“I saw the book as another kind of house. How did I want the reader to pass through it? What room would they enter first, and how should that room feel?” writes Sarah M. Broom about the structure of her debut memoir, The Yellow House (Grove Press, 2019), in “The New Nonfiction 2019” in the September/October issue of Poets & Writers Magazine. Write a memoiristic piece, or revisit one already in progress, and work on constructing it like a house that the reader must pass through. Plan out the points of entry and exit, and organize different sections or vignettes to be experienced as rooms visited one after another.

How does the atmosphere of a cathedral change when a carnival slide is installed inside of it? A recent New York Times article reported that in an attempt to engage people into visiting and attending their services, a number of ancient churches and cathedrals in England have incorporated installations such as a four-story-tall winding carnival slide, a space-themed exhibit with a reproduction of the moon’s surface, and a mini golf course. Write a story that takes place in a cathedral that has incorporated some untraditional elements. Does the incongruity offer a different perspective of the space? Are the new features considered a disruption or are they welcomed?

How many people does it take to make a community? At Station Nord, a Danish military outpost and research facility located in Greenland just over five hundred miles from the North Pole, only six people and two dogs live there year-round. Even with such a limited population, isolated locale, and frigid temperatures, inhabitants establish a convivial sense of home and community with shared meals, silly rules, pig roasts, and game nights. Write a poem about a group of people who provided you with a warm sense of community. What small, perhaps mundane, moments do you recall that have helped create a sense of belonging, support, and bonding?

One of Australia’s most prestigious literary awards, the Peter Porter Poetry Prize, is open for submissions. The annual award, which is given for a single poem, honors Australian poet Peter Porter, who wrote more than fifteen collections of poetry and was celebrated with the Queen’s Gold Medal for Poetry and the Whitbread Prize for Poetry. Porter was also a longtime contributor to the Australian Book Review, which sponsors the eponymous prize. This year’s winner will receive $7,000 AUD (approximately $ 4,713) and will be published in an issue of the review.

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Using only the online submission system, submit a poem of up to 70 lines with an entry fee of $25 AUD (approximately $17) by October 1. All poets writing in English are eligible. Visit the website for complete guidelines.

John Hawke, Bronwyn Lea, and Philip Mead will judge this year’s prize. Its most recent winners are Belle Ling and Andy Kissane, who jointly received the 2019 prize. Ling won for “63 Temple Street, Mong Kok” and Andy Kissane won for “Searching the Dead.”

What would motivate you to walk thousands of miles? Last month, researchers released data that tracked an arctic fox that had made a trek of over two thousand miles across the frozen Arctic Ocean from Norway to Canada over the course of seventy-six days, most likely prompted by a search for food or a new habitat. Write a personal essay about a time that you traveled a long way—traversing a great physical, emotional, psychological, or spiritual distance—to achieve something that was of utmost importance to you. What motivated you along the way? How did the trials of the journey compare with the end result?

“What is the difference between the truth and what the characters are telling themselves? If I can figure that out, then things really start to crack open,” says Téa Obreht in a profile by Amy Gall in the September/October issue of Poets & Writers Magazine about a question she poses to herself during the writing process. Keep this question in mind as you try writing a short story that revolves around a main character whose version of the truth—about another character, herself, or an event that has happened—differs drastically from a more objective reality. How does the storytelling perspective demonstrate this discrepancy to the reader? What is hidden underneath this version of the story?

“Autumn nibbles its leaf from my hand. / We are friends. // We shell time from the nuts and teach them to walk. / Time returns into its shell.” In an essay on Lit Hub, Sara Martin writes about compulsively reciting Paul Celan’s poem “Corona” on first dates as a “beautiful but impersonal” way to expedite intimacy. This week, write a poem you can imagine reciting to a new romantic prospect or lover, one that doesn’t necessarily dwell on traditional images or vocabulary of seduction but strives for a subtle sense of hope and urgency. What kind of language do you use to invoke an immediate intimacy?

