Wednesday 26 December 2018

Writer's Digest newsletters

Here are the Writer's Digest newsletters for my followers to peruse:


Envious of a fellow writer's success? Learn how to manage it.


Writer's Digest

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Are you a Binge Writer? Or a Drip Writer?

You know the metaphor. Binge writers tackle projects sporadically, when the mood or inspiration strikes or a deadline looms. They write in large chunks of time, cranking out a finished product as a condition of sitting down to write in the first place. Drip writers on the other hand, measure their work in pages or paragraphs or even word count. They write more often, more regularly, and generally more calmly, with less emotional zeal per session.

It's no secret that the most prolific writers set a daily (or near daily) writing schedule and stick to it. But as simple as that sounds, it's far from easy. Drip writing takes a cooperative life schedule, supportive (or at least non-intrusive) friends and family, a well-established habit pattern, and a mind free of both unconscious and subconscious issues that manifest as excuses not to write.

Let's explore the pros and cons of binge writing, and the times when it might be a more suitable alternative than its more productive cousin, the drip. Then you can try each one on for size as the occasion (or mood) demands.

The Pros:

Binge writing is exciting! Binge writers are the adrenaline junkies of the keyboarding set. One of my early writing teachers used to refer to it as the "white heat" of writing. We've all been there; gripped by a fantastic idea, we just have to sit down and write before our head explodes. Or maybe it's a looming professional or academic deadline that gets us typing. It may even be a social event, such as an approaching writer's accountability group meeting, or any day in the month of November. Regardless of the reason, there's a rush associated with binge writing, and for those of us drawn to a bit of excitement in our lives, a good writing binge can be intoxicating.

Binge writing is flexible. If your life or work schedule requires unpredictably long hours, frequent travel, or small-child-style interruptions, binge writing might be the best you can do. Maybe you can only write on long flights or during Saturday morning soccer practice. So be it. Find that elusive time window and fill it with an unapologetic writing binge.
   Read more to discover the cons...



Story 2
In this episode of the Writer's Digest Podcast, Gabriela Pereira talks with author Elizabeth Sims, and shares an inside look at how various writing technology has evolved over time, from classic to contemporary. They discuss how to balance these tools with those of the digital age to advance your writing career.    Read More...


Story 3
Kerri Maher, author of WD Books' This is Not a Writing Manual and the new novel The Kennedy Debutante, offers research advice -- or rather, NOT research advice -- explaining how diaries, letters and books she read made their way into her fiction.    Read More...



Story 4
Funny You Should Ask is a humorous and handy column by literary agent Barbara Poelle. In this edition, she offers tips for remaining supportive of your more successful writer friends when they achieve your goals.   Read More...

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Story 5
"Making writing part of your routine solidifies it as a habit. An addictive habit." WD content director Jess Zafarris shares nine lessons she learned during her first try at NaNoWriMo, National Novel Writing Month.   Read More...


Story 5
Author Deanna Cabinian offers three compelling reasons you might want to try writing a sequel to a book you've published, even if you hadn't planned to from the outset.   Read More...


Black Friday


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The Reminiscence: Choose an incident from your childhood that has made a lasting impression on your life: perhaps a memorable incident with your best friend or your confused feelings on the fi rst day in a new school. Write a scene or story based on this incident. Do not write the story as you remember it, however. Rather, recreate the story for fiction -- changing the looks, gender, personality and circumstances of the people involved.
Post your response (500 words or fewer) in the comments here ...

Jess Zafarris
Jess Zafarris
Follow @jfarrisknight
Jess Zafarris is an energetic multimedia journalist with more than 7 years of experience writing and editing, and the online content director of Writer’s Digest.



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Writing, Revising, and Querying Your Picture Book Manuscript


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Children's Picture Books are one of the most difficult categories to write. It takes a tremendous amount of practice and an understanding of the contemporary market to break into the publishing industry as a picture book author. Writing a complete story-with a full narrative arc-in under 1000 words can be a daunting task. But we know from the number of cherished picture books on readers' bookshelves that it is possible. What can you learn from bestselling picture books? What picture book writing strategies can you implement to better your story? How can you effectively pitch your picture book manuscript to literary agents?

This webinar covers all these topics, providing you with information that will help take you from concept to first draft, and from final manuscript to pitching. This live webinar includes a live presentation, a Q&A session, a critique of your children's picture book manuscript, and downloadable worksheets that will help you write, revise, and pitch your picture book long after the webinar is over

What you'll learn
All registrants are invited to submit your query letter and complete children's picture book manuscript (1000 words or under) for critique. Please wait until after the live webinar date to submit your critique material. This allows you to make changes to your query and picture book manuscript based on the presentation and will ensure you receive the most helpful critique possible. All submitted query letters and picture book manuscripts are guaranteed a written critique by Literary Agent Maria Vicente. Maria reserves the right to request more writing from attendees by e-mail following the event if she deems the writing excellent.

What you'll learn
• 
The common elements and proper formatting of a picture book
• 
What the picture book market looks like in today's publishing industry
• 
What readers and buyers are looking for in a picture book
• 
How to improve your own writing by looking at bestselling picture books

Who should attend
• 
Writers who want to better understand the picture book category
• 
Writers who want to learn about the picture book publishing market
• 
Writers interested in improving their picture book manuscript
• 
Writers interested in creating unique, adventurous books for children

Thursday, December 13, 2018 at 1:00 p.m. EST

$89.99


Instructor: Maria Vincente
Maria Vicente is an Associate Agent at P.S. Literary Agency. Maria provides support to her clients through all stages of the writing and publication process. She is dedicated to managing authors' literary brands for the duration of their careers. Maria specializes in children's fiction and nonfiction for readers of all ages.



We are happy to help you with any questions or concerns you may have.
Please click here to contact us.
F+W, 10151 Carver Road, Suite 300, Blue Ash, OH, 45242 USA
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Writer's Digest

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NaNoWriMo has ended, and we're nearing the end of the year, which means many stories -- both literal and figurative -- are drawing to a close. Powerful, unexpected story endings will leave readers hungry for your next novel. Consider the following techniques to help your story resonate long past the last page.

The most gratifying story endings leave readers more than satisfied -- they leave them awed.

Which is to say, you need to plan your conclusion just as carefully as every other part of your story. In fact, Joyce Carol Oates once said, "The first sentence can't be written until the final sentence is written." Whether her process works for you or you prefer a more organic method, by the end of the story your primary and secondary plotlines have to reach their proper conclusions -- with no loose ends dangling. All character and thematic questions must be addressed, all conflicts resolved and any moral quandaries settled.

Most stories end when the subplots twine around the primary plot to form a seamlessly unified conclusion. Ideally, your ending should be, as Margaret Atwood put it, "completely unexpected and inevitable." This kind of ending leaves readers enthralled and breathless and clamoring for more. The two approaches discussed in this article can help you achieve this lofty goal: "Unreliable Narrator, Revealed" explains how to optimize the complexity of an unreliable narrator to form a finale bothexciting and thought provoking, while "A Wider Lens" intrigues readers by opening up their perspective from a narrow view to a broader one, as the context shift s and expands. Now, let's dig deeper into each individual strategy.

UNRELIABLE NARRATOR, REVEALED

Unreliable narrators allow authors great flexibility in determining how to relay information—what to withhold and when to reveal it. Such a device keeps readers guessing, unsure of what's really going on. If the groundwork is laid properly, readers will be staggered by the shift in perception when the true nature of the unreliable narrator is finally disclosed.

There are five viable types of unreliable narrators. Understanding how the narration in each of these categories works will help you develop a fitting final twist. These types are:

1. THE INNOCENT, UNKNOWING OR MISUNDERSTOOD.

This category includes children, developmentally disabled adults or anyone who comes from one culture and is plunked down in the middle of another.

A child, based simply on their limited experience, lacks the knowledge to fully grasp some of what they see and hear. So, too, might someone with lower-thanaverage intelligence or someone unfamiliar with the environment in which they find themselves. A character might not know some of the vocabulary or cultural references, or they might miss the meaning in nuanced repartee. Another character may understand a word's denotation but not its connotation, or might report the words but not the intonation, missing cues that identify sarcasm or irony.

