2017 Pennwriters Newsletter - The Penn Writer July/Aug2017 by The Penn Writer

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the NewSLetter of PeNNwrIterS INc. JULY/AUGUSt 2017 • VoL. XXV No. 4

Revised Pennwriters Areas Map In July 2017, Pennwriters will adopt a revised Areas Map that organizes members by county. As always, if you would like to opt into an Area that is not your geographical area, you may do so at renewal time. In other words, the lines are moving, but you don’t have to.

You should have received a membership renewal letter by email, providing instructions on how to renew. If you prefer to mail your renewal, our mailing address is Pennwriters, Inc., c/o Jackie Shaffmaster, Treasurer, PO Box 685, Dalton, PA 18414. Thank you in advance for continuing to be a Pennwriter. We love having you, and we love our mission— to help writers of all levels, from the novice to the award-winning and multi-published, improve and succeed in their craft.

President’s Column For those who attended, I hope the inspiration and knowledge the 30th Annual Pennwriters Conference generated are still flowing. Heather Desuta and Carol Silvis and their volunteers put together an incredible event for us. The agents, keynotes, workshops, luncheons, read & critiques, book sale & signing, pirate party, basket raffle, contest, the program, memorabilia, venue—every aspect was absolutely spot on. But it couldn’t have been such a resounding success without the conference attendees who came ready to learn, network, and share fellowship—all with a positive attitude of encouragement.

hilary hauck, Area 4 PreSIDeNt

2017 Newsletter Themes and Submission Deadlines Sept/oct theme: networking and the writers market— selling your work, your writing career, making money, etc. Submission deadline: Aug. 1 Nov/Dec theme: romance and women’s fiction Submission deadline: oct. 1

Pennwriters relies on a host of volunteers at the conference and year round, and the Meritorious Service Award is an opportunity to recognize one volunteer who has gone above and beyond for the organization. Members select the winner from four nominees, all of whom are to be commended. This year’s winner is Heather Desuta. Not only was Heather 2017 Conference Coordinator, she has been on the Board for six years, editing and designing our high quality newsletter and contributing in so many ways to the organization. She is thoroughly deserving of this recognition. Congratulations, Heather, and thank you for everything you do! Immense congratulations also to the winners of the Pennwriters Annual Writing Contest: Charles Becker, Carrie Jacobs, Gina Sestak, Joy Givens, Rosemary Hanrahan, Rebecca Frank, Lori Duffy Foster, and Rhonda Battenfelder. Congratulations to everyone who entered, and special thanks to Deborah Stevenson for the many hours she put into organizing such a successful contest. Congrats also to the Conference’s In Other Words contest winners: Terry Dawley, Suzanne Mattaboni, Claudia Recinos, Donna Greco, Lori Joyce, Rebecca S. Kightlinger, Sherren Pensiero, Todd Main, and Janet Wells. We held a Pennwriters board meeting on Thursday, May 18, 2017. The meeting began with a Conference update. There was much discussion on communications with members and potential members, including making our blog more active, posting regular features for our members, and inviting Published Penns to contribute. Webmaster Mark Boerma brought us up to date on his work with the website, including an upgrade to our membership software. Public Relations Chair Leslie Tobin Smeltz asked for volunteers to help with PR over the next year, as she serves as our 2018 Pennwriters Conference Co-Coordinator. Please contact Leslie if you’re able to help: PublicRelations@Pennwriters.org In board member news, Tanya Schleiden has stepped down as Area 4 Rep to focus on her writing. She has been very active in the Area and instrumental in growing the local writing community. We wish her all the best. Denise Weaver has been elected as new Area 4 Rep. We also extend a warm welcome back to past VP Annette Dashofy, who is rejoining the board as Coordinator of Area Reps (CAR). next page

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NotIce: Publication herein of articles, interviews, and news concerning markets, contests, seminars, classes, etc., does not imply an endorsement, recommendation or any warranty given by Pennwriters, Inc. readers are urged to determine for themselves the reliability, integrity, and financial responsibility of those with whom they deal. The contents of this newsletter are copyrighted ©2017 by Pennwriters, Inc. All rights are reserved. Permission to photocopy is expressly denied. All rights revert to individual authors immediately upon publication. Any time you change your mailing address or email address, please notify Jackie Shaffmaster at treasurer@Pennwriters.org. we thank you in advance for helping to keep our member roster current. 2

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Board of Directors In addition to our Annual Conference, we pursue our mission throughout the year by providing online writing courses. Our June class, The Common Thread: Writing the Archetypal Story with Val Muller, is coming to a close. In July, don’t miss What’s a Tweet and Why Should I Care? Diving Deep into Social Marketing with Jessie Clever. In August, back by popular demand, Pat Haggerty will be leading a class on the functions and features of Scrivener. And don’t miss Pennwriters Presents on Monday, July 24, and August 28, hosted on our members-only Pennwriters Presents Facebook page. It’s also time to renew your annual Pennwriters membership. You will see that we have updated our Areas Map to organize members by county. This helps our database management, but you are certainly welcome to opt into a different Area—the lines are moving, but you don’t have to. Simply indicate your Area of preference when you renew.

President Hilary Hauck, 814-659-6191 President@Pennwriters.org Vice President Bobbi Carducci 540-338-5064 & 540-903-6831 VicePresident@Pennwriters.org Secretary Susan Gourley Secretary@Pennwriters.org Treasurer Jackie Shaffmaster, 570-878-7056 Treasurer@Pennwriters.org Author Advocate Ayleen Gontz, 717-359-9279 AuthorAdvocate@Pennwriters.org Webmaster Mark Boerma, 570-578-1473 Webmaster@Pennwriters.org Newsletter Editor Heather Desuta, 412-337-6966 Newsletter@Pennwriters.org

Thank you for your continued membership. You are what makes this organization great!

2018 Conference Coordinators Leslie Tobin Smeltz and Malissa Close ConferenceCoordinator@Pennwriters.org

Pennwrite on! -Hilary

Public Relations Chair Leslie Tobin Smeltz, 610-737-3288 PublicRelations@Pennwriters.org Bylaws Chair Jean Jenkins, 814-774-0557 BylawsChair@Pennwriters.org Internet Activities & Online Courses Coordinator Pauline Drozeski, 814-392-8819 OnlineCoordinator@Pennwriters.org

Pennwriters Online website: www.pennwriters.org Yahoo Group: http://groups.yahoo.com/group/Pennwriters/join facebook Groups: Pennwriters; Pennwriters Annual conference You can also join the Pennwriters LinkedIn group and follow us on twitter.

