Writing Resources, Publishing Tips and Writing Competitions for Creative Writers in the United Kingdom

Advanced Creative Writing 

This rough guide is a starting point for your research into the thousands of writing resources and publishing opportunities for creative writing in the UK. It is by no means complete.
We have compiled this list using content from dozens of websites. While we add to the list as far as we can, websites come and go, and we apologise for links that no longer work.
If you uncover interesting information that you think belongs in this document, feel free to let us know.


  1. Funding for writers
  2. Short Story Opportunities
  3. Flash fiction
  4. Novel Writing Opportunities
  5. Self-publishing
  6. Poetry Opportunities
  7. Scriptwriting Opportunities
  8. Writing Circles
  9. Film Festivals
  10. Links of literary note

  1. Funding for writers

Local funding for writing projects is available through The Regional Arts Boards: http://www.artscouncil.org.uk/. Click on this link to see the hundreds of projects they finance: http://www.artscouncil.org.uk/funding/apply-for-funding/national-portfolio-organisations-map/

Find out about Arts Council England in your region:
  1. Short Story Opportunities

A high-quality site featuring original stories interlaced with classic shorts. This site also has the liveliest and best short story forum on the Internet. They are very choosy and only use pieces they consider have merit, so getting on there is pretty good.
Big Bridge - www.bigbridge.org
A webzine of fiction, poetry, art and non-fiction. They were established in 1997 and maintain a reputation as one of the most visited English literary webzines. Big Bridge is named after its driving principle of building “bridges” between artistic communities so they come together to create new ideas. Big Bridge only accepts online submissions.
Here are website addresses for several more. All of them provide guidelines for contributors, all worth a try.
The Antigonish Review
Birds By My Window
Essays & Fictions
Every Day Fiction
Fantasy & Science Fiction
The First Line
Flash Fiction Online
Flash Fiction Magazine
Futures Mystery Anthology Magazine
Indiana Review
The Kenyon Review
Lady Churchill’s Rosebud Wristlet
Nano fiction
Pedestal Magazine
The Southern Review
Shroud Magazine
The Sun Magazine
Underground Voices
UK Short Story Competitions
An excellent website to find competitions is: http://www.theshortstory.org.uk/prizes/
Another excellent site is run by WriteLink. They list many writing competitions and for some, there is no entry fee. Website address: http://www.writelink.co.uk
The Jacquie Bennett Writers Bureau is another reputable site that runs quarterly competitions. Jacquie Bennett is an agent and offers professional criticism of books, writing courses etc. and her competitions, which don’t offer huge prizes, are highly regarded. She also lists most current writing competitions in the UK. Her website address: http://www.jbwb.co.uk/
Asham Award 2012 - this award is for women only. First prize £1,000. Entry fee £15 for a story up to 4,000 words. More information about the Asham Award 2012.
BBC National Short Story Award - First prize £15,000 for a short story up to 8,000 words. More information about the BBC National Short Story Award.
Barbara Pym Society Short Story Competition - First prize £150 for a short story in the style and manner of Barbara Pym. Entry fee £7. More information about the Barbara Pym Society Short Story Competition.
Bath Short Story Award - First prize £500. Entry fee £5 for a short story up to 2,200 words. More information about Bath Short Story Award.
Bethlehem Writers Roundtable Short Story Award - First prize: $200 and publication in an anthology for short fiction or memoir, 2,000 words or fewer, on the theme of 'Winter's Tale' or 'Spring Story'. Entry fee $10 per story. More information about Bethlehem Writers Roundtable Short Story Award.
Blue Thumbnail Short Story Comepetition - any theme. Maximum 3,000 words. Entry fee £6 per story. Win a place on a writing retreat in Greece for one week. More information on the Blue Thumbnail Short Story Competition
Bridport Prize - Yearly short story competition, any theme. More information about the Bridport Prize.
Bristol Short Story Prize - short story, 4,000 words. First prize £1,000. Entry fee £8. More information about the Bristol Short Story Prize
Choc-Lit Short Story competition - First prize £200, a tin of Fortnum & Mason hot chocolate, web publication for a short story up to 1,500 with a central theme of hot chocolate. More information about Choc-Lit Short Story Competition.
Cinnamon Press - this website runs monthly competitions. More information about the Cinnamon Press competitions
Commonwealth Short Story Prize - short story 2,000-5,000 words. First prize £1,000 More information about the Commonwealth Short Story Prize
Costa Short Story Competition - short story up to 4,000 words long. First prize £3,500. Free entry. More information about the Costa Short Story Competition
The Cowley Literary Award 2013 - First prize $4,000 for a short story up to 4,000 words. Entry fee $20AUD. More information about the Cowley Literary Award 2013
Creative Writing for All - First prize £60 for a short story up to 2,000 words on the theme 'Childhood Memories'. Entry fee £5. Additional entries £3. Any profits will be donated to Womens' Aid. More information about Creative Writing for All - Short Story Competition.
Curry Mallet History Festival Adult's Short Story Competition - First prize £100 for stories on the theme 'The reunion', 'The journey' or 'The letter'. Entry fee £5. More information about the Curry Mallet History Festival Adult's Short Story Competition
Curry Mallet History Festival Children's Short Story Competition - First prize £35 for stories starting with the sentence 'My hamster is stuck in the piano!' for the aged 11 and under category and for the 12-16 category, either '"Ghosts don't sing in tune," she said' or 'I think our garden shed is a time machine.' Stories should be under 500 words. Entry fee £3 per entry. More information about the Curry Mallet History Festival Children's Short Story Competition.
Dark Tales - First prize £100 for horror and speculative fiction. More information about the Dark Tales prize
Doris Gooderson Short Story Competition - annual short story competition on any theme, maximum 1,200 words. More information about the Doris Gooderson Short Story Competition.
Eclat Fiction - regular competitions for stories up to £1,500. First prize £100. Any theme. More information about the Eclat Fiction competitions
Edge Hill Prize for the Short Story - awarded to the best short story collection. More information about the Edge Hill Prize for the Short Story
Emerald Writing - First prize £75 for flash fiction. More information about the Emerald Writing prize
Exeter Writers Short Story Competition 2013 - First prize £250 for a short story up to 3,000 words. Entry fee £5. More information about Exeter Writers Short Story Competition.  
Eyelands Third International Short Story Contest - First prize air tickets from a European city to Greece and back, and publication, for a short story up to 2,500 words on the theme 'Dream' and 'Getaway. Entry fee: 10 Euros. More information about the Eyelands Third International Short Story Contest.
 Fiction Fast-Track - Apostrophe Books run monthly short story competitions. More information about Fiction Fast-Track
The Fiction Desk Ghost Story Competition - First prize £500 for ghost stories from 2,000-5,000 words. Entry fee £6. More information about The Fiction Desk
Fish Publishing - this website runs monthly competitions. More information about the Fish Publishing competitions
Five Stop Story's monthly competition - First prize £50. Entry fee £4. 1,000-3,000 word short stories on any theme. More information about Five Stop Story. New competition every month.
Flash 500 - flash fiction competition for short stories up to 500 words. Regular competitions. More information about Flash 500
Frank O'Connor International Short Story Award - awarded to the best short story collection. More information about the Frank O'Connor International Short Story Award
Frome Festival Short Story Competition - First prize £300. Entry fee £5 (£7 for in-depth critique) for a short story 1,000-2,200 words, any theme. More information about the Frome Festival Short Story Competition.
Full Stop Short Story Competition 2013 - First prize essential tool-kit for all writers of three books for a short story up to 2,000 words on the theme 'full stop'. More information about the Full Stop Short Story Competition 2013.
Greenacre Writers Short Story Competition - Annual competition. First prize £100 for a short story up to 2,000 words. Entry fee £5,50. More information about the Greenacre Writers Short Story Competition
Highlands and Islands Short Story Association Competition - annual prize for a short story up to 2,500 words. First prize £400. Entry fee £5. More information about the HISSAC.
Home-Start Bridgwater Short Story Prize 2013 - First prize £500 for a short story up to 2,200 words on any theme. Entry fee £7. Judged by Dame Margaret Drabble. More information about the Home-Start Bridgwater Short Story Prize 2013
inkhead Short Story Competition - First prize £150 for a short story up to 1,000 words on one of the following titles: Grandpa's Ghost, The Sound of Crickets and Sighing Trees, Dangerous Andrew's Last Mission, A Day In The Life of Robot Ronnie, A Hero Sits Next Door. Entry fee £5. More information about the inkhead Short Story Competition
InkTears Short Story Competition - First prize £1,000 for short story 1,000-3,000 words, any theme. More information about the InkTears Short Story Competition.
Jukebox Story - a new monthly night and website dedicated to short stories inspired by songs. More information about Jukebox Story
Leaf Books - this website runs regular competitions. More information about the Leaf Books competitions
Lightship International Short Story Prize - First prize: £1,000. Judge: Tessa Hadley. Max: 5000 words. Entry Fee: £12. Patrons: Hilary Mantel, Andrew Motion, Christopher Reid, Cynthia Ozick, Lindsay Clarke. More information about the Lightship International Short Story Prize and other competitions.
Limnisa Bluethumbnail Short Story Competition - First prize: one week writer's retreat in Greece for short stories up to 3,000 words on any theme. Entry fee £6 per story. More information about the Limnisa Bluethumbnail Short Story Competition
Little House Short Story Competition - First prize £2,000 for short story up to 2,000 words. Entry fee £6.50. More information about Little House Short Story Competition
Love on the road 2013 - First prize $200 for a short story up to 5,000 words on theme of heartbreak. Entry fee $10. More information about the Love on the road competition
Meridian Writing Competitions - this website hosts regular writing competitions. More information about Meridian Writing Competitions
Momaya Short Story Competition 2013 - First prize £110 for a short story, up to 3,000 words on the theme of music. Entry fee £8. More information about the Momaya Short Story Competition 2013
Moth Short Story Prize - First prize €1,000 for a short story, any theme. Entry fee €8. More about the Moth Short Story Prize
Mslexia Short Story Competition 2013 - First prize £2,000 for stories of up to 2,200 words. Judge: Janice Galloway. Women writers only. More information about the Mslexia Short Story Competition 2013.
Multi-Story - Bi-monthly competitions ranging from flash fiction up to 2500 words. First prize £300. Entry fee £5 for one or £8 for two. All judges are publishing professionals. More details about the Multi-Story competitions
My Mate Kindle Monthly Competition - Monthly competition for short stories up to 2,000 words. More information about the My Mate Kindle Monthly Competition
The New Writer - regular poetry, short story and microfiction competitions. More information about The New Writer Magazine
Park Publications UK - this website runs regular competitions. More information about the Park Publications UK competitions
Playing Bingo Short Story Competition - short story up to 3,000 words on the theme 'bingo'. First prize £300. More information about the Playing Bingo Short Story Competition.
Promises International Short Story Competition 2013: A Dozen Promises - First prize: e-publication with a view to turning the winning story into a film script. Entry fee £5. Theme: 'Promises'. More information about the Promises International Short Story Competition 2013.
The Scott Prize - international annual prize for a first collection of short stories in English. Salt Publishing accepts submissions of short story manuscripts from 1 July to 31 October every year. The winner is announced the following April with a collection publishing six months later. More information about The Scott Prize
Seán Ó Faoláin Short Story Competition - First prize €2,000 for a short story, any theme, under 3,000 words. Entry fee €15. More infromation about the Seán Ó Faoláin Short Story Competition. Annual competition.
Segora Short Story Competitions - regular competitions for cash prizes. More information about Segora
The Sunday Times EFG Private Bank Short Story Award - First prize £30,000 for short stories of up to 6,000 words. More information about the The Sunday Times EFG Private Bank Short Story Award
The Thresholds Short Story Forum - Feature writing competition. First prize £250 and publication on The Forum. More information about The Thresholds Short Story Forum.
Tom-Gallon Trust Award and The Olive Cook Award - First prize £1,000 each awarded biennially, in alternate years. More information about Tom-Gallon Trust Award and The Olive Cook Award
Tom Howard/John H Reid Short Story Contest - First prize $3,000 for a short story, essay or other prose up to 5,000 words. Entry fee $16. More information about the Tom Howard/John H Reid Short Story Contest.
V S Pritchett Memorial Prize - First prize £1,000 to the best unpublished short story of the year. More information about the V S Pritchett Memorial Prize
What needs to change? - First prize £200 for a short story up to 1,500 on any subject. What should we be talking about? Free entry. More information about LibArts London
The White Review short story competition - First prize £2,500 for a short story up to 7,000 words that expands the genre. Entry fee £15. More information about The White Review short story competition
Whoosh Books Competitions - regular short story competitions. First prize £50. More information about Whoosh Books Competitions
The Willesden Herald International Short Story Prize - First prize £300 for short story 7,500 words max, any theme. More information about the Willesden Herald International Short Story Prize 2012-13.
Win Your Way to Swanwick - First prize: a week at Swanwick Writers' Summer School for short stories and writing for children up to 1,000 words on the theme '65 Not Out'. Entry fee £5. More information about the Win Your Way to Swanwick writing competition.
Winning Writers Sports Poetry and Prose Contest - First prize $1,000AUD for short stories, poems, essays on a sporting theme, maximum 6,000 words. Entry fee $15AUD. More information about the Winning Writers Sports Poetry and Prose Contest
The Word Hut Short Story Competition - Prize: £50.00. £4.00 per entry. 1,000 words maximum, any subject. More information about The Word Hut Short Story Competition
The Writer's and Artists' Yearbook Annual Short Story Competition - First prize £500 and a place on an Arvon course of your choice. Short stories up to 2,000 words on the subject of freedom. Free entry. More information about The Writers' and Artists' Yearbook Annual Short Story Competition.
Writers' Forum Short Story Competition - Ongoing monthly competition with cash prizes. More information about the Writers' Forum Short Story Competition
Writer's Worldwide Prize - this website runs regular writing competitions. More information about Writer's Worldwide Prize
Writer's Village - First prize £500 for a short story, any theme, up to 3,000 words. Entry fee £12. More information about Writer's Village.
Wyrd Books Short Story Competition - maximum length 2,000 words. Theme: esoteric, supernatural. More information about Wyrd Books Short Story Competition.

