Archive for July, 2007

Show Up at a Conference Prepared to Pitch!

cmkwritermama.gifPlatform Development 101

By Christina Katz

Agents and editors are flying to a conference near you just to scout out talented writers to author books. If you’d like to be one of them, get your-self signed up to make as many pitches as you can with whichever agents and editors would be the most appropriate for your book concept.

So how do you get ready? Here are seven tips that will help you show up prepared to pitch but not over-prepared or locked into an idea that you can’t sell:

Tip Number 1: Don’t Go It Alone
Plan to prepare your book pitch with the help of experienced others. Not only is getting help on your pitch less stressful, it’s just plain more fun to work on your book concept with a practice audience. In fact, getting input is crucial to your pitching success if you’ve never pitched before.

Tip Number 2: Get Help from Experienced Industry Players

Gather together a small group of Book Concept Advisors. Your Book Concept Advisors (BCAs) are writer-friends who will help you pre-pare a viable book concept and a pitch to go with it. If you are already part of a writing group, the other mem-bers may be the perfect place to start. But don’t stop there. Contact anyone you can think of who might have a seasoned perspective on book pitching and ask for feedback. After all, pitches are short and sweet (unlike book proposals, for example) so it’s not hard to ask for quick input on your pitch.

Your BCAs should include:

  • Potential readers of your book (friends, fellow writers, friends of friends)
  • Published author friends

Your BCAs should not include:

  • Your mother, father or siblings
  • Your very best friend in the whole wide world
  • Your spouse and kids (unless they are 110% supportive)
  • Anyone else who will tell you it is “great” without offering constructive feedback

Tip Number 3: Write More Dramatically Than You Normally Would
Remind yourself that agents and editors have heard hundreds, if not thousands, of pitches over the course of their careers. So don’t low-ball your pitch thinking that being understated is a strategy. It isn’t! The early drafts of your pitch should have rising and falling action, like the plotline of a story. That’s a sure way to hook your listener and draw them in. And, naturally, you’ll want to hook them from the first sentence. So don’t build up to your punch line, launch right into it, and hit the climax within one minute. Your pitch should be no longer than three minutes, and that’s considered long.

Tip Number 4: Get at Least One of These Books
There are three books I recommend that you read, or at least skim, before you show up at a Writer’s Conference armed to pitch your book concept. Any of these will help you understand the scope of what will ultimately go into your book proposal—the one you will pull together quickly after you have garnered interest from agents and editors.

  • Michael Larsen, How to Write a Book Propos-al, 3rd ed. (Writer’s Digest Books, 2003)
  • Elizabeth Lyon, Nonfiction Book Proposals Anyone Can Write (Perigree, 2002)
  • Pam Brodowsky and Eric Neuhaus, Bul-letproof Book Proposals (Writer’s Digest Books, 2006)

Tip Number 5: But Don’t Write the Proposal Yet
You don’t need to bring a full book proposal to the conference. In fact, many agents and editors will not take a proposal from you even if they like your pitch. Instead, why not collect as much feedback as you can from agents and editors and apply what you learn to improving your book concept before you submit your proposal? On the rare occasion that an agent does want the proposal on the spot, simply offer to mail or e-mail it to them right after the conference (as soon as you have finished polishing it).

Tip Number 6: What You Do Need to Bring

1. Mock Sales Copy for your Book Concept
Answers the question: “Why this book now?”
When you read about a book before you decide to purchase it, you are probably reading sales copy. Sales copy always ac-companies a book in a catalog or on Imagine your book as a final product clearly enough that you can generate sales copy to go with your book concept. Write your mock sales copy as though the book is already complete and for sale. For hints about how to write it, take a peek at the sales copy on other books by the same publisher and try to emulate the form as best you can.
2. A One-Page Bio Synopsis
Answers the question: “Why are you the best person to write the book?”
Create two columns on the page separated by a half-inch gutter. On the right-hand side, list your platform credentials as they specifically support this book concept (including such information as relevant expertise, platform high-lights, big media appearances, and which reputable publications your work has appeared in). On the left-hand side use photos to illustrate your platform points (logos, images, your headshot, etc.). Limit the information and photos you provide to those that support you as the best person to write this book.
3. Market Notes That Prove an Audience and Need for Your Book
Answers the question: “Who is the market for this book?”
Do research and make a one-page synopsis of the statistics and facts about the target audience for your book. Here are some questions you want to answer.

  • What’s the size of the potential market for this book? How could it be broadened or narrowed? What organizations exist for this market and how many members do they have?
  • What indicators forecast a need for this book? (This includes blurbs from articles in national magazines and daily newspapers that relate to the topic.)
  • What other books already exist on shelves that are similar to this book, yet not quite the same angle as this book? (Go to your local bookstore or check online retailers for ideas.)

Tip Number 7: Plan to Listen
Have a few more tidbits to offer as far as why this book, why this book is perfect right now, or why you are the best person to write the book that you can mention if there is a spark of interest. But don’t try to cram in so much information that you forget to perk up your ears and listen to the most informed feedback you’re going to hear on your book concept.

So type up just three pages for your book concept, polish them, and be-come conversant on all of your key points. Because if you can treat your idea as a concept and not “your baby,” chances are very good that you will walk out of a conference with everything you need to know to revise your book concept into a book proposal that will sell. Good luck!
Christina Katz is the author of Writer Mama, How to Raise a Writing Career Alongside Your Kids (Writer’s Digest Books, March 2007). She is a featured presenter at the Writer’s Digest/BEA Writer’s Conference, The Whidbey Island Writers Association MFA Residency, and the Willamette Writers Conference. She’s been teaching writing-for-publication classes for six years and has appeared on Good Morning America. She is also publisher and editor of this e-zine and another called The Writer Mama. Christina blogs daily at For more about Writer Mama, visit Christina’s website at

Faith Doesn’t Dig Ditches

sage.gifMessage from the Managing Editor
By Sage Cohen

I confess. I’ve been in a rut. My writing to-do list is like a mismatched sock. It does not seem to be pairing well with the little pockets of time and energy I have in the margins of my full-time work. This is not entirely unusual, of course. Meeting my own expectations for writing quality and quantity is a never-ending dance; sometimes I lead, sometimes I follow, and sometimes I just lag dreadfully behind. This is one of those times.

As is often the case, I stumbled upon the divining rod that I needed this week. While waiting for my acupuncture appointment, I found this quote from novelist Alice Sebold in the May issue of O Magazine:

“A difficult lesson, which I fought at every turn, is that what often must substitute for faith is discipline. Faith has a lovely ease about it, an ethereal ring. Discipline is the rod, the staff, your insecurities internalized and sprouting rules and limits on your life. Why can’t I just have faith that books will be completed? Why isn’t faith alone enough? I hear my Southern roots respond. Faith doesn’t dig ditches, they say; faith doesn’t scrape the burn from the bottom of the pot. Ultimately, faith gives freedom, and discipline, its sister, makes sure the job gets done.”

Reading this, I realized that I’ve lately been burdening my faith in my writing career with a sluggish-at-best discipline, and wondering why I feel rudderless. With Sebold’s clear delineation of the interdependence and authority of each, I took a deep breath and squared my pot-scrubbing shoulders. Right then and there, I recommitted to invigorating my tepid discipline in service to that little pilot light of faith.

What about you? How is your discipline (or lack thereof) affecting your writing motivation and output? What might you do to fuel your faith with a little elbow grease? How can we keep ourselves moving forward, even when it’s not easy or natural?

I propose that we spend five minutes right now brainstorming how to cross three items off of our writing to-do lists in the next week––and then dive into making it happen. Are you with me, folks? Into the ditches we go!
Sage Cohen is the author of Writing the Life Poetic, a creative companion for poets forthcoming from Writer’s Digest Books, and the poetry collection Like the Heart, the World. Her poetry and essays appear in journals and anthologies including Oregon Literary Review, Cup of Comfort for Writers, Greater Good and VoiceCatcher. In 2006, she won first prize in the Ghost Road Press annual poetry contest. Sage holds an MA in creative writing from New York University where she was awarded a New York Times Foundation fellowship. For organizations including Writers on the Rise and Willamette Writers, Sage teaches poetry writing and publishing workshops. Visit Sage at

July/August ROAR Board for Subscribers and Contributors

Announce your publication, career and platform successes at our ROAR Board.

Or read them for inspiration.

[Please remember, however, this is not the place for posting press releases. We don’t have a bulletin board feature at this time.]

Thanks and happy writing!

Learn the Secret Language of Editors: Anatomy of an Article

Abigail GreenFreelancers’ Phrase Book
By Abigail Green

To continue a theme from last month, sometimes the “editorialese” that freelance writers encounter can seem like a foreign language. Terms like “head,” “deck,” and “lead”––not to mention their alternate spellings, “hed,” “dek” and “lede”––can leave you scratching your head. So let’s break it down, shall we?

First off, I’ll tackle the spelling. Editorial lore posits that the odd spelling “lede” was adopted when newspaper type was set in lead, to keep from confusing the word for the metal with the word for the beginning sentence of an article. Similarly, “hed” and “dek” jump out at spellcheckers and proofreaders.

Now that we’ve cleared that up, let’s talk about what some of the most common terms mean. I’ll use the traditional spellings.

Lead: The first few lines of an article that introduce the story. Traditional leads use the five W’s: who, what, where, when, why (and how). Study your target market to see what types of leads are used. If articles usually start with anecdotes, use an anecdotal lead in your query or submission.

Head or header: Short for headline––a title or description of a story. Again, study your target market: Are headers short or long? Clever or straightforward? Try to match their style.

Deck: A sentence or few sentences below a headline that summarizes the article.

Subhead: Titles or descriptions that break up different sections of longer features.

Graph: Short for paragraph. A “nut graph” comes after the lead and clearly lays out the point of the article. Think of it like the thesis statement of a term paper.

Call-out or pull-quote: A small selection of text from a longer article pulled out and quoted in a larger typeface.

Sidebar: A shorter, secondary story related to a major one and run at the same time.

Wondering why you should care? Editors regularly use these terms and will assume you know what they mean. Also, freelancers are increasingly expected to supply their own heads and decks. Even if they’re not required, including them in your articles makes editors’ jobs easier––and you look better.

Abigail Green ( is a freelance writer in Baltimore. Over the past 10 years, she has written about health, travel, weddings, business, education and more for national, regional and online publications including AOL, AAA World, Bride’s, Baltimore Magazine, Cooking Light and Health. Her latest project is raising her first child, which she chronicles in her blog:

Back to School Supplies for the Parent Writer

sharonwotrhead.gifThe Parent-Writer: Strategies for Success
By Sharon Miller Cindrich

School supplies. There’s a reason that schools hand out a list of essential supplies well before the school year starts, instead of requiring a protractor by February, a highlighter mid-March and a new sharpened pencil on the first of each month. Armed with every tool they need for the year zipped neatly into their required pencil case, kids can maximize their productivity week by week, instead of wasting an entire day scrounging for a glue stick or writing implement. Like I do.

Once I drop my kids at the school door loaded down with enough number 2 pencils to build a fire tower, I often find myself scrambling for a sharp writing utensil at my own desk, sometimes settling for half a periwinkle crayon.

No more, I say! This year, as you prepare your kids for school, take some tips from their supply lists and pick up a few of these extra supplies to maximize your writing productivity week after week.

Pencil sharpeners. We seem to have pencils coming out of our ears at home, but not one has a sharpened tip. Grab a few of those primitive, manual pencil sharpeners and hide them in your desk drawer, your kitchen junk spot and tuck one in your purse.

Spiral notebooks. Paper is another hot commodity in our home––and I’ve recorded many an interview on the back of an electric bill’s envelope. Pick up a few extra spiral notebooks for your office and keep one in the car to jot down sudden inspirations.

Highlighters. Whether you’re editing, researching or trying to stay organized, these can do wonders. Grab a variety of colors.

For snipping your published clips out of a magazine or cutting out inspirational sayings to decorate your workstation, a few pair of kiddy-scissors make the cut on my list of must-haves.

With the right tools on hand, the right words can be liberated to appear when you need them most! Have fun stocking your tool kit.

E-Parenting, Keeping Up with Your Tech-Savvy Kids by Sharon CindrichSharon Miller Cindrich is a freelance writer whose work has been published nationally in magazines and newspapers around the country including The Chicago Tribune, Parents Magazine, and The Writer. She is a Contributing Editor at FamilyFun Magazine and writes a bimonthly humor column for West Suburban Living Magazine in the Chicago Suburbs. She is a regular contributor to the Milwaukee Journal Sentinel’s Lifestyle section and Metroparent Magazine. Her book E-Parenting: Keeping Up with Your Tech-Savvy Kids is now out from Random House. Read more about Sharon at

An Interview with Julie Bennett of Ten Speed Press

Julie Bennett, Ten Speed PressIn the Spotlight: Agent & Editor Insights for Getting Published

By Cindy Hudson

Julie Bennett has been acquiring titles for Ten Speed Press out of Berkeley, California for eight years. One of the largest independent publishers in the U.S., Ten Speed Press publishes about 150 titles a year through all its imprints, which include Celestial Arts and Crossing Press, as well as Tricyle Press, its children’s imprint.

