Least Tern > English Classroom

Literary Terms for English

This guide was originally prepared for a grade 6 laptop English class. It is meant to be introductory in nature and relaxed in language. Any poetry anthology or literary survey text would provide a context for the terms. There is a good handbook/guide to other literary devices at this Lewis Carroll site and an excellent glossary of poetic devices at the University of Toronto. John McIlvain has written a guide to Introductory Poetry Terms with many poems included in full-text.

Literary Forms | Techniques of the Writer or Storyteller

Figurative Language | A Literary Vocabulary | Terms Specific to Poetry

Literary Forms (fiction) - many novels are written in more than one form, and there are many more forms than we will study in English 6. This is a beginner's sampling.

1. Historical fiction - a "made up" story which has as setting a specific and recognizable historical time period which could not have been during the author's lifetime. These novels and stories often include characters and places which are historically accurate, and many include historical documents as well. Examples of historical fiction are: Dragonwings, The Whipping Boy, Proud Taste for Scarlet and Miniver.

2. Documentary fiction - a "made up" story which uses a collage of documents, in addition to dialogue and narration, to help to tell the story. Some documentary fiction you will read as an adult uses actual news stories, letters, diaries, etc., but the story is the author's invention. Example: Nothing But the Truth.

3. Science fiction - originally, a story which used the science of the future as a major element of plot or setting. This meaning has been stretched to include all future or utopian, time travel, space, alien contact, and dimension travel stories, as well as to include some elements of fantasy. Examples: A Wrinkle in Time, The Giver, many stories by author Ray Bradbury.

4. Folklore, folk tale, fairy tale - originally "oral tradition stories," memorized and passed from person to person through the telling, these tend to have messages for the listener to decipher and definite similarities in plot, characters, and settings. You study these stories in Lower School. In Middle School, you need to remember them and watch for "folklore" elements to appear in your reading. Examples of books rich in folklore references: The 13 Clocks, The Magic Circle, Haroun, The Other Side of Silence.

5. Realistic Fiction - novels and stories which are "real" in that they take place in a time and place like a present, or recent past, time and place, have plots which are possible, and have characters which are believable as real people. Examples: Hatchet, Shabanu.

6. Fantasy - fantasy novels and stories cover a wide range of "real-unreal" plots, characters and settings. Some identifying characteristics are: animals as characters, magical events, imaginary beings as characters. Fantasies often involve a search or quest of some type and ask the reader to temporarily believe in the possibility of events and characters. Examples: Alice in Wonderland, The Story of the Amulet, The Wizard of Earthsea, The Hobbit, Watership Down.

7. Mystery - a mystery novel contains a puzzle and challenges the reader to join the detective character who eventually solves the puzzle. Collecting clues is a vital skill for mystery readers. Examples: The House of Dies Drear, The Westing Game, The Hound of the Baskervilles.

Techniques of the Writer or Story Teller

? The Rule of 3 - Things happen in 3's. You should be on the lookout for: 3 related events, 3 connected characters, 3 rules, 3 punishments, 3 objects, 3 relationships which are compared and contrasted.

? Types of characters:

o Major or Minor:

Major characters appear throughout the novel, or in a major section of it - they are involved in the important actions and conflicts.

Minor characters enter the novel for a specific reason and may then not be heard of again - or they may exist throughout the novel "in the shadow" of the major character - they may be involved in a conflict with a major character and are essential to the plot, but only so that something can be learned or shown about the major character.

o Round or Flat:

Round Characters have many sides - they grow or change in several ways - they think and react on many levels - they are central to the story, its conflicts, and its final message - we care about them and tend to react along with them to the things that happen.

Flat Characters have only one side - they may be major characters, but they do not change - flat characters are important to a story because the round character(s) interact with them - we often see them only as the round characters see them and care about them because a round character does - we may feel strongly about a flat character because he/she is a strong and consistent representative of Good or of Evil.

? Narrative Focus - The character around whom the story moves - we often see only those events which this character witnesses - if we see events which do not involve the narrative focus, we are anxious about how the events will impact upon this character.

? Narration - There are 3 ways of telling a story:

o 1st person - "I" tells the story and is a character in the story; this can be present tense or past tense.

o 2nd person - "You" is used to tell the story; these tend to be like Choose Your Own Adventure stories or computer games and are usually in the present tense.

o 3rd person - "He, she, it, they" - the story is told by someone, usually not identified by name, who knows it. Usually in the past tense.

? Types of Narration - An author has to decide how much the narrator knows about the people and events in the story. A narrator, 1st or 3rd person, can be:

o Limited - The narrator only knows what he/she experiences or learns about in some way- the narrator's knowledge grows as the story unfolds; at times, the reader may know more than the narrator.

o Omniscient - The "all knowing" narrator knows all of the details about events, characters, etc. and reveals them to the reader as the story unfolds.

Figurative Language - In general, this is a way of using words to make imaginative connections in the reader's "inner eye." These connections can be called images. As you learn to recognize and appreciate figurative language, your appreciation and ability to actively read good writing will increase. These are the types of figurative language on which we will concentrate this year:

? Metaphor - the comparison of two unlike things to suggest things which they have in common - for example: Joe is a lion on the playing field would compare Joe to a lion in how he moves, his aggression, his animal-like actions, his skill and strength, his leadership. When you identify a metaphor, you have to dig deeply to find all of the layers of possible meaning.

? Simile - a comparison of two unlike things using like or as - for example: Sue flits through life like a moth in a room of candles compares Sue to a delicate, fluttering moth which is drawn to fire and raises an image of both delight and confusion, perhaps also mindlessness and upcoming death or failure. Like a metaphor, a simile can seem obvious, but it is usually telling you something about a character or setting if you are willing to dig a little deeper.

? Personification - the description of an inanimate object as if it were a human being or an animal - for example: The kite tugged and pulled at the string, longing for the freedom of the skies gives the kite human actions and a motive for them. In using personification the author asks the reader to identify with the object or character viewing it more deeply than would be possible in a simple description.

? Extended metaphor - a paragraph or longer of description which builds upon an initial metaphor, often bringing several of the senses (sight, sound, touch, hearing, taste) into play. This is often used by an author seeking to make a point in a setting description or seeking to create a character for the narrator or narrative focus (e.g.: imaginative, naive, fanciful, terrified)

? Hyperbole - an obvious and unrealistic exaggeration - for example: His gaping jaw could hold a flock of the King's fattest sheep indicates excess and perhaps a fearful or highly imaginative narrative focus. A good way to identify hyperbole is to ask yourself the old tall-tale question: Just how [tall, wide, hungry, lazy, angry...] was he/she/it?

? Onomatopoeia - use of a word which sounds like it means - for example: plunk, zip, buzz, bong, zap all have meaning which is reinforced by the sound of the word. Repetition of onomatopoeic words is used by authors to create a mood or tone and to convey sense impressions (e.g. motion, touch, sound)

? Pun - a word which has several meanings, all of which apply; puns are often based on sound, so homophones and homonyms have to be though of as well - for example: In Induction I of Taming of the Shrew the bum Sly states "I smell" when testing to see if he is awake; he can smell, but he also does smell. Puns are generally a source of humor, but they can also be cruel or unkind. Lewis Carroll is very fond of puns and uses them to good effect in Alice.

? Oxymoron - a phrase which contains opposite elements or words with opposite meanings, yet which expresses one idea when taken as a whole - for example: Bottom says in Midsummer Night's Dream, "I'll speak in a monstrous little voice."

Literary Vocabulary

? Setting - time (date, time of day, season) and place - a piece of writing will generally have many settings and each setting will generally carry with it a mood or atmosphere.

? Plot - what happens, concretely, as though it were placed on a history time line.

? Incident - one specific thing which happens in a plot. Many short stories are basically one incident described in detail.

? Theme - the answer to this question: What is this all about? Themes tend to be the author's message about important human conditions or problems, such as Good and Evil, Death, Freedom, Bondage, Hope, the Quest, Heritage, Believing, Family, Relationships, The Role of Women in Society. The Theme Statement is your one sentence summary of what the author or the work (novel, story, poem, play) has to say about an overall theme - for example: A theme of the novel Dragonwings is that the support of family is essential in a good life. Stories, plays and poems will have more than one theme about which you can formulate more than one theme statement. But be careful - you must be able to support a theme statement with specific evidence from the story, play or poem itself. Another expression for theme of a poem is the abstract meaning.