Let's say you're writing a heist story. You have a character, Daisy, who pays for a cup of coffee with a $100 bill. The cashier asks if she has anything smaller. Daisy pulls out a $5 bill and lays it on top of the $100 bill. "No," she says in a serious tone. "They're all the same size." Daisy's literal interpretation of the cashier's question suggests that Daisy misunderstands the question. Won't readers be surprised when they learn at the end that her apparent mistake is actually a ruse designed to trick a mark into relaxing his vigilance?
   Read More...

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Story 2
These days writers hoping to write, pitch, publish and platform-build have little choice but to surrender themselves to their laptops and smartphones -- a complicated predicament for the dreamers of the world. Here are several pros and cons of the writing world's increasing reliance on technology.   Read More...


Author Demian Vitanza recounts his experience working with an inmate to take his sensitive story material and turn it into a novel. He reflects on the unique considerations writers may need to make when using people who are in prison as writing sources.   Read More...

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Story 4
As anyone who just wrapped up National Novel Writing Month knows, perseverance is the key to conquering any writing challenge. Here, author Lisa Preston shares her experience leaning into perseverance and succeeding with a dash of luck.   Read More...

Story 5


Story 5
Write a short story of 650 words or fewer based on the photo prompt. You can be poignant, funny, witty, etc.; it is, after all, your story. Impress the WD editors and you and 9 other winners will appear in Writer's Digest magazine!   Read More...


Story 2
From books, briefcases, headphones, bookends and games to services, subscriptions and videos, this guide offers a compendium of creative experiences, learning tools and gifts for writers of every genre and persuasion.   Read More...


Black Friday


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The Town of Soft Rains: A soft breeze stirs a leaf that has fallen on the pavement. Otherwise, the street is tidy and beautifully maintained, just like the quiet houses arranged in neat rows along its sides. Just like the vacant shopfronts along quaint Main Street nearby. Just like the silent playground. Where is everyone?
Post your response (500 words or fewer) in the comments here ...

Jess Zafarris
Jess Zafarris
Follow @jesszafarris
Jess Zafarris is an energetic multimedia journalist with more than 8 years of experience writing and editing, and the online content director of Writer’s Digest.



We are happy to help you with any questions or concerns you may have.
Please click here to contact us.
 F+W, 10151 Carver Road, Suite 300, Blue Ash, OH, 45242 USA
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Detailed Notes to Improve Your Writing

Do you want to become a professional writer? A 2nd Draft Short Story Critique is one of the best ways to improve your short story and take your writing to the next level. In order to take advantage of this popular writing critique service, you must have a 5-30 page short story ready for review.

Wondering what exactly a 2nd Draft Short Story Critique entails? After reading your submission, a professional critique editor will provide you with specific, detailed feedback and recommendations. They will comment on your story's plot, subplots, characterization, dialogue, setting, and story arc. Plus, they will evaluate if your story fits the market and audience you're targeting, and point out (but not correct) any consistent issues your story may have with grammar, mechanics, spelling or style. Not all critique editors prepare their comments the same way or use track changes. Some reviewers provide the critique as a summary.

Get a 2nd Draft Short Story Critique today and become one step closer to becoming a published (and paid) writer!




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Whether you are just getting started or want to hone your craft, Writer’s Digest can help with proven tips on how to get and stay inspired, how to make time for writing, master essential writing techniques, and how to get published. Your subscription includes:
  • Must-have tips and publishing secrets to stay inspired, creative and motivated
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  • Technique articles geared towards specific genres… and so much more!
Subscribe now and get a FREE INSTANT GIFT - Writer's Yearbook: Your Annual Guide for Writing Success. This annual review includes 100 book and magazine markets for writers, the top writer websites to know, insider tips and what authors need to know about the industry this year.

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How serious are you about your writing career? Get ready to improve your writing, learn how to get published, fuel your passion, and gain exclusive access all while saving money! Only exclusive Writer's Digest VIP members have access to year around savings. Become a member today!