SOURCE: http://www.booktrust.org.uk/books-and-reading/short-stories/prizes/
  1. Flash Fiction

 Literary Short
Here are some flash competition websites with links to winning stories:
Flash Fiction Ezines and Journals
Ezines such as Wigleaf and BLIP Magazine offer writers a market for flash-fiction works. Print magazines specializing in flash fiction include SmokeLong Weekly and Smokelong QuarterlyFlash Fiction Online and Vestal Review.
Here are more literary journals that accept flash fiction.
The Antigonish Review
Birds By My Window
Essays & Fictions
Every Day Fiction
Fantasy & Science Fiction
The First Line
Flash Fiction Online
Flash Fiction Magazine
Futures Mystery Anthology Magazine
Indiana Review
The Kenyon Review
Lady Churchill’s Rosebud Wristlet
Nano fiction
Pedestal Magazine
The Southern Review
Shroud Magazine
The Sun Magazine
Underground Voices
Online Flash Fiction Communities
  1. Novel Writing Opportunities

List of UK Literary Agents
Individual UK Agents with websites or other listing entries:
  • A P Watt - the longest-established literary agency in the world. It is also one of the most dynamic and successful. The literary estates this agency represents include those of some of the foremost British and Irish writers of the 20th Century. Its current authors include leading novelists, biographers, historians, and specialist writers pre-eminent in their field. The agency also represents some outstanding children’s authors and illustrators, and, in its film and television department, a select number of screenwriters and directors. London
  • A.M.Heath & Company, Authors' Agents - one of the UK's leading literary agencies, and has been so throughout its lifetime, representing some of the iconic writers of the 20th Century. We now represent a broad range of best-selling and award-winning authors, including novelists, historians, biographers, and children's authors. In addition, we have seen the successful launch of many talented newcomers, something in which we take particular pride. London
  • A & B Personal Management Ltd - Full-length MSS. Scripts for TV, theatre, cinema; also novels, fiction and non-fiction. Does not have own website. London
  • The Agency - represents writers and authors for film, television, radio and the theatre. We also represent directors, producers, composers, and film and television rights in books. The list ranges from major established talent to the new and upcoming in all these areas. London
  • Aitken Alexander Associates Ltd - Literary Agency. London
  • Alan Brodie Representation Ltd - mainly represents writers working in theatre, film, television, radio and new media. London
  • Alexandra Nye, Writers & Agents - Literary fiction, Scottish history, biographies; no poetry or plays. Does not have own website. Dunblane, Scotland
  • Amanda Howard Associates Ltd - Agents for Actors, Writers, Broadcasters and Creatives. London
  • The Ampersand Agency - We are based near Oxford and have built a reputation for discovering new talent and matching it to the right publisher. Since our foundation in 2003, three of our authors have won major awards for new writing. We represent our writers with enthusiasm and sound business sense, and we offer them candour, encouragement, detailed editorial advice, and a rapid response to queries. We have excellent relationships with publishers large and small, and defend our clients' interests with vigour and professionalism. Chipping Norton, Oxfordshire
  • The Andrew Lownie Literary Agency Ltd - founded in 1988, is now one of the UK's leading non-fiction literary agencies with a special emphasis on history and biography. Books represented have included The Cambridge Guide to Literature in English, The Oxford Classical Dictionary, Norma Major's history of Chequers and the memoirs of Sir John Mills, Alan Whicker, Gloria Hunniford and Patrick MacNee. London
  • Andrew Nurnberg Associates Ltd - Founded in 1977. We represent a distinguished list of international authors of fiction and non-fiction, including children's writers. London
  • Annette Green Authors' Agency - an independent agency set up as an antidote to a market full of large corporate agencies and prides itself on its personal touch, with a policy of seeking out undiscovered writers. Tunbridge Wells, Kent
  • Antony Harwood Ltd - set up in London in 2000 by Antony Harwood and James Macdonald Lockhart and moved to Oxford in 2003. Oxford
  • Anubis Literary Agency - Genre fiction: science fiction, fantasy and horror. Does not have own website. Lighthorne, Warwickshire
  • Artellus Limited - has been operating since 1986 and is an international agency handling writers in all fields: we have art historians, military historians and scientists, journalists as well as writers focused on culture (fashion, celebrities); we are also interested in new fiction writers, fantasy and science fiction, crime genres, as well as 'literary'. London
  • Author Literary Agents - Novels, thrillers, fiction, non-fiction, graphic novels, and children's books. Does not have own website. London
  • Ayebia - Literary Agency and Publishing. Specialises in quality African & Caribbean writing. Banbury, Oxfordshire
  • The Bell Lomax Agency - Quality fiction and non-fiction, biography, children's, business and sport. Does not have own website. London
  • Blake Friedmann Literary, Film & TV Agency - formed in 1982 by merging the Julian Friedmann Literary Agency (1976) with the Carole Blake Literary Agency (1977). Carole and Julian each had publishing backgrounds (between them they have experience of most parts of the book business) and when they met in the early 80's realised they had complementary skills. Putting the two small agencies together created a stronger whole in which Carole handled book rights and Julian handled film and television rights. London
  • BookBlast - London-based literary agency which handles fiction and non-fiction - memoir, travel, popular culture, multicultural writing. London
  • Brie Burkeman - Commercial and literary full-length fiction and non-fiction. Film and theatre scripts. Does not have own website. London
  • Bryan Drew Ltd - Scripts for TV, films and theatre. General fiction, thrillers, biographies. Does not have own website. London
  • Campbell Thomson & McLaughlin Ltd - Full-length book MSS. No poetry, plays or TV/film scripts, short stories or children's books. Does not have own website. London
  • Capel and Land Ltd. - one of the UK's leading literary and talent management agencies, representing a variety of high-profile authors and broadcasters. London
  • Caroline Davidson Literary Agency - has specialised in representing authors of literary fiction and cerebral non-fiction. London
  • Caroline Sheldon Literary Agency - one of the UK's leading literary agencies representing a bestselling roster of clients. Our particular areas of interest include fiction, all types of children's books and non-fiction, in particular human-interest stories and memoirs. Yarmouth, Isle of Wight
  • Casarotto Ramsay & Associates Limited - represents Writers, Directors, Estates, Translators and Producers. London
  • Cat Ledger Literary Agency - General non-fiction and fiction but no short stories, film/TV scripts, poetry or plays. London
  • Celia Catchpole - agent for authors and illustrators of children's books. London
  • Chapman & Vincent - Predominantly non-fiction, often highly illustrated. Does not have own website. London
  • Christine Green Authors' Agent - We work in the areas of fiction and general non-fiction. Please note that we do not handle children's books, science fiction/fantasy, poetry or scripts. London
  • Christopher Little Literary Agency - representing commercial and literary full-length fiction, non-fiction, children's, film and television on a global basis. London
  • Conville & Walsh Limited - a leading international literacy agency, representing an eclectic range of best-selling and award-winning authors, including novelists, scientists, historians, travel writers, biographers and children's authors. London
  • Coombs Moylett Literary Agency - Commercial and literary fiction and non-fiction. Does not have own website. London
  • Creative Media Management - a leading technical and literary agency representing above and below the line creatives in film, television and theatre. London
  • Curtis Brown Group Limited - Agents for the negotiation of all markets of novels, general non-fiction, children's books and associated rights (including multimedia), as well as film, theatre, TV and Radio Scripts. Founded 1899. London
  • Darley Anderson - Literary, TV and Film Agency. Commercial fiction/non-fiction: thrillers, crime, women's, Irish and children's. London
  • David Bolt Associates - Does not have own website. Woking, Surrey
  • David Godwin Associates - a small literary agency representing around 100 authors of literary fiction and non-fiction, including Arundhati Roy, Jim Crace, Simon Armitage, William Dalrymple, Claire Tomalin, and Alan Warner. We offer a comprehensive service to our clients, selling UK, US, film and television, and translation rights across the world. London
  • David Grossman Literary Agency Ltd - Full-length MSS. Does not have own website. London
  • David Higham Associates - one of the UK's leading literary agencies. It represents an outstanding list of writers including novelists, historians, biographers, screenwriters and playwrights, and is the leading literary agency for children's writers and illustrators. London
  • David O'Leary Literary Agency - Popular and literary fiction and non-fiction. Special interests: Ireland, history, popular science, thrillers. Does not have own website. London
  • Deborah Owen Ltd - Small agency specialising in only two authors: Delia Smith and Amos Oz. Does not have own website. London
  • The Dench Arnold Agency - Elizabeth Dench and Michelle Arnold are renowned, both domestically and internationally, for their carefully selected client list of award winning Writers, Directors and Heads of Department (Directors of Photography, Production Designers, Costume Designers, Editors and Make-up Designers) – a pool of talent at the helm of the British Film and Television Industry. London
  • Diane Banks Associates - Commercial fiction and non-fiction. Does not have own website. London
  • Dinah Wiener Ltd - Full-length MSS only, fiction and general non-fiction. Does not have own website. London
  • Don Baker Associates - Full-length MSS. Fiction, film, TV and theatre scripts. Does not have own website. Rottingdean, East Sussex
  • Dorian Literary Agency - General fiction, and specialising in popular fiction. Does not have own website. Torquay, Devon
  • Duncan McAra - Literary fiction; non-fiction: art, architecture, archaeology, biography, military, Scottish, travel. Does not have own website. Edinburgh, Scotland
  • Ed Victor Ltd - Fiction, non-fiction and children's books. Does not have own website. London
  • Eddison Pearson Ltd - Children's books, fiction and non-fiction, poetry. London
  • Edwards Fuglewicz - Literary and commercial fiction (but no children's fiction, science fiction, horror or fantasy); non-fiction: biography, history, popular culture. Does not have own website. London
  • Elisabeth Wilson - Rights agent and consultant; illustrated books, non-fiction (no children's). Does not have own website. London
  • Elizabeth Roy Literary Agency - represents some of the finest writers and illustrators in the children's book market. Stamford, Linconshire
  • Eric Glass Ltd - Full-length MSS only; also theatre, films, and TV. London
  • Essential Works - creates and produces non-fiction books for publishers and corporate clients around the world. We also represent authors. London
  • Eunice McMullen Children's Literary Agent Ltd - works with authors and illustrators of children's books, providing a personal service to these clients. Windermere, Cumbria
  • Eve White Literary Agency - a UK-based agency representing internationally published authors of fiction (commercial and literary), non-fiction, children's fiction and picture books. Kintbury, Berkshire
  • Faith Evans Associates - Does not have own website. London
  • Felicity Bryan Literary Agency - represents a wide variety of distinguished authors writing adult non-fiction, fiction and children's literature. Oxford
  • Felix de Wolfe - Theatre, films, TV, sound broadcasting, fiction. London
  • Fox & Howard Literary Agency - General non-fiction: biography, history and popular culture, reference, business, mind, body & spirit, health and fitness. Does not have own website. London
  • Frances Kelly Agency - Primarily non-fiction: general and academic, reference and professional books, all subjects. Does not have own website. Kingston-upon-Thames, Surrey
  • Fraser Ross Associates - Lindsey Fraser and Kathryn Ross established Fraser Ross Associates in 2002 after careers in readership development, teaching and bookselling. Based in Edinburgh, Fraser Ross Associates represents writers from all over the world., Scotland
  • Futerman, Rose & Associates - a leading literary agency, established in 1984 and affiliated to the Authors' Agents Association and the Personal Managers Association. We specialise in the following main areas: commercial and literary fiction; non-fiction; biography and autobiography (especially related to politics, show business and the music business); scripts for film and television. London
  • Graham Maw Christie Literary Agency - We help authors get better book deals by strengthening their book proposals and finding the right publisher. London
  • Greene & Heaton Ltd - a medium-sized literary agency with a diverse range of clients. These include novelists, travel writers, scientists, biographers, historians and children's writers/illustrators, each of them prominent in their field. London
  • Gregory & Company Authors' Agents - a dynamic literary agency specialising in adult fiction and general non-fiction. We are particularly well-known for representing some of the most successful authors of outstanding crime novels and thrillers, although these days we have expanded our list to include the best of commercial, literary and historical fiction alongside travel writing and general non-fiction. London
  • hhb agency ltd - a new literary agency founded by Heather Holden-Brown, a publishing editor for twenty years with Waterstone's, Harrap, BBC Books and Headline. hhb agency ltd will represent writers of commercial non-fiction - in particular journalism, history and politics, contemporary autobiography and biography, entertainment and television, business, family memoir, cookery and diet. The agency's aim is to provide the kind of care and consultation which can extend authors’ careers beyond books into journalism, broadcasting, public speaking and other complementary areas. London
  • IMG UK Ltd - Celebrity books, sports-related books, non-fiction and how-to business books. Does not have own website. London
  • Independent - the new name of the London based talent and literary and model agencies formerly known as ICM. The talent and literary agency, which was originally formed by the merger of talent and literary agencies Duncan Heath Associates and the London offices of ICM Inc. has been established for more than 33 years. Following its management buyout from ICM Inc. in 2002, the agency has seen consistent annual growth in all aspects of its business. It launched a models subsidiary in 2003, which has quickly established itself as one of the key players in the UK fashion industry. The change of name was effected in September 2007 as the final stage of the management buyout. This anticipated name change reflects the group's true independence in the marketplace. London
  • The Inspira Group - We specialize in helping authors place their books with traditional publishers. London
  • Intercontinental Literary Agency - a specialist literary agency which sells translation rights in general fiction and non-fiction throughout the world on behalf of a wide range of British, American and Australian authors. London
  • International Scripts - Specialises in full-length contemporary fiction, women's fiction, crime, biographies, business and general non-fiction. Does not have own website. London
  • J.M. Thurley Management - Specialises in commercial and literary full-length fiction and commercial work for film and TV. No plays, poetry, short stories, articles or fantasy. Deal, Kent
  • Jane Conway-Gordon Ltd - Full length MSS. Does not have own website. London
  • Jane Judd Literary Agency - General non-fiction and fiction. Does not have own website. London
  • Jane Turnbull - Fiction and non-fiction. Does not have own website. Truro, Cornwall
  • Janet Fillingham Associates - was set up in 1992. Our clients span the range of adults' and young people's drama and animation and include both very well established and newer writers and directors. London
