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Produced and published by the members of Writers' Village University since 1998    ISSN 1521-2639       
09 January 2009
The Business of Writing The Writers' Ezine - T-Zero Xpandizine

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The Business of Writing

Perley-Ann Friedman

5 Ways to Guarantee Your Non-Fiction Query Will Be Rejected


The other day I read a query letter that scored 100% on the scale of "The Five Most Important Things To Avoid In Any Query." At first I thought the letter was intended as humor, but by the time I reached the end, I realized that the writer seriously thought their letter was a winner. It was a winner -- on what not to do.

Don't waste your, and a potential editor's, time by writing a "rejection" letter.

The query letter is the most critical part of our writing as freelancers. It is the means that we use to tell the world what we can do and why we should be selected to do it. There are so many advice books and articles on how to write a query letter -- telling you what to include, how to organize it, when to do it, and even how to send it -- that it's almost overwhelming. While all this advice tells writers what to do, I think that knowing what NOT to do is just as important. No one wants to write a rejection letter, and I think I can guarantee that if any of these five points are found in your query letter (to any publication), it will definitely be rejected.

Point 1: Be Unorganized & Confusing

There are many things to include in the query letter, including the hook that will grab and keep the editor's attention. Without a hook, the letter will not be read and your query will be rejected. After the hook, the letter should flow to the article you are proposing, your history and background, and maybe a few words on the market potential for the subject. Each area should be covered before moving on to the next.

If you move from the hook to your background, to the article, back to your background, back to the article, the editor will get confused. An organized letter means an organized writer. If the editor is hooked, but then confused by an unorganized letter, your query will be rejected.

Point 2: No Clear Description Of Your Proposed Article

Often, in their effort to write a good query letter, writers spend so much time on the hook and the general subject for the article, they never exactly describe the article. They may discuss the subject, but omit the focus and angle the article will take. This is a shame.

Once we get the editor hooked on our subject, we need to clarify what the article will be about. "I want to provide you with an article on high-fat foods" is a far cry from "I want to provide you with an article on why high-fat foods can lead to heart problems in mid-life and the five best ways to easily lower fat intake." Without this clarification, your article will be rejected.

Point 3: Write With A Superior, Belligerent Attitude Or Tone

Even though we want to emphasize that we can write a great article, this needs to be done without attacking others. Telling the editor that their previous articles on the subject were inferior directly insults the editor's judgment. Describing why other writers are incompetent doesn't get you any further ahead.

Writing as if you are the only knowledgeable expert on a subject is self-defeating. If you were that important, you wouldn't need to write the query, editors would be contacting you. Any attitude of superiority, hostility, or arrogance will get your query rejected.

Point 4: Be Politically Incorrect Or Insulting

Often we are tempted to add a bit of humor in our query, and sometimes this humor crosses that invisible barrier of acceptability. While comedians on a stage can be politically incorrect, there is absolutely no room for this in a query letter. Any reference to gender, age, nationality, or religion are taboo. If your article is directly related to one of these areas, craft the wording very carefully and consider apologizing for any phrases that have the potential of being taken the wrong way. Saying that you are the best writer for the article because you are white, have a man's point of view, or because you are not a Muslim will lead to rejection. You can see how easy it is to cross this thin line.

Point 5: Be Vague About Your Writing Experience & Background

Whether you are a successful or novice writer, you need to mention something about yourself to show the editor that you are qualified to write the article. Any vagueness or ambiguity here reflects directly to your competence and puts your letter in the rejection bin. Maybe you don't have any published articles to boast about, but there must be something about you that qualifies you to write the article. Have you studied the subject, worked with it, and/or do you have a special interest or desire for it? If not, maybe you shouldn't be writing the query.

Most established freelance writers will agree that crafting query letters is probably the hardest part of their job. Trying to time your queries just right with a publication, trying to "mind read" editors you haven't yet had personal contact with, and trying to break into an entirely new market can all challenge even the best of writers. But knowing what not not to do in a query letter gives you that much more of an edge in writing a successful query letter -- one that gets you an assignment.
 

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Catherine's Kitchen The Writers' Ezine - T-Zero Xpandizine

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Catherine's Kitchen

Catherine Manning

I promised myself that it would not happen, but struggle and strife seems to be the center of my life at the moment. First, I got the worst flu bug that I've had in years, having not even had a cold in the last five years. I know where I got it from: my mother, as I had her and an old blind friend of hers who doesn't really live a very good life, to stay for a few days to give them a break. But unfortunately Ma wasn't past the contagious stage, so down I went with a vengeance. Not good as I have a lot of work to do and was hindered by that along with my car which has been (after 11 years) giving hideous trouble and leaving me stranded anytime anywhere, usually in the middle of a delivery to some remote part of the island. Cell phones are a blessing; mine has paid for itself long since!

I love my car and it has stood me in good stead, but "the time has come, the Walrus said" to put it out to grass. My daughters are pushing me to buy a new one, but they are not cheap here, as our duties are very high and a new Elantra will cost me US$25,000 -- not funny. My brothers are shouting and saying, "spend the money and fix it, keep it longer" and I am flying off the handle and slamming the phone down in their ears and having a stress fit! Take into consideration that I have no backup. They do, so if they have a vehicle that gives out on them, they pick up another. I, on the other hand, have to go through all sorts of strife to get someone to come to me, but also to find alternative transportation and that is not easy as I'm in a remote part of the island.

However, my mind is now made up with the unwitting help of the brother who was telling me to keep the car. He phoned me again one night with the name of (according to him) an excellent mechanic who lived not far from here and I should let him have a look at the car and get to the bottom of the problems. Don't know why he didn't tell me before, as it would have prevented a lot of my stress!

So said, so done and I took the car over to him the next morning. He returned it to me last night, having corrected one thing and with a long list of things that needed to be done because of previous shoddy workmanship and he also informed me that my car had been hit very hard and the chassis was bent. I told him "no," that I had never had an accident and my insurance coverage would prove that, but he proved to me that the car had been hit and hit hard. I hadn't noticed as there was no visible damage from the outside, so that would mean that along with all the other nonsense that was being done to it when it went to the agents to be repaired, it was also damaged otherwise. That really upset me as I have been driving since I was seven years old and at 59 have never had an accident and then to find that unbeknownst to me some idiot has damaged my car and no doubt also caused other problems, was an outrage. Naturally I'll never find out, but it does mean that I will now have to buy another; otherwise the problems will continue forevermore.

Apart from that, my monitor died, one stove nearly caught fire and the lawnmower gave up. They have all been replaced and I hope that's the end now. Enough is enough. Unfortunately I can't replace me but I really could do with a tuneup as well. I'm almost afraid to get out of bed!

On a lighter note, I now have 29 baby turtles. I just transferred some to the cage outside as they were big enough and were too crowded inside. I've lost count of the total now, but there must be about 60. They don't all come out at once so it's difficult to tell.

We're at an in-between season at the moment as we have had very little rain for this time of year, which is very unusual being hurricane season. Not that I want a hurricane but it has been more of a drought year for Barbados, so our normal fruit supply has been sparse, which is not good for me. But now is snapper time and that is such a lovely fish, doesn't take any time to cook and is so tender.

BAKED FISH IN WINE SAUCE

3-4 lbs. red snapper, grouper or similar fish, cleaned, boned and cut into cubes.
Make a seasoning of:

  • 1 tbs. chopped chive,
  • 1 tbs. chopped parsley
  • 2 tsp minced garlic
  • 1 oz. Barbados rum
  • Salt, pepper and lime juice to taste
Marinate cubed fish for one hour or more, mixing occasionally. Sauté fish in about 5 tbs. of hot oil until crisp. Drain of excess oil on paper towels and place in baking dish.

For sauce:
  • 2 cups milk
  • 2 tbs. butter
  • Salt and pepper to taste
  • 4 tbs. flour
  • Water
  • 3 tbs. minced onion
  • 4 tbs. white wine
  • 4 oz. sliced button mushrooms
  • 1/2 cup diced cheddar cheese
  • Parmesan cheese
Scald milk with butter and salt and pepper to taste. Blend flour with a little water and before milk comes to the boil, add flour mixture and stir well till it thickens. Add wine, mushrooms, onion and diced cheese till melted and cooked. Pour over fish in baking dish, sprinkle with Parmesan and bake at 400F for about 30 minutes.


Spanish Cream or Chocolate Mousse


The only difference here is that cocoa powder is added to the milk for the chocolate mousse. Top the Spanish Cream with pineapple slices and whipped cream and the chocolate mouse with whipped cream. I don't bother to measure too much; how big a mousse I want depends on the number of servings, so the measurements I'm giving are changeable. The important thing here is the quantity of gelatin to the amount of liquid; otherwise you'll have one runny mousse!

This is what I do, but I would suggest you go by what your gelatin quantities call for, though you could try this first.

Spanish Cream
  • 4 cups milk
  • 4 eggs, separated
  • Sugar to taste
  • Vanilla essence
  • 2 packs gelatin
  • Lime rind
Scald milk with piece of lime skin. Separate egg yolks and whites and beat yolks in bowl. When milk is scalded, add a little milk, stirring all the time, to the egg yolks and then add that mixture to the remaining scalded milk in the saucepan, stirring well. Replace the saucepan on the stove on a low heat and cook for about a minute, stirring all the time, till slightly thickened. (Don't allow to curdle, which it will if it's not stirred well or the heat is too high.) Remove from heat.

Dissolve gelatin in a little water and add to milk. Add enough sugar to taste and add essence. Strain and cool.

Beat egg whites till soft peaks form and using a metal spoon, gently spoon whites into egg mixture, blending well. Pour into serving bowl and chill for several hours till set. You will get two layers of mixture, one light and one gelatinous.

For the chocolate mousse, dissolve about 2 tbs. cocoa powder in some milk and add the milk to be scalded and the recipe is the same. But it will burn so do it on a low heat and stir.

Do not substitute lime juice for the peel or you will have scrambled custard!

Bon Appetit
Cath

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Fiction Short Story

 

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Fiction Short Story

benning

"A Flag Tale"

The warm summer breeze caressed my face, the fragrance of wildflowers tickled my nose, and the thrum of the cicadas rose and fell in the air. Out of the corner of my eye I could see PopPop swaying along toward the flagpole carrying his old flag. I sighed and sank a little deeper into the glider cushions, pretending to ignore the old man.

Every year it was the same routine: finish the morning's chores, help PopPop get out his old tattered flag, watch him hoist it up, and listen to the same old war stories over and over. Something about Independence Day made him nostalgic, and I hated it. There I'd be, wasting a perfectly good summer day having to listen to his faltering voice recount the glory of his war years. I'd much rather have been playing ball with the fellers down at the field, or swimming at the lake, and finishing off the day watching the fireworks at the Town Square.

But, no. That wasn't allowed. Mom and Dad made me stay here until PopPop was through with his remembrances for another year.

I sighed again, turning my head to watch him struggle with the lanyard and hoist that ratty old banner. Jeepers, it was ugly! Faded so badly the red stripes were pink, and the blue field was practically little more than a memory!

I heard the screen door creak open and bang closed again. Mom walked out and handed me a tall glass of iced tea.

"Why don't you take this to PopPop, Jack?"

I sighed again, rolled my eyes and unwound from my soft, comfortable place on the glider. Summer vacation, and here I was, being treated like a slave. "Why do we have'ta do this, Mom?" I stood and took the wet, cold glass. "Every stupid year. Shoot, I can prolly recite PopPop's stories by heart."

Mom smiled wryly. "Jack, it's important to him. It's important to your Dad and me, too."

"But it's so boring, Mom," I whined.

"Try putting yourself in his place, Jack. When he starts to talk about the war, just imagine that it's you in his place, and see how you feel then."

I gave her one of my patented "Are-you-out-of-your-mind" looks, and trudged heavily off the porch.

PopPop had that silly flag up to the top of the pole by the time I got there. He was standing back shading his eyes and watching it flutter in the breeze.

I held the glass of iced tea out to him, "Mom sent ya some iced tea, PopPop."

He turned his head and smiled at me, taking the glass and gesturing at the flag.

"Mighty proud old flag, ain't she?"

"Yeah, I guess so," I replied

He squinted at me, sipping the cool, refreshing drink. "Bored with me already, boy?"

"I just don't see why I can't be playing ball with the other guys, PopPop," I mumbled. "Summer vacation is short enough as it is."

He put a thin arm around my shoulders and patted my neck.

"Always in such a hurry to be at something, Jack. Don't think I don't remember how that feels. But some things are more important than baseball, or swimming at the lake," he winked at me, "or even doing your chores."

He looked up again at the flapping banner and sighed deeply. "Help me up to the porch, will ya, boy?"

We turned and he held my arm as we walked slowly back across the lawn, and up the steps of the front porch. He made his way to the glider and eased himself down with a soft grunt. The glass shook momentarily in his hand but he didn't spill a drop.

PopPop caught me watching that glass and chuckled.

"It wouldn't be the first time I spilled a drink, Jack."

All I could do was put on a fake smile.

He sipped his tea and gazed out at the leaves swaying on the trees.

"So you think what I have to say is boring, eh?"

I couldn't answer him. I didn't want to be disrespectful. But he went on as if I had answered.

"I used to cringe when my great-granddad would tell his war stories, Jack," he said. "Did I ever tell you that?"

"No, PopPop."

"He fought in the Civil War. He was in a regiment out of Pennsylvania. And, Lord, did I hate listening to him go on about it. You'd have thought the old man had been in every battle, and had won them all, single-handed!"

He chuckled, and I did, too.

PopPop smiled at me and asked, "Do you know why I'm so danged proud of that flag, Jack?"

"'Cause you carried it in the war?"

"Well, that's part of it, I guess. Maybe that's what it was at first for me. But as time went on and the war faded away in folks' memories, it started to become more important."

"More important than carrying it in battle?"

He sipped his iced tea and said, "I swear your mother makes the coldest, sweetest tea in the whole country!"

Looking again up at the old flag, he continued, "That old, worn out piece of cloth stands for something, boy, something bigger than any war, or any battle. "No matter how frayed the edges get, or how faded the colors, as long as that flag, and others like it still fly, there's freedom in this old world."

He looked at me as I stood by the porch rail, listening to him.

"That flag is just a symbol, boy, but it's a symbol of the finest experiment in the history of the world. Self-government. Government by consent of the people. This is the only place in the world where it works. And we forget that. All too often. Wars end, we come home, and we continue our lives as if all's right in the world. We get back to business, as we ought to do. And we forget that in most countries, folks don't have the right of getting back to business and on with their lives. We also forget that so many of our own men and women have shed their blood, lost all their possessions, and even died to protect the liberty that old flag symbolizes."

I turned and craned my neck to catch a glimpse of the faded banner. It might have been my imagination, but the red stripes seemed a little deeper, the blue a bit darker. That old flag looked more .. . vivid and alive.

"Jack, when we crossed the Rhine against the Nazis, and I tied that flag to a lamppost in the very first town we entered, I wasn't so much taking possession, as I was planting a little piece of liberty, right there in Nazi Germany.

"When those grunts raised the flag on Iwo Jima it was the same thing, though they might not've realized it just then."

I heard him grunt and turned to see him struggling to get out of the glider.