Pennwriters Areas Map

Pennwriters Presents Coordinator Denise Weaver, 814-442-4876 PennwritersPresents@Pennwriters.org Election Chair Dave Freas ElectionChair@Pennwriters.org Annual Writing Contest Coordinator D.J. Stevenson WritingContestCoordinator@Pennwriters.org Coordinator of Area Reps (CAR) Annette Dashofy CAR@Pennwriters.org AREA 1 Rep: Todd Main, 814-459-8752 Area1Rep@Pennwriters.org AREA 2 Rep: Mark Boerma 570-578-1473 Area2Rep@Pennwriters.org AREA 3 Rep: Stephanie Claypool Area3Rep@Pennwriters.org AREA 4 Rep: Denise Weaver Area4Rep@Pennwriters.org AREA 5 Rep: Sandra Bush 717-891-6412 Area5Rep@Pennwriters.org AREA 6 Rep: Suzanne Mattaboni Area6Rep@Pennwriters.org AREA 7 Rep: Terry Friedman 610-331-2558 & 843-236-8189 Area7Rep@Pennwriters.org

All areas outside of Pennsylvania are Area 7 the PeNN wrIter • July/August 2017 • www.pennwriters.org

Pennwriters Member News & Happenings to ShAre YoUr NewS, email Newsletter@Pennwriters.org with “Penn writer Submission” in the subject line. Please include your Pennwriters Area # in the message. Area 3 Terri Bertha’s Middle Grade/YA book was published in May by MuseItUp Publishing, in their Spooky Twisties series: paranormal adventure stories mixed with horror and humor and twisted endings. It’s available now from Amazon and other major retailers. Visit terribertha.weebly.com.

Area 6 SJ Hart’s book LIeS IN SILeNCe has been placed in the Library of Medicine NIH.

Area 3 Ann Howley’s Pittsburgh Parent Magazine cover story “What Parents Need to Know About the Heroin epidemic” recently won the Silver Award from the Parenting Media Association. (www.pittsburghparent.com/PittsburghParent/Web-2016/What-Parents-Needto-Know-Abouth-the-Heroin-epidemic/)

Jim Lee, Area 4, had book reviews published as a guest blogger for horror author DM Draper's website in April and May. Other book reviews were accepted for upcoming issues of the horror magazine SKELOS and the science ﬁction magazine Outposts of Beyond. He also had a horror story and a poem accepted by Bloodbond Magazine. To learn more, visit his author page: www.amazon.com/author/leejim.

Seeking Volunteer to Serve as Interim Public Relations Chair Pennwriters is in search of an Interim Public relations chair (a Board position) to fill in for Leslie tobin Smeltz while she co-coordinates the 31st Annual Pennwriters conference. Duties would include promoting Pennwriters events, classes, and Published Penns on twitter, facebook and through press releases. Interested candidates should contact Leslie at ltsmeltz@gmail.com. Please put Pr chAIr in the subject line of your email. thank you!

Area 1 Donna Lucas’s debut novella, THe PeNCIL SHARPeNeR, will be released digitally by e Wild Rose Press on July 26. Change is hard for Mitzi Miller, a spunky, elderly widow. When her husband died ﬁve years ago, she regretfully sold the ﬁxer-upper they’d owned for half-a-century, and Mitzi’s is still homesick. On her 76th birthday, she grants her own wish to return “home” using a bizarre request for an old pencil sharpener she’d left behind. ere she embarks on a nostalgic journey led by her memories and the new owner’s bouncy dog. Can this visit bring Mitzi the closure she needs to help her move on? It’s available now from Amazon and other major retailers. More of Donna’s writing can be found on her blog: parttimesunshinesite.wordpress.com.

Tye Tyson, Area 7, accepted an oﬀer of representation from literary agent Mark Gottlieb of Trident Media. Congratulations, Tye!

Cheryle Williams, Area 3, has published eDeN ON THe FRONTIeR, a YA/New Adult sweet historical romance with inspirational elements. Her third novel with Desert Breeze Publishing is available in trade paperback and ebook. Cheryl used knowledge gained as a historical reenactor to create this story. Spring 1772 on the colonial Pennsylvania frontier. Eden Anna Blair, age 17, travels with her family of Scots-Irish pioneers via packhorses to search for land near the Forks of the Ohio. A 10-day walk in a long caravan of farmers and traders can test anyone’s mettle. During the trek, Eden ﬁnds friendship with three impressive young men. Daniel and Donovan Briggs are brothers who labor as tree cutters and proudly push a cart of their own tools. Solomon Redding, educated but poor, is headed to a plantation where he’ll tutor a rich family’s sons. It will be at least a year before Eden is free to marry anyone. As oldest daughter, her family needs her help while they buy land and build a cabin. Eden is conﬁdent she can face any hardship but the heady experience of falling in love.

Please log into your account at Pennwriters.org to verify you’ve supplied Pennwriters with a valid email address. thank you in advance for helping keep our member roster current. 4

the PeNN wrIter • July/August 2017 • www.pennwriters.org

The Promises We Make to Our Readers the PeNN PrActIce • coLUMN #9 • BY frItze roBertS, AreA 1

In BeGINNINGS, MIDDLeS & eNDS, Nancy Kress tells us that the beginning of a story makes promises to the reader, the middle develops those promises, and the end makes good on them. “writers are wordsmiths, crafting meaning out of language, giving shape to sense by organizing ideas into logical or dramatic forms,” says Michael A. Arnzen in MANY GeNreS, oNe crAft. often that form is an arc that flows from the beginning, through the middle, to the end. Beginnings – Setting Intentions writers place a lot of emphasis on first lines, first chapters, the story hook, and character introductions. why is so much emphasis placed on the beginning of stories? Because this is where you make a promise to your reader. Most readers intuitively know if they will enjoy a book after reading the first paragraph or so. Kress says that every story makes two promises to the reader—one emotional and one intellectual. “By the time she’s read your opening, your reader knows what you’ve implicitly promised.” the intellectual promise is one of discovery for the reader. he or she will get to see a particular facet of human experience in a new way. As an author, you promise that you have a working level of knowledge for the subjects you write about, whether they are historical settings, rocket science, or basket weaving. the details matter, and readers will notice inaccuracies and anachronisms. Your emotional promise to the reader is primarily that he or she will be engrossed by the story. Depending on your theme, readers may feel “thrilled, scared, titillated... nostalgic, or uplifted,” (Jeff Vandermeer, in woNDerBooK, the ILLUStrAteD GUIDe to creAtING IMAGINAtIVe fIctIoN). the balance between intellectual and emotional promises can vary with the genre. A romance can have a large intellectual component or not, but it must be highly emotional. In contrast, science fiction requires an intellectual or scientific component, while the emotional ride may be secondary. with mystery, there is a question that needs solving, while the emotional experience may simply be the satisfaction that justice prevails. Does your story open with a riddle that must be solved (mystery) or a broken heart (romance)? Your opening scene promises a particular experience for your reader. Middles – elaborate Details the middle of your story should elaborate on the promise you made, by providing details. Dramatized events illustrate the core conflict of the story and the experiences of the main character(s) introduced in the beginning. Your middle also prepares the reader for the your ending. It puts into place all the characters and forces that make the