? Mood or atmosphere or tone - the overall feeling created by a piece of writing. Mood can often be described in a few words, such as scary, lonely, empty, triumphant, anxious, but you must be able to refer to specific details in the description, setting, or passage to defend your word or words.

? Dialogue - a discussion or conversation between two or more characters. Most dialogues follow the rules of punctuation. Do not confuse dialogue with a play script. Dialogue is part of, or sometimes all of, a story or novel and this is what you should write when you asked to write a dialogue.

? Monologue - one character alone talking to the reader/audience/to himself. A monologue in a play is called a soliloquy and finds the character alone on the stage, often speaking about a decision, plan, or other internal conflict.

? Interior monologue or internal monologue - a character thinking to himself. The author will often begin this by saying: He thought, he was thinking, she imagined...

? Malapropism - substitution of "fancy" or "pompous" words, often opposite to the intended meanings or meaningless, for a correct word - for example: in Midsummer Night's Dream Bottom says, "We will rehearse most obscenely (seemly?) and courageously."

? Character traits of a character - what type of person is this? Character traits are revealed through actions, dialogue, internal monologue, and by the author or narrator directly.

? Motive - why a character does what he/she does. Motives are often feelings or logical conclusions, but can be also impulse based upon the actions or words of another. Every action has a motive.

? External Conflict - a fight, argument, disagreement or simply opposition in which 2 sides are present. Characters, themes, ideas, forces can all be in conflict. Conflicts are stated this way: Joe vs. Sue, man vs. nature, love vs. hate, freedom vs. bondage, free vs. caged, beautiful vs. ugly. Be sure that both sides of the vs. are the same part of speech and that they are, in fact, nearly opposite or in opposition in the book. An external conflict is shown through actions (fight, argument, physical struggle), character traits (a good and a bad character), dialogues, descriptions - just about anything. Identification of conflicts will lead you to theme. The resolution of the external conflict will advance the plot toward the climax and the end.

? Internal Conflict - an argument or decision-making process within one character's mind. An internal conflict is stated this way: Should I swallow my pride and go visit my son, or should I wait until he comes to me with an apology? An internal conflict has a motive and its resolution is important to the development of the plot.

? Plot diagram

A. Introduction or Exposition - setting, characters, main conflicts are introduced to the reader; this is the beginning of a novel or story and may be short or long, but is always flat (little action or emotion).

B. Rising Action - the round characters are developed, the conflicts are increased and acted out in many ways, motives are introduced, things happen; generally, the major part of a novel or story.

C. Climax - the "high point" of a story in which the major conflicts erupt in some kind of final showdown (fight, argument, violent or physical action, very tense emotional moment...); at the end of the climax, the "winner" will be clear (there is not always a winner!).

D. Falling Action - what events immediately follow the climax; a kind of "cleaning up."

E. Resolution - where everything ends; the reader may have some sense of "closure" or may be asked to think about what might come next; in fairy tales, the Happy Ending; in some novels, you will read about the characters many years later.

? Irony - There are 3 types of irony which you need to know:

o Irony of situation - when the reverse of the expected happens or when the person you least expect to do something, does it - for example: It is ironic that Cinderella gets the prince; it is ironic in Dragonwings that the Chinese own and are able to rebuild houses upon the land denied to them by the Demons; it is ironic in Dragonwings that Black Dog dies in the same manner that he tries to kill Moon Shadow.

o Dramatic irony - when the viewer or the reader is aware of a situation of which the character(s) are not aware - for example: In Romeo and Juliet the reader knows that Juliet is not really dead, but Romeo does not know this. Another example is when the audience knows that Lysander is "drugged" into loving Helena, but he does not know this. Dramatic irony can be a source of tragedy, of comedy, or of tension.

o Irony of language - when a name or description refers to or suggests the opposite of truth - for example: In Dragonwings the leader of a fierce brotherhood/gang is called Water Fairy. The irony is not just that the name is inappropriate, but that it was earned in an inappropriate way. Irony of language is often used for humor, but it can also be cruel or sarcastic. The name of the character Lefty, in Dragonwings, is as ironic as his situation.

? Coincidence - something which happens by chance. Authors use coincidence to advance the plot, to create and resolve conflicts, and sometimes just for humor or to startle the reader.

? Mirroring or parallels - A character or incident mirrors another character or incident when the two follow similar plots, act in similar ways or contain similar elements or traits. Remember, though, that a mirror image is also opposite - left is right. So one mirror character may be rich, the other poor; one relationship may end happily, the other unhappily. Authors use mirrors to add depth to stories and to increase the reader's interest in and appreciation for the characters and their situations. Mirrors are used frequently on situation comedy shows - watch for them!

? concrete meaning - in a poem or story, what happens, in one sentence if possible. For example:

o Upon my bed

Lies the bright moonlight

Like frost upon the earth.

Lifting my eyes,

I see the bright moon.

Closing my eyes,

I see home. (from Dragonwings)

The concrete meaning is this: The narrator is in a strange bed at night and the light of the moon makes him think of home.

? abstract meaning - the theme or message of the poem or story. This has to be based on the concrete meaning, upon what is actually in the poem, and should also take conflicts into consideration. For example:

In the poem above, the abstract meaning might be: Loneliness and homesickness are cold feelings, but we are warmed by our memories of home.

? literal vs. figurative meaning - relates to the meanings of words and phrases or expressions. For example, "She was all ears" has a figurative meaning (She was listening intently) as well as a literal meaning (Her body was composed of ears or she had a huge set of ears). Lewis Carroll and other authors use and confuse the meanings to create nonsense and humor. In some novels, characters who are literal-minded are a source of ridicule.

Terms more specific to the way poets use words: see also John McIlvain's Introductory Poetry Terms

? The Form of a poem - The elements of form are number of lines, rhyme, rhythm, number of stanzas, and (for us) rules of grammar (standard or nonstandard).

? Stanza - a group of lines of poetry, like a paragraph, set off usually by a blank space. Poets create stanzas for a reason. The lines belong together.

? Rhyme - The repetition of sound, almost always to achieve an effect or to create a rhythm.

end rhyme is the repetition of the end sounds of the words at the ends of lines of poetry;

near rhyme or off rhyme or slant rhyme is not quite true or pure - "tree" rhyme with "hurry";

internal rhyme rhymes a word in the middle of a line of poetry with a word elsewhere in the line.

? Rhythm - is the beat or pattern of stressed and unstressed lines. We will try to identify patterns this year. For example, read the following lines out loud. The pattern is shown under the words.

Many poems do not use rhythm.

? Free verse - poetry which does not have a regular rhythm, rhyme scheme, or form. Some free verse poems also do not use punctuation or capitalization, or they otherwise break the rules of grammar.

? Fulcrum of a poem - Poems, like stories, are built upon contrast and conflict. The fulcrum is that point in the poem in which the contrasting or conflicting ideas, images, or moods are resolved - one wins out. A fulcrum is often the most emotional line or lines and often carries the clue to meaning.

? Alliteration - The repetition of sound within a line of poetry (or prose). We will watch for two types of alliteration:

assonance - the repetition of vowel sounds (a, e, i, o, u, ou, ea, etc.) - "I wore a fleecy green jacket easy and tall."

consonance - is the repetition of consonant sounds at the beginning of words within a line of poetry - "Slanting silver slits of rain."

? Couplet - two lines of poetry which are a self-contained unit, often rhyming and often one sentence (but not always).

Least Tern

Elizabeth Sky-McIlvain 3/16/04

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Amistad Press, Dawn Davis, Editorial Director, HarperCollins, 10 East 53rd Street, New York NY 10022; 212-207-7541; Fax: 212-207-6927. Web: http://www.harpercollins.com. African-American literary fiction.

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Arcade Publishing, Editor, 141 Fifth Avenue, New York NY 10010. Web: http://www.arcadepub.com.

Atlantic Books UK, Karen Duffy, Associate Publisher, London, England. UK rights.

Atlantic Books UK, Ravi Mirchandani, Editor, London, England. UK rights.

