Monthly Archives: October 2017

Interview with Jendi Reiter, Author and Cofounder of WinningWriters.com

Winning_Writers_logoToday we have a real treat. Jendi Reiter, one of the cofounders of WinningWriters.com, set aside a generous amount of time to answer some burning questions. The site and its newsletter are fantastic resources for authors of every type. It was great to be able to ask about their mission and how authors can get help just by signing up to their free newsletter.

Best of all, two of her books are currently on sale! So, after reading all about the newsletter and the great resources, you can snap up copies for yourself. Links are at the bottom of this post!

You started Winning Writers back in 2001 with Adam Cohen. Now you have quite a staff, each of whom handle different areas or programs. How do you find such great people?

Thanks for the kind words about our amazing assistant editors and judges. A great thing about being an online business is that we can work with freelancers from all over the country—or the world!

We found two of our Best Free Literary Contests database editors, including our current editor Samantha Dias, through the Western New England Editorial Freelancers’ Network. Sam is diligent, creative, detail-oriented, and proactive about brainstorming ways to improve the database. Find her on LinkedIn for your academic editing jobs, but don’t take her away from us!

Several of our past and current contest judges were prizewinners in those same contests. We invited them because they were already in tune with the contest’s aesthetic, and the skill level of their own work gave us confidence in their ability to recognize quality entries.

Others were local writer friends, such as award-winning poet Ellen LaFleche, or friends of friends—we joke that one of our babysitters is the Winning Writers HR director because she’s recommended several people we ended up hiring. Nearly everyone in Northampton is a writer or knows a writer, it seems!

Additionally, we reach out to subscribers whose work we admire, like 2017 fiction and essay judge Judy Juanita, and contacts that I’ve made through my poetry and fiction publications, like poetry contest judge Soma Mei Sheng Frazier, who was the editor of OSA Enizagam when one of my stories won their contest.

WW offers several contests every year with significant prizes. What is the thought process behind taking on so many contest programs, considering that most arts organizations offer only one?

Something for everybody! We’re always tweaking our contest offerings in response to perceived demand and the gaps we see in the marketplace. The free Wergle Flomp Humor Poetry Contest is fun to judge, generates signups for our email list, and originally also had a scam-busting mission. (The vanity contest that inspired it has since gone out of business—we must be powerful!) There aren’t many contests for parody and humor poems, and the few that exist tend to prefer G-rated light verse that isn’t super original, in my opinion.

Everyone loves a good general-interest poetry and prose contest, so those are consistent earners for us, with over a thousand entries apiece in a good year. The North Street Book Prize for self-published books is meant to signal-boost great books that don’t have the insider connections and marketing budget to compete with major publishers in the marketplace.

Self-published, indie, and print-on-demand (POD) books are often at a disadvantage or straight-up ineligible for prestigious literary prizes. Meanwhile, the book awards programs that do welcome indies have large fees and frequently no cash prize—what are you paying for? We believe indie authors deserve better.

Your section on Contests and Services to Avoid is set up for very good reasons. I have noticed that a number of good organizations are suddenly demanding that authors who submit–whether they win, place, or are simply part of the ones who never make any short- or longlist–give them rights to publish part or all of their work. Often these nonprofits claim that the publications will help support the organization and their contests. What do you think of this approach, when it is taken by an otherwise respectable organization?

I am completely against this approach. No author should have to sign away their intellectual property merely for the privilege of entering a contest. If you don’t win or get published, the work you submitted to the contest is stuck in limbo—you can’t try to make money off it elsewhere, on the off chance that this contest will someday use it. At that point the contest starts to look like a scam to acquire a lot of free work from authors, instead of paying freelancers to contribute to their website or journal.

I especially dislike this trend when the contest advertises itself as “free” up front, and the rights grab is hidden in the long list of rules. I always push back against this when contest sponsors ask to be listed in the database, and I’m happy to report that sometimes they change the rules.

What, in your opinion, is the best part of heritage (i.e., traditional) publishing today?