climax seem inevitable. If you’re writing a thriller, you want your readers to be curious about when the inevitable disaster will occur and how your main character will survive. If your story features an emotional promise, you’ll want to show your character’s frustrations, dissatisfactions, and weaknesses to ensure the reader is ready to accept a significant change in the character when it occurs. the middles show all the roadblocks faced by the protagonist. what’s keeping him from his true Love? what skill is necessary to slay the monster? what price does the hero pay for using her magic? writing the middle is often the most difficult, especially if we aren’t sure yet about how our story ends. Just do the best you can to include the scenes you know will be important. In revision, you can adjust them to fit into a cohesive story. ends - forces collide the end of your story includes the climax and its fallout. All the characters and forces you’ve set up through the beginning and middle collide in what is usually the most dramatic scene. this is the last straw that forces your character to change— the declaration of hidden feelings, the revelation of the killer’s identity. this is when you make good on the promise of your beginning and throw the ring into the fires of Doom. And then you see what happens. the ending should provide enough resolution of the main conflict that the reader gains a sense of closure; however, you do not need to explain everything. Balance the amount of explanation you offer here to that provided throughout your story. Your ending should give the reader a sense of satisfaction that you held true to your word. to tie everything together, the beginning should show, or at least hint at, your main character’s core problem. the middle shows why she or he struggles to solve the problem. the end, finally, shows resolution of that same problem. If that’s the case in your story, then you’ve made good on your promises. Fritze Roberts is a freelance editor and author of science fiction and fantasy, and is an active member of Pennwriters Area 1. She likes to help authors commit to their writing and enjoy success. To learn more, visit www.APeculiarProject.com.

the AUthor’S ProMISe: “I, the author, undertake to fulfil your expectations on both an emotional and intellectual level. I will begin with this promise and I will try to overcome all obstacles in a satisfying, meaningful way through the middle of my book until I can discharge my side of the contract. I guarantee that in the end you will have either gained new insights, have your dreams confirmed or spent a thrilling vicarious journey with my characters.” - AMANDA PAtterSoN https://writerswrite.co.za/the-authors-promise-two-things-every-writer-should-do/

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Friday Evening Keynote Chuck Sambuchino

30 th ANNUAL PENNWRITERS CONFERENCE MAY I9 - 2I, 20I7

PITTSBURGH

Saturday Luncheon Keynote Annette Dashofy

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Friday Evening Keynote

Gayle Lynds Saturday Luncheon keynote

Wende Dikec

New York Times bestseller Gayle Lynds is the award-winning author of 10 international espionage novels, including THe ASSASSSINS, THe BOOK OF SPIeS, and THe LAST SPYMASTeR. Her books have won numerous awards. Publishers Weekly lists her thriller MASqUeRADe among the top 10 spy novels of all time. Library Journal hails her as “the reigning queen of espionage fiction.” Lee Child says she’s “today’s best espionage writer.” e Associated Press calls her “a master of the Modern Cold War spy thriller.” With Robert Ludlum, she created the COVeRT-ONe series. e first, THe HADeS FACTOR, was a CBS miniseries. A member of the Association of Former Intelligence Officers, she is co-founder (with David Morrell) of International riller Writers, Inc. She lives outside Portland, Maine, with her husband and a bossy geriatric cat. Visit her at www.GayleLynds.com and www.RogueWomenWriters.com. Wende Dikec is the award-winning author of three young adult novels and four adult novels under the pen name Abigail Drake. She has spent her life traveling the world and collecting stories wherever she visited. She majored in Japanese and international economics in college and worked in import/export and as an eSL teacher before she committed herself full time to writing. She is a member of Pennwriters, RWA, ree Rivers Romance Writers, Mindful Writers, and e Society of Children’s Book Writers and Illustrators. She teaches writing to children through the Young Writers’ Institute and at local libraries. Her published works include TIGeR LILY; STARR VALeNTINe; TRAVeLLeR; SAYING GOODBYe, PARTS ONe AND TWO; LOLA FLANNIGAN; and LeGACIeS OF THe AMAzONS, BOOK ONe: THe BODYGUARD. In her spare time she blogs about her mischievous Labrador, Capone the Wonder Dog on Facebook (https://www.facebook.com/Capone-the-Wonder-Dog-911837042208982/). To learn more about Wende and her books, visit www.wendedikec.com or www.abigaildrake.com.

StaY tuned for detailS about our MaY 17 pre-conference intenSiveS!

2018 pennwriters conference co-coordinators leslie tobin Smeltz and Malissa close are accepting workshop proposals now through august 1, 2017. For consideration, please provide a one-paragraph description of your proposed session(s), workshop title(s), and your bio of up to 60 words. email conferencecoordinator@pennwriters.org. Include “Workshop Proposal” in the subject line of your message. Thank you!

the PeNN wrIter • July/August 2017 • www.pennwriters.org

2017 Pennwriters Annual Writing Contest Winners BY D.J. SteVeNSoN, AreA 3, wrItING coNteSt coorDINAtor

The 2017 Writing Contest was a huge success! We had 33 entries in Novel Beginnings, 24 in Short Story, 18 in Nonfiction, and 11 in Poetry. I would like to thank the Pennwriters Board of Directors for their continuing support of the contest, the judges for all their hard work and dedication to the contest, and the authors for their participation. Without you, there would be no contest. The following are the top-scoring entries: NOVeL BeGINNINGS 1st place Lori Duffy Foster No Stranger here 2nd place Lori Duffy Foster A Dead Man’s eyes 3rd place Rhonda Battenfelder charcoal NONFICTION 1st place Rosemary Hanrahan My first Visit to Africa 2nd place Rosemary Hanrahan honoring the Divine Unrest as compassionate caregivers 3rd place Rebecca Frank organizing Style fit Just for You – No Shame SHORT STORY 1st place Carrie Jacobs The Transporter 2nd place Gina Sestak A Son’s revenge 3rd place Joy Givens Mikey and Andi POeTRY 1st place 2nd place 3rd place -

Charles Becker A Private Showing Charles Becker Winter’s Gift Charles Becker Steelheading

Writer’s Toolbox: Your Pitch—Focus on your Audience’s Needs Don’t _________ (what customers most want to avoid). _________ (product name) will help you _________ (what customers most want to achieve), _________ (what customers most want to add to their lives), and _________ (what customers most aspire to be). Taken directly from the Know Your APCs approach to marketing strategy, this model incorporates the key drivers for sales, producing a pitch laser-focused on your audience’s needs. For the Avoid need, choose one that is your Competitor’s weakness. Applying this model to Sue Monk Kidd’s THe SeCReT LIFe OF BeeS results in: “Don’t waste time on novels that are more hype than substance. The SecreT Life of BeeS will make you feel good inside, learn how love has no limits, and turn you forever into a believer of hope.” What pitch won over your literary agent or editor? What was your knockout first paragraph in your query or cover letter? If it worked on industry professionals, it will likely work on your readers as well. -from Strategic Marketing Made Easy For Writers: Optimize Your Promotions for Bestseller Results by Dr. Nate hardy, Area 6. www.PlusSignProductions.org

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Tension, Suspense, Urgency and Drama BY cAtherINe e. McLeAN, AreA 1

what exactly are tension, suspense, urgency and drama? Knowing the definitions helps when self-editing fiction or creative nonfiction. the definitions are: tension: The interplay of conflicting elements in a piece of literature. Mental, emotional, or nervous strain. Barely controlled hostility. The uneasy suspense of a balanced relationship between strongly opposing elements or emotional states. suspense: The state or quality of being undecided, uncertain or doubtful. This is manifested in one of two ways. First is pleasurable excitement and anticipation regarding an outcome. The second is anxiety or apprehension resulting from any uncertain, undecided, or mysterious situation. urgency: Pressing importance requiring speedy action drama: An episode that is turbulent or highly emotional when elements of tension, suspense, and urgency are combined, the result is drama. that drama can be explosively sensational, or life-or-death hanging in the balance, or a win/lose situation that has consequences. Yet, drama is often subtle, something read between the lines in dialogue passing between two characters who might be friends, lovers, or enemies. tension can also occur between metaphorical or literal meanings which are hidden in subtext and realized only on a reader's subconscious level. No matter what the level of drama, what's required is getting the reader into a state of 'uneasy suspense.' that is, using sensory perceptions, cause-effect sequences, and succinct word choices that cause the reader to be undecided, uncertain, or doubtful as to what will happen. creating drama depends on two or more elements simultaneously pulling the reader in different directions so the reader feels a tension that sustains his or her emotional involvement in the story. for example, a woman knows her husband loves her, but she secretly resents him flirting with younger, more beautiful women. when she finds out he has a mistress, how will she react? that question has a reader curious—and concerned. thus the reader has been caught in a state of uneasy suspense. to ease that tension, the reader turns the pages, eager for the outcome. when writing or analyzing a story for tension or suspense, keep these words in mind: hyper-aware, hyper-acute, hyperalert, hyper-cautious, hyper-sensitive, hyper-vigilant. those six words deal with some degree of fear, dread or concern. It's important to show such hyper states. Doing so will capture a reader's curiosity as well as tap into and pull on their emotional strings. In other words, the story’s focal character must be aware of some danger or threat that causes them fear or dread. that danger or threat can run the gauntlet from worrying about getting to work on time, to avoiding being fired, to facing death (or the threat of death to others the character cares about). So, on a scale of one to ten, how dramatic is the scene you’re trying to judge for tension or suspense? If it's a matter of life and death, that's at the top end of the scale—a ten. which means asking such questions as: Is the focal character (the protagonist) hyper-aware of the threat or danger? If so, the character's thoughts and actions will be focused on survival or seeking safety. There will be angst. There will be frustrations. There will be an appropriate level of fear, worry, or even terror.

Have the character's sensory perceptions become hyperacute? If there is a life-threatening danger, the character will be straining their sensory perceptions to the maximum. The character will listen for a footfall, the rasp of a blade exiting a sheath, etc., and seek to pinpoint how close the threat is. Will the character smell their own fear or their opponent's fear? Will he or she taste fear, or will their mouth go dry? Is the character hyper-alert for where the threat may come from? Will he or she constantly check behind or ahead, look up, look down, and make judgement calls about the chance of being trapped, captured or killed? Is the character striving to figure out ways to summon or reach help, taking evasive action, or finding a way to avoid the danger? Is the character hyper-cautious—careful where to tread for fear their steps will reveal their position or give their presence away? Does the character pause to check the terrain ahead for lurking dangers or escape routes? Does the character desperately look for available defense weapons? Is the character hyper-sensitive to their surroundings? Does he or she feel and react to oppressive heat, or the sting of frost, or a suffocating fog? An element of a setting can be brought into play that can intensify the mood and tone of the scene or situation. That, in turn, intensifies the tension or suspense for the character. More importantly, it intensifies the tension in the reader. Is the character hyper-vigilant? This is often the accumulation of being hyper-aware, hyper-acute, hyper-alert, hypercautious, and hyper-sensitive. when needed, heighten drama even more by adding a measure of urgency. that urgency is often a time factor—or rather, time is ticking down to a calamity. (this is often referred to as the ticking bomb.) worry and concern are in every second that the character realizes how little time he or she has to get to safety, to avoid a situation, or to stop a confrontation that will end in a disaster. Most writers think of drama in terms of harrowing and life-or-death situations. what they forget is that anxiety and worry are the opposite extremes, and ones that effectively net suspense with their own level of tension. Suspense owes its drama to the lower, more subtle levels of hyper-awareness, hyper-acuteness, hyper-alertness, hypercautiousness, and hyper-sensitiveness. Add a dash of urgency, and the accumulation of suspense keeps the reader hypervigilant in wanting to know the outcome of the scene or tale. however, tension and suspense cannot last, because there must be a release of that tension. think of the unfolding drama as if it were a roller coaster ride for the reader. things start slowly and build ever upward to crest, and then—whooSh— the resolution of the situation sends the tension plummeting and bottoming out. this allows for another build-up and release, which means the reader becomes engaged in another emotional roller coaster ride and keeps turning the pages of the story to find out what will happen next. Using tension, suspense, and urgency makes for drama— and for a story readers can enjoy emotionally. Novelist and short story author Catherine E. McLean is a longtime Pennwriter who has given online courses for Pennwriters. She recently released REvISIoN IS A PRoCESS - HoW To TAkE THE FRuSTRATIoN ouT oF SELF-EDITINg FoR WRITERS. Her websites are www.CatherineEmclean.com and www.WritersCheatSheets.com.