A large part of the work that I do for the literary community in Detroit is with the nonprofit organization InsideOut Literary Arts. InsideOut is Detroit’s largest and oldest literary arts nonprofit, placing writers in schools across the city and offering an award-winning after-school program known as Citywide Poets. As the coordinator for Citywide Poets, I have the honor of organizing the after-school activities for the program. We offer weekly writing workshops, a visiting writer series, and my favorite event, First Draft Open Mic.

First Draft began by demand from our students who wanted a space to share their in-progress work. The series has continued to flourish and is now closing its second season. The last event held on August 16 featured poetry and music, and a special performance by the 2019 Detroit Youth Poetry Slam team. It is obvious how the youth of the program have taken full ownership of this event series, from hosting to performing. Events like this, along with the work I do for InsideOut and Poets & Writers, all lines up in a way that reminds me that writing is thriving among new, young artists as well as veteran artists. At First Draft Open Mic, there is more that happens than just sharing first drafts, everyone in the space shares a moment of vulnerability and a community is instantly built.

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Summer’s final deadlines are upon us! Contests with a deadline of August 31 span poetry and prose, and include awards celebrating queer writers, writers over the age of 60, and writers living in upstate New York. Each offers a prize of at least $1,000.

Aesthetica Creative Writing Award: Two prizes of £1,000 (approximately $1,225) each and publication in the Aesthetica Creative Writing Annual are given annually for a poem and a short story. The winner in poetry also receives a membership to the Poetry Society in London, and the winner in short fiction receives a consultation with the literary agency Redhammer Management. Both winners receive a subscription to Granta and a selection of books from Bloodaxe Books and Vintage Books. Katy Guest, Oz Hardwick, Liz Jones, Teresa Palmiero, Martine Pierquin, and Steve Toase will judge. Entry fee: £12 (approximately $15) for a poem of up to 40 lines, or £18 (approximately $22) for a short story of up to 2,000 words.

Black Lawrence Press St. Lawrence Book Award: A prize of $1,000 and publication by Black Lawrence Press is given annually for a debut collection of poems or short stories. The editors will judge. Entry fee: $25.

Ex Ophidia Press Poetry Book Contest: A prize of $1,000, publication by Ex Ophidia Press, and 15 author copies is given annually for a poetry collection. Richard-Gabriel Rummonds will judge. Entry fee: $25.

Gemini Magazine Flash Fiction Contest: A prize of $1,000 and publication in Gemini Magazine is given annually for a short short story. The editors will judge. Entry fee: $6.

Grid Books Off the Grid Poetry Prize: A prize of $1,000 and publication by Grid Books is given annually for a poetry collection by a writer over the age of 60. Jon Davis will judge. Entry fee: $25.

Masters Review Short Story Award for New Writers: A prize of $3,000 and publication in Masters Review is given twice yearly for a short story by a writer who has not published a novel (writers who have published story collections are eligible). The winning story will also be sent to agents Victoria Cappello from the Bent Agency, Sarah Fuentes from Fletcher & Company, Andrea Morrison from Writers House, and Nat Sobel from Sobel Weber Associates. Tope Folarin will judge. Entry fee: $20.

Omnidawn Publishing Open Book Prize: A prize of $3,000, publication by Omnidawn Publishing, and 100 author copies is given annually for a poetry collection. Rachel Zucker will judge. Entry fee: $27.

Red Hen Press Quill Prose Award: A prize of $1,000 and publication by Red Hen Press is given annually for a short story collection, a novel, or an essay collection by a queer writer. Uzodinma Iweala will judge. Entry fee: $10.

University of New Orleans Press Publishing Lab Prize: A prize of $10,000 and publication by University of New Orleans Press is given annually for a short story collection or a novel. Entry fee: $28.

Utica College Eugene Paul Nassar Poetry Prize: A prize of $2,000 is given annually for a poetry collection published in the previous year by a resident of upstate New York. The winner will also give a reading and teach a master class at Utica College in April 2020. Entry fee: none. 

Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, and creative nonfiction.