Erika WainDecker

info@loonarthouse.com

www.e.waindeckerbooks.com

A transplant from Montreal, Canada, now living in Hollywood Hills, Southern, California, E. WainDecker has tapped into her diversified background as former owner of Erika Wain Talent Agency, Patt-Wain Designer Graphics and as an exhibiting painter on the international circuit. She currently co-partners a commercial beekeeping company, Klausesbees, LLC. These experiences have fueld her character-driven plot lines with books ranging from a nonfiction Beekeeper’s Personal Diary to the fictional world of Young Adult Teen Adventure (a series) and Coming of Age market, the Adult genre, Contemporary Gothic and a book of street Poetry. E. WainDecker is an alumnae of UCLA. Book titles include Boots and Pearls, Diary of a City Gal Beekeeper, Twisted Lives Wicked Lies, Frankie and Friends, Voodoo Whispers, Double Density, Child of the Mist, A Time For Grace, Shadow People

Christine Cote

Shanti Arts

publisher@shantiarts.com

www.shantiarts.com

Shanti Arts celebrates and promotes art and artistry through beautiful and inspiring publications and exhibitions grounded in the belief that art and artistry possess the capability to transform the world. Shanti Arts has  produced Happy Again at Last: Life in the Art World; Walking Paris Streets with Eugene Atget: Rag Pickers, Lampshade Vendors, and Other Characters and Places of Old France; Current: Essays on the Passing of Time in the Woods.

For contributions to the newsletter and Letters to the Editor, please email the editor of SPAWNews: editor@spawn.org.

Those of you who are SPAWN members, be sure to visit the Members Only Area to read this month’s Market Update. Go to http://www.spawn.org and click Log In. You will be asked for your username and password.
If you are not a member, join now online: http://www.spawn.org/join.htm

From the President

Welcome to all the new members and subscribers who have discovered SPAWN this month!

The theme of this month’s newsletter is one that’s close to my heart. If you’re an introvert like I am and the idea of "selling" makes you mildly nauseous, you’ll enjoy the many tips in this issue. People are happily selling their writing, books, and artwork in many ways. As you’ll discover, you don’t have to suddenly change your personality to make a living.

To me, the most important piece of advice comes from Executive Director Patricia Fry. She suggests that you "go where your audience is." If your audience is "foodies," for example, try hanging out at Farmer’s Markets. Some of the readers of my books work at humane societies and pet rescue groups. Not surprisingly, my most successful book selling experiences have been at conferences focused on saving animals.

No matter where you are, whether it’s at a conference or on a bus, always have your business cards (or books) with you!

Susan Daffron (susan@spawn.org)
President & Webmaster, Small Publishers Artists and Writers Network (SPAWN)
http://www.spawn.org
President, Logical Expressions, Inc.
http://www.LogicalExpressions.com

Editor’s Note

Members of my writers group are a prolific bunch. They write one story, have another in mind, and meanwhile edit the previous one. They submit and get published, too. During a critique session, they’ll argue with other members for twenty minutes over a character’s behavior. However, ask them to promote work—their own or another writer’s—and in the resulting quiet you could hear a gnat snore.

We’ve talked about the shyness factor. But being an introvert is more than just being shy. It’s not a learned behavior, but a character trait. We’re creative, inventive, and introverts. It’s not something we should change, but there are ways to adapt painlessly—if not at first, then with practice.

Nobody wants to be the stereotypical overbearing salesperson who talks people into buying things they don’t want or need. But if no one reads your work, how do you get more work? If you have a message to share, how do people find out about it? All book sales do not have to take place in a bookstore. Presentations don’t have to be to a crowd of hundreds. Promotion doesn’t have to be in person. You can be creative and still manage the business side of writing.

Patricia Fry, Hope Clark, Amy Jo Fleming, and others tell where and how they sell books, meet their public without too much stress, make friends and loyal readers without asking anyone to spend the rent money on their book. Send your creative ideas to me for publication in a future SPAWNews.

 – Sandy, Editor, SPAWNews, editor@spawn.org

SPAWN Market Update

by Patricia Fry

If you are an author seeking publication or looking for ways to promote your book, this month’s SPAWN Market Update is designed with you in mind. We list five new publishing imprints, services, and opportunities for authors, two great resources and seven solid book-promotion opportunities, including interview sites for authors. Are you looking for a job in the industry? We provide five job boards for writers and editors. You’ll also learn about a major magazine database. Use just some of the resources and links in this issue of the SPAWN Market Update and you could earn enough money for a fantastic summer vacation.

Join SPAWN this month by going to www.spawn.org and click on Join/Renew.

Ask the Book Doctor:

About Book Promotion, Book Trailers, and Autographing Books

By Bobbie Christmas

Q: What’s the best promotion method to use once a book is published?

A: I wish I could answer your question, but what is best for your book depends on your type of book, your expertise, your abilities, the amount of time and/or money you have to spend, and much more. I recommend that you read a book about book promotion and decide what methods are best for you and for your book. The one I read and used extensively was Jump Start Your Book Sales by Marilyn Ross. It advises getting started with promotions before the book even comes out. It also recommends adding a chapter that appeals to an additional sector of the market, to broaden the appeal of the book. Based on her recommendation, I included a chapter on business writing in my book, Write In Style, which had originally been geared toward only creative writers. My publisher was pleased with the addition, too.

Ross’s 1999 book may be a little dated now, so I went on Amazon and found at least two other books that give marketing ideas for books. Look up Ross’s book, and you will see others like hers that are even newer.

Editor’s note: Patricia Fry’s Promote Your Book, Over 250 Proven, Low-Cost Tips and Techniques for the Enterprising Author is another excellent choice.

Q: Creating a trailer to promote a book online is becoming popular. I am exploring a possible business venture in this field and would value your knowledge and opinion.

Who generally pays for creating a book trailer and promoting it on the various sites? Is it the publishing house or the author?

What is the return on investment? Has anyone done the research?

I find most trailers on YouTube or dedicated trailer sites, yet not on the online stores or e-book libraries. Any idea why this is the case?

With e-book and online book sales increasing, this medium is likely to grow.

What is your personal opinion? Do book trailers help sell a book or increase interest?

A: I can give you only my opinion, not based on many facts, but you asked for my opinion, and here it is:

A book trailer on the Internet is no different from a web page; someone or something has to drive traffic to it, or it sleeps in cyber space wasting bytes. For that reason, probably, most trailers appear on YouTube, where people watch funny, shocking, or educational videos, and where all video producers hope their babies will go viral.

Who pays for the trailer? I imagine the biggest buyers of trailers are self-publishers seeking an avenue to promote their books, and in those cases, the author and publisher are the same.

I cannot speak for why online stores aren’t using trailers; I have no knowledge of the thinking in those places. Although I suspect they see no value in trailers, who knows?

All the trailers I have seen were produced and paid for by the author, and none of them has enticed me to buy a book. Have any enticed you? Nevertheless, some must work, or they would not be popular, unless they simply play on the ego of the author who can say, “I have a book trailer.”

As for the return on investment, it depends upon whether you are the producer of trailers selling to authors and publishers or you are the author attempting to sell books to readers. If you are thinking of going into the trailer-producing business, your biggest market would probably be self-publishers. Will self-publishers get a good return on their investment? In my opinion, no, unless they have a strong marketing campaign to drive people to the trailer and a compelling trailer that entices people to buy the book.

Q: My handwriting is not the best and is getting worse. Is it normal for a writer to publish a book already signed with the author’s signature? What are the pros and cons if I do this?

A: I have never heard of anyone doing it, although it may have been done somewhere without my knowledge. Here are my thoughts about the pros and cons:

Once a signature is printed, it is not an autograph, but simply a printed copy of a signature, so it has no significance or value.

Books do not have to be autographed; an autograph is an added feature that personalizes a book and sometimes adds value, but it is not essential to the enjoyment of the book.

I have heard of authors who refuse to autograph books, so if no autographed copies exist, all the books have the same value.

Autographs do have personal appeal to buyers, but unless the author becomes famous, an autographed book has little added financial value.

If I had any physical or emotional reason not to sign books, I simply would not offer to sign them.

To order Ask the Book Doctor: How to Beat the Competition and Sell Your Writing go to http://zebraeditor.com/book_ask_the_book_doctor.shtml.

Bobbie Christmas, book editor, author of Write In Style (Union Square Publishing), and owner of Zebra Communications, will answer your questions, too.  Send them to Bobbie@zebraeditor.com. Read more "Ask the Book Doctor" questions and answers at www.zebraeditor.com.

Book Reviews

Starting Your Career as a Freelance Editor, a Guide to Working with Authors, Books, Newsletters, Magazines, Websites, and More by Mary Embree.
Allworth Press (2012)  www.allworth.com
ISBN: 978-1-58115-890-8, Paperback – 231 pages $19.95

Review by Patricia Fry

For those of you who don’t know, Mary Embree is the founder of SPAWN. She is also a literary consultant, editor, book doctor, writers’ workshop leader and the author of two previously published books. Perhaps her most well-known book is The Author’s Toolkit: A Step-by-Step Guide to Writing and Publishing Your Book (now in its third edition).

If you are considering becoming a freelance editor or you are already working within this field, this book could make the difference between a successful career and a failed one. Embree starts the book by helping the reader determine whether editing is the right path for him or her. She covers various types of editing careers, explains how to market your services, how to work with authors and she spends quite a bit of time on styles, usage and editing principles. New editors often wonder what to charge for the work they do. This is covered in Chapter 12. And Embree also talks about the business and legal aspects of an editing business. This is the most complete and well-rounded book I have seen on this subject. It even has a chapter on methods of editing. As an editor myself, I know that different people expect or are accustomed to different types of editing—some want to send you the hard copy to edit, others want you to use a software program to show the editing marks. Embree explains these and other systems and how to use them.

I especially like that Embree has included stories from other editors. You’ll see them in Chapter 2, where she talks about getting started as an editor.

So how can you become a freelance editor? Start by reading this book. Embree also suggests that you get to know people in your field by attending conventions, expos, etc. Ask questions, join an editing organization or a company where you can get assignments. Join writers groups and book clubs, attend events where writers in your specialty gather, discuss freelance editing with friends.

Most of all, she says, “Keep your antenna up.” And she adds, “You never know where your clients might come from.”

The Shy Writer Reborn by C. Hope Clark

Review by Sandra Murphy

I find it’s taking me longer to read this book—it’s non-fiction, which is never as fast as fiction—but with this book I keep stopping to think about what I’ve just read and how I can incorporate into my writing life.

Here are just a few of the points that really got my attention, all quoted from the book: 

• You do not have to sacrifice yourself to fit someone else’s mold of what a writer is like.
• These days, being real is the most marketable commodity of all.
• There’s sticking with writing, and then there’s sticking with getting better at writing.
• You can quit writing; write for yourself, family, and friends; or you can learn how to write professionally.
• Voice is what sells your writing.
• Platform must be seen, felt and heard.

Each chapter ends with three suggested exercises to get you to think about what the problem really is and how to fix or work around it comfortably. There are chapters on interviews (as the interviewer or the subject), queries, and pitches—how to talk about yourself, meet-and-greets, and all the confusing social media that contribute to your platform. This is a book I’ll read again as well as use for reference. See more about the book in Clark’s article below.

The Three Tricks of a Good Shy Writer

by C. Hope Clark

An introverted writer is not handicapped any more than an extroverted writer is obnoxious. But if I’ve learned anything in my years of speaking at conferences and coaching writers, it’s that writers are overwhelmingly introverted, and afraid. Fearful of what others think, of failure, of confrontation. They often let fear intimidate them into inaction. Control fear, however, and you control your life. I know. I’ve been introverted my entire life.   

Over time, however, I’ve collected a pocket full of tricks to use when I’m faced with an intimidating moment—three in particular. None of the three will require you to become boisterous, to speak fast, or to dominate a moment. They don’t apply just to public appearances, though I developed them to handle my fear of speaking. Regardless, whatever new ground you break, these three tricks will keep you sane and safe.

They involve positive thought and putting on that optimistic hat. They are so simple you’ll doubt their power, but they work.

Trick One: What If I Wasn’t Afraid?

When fear strikes, we often let it lead. We take the path of least resistance, avoiding as many obstacles as we can. But fear never leaves. Just because you close your eyes doesn’t mean it disappears. When you open your eyes, it’s staring right back. Name your fears. Then add “What If” to the front of them.

What if I wasn’t afraid of . . . rejection? I’d write more, maybe faster. I’d submit more, publish more.

What if I wasn’t afraid of . . . being critiqued? I’d turn in my manuscript and really listen to what people were saying, knowing I don’t have to do all that they say. I’d easily pick and choose what to keep, and what to throw away. My work would be so much stronger.

You easily solve your problem by addressing a simple question . . . What If? We use those two words plotting our stories, so why not use them plotting our careers, our lives?

Trick Two: After This is Over        

You’re up to your ears in deadlines; frustrated. You’re the last speaker of the day, addressing worn-out attendees. You begin a reading and someone coughs, and won’t stop, making you lose your place.

Irritating moments, unexpected catastrophes, scary interruptions you never considered. If you stick around this profession long enough, you’ll face situations you never saw coming. 

See yourself at the finish line. Imagine yourself once the situation is over. The glass of tea, or even a beer. The hot bath. The long walk. The alone time with a good recreational read. But also the hard cry, the scream, the rant with a good friend. Whether you’re the venting type or the release-and-relax person, see yourself after your trial is over. Call it forecasting. After this is over, I will . . .