  • Janklow & Nesbit (UK) Ltd - with an extensive client list based in London and New York
  • Jeffrey Simmons - Specialises in fiction (no science fiction, horror or fantasy), biography, autobiography, show business, personality books, law, crime, politics, world affairs. Does not have own website. London
  • Jennifer Luithlen Agency - Children's and adult fiction. Does not have own website, Leicester, Leicestershire
  • Jenny Brown Associates - Scotland's leading literary agency, based in Edinburgh – UNESCO's first City of Literature. The agency was established in 2002 by Jenny Brown, former Edinburgh International Book Festival Director and Head of Literature at the Scottish Arts Council. Jenny currently represents twenty five writers of literary fiction and non-fiction. Edinburgh, Scotland
  • JMLA - Non-fiction, biography, jazz and its origins and history, American jazz biographies, art and surrealism. Does not have own website. London
  • John Jarrold - Literary Ageent and Script Doctor - acts as a literary agent for over forty authors. Representing: David Barnett, Chris Beckett, Chaz Brenchley, Anne Brooke, Lincoln, Lincolnshire
  • John Pawsey - General non-fiction only, particularly biography, popular culture and sport. Does not have own website. Worthing, West Sussex
  • Jonathan Clowes Ltd - Literary and commercial fiction and non-fiction, film, TV, theatre and radio. Does not have own website. London
  • Johnson & Alcock Ltd - a boutique literary agency based in leafy Clerkenwell, representing a diverse selection of prestigious writers of fiction and non-fiction. London
  • Judith Chilcote Agency - Commercial fiction, non-fiction - self-help and health, celebrity autobiography and biography, current affairs, TV tie-ins. Does not have own website. London
  • Judith Murdoch Literary Agency - Full-length fiction only, especially accessible literary and commercial women's fiction. Does not have own website. London
  • Judy Daish Associates Ltd - Theatre, film, TV, radio. Does not have own website. London
  • Jüri Gabriel - Quality fiction and non-fiction (i.e. anything that shows wit and intelligence); radio, TV and film, but mainly selling these rights in existing works by existing clients. Does not have own website. London
  • Juvenilia - Full-length MSS for the children's market, fiction and non-fiction. Does not have own website. Winchester, Hampshire
  • Laura Cecil - literary agent for children's books. London
  • Laura Morris Literary Agency - Literary fiction, film studies, biography, media, cookery, culture/art, humour. Does not have own website. London
  • Laurence Fitch Ltd - Represents screenwriters and specialises in film and TV. Does not have own website. London
  • Lavinia Trevor Literary Agency - represents writers of both fiction (commercial and literary) and general non-fiction (including popular science). London
  • LAW Ltd (Lucas Alexander Whitley) - handles commercial and literary fiction, non-ficton and children's books. London
  • Limelight Management - we are a Celebrity Management company and Literary Agency based in the heart of London’s West End and we focus on lifestyle subjects and experts. We are Agents for TV celebrities, broadcasters, writers, journalists, celebrity speakers and media personalities, after dinner speakers and motivational speakers who are specialists in the fields of food, drink, horticulture and garden design, antiques and history, business, health, beauty, and interior design. London
  • London Independent Books - Specialises in commercial, fantasy and teenage fiction, show business, travel. Does not have own website. London
  • Lorella Belli Literary Agency. London
  • Louise Greenberg Books Ltd - Literary fiction and non-fiction. Does not have own website. London
  • Lucy Luck Associates Literary Agency - represents writers of quality fiction and non-fiction. The agency prides itself on its relationship with its authors and sees its role as encompassing all aspects of a writer's career, as well as offering focused representation in all markets throughout the world. London
  • Luigi Bonomi Associates Ltd - Fiction and non-fiction. London
  • Lutyens & Rubinstein - Fiction and non-fiction, commercial and literary. London
  • The Maggie Noach Literary Agency - Handles a wide range of well-written books including general non-fiction, especially biography, commercial fiction and non-illustrated children's books for ages 7-12. London
  • Maggie Pearlstine Ltd - Small agency representing a select few authors. Does not have own website. London
  • Margaret Hanbury Literary Agency - Personally run agency founded in 1983. Representing quality fiction & non-fiction. No plays, scripts, poetry, fantasy/horror, DIY, children's books. London
  • Marjacq Scripts Ltd - was incorporated in 1974 as a literary agency. Its founders were the late George Markstein, originator of The Prisoner TV series and a prolific author of books, films and tv series, and Jacqui Lyons, who still heads the company. London
  • The Marsh Agency - was founded in 1994 and was joined in 2001 by Paterson Marsh Ltd and in 2006 by Campbell Thomson & McLaughlin Ltd. London
  • Martinez Literary Agency - Fiction, children's books, arts and crafts, interior design, autobiographies, popular music, sport and memorabilia. Does not have own website. London
  • Mary Clemmey Literary Agency - High-quality fiction and non-fiction with an international market. Does not have own website. London
  • Mayer Benham - offers publishing, agenting and consulting services. MBL agency deals in non fiction across a broad spectrum of subjects ranging from Humour to Interior Design; we dip our toes into the murky waters of fiction – but only on special occasions. London
  • MBA Literary Agents Ltd - formed to promote the work of writers for television, radio, film and theatre, the media in which they both worked following a period in BBC drama departments. The agency flourished through their excellent contacts and soon expanded into fiction, non-fiction and fantasy/science fiction books. London
  • The McKernan Agency - looking primarily for high quality fiction, commercial and literary - of all kinds, for all ages. We are particularly interested at the moment in Crime, Historical, and literary fiction with a strong storyline and a commercial flavour. We are also considering high quality non fiction projects - history, biography, current affairs. Edinburgh, Scotland
  • Melcombe International Ltd - primarily an IP licensing agency specialising in British brands with international extendibility. It has now added a literary division, representing the writing activities of its own clients, as well as handling translation rights on behalf of other agencies such as Gunn Media and Eve White Agency. Somerset
  • The Merric Davidson Literary Agency - now part of MBA Literary Agents Ltd
  • Mic Cheetham Literary Agency - General and literary fiction, science fiction, some non-fiction. works with the Marsh Agency for foreign rights. London
  • Michael Alcock Management - Fiction and non-fiction. Does not have own website. Representing: Tamsin Blanchard, Barbara Currie, Tom Dixon, Yehudi Gordon, Mark Griffiths, Joanna Hall, Lisa Hilton, Lynne Robinson, Barnaby Rogerson, Barry Turner, Lowri Turner. London
  • Michael Berenti Literary Agency - Accepted material: Literary Fiction, General Commercial Fiction, Thrillers, Crime, Suspense, Drama. Also Quality Non-Fiction: Politics, Social Sciences, Current Affairs, History, Military. London
  • Micheline Steinberg Associates - founded in 1985. The agency represents writers for stage, television, film, radio and animation, as well as writer-directors. MSA also acts for a number of literary estates and negotiates dramatic rights for novelists represented by associated literary agencies. London
  • Michelle Kass Associates - Literary fiction and drama scripts for film. Does not have own website. London
  • Mulcahy Conway Associates - representing a strong range of authors, including adult and children's fiction writers, historians and other academics, food writers and journalists. London
  • Peake Associates - is a London based literary agency handling a range of fiction and non-fiction. London
  • Peter Knight Book Associates - Founded 1985, with a special emphasis on biography and history. London
  • PFD - one of Europe's leading literary and talent agencies both in terms of turnover and breadth of representation. It is an acknowledged leader in many of its specialist areas, acting as agent to writers, directors, producers, actors, technicians, composers, sportsmen and women, public speakers and illustrators across a wide variety of media which include books, plays, television, film productions and multimedia projects. London
  • Pollinger Limited - is a long-established authors' agency headed up by Lesley Pollinger, Managing Director. Pollinger Limited's clients include writers of adult and children's fiction and non-fiction, many illustrious literary estates, as well as screenwriters, illustrators and photographers. The majority of our clients are based in the UK and our major sales base is to the UK publishing industry, and to film/TV, audio and educational markets and other intellectual property areas. London
  • PVA Management - was originally established in 1978 by former BBC colleagues Paul Vaughan and Richard Jeffs. Worcester, Worcestershire
  • The Puttick Agency - represents authors, and we specialize in non-fiction (not novels/short stories, children's books, poetry, drama, or screenplays). London
  • Raft: PR & Communications - based in Brighton, Sussex. We are handling a number of exciting projects in Contemporary Fiction; Politics and Current Affairs; Mass-market non-fiction; Young Adult Fiction; Business & Self-Help. Brighton, Sussex
  • Rebecca Winfield - Quality fiction and non-fiction, including history, biography and popular culture. Does not have own website. London
  • Redhammer Management Ltd - a literary agency owned and managed by leading literary agent Peter Cox. London
  • Richard Hatton Ltd - Stage plays; TV, cinema and radio scripts only. Does not have own website. London
  • Robert Dudley Agency - handles both fiction and non-fiction. Non-fiction subjects covered include history, memoir, military history, health, sport, current affairs, biography and business. Unfortunately we are unable to handle original film or tv scripts. London
  • Robert Smith Literary Agency Ltd - Non-fiction only: autobiography and biography, topical subjects, history, lifestyle, popular culture, entertainment, true crime, health and nutrition, illustrated books. Does not have own website. London
  • Robinson Literary Agency Ltd - Fiction, general non-fiction, popular culture. Does not have own website. Representing: John Guy, Steve Jones, Ian Rankin, David Starkey. London
  • Rochelle Stevens & Co. - Drama scripts for film, TV, theatre and radio. Does not have own website. London
  • The Rod Hall Agency - formed in May 1997 to represent playwrights and screenwriters, writers who also direct, directors and stage and screen rights in selected novels. London
  • Rogers, Coleridge & White - Full-length book MSS, including children's books. London
  • Rosalind Ramsay Limited - London
  • Rosemary Bromley Literary Agency - Specialises in biography, travel, leisure, cookery, health. Does not have own website. Winchester, Hampshire
  • Rosemary Sandberg Ltd - Children's writers and illustrators, general fiction and non-fiction. Does not have website. London
  • Rosica Colin Ltd - All full-length MSS (excluding science fiction and poetry); also theatre, film and sound broadcasting. Does not have own website. London
  • Rupert Crew Limited - International literary representation since 1927. London
  • Rupert Heath Literary Agency. Hampshire
  • Saddler Literary Agency - Quality fiction and non-fiction. Does not have own website. London
  • Sarah Manson Literary Agent - founded in 2002 to represent authors of quality fiction for children and young adults. Our list of clients is small and exciting with both well-established writers and promising new talent. Our authors have already won several prestigious awards and been shortlisted for a number of others. Sarah Manson has ten years' publishing experience followed by eight years in education as a chartered librarian. London
  • Sayle Literary Agency - (now run by Rachel Calder) has a long and distinguished history; indeed it was founded by one of the first literary agents in London, J B Pinker, and in the early years looked after the literary affairs of Joseph Conrad, Henry James, Arnold Bennett and Rosamond Lehmann. Cambridge
  • Saylescreen - A London agency representing writers, directors and producers for film and television drama. We work in association with agents in New York and Los Angeles. We also work in conjunction with The Sayle Literary Agency and BlackAmber Books representing the film and television rights in fiction and non-fiction books. London
  • Scott Ferris Associates - General fiction and non-fiction. Does not have own website. Swansea, Wales
  • The Sharland Organisation Ltd - Specialises in film, TV, stage and radio rights throughout the world. Raunds, Northamptonshire
  • Sheil Land Associates Ltd - Full-length general, commercial, quality and literary fiction and non-fiction, including: social politics, history, military history, gardening, thrillers, crime, romance, drama, biography, travel, cookery, humour, UK and foreign estates. Does not have own website. London
  • Sheila Ableman Literary Agency - Non-fiction including history, science, cookery, biography, autobiography. Does not have own website. London
  • Shirley Stewart Literary Agency - Specialises in literary fiction and general non-fiction. Does not have own website. London
  • Sinclair-Stevenson - Full-length MSS. Does not have own website. London
  • The Standen Literary Agency - Adult Fiction and Childrens Fiction. We do not represent illustrators.
  • The Susijn Agency Ltd - focus is on authors with international appeal, selling rights worldwide.
  • Talent Media Group - Specialises in scripts for film, theatre, TV, radio. Does not have own website. London
  • Tanja Howarth Literary Agency - Full-length MSS. General fiction and non-fiction, thrillers, contemporary and historical novels. Does not have own website. London
  • The Tennyson Agency - specialises in Theatre, Radio, Television and Film scripts, and related material on an ad hoc basis. Maintaining a high-quality client list, we represent and advise both experienced writers and those new to the business. London
  • Teresa Chris Literary Agency - All fiction, especially crime, women's commercial, general and literary fiction; all non-fiction, especially biography, history, health, cooking, arts and crafts. Does not have own website. London
  • Toby Eady Associates - has grown an exciting and diverse group of international writers. We handle Fiction and Non-Fiction for adults and we specialise in China, the Middle East and Africa. London
  • Uli Rushby-Smith Literary Agency - Fiction and non-fiction, literary and commercial. Does not have own website. London
  • United Authors Ltd - Fiction, non-fiction, children's, biography, travel. Does not have own website. London
  • Valerie Hoskins Associates Ltd - Film, TV and radio; specialises in animation. Does not have own website. London
  • Vanessa Holt Ltd - General adult fiction and non-fiction. Does not have own website. Leigh-on-Sea, Essex
  • The Viney Agency - established in 2008. The agency primarily sells books to publishers, but also provides a range of services which includes the selling of film and TV treatments to broadcasters and production companies.
  • Wade & Doherty Literary Agency - founded by Robin Wade in 2001, we handle fiction and non-fiction, including children's books. We do not handle poetry, plays, short stories, screenplays or film scripts.
  • Watson, Little Ltd - a long-established literary agency which handles an unusually wide range of adult, children's and young adult fiction and non-fiction. London
  • William Morris Agency (UK) Ltd. - represents best-selling and prize-winning authors from Great Britain, the United States, Australia, New Zealand and beyond. The department has also been successful selling books to film and television, as well as selling television tie-ins to book publishers. London
  • The Writer's Agency Ltd - We represent work across most genres, with particular interest in fiction, non-fiction, business, children’s and general interest. We also handle animation, film and TV in all markets. London
  • The Wylie Agency Zebra Agency - We are a North West based Film and Literary Agency serving Film Directors, Film Producers, Composers, and Professional Writers. Wigan, Lancashire
More indexes of UK literary agents:


Read this excellent article on self-publishing:
Self-publishing a book: 25 things you need to know
by David Carnoy
I know, I know. This is a column about cutting-edge electronics. So, apologies to gadget-heads as I take a brief sojourn into the land of self-publishing, which has become a lot more high-tech than a lot of people realize.
The reason I'm here is that I have a book. A novel. Knife Music. Contrary to what you might think based on my day job, it's not a cyber-thriller, though it is a mystery/thriller with a medical/legal slant.
Its short history is this: I worked on it for several years, acquired a high-powered agent, had some brushes with major publishers, then, crickets. Way back when, say, a dozen years ago, a single editor could acquire a book, but today a whole board is usually required to sign off on a project, especially when a big advance is involved. Worse yet, the traditional book-publishing business has fallen on hard times, with layoffs and news that vaunted old publishers such as Houghton Mifflin have literally put the freeze on acquisitions. In short, it's ugly out there, particularly for new fiction writers.
I could have tried to go for a small publisher, but I was told mine was "a bigger book" with more commercial aspirations and prestigious small publishers were interested in more literary tomes. I also learned that many small publishers were being wiped out by the "self-publishing revolution," a movement that's not so unlike the "citizen journalism" or bloggers' revolt of recent years that's had a major impact on mainstream media, including this publication. The basic premise is anyone can become a small publisher. You call the shots. You retain the rights to your book. And you take home a bigger royalty than you'd normally get from a traditional publisher--if you sell any books.
Against the advice of my agent, I began perusing the big self-publishing companies' Web sites and evaluating what they had to offer. Then I started poking around blogs and message boards to get customer testimonials. What I found was a veritable minefield with roads that forked in every direction and very few clear answers.

After much deliberation, I chose BookSurge, a print-on-demand (POD) outfit that Amazon owns along with the more no-frills POD operation CreateSpace. In 2009, after I published, Amazon merged BookSurge and CreateSpace under the CreateSpace brand name, so when I say Booksurge going forward, you should think CreateSpace. For those new to self-publishing, it's worth noting that CreateSpace is considered a subsidy press or author-services company. The key to these companies--and why POD is hot--is that books are printed only when someone orders a copy; neither author nor publisher is forced into buying a bunch of books and having to hawk them.
Royalties are better than what "real" publishers offer, but there are caveats, and true self-publishing pros prefer to cut out the subsidy press (which takes a cut) and go straight to a POD printer like Lightning Source to maximize profits. But I was less concerned about making money from this venture and more interested in putting together a well-packaged product that I wouldn't be embarrassed to sell and some strangers might be willing to buy. If I did it right, I thought, and managed to get it some attention, some "real" publisher might come along and discover what a gem those 20 some odd publishers had passed on.
Well, thanks to a little publicity courtesy of Apple and a rejected--then accepted--free iPhone app, four and half months after I self-published Knife Music," my agent sold it to The Overlook Press, an independent publisher that will put out the book in hardcover in July.
As I said, that's the short story, and some things have changed--particularly for the e-book industry--since I first wrote this column back in December 2008. But most of what I learned along the way and what I picked up from other people who've also self-published, applies more than ever. As always, feel free to add your own experiences to the comments section and thanks to all the readers who've emailed in the past.
1. Self-publishing is easy.
Here's how it works. You choose a size for your book, format your Word manuscript to fit that size, turn your Word doc into a PDF, create some cover art in Photoshop, turn that into a PDF, and upload it all to the self-publisher of your choice and get a book proof back within a couple of weeks (or sooner) if you succeeded in formatting everything correctly. You can then make changes and swap in new PDFs.
After you officially publish your book, you can make changes to your cover and interior text by submitting new PDFs, though your book will go offline ("out of stock") for a week or two. BookSurge/CreateSpace charges $50 for uploading a new cover and $50 for a new interior.

Lulu offers very good, detailed instructions for the DIY crowd, doesn't require any upfront fees, and is very popular as a result. Ironically, I used Lulu's how-to content to put my book together for BookSurge, which had very poor instructions for DIYers. Interesting stat: Lulu claims to publish an average of 4,000 books a week. Oddly, the company didn't offer the size of the book I wanted to create (5.25 x 8 inches--the standard size for trade paperback novels; Lulu only offers 6 x 9, which is too big).
2. Quality has improved.
I can't speak for all self-publishing companies, but the quality of Booksurge's books seem quite solid. You can't do a fancy matte cover (yet), but the books look and feel like "real" books. The only giveaway that you're dealing with a self-published book would be if the cover were poorly designed--which, unfortunately, is too often the case.
3. Some of the more successful self-published books are about self-publishing.
I don't know what this says about the industry, but it's probably not a good thing. I didn't read any books because I was busy scouring the Internet, but there are a few that appear to have some useful information. However, take everything with a grain of salt because things change quickly in self-publishing and analysis of the industry tends to attract a lot of qualifying statements. As Mark Levine notes in a "sample" review of his The Fine Print of Self-Publishing, "Will BookPros provide a service that is $20,000 better than anyone else in this book? If your book takes off, then yes. However, if your book isn't very successful, you may not think so." In another noteworthy book, Stacie Vander Pol takes a stab at ranking top performing POD self-publishing companies based on sales performance. I'd like to see this stuff on a free website rather than a book. But that's just me.
Note: April Hamilton, the author of IndieAuthor Guide, is offering a free HTML download of her book to readers of this column. I don't agree with all her points, but her guide has a lot of useful information, particularly for DIYers.
4. Good self-published books are few and far between.
Because the barrier to entry is so low, the majority of self-published books are pretty bad. If I had to put a number on it, I'd say less than 5 percent are decent and less than 1 percent are really good. A tiny fraction become monster success stories, but every once in a while, you'll hear about someone hitting it big.
5. The odds are against you.
The average self-published book sells about 100-150 copies--or 2/3 to 3/4 of your friends and family combined (and don't count on all your Facebook acquaintances buying). I don't have a source for this statistic, but I've seen this stated on several blogs and as a Publishers Weekly article titled "Turning Bad Books into Big Bucks" noted, while traditional publishers aim to publish hundreds of thousands of copies of a few books, self-publishing companies make money by publishing 100 copies of hundreds of thousands of books.
6. Creating a "professional" book is really hard.
Barrier to entry may be low, but creating a book that looks professional and is indistinguishable from a book published by a "real" publishing house is very difficult and requires a minimum investment of a few thousand dollars (when all was said and done, I'd put in around $7500, which included about $2,500 in marketing costs). You wonder why "real" books take 9 months to produce--and usually significantly longer. Well, I now know why. It's hard to get everything just right (if you're a novice at book formatting, Microsoft Word will become your worst enemy). And once you've finally received that final proof, you feel it could be slightly better.
7. Have a clear goal for your book.
This will help dictate what service you go with. For instance, if your objective is to create a book for posterity's sake (so your friends and family can read it for all eternity), you won't have to invest a lot of time or money to produce something that's quite acceptable. Lulu is probably your best bet. However, if yours is a commercial venture with big aspirations, things get pretty tricky.
8. Even if it's great, there's a good chance your book won't sell.
If your book is really mediocre, don't expect it to take off. But even if it's a masterpiece, there's a good chance it won't fly off the shelves (and by shelves, I mean virtual shelves, because most self-published books don't make it into brick and mortar stores). In other words, quality isn't a guarantee of success. You'll be lucky to make your investment back, let alone have a "hit" that brings in some real income. Don't quit your day job yet.
9. Niche books do best.
This seems to be the mantra of self-publishing. Nonfiction books with a well-defined topic and a nice hook to them can do well, especially if they have a target audience that you can focus on. Religious books are a perfect case in point. And fiction? Well, it's next to impossible. But then again, the majority of fiction books--even ones from "real" publishers--struggle in the marketplace. That's why traditional publishers stick with tried-and-true authors with loyal followings.
10. Buy your own ISBN--and create your own publishing house.
If you have market aspirations for your book, buy your own ISBN (International Standard Book Number) and create your own publishing company.
(Credit: www.isbn-us.com)
Even if you go with one of the subsidy presses for convenience sake, there's no reason to have Lulu, BookSurge, CreateSpace, iUniverse, Xlibris, Author House, Outskirts, or whomever listed as your publisher. For $99 (what a single ISBN costs) and a little added paperwork, you can go toe-to-toe with any small publisher. Lulu.com sells ISBNs.
BookSurge does not. I bought mine at RJ Communications, which also provides author services. The complete list of sellers is here.
11. Create a unique title.
Your book should be easy to find in a search on Amazon and Google. It should come up in the first couple of search results. Unfortunately, many authors make the mistake of using a title that has too many other products associated it with it--and it gets buried in search results. Not good. Basically, you want to get the maximum SEO (search engine optimization) for your title, so if and when somebody's actually looking to buy it they'll find the link for your book--not an older one with an identical title.
12. Turn-key solutions cost a lot of money.
You've written your book and God knows you'd like to just hand it off to someone, have a team of professionals whip it into shape, and get it out there. Well, there are a lot of companies that will offer to make just that happen--and do it in a fraction of the time a traditional publisher could. But those "packages" range anywhere from a few thousand dollars to upwards of $25,000 for the deluxe stuff at BookPros with some marketing/PR extras rolled in. (BookPros says it's selective and aims to take on books that it thinks will sell).
These folks can potentially put together a really nice book for you. But I've also heard a lot nightmare stories where people come away disappointed with the process and feel ripped off. Read this interesting interview with iUniverse CEO Kevin Weiss. Then read the comments in the comments section. You'll catch my drift.
13. Self-publishers don't care if your book is successful.
They say they care, but they really don't care. You have to make them care.
14. Buy as little as possible from your publishing company.
Self-publishing outfits are in the game to make money. And since they're probably not going to sell a lot of your books, they make money by selling you services with nice margins. That's OK. Some of the services are worth it--or at least may be worth it. Booksurge/CreateSpace used to have something called Buy X, Get Y program that paired your book with an Amazon bestseller. It was pricey ($1,000 a month) but in a special sale I bought 3 months for the price of two and ended up being paired one month with John Grisham's new novel, which put the thumbnail image of my book in front of a lot of people. Alas, BookSurge/CreateSpace has since discontinued this program because traditional publishers were upset that shoddy self-published books were being featured on the same page as their books. It was good while it lasted and it helped me sell dozens, if not hundreds, of books.
Personally, I'd never work with BookSurge's in-house editors, copy editors, and in-house design people. That doesn't mean they're bad at what they do (I've seen some covers that are well done). But if you can, it's better to hire your own people and work directly with them. Ideally, you should be able to meet with an editor, copy editor, and graphic designer in person--and they all should have experience in book publishing.
(Note: expect to see more self-publishers offer high-end programs that pair you with a former editor from a major publishing house. With so many experienced editors pushed out of traditional publishing ranks, some will land with self-publishers).

Buy X, Get Y: Discontinued by CreateSpace.
(Credit: Amazon)
15. If you're serious about your book, hire a book doctor and get it copy-edited.
OK, so I've just told to avoid "packages" from publishers and yet I'm now saying you need editing and copy-editing. So, where do you go? Well, before I sent my book out to agents, I hired a "book doctor" who was a former acquisition editor from a major New York publishing house (like most editors he worked at a few different houses). He happened to be the father of a friend from college, so I got a little discount, but it still wasn't cheap. However, after I'd made the changes he suggested, he made some calls to agents he knew and some were willing to take a look. His name is Jerry Gross and he's part of Independent Editors Group (IEG), a group of former acquisition editors who take on freelance editing projects for authors.
While I didn't use his copy editor (I used a friend of a friend who currently works at a big publishing house), he and other editors in his group can suggest people. To be clear, this isn't going to be a better deal than what you'd get from a package deal with a self-publisher, but these people are experienced and are going to be upfront and honest with you. They're not just pushing your book out to move it along the line on the conveyor belt, though they are trying to make a living. (Warning: They don't take on all writers).
By no means is IEG the only game in town. There are plenty of good book consultants out there, including Alan Rinzler, who has an excellent blog and straddles the line between being an executive editor at an imprint of John Wiley & Sons and providing services to private clients. I expect that as the publishing industry contracts further, you'll see more editors--and former editors--becoming guns for hire.
Note: I had the added advantage of my agent being a former editor at a publishing house. So, he was able to suggest changes that made the book better.
16. Negotiate everything.
CreateSpace and other self-publishing companies are always offering special deals on their various services. There isn't whole lot of leeway, but it doesn't hurt to ask for deal sweeteners--like more free copies of your book (they often throw in free copies of your book). It also doesn't hurt to ask about deals that have technically expired. In sales, everything is negotiable. Remember, these people have quotas and bonuses at stake. (For their sake, I hope they do anyway).
17. Ask a lot of questions and don't be afraid to complain.
BookSurge charged me $300 to join the BookSurge club so to speak. Companies like Lulu and CreateSpace have complete DIY options and require no upfront setup fees. That's great, but when you're dealing with a superbasic package, you're most likely going to be doing customer support via e-mail or IM, which I don't love. I want to be able to call up and bitch (in a nice way, of course) directly to a live person on the phone and I'm happy to pay an extra $300 for that privilege (which is really the only thing you're getting for $300).
I will say this: The customer service at BookSurge was generally very good. I couldn't always get through to my sales rep, marketing rep, or customer service rep right away (yes, the company is very regimented), but they did get back to me pretty quickly and all my issues were resolved within a day or two.
18. Self-publishing is a contact sport.
The biggest mistake people make when it comes to self-publishing is that they expect to just put out a book and have it magically sell. They might even hire a publicist and expect something to happen. It's just not so. You have to be a relentless self-promoter. Unfortunately, a lot people just don't have the stomach or time for it.
What's the secret to marketing your book successfully? Well, the first thing I advise--and I'm not alone here--is to come up with a marketing plan well before you publish your book. The plan should have at least five avenues for you to pursue because chances are you're going to strike out on a couple of lines of attack. It's easy to get discouraged, so you have to be ready to move on to plan c, d, and e (and the rest of the alphabet) pretty quickly.
These days there's a lot of talk about a "blog strategy" and many well-known authors do virtual book tours where they offer up interviews to various blogs. You probably won't have that luxury, but you can certainly research what blogs might be interested in your book and prepare pitches for them. There are local media angles to pursue, organizations to approach, and all kinds of out-of-the-box gambits you can dream up. None of this will cost you a whole lot--except time and perhaps a little pride.
Then there's the stuff you pay for. And it's tricky to judge what's a good investment and what's not because the results vary so much from book to book. A friend of mine who has a "real" book from a traditional publisher experimented recently with placing $1,000 in Facebook ads targeted to people in "cold" states (his book is called the History of the Snowman and it does very well around Christmas). He's still trying to figure out what impact the ads had, but Facebook does have some interesting marketing opportunities. Google AdWords/Keywords is another popular option. And a number of self-serve ad networks are popping up, including Blogards Book Hive, which allows you to target a number of smaller book blogs for relatively affordable rates.
The author MJ Rose has a marketing service called AuthorBuzz that caters to both self-publishers and traditional publishers. She says the best thing for self-publishers is a blog ad campaign--it starts at $1500 for a week of ads (the design work is included) and heads up in increments of $500. She says: "We place the ads in subject-related blogs, not book blogs. For instance, if it's a mystery about an antiques dealer, we don't just buy blogs for self-identified readers--who are not the bulk of book buyers--but rather I'll find a half dozen blogs about antiques, culture, art and investments and buy the ads there and track them." Rose claims she can get your book in front of at least a half a million people with that initial investment. She also says that you can't really spend too much, you can just spend poorly. I agree. However, I can't tell you what impact a week or month of ads on blogs will have on your specific book's sales. There are simply too many variables.
Bonus tip: When it comes to self-promotion, there's a fine line between being assertive and being overly aggressive in an obnoxious way. As one friend told me, the state you want to achieve is what she likes to call "comfortably tenacious."