Access to major distribution and marketing channels is an important advantage that will continue as long as reviewers, booksellers, and other gatekeepers persist in their prejudice against print-on-demand and self-published books.

Best part of the indie route?

More control over the content and book design. Not having to shop your manuscript around for years to an agent or traditional publisher.

What do you enjoy most about working on WW?

People send me free books! I get paid (more or less) to read interesting poetry and prose and to think critically about what makes it work, or not work. This is good for my development as a writer. I also love the opportunity to connect with writers and editors around the world.

What part would you like to see become easier, or larger, or farther-reaching?

We would like to see a more diverse entry pool for all of our contests. Except for the book prize, they’re all judged anonymously, but white ladies somehow end up in the majority in our winners’ lists. We’re working on our outreach to minority writers’ communities, as well as inviting judges from different backgrounds to join our contest staff.

What exciting things are in the pipeline for WW?

By popular demand, we’re adding two new categories to our 2018 North Street Book Prize for self-published books: poetry and children’s picture books. The other categories are creative nonfiction/memoir, literary fiction, and commercial/genre fiction.

Our 2018 final judge for the Tom Howard/John H. Reid Fiction & Essay Contest will be Dennis Norris II. He is a 2017 MacDowell Colony Fellow, fiction editor of Apogee Journal, and co-host of the podcast Food 4 Thot, a brilliant (NSFW) series with four multiethnic gay poets discussing literature and their love lives.

Jendi Reiter is the co-founder of WinningWriters.com, an online resource site for creative writers, named one of the “101 Best Websites for Writers” (Writer’s Digest, 2015-2016) and one of the “100 Best Websites for Writers” (The Write Life, 2016).

TN C 11 02Jendi’s award-winning books include the poetry collection Bullies in Love (Little Red Tree Publishing) and the novel Two Natures (Saddle Road Press), the spiritual coming-of-age story of a NYC fashion photographer during the 1990s AIDS crisis. Two Natures is on sale for 99 cents in Kindle and iBooks editions through October 15, 2017.

WW Newsletter: Thanks for your interest in Winning Writers! Sign up for the free monthly e-newsletter to receive access to The Best Free Literary Contest database, and join 96,000 Twitter followers.

 

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On seeing and being seen

Yesterday I came across a New York Times article about a guy who listened to all the records on NPR’s list of greatest music by women. Whenever he talked about his dedication to hearing all the music on the list, people were shocked that he would be listening to “women’s music.”
Now, “women’s music” is, according to him, a genre that (as he describes it) is one woman and a guitar. Folksy, perhaps. But specific. And not the kind that is widely popular.
Even though he constantly said no, he was listening to “music by women” rather than “women’s music,” the misunderstandings continued.
It reminded me, painfully, of the idea in publishing and among readers (and reviewers, and art organizations that provide awards) that fiction about women is “women’s fiction” (i.e., chick lit or romance or fill in the blank with whatever genre is currently considered the lowest of the lowbrow). Or, on the wildly mistaken far end of that opinion, that fiction written by women is also always women’s fiction.
Then my partner, who is a woodworker and is reading the book of a woman who has made a name for herself as a woodworker, shared this article.
Let’s change publishing, fiction, and reading (and thus the world) by having parity for women in publishing options, review options, marketing deals, and awards opportunities.

Lost Art Press

PWNov09CVRrevised2 A knockout indeed

I’ve lost track of how many times people have written “So great to see a woman in the magazine!” following the publication of a project feature. For years I’d roll my eyes and think Never mind my gender. WHAT ABOUT THE WORK?

It’s thorny, this issue of gender representation in woodworking. You can say pretty much the same about race. When you’re the odd one out, it’s easy for readers to see only what makes you different. Which is galling when, for you, what matters is the work.

While I was on hold during a recent phone call, I glanced at Instagram and found myself tagged by Sarah Marriage at A Workshop of Our Own. She was commenting on a post by Phoebe Kuo. “Have you heard about our woodshop drinking game?” asked Sarah. “You take a shot every time you see a woman depicted working…

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Guest Post: Writing and Travel Boost Brain Power

Here’s a great guest post from Rita Robinson, an author and journalist.

