Wednesday, March 21, 2018

31 Great Writing Conferences in April 2018

Maxpixel - CC0 license
There are some great conferences this month. If your manuscript is complete, you can pitch it to agents in New York, Las Vegas and Minneapolis. There are also retreats and workshops for writers who just need to get away for awhile to get the creative juices flowing.

Attending a conference is one of the best things you can do for your writing career. Conferences offer a unique opportunity to network with other writers, meet agents and pitch your book, and learn how the publishing industry works from editors and professionals.

I strongly urge you to plan ahead if you are thinking of attending a writing conference. Many offer scholarships that can significantly reduce the cost. And all of the intensive writing workshops have application deadlines. For a month-by-month list of conferences throughout the year see: Writing Conferences. (You will also find links to resources that can help you find conferences in your area on that page.) If you miss your ideal conference this year, plan for next year.

Rananim online classes Courses run for eight weeks from April through May. "Participants receive personalized feedback on assignments from their instructor, as well as responses from classmates on discussion board forums. All instructors are university professors and/or working professional writers, who have experience teaching at the Taos Summer Writers’ Conference. Classes are limited to 15 students who will engage in conversation with you and your work. Firm deadlines and feedback help keep you writing and improving your work throughout the class." International students accepted. Cost: $400 per class.

2017 Writing By Writers Manuscript Boot Camp. April 4 - 9, 2018. Tahoe City, CA. The Writing By Writers Manuscript Boot Camp is for the writer who has a full book-length manuscript (novel, memoir or short story collection) and would like to engage with a small group for a serious and productive response. The long weekend will include an intimate full manuscript workshop, craft talks, readings, an agent panel and individual agent meetings – the perfect pre-publication boot camp for any manuscript. Classes are limited to 5 participants.Tuition includes one three-day workshop, admittance to all craft talks, panels and readings, a one-on-one with an agent, all meals (dinner on Friday; three meals Saturday and Sunday; breakfast, and lunch on Sunday) and lodging in a single room for three nights. Vegetarian meals are available upon request. FULL.

Tennessee Mountain Writers Annual Conference, Apr 5 - 7, 2018, Oak Ridge, TN. Speakers and session leaders include Kelly O'Connor McNees, Christopher Martin, Pamela Schoenewaldt, and more!

IBPA Publishing University. April 6-7, 2018, Portland, OR. The Independent Book Publishers Association offers 30+ educational sessions including experiential learning labs, insightful keynotes, a gala book award ceremony, networking events, and so more! Cost: $195-$475.

Writing on the Door: Children’s Literature Conference. April 6 - 8, 2018, Fish Creek, Wisconsin. Workshop topics include writing historical fiction for children; writing and illustrating; writing nonfiction, getting published and more. Registration for the conference is $120 before March 16. After March 16, registration is $150.

San Antonio Book Festival. April 7, 2018, San Antonio, TX. The San Antonio Book Festival is a FREE, annual, daylong event that unites readers and writers in a celebration of ideas, books, libraries, and literary culture. Featuring more than 80 nationally and regionally acclaimed authors, the Festival offers programming for all ages.

The Cambridge Writers’ Workshop Spring Writing Retreat. April 13- 16, 2018, New Orleans, LA. The retreat offers multi-genre workshops, as well as craft seminars and time to write. The faculty includes award-winning writers & a top NYC literary agent: Rita Banerjee, Diana Norma Szokolyai, and Natalie Kimber. All genres welcome. Genres include playwriting, nonfiction, fiction, and poetry. The cost of the retreat is $1200, which includes tuition, lodging, and some meals. Register by March 20, 2018.

Michigan Writers Conference, April 14, 2018, Detroit, MI. A full-day “How to Get Published” writing event. Attending Agents: Eric Smith (P.S. Literary), Cyle Young (Hartline Literary), Jennifer Wills (The Seymour Agency), Stephany Evans (Pande Literary), editor Lauren Jablonski (St. Martin’s Press), Jennifer Unter (The Unter Agency), Linda Glaz (Hartline Literary), Vicki Selvaggio (Jennifer De Chiara Literary), Bethany Morehead (Hartline Literary), assistant Lesley Sabga (The Seymour Agency) and many more to come.

Writing in the Pines. April 14, 2018, Stockton University, Galloway, NJ. Choose from workshops in memoir, poetry and revision. Each workshop will meet for 6 hours and will offer craft discussion, writing prompts, writing time, sharing and inspiration.

William Paterson University Spring Writer’s Conference. Wayne, New Jersey, April 14, 2018.  Readings and workshops in poetry, fiction, and creative nonfiction. The faculty includes Rick Moody.

Rally of Writers Conference. April 14, 2018, Lansing, Michigan. Michigan authors and educators in 15 breakout sessions and workshops on all aspects of writing, including poetry, fiction, nonfiction, screenwriting, the Nuts & Bolts of manuscript submissions, and more.

Writers' Day. April 15, 2018, East Longmeadow, MA. Workshops and seminars featuring Karol Jackowski, Sophfronia Scott, Lisa Romeo, Suzanne Strempek Shea and Jonathan Green.

Spring Big Apple. April 15, 2018, NYC, NY. Offers a session on queries and pitches, a Meet the Agents panel, an opportunity to pitch your project and a writing workshop with poet Lisa Irish.

Las Vegas Writer’s Conference sponsored by the Henderson Writers’ Group, Sam’s Town Hotel and Gambling Hall, Las Vegas, Nevada. April 19 – 21, 2018. Join writing professionals, agents publishers and marketing experts for a weekend of workshops and enlightening discussions about the publishing industry. A chance to pitch your manuscript and ideas to agents.

The Loft's Pitch Conference. April 20 - 21, 2018, Minneapolis MN. The conference will cover two intense days. Friday will feature a kickoff seminar led by award-winning novelist and One Story editor Hannah Tinti, a working lunch to help you prepare for your pitches, a series of pitch and breakout sessions in the afternoon, and an evening event featuring visiting agents and editors responding to anonymous query letters. Registration limited to 162 attendees. Cost: $550.00.

Chicago-North RWA's Spring Fling 2018. April 20 - 21, 2018, Oak Brook, IL. Three day Biennial writer's conference geared towards both aspiring and established writers of any genre but focused on romantic fiction. Bookseller/Blogger/Librarian event, Masterclass in Craft and Marketing, Closing Gala.