Bennett’s advice to authors hoping to successfully pitch a book proposal to a publishing house can be summed up in one sentence: Put in plenty of preparation time. Here she elaborates about what she looks for when reading a proposal and what writers can do to increase their chances of catching the eye of an acquisitions editor.

What can writers do before sending in a book proposal that will increase their chances of having it read?

One of the more important things is to research a publishing house and its imprints and send in what they want to see. If you look at one of our catalogs or browse our Web site you start to get a sense for the kinds of books we publish. If your book fits, great! Send it in! If it feels far off it’s probably going to get rejected quickly and there’s probably a different house that would be more appropriate. Try to familiarize yourself with the publishing house and submit accordingly.

How does reading a proposal help you decide to take on a project?

Writing a book and promoting it takes a lot of work. You may have a good idea, but you have to be willing to talk about that idea, think about that idea, write about it and come up with ways to promote it for a couple of years. It’s a huge part of your life, and I want to see that people have dedicated time and effort and resources to that idea before they decide to write a book about it.

What do you like to see in a proposal?

I want to have an overview that tells me, “This is my idea, this is how it fits into the marketplace and here’s my outline for the book.” But I also need to see that outline annotated with chapter summaries and at least one sample chapter. The other part of the proposal includes the marketing platform and the competition. What other books like this are out there and how is yours different? Who are you, what do you have to offer, what are your ideas for sales and marketing, how can you help promote the book?

What catches your interest?

I get excited when I read the basic concept for a book and think, “That’s a great idea. I don’t think I’ve ever seen that before.” As I continue reading it’s a combination of how it’s executed, if the writing makes sense, if it’s well supported and if the author has a platform.

What role does platform play when you’re looking at projects?

It’s hugely important, especially for non-fiction. We’re looking for authors who are well known in their field, and who are going to help us reach their audience. But Ten Speed is a smaller house so we’re not necessarily looking for a national platform. It depends on the book. The author could have a really strong regional platform or a strong academic background or something else that will be interesting enough based on the topic of the book for the media to be excited about.

What questions do you ask yourself as you consider a project?

I think about sales and how we could position the project. Would I buy it? Are there people I know who would buy this book? Is there a fit for it on our list? Are there other books on our list that are similar that we’ve been successful marketing and selling so we have good contacts into whatever those markets are? Is the proposal clear? Are we really going to be learning something? Does the author have a good platform?

Is there anything specific you’re looking for now?

Because we’re a particular kind of publisher, we publish lifestyle non-fiction, so we’re always looking for the same thing. For Ten Speed it’s very practical, kind of quirky, how-to books. Most of the books we take on teach people how to do something, make a recipe or find a new spiritual path, get into college or find a new job. Because I’m also working with Celestial Arts and Crossing Press, I’m looking for inspirational, spirituality, health, nutrition, and parenting books as well. Celestial Arts publishes books on things like alternative medicine, natural pregnancy or organic approaches to feeding your kids. Crossing Press is really edgy, and that’s where you’d find things like energy healing, charkas or vibrational healing; things that are a little bit less mainstream.

We’re also dipping our toe in the craft-publishing world, and that’s been really fun. We’re looking for somebody who is doing something different with traditional craft.

Cindy Hudson

Cindy Hudson writes for national trade magazines, regional magazines, online publications and daily newspapers. Her Web site,, and its companion blog,, publishes reading lists, book reviews, author interviews and other book club resources. She lives with her husband and two daughters in Portland, Oregon, where she writes weekly for The Oregonian. Visit her online at

Boost Your Earnings and Expert Status with Teleconferencing

gregorywotr_002.gifWriter-preneur: Building Your Writing Career Using Technology
By Gregory A. Kompes

Teleconferencing, also known as phone conferencing, is when two or more people share a phone line so that everyone can speak to each other. This method of communication is a valuable tool for allowing people to share their knowledge, experience, and expertise with others. For example, Q&A sessions–– where a call moderator or listeners ask an expert questions––are frequently used in teleconferences..

