Please see individual URLs for complete contest and anthology information and submissions guidelines.

Upcoming Anthologies

Deadline: 12/21/08.
Submit to: The Queer Collection: Prose and Poetry 2009. Fabulist Flash Publishing, PO Box 570368, Las Vegas, NV 89157.
Theme: Gay, lesbian, queer themes.
Type: Poetry (40 lines MAX) and fiction (3,000 words MAX).
URL: http://www.queercollection.com/index_files/Submissions.htm

Deadline: 12/31/08.
Submit to: A Generation Defining Itself: Volume 8. E-mail to: mwe@evenstar.net.
Theme: MUST be writers born 1960 to 1982. Topics: “Realities, dispelling the narrow, simplified stereotypes created by the mass media and commercial marketing.”
Type: “All genres sought.”
URL: http://www.evenstar.net/mwe/page2.html 

Deadline: 12/31/08.
Submit to: World Swirl Publishing. E-mail (via Word or RTF attachment) to: submit@worldswirl.com.
Theme: True travel scams.
Type: Nonfiction (up to 1,500 words). Will contact only if accepted.
URL: http://www.worldswirl.com

Deadline: 01/01/09.
Submit to: Women’s Studies Quarterly. Submit via various e-mail addresses. See Web site.
Theme: Motherhood.
Type: Prose, poetry.
URL: http://www.feministpress.org/wsq/#callformaterials

Deadline: 01/01/09.
Submit to: Parabola. E-mail to: editorial@parabola.org.
Theme: Water (religious and spiritual issues).
Type: Queries only. Articles (1,000 to 3,000 words). Rarely considers stories and poems.
URL: http://parabola.org/content/view/14/39

Deadline: 01/01/09.
Submit to: Whole Terrain. E-mail to: whole_terrain@antiochne.edu.
Theme: “(r)(e)volution.”
Type: Prose (2,000 words MAX), poetry (3 poems MAX).
URL: http://www.wholeterrain.org/submissions.cfm  

Deadline: 01/01/09.
Submit to: Woodrow Hall Editions. Poetry Jumps Off the Shelf, PO Box 260026, Madison, WI 53726.
Theme: “Lines in the Sand.” Poems that reach across territorial, cultural, or interpersonal boundaries. Nearly lost chances topics will be especially welcome.
Type: Poetry (poems no wider than 3-1/2 inches with a 27-line maximum that includes title, spaces, byline, and credit).
URL: http://poetryjumpsofftheshelf.com

Deadline: 01/31/09.
Submit to: Untitled Anthology. E-mail to: littlesuperheroes@gmail.com.
Theme: Boys 3-8 years old who wants to be superheroes. 
Type: True stories (500-750 words).
URL: N/A. 

Deadline: 02/01/09.
Submit to: Rattle. E-mail (via pasted-in text) to: submissions@rattle.com.
Theme: African-American poets.
Type: Poetry and essays (5,000 words MAX).
URL: http://www.rattle.com/callsforsubs.htm 

Deadline: 02/01/09.
Submit to: Windfall. PO Box 19007, Portland, OR 97280.
Theme: Poetry of place, specifically the Pacific Northwest.
Type: Poetry (5 poems MAX).
URL: http://www.hevanet.com/windfall/index.html

Deadline: 02/08/09.
Submit to: Pockets. 1908 Grand Avenue, PO Box 340004, Nashville, TN 37203-0004.
Theme: Priorities.
Type: Stories (1,400 words MAX), poems (24 lines MAX), and articles (1,000 words MAX).
URL: http://www.upperroom.org/pockets/writer_guidelines.asp  

Deadline: 02/16/09.
Submit to: New Plains Review. Submissions, PO Box 184, University of Central Oklahoma, Edmond, OK 73034. Or e-mail (via Word attachment) to: doug@janestreet.org.
Theme: Service. “Military, community service, school service requirements, jury duty, all forms of volunteering, religious services, food service, customer service, serving a subpoena or tennis ball, etc.”
URL: http://www.libarts.ucok.edu/english/newplains/issue.htm

Deadline: 02/28/09.
Submit to: Queer SF Anthology submission. E-mail (via pasted-in text) to: editor@queeredfiction.com.
Theme: Queer Science Fiction (GLBT).
Type: Short stories (4,000 to 10,000 words).
URL: http://www.queeredfiction.com

Deadline: 03/01/09.
Submit to: Thema. Virginia Howard (for fiction). Gail Howard (for poetry). Box 8747, Metairie, LA 70011-8747.
Theme: Put it in your pocket, Lillian.
Type: Poetry and fiction (20 pages MAX).
URL: http://members.cox.net/thema/submissions.html

Deadline: Unspecified.
Submit to: Novel & Short Story Writer's Market. E-mail to: nsswm@fwpubs.com.
Theme: The Writing Life, Craft & Technique, Getting Published, For Mystery Writers, For Romance Writers, and For Science Fiction, Fantasy & Horror Writers.
Type: Nonfiction (see examples of previous editions).
URL: Unspecified. 

Upcoming Contests

Deadline: 12/20/08.
Submit to: Gulf Coast’s Donald Barthelme Prize in Short Prose. English Dept., University of Houston, Houston, TX 77204-3013.
Entry fee: $15. First prize: $500 and publication.
Type: Flash fiction or prose poems (3 titles/500 words each MAX).
URL: http://www.gulfcoastmag.org

Deadline: 12/20/08.
Submit to: Write2Help.org Inaugural Contest. Submit via online entry form or by mail: Submissions Dept., PO Box 3986, Myrtle Beach, SC 29578.
Entry fee: $10. First prize: $1,000 and online publication.
Type: Short story (1,500 words MAX), ages 13+.
URL: http://www.write2help.org/current-contests.php

Deadline: 12/29/08.
Submit to: Rhode Island Writers' Circle National Poetry Contest. The Writers' Circle, Inc., 1087 Warwick Avenue, Warwick, RI 02888.
Entry fee: $10. First prize: $200, staged readings, and publication in RI Writers’ Circle Anthology.
Type: Poetry (5 pages MAX).
URL: http://www.riwriterscircle.com

Deadline: 12/31/08.
Submit to: Boulevard Short Fiction Contest for Emerging Writers. PMB 325, 6614 Clayton Road, Richmond Heights, MO 63117.
Entry fee: $15. First prize: $1,500 and publication.
Type: Short fiction (no length restrictions). Writers MUST not have published a book.
URL: http://www.richardburgin.net/1boulevardsfcontest.htm

Deadline: 12/31/08.
Submit to: "My Real-Life Story," Glamour, Essay Contest, 4 Times Square, 16th floor, New York, NY 10036.
Entry fee: none. First prize: $5,000 and publication.
Type: True life stories (2,500 to 3,500 words).
URL: http://www.glamour.com/magazine/2008/08/nonfiction-contest-rules

Deadline: 12/31/08.
Submit to: The Laureate Prize for Poetry sponsored by the National Poetry Review. PO Box 2080, Aptos, CA 95001-2080.
Entry fee: $15. First prize: $300 and publication.
Type: Poetry (3 poems/10 pages MAX).
URL: http://www.nationalpoetryreview.com 

Deadline: 12/31/08.
Submit to: Merton Prize For Poetry Of The Sacred. Merton Institute, 2117 Payne Street, Louisville, KY 40206. Or e-mail (via Word 2003 attachment) to: vhurst@mertoninstitute.org.
Entry fee: none. First prize: $500 and publication.
Type: Poetry (MUST be about spirituality, 1 poem MAX).
URL: https://www.mertoninstitute.org/merton_prize.php

Deadline: 12/31/08.
Submit to: MWCC Foundation Inc., 444 Green Street, Gardner, MA 01440. Memo: Freedom Tower Poetry Competition (FTPC). Mark envelope: Life Program, Patricia B. Cosentino, Chairperson, FTPC.
Entry fee: $1 per poem. First prize: Publication for one winner and 100 honorable mentions.
Type: Poetry (3-5 poems). MUST pertain to the Freedom Tower (renewal, rebuilding, reconciliation, forgiveness, peace, trade, and commerce).
URL: http://www.mwcc.mass.edu/lll/Life/tapestries.html