Atria, Judith Curr, Editor, Pocket Books, 1230 Avenue of the Americas, New York NY 10020-1513. Web: http://www.simonandschuster.com or http://www.simonsays.com.

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Avon/Morrow, Carrie Feron, Executive Editor, 10 East 53rd Street, New York NY 10022; 212-207-7250; 800-242-7737; Fax: 212-207-6998. Email: avonceromance@harpercollins.com. Web: http://www.avonbooks.com. Romance novels.

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Avon/Morrow, May Chen, Editor, 10 East 53rd Street, New York NY 10022; 212-207-7250; 800-242-7737; Fax: 212-207-6998. Email: avonceromance@harpercollins.com. Web: http://www.avonbooks.com.

Baen Books, James Patrick, Editor, P O Box 1188, Wake Forest NC 27587; 800-ITS-BAEN. Web: http://www.baen.com. Science fiction, thrillers, adventure, suspense.

Baen Books, Antonia Weisskopf, Editor, P O Box 1188, Wake Forest NC 27587; 800-ITS-BAEN. Web: http://www.baen.com. Science fiction, thrillers, adventure, suspense.

Baker Book House, Jennifer Leep, Editor; P O Box 6287, Grand Rapids MI 49516; 616-676-9185; Fax: 616-676-9573. Web: http://www.bakerbooks.com. Religious related fiction.

Ballantine, Daniel Smetanka, Executive Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Also buys for One World.

Ballantine, Maureen O'Neal, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Ballantine, Linda Marrow, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Ballantine, Elisabeeth Dyssegaard, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Ballantine, Charlotte Herscher, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Ballantine, Judy Sternlight, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Ballantine, Anika Streitfeld, Senior Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Formerly with MacAdam/Cage. Works out of her San Francisco office.

Ballantine, Mark Tavani, Editor, XYZ Imprint, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Likes thrillers, suspense.

Ballantine, Alison Dickens, Editor, XYZ Imprint, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Ballantine/One World, Shauna Summers, Senior Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. A Black books imprint of Random House.

Bantam, Kate Miciak, Executive Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam, Caitlin Alexander, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam, Bill Massey, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam, Simon Thorogood, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam, Micahlyn Whitt, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam/Dell, Kerry Buckley, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam/Dell, Wendy McCurdy, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam/Dell, Erica Orden, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Bantam/Dell, Anne Groell, Senior Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Also buys fantasy and science fiction for Spectra.

Bantam Spectra, Juliet Ulman, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Email: julman@randomhouse.com. Web: http://www.randomhouse.com. Fantasy, science fiction, and thriller novels.

Barbour Publishing, Paul Muckley, Senior Editor, 1810 Barbour Drive, Uhrichville OH 44683; 800-852-8010. Email: info@barbourbooks.com. Web: http://www.barbourbooks.com. Romance novels.

Barbour Publishing, Rebecca Germany, Managing Editor, P O Box 719, 1810 Barbour Drive, Uhrichville OH 44683; 800-852-8010. Email: info@barbourbooks.com. Web: http://www.barbourbooks.com. Christian nonfiction, fiction, and children's books. Romance novels.

Basic Books, Amy Scheibe, Editor, 10 East 53rd Street, New York NY 10022; 212-207-7600; Fax: 212-207-7703. Web: http://www.basicbooks.com.

Basic Books, Maris Kreizman, Associate Editor, 10 East 53rd Street, New York NY 10022; 212-207-7600; Fax: 212-207-7703. Web: http://www.basicbooks.com.

Frederic C. Beil, Publisher, Mary Ann Bowman, Editor, 609 Whitaker Street, Savannah GA 31401; 912-233-2446; Fax: 912-233-6456. Email: beilbook@beil.com. Web: http://www.beil.com. Literary fiction.

BenBella Books, Leah Wilson, Associate Editor, 6440 N. Central Expressway #508, Dallas TX 75206; 214-750-3600. Web: http://www.benbellabooks.com.

BenBella Books, Mike Resnick, Executive Editor, Science Fiction, 6440 N. Central Expressway #508, Dallas TX 75206; 214-750-3600. Web: http://www.benbellabooks.com.

Berkley, Gail Fortune, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com.

Berkley, Cindy Hwang, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web:http://www.penguinputnam.com.

Berkley, Samantha Mandor, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com.

Berkley, Emily Rapoport, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com.

Berkley, Natalee Rosenstein, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com.

Berkley, Michelle Vega, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com.

Berkley Prime Crime, Kim Waltemyer, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com. Mysteries.

Berkley Prime Crime, Tom Colgan, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com. Mysteries.

Berkley Prime Crime, Sandy Harding, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Web: http://www.penguinputnam.com. Mysteries.

Berkley Sensation, Louisa Edwards, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Email: louisa.edwards@us.penguingroup.com. Web: http://www.penguinputnam.com. Romance novels.

Berkley Sensation, Gina Bernal, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-2385. Email: gina.bernal@us.penguingroup.com. Web: http://www.penguinputnam.com. Romance novels.

Bethany House Publishers, David Long, Editor, 11400 Hampshire Avenue S, Minneapolis MN 55438; Fax: 952-996-1304. Web: http://www.bethanyhouse.com. Religious fiction. ?While we do not accept unsolicited queries or proposals via telephone, mail, or e-mail, we will consider one-page queries sent via fax to 952-996-1304 and directed to Adult Nonfiction, Adult Fiction, or Young Adult/Children.?

BeWrite Books, Neil Marr, Editor, 363 Badminton Road, Nibley, Bristol BS37 5JF, United Kingdom. Email: submissionsbb@bewrite.net. Web: http://www.bewrite.net. Focus: fantasy novels. ?BeWrite Books is a commercial enterprise that will publish novels, short story collections, and poetry depending upon its viability in the market place. Please send a brief introductory email with your details and the title of your novel. Please attach in a Word or RTF doc the following: the synopsis and first chapter, and an inside chapter chosen at random.?

Black Pearl Books, Crystal Parker, Senior Editor, 3653-F Flakes Mill Road, Atlanta GA 30034; 404-277-0790; Fax: 770-987-8834. Email: parker@blackpearlbooks.com. Web: http://www.blackpearlbooks.com. Urban fiction and street literature.

Black Pearl Books, Felicia Hurst, President, 3653-F Flakes Mill Road, Atlanta GA 30034; 404-735-3553; Fax: 770-987-8834. Email: hurst@blackpearlbooks.com. Web: http://www.blackpearlbooks.com. Urban fiction and street literature.

Black Swan, Gail Haslam, Editor, Transworld Publishers, UK. Web: http://www.transworld-publishers.co.uk.

Black Swan, Diana Beaumont, Editor, Transworld Publishers, UK. Email: d.beaumont@transworld-publishers.co.uk. Web: http://www.transworld-publishers.co.uk.

John F. Blair, Publisher, Steve Kirk, Editor, 1406 Plaza Drive SW, Winston-Salem NC 27103; 336-768-1374; 800-222-9796; Fax: 336-768-9194. Email: blairpub@blairpub.com. Web: http://www.blairpub.com.

Bloomsbury USA, Colin Dickerman, Editor, 175 Fifth Avenue #300, New York NY 10010; 212-674-5151; 800-221-7945; Fax: 212-780-0115. Email: colin.dickerman@bloomsburyusa.com. Web: http://www.bloomsburyusa.com. Also acquires for their Tin House imprint.

Bloomsbury USA, Alexandra Pringle, Editor, 175 Fifth Avenue #300, New York NY 10010; 212-674-5151; 800-221-7945; Fax: 212-780-0115. Email: alexandra.pringle@bloomsburyusa.com. Web: http://www.bloomsburyusa.com.

Bloomsbury USA, Gillian Blake, Executive Editor, 175 Fifth Avenue #300, New York NY 10010; 212-674-5151; 800-221-7945; Fax: 212-780-0115. Email: gillian.blake@bloomsburyusa.com. Web: http://www.bloomsburyusa.com.

Bloomsbury USA, Kathryn Belden, Executive Editor, 175 Fifth Avenue #300, New York NY 10010; 212-674-5151; 800-221-7945; Fax: 212-780-0115. Email: kathryn.belden@bloomsburyusa.com. Web: http://www.bloomsburyusa.com.

Bloomsbury USA, Julie Romeis, Editor, 175 Fifth Avenue #300, New York NY 10010; 212-674-5151; 800-221-7945; Fax: 212-780-0115. Web:http://www.bloomsburyusa.com.

Blue Ear, Ethan Casey, Editor. Web: http://www.blueear.com. Online serial novels.

Blue Pearl Press, Christopher Hartman, President, 8950 W Olympic Boulevard #416, Beverly Hills CA 90211; 888-266-5708. Email: christobiz@juno.com. Specialties: health, spirituality, fiction, controversial books.

Bond Street Books, Maya Mavjee, Publisher, Doubleday Canada. A new imprint that will publish fiction and literary nonfiction.

Bridge Works, Barbara Phillips, Editorial Director, P O Box 1798, Bridgehampton NY 11932; 516-537-3418; Fax: 516-537-5092. Email: bap@hamptons.com.

Broadman & Holman Publishers, Karen Ball, Senior Editor of Fiction, One LifeWay Plaza, Nashville TN 37235-0120; 615-251-5751; Fax: 615-251-2701. Web: http://www.broadmanholman.com. Christian publishers. Also known as  B&H Publishing.

Broadway Books, Bill Thomas, Editor-in-Chief, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Broadway Books, Ann Campbell, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. +

Broadway Books, Charlie Conrad, Executive Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Brook Street Press, James Pannell, P O Box 812413, Wellesley MA 02482; 781-237-4342. Email: jpannell@brookstreetpress.com. Web: http://www.brookstreetpress.com. Founded in 2002, Brook Street Press is a small press publisher of literary novels and creative non-fiction. Their first titles appeared in 2003.

Phyllis Bruce Books, Phyllis Bruce, Editor, HarperCanada, c/o 10 East 53rd Street, New York NY 10022; 212-207-7541; Fax: 212-207-6927. Web: http://www.harpercollins.com.

Canongate Books, Jamie Byng, Publisher, 841 Broadway, 4th Floor, New York NY 10003-4704; 212-614-7984; Fax: 212-614-7983. Web: http://www.canongatebooks.com. Literary fiction and international fiction in translation.

Canongate Books, Tad Floridis, Associate Publisher, 841 Broadway, 4th Floor, New York NY 10003-4704; 212-614-7984; Fax: 212-614-7983. Web: http://www.canongatebooks.com. Literary fiction and international fiction in translation.

Jonathan Cape, Dan Franklin, United Kingdom.

Carnegie Mellon University Press, Sharon Dilworth, Editor.

Carroll & Graf, William Strachan, Editor-in-Chief, Avalon Publishing Group, 245 West 17th Street, 11th Floor, New York NY 10011-5300; 646-375-2570; Fax: 646-375-2571. Web: http://www.avalonpub.com.

Carroll & Graf, Tina Pohlman, Editor, Avalon Publishing Group, 245 West 17th Street, 11th Floor, New York NY 10011-5300; 646-375-2570; Fax: 646-375-2571. Web: http://www.avalonpub.com.

Carroll & Graf, Jofie Ferrari-Adler, Editor, Avalon Publishing Group, 245 West 17th Street, 11th Floor, New York NY 10011-5300; 646-375-2570; Fax: 646-375-2571. Web: http://www.avalonpub.com.

Carroll & Graf, Don Weise, Editor, Avalon Publishing Group, 245 West 17th Street, 11th Floor, New York NY 10011-5300; 646-375-2570; Fax: 646-375-2571. Email: don.weise@avalonpub.com. Web: http://www.avalonpub.com.

Center Street, Chris Min Park, Senior Editor, Warner Books, 1271 Avenue of the Americas, New York NY 10020-1300; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Web: http://www.twbookmark.com. Formerly with Rugged Land and ReganBooks.

Centurion Publishers, Robert Luther, P O Box 248, Hazel Green AL 35750 (street address: 272 Approach Lane, Toney AL 35773); 256-508-8533. Email: rnluther@hiwaay.net. Have thus far published two novels, a collection of poetry, and a collection of short stories.

Chatto, Rebecca Carter, United Kingdom.

Chatto, Alison Samuel, Editor, United Kingdom.

Chronicle Books, Jay Schaeffer, Editorial Director, 680 Second Street, San Francisco CA 94107; 415-537-4300; 800-722-6657; Fax: 415-537-3730. Web: http://www.chroniclebooks.com. Mysteries, thrillers, and other fiction.

Coastal Carolina Press, Nicole Smith, Editor, 2231 Wrightsville Avenue, Wilmington NC 28403; 910-362-9298; Fax: 910-362-9497. Email: nsmith@coastalcarolinapress.org. Web: http://www.coastalcarolinapress.org. Regional fiction and nonfiction.

Coffee House Press, Chris Fischbach, Senior Editor, 27 N Fourth Street #400, Minneapolis MN 55401; 612-338-0125. Allan Kornblum, Publisher. Literary fiction.

Counterpoint Press, David Shoemaker, Editor, Perseus Book Group, 387 Park Avenue South, New York NY 10016; 212-340-8100; Fax: 212-340-8105. Web: http://www.counterpointpress.com.

Counterpoint Press, Megan Hustad, Editor, Perseus Book Group, 387 Park Avenue South, New York NY 10016; 212-340-8100; Fax: 212-340-8105. Web: http://www.counterpointpress.com.

Crown, Christopher  ?Chris? Jackson, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Crown, Kristin Kiser, Editorial Director, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Crown, Becky Cabaza, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Crown, Allison McCabe, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Had also bought first novels when she was at Berkley.

Dafina Books, Selena James, Executive Editor, Kensington Books, 830 3rd Avenue, 16th Floor, New York NY 10022-6222; 212-407-1500; Fax: 212-407-1589. Web: http://www.kensingtonbooks.com. African-American fiction and nonfiction.

Dafina Books, Rakia Clark, Editor, Kensington Books, 830 3rd Avenue, 16th Floor, New York NY 10022-6222; 212-407-1500; Fax: 212-407-1589. Web: http://www.kensingtonbooks.com. African-American fiction and nonfiction.

DAW Books, Betsy Wollheim, Editor-in-Chief, 375 Hudson Street, 3rd Floor, New York NY 10014-3658; 212-366-2000; 800-631-8571. Web http://www.dawbooks.com or http://www.penguinputnam.com. Science fiction and fantasy novels.

DAW Books, Sheila Gilbert, Co-Publisher, 375 Hudson Street, 3rd Floor, New York NY 10014-3658; 212-366-2000; 800-631-8571. Web: http://www.dawbooks.com or http://www.penguinputnam.com. Science fiction and fantasy novels.

DAW Books, Peter Stamfel, Submissions Editor, 375 Hudson Street, 3rd Floor, New York NY 10014-3658; 212-366-2000; 800-631-8571. Email: daw@penguinputnam.com. Web: http://www.dawbooks.com or http://www.penguinputnam.com. Science fiction and fantasy novels.

Del Rey, Steve Saffel, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Science fiction and fantasy novels.

Del Rey, Betsy Mitchell, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Science fiction and fantasy novels.

Del Rey, Chris Schluep, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Thrillers.

Delacorte, Jennifer Wingertzahn, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Delacorte, William Massey, Senior Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Delacorte, Danielle Perez, Senior Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Delacorte, Marissa Walsh, Senior Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Delacorte, Jacqueline ?Jackie? Cantor, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Also buys for Bantam Dell.

Dial Press, Susan Kamil, Editorial Director, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Dorchester Publishing, Chris Keeslar, Senior Editor, Love Spell, 200 Madison Avenue #2000, New York NY 10016. Email: dorchpub@dorchesterpub.com or admin@smoochya.com. Web: http://www.dorchesterpub.com. Romances.

Dorchester Publishing, Kate Seaver, Editor, 200 Madison Avenue #2000, New York NY 10016. Email: dorchpub@dorchesterpub.com. Web: http://www.smoochya.com. Also edits Smooch line of chick lit for teens.

Doubleday, Steve Rubin, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Julie Grau, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Cindy Spiegel, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. When at Riverhead, she paid $650,000 for a two-book deal for blogger Dana Vachon's first novel Mergers & Acquisitions.

Doubleday, Kendra Harpster, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Email: kharpster@randomhouse.com. Web: http://www.randomhouse.com.

Doubleday, Stacy Creamer, Executive Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Jason Kaufman, Executive Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Bill Barrie, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Trace Murphy, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Gerald ?Gerry? Howard, Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Also buys for Broadway Books.

Doubleday, Anne L. Merrow, Assistant Editor, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com. Specializes in narrative nonfiction and fiction that appeals to women.

Doubleday, Nan Talese, Editor, Nan A. Talese, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Coates Bateman, Editor, Nan A. Talese, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Doubleday, Lorna Owen, Editor, Nan A. Talese, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.randomhouse.com.

Downtown Press, Lauren McKenna, Editor, Pocket Books, 1230 Avenue of the Americas, New York NY 10020-1513. Web: http://www.simonandschuster.com or http://www.simonsays.com. The new chick lit line for Pocket Books.

Downtown Press, Amy Pierpont, Editor, Pocket Books, 1230 Avenue of the Americas, New York NY 10020-1513. Web: http://www.simonandschuster.com or http://www.simonsays.com. The new chick lit line for Pocket Books.

Downtown Press, Tara Parsons, Editor, Pocket Books, 1230 Avenue of the Americas, New York NY 10020-1513. Web: http://www.simonandschuster.com or http://www.simonsays.com. The new chick lit line for Pocket Books.

Drake Valley Press, Patricia Terrell, Editor. Email: pmterrell@drakevalleypress.com. Web: http://www.drakevalleypress.com.

Dutton, Carole Baron, President, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-3393. Web: http://www.penguinputnam.com.

Dutton, Brian Tart, Editor-in-Chief, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-3393. Web: http://www.penguinputnam.com.

Dutton, Laurie Chittenden, Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-3393. Web: http://www.penguinputnam.com.

Dutton, Ben Sevier, Senior Editor, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-3393. Web: http://www.penguinputnam.com. Formerly with St. Martin's/Minotaur. Focus: thrillers.

Ecco, Daniel Halpern, Editor, HarperCollins, 10 East 53rd Street, New York NY 10022; 212-207-7541; Fax: 212-207-6927. Web: http://www.harpercollins.com.

Ecco, Julia Serebrinsky, Editor, HarperCollins, 10 East 53rd Street, New York NY 10022; 212-207-7541; Fax: 212-207-6927. Web: http://www.harpercollins.com.

Edge Science Fiction and Fantasy Publishing, Brian Hades, Editor, P O Box 1714, Calgary AB, T2P 2L7 Canada; 403-254-0160; Fax: 403-254-0456. Web: http://www.edgewebsite.com. Science fiction and fantasy. Also includes Tesseract Books. Both are imprints of Hades Publications.

Amy Einhorn Books, Amy Einhorn, Publisher, Putnam, 375 Hudson Street, New York NY 10014; 212-366-2000; Fax: 212-366-3393. Web: http://www.penguinputnam.com.

Eos, Diana Gill, Senior Editor, 10 East 53rd Street, New York NY 10022; 212-207-7250; 800-242-7737; Fax: 212-207-6998. Web: http://www.harpercollins.com. Science fiction and fantasy.

Faber and Faber, Hannah Griffiths, Editor, London, England. Web: http://www.faber.co.uk.

Faber and Faber, Lee Brackstone, Editor, London, England. Email: leeb@faber.co.uk. Web: http://www.faber.co.uk.

Farrar Straus & Giroux, John Glusman, Editor-in-Chief, 19 Union Square West, New York NY 10003; 888-330 VHPS. Web: http://www.fsgbooks.com.

Farrar Straus & Giroux, Lorin Stein, Editor, 19 Union Square West, New York NY 10003; 888-330 VHPS. Web: http://www.fsgbooks.com.

Farrar, Straus & Giroux is leaving Union Square and heading a few blocks west to 18 West 18th Street. The move is planned for the end of 2007 around the Christmas holidays.

Farrar Straus & Giroux, Ayesha Pande, Editor, 19 Union Square West, New York NY 10003; 888-330 VHPS. Web: http://www.fsgbooks.com.

Farrar Straus & Giroux, Courtney Hodell, Editor, 19 Union Square West, New York NY 10003; 888-330 VHPS. Web: http://www.fsgbooks.com.

Five Star, Ed Gorman, Editor.

Forge, Natalia Aponte, Editor, 175 Fifth Avenue, New York NY 10010; 212-388-0100; Fax: 212-388-1091. Web: http://www.tor.com. Thrillers, a specialty.

Forge, Bob Gleason, Editor, 175 Fifth Avenue, New York NY 10010; 212-388-0100; Fax: 212-388-1091. Web: http://www.tor.com.

Forge, Moshe Feder, Editor, 175 Fifth Avenue, New York NY 10010; 212-388-0100; Fax: 212-388-1091. Web: http://www.tor.com.

Fourth Estate, Clare Reihill, Editor, London, United Kingdom.

The Free Press, Leslie Meredith, Editor, 1230 Avenue of the Americas, New York NY 10020. Web: http://www.simonsays.com.

The Free Press, Maris Kreizman, Editor, 1230 Avenue of the Americas, New York NY 10020. Web: http://www.simonsays.com.

The Free Press, Amber Qureshi, Editor, 1230 Avenue of the Americas, New York NY 10020. Web: http://www.simonsays.com.

Genesis Press, Niani Colom, Publisher, Obsidian Imprint, 315 Third Avenue N, Columbus MS 39701-3914; 662-329-9927; Fax: 662-329-9399. Web: http://www.genesis-press.com. African-American novels.

Ghost Road Publishing Group, Sonya Unrein, Editor, 5303 E Evans Avenue #309, Denver CO 80222; 303-758-7623. Email: sonya.unrein@gmail.com. Web: http://www.ghostroadpress.com. Literary press focusing on poetry, fiction, and creative nonfiction.

David R. Godine, Publisher, Elsbeth Lindner, Editor, 9 Hamilton Place, Boston MA 02108; 617-451-9600; Fax: 617-350-0250. Email: elsbeth.lindner@attbi.com. Web: http://www.godine.com.

Grand Central Publishing, Jaime Levine, Editorial Director, Orbit, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Science fiction and fantasy. Formerly Warner Books.

Grand Central Publishing, Sandra Bark, Editor, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Email: sandra.bark@twbg.com. Formerly Warner Books.

Grand Central Publishing, Jason Pinter, Editor, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Email: jason.pinter@twbg.com. Formerly Warner Books.

Grand Central Publishing, Mitch Hoffman, Editor, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Formerly Warner Books.

Grand Central Publishing, Karen Thomas, Editor, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Formerly Warner Books.

Grand Central Publishing, Devi Pillai, Editor, Forever, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Romance novels. Formerly Warner Books.

Grand Central Publishing, Beth de Guzman, Mass Market Editorial Director, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Formerly Warner Books.

Grand Central Publishing, Melanie Murray, Editor, 5 Spot, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Email: melanie.murray@twbg.com. Formerly Warner Books.

Grand Central Publishing, Jonathan Karp, Editor-in-Chief, 237 Park Avenue, New York NY 10017; 212-522-7200; 800-759-0190; Fax: 212-522-7991. Formerly Warner Books.

Graywolf Press, Anne Czarniecki, Exeuctive Editor, 2402 University Avenue #203, St. Paul MN 55114; 612-641-0077; Fax: 612-641-0036. Email: wolves@graywolfpress.org. Web: http://www.graywolfpress.org.

Graywolf Press, Fiona McCrae, Editor, 2402 University Avenue #203, St. Paul MN 55114; 612-641-0077; Fax: 612-641-0036. Email: wolves@graywolfpress.org. Web: http://www.graywolfpress.org.

Graywolf Press, Ethan Nosowsky, Editor-at-Large, 2402 University Avenue #203, St. Paul MN 55114; 612-641-0077; Fax: 612-641-0036. Email: wolves@graywolfpress.org. Web: http://www.graywolfpress.org. Literary fiction and nonfiction.

Grove Atlantic, Morgan Entrekin, Editor, 841 Broadway, 4th Floor, New York NY 10003; 212-614-7850; 800-521-0178; Fax: 212-614-7886. Web: http://www.groveatlantic.com.

Grove Atlantic, Elisabeth Schmitz, Editor, 841 Broadway, 4th Floor, New York NY 10003; 212-614-7850; 800-521-0178; Fax: 212-614-7886. Web: http://www.groveatlantic.com.

Grove Atlantic/Black Cat, Amy Hundley, Editor, 841 Broadway, 4th Floor, New York NY 10003; 212-614-7850; 800-521-0178; Fax: 212-614-7886. Web: http://www.groveatlantic.com.

Literary, Subsidiary, & Foreign Rights Agents ? This Word report includes more than 1,375 literary agents, including more than 350 agents who have sold a first novel, 375 agents that sell foreign rights, and 50 or so that handle subsidiary rights sales. This report also includes a sample foreign rights contract. $30.00.

Harcourt, Ann Patty, Executive Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Web: http://www.harcourtbooks.com.

Harcourt, Tim Bent, Senior Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Web: http://www.harcourtbooks.com. Formerly an editor at St. Martins Press.

Harcourt, Andrea Schulz, Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Web: http://www.harcourtbooks.com.

Harcourt, Jenna Johnson, Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Web: http://www.harcourtbooks.com.

Harcourt, Jennifer Charat, Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Web: http://www.harcourtbooks.com.

Harcourt, Tina Pohlman, Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Email: tpohlman@harcourt.com. Web: http://www.harcourtbooks.com.

Harcourt, Kati Steele Hesford, Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Email: khesford@harcourt.com. Web: http://www.harcourtbooks.com.

Harcourt Graphia, Eden Edwards, Editor, 15 East 26th Street, New York NY 10010; 212-592-1000; Fax: 212-592-1010. Web: http://www.harcourtbooks.com.

Harcourt UK, Kent Wolf, Editor. Email: kwolf@harcourt.com.

Harlem Moon, Janet Hill, Executive Editor, Doubleday, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Web: http://www.harlemmoon.com. African-American novels.

Harlequin, Tara Gavin, Editorial Director, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Oversees the Harlequin, Silhouette, and Steeple Hill imprints.

Harlequin, Marsha Zinberg, Senior Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Romance novels.

Harlequin, Melissa Jeglinski, Associate Senior Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Romance novels.

Harlequin, Wanda Ottewell, Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Romance novels.

Harlequin American, Beverley Sotolov, Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Romance novels.

Harlequin Blaze, Brenda Chin, Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Romance novels.

Harlequin Bombshell, Natashya Wilson, Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Also Silhouette Bombshell. Romance novels.

Harlequin Historicals, Ann Leslie Tuttle, Editor, 300 East 42nd Street, 6th Floor, New York NY 10017. Web: http://www.eharlequin.com. Romance novels.

Harmony, Shaye Areheart, Publisher, Shaye Areheart Books, 1540 Broadway, New York NY 10036; 212-782-9000; Fax: 212-302-7985. Email: sareheart@randomhouse.com. Web: http://www.randomhouse.com.

THE FICTION DICTIONARY
By Laurie Henry
Story Press, Cincinnati, Ohio, 1995, 325pp.

A good knowledge of the terminology used to describe fiction is a must for well-informed writers.
The Fiction Dictionary  gives you a comprehensive "writer's" dictionary that teaches as well as defines and points out well-chosen examples.

*************************

THE WRITER'S GUIDE TO CHARACTER TRAITS
By Linda N. Edelstein, Ph.D.
Writer's Digest Books, Cincinnati, Ohio, 1999, 331pp.

This book examines dozens of personality types, revealing the motivations and influences behind a range of behaviors. Hundreds of quick-reference lists, charts and case scenarios supply the psychological bacground you need to make your characters believable and engaging.

**************************************

CREATING CHARACTERS: How to Build Story People
By Dwight V. Swain
Writer's Digest Books, Cincinnati, Ohio, 1990, 197pp.

(If I have ever loved any book, it is this one. I learned more about writing from this book than any I've read. If you buy this book, I promise you will not be disappointed.)

This is the most helpful writer's book I've ever read. It is so well written, it reads almost like a novel while giving the reader one of the most comprehensive study courses there is on how to make your characters so believable that they come alive on the printed page. I highly reccommend this book to anyone who writes or wishes to start writing.

*******************************

Keep checking back.  I will add other favorite Writer's Informational books later.

Advice for New Writers

By Aaron Paul Lazar

May 7, 2005

   With the advent of email communications in the workplace, it?s not uncommon to exchange dozens of messages daily.  Sometimes, I sense a writer?s ?voice? in such messages.  Occasionally, I ask the sender if they?ve done any writing.  A year ago, a colleague answered, ?I loved to write in high school, but I just don?t have time anymore!?  She was extraordinarily busy, mothering an active two-year-old, commuting over an hour a day, managing the house, and holding a full-time managerial job.  In spite of the fact that I knew she was overloaded, I sensed a unique talent in her words and didn?t hesitate to encourage her.

   ?Just write,? I said, ?take fifteen minutes at lunch each day.  Just do it.?

   ?But what would I write about?? she asked, ?I have no idea where to start!?

   ?Just start.  Once you get going, it will just flow out of you.  You don?t need a plan.  Just do it.?

   She wrote during a break the next day, and sent me three paragraphs.  It was lovely.  I encouraged her to continue and we began to exchange writing daily.   Six months later, she had completed the manuscript for her first novel, a historical time-travel piece.  She?s submitting it for publishing as I write this.

Suggestion one:  Just write.  Write for a few minutes every day.  If your passion for writing is real, you?ll find that you can?t stop!  You?ll find a way to make it happen.  I schedule very early mornings for writing, from 4:00 to 6:00 AM.  It?s the only quiet time in my hectic life and I couldn?t accept spending less time with my wife, daughters, or grandsons.  So, I go to bed early and forget about TV.  What?s more important?  In doing so, I?ve produced eight novels in a bit over four years. 

Suggestion two:  Cut out the flowery stuff.  I adore adjectives and adverbs, and I ache to describe scenes in lush detail.  But in the end, I hack away at all the excess.  If you read a line out loud and it feels stilted ? stop!  Take out all the extra words that slow you down, and just tell the story.  Use the descriptors sparingly.  I?ve found that after writing eight books, my style has become simpler and more streamlined.  I?m going back now and red-lining much of the early work before it reaches the bookstores.  It hurts like hell to do it, but it?s absolutely necessary. 

Suggestion three:  Observe, observe, observe!  Soak in every tiny detail that surrounds you.  Colors, textures, sensations, expressions, birdsongs, sunlight, and the ground you walk on... notice everything, and brand it into your brain for that next chapter you?re going to write.

Suggestion four:  Listen to the voices!  Listen to the grocery clerk, the bank teller, children at play, professors, grandparents, and neighbors... listen!  You?ll never create natural dialogue without listening  - hard! 

Suggestion five:  Tap into your emotions.  When someone close to you dies, it?s an overwhelming, dreadful experience.  But, the same emotions that flatten you at that time will be indispensable when you write about loss.  Recreating the deep-seated feelings will make your book come alive and ring true with readers.

Suggestion six:  Make your characters feel deeply and give them a rich history.  This takes time and is particularly important if you?re writing a series.  If readers don?t care about the characters, they won?t come back for more.  Don?t worry about defining them in detail in the beginning ? just start writing and they will develop.  You can always go back and add more detail that supports your character?s growth.

Suggestion seven:  Perfection comes later.  Just get it out there, get it down on paper.  Then, when you go back to it, hack away at the unnecessary prepositional phrases and the ungainly adverbs, extract those awkward scenes that stand out like sore thumbs, and supplement those that seem abrupt.  Then, set it aside for a while.  After I?ve completed a novel, I put it down and start on the next one.  Many months later, I?ll come back to it.  It?s best if I don?t remember much (I?m often surprised at how much I?ve forgotten!) as that?s when one is in the best position to challenge one?s own work.  Sometimes I?ll be surprised at an unusually eloquent passage, or humiliated by a flimsy section through which I obviously rushed.  That?s the time to roll up your sleeves and be ruthless!  Cut out the excess and fortify the weak!

Suggestion eight:  Find a skillful editor.  I?ve been lucky.  I have writer/reader friends with eagle eyes who will scour my manuscripts and be brutal where necessary.  Try to find one person who is willing to follow along with the book as you create it. That?s the best way to start.  Share this service.  Swap chapters as soon as they?re done.  That?s what I do with my friend, Jeanne.  She is a talented writer and a superb editor.  She catches things I?d never notice, and I do the same for her.  We aren?t shy about helping ? if a passage sounds stilted, she tells me immediately!  If I want to ?see? more of the details in a scene, I ask her to elaborate.  It works extremely well.  Then, when the book is in a reasonable shape, I send it to my friend, Ray, who is a fine author in his own right.  He goes through with a fine-toothed comb and imparts writing gems in the process.  I call him, ?The Master!?

If it weren?t for them, my books would stink.  Well, maybe that?s a little extreme, but I?ve learned so much from them that the finished manuscripts read more smoothly and are of higher quality.  I also have an ?inner circle? of readers who?ve traveled with me through the series far in advance of publishing.  They keep me honest and provide feedback about the characters that they?d come to love. 

Suggestion nine:  Maintain the tension.  You want your readers to need to read more.  Keep up the pace.  Make it flow seamlessly from chapter to chapter.  And try to avoid unnecessary excursions into boring territory.  I use lots of dialogue; it moves the book along quickly.  Short chapters also help the reader feel as if he?s made progress.  Readers say that with short chapters they?re more apt to think,  ?Just one more chapter before I go to bed.?  Of course, if the tension and suspense are stimulating, your poor readers will stay up way past bedtime! 

Suggestion ten:  Polish it ?til it shines.  Don?t send in anything but your best work, buffed to perfection.  You may have to go through it dozens of times, but it?s worth it.  Have your friends and family do the same.  Each time they scour through it, they?ll find something new.  It seems endless.  But if you keep at it, you will produce a superior product.

Writing the Perfect Press Release

http://www.writing-world.com/promotion/release.shtml

by Maggie Frisch

A press release can be one of your best promotional tools. Local media are always interested in interesting stories that come "pre-written" -- and that, in a nutshell, is what a press release is all about. Most press releases, however, end up in the round file, because they don't meet a paper's basic needs or requirements. Here are some tips that will help route your release to the reader rather than the trash can:

1. Most important: A press release must be NEWS. A chatty letter of introduction is not news. If what you have to say isn't news, then dress it up to LOOK and SOUND like news. You're a writer -- be creative.

2. Play up the local aspect if you're sending the press release to local media. Features departments are always looking for slice-of-life articles about the hometown gal or guy. That's you, the local author.

3. Make it urgent. Put a date on it and in big letters across the top: FOR IMMEDIATE RELEASE. Write as though something newsworthy has just happened or is happening now, and must be reported immediately.

4. Create community value. Your news should not only be interesting but also helpful to the newspaper's readers. Offer important information, offer free advice, offer a sample. Help the newspaper be a valuable resource to its readers.

5. Find an angle. Don't simply announce, introduce, or describe. Take the basics of what you want to say and present it with an unusual slant. Create an appealing story.

6. Compose a grabber headline, not just "Announcing" or "Introducing." What will command the editors' attention? They're hungry for local, urgent, valuable news, remember? Be dramatic.

7. Boil down your basics into ONE PARAGRAPH (about ten lines). You don't need to tell the whole story now; your goal is to get an interview. That's when you can elaborate.

8. Compose a simple cover note that an editor can scan quickly. Four sentences will do. "Please consider a story on __________. Your readers will find this valuable because ___________. Contact me for an interview at _____________. Press release enclosed." This format may sound abrupt, but editors don't have time to read long cover letters.

9. Don't mail -- FAX! Faxes have a certain urgency, and short ones with simple formats just beg to be read right away. What about the enclosures, the samples, the bios? They wind up in the garbage anyway, so don't waste your printing and postage. Send additional material only upon request.

10. Don't send the press release/fax to a particular editor or department, despite some of the traditional advice you may have heard. Simply address: "TO: EDITOR" and your fax will be directed to the proper person and department. If you address it to a specific person, chances are you'll be sending your press release in the wrong direction. I had been -- business editors didn't care about my little enterprise, but the Local Happenings Department did. Your cover note should read in its entirety:

TO: Editor
FROM: Your name
TOTAL PAGES: 2

11. Quote yourself. Come up with one or two meaty lines and attribute them to yourself. This gives the copy a more human touch and a more objective feel, as though written by someone else. (Your press release should be written in the third person in any case, rather than in first-person.)

When you write a press release, remember that you aren't submitting an article for publication. A press release is not copyrighted; it is, by definition, "for public release" -- and is therefore considered in the public domain. Don't be surprised, therefore, if your release shows up, verbatim, under someone else's byline; that's completely legitimate and not an infringement. And it actually works better for you: It conveys the impression that a reporter considered you newsworthy enough to write a story about you, even if you wrote every word yourself! What the reader doesn't know won't hurt you -- and may sell yet another book.

For more information:

Seven Steps to a Great Press Release, by Elizabeth Hanes
http://www.writing-world.com/promotion/hanes.shtml

Developing a Press Release, by Bev Walton-Porter
http://www.suite101.com/article.cfm/1639/65471

How to write and promote a killer press release
http://www.webmastercourse.com/articles/killer-press-release/

How to Write a Press Release
http://www.send2press.com/articles/cs-howto.shtml

Useful instructions, plus an example of a release.

How to Write a Press Release
http://www.news-pro.com/PRtemplate.htm

Press-Release-Writing.com
http://www.press-release-writing.com

PRWeb Public Relations
http://www.prweb.com/industry.asp?prcatid=035

Sample press releases from the publishing industry.

A terrific cover letter never sold a bad manuscript, and many lovely books have sold in spite of their cover letters.

So what is a good cover letter? First it is a courtesy. As an editor, I did find submissions that lacked a cover letter a bit rude, like a phone caller who doesn't bother saying hello or identifying themselves before launching into the conversation. Like any business letter, it should include your name and address. The text should have the title of your manuscript and what type of book -- picture book, easy-to-read, nonfiction, etc. It should be simple and direct and signed. That's it.

Sample Cover Letter Enclosed

Dear Editor:

Harper Collins has a proud history of publishing quality fiction and I am submitting my middle-grade novel, Maniac Magee for your consideration.

The history of a kid is one part fact, two parts legend and three parts snowball. * Maniac Magee performs legendary feats in Two Mills, Pennsylvania, from hitting a home-run bunt on a frog-ball to bringing kids together from both sides of the tracks. But most of all it is the story of boy looking for his true home.

Thank you for your time and attention.

Sincerely,

A Writer

SASE enclosed

*From Maniac Magee by Jerry Spinelli, copyright 1990.

Sometimes including an excerpt from the manuscript can be a good approach--for example the beginning paragraph if you have a good hook.

Source: http://www.underdown.org/covlettr.htm

Writing a Query Letter: Use a Template
http://www.right-writing.com/nationals.html

Four-paragraph format.

1. The lead, designed to catch the editor's attention;
2. The "why-write-it" paragraph, where I briefly explain the appeal of the story;
3. The "nuts-and-bolts" paragraph where I include information about who I plan to interview, suggested word count, appropriate section of the magazine, possible sidebars, and the like;
4. The "I-am-so-great" paragraph, where I demonstrate why I should write the piece. Strut your Stuff. Remember the I-am-so-great paragraph? Think like a two-year-old. Highlight your relevant writing experience and demonstrate to the editor that you are "uniquely qualified" to write this article.
   
   

Using a template saves time and reminds you to include all the necessary elements in each query you write.

If you're pitching a gardening piece and grow award-winning cucumbers, mention that. If you want to write a piece on parenting and are the dad of triplets, include that. If you have easy access to your story subject, let the editor know. You want her to read your query and think, "Wow--I may not know this person, but the writer sounds like just the person to write this piece for me!" Keep that in mind as you write your query.

http://www.selfpublishebooks.com/book-marketing.html

Book Marketing

Whether your book is self-published or published by a major publisher, take charge of book marketing by following the five tips below. Even if your book has been picked up by a major publishing house, they may do little in terms of book promotion. You have poured your heart and soul into your book, so don't drop the ball when it comes to publicity.