19. Getting your book in bookstores sounds good, but that shouldn't be a real concern.
You may have always wanted to see your book in a bookstore but bookstores aren't keen on carrying self-published books and it's extremely difficult to get good placement in the store for your book so chances are no one will see the three copies the store has on hand anyway. Furthermore, your royalty drops to 10% on in-store sales. Some of the self-publishing outfits offer distribution through Ingram. BookSurge/CreateSpace offers it through Baker & Taylor. BookSurge/CreateSpace says: "Your trade paperback book will be available for order through Baker & Taylor on a non-returnable basis. For an additional yearly fee, your book can be made available through Baker & Taylor on a returnable basis with our Baker & Taylor Returnable Program. You'll receive a 10% royalty on all wholesale book orders purchased through Baker & Taylor."
Note: A while back I had a nonfiction book published by a traditional publisher, Faber & Faber. My local Barnes & Noble in New York had three copies of it. It felt good seeing it on a shelf--for about 10 minutes.
20. Self-published books don't get reviewed.

Yes, it's true. It's very hard to get your self-published book reviewed--and the mantra in the traditional publishing world is that reviews sell books. But eventually that will change. People didn't take bloggers seriously at first and now they do. And what's interesting is that reputable book reviewers such as Kirkus are offering special reviews services geared toward self-published authors. The author pays a fee to have the book reviewed (around $400-$550, depending on the speed) and a freelancer writes an objective critique (yes, they do negative reviews) in the same format as a standard Kirkus review--except the review must be cited as a Kirkus Discoveries review.
21. Design your book cover to look good small.
(Credit: Amazon)
Traditional book publishers design--or at least they used to design--a book cover to make a book stand out in a bookstore and evoke whatever sentiment it was supposed to evoke. Well, with Amazon becoming a dominant bookseller, your book has to stand out as a thumbnail image online because that's how most people are going to come across it. If you're primarily selling through Amazon, think small and work your way up.
22. If you're selling online, make the most out of your Amazon page.
I'm a little bit surprised by how neglectful some self-published authors are when it comes to their Amazon product pages. I've talked to self-published authors who spend a few thousand dollars on a publicist and their Amazon product page looks woeful--and they've barely even looked at it. I ask, "Where are people going to buy your book?" They don't seem to realize how important Amazon is. True, some people market through a Web site or buy Google keywords to drive traffic there. But you need to have your Amazon page look as good as possible and take advantage of the "tools" Amazon has to help you surface your book ("Tags," Listmania, reader reviews, etc.). It may not have a major impact, but it's better than doing nothing.
One tip: Make sure your book is put into five browsing categories (it's only allowed 5). It helps to categorize your book to readers and also will make your book look better if it's a bestseller in those categories. No one at BookSurge suggested this to me; I had to figure it out on my own. (Again, they don't care, you have to make them care).

The manifestation of categorizing your book.
(Credit: Amazon)
23. Pricing is a serious challenge.
The biggest problem with going the POD route is that it costs more to produce one-offs of your book than it does to do produce thousands. I could buy my book--it was a paperback--from BookSurge for $5.70. It was about 370 pages. Now, if I went ahead and had the thing printed up directly through an off-set printer--and ordered a few thousand of them--I could probably cut the cost of the book in half, and maybe even a little more. But I'd have to pay the upfront fee to buy the books and then I'd have to figure out a way to sell them (this is how vanity presses used to work--you had to agree to buy a few thousand books).
Amazon sold my book for $14.99 (It stared at $17.99 but I managed to get BookSurge to whittle the price down by $3). BookSurge royalty rates seem to be standardized: authors get 35% of the book's list price. You can also sweeten the pot by becoming an Amazon affiliate: if customers buy the book through the Amazon affiliate link (say, on an author-produced website that advertises the book), that's an additional 7% in the author's pocket.
Those are actually quite good royalty rates (interesting article here) in the world of subsidy self-publishing. But the fact is, to compete against top-selling titles from traditional publishers my book should be a little cheaper (I barely beat the hardcover prices of bestsellers). Some of the other subsidy self-publishers seem to have a little more flexibility with price setting on Amazon, but BookSurge appears to have a better overall rate of return compared to the likes of Lulu, iUniverse, and Xlibris. In other words, if I was using Lulu and I set my selling price at $15.99 on Amazon, I'd make less money. (Lulu.com touts its own online store, which is well designed and has a big audience, but--compared to the Amazon juggernaut--I have my doubts you can sell a lot of books there).
As I said, I generally had a good experience with BookSurge/CreateSpace and was pleased with the service. However, the one thing that I truly resented was how my book was priced on Amazon. There was no discount on it! Every book from every "real" publisher has a slash through the list price and then there's the Amazon price. On mine, the list price was the price. That hurt.
24. Electronic books offer the most potential for self-publishers.
Once you have your book finalized in a Word or PDF file, it's relatively easy to convert it into one of the many ebook formats--or just offer it as a download as a PDF. There are several epublishers geared to "indie" authors, including Smashwords and Scribd, both of which feature easy uploading and conversion systems.
In terms of ebook readers, Amazon's Kindle has the largest audience, but Barnes & Noble's eBook store and Apple's iBooks are fertile territories for self-published e-book authors (Sony, too, allows self-published authors to sell their wares in its eBook store). CreateSpace charges a fee to turn your book into a Kindle e-book (around $300), though you may be able to find other parties to convert it correctly, formatting tweaks and all, for less.
Since I first published this list, a lot has changed in the e-book arena, and I'm advising people who have text-based books (no graphics, illustrations, or photos) to test the self-publishing waters with an e-book before moving on to hard copies. It's much easier to produce an e-book, particularly when it comes to formatting and cover design. And you can also sell a digital book for significantly less than a paperback. For example, before I took the self-published version of Knife Music off the market, I was selling close to 400 Kindle books a month (and this was 18 months ago, when there were far less Kindle owners). Part of the reason it was doing as well as it was because I was able to price it at $3.99. Selling something at that price is a lot easier than selling it at $14.99.
Note: Please see my article "How to self-publish an e-book" for more information on e-book creation.
25. Self-publishing is a fluid business.
Self-publishing is a rapidly evolving industry with lots of competitors that are constantly throwing out new information. Publishers are continually upgrading their facilities, infrastructure, and pricing, and what I--or other pundits say today--could be wrong just a few months from now. Last year, Amazon was only offering 35 percent royalties on e-books. This summer, it goes up to 70 percent. What does next year hold in store?
Please comment. And please share any insights into specific self-publishing companies or the industry in general.
More: How to self-publish an e-book

Read more: http://reviews.cnet.com/8301-18438_7-10119891-82.html#ixzz1KaiKvkSW

  1. Poetry Opportunities

"Getting the Scoop on Poetry Contest Scams" by Linda Alice Dewey
"Advice to poets on getting a collection of poems published" by Colleen Higgs
Publishing Poetry Online – by Hannah Green

 Poetry publications (print and online)  
The Rialto (http://www.therialto.co.uk/pages/) is the UK’s leading independent poetry magazine and award-winning poetry publisher.
Poetry Review (http://www.poetrysociety.org.uk/content/publications/review/) is the Poetry Society's internationally acclaimed quarterly poetry magazine, published in March, June, September and December and sent to every full member of the Poetry Society.
Poetry International Web is a virtual magazine bringing contemporary poets from over twenty different countries under one site, with the common element of parallel translations into the English language.
Neon (http://www.neonmagazine.co.uk/) is a UK-based literary magazine, published online and in print every quarter. It publishes poetry and prose by authors from anywhere in the world. Its focus is on work that is beautifully written, cold and contemporary.
Agenda (http://www.agendapoetry.co.uk/) is one of the best known and most highly respected poetry journals in the world, having been founded in 1959 by Ezra Pound and William Cookson.
The Wolf Magazine (http://www.wolfmagazine.co.uk/) publishes new poetry by emerging and established writers.
Poetry London (http://www.poetrylondon.co.uk/) is a leading international poetry magazine where acclaimed contemporary poets share pages with exciting new names. Published three times a year in March, June and October, each issue contains new poetry, incisive reviews and features, and a unique listings guide to a wide range of poetry events and resources in London and throughout the UK.
Antiphon (http://antiphon.org.uk/) is an on-line poetry magazine dedicated to publishing the best in contemporary poetry from new and established poets. 
Acumen (www.acumen-poetry.co.uk) A literary magazine with a strong emphasis on poetry, printing up to fifty poems an issue. Publishes January, May and September.
Cake (http://www.cake-poetry.co.uk/default.html) is a poetry magazine aiming to publish the best in new writing, be it poetry, flash fiction or insightful reviews of new work.
Gold Dust (http://www.golddustmagazine.co.uk/) is viewed online absolutely free by over 3,000 readers. Gold Dust magazine is at least 48 pages of quality writing, including short stories, poems, articles, interviews and reviews. We are listed in The Writer's Handbook and publish 2 issues a year.
The London Magazine (http://thelondonmagazine.org/) is the UK's oldest cultural journal featuring original poetry, short fiction, cultural reviews and literary essays since 1732.
Magma (http://magmapoetry.com/) - the poetry magazine with a different editor every issue. Appearing three times a year.
Mslexia (http://www.mslexia.co.uk/index.php) is a magazine for woman writers. Publishes original prose and poetry, to a specific theme, in each edition of the magazine. Mslexia only publishes woman writers and is available by subscription only at the address address at left. Any woman wishing to contribute should request contributor's guidelines prior to submission.
New Walk (http://newwalkmagazine.wordpress.com/ ) is a quality international print journal for poetry and the arts, published each spring and autumn, full of poetry, art, fiction, interviews, articles, reviews and more. 
Iota Poetry (www.iotamagazine.co.uk) is an international literary magazine published by Templar Poetry - three issues each year. Submissions welcome from poets writing poetry in English
Stride magazine (http://www.stridemagazine.co.uk/) presents an online collection of new poetry, prose poems, articles and reviews (or whatever takes our fancy)
Litro (http://www.litro.co.uk/) finds new ways of looking at the world through stories, seeking out the compelling and the controversial, the funny and the fantastic, the sad and the strange.
Links for poets:
Poetry Competitions:
Awarded annually to a living UK poet, working in any form, who is judged to have made the most exciting contribution to the art form between 1 January and 31 December. Prize: £5,000. Poets are put forward for the award by Poetry Society and Poetry Book Society members.