I stepped over and took his hand to pull him up. He rubbed his thigh - the one where the leg ends just below the knee - and I helped him to the railing. He closed his eyes and breathed deeply of the summer air.

I could hear him whisper, "The sweet smell of liberty," before he smiled at me and said, "It's an old flag, Jack; old and ratty, faded and tattered. But that flag is the symbol of our great country. There isn't a finer flag in the whole wide world. Nor a finer nation on the face of the earth."

I draped my arm around his frail shoulders, "I guess you're right, PopPop," I said. "I just didn't think about what it really meant."

His thin arm tightened around my waist, and his rheumy eyes filled with tears. "We rarely, do, Jack; we rarely do."

Later that afternoon, my sister, Emily, and her husband, Frank, came by for our traditional Independence Day meal. Frank and I shucked the corn and put it on the stove to boil, Mom and Emily whipped up the potato salad, and Dad and PopPop grilled burgers and hotdogs on the grill.

Afterward we listened to PopPop recite his favorite war stories. This time I put myself in his place and saw everything in a different light.

PopPop passed away two weeks into the New Year. He left me that ratty old flag, along with the two medals he'd won in the war. They were the only things of any value he had - those and his memories.

I still have that flag. It's carefully folded in a display box that sits on a shelf above my desk. I look at it every day, and remember PopPop. And I thank God for this great country.

© Copyright 2002 Jeffrey M. Keenan

 


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Journal Writing The Writers' Ezine - T-Zero Xpandizine

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Journal Writing

Christina Sexton Wilcox

Finding Your Voice
(Part 3 in a three-part series on successful journaling)

Beginning writers are often told to "find their voice." For a beginner, this can be an elusive task. "What's the difference between my writing voice and my real voice," you ask? The beauty of journal writing is that they are one in the same. In journal writing there are no rules. You write as you speak, using your journal simply as a means of communication. No one cares (yet) how fantastic your prose is, or even if your spelling is correct. The goal is to open the floodgates of ideas. Think of your journal writing as just "talking on paper."

A friend of mine writes a local newspaper column, called "Sue's News." While working as a corporate sales trainer, she had to send her boss e-mails that outlined her daily activities while on the road. Out of these What-I-Did-Today logs blossomed interesting stories about the people she met on and off the job. She was writing stories and didn't even know it!

Sue had never taken a writing class, so she wasn't bogged down with the rules of writing. She would simply write as she spoke, casually, with her own voice. Now when she journals she imagines writing to her former boss, talking in the same voice, using snippets of dialogue and background information when necessary. It's a two-fold way of story writing that takes the pressure off while allowing your true voice to shine through.

To wrap up our series on successful journaling, I leave you with the following tips.

1. Write quickly, so you won't be bogged down by grammar, punctuation, etc. Make lists, use simple phrases, anything that works for you. The goal is to get the ideas out. Edit later.

2. Allow yourself to take tangents, go with them and see where they lead you. Ramble on.

3. Don't go for formal prose, write as you speak. Use slang and dialect as naturally as you would in your own speaking voice.

4. Use dialogue and lots of description. Leave nothing out.

5. Envision your audience reading your "letter." Think about his/her/their reactions. Is he laughing, crying, surprised? Why?

6. Cut and paste your e-mails or chat room dialogues into your journals for later use.

7. Title your journal entries by date and description of content for easy retrieval later.

 


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Literary Lights The Writers' Ezine - T-Zero Xpandizine

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Literary Lights

Priscilla Fagan

Words, words, words.

Sticks and stones may break our bones, but words will break our hearts. Robert Fulghum

As writers we use words to show and tell scenes, emotion, senses. Our goal is to make our readers cry or laugh, smile, frown, love, hate. Our words, put in proper form, sequence and rhythm, will hopefully sell our novel, poem, essays, short stories.

Words as the writer's tool are wonderful, glorious, sublime. Words used without thought can be hurtful even though the writer may not have that intent. Words are to be taken seriously. I try to take seriously acts of language. Words set things in motion. I've seen them doing it. Words set up atmospheres, electrical fields, charges. I've felt them doing it. Words conjure. I try not to be careless about what I utter, write, sing. I'm careful about what I give voice to. Toni Cade Bambara

A technique writers use or should use, is to read out loud. As William Sloane says, Exercise your words. Try them out in new relationships. Choose your words with careful consideration. Words have basic inalienable meanings, departure from which is either conscious metaphor or inexcusable vulgarity. Evelyn Waugh

The difference between the right word and the almost right word is the difference between lightning and the lightning bug. Mark Twain. Stick with your writer's instincts. If it doesn't feel right then it isn't right. Anthony Burgess reminds us, People don't like using dictionaries when they're reading mere novels. Okay, a little harsh but I tend to believe it. Simplify, simplify, simplify is my motto more often than not.

Some rules from H.W. Fowler, Anyone who wishes to become a good writer should endeavor, before he allows himself to be tempted by the more showy qualities, to be direct, simple, brief, vigorous, and lucid.

This general principle may be translated into practical rules in the domain of vocabulary as follows:
Prefer the familiar word to the far-fetched.
Prefer the concrete word to the abstract.
Prefer the single word to the circumlocution.
Prefer the simple word to the long.
Prefer the Saxon word to the Romance.
And I'm sure you all know what circumlocution is, but then the dictionary is available.