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Pennwriters Online Courses JULY 3-28, 2017 what’s a tweet and why Should I care? Diving Deep into Social Marketing Instructor: Jessie Clever cost: $49 coUrSe DeScrIPtIoN: You’ve signed up for facebook, posted a picture of your dog, and your friends liked it. Now what? with the ever-changing world of social media, it can be intimidating and confusing when deciding what works best for your author platform. In this workshop, we will explore the intricacies of social media, how social media outlets work in concert, and what authors can do to build meaningful relationships with influencers and readers. take-aways from this workshop include: • In-depth look at the social marketing pyramid • Understanding how social media outlets work together • concrete study of the big social media outlets and what content works best on each • how to develop your author social media platform • how to construct a social marketing plan that will save authors time and show real results ABoUt the INStrUctor: Jessie clever always wanted to be a writer. then she found out you had to market your books. while she went on to write the bestselling regency romance Spy Series, Jessie kept to the practical course and earned her MBA with a concentration in marketing, gaining hands-on experience in companies ranging from entrepreneurial start-ups to multi-channel international retailers. She now uses her knowledge and experience to help authors expand their readership and deepen the loyalty of their readers. connect with Jessie at www.jessieclever.com.

videos so you can hear and see as your instructor explains and demonstrates everything you need to become effective with Scrivener. each lecture will be announced through the email list and will be accompanied by a brief timeline. Students will then be able to use the same list to ask questions, discuss lectures, etc. Lectures will be given on both Mac and windows versions of Scrivener wherever substantial differences in the interface are present. I opened Scrivener, and it is absolutely nothing like Word. • why that’s a good thing • Getting around the interface • Learning enough to get writing now • Starting a new novel • editing basics I can’t just start writing. I need to plan first. • capturing your plan and synopsis • Setting up the corkboard • Using and organizing notecards • outlining I need to get my chapters and scenes organized, my way. • organizing and reorganizing with the Binder • creating parts, chapters, and scenes • Sorting things the way you want • Mapping into a template • editing options and views Whew, my book is ready. Now how do I get it out? • compiling to the final output • controlling formatting (compiling to PDf and Kindle) • revisiting the template and formatting options I’ve lost work before, and now I’m paranoid. How can Scrivener help? • configuring Scrivener’s automated backup • Backing up to the cloud (Dropbox) automatically

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AUGUSt 1-31, 2017 Scrivener with Pat haggerty cost: $49 coUrSe DeScrIPtIoN: As writers, we’ve all spent time hunched over a keyboard trying to get our thoughts into some word processor. word processors such as word and Pages work ok when it comes to writing fiction but their focus is much more on processing your words (layout, font, headers, footers, etc) than on the creative process. enter Scrivener. Scrivener is the premier application for the creation of novels, novellas, and like works. It allows you to focus on getting your story written while it helps you integrate your research, planning, writing, etc. all into one tool. this course will teach you, the writer, how to best use Scrivener for everything from planning your scenes to generating output for your publisher. Lectures will be presented using recorded

ABoUt the INStrUctor: After a failed attempt at college and four years in the USMc learning to be a better apex predator, Patrick haggerty attended Georgia State University where he studied to be an Actuary. Not a very romantic or literary major, but a good paying one. he started consulting on software development and design in 1995 and has spent most of the time since developing and delivering technical training courses for Learning tree International. In 2004, while stuck reading a mediocre book in yet another hotel, Patrick decided to try his hand at writing fiction. he may not be published yet, but these days you are much more likely to find him spending his evenings writing romance than code. Patrick is an active member of romance writers of America, romance writers of Australia, romance writers of New zealand, and is President of his local rwA chapter and Director of Virtual Meetings for outreach International rwA. ........................................................................................................

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Online Courses (continued) SePteMBer 4-29, 2017 creating Narrative tension Instructor: Bill Johnson cost: $49 coUrSe DeScrIPtIoN: when a story’s audience is drawn in to feel tension over the course and outcome of a story, that audience will feel a need to experience the relief offered by a story’s resolution and fulfillment. to create this tension, something of interest to a story’s audience has to be set in motion. for example, a storyteller might set in motion an issue revolving around redemption. Because a story’s audience already has feelings and thoughts about redemption and its value through how a story resolves and fulfills its events, the members of the audience can experience a relief from their own unresolved feelings about redemption or have their feelings about it validated. this process of generating narrative tension needs to weave through every aspect of a story to sustain the interest of an audience. A story that lacks narrative tension is un-engaging to its audience. ABoUt the INStrUctor: Bill Johnson is a produced playwright, optioned screenwriter, and has read manuscript submissions for a literary agent. he is the author of A Story is a Promise and the Spirit of Storytelling, a workbook that explores how to create dramatic, engaging stories; and webmaster of essays on the craft of Dramatic writing, a site that explores principles of storytelling through reviews of popular movies, books and plays (www.storyispromise.com). Bill has led workshops on writing around the United States, including the Southern california writing conference, write on the Sound conference, and the expo Screenwriting conference in Los Angeles. ........................................................................................................

I'm not a fan of endless mystery in storytelling. I like to know where the mythology's going; I like to get there in an exciting, fast-paced way— enough that there's a really clear, aggressive direction to where it's going, to pay off mystery and reward the audience’s loyalty. - erIc KrIPKe

If you can relate to what the character's going through, the story can be as ridiculous as possible, and people will relate to it. You can be fearless in your storytelling if you're vigilant about protecting your characters. - Drew GoDDArD

Storytelling is as old as speech. It existed before humans first began to carve shapes in stones and press their hands upon the rocky walls of caves. - KAte forSYth

octoBer 2-27, 2017 four one-week classes with Pat haggerty cost: $49 for all 4, $42 for three, $32 for two, and $20 for one week 1 Perfecting the look of your wordPress site with cascading Style Sheets (cSS) week 2 effective writing with Scrivener for iPad week 3 Advanced Scrivener compile settings week 4 Story timelining with Aeon timeline ........................................................................................................

NoVeMBer 6-30, 2017 Getting results from your Author Newsletter Instructor: Jessie Clever cost: $49 ........................................................................................................ Pauline Drozeski, Pennwriters Internet Activities & Online Courses Coordinator, has assembled this schedule of courses for 2017. To reach her with suggestions for upcoming courses, email her at OnlineCoordinator@Pennwriters.org.