Your One-Year VIP Membership Includes:

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One-year subscription to Writer's Digest magazine (retail value: $47.92 [US])
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One-year of online access to WritersMarket.com (retail value: $39.99)
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Access to THREE online instructional writing presentations (retail value: $157.99)
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10% off Writer's Digest University workshops
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20% off Writer's Digest Competition entries
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What you'll learn
"I have been writing fiction for years now and I have to say, I really like the VIP program because it gives me a variety of tools to improve my writing. One day I can choose to read the latest issue of Writer's Digest magazine, and the next I can opt to listen to a well-known author talk about how to get published. Being a VIP has helped me really focus on my work and learn a lot about writing."
-VIP Member

$49.95


*Price advertized is for the U.S. VIP subscription. Other subscriptions are available here.


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Plus, find a new literary agent who is accepting submissions.


Guide to Literary Agents 2019

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The Editor Behind the Curtain

For first-time authors, the publishing process is often shrouded in mystery. An expert shares an inside look at what goes on behind the scenes -- and how to leverage it for future success.

Whether you're currently writing a book, querying agents or on submission to publishers, allow me to share this small-but-important truth: There's an editor out there right now -- sorting stacks of pitch letters, book proposals and manuscripts, thumbing through literary agent submissions, reading selections of the manuscripts she requested from authors directly -- who is seeking to buy a book similar to yours.

So, in a sense, your future editor is out there thinking about you.

Picture this person for a moment: Perhaps she's an associate editor for a mid-level imprint, working her way up at a growing publishing company. She majored in creative writing or English literature or journalism in college, where she developed a passion for Jane Austen or Jack Kerouac, Joan Didion or Anne Lamott. Whoever her muse, she knows good writing when she sees it. She wrote articles for the school newspaper or poems for the literary journal, nabbed a good internship after college and she's worked hard ever since to finally land her dream job -- acquiring and editing books full time and getting paid for it!

Now she fills the role of champion for her authors and books. She pitches the books she discovers to her own internal publishing team, during which she makes a case for both the editorial and business side for acquiring said manuscripts.

Her boss expects her to acquire a handful of new books every year, and though she's still learning and growing into the job, in part, her performance is tied to the performance of her selections. If she acquires and takes a huge financial risk on a book and it bombs a year later, it reflects on her directly. Of course, like anyone in a new position, she needs time to grow and, sure, she might have more seasoned editors guiding her through this journey. But eventually, given a couple of years, her acquisitions become hers to own.

Does all of this create a little pressure on our friendly associate editor? You bet.

Every editor's list of acquisitions is viewed (especially by management) as their own personal business within the greater publishing company, complete with its own profit and loss statement (P and L). As a result, each individual book might get more or less scrutiny depending on how it fits into the greater scheme. The worse the editor's books perform, the harder time she'll have convincing her team to take risks on her projects in the future.

When you're writing a book, preparing a proposal or query (for publishers or literary agents, because agents make decisions based on whether they think a publisher will be interested), it's important to think about your future editor. He is a human being, just like you, and every day he is facing the very real difficulties of the changing market, the shifting retail landscape and his own internal company pressures. He, like many editors in this business, hopes to come across something special -- a work of unique power or appeal or finesse or authority -- that makes him feel like he did in college when he read Jack Kerouac.

   Read more...


Story 6
Rather than seeing full-time work as a hindrance to the craft, writers can channel advantages of their situation to maximize writing productivity. Here's how to approach it in a more fruitful way.Read More...

Guide to Literary Agents 2018
Master the art of writing enthralling tales for young readers in the go-to resource for writers crafting stories for children ages two to eight.
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Story 3
New literary agent alerts (with this spotlight featuring Natalie Grazian at Martin Literary and Media Management) are golden opportunities for new writers because each one is a literary agent who is likely building his or her client list.   Read More...


Story 2
From books, briefcases, headphones, bookends and games to services, subscriptions and videos, this guide offers a compendium of creative experiences, learning tools and gifts for writers of every genre and persuasion.   Read More...

Story 5

Jess Zafarris
Jess Zafarris
Follow @jesszafarris
Jess Zafarris is an energetic multimedia journalist with more than 8 years of experience writing and editing, and the content director of Writer's Digest.



