Writing Tips Guides

If you’re an amateur writer, whether it be poetry, short stories, novels or essays, there’s nothing like seeing your work in print or on the Internet to excite you and encourage you to continue your work. For many writers, the idea of making millions isn’t the driving force behind their passion; instead, the practice of sharing ideas, perfecting a unique style and pleasing an audience of readers that enjoys your voice is more often the thing that keeps you writing. And one great way to share your work with new readers, get your work in print and gain new ideas for future work is by entering it into one of the many writing contests you can find online.

Writing contests are one of the most common types of online contests you can find on the Internet today. From poetry contests and fiction contests to children’s writing contests and essay contests, there are literally dozens and dozens of different writing competitions you can enter immediately. And thankfully, most online writing contests don’t cost a dime to enter. While there are some writing contests that charge an entry fee, the new writer can enter his or her work into dozens of other free writing contests while they are making a name for themselves and perfecting their writing skills. And although you will never win every single writing contest you enter, with some consistency and tenacity you’re bound to eventually take home the top prize.

When it comes to writing contest prizes, you should never be disappointed if the top prize doesn’t include cash or a very expensive prize. In many cases, the winner of a writing contest will still receive lots of nice acclaim and publicity even if a cash prize doesn’t enter the picture. And don’t forget that winning any writing contest, no matter how small, will look really outstanding on your writing resume and on cover letters when you submit your work to literary magazines and publishing houses. Building up a great, impressive list of writing contests that you’ve won is a super way to convince editors and publishers that your work is worth a much closer look when they are deciding what submissions to publish.

In addition to the possibility of actually winning any given writing contest, you should look at your participation as a chance to learn more about the process of submission and what readers and editors like or dislike. While we all have our own unique writing style and voice, there are still many techniques you can use to make your writing more powerful and effective, and one of the ways to discover what works and what doesn’t is by putting your work out there for everyone to see. Don’t get upset with any constructive criticism you might receive, but instead look the advice with an open mind and take any good suggestions you might get from a writing contest to heart.

Lastly, a word of warning about private information when you are entering online writing contests. In addition to not giving out any credit card or bank account information, it’s also a good idea to never give out your full address or personal phone number, as well. There’s really no reason why any site would need anything beyond your name and email address when entering their writing contest, and offering any more might be inviting junk mail or even worse. It’s fine to enter your work into as many writing contests as you want, but never forget that any personal information you might give will be available for anyone to find on the Internet in the future.

Search and share a variety of different writing contests by visiting our free online forum today, or visit our other forums dedicated to Canada contests and truck sweepstakes.

Many people take up writing as a hobby or as a more serious undertaking later in life - maybe even after what would be considered by many retirement age. This article looks at one way the older writer can compete with younger rivals on a level playing field.

There you are, sitting looking at your finished book manuscript. It’s probably taken at least a year - maybe a lot longer - to get to this stage. Now, you say, it’s finished! Sorry to correct you here - but it’s not. It will only be finished when it is published, in book form, and sitting on a shelf in a bookshop where people can buy it.

So you send away your manuscript, bracing yourself - you have been warned about this - for rejection. You may be very fortunate and have your work accepted: if so I take my hat off to you! It is far more likely that the work will be returned. If the reason given is that is out of fashion, or not right for that particular publisher, or just plain badly written, then you can do something about it.

Sometimes though - and this an older, unpublished, writer’s pitfall - your age may work against you. I know, it’s wrong - but there it is. You may have written a great book, a truly stunning piece of work - but an agent or publisher, being hard-headed businesspeople, have to ask themselves two very crucial questions. These are:

1. Has this writer got more than on book in them? In other words, is this book something you have taken a long time - maybe years and years - to bring to a conclusion? If so, do have any more ideas or are all your guns fired?

2. Now this is not the greatest thing to dwell on - but how much longer are you going to be around? Let’s say you’re a fit 70-year old lady. You could, these days, reasonably expect another good fifteen or twenty years at least. How does this work with your writing career?

Well - a book - any book - can take five years from first rough to publication. Three years is good going. As you can only write one book at once (unless your name is Simenon!) that means you could well be hitting 90-plus if a publisher gave you a five-book contract - together with all the sales and marketing investment that implies. When they look at these sort of figures you can understand - even if you do not agree with - their concerns.

So - this leaves us with the old problem: how to get into print? Well, one excellent way is via the short story market, particularly those published within popular women’s magazines. Hang on, though - what about your age in this environment? Does it not still hold that it may count against you?

Happily, the answer is a resounding NO. Magazine editors aren’t offering you a contract beyond purchasing publishing rights from you - hardly a big investment - so concerns regarding your longevity aren’t present! Also, many older writers find they have the depth of experience concerning the human condition so essential to many stories found within the pages of this type of magazine.

Then there are other types of magazine - the science fiction short story is one of the types enjoying a keen readership, as popular today as it was seventy years ago. Maybe it’s not your thing - but it’s worth considering!

The other thing about short stories is that they are, when compared to a novel, quick to write. You could probably write twenty or thirty short stories in the time it would take you to write your book. Too, they give a new writer great exposure. It’s fair to say that the buyers of women’s magazines probably don’t do so just to read the short story tucked away towards the back - but read them they do and some magazines have readerships in the hundreds of thousands. If you sold that many copies of your novel it would be a best-seller!

Maybe the best things about getting your short story published is the great boost to confidence it brings to any fledgling (or indeed seasoned) writer. There’s nothing quite like having your name in print as the author! Add to this the bonus of getting your name known to editors and agents - yes, they do read these stories, spying out talent - and it can be seen that writing for the short story market can be a great way to get noticed.

You may decide, if following this route, that short stories are the thing for you - a writing niche that suits your talents and needs. On the other hand, should you again experience the desire to write The Novel, you have a good grounding in economical, well-planned writing (as all short stories must be) that will shine out to any publisher whose desk your manuscript lands on!

If you would like to know a bit more about the short story genre, try clicking here. Or, if you’re still determined to have a go at a longer work, just click here.

You may well think that the choice of approaching an agent or publisher is academic before you have even finished your book but nothing is further from the truth. This short article discusses the pros and cons of agents and publishers - and which one you should go for.

A decision that many writers put off for as long as possible seems to be the one where they decide if they want to get an agent or go directly to a publisher. One school of thought says that having an agent is definitely preferable, the other says - why pay an agent commission when you can do it yourself. Let’s look a bit closer at these two points of view -

Agents: The advantages to having an agent are best described as ones that remove certain amounts of stress from the writer, allowing him or her to get on with what they do best - writing. A good agent will negotiate a better deal with a publisher than you probably could, will have their ear to the ground to know what’s hot and what’s not - and hopefully tell you where your book lies in that regard.

A disadvantage to having an agent is, simply, cost. An agent will either charge fees or commission on sales, the rate varying from agent to agent. This works well for you if you haven’t made any big sales but can cost you a shedload of money if you hit the big time. For example, it’s been reported that Little’s, who handle the Harry Potter books for Rowling, cream off millions per year in commissions. Mind you, I imagine Rowling isn’t too worried! This is of course an extreme example but it is worth keeping in mind.

Also, you may have to sign-up for a set period with an agent, or guarantee them the sole agency rights to a certain number of books before they will agree to represent you. This isn’t greed, it’s just business - they will be investing time and effort in you and will require a certain return from you in the form of this type of commitment. Again, it’s something well worth keeping in mind.

Publishers: The advantages of dealing directly with a publisher seem obvious: fast track to the correct editor, no agents commissions to pay and less red tape all round. All these points are valid but, as is usual in life, they too carry their downsides.

Your editor may well have very definite ideas of what he or she will or won’t accept from you as a book. If you want to change tack in your writing, a publisher’s editor is probably not altogether the best person to explain this to - the editor wants a certain type and style of work from you as this is what they ’signed-up’ to. Any deviation from this type may well result in, at the least, a straining of the relationship between you! Also, a publisher may want a far more restrictive contract with you than you would like - and you may well not be offered such options as foreign rights, large-print rights and that holy grail for all writers - film rights.

On balance, I would always advise new writers to try their hardest to gain the services of a good agent. I know this is difficult and writers can often get into the Catch-22 situation of being unable to get a publisher interested without agent representation, yet unable to get an agent interested until they have some work in print.

One way around this is to approach publishers directly - then when (and if) you receive an offer of publication you can wave the letter under an agent’s nose. The chances are much greater at this point that any agent will be interested, of course! You may well then ask - ‘Why bother with the agent when I have the offer?’