As writers, we must keep throwing problems at our characters. Conflict is the heart of good storytelling. - KAte KLISe

There will always be storytelling, whether it's on the big silver screen, or it's your television or your iPhone or whatever, people will keep on telling stories. - SteLLAN SKArSGArD

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Area 1

Area 3

todd Main • Area 1 representative 814-459-8752 • Area1rep@Pennwriters.org

Stephanie claypool • Area 3 representative Area3rep@Pennwriters.org

Meadville Vicinity Pennwriters (MVP) Meets 1st Saturday, 1-4 p.m. at tim horton’s on conneaut Lake road. contact Janet wells at wellswoodjanet@gmail.com.

Second tuesday of the Month Group Meets on 2nd tuesdays at Panera Bread in Settlers ridge near robinson township (295 Settlers ridge Dr., Pittsburgh 15205) from 7-8:30 p.m. the topic is chosen each month by group attendees. All requests and suggestions for topics are welcome, as are guest presenters. for information, contact Anne Slates at prinatiller@hotmail.com.

Presque Isle group Meets 2nd Saturday, 1-4 p.m. at tom ridge environmental center on Presque Isle. contact todd Main at todd_main@steris.com. Shenango Valley Pennwriters (SVP) Meets 3rd Saturday, 1-4 p.m. at the Shenango Valley Library in Sharon. contact catherine McLean at catherinemclean00@gmail.com. erie group Meets 4th Saturday, 1-4 p.m. at Barnes & Noble near the Millcreek Mall in erie. contact Dave Szymanowski at daveszy@adelphia.net. fellowship of the Quill (fotQ) Meets every thursday, 7-10 p.m. at tim horton’s, 2565 west 12th, erie. contact todd Main at todd_main@steris.com. corry writers group Meets 1st Mondays, 6:30-9 p.m. at tim horton’s, 7 e. columbus Ave., corry. contact Kathy otten at jersey.vt.1774@hotmail.com.

Area 2 Mark Boerma • Area 2 representative Area2rep@Pennwriters.org Danville Group Meets 1st and 3rd wednesdays, 7 p.m. at the episcopal church on Market Street. contact Dave freas at quillracer@pa.metrocast.net.

Pennwriters Online Courses AUGUSt 1-31, 2017 Scrivener Instructor: Pat Haggerty

Mindful writers Group North Meets every wednesday from 9:30 a.m. to 2 p.m. at eat ‘n Park at the wexford exit of I-79 (2650 Brandt School rd.). Novice as well as professional writers are welcome to join us for 15 minutes of Body, heart, or Mind Meditation, followed by three to four hours of writing. the Mindful writers fellowship is inspiring and highly productive. to join, email Madhu B. wangu at madhu.wangu@me.com. Mindful writers Group east Meets every friday from 10 a.m. to 2:30 p.m. at Panera Bread at the waterworks Mall (942 freeport road). Novice as well as professional writers are welcome to join us for 15 minutes of Body, heart, or Mind Meditation followed by three to four hours of writing. the Mindful writers fellowship is inspiring and highly productive. to join, email Lori Jones at Lomojo33@yahoo.com. the Pittsburgh east writers Group Small, friendly critique group focusing on fiction. All genres welcome. Meets 3rd Saturdays, 10 a.m. to 12:30 p.m. at Monroeville Public Library’s upstairs conference room. contact chuck rakiecz at crakiecz@verizon.net. critique Group North Seven members writing shorts, flashes, novels. Meets on the second thursday of the month 10 a.m.-2 p.m., including time for lunch. the new location is eat ‘n Park on Brandt School rd. at route 10, just east of the I-79 wexford exit. the group is presently full, but interested writers may submit their names for the waiting list. writers interested can contact MaryAlice at maryalicemeli@yahoo.com. the Bridgeville critique Group Meets the 4th wednesday of every month at 7 p.m. at the Panera Bread in the chartiers Valley Shopping center (1025 washington Pike, Bridgeville). fiction or nonfiction wIP are accepted, and any level of writer is welcome. we review one person's work each month. work to be critiqued is sent to all group members at least a week in advance so everyone has ample time to review it before the meeting. the group is currently full but keeping a wait list. we welcome anyone, published or not. Please contact Barb D’Souza at barbrett@verizon.net. cranberry township critique Group we are a small group focused on fiction, mainly novels, meeting every other Saturday at 9:30 a.m. for more information or to join, contact Amy wagner at amywagner00@gmail.com

SePteMBer 4-29, 2017 creating Narrative tension Instructor: Bill Johnson

Join the Area 3 Yahoo Group—If you wish to stay informed of Area 3 news and last-minute updates, please join the Area 3 Yahoo Group. Joining allows you to post news of sales and new markets, ask questions, suggest discussion topics, or announce Area events of interest to Pennwriters. to join, email PennsArea3-subscribe@yahoogroups.com.

octoBer 2-27, 2017 four one-week classes Instructor: Pat Haggerty NoVeMBer 6-30, 2017 Getting results from Your Author Newsletter Instructor: Jessie Clever 16

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Area 4

Area 6

Denise weaver • Area 4 representative Area4rep@Pennwriters.org

Suzanne Mattaboni • Area 6 representative Area6rep@Pennwriters.org there are currently no Pennwriters groups meeting in Area 6, but if you are interested in forming a group, contact Suzanne.

the Inkwell (Altoona Area) Meets 1st thursdays from 6-8:30 p.m. in the Altoona Area. contact Denise weaver at Area4rep@Pennwriters.org. the Southern Alleghenies writers Guild (Johnstown, PA) Meets 3rd Saturdays from noon-3 p.m. contact Jim Lee at 814-442-1241 or jimlee.author@gmail.com. Additional groups meeting in State College: oLLI writer's Group meets monthly at the Schlow Library (211 S. Allen St.). contact rita Lumpkins at ritalouise@gmail.com. Nittany Valley writers Network meets 2nd tuesdays from 6-7:30 p.m. at Schlow Library (211 S. Allen St.). Nittany Valley writers Network: the early risers meets 3rd wednesday from 7-8 a.m. at the waffle Shop on w. college Avenue. Nittany Valley writers Network: Social meets 4th tuesdays from 5:30-7 p.m. at the Autoport (1405 S. Atherton St.).

Area 5

Area 7 terry friedman • Area 7 representative 610-331-2558 • Area7rep@Pennwriters.org Blue ridge Group (Virginia) Meetings include critique on request, sharing resources, writing exercises and discussion. Beginning to multi-published writers welcome. Meets 2nd & 4th wednesdays from 7-9 p.m. at the Purcellville Library in Purcellville, Virginia. contact Bobbi carducci at VicePresident@Pennwriters.org. Northern Delaware Group Meetings will be held monthly. All levels of experience are welcome. for details, email cindy callaghan at callaghancindy@gmail.com.