However, if you don't like what H.W. Fowler has to say perhaps Nathaniel Hawthorne will be easier to swallow: Words-so innocent and powerless as they are, as standing in a dictionary, how potent for good and evil they become, in the hands of one who knows how to combine them!

Remaining optimistic as we head into fall, I'll see you again in October . . . Priscilla


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Submissions Guidelines The Writers' Ezine - T-Zero Xpandizine

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Submissions Guidelines (Updated)

Until further notice, only plain text submissions in the body of the email will be considered.
NO ATTACHMENTS.

What We Pay For

Fiction: Stories should be of interest to writers in general, not just a narrow group.

Fiction should be submitted to fiction@thewritersezine.com. Payment starts at $15.00.

If considered for publication, you will be asked to return an email agreement including your name and address.

Craft Features: Queries about Craft features should be sent to nonfiction@thewritersezine.com.

Payment starts at $15.00, and, if considered, you will be sent an email agreement to fill out and return.

Poetry: Due to the large number of recent poetry submissions, a temporary hold on further poetry submissions is in place until early 2008.

Please do not email us to ask what we pay for in other categories. When we can add to our list, we will include it in these guidelines.

What We Publish

Original short fiction, poetry, and non-fiction, particularly non-fiction related to the craft of writing and interviews.

For fiction we prefer something with a plot and resolution. If we like the main character, we are more likely to accept the story. If the main character has a problem to resolve or has to make a choice, that's conflict, and we love conflict! Too many writers confuse conflict with fight scenes. Don't be one of them. Give us a protagonist who acts, makes choices no matter how hard they are to solve his or her dilemma, not a wimp who drifts along and has to be rescued.

Non-fiction should be related to the craft of writing or be good resource material for writers. Accuracy and originality are vital. No reprints. If it has already been published somewhere else, our readers will spot it and let us know.

What We Won't Publish

Anything that inspires "hate," is defamatory or is pornographic.

Simultaneous submissions.

Material that has appeared elsewhere (reprints).

Seasonal material submitted during the same month (i.e., a Christmas story in December). Our lead time is short compared to print publications, but we do need time to edit, html and proof submission. A good guideline is to submit the manuscript by the first of the preceding month (i.e., submit a Christmas story before November 1st).

Length Recommendations

  • For Fiction, under 1500 words is preferred. We will consider excerpts from longer works.

  • Poetry should fit on one printed page if possible. A maximum of five poems may be submitted at one time (when the hold is lifted).

  • Non-fiction or Craft features have the most leeway in word count. In general these manuscripts should be 750 to 2,000 words. We like to take advantage of the hypertext capabilities we have available and link to charts, graphs, lists and so forth. Thumbnail versions may be included in the body of the article.

Rights

All rights other than first electronic, non-exclusive 'anthology' (for collections of T-Zero: The Writer's Ezine works only), and non-exclusive archival rights (we keep back issues online) are and remain the sole and exclusive property of the author.

Formats We Will Accept

Plain text in the body of an email.

T-Zero: The Writer's Ezine is an HTML publication. This gives us access to a variety of options but it is also a limiting factor.

  • Underlining is used exclusively for links in HTML. Please do not underline in your manuscript. It you are including a link to a webpage for reference, please mark the link the following way: (WEB LINK) http://thewritersezine.com (END WEB LINK).
  • The less than (<) and greater than (>) signs are used to enclose HTML encoding. If you need to use brackets, please use the square [ ] ones instead.
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  • Fonts need to be simple. No multiple fonts. We prefer standard fonts such as Times New Roman, Courier or Arial set at 12 point. If your subject matter requires something else, ask us first.
  • The curly (smart) quotes, apostrophes, the em dash (two hyphens together) and ellipsis … (three periods) become strange and exotic characters when copied from your word processor into email. Check your preferences or options to see if you can use straight quotes. 
  • Text formatting such as bold, italic, centering, bullet list, etc., should be noted in the text by using all caps in parentheses. For example, if you wanted to italicize the word submission, you would type: (ITALICS) submission (END ITALICS).

Editing

We expect you to run spell-check and to check your grammar and punctuation before submitting. We will not reject a submission for a few typos or errors, but will if there are an excessive number of errors.

Note: Since our reading audience is international, we do not require a specific version of English. Use the spelling appropriate to your region.

We will automatically correct obvious typos such as “ton” for “not” and may correct simple agreement problems. For anything beyond that, time permitting, we will return the submission to you with a request for corrections.

Getting to Know You

Fiction and Craft features published in T-Zero: The Writer's Ezine include brief third person biographical notes on the writers. For all submissions, please compose your own bio and include it to save our editors and yourself time later if/when your piece is accepted for publication. We suggest sharing a little about your background, occupation, geographical location and what inspired your story.

How and Where to Submit

We do not accept submissions via US mail. Email submissions only, to the appropriate department, in the body of the email. No attachments accepted.

Fiction should be sent to fiction@thewritersezine.com.

Craft Non-fiction should be queried first. Send query to nonfiction@thewritersezine.com.