Poetry at Round Top Festival. April 20 - 22, 2018. Round Top, Texas. The program features workshops, readings, lectures, craft talks, and panel discussions. The faculty includes poets Coleman Barks, Carrie Fountain, Kurt Heinzelman, Aimee Nezhukumatathil, Naomi Shihab Nye, Emmy PĂ©rez, Roger Reeves, and Javier Zamora. The cost of the conference is $125 ($60 for students) or $75 for Saturday only. Workshops are an additional $40. Private manuscript consultations are available for an additional $60.

Writing By Writers Boulder Generative Workshop. April 20 - April 22, 2018, Boulder, Colorado. Lectures, craft talks, writing exercises and class discussions. Each participant will have the opportunity to work in a small group setting with all three faculty members.

Chanticleer Authors Conference. April 20 - April 22, 2018. Bellingham, Washington. Sessions with a special focus on the business of being a working writer on topics such as marketing, publicity, platform, sales tools & strategies, publishing, production, distribution, organization, storycraft, editing, and more.

New York Writers Workshop Fiction Pitch Conference. April 20 – 22, 2018, Ripley-Grier Studios (NY Spaces) 520 Eighth Ave (36th/37th), 16th Fl. Participants polish their pitches with the help of conference leaders who are members of the New York Writers Workshop faculty, then they present them to three different editors from major New York publishing houses. Editors provide feedback and may request proposals and manuscripts after the conference.

North Carolina Writers’ Network Spring Conference. April 21, 2018, University of North Carolina at Greensboro, Greensboro, North Carolina. Features intensive workshops in poetry, fiction, and creative nonfiction, as well as publisher exhibits, on-site "lunch with an author" readings, and an open mic.

The Spring Writers' Conference. April 21, 2018, Rochester, MI. Lectures, Workshops, and Panel Discussions in fiction, non-fiction, and business concepts of writing. Open to new writers, working journalists, and published authors of all genres. Professional development to move writers to the next level

Travel & Words: Northwest Travel Writers Conference. Apr 22 - 24, 2018, Yakima, WA. Workshops, panels, networking and Writer Matchmaking: Writers attending Travel & Words are looking for story ideas and possibly press trips. These “speed dating” sessions connect destination marketers with freelance writers and bloggers on the “Experienced” track.

Arkansas Literary Festival. Apr 26 - 29, 2018, Little Rock, Arkansas. "Prestigious award-winners, screenwriters, comedians, an expert witness, artists, and a Pulitzer Prize-winning poet are among the diverse roster of presenters who will be providing sessions." Free.

Malice Domestic. Apr 27 - 29, 2018, Bethesda, MD. Malice Domestic™ is an annual fan convention in the metropolitan DC area that celebrates the traditional mystery, books best typified by the works of Agatha Christie. The genre is loosely identified as mysteries which contain no explicit sex, or excessive gore, or violence.

The Pikes Peak Writers Conference, April 27 - 29, 2018. Colorado Springs, Colorado. "The three-day conference is full of topical, in-depth workshops, dynamic keynote speakers, opportunities for one-on-one time with agents and editors, the chance to read your work aloud for constructive critique, plus time to socialize with fellow writers.

Monadnock Pastoral Poetry Retreat. Apr 27 - 29, 2018. Greenfield, NH.  Includes workshops, individual conferences, participant & mentor readings; hiking & kayaking (weather permitting). Each workshop uses dual mentors.

Colrain Classic 2018. April 27-April 30, 2018. The Inn at Manchester, Manchester, Vermont. A select group of poets will bring their completed or in-progress manuscripts to the Inn at Manchester, an elegant, family-run inn dating from the late 1800s spread across two buildings on sprawling grounds: the Main Inn and the Carriage House. Here, in this beautiful setting, poets will work closely with conference founder Joan Houlihan, (Lesley University Low-Residency MFA Program), Ellen Dore Watson (Smith College), Stephen Motika (Nightboat Books), and Martha Rhodes (Four Way Books). All poets with an in-progress or complete book-length or chapbook-length manuscript are welcome to apply.

Northeast Texas Writers Organization. Apr 28, 2018, Mt. Pleasant, TX. One-day bootcamp.

Western Reserve Writers' Conference. Apr 28, 2018, South Euclid, Ohio. This free one-day writing conference takes place at Cuyahoga County Public Library's William N. Skirball Writers' Center, located in the South Euclid-Lyndhurst Branch library. It features a choice of breakout sessions, a keynote address, and private sessions with editors. It occurs annually on the 4th Saturday in April.

Write Now! Apr 28, 2018, Raleigh, NC. One day writing conference hosted by Triangle Association of Freelancers.Sessions include screenwriting, financial tips for writers, pillars of freelance success, copyediting, trade pubs, column writing, publishing tips and more. Cost: $69; $59 for students with ID and seniors 65+; $80 at the door.

Tuesday, March 20, 2018

2 New Agents Seeking Kidlit, YA, Literary Fiction, Fantasy, Memoir and more

Here are two new agents seeking clients. Stacey Kondla is interested in Young Adult and Middle-Grade fiction and nonfiction. Sonali Chanchani is looking for speculative YA, upmarket and literary fiction, contemporary women’s fiction, psychological mysteries and thrillers, family sagas, and historical projects with a touch of magical realism, popular psychology, humor, essay collections, and memoirs that speak to larger societal concerns.

Be sure to check the agency website before querying. Agents can close their lists and submission requirements may change.

If these agents don't suit your needs, you can find a comprehensive list of agents seeking clients HERE.

Stacey Kondla of the Rights Factory (CANADA)

Living and breathing the book business for the past 15 years has made Stacey Kondla very happy. Her experience includes working as a Field Representative for Scholastic Book Fairs, managing the IndigoKids department at two different Chapters/Indigo stores, accepting freelance editing contracts, and serving on the organizing committee of When Words Collide (A Festival for Readers and Writers). Stacey has been providing manuscript evaluations for The Rights Factory since October 2017 and is thrilled to be joining The Rights Factory as an Associate Agent.

What she wants: Stacey has a keen interest in Young Adult and Middle-Grade novels. She is also interested in non-fiction for both Young Adult and Middle-Grade.

How to submit: Use the Rights Factory form HERE.


Sonali Chanchani of FolioLit

Sonali earned her degree in English and Narrative Studies from the University of Southern California and began her career in publishing with an internship at Kaya, an independent press dedicated to publishing authors from the Asian diaspora. She joined Folio in 2015, where she works closely alongside Claudia Cross and Frank Weimann and is actively building her own list.

She is a fierce advocate for underrepresented voices and keen to work with authors from marginalized communities to amplify their stories and make sure their voices are heard.

