Upcoming Poetry Deadlines

Poets, do you have a group of poems or a full-length collection ready to submit? Consider the following six contests, which are open for submissions until January 31. Each contest offers a prize of at least $1,000 and publication.

Red Hen Press Benjamin Saltman Poetry Award: A prize of $3,000, publication by Red Hen Press, and a four-week residency at the PLAYA writers retreat in Summer Lake, Oregon, is given annually for a poetry collection. Richard Blanco will judge. Entry fee: $25

Lascaux Review Lascaux Prize in Collected Poetry: A prize of $1,000 will be given annually for a poetry collection published during the previous two years. Entry fee: $25

Autumn House Press Rising Writer Contest: A prize of $1,000 and publication by Autumn House Press will be given annually for a debut poetry collection by a writer age 33 or younger. Richard Siken will judge. Entry fee: $25

Main Street Rag Poetry Book Award: A prize of $1,200, publication by Main Street Rag, and 50 author copies is given annually for a poetry collection. The editors and previous winners will judge. Entry: $25

Writers at Work Writing Competition: A prize of publication in Quarterly West is given annually for a group of poems. The winner can also choose to receive either $1,000 or tuition to attend the Writers at Work Conference in Alta, Utah, in June. Entry fee: $20

Winter Anthology Writing Contest: A prize of $1,000 and publication in Winter Anthology is given annually for a group of poems. Dan Beachy-Quick will judge. Entry fee: $11

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

Stranger Than Fiction

1.25.18

In 2014, the oldest eel in the world passed away. Ale the eel was 155 years old and had been living in a well in a small fishing town in Sweden, thrown in the well by a young boy when eels were used to keep a house’s water supply clean from insects. That statement may sound like the premise of a fable, or perhaps the beginning of a joke, but in fact it is a true story. Reality abounds with such surprises. This week, seek out a bizarre fact from the news or a historical document and try using it as the starting point for an essay.

Short Fiction Prize Open for Submissions

Submissions are currently open for the Desperate Literature Short Fiction Prize. An award of €1,000 (approximately $1,220), a weeklong residency at the Civitella Ranieri Foundation in Umbria, Italy, and a consultation with literary agent Adriann Ranta Zurhellen of Foundry Literary + Media, will be given for a short story.

The winner and two runners-up will also receive publication in 3:AM Magazine, Structo Magazine, and A Women’s Thing, and will be invited to participate in events at the Desperate Literature Bookstore in Madrid, Shakespeare & Company in Paris, and the Rizoma Film Festival in Madrid in June. The dates of the events will be announced at a later date. Travel and lodging expenses are not included.

Using the online submission system, submit an unpublished story of up to 2,000 words with a €20 entry fee (€10 for each additional entry) by February 14. 3:AM editors Hestia Peppe and Eley Williams and Structo editor Euan Monaghan will judge.

Established by the Desperate Literature Bookstore in Madrid, the prize aims to celebrate “not just the best of brief fiction, but the continued growth of an Anglophone literary community in Madrid.” Visit the website for the required entry form and complete guidelines.

Soup or Not Soup

1.24.18

Something Something Soup Something is a video game, or “interactive thought experiment,” created by Dr. Stefano Gualeni, a philosopher and video game designer at the University of Malta. In the game, you are presented with an image and a list of ingredients, and are simply asked to decide “Soup” or “Not Soup.” For example: “Rocks with flies and a candy cane served in a hat with a fork.” Taking this question as inspiration, try writing a scene that begins with a bowl of soup. Perhaps the scene focuses on the senses involved in creating and tasting the soup, or an absurd bit of dialogue debating the definition of soup. Let the strangeness of this thought experiment guide your story out of the ordinary.

Celebrity Life

1.23.18

Celebrities are often used as subjects in contemporary poetry, from movie stars to athletes, to singers and reality TV stars. In his poem “Marilyn Monroe,” Frank Bidart considers Monroe through a symbolic, almost metaphysical lens. In her poem “Beyoncé in Third Person,” Morgan Parker presents Beyoncé as a point of contrast for reflecting upon her own life. This week, try zeroing in on a celebrity that fascinates you. Start with a few notes on why this celebrity is iconic and build upon these points for your own poem.

West Seattle’s WordsWest Literary Series

WordsWest Literary Series is curated by poets Katy E. Ellis and Susan Rich, and novelist Harold Taw. All three live in Seattle, where they came together over their parched need for a reading series in their community of West Seattle. Ellis is the author of three chapbooks: Night Watch (winner of the Floating Bridge Press 2017 Chapbook Competition), Urban Animal Expeditions (Dancing Girl Press, 2013), and Gravity (Yellow Flag Press, 2015). Below, she writes about the inventive format of the WordsWest Literary Series and how it played out at an event last fall with P&W–supported writers Robert Flor and Roberto Ascalon.