We are happy to help you with any questions or concerns you may have.
Please click here to contact us.
 F+W, 10151 Carver Road, Suite 300, Blue Ash, OH, 45242 USA
Plus, discover our holiday gift guide for writers.


Writer's Digest

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21st-century writing technology has undoubtedly made writing more convenient -- but is it actually holding us back? One writer investigates.

by Elizabeth Sims

I'm an analog girl in a digital world. I like old things and old style. I used a rotary-dial phone until the march of progress threatened to crush us both. My car just celebrated its 24th birthday. I like canvas sneakers, gin martinis and homemade afghans.

But I'm a writer in contemporary times, and I've adapted to new technologies. Frankly, most of it has been a blur. I do remember, though, sitting alone at night in an office building sometime in the 1980s, watching my boss's printer slowly excrete 200 pages of random ASCII characters. For all I knew, the computer was trying to tell us something. I sent the pages to the tech guys at headquarters for analysis. They still haven't gotten back to me.

Fast-forward to now, when miniature microphones and voice-to-text soft ware literally enable us to write as fast as we can talk. The next phase is nearly upon us, where a machine will write my novels for me -- and no doubt publish them, collect royalties and spend the money on nice things for itself.

But I feel it's time to ask: Is more tech necessarily an improvement? Is faster really better than slower? Is the destination more important than the journey?

With those questions in mind, I took it upon myself to investigate. To re-immerse myself in the materials and sensations I used to enjoy so oft en -- and also to experiment with even older methods -- I spent a weekend working on my current novel using an assortment of technology that originated between the building of the Sphinx and the opening night of My Fair Lady.

On Saturday morning I settled down at my writing table, a mug of coff ee at my side and a wood-cased pencil in my hand. I chose a Blackwing 602, known for its smooth core and fragrant cedar casing. (I'd decided to skip inscribing words on stone or wet clay tablets and start with the next writing technology most closely related to those: graphite.)

Pencil sharpening is an act of beginning. You sit down, you gather yourself, you sharpen. You feel and hear the sharpener working, and you smell that fresh wood. You behold your newly exposed graphite. If the point is sharp, you feel brief anxiety over whether the microscopic, conical top section will break off as you touch it to paper.

I enjoy the deliberateness of the pencil experience. As you write, the point degrades to whatever degree of dullness you feel like tolerating. You rotate the point to take advantage of the wear pattern -- every rotation off ers a sharper edge.

When you write with a pencil, you are, in a very real sense, drawing. You're laying down the two-dimensional images of words. You can write little or big; with light pressure or heavy; you can print carefully or race along in whatever version of cursive is yours.

You can erase mistakes! But if you're on a tear, you can just strike through with vigor and keep going. Or you can flurry down a satisfying storm of obliterating zigzags. The re-sharpening pause is a balm. While sharpening, you have a chance to look up, change the focal length of your gaze, quit thinking for a moment and use your hands diff erently.

I wrote about 1,000 words with the Blackwing, savoring its straightforward sturdiness. You don't have to baby a pencil. You can leave it lying around, you can even lose it without too much grief. You can write with it in a canoe or on a mountain ledge, or upside-down while lying in bed. No worries about ink, mechanisms, batteries.

Read more...


Story 2
From books, briefcases, headphones, bookends and games to services, subscriptions and videos, this guide offers a compendium of creative experiences, learning tools and gifts for writers of every genre and persuasion.   Read More...


Story 3
If you're setting a book in another country from your own, it's critical to learn as much as you can about the culture, climate, architecture, and other aspects to make your story more believable. Here, author Sejal Badani offers tips for researching and writing about foreign countries.   Read More...


Story 4
Whether by luck or an innate synchronicity, Michael Lewis often finds himself on the precipice of moments that shift the axis just slightly -- but reshape the world in their wake. Lewis lays out his formula for immersive nonfiction in this extended Writer's Digest interview.   Read More...

Story 5


Story 6
Writing your protagonist always requires deep thought and consideration, but crafting believable characters who are nothing like you presents unique challenges. Author Donna Levine offers four essential tips to help you work through these challenges.   Read More...