What she is looking for: Rich, character-driven stories that combine a strong voice with a compelling hook — narratives that are emotionally resonant, inspire discussion, and provoke us to see the world (and the people who populate it) in new ways.

In fiction: Upmarket and literary fiction, particularly in the realms of contemporary women’s fiction, psychological mysteries and thrillers, family sagas, and historical projects with a touch of magical realism. Bonus points for a witty sense of humor and a smart, incisive perspective.

In nonfiction: Narratives with a social justice bent or that illuminate some aspect of our society or culture. "I especially love working with journalists in this space. I’m also interested in popular psychology, humor, essay collections, and memoirs that speak to larger societal concerns."

In Young Adult: Contemporary fiction and fantasy/speculative projects, with a soft spot for myth, fairytale, and folklore retellings.

How to submit: Please send your query letter and the first 10 pages of your project (pasted in the body of your email) to Please be sure to include the word QUERY and the title of your project in the subject.

Thursday, March 15, 2018

Mega-List of University Literary Journals Accepting Submissions in Fiction, Poetry, Art, CNF

CC0 License
You may wonder why you should submit to literary journals run by MFA programs. They seldom pay, and they often charge to submit. Normally, either one of those factors would be enough to eliminate them from my list of writing markets. But in spite of those two drawbacks, there are some good reasons to submit to university literary magazines.

MFA department literary magazines are run by young, enthusiastic students and their professors, which means they are more than happy to nominate the stories they accept for Pushcart and other national prizes.

The second reason is that any agent or editor who has graduated from one of these programs in all likelihood has a subscription. (I know of at least one case in which a short story submission to a university literary journal resulted in representation.)

The third reason to consider submitting is that these journals have a "captive audience." Students, professors, and university staff read them, and depending on the size of the university that can be a lot of people.

Without further ado, here are 130 literary journals run by MFA programs.

Journal Genres Reading Period and Submissions Link Notes
American University, Washington, D.C

Art, poetry, prose Reading period for Volume 33 (2018) was September 22nd, 2017 to January 2nd, 2018

Check back in the fall for updated reading periods.

Issues are themed
Antioch University, Los Angeles, California

Lunch Ticket
Creative Nonfiction (and the Diana Woods Memorial Award)
Flash Prose (any genre)
Literary Translation (and The Gabo Prize for Literature in Translation & Multilingual Texts)
Visual Art (painting, drawing, photography, printmaking, sculpture, installation, mixed-media, graphic narratives, and other 2D work)
Writing for Young People (13+)
Multilingual submissions in all genres
February 1 to April 30 and August 1 to October 31
No submission fee
Arizona State University

Hayden's Ferry Review
Short stories, novellas, poems, and translations Closed to submissions in May, June, and July
$3.00 reading fee
Ashland University, Ohio

River Teeth 
Creative nonfiction, including narrative reportage, essays, and memoirs, as well as critical essays that examine the emerging genre and that explore the impact of nonfiction narrative on the lives of its writers, subjects, and readers September 1 through December 1 and January 1 through May 1
No page length or word count limit
Boise State University, Idaho

The Idaho Review 
Short stories and poetry Closes March 9, 2018. Check site to see next open period
$3 fee to submit via submittable
Bowling Green State University, Ohio

Mid-American Review
Stories, poems, and essays, reviews and translation Year-round submissions
No submission fee
Brooklyn College, CUNY

The Brooklyn Review
Poetry, fiction, and performance texts Year-round submissions

No submission fee
Butler University, Indianapolis

Poetry, fiction, nonfiction, comics, lists September 1 to March 31
No submission fee
California College of the Arts, San Francisco

Eleven Eleven
Poetry, fiction, nonfiction, art and literary criticism, translation and drama  Has reading periods but doesn't say what they are
No submission fee
California State University, Fresno

The Normal School
Fiction, poetry, memoir, personal essays, and creative nonfiction,  comics September 1 to December 1 and from January 15
to April 15
$3 submission fee
California State University, Long Beach

Creative short fiction and nonfiction, poetry, and art such as photography, illustration and comics September 12th – December 17th
No submission fee
California State University, San Bernardino

Pacific Review
Poems, fiction (short stories, flash fiction and excerpts that stand alone), memoir, creative non-fiction, essays, comics, visual art, photography, documented performance and hybrid.  October 14, 2017 – February 2, 2018
(Check site for updates)
Annual publication
Chatham University, Pittsburgh

The Fourth River
Poetry, literary short fiction, creative nonfiction and visual art Fall Online Issue: November 1-January 1

Spring Print Issue: July 1-September 1
"We are looking for writing that is richly situated at the confluence of place, space and identity—or that reflects upon or makes use of landscape and place in new ways."
City College of New York, CUNY

Global City Review
Stories, poems, memoirs, interviews and essays

March 1- May 1 and October 1- December 1
Snail mail only

Themed issues
City College of New York, CUNY

Short story, novelette, and novella October 15 through April 15

They do not publish full length novels, flash fiction, non-fiction, stage plays, screenplays, poetry, hybrid works, or unsolicited interviews
Colorado State University, Fort Collins

Colorado Review
Poetry, short fiction and personal essays with contemporary theme Fiction & poetry manuscripts are read from
August 1 to April 30; nonfiction manuscripts
are read year-round. Fiction & poetry manuscripts received between May 1 and July 31 will be returned unread

$10 per page ($30 minimum) for poetry and $200 for short stories and essays
Columbia College, Chicago

Columbia Poetry Review
Poetry July 1 to November 1
$3 submission fee

Columbia College, Chicago

Hotel Amerika
All genres of creative writing, generously defined September 1 and April 1

$3 submission fee
Columbia University, New York City

Fiction, nonfiction, poetry, translation, art, film, music January 15th to May 2018 (no date)
No submission fee
Cornell University, Ithaca, New York

Fiction, poetry, essays, cartoons, screenplays, graphic art, and graphic fiction September 15 to  April 15
Snail mail submissions only
Eastern Kentucky University, Richmond

Jelly Bucket
Fiction, poetry, creative nonfiction, and visual art July 1st through December 1st
Annual publication
Eastern Washington University, Spokane

Willow Springs
Fiction, poetry, nonfiction, translation Fiction and poetry submissions between
September 1 and May 31. Nonfiction is open year-round
$3 submission fee

$100 per published long-form prose piece, $40 for short prose (up to three stories, each under 750 words, can be included per submission), and $20 per published poem (up to 6 can be included per submission)
Emerson College, Boston