Other events of interest to writers

Sandra Bush • Area 5 representative Area5rep@Pennwriters.org York Area Group critique structure: Bring 7 copies of up to 5 pgs. of manuscript, double-spaced. Meets 3rd tuesday from 6-7:45 p.m. in the Study room of the Dover Area community Library (3700-3 Davidsburg rd., Dover) cynthia hospador at chospador@gmail.com. harrisburg Area Group critique structure: Bring 10 copies of up to 5 pages, double-spaced. All genres welcome. Meets 4th wednesdays from 6-9 p.m. at the New cumberland Library’s back annex (1 Benjamin Plaza, New cumberland). contact Don helin at dhelin@copper.net. Lancaster Area Group Meets 2nd & 4th tuesdays from 7-9 p.m. in the Lancaster Barnes & Noble cafe. contact walt honsinger at walthonsinger@hotmail.com. Additional writers groups meeting in Area 5: the Gettysburg writers Brigade meets every wednesday at 7:30 p.m. at o’rorke’s eatery (44 Steinwehr Ave.) to talk about writing topics. readings are every 3rd wednesday. contact Jim rada at jimrada@yahoo.com.

Pittsburgh Sisters in Crime Fall Retreat Workshops Come join the Mary Roberts Rinehart chapter of Sisters in Crime for a day of learning, writing and relaxation. Susan Meier, the author of more than 50 novels, will be presenting two workshops: Know Your Story and can is Manuscript be Saved? e workshops will be held at the Carnegie Library in Oakmont on Saturday, Sept. 9, 2017, starting at 10 a.m. Cost for the day is $60. For additional details, or to make a reservation, please email Mary Sutton at pghsinc@gmail.com.

e Authors’ Zone 2017 Writers’ Conference e Authors’ zone (TAz), in collaboration with Author Ann Howley, and CCAC, will host the 4th Annual Writers’ Conference on Saturday, Sept. 9, 2017, at CCAC Allegheny Campus in Pittsburgh. Writers of all levels will beneﬁt from intense instruction, have an opportunity to discuss their manuscript with an editor (optional), get their questions answered, network with like-minded authors, and more. For details, visit www.theauthorszone.com/2017-writers-conference-a-collaborative-eﬀortbetween-taz-community-college-of-allegheny-county-ccac-and-annahowle-author/.

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Market News

coLUMN #120

BY JIM Lee, AreA 4, ASSocIAte eDItor, MArKet rePortS

It occured to me that 120 columns, at 6 columns per year, equals 20 years of doing this. Talk about (unpaid) job security! Anyway, in line with the issue’s stated theme, this installment will be heavy on markets for mystery, suspense, thriller and related fields (while not ignoring as many other areas as possible, of course). ellery Queen’s Mystery Magazine is one of the top markets in the field. they do 10 issues/year, appearing in both print and digital form. editor Sandy Marlowe uses fiction (250-20,000 wds; preference for 2,500-8,000) and the pay range is 5-8 cents/wd. Material should be unpublished, unless a reprint is from outside the US. they strongly prefer digital submission via the online form you’ll find at their guideline page: www.themsyteryplace.com/eqmm/guidelines/. Alfred hitchcock’s Mystery Magazine is owned by the same company as ellery Queen’s and likewise publishes 10 issues/year, but they have different staffs and don’t share manuscripts. editor Linda Landrigen uses fiction up to 12,000 wds. Pay is 8 cents/wd. No reprints. Visit www.themysteryplace.ahmm/guidelines/. You’ll find their online submission form attached there. Be advised: Although a long-established operation, they’ve reportedly been very slow to respond (up to a year). zoetrope: All-Story isn’t a mystery/crime market specifically, but this quarterly print magazine uses all sorts of work (even play scripts) and reportedly pays very well. (they vaguely refer to “pro rates”). New fiction: 7,000 wds max. the editor is Michael ray. Info: www.all-story.com/submissions.cgi. All submissions should be sent by regular/snail mail: zoetrope: All-Story, Attn: fiction editor, 916 Kearny Street, San francisco, cA 94133. A webzine with plans to do print “best of” type reprints later on, crimson Streets focuses on pulp-style literature (all types except Sf and westerns). they use new fiction and nonfiction (800-6,000 wds.) and pay 1 cent/wd. for reprints, query them. Visit www.crimsonstreets.com/submission-guidelines/ then submit work at editor@crimsonstreets.com. Selene Quarterly Magazine is very new (first issue to be released November 2017). they’ll be out in both print and e-zine formats. editor elizabeth o. Smith is looking for mystery, action-adventure, and romance fiction (some Sf/f elements okay), as well as related nonfiction and poetry. Pay is up to 3 cents/wd. (varying by length and type of work). each issue will have a particular theme, so check their info page (www.selenequarterly.com) and pay attention to their submission windows. (the next is Sept. 1-15). Speaking of no payment reminds me to note that if you choose to send anything to Suspense Magazine, it’s a donation. they don’t pay—for anything. weirdly, even winning their annual fiction contest apparently earns you zilch.

occult Detective Quarterly has published a couple issues so far. the print magazine is dedicated to “intrepid investigators of the weird, exotic and bizarre.” think: edgar Allan Poe’s work. they want fiction (3,000-5,000 wds), nonfiction essays and articles (same lengths) and are paying 1 cent/wd. for new material. (reprints okay, but will get only a $25 flat fee.) they also will use book reviews, but no pay for those. Visit www.graydogtales.com. Subs go to occultdetectivequarterly@yahoo.com, and put story or article (whichever is appropriate) submission and your work’s title in the subject line. Kzine is a kindle-based e-zine (with print on demand option) out of the UK, available in the US from Amazon. they use crime fiction, in addition to Sf/f/h, 1,000-10,000 wds. Pay is 3 British pounds per 1,000 wds., as an advance against royalties. Visit www.kzine.co.uk/submission-guidelines.htm then email your subs to www.kzine.co.uk. It’s been a while since I mentioned the first Line. this print quarterly uses all sorts of genres. fiction (5,000 wds max), nonfiction (500-800 wds) and poetry. the unusual thing is that each piece in every issue begins with the same first line. Visit www.thefirstline.com/submission.htm for issue deadlines and the required opening lines. Publisher/editor David LaBounty pays $25-50 for fiction, $5-10 for poetry and $25 for nonfiction. As I write this, a somewhat eccentric magazine called orthogonal isn’t reading submissions but expects to reopen sometime in the summer. what’s odd about them? they publish all stories (5,000 wds max) anonymously. If you’re okay with your stuff appearing without your name on it, they pay $100 for full length stories and $30 for flash fiction (under 1,000 wds). Plus royalties, supposedly. editor John Bowker is looking for crime fiction, along with bizarre, slipstream, Sf/f/h and erotica. the e-zine appears 3 times a year. check its status at www.orthogonalsf.net. Mystery Scene Magazine is about the mystery field—no fiction used there. they do pay for articles and interviews (amount negotiated when you query). these pieces run 800-2,000 wds. they also use book reviews (100-250 wds) with token payment. check the info at www.mysteryscenemag.com/writers-guidelines, then query the editor with a proposal. this isn’t specific to the mystery field (or any other genre), but if you’re looking for an agent, you might go to www.writers.net/agents.html. there’s a search function, so put in the genre you write, and it’ll provide a list of agents who work in that area. I can’t vouch for the site’s reliability but thought I’d pass the info along. Another factor to consider: Many Sf/f/h publications (even those who don’t specifically ask for them) will use the occasional mystery/ crime story with speculative elements.