Deadline: 12/31/08.
Submit to: Seventeen magazine fiction contest. Submit via online entry form at URL.
Entry fee: none. First prize: $2,500, laptop, lunch with Meg Cabot.
Type: Short fiction (500 words MAX). Writers MUST be ages 13-21.
URL: http://www.seventeen.com/fun-stuff/special/2009-fiction-contest

Deadline: 12/31/08.
Submit to: Very Short Story Contest sponspored by Lunch Hour Stories. PMB 1117, 22833 Bothell Everett Hwy., Ste. 110, Bothell, WA 98021. Or e-mail to: editor@lunchhourbooks.com.
Entry fee: $5 per story/poem. Entry fee payable online or by mail. First prize: $100 and publication.
Type: Prose poems or short stories (500 words MAX).
URL: http://www.lunchhourbooks.com/shop/home.php

Deadline: 01/15/09.
Submit to: 2008 Lyric Family Prize, PO Box 2494, Bloomington, IN 47402.
Entry fee: $10. First prize: $300, a broadside, a lifetime subscription, and publication.
Type: Poetry (MUST have strong musicality and lyricism).
URL: http://www.lyricreview.org/contest.html

Deadline: 01/15/09.
Submit to: Sonora Review Short-Short Contest. Department of English, University of Arizona, Tucson, AZ 85721.
Entry fee: $15. First prize: $1,000 and publication.
Type: Short shorts (3 pieces MAX/1,000 words each MAX).
URL: http://www.coh.arizona.edu/Sonora/contest.htm

Deadline: 01/16/09.
Submit to: Buffalo Carp Flash Fiction Contest. Quad City Arts, 1715 Second Avenue, Rock Island, IL 61201. Or e-mail to: buffalocarp@gmail.com.
Entry fee: $10. First Prize: $250, publication, five copies.
Type: Flash fiction (3 pieces MAX, 600 words each MAX).
URL: http://www.quadcityarts.com/

Deadline: 01/31/09.
Submit to: Fulton Prize for Short Fiction sponsored by The Adirondack Review and Black Lawrence Press. E-mail to: diane@blacklawrencepress.com. Subject line: “[Your last name] Fulton Prize Submission.”
Entry fee: $10. First prize: $400 and publication.
Type: Short fiction.
URL: http://theadirondackreview.com/FultonPrize.html

Deadline: 01/31/09.
Submit to: New Millennium Writings. PO Box 2463, Knoxville, TN 37901-2463.
Entry fee: $17. First prize: $1,000 and publication.
Type: Prose (6,000 words MAX), short shorts (1,000 words MAX), poetry (3 poems, five pages MAX).
URL: http://www.newmillenniumwritings.com/awards.php

Deadline: 02/08/09.
Submit to: Amazon Breakthrough Novel Contest.
Entry fee: None. First prize: $25,000.
Type: Unpublished novels.
URL https://www.createspace.com/abna

Deadline: 02/15/09.
Submit to: Julia Peterkin Award. Converse College, Department of English, Spartanburg, SC 29302.
Entry fee: $15. First prize: $1000 and travel expenses for a reading at Converse College.
Type: Fiction (5,000 words MAX).
URL: http://www.converse.edu/academics/majors/peterkinjuliaaward.html

Deadline: 02/16/09.
Submit to: Tiny Lights Essay Contest sponsored by Tiny Lights Publications. PO Box 928, Petaluma, CA 94953.
Entry fee: $15. First prize: $400.
Type: Essays. (Specify which category: Standard [2,000 words MAX] or Flash [1,000 words MAX]. MUST show the author’s growth/change.
URL: http://www.tiny-lights.com/contest.php 

Conferences

Georgia: Voices of Christ Literary Ministries International will sponsor a conference "An Introduction to The Scribal Anointing" to be held in Atlanta, GA, on January 31, 2009. More information at: http://www.voicesofchrist.org.