When you forecast, your mind pictures the sense of relief after the fact, the satisfaction of seeing an event through to the end. That vision can lower your heart rate and settle you down. Envision the calm after the storm, the iced tea after the sweat, the soft bed after the long, hard day. See yourself at the finish line. There is life after whatever messes with you, whatever gets in your way.

Trick Three: I’m Really Okay

The suspense mounts as you wait in line to pitch to an agent at a conference. Or you are about to read your poem to a room full of writers. Or you have a great idea for a magazine piece, but you’re afraid the editor will laugh, or steal it, or simply not reply.

You argue with yourself on whether you have the ability to do this . . . whatever it is.

Try this exercise. Imagine the absolute worst that could happen to you in that situation. Amplify it. For instance, take a written rejection . . . and imagine it oral, in front of people, over a microphone . . . naked! Picture yourself at a conference, and they ask you to read your first chapter. The room laughs at you. Let it out. Screw with your mind.

Okay stop. Now breathe. Ask this question: am I okay right now?

Of course you are. You’re alive. Your health hasn’t changed. War, famine, or pestilence hasn’t consumed you. No tornadoes, SWAT teams, or clouds of locusts. Nobody arrested you.

Life is still normal.

Paint a smile on your face right then and there. You are fine. Then continue with your mission.

As shy writers, we are often our worst enemy. But if you tackle your hideous moment, whatever it may be, and apply one or more of these three tricks, you’ll realize you’re stronger than you think. Don’t let intimidation take over. Take control of your fear, because that’s when you take control of your writing career.

C. Hope Clark is editor of FundsforWriters, author of The Carolina Slade Mystery Series, and the author of newly released The Shy Writer Reborn: An Introverted Writer’s Wake-Up Call. You can find her work at www.fundsforwriters.com and www.chopeclark.com.

Experimenting with Book Clubs

by Amy Jo Fleming

Almost everything about my novella, Death at Bandit Creek, is experimental. An experiment to write a book in a series with 31 other writers set in a fictional town—Bandit Creek, Montana. An experiment to self publish. An experiment to develop cover art and a format my book. An experiment in marketing: to find reviewers and learn social media. And now, the Book Club Experiment. When I was asked to do a book-club presentation, I leapt at the chance. The next day I had to ask, what did I get myself into?

I am no stranger to book clubs. I belong to a book club where we read a wide range of books. We get together once a month, drink a little wine, and discuss the book. We find common threads in the books, and in life, and share our insights. And then, we eat a fabulous dessert. Who could ask for anything better?

But…I had agreed to speak to twelve women I didn’t know and who might not like my book. When members of my book club hate a book, it just makes the discussion more interesting. Suddenly, I was a little nervous.

For me, preparation was the key. I turned to some on-line writers groups and the support was awesome: topics to cover, questions readers raise, and the delicate question of dealing with negative comments. (Acknowledge the opinion and then MOVE ON.) A true introvert, I outlined what I planned to say and wrote it all down in my journal. When I speak to a group, if I have a well-laid plan, I may never use it, but it keeps my nerves under control.

At the book club, I referred to my notes, but only to make sure I covered all the points in my outline:

• Why did I decide to become a writer? The truth is that I have always been a writer. I have had day jobs and frustrations along the way, but I wanted to write and I made the time for it.
• Where do ideas come from? Ideas come from everywhere. I read everything. I listen to people. I love to combine and twist ideas into a premise and ask myself, “What if this happened? What would happen next?”
• What is my writing process? I start with a premise and theme. Next comes setting. Then I build characters and then a plot to suit the characters.
• Premise and Theme: I talked about developing the premise for Death at Bandit Creek. What if a young school teacher—Charlotte Fraser—went off to a remote mining town—Bandit Creek, Montana—in 1911 and discovered that her predecessor had been murdered?
• Setting: The readers were really engaged by Bandit Creek. One aspect was a secret staircase. For me, the staircase was a tool to advance the plot. For readers, it was so cool. It was a secret that all characters seemed to know. They loved the irony.
• Character Development: I use character charts to get to know characters. I asked whether the characters seemed real and got a gold mine of information. For example, the readers didn’t believe that a minister would have an affair with a prostitute. I needed to give him a stronger motivation.
• Plotting: I talked about how I use a Three-Act Structure. My main concern about the book was whether the suspense was strong enough, so I asked. The readers thought Charlotte was in real danger. They knew who the villain was right away, but the suspense was real. I had a red herring, but they just didn’t buy it. He was too good-looking to be a villain. Go figure.
• Drafting and Revisions: This is the time when I show up at my desk every day and write. The book was not going to write itself.
• Current Projects: The book club seemed most interested in my work in progress, Trust Fund Baby, which is women’s fiction rather than romantic suspense. Again, who knew?
• Pricing: The ladies were unanimous that I had underpriced Death at Bandit Creek at $2.99.

All in all, I had a great time. Twelve women enjoyed my book enough to discuss it and were delighted to have a “real author” talk to them. I got valuable feedback on my writing and twelve email addresses to add to my mailing list. These ladies want to buy my next book. My book club experiment was a complete success. It would be great to hear from other authors who try their own book club experiment.

Amy Jo Fleming is the author of  Death at Bandit Creek. Romantic Suspense. Available everywhere e-books are sold. White Christmas is part of the Frost Family Christmas Series. Christmas Romance with a mystery twist. Available October 1, 2013 on Amazon. www.amyjofleming.com @AmyJoFlemingLLB

Where to Sell? Where Not!

by Patricia Fry

One of my favorite unusual book-promotion ideas is one an author told me about. He and a friend co-authored a fun book of humor. They have fun selling it on the fringes of farmer’s markets throughout the county. They set up a small table or TV tray outside the farmer’s market and sell lemonade to passersby. The lemonade sells for $10 a glass, but thirsty customers get a free copy of the authors’ book along with it. It works for these guys and their book!

My friend used to travel to sell her cookbook through kitchen stores. But she also sold books when flying home, because she carried a poster advertising her book-signing with her. It caught the eye of people in the airport and on the plane and she said she always sold books to fellow passengers.

Several of my clients and colleagues have sold books in unusual settings. I am a big fan of selling books and having signings in specialty shops related to the theme of your book. This might include pet stores or spas, feed stores, flower shops/nurseries, hobby shops, coffee houses, delis, metaphysical/spiritual stores, cafés, airports—wherever your readers gather. I know authors who have sold books at cupcake bakeries, gift shops, children’s clothing/toy stores, a zoo, and of course libraries and schools.

Authors who give something of value to their audiences generally sell more books. I go out and speak to my audience on publishing and book promotion. And I sell books. When I have a booth at book festivals, I do my best to respond to visitors’ questions. Many of them buy books. Where appropriate, you can do demonstrations. One author I know used to show how to make crème brulee—the theme of her book. Another demonstrates how to make a succulent wreath—and sells books on this topic. I once put on a full-blown luau in order to promote my book on how to present a luau on the mainland.

I like to encourage having a book-launch party. If your book is older, have a re-launch party or a coming out party or…whatever you want to call it. All I know is that when I (and others) have had a book launch party and did a lot of publicity, sent special invitations, followed up, etc., it has been quite successful.

If you missed the point of experiencing success through these unique or interesting book promotion suggestions, here they are simplified:

• Go where your audience congregates and make sure they become aware of your amazing and pertinent book.
• Get creative in your choice of venues and your presentation.
• Give something of value to your guests/audience.
• Be extremely ambitious in your publicity efforts in order to entice people to your activity.

For more book-promotion ideas and more detail on these I’ve mentioned, order my book Promote Your Book, Over 250 Proven, Low-Cost Tips and Techniques for the Enterprising Author. It’s at Amazon.com in print, Kindle and audio, also at most other online and downtown bookstores.

Sign up for my online book-promotion course. http://www.matilijapress.com/courses.htm

Member Book Promotion Tips

Earl Staggs sells his books, Justified Action, Memory of a Murder, and Short Stories of Earl Staggs, at bus stops. “I drive a school bus part-time and many of the parents who put their children on board buy my books.”

**

Patricia Fry had a book signing for her Nordhoff Cemetery Book at the Nordhoff Cemetery in Ojai, California.

**

Hope Clark learned to have copies of her books Low Country Bribe and Tidewater Murder with her at all times after selling copies at the gym, hairdresser, post office, a restaurant, bar, Hooters (really, sold five copies!), income tax preparer’s office, and while standing in line at the grocery store.

**

Lucinda Crosby sold her novel, Francesca of Lost Nation at artist league/guild get-togethers, in fine restaurants at a presentation she calls Wine and Words, general stores in the Southern Sierra, at the Historical Society USO historic building in a small town where she lived, at Rotary meetings, at garden club meetings, at chamber of commerce meetings, at Mule Days in Bishop, California, at wine walks, in consignment shops, and at brunches hosted by book clubs that were open to the public. She also offers a free Skype session to book clubs that order online.

She sold her children’s book The Adventures of Baylard Bear: a Story about Being DIFFERENT at nearby small town museums, at garden club meetings, at local consignment shops, and at wine walks.

Member News

Multi-published non-fiction authors Susan Daffron and Patricia Fry have both entered the world of fiction, having finished their first drafts of upcoming novels. Susan recently wrote the first draft of a romantic comedy that will be released this summer and Patricia Fry has written drafts of three novels in a new mystery series involving cats.

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Sandra Beckwith will be speaking about book publicity at the virtual Nonfiction Writer’s Conference May 8-10. The conference features 15 speakers covering traditional and self-publishing, e-books, social media, marketing on Amazon, blogging, SEO and video marketing, professional speaking, and other book-marketing tactics. Learn more at http://bit.ly/SBNFWC. Sandra also recently introduced a new online training program for authors: “Book Publicity 101: How to Build Book Buzz Basic E-course.” The program features the continually updated, top-quality content of the premium e-course that authors praise, but without instructor interaction. That makes the learning process more flexible, ongoing, and affordable. Learn more at http://buildbookbuzz.com/bp101basicecourse/.

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Barbara Florio Graham is featured on the Women on the Move page in the April issue of Ottawa Woman. This free publication is available at Metro, Food Basics, IGA, and most Bridgeheads, as well as online at www.ottawa-woman.com on page 18. A graduate student in the journalism program at the University of Western Ontario interviewed Barbara Florio Graham at the suggestion of her professor, an old friend of Bobbi. http://westernreport.fims.uwo.ca/index.php/the-nine-million-lives-of-internet-cats/
Find Barbara Florio Graham on Facebook, LinkedIn, BranchOut, Pinterest, and Google Plus. Simon Teakettle III (Terzo) blogs at: http://www.SimonTeakettle.com/blogterzo.htmand his 2013 calendar is now available from http://www.OttawaPhoto.com. His Very First Video is at http://lnkd.in/fKsbhH.

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TLC Graphics presented two classes and sponsored a booth at the IBPA Publishing University in Chicago April 26-27. SPAWN board member Tamara Dever presented “Selling Power of Book Design” and her colleagues presented “Real-Life Success Stories: Tips and Techniques from Small Publishers With Big Sales.” www.TLCGraphics.com, Facebook Group: http://tinyurl.com/2a7mr7, www.twitter.com/helpmepublish, Blog: http://helpmepublish.wordpress.com/

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Arlene Uslander from San Diego says, "I am excited about reprinting my book That’s What Grandparents Are For, an illustrated book of verse for grandchildren and grandparents to read together. The original traditional publisher went out of business, and I was able to buy the rights to the wonderful illustrations from the illustrator for a reasonable price. I found a printer through a Spawn member at a good price per book, and I am now a publisher! Check out the book on Amazon. And thanks to SPAWN for helping me find a printer. It was not easy."

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Dallas Woodburn has been awarded the Steinbeck Fellowship for Creative Writing at San Jose State University for the 2013-14 academic year. She says, "I am so thrilled, honored, and excited." Here is the link with more information: http://as.sjsu.edu/steinbeck/steinbeck_fellows/index.jsp. Dallas Woodburn is an author, speaker, freelance writer, editor of Dancing With The Pen: a Collection of Today’s Best Youth Writing, instructor at Purdue University, founder of Write On! For Literacy & Write On! Books, and SPAWN’s Youth Director. dallaswoodburn@gmail.com, http://www.writeonbooks.org, http://dallaswoodburn.blogspot.com/, http://daybydaymasterpiece.com

Contests, Events and Opportunities

The Contests, Awards, Events, and Opportunities listings are located on the SPAWN blog. Please use these links to get the latest information
Contests and Awards
Events and Opportunities

About SPAWN

SPAWN is a non-profit 501(c)3 organization. SPAWNews advises “caveat emptor” when dealing with venues, contests or promotions unknown to you. SPAWNews was proofread by Bonnie Myhrum, Professional Secretary, LLC (734-455-0987).
Learn more about SPAWN at the Website

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Laura E. Mitchell

Praxxis Press

lemobrn@gmail.com

Praxxis Press LLC is a start up boutique publisher specializing in ebooks.

Opportunity for Writers from SPAWN member Raven West

Be a contributing author to the sequel to Red Wine for Breakfast for only $2.99!

Bourbon for Brunch takes place 25 years after Red Wine for Breakfast ended and follows the story of the two main characters, Jenny Reed and Johnny King. The main plot involves political corruption, with several subplots, including volatile relationships, legal manipulation, and power struggles in a small northern California community. All of which follow wherever the consensus of the contributing authors decides!

Here’s how it works:

1. Buy the Kindle e-book Red Wine for Breakfast for $2.99.

2. Copy and email your receipt to authorravenwest@hotmail.com

3. You will then receive confirmation email that you’re now a member of the BourbonforBrunch yahoo e-group. Hit the “join” link in the email and you’ll be automatically added as a member of the group as a contributing author. (This is a CLOSED group. Membership is by invitation only)

4. Beginning May 1, the first chapter will be posted to the Files section of the e-group and you will receive an email announcing that the project has begun.