Fiction and nonfiction, translation June 1 to January 15, at noon EST
$45/printed page, $90 minimum per title, $450 maximum per author

Charges $3 fee to submit
Emerson College, Boston

Poetry, fiction, nonfiction, graphic narrative, and art. September - April
$3 “tip jar” fee per submission May through August
Fairfield University, Connecticut

Poetry and prose July 1-September 5
Snail mail only
Fairleigh Dickinson University,
Madison, New Jersey

The Literary Review
Short stories, narrative nonfiction, essays, and poems Submission periods not indicated. Check back in the fall
International writers and translators
Florida International University, Miami

Gulf Stream Magazine
Poetry, fiction, nonfiction, art September 1st to November 1st and January 15th  through April 1st
$3 submission fee
Florida State University, Tallahassee

The Kudzu Review
Poetry, fiction, nonfiction  and art Reading periods not specified
Accepts work from undergraduates only 
Florida State University, Tallahassee

The Southeast Review
Literary fiction, creative nonfiction, poetry, interviews, book reviews, and art Rolling submissions
$3 to submit
George Mason University, Fairfax, Virginia

Fiction, poetry, nonfiction, and book reviews Late summer to early fall for the print issue
and from mid-winter to early spring for the online issue
$3 to submit
George Mason University, Fairfax, Virginia

So to Speak
Poetry, fiction, nonfiction, and visual art Open to submissions in spring and fall
Intersectional feminist viewpoint
Georgia College & State University,

Arts & Letters
Poetry: 4-6 poems per submission (suggested)
Fiction: manuscripts up to 25 pages
Flash Fiction: manuscripts up to 1,000 words
Creative Nonfiction: manuscripts up to 25 pages
August 1st to January 31st

$10 per printed page (minimum payment: $50), and one contributor copy, plus a one year subscription. Arts & Letters is published twice a year, in Spring and Fall

$3 to submit
Georgia State University, Atlanta

Five Points
Fiction, poetry, flash fiction and non-fiction, and literary non-fiction August 1 to December 1 and January 1 to April 1

$3 to submit
Georgia State University, Atlanta

New South
Fiction, poetry, essays September 1st - March 30th
$3 to submit
Hamline University

Water-Stone Review
Fiction, poetry, CNF October 1- December 1, 2018
Charges fee to submit
Hollins University, Roanoke, Virginia

The Hollins Critic
September 15 to December 1
No submission fee
Hunter College, CUNY

The Olivetree Review
Poetry, Art, Prose (Fiction/Non-Fiction), and Drama Spring and fall submissions
No fee to submit
Indiana University, Bloomington

Indiana Review
Fiction and nonfiction, translation February 1-March 31, 11:59pm

Check site for additional reading periods
$5.00 per page ($10.00 minimum

$3 to submit
Iowa State University, Ames

Fiction, nonfiction, poetry, and visual art August 15th to June 1st (site also says May 1)
No fee to submit
Johns Hopkins University, Baltimore
and Washington, D.C.

The Hopkins Review
Short fiction, poetry, memoirs, essays on literature, film, the visual arts, music, and dance, as well as original photographs and reproductions of visual art, and reviews of books, performances, and exhibits Closed during May through August, December, and January

$3 to submit
Louisiana State University, Baton Rouge

New Delta Review
Fiction, poetry, creative nonfiction, reviews, interviews, and artwork No reading periods listed
$3 to submit
Louisiana State University, Baton Rouge

The Southern Review 
Fiction, poetry, and essays, including creative nonfiction and literary essays Fiction and nonfiction September 1 - December 1

Poetry postmarked September 1 through March 1

$25 per printed page with a maximum payment of $200

$3 online submission fee for prose (no fee for snail mail)

poetry must be sent by snail mail (no fee)
Manhattanville College, Purchase, New York

The Manhattanville Review
Poetry, fiction, CNF, art Reading periods not specified. See site for updates.
No submission fee
Minnesota State University, Mankato

Blue Earth Review
Fiction, creative nonfiction and poetry Year-round submissions
No submission fee
Mississippi University for Women, Columbus

Poetry South
Poetry Deadline July15
Open to writers from the South
Mississippi University for Women, Columbus

Ponder Review
Flash Fiction
Creative Nonfiction
Short plays
New media
Visual art
Dec. 15, 2017 — March 15, 2018

See site for updates

$2 submission fee for everything except art
Murray State University, Kentucky

New Madrid
Poetry, fiction, and creative nonfiction January 15 - March 15, Aug. 15 through Oct. 15

No submission fee
New Mexico State University, Las Cruces

Puerto del Sol
Poetry, prose, art Deadline of March 31, reading periods not posted
No submission fee
The New School University, New York City

Poetry, prose Reading periods not posted
No submission fee
New York University, New York City

Washington Square Review
Poetry, fiction, translations August 1 - October 15, December 15 - February 1
No information on submission fees. Check during submission periods
Northeast Ohio Universities Consortium (NEOMFA)

Rubbertop Review
Poetry, fiction, CNF October 1 - February 15
No information on submission fees. Check during submission periods
Northeast Ohio Universities Consortium (NEOMFA)

Whiskey Island Magazine
Fiction, CNF, flash fiction, poetry August 15th through November 15th, and January 15th through April 15th
No submission fee
Northeast Ohio Universities Consortium (NEOMFA)

Passages North
Fiction, CNF, flash fiction, poetry Open until April 15, 2018. Check back for updates.
No submission fee
Ohio State University, Columbus

The Journal
Fiction, poetry, nonfiction, photo essays, author interviews, and reviews of new books of poetry and prose Year-long submissions
No submission fee
Pacific University, Forest Grove, Oregon

Silk Road
Fiction, poetry, nonfiction, translations, one-act plays, art, first chapter novel excerpts Year-long submissions
$2 submission fee
Portland State University, Oregon

The Portland Review
Poetry, prose, art Summer submissions
No information on submission fees
Purdue University, West Lafayette, Indiana

Sycamore Review
Fiction, poetry, nonfiction, translations,  September 1 – March 31
No fee at beginning of month. After submittable quota is met, the fee is $2
Queens College, CUNY

Ozone Park
Poetry, fiction, creative nonfiction, short plays and play excerpts, literary translation, and art August 1 to November 15, and February 1 to May 1
No fee to submit
Roosevelt University, Chicago

Oyez Review
Fiction, creative nonfiction, poetry, and art August 1st to October 1st (Submittable says January 2018. Check back for updates.)
No information on fees
Rutgers University, Camden, New Jersey

Literary fiction, including short stories, short shorts, and
novel excerpts
Submission periods not posted. Check site for details.

