WRITER’S DIGEST SPECIAL ISSUE Your Handbook for Writing Success

WRITER ’S
WRITER’S YEARBOOK 2024

YEARBOOK 2024
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HOW TO WRITE
UNDERSTANDING LOGLINES, PITCHES, QUERIES, AND SYNOPSES A Dynamite
Last Chapter
WD’S OFFICIAL FREELANCE
ADVICE

Best Websites Working With

Agents and
Editors
for Writers AVOID
PUBLISHING
SCAMS

Year in Review
THE YEAR’S TOP STORIES AND WHAT THEY MEAN FOR YOU
Know What to
Look for

PLUS: Whenand How to Write a Dual

POV Novel • The Going Rates for
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CONTENTS

CONTENTS
YEAR IN REVIEW FREELANCER’S WORKSHOP

6 YEAR IN 20 HOW MUCH SHOULD

REVIEW 2023 I CHARGE?
Tracking the biggest publishing stories of Pay Rate Chart for Freelancers
2023 and how they might affect you. BY C. HOPE CLARK
BY JANE FRIEDMAN

34 THE 5 QUESTIONS
PREPARATION & PROGRESS YOU SHOULD ASK
10 THE RIGHT VS. LEFT DURING (ALMOST)
BRAIN DILEMMA EVERY INTERVIEW
Conducting an interview with confidence.
Improve your writing by giving your brain
BY DON VAUGHAN
a workout.
BY C. HOPE CLARK
36 HOW TO DEAL WITH
14 WRITING WHAT YOU A NIGHTMARE EDIT
KNOW: YOURSELF What to do when working with your editor
isn’t working out.
Mine five areas of your life to make every
BY ZACHARY PETIT
part of your writing more unique and
richly layered.
BY WHITNEY HILL
40 FREELANCING:
WHEN—AND HOW—
17 OMIT THOSE NEEDLESS TO FIRE A CLIENT
WORDS: HOW TO DO Determine when it’s time to let go and
RUTHLESS EDITING 101 how to part ways successfully.
BY JEFF SOMERS
Ten tips to make your writing efficient,
yet engaging.
BOOK BUILDING
BY RYAN G. VAN CLEAVE

42 DOUBLE THE FUN

Writing a manuscript with dual points of
view can be a challenge, but it can also be
rewarding for both you and readers if it
serves the story. Here’s how.
BY BRIAN D. KENNEDY

2 I WRITER’S YEARBOOK I 2024

46 NAILING YOUR GENRE’S 98 THE FOUR ELEMENTS
VOICE AND TONE Learn the difference between loglines,
Learn how a careful combination of char- elevator pitches, query pitches, and a plot
acter personality and sentence flow can synopsis to make the best first impression
shape two critical aspects of writing craft. with literary agents.
BY AMY COLLINS
BY JORDAN ROSENFELD

50 THIS CHANGES 102 IS IT LEGIT?

How to protect yourself from publishing
EVERYTHING scams.
Five steps to approach writing your
BY AMY COOK
story’s inciting incident.
BY RAN WALKER
106 ESTATE PLANNING
53 HOW TO WRITE A FOR AUTHORS
Five Simple Tips to Build Your Legacy
DYNAMITE LAST
CHAPTER BY MICHAEL LA RONN

Analyze the final chapter of five classic

novels to see how you can apply their ENDNOTES
compelling techniques to your own
writing. 112 WRITE IT OUT
BY ELIZABETH SIMS Writing prompts to boost your creativity.
BY AMY JONES
FOR YOUR REFERENCE

58 THE 25TH ANNUAL

101 BEST WEBSITES
FOR WRITERS
BY AMY JONES, MORIAH RICHARD, AND
MICHAEL WOODSON ON THE COVER
70 100 Magazine Markets

70 100 BEST MARKETS 98 Query Prep

58 101 Websites for Writers
FOR WRITERS 6 The Year in Review

Find success and get paid for writing 46 Nail Your Novel’s Voice and Tone

about what you know and love by pitch- 53 How to Write a Dynamite Last Chapter
ing to one of these 100 print and online 36 Freelance Advice: Working With Agents
and Editors
publications.
102 Avoid Publishing Scams: Know What to
BY ROBERT LEE BREWER Look For

I 3
 WRITER’S YEARBOOK 2024

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4 I WRITER’S YEARBOOK I 2024

Script has been the leading
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craft and business of writing
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YEAR IN REVIEW

YEAR IN
REVIEW 2023
Tracking the biggest publishing stories of 2023
and how they might affect you.

BY JANE FRIEDMAN

U
nquestionably, the biggest news story and con- AI RAISES UNANSWERED QUESTIONS
troversy of 2023 is AI or artificial intelligence. AI ABOUT COPYRIGHT LAW
has quickly become part of daily life, incorpo- Today’s most popular generative AI tools, such as
rated into search engine results, everyday word processing ChatGPT and MidJourney, have been created and
software, email composition, and free and paid chatbots improved over time by ingesting vast amounts of data,
like ChatGPT. Businesses of all kinds, including publish- including free online content and pirated books avail-
ing, are using AI to increase productivity and cut costs. able on the open web. These models produce new work
It’s nearly impossible to escape its influence, and creators in response to questions and prompts based on their
worldwide are both experimenting with the technology “learning” from countless other materials. And, as many
and shunning it. Not everyone agrees on how AI tools have discovered, chatbots can deliver misinformation—
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

should be used, and some believe the technology poses an their learning is about language pattern recognition, not
existential threat to human existence itself. true knowledge or understanding.
This new chapter in the digital era will take decades, Fact or fiction aside, does the ingestion of copyrighted
perhaps, to fully play out. It might not be going too far to material constitute infringement, or would it be consid-
say that this technology rivals that of Gutenberg’s print- ered fair use and thus legal under today’s laws? We’re
ing press as far as the transformation that it promises to about to find out. Numerous lawsuits are underway
unleash. The first items in this year’s review will focus on against OpenAI—the creator of ChatGPT—and big tech
key issues related to AI. firms; primarily these suits focus on claims of copyright

6 I WRITER’S YEARBOOK I 2024

 infringement. OpenAI may also violate laws in Europe,
where creators have moral rights to their material. While
authors may feel the answers are clear cut, these are com-
plex issues with little case law precedent, and it will take
years of legal action and negotiation to sort out.

THE U.S. COPYRIGHT OFFICE REFUSES

TO GRANT COPYRIGHT PROTECTION
TO AI-GENERATED WORKS
One of the bedrocks of copyright law is that it protects
human expression, and so far, people who’ve sought
copyright protection in the U.S. for their AI-generated
work have not succeeded. Still, the rise of generative AI
will make this an increasingly challenging issue. How
much human input into an AI program is necessary to SAG-AFTRA is also concerned about pay issues, as well
qualify for copyright protection? How do we judge the as the regulation of AI; actors fear they will lose control
originality of AI-generated works produced by systems of their likenesses.
trained on existing copyrighted works? Here, the history
of photography gives us an interesting case to consider.
Originally, photographs could not secure copyright pro- SIMON & SCHUSTER IS SOLD TO A
tection because they were considered the output of a PRIVATE EQUITY FIRM
machine, but eventually, viewpoints changed, and pho- Ever since Penguin Random House was blocked from
tographs now enjoy the same copyright protection as any buying Simon & Schuster on antitrust grounds, indus-
other creative work. try experts predicted the eventual owner of S&S would
not be another big publisher. That has proved to be cor-
rect. The new owner is KKR, a private equity firm, per-
WGA GOES ON STRIKE, JOINED BY haps most famously known for its hostile takeover of
SAG-AFTRA Nabisco—a story told in Barbarians at the Gate, a book
The Writers Guild of America (WGA), which represents by Bryan Burrough and John Helyar and later turned
more than 11,000 writers for film and TV, went on strike into a movie.
on May 2. It’s the first time the guild has gone on strike This is the first time one of the big New York pub-
since 2007. The WGA demands what workers normally lishers has been owned by a private equity firm. So, the
seek: higher pay, stable pay, and fair deals and contracts. question becomes: Is it worse for two big publishers to
Streaming services—now a major factor in what gets merge—as Penguin and Random House did 10 years
PHOTO © GETTY IMAGES: MICHAEL M. SANTIAGO / STAFF

produced and how—doesn’t pay writers as well as other ago—or is it worse for one to end up in the hands of
models. Plus, AI could be used in a sneaky way to pay private equity?
writers less. If AI produces “source” material (no matter People who have worked at companies destroyed
how bad), then writers can potentially be paid at lower by private equity tend to expect the worst for Simon &
adaptation rates. Schuster. However, KKR has a reputation for only buy-
The Screen Actors Guild and American Federation of ing companies that it likes—plus, one of its partners is a
Television and Radio Artists (SAG-AFTRA) also went former executive from New York publishing. Whatever
on strike on July 14. It’s the first time since 1960 that the case, it’s certain that KKR will be looking to sell the
the two unions have gone on strike at the same time. company again, in a matter of years, at a profit.

I 7
YEAR IN REVIEW

PRINCE HARRY’S overhaul, which he said has involved plenty of mistakes

MEMOIR BREAKS and patience for the “journey.” Daunt’s overhaul focuses
SALES RECORDS on giving power back to the booksellers at each store so
Spare became the U.K.’s fast- they have the autonomy to make ordering decisions that
est-selling nonfiction book fit their community. The corporate office offers guid-
in January, selling 400,000 ance—but not instructions—on books to order.
copies across all formats Daunt believes that Barnes & Noble’s years of failure
on its first day on sale. In were not related to the rise of Amazon. Rather, Barnes
the U.K., U.S., and Canada & Noble made the mistake of doing what almost all
combined, the memoir sold chain booksellers have done: behave like a normal chain
a total of 1,430,000 units. retailer in the vein of Costco, Zara, or REI. Such retailers
Penguin Random House ensure consistency, or an identical retail experience no
said Spare has set a new first- matter where or when you walk into a location. That is
day sales record topping any nonfiction book they’ve the problem Daunt is trying to correct. “The books that
ever published, and quickly went back to press after are right in one part of the country in one store will not
initially printing 2 million copies. The previous record be right in all,” he said.
holder was Barack Obama’s memoir, A Promised Land.

THE UNITED STATES NOW HAS A

THE DEPARTMENT OF JUSTICE SUES BOOK BAN CZAR
GOOGLE ON ANTITRUST GROUNDS Due to the ongoing book challenges and book bans across
The DOJ, along with eight states, is attempting to break schools and libraries, the U.S. Department of Education
up Google’s advertising business, which dominates announced in September that Matt Nosanchuk has joined
supply and demand in the ad tech market. By its own as Deputy Assistant Secretary, Office for Civil Rights,
estimates, Google captures more than 30 percent of informally known as the book ban czar. In a press release,
the dollars that flow through its ad tech system. In an the department said, “Across the country, communities are
internal document, one Google exec compared their grip seeing a rise in efforts to ban books—efforts that are often
on the market to if Goldman or Citibank owned the New designed to empty libraries and classrooms of literature
York Stock Exchange. about LGBTQ people, people of color, people of faith, key
In a press release, the Authors Guild expressed historical events and more. These efforts are a threat to
support for the lawsuit. Authors Guild CEO Mary student’s rights and freedoms.”
Rasenberger said, “The complaint draws a clear line
between Google’s control of digital advertising and the
resulting harms to content publishers and creators. It has PUBLISHERS WIN THEIR COPYRIGHT
decimated journalism by siphoning up advertising rev- INFRINGEMENT LAWSUIT AGAINST
enue from newspapers and magazines.” INTERNET ARCHIVE
After a three-year legal battle, a federal judge ruled that
the Internet Archive’s controlled digital lending pro-
BARNES & NOBLE CUTS DOWN ON gram was copyright infringement. The Archive has long
RETURNS WHILE REVITALIZING scanned print works then lent them as e-books through
ITS STORES its website. At the time publishers filed suit in 2020, the
James Daunt, CEO of Barnes & Noble, revealed that the Archive had converted more than 1 million print works
chain now has returns down to 7 percent from its previ- into digital format without permission or compensation.
ous average of 30 percent. He’s hoping that number will That number is now reaching 5 million.
drop even further, down to 3 percent. While the Internet Archive is certain to appeal, the
At this year’s U.S. Book Show, Daunt delivered a key- two parties have agreed that the Archive may not con-
note talk in which he detailed the long-suffering chain’s tinue its infringing activities in the interim—it must take

8 I WRITER’S YEARBOOK I 2024

down all books that remain protected under copyright. respondents had published more than 10 books, and
The IA must also make a monetary payment if the 20 percent had published more than 30. About three-
publishers prevail upon appeal, and the amount will quarters of respondents described their business model
remain confidential. However—and this is a very big as primarily selling their self-published books through
however—the judge offered a clarification that the rul- retailers (rather than, say, earning money from direct-
ing pertains only to books available for sale or license in to-reader sales, crowdfunding, licensing, etc.). Sixty
electronic format. That means the Internet Archive can percent of respondents said their income had increased
keep lending books that remain unavailable for sale or in the past year. While some supplement their book sales
license as e-books. through speaking, teaching, or freelancing, the majority
of surveyed authors are focused on driving book sales.

TIKTOK LAUNCHES BOOK

PUBLISHING ARM IN MEMORIAM
In April, TikTok’s parent company ByteDance filed an In 2023, we lost numerous fiction writ-
application for a U.S. trademark for a new book- ing heavyweights, including: Cormac
publishing entity called 8th Note Press. The application McCarthy, winner of the Pulitzer
states that 8th Note Press expects to offer print books, Prize for Fiction for The Road and
e-books, and audiobooks in fiction and nonfiction, as the National Book Award for Fiction
well as an app to buy and read the books. A social net- for All the Pretty Horses; Anne Perry,
working platform is part of the plan, too. In June, an author of historical detective fic-
acquisitions editor was hired to seek out romance, YA, tion whose younger years were
and fantasy—including unpublished and self-published brought to life by Peter Jackson
titles—that appeal to the #BookTok audience. Authors in Heavenly Creatures; Czech-
are expected to have a strong presence or potential in the French author Milan Kundera,
social media space. best known for The Unbearable
Lightness of Being; mystery
author Carol Higgins Clark;
NEW AUTHOR EARNINGS SURVEY romance author Julie Garwood,
OFFERS COUNTERBALANCE TO USUAL who enjoyed two-dozen New
DOOM AND GLOOM York Times bestsellers; English
The Alliance of Independent Authors (ALLi) surveyed authors Fay Weldon and Martin Amis; and American
more than 2,000 authors in 2022 and found that the short story writer Edith Pearlman.
median income for self-published authors was $12,749. We also said goodbye to prize-winning poet Charles
That’s far better than traditionally published authors if Simic, who once served as co-poetry editor of The Paris
you put trust in these surveys—the average income for Review.
them is around $8,600 in the U.K. and $6,080 in the U.S. Last but not least, Robert Gottlieb closed his last
as of 2018. chapter as one of the most well-known and renowned
Orna Ross, director of ALLi, said of the finding, “We editors of the last 75 years. He edited authors such as
were always surprised at surveys that said author incomes Joseph Heller, Doris Lessing, Salman Rushdie, John
were falling, because it wasn’t what we were seeing among Gardner, John le Carré, Ray Bradbury, Michael Crichton,
our members. Our experience was that once an author Toni Morrison, Bill Clinton, Nora Ephron, Robert Caro,
had done the work to acquire good writing and publish- and countless others. For a short while, he was also edi-
ing skills, they would see their income rise year on year as tor of The New Yorker. WD
they improved their writing and publishing craft.”
Of the authors that ALLi surveyed, more than half Jane Friedman (JaneFriedman.com) is the former publisher of WD.
are writing genre fiction: romance, science fiction and She now writes and publishes The Hot Sheet, a newsletter covering
fantasy, and mystery/thriller/suspense. Over half of the publishing industry for authors.

I 9
PREPARATION & PROGRESS

THE RIGHT VS.

LEFT BRAIN
DILEMMA
Improve your writing by giving your brain a workout.

BY C. HOPE CLARK

M
ost of us have lived with the belief that we lean once, which tells scientists that areas of the brain have
left brain or right brain in all capacities—from stronger connections to specific tasks than others.
our hobbies to career to the movies we love.
LEFT BRAIN FUNCTIONS
You may have been told that this balance of one side ver-
• Logic
sus the other is a natural occurrence. From the genres we
• Reasoning
write to the authors we love to read, we try to give credit
• Calculations
to DNA for our preferences, believing how we were cre-
• Criticism
ated dictates our leanings when actually that is far from
• Analytics
the case.
• Language skills
In reality, the brain juggles tasks and multitasks, and
• Speaking
there isn’t a clearly defined spot for many tasks we do.
• Understanding
For instance, it takes both right and left hemispheres
• Coordination
of the brain’s cerebrum to write. Abilities, as well as
• Attention to detail
troubles in performing activities, have more to do with
how well the parts of the brain work in tandem using Left-brain tasks are common sense-oriented, like
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

the neurons that connect them rather than how they act crossword puzzles and web coding. These are functions
independently. often absolute in design. Also, changing your routine
takes left-brain effort since you compare the old method
to the new, with consideration of the pros and cons
WHAT DOES LEFT VS. RIGHT MEAN? of making such adjustments and the ramifications of
These hemispheres hold primary duties while still retain- choosing wrong. Developmentally, the left brain matures
ing the ability to juggle. That much is true. Neurons in somewhat after the right side, meaning the left side is
your brain light up with activity, often multiple spots at more conducive to nature and outside influence.

10 I WRITER’S YEARBOOK I 2024

RIGHT BRAIN FUNCTIONS How to Use the Left Side More
• Emotion A lot of the exercises that mental health professionals tell
• Intuition us to do to combat Alzheimer’s and mental acuity in gen-
• Creativity eral are the same exercises that activate your left brain.
• Imagination READ MORE OFTEN AND MORE DIVERSELY. Reading, par-
• Music ticularly reading widely, is a left-brain massage. Strong
• Art writers are voracious readers. The more understanding,
• Visual perception reasoning, and analysis you devote to a read, the more
• Facial recognition you draw upon your left side.
• Spatial recognition WRITE MORE. Writing harder, deeper, and in a differ-

• Big-picture analysis ent point of view or unfamiliar genre taxes you, therefore,
• Quality versus quantity exercising this side. The more often you write, the more
you attempt to improve your writing, the more you free
The right brain lends itself to overall consideration up this side to work more efficiently for you. Write stra-
rather than falling into the minutiae of detail. People tegically with purpose and establish a routine.
with damaged right hemispheres struggle with focus, PLOT DIFFERENTLY. We label ourselves as pantsers or
solving problems, organizing, understanding social cues, plotters, blaming the choice on inherent left-brain and
or telling jokes. right-brain tendencies. We either love to jump into a
story and create, or we prefer to categorize and break
down the book’s structure before fleshing it out.
WRITING TAKES A BALANCE OF Solving new problems is very much a left-brain
BOTH SIDES workout. If you typically outline your stories in advance,
Regardless of the genre, style, or voice of your writing, change and leap into the storytelling first, whether non-
however, and in spite of all the mythical tests across the fiction or fiction, book-length or short story, journalism
internet, you draw upon both sides of your mind. When or fairy tale. On the other hand, if you write by the seat
someone is damaged on one side, it isn’t the fact that the of your pants, outline the project from beginning to end
damaged location loses the ability to do a task, but more instead. Both shifts make you court left brain critical
of a compromise in how the two sides work together. skills, because you must take a unique course to com-
The undamaged part takes up more responsibility, just plete the task.
not always in full capacity. The unity of left and right dic- The pantser is forced to solve the story ahead of time
tate the quality of your work, not the fact you can write and outline high points. The plotter thrusts a protagonist
something as in-depth as A Game of Thrones or as light into a dilemma without knowing how they will come out
as a short cozy haiku. on the other side. Amazingly, this hard thinking opens
LEFT BRAIN WRITING SKILLS
thought processes to fresh options.
WRITE TO PROMPTS. Anyone writing a column even-
• Choosing words
tually reaches a point where they are taxed to find yet
• Understanding phrases
another idea. Over the years, however, columnists learn
• Constructing sentences
to improvise and think more quickly to meet deadlines.
• Calculating plot
If you aren’t a columnist, take a month to write to a daily
RIGHT BRAIN WRITING SKILLS prompt and watch how your gears learn to lubricate
• Comparisons more freely.
• Estimations EXPAND VOCABULARY. Word choice is left-side behav-
• Instinctive reasoning ior. Increasing your vocabulary exercises that side. Use
• Impulsiveness apps to learn a new word a day. Generate sentences with
• Imagination of story them. Be more conscious in using a thesaurus.

I 11
PREPARATION & PROGRESS

KEEP A PHRASE JOURNAL. When reading, we stumble concert, or backyard cookout forces the mind to absorb
across a sentence of prose or piece of dialogue we stimuli and activate senses you don’t use seated at the
wish we’d written, and we reread it and take it to heart. computer.
There’s nothing plagiaristic about keeping a notebook LAUGH. Some cultures believe in laughing to alter
of these phrases. Such a journal makes for excellent moods when stuck in a mindset, which could also be
reading before you delve into a project, reminding called writer’s block. In a short video on social media not
your gray matter of the beauty available outside of your long ago, a teacher said to laugh each time she held up a
experiences. finger. One finger was one HA. Two fingers were HAHA.
By the 10th finger, the student was genuinely laughing.
This frees the right brain, maybe long enough to assist
HOW TO USE THE RIGHT SIDE MORE you in redefining the scene you’re writing.
A bit opposite than the exercises used for altering your One might call these experiences mindless when they
left-brain habits, right-brain workouts involve more of a are quite the opposite. They are embraced by the right
letting go. brain, providing it healthy exercise.
ENJOY THE ARTS. Let’s say you’re watching a play, tak-
ing in the entertainment, waiting for the unexpected
twist or laughter moments. That’s right-brain titillation. WHY BOTHER CHANGING?
You are collecting material and don’t even know it. The You wish to change because going against the current
nuances, humor, and pregnant pauses that make dia- strengthens you, giving depth to your talent, making you
logue zing get tucked away for later. more aware and more proactive in the mental calisthen-
Same goes for visual arts or music. They are a release, ics that make you stronger.
allowing you to just feel. That, too, tucks away not just Maybe your story feels dull, unemotional, too struc-
what you heard or saw, but also how you felt, harbor- tured, or predictable. The right brain hasn’t been allowed
ing it for future reference while lowering your left-brain to play to full potential. It might be time for a splash of
tendency to analyze. We don’t think about why we like yoga, meditation, or a walk through the park to declut-
the movie, the song, or the graphic design on the book ter a messy piece of writing. Listen to music or pull out
cover, but instead we let it happen to us. All too often, we your sketch pad. Do something that is more feeling and
attempt to force feed our writing, when letting loose is instinct rather than planned or actively pursued.
more the answer. Or maybe you have the ideas but cannot mesh them
MEDITATE. Emptying your mind lowers obstacles and into a tale. Then work on developing your left brain
frees creative thought. We live in a world where we push through focused word exercises or change of writing
ourselves to accomplish so much each day, almost per routine.
hour, including writing. Stopping that momentum peri- Writing is meant to have its struggles. Those hur-
odically is medicinal and crumbles walls you may not dles are where we define who we are and what we can
even know you had. Even 10 minutes of emptying the become, but that doesn’t mean we can’t recognize where
mind allows any and all possibilities to ooze in. Nothing the struggles lie and do something about them. Even
is judged and everything has potential. when we think we were just born that way. WD
To be honest, meditation is a form of synchroniza-
tion, too. As you settle into this reflection, both sides of
your brain connect more. You not only free up creativ-
ity, but you also improve cognitive skills and intellectual
function.
C. Hope Clark is author of three award-winning mystery series,
SOCIALIZE. Writers can easily lock themselves away
the most popular being The Edisto Island Mysteries. She is also
with their usual words, and those words can become founder of FundsforWriters.com, a career resource for writers with
stale. A bit of socialization through coffee at a café, a a newsletter reaching 25,000 readers.

12 I WRITER’S YEARBOOK I 2024

Unlock the potential
of your manuscript!

Want to write a good book?

I can help.
Helga Schier, PhD
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Jennifer S. Wilkov
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From Thought to Sales in 90 Days Consultant

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For all your book consulting needs! www.YourBookIsYourHook.com
PREPARATION & PROGRESS

WRITING WHAT YOU

KNOW: YOURSELF
Mine five areas of your life to make every part
of your writing more unique and richly layered.

BY WHITNEY HILL

I
nspiration and voice can feel like the most elusive of age, national origin, or disability are usually what come
the ingredients that go into both fiction and nonfic- to mind when people are asked to categorize themselves.
tion writing. Even when we’ve managed to carve out All of these are certainly starting places for writing, but
time, find the tools that work for us, and determine the there’s more you could draw on. For example, in some
path to getting our words into the world, the heart of the places, political opinions, philosophical beliefs, genetic
story may remain a question mark. information, criminal conviction status, and trade union
We frequently hear advice that we should “write what membership are also protected categories or data.
we know,” but how do we know what we know? Without We can go further still by considering life events.
diving too deeply into the theory of knowledge frame- These may span the spectrum from hurtful to joyous, but
works, we can look at the topic we are most familiar with examining how we felt, how those feelings evolved over
for the answer: ourselves. time, and how these events impacted our day-to-day
Uncovering the heart of the story can be as simple— lives and our future prospects or decisions provides a
and as difficult—as looking within our own hearts. wealth of writing inspiration.
Exploring the different facets of what makes up your Life events might include things like births or deaths,
life and experience offers inspiration to pour into your joinings, separations, migrations, or significant shifts, to
world-building, characters, settings, plots, and dialogue. name a few. But really, any event that has shaped who we
Critically examining the whats and whys of life events are as people, what we call ourselves, or how we navigate
offers the seeds for trope subversion, insightful themes, the world can be something to draw on for our work.
and grippingly emotional scenes. Creating an outline of your identity and experiences,
At a high level, those facets include your background understanding how they impact how you and others
and life experiences, your culture, your environment, perceive your place in the world, and how they change
your field, and the people you know. Reviewing these in different contexts can help you create more nuanced
may not be an easy process for everyone, so tread lightly characters, more realistic dialogue, deeper backstories,
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

if needed. and conflict that feels rooted in relatable truths or fears.

That said, nobody should feel obliged to put some-
thing deeply personal, whether related to their identity
WRITING YOUR BACKGROUND or to an event, on the page for public consumption. This
When thinking about your background, a few elements is especially true if there hasn’t been time to process or
probably jump out immediately—especially if you’re explore it on a personal level first.
from a marginalized or historically excluded population. Finally, it may be that part of your lived experience
Race or ethnicity, religion, gender, sexual orientation, involves spending time embedded in a place where the

14 I WRITER’S YEARBOOK I 2024

people or culture are different from your own. While household” and who that is, who can open and run a busi-
those people or cultures may become part of your own ness, or who can lead the group or country, for example.
background, it’s important to separate what is truly your When evaluating your culture for storytelling, think
experience, and what might be deemed appropriation. about things like what determines who is an insider ver-
It’s one thing to admire and be inspired by others, but we sus an outsider, what indicates belonging with that group,
should be careful to let others tell their own stories. rites of passage, jokes or humor, and celebrations or ritu-
als that mark important events.
In writing what you know, culture can be most
WRITING YOUR CULTURE strongly reflected in world-building. Critically evaluat-
Culture could be thought of as the external factors feed- ing your own culture can also help you write plots and
ing into what makes you, you. These are the practices, character interactions with deeper nuance and a stronger
customs, norms, beliefs, traditions, rites, and rituals that anchor to any shared experiences of your readers.
structure our individual lives and actions in a society. You
may be aware of them as particular to your family, group,
or country, especially if you are in the minority in a given WRITING YOUR ENVIRONMENT
place. On the other hand, if you’ve lacked contrast or Your environment can be a great source of inspiration for
examples of others’ lives and practices outside popular fic- setting and plot. It might also inspire aspects of charac-
tion and media, it may take some work and questioning to terization, or feed into culture.
become more deeply aware of your culture. Think about the places you inhabit or frequently visit,
Everyone has culture, and it’s not just about art, such as: home and neighborhood; work, school, and care
music, or achievements. It’s also about the shared norms facilities; places of worship; recreational areas.
between members of a group. Here are a few starting As you’re reviewing the places you know, always con-
points for thinking about culture and its sources. sider the lens through which you’re viewing them. How
GEOGRAPHIC: This might include practices shared do elements of your identity or culture impact how you
across a climate zone, continent, country, etc. Think move through your environment? Do you spend a sig-
about the stories told of a nation’s founding, its his- nificant amount of your time there, or are you an infre-
tory, and the traits or values held by popular heroes. quent visitor or tourist?
Geography might impact what clothes are worn, how When writing the places you know, try to consider
buildings are built, seasonal celebrations, and so on. how your experiences the location may be different from
HERITAGE: With heritage, we might think of culture others’ and why. Assuming that everyone can or does
shared by those of similar backgrounds, such as ethnic, move through a space the same way you do can result in
racial, or homeland. This could also be a diaspora, or flat or unrealistic storytelling.
the descendants of a group of people who went (or were Writing the environments you know can be translated
taken) somewhere, and have a shared culture as a result beyond contemporary or nonfiction settings. Attention
of the action or event. to details including sensory inputs, the movement of
BELIEFS AND VALUES: Often, the word belief brings to goods and people, and elements of the natural or built
mind religious or spiritual beliefs, and those are certainly environment can all be inspiration for the small details
included here. But also think about it in terms of things that make settings immersive in all genres.
believed to be true about either those within the culture,
or outside it. Values are also key here—what is consid-
ered to be of importance, worth, or benefit? WRITING YOUR FIELD
POWER STRUCTURES: With culture providing a frame- Thinking about your field, industry, or educational
work for how people interact, part of that framework often background offers the opportunity to strengthen your
includes who holds (or is permitted to hold) power, status, world-building by putting a character in a realistic job or
or influence within the group. Perhaps it’s elders, people nailing the details of a plot point. There are likely things
with money, or people who have contributed to the group you do or see every day that people outside your field
in some way. It may define whether there is a “head of have no idea about.

I 15
PREPARATION & PROGRESS

When writing about our fields, we need to be care- OTHER CONSIDERATIONS

ful to strike a balance between enough information to As you pull all these facets of yourself into planning for
world-build and characterize, but not so much that it setting, character, and other craft elements, seeing the vast
becomes an infodump. Consider: potential of your own personal story might start to get
overwhelming. Fortunately, there are a few lenses we can
• Hard and soft skills required to be successful in the
apply to help narrow down the topics, themes, and tropes.
job or subject area.
The first is the audience. This might include people of
• What the daily responsibilities and tasks look like—
specific demographics, geographic locations, language,
and what really throws them off.
genres (don’t forget crossover and overlaps), fans of par-
• The customers, clients, vendors, partners, and col-
ticular tropes or themes, or people with other qualifiers
leagues involved in tasks, deliverables, and processes.
like income levels, life goals, or life experiences.
• Training, certification, or continuing education
The second lens is the market. “Writing to market” is
required to remain in the field—and what happens if
a common strategy, and one that is viable for many writ-
this is missed, circumvented, or ignored.
ers. However, doing so may require certain tradeoffs in
• The nature of the relationships between people in
how you tell your story. Instead, you may want to con-
the field.
sider writing for your market—the one you’ve identified
• The mindsets and beliefs of people based on their
as a specific fit for your writing.
roles within the field.
Market is the place, time, and offering. Audience is the
As always, we want to think about lenses. Are you people in it. The key here is remembering that regardless
writing about your field from the perspective of an of who we’re writing for, our market is not everywhere,
amplification, a spotlight, or a critique? Critically and our audience is not everyone. When we’re digging so
evaluating your experiences in your field can provide deeply within ourselves for inspiration, getting the mar-
opportunities to add complexity to plots and detail to ket and audience right can help us connect with the right
world-building. readers, in the right places, at the right time, and thus
increase the feeling of community. Your market and audi-
ence may be a smaller niche, and performance expecta-
WRITING PEOPLE YOU KNOW tions will need to be adjusted accordingly, but this is a way
Our families, colleagues, friends, and other people we to build up a core of fans who deeply connect and engage
know may spark an idea for a character or a fiction plot with your work and the heart of your story—with you.
or a narrative thread in nonfiction or a memoir. When you have your list of things about your back-
However, when writing about other people, it’s impor- ground, culture, environment, field, and people that you
tant to remember factors like privacy, safety, and liability could write about, try using market and audience to
(e.g. libel and slander). Wherever possible, it might help home in on what to write about first.
to get permission in advance to include part of some-
“Write what you know” can seem like a nebulous idea,
one else’s story in your own. Strongly anonymizing the
but focusing on what we know best—ourselves—can be a
details, focusing on the facts (rather than projecting
way to strengthen our craft and write stories that deeply
thoughts or emotions), and not lifting the story whole-
connect with readers. While looking into our hearts
sale may also be a good idea.
may not always be an easy journey, the self-awareness it
That said, some people may be delighted to be
engenders strengthens our ability to understand others
included in your work. This could even be a perk or
and improves our writing skill. WD
bonus for subscribers or followers of your platform to
have a character named after them. Whitney Hill (WhitneyHillWrites.com) is the author of the Shadows
When done respectfully, writing the people you know of Otherside fantasy series and the Otherside Heat paranormal
can be an excellent way to flesh out characters with romance series. Her first book, Elemental, was the grand prize
richer backstories, deeper emotional wounds, more winner of the 8th Annual WD Self-Published E-Book Awards. Her
second book, Eldritch Sparks, was one of Kirkus Reviews’ Top 100
realistic reactions, and more compelling motivations. Indie Books of 2021.

16 I WRITER’S YEARBOOK I 2024

OMIT THOSE NEEDLESS
WORDS: HOW TO DO
RUTHLESS EDITING 101

Ten tips to make your writing efficient, yet engaging.

BY RYAN G. VAN CLEAVE

R
egardless of what you write, readers have the don’t despair. Harold Underdown, executive editor
same expectation—they insist on stories with at Kane Press, offers this wise advice: “When looking
language that demonstrates economy, effective- for words to cut, don’t just do one pass through your
ness, and energy. While entire how-to books could be manuscript. Plan multiple passes, each for a different
written about each of those goals, this article focuses on category—adverbs, empty words, words you use too
the 10 most impactful story-improving editing tips I’ve often. In each pass, don’t edit, just identify—highlighting
shared with students and clients. is good. Then work through the manuscript one last time,
considering and deleting or replacing all of the words
A terminology caveat—while some people use revis- you highlighted.”
ing and editing interchangeably, I see that as an error. In short, revise in stages to avoid being overwhelmed.
Because revision focuses on bigger-picture things
such as plot, character, and structure, it should hap-
pen soon after you’ve got a full draft. Editing is the 2: REMOVE REDUNDANCY
language- and sentence-level polishing that happens
The first draft of a story is where authors discover the
after you’re done revising. Why spend energy perfect-
story for themselves—they’re the only audience at that
ing a scene’s language only to decide later that the
point. Given that, it’s easy to see why overwriting is com-
entire scene needs to be jettisoned?
monplace in early drafts. When it’s time to edit, though,
redundancy in meaning should be addressed.
With that, let’s examine my 10 best editing tips. Apply
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

these as needed to your own writing, regardless of liter- The gas line explosion at the Oakview Senior Center was
ary medium or genre. a horrible tragedy.

Building the birdfeeder so close to the house was an

unintentional mistake.
1: DIVIDE AND CONQUER
Many writers find editing to be daunting. It’s Don’t confuse purposeful repetition with redundancy.
understandable—there are so many ways for words, If you intend to use complementary words and phrases
phrases, sentences, and paragraphs to go wrong. But to enhance, that’s fine. But if you find yourself with some

I 17
PREPARATION & PROGRESS

version of this—“The valiant, brave, staunch knight While it’s decent enough writing, you have to ask—
approached the dragon”—put on your editor’s hat and what’s actually important in terms of plot, characteriza-
get to work. tion, and theme? If Roger’s role in your story is simply a
one-off bartender with no speaking part and all he does
is play the role of a jerky bartender, the following might
3: FOCUS ON NOUNS be all you need:
Similar to the above point, creating a laundry list of
The sour-pussed bartender poured two beers.
modifiers is an indication that a more effective noun
might better serve the sentence. For example, would it be Or maybe this:
better to write “an ugly, frightful, old woman” or simply
The surly bartender muttered as he sloshed beer into
go with “hag”?
two maybe-clean mugs.
If you have the right noun, you don’t have to work
hard to modify an almost-right one. If your story is all about loss and regret, or Roger is
a recurring character, offering details of his backstory
might be quite appropriate and useful.
4: REPLACE PHRASES WITH WORDS
Why use many words when just one will suffice?
6: FLIP NEGATIVES
• At the present time vs. now
Using a negative phrase often leads to flabby writing.
• Due to the fact that vs. because
Compare “Don’t walk too close to the lake!” to “Avoid
• In close proximity vs. near
the lake!” While both offer similar instructions, the latter
• In regard to vs. concerning
is tighter and has more oomph.
• In the event that vs. because
A bonus to flipping negatives is that you’re losing the
• With the exception of vs. except
negative—the not vanishes. That means you’re left with a
Don’t be suckered into using bloated phrases that positive. While this creates a subtle effect, readers gener-
you’ve heard or read before. Trim and tighten if you can. ally respond more favorably to positives than negatives.