5. A new poll with three possible scenarios for the next chapter will be posted on Friday, May 5, at noon (PST) and every subsequent Friday following, and will close on Sunday at midnight. The results of the poll will be posted on Monday.

6. A new chapter based on the scenario with the most votes will be available to read on Friday in the Files Section, followed by a new poll for the following week.

7. There will also be a discussion board for contributing authors to discuss the novel’s progress, make suggestions and comments. These may or may not be incorporated in the final manuscript.

8. Authors can join at any time until the book is finished, but polls on previous chapters will be closed. The process will continue until the novel is finished (approximately three months).

9. All members of the Bourbon for Brunch e-group will be listed as contributing authors in the final published work. This will include being listed on major bookseller sites such as Amazon.com, Nookpress, Smashwords, etc. Bios and links to published works, websites, blogs, etc. will be included for all contributing authors.

10. Contributing authors will also receive a FREE e-book and one FREE signed hard copy of the published novel.

Attend the Ventura County Writers Club May 14 meeting to hear Patricia Fry, author and publisher, discuss her “gentle” perspective on marketing your book. The insights you will gain on book promotion will be invaluable.

“Writers will finally understand the concept of book promotion for fiction, nonfiction, and children’s books,” said Ms. Fry. “I will explain what the author’s platform is and show how to successfully build one. Book promotion is, of course, absolutely necessary, but it doesn’t have to be painful. If you find the marketing aspect of authorship distasteful or if you simply don’t know where to start, attend this program with an open mind, and you will leave with tools and resources to succeed in the fiercely competitive business of publishing.”

For writers who want to get published, this is a must-attend presentation. Patricia promises the promotion activities she will discuss fit right within a comfort zone. For would-be or soon-to-be published authors, the topic couldn’t be better.

May Meeting of the VenturaCounty Writers Club

May 14, 2013 7 P.M.

Pleasant ValleySeniorCenter 1605 Burnley St., Camarillo, California

Topic:  Book Marketing for the Reluctant Fiction and Nonfiction Author

Open to Members and nonmembers. No fee

For information on the Ventura County Writers Club, http://www.venturacountywriters.com

For contributions to the newsletter and Letters to the Editor, please email the editor of SPAWNews: editor@spawn.org.

Those of you who are SPAWN members, be sure to visit the Members Only Area to read this month’s Market Update. Go to http://www.spawn.org and click Log In. You will be asked for your username and password.
If you are not a member, join now online: http://www.spawn.org/join.htm

From the President

Welcome to all the new members and subscribers who have discovered SPAWN this month!

If there’s one thing I’ve learned about writing, it’s that creativity ebbs and flows. I wish that writing were always as easy for me as it has been over the last few days. I’m making huge progress on my novel and it’s actually fun. I’m starting to love my characters. I can’t wait to open up the file and see what happens to them next.

It reminds me of something Patricia Fry said when I saw her last month at the Tucson Festival of Books. We were talking about our respective fiction projects and she exclaimed, "All I want to do is write my novel!" At the time, I was stuck on my book trying to figure out where to go with it. I nodded, but couldn’t imagine actually feeling that way myself. But now I get it!

So if you’re in a stuck spot right now like I was, I encourage you to keep working. It will pass. May you fall in love with writing again and again. It’s a wonderful feeling

Susan Daffron (susan@spawn.org)
President & Webmaster, Small Publishers Artists and Writers Network (SPAWN)
http://www.spawn.org
President, Logical Expressions, Inc.
http://www.LogicalExpressions.com

Editor’s Note

Anthologies? Are they really worth the trouble? Is there money in it for writers, or are there other benefits? How do you get in one? Well, for one thing, you can respond to a request for submissions like the one Untreed Reads sent—it’s posted in the Opportunities section of this newsletter.

Many anthologies are by invitation only. Once the editors see your work in magazines or ezines or on genre sites, you may be invited to join the fun. This method saves a lot of time for editors—they’ll already know your style and know you can meet a deadline. Read Mary Reed’s story below and see how that first invitation grew and grew for her.

Gail Farrelly, Teel James Glenn, and Miles Archer aka Richard Posner also share their experiences with anthologies.

Patricia Fry reviews Sell Your Book, 100 Tips and Tactics by Karen Hodges Miller.

With all the information on how to promote your work, get more work, and enjoy your work, this issue should inspire!

Good writing,

 – Sandy, Editor, SPAWNews, editor@spawn.org

Meet SPAWN Members! Live and In Person!

SPAWN will be at the Los Angeles Times Festival of Books April 20-21. Members will be selling their books and members’ books will be on display—come and meet the leaders of SPAWN. We’re in Booth 201 this year.

SPAWN Market Update

by Patricia Fry

The April SPAWN Market Update covers news and opportunities for freelance writers, authors seeking publishers, and authors currently promoting their books. Herein, you’ll discover nearly 50 ideas, resources, news items, and leads. Are you looking for an author-friendly publisher? We’ve got ‘em. Are you running out of book-promotion ideas? We can replenish your supply. Study this edition and come away with the job of your dreams, a publishing contract, or a great technique for selling books.

If you have yet to join SPAWN and receive all of the benefits, join this month by going to www.spawn.org and click on Join/Renew.

Ask the Book Doctor:

About Awkward Sentences that Need Restructuring

By Bobbie Christmas

Q: I’m writing a short story, and I need help with a sentence. Are any of the following versions I wrote okay?

1. That resulted in a fall in which she fractured her pelvis.

2. That resulted in a fall in which her pelvis was fractured.

3. That resulted in a fall that fractured her pelvis.

Here is the sentence that comes before the other sentence, in case you need to see that one, too: She hesitantly took the pills, but they made her very dizzy.

A: I’m glad you sent the prior sentence, because my answer will not be as straightforward as you may have hoped. The word “that,” when used as a pronoun, should refer to a noun, rather than a concept, so all the examples are incorrect. The full statement would be more understandable if the preceding sentence were linked with one of the example sentences, but the result would be awkward, such as this compound sentence: She hesitantly took the pills, but they made her very dizzy, which resulted in a fall in which she fractured her pelvis. Okay, obviously that sentence is not only cumbersome, but it also contains two uses of “which,” and repetition is not recommended in creative writing. Obviously it’s time to look for a more creative approach, but before we do so, let me point out that example number two, “her pelvis was fractured,” is passive, and strong writers avoid using passive voice. 

Instead of trying to find the right words for the same sentence structure, recast the entire statement in a clearer, more creative way. Consider, for example, the following rewrite:

She hesitantly took the pills, but she grew dizzy, fell, and fractured her pelvis.

The rewrite uses active voice and is clear, direct, and tight. You may think of an even better way to recast the two sentences, but they definitely need restructuring.