Story 6
Rather than seeing full-time work as a hindrance to the craft, writers can channel advantages of their situation to maximize writing productivity. Here's how to approach it in a more fruitful way.Read More...

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Antiquing: Imagine that you or a character are visiting an antique mall. You wander the aisles, imagining the items crowding each booth -- old books, costume jewelry, rolltop desks, typewriters, pocket knives, wooden trains, arrowheads, candlesticks, silverware sets, china dolls, Depression glass bowls (just to name a few). You select three items and purchase them. When you get home, however, you notice something odd about one of the items.
Post your response (500 words or fewer) in the comments here ...

Jess Zafarris
Jess Zafarris
Follow @jesszafarris
Jess Zafarris is an energetic multimedia journalist with more than 8 years of experience writing and editing, and the online content director of Writer’s Digest.



We are happy to help you with any questions or concerns you may have.
Please click here to contact us.
 F+W, 10151 Carver Road, Suite 300, Blue Ash, OH, 45242 USA
Write, Revise, and Pitch Your Picture Book


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Children's Picture Books are one of the most difficult categories to write. It takes a tremendous amount of practice and an understanding of the contemporary market to break into the publishing industry as a picture book author. Writing a complete story-with a full narrative arc-in under 1000 words can be a daunting task. But we know from the number of cherished picture books on readers' bookshelves that it is possible. What can you learn from bestselling picture books? What picture book writing strategies can you implement to better your story? How can you effectively pitch your picture book manuscript to literary agents?

This webinar covers all these topics, providing you with information that will help take you from concept to first draft, and from final manuscript to pitching. This live webinar includes a live presentation, a Q&A session, a critique of your children's picture book manuscript, and downloadable worksheets that will help you write, revise, and pitch your picture book long after the webinar is over

What you'll learn
All registrants are invited to submit your query letter and complete children's picture book manuscript (1000 words or under) for critique. Please wait until after the live webinar date to submit your critique material. This allows you to make changes to your query and picture book manuscript based on the presentation and will ensure you receive the most helpful critique possible. All submitted query letters and picture book manuscripts are guaranteed a written critique by Literary Agent Maria Vicente. Maria reserves the right to request more writing from attendees by e-mail following the event if she deems the writing excellent.

What you'll learn
• 
The common elements and proper formatting of a picture book
• 
What the picture book market looks like in today's publishing industry
• 
What a query letter is and why you want a literary agent
• 
How to improve your own writing by looking at bestselling picture books

Who should attend
• 
Writers who want to better understand the picture book category
• 
Writers who want to learn about the picture book publishing market
• 
Writers interested in improving their picture book manuscript
• 
Writers who want a professional critique of a picture book manuscript

Thursday, December 13, 2018 at 1:00 p.m. EST

$89.99


Instructor: Maria Vincente
Maria Vicente is an Associate Agent at P.S. Literary Agency. Maria provides support to her clients through all stages of the writing and publication process. She is dedicated to managing authors' literary brands for the duration of their careers. Maria specializes in children's fiction and nonfiction for readers of all ages.



We are happy to help you with any questions or concerns you may have.
Please click here to contact us.
 F+W, 10151 Carver Road, Suite 300, Blue Ash, OH, 45242 USA

Send us your best story of less than 1,500 words for awesome prizes.


Writer's Digest Competitions


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If you can craft a story that’s moving, powerful and hooks you in less than 1,500 words, then that’s something truly special.
And it deserves special recognition.
At Writer’s Digest, we want to see what you can do with 1,500 words or less. We want to laugh, be moved to tears, feel tension and fear. We want something special.
And if you can deliver it, the prize we’re offering is well worth it: $3,000 plus a trip to New York City for the Writer’s Digest Annual Conference.
Start brainstorming and start creating—because, pretty soon, you’ll need to start editing to hit both the word count and the kind of emotion necessary to grab a reader’s attention.
We know you can do it. But hurry: The next deadline for entering is December 17.


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We are happy to help you with any questions or concerns you may have.
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