WordsWest Literary Series—now in its fourth year of programming—was honored to celebrate Filipino American History Month by welcoming two outstanding local writers of Filipino descent, Robert (Bob) Flor and Roberto Ascalon, to the stage. As cocurator Harold Taw mentioned in his introduction, both writers are “Uncle Bobs” in a culture that gives great respect to the words and lessons of previous generations, and that acknowledges the importance of family and really good food!

One of the unique things about WordsWest is its trademark “braided” reading format, where writers take turns reading in short intervals. Both audience and readers get to experience a sense of spontaneous collaboration on stage. (It’s a “living anthology” of words unfolding in a never-to-be-duplicated fashion right before your eyes!) So, Flor and Ascalon traded off reading their poetry in five-minute segments, weaving their poems together with fascinating connections of common history that branched into current themes of what it means to be “home and away” in this country.

Roberto Ascalon was a stunning reader. The audience was on pins and needles as he took us into a Filipino fish market full of magical sensory images and strong characters. His love poem moved us with its unique form that didn’t quite rhyme, but felt like a song in its turning back and repetitions, and gorgeous images of seeds and growing. Bob Flor read from his chapbook Alaskero Memories (Carayan Press, 2016) about life in Alaskan canneries in the 1950s and 1960s. It is invaluable to have someone like Flor share his past experiences not only as a Filipino American with current ties to the Philippines, but as an older gentleman with an eye for details that only a poet can put down on paper. In one touching moment on stage, when the writers first traded turns at the mic, Ascalon acknowledged Flor’s age and life experience, and noted how honored he was to be reading with a Filipino elder. It was a lovely, intimate exchange between writers, between their poems. 

Another unique part of a WordsWest Literary event is the West Seattle Favorite Poem Project, wherein we invite a member of the West Seattle community to share a favorite poem and tell us why it’s a favorite (think Robert Pinsky, U.S. poet laureate 1997–2000). On October 18, we heard a favorite poem from Alexis Acciana of Reading Partners, an awesome organization that connects volunteers with kids who struggle with reading. Acciana gave us a lively, lovely reading of Billy Collins’s poem “On Turning Ten.” The favorite poem portion of WordsWest has been a great way for people who don’t usually connect with poetry to get involved in the literary arts (and to promote their local business or to raise awareness of their cause).

Our WordsWest “braided reading” format, our dedication to inviting writers of diverse experience and cultural background, the cozy, one-of-a-kind coffeehouse atmosphere at C&P Coffee Company, community participation, and an audience now reliant on monthly literary nourishment has made WordsWest an ongoing success!

Support for Readings & Workshops in Seattle is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

Photos: (top) Roberto Ascalon and Robert Flor (Credit: Donna Miscolta). (bottom) Two “Uncle Bobs” reading (Credit: Donna Miscolta).

Upcoming Contest Deadlines for Prose Writers

Prose writers! If you have a story, essay, novel, or memoir ready to submit, below are ten writing contests to consider. Each contest offers a prize of at least $1,000 and has a deadline of Wednesday, January 31.

Balcones Center for Creative Writing Fiction Prize: A prize of $1,500 is given annually for a book of fiction published during the previous year. Entry fee: $30

Black Lawrence Press Big Moose Prize: A prize of $1,000, publication by Black Lawrence Press, and 10 author copies is given annually for a novel. Entry fee: $25

Chattahoochee Review Lamar York Prizes: Two prizes of $1,000 each and publication in Chattahoochee Review are given annually for a short story and an essay. Entry fee: $18

Crazyhorse Literary Prizes: Two prizes of $2,000 each and publication in Crazyhorse are given annually for a short story and an essay. Entry fee: $20

Fish Publishing Short Memoir Prize: A prize of €1,000 (approximately $1,180) and publication in the Fish Publishing anthology is given annually for a short memoir. Entry fee: $19

Iowa Review Awards: Two prizes of $1,500 each and publication in Iowa Review are given annually for a story and an essay. Entry fee: $20

New Millennium Writings New Millennium Awards: Three prizes of $1,000 each and publication in New Millennium Writings are given twice yearly for a short story, a work of flash fiction, and a work of creative nonfiction. Entry fee: $20

Ohioana Library Association Walter Rumsey Marvin Grant: A prize of $1,000 is given annually to an Ohio fiction writer or creative nonfiction writer age 30 or under who has not published a book. Writers born in Ohio or who have lived in Ohio for a minimum of five years are eligible. No entry fee.

