July 2001 Issue

Vol. 1 No. 3

Guest Columnist: Denise Turney

Article by Lee E. Meadows 

Poet's Place

Tech Tips

Article by Cydney Rax

Literary Venues

Market News

Business News


Wanda Home


Sign the Guest Book


From the Publisher/Editor 
Wanda Elayne Moorman


This month’s edition of LitLine begins a writer’s contest sponsored by several of the literary industry’s newest writers.  Sponsor authors are Lee Meadows, Idelia Phillips. Sibylla Nash, Nora DeLoach, Nika Beamon, Panderina Soumas, Carl Lowe, Keith Stewart, Vincent Alexandria, April Smith Coley and Brian Egeston. 

The contest rules are available in this issue of LitLine and will be strictly enforced.  The contest is an opportunity for non-published writers and poets to showcase their writing talent. 

Also, this edition of LitLine has a new feature:  CD of the Month and Question of the Month.  Check out those new features. 

I want to express my continued appreciation to Reverend Cornelius R. Wheeler, Lee Meadows, Lisa R. Cross and Adam Powell for their ongoing contributions to LitLine.  Your support and participation are invaluable, and one day, I’m going to thank you all with more than just words. 

For all the aspiring writers and poets who have contacted me, please continue to read LitLine for industry and market news and overall helpful hints and information that we hope will assist you in some way.   

God bless, much success and good luck to everyone who enters the contest!

The Two Ps that Guarantee Writing S-u-c-c-e-s-s

By Denise Turney

Writing is a trying profession.  The timid and the faint at heart need not apply.  It takes persistence and perseverance to make it as a writer.  The payoff is great.  The rewards are far reaching.  Money forthcoming from book publishers and magazine and newspaper editors is at times hefty and enough to make your best friend envious.  But it    does not begin that way. 

There is not one best-selling author who is not familiar with rejection.  One of the most difficult lessons for a new writer to learn is that rejection is not personal.  In fact, it is a natural process of the write-edit-publish cycle.

What do you do after your work has been returned from an editor or publisher?  You review the manuscript and check it for weak spots.  Review the spelling and the grammar.  Is the plot interesting?  Are the characters believable?

A trick to creating believable characters is to flesh out the key players in your story.  An excellent method to use to accomplish this is -- outline. 

Beyond characterization, a great story must have an intriguing plot, an interesting story location, an attention grabbing opening and a finished ending.  Resist the temptation to summarize your story before you get into the beginning.   Edit your work before you send it off to a publisher or an editor.  Jump right into the finished story you mail to editors and publishers with an attention-getting opening.

Sponsorship for LitLine

You can support LitLine by sponsoring the online newsletter monthly or annually.  You can conveniently pay online by using the buttons below.

Please give use your feedback on LitLine by email at: litline@storytale.com.

Pay online:

Rev. Cornelius R. Wheeler
Co-Pastor, Vermont Avenue Baptist Church
Washington, DC



In February of 2001, on Interstate 95, right outside Washington, DC, a traffic pileup included more than 120 autos, injured dozens and, tragically, took one life.  Traffic accidents are not usually headline news, but the enormity and the circumstances of this particular disaster caught everyone’s attention.  It seems as though, in a light snowstorm, an unusually large number of cars were, 1) going too fast, and 2) following too closely.  As the speeding lines of traffic crested a slight hill, they approached too quickly upon a stalled truck.  The first cars to reach the truck veered to the side to miss it; those who followed found themselves crashing into those that had veered.  The next couple of minutes were, as you can imagine, filled with vehicle after vehicle, driver after driver careening into those who just moments before were cruising along the highway.  The cost, unfortunately, was high, the ultimate in one case, all because folk were going too fast and following too closely.

The pileup on I-95 seems to be a caricature of the events of so many lives in our postmodern age.  The mixture of modern technology and capitalistic greed has brought about the unsettling reality that too many folk are racing up life’s highway, going too fast and driven by competition, following too closely.  Irrespective of conditions, or environment, we haphazardly race through our lives, toward what will inevitably be the irreparable damage of untold numbers and possibly the demise of some.  This “rat race” is energized by, what we used to call, “keeping up with the Joneses”.  It is fuelled by the incessant need to be the first or the biggest or the most opulent.  More...

The Contemporary African-American Sleuth Part II
Lee E. Meadows

The framework, from which the contemporary African-American sleuth is drawn, can be traced to the beginning of the 20th century. Author Pauline Hopkins ‘locked room’ mystery featured socialite Talma Gordon(1900), J.E. Bruce introduced international detective Sadipe Okukenu in the Black Sleuth (1907) and Rudolph Fisher teamed Professional Homicide detective Perry Dart with amateur sleuth Dr. John Archer in the all black Harlem classic, The Conjure Man Dies (1932). These early century authors were drawn to and influenced by the classical detective novels popularized in the latter 19th century. They went against the grain of conventional literary depiction of African-American characters by avoiding the ‘bug-eyed’, ‘teeth-chattering’, ‘dialect speaking’ and ‘cringing helpless’ peripheral characters used primarily as comic relief or as a disposable murder in the detective novels of that period. Their stories moved the African American protagonist into the central core of the story as both detective and social commentator. In doing so, the first archetypes for African-American sleuths, both amateur and professional, filled a literary vacuum by silently shifting the reader’s prevailing perceptions of literary stereotypes. African –American characters were rarely depicted as fully human, though oftentimes exceedingly humane. Their roles as servants, sub-servants, and criminally motivated appeased both narrator and reader by insuring a perceived social consistency between the written word and the physical world. More...


Our Sponsors
Infinity Publishing  
Good Book Club 
Sadorian Publishing

Book of the Month
John Hatch

CD of the Month
Ken Navarro

Web Information

Literary Contest
Aspiring Writers Contest 

Question of the Month

What is the only word in the English language that ends  with the letters "mt"?

OUR WINNER: Received July 2, 2001, 3:44 PM, EST from Lanita Sparrow of Silver Spring, Maryland. Congratulations! 
Answer: dreamt

Page 2

Copyright © 2003 Wanda Moorman. All rights reserved.
Web design by: