Tuesday, August 22, 2017

Interview with Canadian literary agent Rachel Letofsky of the Cooke Agency

Rachel Letofsky
Note: Don't ever miss a post on Quick Brown Fox. Fill in the “Follow Brian by Email” box in the right-hand column under my bio, and get each post delivered to your Inbox. Also, if you’re not yet on my newsletter, send me an email, including your locale, to: brianhenry@sympatico.ca ~Brian

Rachel Letofsky is an Associate Agent with the Cooke Agency. Headquartered in Toronto, the Cooke Agency has five agents on staff, led by Dean Cooke. Rachel joined the Agency in 2010. She frequently travels throughout Canada and the US to various writer’s festivals and literary events such as Bloody Words, PNWA, CanSCAIP, SiWC, VWF, NorthWords and Quick Brown Fox workshops.
Rachel is actively seeking ground-breaking and heart-breaking middle grade and young adult titles in all genres. She is drawn to works with a whimsical nature or a grounded, gritty edge in equal measure, though in either instance, unforgettable characters and original concepts are a must. Rachel also has a natural soft-spot for exquisite literary fiction.
In nonfiction, Rachel is looking for narrative-driven memoirs, and anything quirky and life-affirming. Rachel is particularly committed to working with previously unpublished authors in a focused, collaborative and hands-on manner.
Rachel recently married and moved to the west coast with her husband. (So it's going to be trickier getting her as a guest speaker for Quick Brown Fox workshops!) She is on Twitter at @rachelletofsky.

Quick Brown Fox: Rachel, a big welcome to Quick Brown Fox, and an even bigger congratulations on your marriage!
Rachel: Thank you so much, Brian! It’s been a wonderful whirlwind. My new husband is a full-time freelance and ghostwriter, so I’m just saturating my whole life with the craft of writing even more these days, if that’s possible!

QBF: Now that you’re working on the west coast, how does that work, being with an agency that’s headquartered in Toronto? And are you still as interested in Canadian authors?
Rachel: Oh yes. I am always actively seeking talented Canadian authors. We also rep authors from all over the world – Barbados, the Netherlands, India, the UK and, of course, the US – so borders and geography don’t keep us from working with any author we take a shine to.

QBF: Do you have suggestions about getting manuscripts in shape before writers start the submission process?
Rachel: It is important that you submit your work when you feel it is in its best shape. You want us to be blown away and unable to say “no,” so submit your best work. Your query and sample material need to be polished and professional – if we spot some spelling or grammar errors in those opening pages, we can’t help but imagine how that permeates the rest of the work. Comb over your submission and be sure to get some other trusted sets of eyes on it as well.

QBF: What sort of books are you especially looking for? Anything you see too much of or that seems overdone these days?
Rachel: I love diverse, authentic voices and unique settings. If you can make me laugh or make me cry, I’m hooked. On the fiction side, I focus specifically on young adult and middle grade for the agency, (with a smattering of adult literary fiction). In middle grade, I’m drawn to whimsical adventures like THE GIRL WHO CIRCUMNAVIGATED FAIRYLAND IN A SHIP OF HER OWN MAKING or THE GIRL WHO DRANK THE MOON, and in YA I love high stakes, gritty realism like LIVING DEAD GIRL or GIRL IN THE BLUE COAT… I also promise that I don’t only like books with the word “girl” in the title! 
On the non-fiction side, I’m looking for narrative-driven memoirs that read like fiction. WILD and THE GLASS CASTLE are two of my ultimate favorites. I also like quirky and life-affirming essay collections from interesting voices, like Scaachi Koul’s ONE DAY WE’LL ALL BE DEAD AND NONE OF THIS WILL MATTER or Jenny Lawson’s FURIOUSLY HAPPY.
In terms of overdone trends, I tend not to rule anything out. Just when I say to myself, “I cannot read another zombie apocalypse book, so help me,” is the very moment that an amazing zombie apocalypse book lands on my desk that makes me say, “Well, except for this zombie apocalypse book.” It really is all about the writing and the voice for me. I will, however, caution against writing to capitalize on trends you see working in the marketplace. This can come across as inauthentic and by the time your work gets to the shelves (if you find an agent and publisher for it), the trend will have moved on. Write the work that you have a burning desire to write and let us figure out how to sell it.
QBF: Can you tell us about your process when you’re considering a project.
Rachel: We take a strong team-based approach at The Cooke Agency, so anything that an agent is seriously considering is always read by at least one other agent here. That means that I need to sell your manuscript in-house well before pitching it to a publisher. It helps us really focus our enthusiasm by providing an early glimpse into how we would sell this project and also gives our authors more than one champion at the agency who is familiar with them and their work.

QBF: What grabs your attention when you’re reading a query letter?   
Rachel: I read query letters the same way I have always treated books in the bookstore. I read the back cover or inside flap copy (which should contain a brief synopsis about the work and the author’s bio), then I flip to the opening page (the first four pages of the ms) and start reading. If I am compelled to turn the page, I buy the book (or request the manuscript).
That said, there are certain flags I look for when reading a query letter. The most important thing is to demonstrate that you’ve done your research. Tell me why you’re sending this to our agency and to me specifically. Respect our posted guidelines by following them, and show me that you are someone I’d want to work with.

QBF: Are there things you come across in query letters or manuscripts that will get them immediately rejected? If so, what are a few of them?
Rachel: Query letters that are impolite or extremely aggressive are a big no-no. Stick to professional addresses in salutations and sign offs. Do not use weird fonts in eye-catching colours (if in doubt, stick to black on white, 12 point, Times Roman Numeral font). Consider your query letter like the cover letter for a resume and adopt the same tone. Our authors are our bosses in the very real sense that they pay our salaries (and, of course, we do not get paid unless and until they do), but we are in the position of being able to decide if we want to work with you. Make me want to work with you.
Another thing that can make me immediately raise an eyebrow is citing the wrong word count for your stated genre. If a middle grade novel is 150,000 words long, for instance, it indicates to me that this author has not done the necessary research into their genre and/or the writing process.
In manuscripts, it all boils down to the writing, of course, and there is very little that will make me stop reading immediately. There are, however, red flags or common writing missteps that can add up in the opening pages that indicate to me that the author needs to do some more work on their craft. A few of these fall under the “rule of 3 W’s” … do not open with the Weather, Waking up or What your character is Wearing/looks like. These are very common story openers that we see time and again. Be original from the start. I want to see a strong, authentic, original voice on the page from the very first instant I start reading.

QBF: How do you decide if a manuscript is worth considering?
Rachel: It is very much a gut-feeling. There is a “lift factor” that I seek out. If I am transported off the pages of the work… no longer aware of the physical text in front of me, but lifted into the world of story and characters… then I will fight ferociously to represent the work and its author.

QBF: How many pages do you usually read before you give up on a manuscript?
Rachel:There is no hard and fast rule for me on that, it is very much a page by page decision, as long as your writing keeps driving me through the pages, I’ll keep turning them.

QBF: Besides the writing and publishing credentials – and loving their work, of course – is there anything else you like to know before you decide to represent an author? Does their online presence count? Do you like to meet with prospective authors?
Rachel: Online presence matters more for nonfiction than for fiction, but I do research an author as part of my process – so be aware of your online presence and make sure it captures you in the best light possible.
I always arrange a conversation with prospective clients before taking the next step of signing them. That could take the form of a long phone call, or series of calls, or an in-person meeting if we’re in the same city or at a conference together. It’s very important to have that person-to-person connection to see if we would work well together. It is also important for prospective authors to have a chance to ask me any questions they may have and to hear how I connect to their work before we take any next steps.

QBF: Can you tell us something about how you work with authors?
Rachel: We are a very editorial agency. We work with our authors to ensure that their manuscript is in the best possible shape before we go on submission to publishing houses. My first step, after signing an author, is to provide them with some deep editorial feedback on their work. This usually takes the form of an overarching editorial letter and a copy of the manuscript with detailed notes in the margins. I do a substantive edit, line-edit and copy-edit all at once, so my authors can expect feedback on a plot-level, a character arc-level, a thematic level, a consistency level and a spelling and grammar check-level. I ask a lot of questions as I read and encourage an open dialogue about the work. I always tell my clients that this is ultimately their work, and if I have suggested a change that doesn’t work for them, that’s totally fine… but I want them to be able to defend and articulate to me why they disagree with my suggestion. If they can do that well, their conviction will come across on the page and that authenticity I’m always seeking will ring out.
How much editorial work do you do with your clients?
We’ll undergo as many editorial rounds as it takes, so there is often more than one back and forth communication of the nature I described above.

QBF: Can you tell us something about how you pitch to publishers.             
Sure! Again, we find that personal touch and connection to be invaluable, so we try to connect to editors in person as much as possible. We set up sales trips and in-office meetings at the publishing houses and, if that is not possible, we arrange phone calls to pitch the work to the editors before we send through any material. I just went on a sales trip to New York in May, where I met with over 30 editors in person to talk about three specific projects I had ready for submission. Nothing can convey genuine enthusiasm as well as a lively pitch conversation.

QBF: What writing advice do you give most to your clients?
Write from the heart and be open to receiving feedback. Writing is a process and a craft, it can always be improved and, if your book gets published, it will mean that a lot of people are professionally invested in your work. An open dialogue will only serve to make your work better, so keep an open mind through the whole process.
Is there anything in particular about the publishing industry that you think writers should know?
We are, every single one of us, in the business of publishing because we love books. Inside each of the editors, agents, publishers, marketing heads, sales teams, book sellers and reviewers is the little kid we were when we first picked up that book that hooked us as life-long readers. Publishing is a community that truly values its product and creators. Remember that if you ever feel intimidated when approaching a professional about your work. There is a bookworm in all of us that really wants to geek out with you about our favourite subject in the world…books!!!

Direct queries to Rachel c/o Elizabeth Griffin at egriffin@cookeagency.ca
In the subject line, you must include “Author Query” to get around the spam filter. Also include your name and the title of your work. Include the first four pages of your manuscript pasted into the email. No attachments. Full submission guidelines here.

Brian Henry has a Fall Colours Writing Retreat coming up at the wonderful Arowhon Pines Resort in Algonquin Park, Friday, Sept 15 – Sunday, Sept 17 (see here).

Also, starting soon, Brian will lead a full range of courses, introductory to advanced (and most of these classes still have space): 
Welcome to Creative Writing, Thursday afternoons, Sept 28 – Nov 30, in Burlington. See here.
Writing Personal Stories, Wednesday evenings, Sept 27 – Nov 15, in Burlington. See here.
Writing Kid Lit, Thursday mornings, Oct 5 – Nov 30, in Oakville, with guest authors Sylvia McNicoll and Jennifer Mook-Sang. See here.
Next Step in Creative Writing, Tuesday afternoons Sept 26 – Nov 28, first readings emailed Sept 19; Burlington. See here.
Intensive Creative Writing, Monday mornings, Sept 25 – Dec 4/11, first readings emailed Sept 18; Toronto. See here.
Intensive Creative Writing, Thursday evenings, Sept 28 – Nov 30 / Dec 7, first readings emailed Sept 20; Georgetown. See here.
Extreme Creative Writing, Wednesday afternoons, Sept 20 – Dec 6/13, first readings emailed Sept 13; Burlington
See details of all seven courses offered in the fall here.