Tennessee: Tennessee Mountain Writers, Inc. will host their "Januray Jumpstart" on January 9-11, 2009 in Sweetwater, TN, and their annual conference on  April 2-4, 2009 in Oak Ridge, TN. More information at: http://www.tmwi.org.

Massachusetts: "Writing From The Heart; A Retreat For Women" will be held January 23-25, 2009 in Rowe, MA. More information at www.rowecenter.org.

News of Interest

The Cell of a Soul, Maria Logven's first book of short stories illustrated by a surrealist artist Michael Cheval, is now available at http://www.amazon.com/Cell-Soul-Maria-Logven/dp/1434399966/ref=sr_1_1?ie=UTF8&s=books&qid=1229530126&sr=1-1.

Naomi Ruth Lowinsky's memoir on being a poet, The Sister from Below: When the Muse Gets Her Way has been accepted for publication by Fisher King Press. Advance orders welcome: http://www.fisherkingpress.com/order.html.

by Gilda Haber, Ph.D., Department of English Composition, Literature and Professional Writing

As instructors some of us love to write, and some of us also enjoy attending writers’ conferences. This summer I attended three writers’ conferences—one in Manhattan at Marymount Manhattan College, one at UDC, and one at Georgetown University, held by Washington Independent Writers (WIW).

Prior to the conference registrants receive a program and a list of available agents. It is wise for participants to choose the panels they wish to attend and to research and make appointments with agents in your genre prior to the conference. The writing conference is a good opportunity for the serious writer with an idea or a manuscript to network.

We meet other writers and authors, share our interests, attend specific panels of choice (such as a fiction, nonfiction) or meet, one-on-one, with literary agents. Each member of a panel speaks on his or her expertise and takes questions on how to write and sell one’s work. Most importantly, serious writers usually sign up to meet agents who attend the conference. Although hard to get, agents are interested in finding new talent.

One of the goals of a writers’ workshop is to meet agents in person. But both panel speakers and agents are relentlessly focused on writing as a business. Either work is well-written and has possibilities of selling to the public or it isn’t. You may have one but not the other advantage. Agents and publishers also put in long hours without compensation for the love of bringing a book from conception to birth. You must seek out the agent right for you, one who has sold books in the field that interests you, and one with whom you feel comfortable. The agent not only judges your work, but judges you personally, as to whether he or she likes you. You do the same.

I came armed with business cards and with queries, hoping, in 60 seconds, to seduce some agent with the excellence, uniqueness, excitement, and salability of my work. Who else but a writer labors intensively, creatively for months or years for the love of writing, to create a work of art and with no sure reward in sight?

Frankly, I was terrified of meeting some of these agents in person, especially those who have represented famous people. So far I had only read agents’ credentials on paper and seen the kind of deals they made, the kind of books they sold. The agent I most feared seeing turned out to be friendly but strictly businesslike. From my experience and from agents met at writing conferences, I learned the following:

One needs talent to write but, to paraphrase Edison: "success is 99% perspiration and 1% inspiration." Work hard and be persistent in sending out your work.

Do not copy anyone else’s style. Be yourself and develop your own. Welcome constructive criticism. It is the highest form of friendship. Give constructive comments to friends’ writings. If your grammar is weak, find a good copy editor.

Writing groups are very useful for feedback. (I, myself, run a writing group.)

Find out which books are written on subjects that interest you and who was the agent, editor and publisher for those books. Such information is often found in the book’s acknowledgments or by Googling the book’s name and author. Get to know that agent’s background, even his/her hobbies and interests.

There are books in public and school libraries on publishing markets. Buy one.

Do not send work sloppy in appearance or make spelling mistakes.

Be professional. Make sure to spell the agent’s name correctly. Read the agent’s rules for submission, and strictly observe those rules.

Do not unduly flatter the agent or boast about your own work.

Research dates, times, names, events, even names of paintings for authenticity.

Use verbs. Avoid adjectives and adverbs; show and do not tell readers what happens. Where appropriate, use dialogue; but dialogue must move the action.