5: DUMP UNIMPORTANT DETAILS 7: AVOID ADVERBS

Details are good, right? Consider the following, which is In his wildly successful book On Writing, Stephen King
chock full of details: says, “The adverb is not your friend.” In case that doesn’t
make the point strongly enough, he adds, “The road to
Roger Worthington III hated Florida the moment he
hell is paved with adverbs.”
arrived in Bradenton to help his grandpa keep from los-
Consider the following:
ing his beloved tiki bar. The constant blazing heat of the
Sunshine State drained the life out of him, and it wasn’t I believe you.
much better inside the beachside bar where the AC was
I totally believe you.
always on the fritz. When Grandpa Lerner’s Alzheimer’s
got so bad that he’d be as likely to serve a Manhattan as Doesn’t the second one sound like massive sarcasm?
a mojito—regardless of what was ordered—Roger took Even when -ly words aren’t undercutting or confusing
over the bar completely. As the loans piled up and he the point of a sentence, they’re often unnecessary—
sweated away his 30s, he began to hate every aspect especially in dialogue tags. For example:
of the business of running The Turtle Taproom. One
“Your meatloaf made me sick,” she quietly said.
day, Roger decided he’d had enough. When two yokels
“You’re the one who left out the milk!” he angrily said.
with a big city accent laughed their way to the barstools
one Thursday night and ordered Bud Lights “with little Instead of “quietly said,” could we use “whispered”?
umbrellas,” he wanted to punch someone. Anyone. And would “shouted” work in lieu of “angrily said”?

18 I WRITER’S YEARBOOK I 2024

 Here’s the takeaway—if adverbs aren’t adding vital There are other commonly misused words, of course,
clarity, feed them to Pennywise, King’s killer clown. but the above eight are what I find most often in early
drafts (and sometimes late drafts!) of student and client
stories.
8: INFLECT INTENTIONALLY
When you inflect (conjugate) verbs, avoid overusing the
-ing construction. 11: REVISIT ONE MORE TIME (BONUS!)
Compare “They were heading to the park” to “They You shouldn’t stay in revision or editing mode forever.
headed for the park” or even “They went to the park.” But most writers end the editing process a smidge early,
Doing so makes the sentence more immediate. And so even when you think you’ve done all you can, give it
shorter! a few days or a week, then revisit it a final time. Often,
that newfound distance will help you spot mistakes and
story-improving tweaks you missed before.
9: LOSE INTENSIFIERS I recommend reading your story aloud or having
When my kids were little, they tried to manipulate me by someone read it to you for this final pass. Consider
piling on words they hoped would help make their case recording yourself reading it and then listen to it like an
for more toys at holiday and birthday time. audiobook or podcast. Trust me—your ear will catch
things your eyes miss.
“I really, really, really want a Star Wars Bladebuilders Jedi
Master Lightsaber!” For 30 years, Lorin Oberweger has served as an inde-
pendent book editor, ghostwriter, and writing workshop
“You’re a very, very, very good dad. Totally. Completely!” leader. During that time, she’s helped countless writers
It didn’t work then, and it doesn’t work well now. Save get control of their stories by showing them how to get
the intensifiers (absolutely, completely, extremely, really, control of their language.
totally, utterly, very, etc.) for the rare occasion that you “My advice is as true for writing content as it is for
need the extra emphasis. Absent that, really, really, really writing style,” she says. “Trust the reader and trust your-
avoid them—especially in dialogue (both real life and self. That means don’t pad your prose; don’t over-explain;
story), since that’s where people seem most tempted to don’t use filtering phrases to bring us into a character’s
over-intensify. perspective—just put us there. Trust in your own excel-
lence and dig deeper for the sharpest expression and the
best words for the job.”
10: USE TRICKY WORDS CORRECTLY That’s it exactly: the best words for the job. Strive for
Though this won’t reduce the word count, few words are excellence in the job of writing stories and your sales and
more needless than the wrong ones. Put extra attention reviews will show it.
into the following situations: Don’t take my word for it, though. Listen to Dr. Seuss,
who wisely wrote: “So the writer who breeds more words
• Affect (influence) vs. effect (accomplish) than he needs, is making a chore for the reader who
• Compliment (praise) vs. complement (go well with) reads.” Amen! WD
• Discreet (careful) vs. discrete (distinct)
• Its (possessive) vs. it’s (it + is)
• Principle (rule) vs. principal (authority figure)
• They’re (they + are) vs. their (possessive) vs. there
(adverb of place) In addition to running the creative writing program at Ringling
• Venomous (having a toxic bite or sting) vs. poisonous College of Art and Design, Ryan G. Van Cleave is editor for
Bushel & Peck Books and has authored 30+ books, including
(toxins that are eaten)
The Weekend Book Proposal (WD Books). As The Picture Book
• Your (possessive pronoun of you) vs. you’re (you + Whisperer, Ryan helps celebrities and high-profile clients write
are) picture book and kidlit titles.

I 19
FREELANCER’S WORKSHOP

HOW MUCH
SHOULD I
CHARGE?
Pay Rate Chart for Freelancers

BY C. HOPE CLARK

F
reelance writers often begin their journeys intimi- terms of packages, tiers of fees, expertise level required,
dated. Where do they find clients? Where do they and online savvy.
collect those first all-important samples to show A publisher may seek a sensitivity editor in addition
future clients? But mostly, they wonder what to charge. to a proofreader. A legal firm may not only want legal
Charge too much, and they lose the client. Charge too briefs, but also creative writing in the form of success
little, and they jeopardize not only their livelihood but story interviews for their website or blog.
also their reputation. The question used to be “what do I A medical news site could expect a medical writer to
charge?” Today, it’s as much the way you charge and why handle press releases, editing journal documents, and
you charge as it is how much. writing white papers, newsletters, blogs, and articles. A
The old school method involved deciding what you magazine editor could expect print, website, blog, even
wish to earn annually, add for taxes, insurance, retire- radio and TV products. A nonprofit could need print as
ment, and administrative duties, then divide it by the well as online copy, a speech for the executive director,
number of hours you work. Voilà. There’s your hourly and/or a grant proposal.
rate. While you need a good feel for a minimum hourly A call for a tech writer could span from computer
rate, changing times call for flexibility. Writers have more knowledge to agriculture or cryptocurrency or medical.
expertise, clients have more diverse needs, and writing A website copywriter may be contracted for blog posts,
has become more than writing a piece of copy. website service pages, and e-commerce product descrip-
Let’s say a company needs a writer. They may call it a tions. And, of course, these days so many need to broad-
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

copywriter, copy editor, writer/editor, SEO guru, or any- cast a brand of some kind through it all.
thing under the sun, with their needs covering the gamut Writing is a business, writers are service providers,
of print articles, website material, blog pieces, advertis- no two clientele are alike, and even the same client can
ing, keyword optimization, email and newsletter cre- have multiple needs. Writers should be versatile and pre-
ation, white pages, testimonials, resource guides (print pared to adjust and readjust to meet that diverse need.
or e-book), YouTube script, social media posts, manage- Charging options can involve any or all of the following
ment biographies, technical summations, and/or thought methods: per hour; per project (flat rate); per word; per
leader statements. Today a writer often has to think in day; sliding scales; tier levels (different pre-set packages);

20 I WRITER’S YEARBOOK I 2024

retainers (a promised minimum per week or month); A nonprofit may not have the budget of a Fortune 500
bonuses; commissions; percentages of budgets; advances; company, warranting a lesser fee for similar work. They
royalties; and/or travel and expenses. may accept a simple, lower-paying assignment just to fill
Some clients have an established budget. Others aren’t a small hole in their immediate schedule, then charge a
sure. That’s where ranges come into play, as well as a premium for a faster turnaround. A gig closer to home
discussion of the project’s details. Nothing says a writer means less travel.
cannot charge one client one figure and another some- A freelancer’s goal, of course, entails acquiring regular
thing entirely different. Nothing says they can’t have an work with regular customers. A certain degree of relief
array of charges, adjusting for a myriad of factors. A cli- comes from stable income. Small repetitive projects,
ent could be a nonprofit that cannot afford the rate you like social media, e-commerce product descriptions,
charge a corporate client. A client can become a repeat emails, or newsletters, lend themselves to monthly rates.
customer, meriting a discount. Analyze the following Contributing editor roles provide a consistent voice for
when considering rates: the magazine and regular income for the writer.
But writers don’t rely solely on tables like this one,
• The writer’s need for this project versus the client’s
or only the work in their purview. They stay on top of
need to have it done.
fees by networking with peers. Social media teems with
• The writer’s expertise level versus the client’s need for
groups of writers willing to share. Professional organiza-
that expertise.
tions offer knowledge, credibility, and connections. Job
• The writer’s appeal for the work.
boards abound online.
• The writer’s reputation versus the client’s.
Freelancing is incredibly satisfying work but only if
• The writer’s workload versus the client’s.
writers stretch and reach for opportunity and maintain
• The writer’s locale versus the client’s.
a hunger for improvement. Confidence grows with each
• The chance of future work.
attempt, and especially with each success.
• The rounds of revision required.
The rate chart that follows is a general guide, giving
• The ease of dealing with the client.
readers a sense of real income as reported by real writers.
• The financial depth of the client.
Of course, there are the miracle workers out there mak-
• The range of duties (blog, scripts, Amazon lists, SEO,
ing heavy six-figures and others that write only for fun
etc., in addition to copy).
or volunteer their time. Those writers are not configured
• The client’s return on investment (ROI) of the
here. There are many other types of writing jobs that may
product written.
not fall into any of these categories. Movie novelizations
Over time, a writer develops an instinct for their mini- and work for hire, for instance. Self-published authors
mum rate, when to raise it, and how firmly to stand by and traditional novelists travel a range so far and wide
that rate. Hourly is a good basic start for calculations, that the numbers are too unwieldy to generalize.
but the client does not have to know what that is in bid- This data here, however, gained from surveying hun-
dreds of freelancers and organizations, studies of actual
ding a project.
calls for submissions, and interviews of specific success-
A writer may hone a niche, drawing upon a past
ful freelancers, gives a freelance writer a reasonable place
life, educational degrees, or interest. A chef becomes
to start. WD
a food writer. A teacher writes curriculum. Nurses
write medical blogs. Finance, IT, science, engineering,
gaming, outdoors, health, wellness, real estate, even C. HOPE CLARK is founder of FundsforWriters (FundsforWriters
celebrity entertainment count as strong niches. Many .com), frequently chosen by WD for its annual 101 Best Websites for
Writers. She is also author of three, award-winning mystery series
writers learn to lead with their niche and command (CHopeClark.com). Unable to leave that scrumptious feeling of
more lucrative prices because they bring expertise to the freelancing, she still hustles a few gigs in between, to include
negotiation table. Writer’s Market.

I 21
FREELANCER’S WORKSHOP

PARTICIPATING GROUPS
Many individuals and groups helped participate in compiling the information for the pay rate chart below. Here are a
few of the groups:

• Academia to Affluence – AcademiaToAffluence.com • Inkwell Editorial – InkwellEditorial.com

• American Literary Translators Association – • Investigative Reporters & Editors – IRE.org

LiteraryTranslators.org • Job Shadow – JobShadow.com
• American Medical Writers Association – AMWA.org • LinkedIn – LinkedIn.com
• American Society for Indexing – ASIndexing.org • London Freelance – LondonFreelance.org
• American Society of Journalists & Authors – ASJA.org • Make a Living Writing – MakeALivingWriting.com
• American Translators Association – ATANet.org • Medical Journal Editors – MedicalJournalEditors.com
• American Writers & Artists Institute – AWAI.com • National Association of Science Writers – NASW.org
• Association of Independents of Radio – AIRMedia.org • National Writers Union – NWU.org
• Austin Copywriter – Austin-Copywriter.com • NJ Creatives Network – NJCreatives.org
• Aviary Editing – AviaryEditing.com/index.html • Payscale – Payscale.com
• The Balance – TheBalanceSMB.com • Reading Asian America – ReadingAsiAm.blog
• Black Forest Basilisks – BlackForestBasilisks.com /sensitivity-reader-services

• Book Deviant – BookDeviant.wordpress.com • Reedsy – Reedsy.com

• Bookishness and Tea – BookishnessAndTea.wordpress • Salary.com – Salary.com

.com • Sensitivity Reader – SensitivityReader.com
• Bookwyrms Guide to the Galaxy – BookWyrmsGalaxy • The Shrinkette – TheShrinkette.wordpress.com
.wordpress.com
• Simply Hired – SimplyHired.com
• Chron – Work.chron.com
• Smart Blogger – SmartBlogger.com
• ClearVoice – ClearVoice.com
• Society of Professional Journalists – SPJ.org
• Clippings.me – Clippings.me
• So Create – SoCreate.it/en
• Counter Craft – CounterCraft.substack.com
• The Society of Authors – SocietyOfAuthors.org
• Dot and Dash LLC – DotAndDashLLC.com
• Strategy Beam – StrategyBeam.com
• Editorial Freelancers Association – The-EFA.org
• Upwork – Upwork.com
• Espirian – Espirian.co.uk
• Women in Film – WomenInFilm.org
• FlexJobs – FlexJobs.com
• Wordminds – Wordminds.com
• Freelance Success – FreelanceSuccess.com
• Write Jobs PLUS+ – Patreon.com/writejobsplus
• Freelancer FAQs – FreelancerFAQs.com
• Writer’s Guild of America East – WGAEast.org
• The Freelancer’s Year – TheFreelancersYear.com
• Writer’s Guild of America West – WGA.org
• FundsforWriters – FundsforWriters.com
• Writing Cooperative – WritingCooperative.com
• Glassdoor – Glassdoor.com
• Zip Recruiter – ZipRecruiter.com
• GTS Translation – GTS-Translation.com

• Indeed – Indeed.com

22 I WRITER’S YEARBOOK I 2024

 L OW HIGH AV G

ADVERTISING & BUSINESS

ADVERTISING/BUSINESS COPYWRITING/EDITING
PER HOUR $10 $200 $68

PER PROJECT $100 $15,000 $1,900

OTHER $.02/word $1.50/word $.50/word

$1,200/month $5,000/month $2,500/month
$536/day $705/day $620/day
$16/page $1,250/page $400/page
$75/ad $350/ad $212/ad

ANNUAL REPORTS
PER HOUR $18 $175 $76

PER PROJECT $250 $10,000 $4,240

OTHER n/a n/a n/a

BUSINESS/CORPORATE HISTORIES
PER HOUR $40 $165 $83

PER PROJECT $300 $5,000 $1,950

OTHER n/a n/a $310/page

BUSINESS LETTERS/EMAILS/NEWSLETTERS
PER HOUR $12 $200 $59

PER PROJECT $30 $4,000 $1,080

OTHER $.10/word $2.50/word $.72/word

$100/month $3,000/month $1,830/month
$240/day $2,400/day $1,340/day
Flat rate 2–5% commis-
sion on results

BUSINESS PLANS
PER HOUR $30 $160 $81

PER PROJECT $250 $4,000 $1,990

OTHER n/a n/a n/a

PRODUCT REVIEWS
PER HOUR n/a n/a $25

PER PROJECT $75 $500 $245

OTHER n/a n/a $.35/word

I 23
FREELANCER’S WORKSHOP

L OW HIGH AV G

BUSINESS PROFILES
PER HOUR $25 $125 $81

PER PROJECT $50 $2,000 $654

OTHER n/a n/a n/a

BUSINESS SCRIPTWRITING
PER HOUR $9 $125 $41

PER PROJECT $200 $3,000 $1,320

OTHER $.01/word $.14/word $.08/word

$200/month $800/month $500/month
$100/minute

BUSINESS SEMINARS
PER HOUR $20 $300 $110

PER PROJECT $500 $5,000 $2,750

OTHER n/a n/a n/a

GHOSTWRITING/THOUGHT LEADER WRITING

PER HOUR $25 $200 $74

PER PROJECT $50 $5,000 $1,220

OTHER $.15/word $.50/word $.34/word

$1,000/month $1,500/month $1,167/month

PRESS RELEASES/KITS
PER HOUR $20 $200 $85

PER PROJECT $50 $5,677 $638

OTHER $.35/word $.71/word $.50/word

$250/page

RÉSUMÉ WRITING/JOB DESCRIPTIONS

PER HOUR $10 $100 $45

PER PROJECT $10 $500 $200

OTHER n/a n/a n/a

BUSINESS SPEECHWRITING
PER HOUR $17 $350 $82

PER PROJECT $3,000 $15,000 $6,500

OTHER n/a n/a n/a

24 I WRITER’S YEARBOOK I 2024

 L OW HIGH AV G

WHITEPAPERS
PER HOUR $10 $200 $86

PER PROJECT $100 $12,000 $3,005

OTHER n/a n/a $.25/word

$310/page

BOOK PUBLISHING
BOOK PRODUCTION
PER HOUR $20 $125 $54

PER PROJECT $300 $25,000 $4,535

OTHER $.05/word $.10/word $.08/word

$1/page

BOOK QUERIES/PROPOSALS
PER HOUR $158 $250 $67

PER PROJECT $50 $7,000 $1,242

OTHER n/a n/a $.07/word

3% royalties first 90 days

COPY EDITING
PER HOUR $10 $200 $51

PER PROJECT $100 $3,500 $1,303

OTHER $.12/word $.14/word $.04/word

$1/page + royalties

DEVELOPMENTAL EDITING (FICTION)

PER HOUR $10 $200 $47

PER PROJECT $250 $10,000 $2,428

OTHER $.03/word $.10/word $.05/word

$7/page $25/page $14/page
none/month

DEVELOPMENTAL EDITING (NONFICTION/TECHNICAL)

PER HOUR $15 $200 $50

PER PROJECT $100 $10,000 $2,368

OTHER $.03/word $.12/word $.06/word

$1/page $50/page $13/page

I 25
FREELANCER’S WORKSHOP

L OW HIGH AV G

GHOSTWRITING
PER HOUR $19 $500 $84
PER PROJECT $2,500 $160,000 $21,960
OTHER $4/page $100/page $51/page
50% royalties

GUIDEBOOKS/E-BOOKS
PER HOUR $15 $200 $52

PER PROJECT $200 $90,000 $19,884

OTHER $.05/word $2/word $.60/word

INDEXING
PER HOUR $10 $250 $59

PER PROJECT $100 $1,000 $596

OTHER $.01/word $.13/word $.05/word

$2/page $10/page $5.21/page

PERSONAL/FAMILY HISTORIES
PER HOUR $20 $200 $65

PER PROJECT $250 $5,500 $1,801

OTHER $.20/word $2/word $1.10/word

PROOFREADING
PER HOUR $15 $200 $38

PER PROJECT $150 $1,000 $523

OTHER $.005/word $.18/word $.056/word

$1/page $4/page $2.25/page

SENSITIVITY READING
PER HOUR n/a n/a n/a

PER PROJECT $100 $1,500 $323

OTHER $.001/word $.02/word $.01/word

$50/scene/short $125/scene/short $65/scene/short

TRANSLATIONS
PER HOUR $40 $100 $61

PER PROJECT n/a n/a n/a

OTHER $.08/word $.28/word $.18/word

$100/page

26 I WRITER’S YEARBOOK I 2024

 L OW HIGH AV G

EDUCATION/LITERARY SERVICES
ADULT WRITING CLASSES
PER HOUR $10 $200 $44

PER PROJECT $100 $1,000 $368

OTHER $10/student $90/student $47/student

CURRICULUM WRITING
PER HOUR $10 $100 $44

PER PROJECT n/a n/a $44

OTHER n/a n/a n/a

EDUCATIONAL WEBINARS
PER HOUR $10 $150 $56

PER PROJECT $50 $4,000 $1,225

OTHER n/a n/a n/a

GRANT WRITING
PER HOUR $15 $200 $58

PER PROJECT $150 $5,000 $1,731

OTHER $4,000/month $6,000/month $5,000/month

POETRY CRITIQUE
PER HOUR $20 $100 $59

PER PROJECT $15 $400 $211

OTHER n/a n/a $10/page

$60/poem

PROSE CRITIQUE
PER HOUR $10 $200 $60

PER PROJECT n/a n/a $200

OTHER n/a n/a n/a

PRIVATE WRITING INSTRUCTION

PER HOUR $10 $150 $60

PER PROJECT $90 $2,000 $500

OTHER n/a n/a $.17/word

$800/month

I 27
FREELANCER’S WORKSHOP

L OW HIGH AV G

THESIS/DISSERTATION REVIEW
PER HOUR $20 $75 $45

PER PROJECT n/a n/a n/a

OTHER n/a n/a n/a

FILM/TV/RADIO/STAGE/PODCASTS
AUDIOVISUAL WORK
PER HOUR $24 $150 $71

PER PROJECT n/a n/a $300

OTHER n/a n/a $400/day

COMEDY
PER HOUR $25 $150 $67

PER PROJECT $150 $2,000 $1,075

OTHER n/a n/a n/a

COMMERCIALS
PER HOUR $28 $100 $58

PER PROJECT $500 $30,000 $6,411

OTHER n/a n/a n/a

PLAYWRITING
PER HOUR $17 $51 $30

PER PROJECT n/a n/a n/a

OTHER n/a n/a $.10/word

SCREENWRITING
PER HOUR $12 $41 $22

PER PROJECT $25,000 $100,000 $57,167

OTHER n/a n/a n/a

SCRIPTWRITING (BUSINESS, EDUCATION, TRAINING)

PER HOUR $9 $125 $46

PER PROJECT $200 $3,000 $1,255

OTHER $.14/word $.17/word $.16/word

$200/month $800/month $500/month
$50/minute $250/minute $150/minute

28 I WRITER’S YEARBOOK I 2024

 L OW HIGH AV G

SHOWS, INTERVIEWS (RADIO, PODCASTS)

PER HOUR $16 $250 $72

PER PROJECT $100 $5,000 $1,034

OTHER $189/day $1,500/day $772/day

$1.83/minute $67.60/minute $27.60/minute

TV SCRIPTS
PER HOUR $14 $85 $36

PER PROJECT $150 $40,000 $10,611

OTHER n/a n/a $1,000/month

3–5% of budget

MAGAZINE/JOURNALS (INCLUDES WEBSITES)

ARTICLE CRITIQUE
PER HOUR $35 $100 $62

PER PROJECT $100 $1,200 $403

OTHER $.10/word $.50/word $.30/word

BOOK/MUSIC/PRODUCT REVIEWS
PER HOUR $30 $90 $50

PER PROJECT $20 $2,000 $254

OTHER $.10/word $.50/word $.25/word

none/month

COMICS
PER HOUR n/a n/a $100

PER PROJECT n/a n/a none

OTHER $.01/word $.50/word $.30/word

$74/page $300/page $168/page

COMICS CONTENT EDITING/COPY EDITING

PER HOUR $14 $200 $43

PER PROJECT $50 $2,000 $546

OTHER $.05/word $.20/word $.12/word

$2,820/mag issue

I 29
FREELANCER’S WORKSHOP

L OW HIGH AV G

FACTCHECKING
PER HOUR $15 $50 $37

PER PROJECT n/a n/a $500

OTHER n/a n/a n/a

GHOSTWRITTEN ARTICLES
PER HOUR $19 $200 $61

PER PROJECT $200 $3,500 $1,155

OTHER $.18/word $1.25/word $.57/word

MAGAZINE ARTICLES
PER HOUR $20 $300 $68

PER PROJECT $25 $1,200 $332

OTHER $.07/word $1/word $.28/word

$400/week
$40/chapter

MAGAZINE FEATURES
PER HOUR $15 $194 $61

PER PROJECT $25 $8,000 $627

OTHER $.10/word $3/word $.83/word

PROOFREADING
PER HOUR $15 $75 $37

PER PROJECT $300 $500 $400

OTHER $.02/word $.08/word $.04/word

NEWSPAPER/NEWS OUTLETS
COPY EDITING
PER HOUR $15 $50 $32

PER PROJECT $140 $300 $220

OTHER n/a n/a $3,100/month

FEATURES
PER HOUR $13 $51 $30

PER PROJECT $20 $2,000 $374

OTHER $.17/word $2/word $.65/word

$4,500/month
$1/inch

30 I WRITER’S YEARBOOK I 2024

 L OW HIGH AV G

PROOFING
PER HOUR $15 $75 $34

PER PROJECT n/a n/a $350

OTHER $.03/word $.18/word $.08/word

STRINGING
PER HOUR $8 $50 $25

PER PROJECT $25 $300 $101

OTHER n/a n/a $250/day

$1/inch

SYNDICATED COLUMN (SELF)

PER HOUR n/a n/a n/a

PER PROJECT n/a n/a n/a

OTHER $10/week/paper $20/week/paper $15/week/paper

NONPROFIT/GOVERNMENT/POLITICS
GRANT WRITING
PER HOUR $15 $200 $58

PER PROJECT $85 $5,000 $1,348

OTHER n/a n/a n/a

SPEECH WRITING
PER HOUR $14 $100 $65

PER PROJECT n/a n/a n/a

OTHER $.14/word $.19/word $.17/word

WRITING/EDITING
PER HOUR $18 $160 $50

PER PROJECT $125 $6,000 $1,033

OTHER $.10/word $2/word $.94/word

$800/month

I 31
FREELANCER’S WORKSHOP

L OW HIGH AV G

ONLINE GENERAL
BLOGGING
PER HOUR $14 $200 $59

PER PROJECT $25 $800 $219

OTHER $.03/word $2/word $.36/word

$720/month $4,800/month $2,005/month
$2,800/negotiated pack-
age

CLOSED CAPTIONING
PER HOUR $14 $160 $70

PER PROJECT n/a n/a n/a

OTHER $.10/word $.16/word $.13/word

GAME WRITING
PER HOUR $9 $25 $17

PER PROJECT $4,000 $6,000 $5,000

OTHER $1,500/month $2,500/month $2,000/month

$.20/word + royalties

SEO/KEYWORDS
PER HOUR $10 $200 $65

PER PROJECT $5 $3,000 $989

OTHER $100/page $250/page $175/page

$.20/word

SOCIAL MEDIA MANAGEMENT

PER HOUR $15 $300 $57

PER PROJECT $100 $3,000 $932

OTHER $347/month $3,000/month $1,141/month

$75/post $50/post $30/post

VIDEO SCRIPT (I.E., YOUTUBE)

PER HOUR $10 $175 $77

PER PROJECT $250 $2,000 $1,083

OTHER $75/day $800/day $352/day

32 I WRITER’S YEARBOOK I 2024

 L OW HIGH AV G

WEB WRITING/EDITING
PER HOUR $10 $200 $48

PER PROJECT $25 $7,000 $1,000

OTHER $.02/word $.90/word $.28/word

$1,000/month $2,400/month $1,730/month
$100/page $250/page $175/page

TECH EDITING
PER HOUR $15 $100 $47

PER PROJECT $40 $2,800 $771

OTHER $.03/word $.60/word $.20/word

$800/month $5,600/month $3,373/month

TECH PROOFING
PER HOUR $15 $75 $46

PER PROJECT n/a n/a n/a

OTHER $.02/word $.18/word $.08/word

TECH WRITING
PER HOUR $15 $200 $50

PER PROJECT $40 $1,000 $423

OTHER $.10/word $1/word $.32/word

$800/month $5,600/month $3,092/month
$425/day $1,056/day $624/day
$22/web page $300/web page $122/web page

I 33
FREELANCER’S WORKSHOP

THE 5 QUESTIONS
YOU SHOULD ASK
DURING (ALMOST)
EVERY INTERVIEW
BY DON VAUGHAN

nterviews are a vital aspect of nonfiction writing. inspired when a scientist in Stout’s group was knocked

I Depending on the topic, freelancers may turn to sub-

ject matter experts or everyday people with unique
experiences, knowledge, or opinions to help inform the
to the ground by an aggressive bird called a skua. These
anecdotes illustrate how inspiration can come from the
strangest places, and how successful creators use it to
articles they write. Over the course of my career, I have their advantage.
uncovered five specific questions that can be extremely The best way to approach the topic of inspiration with
helpful in getting the most out of potential sources. a source is be direct and specific. “What was your inspi-
While not applicable to every interview, these questions ration for X?” “Where did the idea for Y come from?”
can help add detail, color, and heft to our work. “What commonly inspires the work you do?” Sometimes
the response will be mere background, but often it sheds
important light on why or how a certain thing happened.
1. WHAT WAS YOUR INSPIRATION?
Inspiration is the creative spark that leads to great things,
the “aha!” moment when the abstract suddenly takes 2. WHY IS THIS IMPORTANT?
form. It strikes writers, musicians, researchers, and Someone who has accomplished something remark-
more—anyone striving to create, build, or innovate. able inherently understands why that accomplishment is
Almost every important accomplishment has started important. You may, too, but your readers may not, espe-
with a moment of inspiration, and it behooves writers to cially if the topic is novel to them. It’s up to you as the
explore that aspect of a story. writer to encourage your source to explain the impor-
As a general freelancer, my work requires that I talk tance so the reader understands just how life-changing it
to people in all walks of life, from astronauts and artists promises to be.
to cancer researchers and filmmakers. Almost always, I write often about health and medicine, and I
there is an important moment of inspiration in these always ask why a particular breakthrough is important.
people’s stories, and I’m eager to explore it. For example, Sometimes it’s readily apparent: a novel treatment for
I recently interviewed renowned paleo artist William cancer, for example, is important because it will save
Stout for Back Issue! magazine regarding his exten- thousands of lives. But other times the importance needs
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

sive dinosaur-themed comic book work. His covers to be clarified in a way that says to the reader, “Pay atten-
are very action-oriented, and I asked about the inspi- tion—this breakthrough may have important implica-
ration behind two of them for a series titled Cadillacs tions for your own life.”
and Dinosaurs. Both covers, Stout said, were inspired by Asking why something is important may sometimes
incidents that occurred while he was visiting Antarctica seem unnecessary, but it’s still a good idea to have your
studying and drawing the local wildlife. In one instance, source explain that importance because their answer
he and a colleague almost died when their Kodiak may provide additional information or reveal deeper
boat nearly overturned in the icy water. The other was insight.

34 I WRITER’S YEARBOOK I 2024

3. WHAT WERE THE GREATEST CHAL- Stewart, who I profiled for Veterinary Practice News, is
LENGES YOU FACED, AND HOW DID a good example. The California-based veterinarian cre-
YOU OVERCOME THEM? ated an outreach program that provides free veterinary
Everyone loves a triumph-over-adversity story, so asking services to unhoused pet owners. This mission, he told
sources how they dealt with overwhelming challenges in me, stemmed from an encounter he had with a home-
pursuit of success can often form the heart of an article less man whose dog had such a severe flea problem that
or profile, and even become its through-line. it looked like a burn victim. Stewart treated the dog
What were the greatest challenges you faced, when for free, and the results were nothing short of miracu-
did you recognize them, and how did you overcome lous. “I felt the man’s despair [when we first met], and I
them? This line of questioning can reveal a source’s then pulled his dog out of a state of suffering,” Stewart
intent, the extent of their drive, and how they think recalled. “It was such a healing moment for me.” These
through obstacles, which in turn helps illuminate the kinds of evocative, emotionally charged quotes are writ-
importance of their achievement. ing gold, but you have to seek them out.
Challenges can take many forms, such as time con-
straints, a lack of necessary materials or funding, or gaps
in knowledge that must be bridged. Challenges became 5. WHO ELSE WOULD YOU SUGGEST I
the primary focus of a feature I wrote for Veterinary TALK TO?
Practice News regarding the San Diego Zoo’s involvement Beginning writers often start a project with a set list
in an international effort to save the nearly extinct north- of sources, and hold firm to that list. This can severely
ern white rhinoceros, of which only two remain in the limit an article’s scope, perspective and depth of opinion,
world. Understandably, the challenges faced by participat- insight and information. Early in my career, I learned to
ing veterinarians and others are extensive, ranging from conclude every interview by asking the source who else
perfecting ovum pickup (the retrieval of unfertilized eggs, they thought I should talk to. Almost always, they would
a skill possessed by only a handful of people worldwide) suggest colleagues whose knowledge and insight added
to converting cryogenically preserved cells from northern to the topic I was writing about. When reaching out to
white rhinos into stem cells that could develop into sperm Dr. B, I would let them know that I had already talked to
and eggs. These and other challenges drove my article, Dr. A, who had made the referral. With this recommen-
fueled by the effort’s desperate race against time. dation, Dr. B would almost always agree to a chat.
By asking sources who else they would suggest you
talk to, you’re opening yourself to unanticipated oppor-
4. WHAT DO YOU GET PERSONALLY tunities that can help improve your work. Professionals,
FROM YOUR WORK? regardless of occupation, are almost always aware of the
I love this question because it addresses the issues of true innovators in their field and the importance of their
motivation and reward: Why are you engaged in this work. As a result, they may recommend subject matter
effort, and what joy do you derive from it? Unfortunately, experts you had no knowledge of, and areas of research
many writers gloss over this question, if they raise it all, that help give your article additional depth.
because they don’t think it’s particularly important or Not every referral will be useful. Some may be indi-
will add to the article they’re writing. But I have found viduals you have already talked to, while others may not
that asking what someone gets personally from their be directly involved in the subject you’re writing about.
work can evoke emotions that take the conversation, But the question is always worth asking because when a
and sometimes the resulting article, in unanticipated referred source has additional information or insight to
directions and reveal unique insights. share, your readers will benefit. WD
I ask this question often, regardless of a source’s occu-
pation, and almost always find their answer quotable.
Some love the challenges their work provides. Others
Don Vaughan is a freelance writer based in Raleigh, N.C. His
do it simply for the fun of it, which is fine. But altru- work has appeared in Scout Life, Writer’s Digest, Military Officer
ism—the satisfaction of knowing their work helps oth- Magazine, Encyclopedia Britannica, and MAD Magazine. He is the
ers—is one of the most common responses I hear. Kwane founder of Triangle Association of Freelancers (TAFNC.com).

I 35
FREELANCER’S WORKSHOP

HOW TO
DEAL WITH A
NIGHTMARE EDIT
BY ZACHARY PETIT

here’s an adage that a camel is a horse designed After trying (and failing) to convince yourself that

T by a committee. And, well, you might say that a

magazine article is literature designed by a com-
mittee. Usually, the collaboration between editor and
“you’ll laugh about this someday!” you get to work.
Here’s a guide—for both nonfiction and fiction writ-
ers—to corralling that fateful camel, should it ever come
writer works out just fine. But every so often, you wind marauding into your literary livelihood.
up with the camel.
After 15 years of freelancing and working smoothly
with dozens and dozens of editors, it was finally the day 1. PROCESS THE PROCESS
of the dromedary. I pitched an article to a great outlet I First things first: It’s key to understand the essential edi-
wanted to write for … and my luck ran out. torial process so you can discern between basic edits and
Now, I should add up front that having worked as their more vexing counterparts. In a nutshell, for a print
both a writer and magazine editor, I love the editorial or website article, after you flesh out the idea with your
process and the value of a solid collaboration. If any- editor and turn in a draft, the editor will assess the copy
thing, I let too much slide. I hate conflict and am largely and offer suggestions, questions readers may be wonder-
a wimp. I’m overly polite. I’ve been mistaken for being a ing, and so on, which they’ll then kick back to you. After
kindly Canadian. you address the revisions, you’ll send it back to the edi-
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

But as a career writer, your byline is all you’ve got— tor, who may do additional rounds of said back and forth
and so you better defend its honor when you’re chosen until you both arrive at the final copy, with the editor
for trial by editorial combat. cleaning up routine surface-level things like grammati-
What do you do when an editor takes your piece and cal errors, awkward phrasing, and similar items in the
nukes it, rewrites chunks of it in a different voice, intro- process. Book publishers can vary in their approach but
duces facts that are incorrect, makes use of personal pro- tend to follow a similar method.
nouns on your behalf, and publishes it without giving you The heavy-handedness of any given editor varies by
a glimpse? person. I’ve known editors who put on a butcher’s apron,

36 I WRITER’S YEARBOOK I 2024

turn Track Changes and heavy metal on, and leave words surprise: The piece was live! Confused but excited, I
screaming in horror-movie fashion. I’ve known oth- hopped online … and discovered the issues mentioned
ers who prefer not to touch anything outside of objec- earlier, and then some.
tive grammatical fixes, leaving it to the writer to make This exact scenario likely won’t ever happen to you, but
any requested tweaks (even the comically minute). If an this advice applies to any edit at any stage of the process:
editor does any substantial overhauling, rearranging, or This is the part where you’re allowed to spiral. Belt out a
rephrasing, they’ll usually give the writer a look at the few expletives. Have a day drink! If you have the luxury of
result to avoid factual errors. doing so, indulge in some retail therapy or blow off work
Usually, the process is symbiotic. After all, the writer for the rest of the afternoon and go for an expansive dog
and editor have the same goal: a great story. When I was walk. It’s cathartic—and it’s also critical to getting to the
a full-time editor, I was asked on a panel at a writing next step. The most important thing: Do not impulsively
conference if I had an editorial philosophy, a guiding reach out to your editor at this moment. The key is to first
principle. I went full Hippocrates: Do no harm. Most edi- drain the emotion from the conversation.
tors would agree.