Harper/Collins editor Michelle Meade
Also, in the fall, Brian will lead a “How to Make Yourself Write” workshop on Saturday, Oct 14, in Toronto (see here), a “Writing a Bestseller” workshop with New York Times #1 bestselling author Kelley Armstrong on Saturday, Oct 21, in Oakville (see here), “Secrets of Writing a Page-turner,” on Saturday, Oct 28, in Caledon at the Bolton Library (see here), and a “How to Get Published” mini-conference, with author Hannah McKinnon, literary agent Martha Webb, and HarperCollins editor Michelle Meade on Saturday, Nov 18, in Guelph (see here).

For more information or to reserve a spot in any workshop, retreat, or weekly course, email brianhenry@sympatico.ca

Read reviews of Brian’s courses and workshops here.

See Brian’s complete current schedule here, including writing workshops and creative writing courses in Algonquin Park, Bolton, Barrie, Brampton, Burlington, Caledon, Georgetown, Guelph, Hamilton, Ingersoll, Kingston, Kitchener, London, Midland, Mississauga, Oakville, Ottawa, Peterborough, St. Catharines, Saint John, NB, Sudbury, Thessalon, Toronto, Windsor, Woodstock, Halton, Kitchener-Waterloo, Muskoka, Peel, Simcoe, York Region, the GTA, Ontario and beyond.

Navigation tips: Always check out the labels underneath a post; they’ll lead you to various distinct collections of postings. Also, if you're searching for a literary agent who represents a particular type of book, check out this post. 

Monday, August 21, 2017

Last call : Fall Colours Writing Retreat, Sept 15 – Sep 17, Arowhon Pines Resort, Algonquin Park

Algonquin Fall Colours Writing Retreat
Friday, September 15 – Sunday, September 17, 2017
Arowhon Pines Resort
Arowhon Pines Rd, Little Joe Lake, Algonquin Park, Ontario, Canada

Note: There aren’t many rooms left. To attend this retreat, phone Arowhon Pines Resort right away and book your room. Call them toll free at 1-866-633-5661 (and be sure to tell them you’re with the Quick Brown Fox writers group).
Then book with me at brianhenry@sympatico.ca ~ Brian

Give yourself a weekend of writing time – a weekend of instruction, inspiration and creativity. Award yourself with time away from distractions, with no dishes to do and wonderful food at every  meal, as you sit with your feet up and write in the most beautiful wilderness setting in Ontario. This is where the Group of Seven got its inspiration (Tom Thompson is buried just a couple of lakes over); it’s a wonderful place for you to find your inspiration, too.

The retreat will feature both instruction and one-on-one critiquing and coaching from Brian. You’ll also have lots of time to relax, rejuvenate, and reconnect with your creativity. 

All writing levels welcome. Whether you are just beginning or have a novel in progress, please join us. 
The setting: Arowhon Pines is a peaceful, quiet resort nestled in the woods on Little Joe Lake inside Algonquin Park. There are no motorboats on the lake, except for the resort’s own pontoon boat which takes guests on occasional wildlife tours.

The resort is without TV and is far from the roar of traffic. The cry of a loon is the loudest noise you’re likely to hear all day.

Rates include charming accommodation (cabins have a mix of queen beds for one person or couples or twin beds for two people rooming together; rooms also have private bathrooms and each cabin has a lounge with fireplace to share with your fellow writers). 

Three all-you-can-eat gourmet meals per day are provided, featuring an abundance of fresh food prepared by master chefs and an inspired kitchen staff. (Bring your own wine or beer!)

All activities included. When you’re not writing, or for spouses who accompany you, there is plenty to do: canoe or kayak a series of lakes or hike trails to see wildlife (moose, loons, beaver, turtles, fox, deer), swim in the lake, sail, stand up paddleboard, play tennis, relax. For indoor activities there is a games room with table tennis, shuffleboard, books, board games. Your stay also includes access to all Algonquin Park programs and activities including a car pass for you to fully enjoy the park.