Five Book Marketing and Book Promotion Tips:

1. Search online for newsletters and web sites that address the target audience for your book. Contact the publisher of the newsletter or owner of the web site and send them a press release about your book. Some web site owners may be willing to consider your book for review. Rather than just sending them your book, contact them first to verify their mailing address. If your book is an ebook, offer them a complimentary download in exchange for a book review.

2. Find newsgroups that cater to your target audience and use your book marketing skills to let them know about your book by answering their questions and then posting information about your book as part of your signature line. Do not post a blatant ad about your book. Be helpful rather than solicitous.

3. Although it may be expensive to do book marketing in the offline world, the online world is full of opportunites. Many of today's bestselling authors first garnered notice in the online world by achieving success on Amazon. Do all you can to achieve this by promoting your book page on Amazon.

4. Kick off your online publicity by getting friends and family to read your book. ask them to spread the word. Have them select ten people from their email address book--friends, family or acquaintances--and send them a short email about your book.

5. Create excerpts of your book and submit them for publication in online newsletters. Make sure to include an author profile at the end that tells readers where they can purchase your book online.

Now that your book is written, turn your attention to book marketing and promotion. Read about book promotion products and services that have helped me to sell my book. Resolve to do a little every day. Each day, contact two publishers of online newsletters or post an answer to someone's question in an online forum making sure to include your book title and where it can be purchased online in your signature line. Whatever you do, commit to doing book marketing for at least two years after your book comes off the press. After pouring your heart and soul into your book, make a commitment to doing the same with book promotion.

Writing & Publishing Tips: How to Get a Top Literary Agent & Sign That Coveted Six-Figure Deal
By Susan Harrow

Top literary agents get about 400-1,000 unsolicited queries every month from hopeful book authors. Publishing houses sometimes juggle 5,000. Most of my private clients and participants in my seminar "How to Get a Six-Figure Book Advance" ask me, "How is an author supposed to get an agent's attention when there is so much competition?"

First of all, don't write a book-- write a book proposal. Publishers buy ideas, not books. To capture a reputable literary agent's attention, you'll need to show that you're a media star, or a star in the making. Good writing can be bought but star power can't.

Here are five more tips to landing a top literary agent and a six-figure advance:

1. Do your research.
 
Literary agents specialize in very specific interests. For example, my agent loves tearjerkers but won't take on books that involve children in peril. You want an agent who has represented books similar to yours, who sells books on a regular basis, who is devoted to you, and has the time to give you a little guidance through the literary labyrinth.

Sometimes a newer, less experienced literary agent who is hungry for business is more dedicated and has more time to spend with you than an established one with a reputable cadre of authors. I recommend two ways to find the literary agent right for you:

- Look in the acknowledgements of books similar to your topic. A happy author always thanks his literary agent. Once you've located your ideal agents, become familiar with their tastes, learn everything you can about their interests, pet peeves, and preferences, and review their websites for submission guidelines. Show that knowledge in your query letter or initial phone conversation.

- Read Publisher's Weekly, Publisher's Lunch, and Variety to see who sold what and for how much. You will get a sense of an agent's sensibility and be able to speak knowledgeably about the types of books they prefer when you know what's happening in the industry in general and in your area of expertise in particular. You'll know more than most people who submit proposals as you'll be apprised of books that aren't even published yet and movie deals in the making. And you'll get a sense of market trends.

2. Write a book proposal that reads like a thriller.

After you've located the agents you want to approach, the next step is to complete your book proposal. Once interested by your call or query letter, the very best literary agents move at hyper-speed. They'll want to see your book proposal-- now. They'll either ask you to Fed Ex or e-mail it.

There is a real art to writing a best-selling book proposal that makes the literary agent you've chosen say, "I want this person as a client." To make your book proposal read in one sitting, you'll want to write in short paragraphs with strong headlines. Be sure to give the chosen agent an immediate impression of how your book will read by writing the proposal in the same style as your book.

Find unusual, quirky, provocative tidbits about your subject that will entice the literary agent to say, "Wow, I never knew this." Imagine the kind of tips that a terrific magazine article would include. When an editor at a top New York publishing house is reading your book proposal she is thinking, what kind of media exposure will we be able to get for this book? Can we get magazine feature articles, newspaper pieces, radio shows? Will the subject matter and the author interest the producers of "Good Morning America," "The Today Show," CNN, or "Oprah"?

3. Prove you have a platform.

The one thing that thrills a New York publisher the most is your platform. Your platform is simply your reach. How many people are influenced by your ideas worldwide? To simplify this even further, a publisher wants to know one thing and one thing only (once they are interested in the subject matter of your book), and that is? how many books are you going to sell and to whom. You'll need to demonstrate that you're a great media guest, that you have an audience eager to snap up your books, and that you have a proven track record for selling your books or wares.

4. Reveal how your past performance predicts future behavior.

Map out each venue and determine how many people are in attendance and how many of those people will buy your book. Include workshops, seminars, fairs, media appearances, book signings, keynotes, teleseminars, webinars, events, newsletter lists, blogs, partnerships, etc. Quantify everything in great detail. Estimate and base potential sales on past sales you've completed.

5. Show you are the one.

Show that there is a clear need for your book and that you are the only one who can write it. In other words, what problems are you solving and why are you the undisputed expert? What gap in the market are you filling? One of my clients whose topic was about how to be the very best at what you do and who you are, had a black belt, was a concert violinist, and had given seminars at The White House. She walked her talk, and lived her words. You need to have top-notch skills in order to gain the interest of a high caliber literary agent.

Follow these tips, and you can land a top literary agent and a six-figure deal. I hope to see your name on the New York Times best-seller list!

Media coach & marketing strategist, Susan Harrow, can help you get paid $100,000 or more for your book. For over 17 years, she has helped speakers, authors and entrepreneurs get 6-figure book advances. In her book, Get a Six Figure Book Advance, Susan explains the 15 steps to making big money on your next book proposal. Buy it now and receive $450 worth of free bonuses at: http://prsecretstore.com/sixfigurebookproposaljanal.html.

Naturally, as I grow older, I worry about memory decline.  Thus, this article grabbed my attention. As interesting as it is, I found the memory test even more interesting.  I admit that I was pleased that I did well on it. Give it a try.  I think you'll find it interesting.  

www.nationalmemorytest.net.au

CANBERRA (Reuters) - Turning off the television, picking up a crossword and eating more fish could be the key to a better memory, an Australian survey has found.

Results of the on-line survey of almost 30,000 people, conducted as part of Australia's science week, also found people who read fiction had better memories than those who don't, while heavy drinkers found it more difficult to recall names.

But neuro-psychologist Nancy Pachana said television was not necessarily bad for memory, with wider health and diet and an active lifestyle more crucial to a good memory.

"Your memory is dependent on good health and good mental health," Pachana, from the University of Queensland's school of psychology, told Reuters Monday.

Dubbed the National Memory Test, the quiz attracted 29,500 people who were tested on tasks such as remembering a shopping list, recalling names, faces and occupations, long-term recall and spotting differences between two photographs.

Those who took part in the test were asked to fill in a survey on a range of habits, such as alcohol consumption, television viewing and reading habits.

The results found no differences between men and women, with the same scores for both groups on all the tasks. But it found television viewing had the main impact on results.

"Turn off the box, or at least don't view too much of it," the survey results said, adding those who watched less than one hour a day performed better at all memory tasks."

Those who drank less than two alcoholic drinks a day performed better at all memory tasks.

People who did crosswords were better at remembering shopping lists and recalling names, while eating fish once a week improved the ability to remember shopping lists.

However, it cautioned that while the test can give people an indication of their memory, the results have not been tested for statistical significance, and the internet survey meant it was possible that people could have cheated or lied.

Pachana said having an active mind was important for memory, and some television programs could be good for helping to improve the memory.

"TV can be a really passive activity, while reading is active, and any active activity is better," she said, adding TV quiz shows and news programs could be good for the mind.

"So TV is not all that bad. It just might be taking time away from doing something that is a bit more active for the mind."

She said health issues such as depression, obesity, lack of sleep and being stressed or worried could have an impact on a person's performance in a memory test.

The test is available on-line at www.nationalmemorytest.net.au.