4. WRITE IT OUT
2. WATCH FOR THE WARNING SIGNS We’re all writers here. So, write it out! Deconstruct what’s
If my guard had been up, I’d have heard the camels wrong with the piece. Write down every single thing that
grunting in the distance as they made a beeline for my bothers you about it, without paying attention to the
Google Doc. First, the editor proposed a completely veracity or egregiousness of any given item—yet. When
different concept than I had pitched. Which is fine! you have your list compiled, ranging from grammatical
I’ve asked countless writers to adjust their pitches to errors that have accidentally been introduced to verbiage
fit a particular audience or thematic issue. Problem that simply does not align with your voice, begin to orga-
was, the editor wanted this entire article to be based nize your grievances. I structured mine into four buck-
on a one-sentence headline he had written and I had ets: Factual Errors, Stylistic/Phrasing Issues, Personal
slightly tweaked … which leaves room for a gulf of Preference Quirks, Me Being Dramatic—with the level
miscommunication and misinterpretation. Next, the of urgency following those tiers. Since there was an array
examples he sent were all over the map … and didn’t of issues in the first two columns, I decided to focus
seem to provide a logical guide for what the piece should on addressing those and let the more nitpicky items go.
be. Third, responses to emails were days, and sometimes Seeing everything laid out on paper will give you objec-
weeks, apart—not uncommon for a busy editor. But also tivity and perspective.
indicative of an editor who doesn’t have a wealth of time
to spend on any given article, and maybe hasn’t truly
thought this piece through. 5. PENCIL IN ANOTHER WRITER
Do what I didn’t: Solidify and clarify everything up As you’re going about this process (especially if you have
front in writing. Ask every question. And don’t be afraid an infusion of Catholic guilt and the Midwestern people-
to take the piece elsewhere if you don’t like the answers pleasing gene, as I do), you’ll likely begin to wonder if
you’re getting back—or if you’re not getting answers. Mind the edit is really as bad as you think it is, or if you’ve just
your intuition—and don’t throw caution to the wind gotten too far into your own head. It’s a fair question—
simply because you want a new byline in your bio (guilty so confidentially consult a trusted writer friend. If
as charged!). they want to help you out, give them a recap of the
correspondence, the comments and notes on the draft
of the piece, and the final result. Ask them to be candid
3. MELT DOWN with you and provide a reality check.
I waited for further communiques from my editor … Most importantly: As you’re going through all of this,
and then I noticed a Google Alert for my name. A do not feel bad. You’re advocating for yourself and your

I 37
FREELANCER’S WORKSHOP

work. Our words live forever on the web—and we must an extreme in my career. The most important thing to
empower ourselves to fight for them. consider: Can you live with a prospective future editor
discovering the piece and judging your work based on
it? Had I pursued the nuclear option, I’d have done so as
6. CHOOSE YOUR ADVENTURE professionally as any other interaction. And that’s key:
As a writer, I absolutely hate talking on the phone—but It’s business. Edits are rarely malicious. In all likelihood,
freely acknowledge that most people are better at it than my editor was probably rushing to get pieces scheduled
me. On the page is where I feel most in control, and that before he headed out on vacation.
is a huge asset here (you also have the boon of a paper
trail). So, select the communication method that will
allow you to be your most effective, then draft the talk- 9. FOOLPROOF YOURSELF FOR
ing points or your email. Be explicit and clear about what THE FUTURE
changes you’re requesting. The biggest takeaway: As writers, we shouldn’t take any
Before hitting send or making the call, think through part of the editorial process for granted. For example: If
different scenarios. Again: You don’t want to be reac- I really ripped into someone’s piece at a magazine (and
tionary. When it comes down to it, the editing world I have, many times!), I’d send them a galley for review—
is a small place, and most editors are well-connected. mainly because I didn’t want to blindside them, but also
I thought through my reaction for: a) a measured to make sure I hadn’t damaged anything. Going forward,
response; b) an angry response; and c) a nonresponse. I’m going to ask, in writing, for a cursory glimpse of the
I’d decided that if he would make the targeted tweaks piece before publication—which would have prevented
I had requested to make the piece factually correct and this entire episode from happening.
better overall, I could live with it. If he wouldn’t, I’d
Editing is a painfully subjective game, and there is no
move on to more aggressive options (more on that in a
standard operating procedure or code of conduct. My
moment).
editor likely believed he was making the piece better.
In an ideal world, the key to solving a clash of opin-
ions with an editor is often a matter of mindset—calmly
7. DON’T GET GREEDY
working with them to split the difference, and knowing
When I sent my email requesting tweaks, I got an imme-
when to shake hands and call it a day. Some editors you’ll
diate reply … though it was one I had not prepped for: a
get along with marvelously. Others, the best thing you
vacation out-of-office. After I collected the pieces of my
can do is bid thanks and well-wishes, hop on your camel,
exploded head from various points around the house, I
and go your separate way (deploying your middle finger
regrouped and again recentered.
only if it’s part of a peace sign).
Ultimately, to my immense relief, the publication was
In the end, I may have only been able to iron out
open to the tweaks. I considered getting greedy and ven-
the humps of my camel a tiny bit—but hey, I’ve been
turing into more changes … but decided to stop while I
chuckling the whole time I’ve been writing this. As it
was ahead. As a former editor, I know how writers can
turns out, I would indeed laugh about it someday,
take a thread and keep pulling and pulling until it spins
after all. WD
into a living document. So with the goals I’d outlined ful-
filled, I called it a day.

8. CONSIDER THE NUCLEAR OPTION

(CAREFULLY) Zachary Petit (ZacharyPetit.com) is an independent journalist
whose work has appeared in Smithsonian, National Geographic,
Had things not worked out, I was prepared for the National Geographic Kids, Eye on Design, PRINT, and many other
nuclear option: asking them to either take my name off outlets. He is the former managing editor of WD and the author of
the piece, or to take it down. I’ve never had to go to such The Essential Guide to Freelance Writing.

38 I WRITER’S YEARBOOK I 2024

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FREELANCER’S WORKSHOP

FREELANCING:
WHEN—AND HOW—
TO FIRE A CLIENT
BY JEFF SOMERS

ike all awesome things in this world,1 the • Yes, you do this for money

L
YOU NEED THE INCOME.
freelance life is not for everyone.2 Making your and the clients have it. But there’s a huge difference
living as a freelance writer takes a lot of hustle between firing a client on impulse5 and firing them
and stress-tolerance, and it can be difficult to figure out after due diligence. In other words, even if a client is
how to freelance in the first place. There are plenty of a big percentage of your income, you still have all the
resources out there offering advice on finding clients, power here.
financial matters, and time management—but there’s • YOU WORRY ABOUT “BLACKLISTING.” Some freelance
also a lot of conflicting advice and plenty of gaps. writers imagine that every client in the world is part
One big gap: firing clients. One of the greatest and of a secret dark web Discord server, and you’ll some-
probably least-used freelance superpowers is the ability how get a reputation that will destroy your career.
to just stop working with clients when they’re no longer Trust me: No one knows who you are. There is no
good for you or your business.3 The first time you real- “permanent record” that follows you around.
ize that you don’t have to keep working with a difficult, • YOU’RE AFRAID OF HAVING ZERO CLIENTS. Freelance
abusive, or underpaying4 client, it’s exhilarating. But then writers get new clients all the time—every day. You
the doubts start to creep in—while you can technically can too.
fire any client at any time, many freelancers don’t use this
superpower because they worry about the consequences. How do you know when it’s time to fire that client?
There are three fundamentals to look at.

THIS WILL GO DOWN ON YOUR

PERMANENT RECORD Brief Bloat6
Let’s be clear: You will need to fire clients. It’s a skill every When you take on a freelance writing client or project, you
freelance writer will eventually have to acquire. But even determine the parameters of the work. You have a pretty
experienced freelancers are often reluctant to fire clients clear idea of the work you’re doing and the compensation
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

for a lot of reasons that don’t actually make any sense: you’re getting in exchange. Brief Bloat is the maddening

1. For example: Whiskey, disco, poutine, cat butts, sleeping in, nachos—you get the drift.
2. It requires an encyclopedic knowledge of useless trivia and the ability to use the word “impactful” without shame.
3. Or for literally any reason at all. For example, because they keep insisting you turn on your video during calls to prove you’re actually wearing pants
as requested.
4. I originally typed “cheap-ass” here but then paused and thought, No, stay classy, Jeff.
5. Younger generations will never understand what we lost when we stopped being able to slam landline phones down in anger to hang up on people.
6. No, this does not describe a pantsless Jeff Somers waking up in his underwear after a crazy weekend. At least, not this time.

40 I WRITER’S YEARBOOK I 2024

process by which the amount of work you’re asked to do when a client’s not healthy for you. Whatever the rea-
increases by tiny increments over time, increments that son, sometimes you’ll want—need—to fire a client solely
are often trivial and easy to overlook.7 Eventually, those because you’re having anxiety attacks every night think-
small, trivial increases coalesce into significantly more ing about your next interaction with them. It’s never
time and effort—but your compensation has stayed worth that kind of stress.
the same. If your client refuses to recalibrate your rates
or snap back to the previous scope of work once you
diagnose Brief Bloat, it’s time to fire that client—they’re HOW TO FIRE A CLIENT
taking advantage of you. Firing clients is easier than you think. Here’s how to do it:
1. PLAN AHEAD. Calculate how much of your income
the client represents and look for a way to replace
Time Suck
that revenue, at least in the short-term, or make a
This is what happens when you underestimate how much
plan for surviving without it.10
time a writing project is going to take. Proper compensa-
2. ADDRESS THE ISSUES. As a freelance writer, you are
tion for freelance writing is about more than just word
free to fire clients at will—but it might be worth it
rates or flat rates per piece—what you’re actually selling
to consider potential remedies. For example, if the
is your time. Your ability to write coherently and per-
client demands multiple revisions that eat up your
suasively simply makes that time more valuable.8 When
time tell them that going forward there will be a
a writing gig takes longer than expected, the hourly
defined number of revisions. If they accept the new
wage you’re being paid for your time goes down—and
arrangement, you might not need to fire them at all—
you have less time for other work, making it a double-
this time.
whammy on your income.
3. BE DIRECT. If the issues can’t be dealt with, don’t ghost
If your client misled you about the amount of work
your client. Contact them and be direct about what’s
required, it’s time to consider firing that client. If you
happening. But remind yourself that you don’t owe
made the miscalculation,9 you should honor your agree-
them anything beyond what you’ve agreed to—if
ment—and consider how you can make a more accurate
necessary, politely remind them that they are not
calculation next time. But it doesn’t make sense to carry
your boss, and you are not their employee.
a client who is underpaying you. If there’s no way to
4. BE PROFESSIONAL. This client may have driven you to
renegotiate, you should bite the bullet and fire the client
day drink,11 and you may leave the relationship deter-
as politely as possible.
mined to never think of them again, but it’s always best
to be professional. Don’t overexplain yourself hoping
for absolution, don’t get personal or let your anger and
Mental Health
resentment set the tone. Simply inform them that your
Finally, there are clients who are simply absolute hell to
business is going in a new direction, and you can no
work with. There are a lot of ways a client can be bad for
longer work with them.
your mental and emotional health—but it doesn’t matter.
You’re in charge of your well-being, so you get to decide Firing a client is never pleasant, but it’s often necessary—
and usually has a positive effect on your career and job
satisfaction. The key element is convincing yourself that
7. I am particularly sensitive to Brief Bloat because my personal philosophy
of life—acquired in high school—is MEMO: Minimum Effort, Maximum you have the power to do it. WD
Output.
8. Unless you’re me: My time is valuable because no one else can fit as
many pants-related jokes into a single article.
9. I will echo what every freelance writer has thought throughout history: I
was told this career involved no math.
10. For example, every writer knows eating every day is not really necessary. Jeff Somers (JeffreySomers.com) is the author of The Electric
11. Whenever my wife catches me day drinking, I just mutter “Clients!” and Church, eight other novels, and the writing guide Writing Without
burst into tears. Works every time. Rules (WD Books).

I 41
BOOK BUILDING

DOUBLE THE FUN

Writing a manuscript with dual points of view can be a
challenge, but it can also be rewarding for both you and
readers if it serves the story. Here’s how.

BY BRIAN D. KENNEDY

W
e’ve all heard it said before: There are two two characters in a scene, who maybe don’t trust each
sides to every story. Sometimes writers take other or are hiding things from one another, it height-
this adage quite literally when they decide the ens that tension.” He went on to add, “It’s easy for one
novel they’re dreaming up would best be told through two character to assume what the other is thinking, but it’s a
different perspectives. Writing from the vantage point of special kind of connection readers get when they know
two narrators, or dual points of view (POVs), can add a the truth.”
richness and complexity to your story that a single point Once you have your “why,” it’s time to figure out
of view may not. Imagine if we only had Nick’s side of the your “hows.”
story in Gillian Flynn’s Gone Girl. Or only Amy’s. Without
dual POVs in Alison Cochrun’s The Charm Offensive, we
might have only experienced half the humor, half the heat. HOW DO I DECIDE WHO MY TWO
Of course, writing from two perspectives can also feel NARRATORS ARE?
like twice the amount of work. In order to successfully At first glance, this might seem like a no-brainer. If you’re
pull off this kind of narrative, you’ll need to have two writing a romance, it makes sense that your two POV
separate character arcs, two plotlines that intertwine or characters are going to be the ones who fall in love. But
converge, and two distinct voices and personalities. So, the real “how” that you should be asking yourself here
before putting in all that effort, it’s probably helpful to is, How do these two specific narrators fit into the mold of
ask yourself one very important question: Why? being a main character or protagonist?
Why would this story benefit from being told in For a reader to be fully invested in a protagonist, there
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

two points of view? Would a second perspective add needs to be growth. The person your character is at the
a layer of something that couldn’t be achieved with beginning of the novel is not who they should be at the
just one? More dramatic suspense? More romantic end. If Love Interest A has a richly developed character arc
tension? A better exploration or depiction of the novel’s and Love Interest B remains flat, you’ll quickly run the risk
overarching theme? of readers skimming over Love Interest B’s sections.
When writing his queer post-apocalyptic romance All While both narrators should have their own compel-
That’s Left in the World, Erik J. Brown knew dual POVs ling arc, that doesn’t necessarily mean they’ll take up
would make for a more gripping story: “When there are the same amount of space on the page. For a romance,

42 I WRITER’S YEARBOOK I 2024

it usually makes sense to have co-protagonists. For a No matter how you end up visualizing your plot,
thriller, perhaps your narrators are the protagonist, who here’s where you can save yourself some trouble before
is your primary POV, and the antagonist, who takes on a drafting. If you have one primary protagonist, they
secondary, though equally engaging, role. Perhaps you’re should probably be the one to take us through the
writing a novel with dual time lines, where one character major points of the novel, like the inciting incident
carries the bulk of the story in the present, and the other and the climax. If you have co-protagonist, they
gives us a glimpse into something that happened in the should probably both be involved. If your outline isn’t
past. No matter the size of the role, the key is to make reflecting this, you may want to reconsider your plot, or
sure each POV adds something to the story. ask yourself if your story would work better as a single
If you’re unsure who your primary POV should be, POV narrative instead.
three spots that can point you in the right direction are If you’re lucky, you might even find that plotting two
the opening chapter, the climax, and the end. Does one POVs is easier than one. Angela Velez felt like she had
POV dominate those sections? That’s most likely your a “secret cheat code” while outlining her contemporary
primary protagonist. (Even when using co-protagonists, novel Lulu and Milagro’s Search for Clarity: “My goal
like in a romance, one character usually has a larger with each chapter was for one sister to undermine the
change to make, or greater obstacles to overcome, which other, either by unhappy accident or on purpose. This
tie into the overall theme of the book.) ping pong approach forced me to constantly brainstorm
moments of humor and hijinks, because the sisters were
always making and cleaning up each other’s messes.”
HOW DO I FUSE MY TWO SEPARATE
CHARACTER ARCS INTO ONE STORY?
Now that you know who your narrators are, welcome to HOW DO I PUT MY OUTLINE INTO
the hard part. Not only do you need two fully realized PRACTICE?
character arcs, but they also need to fit into one If you’ve ever tried outlining a story before drafting, you
coherent plot. probably already know that things tend to shift and
If you’re a pantser (someone who writes “by the seat change before you can type “The End.” (If you’re a metic-
of their pants” instead of outlining), you may be tempted ulous outliner who never deviates … congratulations,
to skip this part. I envy your confidence and courage, but what it’s like to be the sparkly unicorn of publishing?)
suggest you still do some reflecting first. Whether you Staying malleable while drafting your manuscript is
use the three-act structure, beat sheets from Save the Cat, a good thing. When I first started writing what would
or a strange alchemy of craft advice you’ve collected over end up becoming my debut novel, a dual-POV rom-com,
time, outlining each character’s journey—and thinking I was dead set on having my co-protagonists alternate
about how they fit together as a whole—can save you every other chapter. I quickly ran into a problem. Love
from trouble farther down the road. Interest B had major plot points happening in Chapters 2
The biggest concern most writers have while crafting and 4. Love Interest A, meanwhile, spent all of Chapter 3
a dual-POV narrative is figuring out what character tells driving around in his car, reminiscing about a failed rela-
which parts of the story. The first time I tried my hand tionship. It slowed the story down. Later, when I called
at it, I found it helpful to write each scene on a notecard. my agent for advice, she kindly but firmly reminded me,
If only one POV character was in that scene, their name “You’re the writer, you make the rules.” I tried to argue
went on the card as well. If both of my POV characters with her: “But I like the symmetry! I’ve seen other books
were involved, I had a decision to make. The general rule make it work!”
of thumb is that whichever character has the most at Eventually, as I got further into my draft, I knew I
stake, or will be most affected by the scene, should be the had to take her advice. Out went the chapter where my
one to narrate. If my answer ended up being both char- character was driving, along with any other section that
acters, they each got their own card for that particular didn’t move the story forward. Figuring out how to tran-
scene. Afterward, I laid out all the cards and put them in sition back and forth between POVs can be a tricky bal-
sequential order, giving myself an overall view of my plot. ancing act. You want to give the reader enough time to

I 43
BOOK BUILDING

feel grounded and invested in both viewpoints, but you sound different from one another? Mapping out their
also have to make sure the story never becomes stagnant. differences is a good place to start. What are their
One aspect that can be particularly challenging is backgrounds? Someone who lives in a rural environment
when an important scene or plot point overlaps between is going to have a different outlook than someone who
both POV characters. In a romance, this could be their lives in an urban one. Someone who grew up with a lot
first kiss. Obviously, each protagonist is going to have a of money is going to act different than someone who
strong reaction in that moment. But retelling the same grew up with very little.
scene from two sides could easily get repetitive. (Though Not only will you want to examine differences like age,
it could work for some genres, especially if it reveals gender, sexuality, ethnicity/heritage, religious beliefs, and
something we didn’t get from the other POV.) socioeconomic status … you can also dig into their per-
When in doubt, always give the scene to the character sonality traits and interests/hobbies. An uptight botanist
with the most at stake. (If you’re still not sure who that is, who likes doing puzzles to unwind is going to have a dif-
you might have to try writing the scene from both POVs ferent POV than a melancholic dogwalker who aspires to
to figure it out.) Once you have your narrator, though, it break into screenwriting. The more differences you can
doesn’t let your other character off the hook. If the kiss find for your characters, the easier you’ll make your job.
was from Love Interest A’s point of view, we’ll still want (Opposites attract is a popular romance trope to write for
Love Interest B’s reaction to it. Maybe their next chapter a reason.)
picks up immediately after the kiss. Or maybe you show Once you’ve dug deep into your characters’
them distracted at work the next day, daydreaming (if backgrounds and identities, you can apply that to
the kiss was good), or still cringing (if it was bad). how they think, talk, and move on the page. In her
While you want to keep your story moving and fresh, contemporary novel This Place Is Still Beautiful, XiXi
it’s also important to maintain some continuity with the Tian let the divergent personalities of her narrators guide
emotional beats you hit. For her fantasy novel Revelle, how they expressed themselves: “One sister was older,
Lyssa Mia Smith didn’t want her readers to feel too more serious, and reflective … she thought in shorter,
jarred while transitioning between points of view. “If one sparser sentences. The younger sister was more reactive
chapter ended on a point of tension/anxiety, I tried not and emotional, and her perspective came out as more
to start the next chapter on something light/upbeat … descriptive, less closed off.”
Readers will hardly notice the shifts in POVs if they have
Writing dual POVs might take a lot of planning and
a strong emotional thread to follow.”
work. But when done right, it can open up your novel
and give readers a narrative that feels twice as exciting,
twice as satisfying. After all, to quote another common
HOW DO I MAKE MY CHARACTERS
adage: Two heads are better than one. So if it works for
AND THEIR PERSPECTIVES SOUND
your story, don’t be afraid to let more than one character
DIFFERENT AND UNIQUE?
have their say. WD
One of the most dreaded critiques when writing dual
POV is readers not being able to tell which character
is narrating at any given time. There are a few choices
you can make up front to help orient your readers: Tag
each section to show whose it is. Use a different tense
for each character (if that works for your story). Write in
third person, which will allow you to use the characters’
names more often. But even then, you still need to find a
way to make both POVs sound unique or else you’ll run
the risk of not engaging readers. Brian D. Kennedy (BrianDKennedyBooks.com) lives in New York
City with his husband and their miniature Schnauzer. When not
The thing that will truly help set your narrators writing, he can be found working at an LGBTQ nonprofit and
apart is voice. It’s your secret weapon and your obsessing over all things Dolly Parton. A Little Bit Country is his
biggest challenge. How do you make your characters debut novel.

44 I WRITER’S YEARBOOK I 2024

 E A R LY-BIR D DE A DLINE:
M AY 6, 2024

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BOOK BUILDING

NAILING YOUR GENRE’S

VOICE AND TONE
Learn how a careful combination of character personality and
sentence flow can shape two critical aspects of writing craft.

BY JORDAN RO SENFELD

E
very genre has a relatively unique signature or style (CONTENT WARNING: This section refers to an act of
that readers come to expect, known as voice and child abuse.)
tone, which make it possible to identify the genre
The first time you hit me, I must have been four. A
within a few pages. Voice is like the personality of your
hand, a flash, a reckoning. My mouth a blaze of touch.
character leaping off the page, and tone is how you want
The time I tried to teach you to read the way Mrs.
people to feel when they read your book.
Callahan taught me, my lips to your ear, my hand on
Nailing your genre’s voice and tone will not only make
yours, the words moving underneath the shadows
sure you’re meeting readers’ expectations, but it can
we made. But that act (a son teaching his mother)
increase your chance of publication. We’ll explore what
reversed our hierarchies, and with it our identities,
these two terms mean, with illustrations from contempo-
which, in this country, were already tenuous and teth-
rary fiction.
ered. After the stutters and false starts, the sentences
warped or locked in your throat, after the embarrass-
ment of failure, you slammed the book shut.
VOICE EMERGES FROM CHARACTER
Voice has become something of a buzzword that you Though this character is recounting pain, the voice
might find confusing, but in literature, it refers to the is not martyred or only hurt; it is understanding. He
mixture of vocabulary, tone, point of view, and syntax is already making poetry out of his pain in the words,
that makes phrases, sentences, and paragraphs flow in a “My mouth a blaze of touch.” He knows why his mother
particular manner. behaved as she did, in “reversed our hierarchies” and
Voice is also an amalgam of the tastes, interests, ter- “identities” that, as immigrants, “were already tenuous
rors, and desires that shape the personalities of your and tethered.” We are introduced to a voice that is truth-
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

characters. telling, but not condemning.

Nailing voice is more than just writing great sen-
tences; it’s getting to know your character, how they
think, and how their experiences have shaped them at ELEMENTS THAT DISTINGUISH VOICE
their deepest level. What makes one character sound different from another,
Take this example from Ocean Vuong’s On Earth and one writer unique to another, comes down to some
We’re Briefly Gorgeous, an epistolary novel written basic details we can parse out and intentionally use in
from a son to his mother as he explores their traumas. our writing.

46 I WRITER’S YEARBOOK I 2024

Syntax and Word Choice Voice in Dialogue
Syntax literally refers to how you structure your sentences, If you struggle to identify your character’s voice, turn to
and word choice refers to the kinds of vocabulary you use. dialogue, which can be an easier place to develop and
Here’s an example from Barbara Kingsolver’s new “hear” character voice. Know what they would say as
novel, Demon Copperhead (a nod to David Copperfield
much as what they wouldn’t and how they’d say it.
by Charles Dickens). Protagonist Damon is an
One of my favorite characters in recent literature is
Appalachian teen, born to a mother with drug and alco-
hol struggles and an absent father, who gains a world- Hennessy, a “dreamer” in Maggie Stiefvater’s YA fantasy
weary precociousness through his many traumas. Notice series The Dreamer Trilogy who can bring dreamt
how the very sentence construction and word choices objects into reality. She’s also a world-class art forger.
make this character sound older than his years: Hennessy, who had a rough childhood, defends herself
behind humor and sarcasm. She can be sharp, biting,
My thinking here is to put everything in the order of
how it happened, give or take certain intervals of a ironic, and hilarious. But you can always feel the defense
young man skunked out of his skull box, some dots behind it. In the third book of the series, Greywaren, she
duly connected. But damn. A kid is a terrible thing to has an exchange with an uptight art gallery/secret society
be, in charge of nothing. of art dealers head named Jo Fisher:

“I thought you wanted a forger,” Hennessy replied.

Character Personality Shining Through
Some characters just leap off the page, unforgettably Jo gestured vaguely at the walls around them.
who they are, and this comes through in how they think “And I thought you wanted this.”
and speak. Myriam Gurba’s memoir Mean—which is “What every child dreams of: a rigged career in
described as “true crime, memoir, and ghost story” about the arts.”
her “coming of age as a queer, mixed-race Chicana”—is “A child’s guide to the economy, by Jordan
written in a series of essays. Hennessy,” recited Jo Fisher.
Nothing says you have a career in art, especially an “Ow.”
unpaid one, like swaddling yourself in a shapeless
Later in the conversation, Hennessy circles back and
black shroud. An art history teacher was coming to
makes fun of Jo in the way that Jo made fun of her:
lecture us on the Japanese art exhibit he’d helped
install, so that morning I’d slipped on a black blouse, “… We’re really just a bunch of businesspeople trying
black skirt, and black shoes. My hair color did not to make the world run a little more smoothly while
require alteration. Neither did the color of my soul. paying our mortgages.”
Her personality comes across as a little sarcastic and “Mortgage! You don’t have a mortgage,”
wry, one that pokes fun both outwardly and inwardly. Hennessy shot back. “You have a dead houseplant, a
Voice is also shaped by: personal massager, and a two-year lease for a place
• The character’s personal lexicon, which dictates what you never sleep in.”
words, idioms, phrases, and word choices they make. Jo Fisher glared.
• A character’s education, their worldview, or skills (or Hennessy smiled widely. She added, “A child’s
lack thereof) at interpersonal communication. guide to adult relationships, by Jo Fisher.”
• Their regional accent and/or colloquialisms, indicat- “I think we’ve gotten off on the wrong foot,” Jo
ing the character’s geographic origin. Fisher said …
• Jargon related to a profession, a vocation, or hobby.
• The need to “code switch”—the need to speak and The better you get to know your characters, the more
behave differently based on situation and context. clearly you’ll be able to identify and shape their voices.

I 47
BOOK BUILDING

WHAT IS TONE AND HOW DOES IT (and, by extension, the genre). To help you out, I’ve
RELATE TO GENRE? bolded some of them:
If voice is how your character’s personality shines
There’s a body on the Gurney Street tracks. Female,
through in syntax and word choice, tone is an attitude
age unclear, probable overdose, says the dispatcher.
the writer takes or the mood the writing conveys. In
Kacey, I think. This is a twitch, a reflex, something
every genre there are expected tones. We expect a sharp and subconscious that lives inside me and
mystery to be serious, a thriller to be dark and edgy, a sends the same message racing to the same base
rom-com to be lighthearted (and yes, there are writers part of my brain every time a female is reported.
who upend these expectations, like Janet Evanovich or
Carl Hiaasen who write hilarious mysteries). The language is straightforward and matter of fact.
Often, we don’t think about tone until we receive cri- It sounds like cop speak. Just the facts, delivered almost
tiques suggesting that the tone is off or doesn’t match the dispassionately. There’s only a hint of emotion when she
content. It’s best to think about what tone you want to set thinks of “Kacey” but even that is described as a message
from the start, but you can work on it in revision, too. to the brain, not an emotion in the heart.
Look at this example from Walter Mosley’s short story Here’s another example from the Pulitzer Prize–
“Crimson Stain,” added to an edition of Devil in a Blue winning literary novel Less by Andrew Sean Greer.
Dress, an Easy Rawlins mystery: Literary novels focus on language and character
development before plot and tension. Here, the
I staked out a perch on a faded blue sofa. Moms protagonist, Arthur Less, has taken an adjunct teaching
settled across from me on a bright yellow chair. She gig in Germany, but his German is not great. Therefore,
smiled and shook her head with real pleasure. he unwittingly makes some hilarious mistakes:
“Jackson talk about you so much I feel like we’re
“I am your Mr. Professor.”
old friends,” she said. “You and that crazy friend’a
He is not. Unaware of the enormous difference
yours—that Mouse.”
between the German Professor and Dozent, the for-
Just the mention of his name caused a pang of
mer being a rank achieved only through decades of
guilt in my intestines. I shifted in my chair, remem-
internment in the academic prison, the latter a mere
bering his bloody corpse lying across the front lawn
parolee, Less has given himself a promotion.
of EttaMae Harris’s home. It was this image that
“And now, I am sorry, I must kill most of you.”
brought me to the Compton brothel.
With this startling announcement, he proceeds to
The tone is serious and sad. Within the first couple weed out any students who are not registered in the
pages, there’s mention of a bloody corpse, a murder, and Global Linguistics and Literature Department.
guilt in his intestines, as Easy is trying to get information In Less, the tone is wry, ironic, learned. You could
from a brothel. We aren’t being guided to laugh—we’re even say academic. It feels like something that will
led to feel serious. require more attention to read, rather than a breezy
beach read or fast-paced thriller.
Create Tone Through Specific Word Choices
or Sentence Structure Create Tone Through Characters’
Tone also can dictate word choices and sentence struc- Observations
ture—a hard-boiled detective novel may not typically Tone also comes through in character’s observations of
have a lot of lyrical long sentences. A humorous novel the world and people around them. Voice and tone often
may rely on short punchy sentences or funny juxtaposi- intersect here, as the POV character’s voice communi-
tions. Different genres may even rely on different word cates a mood or attitude through observation.
choices and sentence structure. Here’s an example from Tess Gerritsen’s medical
In the mystery novel Long Bright River by Liz Moore, thriller I Know a Secret, from the Rizzoli & Isles series.
notice some of the word choices that cue us to the tone Maura Isles is a medical examiner who gets drawn into

48 I WRITER’S YEARBOOK I 2024

a new case in each book that she will be instrumental in “Nik! Put your phone down, you can’t miss this!” He
helping solve. In this book, the case is personal. Thrillers threw his arm around her and kissed her on the
often explore such themes as good and evil, humans ver- cheek. She pressed save and tucked her phone back
sus monsters, and the tone of Maura’s observations are in her pocket. His favorite baseball player must be
very much in that vein: coming up to bat or something.
She looked down at the field but nothing was
Even monsters were mortal. going on there. She followed Fisher’s pointed finger
The woman lying on the other side of the window and looked up at the scoreboard, just in time to see
might appear to be as human as all the other patients on the screen:
in this intensive-care unit, but Dr. Maura Isles knew NICOLE: I LOVE YOU. WILL YOU MARRY ME?
only too well that Amalthea Lank was indeed a mon- FISHER.
ster. Behind the cubicle window was the creature who
stalked Maura’s nightmares, who cast a shadow over The voice is conversational, casual. The tone is light-
Maura’s past, and whose face foretold Maura’s future. hearted, focused on feelings. We expect a romance novel
Here is my mother. to focus on relationships, interactions between charac-
ters, discussions of emotions and love and the like, as
well as to deliver emotional ups and downs.
GENRE DIFFERENCES In Stephen Graham Jones’ horror novel The Only Good
Now that you have a sense of voice and tone, let’s finish Indians, Lewis, a Blackfeet man who has a guilty con-
by looking at a few different genre examples. Notice their science about killing a pregnant elk, has a vision of that elk
voice and tone differences, and how you could probably while he’s cleaning a ceiling fan in his home. The passage
identify the genre from these passages alone. zooms in close on details that conjure the elk’s death:
In book two of N. K. Jemisin’s Broken Earth fantasy And Lewis knows for sure she’s dead. He knows
series, The Obelisk Gate, she creates a unique world with because, ten years ago, he was the one who made
different physics, natural phenomena, and even biology: her that way. Her hide is even still in the freezer in
What is it that tugs at her mind? The feel of it is irri- the garage, to make gloves from if Peta ever gets
her tanning operation going again. The only real
tating, gummy, as if something is caught in her hair
difference between the living room and the last time
and needs to be yanked free. The sensation is cen-
he saw this elk is that, ten years ago, she was on
tered in her sessapinae—no. Deeper. This tugs at the
blood-misted snow. Now she’s on a beige, kind of
light of her spine, the silver between her cells, the
dingy carpet.
threads that bind her to the ground and to Found
Moon and to Schaffa and to the sapphire that hovers The voice is authoritative, plain spoken, therefore
just above the clouds of Jekity, visible now and again when we get to the unnerving, horror bits, the tone is
when the clouds break a little. The irritation … is … it even scarier.
is … north. Though voice and tone both take some conscious con-
Something is happening up north. sideration and finesse, the more you pay attention to the
The voice is wise and knowing. The tone is serious personalities, attitudes, feelings of your characters, the
and suspenseful. Fantasy often cues us as to its genre by mood and energy you want to convey, and those that
introducing fantastical elements immediately. your genre demands, the more likely you will be to nail
In Jasmine Guillory’s romance novel The Proposal, both voice and tone. WD
Guillory delivers an opening scene in which protagonist
Nik Paterson, who is falling out of love with her boyfriend
Jordan Rosenfeld is the author of the forthcoming novel Fallout
Fisher, receives a marriage proposal from him at a Dodger (Running Wild Press), three other novels, and six books on the craft
game that is broadcast on the screen for all to see. of writing, most recently How to Write a Page Turner.

I 49
BOOK BUILDING

THIS CHANGES
EVERYTHING
Five steps to approach writing your
story’s inciting incident.

BY RAN WALKER

Y
ears ago, when I first began studying plot struc- In short, the inciting incident is the event that triggers
tures, I came across the Freytag Plot Pyramid, the shift from the exposition to the rising action. If the
a triangular structure that contained five ele- exposition shows us a normal day in the life of the char-
ments: exposition, rising action, climax, falling action, acter, then the inciting incident serves as the catalyst for
and denouement. Suddenly aware of this structure, I when that normal day shifts into a world full of conflict
began to notice it in various books and films I enjoyed. I or a series of obstacles the protagonist must now con-
even noticed its usage in many of the comedies I watched. front. While some people consider the inciting incident
The first time I saw the movie Friday, I marveled at how to be a part of the exposition, others view it as a missing
seamlessly I was able to learn the backgrounds of the ingredient from the plot diagram. Either way, few, if any,
characters, as well as their motivations, within the first writers would disagree that it is a necessary component
few minutes of the film, each of the elements of Freytag’s to writing a good story.
After writing 30 books, many of them in which I had
Plot Pyramid falling neatly into place. I would later come
to strongly consider this particular point, I have come
to understand that these elements are often expected by
to understand that there are five key things that have
the audience, so when they are absent, a viewer or reader
guided me and that I feel other writers should consider
might say they didn’t really enjoy a story or film due to a
when it comes to using the concept of the inciting inci-
particular part of the plot that failed to measure up to their
dent in their own works.
expectations, or maybe there was something about the
ending that they felt just did not work.
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

When I began to employ this newfound (to me) plot 1. DON’T RUSH TO IT.
structure in my own writing, I quickly confronted a As writers, we often have a strong idea of what we want
question: How does a writer help the reader to navigate to happen in a story. We also understand that our read-
from the exposition to the rising action? At best, that’s a ers might not be particularly patient when it comes to
bit of a leap to go from setting up a story to cranking up getting to the good parts of the book. As a result, we
the conflict. I would later understand that this missing use techniques like in medias res or the use of carefully
component of the plot pyramid was something com- crafted, engaging first sentences that push the plot fur-
monly referred to as an inciting incident. ther along. All of these things are wonderful techniques;

50 I WRITER’S YEARBOOK I 2024

however, the plots, especially for longer works, tend to 3. USE YOUR EXPOSITION WISELY
come back around to the idea of setting up the core con- TO SET UP YOUR STORY FOR THE
flict of the story at some point, thereby requiring some INCITING INCIDENT.
kind of inciting incident. Knowing that you have that Just because we are aware of the need for the incit-
element to look forward to when you begin writing, you ing incident doesn’t mean we shouldn’t spend the time
might feel tempted to zoom past the other exposition carefully crafting how we arrive at this point. Carefully
in the story to get to that moment. I whole-heartedly crafting your exposition is akin to not only driving there
understand where that notion originates, but the exposi- (which is essentially the focus of my first point), but also
tion allows us to understand and appreciate the charac- doing this in style. It goes without saying that pacing
ters enough to care about what they are going through. and style are not necessarily synonymous, but they do
As a result, you can pace yourself as you work to get to impact each other. How you layer in the exposition can
that point of the story. We don’t want to unnecessarily affect the impact of the inciting incident when it does
drag our feet, but we definitely don’t want to run toward arise. One of my favorite short stories to teach my stu-
the inciting incident so quickly that we can’t appreciate dents, Charles Waddell Chesnutt’s “Baxter’s Procrustes,”
how we arrived there. is an excellent example of this. The story is about a group
of literary aficionados calling themselves the Bodleian
Club and a mishap that happens with one of its mem-
2. DON’T RUSH PAST IT. bers. The story is narrated by one of its members, Jones,
Just as you had to patiently navigate yourself toward who gives a detailed background of the club and its value
the inciting incident, you will also want to avoid run- so that when we encounter the inciting incident, we can
ning past it. The inciting incident is a pivotal part in the appreciate the magnitude of the dilemma that will fol-
story. The weight you are about to place on the shoulders low. “Baxter’s Procrustes” might have one of the longest
of your protagonist should be understood and appreci- sections of exposition I have come across in a short story
ated by the reader. Full empathy for the character comes in quite some time, as it is meticulous about establishing
when the reader is acutely aware of the stakes involved the mood and tone of the story. In fact, a casual reader
in your story, from where the stakes arose, and what might not even recognize the exact moment in which
choices the character will have to face to move forward. the inciting incident occurs—or whom the protagonist
In the aforementioned movie, Friday, the inciting really is, for that matter. The inciting incident is far more
incident occurs when the protagonist is offhandedly impactful, not just because of the pacing, but the manner
dragged by his best friend into efforts to pay an ice in which the exposition was developed while reaching
cream truck-owning weed dealer back a certain sum the inciting incident.
of money. Prior to the dealer’s arrival, our protagonist, In my second novel, 30 Love, I used this technique to
Craig, was having a regular day (or as regular a day as establish the events of the novel. The inciting incident
he could have, given that he’d been fired on his day off ). of that book is when Dizzy asks Lailah, his best friend
The notion that Craig has been dragged into the hijinks of 30 years, to marry him, based upon an off-handed
of his best friend, Smokey, immediately kicks off the agreement they’d made 10 years earlier. In building up to
struggles that will propel his character through the rest this turning point, I establish the nature of their friend-
of the movie. Still, in that moment of discovering the ship and how they have interacted with each other over
obstacles that lay ahead, the character is given a moment the years through the telling of how they celebrate their
to allow this alteration to his daily plans to sink in. One joint birthdays (since they were born on the same day
might also view this breathing space as the opportunity to parents who were best friends, as well). By using the
for the character to completely digest his situation exposition more efficiently, the inciting incident carries
and get a glimpse at the obstacles that lie ahead. We as much more emotional resonance when it occurs, espe-
viewers or readers get to share this moment, and that cially since Lailah’s response is not a foregone conclusion.
shared recognition of the inciting incident is what allows Inciting incidents are more likely to hook the reader
us to root for the character even more enthusiastically when readers are invested in the characters, so make the
going forward. most of your exposition.

I 51
BOOK BUILDING

4. RECOGNIZE WHAT THAT MOMENT text, they might turn to the snapping of the rope as this
MEANS FOR YOUR CHARACTER. turning point, but using the definition I stated earlier,
Now that we have arrived at the inciting moment, how the point at which Peyton Farquhar’s life takes a turn
does this moment affect your character? This is not away from the normal is when he decides to help the
merely a question of what the character should do; it Confederate cause by taking the information shared to
must also take into account how the character’s person- him by an undercover federal scout and do something
ality is equipped to deal with this turning point. Some bold and punishable by death if he’s caught (which,
characters will willingly accept the charge and move spoiler alert, he is).
forward. Others might piddle around trying to make As I consider my own microfiction, I realize that hav-
sense of how to proceed. Whatever reaction the charac- ing an understanding of where the inciting incident is
ter has to this inciting incident should be explored and will help me to write tighter stories. Many of my stories
understood, as it will usually factor into how the charac- occur after the inciting incident would have, theoreti-
ter elects to approach the obstacles of the rising action. cally, occurred. This is by design, as much of microfic-
It is always good to know what makes your character’s tion is about implication. Still, in the absence of showing
reaction unique in that moment, given what you have it, my stories are much stronger because I still recognize
developed about them in the exposition of the story. For that it’s there, just like an implied “you” or implied “that.”
example, in Kate Chopin’s short story “The Story of an Whether or not you choose to actually have the incit-
Hour,” we meet a woman who has just learned her hus- ing incident as a part of your story in a direct way, you
band has passed away in a train wreck. Her grief quickly should still have an understanding of what caused the
turns way to relief, as she has a chance to really consider change in your text and set in motion the conflict that
what his death will mean to her regaining her freedom to will anchor your story. This harkens back to the theory
be something other than his wife. Without giving away of the iceberg, where most of your story is underwater
the story’s conclusion, it is worth pointing out that the and never actually seen by the reader, yet it is incredibly
protagonist’s reaction to this inciting incident is a big important to the writer, especially in terms of how they
part of the story’s plot. As you write your inciting inci- choose to craft the portion of the story that is seen by
dent, it would be helpful to keep in mind how your char- the reader.
acter will respond to this.

FINAL THOUGHTS
5. ALWAYS UNDERSTAND WHAT YOUR My wife is fond of telling me that it’s important to know
INCITING INCIDENT IS, EVEN IF YOU your why when it comes to doing things. Understanding
CHOOSE NOT TO SHOW IT IN THE the purpose and the function of an inciting incident is
ACTUAL STORY. essentially having a complete grasp of your character’s
There are numerous stories, whether due to their why. Why is this situation important to your character?
length or the style of structure they employ, that sim- Why does your character choose to react to this situa-
ply do not illustrate the inciting incident directly to tion in this particular way? Why does the character feel
the reader. Instead, the inciting incident is implied compelled to follow this trail of conflicts in the quest for
and understood upon a closer reading of the text. A a resolution? There is a certain logic that arises when you
good example of this is Ambrose Bierce’s short story are acting from an understanding of the why, and this
“An Occurrence at Owl Creek Bridge,” a classic tale in understanding and appreciation of inciting incidents will
which a Confederate sympathizer is put to death. What help you to deliver the stories you long to tell in a way
he did, however, is never directly stated in the text, only that has a greater chance of satisfying your readers that
implied, yet those very actions have created the situa- much more. WD
tion in which he finds himself. Of course, this reading
Ran Walker (he/him) is the author of 30 books, including Spaceships
of the story only comes from considering the totality of Don’t Come Equipped With Rearview Mirrors: 50-Word Stories. He
the plot (including those things that occur “offstage”). teaches creative writing at Hampton University and lives in Virginia
For readers who seek an inciting incident within the with his wife and daughter.

52 I WRITER’S YEARBOOK I 2024

HOW TO WRITE
A DYNAMITE
LAST CHAPTER
Analyze the final chapter of five classic novels to see how you
can apply their compelling techniques to your own writing.

BY ELIZABETH SIMS

W
hen I was a newer writer, I bought a drink for Although exactly what constitutes “how it ends” var-
a famous old novelist at the hotel bar after a ies from book to book, all you really need to take care of
long conference day. When he’d consumed are two basics:
half of it, I asked him for advice on crafting good, satisfy-
• Wrap up your main plot elements.
ing final chapters.
• Show your characters experiencing the comfort or
He snapped, “Your ending depends on your begin-
discomfort they deserve. “Just deserts” for everyone.
ning and middle!”
Yeah, no kidding. Even I had that much common sense. (By the way, note the spelling of deserts, just above.
He did add, “Thanks for the drink.” It’s not desserts, as in cherry pie after dinner, but deserts,
But I wasn’t asking simply about “endings.” A last line meaning what is deserved.)
can comprise an ending. Short stories are great for one- Those two basics can be shortened into climax and
liner endings: denouement. Climax being the highest, most intense
He had never slept in a better bed, Rainsford point in the story, and denouement being the outcome.
decided. Last chapters are special and important. There’s some-
—“The Most Dangerous Game” by Richard thing about them that demands their own scrutiny and
Connell study, their own techniques and tactics. Your closing
chapter is where your book takes a deep breath, lifts your
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

“Villains!” I shrieked, “dissemble no more! I admit the

readers on its back, and brings them home.
deed!—tear up the planks!—here, here!—it is the
Last chapters fall into two categories:
beating of his hideous heart!”
—“The Tell-Tale Heart” by Edgar Allan Poe • One that includes climax and denouement, if any;
• One that’s basically denouement and wrap-up, the
On the other hand, endings can consist of extensive
peak moment(s) occurring earlier.
sections or chapters that present one or more climactic
moments, then however much of a wrap-up the author Modern novels often incorporate more than one high
feels is necessary. point at the end. Sometimes literary novels don’t really

I 53
BOOK BUILDING

have a typical sort of climax, but more of a drawing How to do it:

together of plot elements. Give your characters some movement at the end—the
As you approach your last chapter, ask yourself: more the better. The quest is intriguing, but an arrival
point must be at hand.
• What issues need to get resolved, quests completed,
It’s unlikely you’ll cram as many big themes into your
problems vanquished?
book as Steinbeck did. But be sure to resolve the main
• What characters need a final pat on the back or a slap
one, whatever it is. Don’t be afraid to be explicit. Let a
in the face?
character muse aloud about morality or fate, as the other
• What peak moments have you dreamed of, and want
characters complete their dance.
to get in before you type The End?
Point to the future. The powerful act of forgiveness
Apart from generalities, we can learn solid techniques can wash clean not only the forgiven, but the forgiver.
by studying great works. Let’s look at widely read novels Merely asking for forgiveness can be transformative. Be
which have had lasting impact. Spoilers ahead, needless aware of this and explore the action-reaction of your
to say. characters’ choices. Be aware of humility, as well, and
its power.

EAST OF EDEN BY JOHN STEINBECK

John Steinbeck, one of the most influential American THE ANDROMEDA STRAIN BY
writers ever, considered East of Eden to be his magnum MICHAEL CRICHTON
opus. It’s a plot-heavy colossus, spanning multiple gener- This book, a groundbreaking techno-science-fiction
ations and time periods. In part, the novel retells the Old thriller, ends fairly conventionally—until it doesn’t.
Testament story of the brothers Cain and Abel. Steinbeck Just prior to the last chapter, we learn that the heroic
divided his story into four books, the last of which was Dr. Mark Hall successfully defused the atomic bomb self-
the basis for the famous 1955 Hollywood movie. Within destruct mechanism in the secret laboratory, thus sav-
the four books are long chapters, then shorter sections ing humankind from sure destruction by the mutating
within them. Andromeda organism that came from outer space. We
Toward the end, characters seek peace—after a fash- don’t know whether Hall survived his mission.
ion—and resolution. They’ve been working hard to In the final chapter, “The Last Day,” we learn Hall did
understand their unique milieu, as well. indeed survive, and the Andromeda organism is wafting
As the last chapter gets going, shocking news arrives harmlessly into the upper atmosphere. So: The foe is van-
at the ranch, and the patriarch Adam Trask is stricken. quished, and the world is innocent of narrowly escaped
Cal, the renegade son with a cruel streak, is wracked with peril, thanks to master scientists and secret altruistic
guilt over the death of his brother, Aron. In spite of that, government security protocols.
it’s clear that Cal and the young town girl will be a more Had Crichton left it there, his book still would have
or less happy couple. At the insistent request of the wise been a hit, but he didn’t. The brilliant coda he added (the
house servant, Lee, Adam on his deathbed forgives Cal; very short epilogue) brings the story into the here and
he gives him permission to go on with his life with a now. The epilogue cleverly serves forth a scientific press
free heart. conference in which the suspension of NASA’s manned
space program is announced, ominously without expla-
We get: nation. Right there on national TV, the population subtly
• Ongoing plot movement. learns not only that we might not be alone, but out there
• A wrap-up of action dating from much earlier in beyond the atmosphere wait unknown wonders—and
the story. unspeakable dangers.
• A promise for the future.
• The gift of forgiveness, which is one of the central We get:
themes, along with the themes of envy, pride, • Relief that the hero lives (with the implication that he
human evil. might be on hand bravely the next time).

54 I WRITER’S YEARBOOK I 2024

 • The comfort of knowing we’re being kept safe from midst of the denouement, is there some last bit of plot
terrible threats. you can pay out? Christie could have written the mur-
• Bone-chilling counterpoint: A sinister warning about der-suicide as a tasty chunk earlier in the book. But how
the future. much better to hold it! The idea isn’t to come up with
some sort of extra plot; you simply hold back a shocking
How to do it: piece of plot until the very very end.
Do your ending in two parts. Go ahead and craft a stan- In lovely harmony with the held-back plot element,
dard hero’s adventure ending: There was a disturbance in also have your hero—or narrator, or maybe the kid who
the force, a hero(s) went off to fix it, and now here we are figured something out while playing chess—hold back
with our milk and cookies at bedtime. a bit of conjecture. Plant something simple for him to
Then turn it upside down. Very simply, let your readers learn behind the scenes. Naturally, the hero wants to see
know danger still lurks out there. We’re safe for now. And how things shake out. He waits, and we wait, although
who’s to say how long our safety will last? The main villain we don’t know we’re waiting. Don’t let your sleuth spill
might be dead, but what about the others who might right everything at once.
now be maturing into the fullness of their evil? Drive that
speculation among your surviving characters.
NATIVE SON BY RICHARD WRIGHT
The main characters in Wright’s harrowing modern clas-
DEATH ON THE NILE BY AGATHA sic—young Bigger Thomas chief among them—grapple
CHRISTIE frankly with the vicissitudes of fate, with questions of
The great Dame Agatha was never one to shrink from responsibility, guilt, reckoning. It’s written in three main
gruesome violence, nor, significantly, sudden impact sections, divided by smaller sections, aka chapters.
close to the end. The last chapter of this novel is brief Bigger Thomas has been taken into custody, tried
but packed with interest. Dialogue between the detective and convicted of murder, and he’s awaiting execution.
Hercule Poirot and various other characters—passengers The concluding section consists of Thomas’ interior
disembarking from the Nile cruise ship—informs us of thoughts as well as a conversation between him and his
news of an engagement, as well as a bit of Poirot’s life lawyer, Max, who has exhausted all appeals. The end is
philosophy. Cynical, entertaining commentary there. close now.
We assume the story’s over. The baddies have been Before Max arrives, Thomas mulls over his life and
apprehended, the crimes sorted. Everybody’s relaxed. his impending death. Then the two men, between them,
But then! Bang-bang! One character executes another, essentially hammer out a manifesto of sorts, which read-
Jack Ruby style, then takes herself off the planet two sec- ers can take away as a comfort and a battle cry.
onds later. In broad daylight! Witnesses! And somehow
Poirot knew it would happen, and he explains why ever We get:
so casually, and we understand it’s all for the best. • Deep thematic wrap-up.
• Final character transformation.
We get: • Social analysis and commentary.
• A compact denouement.
• Trickery: We think we’ve learned the whole story,
but no! How to do it:
• Two final twists: A murder-suicide, and then the Bring your main character to a measure of peace. Not
reveal that our hero knew all along what would inevi- that Bigger Thomas is deeply at peace by the end, but
tably happen; indeed, permitted it to happen. he is accepting of his fate as a condemned man. In spite
of the complexities that led up to his incarceration and
How to do it: conviction, all has been resolved for Thomas. Fairly or
Save some plot for the end. What I mean is, go ahead unfairly—or both, as the genius of Wright really demon-
and have your climax, then your denouement. But in the strates—it is resolved.

I 55
BOOK BUILDING

Explore the fact that good and evil are rarely FURTHER IDEAS FOR WRITING
unalloyed. Nothing is clear, no one is blameless. Good FINAL CHAPTERS
intentions that go down in flames are no less good—and • You can concoct a last chapter by manipulating your
no more effective—for all that. characters’ circumstances—say, someone hammered
As you dive to the bottom of your main theme(s), by poverty receives an unexpected inheritance, or a
give sufficient space for your characters or narrator character heretofore lucky suffers a burst aneurysm.
to work out their anguish or puzzlement as best they But as we’ve seen, the most satisfying endings are
can. Just as no one can definitively answer the ques- driven by character development and transforma-
tion What is the meaning of life?, your characters might tion. Those can happen when old, sclerotic assump-
not be able to solve their problems. That’s OK! Just let tions are challenged by someone new who comes in
them get as far as they can, given the attributes you’ve and is like, what the heck is this? A character who
endowed them with. asks “why?” is a valuable one.
• Think in terms of breaking your characters apart
from one another, or pulling them together.
THE SECRET GARDEN BY FRANCES • Recursion. Readers love, near the end, to encounter
HODGSON BURNETT a scene or feeling from the beginning, such as a place
A fairly long chapter, the last one in this children’s classic or a mood.
begins with a summary of the story in the form of a com- • Put in plenty of high emotion, especially if you’re
mentary on the characters by the omniscient narrator. writing a romance. (In the beginning, “It’ll never
After that, we follow a single, pivotal character—Mr. work out!” but by the end it does, after at least one
Craven—through an epiphany, from lost to found, sad character has moved earth and heaven.)
to happy. This is the father of the supposedly disabled • Showdowns are fun! Make a couple of characters face
Colin. Having been grieving his wife’s death, wrapped the truth one last time.
up in his own pain, he at last feels called to return home. • Any promise made at the beginning must be fulfilled.
He does so, to find his son well and happy, having What would it take to do this?
gone through a journey of his own, one of rebirth and
maturation. Q&A
Are there other options on how to write a last chapter?
We get: A gentle way to end things that appeals to some read-
• Recapitulation. ers is an extended denouement. This can be especially
• Massive, 180-degree character transformation. helpful in series fiction. In my books, once the mystery
• A disposing of past toxic crud and an embracing of is solved, there’s always a fair amount of fallout, some
life and love. blood to mop up, a character or two to be rewarded. I
• Suggestion of a happy future. like to give readers a chance to collect themselves before
hitting the buy now button for the next book.
How to do it:
I’m writing the first in a series, and I’m considering
Separate your characters as Burnett does. We can watch
ending it with a cliffhanger. Good idea?
more than one character or set of characters from a dis-
Cliffhangers are great for chapter endings. But if this is
tance. Let the reader shiver with anticipation and long
a first novel and you’re envisioning it as a kickoff to a
for reunion—and revel in it when it comes.
series, under no circumstances end it with a cliffhanger.
Don’t be afraid to write a happy ending.
Readers have stuck with you for 300 pages, expecting
Here’s a thought. If you want to draft a book with a
a satisfying ending. If you fail to deliver that, they will
happy ending, figure out what would work well: What
come after you with pitchforks.
kind of ending would make you happy? Then craft a
front-story, so to speak, to go with it. Do I have to tie up every loose end?
The Secret Garden is a master class in plotting for a No, and you can’t, really, if you think about it. Nobody
happy, satisfying ending. will care whether Rev. Fernandez finished cooking

56 I WRITER’S YEARBOOK I 2024

breakfast after being interrupted by the urgent phone Along the same line, you can do some endgame devel-
call. Loose ends like that are countless, and irrele- opment of a character we might meet again. Put some-
vant. Readers will want to know, however, whether the thing in the offing for them. A job interview, an interest
Reverend was able to rush out and convince that dis- in a new sport, just something on the side.
traught teenager not to jump off the roof of City Hall.
How important is the very last sentence?
Other, bigger loose ends can be left alone as well, if
Quite important! (See the single-sentence endings
they’re not involved in a major plot point or element.
quoted earlier.) Give yourself plenty of time to craft
For instance, a character might refer to “my brother who
something simple and solid. An easy way to write one
went missing after the war” on page 40 of 400, and unless
is ask yourself, “What emotion is my endpoint charac-
there’s a good reason to wrap that up, you can explore it
ter feeling right now?” Go deep into that and see what
in the next book. A perceptive reader will go, “Oh, yeah!
emerges. Have fun with it. Go to your bookshelf and
I remember that.”
study last sentences. You’ll learn a lot!
What about resolving every character? Oh, and thanks for the drink. WD
No, but if you have a downtrodden minor character
who’s served her purpose, consider adding a bit of hap-
piness or hope for her. It can be something as simple as Contributing editor Elizabeth Sims (ElizabethSims.com) has won
numerous awards: A Lambda Literary Award, a GCLS Goldie, a
another character watching her have a friendly conver- Florida Book Award, and others. Her instructional title, You’ve Got
sation with an attractive stranger. Just a stroke of hope! a Book in You: A Stress-Free Guide to Writing the Book of Your
Something like that can warm a reader’s heart. Dreams (WD Books) has helped thousands of writers find their wings.

Call for Entries

Poetic Forms Next Generation
Short Story Awards
The Backbone of
A Not-For-Profit Awards Program
a Poet’s Writing

In The Complete Guide of

Poetic Forms, WD’s resident
poetry expert Robert Lee
Brewer showcases more than
100 poetic forms to serve as
both an informative resource
and inspiration for new writing.
Offering 25+ Categories -
Cash Prizes, Gold Medals
and Other Benefits for
VISIT WritersDigestShop.com Winners
to download this PDF and improve your poetry today!
www.ShortStoryAwards.com

I 57
FOR YOUR REFERENCE

TH
THE 25 ANNUAL
101 BEST WEBSITES
FOR WRITERS
BY AMY JONES, MORIAH RICHARD, AND MICHAEL WOODSON

ow in its 25th year, the committed to highlighting writing

N Writer’s Digest 101 Best

Websites for Writers aims
to guide writers of all ages, genres,
A means this is the website’s
first appearance on the WD list.
All listings within each category
are alphabetically arranged.
focused on social justice and current
issues. Everything published by
them is free, including essays
and skill levels to reputable and use- focused on culture, writing, and
ful resources to inspire, educate, and books, Recommended Reading (a lit
support them in every stage of their mag dedicated to the best in fiction),
writing journey. Whether you are 1–8 The Commuter (their lit mag that
using writing as a creative outlet, features a single short work every
looking to find a path toward tradi- CREATIVITY Monday), and more.
tional publication, make a career as a
freelancer, or start your own inde- 1. Author Magazine 3. Fantasy Name
pendent publishing business, the AuthorMagazine.org Generators
websites on this list can help make Featuring writing instruction and FantasyNameGenerators.com
those goals a reality. editor and author blogs, Author Choosing names for your characters
While some things about this magazine is an uplifting and edu- can be tough, so use one of the 1,400
list remain the same (like our goal cational online magazine dedicated name generators in a wide range of
of including sites that offer free or to instructing writers of all types. categories to make it easier. As an
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

affordable content, free trials, or Check out the “Author2Author” added feel-good bonus, the orga-
tiered memberships for services podcast hosted by Editor-in-Chief nizer of this site donates to refor-
that are of high quality), this year’s William Kenower. estation projects for every 5GB of
list includes 28 new websites we’ve bandwidth the site uses.
found particularly enjoyable or 2. Electric Literature
helpful. Plus, you’ll also find a new ElectricLiterature.com 4. Inkarnate
subsection in the Genre/Niche cat- A nonprofit digital publisher Inkarnate.com
egory: Short Fiction. since 2014, Electric Literature is While traditionally used to create

58 I WRITER’S YEARBOOK I 2024

maps for fantasy and sci-fi worlds, that goes beyond a traditional Bethanne Patrick. It revisits some
Inkarnate isn’t genre-specific; if you thesaurus. of the wildest and often unbeliev-
need help remembering the layout able (yet true) publishing stories of
of a town or even just a single build- 8. Terrible Minds the recent past, sharing new details,
ing or room, you can use their free TerribleMinds.com/ramble talking with some of the participants,
account to make beautiful maps. Terrible Minds is the blog of and putting the stories in the context
For a fee, you can upgrade to their science-fiction and horror writer of today’s publishing landscape.
Pro version—paid either monthly or Chuck Wendig, who is also known
yearly—for access to more designs, for his writing books. He writes 11. My Imaginary Friends
details, and storage. about current hot topics affecting With L. Penelope
writers, politics, his own book news, LPenelope.com/podcast
5. Library of Congress and features guest posts. As he says “My Imaginary Friends” is a weekly,
LOC.gov on the site, it’s NSFW, but it’s one of behind-the-scenes podcast that
You don’t have to visit Washington the most honest, thoughtful blogs dives into what it’s like for a working
D.C. to take advantage of the vast about writing and publishing out author to navigate traditional and
resources contained in the Library there. self-publishing. Hosted by award-
of Congress. Explore the digital col- winning fantasy author L. Penelope,
lections for inspiration and research, the podcast covers such topics as
or read the blogs written by LOC 9–13 revision, plot, overcoming writer’s
staff members that highlight specific block, and more.
finds, which might serve as a cata- LIVE STREAMS,
lyst for your imagination. PODCASTS, YOUTUBE 12. Print Run Podcast
PrintRunPodcast.com
6. Literary Hub 9. Minorities in Publishing With the tagline “Beyond the cover.
LitHub.com JenniferNBaker.com/podcast Between the lines,” this podcast is
Literary Hub is a literary website Founded in 2014 by author, editor, for readers, writers, and publishing
with daily news, story excerpts, and advocate Jennifer N. Baker, the professionals alike. Literary agent
book reviews, and more. From “Minorities in Publishing” podcast cohosts Laura Zats and Erik Hane
craft advice to book recommenda- features a monthly interview with meet for an hour (almost) every
tions, author interviews to reading publishing professionals in all posi- week to discuss all writing-related
lists, this is your one-stop-shop for tions—from production to edito- issues that tend to get glossed over
intersecting contemporary life with rial to art directors and more—plus or intentionally ignored elsewhere.
literature. authors and illustrators, specifi-
cally focusing on diversity, or lack 13. Writing Excuses
7. MasterWriter thereof, in the industry. WritingExcuses.com
MasterWriter.com Now in its 18th season, this podcast
If you’ve ever had trouble finding Missing Pages With
10. keeps their weekly episodes short
the precise word for the feeling you Bethanne Patrick (15–25 minutes) and conversational,
want to convey, MasterWriter is a Podglomerate.com/shows/ covering a vast array of writing top-
vast resource to solve your problem. missing-pages ics. This season, they welcome two
Watch the demo video and sign up “Missing Pages” is a new, compul- new regular hosts—literary agent
for the subscription service (which sively listenable podcast from liter- DongWon Song and speculative fic-
you can try for 90 days risk-free) ary critic and “publishing insider” tion writer Erin Roberts.

I 59
FOR YOUR REFERENCE

has the elements you need to create 22. Writer Unboxed

14–24 your own success. WriterUnboxed.com
Founded in 2006 by Kathleen
WRITING ADVICE Helping Writers
18. Bolton and Therese Walsh, Writer
Become Authors Unboxed seeks to empower writ-
14. Career Authors HelpingWritersBecomeAuthors ers about the craft and business of
CareerAuthors.com .com fiction by offering daily publish-
Rotating among six working authors, Turn that manuscript into a pub- ing insight from editors, bestselling
literary agents, and editors who share lished novel with the guidance from authors, literary agents, and more.
their expertise and experiences, author K. M. Weiland’s Helping
you’ll find advice about the craft of Writers Become Authors, featuring 23. Writers Helping Writers
writing, publishing business, market- a full scope of writing and publish- WritersHelpingWriters.net
ing, the writer’s life, and more. ing resources to help writers achieve Level up your fiction with Writers
their ultimate goals. Helping Writers, where Angela
15. DIY MFA Ackerman, Becca Puglisi, and
DIYMFA.com 19. Nathan Bransford Blog Mindy Alyse Weiss share tools and
Created by Gabriela Pereira after NathanBransford.com/blog resources with writers, educators,
getting a traditional MFA, DIY MFA Author and former literary agent and teachers, plus a blog with sub-
offers writing advice and an online Nathan Bransford offers a blog for jects including building suspense
community with a goal of proving writers to help them achieve their with secrets, organizing your story
that “writing belongs to everybody,” writing and publishing goals. With idea, overcoming fear of criticism,
not just those who can afford an over a decade of practical publish- and more.
expensive degree on a university’s ing experience, the blog is separated
timeline. Listen to the podcast, read into more than 20 topics. 24. Writing Mastery
the articles, or click “Writer Igniter” Academy
for randomized writing prompts. 20. The Creative Penn WritingMastery.com
TheCreativePenn.com Founded by Jessica Brody, the inter-
16. Fight Write Author Joanna Penn’s The Creative national bestselling author of more
FightWrite.net Penn is a multi-platform oppor- than 20 novels, the Writing Mastery
Make the fight scenes, action, and tunity for writers to access writing Academy hosts a free blog dedicated
injuries in your book as realistic advice, from a blog, podcasts, writ- to sharing tips, tricks, and strategies
as possible with the help of Carla ing courses, and more—all of which for fiction writers. Paid membership
Hoch, a writer and fighter trained in focuses on writing, self-publishing, provides access to recorded classes,
at least 10 different fighting styles. book marketing, and how to make a live webinars, the Writing Mastery
Read the blog where she covers living by writing. Community, and more.
weapons of opportunity, autopsies,
fight locations, and more. The Manuscript
21.
Academy 25–30
17. Fox Print Editorial ManuscriptAcademy.com
FoxPrintEditorial.com With the goal of being “the happiest EVERYTHING AGENTS
With over 25 years of industry place in publishing,” The Manuscript
experience, Tiffany Yates Martin Academy is a membership-based 25. Agents + Books by
has made it her mission to support community dedicated to bringing Kate McKean
and empower authors. From paid classes, consultations with editors KateMcKean.substack.com
courses to free blog posts about and agents, opportunities for other Agents + Books is a biweekly news-
everything from learning to revise members critique your work, and letter that answers the most com-
yourself or look for a professional all-around support for writers, no mon questions about literary agents,
editor to hire, Fox Print Editorial matter their career goals. publishing, and writing. Run by the

60 I WRITER’S YEARBOOK I 2024

VP of Howard Morhaim Literary agent Janet Reid) is a free service that Editors of Color
33.
Agency, Kate McKean, the Tuesday chooses writer-submitted queries Database
newsletters are free and offer the for public critique on the blog. Read EditorsOfColor.com
most vital information, and the the guidelines and extensive archive A project by the Conscious Style
Thursday subscription-based news- before submitting. Private critiques Guide, Editors of Color connects
letters offer a more behind-the- are available for a fee and include the talented freelance editors, proof-
scenes look, with the opportunity to opportunity for two revisions. readers, and sensitivity readers to
ask specific publishing questions. people who need their services. Sort
30. Query Tracker through the database by selecting
26. Association of QueryTracker.net the areas of expertise, service you’re
American Literary Find the right literary agent for you looking for, and type of media you
Agents with a free database of thousands of need reviewed.
AALitAgents.org agents for writers who are ready to
If you’re looking for a literary agent find representation. Whether your 34. Get It Write
or want to know more about how book is a cookbook, fantasy, murder GetItWriteOnline.com
literary agents should and should mystery, or literary fiction, Query Since 1991, Get It Write has been
not operate, look no further than Tracker will help find the right dedicated to the grammar, mechan-
the AALA. Their code of ethics sets home for you and your story. ics, and usage of standard written
the standard for how agents manage American English. Established by
their authors’ writing careers. Search Dr. Nancy Tuten, the free blog is
their database of member agents 31–40 dedicated to educating writers in all
by name or by category to see a full fields. In-person and virtual classes,
profile. GENERAL RESOURCES seminars, and conference presenta-
tions can be accessed for a fee.
27. Duotrope 31. Copyright.gov
Duotrope.com Copyright.gov 35. National Writers
Duotrope is an all-encompassing Copyright laws are more impor- Union
resource for writers looking for tant than ever, with the pervasive- NWU.org
agents, publishing news, submission ness of online content and owner- While being a freelancer has its
tracking, and more. Boasting more ship of what we share online. Learn perks, it also can come with chal-
than 7,500 active agents and pub- the basics of copyright law, search lenges that are best met with the
lishers, Duotrope is subscription- copyright records, register your cre- help of a stronger organization. The
based, with two available options: ative works, and more, from the U.S. NWU helps members with every-
$5/month or $50/year. Copyright Office. thing from understanding contracts
to resolving disputes to getting press
28. Manuscript Wish List 32. Diversity Style Guide passes and finding health insur-
ManuscriptWishList.com DiversityStyleGuide.com ance. Membership tiers are available
Created with one goal in mind— Write inclusively with the help of based on your writing income.
helping writers find the perfect this resource that guides writers on
industry professionals to pitch their appropriate and accurate terms and 36. PEN America
work to—you can pinpoint exactly phrases related to race and ethnicity, PEN.org
who you’d like to pitch to and how religion, sexual orientation, gender Dedicated to defending free speech,
they prefer to be contacted. identity, and more. Different from supporting persecuted writers in
style guides focused on grammar the U.S. and around the world, and
29. QueryShark and punctuation, this is made to promoting literary culture, PEN
QueryShark.blogspot.com help writers represent multicultural America’s mission is more important
For brave writers seeking represen- subjects and stories with accuracy, than ever. Use the vast resources on
tation, Query Shark (aka literary authority, and sensitivity. their website to stay current on

I 61
FOR YOUR REFERENCE

challenges to free speech and expres- providing authors, writers, and con- author and illustrator spotlights
sion at home and abroad and find out tent creators the tools, resources, and the Weekly 411—a newsletter
how you can take action or become a and support they need to tell diverse update that compiles all new links
supporting member. and inclusive stories” because posi- and sources.
tive and accurate representation
37. Reedsy matters. 44. Society of Children’s
Reedsy.com Book Writers and
Reedsy has grown to be a commu- Illustrators
nity of over 1 million authors and 41–79 SCBWI.org
2,500 freelance professionals, all This membership-based organiza-
dedicated to increasing the qual- GENRES/NICHE tion is the place to be for any writer
ity, creativity, and diversity of books or illustrator of children’s books.
on the market today. The free blog CHILDREN’S, MG, YA While they have digital classes, a
provides advice on everything from virtual archive, a podcast, and a
plotting to book marketing, but they 41. Go Teen Writers book club that you can access from
also have free live webinars, pre- GoTeenWriters.com the comfort of your home, they also
recorded courses, and a podcast. If you are a teenager who enjoys have regional chapters with in-per-
writing or if you are an adult writ- son events, and a yearly national
38. The Authors Guild ing for a teen audience, Go Teen event in N.Y. Be sure to check out
AuthorsGuild.org Writer (managed by Stephanie their awards and grants page.
The Authors Guild is the largest and Morrill, Jill Williamson, and
oldest organization for published Shannon Dittemore) aims to pro- The Open Book Blog
45.
writers in the U.S., and is devoted vide encouragement, community, by Lee & Low Books
to protecting writers’ free speech, and resources for your writing Blog.leeandlow.com
copyright, and helping ensure fair and publication journey, includ- The Open Book Blog is part of Lee
contracts and wages. Memberships ing a YouTube channel and free & Low Books and offers publish-
are available with eligibility and downloads. ing news, book recommendations,
dues measured by publication num- op-eds, and more, all to drive their
bers, income, and more. 42. Highlights Foundation mission of “address[ing] the dearth
HighlightsFoundation.org of multicultural children’s books in
39. Writer Beware Blog This nonprofit dedicates itself to the marketplace and make a special
WriterBeware.blog writers who want to educate and effort to work with unpublished
Sponsored by the Science Fiction uplift children of all ages. While authors of color.”
and Fantasy Writers Association they offer online and in-person
(SFWA®), this website focuses on workshops and retreats at their cen- CREATIVE NONFICTION
curating a list of known scams and ter in Pennsylvania for a fee, they
questionable business practices that provide scholarship opportunities 46. Brevity Magazine
target writers. It also gives tips and for their paid programs as well as BrevityMag.com
tricks for how writers can protect free webinars. This literary magazine is committed
themselves from potential scams, to publishing the best micro nonfic-
plus current industry news, even 43. Kidlit 411 tion by emerging writers, as well as
about things that happen on the KidLit411.com book reviews and craft essays. The
fringe of publishing. Founded by picture book and Brevity blog posts daily discussions
middle-grade author Elaine Kiely of craft and the writing life, but
40. Writing Diversely Kearns, Kidlit 411 features easy-to- writers do not receive payment for
WritingDiversely.com navigate topics for children’s book these. Brevity also provides teaching
Writing Diversely is “dedicated to authors and illustrators, including materials for free.

62 I WRITER’S YEARBOOK I 2024

47. Hippocampus HISTORICAL horror and dark fantasy writers
Magazine globally, while also encouraging the
HippocampusMagazine.com 51. Historical Novel public to take an interest in these
Hippocampus Magazine is a sub- Society genres. HWA covers such topics as
mission-based nonfiction magazine, HNS-Conference.com classic literature, author interviews,
run by volunteers, with each issue This literary society is dedicated to promoting positive mental health,
featuring memoir excerpts, personal promoting historical fiction and its and more.
essays, reviews, and more. The fee authors. Perhaps best known for its
to submit is $3 with the opportunity biannual North American confer- JOURNALISM
for waiver for those who need it. ence, their blog is free and cov-
ers topics from conducting proper 55. Asian American
FREELANCE research to marketing advice for Journalists Association
indie authors. AAJA.org
48. All Freelance Writing Founded in 1981, this association’s
AllFreelanceWriting.com 52. The History Quill goal has always been to support
For 17 years, All Freelance Writing TheHistoryQuill.com and promote the works of Asian
and its owner Jennifer Mattern have Based in the U.K., The History Quill American and Pacific Islander
helped launch successful careers for offers informational (and frequently (AAPI) journalists through train-
freelance writers through writing amusing) blogs, master classes, ings, opportunities, and resources.
resources, advice, tips, and more. and editorial resources for writers
of historical fiction. Visit the Tools 56. Nieman Storyboard
The Editorial
49. and Resources page to find writ- NiemanStoryboard.org
Freelancers Association ing prompts, worksheets, and other Whether you’re just venturing into
The-EFA.org websites and blogs writers of histori- the world of journalism or a sea-
If you’re a freelance writer, editor, cal fiction might find useful. soned veteran, Nieman Storyboard,
indexer, proofreader, researcher, a publication of the Nieman
translator, etc., join the EFA to list HORROR Foundation for Journalism at
your services for others to find. Harvard should be a go-to resource.
Likewise, if you’re an author in need 53. Horror Tree Read the articles to analyze exam-
of a specific type of help, search the HorrorTree.com ples of exceptional storytelling in
EFA database and make use of their Created in 2011 as a resource for journalism or pitch your own writ-
resources for finding reliable help at genre and speculative fiction writ- ing to boost your bylines.
industry standard prices. ers, this website has dedicated itself
to promoting up-to-date paid pub- 57. Society of Professional
50. The Writers’ Co-op lishing and anthology opportunities. Journalists
TheWritersCoopPod.com From calls for fiction, nonfiction, SPJ.org
An “online community for freelanc- and poetry to audio, artwork, and The Society of Professional
ers everywhere,” The Writer’ Co-op novels, this site makes it easy for Journalists is a century-old orga-
philosophy is that “a more stable writers to see exactly where they can nization to encourage the practice
business model allows freelance submit and how much (and how) of the free press and to uphold the
writers to do better work.” To assist they’d be paid for their work. high standards of ethical journalis-
freelancers, they provide a podcast, tic behavior. SPJ is also the publisher
as well as webinars and courses on 54. Horror Writers of Quill magazine, a regularly used
everything from mindset work to Association resource for journalists, industry
managing finances to contract nego- Horror.org leaders, and students for more than
tiation. Patreon members get added Horror Writers Association is a 90 years.
benefits. nonprofit organization supporting

I 63
FOR YOUR REFERENCE

MYSTERY/THRILLER support of everyone in the crime- ROMANCE

writing field. Membership includes
58. Crime Writers of Color access to regional chapters, regu- 65. Fated Mates Podcast
CrimeWritersOfColor.com lar meetings, a newsletter, an online FatedMates.net
Founded by Walter Mosley, Gigi community, access to their contracts We couldn’t have said it better than
Pandian, and Kellye Garrett in 2018, and grievances committee, a national the description on this podcast’s
this organization aims to support, mentor program, and much more. website: “Fated Mates is a romance
uplift, and promote crime writers of novel podcast co-hosted by author
color by showcasing their books in a POETRY Sarah MacLean and romance critic
searchable catalog and managing a Jen Prokop. Weekly episodes include
database of speakers with their areas 62. Poetry Foundation romance novel read-alongs and dis-
of expertise listed. Don’t miss the pod- PoetryFoundation.org cussions of the work of the genre,
cast hosted by writer Robert Justice! The Poetry Foundation, established highlighting the romance novel as
in 2003—and its publication, Poetry a powerful tool in fighting patri-
59. Kill Zone magazine, founded in 1912—has archy … with absolutely no kink
KillZoneBlog.com served poets of all ages through shaming.”
A collaboration of suspense writ- interviews, podcasts, events, a news-
ers and industry professionals, this letter and more. 66. Girl! Have You Read...
daily blog is dedicated to covering GirlHaveYouRead.com
the publishing business, marketing, 63. Rattle With the goal of centering Black
and craft of writing suspense fic- Rattle.com romance, this highlights new
tion. They offer a free first-page cri- This quarterly publication has been releases and spotlights back-
tique of your manuscript which are delivering the best poetry since 1995 list books. They also cover Black
posted anonymously to protect the by amateur and established poets romance author news from cover
author’s identity while helping oth- alike. While the print publication reveals to book tours to an easy-to-
ers use their feedback. is subscription-based, every poem use author directory so you can get
that appears in it will eventually be your book in front of more people.
Mystery & Suspense
60. released on the daily blog. They also
Magazine produce “Rattlecast,” their free pod- SCIENCE FICTION/
MysteryAndSuspense.com cast, an archive of poet interviews, FANTASY
Founded in 2020 and available as a writing challenges, audio archives,
print magazine or free download, and more. 67. Liminal Fiction
Mystery & Suspense is a “web daily LimFic.com
and quarterly” edited by Sam Boush. 64. The Haiku Foundation Liminal Fiction is “an inclusive
It features author interviews, book TheHaikuFoundation.org library of spec fic titles (fantasy, sci-
reviews, and articles about key ele- The Haiku Foundation has three fi, paranormal, and horror)” with a
ments, tropes, and hot topics in the goals: 1) “archive the first century of weekly newsletter and a blog focus-
mystery, thriller, crime, horror, and English-language haiku;” 2) “expand ing on topics geared toward these
suspense genres. possibilities for our second cen- subgenres.
tury;” and 3) “seek active exchange
61. Mystery Writers of with other haiku languages and 68. Science Fiction
America cultures around the world.” Find & Fantasy Writers
MysteryWriters.org resources for learning more, an Association
A membership-based organization archive from around the world, and SFWA.org
for mystery writers, publishing pro- a fascinating exploration of how Since 1965, the SFWA has supported
fessionals, and aspiring writers, MWA haiku has been incorporated into sci-fi and fantasy writers by pro-
is dedicated to the education and film, comics, music, and more. moting and supporting their work,

64 I WRITER’S YEARBOOK I 2024

and by educating the public about 72. Pipeline Artists across a wide range of speculative
these genres. The nonprofit boasts PipelineArtists.com and literary genres. Each issue is
many free resources—including a Pipeline Artists focuses on educa- posted directly online and can be
bi-monthly newsletter, a blog, and tion and empowerment by elevating accessed for free! In an issue, read-
Writer Beware—or become a mem- authentic voices in film, publishing, ers can expect three new pieces and
ber for added benefits. and more. With articles separated one reprint by emerging and estab-
by genre and purpose, from fiction lished writers, as well as an editorial
69. Tor.com writing to mentoring programs, and one nonfiction column.
Tor.com they also offer competition news, a
Debuting online in 2008, Tor.com library of podcasts, and more. Free 76. The Centifictionist
is dedicated to discussing sci-fi, membership includes monthly give- TheCentifictionist.home.blog
fantasy, and everything tangentially aways, exclusive invites to virtual The Centifictionist is an online mag-
related. While they regularly pub- events, and early access to featured azine dedicated to the publication of
lish short genre fiction by up-and- articles. microfiction (no poetry or nonfic-
coming and established writers, they tion) of 100 words or fewer (exclud-
also post commentary about genre 73. ScreenCraft ing the title). Published twice yearly
fiction from a variety of people ScreenCraft.org with 30 stories per issue, you can
throughout the publishing industry. Launched in 2012, this company is submit up to three stories at a time
dedicated to supporting screenwrit- using the Submittable form on their
SCREENWRITING ers, no matter what stage they’re at website.
in their career. From their free blog
70. International that covers everything from proper SPIRITUAL
Screenwriters’ formatting to upcoming contests to
Association classes and resources available for 77. The Write Conversation
NetworkISA.org a fee, they have plenty of options TheWriteConversation.blogspot
Sign up for the ISA newsletter to get available for your budget. .com
daily screenwriting gigs directly to The Write Conversation is a
your inbox or browse the website SHORT FICTION Christian-focused writing blog run
for open contests, read other writer by author and editor Edie Melson.
success stories, and discover articles 74. 100 Word Story With contributions from count-
and podcasts dedicated to sharing 100WordStory.org less guest bloggers, they focus on
tips to improve your craft. 100 Word Story is only interested writing and publishing advice from
in the drabble—a story of exactly a Christian perspective and boasts
71. No Film School 100 words. They operate on rolling over 4 million visitors.
NoFilmSchool.com submissions (though will sometimes
No Film School publishes film- close to catch up on their inbox) and TRAVEL
related news, tutorials, and inter- publish the best stories directly on
views to help filmmakers with their their website. They host a monthly 78. International Food
craft. Their popular, highly rated photo-prompt challenge, and their Wine Travel Writers
podcast of the same name cov- blog also includes essays, interviews, Association
ers all things film and television, and book reviews. IFWTWA.org
featuring interviews with indus- With different levels of membership
try leaders and breaking news on 75. Flash Fiction Online for different types of writers, the
filmmaking trends and technology. FlashFictionOnline.com IFWTWA aims to “create programs
Membership is free and comes with Established in 2007, FFO is dedi- and services to enhance professional
a PDF of their free screenwriting cated to promoting the best flash development and facilitate network-
e-book. fiction between 500–1,000 words ing” and to “to meet the dynamic

I 65
FOR YOUR REFERENCE

needs of our writers’ community 82. Publishing Trends credible sources for practical infor-
making a lasting impact on the PublishingTrends.com mation and inspiration.
careers of our members.” Sign up for the weekly Publishing
Trends newsletter to stay current
79. Pitch Travel Write on the key publishing topics and 86–89
PitchTravelWrite.com to see what’s making the bestseller
Created by Roy Stevenson, a suc- lists around the world. Plus, visit the JOBS/MARKETS
cessful freelance travel writer, this Categories tab on the website to find
resource helps people break into book reviews, monthly roundups of 86. FundsforWriters
travel writing. Free resources on the publishing job moves, and a literary FundsforWriters.com
site include a weekly e-zine, tips for agent contact sheet. For more than two decades,
traveling with writing assignments FundsforWriters, run by author C.
in mind, plus writing and pitching 83. Publishers Weekly Hope Clark, has been a resource for
to reputable markets. PublishersWeekly.com all writers looking for current pay-
Visit PW to stay current on new ing writing opportunities, as well
and upcoming book releases, data as updates on open competitions,
80–85 on what’s making bestseller lists, grants, and information on current
award announcements, and news freelance markets.
PUBLISHING NEWS/ articles on all facets of the publish-
RESOURCES ing industry from manufacturing 87. Sonia Weiser’s
to marketing to trends in specific Opportunities of the
80. Jane Friedman niches and genres. You can also Week Newsletter
JaneFriedman.com access BookLife, their indie publish- OppsOfTheWeek.com
A mainstay at WD, Jane Friedman ing resource hub. Journalist and freelance writer Sonia
is the leading voice and most Weisner gathers all the paid pitching
trusted expert in publishing today. 84. We Need Diverse and writing opportunities open to
Friedman’s website is home to her Books writers each week and emails them
blog and courses, and you can sign DiverseBooks.org out to her mailing list (for a sug-
up for her award-winning newslet- This nonprofit is focused on getting gested $4/month fee). And if you
ter “The Hot Sheet,” with a member- “books featuring diverse characters know of an outlet looking for writ-
ship fee of $59/year. Also available into the hands of all children.” They ers, you can share that with her to
are various free newsletters and aim to support writers and illustra- get the word out.
email alerts. tors through awards and competi-
tions, grants and mentorships, and 88. The Writer’s Job
81. Publishers Marketplace resources for parents, librarians, and Newsletter
PublishersMarketplace.com educators to find out the latest news TheWritersJobNewsletter.com
A membership-based site for every- in the kidlit space. The Writer’s Job is a free, weekly
one interested in the publishing newsletter helping connect writers
industry, Publishers Marketplace 85. Winning Writers with the right writing jobs for them.
has a database of agents and who WinningWriters.com The jobs are all paid, fully remote,
they represent, contact information Winning Writers compiles legitimate and are sent to your inbox every
for agents, editors, and other profes- (and free!) writing contests shared Sunday.
sionals, both domestic and foreign via their newsletter along with con-
sales insights, a list of publishers and tests to avoid (frequently operated by 89. Who Pays Writers
their imprints, distributors, and the vanity publishers). Check out their WhoPaysWriters.com
latest publishing news. Resources page for links to other Run by the Freelance Solidary

66 I WRITER’S YEARBOOK I 2024

Project, this is a crowd-sourced (but community. With sections for busi- writing contests and publishing ser-
anonymous) database of pay rates ness, craft, inspiration, and a book- vice providers to ensure you don’t
across print and digital publications, store, not only are the conversations get scammed.
each listing displays compensation well organized, the participants are
information, the format the publica- thoughtful and supportive in their 96. Author Level Up
tion is seeking, copyright informa- responses. AuthorLevelUp.com
tion, and whether the publication Run by WD contributor Michael
contracts writers. 93. Lambda Literary La Ronn, Author Level Up offers
LambdaLiterary.org information and tools on self-pub-
For more than 30 years, Lambda lishing and better writing through
90–94 Literary has been a leader in recog- blog posts, weekly YouTube videos,
nizing and elevating LGBTQ+ writ- courses, and more.
WRITING ers and readers. The organization
COMMUNITIES offers book reviews, events, a writ- 97. David Gaughran
er’s retreat, and more—including DavidGaughran.com
90. Archive of Our Own the annual Lambda Literary Awards David Gaughran has helped thou-
ArchiveOfOurOwn.org (known as the “Lammys”) which sands of authors self-publish
The Archive of Our Own offers celebrates more than 150 authors through his books, workshops,
a noncommercial and nonprofit across 24 categories. blogs, and more, with information
central hosting place for fanworks, on best marketing practices, boost-
also called fan-fiction. Since 2007, 94. NaNoWriMo ing book sales, and avoiding scams.
it’s been a place for writers to share NaNoWriMo.org
works based on media that they National Novel Writing Month Independent Book
98.
engage with and receive feedback (NaNoWriMo) started as a challenge Publishers Association
and support from other fans. to write 50,000 words in November. IBPA-Online.org
It has now expanded to include Founded in 1983 as an organization
Community of Literary
91. shorter challenges in April and July, for small publishers in Southern
Magazines & Presses the Young Writers Program, and the California, the IBPA is now a
CLMP.org Come Write In program for librar- nationwide nonprofit for self-pub-
The CLMP aims to connect small ies, bookstores, and other commu- lishers, independent publishers,
presses, literary magazines, and nity spaces. and small presses offering some free
independent publishers to reader resources (e.g. templates for format-
and libraries so if that’s more your ting your book to industry stan-
style than the Big 5 or if you’re an 95–101 dards) and additional resources (e.g.
independent publisher yourself, databases and discussion forums)
check out their plentiful resources INDIE PUBLISHING for paid members.
which include a directory of pub-
lishers, events, calls for submis- 95. Alliance of 99. Indie Author Project
sions, and select opportunities for Independent Authors IndieAuthorProject.com
funding. SelfPublishingAdvice.org This publishing community includes
The nonprofit ALLi Advice Center is public libraries, authors, curators,
92. Gutsy Great Novelist a comprehensive resource for indie and readers all working together
GutsyGreatNovelist.com authors, both members and non- to connect library patrons with
Founded by award-winning indie members alike. Listen to the pod- great indie-published books. The
author Joan Dempsey, this online cast, read the blog, and find ratings site offers a free archive of Expert
community truly feels like a from their watchdog group about Sessions, where publishing and

I 67
FOR YOUR REFERENCE

THE WRITER’S DIGEST COMMUNITY OF WEBSITES

Writer’s Digest maintains a collection of websites to serve your writing needs. Be sure to visit us at these places.

WRITER’S DIGEST: WritersDigest.com WRITER’S DIGEST ANNUAL CONFERENCE:

The online hub for everything WD, including the “Writer’s WritersDigestConference.com
Digest Presents” podcast! Join a writing challenge, get Each summer, WD heads to NYC for a weekend-
writing and publication advice from bestselling authors, and long conference dedicated to improving your craft,
learn how you can enter any of our six writing competitions. building your career, and creating a more personal
writing community.
WRITER’S DIGEST UNIVERSITY:
WritersOnlineWorkshops.com SCRIPT MAGAZINE: ScriptMag.com
Take intensive writing classes taught by world-class instruc- A glaring omission to the Screenwriting best websites
tors at WDU. Whether you want to improve your copy category might be ScriptMag.com unless you know
editing skills, write the first draft of your novel or memoir, they’re our sister site. From podcasts to screenplay
or learn tips for querying agents, the courses, boot camps, formatting to interviews with world-renowned
and virtual conferences have what you’re looking for. screenwriters, Script has the resources you need to
write your screenplay.
WRITER’S DIGEST TUTORIALS: Tutorials.WritersDigest.com
If you prefer your online education to be on-demand to SCRIPT UNIVERSITY: ScreenwritersUniversity.com
fit your busy schedule, the 350+ recorded tutorials are If you want screenwriting instruction to help you dig
available to watch whenever you are. Monthly and yearly deeper into a specific aspect of screenwriting, SU offers
subscriptions are available to watch any video at any webinars and courses taught by industry professionals
time. who can help you take your screenplay to the next level.

WRITER’S DIGEST SHOP: WritersDigestShop.com WRITER’S STORE: WritersStore.com

The Writer’s Digest Shop is the place to go for our 2nd The premier source for screenwriting and filmmaking
Draft Critique and Editing Services, back issues of the resources, the Writer’s Store is to Script mag what the
Writer’s Digest magazine, and bundles of resources on WD Shop is to Writer’s Digest. If you need your script
specific topics or themes. reviewed, make use of the ScriptXpert critique service.

industry experts discuss topics cru- Writers and Publishers

101.
cial to indie author success, and a Network
section for current industry news. WritersAndPublishersNetwork
.com
Indy Author (Matty
100. Formerly known as Small Publishers,
Dalrymple) Artists & Writers Network (SPAWN),
TheIndyAuthor.com this organization provides informa-
Run by author, speaker, and con- tion, resources, and opportunities for
sultant Matty Dalrymple, this is anyone interested in publishing—
one of the best resources for indie from authors, freelancers, publish-
authors out there. While sections ing companies, and more. Members
Amy Jones is editor-in-chief of WD.
are focused on craft, publishing, and receive monthly newsletters, access
marketing, there’s also a free pod- to the monthly WPN Market Update, Moriah Richard is the managing editor of
WD.
cast, a blog, and lists of vetted tools a free listing in their member direc-
and resources. tory, and more. WD Michael Woodson is an editor of WD.

68 I WRITER’S YEARBOOK I 2024

 CRITIQUE AND
EDITING SERVICES
SEND YOUR WORK TO WRITER’S DIGEST
2ND DRAFT CRITIQUE SERVICE!

2nd Draft provides a high-level review of your writing,

pointing out reasons your work may be getting rejected or
may not meet the standards of traditional publication.
After an evaluation of your submission, one of the
professional 2nd Draft critiquers will provide feedback and
advice. You’ll not only learn what’s working in your writing,
but what’s not, and—most importantly—how to fix it.

WHAT CUSTOMERS ARE SAYING ABOUT 2ND DRAFT...

“I was extremely pleased with the results I got from 2nd Draft. As a
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FOR YOUR REFERENCE

100 BEST
MARKETS FOR
WRITERS
Find success and get paid for writing about what you know and love by
pitching to one of these 100 print and online publications.

BY ROBERT LEE BREWER

L
ast year, I shared my unscientific list of 100 great The biweekly magazine was founded in 1937. WHAT THEY
markets for writers that covered a variety of topics WANT: The editors say, “In addition to reporting sport
and categories to share opportunities for writers of horse news, we feature articles on horse care and pro-
fiction, nonfiction, poetry, and even more experimental files of prominent horse people. We also occasionally
genres. This year, I’ve updated that list—both by updat- accept humor, human interest, and historical articles.
ing information for many of the magazines in the list and No poetry, please. Much of our editorial material comes
by adding 15 new magazines (and, of course, removing from freelance writers.” OTHER ADVICE: The Chronicle of
magazines to keep the list at a firm 100). the Horse also has a sister publication titled Untacked
I’ve included information on what they want, how that comes out six times per year that’s focused more on
to submit, and payment information. However, keep in lifestyle topics, including fashion, travel, product reviews,
mind that publishing is constantly changing and that and other parts of equestrian life. HOW TO SUBMIT: For
new guidelines could develop at any moment. That’s why either publication and their website, writers are advised
I’ve also included each market’s website—so you can to submit queries to Executive Editor Lisa Slade at
confirm the current situation for each market. [email protected]. Freelancers should always clear the
If this list whets your freelancing appetite, keep in assignment with the editors first. PAYMENT: The magazine
mind that there are other guides and directories, includ- pays $165–$220 for news stories of approximately 1,500
ing my own Writer’s Market, that list thousands of pub- words covering competitions. Payment for feature arti-
lishing opportunities for writers. Good luck with your cles of 1,500–2,500 words ranges from $150–$400.
submission efforts!
CORAL—The Reef & Marine Aquarium
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

Magazine
ANIMAL (CoralMagazine.com)
CORAL—The Reef & Marine Aquarium Magazine is
The Chronicle of the Horse “devoted to providing a bridge from the world’s ocean
(ChronOfHorse.com) environments to the home marine and reef aquarium,
The Chronicle of the Horse covers national and interna- using the finest photographs and latest information
tional horse competitions, focusing on dressage, hunt- from noted marine aquarists and underwater photog-
ers and jumpers, foxhunting, and steeplechase racing. raphers worldwide.” Launched in 2004, the magazine

70 I WRITER’S YEARBOOK I 2024

is published bimonthly by Aquatic Media Press, LLC. Just Labs
WHAT THEY WANT: The editors say, “[Readers] rely on us (JustLabsMagazine.com)
to publish the work of experts and people who know Just Labs focuses on the family of Labrador retrievers.
their subjects. Hands-on advice on selecting and keeping Established in 2001, this bimonthly magazine covers all
aquarium fishes, invertebrates, and plants is enhanced aspects of the life of the Labrador retriever, the top AKC-
with reports on aquaculture, environmental issues, and registered breed in America. WHAT THEY WANT: Features
pioneering work in aquarium technology and marine tend to run 1,200–1,500 words and focus on topics like
science.” Potential writers should familiarize them- breeding/genetics; puppy issues; Labs as service dogs;
selves with CORAL before submitting. A sample edi- caring, feeding, and health; history; fun activities; photo
tion can be found on their contributor guidelines page essays; and training. “There is some room for shorter
(CoralMagazine.com/coral-magazine-contributor reflective lyrical and/or humor pieces if they are par-
-guidelines). OTHER ADVICE: In addition to submissions ticularly well-written.” OTHER ADVICE: The editors say,
for the print magazine, writers can pitch Editor Matt “Just Labs offers readers all the information needed to
Pedersen ([email protected]) get the most out of their Labs—training advice to be a
with blog post ideas of 250–1,000 words with at least one good citizen, the latest health care information, profiles
image. Payment for these is typically $25 per post. HOW of how Labs help humans in various service functions,
TO SUBMIT: Freelancers should pitch Executive Editor
features on how you and your Lab can have fun, and col-
umns designed specifically for the young Lab-lovers in
Marc Levenson at marc.levenson@aquaticmediapress
the family.” HOW TO SUBMIT: After reading a few issues of
.com with a brief description of your article idea, includ-
the magazine, writers are encouraged to pitch Associate
ing your qualifications to write the piece and the avail-
Editor Jill Lacross at [email protected]. Pitches
ability of images. PAYMENT: Ranges from $100–$600 for
should include a description of the proposed article and
articles, “depending on length, complexity, the author’s
photo support if available. PAYMENT: Commonly $200–
experience, and whether or not images are included with
$450 upon publication.
the text.” First-time freelancers often receive $100–$300
for an article that includes images.
REPTILES
(ReptilesMagazine.com)
Horse Illustrated REPTILES is a bimonthly magazine that covers reptiles
(HorseIllustrated.com)
and amphibians. Established in 1992, REPTILES “caters to
Horse Illustrated serves the hands-on horse owner by
reptile and amphibian hobbyists at all levels of experience,
promoting the best in horse care, riding, and training. from beginner to veteran.” WHAT THEY WANT: Article top-
This magazine is published 10 times per year. WHAT THEY ics that interest the editors include pet reptile husbandry
WANT: Looking for reader-friendly pieces with a con-
(containing natural history as well as detailed care and hus-
versational tone, shorter word counts (500–1,200), and bandry of captive animals); field herping and travel (details
topics to add dimension to the magazine’s regular train- experiences searching for wild reptiles and amphibians
ing and horse care features—human interest, lifestyle, in nature); conservation (detail reptile- and amphibian-
fashion, travel, equestrian issues—both large (welfare) related conservation efforts); and health (articles by board-
and small (boarding barn drama!)—plus humor, first- certified veterinarians with expertise in treating herps).
person stories, and more. OTHER ADVICE: The editors say, OTHER ADVICE: The editors say, “We prefer authors to have
“Expand on your ideas so we can see your specific angle several years or more experience working with the animals
for the piece and what you propose to cover. Include they wish to write about.” HOW TO SUBMIT: Prospective
ideas for expert resources to interview where appropri- writers should query first with their proposed article idea
ate. A good pitch letter is your opportunity to show off via email to [email protected]. In that query,
your writing skills and demonstrate that you have an they should describe their background with the species
understanding of our magazine and audience.” HOW TO and indicate whether they can provide images with the
SUBMIT: Send article pitches via email (horseillustrated@ text. PAYMENT: Usually $200 for an article of 2,000–2,500
egmediamags.com). PAYMENT: Negotiates rates. words with images.

I 71
FOR YOUR REFERENCE

BUSINESS Features (in-depth articles on a broad range of economic

topics of 1,500–3,000 words); Active Culture (briefs on
Alaska Business activism of 250–400 words); and Reviews (coverage of
(AKBizMag.com) recent books, movies, and other media with an eco-
Alaska Business is a monthly magazine covering Alaskan nomic slant of 700 words). OTHER ADVICE: The editors
business for Alaskan, American, and international audi- say, “Dollars & Sense is a progressive economics maga-
ences. They aim to provide thorough and objective zine that explains in a popular way both the workings of
reporting and analysis of all business enterprises and the economy and the struggles to change it. Articles may
businesses in the state. WHAT THEY WANT: Alaska Business be on any economic issue, including the environment,
has special sections every month emphasizing a certain community organizing, urban conflict, inflation, unem-
part of the economy. For instance, they emphasize con- ployment, union reform, welfare, changes in government
struction in March and natural resource development regulation … a broad range of topics, as long as the arti-
in November. Plus, they publish annual features like the cle has an economic theme.” HOW TO SUBMIT: Potential
Corporate 100, Best of Alaska Business awards, and the writers are encouraged to query by email (dollars@
Top 49ers (Alaskan-owned companies ranked by rev- dollarsandsense.org), but postal pitches will be con-
enue). “Our content is written by our talented in-house sidered as well at Editors, Dollars & Sense, 95 Berkeley
editorial staff as well as freelance writers,” the editors Street, Ste. 305, Boston, MA 02116. Pitches can include
add, “we are always open to featuring talented writers a more detailed proposal or outline, but the editors
who are invested in Alaska and the businesses that form suggest not sending complete manuscripts. PAYMENT:
the foundation of our economy.” OTHER ADVICE: The edi- Negotiable rates.
tors say, “Alaska Business publishes informative articles
on everything from entrepreneurs to heavy industry. Our Harvard Business Review
content resonates with all things Alaska business, includ- (HBR.org)
ing all of Alaska’s major industries. Our reach extends Harvard Business Review is a bimonthly business maga-
beyond the businessperson to include visitors to our zine published by Harvard Business Publishing, a not-
state and the general public.” HOW TO SUBMIT: Potential for-profit subsidiary of Harvard University. Their
writers should submit a résumé and three writing clips mission focuses on improving the practice of manage-
to Managing Editor Tasha Anderson via email (editor@ ment in an ever-changing world. WHAT THEY WANT: This
akbizmag.com). “While we consider pitches, gener- is a competitive market that receives many more pitches
ally our freelance writers are given assignments. Articles than the editors can publish. As such, there are five quali-
are assigned at least one month in advance of the story’s ties the editors look for when figuring out what to pub-
deadline,” the editors say. “We also welcome queries from lish: expertise (writers don’t have to be famous, but they
individuals who would like to write columns in their must know their subject inside and out); evidence (refer-
field of expertise as a guest author or contributor. Please ring to research, examples, and data when possible);
email a short bio detailing your area of expertise as well originality (new ideas and unique perspectives); useful-
as a brief summary of the article you’d like to submit.” ness (showing readers how to apply knowledge in real
PAYMENT: Negotiable rates. Buys all rights. life); and persuasive and a pleasure to read. As the edi-
tors say, “HBR readers are smart and skeptical and busy.
Dollars & Sense If you don’t capture their interest right away, they will
(DollarsAndSense.org) move on to something else.” OTHER ADVICE: The editors
Dollars & Sense is a bimonthly magazine that covers say, “At Harvard Business Review, we believe in manage-
real-world economics. “Our readers include students, ment. If the world’s organizations and institutions were
community activists, organizers, labor leaders, environ- run more effectively, if our leaders made better decisions,
mentalists, economists, and many others. In most cases, if people worked more productively, we believe that all
articles are geared to a high school reading level.” WHAT of us—employees, bosses, customers, our families, and
THEY WANT: The main formats and lengths for writers are the people our businesses affect—would be better off.

72 I WRITER’S YEARBOOK I 2024

We try to arm our readers with ideas that help them a clear understanding of the angle and a sense of the
become smarter, more creative, and more courageous in tone your piece would take. Show us your key inter-
their work. To do that, we enlist the foremost experts in views and research sources. Please include a résumé and
management theory and practice to share their insights two to three representative clips of your previous work.”
and counsel.” HOW TO SUBMIT: Prospective writers can PAYMENT: Negotiable rates.
pitch ideas to the editors, but any idea that is promising
will require a more formal proposal and narrative outline
(up to 800 words) that explains the central message of CHILD CARE
the piece, why it’s unique and useful, why people need to
know it now and how they can use it, why it’s authorita- Birmingham Parent
tive, and what academic, professional, or personal expe- (BirminghamParent.com)
rience will be used. Submit via their Submittable page Birmingham Parent is a bimonthly regional magazine for
(HarvardBusinessReview.submittable.com/submit). parents. The magazine targets all types of parents. WHAT
PAYMENT: Negotiable rates. THEY WANT: The editors want a mix of fun and substan-
tive stories for parents in the Birmingham, Ala., area.
The Lane Report They prefer local writers but are also open to other writ-
(LaneReport.com) ers who have written for regional parenting publications.
The Lane Report covers Kentucky business through- OTHER ADVICE: The editors say, “Our first priority is to
out the state, though some extra attention is given to find top-notch, original stories that reflect the diverse
Louisville and Lexington. Established in 1985, The Lane communities of Central Alabama. Local stories and
Report has more than 50,000 readers including top busi- sources are preferred.” HOW TO SUBMIT: Potential writers
ness leaders and policymakers in the state. Around 60 can pitch the editors by email (info@birmingham
percent of the content comes from freelance writers. parent.com). PAYMENT: This is a paying market. Writers
WHAT THEY WANT: There are three main sections that with accepted pieces should submit an invoice to get paid
freelancers can pitch The Lane Report. Fast Lane Briefs on publication.
are concise pieces of recent Kentucky business news and
trends, as well as their potential impact, that run 100–
400 words. Entrepreneurs runs 750–1,400 words and FOOD & DRINK
features a profile of interesting businesspeople. Features
cover major trends shaping the state, noteworthy busi- Wine Enthusiast
ness and best practices, and stories with sweeping impli- (WineEnthusiast.com)
cations across industry sectors and state regions. These Wine Enthusiast was founded in 1988 and shares infor-
pieces are 750–3,000 words. OTHER ADVICE: The edi- mation on the world of wine, including hundreds of
tors want “well-written, insightful stories that shed light wine reviews in every issue. Published 10 times per year,
on the way business works in Kentucky. The magazine this magazine receives hundreds of pitches a year and
also highlights partnerships and collaboration between employs contributing editors in wine regions around
the business world and schools, universities, and other the world who also propose story concepts. WHAT THEY
public institutions. We particularly look for stories that WANT: The editors want wine-related stories, including
illustrate notable trends in Kentucky’s economy and wine-centric city guides, focusing on a grape variety’s
business community. We also keep an eye out for quirky, history and adaptation around the world, a wine-
dynamic businesspeople who are innovating and chang- drinker’s guide to some other beverage category, sto-
ing the way business is done in Kentucky.” HOW TO ries that look at the intersection of wine and culture,
SUBMIT: Potential writers can send a query outlining their and humorous or serious personal essays centered on
proposal and story to Editorial Director Mark Green by a vinous experience. OTHER ADVICE: The editors say,
post (465 East High St. Ste. 124, Lexington, KY 40507) or “Proposals that don’t fall into the above categories but
email ([email protected]). The editors say, “Provide seem to be in line with what Wine Enthusiast has run

I 73
FOR YOUR REFERENCE

recently are, of course, welcome, but we recommend GENERAL

keeping them short.” HOW TO SUBMIT: Potential writers
should submit a one-paragraph pitch with materials that The American Scholar
demonstrate the writer’s qualifications to Print Managing (TheAmericanScholar.org)
Editor John Capone ([email protected]) Published by the Phi Beta Kappa Society since 1932,
for the print magazine and to Digital Managing Editor The American Scholar is a quarterly magazine covering
Rachel Tepper Paley ([email protected]) for public affairs, literature, science, history, and culture.
digital. PAYMENT: Negotiate rates. Digital rates start at WHAT THEY WANT: While the magazine publishes fiction
$0.50 per word. and poetry, it only considers unsolicited submissions for
nonfiction no longer than 6,000 words. OTHER ADVICE:
The editors say, “Send only one submission at a time.”
GARDENING HOW TO SUBMIT: Send manuscripts via their Submittable
page (TheAmericanScholar.submittable.com).
The American Gardener PAYMENT: Pays up to $500 for accepted pieces in the print
(AHSGardening.org/gardening-resources/ magazine and up to $250 for pieces taken only for
gardening-publications/the-american-gardener) their website.
The American Gardener is the official publication of the
American Horticulture Society. This bimonthly magazine Harper’s Magazine
goes out to its more than 20,000 members. And it’s pri- (Harpers.org)
marily written by freelance writers. WHAT THEY WANT: The Harper’s Magazine is the oldest general-interest monthly
American Gardener publishes a mix of feature articles and in America, making its debut in June 1850. WHAT THEY
department pieces. Features typically run between 1,500– WANT: Editors seek the best fiction and nonfiction. OTHER
2,500 words. Departments include Natural Connections, ADVICE: The editors say, “Unsolicited poetry will not be
explaining natural phenomenon and symbiotic relation- considered or returned.” HOW TO SUBMIT: Send nonfic-
ships (750–1,000 words); Plant in the Spotlight, profil- tion queries and fiction manuscripts by post to Harper’s
ing a single plant species or cultivar (600 words); and Magazine, 666 Broadway, 11th Floor, New York, NY
Homegrown Harvest, providing authoritative informa- 10012. PAYMENT: Pays competitive rates.
tion on growing edible plants (900–1,000 words). OTHER
ADVICE: The editors say, “Among the topics of particular The Home Forum
interest to us are profiles of individual plant groups; inno- (CSMonitor.com/the-culture/the-home-forum)
vative approaches to garden design; profiles of prominent A section of The Christian Science Monitor site, The
horticulturists whose work has a national impact; plant Home Forum is a place for upbeat personal essays and
research and plant hunting; plant conservation, biodi- short poems. The personal essays should be between
versity, and heirloom gardening; events or personalities 600–1,000 words in length. WHAT THEY WANT: Writers
in American horticultural history; people-plant relation- should avoid personal essays that touch on death, aging,
ships (horticultural therapy, ethnobotany, and commu- and/or disease, but everything else is fair game. A few
nity gardening); environmentally appropriate gardening subjects that are always of interest include parenting,
(choosing plants suited to one’s region, using native plants, home, family, gardening, neighborhood, and community.
conserving water, etc.); and plant lore and literature. We OTHER ADVICE: The editors say, “These are first-person,
also seek articles that describe and show how to construct nonfiction explorations of how you responded to a place,
simple garden features such as ponds or paths, or illustrate a person, a situation, an event, or happenings in every-
useful gardening techniques such as grafting, pollarding, day life. Tell a story; share a funny true tale. The humor
or propagation.” HOW TO SUBMIT: Editors prefer writers should be gentle.” HOW TO SUBMIT: Send a complete
submit a proposal via email ([email protected]). manuscript to [email protected]. The editors
PAYMENT: Pay for features ranges between $300–$600; caution people who have spam filters for “unauthorized”
payment for departments is $150–$200. senders to add Home Forum to your authorized list—or

74 I WRITER’S YEARBOOK I 2024

you’ll never hear from them. PAYMENT: Pays $400 The New Yorker
on publication. (NewYorker.com)
The New Yorker was established in 1925 by Harold Ross
HuffPost “as a lighthearted, Manhattan-centric magazine.” The
(HuffPost.com) weekly magazine has grown into a national (and even
Launched in 2005 as The Huffington Report, Huff Post international) touchstone of culture and literature—both
is a news aggregator site that’s covered a variety of top- in print and online. WHAT THEY WANT: According to their
ics with its newer name since 2017. WHAT THEY WANT: guidelines, The New Yorker currently considers unsolic-
Huff Post is looking for freelance material in a variety of ited poetry and fiction, including submissions to their
categories and in a variety of formats, including images, Shouts & Murmurs section. OTHER ADVICE: The editors
video, or other visual formats. Sections include National caution writers, “Keep in mind that Shouts & Murmurs
and Politics; HuffPost Personal; HuffPost Culture; Style are humorous fiction; first-person essays will not be con-
& Beauty; and Wellness. OTHER ADVICE: The editors say, sidered.” HOW TO SUBMIT: For fiction, submit via email to
“Pitches should include a working headline, two to three [email protected]; for Shouts & Murmurs, submit
paragraphs that outline why you think the story mat- to [email protected]; for poetry and car-
ters, with some indication of how you plan to report and toons, submit via the Submittable page. PAYMENT: Pays
tell the story (e.g., sources, key characters or narrative competitive rates.
events). Also tell us a little about who you are and why
you’re the right person to write this story, and please Reader’s Digest
indicate whether your pitch is timely.” HOW TO SUBMIT: (RD.com)
Potential writers can pitch sections via email: National Established in 1922, Reader’s Digest began with a simple,
and Politics ([email protected]); HuffPost Personal yet powerful, mission: to collect condensed versions of
([email protected]); HuffPost Culture (culture@ the most important stories found in other magazines
huffpost.com); Food & Drink/Voices in Food (food@ each month. In other words, it was a magazine built
huffpost.com); Style & Beauty ([email protected]); around curating content. WHAT THEY WANT: While the
and Wellness ([email protected]). PAYMENT: All editors don’t accept traditional pitches, they do want
published contributors are paid for their work. jokes, gags, funny quotes, and humorous 100-word true
stories. OTHER ADVICE: The editors say, “Reader’s Digest
Listverse unites its readers and their families like no other brand
(Listverse.com) through the simplest of acts: sharing stories, laughs, and
As one may guess from the title, Listverse is a site built on great advice.” HOW TO SUBMIT: Writers can submit jokes,
lists on a variety of topics, especially lists many would con- gags, quotes, and short funny stories online at RD.com/
sider weird or hyper-focused on esoteric trivia and facts. submit-joke or 100-word true stories at RD.com/100
The site purports to present three or more new lists a day. -word-stories-submissions. PAYMENT: Pays $100 (or $1
WHAT THEY WANT: Lists covering a variety of topics. OTHER per word) for the true stories and $25 for the jokes, gags,
ADVICE: The editors say, “To help you out with some and funny quotes used in the magazine.
ideas, the lists that our readers love the most (and the
ones we will most likely pay for) are lists that are offbeat Salon
and novel—lists that are looking at something normal in (Salon.com)
an unexpected way (ways college makes you dumb, for Launched in 1995, Salon is one of the original online
example), unsolved mysteries, hidden knowledge (things news sites and has grown an audience of roughly 10
most people don’t know), misconceptions, and just really million unique visitors per month. WHAT THEY WANT:
astonishing general knowledge about anything.” HOW TO Today, Salon offers up news, politics, entertainment,
SUBMIT: Writers can submit their list via Listverse’s sub- criticism, commentary, personal essays, and more. OTHER
mission form at Listverse.com/submit-a-list. PAYMENT: ADVICE: Their site says, “One of the first entirely digi-
Listverse pays $100 per list (at least 10 items). tal major media outlets, Salon continues to lead media

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FOR YOUR REFERENCE

innovation—from community engagement to new sto- Each issue also contains three features of 1,500–3,500
rytelling platforms and devices.” HOW TO SUBMIT: Prefers words. Digital pieces typically run 700–800 words. OTHER
email pitches and queries for most section editors found ADVICE: In addition to the magazine, they offer podcasts,
at Salon.com/about/submissions—with the exception courses, travel, and events that look to a variety of tradi-
of Life Story submissions, which should be submitted on tions and cultures for best practices on living a healthier
spec to [email protected]. PAYMENT: Negotiable rates. and happier life. HOW TO SUBMIT: Potential writers can
email pitches to [email protected] with
the pitch in the body of the message (no attachments).
HEALTH The editors advise an interesting subject line and encour-
age a follow-up if you haven’t received a response after
Psychology Today a couple of weeks. PAYMENT: Pays $200 for front section
(PsychologyToday.com) pieces and up to $500 for features. Spirituality & Health
Psychology Today devotes its pages to what’s hap- buys exclusive rights while the magazine is on news-
pening in “psychology today.” However, this is not a stands—and has the right to use the piece on their
straight-up science magazine. Recent stories in the electronic media.
magazine have focused on setting personal boundaries,
the evolution of hygiene, dazzling people in conversa-
tion, and examining the concept of pathocracies. WHAT HISTORY
THEY WANT: Front-of-book articles for their Insights sec-
tion can be as concise as three paragraphs or a full page Archaeology
(with images). Longer pieces run in regular sections (Archaeology.org)
labeled Personality, Health, Relationships, POV, and Archaeology magazine is a bimonthly publication dedi-
Treatment. OTHER ADVICE: In addition to print submis- cated to supporting archaeological inquiry and foster-
sions, PsychologyToday.com considers blog proposals ing the pursuit of knowledge about human heritage.
as well. They prefer bloggers who publish multiple posts Based in Long Island City, N.Y., the magazine has been
on a specific theme over writers who are trying to pitch published by the Archaeological Institute of America for
a one-time blog post. Learn more on their submission more than 70 years. WHAT THEY WANT: The editors say,
page at bit.ly/2PYDqcI. HOW TO SUBMIT: For the print “Our general interest magazine includes news of the lat-
magazine, potential writers should pitch ideas through est archaeological discoveries, in-depth features, photo
Psychology Today’s Submittable page (bit.ly/2K3OjGl). essays, and reports from the field. We explore ancient
The editors advise against sending complete manu- cultures not only through monuments and works of art,
scripts. Instead, writers should explain their ideas, but through the towns, houses, and objects of daily life
include potential sources you might contact (if appropri- that bring people of the past to life.” OTHER ADVICE: The
ate), identify where the piece would fit in the magazine, editors say, “Stories of the magazine have a strong nar-
and share why you want to write the piece now. PAYMENT: rative line. Essentially, our stories build out from the
Negotiable rates. ‘finds’—the physical evidence—and narratives derive
from those finds. Reporting can focus on a particular
Spirituality & Health site, on a new discovery, or may be an investigation of
(SpiritualityHealth.com) the reevaluation or overturning of a long-held theory.”
Launched in 1998, Spirituality & Health focuses on help- HOW TO SUBMIT: Potential writers can submit proposals
ing its readers experience “total aliveness.” WHAT THEY to [email protected]. Proposals should include
WANT: The editors look for around 10 stories per issue a brief summary of the story idea and a list of interview
for the front sections of their magazine that are catego- sources, including their locations and how the writer
rized as Inner Life, Practice, Enlightened Diet, Healthy plans to contact them. Writers should also include a pro-
Body, Relationships, and Biosphere—these pieces have a posed word count and relevant published clips. PAYMENT:
maximum word count of 950 words, including a sidebar. Negotiable rates.