Established in 1978, this is one of the world's biggest single-poem poetry competitions. All poems are judged anonymously by a new set of judges each year. First prize £5,000, second £2,000, third £1,000. Open to anyone over the age of 17.
An annual competition exclusively for Poetry Society members who are also Stanza members. The winner receives a free Poetry Prescription or a year's Membership, and the top 3 will be published on our Stanza Competition page online and featured in Poetry News. Open to Stanza members selected for Poetry News.
  1. Scriptwriting Opportunities

Scriptwriting networks and resources:
Writers’ Guild of Great Britain: www.writersguild.org.uk/
Grants for the Arts: http://www.writersguild.org.uk/images/stories/wggb-docs/Grants_for_the_Arts_guidelines_draft_3.pdf
UK Film Council: www.ukfilmcouncil.org.uk
Regional Screen Agencies: www.ukfilmcouncil.org.uk/fundedpartners
Scottish Screen: www.scottishscreen.com
Film Agency for Wales: www.filmagencywales.com/
Screenwriters' Workshop: www.lsw.org.uk/
Skillset Industry training: www.skillset.org/film
A.L.C.S. Licensing and Collecting: www.alcs.co.uk
P.A.C.T. Producers’ Organisation: www.pact.co.uk
P.M.A. Agents’ Organisation: www.thepma.com
New Producers Allianc:e www.npa.org.uk
Directors UK: www.directors.uk.com
http://www.itc-arts.org/page57.aspx and
See a comprehensive list of theatre companies here:
These are important theatre company links below, as they specifically support emerging writers.

The Menagerie Theatre
Menagerie Theatre Company is the leading independent new writing theatre company in the East of England. Based in Cambridge, they have been creating theatre for over ten years and have a regional, national and international reputation for the development of first class new writing for the stage.

The Royal Court Theatre, London
For over 50 years the Royal Court has premiered groundbreaking new plays and helped to launch the careers of many of our foremost playwrights. Each year, the Royal Court actively seeks out and nurtures new and emerging voices. The theatre accepts unsolicited (sent directly from writers rather than via agents) scripts.

Soho Theatre and Writer's Centre, London
The Writers' Centre discovers and nurtures new writers. It does this through a broad range of activities designed to identify the best new writers and to develop their work towards production. The theatre accepts unsolicited (sent directly from writers rather than via agents) scripts.

The Playwrights Studio, Glasgow
The Playwrights' Studio is a national arts organisation for Scotland which is designed to celebrate, promote and develop Scotland's rich and growing culture of writing. Check out the Studio's website for more information on current opportunities and activities.

North West Playwrights
North West Playwrights supports writers living or working in the north west of England who write for the stage. They produce work in progress and offer a script reading service for writers in the North West.

The Bush, London
The Bush has produced hundreds of groundbreaking premieres since its inception in 1972. They also operate Bush Green, an online networking and submission area of their website, for writers. The theatre accepts unsolicited (sent directly from writers rather than via agents) scripts.

Hampstead Theatre, London
Hampstead Theatre is a writers' theatre and exists to support a thriving local, national and international playwriting culture. They commission plays in order to enrich and enliven this culture and support, develop and produce the work of new writers, emerging writers, established writers, mid-career writers and senior writers, and have a proud tradition for creating the conditions for their plays and careers to develop. The theatre accepts unsolicited (sent directly from writers rather than via agents) scripts.

The HighTide Festival
Founded in 2007, HighTide is a year-round producing company, which exists to source and develop emerging theatre makers from around the world. Each new playwright they produce is premiered at the annual HighTide Festival in Suffolk, before transferring elsewhere for a full production run.

The National Theatre
The literary department is at the core of the artistic activity of the National Theatre and is the principal interface between the NT and writers. The department aims to identify, evaluate and recommend appropriate dramatic material to the associate directors and the artistic director to enable the construction and implementation of a programme of the highest possible quality and the broadest possible range. The theatre accepts unsolicited (sent directly from writers rather than via agents) scripts.

Since its foundation in 1984, the National Theatre Studio has played a vital role in developing work for the National's stages. It is also a resource for a wide range of artists working throughout British theatre, providing an environment in which writers, actors and practitioners of all kinds can explore, experiment and devise new work free from the pressure of public performance. Most of the Studio's work takes place by invitation, and they rarely take forward unsolicited proposals. However, they are happy to hear from directors, writers and other artists who would like to know more about what they do and how to get involved. For more information, see www.nationaltheatre.org.uk/11771/studio/introduction.html.

Live Theatre
Live Theatre aims to produce the best new work by writers from and/or living in the north east of England. They operate a wide-ranging programme of activities for aspiring playwrights. To find out more contact Degna Stone at [email protected].

Northern Stage
Northern Stage produces a wide range of work and acts as a receiving house for theatre from across the world. Although not a new writing theatre as such, they do support the production of new work from writers and theatre practitioners. Check out their website for more information.

Northumberland Theatre Company
NTC is a professional small-scale touring theatre company based at the Playhouse, Alnwick. They tour shows around the country, predominantly using village halls and community centres as venues in small rural towns and villages. They also operate Interact, a one-year, fully mentored training programme for theatre professionals. Graduates from the programme often produce short plays and have taken shows of new writing to the Edinburgh Festival Fringe.

The Gala Theatre
Although the Gala is primarily a receiving venue, Gala director Simon Stallworthy does produce at least one new play or adaptation a year. Please do not send scripts before making initial contact to find out whether the venue will accept them.

The Customs House
The Customs House in South Shields is a receiving venue but also has a long tradition of producing new writing for theatre and as a venue for the development and staging of new work and work in progress. Please do not send scripts before making initial contact to find out whether the venue will accept them.
Sources of info:
Edinburgh Festival Fringe features well over 30,000 performances of more than 2,000 shows in over 250 venues.
Manchester International Festival - the “world’s first festival of original, new work”, this biennial showcase has been running since 2007 but has made a significant impact.
National Student Drama Festival takes place every spring in Scarborough
LIFT (the London International Festival of Theatre) has been going for 30 years with a stated mission to deliver “adventurous, innovative and progressive theatre for London and beyond”.
Brighton Festival, an annual three week Brighton Festival that has become a leading commissioning and producing festival.
Latitude takes place annually at Henham Park Estate in Suffolk, showcases both new and established companies, often with bespoke productions created especially for the weekend.
HighTide produces emerging playwrights and contemporary theatre in the annual Suffolk-based festival.
Write Now, Liverpool: This international one-act play festival is a real gem.
24:7, Manchester The 24:7 Festival showcases works of under 60 minutes in length, with a panel of readers whittling down the entrants to a final ten.

Source: http://www.whatsonstage.com/features/theatre/london/E8831303280787/Top+Ten%3A+Theatre+Festivals+in+Britain.html
The Bruntwood Playwriting Competition
The Bruntwood is Britain's biggest playwriting competition. It runs every other year, and aims to discover brand new voices for the theatre. In the last five years it has awarded £80,000 in prize money to new writers, with the Royal Exchange producing six of the winning plays.

A One Page Play competition.

The Meyer-Whitworth Award
With a prize fund of £10,000, the Meyer-Whitworth Award is one of the largest annual monetary prizes for playwriting in the UK. It is intended to help further the careers of UK playwrights who are not yet established. The award is funded by the Royal National Theatre Foundation and managed by the Playwrights' Studio, Scotland, in association with the UK Playwrights Network.

The Verity Bargate Award
Soho Theatre will be working with partner venues, Birmingham Rep, Live Theatre Newcastle and Theatre Royal Plymouth, who will be involved with the judging process and offering additional opportunities to writers and theatre-makers across the country.

The BBC Writersroom offers several annual competitions, as well as featuring other competitions for playwrights: Find a list of competitions on the BBC website here: http://www.bbc.co.uk/writersroom/write-a-script/writing-radio-drama