Check-in isn’t until 3 p.m., but guests can arrive in the morning to fully take advantage of the facilities (though the meals included in your package don’t begin until after check-in time, so lunch on Friday is extra if you arrive early). Each guest can borrow a day pass for Algonquin Park. The formal retreat will begin late Friday afternoon. On Sunday, we'll have our last formal get-together at 11 a.m., ending at 12 noon. Check out time is at 1 p.m.  Most guests have lunch while the bellhops load the car. But once you’ve had lunch, don’t feel you have to rush off!

Participants are welcome to bring spouses, partners or friends, as there will be plenty to do while you’re writing – canoeing, kayaking or sailing, swimming if warm enough, tennis, reading and just plain resting and unwinding, enjoying the wilderness.

Read about a stay at Arowhon Pines here.

Instructor Brian Henry has been a book editor and creative writing instructor for more than 25 years. He publishes Quick Brown Fox, Canada’s most popular blog for writers, teaches creative writing at Ryerson University and has led workshops everywhere from Boston to Buffalo and from Sarnia to Saint John. But his proudest boast is that he has helped many of his students get their first book published and launch their careers as authors.

Read reviews of previous writing retreats at Arowhon Pines here (and scroll down). 
To see more reviews of Brian’s weekly courses and Saturday workshops, see here

Accommodation fee (including both accommodation and food, plus use of all the resort’s facilities): $270 per person per night, for double-occupancy or $334 for single-occupancy. (Arowhon has kept their 2016 rates just for us – about 5% off the new rate!) Plus 15% service charge (in lieu of tipping, no extra tipping allowed), then 13% hst added to these rates.

Seminar fee123.89 plus hst = 140
Full receipts issued. Space is very limited, especially for the extra day.

For more information or to register, email: brianhenry@sympatico.ca

Who can attend the retreat?
Everyone interested in developing their writing skills is welcome to attend, whether you're aspiring writer or an accomplished author or simply enjoy writing as a hobby. There is no requirement for you to have been previously published or even to have an intention to publish.

I'm a poet / playwright / other writer. Is this retreat for me?
The retreat is open to anyone who enjoys writing. Instruction will focus on narrative writing; i.e., stories, whether fiction or memoir. But if you’re an essayist or poet or whatever, you’re entirely welcome.

Should I bring my work in progress?
Yes, if you have an on-going writing project, bring it with you! If you’re not currently working on anything, don’t worry, we’ll get you writing.

Should I bring my laptop?
Yes, if you prefer to work on your laptop. If you prefer to work on paper bring that.

Can you cater to specific dietary requirements?
Yes, just let the staff at Arowhon Pines know beforehand about your needs.

I want to stay longer or arrive early. Is it possible to do that?
If you want to arrive early and stay longer, that is fine. Just arrange it with the resort. There is plenty to see and do in the park, and Arowhon Pines is a lovely place to base from.  Arowhon will keep the same rate throughout your stay.

Is there cell phone reception and WIFI?
Arowhon Pines is an island of luxury, but in the midst of wilderness, so no cell phone reception and no WIFI, though there are landlines and there’s access to the resort’s Internet connection. (Contact the resort for details.) But be sure to have your writing projects on your laptop when you come, not stored in the Cloud.

How about alcohol?
Arowhon doesn’t serve alcohol, but guests are welcome to bring their own wine, beer or whatever to have with meals or back at your cabin. (Though do note that Hemingway’s advice to write drunk, mostly produces dribbles not novels.)

Can I bring my spouse (or partner or friend)?
Certainly. Just let them know you’ll be spending most of your time writing, (though you will have some free time every day), and make sure they enjoy superb food, beautiful wilderness, and relaxing on the deck or the dock or out on a canoe as they glide past a moose munching on water lilies….