76 I WRITER’S YEARBOOK I 2024

Early American Life Lighthouse Digest
(EALOnline.com) (LighthouseDigest.com)
Established in 1970, Early American Life is a bimonthly Lighthouse Digest is a bimonthly magazine focused on
magazine dedicated to the early American living and lighthouses. Founded in 1992 and based in Maine, this
style of the period 1600–1840. In addition, they pub- magazine focuses on lighthouse preservation and his-
lish an annual Christmas issue. WHAT THEY WANT: Early tory. WHAT THEY WANT: The editors are looking for any
American Life covers a range of topics centered on stories that are lighthouse-related. The editors say, “We
American life between its founding and mid-19th cen- are looking for short stories, either fact or fiction, that
tury. Their main categories include history, architec- revolve around a lighthouse. The story must state if it
ture and decorating, antiques, studio crafts, and travel. is a work of fiction or based on fact. Stories should be
OTHER ADVICE: The editors say, “We can guarantee that 750–1,500 words, although longer stories will be con-
your work will be scrutinized by experts in the topic sidered.” OTHER ADVICE: The editors say, “Through the
about which you write, so please be sure every date is pages of Lighthouse Digest, our readers learn about cur-
accurate, every name spelled correctly, every address rent happenings at lighthouses and what is being done
and telephone number verified.” HOW TO SUBMIT: Pitch to preserve them. We also write about historical events
stories via email ([email protected]) or via that happened at lighthouses, publish a list of endan-
post to Early American Life, P.O. Box 221230, Shaker gered lighthouses, write about people that lived at or
Heights, OH 44122-0996 with “Editorial Query” grew up at lighthouses.” HOW TO SUBMIT: Prospective
marked on the envelope. PAYMENT: Negotiable rates. writers can submit full manuscripts on spec to the edi-
tors via post (Story Editor, Lighthouse Digest, P.O. Box
History Today 250, East Machias, ME 04630) or email (NewsTips@
(HistoryToday.com) LighthouseDigest.com). PAYMENT: Negotiable rates.
History Today is a monthly magazine covering
history. While the magazine is based in England, it Naval History
covers history from all times and around the world, (USNI.org/magazines/naval-history-magazine)
including recent pieces on the bloody fate of Rome’s Naval History is a bimonthly magazine focused on the his-
emperors, power struggles on the Korean peninsula, tory of the U.S. Navy, Marine Corps, and Coast Guard.
the Vikings of Greenland, historical witch-hunts, and Published by the U.S. Naval Institute, the digital magazine
a chronicle of the varied impact of climate on history. focuses on naval exploits throughout American history.
WHAT THEY WANT: History Today publishes three types WHAT THEY WANT: The editors say, “Each issue features the
of articles: feature-length articles between 3,000–3,400 following: illuminating profiles of warships, aircraft arma-
words; mid-length articles between 1,300–2,200 words, ments, and innovations; in-depth eyewitness accounts of
and History Matters articles of 1,000 words that feature the past; the latest research seeking to educate, preserve,
a range of polemics and short articles (and can appear and share naval history; Acts of Valor–Medal of Honor
on the History Matters section of the website). OTHER stories in graphic novel format; and Naval History News.”
ADVICE: The editors say, “We publish the world’s OTHER ADVICE: The editors say, “Review past Naval
leading scholars, on all periods, regions, and themes History articles by browsing the current table of contents
of history. Every contribution is carefully edited and or the table of contents archive, or by searching our arti-
illustrated to make the magazine a pleasurable, as well cle archive (on the website). Payment is upon publica-
as informative, read. Submissions should be origi- tion.” HOW TO SUBMIT: Prospective writers should submit
nal, exclusive to History Today, and offer an engaging complete articles of up to 3,000 words on spec either via
and authoritative take on a historical subject.” HOW TO mail (Editor-in-Chief Naval History, U.S. Naval Institute,
SUBMIT: Prospective freelancers should email their pro- 291 Wood Road, Annapolis, MD 21402-5034) or online
posals to [email protected]. PAYMENT: portal (USNI.org/webform/article-submission-form).
Negotiable rates. PAYMENT: Pays $60–$150 per estimated published page
(or 1,000 words), or $25 for anecdotes.

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FOR YOUR REFERENCE

HOW TO SUBMIT: Query editor Steve Shackleford (steve@

HOBBY
blademag.com). PAYMENT: Pays $150 for shorter pieces
up to $300 for feature stories.
American Craft
(CraftCouncil.org/magazine)
Ceramics Monthly
American Craft is the quarterly magazine of the
(CeramicArtsNetwork.org/ceramics-monthly)
American Craft Council. The editors say, “American
Published by the American Ceramic Society, Ceramics
Craft celebrates the diversity of American craft and its
Monthly touts itself as the world’s most widely read
makers. From the handmade that we use in our homes
ceramics magazine. This monthly magazine covers
every day to the fine craft honored in museums, we cover
handmade functional pottery, sculpture and tile, and the
inspiring craft being made today. We also showcase craft
people involved with innovating, teaching, promoting,
organizations making a difference in their communi-
and selling various ceramics. WHAT THEY WANT: The most
ties, thought leadership in the field, and the importance common places for writers to submit their work and
of craft in contemporary American culture.” WHAT THEY get paid include Techno File (explains and illustrates
WANT: Topics of interest for the magazine include artists
science of studio work); Clay Culture (about the culture
(whether emerging, mid-career, or seasoned who have of the studio ceramics world, as well as clay); Studio Visit
something unique about their work or career); ideas (that shares a visit to someone’s studio); Glaze Articles
related to how craft is evolving; craft that brings together (focused on a specific style or type of glaze); Profiles
a community; craft that reflects values of sustainability; (on a potter or sculptor); Exhibition Reviews (includes
handmade goods; galleries, museums, schools, and orga- critical analysis of the work, as well as background
nizations devoted to craft; people who collect craft in a information of value to potters, sculptors, students,
unique way; craft destinations; and books, films, pod- educators, and collectors); and Technical Articles
casts, exhibitions, and shows of interest to a craft-loving (related to the making of ceramic art and craft). Quality
audience. OTHER ADVICE: The editors say, “We value writ- images are an important part of many of these pieces,
ers who can craft content for a general creative audience so keep that in mind. OTHER ADVICE: The editors say,
with clarity and insight. We love good reporting, great “At our core, we are a magazine for everyone who is
storytelling, and meaningful essays. Writers should take interested in learning about, thinking about, and talking
special care, when touching on craft theory or history, about making things out of clay in a knowledgeable and
to write clearly, for a non-academic audience.” HOW TO fulfilling manner. From how-to and technical instruction
SUBMIT: Most stories are assigned based on a pitch, which in the studio to clay in the larger culture, Ceramics
can be sent to the editors using a submission form on Monthly is the window onto the world of studio
their guidelines page (CraftCouncil.org/magazine/ ceramics.” HOW TO SUBMIT: Email the editors at editor@
writers-guidelines). PAYMENT: Stories usually run 400– ceramicartsdaily.org. PAYMENT: Techno File and Glaze
2,000 words, and writers are paid $0.50–$1 per word. Articles are paid a flat rate of $250. Many other sections
are paid $0.10 per word with most pieces running
Blade Magazine somewhere between 500–1,000 words.
(BladeMag.com)
Established in 1973, Blade is branded as “the world’s #1 Classic Toy Trains
knife publication.” This monthly magazine covers the (Trains.com/ctt)
entire knife industry, including making knives, how to Established in 1987, Classic Toy Trains is published nine
use knives, collecting knives, knife rights legislation, and times per year—usually with special issues mixed in like
more. WHAT THEY WANT: The editors need stories that Lionel Trains of the 1950s and Best Toy Train Layouts.
are newsworthy, educational, informative, and enter- This magazine covers the entire hobby of toy trains, past
taining. OTHER ADVICE: The editors say, “Pick up sev- and present, for toy train enthusiasts. WHAT THEY WANT:
eral different issues of Blade on newsstands and study Classic Toy Trains generally looks for articles of interest
them. This should give you an idea of what we’re after.” to toy train enthusiasts, including wiring or scenery

78 I WRITER’S YEARBOOK I 2024

techniques, various historical toy trains, current and accepts freelance articles on all phases of aircraft con-
interesting layouts, and more. OTHER ADVICE: The editors struction, from basic design, to flight trials, to con-
say, “If you have an idea on a subject you haven’t seen struction technique in wood, metal, and composite. We
us cover, write and ask. We’re always interested in new also review and analyze products and services related
ideas.” HOW TO SUBMIT: Send all queries and manuscripts to amateur-built and kit aircraft construction.” OTHER
to: Classic Toy Trains Magazine, 21027 Crossroads ADVICE: For flight and kit reviews, the editors want writ-
Circle, P.O. Box 1612, Waukesha, WI 53187. PAYMENT: ers to break up their reviews into three parts: “The flight
Rate based on an estimate of length. review, a detailed description of the kit, and a report on
the company itself.” HOW TO SUBMIT: Potential writers
Fine Books & Collections should query first via email ([email protected]).
(FineBooksMagazine.com) PAYMENT: They pay $250–$1,000 for articles, depending
Established in 2002, Fine Books & Collections is a quar- on length and topic.
terly magazine published by OP Media, LLC, that covers
a broad range of topics and subjects of interest to book
collectors, dealers, librarians, curators, and bibliophiles, HOME
from early manuscripts to modern first editions and
everything in between. WHAT THEY WANT: Features tend Atomic Ranch
to run 1,500–2,000 words, and pieces for the front-of- (Atomic-Ranch.com)
book digest section (shorter, newsier pieces) are usually Atomic Ranch is published six times per year. Based in
500–700 words. Digest is divided into four categories: Durham, N.C., the magazine is focused on mid-century
book (focused on a particular book); art (focused on modern design and décor. Each issue includes house
non-book works of paper, illustration, and/or draw- tours, design tutorials, and collectibles tips. WHAT THEY
ing); object (other collectibles and antiques, including WANT: The editors of Atomic Ranch are looking for con-
furniture, pens, coins, etc.); and exhibit (new or recently tributors who are passionate about architecture, collect-
opened library or museum exhibit of major interest). ibles, and history. The editors say, “Love Mid-Century
OTHER ADVICE: The editors say, “Fine Books & Collections Modern style? Then kick back at Atomic Ranch, your
content is distinguished by excellent reporting, solid destination for MCM design, architecture, and history,
research, a captivating point of view, or all three. We plus all the build, renovation, preservation, décor, and
are 90 percent freelance written and welcome proposals lifestyle coaching you need to make life in this century
from writers and also assign topics to writers. Our stories optimally groovy. Whether you’re restoring a period-
use the book as a starting place for telling a bigger story.” perfect mid-century house or infusing mod style into
HOW TO SUBMIT: Potential writers should query Editor an abode built in another era, we’re the ultimate com-
Allison Meier via email (allison@finebooksmagazine munity for inspiration and the practical tips you need to
.com) with their article idea and link to writing samples. turn your dreams into reality.” OTHER ADVICE: The editors
While email is preferable, writers can also send pitches say, “We’ve got our eyes out for people who have their
by post (Fine Books & Collections, ATTN: Writing finger firmly on the pulse of trends in the world of Mid-
Submission, 100 Europa Drive, Ste. 290, Chapel Hill, NC Century Modern and love to write about them. Ideal
27517). PAYMENT: The magazine generally pays within 30 experts may include MCM-era homeowners, lifestyle
days of completion at a negotiable rate. bloggers, professional interior designers and decorators,
history buffs, vintage collectors, retro-loving jet setters,
Kitplanes renovation or preservation gurus, creative crafters, and
(KitPlanes.com) DIY mavens. Potential contributors should show expert
Kitplanes was established in 1984 and covers kit and knowledge in their topic/field as well as exemplary writ-
amateur-built aircraft construction. This monthly maga- ing and photography skills.” HOW TO SUBMIT: Potential
zine is written by aviation enthusiasts, as well as experts writers can submit a short description of why they’re
in the field. WHAT THEY WANT: The editors say, “Kitplanes interested in being a contributor, qualifications that show

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FOR YOUR REFERENCE

expertise (with writing and photography samples), and veneering cabinet doors, we look for high-quality work-
contact information via email to contributor@atomic manship, thoughtful designs, and proper procedures.”
-ranch.com. PAYMENT: Negotiable. HOW TO SUBMIT: Send pitches and digital images via email
to [email protected]. PAYMENT: Rates start at $150 per
Dwell published magazine page—plus, reimbursements for pre-
(Dwell.com) approved expenses for materials and incidentals.
Dwell is a bimonthly magazine focused on home design.
WHAT THEY WANT: The editors say, “In everything we do, Midwest Home
we advocate for design that is … Humanistic: It responds (MidwestHome.com)
to the needs of real people and frames new ways of liv- Midwest Home is published six times per year. This
ing. Forward-looking: It embraces new building meth- magazine is focused on fine homes and gardens in the
ods and enhances its social and ecological context. Twin Cities and around Minnesota. WHAT THEY WANT:
Optimistic: It embodies Dwell’s core belief that design The editors say, “Midwest Home features beautifully pho-
can shape a better world.” OTHER ADVICE: The editors tographed stories about well-designed spaces both inside
say, “For more than 20 years, Dwell has championed and outside area homes. We’re always looking for exam-
home design that improves people’s lives. We feature ples of outstanding architecture, remodels, interior design,
new ideas about what a home can and should be, offer and landscape and garden design. Keep in mind that
expert advice for making your own space a better place projects you submit must have been completed within the
to live, and provide a marketplace for the best-designed past two years to be considered for publication. They must
products available.” HOW TO SUBMIT: Writers can submit also be located in Minnesota or have a strong connection
their ideas in a range of verticals: Design to Mike Chino to Minnesota.” OTHER ADVICE: The editors say, “Midwest
([email protected]) or Duncan Nielsen (duncan@ Home inspires its readers with design trends, entertain-
dwell.com); Culture to Sarah Buder (sarah.buder@ ing ideas, tips from decorators and gardeners, and features
dwell.com); Ideas to Kate Dries (kate.dries@dwell on new homes and renovations. The print magazine has
.com); Guides to Megan Reynolds (megan.reynolds@ been recognized with numerous awards for its fine edito-
dwell.com); Shop to Julia Stevens (julia.stevens@dwell rial content and beautiful design over the years.” HOW TO
.com) or Kenya Foy ([email protected]). PAYMENT: SUBMIT: Prospective writers should include the follow-
Rates start at $1 per assigned word for print and $0.50 ing information about their project: name and role in the
per word for the website. Print assignments and exclu- project; project location, completion date, and descrip-
sives often fall within the $1,000–$2,000 range. tion; digital images; homeowners’ contact information
(and whether permission for publication is secured);
Fine Homebuilding contact information for contributors (and whether there
(FineHomebuilding.com) are any conflicts with the writer). Email Editor Katelyn
Fine Homebuilding is a bimonthly magazine for builders, Bloomquist at [email protected] or by
architects, contractors, owner/builders, and others who snail mail to: Katelynn Bloomquist, Midwest Home,
are involved in building new houses or reviving old ones. 9401 James Ave. S. Ste. 152, Bloomington, MN 55431.
WHAT THEY WANT: The editors have identified a few cate- PAYMENT: Negotiable.
gories that most articles fall into: Technique articles cov-
ering a specific method or skill; design articles covering
completed houses, additions, or renovations; and project LITERARY
articles focused on specific building, remodeling, or
home-improvement projects. OTHER ADVICE: The editors 32 Poems
say, “We’re interested in almost all aspects of home build- (32Poems.com)
ing, from laying out foundations to capping cupolas. 32 Poems is printed twice per year (in the summer and
Whether the subject is a fundamental method for fram- winter) and distributed to an international subscriber
ing a second-story addition or a complex technique for base. Founded by Deborah Ager and John Poch in 2002,

80 I WRITER’S YEARBOOK I 2024

32 Poems offers up 32 shorter poems in each issue by short stories of exceptional quality. WHAT THEY WANT:
a range of award-winning and newer poets. Based in The editors say, “American Short Fiction has pub-
Washington, Pa., 32 Poems has been edited by George lished, and continues to seek, short fiction by some of
David Clark for the past decade. WHAT THEY WANT: The the best writers working in contemporary literature,
editors say, “32 Poems welcomes unsolicited poetry whether they are established or new or lesser-known
year-round and accepts simultaneous submissions. We authors.” OTHER ADVICE: Short fiction must be origi-
respond quickly though (often within a few weeks) and nal and previously unpublished. The editors consider
poets who have not received a response within 90 days work that has appeared on blogs and other online ven-
are encouraged to query regarding their manuscript’s ues, including social media sites, as previously pub-
status. As a rule, we publish shorter poems that fit on lished. HOW TO SUBMIT: They have an open submission
a single page, but we sometimes make exceptions to period from September through December. Writers can
accommodate remarkable work that runs a little longer.” submit one story per submission period through their
OTHER ADVICE: 32 Poems does not accept translations Submittable page. PAYMENT: They pay competitive rates
or previously published poems. HOW TO SUBMIT: Poets on publication.
should send up to five poems in a single document to
their Submittable page. PAYMENT: Pays poets $25 per pub- Baffling Magazine
lished poem, in addition to two contributor copies of the (BafflingMag.com)
issue in which their poems appear. Baffling Magazine is a quarterly online magazine that
publishes speculative flash fiction with a queer bent.
The American Poetry Review WHAT THEY WANT: The editors say, “We especially love to
(APRWeb.org) see more stories under 500 words. We are looking for
In continuous publication since 1972, The American speculative stories that explore science fiction, fantasy,
Poetry Review has presented the work of more than 8,000 and horror with a queer bent. We want queer stories
writers in its 50 years of existence. Founded by Stephen and we want trans stories and we want aro/ace stories.
Berg and Stephen Parker, The American Poetry Review We want indefinable stories. We welcome weird, slip-
is currently edited by Elizabeth Scanlon. WHAT THEY stream, and interstitial writing.” OTHER ADVICE: The edi-
WANT: This bimonthly print magazine includes poetry tors advise, “Submissions are open to all. Neon Hemlock
from “new voices” and “established masters,” columns, Press is particularly interested in queer stories and
interviews, translations, and reviews. OTHER ADVICE: The authors. Authors from all underrepresented backgrounds
editors say, “The American Poetry Review is dedicated and marginalized communities are strongly encour-
to reaching a worldwide audience with a diverse array aged to submit. Please don’t self-reject.” HOW TO SUBMIT:
of the best contemporary poetry and literary prose. APR Potential writers can submit their stories via their online
also aims to expand the audience interested in poetry submission form with a brief cover letter that includes
and literature, and to provide authors, especially poets, the title, length, and a brief bio. PAYMENT: Pays $0.08 per
with a far-reaching forum in which to present their word for original stories under 1,200 words.
work.” HOW TO SUBMIT: Prospective poets can send up to
five poems per submission to their Submittable page or The Baltimore Review
by post (The American Poetry Review, 1906 Rittenhouse (BaltimoreReview.org)
Square, 3rd Floor, Philadelphia, PA 19103. PAYMENT: The Founded in 1996 by Barbara Westwood Diehl, The
American Poetry Review pays $1 per line of poetry and Baltimore Review lists its mission “to showcase Baltimore
$60 “per APR page of prose.” as a literary hub of diverse writing and promote the work
of emerging and established writers.” WHAT THEY WANT:
American Short Fiction Seeks exceptional fiction, poetry, and creative nonfiction.
(AmericanShortFiction.org) OTHER ADVICE: The editors say, “Submissions in more
Based in Austin, Texas, American Short Fiction focuses than one category are permitted, but please do not
specifically on original and previously unpublished submit work more than once per reading period in any

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FOR YOUR REFERENCE

category.” HOW TO SUBMIT: Send complete manuscript narratives, but we’re always happy to be surprised by
via their Submittable page. PAYMENT: Pays $50 for work that breaks outside this general mold. Above all,
published piece. we’re interested in writing that blends style with sub-
stance and reaches beyond the personal to tell us some-
Brevity thing new about the world.” HOW TO SUBMIT: Creative
(BrevityMag.com) Nonfiction accepts submissions and pitches year-round
Brevity: A Journal of Concise Literary Nonfiction is pub- via Submittable. PAYMENT: Negotiable rates.
lished three times per year and features extremely brief
essays on a variety of topics. WHAT THEY WANT: The edi- Every Day Fiction
tors look for essays of 750 words or fewer. They will also (EveryDayFiction.com)
consider nonfiction craft essays of up to 1,200 words. Every Day Fiction is an online publication that attempts
OTHER ADVICE: The editors say, “We seldom publish pre- to share a new piece of flash fiction almost every single
viously published work, but we aren’t ruling it out. Please day. WHAT THEY WANT: Publishes fiction of fewer than
let us know if your essay has appeared previously, and 1,000 words. The editors say, “There’s no such thing as
where it has appeared.” HOW TO SUBMIT: Submit via their too short—if you can do the job in 50 words, have at it!—
Submittable page. Craft essay pitches can be sent to Craft but our readers prefer pieces that tell or at least hint at a
Editor Julie Riddle at [email protected]). complete story (some sort of action or tension rising to
PAYMENT: Writers are paid a $45 honorarium for featured a moment of climax, and at least a clue toward a resolu-
essays and craft pieces. tion, though it doesn’t have to be all spelled out).” OTHER
ADVICE: “Our readership is adult, so children’s stories are
The Cincinnati Review unlikely to be accepted unless they are relevant to adults
(CincinnatiReview.com) as well.” HOW TO SUBMIT: Potential writers can submit up
Established in 2003, The Cincinnati Review is the liter- to three stories through Every Day Fiction’s Submittable
ary journal of the University of Cincinnati. WHAT THEY page. PAYMENT: Pays $3 for each published story.
WANT: Accepts submissions of poetry, fiction, literary
nonfiction, drama, translations, and microfiction and Fractured Lit
nonfiction. OTHER ADVICE: The editors say, “If we accept a (FracturedLit.com)
piece, we prefer to work with the essay, poem, or story as Fractured Lit is an online publication that publishes
submitted to us, not with later revisions, though we may new microfiction (up to 400 words) and flash fiction
suggest changes during the copy editing process.” HOW (401–1,000 words) every Monday and Thursday. WHAT
TO SUBMIT: Send complete manuscripts via their online THEY WANT: The editors say, “Fractured Lit publishes flash
submission form (CincinnatiReview.com/submissions). fiction with emotional resonance, with characters who
Submissions open in the months of May, September, and come to life through their actions and responses to the
December. PAYMENT: Pays $25 per page of prose and $30 world around them. We’re searching for flash that inves-
page of poetry in the print journal. tigates the mysteries of being human; the sorrow and
the joy of connecting to the diverse population.” OTHER
Creative Nonfiction ADVICE: The editors say, “Please refrain from describing
(CreativeNonfiction.org) your stories. The work needs to speak for itself.” HOW TO
Creative Nonfiction is the premier creative nonfic- SUBMIT: Prospective writers can submit up to two stories
tion magazine. WHAT THEY WANT: The editors define at a time via Fractured Lit’s Submittable page. PAYMENT:
the genre of creative nonfiction as “true stories, well Pays $50 for microfiction and $75 for flash fiction.
told,” and that’s what they look for in submissions.
OTHER ADVICE: The editors say, “We’re open to all types The Georgia Review
of creative nonfiction, from immersion reportage to (TheGeorgiaReview.com)
lyric essay to memoir and personal essays. Our editors Based in Athens, Ga., The Georgia Review is the liter-
tend to gravitate toward submissions structured around ary-cultural journal published out of the University of

82 I WRITER’S YEARBOOK I 2024

Georgia since 1947. The editors say, “While it began with MFA Program and editor Mitch Wieland’s publishing
a regional commitment, its scope has grown to include and editing graduate class. Past fiction contributors have
readers and writers throughout the U.S. and the world, included Ann Beattie, Joy Williams, Anthony Doerr,
who are brought together through the print journal as Edith Pearlman, and John McNally. WHAT THEY WANT:
well as live programming.” WHAT THEY WANT: The edi- The Idaho Review seeks polished writing in fiction,
tors consider submissions of poetry, fiction, and nonfic- poetry, and creative nonfiction. The editors say, “Please
tion. OTHER ADVICE: Submissions close for the summer indicate your genre in your cover letter, and upload your
(between May 15 and August 15), but they’re open the piece to our online submission manager.” Simultaneous
rest of the school year. HOW TO SUBMIT: Potential writ- submissions are fine, but writers should contact the edi-
ers can submit by their Submittable page or post (The tors if their work is accepted elsewhere. OTHER ADVICE:
Editors, The Georgia Review, 706A Main Library, 320 The editors say, “Our mission is to publish strong, evoca-
S. Jackson St., The University of Georgia, Athens, GA tive work that belongs to the collective, vast community
30602-9009). PAYMENT: Their standard rates are $4 per of writers. As we move forward, we intend to broaden
line of poetry and $50 per printed page for prose, up our reach. We hope to include writers of different identi-
to $800. ties—in terms of race, ethnicity, sexuality, gender, ability,
language, religion, class, age, education, and region—so
The Gettysburg Review that our journal is a representation of the voices present
(GettysburgReview.com) in today’s literary community.” HOW TO SUBMIT: Potential
The Gettysburg Review is a triannual literary journal writers can submit their work via post to Idaho Review,
published by Gettysburg College. Since it was Boise State University, 1910 University Dr., Boise, ID
established in 1988, this journal has seen many of its 83725, or on their Submittable page (TheIdahoReview
pieces featured in various prize anthologies. WHAT THEY .submittable.com/submit). There is a $3 charge
WANT: The editors want literary fiction, nonfiction, for Submittable submissions. PAYMENT: No payment
and poetry, and say, “We have very eclectic tastes, but information.
are highly selective, publishing only one percent of
manuscripts submitted to us annually.” OTHER ADVICE: The Iowa Review
When it comes to fiction, the editors say, “Aesthetically, (IowaReview.org)
we are open to most styles and approaches. We do not Based in Iowa City, Iowa, The Iowa Review publishes fic-
publish genre fiction—mystery, crime, science fiction, tion, poetry, creative nonfiction, translations, photogra-
fantasy—but are certainly not opposed to considering phy, and more. WHAT THEY WANT: The editors seek the very
work that self-consciously employs the tropes of such best literary poetry, fiction, and nonfiction. OTHER ADVICE:
writing to language- and character-driven ends.” HOW The editors say, “We publish a wide range of fiction,
TO SUBMIT: Potential writers can submit their poetry, poetry, creative nonfiction, translations, photography, and
fiction, and essays to the journal each year between work in emerging forms by both established and emerging
September 1 and May 31 via their Submittable page writers.” HOW TO SUBMIT: They accept submissions dur-
(GettysburgReview.submittable.com/submit) or by ing reading periods via their Submittable page or by post
post to: Mark Drew, Editor, The Gettysburg Review, ([Fiction, Poetry, or Nonfiction] Editor, The Iowa Review,
Gettysburg College, 300 N. Washington Street, 308 EPB, University of Iowa, Iowa City, IA 52242). Writers
Gettysburg, PA 17325-1491. PAYMENT: Pays $3 per line should submit no more than eight pages of poetry or 25
of poetry (maximum $300) and $30 per printed page of double-spaced pages of prose. PAYMENT: The Iowa Review
prose upon publication. pays $1.50 per line of poetry ($100 minimum) and $0.08
per word for prose ($100 minimum).
The Idaho Review
(IdahoReview.org) Kenyon Review
Founded in 1998, The Idaho Review is produced with (KenyonReview.org)
the help of an MFA Graduate Assistant from Boise State’s Based in Gambier, Ohio, Kenyon Review publishes

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FOR YOUR REFERENCE

artful fiction, poetry, and essays six times per year. WHAT Writers can submit up to three to five poems (up to 10
THEY WANT: Editors want literary fiction, nonfiction, pages) at a time. OTHER ADVICE: The editors say, “Writers
poetry, and plays, plus translations. OTHER ADVICE: The at all stages of their careers are welcome to submit their
editors say, “We make every effort to respond to all sub- work to The Malahat Review. It publishes poetry, short
missions within six months of receipt.” HOW TO SUBMIT: fiction, and creative nonfiction by new and established
Writers can submit short fiction and essays (up to 7,500 writers mostly from Canada, reviews of Canadian books,
words), flash fiction and essays (up to three pieces, up to and the best writing from abroad.” HOW TO SUBMIT:
1,000 words each), poetry (up to six poems), plays and Potential writers can submit their work nearly year-
excerpts from larger works (up to 30 pages), transla- round on their Submittable pages. PAYMENT: Pays $70
tions of poetry and short prose via their Submittable (Canadian) per published page, plus a one-year subscrip-
page. PAYMENT: Pays $0.08 per published word of prose tion to the magazine.
($80–$450) and $0.16 per published word of poetry
($40–$200). Michigan Quarterly Review
(Sites.LSA.UMich.edu/MQR)
Longreads Founded in 1962, Michigan Quarterly Review is the flag-
(Longreads.com) ship literary journal of the University of Michigan. It
Founded in 2009, Longreads is an online publication publishes distinctive poetry, fiction, and creative nonfic-
focused on long-form nonfiction storytelling. WHAT THEY tion (and works of translation) by writers from around
WANT: This magazine published personal and reported the world. WHAT THEY WANT: Michigan Quarterly Review
essays, reading lists, interviews, and critical essays. Most seeks literary writing in a variety of genres, including
pieces run 2,000–6,000 words. OTHER ADVICE: The edi- poetry, short stories, nonfiction, and translations. OTHER
tors say, “It can take us a considerable amount of time to ADVICE: The editors say, “Our magazine embraces cre-
review pitches and read submissions, which means we ative urgency and cultural relevance, aiming to challenge
are unable to respond to everyone. For this reason, we conventions and address long-overdue conversations.”
recommend that you pitch your stories to other publica- HOW TO SUBMIT: Prose submissions should be between
tions in addition to Longreads—but please include a note 1,500–7,000 words; poets can submit three to six poems
to us if you are doing so.” HOW TO SUBMIT: Writers should (not to exceed 12 total pages). Send during open sub-
send complete manuscripts for personal essay submis- mission periods (January 1 to April 1 and August 1
sions and pitches for other types of writing via email to to November 1) via their Submittable page. PAYMENT:
[email protected]. PAYMENT: Pays $500 per essay Negotiable rates.
and can negotiate higher rates for other pieces of writ-
ing, depending on the level of reporting and research The Missouri Review
required. Also pays $350 for reading lists. (MissouriReview.com)
The Missouri Review was founded in 1978 and pub-
The Malahat Review lishes five new stories, three new poetry features, and
(MalahatReview.ca) two essays in each quarterly issue. Writers published in
The Malahat Review is a literary publication that seeks the journal have been anthologized frequently in Best
poetry, fiction, and creative nonfiction by Canadians and American Poetry, The O. Henry Prize Anthology, The
international writers. Established in 1967, The Malahat Pushcart Prize, and other venues. WHAT THEY WANT:
Review is a quarterly publication that sometimes focuses The Missouri Review publishes poetry features of 6–14
on themes. WHAT THEY WANT: The Malahat Review seeks pages of poetry by each poet (usually three to five poets
poetry, fiction, and creative nonfiction. Fiction submis- per issue). Successful submissions typically feature 8–20
sions can be up to 8,000 words, or up to three flash pages of unpublished poetry. Short stories are between
fiction pieces (750 words or fewer for each flash fiction 2,000–9,000 words in length. The editors advise that
piece). Creative nonfiction submissions can run up to anything longer or shorter “must be truly exceptional to
5,000 words (or three pieces of up to 1,000 words each). be published.” All nonfiction submissions should be of