Several reasons. The first - and most important - is that I can predict that, in 99% of cases the agent will secure a better deal for you than you could for yourself. Won’t the publisher be upset? Not usually - it’s just business as usual for them and this sort of thing happens all the time. A tip - if the publisher really does kick off in this situation be wary. It may well be that they were trying to short-change you on the deal and are now worried that an agent will spot this and take the business elsewhere. Be warned!

On balance, then - go down the agency route. Let them have the headaches about gaining a publisher for you, negotiating terms and all the other details that go with getting a book from acceptance to publication. And you? Just get on with your next book!

Steve Dempster writes articles for the web and works of fiction. If you would like to get the know-how a novelist needs to write professionally, take a look at this.

The crazy world of publishing can be a scary and confusing place for a new book writer, and it can be nice to get a little bit of guidance on how to navigate around things like writer guidelines, publishing houses,literary agents, and such. While most first time book writers think the hard work was done once they typed the end at the bottom of the last page, it turns out that there is still a whole lot left to do. For those who want to see their words in print, this article will help offer some advice on how to get moving in the right direction.

First of all, let us assume that the book writer is not interested in trying to self publish, and let us focus instead on how to shop the manuscript around to those whose job it is to do such things. One of these people is the literary agent. A book writer does not have to use the services of a literary agent, but sometimes having one on your side really is an asset.

This person will know the appropriate markets to send the manuscript and will have the expertise to negotiate a contract with a publisher on the writers behalf. In return, of course, he or she earns a portion of the negotiated fee. For this reason, it is in the agents best interest to get the book writer the most money for the project. Unfortunately, finding an agent to represent an aspiring author can be almost as daunting as finding a publisher would have been!

When trying to secure a publisher, book writers should consider using all of the writing resources available. This includes publications like Writers Market and the information distributed by the publishing houses themselves. A little early research can save a lot of time in the long run. A novel writer who sends his manuscript to a childrens book publisher has not done himself, or the publisher, any favors. Nothing annoys publishers and editors more than receiving manuscripts that just do not fit their genre.

In addition to finding the right publisher, it is also important to be sure that the work is sent to the right department. Since there is a high rate of turnover in the publishing world, it is always a good idea to double check that the envelope is addressed to the current editor of the department. This can be accomplished with a quick, polite phone call to ensure that the editor is still with the company and that the name was spelled correctly on the website.

One other important tool for the book writer is the proposal. While some publishers request only a short query letter from writers, others are going to insist on seeing an entire proposal. Many writers make the mistake of sending their whole manuscript, but the writer guidelines will very often stipulate that they only want to see the complete proposal.

We say only, but creating a book proposal is a big endeavor that will likely take much of a writers creative writing skills in order to appropriately sum up not only the book itself, but also the market into which is would be released. It is an interesting mix of writing fiction and creative marketing. There are a lot of writer resources out there to help create a strong book proposal that will have the publisher asking to see the entire manuscript.

It is true that fulfilling your dream of becoming a book writer can really be a labor of love. The unfortunate reality of getting that book published, however, is that it is just plain labor. With some hard work and determination, the above suggestions can help turn an amateur book writer into a published professional writer.

Caterina Christakos is the author of several how to books and childrens novels. To learn step by step how to get past writer’s block, find the write outlet for your book and write your own children’s book in 30 days or less go to: http://www.howtowriteachildrensbook.com

Despite all the competition, most new and aspiring authors want to write a novel. This article take s a quick look at some points to consider before you put pen to paper!

In the past I have written a good many articles extolling the virtues of writing that time-honoured writing form - the short story. Yet it seems that virtually everyone who has ever entertained the slightest yearning to be a writer wants to write a book - otherwise known as a novel.

Novel writing is for some writers the snow on the mountain’s peak, the highest point to which a writer can aspire or hope to reach. For others, it’s a challenge akin to crossing a desert without water - a long hard slog that can only be endured by using the utmost in grit and determination.

The truth about novel writing really lies somewhere between these two extremes. Fiction writers have written novels for years and years and, oddly enough, most seem to have survived the ordeal more or less unscathed.

Now why is this? One reads everywhere that it’s either (a) simple to write a fiction bestseller (which is of course nonsense) or (b) it’s so hard to get a novel published that only a certain bit of magic software can do it for you (again, total rot). The real way to write a novel that will (hopefully) ultimately sell and set the writer on the road to fame and fortune lies as much in attitude and know-how as it does in raw talent.