Prepare a query before writing to an agent. Your query can refer to one or two books that agent has sold but not to all the agents’ sales. This is gratuitous.

Your query should consist of: why you chose this agent; why you are writing this book; what the book is about; why you are qualified to write this book; and how it differs from other books written on the same theme; say who will read your book and what you can personally do to promote the book’s sales. All this information should be written on one page. This is one of the hardest parts of writing.

If the agent answers your one-page query and says he/she is interested, either you know what the agent wants you to send next or ask the agent what he/she wants you to send. Do not get too excited. This is only the first of many steps.

Only send material when it is your very best work. There are no second chances with an agent. Revise and share it with peers and/or an editor relentlessly.

Fiction should be complete before sending; nonfiction has different rules.

Do not expect to be accepted at once. Expect many rejections. Some famous books were rejected as many as 50 times before becoming best-sellers. Some great books never become best-sellers. Do not leave your job or expect to become rich unless, besides being a good writer, you happen to be lucky. When it is rejected revise, revise, and share your work with other writers. As you revise early work, you will become more adept; writing ages like fine wine. Revisions with constructive peer comments or editorial assistance will refine your writing.

Keep a journal or a diary to write down interesting material, even dialogue as it occurs.
This will make your writing fresh, even if you use the material years later.

Write what you know about, but be careful in writing about someone you know. People may sue a writer if they recognize themselves and object to your presentation of them, especially if their personal lives are revealed.

There are grave challenges and risks to take as a writer. One exposes all of one’s skills and charms, as well as one’s weaknesses and foibles to others. But what joy when I see one of my 40 articles or stories in print, and what a joy it is to write!!

Good luck! See you at the next conference!

DON’T:

Be a stalker. It’s not okay to lurk around corners and “accidentally” run into the agent you’ve been trying to contact for a year. It’s not okay to follow them to their hotel room and pretend you’re delivering room service. Barging into their restroom stall might get you arrested, and kidnaping is illegal if you’re considering that route.                  

Wear dumb costumes. That bear suit probably won’t get you any attention—positive attention anyway. A bunny suit might if you can pull it off. It’s even possible that wearing a pirate getup and running around, saying “Aaargh” to promote your manuscript about the high seas will get you noticed, and clown costumes are always a hit. Everyone loves clowns…

Pass out huge tomes. Agents don’t get much exercise and can’t really lift heavy things, so don’t hand them your 300-page manuscript and expect them to lug it around all day. Have copies of your synopsis and sample chapters available, and leave the suitcase of paper at home.

Pass out. Drinking heavily may liven things up for a while, but you probably don’t want to be remembered as that guy or gal who took a little nap in the hallway—covered in vomit and clutching a bottle of whiskey.

Interrupt lectures. Turn off the cell phone, put out the cigarette, and refrain from telling jokes to the woman sitting next to you until after the lecture. It’s weird, but speakers don’t usually enjoy the sounds of your awesome new ringtone or your raucous laughter while they’re trying to make a serious point.

Be a suck-up. It’s good to be polite and even fake interest. It’s bad to fawn all over an editor or give him your firstborn son. (Passing out money might work.)

Be a rude slob. Take a shower, wear deodorant, and don’t drink coffee if you can’t manage to keep it in the cup. You probably shouldn’t make fun of other writers’ clothes, ideas, or genres. Or their religion. No, it’s not a popularity contest, but that great agent might remember the writer who ran around pointing fingers at people and saying, “Children’s lit isn’t REAL writing!”

Steal. Whoee! All those great freebies are definitely a bonus, but somebody might notice if you stuff your briefcase full of them. You’ve gotta save room for the sugar packets, napkins, and cute little soaps from the bathroom.

Dress inappropriately. Tuck in your shirt, zip up your fly, and leave the tube top/miniskirt combo at home.

Be overly aggressive. Don’t get us wrong—editors love aggressive, in-your-face writers looking for an “in.” Really, they do. But physically elbowing someone else aside so that they fall into the potted plant might get you kicked out of the conference. Save that kind of behavior for church.