No information on fees to submit
Saint Mary’s College of California, Moraga

Poetry and prose Check site in fall for submission periods
No information on fees to submit
San Diego State University

Fiction International
Poetry and prose Check site for submission periods
No information on fees to submit
San Diego State University

Poetry International
Poetry May 1st - November 1st
$20 submission fee
San Francisco State University

Fourteen Hills
Fiction, creative nonfiction, poetry, novel excerpts, and art December 1 to June 1
$2 submission fee
San Jose State University, California

Reed Magazine
Fiction, creative nonfiction, poetry, and art June 1 - November 1
California themes

No information on submission fees
Sarah Lawrence College, Bronxville, New York

Fiction, creative nonfiction, poetry, and art Open through March 31
$5 submission fee
Southern Connecticut State University,
New Haven

Noctua Review
Poetry, fiction, art September 1st to December 31st
No information on submission fees
Southern Illinois University, Carbondale

Crab Orchard Review
Poetry, fiction, and nonfiction Check site for reading period updates
No information on submission fees

May pay writers (?)
Spalding University, Louisville

The Louisville Review
Poetry, fiction, drama, and nonfiction Year-round reading period
No fee to submit
Stony Brook Southampton, SUNY

The Southampton Review
Poetry, fiction, drama, art, and nonfiction August 15 - October 15
February 1 - April 1
$3 submission fee
Syracuse University, New York

Salt Hill
Poetry, prose, translations, reviews, essays, interviews, and artwork August 1 - April 1
No submission fee
Temple University

Fiction, nonfiction, and poetry January 1 to March 1, September 1 to November 1
No submission fee
Texas State University, San Marcos

Front Porch
Flash fiction, short stories, poetry, art, and creative nonfiction Year-round submissions
No submission fee
University College Dublin, Ireland

HCE Review
Short stories, poetry, and creative nonfiction Open until April 15. Check the site for updates.
No submission fee
University of Alabama, Tuscaloosa

Black Warrior Review
Fiction, nonfiction, and poetry December 1 – March 1 and June 1 – September 1
Pays writers, amount not specified

$3 submission fee
University of Alaska, Anchorage

Alaska Quarterly Review
Fiction, short plays, poetry, photo essays, and literary nonfiction  August 15 - May 15
Snail mail submissions only
University of Alaska, Fairbanks

Flash essays, prose poems, hermit-crab stories, lyric essays, lists, anecdotes about your creepy uncle Submissions for the print edition are read between May 1 and October 31

Submissions for the online edition are from November 1 through April 30
$3 to submit
University of Arizona, Tucson

Sonora Review
Fiction, poetry, and non-fiction January 16 through February 1
$3 to submit
University of Baltimore

Passager Journal
Poetry, memoir, short fiction June 1- September 15
No submission fee

Writers must be age 50 or older
University of California, Irvine

Short stories, poetry, art, and creative nonfiction August 15th and January 31st
No information on submission fees
University of California, Riverside,
Palm Desert Graduate Center

The Coachella Review
Short stories, poetry, drama, and creative nonfiction Year-round submissions
No submission fee
University of Central Florida, Orlando

The Florida Review
Short stories, poetry, drama, graphic narrative, video,and creative nonfiction No information on reading periods
$2 or $3 submission fee
University of Florida, Gainesville

Fiction, poetry, CNF  January 15th through February 28th
For stories and essays, $1,000 ($500 for a short short) Poets are paid $100 per poem

$3 submission fee
University of Houston, Texas

Gulf Coast
Fiction, nonfiction, poetry September 1 through March 1
$50 per page for poetry, fiction, and nonfiction

$2.50 submission fee
University of Idaho, Moscow

Poetry, plays, fiction, essays, visual-text hybrids, and interviews September 1 through May 1

$15 per accepted piece

$3 submission fee
University of Illinois at Urbana-Champaign

Ninth Letter
Poetry, fiction, essays Fiction: September 1 to November 30 and from January 1 to February 28. Poetry and essays: September 1 to February 28
$25 per printed page

No submission fee
University of Iowa, Iowa City

The Iowa Review
Poetry, prose September, October, and November
$1.50 per line for poetry ($40 minimum) and $0.08 per word for prose ($100 minimum)

$4 submission fee
University of Kansas, Lawrence

Poetry, fiction, and creative nonfiction Year-round submissions
Snail mail submissions only
UC Riverside

Santa Ana River Review
Poetry, fiction, drama, art, and creative nonfiction Open until May 10th (check site for updates)
No submission fee
University of Massachusetts, Amherst

Poetry, poetics January 15 - April 1
$3 submission fee
University of Massachusetts, Amherst

The Massachusetts Review
Essays, fiction, poetry, and translation  October 1 - April 30
$50 honorarium

$3 submission fee (according to their guidelines, but I have submitted twice without being charged)
University of Massachusetts, Boston

Breakwater Review
Poetry, art, and nonfiction Year-round submissions
No submission fee
University of Memphis

The Pinch
Poetry, art, and nonfiction August 15th - March 15th
$3 submission fee
University of Minnesota, Minneapolis

Poetry and prose No reading periods
This looks like a blog
University of Mississippi, Oxford

The Yalobusha Review
Poetry and fiction No information on reading periods
No submission fee
University of Missouri, Columbia

The Missouri Review
Poetry, fiction and nonfiction Year-round submissions
$3.50 submission fee
University of Missouri, Kansas City

New Letters
Poetry, fiction, interviews, art, book reviews, essays, and novel chapters "Submissions that arrive between May 1st and October 1st will be returned unread"
Essays, stories, and interviews: $25 to $100 each and could be more. Minimum pay for poetry is $12 plus more for multi-page poems

Snail mail submissions only
University of Missouri, Saint Louis

Natural Bridge
Poetry, fiction, personal essays, translations Submissions accepted year-round
$3 to submit online, snail mail submissions are free
University of Montana, Missoula

Poetry, fiction, and creative nonfiction September 15 to February 1
No submission fee
University of Nebraska, Lincoln (PhD)

Prairie Schooner
Short stories, poems, imaginative essays of general interest, and reviews of current books of poetry, fiction, and creative nonfiction September 1st to May 1st

No submission fee

No simultaneous submissions
University of Nevada, Las Vegas

Poetry, translations, criticism, reviews, and hybrid texts June 1- September 1 and from December 1- March 1
Submission fee not specified
University of New Hampshire, Durham