Q: Understanding that a pronoun refers to the noun before the pronoun, I want the pronoun “their” to refer to “doctor,” not “specialist,” in the following sentence:

Has your doctor suggested you see the specialist who comes into their office? 

I tried rewording the sentence, but I run into the same issue. Any suggestions?

A: One problem is that “their” is a plural pronoun, whereas “doctor” and “specialist” are both singular nouns, so my response will not have “their” in it. I would also break it into two sentences. Here’s how I would reword the passage for clarity:

Sometimes specialists come into a second doctor’s office to see the second doctor’s patients. Has your doctor suggested you see such a specialist?

Q: Is there a question mark after the following sentence? “If you did, will you let me know, because I will be waiting to hear from you.”

A: Because the sentence is both a statement and a question, it is a good sentence to recast, rather than attempt to fix with punctuation. Recast it to something like this, and there’s no problem: “If you did, please let me know, because I will be waiting to hear from you.” Here’s another alternative: “If you did, will you let me know? I’ll be waiting to hear from you.”

Q: If I wanted to use the plural of “yes” in a book title, how should it look? “Yeses” looks like a foreign word. HELP!

A: Your question about the plural of “yes” is a prime example of a time when it’s better to rewrite the sentence than to use odd words. Instead of this sentence: “All the yeses added up to one hundred,” consider this one: “The yes votes added up to one hundred.” Recast the book title and see if “yes” can stand alone without making it plural.

Q: Where do you stand on split infinitives or ending sentences with prepositions?

A: Editors have relaxed their stand on those issues, because the “rules” were leftovers from Latin and do not always apply to English. As a source, I point to Winston Churchill. Supposedly an editor had clumsily rearranged one of Churchill’s sentences to avoid ending it with a preposition, and the prime minister scribbled the following note in reply: “That is the sort of editing up with which I will not put.”

I would be remiss, however, if I did not point out that strong writers recast awkward sentences to avoid splitting infinitives or ending sentences with a preposition. Doing so almost always improves the writing style.

To read more questions and answers, order the book Ask the Book Doctor: How to Beat the Competition and Sell Your Writing at http://zebraeditor.com/book_ask_the_book_doctor.shtml.

Bobbie Christmas, book editor, author of Write In Style (Union Square Publishing), and owner of Zebra Communications, will answer your questions, too.  Send them to Bobbie@zebraeditor.com. Read more "Ask the Book Doctor" questions and answers at www.zebraeditor.com.

Book Review

by Patricia Fry

Sell Your Book, 100 Tips and Tactics by Karen Hodges Miller
Open Door Publications (2012)  www.opendoorpublications.com  
ISBN: 978-0-9838750-3-1     Paperback, 130 pages, $19.95

Karen Hodges Miller is the founder of Open Door Publications. Since 2006, they have published more than twenty books. Even though Miller has been working in the industry as a writer, editor, and publisher for twenty-five years, she wrote her first book for authors in 2010 and this effort has led to a series of books, including this one.

While she offers 100 tips and tactics such as creating your own book tour, building your brand, selling your book on Amazon, using reviews to promote your book, and so forth, she also publishes interviews with some well-known book marketers—Dan Poynter, Rick Frishman and Dan Smith are a few.

I especially like her chapter on working with the media. In this section alone, she fleshes out ten tips for successfully working with the media to get publicity for your book. And you’ve all heard/read me preach and nag about doing pre-publication publicity. Miller has a full chapter on this theme with ten specific tips.

In my opinion, you can never have too many books on book promotion and marketing. I recommend that you add this one to your library.

The Truth about Anthologies

by Barbara Florio Graham

I’m using the term anthology to cover all kinds of books you may contribute to, but not as the primary writer or co-writer.

These books fall into a couple of main categories:

1. Contributions are solicited from the general public. The publisher pays a small amount—often just 20 cents a word—buys all rights, and then uses your contribution any way he likes, often in other books, magazines, and websites. You lose all control over where your work appears, and have no recourse if you’re not happy with the way your piece was edited or where it ends up years later. I call this the Chicken-Soup model.

2. A variation of this is the contest that awards significant prizes to one or more winners, then pays a minimum to the entrants who are selected to be included in the book. Stories can run from 1,000-2,500 words and payment is often just $100, but the possibility of being judged a winner of $1,000 or more is a great lure. Some of these contests accept reprints, which makes them a good bet. Still, profit goes to the publisher. See Summit Studios for an example: http://www.summitstudios.biz/  

A big problem with both of these categories is that they usually offer only a simple byline, with no additional credit—not even your website or a mention of your book.

Another problem is that you often have to submit your work before you see their contract. It’s hard to refuse to sign a contract after your work has been accepted! It can take up to a year to hear whether your story has been accepted, and several years before the book is published, so your work is in limbo all that time.

3. Contributing to someone else’s book: a writer obtains a contract from a major publisher to produce a book sharing his or her expertise. The writer then requests friends, colleagues, and strangers to contribute advice and anecdotes to fill out the book. This gives the book a wider reach and more solid credibility. Contributing to a book like this doesn’t pay anything, but can be a great way to establish or increase your credibility in a specific area, and drive traffic to your website. If you can do this with little effort, drawing on your own expertise and experience, it’s certainly worthwhile. About two-thirds of the 38 books I’ve contributed to fall into this category. Several of these books contain a bio section where I’m listed with my expertise and website, and there’s an index where my name appears. Because of these things, the book is going to show up in a Google search. 

4. An organization decides to put out a collection of its members’ work. This may be prose, poetry, fiction, or non-fiction. Writers’ groups often do this, paying contributors nothing. This is great promotion for the organization, and a good way for a writer to accumulate some credits and/or help out a group he or she supports. By the time the group pays for editing, layout, and printing, there’s often little profit, but any money made goes to the organization. If the book is in support of a cause you want to help, or if you can contribute items you’ve already had published elsewhere, this can be a reasonable choice. 

5. A group of writers joins forces to collaborate on a book. If they live in the same general area and write about a subject of local interest, this can work out very well. If one member of the group is able to design the cover and another handle production, they can self-publish and do quite well. But they have to be careful to do it right, obtain an ISBN and bar code, and be committed to handling local and regional marketing.

6. Prose to Go: Tales from a Private List broke all the rules when it comes to anthologies. Eighteen contributors lived in 14 different locations, from the NWT to PEI. Since this Private List was created by me, I was one of three editors, but we lived in different parts of the country, so all communication had to be via e-mail. We were smart enough not to try to self-publish. We obtained a standard contract from a mid-size publisher with a good track record, which ensured that the book got on Amazon, was distributed by Ingram, and is available in Kindle, Kobo, Nook, and other formats. Fourteen locations gave us the opportunity to promote widely.  Publisher’s website: http://www.Bridgeross.com. Description and reviews of the book at http://www.SimonTeakettle.com/prosetogo.htm.