For more information or to register, email: brianhenry@sympatico.ca 
To book your accommodation at Arowhon Pines, phone toll free: 1-866-633-5661

See Brian’s complete current schedule here, including writing workshops and creative writing courses in Algonquin Park, Bolton, Barrie, Brampton, Burlington, Caledon, Georgetown, Guelph, Hamilton, Ingersoll, Kingston, Kitchener, London, Midland, Mississauga, Oakville, Ottawa, Peterborough, St. Catharines, Saint John, NB, Sudbury, Thessalon, Toronto, Windsor, Woodstock, Halton, Kitchener-Waterloo, Muskoka, Peel, Simcoe, York Region, the GTA, Ontario and beyond.

Sunday, August 20, 2017

Congratulations on snagging an agent and gettting 50-Word Stories published, plus writer seeks editor

Literary agent Jennie Goloboy
Hi Brian,
I took your summer course a couple of years back in 2015, and then attended a workshop you hosted in Hamilton for how to get published. I just wanted to let you know that I've accepted an offer of representation from Jennie Goloboy at the Red Sofa Literary Agency for a science fiction novel I was writing while I was still taking your class. Thanks for the opportunity, it looks like it’s led to good things.
For information on upcoming classes, see here.
For information about Red Sofa Literary Agency, see here.

Hi, Brian:
Thanks so much for the info on 50-Word Stories.  This the second submission of mine they've published. It's encouraging!
Connie Taylor
Read Connie’s story, “Sometimes,” here.

Hi, Brian.
Thanks to you and your classes, your enthusiasm and your advice to write, write, and write some more, and then to put it out there – I am very excited to tell you that today I was published on 50-Word Stories!
Thanks for all your guidance,
Jennifer M. Smith
Read Jennifer’s story, “She Ran,” here.
For information on submitting to 50-Word Stories, see here.

Writer to Writer

I'm seeking a willing editor, amateur or professional, who would accept a reciprocal arrangement of some sort. Fellow writers and friends are urging me to move forward.
I am a senior (80+) with very limited funds. I haven't resources to pay someone to edit my first novel of 31,000+ words. I'm writing under the name “Faye Austin.”
The title is WHERE THE BOYS WERE, and revolves around the shenanigans of three boys in the middle of a large family of nine. The background time period starts historically in the late 1800s; the three boys from early 1930s to 1958.
I can be emailed either at geosylbowers@rogers.com or sylbo76@gmail.com
I have placed my manuscript on cloud through both email addresses.
Thank you for considering my request.
Sylvia Bowers

See Brian Henry's schedule here, including writing workshops and creative writing courses in Algonquin Park, Barrie, Bracebridge, Brampton, Burlington, Caledon, Collingwood, Georgetown, Guelph, Hamilton, Ingersoll, Kingston, Kitchener, London, Midland, Mississauga, Newmarket, Orillia, Oakville, Ottawa, Peterborough, St. Catharines, St. John, NB, Sudbury, Thessalon, Toronto, Windsor, Halton, Kitchener-Waterloo, Muskoka, Peel, Simcoe, York, the GTA, Ontario and beyond.

Three paying markets for stories, poetry, and essays, plus a short story contest and details of submitting to super-prestigious literary journal Tin House

Note: Don't ever miss a post on Quick Brown Fox. Fill in the "Follow Brian by Email" box to the right under my bio and get each post delivered to your Inbox. Also, if you’re not yet on my newsletter, send me an email, including your locale, to:  brianhenry@sympatico.ca ~Brian