Nonfiction, fiction, poetry September - May
No information on submission fees
University of New Mexico, Albuquerque

Blue Mesa Review
Nonfiction, fiction, poetry, art October 1 – March 15
$25 payment
No submission fee
University of North Carolina, Greensboro

The Greensboro Review
Fiction and poetry Rolling submissions
$2 - $3 submission fee
University of North Carolina, Greensboro

Fiction, creative nonfiction, and poetry May 15-July 1 and November 15-January 1

Writers from the new south

No information on submission fees
University of North Carolina, Wilmington

Poetry and prose August 15–September 5, and  December 15–January 5
$3 submission fee
University of North Texas, Denton

American Literary Review 
Poems, short stories, and creative non-fiction October 1 to May 1
$3 submission fee
University of Notre Dame, Indiana

Notre Dame Review 
Prose and poetry September through November and from January through March
Small gratuity

No submission fee
University of Notre Dame, Indiana

Notre Dame Review 
Prose and poetry September through November and from January through March
No submission fee
University of Pittsburgh

Poems, short stories, art, and creative non-fiction March 9 deadline. Check back for updates.
Open to undergraduates only
University of Pittsburgh

Hot Metal Bridge
Fiction, nonfiction, poetry, and visual art September 12th—December 3rd and from January 15th—April 1st
No submission fee
University of San Francisco

Fiction, nonfiction, poetry Submission period ends June 1. Check site for updates.
No submission fee
University of South Carolina

Fiction, nonfiction, poetry Year-round submissions
No submission fee
University of Southern Maine, Portland

Stonecoast Review
Fiction, nonfiction, poetry, drama, art Closes on April 29. Check site for updates.
No submission fee
University of South Florida, Tampa

Saw Palm
Poetry, fiction, nonfiction, and comics Submission periods not specified
Work must be connected to Florida 
University of Texas, James A. Michener
Center for Writers, Austin

Bat City Review
Fiction, poetry, non-fiction July 1, 2018 through October 1, 2018
No information on submission fees
University of Utah, Salt Lake City

Quarterly West
Fiction, poetry, non-fiction Closes April 29. See site for updates.
$2.00 submission fee
University of Utah, Salt Lake City

Western Humanities Review
Poetry, fiction, nonfiction, hybrid work, audio/visual work, and essays  Year-round submissions
$2.00 submission fee
University of Virginia, Charlottesville

Poetry, fiction, and creative nonfiction August 15 to November 15 and January 15 to June 30
$3.00 submission fee
University of Washington, Seattle

The Seattle Review
Long poems, novellas, and essays  September 1 - December 1 and February 1 - April 30
Poetry must be at least 10 pages in length and prose of at least 40 (double-spaced) pages in length.

No submission fee
University of Wisconsin, Madison

The Madison Review
Poetry, fiction, art September 1st to May 1st
$2 submission fee
Vanderbilt University, Nashville

Nashville Review
Fiction, poetry, novel excerpts, songs, comics translation, and nonfiction Submit during January, May and September
$25 per poem & song selection; $100 per selection for all other categories, including featured artwork. Translators receive $25 per poem & $100 for prose selections
Vermont College of Fine Arts, Montpelier

Hunger Mountain
Fiction, poetry, creative nonfiction, visual art, young adult and children’s writing, and literary miscellany Submissions open May 1. Check site for updates.
$50 for prose and $25 for poetry

$3 submission fee
Virginia Commonwealth University, Richmond

Fiction, poetry,  translation, drama, and nonfiction Current reading period ends March 15, 2018. Check site for updates.
No submission fee
Virginia Polytechnic Institute
and State University, Blacksburg

The New River
Digital writing and art September 1 through May 1
Does not publish conventional poetry and fiction

No submission fee
Western Michigan University, Kalamazoo

Third Coast
Fiction, poetry, essay, and drama General submissions open September 15th
No information about submission fees
Wichita State University, Kansas

Fiction, poetry, creative nonfiction, art Current reading period ends March 31. Check site for updates.

$15 USD flat rate per poem, nonfiction piece, or fiction piece

No submission fee
University of Tampa

Tampa Review
Poetry, prose, translations September 1 - December 31
$10 per published page for both prose and poetry

$2 - $3 submission fee
University of Tennessee

Craft essays and interviews as well as fiction, nonfiction, and poetry June 15th - September 15th
$4 submission fee
Skidmore College

Fiction, poetry, personal essays, or cultural criticism Submission period begins January 1
Snail mail submissions only
Table Cell Table Cell Table Cell Table Cell

Monday, March 12, 2018

How to Edit Your Own Manuscript

Writer's Block/Drew Coffman/CC license
You've written the last line of your book, and you have that expansive euphoria that comes with a job well done. An almost uncontrollable urge to share your accomplishment with the world washes over you. You want to show your new book to your friends, agents, publishers - or, God forbid, immediately self-publish.

Don't do it.

The first draft of anything you write needs to be your little secret. Hug it to your breast, murmur sweet nothings to its pages, but don't let anybody read it.

Why? Because it is filled with mistakes. There are errors in grammar, punctuation, spelling, word choice, internal logic, voice, awkward constructions, typos. There are whole scenes you have left out, dramatic high points you have missed. There is a relationship between your characters that you have not fully developed. You may even have used impact as a verb! (AGH!)

If you think none of those things appear in your book, you are wrong. If you think nobody will pay attention to any of those minor blips, you are wrong. If you think your glorious prose will shine through,  like the sun breaking through clouds of dangling participles, you are dead wrong. Those errors will mar your work.

At this point, I may have sufficiently scared you into investigating editors. Don't do it yet. First, give your book a once over. Maybe a twice over. Or a three times over. But take a good crack at it before you send it off to be edited. (You will save yourself some money if the editor doesn't have to fix quite as many mistakes.) Follow these steps:

1) Put your manuscript away for a few months. It will grate on you to simply park your project for awhile, but I can guarantee you need a break from it in order to see it with fresh eyes. You can use the break to write something else. Or you can read. (As you read, ideas about how to make your manuscript better may pop into your head. Either take notes, or make a few changes.)

2) When you pick up your manuscript again, read it aloud. Reading aloud slows processing speed, allowing you to spot errors more easily. If you stumble while you are reading, revise that sentence or phrase. You've composed an awkward or ambiguous construction that readers will find difficult to parse.