If you have kept the rights to work you have previously published, some of these anthology ideas may work for you. The best way to decide is to ask yourself some key questions.

How much effort is it for you to contribute to this anthology? If you can spend less than an hour sharing your expertise or ideas with someone and get a nice credit in the book, it’s well worth doing. If you can give a second life to a piece you’ve already published and get a credit line as well, it makes sense to take advantage of that opportunity. In these cases, however, read the contract carefully to make sure you’re giving only one-time rights.

Barbara Florio Graham is an author and publishing consultant. Her website www.SimonTeakettle.com contains a great deal of free information, as well as Simon Teakettle’s popular blog

Anthologies? We Love ‘Em

by Mary Reed

The birth of our first anthologized story was extremely fast.

One afternoon we heard from British editor Mike Ashley, who asked if we’d provide a short story for The Mammoth Book of Historical Whodunnits, his next anthology. An enticing offer, but with a snag: the story had to be written in less than a month because another writer had had to withdraw at the last moment. Although virtually unknown, we’d already had three stories published in Ellery Queen Mystery Magazine by then.

Well, we do love a challenge. So we accepted, co-wrote A Byzantine Mystery, and it duly appeared in Mike’s collection. Would we accept Mike’s invitation again? But of course, and not just because advances fatten the piggy bank.

After that first short story for Mike, we’ve been invited to contribute to over a dozen anthologies, including a number devoted to historical mysteries set in various eras or based on specific themes—royalty, Roman and Egyptian times, stories inspired by works by Shakespeare or Dickens, locked-room puzzlers.

Print anthologies serve better than short stories in magazines, given that books sit on shelves longer than magazines, while e-anthologies provide more short-story opportunities than were available not so very long ago.

Other than advances and royalties, a number of other benefits ride on anthology coattails. The publicity value of contributing to a collection is enormous, introducing readers to new writers and series characters, if a story feature them. Nomination for or winning a short-story award provides the writer with an excellent promotional tool, publicity, and invitations to submit to other anthologies. Author bios shine spotlights on other work, making readers interested in pursuing it. For beginning writers, an anthology story helps plump out the resume.

One of the most important benefits for a writer contributing to any anthology is that the story gives interested parties—agents, publishers, other editors—the wherewithal to view the writer’s work, while the very presence of a story in a collection demonstrates that the writer can work with an editor and meet deadlines.

In our case, meeting Mike’s deadline had an unexpected and far-reaching consequence. After publication of the first three stories about our protagonist John, Lord Chamberlain to Emperor Justinian in sixth century Byzantium, we decided to write a novel about him. Nine books concerning John’s adventures have been published by Poisoned Pen Press, and we are currently writing the tenth.

And what about A Byzantine Mystery? Well, The Mammoth Book of Historical Whodunnits remains in print and we still occasionally receive a royalty cheque for that first anthologized, extremely short, short story, even though it leapt forth into the world twenty years ago this very year.

Anthologies? We love ‘em!

Mary Reed and Eric Mayer are the authors of the John the Lord Chamberlain mysteries. One For Sorrow, the first book about John’s adventures, has appeared in a revised edition in the United States and United Kingdom, and the as-yet untitled tenth novel in the series is slated to appear in 2014. http://home.earthlink.net/~maywrite

Anthologies: Where the Editors Work Hard and the Writers Enjoy Themselves

by Miles Archer

I’ve been involved in four or five anthologies over the past ten years. I love anthologies because the editor does most of the hard work of editing, coming up with a theme, pulling all the stories together, finding a publisher, etc. All I have to do is come up with an acceptable story, and so far I’ve been able to meet the editors’ needs.

In a couple of cases the stories were previously published, either by the editor of the anthology or somewhere else. As a result, I get more mileage out of my creative juices; it’s nice to be able to sell a story more than once, and readers get a chance to see stories they might have missed when they were published the first time.

I like anthologies because I usually have some previous relationship with the editor(s) and I like to work with people I’ve worked with before. I’ve answered a couple of general calls for submission and I’ve had a couple of invitations. If an idea catches my imagination, I’ll go for it.

Finally, I like anthologies when the editor has come up with an interesting theme or idea. I submitted a story for a project of new super-hero stories. The story, which the editor liked very much, wound up turning into a novel.

For writers, anthologies can be fun, exercising creative muscles, while allowing someone else to do the hard work.

Miles Archer aka Richard Posner, For the Good of the Clan published by Untreed Readshttp://www.untreedreads.com/?p=3424

Life among Other People’s Words

by Teel James Glenn

Writing for an anthology as opposed to a single-author collection, is akin to being asked to do a solo act in the middle of a themed variety show. You have to trust the show’s director (the editor) that your particular talents will be used in the right spot. A weak lead-in tale can dilute your story, while a strong story on either side can overshadow your own efforts.

On the other hand, being among established authors can bring an entire new audience to a writer’s work.

Sometimes you are lucky enough to have a story lying around that fits the specific criteria of an anthology, but usually you have put your thinking cap on. Presumably the subject of the anthology is what drew you to it, so inspiration may quickly follow your decision to jump into the mix.

If the anthology is of a series character, like the pulp characters of Lynn Lash or The Eagle, you have to conform to the restrictions, conventions, and histories of those characters. While those literary brackets can be confining, they can also be comforting. A template to work against when conceptualizing the story can jumpstart the process of creating a tale.

If the anthology is an open-themed one with a loose frame, such as Modern Gods or High-Adventure History, you might be presented with such a wide set of parameters that your brain can lock. Or it can open to new horizons of storytelling.

In either case, the two things about agreeing to be in an anthology is that (1) you have the challenge of writing to spec and (2) your work is potentially exposed to a much larger fan base than your work in a solo collection would be. Both factors make the challenge of creating material for a collection like this an exercise well worth the effort!

Teel James Glenn is the author of single-author collections like Deadline Zombies; Headline Ghouls, the Adventures of Maxi and Moxie; Shadows of New York; and Gaslight Occurrences: the steampulp adventures of Augustus Argent. His work has appeared in numerous anthologies.

Everything You Always Wanted to Know about Anthologies, But Were Afraid to Ask

by Gail Farrelly

I have a simple message about being in anthologies: it’s all good. 

Having stories in mystery/crime anthologies is fun and rewarding. I highly recommend it.

If I am slaving away on a very long project—a novel, for example—it is nice to take a break and write something short and get it out the door. It helps me remember that I am able to bring a project to fruition! It’s a good feeling and one that sustains me when I head back to the longer project

Writing can be a lonely endeavor, so the association with other authors working in an anthology is terrific. I participated in two charity holiday anthologies published by Tony Burton at Wolfmont Press for the benefit of Toys for Tots. Both are published in print and e-book format.  (For more info, see the book page of my website: http://is.gd/AfiZyA.)