Teleconferences help build expert status. You can also use them to increase your earnings. Following are a few examples and ideas about how to get started using teleconferencing to your advantage.

The SpeakerNet News ( teleconference series is one example of teleconferencing success. Every few months this organization holds a teleconference with an expert. They charge a fee for people to listen in on the call and they also record the conference and make the call available for sale after the event. SpeakerNet News has been conducting teleconferences for years and has built up a library of expert interviews that can be purchased at any time.

Ready to lead your first teleconference? There are dozens of companies that offer free teleconference lines. Two of my favorites are and These companies don’t charge any fees beyond normal long distance charges for their services. To create a free account, visit their Web site and sign up. With your account, you’ll be given a dedicated phone number and two sets of call-in instructions, one for the moderator line and one for the participant line. Both of these companies allow you to record your teleconference and download the saved call electronically. This lets you begin building a library of calls and making them available via podcast and MP3 downloads from your Web site (The topic of an upcoming WOTR Writer-preneur column.).

Next, find an expert to interview on a topic related to your niche and develop a set of questions to ask them. As with many interviews, it’s a good idea to give the questions to your expert in advance. This is especially important for a teleconference because you want the expert you’re interviewing to be as prepared as possible so they sound like the expert they are. If your call-in audience is only a few callers, you may be able to open up the call to a Q&A session. With more participants, a better plan is to have registered call listeners e-mail their questions for the expert in advance so you can include them in your list.

To set up your call, select a date and time and market the teleconference event. If you’ve chosen one of the companies mentioned earlier, you’ll have a dedicated phone line, so there’s no scheduling with the teleconference company. When people sign up to participate, just give them the participant phone number and password. Finally, hold the event and record the call.

One of the keys to freelance success is building a series of multiple income streams. Teleconferencing is an excellent way to supplement your bottom line by providing a series of quality products for people in your niche market.

Gregory A. Kompes ( is a writer, speaker, mentor and coach. He is the author of the #1 bestseller 50 Fabulous Gay-Friendly Places to Live, The Endorsement Quest, Turning Your Writing Hobby into a Writing Career, and The Everyday Gay Activist. Gregory is the editor of The Fabulist Flash, an informative newsletter for writers, founder of LAMOO Books, and Coordinator of the Las Vegas Writer’s Conference. The author holds a BA in English Literature from Columbia University, NY, and is currently a MS in Education candidate at California State University, Eastbay.

Keeping Track of Your Writing Success

hope_000.gifTime Management Mastery for Writers
By C. Hope Clark

Don’t scoff. While you might not have hundreds or even dozens of bylines, one day you will. How do you intend to keep track of those publishing credits and recall them for interested parties? Right now you can remember your writing successes, maybe count them on two hands. But downstream, you will be published online, in print and maybe even in book form. That’s why you need a series of bios––each fitting a specific need.

The E-mail Bio – Some call it a signature block, but this little jewel is worth a mint. It needs to clearly state who you are and what you’re known for. Make sure a Web site address is included. Make it too long, and you give the impression of a novice or someone reaching to look impressive. Keep it simple––no more than four to five lines. But remember that many people read it, and it gets forwarded to the world––even in the jokes you send your sister.

The Short Bio – This bite-size resume fits in a query letter and consists of a simple paragraph. Include your Web site, your best credits and awards, and the information that’s most relevant to your career. It may start out as a three- or four-sentence paragraph and grow to a bit more, but keep this baby updated. It’ll come in handy when you’re interviewed, attend an online chat or submit a query to a magazine editor. Create several if you write in different genres or arenas. Have one about your parenting writing, your fiction, your poetry or your business articles. An editor only wants information about what pertains to her, so having a few of these is a bright idea. Also, your biggest publishing credits will change as time goes on, and you want to present your best side. Keep your short bios current; you will use them often.

The Resume – This one-page document tells a prospective reviewer, editor or employer your employment history, publishing credits, education, awards and references. It can be included in a press release package for a reviewer, an application for employment or in a packaged pitch to speak. Keep it updated with your brightest work accomplishments.