The first issue of Tin House magazine arrived in the spring of 1999. Publisher Win McCormack said of the effort, “I wanted to create a literary magazine for the many passionate readers who are not necessarily literary academics or publishing professionals.”
Tin House offers an artful and irreverent array of fiction, nonfiction, poetry, and interviews as well as columns on food and drink, out-of-print and under- appreciated books, and Spring and Fall issues built around idiosyncratic themes like sex, evil, and candy. Perhaps most indicative of the magazine’s mission to stake out new territory and showcase not only established, prize-winning authors is its commitment to including work by undiscovered writers.
In 2002, Tin House ventured into the world of book publishing as an imprint with Bloomsbury. In 2005, the independent press Tin House Books was launched. Tin House
Books publishes roughly a dozen titles a year, but accepts submissions only from literary agents.
Tin House Online is a daily blog featuring previously unpublished fiction, nonfiction, poetry, interviews, comics, and more. When Tin House Magazine's current issue is themed, Please submit only one complete story or essay (word count dependent on category), or up to three poems at a time. Please do not submit the same work to Tin House Magazine and to Tin House Online. 
For details of the various categories of submissions Tin House Online accepts and other submission guidelines, see here.
Tin House magazine is currently accepting submissions for its spring and summer issues:
Spring 2018: CANDY – What's that sweet thing you crave that also may be ruining your life?
Summer 2018: No theme, just some quality fiction, nonfiction, and poetry to cool off with in the shade.
“As always, we are looking for any and every angle on those themes. Our summer and winter issues are not themed. We consider each submission for all upcoming issues regardless of theme, but please make a note in your cover letter if you wish to be considered for a particular theme.
Tin House magazine accepts submissions in the months of September and March. 
Deadline September 1 – 30, then March 1 – 31. Guidelines here.

subTerrain publishes original fiction, poetry, creative nonfiction, essays, and commentary three times a year.  Pays: $50 per poem; and $50 per page for prose. 
Deadline: September 1, 2017 for the Winter issues, then February 1, 2018 for the spring issue.  Guidelines here.

Lois Peterson is calling for submissions for an anthology. Tribe will be a print anthology exploring the lives and experiences of older, single women and will include poetry, fiction, memoir, nonfiction, personal narrative, prose poems … about all and any topics that affect women. It will be published by LPwordsolutions in Nanaimo, BC. The project welcomes contributors who are women 55 years of age and older from anywhere in the world who are single, meaning “single, (by choice or circumstance), widowed or divorced” and not currently living, or planning to live, “in a permanent domestic relationship with a partner of either gender.” 
Pays a small honorarium ($25) and contributors’ copies, with 50%+ of any net profits from the book going to a women’s charity… determined with input from anthology contributors.
Deadline: September 30, 2017. Guidelines here

The Binge-Watching Cure 2 anthology seeks horror stories: Pays $200 for stories under 5,000 words and $500 for stories 5,000 words and longer. Accepts reprints.
Deadline September 30, 2017. Submissions here.

The Canadian Authors Association, Niagara, calls for submissions to the Ten Stories High short story contest.
Stories can be of any genre but must be previously unpublished fiction or creative nonfiction and remain unpublished until contest results are announced.  Minimum 1,000 to a maximum of 3,000 words. For first Canadian rights, the top ten finalists will have their stories published in our anthology which will be launched at the St. Catharines Library. March 24, 2018.
Prizes: First Prize $300; Second Prize $200; Third Prize $100.00
The entry fee is $15 per story, non-refundable. Multiple entries are welcome but limited to 3. Cheques should be made payable to the Canadian Authors Association - Niagara and mailed with your submission to: 
Canadian Authors Association - Niagara Branch, “Ten Stories High,” PO Box 1512, 4 Queen Street, St. Catharines, ON L2R 3B0.
Deadline September 30, 2017. Guidelines here.

See Brian Henry’s schedule here, including writing workshops and creative writing courses in Algonquin Park, Bolton, Barrie, Brampton, Burlington, Caledon, Georgetown, Guelph, Hamilton, Ingersoll, Kingston, Kitchener, London, Midland, Mississauga, Oakville, Ottawa, Peterborough, St. Catharines, Saint John, NB, Sudbury, Thessalon, Toronto, Windsor, Woodstock, Halton, Kitchener-Waterloo, Muskoka, Peel, Simcoe, York Region, the GTA, Ontario and beyond.