Writing and Travel Boost Brain Power

Rita Robinson

Lone Horse Rider

 

Lightening flashed, thunder roared, and unrelenting rain bombarded our 21-foot RV as we crept along at about 20 miles per hour on I-40 near Nashville, Tennessee. We could barely see the windshield wipers slapping across the front window, and finally took an off-ramp toward a crowded Flying J truck stop.

Andy, my husband, squeezed our small RV in among the big rigs jammed side-by-side at the truck stop, while a steady stream of other trucks parked along the adjoining road, and the parking lots of nearby churches. The truck stop, without electricity and using generators, kept everything, except the gas pumps working, as it became the hub of activity for all who parked vehicles in the area.

Portions of I-40, a main interstate highway for cross-country truckers, eventually flooded, causing closures, during the news-making, and record-breaking torrential storms in May of 2010 in Tennessee.

Once the sun shown three days later, and the sweet smell of grass and spring flowers permeated the air, a mélange of people gathered outside the station’s restaurant chatting and shaking hands as if all had known each other forever. We felt rejuvenated, and ready to continue our trip.

Stimulate Writing by Breaking Routines

Such is the stuff of travel and also writing. We change our routines or plans, and consider it part of the travel or writing experience. Not that routines are bad, but it’s good to break them once in a while.

A few times traveling, with tornado warnings ahead of us, we’ve changed routes. We had once driven through a town hit by a tornado and had seen an RV like ours that had been thrown on top of a barn.

These types of experiences make us acutely aware of our surroundings, feelings, motivations, and the idea that we’re not always in charge. As writers, Andy and I know that writing also leads to adventures.

Change and Surprise Boosts the Brain’s Power

We’re at our best when we surprise ourselves with what we put on the page. Writing transports us, as if on a magic carpet, to places of delight, anxiety, fright, awe, insight, imagery, depth, spectacle, and unanticipated adventures, virtual or real. As Robert Frost said, “No surprise in the writer, no surprise in the reader.”

“Traveling new places, meeting different people and taking part in variety of lifestyles, including foods, shops, noises, and cultures, stimulates cellular connections and promotes brain resilience, so important to the health of your brain,” says Paul D. Nussbaum, Ph.D., Brain Health Center,  and Clinical Neuropsychologist and Adjunct Professor of Neurological Surgery, University of Pittsburgh School of Medicine.

Could this be why so many noted writers have also been travelers, or vice versa? Consider Mark Twain’s, The Innocents Abroad. He wrote “Travel is fatal to prejudice, bigotry, and narrow-mindedness, and many of our people need it sorely on these accounts. Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one’s lifetime.”

Out of Our Comfort Zones

It does not take traveling great distances to jazz up the writing mind. Changing minor routines at home can give the brain’s neurons a kick in the synapses. Sitting in a different chair than usual; eating something never tried before; walking backward; changing the writing location, maybe from a customary desk to the kitchen table; sitting on the floor to write; or writing by hand on a tablet, removes our comfort zone and fires up the brain.

Published writers have composed in coffee shops, bus terminals, airplanes, on couches in front of TVs, sitting beneath cherry trees, at the beach, in prisons, and just about any place the imagination can travel.

Emily Dickinson wrote in an attic, Ben Franklin in a bathtub, and several have written in bed, including Marcel Proust (Remembrance of Things Past) and Barbara Cartland, prolific writer of conservative romance novels.

The editor-in-chief of a newspaper where I once worked knew about the beauty of making minor changes to jazz up a place. About every six months he would stomp out of his glassed-in office with, “OK, time to change our desks around.” We grumbled, since most had piles of other work to do. All, however, pitched in to push and shove desks and chairs to new locations with new views, and across from someone different. It worked, and we laughed at the feel of that kick in the synapsis.

We’re on an adventure when we travel, or when we write, and being open to change and surprises not only recharges the brain, it enriches our lives.