Poetry: Due to the large number of recent poetry submissions, a temporary hold on further poetry submissions is in place until early 2008.

Include the type of submission (fiction, non-fiction) in the subject line.

Be sure to include your name and email address in the body of the email.

If you do not receive an acknowledgement that your submission or query was received within a week, please send a follow-up query with “Did you Receive?” in the subject line. In the body of the email, please include your name and email address, the title of the work submitted, and if different, the email address sent from. Do not resend the submission unless we request it.

Good luck!


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Poetics The Writers' Ezine - T-Zero Xpandizine

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Poetics

Tom Spencer

Meter in Poetry

A meter is a unit of measure. However, in poetry, meter serves the purpose of unifying the verse to make it sound smooth and to flow in a manner which impresses itself on the mind as a word song. A well-metered poem is much easier to read and remember than a hodgepodge of words in helter-skelter arrangement. In what follows, I am going to attempt to explain meter and how it is used in poetry.

Any of us who have studied poetry have heard the term "Iambic Pentameter" used in reference to poetic structure. But, iambic is only one form of pentameter.

To illustrate the different forms of pentameter, let us visualize a drill team. The team has five teenage troupers dressed in snappy outfits of colorful consonants and vowels. We will line the troupers up on a hardwood stage. They are pentameters because they have ten feet. Their feet will make the rhythm of their movement. Each trouper has two feet with wooden heeled boots. The first trouper takes two steps, slapping each foot hard on the floor followed by the next trouper doing the same stomp and the next until we have heard ten stomps of boots on wood. If we consider each foot a syllable we will have heard the sound of Spondee pentameter. It will sound like this: "Clop, clop-clop, clop-clop, clop-clop, clop clop, clop"

Next we will have the troupers take off their left boots. We then line them up for the same drill. Each steps off on their right foot making the wood on wood sound followed by their left foot making the soft sound of a stockinged foot. They are still pentameters because there are five of the troupers. They now have a new sound, or rhythm, which is called a combined sound meter or Trochaic Pentameter. It will sound like this: "Clop, pat-clop, pat-clop, pat-clop, pat-clop, pat"

We tell the troupers to put their boots back on. As the last one ties his laces, we order them to take off their right boots. After a little protest they comply and remove their right boots. We now have them repeat the drill stepping off one at a time with their right foot and taking two steps. They all smile for they know they have found Iambic pentameter, the sound of the English sonnet. It will sound like this: "Pat, clop-pat, clop-pat, clop-pat, clop-pat, clop"

In the sonnet there are fourteen lines and usually those lines contain two syllable feet that are pentameter. In iambic pentameter you have five feet of two syllables of soft-hard.

The foot that dominates the line is the foot for which the meter is named. There can be many variations of metric feet as shown below:

  • Monometer - one foot two syllables
  • Dimeter - two feet four syllables
  • Trimeter - three feet six syllables
  • Tetrameter -four feet eight syllables
  • Hexameter -six feet twelve syllables
  • Heptameter - seven feet fourteen syllables
  • Octameter - eight feet sixteen syllables

It is very difficult to keep one meter going for an entire poem. Your audience may fall asleep with the repetition of the same meter. Poets want to keep their audience awake so they often mix meters. The meter that is most used in the poem is the meter that the poem is considered to have.

Quite often the drill team is doing fine with creating feet of iambs and trochees along with a few spondees here and there. However, a good spondee or trochee in the middle of a bunch of iambs will really make that foot stand out. Although the majority of poems start in iambic meter there are many that start in Trochaic. (Poe's "Raven" is one excellent example.)

There are many other varied rhythms that poets may use. But they all consist of hard sounds and soft sounds and a multitude of mixed hard and soft sounds.

Until next time, write something every day. Poets learn that way.

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Poetics Presents The Writers' Ezine - T-Zero Xpandizine

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Poetics Presents

Alisa Bosworth

Alisa Bosworth taught school all her life, including Creative Writing in high schools and Louisiana State University. Her trigger to writing poetry was going through divorce. Emotions started pouring out and she then went on to other topics of course. Her advice to other writers is, "All of you keep writing no matter what. Don't give up." Alisa is a member of WVU.

WVU members look forward to reading more of Alisa's work.

Fall

Leaves and litter swirl the brown yard.
Summer takes her last cooling shower.
Like a drought of death,
rain beats reluctant leaves to the ground.
Bare, embarrassed trees
caught in a cold wet trance
reach, clutch for snow and ice,
like Adam and Eve
grabbing for leaves.

Copyright (c) 2002 by Alisa Bosworth


T-Zero: The Writer's Ezine
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Poetics Presents

Huda Fakhreddine

Huda Fakhreddine is a senior in English Literature at the American University of Beirut. She is interested in the study of comparative literature and has also minored in Arabic literature. She was first introduced to the T-Zero in one of the creative writing classes she took as a junior.

Writers' Village members look forward to reading more of Huda's work.

FREE

Let this poem
be free of you.
Let this poem,
and its been long,
be of moons and ink
and songs.

Let me write
how I cannot write
when you slither
in my head.
You curl and wind
in my mind
like a line of poetry
that lingers and clings
and I try to forget.

How can this poem
be free of you?
How can I follow myself
in the dark
when you glow like that
and hold me back
to you?

Copyright (c) 2002 by Huda Fakhreddine


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Recognitions

Judy Hunt

Welcome to Recognitions, a column dedicated to proclaim the writing successes of Writers' Village University members!

Sandra Noble's Thanksgiving romance, "A Thankful Heart," will hit the newsstands on November 18, 2002, when that week's issue of Woman's World magazine is released.

Sandra is grateful to her WVU study group members in the Colin R. Onstad room for their invaluable assistance as she landed her first publishing contract. Sandra said, "My fellow study group members have gently critiqued and encouraged me. They've had to read umpteen of my short romances while I've learned to write for the Woman's World market."

Upon hearing from Woman's World, Sandra said, "I was thrilled! It was real jumping up and down news!" Yet she accepts that rejection letters are part of being a writer. "Since I was getting a late start, I knew I had to quickly send out a lot of work in order to attain the required bounty of rejection slips." Staying practical yet hopeful, Sandra explains, "I'll keep adding to my 'rejection collection', but hopefully I'll find success just often enough to keep me trying."

Sandra concentrates on her romance writing in her study group and classes. She has been a WVU member since August 2001.

Kevin Thornburgh's poetry book, bird bouncing on olive branches, was recently published. His poems that he selected for this collection have previously been published in a variety of magazines, including The Pacific Review.

A WVU member for one year, Kevin has taken a variety of its poetry courses. Kevin takes pride in the novel in verse he wrote through the program.

Louise E. Sawyer's poem, "A Day At The Seashore," was published in the July 2002 issue of T-Zero. Louise is a writer and creativity coach living in Victoria, B.C., Canada. A WVU member since June 2001, she enjoys writing poetry, essays, articles, children's stories, mystery stories and screenplays.

We look forward to reading about your writing accomplishments in this column. If you or someone you know has received recognition for writing, please send the information to recognitions@wvu.org Let us know!


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Signs of Life The Writers' Ezine - T-Zero Xpandizine

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Signs of Life

Nancy L. Horner

Gifts from the Heart

Hunched deeply in the grass, her belly pressed low and her rear end twitching with anticipation as she stalked, my black-and-white cat prepared herself for the kill.

"Spooky! Stop that!" I threw open the back door, hoping the jangling bells that hung from the doorknob would frighten away the targeted prey; a blur of feathers confirmed my success. I had belled the cats but the dangling alarms were useless, the cats' luxuriant movements too graceful to stir a tinkle from their tiny brass ornaments.

"I do not want any feathered gifts, thank you," I thought to myself. Spooky cowered in the grass for a moment, glared at me and retreated. Unless I called out the magic word, "chicken", she would not come running inside. With no chicken to offer, my attempts to lure Spooky into the house, away from the birds gathering their morning meals, only resulted in a quick dash under the shed. Our orange tabby, Sunshine, zipped through the door before I closed it, a bright streak of colored fur. If a door is open, Sunshine feels obligated to go through. She disappeared into the living room, intent upon shredding the end of my couch.

There is no shortage of animal life throughout the year in Mississippi, so I have become accustomed to the occasional deposits on my kitchen floor. Small green lizards are a favorite of mine. The cats have their own swinging door to the garage, through which they often drag a frightened little lizard, frequently missing a tail. I've learned how to catch them and release them outdoors, although sometimes they will skitter into dark crevices, forcing me to go about my business while I wait for them to reappear.

Birds are a different matter, as well as the reason our cats can no longer go through their cat flap, squeeze under a partially opened garage door and return inside. For a time, we lifted the garage door and locked it into place about five inches above the ground, allowing the cats to move inside and out freely. Then, one day we discovered both a dead bird in the kitchen and a live mouse running from room to room—two gifts at once.

While I drove to the store to seek some sort of mouse-catching contraption, teenaged Daniel "bonked him over the head with a shoe". I returned to find the poor mouse, dazed and backpedaling on the living room floor. The combination of mouse and flying feathers was enough to compel me to slam shut the door of freedom.

Unfortunately, the story doesn't end there. Between the garage doorframe and bricks, there is a sizeable gap I have never succeeded at getting my husband to block permanently. Through that gap, small animals frequently enter.

Recently, Spooky lay ailing, recovering from a vicious feline virus and cowering in the garage to avoid the human and her terrifying medicine dropper. As I sat typing at the computer, I heard the cat door open and close with a slap. Spooky had brought a very lively chipmunk through the door and deposited him in the kitchen. He promptly ran to the living area, where I sat, and desperately pawed at the window in a futile attempt to escape.

I leaped up and stood near the window, watching him and thinking, "How on earth do you catch a chipmunk?"

No need . . . the cat caught him and injured his little back. I tried to lift the cat—complete with chipmunk between jaws—to throw both her and the rodent outdoors; but she dropped him and the poor chipmunk staggered toward my teenager's bedroom window with surprising melodrama. By then, the chase had made it back through the kitchen and den, past William's feet—eliciting a tremendous squeal—and down the hallway to Daniel's room.

I fetched a plastic container with a lid and scooped the chipmunk in, then took him outside to release him, hoping he would recover from his wounds. Maybe the cat would recover from her virus soon, after all, I thought.

