poems, please include three to four poems. If you wish to hear back from us, please include a self-addressed, stamped envelope with your submission. If you wish for us to return your manuscript, please include a self-addressed, appropriately sized and stamped envelope with your submission (we cannot return manuscripts if you do not send this envelope with your submission). We will reply in three to five months of the receipt of the submission.



AZANTIAN LITERARY AGENCY
http://azantianlitagency.com/submit.html
Jennifer Azantian established Azantian Literary in 2014 and focuses primarily on fiction across genres for mg, YA, and adult readers. Agent Masha Gunic is only looking to acquire middle grade and young adult novels.



DEE MURA LITERARY AGENCY
http://deemuraliterary.com/
Categories accepting for fiction and nonfiction are action/adventure, animals, anthropology, archeology, arts & photography, biography, business, chick lit, comedy/humor, contemporary fiction, cooking, conservation & environmental issues, current affairs, entertainment, erotica, ethnic & Jewish, finance, fantasy, gay & lesbian, literary, government, health, historical, home & garden, inspirational, medical, memoirs, middle grade, military, mind & body, mystery, narrative nonfiction, new adult, New Age, outdoors & nature, paranormal, parenting & families, popular culture, psychology, religion/spirituality, romance, satire, science, science fiction, self-help & motivational, sports, thrillers & espionage, travel, women’s lit, and young adult.



ZANTEDESCHI LITERARY AGENCY
http://zantedeschiagency.com/submissions/
Mostly looking for literary and upmarket commercial fiction, for crime and thriller novels. Books that cross that fine line between genre and literary. Murakami Haruki and South American magical realism. Even if does not represent “straight” dystopian or fantasy novels, would be happy to read a book in which an inexplicable event shakes a good, smart and imaginative plot. Also actively looking for stories told and seen from a particular cross-cultural perspective. Please email a cover letter and provide a two-three pages synopsis, with ending, along with the first two chapters of the novel. 

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