The Whole Ball of Wax – The difference between this history bio? and the three above is that this one maintains just about everything you’ve ever done. Mine is online, and I’ve had editors peruse it without my asking. It’s ever ready and constantly maintained. When I have a new credit, I pop it in there so I don’t forget. I will delete old, freebie pieces, especially those on Web sites that no longer exist, as my paid pieces increase, but this bio covers me head to toe, educating anyone interested. I earned a $750 gig once by an editor Googling my name and reading this resume. It must include your mailing address, e-mail address and phone number.

The Database – If you wish to know everything you’ve ever published, keep a simple chronological database or spreadsheet. A database will allow you to recall sorted information in case you wanted all business articles or pet articles or all paid articles in magazines.

A writing career grows faster than you think. While you may sometimes feel rejections are beating you down and acceptances are few and far between, the credits eventually accumulate if you stick with the business. Plan now for when you have too many bylines to count. Nice thought, eh?

C. Hope Clark is founder and editor of, annually recognized by Writer’s Digest in its poll of 101 Best Web Sites for Writers. She delivers four newsletters each week to thousands with her specialty being grants and income opportunities for writers of all sizes. She’s published over 200 articles on paper and online. Her magazine credits include Writer’s Digest, The Writer Magazine, ByLine Magazine, NextStep Teen, College Bound Teen, Landscape Management Magazine, TURF Magazine, and American Careers Magazine. Hope is a motivational soul known as “Freelance Hope” in many circles. Those reluctant to promote their writing cherish her trade paperback The Shy Writer: An Introvert’s Guide to Writing Success. Find more hope for your writing career at &

Ask Wendy Your Writing and Publishing Questions

wendywotr.gifBy Wendy Burt

Q: Are there ever any instances where you think writing for free is OK?

A: Yes. Here are a few examples:

  1. Writing for a charity or organization you support, such as your church newsletter, college newspaper, alumni newsletter, or your child’s school’s Web site.
  2. Writing to get free publicity for your products or services, such as a book, CD, e-book or even to drive readers to your blog or Web site, where you DO have products for sale.
  3. Writing to get a client publicity. Technically, you’re probably not writing for free. You’re getting paid by the client to do publicity, but the magazine isn’t paying you for your work.
  4. Writing for friends or family to build your clips while getting them publicity (or notoriety!) I’ve edited several of my father’s books without pay, but when he won the Bram Stoker award (tying with Clive Barker!)––I put THAT on my résumé!

Q: Are writing conferences worth the money?

A: If you get a good one that’s tailored to YOUR needs, absolutely. There are lots of different types of writers’ conferences, though. So if you’ve been to one (or two or three), don’t assume they’re all the same. I taught a magazine writing workshop at the Pikes Peak Writer’s Conference back in 2001 and was shocked that there were almost no other non-fiction-focused workshops. Almost all were geared to the craft of writing (fiction), finding an agent, writing dialogue, developing characters or plot, etc. Some conferences are more diverse, offering fiction and non-fiction (or even things like copywriting, editing, and script writing), while others are very focused. Most will give very accurate descriptions on their Web sites, so do your research.

To find an upcoming writers’ conference, visit You can search by date or region. Or learn about the latest and greatest conferences at the Writers on the Rise Conference Confab column by Pamela Kim.

FYI, if you’re a magazine writer, I’ve heard great things about the “One-on-One” conference in Chicago. Supposedly you get much better face time with editors from major national magazines that pay upwards of $1/word. One sale could pay for your trip! Please note that, unlike most, this conference requires that writers apply and be selected in order to attend.

Articles, books, greeting cards, oh my! Wendy Burt is a successful full-time freelance writer and editor who has more than doubled her income since leaving her job as a newspaper editor just three years ago. With two women’s humor books for McGraw-Hill and more than 1,000 published pieces, Wendy’s typical day might including writing ad copy, greeting cards, health articles, personal profiles or her marketing column for Her Business magazine. Her work has appeared in such varied publications as Family Circle, The Writer,,, Home Cooking Magazine and American Fitness. Wendy teaches “Breaking Into Freelance Writing” and still finds ample time to spend with her beautiful baby, Gracie. Visit to see books by Wendy and her award-winning dad. More info at

July/August Reader Feedback: What do you think?

What do you think…should we cut back on the length of Writers on the Rise in 2008? Please post comments in response to this question here…

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  • This Blog Moving to as of December 30, 2009… December 27, 2009
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July 2007

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