In spite of the occasional nuisance gift, there have been a few sporadic contributions that I enjoyed. My favorite surprise occurred on another occasion when I was writing. When the cat door flapped open and shut, I thought nothing of it until Sunshine made an odd noise. Her "meow" was different, more insistent than usual, strange enough to lure me to the kitchen. There it lay, coiled up in front of a proud cat, its forked tongue darting in and out.

"You brought me a snake? Thanks."

I admired colorful markings on the four-foot snake for a few moments, observing the teardrop-shaped head that indicated the snake was harmless. Then I picked him up and released him in the backyard, wishing I could find a way to keep him until the children arrived home but knowing he was better off outside.

Returning indoors, I rubbed Sunshine's neck. "You can bring me a snake anytime," I told her. She looked at me gratefully and sauntered off. Some gifts, it seems, are more appreciated than others.

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Writer's Read Writer's Read

 

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Writer's Read

Wynelda Shelton

Dearest Stranger, Dearest Friend

Dearest Stranger, Dearest Friend
Laney Katz Becker
Harper Perennial, Oct 2001
ISBN 0 3808 147 81

The novel Dearest Stranger, Dearest Friend opens when Lara posts a message to a Breast Cancer board, having found a lump. She receives many responses, one of which is from Susan, with whom she starts corresponding via e-mail.

Except for the first board messages, the entire novel is told exclusively through the e-mails the women share. Through these letters, we learn about their families, their lives, and about the ravages of breast cancer.

Normally, I do not enjoy epistolary novels. Some may find that fact strange, since I love writing and receiving letters (as last month's column showed). But most novels that rely on letters to tell the story leave me cold. Stilted dialogue, or maybe action that seems forced, can be traced to my abhorrence of the "Letter Novel." Perhaps it is simply a reaction to being forced to read "Pamela" in college.

This novel is different, though. The voices of the two main characters come through bright and warm. Even in their worst moments they stay true to themselves: complaints, jokes, rants against uncaring doctors, family life with teenaged daughters and finding the humor in the worst possible circumstances.

Or maybe it's that I'm different now. I can relate to having friends who I've never met but who make my life better. Friends who genuinely care when I'm having a bad day or when I'm stressing out over my wedding. Friends who remind me that I don't have to disappear when the going gets rough: they'll help me weather the storm.

Laney Katz Becker gives us a heartbreaking situation, made better through the friendship of two strangers in Dear Stranger, Dearest Friend. Although there isn't much actual speaking, she allows us to see the dialogue between two women and to watch a friendship blossom. Perhaps that is why this letter novel works. While we do get a sense of the action that is going on in their lives, it is the relationship between Lara and Susan that pulls the reader through the novel.


Epistles and all.

Wynelda Ann Shelton


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Writer to Writer

Rie Sheridan

Guerilla Promotions 101


You're broke. Know the feeling! You want to promote your baby now that you've finally got someone to put it out for you. How can you do it on the $2 budget that is all you can afford until the royalties start rolling in? There are lots of free (or as good as) things that will enhance your share of the market. Here are some of the tricks that I have learned from my networking (remember what I always say about networking?) First of all, use the signature capability that most email programs give you to plug your work. My signature changes maybe once a month at least. I am always trying to perfect it. Currently, it reads like this:

Newsletter: RieNews-subscribe@yahoogroups.com 
Chronicler of all things Bardic... http://www.thebards.net/rie   
And meet my partners Alexis Hart and CC Hammond at: http://www.echelonpress.com/authors.htm 

This gives the subscription address for my newsletter, which I will talk about in a moment; the website that my dear friend Marc Gunn has put up for me on the Brobdingnagian Bards server; and a message that promotes two of my fellow writers at Echelon Press. The website has descriptions of all my major books with links back to the sites where they can be found. In return for my page, I am collecting impressions for an article on the Bards and archiving photographs from their live gigs. I promote the bards every chance I get, and they promote me. They have a gig at DragonCon at the end of the month, and they are taking some of my books. I am hawking CDs for them at the Texas Renaissance Fair. The Echelon partnership is a new venture that we are trying out in hopes of boosting each other's sales. I put their names and a link on every message I send out, and in return, they put mine on their messages. I believe I've mentioned this before as a wonderful free advertising opportunity. The newsletter is new. I've had it in place at yahoogroups since the 26th of July. So far, I have 36 subscribers. It is a great way to target a group of readers at one time, and having an author newsletter is becoming a very popular method of advertising. I can announce new contracts or releases; promote other writing activities (for example, a poetry contest a friend is running was featured in my last issue); and run little contests of my own. Many authors post reviews or excerpts in their newsletters. I expect to expand mine as time goes by.

Now, if you have that $2 budget I mentioned earlier, I have a great recommendation for spending half of it. Karen Syed, owner/editor of Echelon Press, has a Dollar Download called "Promotions for Paupers" available here: http://echelonpress.com/Dollar/Element/ks-pfp.htm. I highly recommend the purchase. More marketing tips as they become available. Next month, we will discuss some of the things that the publishers recommend for their writers.



T-Zero: The Writer's Ezine
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Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

 

© Copyright 1998 - 2007, Writopia Inc. All rights reserved