3) Open your book to a random page to edit. Writers get "manuscript blindness" when they read through their work from first to last page. It's a natural consequence of looking at something too many times combined with the inner knowledge of what comes next. To find errors you need to surprise yourself.

4) Read your first page. Pretend that your book will be judged on that page, and that page alone. (Often, readers don't even make it past the first paragraph. I know I don't.) Polish that page until you can see your face in it.

5) Repeat step 4 for every page in your book.

Now you can show your manuscript to trusted friends or beta readers. After you have gotten enough feedback to hone your book even further, you can begin searching for an editor. At this point, you will have a much better idea of what kind of editor you want (line editor, proofreader, or, if you are still stuck on structural components, a developmental editor). This article will help you find the editor who is right for you: Costs for Editing a Self-Published Book

When, at long last, you send your book to an editor, she, or he, will find errors, because there are always errors. But you will have had the chance to take care of plot holes, character motivation, missing scenes, and all those things that only you, the author, can do.

Wednesday, March 7, 2018

Loglines and Pitches - How to Reduce Your Book to a Sentence

When my agent asked me for loglines for my book, I had no idea what she was talking about. I pretended I understood. (FYI, "faking it" is a required skill for writers.) Once I was off the phone, I immediately looked it up.

Loglines, I discovered, were a way of pitching movie ideas when a filmmaker only has a minute (or less) to pitch an idea to a producer.

In brief (no pun intended), a logline is a one- or two-sentence summary of your book's plot.  If someone asked you, "What's your book about?" and you only had a few seconds to describe it, that would be your logline (also known as a pitch).

Loglines are becoming increasingly important in the age of Twitter. Agents have realized that reading a tweet takes less time than reading a query. As a consequence, Pitchfests, or Pitch Parties, have gained considerable traction. (The most popular of these is #PitMad. You can read about it here.)

So, on to some examples of loglines:

a) An unwilling wife who despises her roguish husband eventually comes to adore him. (Taming of the Shrew)

b) A young FBI cadet must confide in a manipulative convicted killer to receive his help on catching another serial killer who skins his victims. (Silence of the Lambs )

c) The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. (The Godfather)

Notice that in each of these examples, we have a main character, a goal, and a source of conflict.

Now, try it yourself. Pick a book that you know well, and boil it down to one sentence. Now do another. Now try your own book. Not so easy, eh?

Writers are simply abysmal at reducing their books to a sentence. That's because we are too close to our own work. A typical logline from a writer would sound like this: "My book is an exploration of the nature of love in modern times encompassing the pitfalls of friendship and romance in an academic setting."  No conflict, no goals, no protagonist, no antagonist ... sounds of snoring.

Fortunately, there are some online tools that can help you. (I would suggest that you try both the YA Writers Toolbox and the Killogator. Between the two, you will have some great loglines.)

YA Writers Toolbox has a pitch generator that is absolutely fabulous. You can choose between Character Journey, High Stakes, Romance, and World/Setting. The pitch generator form asks a series of questions. Plug in a word or two, and the generator gives you several pitches.

Graeme Shimmin also has a great tool for generating loglines. He calls it the Killogator. It’s a simpler tool to use than the Toolbox, but just as valuable.

Helpful articles:

Book Logline: What It Is & How To Write It

How to Write a Logline that Sells

Monday, March 5, 2018

#PitMad is coming this week!

Pitch fests are a limited period of time, usually one day, in which you can pitch your book to agents on Twitter.

Believe it or not, pitch fests actually work. Busy, overwhelmed agents are more likely to read and respond to an interesting Twitter pitch than they are to a query. It takes less time and a lot less effort.

However, it will not take less effort on your part. Boiling your novel down to a short sentence is loaded with pitfalls. So, I would suggest that you read What's Your Book About? How to Make a Pitch before attempting one of these contests.

Before you pitch, it would also be a good idea to read some pitches first. Get onto Twitter and type #PitchCB into a search to read some excellent pitches. You can also generate pitches using the pitch tool on YA Writer's Toolbox.


From the PitchWars website:

When: March 8, 2018, 8AM - 8PM

What: 3 pitches on Twitter

Why: Agents pay attention to PitMad pitches

#PitMad is a pitch party on Twitter where writers tweet a 280 character pitch for their completed, polished, unpublished manuscripts. Because #PitMad has grown over the years, industry professionals are finding it overwhelming to search the feed. It goes by so fast now, it’s a little mind-boggling. And we don’t want to scare off the industry professionals.

You may only tweet three (3) pitches (they can be different pitches or the same pitch) per project for the day. You may pitch more than one project. I suggest every four hours or so tweet a different pitch. Or tweet during breakfast, lunch, & dinner breaks.

Do not include pictures, unless you are an author-illustrator!

Rules for #PitMad 

Everyone is welcome to pitch. All genres/categories are welcomed. Must be completed, polished, unpublished manuscripts. You can pitch more than one manuscript. You may only tweet three pitches total for one project for the entire day. We suggest every four hours tweet a different pitch. Make sure to include the hashtag #PitMad and your age category, and genre/category(s) (if they fit).

Due to Twitter’s new character increase for tweets, pitches can be 280 characters or less. Keep in mind, a tight, concise pitch is best and will help the agents read through the feed faster. But if you need more characters, use them.

The pitch must include the hashtag #PitMad and the category (#YA, #MG, #A, #NA, #PB etc.) in the tweet. The “#” is important to include. It will sort the categories to make it easier for the agents/publishers.

The agents/publishers will tweet their submission preferences and favorite your tweet if they want to see more. If you get a favorite from an agent or publisher, follow their submission preference and send them their request as soon as you can. They should have tweeted what they want you to send, so check their twitter feed for that information. If they haven’t listed it, follow their submission guidelines on their websites. Make sure to put “PitMad Request: TITLE” in the subject line of your email when sending your request.

Don’t tweet agents and publishers directly unless they tweet you first.

Don’t favorite friends tweets. The agents will be requesting by favoriting tweets. so let’s keep that for requests. We allow Retweeting of your friends tweets. Please use Quote-RT and add a comment to the retweet to express your support if possible.

If you can’t be there, you can always schedule your tweet by using Tweetdeck or some other application that schedules tweets.

And finally, be nice and courteous to each other, and especially to the industry professionals. We’ve had some success stories come out of our previous #PitMads and we’d hate to have it canceled due to abuse. If you do see abuse, please report it to Twitter or notify one of the hosts of the event. Thank you!

Below is a list of sub-hashtag categories and genres to separate your pitch from the main #PitMad feed.