84 I WRITER’S YEARBOOK I 2024

general interest. OTHER ADVICE: The editors say, “There THEY WANT: New Letters seeks literary writing in a variety
are no restrictions on length or topic, but we suggest of genres, including poetry, short stories, novellas, and
that writers familiarize themselves with nonfiction from nonfiction. OTHER ADVICE: The editors say, “We gener-
previous issues.” HOW TO SUBMIT: Potential writers can ally publish short stories that are no more than 5,000
submit online (Submissions.MissouriReview.com) words; novellas that are no more than 30,000 words or
or by post to: [genre] Editor, The Missouri Review, 453 roughly 60 pages; graphic short stories in comic spreads
McReynolds Hall, University of Missouri, Columbia, MO up to 10 pages and in color or black and white; and chap-
65211. PAYMENT: They pay $40 per printed page. books that are no longer than 30 pages.” HOW TO SUBMIT:
Writers can submit their work year round on their
New England Review Submittable page. PAYMENT: Pays negotiable rates.
(NEReview.com)
Founded in 1978 by poets Sydney Lea and Jay Parini, One Story
New England Review is a quarterly literary journal pub- (One-Story.com)
lishing poetry, fiction, and nonfiction—including per- Based in Brooklyn, N.Y., One Story considers one story
sonal essays, travelogues, cultural criticism, and more. between 3,000–8,000 words. One Story is a small chap-
One of the stated goals of New England Review is to book featuring only one story. That story can be any style
find new voices. WHAT THEY WANT: New England Review or subject as long as it’s good, because it has to do all the
is looking for poetry, fiction, and nonfiction that is pre- heavy lifting of the issue on its own. WHAT THEY WANT:
viously unpublished for possible print and/or online One incredible story between 3,000–8,000 words in
publication. For prose (fiction and nonfiction), there is length. OTHER ADVICE: The editors say, “[Stories] can be
a 20,000-word limit, though there are no caps explicitly any style and on any subject as long as they are good. We
stated for poetry submissions. For most fiction and non- are looking for stories that leave readers feeling satisfied
fiction submissions, writers should submit the complete and are strong enough to stand alone.” HOW TO SUBMIT:
manuscript for only one piece at a time. The one excep- They have two open submission periods: spring and fall.
tion is for short short fiction (under 1,000 words a piece); Submit via their Submittable page. PAYMENT: One Story
in those cases, writers can submit up to three at a time. pays $500 and 25 contributor copies.
For poetry, poets can submit up to six poems at a time in
a single file. OTHER ADVICE: The editors say, “We welcome Palette Poetry
and encourage submissions from writers of every nation- (PalettePoetry.com)
ality, race, religion, and gender, including writers who Palette Poetry is an online poetry publication that pub-
have never been affiliated with an MFA program and lishes poetry throughout the year. WHAT THEY WANT:
whose perspectives are often underrepresented in the Palette Poetry seeks to publish poetry in a variety of
literary world.” HOW TO SUBMIT: Potential writers can sub- styles and from an array of poets. OTHER ADVICE: The
mit online via their Submittable page. PAYMENT: They pay editors say, “We have no particular aesthetic vision or
$20 per page ($50 minimum), two contributor copies, mission except to create a safe and encouraging space
and one-year subscription for writers published in print; for all voices. Our goal is to simply find and publish the
$50 and one-year subscription for online contributors. best poetry we can, no matter its roots in craft.” HOW
TO SUBMIT: Writers can submit poems year-round on
New Letters their Submittable page. PAYMENT: Poets are paid $50 for
(NewLetters.org) accepted poems, up to $150 for three poems.
New Letters is a literary journal associated with the
University of Missouri-Kansas City that seeks “to dis- Pedestal Magazine
cover, publish and promote the best and most exciting (ThePedestalMagazine.com)
literary writing, wherever it might be found.” They’ve Pedestal Magazine is one of the most established online
recently won a National Magazine Award and have been poetry publications. It was founded by current Managing
reprinted frequently in the Best American series. WHAT Editor John Amen, who is himself the author of several

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FOR YOUR REFERENCE

collections of poetry. The rest of the poetry editors on the well (“more than a third of the poets published in recent
team are also authors of multiple poetry titles, making years” according to their website). So, while Poetry is an
this a truly “by poets, for poets” operation. WHAT THEY ultra-competitive market, it’s also one that prides itself
WANT: Well-written poems. Also, reviews of full-length on finding the future stars of poetry. HOW TO SUBMIT:
collections of poetry. OTHER ADVICE: The editors say, “As Prospective writers can submit up to four poems (or up
editors of Pedestal Magazine, we intend to support both 10 pages total) for consideration in a single document
established and burgeoning writers. We are committed to using Poetry’s Submittable account. Simultaneous sub-
promoting artistic diversity and celebrating the voice of missions are acceptable, and response times can take up
the individual.” HOW TO SUBMIT: Check their website for to eight months. PAYMENT: Published poets are paid $10
regular open submission periods that do allow for simul- per line for their poems with a minimum honorarium of
taneous submissions using their Submittable page. Poets $300. Pays $150 per published page for prose.
are advised to submit up to five poems once per submis-
sion period. PAYMENT: Pays $50 per accepted poem. Rattle
(Rattle.com)
Ploughshares Rattle is one of the premier poetry publishers in the
(PShares.org) country, offering several different publishing opportu-
Based in Boston, Mass., Ploughshares publishes four nities online and in print. WHAT THEY WANT: Engaging
issues per year with poetry and prose in the Spring and poems. OTHER ADVICE: Editor Timothy Green says, “We
Winter issues, prose in the Summer issue, and long- want a world where everybody writes a poem once a
form prose in the Fall issue. WHAT THEY WANT: Literary month, engages with the world through art, and has a
fiction, nonfiction, and poetry. OTHER ADVICE: The edi- deeper connection with things around them. … That’s
tors say, “Expect three to five months for a decision really our goal: to have a world where more people write
(our backlog is heaviest during the fall and spring). We poetry.” HOW TO SUBMIT: For the magazine, prospec-
now receive well over 1,000 manuscripts a month, so tive poets can submit up to four poems in a single file
please be patient.” HOW TO SUBMIT: Their regular read- via their Submittable page. For the online opportunities,
ing period is June 1 to January 15. Writers can submit poets can either participate in the Poets Respond (weekly
one to five pages of poetry or up to 7,500 words of fiction poem about current events) or Ekphrastic Challenge
or nonfiction to their online submission manager or by (monthly response to a piece of art). PAYMENT: In addi-
post (Ploughshares, Emerson College, 120 Boylston St., tion to the magazine, which pays $200 per poem, poets
Boston, MA 02116-4624). PAYMENT: Pays $45 per printed can also participate in multiple other response challenges
page ($90 minimum per title) with a $450 maximum. that also pay $100 per poem.

Poetry SmokeLong Quarterly

(PoetryFoundation.org/poetrymagazine) (SmokeLong.com)
Poetry magazine was founded in 1912 by Harriet SmokeLong Quarterly is an online publication estab-
Monroe and has been in continuous publication for lished in 2003 publishing flash (both fiction and nonfic-
more than 100 years. And it has existed by publishing tion, though not poetry). WHAT THEY WANT: The edi-
some of the best poems, including T.S. Eliot’s “The Love tors say, “The SLQ aesthetic remains an ever-changing,
Song of J. Alfred Prufrock,” Gwendolyn Brooks’ “We Real ever-elusive set of principles, but it most likely has to do
Cool,” John Ashbery’s “Self-Portrait in a Convex Mirror,” with these kinds of things: language that surprises and
Ocean Vuong’s “Aubade with Burning City,” and excerpts excites; narratives that strive toward something other
from Claudia Rankine’s Citizen. WHAT THEY WANT: Well- than a final punch line or twist; pieces that add up to
written poetry, especially poems that experiment. OTHER something, often (but not necessarily always) something
ADVICE: While it’s definitely a place that publishes some profound or emotionally resonant; and honest work that
of the most recognized poets writing today, Poetry also feels as if it has far more purpose than a writer wanting
consistently publishes poets new to the magazine as to write a story.” OTHER ADVICE: “The term ‘smoke-long’

86 I WRITER’S YEARBOOK I 2024

comes anecdotally from the Chinese, who noted that $1,000 for stories and essays, $500 for short short stories,
reading a piece of flash takes about the same length of and $100 for poems.
time as smoking a cigarette. SmokeLong Quarterly does
not encourage smoking.” HOW TO SUBMIT: Potential writ- The Sun
ers can submit one previously unpublished narrative (TheSunMagazine.org)
at a time via SmokeLong Quarterly’s Submittable page. Launched in 1974, The Sun is a unique magazine that
Simultaneous submissions are fine, but the editors try to has a few defining features. First, it’s an ad-free maga-
respond within a couple weeks. PAYMENT: Pays $100 per zine, which is quite unusual. Secondly, this publication
flash narrative of 1,000 words or fewer. is built around personal stories, whether fiction, poetry,
or nonfiction (in other words, personal essays). WHAT
storySouth THEY WANT: The editors say, “Personal stories that touch
(StorySouth.com) on political and cultural issues are welcome. We encour-
storySouth is a biannual online literary journal whose age submissions from writers of color. Surprise us; we
“most important mission is to showcase the best fiction, often don’t know what we’ll like until we read it.” OTHER
creative nonfiction, and poetry that writers from the new ADVICE: Writing from The Sun has won the Pushcart
south have to offer.” WHAT THEY WANT: Poetry, fiction, and Prize and been selected for the Best American Essays and
creative nonfiction. They also publish interviews with Best American Short Stories anthologies. HOW TO SUBMIT:
writers and book reviews. OTHER ADVICE: The editors While there’s no minimum length, writers should keep
say, “Works submitted to storySouth don’t have to be set manuscripts under 7,000 words. Submit via their online
within the south. A writer who was raised in the south form (TheSunMagazine.org/sunsubmissions) or by
but now lives elsewhere has as valid a view of the south post to Editorial Department, The Sun, 107 N. Roberson
as someone who just moved to Alabama. Please note, St., Chapel Hill, NC 27516. PAYMENT: They pay $200 and
though, that storySouth has no interest in writings that up, based on page length.
merely muck around in old stereotypes and clichés of the
south. Bring something new to your writings about the The Threepenny Review
south and we will be interested.” HOW TO SUBMIT: Writers (ThreepennyReview.com)
can submit one story or essay per submission or three to Established in 1980, The Threepenny Review is a quar-
five poems (if submitting poetry) via their Submittable terly literary publication that publishes poetry, fiction,
page during their open submission periods. PAYMENT: and nonfiction. WHAT THEY WANT: Seeks poetry, fiction,
Information not available. essays, and reviews in various genres. While there are
exceptions, articles should be 1,200–2,500 words; Table
Subtropics Talk should be 1,000 words or fewer; stories and mem-
(Subtropics.english.ufl.edu) oirs can be up to 4,000 words; and poetry should be no
Based in Gainesville, Fla., Subtropics publishes liter- longer than 100 lines. OTHER ADVICE: The editors say,
ary fiction, essays, and poetry twice per year. WHAT THEY “We strongly recommend that you stay within our length
WANT: The editors say, “We will consider works of fiction limits.” HOW TO SUBMIT: Potential writers can submit
of any length, from short shorts to novellas and self- via post (The Editors, The Threepenny Review, P.O. Box
contained novel excerpts. We give the same latitude to 9131, Berkeley, CA 94709) or online submission form.
essays. We appreciate work in translation and, from time PAYMENT: Pays $400 per story or article and $200 per
to time, republish important and compelling stories, poem or Table Talk piece.
essays, and poems that have lapsed out of print.” OTHER
ADVICE: The editors say, “We ask that you submit only Virginia Quarterly Review
once during the reading period.” HOW TO SUBMIT: Writers (VQROnline.org)
can submit one story, essay, or group of up to four poems Virginia Quarterly Review is a literary journal looking
via their Submittable page. Their reading period varies for top-notch fiction, poetry, and nonfiction. WHAT THEY
from year to year. PAYMENT: Subtropics pays a flat fee of WANT: The editors consider all forms of poetry. For

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FOR YOUR REFERENCE

fiction, they shy away from genre fiction like romance The editors say, “We look for strong writing, an original
and science fiction and fantasy, and they look for stories and exciting plot, and professional craftmanship.” HOW
of 2,500–8,000 words. For nonfiction, they publish liter- TO SUBMIT: Potential writers can submit their stories via
ary criticism, reportage, historical and political analysis, an online submission system (EQMM.magazine
and travel essays. OTHER ADVICE: The editors say, “VQR submissions.com). PAYMENT: Pays $0.05–$0.08 per word.
strives to publish the best writing we can find. While
we have a long history of publishing accomplished and
award-winning authors, we also seek and support emerg- NATURE
ing writers.” HOW TO SUBMIT: Writers can submit via
their Submittable page. PAYMENT: Pays $200 per poem, Minnesota Conservation Volunteer
up to four poems; collections of five or more usually (DNR.State.MN.US/MCVMagazine/about.html)
earns $1,000. For short fiction, generally pays $1,000 and Minnesota Conservation Volunteer Review is a
above; other prose (essays and literary journalism) gen- bimonthly magazine published by the Minnesota
erally pays $1,000 and above, depending on length. Department of Natural Resources that covers
Minnesota’s conservation issues and outdoor news. WHAT
The Yale Review THEY WANT: The magazine seeks submissions for features
(YaleReview.org) (1,200–1,800 words), Field Notes (300–600 words), and
Established in 1911, The Yale Review is a journal of lit- essays (800–1,200 words). All pieces should be focused
erature and ideas. WHAT THEY WANT: The Yale Review on issues related to Minnesota’s natural resources and
accepts submissions of poetry, fiction, essays, and trans- outdoor recreation. OTHER ADVICE: The editors say, “We
lations. OTHER ADVICE: The editors say, “Accepted pieces receive more essays than feature pitches, so we pub-
undergo our standard editorial process, in which we lish only writers who fully understand essay mechanics
work closely with the author.” HOW TO SUBMIT: Send and style. For all articles, keep your language clear and
full manuscripts during open submission periods using direct, use quotes and anecdotes liberally, and feel free
their Submittable page. PAYMENT: Pays $100 for poems in to use first-person narration as a device for pulling your
print; $500–$1,500 for print prose; $200–$500 for reader into the story.” HOW TO SUBMIT: Writers should
online pieces. query Managing Editor Keith Goetzman first via email
([email protected]) or by mail (Minnesota
Conservation Volunteer, DNR, 500 Lafayette Road, St.
MYSTERY Paul, MN 55155-4046). PAYMENT: Negotiable.

Ellery Queen Mystery Magazine Sierra

(ElleryQueenMysteryMagazine.com) (SierraClub.org/sierra)
Ellery Queen Mystery Magazine is a bimonthly magazine Sierra magazine is a national bimonthly print and online
focused on the various subgenres of mystery. Published magazine for the grassroots environmental organization
continuously since 1941, EQMM works with both new the Sierra Club. They publish journalism, art, photography,
and existing writers. WHAT THEY WANT: The editors say, and video dedicated to protecting the natural world. WHAT
“We publish every kind of mystery short story: the psy- THEY WANT: There are two main places freelance writers
chological suspense tale, the deductive puzzle, the can try to break in to Sierra. The first is through feature-
private eye case—the gamut of crime and detection from length pieces, which are narrative nonfiction pieces “relate
the realistic (including the policeman’s lot and stories of to significant environmental and social justice issues,
police procedure) to the more imaginative (including adventure travel, natural sciences, self-propelled sports,
‘locked rooms’ and ‘impossible crimes’). We need hard- and trends in sustainable living.” They’re more interested
boiled stories as well as ‘cozies,’ but we are not interested in national and international stories than local issues. It’s
in explicit sex or violence.” OTHER ADVICE: Stories can be also possible to break in through one of the department
almost any length, but they prefer 2,500–8,000 words. sections: Notes From Here & There, Field Trip, Material

88 I WRITER’S YEARBOOK I 2024

World, Culture Desk, Do-Gooder, Eyewitness, and Stress wrongdoing, human rights, and political influence in
Test. OTHER ADVICE: The editors say, “We are ecumeni- all spheres. Founded in 1976, Mother Jones is based in
cal and broad-minded about tone and form, and we are San Francisco with bureaus in N.Y. and Washington,
equally interested in investigative journalism, enterprise D.C. WHAT THEY WANT: Mother Jones is looking for news
reporting, profiles, adventure-travel writing, explanatory stories of national importance as well as “thought-
reporting, essays, think pieces, and even the occasional provoking, timely opinion and analysis pieces on
manifesto. We are more interested in showcasing environ- important current issues.” OTHER ADVICE: The editors
mental solutions than adding to the list of environmental say, “We commission stories that are revelatory and
problems.” HOW TO SUBMIT: Writers can submit queries dynamic, the kind that teach readers something they
via online submission form (SierraClub.org/sierra/ didn’t already know—be it a dark force warping an issue
sierra-forms/submissions-sierra-magazine). PAYMENT: or affecting a community, or an undercovered solution to
Pays $1 per word for features of 3,000–4,500 words or some of our most intractable problems. For stories with a
$250–$2,000 for department articles of 250–2,000 words. primarily local context, you’ll need to demonstrate their
Pays $350 and up for online stories. national relevance to our far-flung audience; meanwhile,
international pitches should have a strong domestic
connection.” HOW TO SUBMIT: Pitch editors by finding
OPINION specific editors on their staff page (MotherJones.com/
about/staff). PAYMENT: Pays competitive rate.
Modern Love
(NYTimes.com/column/modern-love) Slate
From The New York Times, Modern Love is “a weekly (Slate.com)
column, a book, a podcast—and now a television show— Founded in 1996, Slate is a daily online magazine and
about relationships, feelings, betrayals, and revelations.” podcast network. It’s a general interest publication that
WHAT THEY WANT: The focus of Modern Love is on deeply focuses on politics, news, business, technology, and
personal essays about any relationship or subject that culture. If you’re not familiar with the site, read a few
might fall under the heading of “Modern Love.” That pieces before submitting, because they have a distinct
includes romantic relationships, of course, but also par- editorial voice. WHAT THEY WANT: The editors advise
enting. OTHER ADVICE: The editors say, “Ideally, essays writers search their ideas before pitching to make sure it’s
should spring from some central dilemma the writer has unique. OTHER ADVICE: If you find a winner, the editors
faced. It helps if the situation has a contemporary edge, say, “The best pitches are clear and concise, providing
though this is not essential. Most important is that the us with at least one or two specific examples that help
writing be emotionally honest and the story be freshly solidify your thesis.” HOW TO SUBMIT: Slate prefers
and compellingly told.” HOW TO SUBMIT: Essays should pitches to full manuscripts for initial contacts, though
be 1,500–1,700 words in length and submitted to mod it’s OK to attach your personal essay if it’s ready to go.
[email protected] with the subject of your essay Always check the submission guidelines first, but Isabelle
or proposed title in the subject line of your email. The Kohn ([email protected]) is the current contact
essay should be in the body of the email and attached as specifically for personal essays in the Human Interest
a Microsoft Word-compatible doc. Also, no pseudonyms, section. PAYMENT: Information not available.
including the author, with no exceptions. They accept
submissions throughout the year, except for July and
August. PAYMENT: Negotiate rates. REGIONAL

Mother Jones Boca Raton Magazine

(MotherJones.com) (BocaMag.com)
Mother Jones is a bimonthly magazine focused on Established in 1981, Boca Raton magazine covers local
national politics, environmental issues, corporate issues and events in South Florida, including pieces on

I 89
FOR YOUR REFERENCE

arts and entertainment, events, dining, travel, health and Heroes. OTHER ADVICE: The editors say, “Story ideas or
beauty, and people. WHAT THEY WANT: The editors say, leads should be submitted in writing.” HOW TO SUBMIT:
“From explorations of local history to the stories behind Email pitches to [email protected]. For My
the headlines, we’ve got our finger on the pulse of south Georgia stories, writers can submit stories of no longer
Florida. Throughout our four decades of operation, we’ve than 500 words and a photo of the author that focus on
been winning legions of sophisticated, educated read- meaningful Georgia experiences via email to mygeorgia
ers who are curious and crave new experiences; we drill @georgiaemc.com. PAYMENT: Writers who are published
down past the obvious to find the best, the unique, the for the My Georgia section are paid $100.
special.” OTHER ADVICE: “We at Boca Raton magazine
value the concerns, ideas, and interests of our readers.” HONOLULU Magazine
HOW TO SUBMIT: Query Group Editor-in-Chief Marie (HonoluluMagazine.com)
Speed ([email protected]) for the print magazine Tracing its origins to 1888 as Paradise of the Pacific,
and Web Editor Tyler Childress ([email protected]) HONOLULU is a regional magazine by and for the peo-
for the website. PAYMENT: Negotiates rates. ple of Hawai’i. This monthly covers a mix of contempo-
rary issues and stories that celebrate the culture, heritage,
Chicago Reader and lifestyle of the Islands. WHAT THEY WANT: “Many of
(ChicagoReader.com) HONOLULU Magazine’s feature stories, columns, and
Biweekly alternative print tabloid and daily online site departments are written by staff writers and regular
serving Chicago. WHAT THEY WANT: Select freelancers for contributing editors. HONOLULU does, however, use
City Life, News & Politics, Arts & Culture, and Music freelance writers on a wide variety of subjects, including
categories. OTHER ADVICE: The editors say, “We recom- personality profiles, history, sports, politics, and lifestyle
mend that you start by pitching a short story—one that is trends.” OTHER ADVICE: The editors say, “We provide a
300–1,000 words that you can report and write in a day smart, sophisticated owner’s manual to the city, aimed at
or two—as opposed to a lengthy feature that might take educated, affluent residents. We are not a travel magazine
weeks or months to report and write.” HOW TO SUBMIT: about Hawai’i. Our goals are to motivate our readers to
Email to Salem Collo-Julin (scollojulin@chicagoreader make the most of everything the city offers and inspire
.com) for City Life; Jim Daley (jdaley@chicagoreader them to make their own lives and their city better. To do
.com) for News & Politics; Kerry Reid (kreid@chicago so, we are responsible for reporting hot-button stories as
reader.com) for Theater & Dance; Taryn Allen (tallen@ well as lighter, reader-service features.” HOW TO SUBMIT:
chicagoreader.com) for film and small-screen sto- Potential writers can submit a query to info@honolulu
ries; Philip Montoro ([email protected]) magazine.com. The query should explain the subject
for feature music stories; and Jamie Ludwig (jludwig@ and list qualifications along with two to three published
chicagoreader.com) for concert previews. PAYMENT: clips if available. PAYMENT: Length and payment will be
Negotiates rates. discussed when assignment is made, but freelancers are
paid $600–$1,800 for feature stories and $100–$600 for
Georgia Magazine columns, departments, and short features.
(GeorgiaMagazine.org)
Georgia Magazine is the largest circulation monthly Lake Superior Magazine
magazine in Georgia with more than half a million (LakeSuperior.com)
subscribers. Established in 1945, it is published by Lake Superior Magazine is a bimonthly magazine that
Georgia Electric Membership Corporation, the trade focuses on the Lake Superior region. Established in 1979,
association for Georgia’s 41 consumer-owned electric the magazine works to be the authority on Lake Superior
utilities. WHAT THEY WANT: The magazine is comprised of living, environment, and entertainment and submissions
a mix of feature articles and various departments, includ- should reflect that goal. WHAT THEY WANT: The editors
ing Georgia News, Curious Georgia, Around Georgia, are most excited about pieces with great photography.
Georgia Gardens, Georgia Cooks, and Hometown For straight-up nonfiction, they’re interested in people,

90 I WRITER’S YEARBOOK I 2024

places, and events of the Lake Superior region (both con- thought leaders. We discover and uplift the talented
temporary and historical). Also welcomes shorter pieces individuals of the city’s creative class. With smart,
for their departments, which include Homes, Health layered, inclusive content, we interpret Savannah’s
& Wellness, Lake Superior Journal, Wild Superior, unique cultural identity—and become the change we
Heritage, Destinations, and Profile. OTHER ADVICE: The want to see in the city.” HOW TO SUBMIT: Writers should
editors say, “As a regionally focused publication with query with samples of previously published work via
national distribution, we are highly selective, consider- email ([email protected]). PAYMENT:
ing only quality material. However, each year we accept This magazine pays $250–$450 for nonfiction articles of
a number of offerings from new writers and photogra- 500–750 words.
phers.” HOW TO SUBMIT: Potential writers can pitch the
editors by email ([email protected]). PAYMENT: Texas Monthly
This market generally pays $200–$400 for features (TexasMonthly.com)
(1,600–2,000 words) and $75–$200 for Departments and Texas Monthly is an Austin-based magazine focused
Columns (800–1,200 words). on stories about Texas and Texans. The editors say,
“We’re looking for well-reported stories of varying
Pittsburgh Magazine lengths, as well as visual stories, essays, and thoughtful
(PittsburghMagazine.com) commentary. We value great storytelling, humor, vivid
Pittsburgh Magazine has covered the city of Pittsburgh characters, distinctive voices, and fresh perspectives.
and western Pennsylvania since 1969. WHAT THEY WANT: We’re particularly interested in stories from outside of
This monthly magazine combines journalism and Austin, where we’re based.” WHAT THEY WANT: Sections
reader-service pieces to share stories on local person- include News & Politics; The Culture (covers visual
alities, art, culture, recreation, dining, politics, history, and performing arts, music, TV, film, dance, sports,
education, travel, media, business, fashion, and style. poetry, books, and religion); Being Texan (stories
OTHER ADVICE: The editors say, “We accept no unsolicited about living in Texas); Style & Design; Food & Drink;
manuscripts. Queries only. If you have an article idea you BBQ; and Travel & Outdoors. “Consider how your
feel would be right for Pittsburgh Magazine, we’d like to story would appeal to a statewide audience. If your
hear from you. All queries must have a logical connec- article is set in Beaumont, why should someone in El
tion to Pittsburgh.” HOW TO SUBMIT: Submit queries by Paso be interested?” OTHER ADVICE: Prospective writers
post to Pittsburgh Magazine, Washington’s Landing, 600 can pitch editors with a proposed headline, sketch of
Waterfront Drive, Ste. 100, Pittsburgh, PA 15222 or by how they’d report and organize the story, and writing
email to [email protected]. Queries samples. If the pitch is time-sensitive, include that in the
should include a sample lede and one-page outline with subject line; otherwise, expect a response in one to two
three to five published clips and a résumé. PAYMENT: weeks. HOW TO SUBMIT: Pitch Josh Alvarez (jalvarez@
Rates negotiated. Payment is mailed at the end of the texasmonthly.com) and Leah Prinzivalli (leah.prinz@
month of the issue in which the work appears. gmail.com) for arts & entertainment stories; Rafe
Bartholomew ([email protected]) for
Savannah Magazine sports stories; Ben Rowen ([email protected])
(SavannahMagazine.com) for news & politics stories; Rose Cahalan (rcahalan@
Established in 1990, Savannah Magazine is a regional texasmonthly.com) for Being Texan pieces; Kathy
magazine published by Morris Communications Blackwell ([email protected]) for travel
Group. WHAT THEY WANT: Savannah Magazine publishes & outdoors pitches, as well as style & design; Courtney
articles about people, places, and events of interest to Bond ([email protected]) and Kimya Kavehkar
the residents of the greater Savannah area, as well as ([email protected]) for food & drink; and
coastal Georgia and South Carolina low country. OTHER J.K. Nickell ([email protected]) for features.
ADVICE: The editors say, “Our mission is to celebrate PAYMENT: Pays $1 per word.
the inimitable Savannah lifestyle and serve the city as

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FOR YOUR REFERENCE

SCIENCE events or are evergreen and remain relevant for readers

over a longer period of time. These pieces should focus
Astronomy on a larger body of research, examine trends in science
(Astronomy.com) and the world at large, offer historical context, or serve as
Established in 1973, Astronomy is a monthly magazine helpful explainers.” OTHER ADVICE: Sections include Vital
covering the science and hobby of astronomy. The maga- Signs (medical mysteries); Planet Earth (nature, geology,
zine shares stories on the science of astronomy, cosmol- flora, fauna, glaciers, fossils); Piece of Mind (intertwin-
ogy, and more for astronomy enthusiasts. WHAT THEY ing personal life experience with psych/neuro research);
WANT: For the science features, editors are looking for History Lessons (uncovering lost, forgotten, or unrecog-
descriptive pieces that focus on a particular type of astro- nized moments and individuals throughout the history
nomical object or scientific process; news features focus of science); Origin Story (focused on new research); Out
on an area of research and give readers an in-depth look There (planetary science, astrophysics, cosmology, and
at recent events; and human-interest pieces featuring everything in between); and Tech Note (focused on new
personalities, historical events, and special topics such as technologies). There are also general feature and expert
education and archaeoastronomy. For the hobby features, Q&A opportunities. HOW TO SUBMIT: General magazine
editors want pieces explaining where to find and how to pitches can be emailed to editorial@discovermagazine
view celestial objects and include sky maps, diagrams, .com, but their online pitch guide (DiscoverMagazine
and illustrations; photography and imaging features that .com/pitch-guide) does an excellent job of breaking
provide how-to advice on capturing portraits of celestial down their columns and departments and sharing
objects; and equipment pieces that range from product specific editors to pitch. Web pitches should be clear,
reviews to surveys of telescopes and accessories. OTHER concise, and explain why it’s relevant for Discover’s audi-
ADVICE: The editors say, “The magazine’s articles must go ence, incorporating their conversational tone in the
beyond presenting facts; they must tell a story. The first pitch. These pitches can be sent to Erin Berge via email
two or three paragraphs (the ‘lede’) must grab the read- ([email protected]). PAYMENT: The magazine pay-
ers’ attention and tell them what the article is about. The ment starts at $1 per word; payment is typically $300 per
article should contain a thread, or argument, that devel- story for the website.
ops in a coherent direction as details supporting the lede
are delivered and should end in a meaningful conclusion Scientific American
that summarizes its content.” HOW TO SUBMIT: Writers (ScientificAmerican.com)
can submit queries or outlines describing their piece via Founded in 1845, Scientific American recently
email [email protected]. Pitches celebrated 178 years. This monthly magazine covers
specifically for Astronomy.com can be sent to Digital science from a variety of angles and even has a few
Editor Jake Parks ([email protected]). PAYMENT: digital spinoffs: Health & Medicine; Mind; and Space
Negotiable rates. & Physics. WHAT THEY WANT: The editors “welcome
ideas for news, features, opinion and analysis articles
Discover on recent scientific discoveries, social and policy issues,
(DiscoverMagazine.com) technical innovations, and overviews of impactful
Published six times per year, Discover shares science- research. Our authors are scientists who have extensive
related news and theories, compelling stories related to knowledge of the field or journalists with the experience
topics as varied as medicine and the environment, and and background to deeply explore the topics they
thought-provoking articles on the latest scientific devel- propose to cover.” OTHER ADVICE: Features generally
opments. WHAT THEY WANT: There are actually publication run 2,000–4,000 words and are written “for curious
opportunities for both the magazine and the website. For general readers who love untangling big ideas and
the website, the editors are seeking short feature stories want smart context for what’s going on in the world.”
(600–1,000 words) “that have a new angle on current HOW TO SUBMIT: Potential writers can pitch news or

92 I WRITER’S YEARBOOK I 2024

features articles to the most appropriate editor on and other terms, we will set up a contract for you,
their masthead (ScientificAmerican.com/pressroom/ which you must sign and return before we can publish
expert-directory). Opinion and analysis pieces can your article.”
be pitched to [email protected]. Poems for the
Meter poetry column can be submitted to Dava Sobel
at [email protected]. Finished pieces should run up SCIENCE FICTION, FANTASY, &
to 1,000 words in length and “use an active voice and a HORROR
conversational tone and explain concepts without jargon.
Think of it as explaining what you do for a living or what Allegory
your interests are to curious people at a dinner party.” (AllegoryEzine.com)
PAYMENT: Negotiable rates. Allegory is a biannual online publication of science fic-
tion, fantasy, and horror. Plus, it publishes a few nonfic-
Sky & Telescope tion articles focused on the art or business of writing.
(SkyAndTelescope.org) WHAT THEY WANT: The editors say, “We’re looking for
Sky & Telescope is focused on the science and hobby good, solid fiction. We specialize in the science-
of astronomy. Founded in 1941 with a readership of fiction, fantasy, and horror genres. We will consider
more than 60,000 subscribers, the magazine “serves as other genres, such as humor or general interest, pro-
a major avenue of communication between amateur vided that the work possesses an original, ‘quirky’ slant.”
and professional astronomers worldwide. We encourage There’s no minimum or maximum length for fiction, but
you to consider Sky & Telescope when you want the editors advise that pieces with fewer than 500 words
your ideas to reach the widest possible audience of and more than 5,000 words are harder sells for them. The
interested readers.” WHAT THEY WANT: Feature articles maximum length for nonfiction is 2,000 words. OTHER
generally run between 1,200–2,700 words in length ADVICE: The editors advise, “Do give us strong charac-
and cover a wide array of topics, including important ters and good plotting. Do put clever, but logical twists
new advances or current problems in astronomy on the end of your tales. Do experiment with new ideas
research, observing projects, how to maximize the and unusual writing styles, but without falling into traps
performance of telescopes and other equipment, how of contrivance and cliché. Don’t submit any stories based
to take and process great astrophotos, stories of key on movies, television, or any printed media not your
figures and events in astronomical history, capabilities own.” HOW TO SUBMIT: This publication has two reading
of new ground- and space-based observatories, and periods each year. The first is May 1 to June 30 (with a
more. The magazine runs one Focal Point essay per November 1 publication date); the second is November
issue featuring a personal essay (no longer than 550 1 to December 31 (with a May 1 publication date).
words) related to various issues in contemporary Submissions should be sent by email to submissions@
astronomy. OTHER ADVICE: The magazine does not allegoryezine.com following their formatting guidelines
“publish articles involving new theories or claims of (AllegoryEzine.com/submissions). PAYMENT: Allegory
great new discoveries that have not yet been published pays a flat rate of $15 for fiction and nonfiction pieces.
in the peer-reviewed scientific literature. Nor are we a
research journal: We are a popular science magazine, Analog Science Fiction and Fact
explaining what astronomers are doing and learning (AnalogSF.com)
about and how the scientific community is responding.” As the title implies, Analog actually publishes fiction
HOW TO SUBMIT: Send a one-page query via email and nonfiction—and poetry! WHAT THEY WANT: For
([email protected]) or by post (Editorial their science fiction, the editors want “stories in which
Query, Sky & Telescope, 1374 Massachusetts Ave., Floor some aspect of future science of technology is so inte-
4, Cambridge, MA 02138), though email is preferred. gral to the plot that, if that aspect were removed, the
PAYMENT: “Once we’ve agreed on any deadline, payment, story would collapse.” OTHER ADVICE: The editors say,

I 93
FOR YOUR REFERENCE

“We have no hard-and-fast editorial guidelines, because information for other cyclists who may wish to give it a
science fiction is such a broad field that I don’t want to go. The Final Mile essays run 1,200–1,500 words and are
inhabit a new writer’s thinking by imposing Thou Shalt focused on a singular bicycle trip experience that cap-
Nots. Besides, a great story can make an editor swallow tures the essence of bicycle travel, whether that’s inspir-
his preconceived taboos.” HOW TO SUBMIT: Writers can ing, dramatic, or humorous. OTHER ADVICE: The editors
submit their work via Analog’s online submission form say, “Everyone who submits a story believes it is interest-
(Analog.magazinesubmissions.com). PAYMENT: The ing and unique. While the experience may have been, the
magazine pays $0.08–$0.10 per word for short fiction written story may not be. For it to be published, the story
(up to 20,000 words) and $0.06 per word for serial fiction needs to stand out from the many other submissions. If
(40,000–80,000 words). Also, $1 per line for poetry and it is poorly written or unorganized, has misspellings and
$0.09 per word for fact articles. other grammatical errors, or reads like daily entries in a
diary, its chances of being published will be slim. And if
Asimov’s Science Fiction you’ve got great photos, your chances will increase sig-
(Asimovs.com) nificantly.” HOW TO SUBMIT: Potential writers can submit
Asimov’s Science Fiction focuses purely on science fic- story ideas and/or full manuscripts (only way to submit
tion (and some short science-fiction poetry). WHAT THEY for the Final Mile essays) on spec via their Submittable
WANT: The editors are “looking for ‘character-oriented’ page. PAYMENT: Negotiable rates, but generally range
stories, those in which the characters, rather than the between $0.30–$0.60 per published word for first rights.
science, provide the main focus for the reader’s interest.
Serious, thoughtful, yet accessible fiction will constitute Gray’s Sporting Journal
the majority of our purchases, but there’s always room (GraysSportingJournal.com)
for humorous as well.” OTHER ADVICE: Most stories are Gray’s Sporting Journal is a magazine published seven
between 1,000–20,000 words (no serializations). HOW times per year for hunting and fishing enthusiasts.
TO SUBMIT: Writers can submit their work via Asimov’s Established in 1975, Gray’s Sporting Journal is a little
online form (Asimovs.magazinesubmissions.com). different than other titles in the hunting and fishing cat-
PAYMENT: Pays $0.08–$0.10 per word for stories up to egory by publishing fiction and poetry in addition to
7,500 words and $0.08 for each word over that. nonfiction features. WHAT THEY WANT: Subjects of interest
include waterfowl, turkeys, small game, unusual quarry,
yarns (tall tales or true), and sporting adventures in
SPORTS exciting locales—foreign or domestic. They usually pub-
lish one poem per issue (fewer than 1,000 words). OTHER
Adventure Cyclist ADVICE: The editors say, “We expect competent, vividly
(AdventureCycling.org/adventure-cyclist) written prose—fact or fiction—that has high entertain-
Adventure Cyclist is a magazine published nine times ment value for a very sophisticated audience. Manuscript
per year by the Adventure Cycling Association for its length depends on subject. If you need 12,000 words to
members only. The magazine focuses on domestic and tell the tale, then do so. But if you can tell the story in
international bicycle travel and includes advice, reviews, 3,000 or even 1,500 words, then be kind to yourself, your
and news of interest for its members. WHAT THEY WANT: readers, and our editors. We reject many manuscripts
Adventure Cyclist uses freelancers the most for feature that are well written but just too long. And manuscript
stories and the Final Mile essays. Features run 2,000– length has nothing to do with pay.” HOW TO SUBMIT:
3,000 words and are focused on sharing a first-person Prospective writers should submit polished manuscripts
account of a unique bicycle trip readers could take, (no queries) to Editor-in-Chief Mike Floyd via email
including specific experiences the writer had on the trip at [email protected]. PAYMENT: They pay $600–
and a “Nuts & Bolts” sidebar with all the basic travel $1,250 for features (based on quality, not length); around

94 I WRITER’S YEARBOOK I 2024

$600 for yarns (750–1,500 words); $100 for poems; and reviews of emerging gear and technology, sailing
$850–$1,000 for Expeditions pieces (2,500–3,000 words technique, industry news, and more. WHAT THEY WANT:
focused on places with quality photography, paying $75 Freelancers can submit short news pieces for the
per picture published with the piece). Splashes section (100–500 words) or feature-length
pieces (1,000–3,000 words). Since SAILING prides itself
Runner’s World on great photography, freelance writers will improve
(RunnersWorld.com) their chances of publication with professional level
Runner’s World is a bimonthly magazine focused on photography as opposed to simple snapshots. The editors
every aspect of running, from people looking to get do not accept poetry, fiction, first-time sail experiences,
started running to tips and training plans for more or log-type stories. OTHER ADVICE: The editors say, “We
advanced runners. Published by Hearst Magazine Media, cover all aspects of sailing, from learning how to sail in a
Inc., this magazine includes human interest stories, shoe dinghy to crossing the ocean on a large cruiser to racing
and gear reviews, recipes, and more. WHAT THEY WANT: around the buoys against the best sailors in the world.
Freelancers can write for the following departments: We typically focus on sailing in places that are realistic
Service (pieces on fitness, training, health, nutrition, destinations for our readers, but will occasionally
weight loss, and performance topics); News/Human feature an outstanding and unique sailing destination.
Interest/Culture (stories focused on inspiring runners Although beautiful destinations are one of the best parts
and running groups or coverage of major events and of cruising, we are first and foremost a sailing magazine,
races); and Features (pieces of 2,000–6,000+ words that not a travel magazine. Writers should keep that in mind
include literary longform, travel/adventure narrative, that although the destination is important, getting to
profiles, personal essays, service/gear packages, and that destination under sail and sailing in that destination
investigative reports). OTHER ADVICE: The editors say, should be the focus of the piece.” HOW TO SUBMIT:
“We are running enthusiasts who want to spread the Submissions may be sent on spec as Word attachments to
joy of running to all, but you don’t need to be a runner [email protected] or mailed to SAILING
to write for us. We’re always open to working with new Magazine editor, 125 E. Main St., P.O. Box 249, Port
writers, freelancers, and voices. We’re also committed to Washington, WI 53074. Also accepts queries via email.
working more frequently with writers, contributors, and PAYMENT: Pay ranges from $50–$500 for stories and $50–
experts in running who are BIPOC, LGBTQ+, or belong $500 for photography.
to other marginalized identities.” HOW TO SUBMIT: Submit
queries via email to the following departments: Service Sports Afield
([email protected]); News/Human Interest/ (SportsAfield.com)
Culture ([email protected]); and Features Established in 1887, Sports Afield is a bimonthly hunting
([email protected]). The editors advise adventure magazine. It’s especially devoted to people
making sure that pitches are clear about what the actual with a passion for big game hunting in North America
story is and why it’s important for runners. PAYMENT: and Africa. WHAT THEY WANT: Sports Afield does accept
Rates vary depending on length of the published piece, a few freelance features of up to 2,500 words, mostly
turnaround time, the amount of research and reporting “big-game hunting destination pieces and exciting, well-
required, and other factors. written hunting adventure stories.” They don’t tend to
publish how-to pieces, but they do also accept some
SAILING Magazine shorter pieces (500–1,000 words) on conservation-
(SailingMagazine.net) related topics and stories of world record animals. OTHER
SAILING Magazine is published eight times per year ADVICE: The editors say, “If you have not written for us
covering all aspects of sailing. Founded in 1966, the before, sending a completed manuscript is best. Queries
magazine offers columns on boat design, boat tests, should clearly explain what you’d like to write about,

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FOR YOUR REFERENCE

show the editor why the subject is relevant, and why issues of interest to teachers as AFT members.” OTHER
you’re qualified to write the piece. Whether sending a ADVICE: The editors advise, “Avoid overwriting. A well-
completed manuscript or a query, please tell us what written article of 2,500 words, for example, has a much
kind of photo support you can provide.” HOW TO SUBMIT: better chance of being accepted than a lengthy, rambling
Send complete manuscript via email (editorinchief@ story.” HOW TO SUBMIT: The editors prefer queries via
sportsafield.com). PAYMENT: This is a paying market, and email to [email protected]. PAYMENT: This magazine pays $300–
they pay on publication. $1,000 for unsolicited nonfiction articles of 1,000–5,000
words, depending on the topic.