Bristol Old Vic runs ‘The Open Session‘ when they will be accepting unsolicited scripts from 1st to 31st June. This opportunity is for Southwest-based writers only.
Please note that many of these competition details may have changed, as entry dates have passed. Please use these links as a starting point for your research into writing opportunities.
BAFTA TV Lab: Comedy & Drama Pitch-Up with Stellar Network –Submit your pitch for a chance to pitch to a commissioning panel including Jon Mountague (Sky).
Slamdance Writing Competition - TV pilots up to 80pp, feature screenplays 90-150pp.
BBC Writersroom Script Call - UK residents only.
Screenwriting Goldmine Competition  - Film & TV scripts 45-120pp.
Sitcom Mission –Submit 15 minute sitcom script for , radio or stage. Aimed at UK residents.
The Sitcom Trials: So You Think You Write Funny? –Submit 10 minute sitcom script for , radio or stage. Aimed at UK residents.
Big Bear Screenwriting Competition – (WAB Extended) -Screenplays 90-130pp.
The PAGE International Screenwriting Awards –Short scripts up to 40pp, feature screenplays 80-120pp, TV drama pilots 50-70pp, TV comedy pilots 25-45pp.
Beijing International Screenwriting Competition – Submit proposal for feature film, which must prominently feature Beijing as location.
Nicholl Fellowships in Screenwriting – Screenplays 90-120pp.
Just Effing Entertain Me Screenwriting Competition - Screenplays 90-120pp.
Writers’ Couch (Cascade Pictures) –Screenplay 80-140pp. UK residents and unrepresented writers only.
London Screenwriters’ Festival Script Mentoring Competition – one page pitch and ten-page writing sample to win a 6-month mentoring and script development package with Script Angel.
Save Our Scripts – Pitch for project to be developed plus sample of previous work (feature script or two short film scripts).
Nick Darke Award – Submit 750 word pitch for film, radio or stage play idea plus 20pp writing sample.
Final Draft Big Break Screenwriting Contest - Features 80-120pp and TV screenplays 25-70pp.
Screamcraft Horror Script Contest - Feature screenplays up to 140pp in Horror genre.
The Industry Insider Screenwriting Contest: Edward Saxon - turn given logline into spec screenplay.
The Industry Insider Television Writing Contest - complete their pilot kit.
Script Pipeline Screenwriting Contest –Feature length screenplays.
Script Pipeline TV Writing Contest – Any length script, pilot of original or spec of existing show.
Austin Film Festival Screenplay & Teleplay Competition – Feature scripts 90-120pp, teleplays (original pilot or spec of existing show) 45-70pp, sitcom scripts 22-40pp.
The Writers Place Screenplay Contest – Feature length scripts up to 130pp, teleplays/short script up to 45pp.
Warner Bros’ Writers’ Workshop –writing sample for one of their listed current shows. Successful applicants must be able to attend regular workshops in LA.
The Quest Initiative - Submit logline only.
London Independent Film Festival Screenplay Contest - Short & feature length scripts.
Shoreline Scripts Feature Screenplay Competition –Feature screenplays 80-120pp, short screenplays 3-20pp.
Sir Peter Ustinov Television Scriptwriting Award –Submit 30-60 minute television drama script. Applicants must be under 30 and non-US residents.
Screencraft Comedy Script Contest – Feature screenplays up to 140pp.
Screenplay Festival –Feature length screenplays and teleplays over 60pp (no max).
Tracking B Feature Script Contest
BAFTA Rocliffe New Writing Forum:
One In Ten Screenplay Contest –Screenplays 90-125pp. Must feature at least one primary character who is gay, lesbian, bisexual or transgender.
The Red Planet Prize – Deadline: usually May
Disney/ABC Writing Fellowship - Deadline: usually May
Coming Up 2014 (Channel4 & Touchpaper Television)  – Deadline: usually July
American Zoetrope Screenplay Contest - Deadline: usually September (opens for entries 1 June 2013) –  Screenplays 82-145pp.
Guiding Lights Mentoring Scheme – Deadline: usually October
The Launch Pad Competition (Tracking Board) – Deadline: usually November
4Screenwriting (Channel Four) – Deadline: usually November
Cinequest Screenwriting Competition  – Deadline: usually November
Fresh Voices Screenplay Competition – Deadline: usually November
Blue Cat Screenplay Competition - Deadline: usually November
L.A Comedy Shorts Screenplay Competition – Deadline: usually January – categories for short film script, feature film script and  sitcom pilot script.
Hamptons International Film Festival Screenwriters’ Lab – Deadline: usually January
Writers Revolution Screenplay Competition – Deadline: usually January
Cinestory Screenwriting Contest - Deadline: usually February – Screenplay 85-130pages.
United Film Festival Screenwriting Contest – Deadline: usually February – Drama or Comedy or Horror/Thriller as Short screenplay under 45pp or Feature screenplay over 45pp (no max).
Comedy Central/NYTVF Pilot Competition – Deadline: usually March - Sketch/narrative/single camera sitcom and animated comedy. USA residents only. Pilot script plus 4-11′ pilot presentation DVD.
Scriptapalooza -  Deadline: usually March - Screenplays 80-140pp.
European Independent Film Festival Script Competition – Deadline: usually March – Short scripts 5-50pp & feature length scripts 80-130pp. Looking for scripts NOT aimed at mainstream Hollywood film markets.
Scriptwriter Contest from Overbrook Entertainment & ANA Alliance for Family Entertainment - Comedy scripts 30″ & Drama scripts 60″. US residents only.
NBC/NYTVF Drama Challenge - Looking for original  drama series. Submit series overview, pilot script & produced pilot scene.
BAFTA Rocliffe New Writing Forum:  Single dramas, mini-series, comedy drama and continuing drama. 
  1. Writing Circles

See a list of writing circles by UK region here:
  1. UK Film Festivals

Name City Website
3 Short Online Film Festival   http://www.3shortfilmfestival.com
Aesthetica Short Film Festival York http://www.asff.co.uk/
Amplitude Film Festival Bude, Devon http://www.amplitudefilmfestival.com/
Angel Film Festival Islington  
Birds Eye View London http://www.birds-eye-view.co.uk
Bloomsbury Park Film Festival London http://bloomsburyparkfilmfestival.mosaicglobe.com/
Borderlines Film Festival HerefordshireShropshire http://www.borderlinesfilmfestival.co.uk/
British Student Film Festival London, Newcastle, Liverpool, Bristol www.britishstudentfilm.co.uk
British Urban Film Festival London http://www.buffenterprises.co.uk
Cambridge Film Festival Cambridge http://www.cambridgefilmfestival.org.uk/
Cambridge International Super 8 Festival Cambridge http://www.Cambridge-super8.org/
Colchester Film Festival Colchester, Essex http://colchesterfilmfestival.com/
Commonwealth Film Festival Manchester http://www.commonwealthfilm.com/
Cornwall Film Festival Cornwall http://www.cornwallfilmfestival.com/
Encounters Short Film Festival Bristol http://www.encounters-festival.org.uk/
East End Film Festival London http://www.eastendfilmfestival.com
End Of The Pier International Film Festival South Coast http://www.eotpfilmfestival.com
Falstaff International Film Festival Stratford-upon-Avon http://www.fiff.org.uk
Family Friendly Film Festival Manchester http://www.familyfriendly.org.uk
FilmLab Festival London http://www.filmlabfestival.co.uk
Film Africa London http://www.filmafrica.org.uk
Flatpack Film Festival Birmingham http://www.flatpackfestival.org/
Flip Animation Festival Wolverhampton http://www.flipfestival.co.uk/
FrightFest London http://www.frightfest.co.uk/
From Page to Screen Festival Bridport http://www.frompagetoscreen.org.uk/
Heart of England International Film Festival Tamworth http://www.heartofenglandinternationalfilmfestival.com/
I Will Tell international film festival London http://www.jerichofilms.com/iwilltell
Leeds International Film Festival Leeds http://www.leedsfilm.com/
London Asian Film Festival London http://www.tonguesonfire.com
London Film Festival London http://www.lff.org.uk/
London Lesbian & Gay Film Festival London http://www.bfi.org.uk/llgff/
Kendal Mountain Film Festival Kendal http://www.mountainfilm.co.uk/
Meniscus Film Festival Grimsby http://www.meniscusfilms.com/
moves - International Festival of Movement on Screen Liverpool http://www.movementonscreen.org.uk/
Norwich Film Festival Norwich http://www.norwichfilmfestival.co.uk/
onedotzero London http://www.onedotzero.com
One Voice Youth Film Festival Bournemouth http://www.onevoicefestival.com
Peckham Free Film Festival London http://www.freefilmfestivals.org/
Rainbow Film Festival (Shropshire Lesbian & Gay Film Festival) Shrewsbury, Shropshire http://www.rainbowfilmfestival.org.uk/
Raindance Film Festival London http://raindance.co.uk/
Renderyard Film Festival London http://renderyard.com/
Rob Knox Film Festival London http://bexley.gov.uk/
Salford Film Festival Salford http://www.salfordfilmfestival.org.uk/
Sefton Short Film Festival Liverpool http://www.s2f2.org.uk/
Strawberry Shorts (film festival) Cambridge http://www.strawberry-fair.org.uk/film.php
Super Shorts International Film Festival London http://www.supershorts.org.uk/
Terracotta Far East Film Festival London http://terracottafestival.com/
The End of the Pier International Film Festival West Sussex eotpfilmfestival.com
Watersprite Cambridgeshire http://www.watersprite.org
Witney Film Festival Oxfordshire http://www.witneyfilm.com
Wood Green International Short Film Festival London http://www.woodgreenfilmfest.com
London Turkish Film Festival London http://www.ltff.co.uk
UK Film Festival London http://www.ukfilmfestival.com
Wirral International Film Festival Liverpool http://www.wirralfilmfestival.com/
Northern Ireland
Name City Website
Belfast Film Festival Belfast http://www.belfastfilmfestival.org/
CineMagic Belfast http://www.cinemagic.org.uk/
Mid Ulster Film Festival Omagh  
Name City Website
Africa in Motion Edinburgh http://www.africa-in-motion.org.uk/
Dead by Dawn Edinburgh http://www.deadbydawn.co.uk/
Deep Fried Film Fesitival Coatbridge http://www.deepfriedfilm.org.uk/
Dundee Mountain Film Festival Dundee [4]
Edinburgh International Film Festival Edinburgh http://www.edfilmfest.org.uk
Edinburgh Mountain Film Festival Edinburgh http://www.emff.co.uk
Edinburgh Short Film Festival Edinburgh http://www.edinburghshortfilmfestival.com/
French Film Festival UK Edinburgh http://frenchfilmfestival.org.uk/wp/
Glasgow Film Festival Glasgow http://www.glasgowfilm.org/festival
Alchemy Film and Moving Image Festival Hawick http://www.alchemyfilmfestival.org.uk
Name City Website
Abertoir Aberystwyth http://www.abertoir.co.uk/
beyondTV Swansea  
Cardiff Film Festival Cardiff http://www.cardifffilmfestival.co.uk/
Flaneur Film Festival Fishguard http://www.flaneur.me.uk/film-festival/
Llanberis Mountain Film Festival Llanberis llamff.co.uk
Source: http://en.wikipedia.org/wiki/List_of_film_festivals_in_Europe#United_Kingdom
  1. Other writing links

Literary links for enthusiasts: http://books.guardian.co.uk/links/sites_for_enthusiasts/online_magazines/front/0,,96409,00.html
Best Literary Fiction Blogs & Websites
10 Best Literature Sites
Resource for poets and writers: http://winningwriters.com/index.php#.UW3LF0rwGSp

Great Online Literary Magazines - By Kristen O'Toole

Online literary magazines have long been the sad step-sister of print.  But in case you haven’t heard, print’s dying.  Instead of wringing your hands over the future of publishing, you could accept that it’s arrived, and that it’s called the Internet.
Online mags have really stepped up their game, and it’s time to pay them a little respect.  Below is a selection of some of the best, publications that feature fancy important writers and exciting new ones.  They take risks, they surprise and satisfy, they’re free and they don’t kill trees. The future is already happening, you just need to stop ignoring it.
The gold standard for online literary magazines. In addition to fiction, creative non-fiction, and poetry, Narrative publishes features on craft, teaching, and other topics related to a writer's professional life. Website content is updated bi-weekly, weekly, and monthly, depending on the feature. They also send e-mails alerting readers to the "Story of the Week" — which has recently featured Sir Arthur Conan Doyle, Edith Wharton, Stuart Dybek, and Joyce Carol Oates. Narrative is also the only literary magazine currently available on Amazon's Kindle.
An evolving publishing venture, Flatmancrooked puts out a tri-annual print anthology and will bring out its first book next summer. The site also offers a healthy dose of short fiction and "Raudio" — audible art. The site was recently relaunched, and now offers blog posts on literature in the media and weekly updated features including both fiction and non-fiction.
Describing itself as "a magazine of art & politics," Guernica's home page tends to emphasize the "politics," and they do offer excellent and insightful political essays. But we're here to focus on the art part. In addition to essays, interviews, poetry, and art, the site publishes fiction fairly regularly, and every few months features a well-respected guest editor (Ben Marcus, Dawn Raffel, George Saunders, etc). Stories short and long come from a satisfying blend of big names and emerging talent.
Anderbo (a word invented by publisher and editor-in-chief Rick Rofihe, who also judges Open City's RRofihe Trophy story contest) publishes fiction, creative non-fiction or "fact," poetry, and photography. While the site has recently published its first novella, short stories are usually less than 3,500 words, making them perfect for a quick coffee break in your cubicle.
The Adirondack Review 
TAR is published quarterly by Black Lawrence Press, and features poetry, art, and reviews alongside its fiction. If you want a good strong narrative without any questionable experiments of structure or invented languages, this is your Web destination of choice. Black Lawrence Press also runs several contests for aspiring writers and artists.
Lots of smaller print magazines also have online-only content, so if you've got a favorite, be sure to check out its Website. Agni and Granta are two that run high quality Web-exclusives.

Read more: Great Online Literary Magazines - Esquire http://www.esquire.com/blogs/books/Best-Online-Lit-Mags-Blog#ixzz2QfPFrhvn

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