Age Categories:

#PB = Picture Book
#C = Children’s
#CB = Chapter Book
#CL = Children’s Lit
#MG = Middle Grade
#YA = Young Adult
#NA = New Adult
#A = Adult


#AC = Action
#AD = Adventure
#BIZ = Bizarro Fiction
#CF = Christian Fiction
#CON = Contemporary
#CR = Contemporary Romance
#DV = Diversity
#E = Erotica
#ER = Erotic Romance
#ES = Erotica Suspense
#F = Fantasy
#FTA = Fairy Tale Retelling
#H = Horror
#HA = Humor
#HF = Historical Fiction
#HR = Historical Romance
#INSP = Inspirational
#MR = Magical Realism
#M = Mystery
#Mem = Memoir
#MA = Mainstream
#MH = Mental Health
#LF = Literary Fiction
#NF = Non-fiction
#P = Paranormal
#PR = Paranormal Romance
#R = Romance
#RS = Romantic Suspense
#STEM = Science, Technology, Engineering, Mathematics
#SF = SciFi
#SPF = Speculative Fiction
#SH = Superhero
#S = Suspense
#T = Thriller
#UF = Urban Fantasy
#VF = Visionary Fiction
#W = Westerns
#WF = Woman’s Fiction

Other hashtags:

#POC = People of Color
#OWN = OwnVoices
#IRMC = Interracial/Multicultural


Thursday, March 1, 2018

Costs for Editing a Self-Published Book

Maxpixel - CC0 license
If you are thinking of self-publishing your book, you will need to get your manuscript edited before you put it on the market.

Every writer needs a second pair of eyes (and frequently a third), because there are always mistakes. These can range from simple grammar and spelling errors, to internal logic (your character is drinking coffee, and two lines later is sipping tea), to structural problems.

Editing can catch all these errors. But unless you know an editor who is willing to work for free, you will have to pay for this essential service.

(If the thought of shelling out money for an editor makes you squirm, consider the fact that Amazon is now allowing readers to report errors in self-published books, and is penalizing authors accordingly.)

Tip: You will shorten the editing process if you edit your book carefully before you send it to a professional. Here are some editing tips that will help you save time and money: How to Edit Your Own Manuscript

What kind of editor do you need?

There are basically three types of editors:

Developmental editors look at your manuscript as a whole. They are concerned with plot, pacing, character development, voice, motivation and other large components of your book. If you feel as if your manuscript is still rough around the edges, then you will need a developmental editor.

Copy editors make sure a manuscript is free of errors in the text. They check for grammar, spelling, and internal logic errors, word choice, repetitions, consistency, clarification, ambiguity in sentence structure, dialogue, and other aspects of your manuscript that require a narrow focus. (Note: Some editors make a distinction between copy editing for simple errors and line editing for sense, logic, and style.) If your book is finished, has been soundly critiqued, and you are fully confident that your concept, plot, and character development are tight, then you will need a copy or line edit.

Proof readers do a final check for errors in spelling, punctuation, formatting, typos and other small errors. This is the last step before printing or epublishing. Do not skip this step! There are always typos.

Here is a helpful article that explains the different types of editing in greater depth4 Levels of Editing Explained: Which Service Does Your Book Need?

A word to the wise

Before you consider hiring an editor, read his or her site carefully. If sample edits are available, read those as well. I have noticed errors in grammar, punctuation, and spelling (!) on some editing sites. If you spot an error, or even a typo, run away, run away!

Make sure your editor is experienced. What other books has he edited? (Read the testimonials, then look up the authors and their books on Amazon. Use "Look Inside" to read the first few pages. Do you notice any errors?) What credentials does she have? Does the editor have experience in your genre? (This is very important!) Does the editor offer a clear contract? And finally, do you like her (or him)? You are going to be doing some painstaking, often difficult, work together, so it's best if you get along.

How much does editing cost?

The cost of editing depends on the length of your book, the editor, and the type of edit. This cost can vary quite a bit from editor to editor. To get an initial idea of how much a professional edit should cost, as well as how to find an editor,  the Editorial Freelance Association is the best place to start.

The Association's member directory includes bios of the members. You can look up a member by name, or you can search by skills (such as proofreading, line editing, etc.), nonfiction specialty or fiction genre, and by language. Click on the names in search results to read details about the editor, including years of experience and background.

You can post a job for free on this site. Interested freelancers will then contact you with their credentials and pay rate. There is a handy table of editing rates on the site that should give you a good idea of what editors normally charge. (One of the questions on the job listing form concerns how much you can pay, so consult this table before you post your job.)

More resources for finding an editor

Here are more resources for finding editors. (These are not personal recommendations, as I have not used any of these services):

Professional Editors To Help With Your Book - Joanna Penn's list is extensive. She includes prices, interviews (when available), types of services offered, and editors she has personally worked with.

The Northwest Independent Editors Guild connects clients with professional editors of the written word in the Pacific Northwest. You search for an editor on this site, or post a job. Their "For Clients" section has good information on how to choose an editor, different types of editing, how to work with an editor, sample contract, and more. Even if you do not live in the Northwest, this site is worth checking out.

New York Book Editors actually match you to an editor. First you tell them about your book, and then they find an editor for you. You get a chance to evaluate your working relationship through a trial edit. (This is important!) The editors in this outfit are former editors who have worked for major publishing houses, so they know what they're doing. (My editor at St. Martin's is one of them.)

Lewis Editorial - Cecilia Lewis is the sole editor at Lewis Editorial. She explains in detail what she offers, including different service plans, and how much it will cost. Even if you go with a larger service, explore this site, because it is everything an editor's site should be - clear, succinct, and precise.

Examples from the website:

Line edit

"This service provides an intensive, prose-focused line-by-line edit that evaluates issues including sentence structure, word choice, word repetition, clarification, dialogue, consistency issues, voice breaks, verb tense, point of view issues, grammar, syntax, cadence, diction, missing words, etc. This edit does not include plot or characterization analysis. This step is crucial in ensuring that your manuscript features quality prose.

Rate: $12.50 per 1,000 words"

Full edit

"The most comprehensive package, this service is a 3-round process that includes developmental editing, line editing, and proofreading. You’ll receive focused, in-depth attention on all aspects of your manuscript, and I will be available for discussion or questions throughout the project. This is a great option for writers who are self-publishing or who want additional in-depth editing of their manuscript.

Rate: $1200-$2000, depending on the length of your MS and the level of editing it requires. Payment plans are available."
Related Posts Plugin for WordPress, Blogger...