So what does this statement mean? Well, take a young boy who can run pretty fast. That’s his raw talent. Let’s say he’s pretty good at jumping low fences too. Take this boy and train him, shape his mental attitude and show him how to do things professionally and maybe, just maybe you then have an Olympic-level hurdler on your hands.

On the other hand, don’t show him anything, don’t tell him what to look out for or what not to do and chances are he’ll grow up into a man who can - you guessed it - run pretty fast and jump low fences . . .

Now I’m not suggesting that merely by training a writer in the realities of novel writing and by showing said writer the way forward that they’ll be the next John Grisham or Terry Pratchett. They may never be published at all. Yet by knowing the way to write a novel, how a writer’s life works and how to be a professional in outlook, that writer stands a much better chance of winning through than one who has just started the task with little or no preparation.

There’s an old saying that goes: forewarned is forearmed. If a budding writer is given the know-how that enables him or her to reliably and consistently write good fiction, especially if it’s for the right market and at the right time, then that writer is streets ahead of the pack. Being a writer isn’t just about putting a story down on paper. It’s as much about deciding on what your niche is going to be within the writing world, what books you want to write and how long it’s all going to take to get done.

The decision to write a novel is, therefore, a big one and not to be taken lightly. Make sure you have all the tools and know-how you need at your disposal before you start and there’s a much, much greater chance that you will finish that book - and get it published!

Steve Dempster writes articles for the web and works of fiction. If you would like to get the know-how a novelist needs to write professionally, take a look at this.

According to recent surveys, over 70% of people questioned said they would like to write a book. This article touches on three key points that just might help them - and you - do just that!

First key point: willpower. Although 70% of people questioned may well have said they would like to write a book, figures aren’t available for the number who actually did anything about it. It’s an unfortunate truth that wanting to do something and actually doing it are very often a long way apart from each other. Part of this problem lies in the fact that, for the vast majority of people, writing a book is something they have no idea how to start.

It’s all very well having a great idea for that blockbuster novel but turning that idea into a finished book is normally quite an undertaking. A writer must have the willpower to carry it through to a conclusion and even the strongest will can fail if the writer does not have a clear plan of what lies ahead.

Writing a book is a big task. Having your end in mind at all times enables you to focus on the task before you and, perhaps surprisingly, can bolster your willpower significantly.

Second key point: planning. There’s an old saying - ‘fail to plan, plan to fail’. Originally found in books on positive mental attitude back in the 1980’s, this sort of mantra-style catchphrase still has plenty of validity in all sorts of situations, not the least in writing a book.

A book - be it a novel or factual book - must be planned from the outset. It’s very tempting to start off willy-nilly, trusting to luck that all will be well and that, at the end of a writing frenzy, your magnum opus will be finished, polished and ready for the reading public. Maybe it will - if you have a truly massive slice of luck.

In reality, you will in all probability manage to get to about 10,000 words before running out of steam altogether. How do I know this? Easy - it comes from painful experience. The realisation that your story has fallen apart can come as a crushing blow - in fact, it can lead to your giving up on the idea of writing a book entirely. Don’t be caught out by lack of planning!

Third key point: Marketability. An awkward word for a possibly awkward concept - especially if you have never considered the fact that your book (when finished) must be a saleable product. I’m not for one minute trying to stifle the creative outpourings of any writer but, come to crunch-time, it has to be accepted that what you write has got to sell; if it is not saleable then, as a commercial proposition, you have failed in your endeavour.

Consider this: is the book you propose to write targeted at a specific audience? If not - why not? It has been said that writing for a target market stifles ‘the creative mind’. Well, I’m sorry but I do not agree. Emphatically. In my opinion, it is much easier to write a book on any subject you fancy than to write one that fits snugly into a market niche. The real task is writing for your reading public - after all, they are the ones who part with their hard-earned cash to read something they like to read!

To write a book that is marketable and will sell is very much part of a writer’s skill portfolio. The vast majority of published writers are those who, whilst creating entirely original and valid work, conform to very tight and targeted publishing guidelines within their chosen genre or book type. If you can master this skill you are, believe me, well on the way to being published.

So what can be learned from this brief article? In a nutshell, it can be realised that commercial creative writing is written for a target audience; that planning is all-important if you wish to finish what you have started and - not least by any means - iron willpower is a prime requisite for the committed novelist. Put these three together and this ‘writers triangle’ can be the foundation for a professional approach to your writing career.

Steve Dempster writes articles for the web and works of fiction. If you would like to get the know-how a novelist needs to write professionally, take a look at this.