TRADE JOURNALS
TRAVEL
ABA Journal
(ABAJournal.com) Wanderful
ABA Journal is the flagship magazine for members of the (ShesWanderful.com)
American Bar Association. With a circulation around Wanderful is a travel lifestyle site specifically focused
400,000, it’s considered the magazine for lawyers and the on helping women travel the world. WHAT THEY WANT:
legal profession. WHAT THEY WANT: ABA Journal does not Wanderful’s editors want “high-quality journalism and
review unsolicited manuscripts. Rather, the editors want writing that inspires wonder and awe, highlights tour-
freelancers to query with their résumé and published ism initiatives led by women and underrepresented
clips. They expect articles to include multiple sources communities, and approaches important matters with
and opposing points of view. OTHER ADVICE: The editors a local lens while amplifying diverse voices around the
say, “The ABA Journal considers queries from profes- world.” There are four main categories: Destinations and
sional writers or from potential sources who wish to con- Itineraries (where to go and what to do there); Travel
tact us regarding subjects that might be of interest to our Tips (health and travel); Global Issues (issues facing
readers.” HOW TO SUBMIT: Potential writers should query women globally); and Women to Watch (features amaz-
Kevin Davis via email ([email protected]). ing women travelers, entrepreneurs, bloggers, etc.).
PAYMENT: Pays competitive rates to freelancers. OTHER ADVICE: The editors say, “Wanderful is a global
lifestyle brand and community that helps all women
American Educator travel the world by connecting them to their biggest
(AFT.org/AE) asset—each other.” HOW TO SUBMIT: Potential writers can
Established in 1977, American Educator is a professional pitch article ideas via their submission form found at
magazine published by the American Federation ShesWanderful.com/write. PAYMENT: Pays $200 for posts
of Teachers (AFT). It reaches more than 900,000 of 1,250–3,000 words in length. WD
public school teachers, higher education faculty, and
education researchers and policymakers. The magazine
concentrates on significant ideas and practices in
education, civics, and the condition of children in
America and around the world. WHAT THEY WANT: The
editors say, “We are interested in articles on a wide range
of topics, including new trends in education, politics,
well-researched news features on current problems
in education, education law, professional ethics, and
thoughtful or thought-provoking essays that explore
current social issues relevant to American society. We Robert Lee Brewer is senior editor of WD and author of The
also welcome articles on international affairs and labor Complete Guide of Poetic Forms.

96 I WRITER’S YEARBOOK I 2024

 Writing instruction on demand! More than 350
videos from industry professionals on everything
from improving your craft to getting published.

SUBSCRIBE NOW!

T U TO R I A L S.W R I T E R S D I G E S T.CO M
FOR YOUR REFERENCE

THE FOUR ELEMENTS

Learn the difference between loglines, elevator
pitches, query pitches, and a plot synopsis to
make the best first impression with literary agents.

BY AMY COLLINS

D
ear Author, It was lovely to meet you at the con- agents you’re querying. It gives them a chance to quickly
ference last week; thank you for emailing me determine if they would be a good fit for your project and,
those photos! I would love to read more about in doing so, save you and the agent time and stress.
the manuscript you are currently pitching. Can you send In Step One, a logline and an elevator pitch will
me your pitch, first few chapters, and synopsis? help everyone determine if your book has the ele-
—Signed Agent McAgent ments needed to appeal to a particular agent. The more
extended query pitch and plot synopsis in Step Two are
Logline. Elevator Pitch. Query Pitch. Plot Synopsis. designed to convince the agent to read your book to
The terms thrown at hopeful authors can be over- determine for themselves the merits.
whelming. To make matters even more confusing, the You’ll need all of these in your tool bag over time.
definitions of these terms vary depending on whom you Therefore, it’s vital to have the four elements all readily
ask. It’s enough to make an author throw their manu- at hand.
script at a wall.
And after you get your mind around the differences
between these terms? How do you create them? What THE FIRST ELEMENT: LOGLINE
are the rules? What do agents and publishers want? A logline is a statement that answers the question, “Would
The good news is that there are no hard and fast rules. I like this book?” It often uses iconic, culturally relevant
The bad news is that different agents often want different references to give the listener/reader a chance to quickly
things. The great news is that there are steps you can take identify their potential interest in a book like yours.
to create an appealing logline, elevator pitch, query pitch, When telling a friend about a movie you want them to
and synopsis that will cover all your bases. watch, you need to consider their tastes. For example, tell-
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

Ask yourself, “What are you trying to achieve?” Are ing someone they have to see the latest horror flick only
you trying to determine if your book would appeal to the makes sense if they like horror movies. A logline instantly
agent? (Step One) Or are you trying to convince them to allows you and the person you are speaking with to deter-
read your book? (Step Two) mine if the book you’re writing fits their needs.
Too often, authors tend to rush right to Step Two. When asked about your manuscript, it’s often a good
Instead, take the time and go through the first step, deter- idea to start with a short, sharp statement that uses an
mining the appeal of your book to your intended audi- iconic story to indicate the genre, audience, and theme.
ence. Doing this can make a stronger connection with the When writing a logline or using it as an email subject

98 I WRITER’S YEARBOOK I 2024

line, it’s common to see the main character names, should convince the agent that your book is better than
author names, or titles in all capital letters. other books in your category. Often called a USP (Unique
Selling Point,) this is where an agent wants to see how
Imagine if STEPHEN KING wrote and directed a real-
your book differs from the other books already published.
ity TV show.
It’s great that you wrote the next Gone Girl, but we already
My book has been described as THE TWILIGHT have a Gone Girl. What does your book add to the genre?
ZONE meets SURVIVOR. As you are writing your pitch, ask yourself: Is this
pitch going to convince an agent that your book is more
It’s for fans of TESS GERRITSEN who also love the
sellable than the other pitches they have read this week?
SAW movies.
This type of pitch is only one part of your query let-
ter. Its purpose is to describe your book’s themes, voice,
THE SECOND ELEMENT: ELEVATOR and story. Usually, one paragraph. Occasionally two
PITCH paragraphs.
An elevator pitch is a short statement that answers the Below are the elements that will create a great starting
question, “What’s the book about?” An elevator pitch point for your query pitch.
often includes a logline. Ten–15 seconds if spoken out 1. THEME: What is the central theme of the book? Is it
loud. Tops. good over evil? The importance of family? Finding
The best advice I can give you when creating your peace with oneself? Doing the right thing? Survival?
elevator pitch is to learn the difference between describ- 2. COMPS: What two books are your future readers buy-
ing your plot vs. explaining your plot. A pitch (no matter ing and reading right now?
what kind) needs to leave the audience with an idea of Comparable titles are not always books that are
the premise and stakes. That’s it. This isn’t the place for like your book. They are books written by authors
backstory, secret motives, or why you wrote the book. similar to you that share your readers. If you’re a
Here’s an exercise I invite you to do. Take a moment debut author, try to find other debut authors with
to write down answers to the following questions: recent successes. There are a lot of classes and articles
• What is one of your favorite movies? on finding comparable titles so for today, let’s focus
• How would you describe it to someone who had not on a few tips and guidelines. “Comp” titles should be:
seen it yet? • Less than two years old.
Now, do that with your book. • Have at least 2,000 reviews on Amazon.
Here’s an example of an elevator pitch that hits just a • Have a similar theme, voice, setting, POV, or issue.
few key points and doesn’t try to cover every element of • Not be authored by a huge or iconic author, nor
the book: be the basis for a movie or TV show.

A divorced teenager is chosen for a hospital-based 3. STAKES: What’s at stake in the book? A life? Many
reality TV show but finds out she and the young man lives? Mental health? Happiness? Prison? The
she has fallen for were tricked into a gladiator-style enslavement of an entire species? Finding a
fight for their lives. They must outwit a group of soulmate?
murderous doctors and sadistic nurses while compet- 4. SETTING: Where and when does the story take place?

ing with the other contestants in front of millions of 5. CHARACTER: Who is the main character and what are
viewers to escape the hospital where the show is set. they like?
6. DATA POINTS: Make sure you include genre, word
count, title, POV.
THE THIRD ELEMENT: QUERY PITCH 7. UNIQUE SELLING POINTS: Mention what makes the
A query pitch also answers the question, “What is this book and the author unique and separates you from
book about,” but adds a few more compelling details and the crowd. (Award, quote, the story was already

I 99
FOR YOUR REFERENCE

optioned for a film … something to add to the book’s To avoid this temptation, focus only on your main
appeal outside of the story.) character arc and your story arc. These are two different,
yet hopefully intersecting, threads that will each start on
THE DOCTOR IS IN is a 94,000-word horror novel,
page one and finish on the last page. If you do not prove
told in third-person single POV and set in a mod-
your storytelling talent here, you will most likely not get
ern-day reality show broadcast set. Eighteen and
a request for your manuscript.
divorced, MARGORY APPLETON wants to leave her
A plot synopsis should be written in the third person
small-town life and heads to NYC to audition for a
(even if the book is written in the first person), showing
medical-themed reality TV show. The last thing she
how the protagonist grows and changes. It should men-
expects is to fall in love with Tad, a stockbroker, also
tion the goals and motives of the antagonist and cover
chosen to compete in the secretive program. Locked
the relationship between them. Subplots and secondary
into an abandoned Manhattan hospital, Margory, Tad,
and eight other competitors are horrified to learn
characters should rarely be included and only if key to
that the show’s sadistic medical treatments are very
the twist or resolution.
real. It becomes clear that the point of the show is to
Here is an exercise to help you outline the framework.
escape from the hospital as one by one, the competi- Build the frame first, and then you can go back and flesh
tors die horrifying deaths at the hands of the show’s it out if needed. Using 12 sticky notes, 3-by-5 cards, or
doctors, nurses, and a mysterious, cold-blooded software that allows you to move things around, place
director. Jane Burton, author of Medic Heartbreak, the answers to the following 12 questions before you:
called the ending of THE DOCTOR IS IN “the most 1. Who is your main character, and what characteristics
shocking twist I have ever seen.” describe them at the beginning of the story?
2. What is your main character’s “deal”? (What situation
do we find them in at the beginning?)
THE FOURTH ELEMENT: PLOT SYNOPSIS 3. Who do they perceive as their biggest enemy or
A synopsis answers the question, “Does this book have problem? (Is it a bad guy, a small-minded relative? A
all the elements needed to be a successful story?” It is a person with their own agenda that conflicts with the
300–400-word walk-through of the main character arc main character? A corporation?)
and the main story arc of the book. Do not confuse this 4. Who is actually their biggest enemy/problem? (Are
with your back cover copy or an Amazon description. they the same? Is there a second enemy or problem?)
Yes, it has to be well-written and have good pacing, 5. How/when does the main character discover the full
but the point is to tell the whole story (the beginning, and true list of enemies?
middle, crisis, resolution, and ending of both your story 6. What characteristics describe your main character at
and your main character). So, it starts with the premise the end of the story, and how have they changed?
and goes all the way to the end to give the agent a quick 7. What is the biggest thing in the story that changed
way to see if the plot and character development has the main character from whom we met at the start of
merit. Show all your clever twists and unique plot ideas. the story and whom we see at the end of the story?
This is where you prove that your plot is not derivative
8. What is the next most significant thing that hap-
or dull. Keep no secrets. Don’t worry about spoilers.
pens to the main character (in order of impact) that
(Commercial literature needs very high stakes. If you are
changes their status, feelings, or situation?
writing literary fiction, then the stakes do not need to
9. What is the third most prominent thing that happens
be operatic, but the pacing and story still have to engage
to the main character (in order of impact) that alters
and keep a reader’s attention.)
their life in the story?
It’s easy to get lost in the weeds while writing the
10. What happens during the climax of the story?
points of your story. Cramming everything about your
11. What happens to the “bad guy?” How do they end up?
plot into your synopsis will not help convince an agent
12. How and where does the main character end up?
to read your book. You need to include only the key
points, but it isn’t easy to decide what will matter and Once these answers are written down, move the
what will not. cards around and create a story/flow outline for your

100 I WRITER’S YEARBOOK I 2024

plot synopsis. The answers to these questions should 1. Write at least five revisions (one revision a day for
be all you need to create the framework for your entire five days). Then put it away for a week.
story outline. 2. Write a new draft without looking at the old one.
Best friends, love interests, bosses … They should 3. Compare the two and tweak one with improvements
only be mentioned if they are part of the answers to the from the other.
questions above. Resist the temptation to give too much 4. Put it away for two additional days.
extra detail. The only reason to start fattening up the plot 5. Edit and share with industry folks.
synopsis is if you cannot answer one of the above ques- 6. Revise based on their input.
tions without the detail you’re considering adding.
You did it! You now have all four elements you need to
Here are a few tips to give your synopsis the best
talk about your book at a party or drop it into a con-
chances possible:
versation with an agent you meet at a conference. You
First, don’t rush the process of writing your plot syn-
have the right phrases, sentences, and details to craft any
opsis. Instead, use the same talent you used for writing
number of different query letters. And you have a well-
your book to write your synopsis. In some cases, it’s your
mapped-out plot synopsis when you are asked to provide
best chance of hooking an agent who wants to see your
it. You’re ready to go forth with confidence, prepared for
story framework before reading your manuscript.
almost anything agents toss at you. WD
Once you have the outline and framework, go back
and see where you can add descriptive language. Amy Collins (AmysAdvice.com) is an agent with Talcott Notch
Literary Services. She represents authors who have signed deals
Add tension and crisp pacing by eliminating unnec-
with major publishers and specializes in audio rights. Amy speaks
essary words and sentences. (Editing software is often and teaches on market viability and sales potential for authors. She
helpful with this.) can be found on Twitter @askamycollins.

SUBMISSION
COACHING
Everything You Need to
Know to Get Published
WITH AMY COLLINS

Find course dates and more information,

along with 5 special bonuses from Amy,
by visiting WDU today.

I 101
FOR YOUR REFERENCE

IS IT LEGIT?
How to protect yourself from publishing scams.

BY AMY COOK

S
o, you’ve finished the manuscript, congratulations! WHAT IS A SCAM? LET US COUNT
You may think the hard part is over, but there are THE WAYS …
some challenges ahead—including not falling for At one end of the spectrum, there is outright criminal
a scam … and in the process, losing energy, momentum, behavior: those who take your money with no inten-
and money. tion of ever providing the service. Also in this category is
There are a number of reasons writers might fall identity theft—bad actors purloin your good name and
for a scam. Many writers love the writing process but reputation to scam others.
know little about the business of publishing. Knowing In the middle are unethical practices. These range
industry standards goes a long way toward not being from blowhards claiming to have connections they
taken. Misinformation and conflicting advice abounds. don’t have, charging for things that are not the norm to
Scammers use flattery. People may feel desperation after charge for, or charging exorbitant rates. Unscrupulous
numerous rejections. Let’s make sure you don’t fall into people may engage in self-dealing or conflicts of interest
any of these categories. by, say, running a literary agency that refers writers to
Publishing a book is much more than creating an expensive in-house editing service as a condition of
content. It involves editing, design, cover art, printing representation.
or electronic formatting, publicity, and so on. And there The third category may not be scams, per se, but
are people—some honest, some not—waiting to provide includes practices by people who are simply unprofes-
those services. Among the areas where you should sional or inexperienced. They can be unresponsive,
scrutinize providers include literary agents, freelance provide poor quality work, or do not have the exper-
editors, and self- and hybrid publishing companies. tise necessary to provide the service you are paying for.
Begin by familiarizing yourself with industry norms. For In any of these situations, you waste precious time and
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

instance, editors generally work on an hourly or project money.

fee, literary agents make a commission, traditional
publishers take a percentage of sales (no upfront fee),
self- and hybrid publishers provide services for a set fee CRIMINAL SCAMMERS
or percentage. There are great websites and blogs that Like any scam, the criminal scammers make things
detail specific scams. Among the best is Victoria Strauss’ seem really legit. Look quickly at this web address:
Writer Beware (SFWA.org); that’s your first stop in PenguinRandornHouse.com. Did you catch the “r”
checking the legitimacy of a provider or solicitation. “n” rather than the “m” that it should be? Scammers

102 I WRITER’S YEARBOOK I 2024

used this ploy to make it seem that their fraudulent you may want some physical books available to sell at
email come-ons were legitimate. If you just glance at events. But according to author Anne R. Allen (find
it, you may be easily duped into clicking on that to see her chock-full-of-useful-info blog at AnneRAllen.com),
what kind of million-dollar offer they’re making you. most successful independent authors make their money
(Kidding. We’d settle for a couple hundred K.) selling e-books. You may not need or want to go with
The book publisher Macmillan reported that a scam- a company that offers print-on-demand (POD) books,
mer sent emails from a lookalike address, telling authors which are difficult to place in bookstores.
that their book “has been picked for procurement of Hybrid companies—a combination of self-publishing
rights” and guaranteed them a minimum of $700,000. and traditional publishing—have varied business models.
But before the authors could get this fat contract, they Some make royalties and an upfront fee. Unlike tradi-
must pay the “literary agent” a fee of, say, $3,000. tional publishing, you are cost-sharing from the start.
Checking domain names and email addresses is cru- Hybrids will take a lot off your plate, but you pay for that.
cial. Recently, Hachette Book Group put out a statement Some hybrid publishers take all comers, and some have
saying, “We are continuing to see attempts to imperson- an editorial process and only accept certain manuscripts;
ate HBG staff, authors, and agents to obtain both manu- these latter models tend to provide more robust market-
scripts and financial information from our authors and ing and publicity for their books.
employees. These latest attempts include additional use Understand the best practices in this area. If some-
of impersonated domain names similar to our actual thing feels off, talk to other vendors. According to the
company domains (addresses using hgbusa.com rather Independent Book Publishers Association, hybrid pub-
than hbgusa.com), in an attempt to create confusion lishers should maintain high standards. That organiza-
or take advantage of anyone who doesn’t notice these tion advises seeking companies that:
details. The hackers continue to use industry jargon and
• Have a defined mission and vision for its publishing
insider terms and information to enhance the appear-
program.
ance that their emails are legitimate. …”
• Vet submissions.
To avoid these types of scams, be wary of any requests
• Publish under its own imprint(s) and ISBNs.
for money. As with any email that is purportedly from
• Publish to industry standards.
your bank, credit card company, IRS, or other entity
• Ensure editorial, design, and production quality.
requesting personal or financial information, never click
• Pursue and manage a range of publishing rights.
on a link in a suspicious email. Always double-check
• Provide distribution services.
domain names and spellings. One of the best tactics is to
• Demonstrate respectable sales.
exit the email and go directly to the website. For unfa-
• Pay authors a higher-than-standard royalty.
miliar businesses, look them up at the Better Business
Bureau or your state Attorney General Office consumer Next, ask yourself if the publisher’s additional services
protection website, or find a phone number and call to are worth it to you and if they charging a fair price for
check the legitimacy of the information. their offerings. Many self-publishing and hybrid compa-
nies offer expensive marketing and publicity packages,
but these can be ineffective. One hybrid company only
SELF- AND HYBRID PUBLISHING offers one of its contract types on the condition you buy
These companies, which can sometimes fall into category an “extra publicity package,” which range in price from
two of the scams—unethical actors—have proliferated $600 to more than $4,000.
in the last 15 years. It can be challenging to stay on Watch out for offers to send formulaic press releases,
top of who is reputable and who is fly-by-night. When junk emails no one will read, promises of reviews in
evaluating self- or hybrid book publishers for your magazines, or placement of your book at a major book
project, first determine how they make their money fair. These aren’t winning strategies for newer writers.
and what your goals are. For instance, if you choose Look for pricing transparency on these companies’ web-
self-publishing, how important is it to you to have a sites. Read the Terms and Conditions of Use carefully. It’s
print version of your book? If you’re a frequent speaker, a slog, but you must understand what you’re agreeing to.

I 103
FOR YOUR REFERENCE

LITERARY AGENTS condition of representation—the bulk of the editorial

There’s a perception that every author needs an agent to problems fall into category three “well-meaning-but-not-
get published and that newer writers often can’t land an experienced” in the skill you’re looking to hire.
agent. This conundrum opens the door to some unscru- There are several different types of editing—from
pulous individuals calling themselves agents because proofreading (typos, grammar) to developmental, or
they know demand is high. A common scam is an “agent” substantive, editing (character development, flow, story-
reaching out to self-published authors saying they can line—the “big picture”). These are different skills. Be sure
place your work with a major publisher, but you need to your editor matches your type of work. Your nonfiction
pay a fee first. People also may impersonate real publish- art heist manuscript will require a different editor than
ing companies or literary agencies; this is identity fraud. your friend’s fantasy novel. Check their website (look
Unethical behavior includes charging fees upfront, out for those typos and poor grammar!), ask for refer-
referring you to in-house or partners for editing, charg- ences and examples of previous work. Then actually
ing for a critique, and charging for supplemental services check those references. It’s easy to slap a photo of “satis-
like book jacket design or marketing materials. You may fied client Steven R.” on a website, who says that “Maria”
want to take a knowledgeable person’s recommendations was a gem to work with. The fee, whether hourly or flat
for service providers but ask how they know the referred rate, should be transparent and agreed upon before work
person and ask for references. If the agent/editor is get- begins. Some editors may reasonably request a por-
ting a kickback, that is a conflict of interest and unethical. tion up front but you should never pay the full fee until
Don’t feel pressured to use their recommendations. they’ve completed the project.
There are a few legitimate, reputable agents who charge For literary agents and freelance editors (and similar
a reading fee, arguing that it takes a great deal of time and service providers like marketing and PR), track record
energy to read through submissions. Generally, though, and references are key. How long has the company been
reading fees (which go by numerous names, such as evalu- in business? New businesses are fine, of course, but ask
ation or submission fees) are frowned upon. The industry about the person’s background and work history.
standard is that agents are paid a percentage-based com-
mission on contracts negotiated on the author’s behalf.
When seeking an agent, check if they are members CONTRACT TIPS
of professional associations such as the Association of It’s exciting to get started with an agent, editor, or pub-
Authors’ Representatives, Inc. Their Canon of Ethics lishing house. However, don’t begin a project without
states: “The AAR believes that the practice of literary first having an agreement in place as to what the working
agents charging clients or potential clients for reading and relationship is going to look like. You lose leverage if the
evaluating literary works (including outlines, proposals, work has already started; the other party has less incen-
and partial or complete manuscripts) is subject to seri- tive to compromise. If something goes wrong, the other
ous abuse that reflects adversely on our profession. For party may want additional compensation or there may
that reason, members may not charge clients or potential be disputes as to who owns the work.
clients a fee for reading and evaluating literary works and Describe the scope of work in detail and include all
may not benefit, directly or indirectly, from the charging representations the other party has made about their
for such services by any other person or entity.” Keep in qualifications. It raises red flags if the other party refuses
mind that there are many good agents who are not mem- to add detailed performance obligations. Without detail-
bers, but in any case, any agent you consider working with ing expectations, it’s hard to know what a breach of poor
should abide by high ethical standards. performance is.
Don’t be intimidated by someone stating, “This is
our standard agreement.” While publishers, agents, and
FREELANCE EDITORS editors vary in the extent to which they will negotiate
While there may be a sprinkling of editors purposely their agreements, you should never feel pressure to sign.
trying to cheat clients—for instance, those associated Bottom line: Don’t sign anything you don’t understand or
with scam literary agencies who “require” editing as a are not comfortable with.

104 I WRITER’S YEARBOOK I 2024

 PROTECT YOURSELF
RESOURCES If you think you’ve been scammed, contact the consumer
• Writer Beware (SFWA.org). Your first stop in vetting fraud division of your state Attorney General or the state
a publishing service provider, checking common where the business is located. Consider having a lawyer
scams, and learning industry standards. draft or review agent, editor, or publishing contracts.
• The Authors Guild (AuthorsGuild.org). Large writing Keep good records. It may sound obvious, but when you
community for sharing information and offers legal make a significant money outlay, be sure you know the legal
and advocacy services to members. name of the business, a physical address, and your contact’s
• American Society of Journalists and Authors email and phone. Keep track of all correspondence, invoices,
(ASJA.org). Offers a writer community and profes- and times and dates of work if paying hourly.
sional development programs. The excitement of finishing a book is wonderful. So,
• Alliance of Independent Authors protect your work by doing your research. Join online
(AllianceIndependentAuthors.org). International writer communities to share information and get refer-
organization supporting self-published authors. ences. Don’t get lured in by flattery or feel an offer is your
• QueryTracker.net. Provides literary agent data. “only” option. Make sure it’s the right option for you. WD
• Editorial Freelancers Association (The-EFA.org).
Information on freelance editors, including rates.
• Also, see WD’s 101 Best Websites for Writers Amy Cook (AmyCookLaw.com) is a Chicago area attorney helping
(WritersDigest.com/be-inspired/writers- writers, small businesses, and nonprofits alleviate their legal
digest-101-best-websites-for-writers-2023). concerns so they can focus on their passions during the day and
rest easy at night.

I 105
FOR YOUR REFERENCE

ESTATE PLANNING
FOR AUTHORS
Five Simple Tips to Build Your Legacy

BY MICHAEL LA RONN

W
hat happens to your books when you die? self-published titles from time to time. It’s a lot of work.
If you create a solid estate plan, they can Choose your executor wisely and discuss your plans with
live forever. If you don’t, then your books will them to make sure they are on board.
die with you. CONTACT AN ESTATE ATTORNEY. To draft a will, contact
No one likes to think about death. It’s not easy to face an estate planning attorney in your area. This isn’t cheap
your mortality, but it’s painfully necessary. As writers, we but think about it this way: It will cost you several hun-
are so busy building our careers that we forget about the dred dollars to draft a will. If you die without a will, your
legacies we’re building also. family will have to pay an attorney several hundred dol-
And let’s not forget our families. They are likely to lars per hour to fix your mistake. Don’t put your family
be overwhelmed at the prospect of managing an author in that position.
estate. If we don’t prepare them, we are setting them up ADDRESS YOUR COPYRIGHTS IN THE WILL. Make sure that
to fail. you tell the attorney about your copyrights so they can
I’d like to share five actionable steps you can take figure out how to protect them. The copyrights to your
today to get your affairs in order and leave a legacy for books are considered property just like everything else
your family. They will thank you for taking these steps. you own; if your will doesn’t explicitly mention them,
Nothing in this article is intended to be legal advice. a probate court may split them up among your family
Rather, use it as a starting point on your estate planning members, which is exactly the type of scenario you want
journey. to avoid. You want to keep your copyrights together so
they can be managed together.
If you already have a will, great! Read it and see if it
WHERE THERE’S A WILL, THERE’S A WAY addresses your copyrights. If it doesn’t, call your attorney
For authors, a will is the most critical estate planning as soon as possible to make an update.
tool. A will determines who gets what. It distributes
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

property and money according to your wishes.

Follow these important first steps when creating PASSWORDS, PASSWORDS,
your will. PASSWORDS
SELECT AN EXECUTOR. Your will names an executor There’s nothing worse than dying and forgetting to share
who will oversee your author estate. Ideally, an executor’s your passwords. This could be devastating because
responsibilities include but are not limited to promot- your executor won’t be able to log in to places like your
ing the works, managing the money, working with agents website, book retailer dashboards, and other places
and publishers, and updating the covers and sales copy for where you conduct your writing affairs.

106 I WRITER’S YEARBOOK I 2024

 I recommend using a password manager like passing, transfer accounts to the executor’s name, and pro-
1Password, Dashlane, or LastPass to keep all your vide new bank account information.
passwords in a secure location. These apps are safe and There’s also the tricky issue of taxes. Unfortunately,
recommended by cybersecurity professionals because taxation doesn’t stop when you die. Your executor will
they allow you to generate complex, difficult-to-hack have to pay any unpaid taxes you owed in the year you
passwords. Best of all, you only have to remember one died. They will also have to pay taxes on income that
master password; the apps take care of the rest. your books generate after you’re gone.
Password managers also have an emergency feature It is critical that you discuss your affairs with an
that grants access to all your passwords to a designated accountant to avoid problems for your executor at tax
person if you pass away. This feature alone makes them time. Make sure your executor has your accountant’s
an essential estate planning tool. contact information, too.

TWO-FACTOR AUTHENTICATION DON’T FORGET ABOUT YOUR

Two-factor authentication (also known as 2FA) is a secu- WEBSITE
rity feature that adds an extra layer of protection to your Most authors pay annually for website hosting and a
online accounts. domain name. Your domain name doesn’t belong to you;
The most common example of 2FA is a one-time pass- the moment you stop paying for it, someone else can
code that is texted to your phone after you enter your claim it.
username and password. You must enter the passcode to If your domain name lapses, readers will no longer
authenticate your account. be able to visit your website and find your books. Your
If your executor doesn’t secure your phone, then they best real estate for marketing will vanish overnight.
will lose access to any accounts where you have 2FA Make sure your executor keeps that domain bill paid!
enabled, even if they have your username and password.
Read the previous sentence again.
Therefore, make sure your executor does not discon- ESTATE PLANNING IS COMPLEX, BUT
nect your phone until all your accounts with 2FA are YOU CAN DO IT
changed to a new phone number. This way, your execu- There is so much more to consider when building your
tor can continue to receive the passcodes. estate plan, but if you start with these simple steps, you’ll
Password managers can also track which of your make things much easier for your family. They will be
accounts use 2FA, so that’s another smart reason to use able to continue earning income from your hard work.
them. They make it easy for your executor to access any- They’ll also be able to keep your books in print so read-
thing they may need. ers all over the world can buy and enjoy them long after
you’re gone.
If you plan properly, your family might even be able
KEEP THE MONEY FLOWING to do more with your books than you ever dreamed of in
To ensure your family continues receiving royalties, make your lifetime.
sure that your executor has current contact information
Every journey begins with a single step, and my sincer-
for all the people and places you do business with.
est hope is that this article will be the first step for you on
If you’re traditionally published, your executor will
your author estate planning journey. WD
need to notify your publisher of your death. The pub-
lisher will need an updated address and bank account on
file to pay your royalties. Michael La Ronn is the Amazon bestselling author of more than 80
If you’re self-published, your executor will have to science-fiction & fantasy novels and self-help books for writers. His
most recent books The Author Estate Handbook and The Author
do a lot more. Self-published authors are generally paid Heir Handbook help authors and their heirs through the complex
monthly by retailers like Amazon, Apple, and Google. estate planning process. They are available in e-book, paperback,
Your executor will need to notify the retailers of your audiobook, and large print wherever you purchase your books.

I 107
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ENDNOTES

WRITE IT OUT
Writing prompts to boost your creativity.

BY AMY JONES

U
se the following writing prompts to write a
minicollection of interconnected short stories
in the genre of your choosing. Think about how
these scenarios would play out differently depending on
whether you write romance, thriller, science fiction, liter-
ary fiction, dystopian, etc. WD

1 4
1. Write a short story of no more than 500 words
ds about
abo 4. Write another short story of no more than 500
a character who reports to work only to quit unexpect-
unexpe words about a person who encounters your character
aracter
edly later that day. from story number three. It could be a major encoun-
ter or a minor encounter. What happens?

2 5
2. Write another short story of no more than 500 5. The next day, your character from story number
mber four
words set in the same workplace on the same
e day, but connects to the character from the first story—the
—the one
from another character’s POV. This character was
as wit- who quit their job. It could just be a coincidence,
ce, or it
ness to the resignation of the character from the first could be written as an intentional full-circle moment.
story but doesn’t fully understand what happened. For Either way, this meeting sets at least one of their lives
l
whatever reason, the resignation turns this person’s on a new trajectory. Write a short story of no more
day upside down. Why? than 500 words about what happens next.

BONUS
3
3. Write another short story of no more than 500
ILLUSTRATION © GETTY IMAGES: GEORGE PETERS

words from the perspective of the person sharing

ring a
home with the character from story number two. It
For a bonus challenge, try writing these as drabbles—
could be new roommate, spouse, lover, or child,
hild, but
100-word stories—instead of 500 words each.
because of the nature of the relationship, character
two won’t tell character three why they’re so upset. So,
this character leaves the residence. What happens to
them, where do they go, what are they thinking? Amy Jones is editor-in-chief of WD. Follow her on
Instagram @AmyMJones_5.

112 I WRITER’S YEARBOOK I 2024

short SHORT story
COMPETITION

To make a long story (really) short...

We’re looking for writing that’s bold, brilliant, and,
most of all, brief.
Submit your best stories that are 1,500 words or fewer. You
could win $3,000 in cash, a trip to New York City for the
Writer’s Digest Annual Conference, and an interview for a
feature article in our magazine.

Deadline
December 15, 2023

Enter online at
WritersDigest.com/SSS
 Writers helping writers
improve their craft,
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recognize their dreams—
since 1920.

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