the PeNN wrIter • July/August 2017 • www.pennwriters.org

Read a thousand books, and your words will flow like a river. - LISA See

After nourishment, shelter and companionship, stories are the thing we need most in the world. - PhILIP PULLMAN

The single thing all women need in the world is inspiration, and inspiration comes from storytelling. - zAINAB SALBI

the online literary magazine 87 Bedford is out of business. the online poetry publication Strong Verse seems gone, as well.

And here are a few book publishers… A small press in canada, Battered Silicon Dispatch Box Publishers reprints classic old-time detective and pulp fiction (pre-1950 mostly), with a particular interest in Sherlock holmes. that doesn’t much help any of us, but they also do occasional new nonfiction books about these subjects. they pay small advances against royalties. www.ralan.com/listings/hosted/batteredsili.htm. etreasurers Publishing publishes ebooks in many genres (including mysteries and thrillers). 100,000 wds maximum. Pay is only by royalties, as with so many small outfits (at a 35% rate, in this case). www.etreasurespublishing.com/pages/Submissions.html. Another royalty-only company, Silver Leaf Books uses f/Sf/Mystery/ Suspense/Medical thrillers and h titles. their pay rate is 30% of net sales. www.silverleafbooks.com/Submissions_Author.htm. (read online sub guides, then submit via regular mail. Go figure.) Goal Publications offers quarterly royalties at a 25% rate. they’re a very specialized niche operation. they use anthropomorphic fiction for the ‘furry’ interest market. every genre, except no erotica or porn. Seeking subs of 20,000-140,000 wds. for more info, visit www.goalpublications.com/submission-guidelines.html. zumaya Publications produces books in electronic and print-ondemand formats. Yet another royalty-only outfit, they do a range of genres. Minimum lengths are 50,000 wds (adult readers) and 40,000 wds (Young Adult readers). www.zumayapublications.com’guidelines/Guidelines.pdf. one last royalty-only bunch: Gypsy Shadow Publishing company has a variety of ebook lines as well. one called riddles uses some mystery and adventure fiction. 10,000 wds up to 50,000+. www.gypsyshadow.com,/Guidelines.html. (Note: I’m not certain how ‘case sensitive’ several of these online addresses are, but I’ve reproduced them exactly as they appeared in listings.) I went through all these smaller operations on the theory that finding info on big-time pro book publishers should be far easier to come by. Now, here are some listings for places that don’t mention mystery or the like...

Another poetry webzine, Pedestal Magazine is still around, though not open to subs as I write this. when they are, they pay $40/poem for all types/genres of verse. check their guides: www.thepedestalmagazine.com/submissions/. Absey & company is a small but established independent press that does print books (mainstream fiction, nonfiction, poetry and educational/language arts) for both adult and younger readers. Located in Spring, texas, they want all queries (and later, subs) by regular mail. Visit www.absey.biz for details. reptiles Magazine is for reptile and amphibian hobbyists. the bimonthly pays $300 for feature articles (2,000-2,500 wds). topics include breeding pets in captivity, “herps” in the wild, conservation and animal health. email queries to reptiles@luminamedia.com. Info: www.reptilesmagazine.com/Submit-A-Picture-or-Story-to-reptiles-Magazine/writer-Guidelines/. American road is a quarterly magazine about the history of US highways and the events, people, communities and attractions connected to them. they need nonfiction, 1,000-2,500 wds. Pay is 13 cents/wd for new pieces; half that for reprints. Query by email (editor@americanroad.com) or by regular mail (American road, Po Box 46519, Mt. clemens, MI 48045). www.americnroadmagazine.com/docs/magazine/writersguide.pdf. Sew News wants articles about specific sewing techniques to inspire readers to try new projects or introduce new products or sewing-related companies. Pay for first time contributors is $50-150, while regulars can earn up to $500. consult www.sewnews.com/about/write_for_us.html then query by email (sewnews@sewnews.com) or by mail (Sew News editor, 741 corporate circle, Suite A, Golden, co 80401) for assignment. Information came heavily from Ralan.com, with additional info from Freelance Writing.com, FreedomWithWriting.com, AuthorsPublish.com, Facebook’s Open Calls Pages, and my personal inquiries. To submit market tips/leads, email jimlee.author@gmail.com. Contributions are always appreciated.

the PeNN wrIter • July/August 2017 • www.pennwriters.org

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Submissions

e Mission of Pennwriters Inc. is to help writers of all levels, from the novice to the award-winning and multipublished, improve and succeed in their craft. Pennwriters, a not-for-proﬁt organization of more than 400 members from Pennsylvania and beyond, was established in 1988 as a networking organization for published and aspiring writers of all genres. e group oﬀers an annual three-day writers conference and area events and has a strong internet presence, with email groups, online classes and social networks. Authors who meet set criteria are granted Published Author status. For more information about Pennwriters and its members, visit www.pennwriters.org or contact Hilary Hauck at President@pennwriters.org.

NeXt DeADLINe: AUGUSt 1 (SePteMBer/octoBer ISSUe) theMe: NetworKING & the wrIterS MArKet (SeLLING YoUr worK, YoUr wrItING cAreer, MAKING MoNeY, etc.) e Penn Writer is published bimonthly. Contact Heather Desuta, newsletter editor, at Newsletter@pennwriters.org. Please share your news, accomplishments, tips, great quotes, book recommendations, etc. Include relevant artwork, photos and book cover images. Word counts—articles: 800 words (1-pg), 1,600 (2-pg). For articles exceeding 1,600 words, contact the editor in advance. Blurb submissions of any length are welcome. Type “PeNN WRITeR SUBMISSION” in the subject line of your email message, and please include your Area number. (See the map on page 3.)