Not all writers make it a habit of going to writers’ conferences, but they are a part of many writers’ professional lives. These conferences are a meeting ground for agents, editors, writing instructors, and fellow scribes who gather to share knowledge and expertise, make contacts, and meet specific goals, whether it’s a writer pitching a novel or an agent scoring a best-seller.

Although you can find day workshops that are more affordable, these conferences are often not cheap. They range from 200 to 500 dollars and up, so it’s important to choose wisely. Here are some tips to help you get the most for your money.

What to look for:

First, you’ll want to locate conferences that fit your particular needs. Some focus on children’s writing, while others are for romance or mystery writers. Narrow down the field to those that pertain to your genre. The Internet is full of information on various conferences. Try www.writing.shawguides.com for a fairly comprehensive list.

As with all investments, a little research can go a long way. Request for all the information offered and go over it carefully. Do some checking with fellow writers or critique groups for their opinions, and research the guest speaker(s).

Take a good look at the opportunities available. Are there workshops, networking opportunities, well-known lecturers? If all you’re offered is a chance to hear an obscure author read her work, you won’t get much out of the experience.

Make note of the specifics, such as the travel requirements, lodging choices, and facilities. You may want to stick closer to home, or choose a mountain retreat over urban classrooms. Is there lodging available, or are you responsible for making hotel arrangements separately?

Double-check for hidden costs, and tally all possible expenses. If you’re organized and ask well in advance, you may be able to apply for a scholarship (or partial scholarship) to help defray the cost. The same goes for volunteering at the conference. You’ll have to ask for these options, as they probably won’t be advertised. You may also choose to attend with a friend. If you each take different seminars and workshops and then share notes, you’ll get more for your money.

What to do:

Clarify your conference goals before the actual event. Are you hoping to meet an agent, hone your writing skills, schmooze with other writers, learn new trends, and/or promote your work? Plan your time accordingly. If networking is your objective, skip the guest lecture and attend the less formal cocktail party instead. Or sign up for that "new media" seminar if you’re interested in learning new trends.

Wear comfortable shoes and dress appropriately. "Business casual" is a safe bet, although there are usually opportunities for more formal dress during dinners, etc. Be sure you’re remembered for your professional and engaging personality, not your plunging neckline or glow-in-the-dark cowboy boots.

Keep an eye on the time. If you’ve made appointments to speak with editors or agents, don’t be late. Stick to your allotted time out of courtesy both to the editor or agent and to your fellow writers.

Bring a light shoulder bag or briefcase stocked with your business cards, a notebook, extra pens...and for the free handouts. When you receive a business card, make a note on the back to remind you who you talked to and what it was about. It’s best to keep your hands free, so check other luggage and your coat in advance.

Position yourself carefully—asking questions from the front of the room will get you noticed, while the back row is a good place if you plan to slip out early.

Be prepared to do some work—networking can be exhausting, and this is not the time to sit back and be a passive observer. Everyone at this conference shares a common interest, so don’t let insecurity keep you from meeting new people and learning from them. The energy of these events can be very inspirational.

After the conference, send "nice to meet you" notes to agents or editors you spoke to, and be sure to mention where you met and (briefly) what you talked about.

Pitching your work:

Feel free to bring copies of your query, synopsis, or a few sample chapters or other writing samples. But leave that 500-page manuscript at home. Some conferences have time set aside specifically for pitching your work, so be prepared in advance and take advantage of this time. Make sure your pitch is polished (practice giving it to the mirror, your friends, your parrot), exciting, and BRIEF. There’s no need to compulsively tell everything about the story and the reason it was written. Agents and editors are trained to spot a good opportunity on very little information, and you want to avoid that glazed look in their eyes if you go on and on.

Do not aggressively corner agents and editors and subject them to a verbal pitch during dinner or in the restroom. You’ll only aggravate them or scare them away. And be careful what you say. Editors and agents often run in the same circles, and if you’ve been ranting about other writers or editors, you will be remembered—but not in the way you’d like.

Above all, have some fun…and happy networking!