It felt good to contribute to a worthy cause and I’ve made good use of both of my stories. The Kindle Did It was read on the radio in Massachusetts and Texas; Santa and the Poor Box was read on the radio in Texas. Both stories were later published online. It’s important when you sign up for an anthology to make sure you know which rights you are giving away and for how long. In this way, after a certain period of time, you may be able to do something else with your work—e.g., publish it in a different venue or whatever. 

I love working on projects with other authors and making contacts in the writing community. When I was a part of the Toys-for-Tots anthologies, for example, I did book signings with fellow authors Thomas H. Cook, Chris Grabenstein, and Liz Zelvin. The events definitely enhanced my reputation as an author. 

I like to observe how authors take the same material (an anthology) and publicize it in all different ways: blog posts, conference appearances and other book events, social media, blogging. It certainly gives me a boot in the bum to do my share of promoting. 

When we were promoting one of the Toys-for-Tots anthologies, a group of us were guests on an Internet radio show and shared insights about our stories as well as what it was like to be part of the project. The main thing I’ve learned is that you have to push yourself and your colleagues forward, and at the same time, provide some information that the audience can use.

Being in an anthology can sometimes directly lead to other good things. I enjoyed having a story in the Deadly Ink 2006 Short Story Collection http://is.gd/y81NJs. The book was the result of a short-story competition, and I had received an Honorable Mention Award. A revised version of my story in that anthology has just been published by Untreed Reads (The Jurors Who Knew Too Much).

I continued my anthology education by being part of the 2012 digital anthology The Killer Wore Cranberry: A Second Helping published by Untreed Reads http://bit.ly/RwyLY8. (My story: They eDone Him Wrong). There’s something special about a holiday anthology, and we were fortunate to receive a number of excellent reviews. In fact, when I see the submission call for the next Killer anthology, I’ll definitely submit a story. 

Building reputation as a writer, learning new tips about publicity, making some new cyber buddies, having a good time. What’s not to like about being in an anthology? Nothing. 

Yep, it’s all good.

Gail Farrelly writes mystery novels and short stories. She also publishes satire pieces at http://www.thespoof.com/.  Her next book, LOL: 100 Comic Cameos on Current Events, will be published later this year. Gail’s short stories are available for sale at Untreed Reads, on the Kindle, and at eBook retailers throughout the world. Gail is working on her fourth mystery novel, The Virtual Heiress.

Member News

Patricia Fry is taking SPAWN to the Ojai Book Fair on April 13 in Libbey Park (in the center of town) from 10 to 4:30. The new SPAWN Catalog of Members’ Books and Services will be there—stop by to say hello and pick up a copy

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Sandra Murphy’s four short stories were featured in a blog by SPAWN member Joanna Celeste. The article was also published in Seattle Pi and How to Tell a Great Story. http://blogcritics.org/books/article/the-value-of-99-cents/  The article was tweeted by three people to approximately 1,300 people. Joanna also shared the article on the following writers and marketing forums: Authors, Writers, Publishers, Editors, & Writing Professionals… (18,681), Book Marketing (6,703), Books & Writers (38,291), Children’s Publishing (18,447), Helium (5,841), SPAWN (42), Sticky Branding (24,587), Writer’s Cafe (14,135), Writers (12,554), Writers & Bloggers: Passion Creative (5,845), Writer’s World International (1,479). Total: 147,905 people heard about Joanna’s article and Sandy’s short stories.

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Barbara Florio Graham has an article in the May issue of Funds for Writers. Her articles regularly appear in Freelance Writer’s Report, but Funds for Writers is a new market (www.fundsforwriters.com). Bobbi’s latest mentoring client is a woman who is writing a YA novel about hockey. This author is mad about hockey and knows a great deal about the sport. Bobbi is learning more about hockey than she ever thought she wanted to know!

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Joanna Celeste teamed up with Sandra Murphy to edit and self-publish her short stories; her poetry collections and stories are now available internationally through Amazon and her Notes at Midnight poetry collection is available in large print and 5 x 8 paperbacks. Her website has her store and list of upcoming Free Days: http://joannaceleste.com.

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Wendy Dager’s book trailers for I Murdered the PTA (a Court TV Search for the Next Great Crime Writer finalist), its sequel, I Murdered the Spelling Bee, and her dark novella Thrift Me Deadly (a Fabri Literary Prize finalist) can be seen on YouTube. The link is on the home page at www.wendydager.com She created the trailers using iMovie and downloaded royalty-free music for the soundtracks.

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Susan Daffron and Patricia Fry have known each other for four years, but had never met. Susan is both the president and the webmaster of SPAWN, and she and Executive Director Patricia have always worked by email and phone. Finally, they met at the Tucson Festival of Books. With just an hour to chat, there was never a lull in the conversation.

Contests, Events and Opportunities

The Contests, Awards, Events, and Opportunities listings are located on the SPAWN blog. Please use these links to get the latest information
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About SPAWN

SPAWN is a non-profit 501(c)3 organization. SPAWNews advises “caveat emptor” when dealing with venues, contests or promotions unknown to you. SPAWNews was proofread by Bonnie Myhrum, Professional Secretary, LLC (734-455-0987).
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April Meeting of the VenturaCounty Writers Club

April 9, 2013 7:00 p.m., Pleasant ValleySeniorCenter, 1605 Burnley St., Camarillo, California

Topic: Announcement of poetry contest winners and the reading of winning entries

Open to Members and non-members. No fee. For information on the Ventura County Writers Club, visit: http://www.venturacountywriters.com.

Writers wishing to learn more about the craft and business of publishable stories, memoirs, and informative narratives, will find significant opportunities Saturday and Sunday, July 20 & 21, at GlendaleCollege in Glendale, CA.

The PIPW Writers Weekend: Glendale, features publishing professionals as speakers and panelists for the educational seminars. The event, open to emerging and intermediate writers of all ages, is produced by the Pacific Institute for Professional Writing (PIPW). Co-sponsors are the Independent Writers of Southern California (IWOSC) and the Small Publishers, Artists and Writers Network (SPAWN). Additional writers’ groups have been invited to join the weekend activities as sponsors.

The educational focus will be for writers of novels and narrative nonfiction. Saturday’s theme is The Business of Writing. Sunday’s theme is The Craft of Writing. Each session is 90 minutes long with time for Q&A. Interested writers may purchase a session ticket, a day pass, or a two-day pass.

The website www.PIPWWritersWeekend.com will launch May 1 with a schedule of sessions offered and a list of the speakers.

Regional writing groups are welcome to co-sponsor the event and should contact Ms. Sexton at 805-524-6970 or Kate@PIPW.org for more details.

Basics of Self-Publishing with Kate Sexton, Ellen Reid, Ken Anderson, and Janet Thomas and The Ten Most Common Mistakes First Novelists Make with Tony Lopopolo will be presented on April 6, 9:00 a.m. until 4:30 p.m. at the Ojai Women’s Club in Ojai, California. For more information, including fees and deadlines, go to http://ojaiwordfest.wordpress.com/festival-highlights/writingworkshops/.