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These are questions that keep us moving in the right direction. These are the questions that keep us accountable to our writing goals. They thwart our hiding from ourselves and continuing the illusion that we're writers even if we aren't writing.
Annoying as that voice in my head can be, I do appreciate her. If she were an actual bug, she would have been squashed into oblivion long ago. The fact that this heckler has no physical form is a boon to both of us. As much as she aggravates, she motivates.
IN is a much kinder, gentler helper. Each month it shows up with new content and refreshment. Each monthly collection offers camaraderie, mentoring, and entertainment. The voices regularly in print here are like friends you meet monthly at the local – you don't know much about them other than what they share when you're at the bar together, but what is shared is specifically meaningful.
This month we lose a regular. The familiar voice of Jennifer Edelson in The Bitter Quill bids us adieu with The Final Quill. Thank you Jennifer for sharing your writing experiences and letting us know we're not the only ones out here struggling. We'll miss you and wish you all the best in your future endeavours.
Our New York Times best-selling cover author Faye Kellerman explains how her training in science and math lends itself to the creation of mystery fiction. INside Authors introduces George E. Afara and Kate Rigby.
Anne Allen considers the advantages and disadvantages of writers' conferences, and Peggy Bechko helps us examine what types of writing might be a good fit. In a different vein, Ken Robinson looks at the forms of fiction (short and long), screenplay, and stage play to answer what is the right form for your piece.
Helen Dunn Frame reflects on the reality of interruptions and how they impact the time frame of a writing project. In Fiction, Bev Walton-Porter reminds us to be sensitive to the application of various details – giving readers a reason to keep reading.
Carol Adrienne begins a two-part series on researching nonfiction, while J.R. Kambak examines the importance of a scriptwriter's understanding of the characters and scenes he is writing. To achieve a truthful presentation, the nuances and structure of language must be stretched.
Stan Grimes takes us through a simple process to create a poem. If you feel stuck when facing the prospect of writing poetry, this process is for you. Teachers will find it a particularly good method for the classroom.
Marjorie Allen concludes her discussion on the market of early elementary picture books, and Char Milbrett delivers 10 resources for exposing the outlandish. Another three winning books on various styles of writing are reviewed by Anthony Ackerley.
Our Items Of INterest section includes observations from Mark London about the end of the road for Harry Potter, and an examination of the young adult fiction market by G. Kyle White. Have you ever considered writing for the Chicken Soup publishers? Debra Weaver guides us to success in this market.
Dr. Liz Hardy refreshes our view on the day job. She inspires new appreciation of the thing that pays the bills until you make it big like Ms. Rowlings. And finally, our IN House Staff discovers an innovative author, Maria Veloso. She's asking for your vote.
Now don't linger here. Read IN, and then go write!
Inkwell Newswatch (IN)
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