Winter Anthology Writing Contest: A prize of $1,000 and publication in Winter Anthology is given annually for a group of poems, a story, or an essay. Entry fee: $11

Writers at Work Writing Competition: Two prizes of publication in Quarterly West are given annually for a short story or novel excerpt and an essay or memoir excerpt. The winners also choose to receive either $1,000 or tuition to attend the Writers at Work Conference in Alta, Utah, in June. Writers who have not published a book in the genre in which they are applying are eligible. Entry fee: $20

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

Hateship, Friendship, Courtship, Loveship, Marriage

1.18.18

Cultures around the world have always developed rituals and traditions to act as guides through all types and stages of interpersonal relationships. Taking inspiration from “Hateship, Friendship, Courtship, Loveship, Marriage,” the title story from the 2001 collection by Alice Munro, choose one of these words and think of a personal habit, routine, or ritual you have developed or participated in as part of a relationship. You might think about or research historical or modern friendship rituals involving bracelets and necklaces, or secret passwords and handshakes. You might find inspiration in considering romance and courtship traditions involving chastity belts, love potions, gentlemen callers—even arranged marriages. Write a short personal essay that delves deep into your experiences and memories, exploring the social conventions and restrictions involved in your navigation of that relationship. 

Holiday Helter-Skelter

1.17.18

Many traditional symbols of the winter holiday season bring with them associations of playfulness, innocence, togetherness, and celebration. Jo Nesbø’s crime novel The Snowman, however, turns one such symbol on its head, following a detective as he tracks a serial killer whose victims are always found after winter’s first snowfall, with a snowman nearby. Many other authors have experimented with the ominous side of holiday symbolism, such as Terry Pratchett in his fantasy novel Hogfather (a twist on Father Christmas); Christopher Moore in the satirical The Stupidest Angel: A Heartwarming Tale of Christmas Terror; and Nick Hornby in his darkly humorous A Long Way Down, in which four strangers coincidentally decide to jump off the roof of the same high-rise building on New Year’s Eve. Write a short story in which you subvert an expectation that arises with a holiday of your choice, imbuing one of the symbols surrounding the occasion with a new layer of meaning. Why might holiday cheer and sentimentality inspire stories of the opposite?

Teen Writers Find Their Creative Voices

Christine Adler is the president of the Women’s Fiction Writers Association (WFWA) and former editor of Inkwell. Her articles, essays, poems, and book reviews have appeared in various print and online publications throughout the Northeastern United States and Canada. She has an MFA in Writing from Manhattanville College, and is represented by Ann Leslie Tuttle of Dystel, Goderich & Bourret LLC. Adler leads the Teen Creative Writers Workshop at Somers Library in Somers, New York, and is currently at work on her second novel.

The Teen Creative Writers Workshop at Somers Library was created for teens who love to write, those middle and high schoolers who’d tell you writing is their thing. We cover all genres—essays, fiction, fan fiction, poetry, you name it. We wanted to create a safe setting for writers where they can share their work and receive constructive feedback, while learning how to give helpful critiques to each other. We also discuss various genres and how to strengthen important elements in each one.

When a new writer attends the workshop for the first time, we talk briefly about how to give and receive feedback. This way, everyone knows we’re using the same guidelines and have the same goal in mind: to help each other improve. I give the group a prompt and have them write for a few minutes. Each student is then invited to share and read what they’ve just written, or read something they’ve brought with them. I also read what I write from the prompts and solicit feedback from the group.

Every writer knows it can be hard to separate your work from yourself, especially when opening up to criticism. If someone is still shy about reading, I ask them to trade work with another writer in the group and read each other’s work aloud. This gives the students an opportunity to experience reading to a group, and also helps illustrate that the critiques are focused on the writing, and not on the writer.

By far, my most rewarding experience as a teacher has been witnessing the enthusiasm expressed by the students. When we get into a discussion about books, or writing, or characters’ motivations they become so animated. It’s exciting to have them ask if we can meet weekly instead of biweekly, or if we can continue the workshop over the summer. Their interest shows me that they truly value the time spent, and enjoy learning the craft. I know they won’t all go on to become writers, but there was nothing like this for me in high school. If there had been, I might have had the confidence to start my writing career earlier in life. I love that I can be a resource to help these students start sooner if they wish.

Leading a group of young writers has greatly influenced my own art too. One thing I emphasize to the members is that we’re never done learning, in writing or in life. We can always improve. I’m strong at dialogue, but weaker at character development and world-building. Many of the teens write fantasy, and as a result are world-building wizards. I’ve learned a lot about world-building from them, and I often leave the workshop, go home, and dive into my work-in-progress. We share tips and tools with each other, encourage one another to keep writing, and together, we see our work getting better. For a writer, there’s nothing more inspiring.

Support for the Readings & Workshops Program in New York is provided, in part, by public funds from the New York State Council on the Arts, with additional support from the Friends of Poets & Writers.

Photos: (top) Christine Adler (Credit: Alex Lindquist). (bottom) Teen Creative Writers Workshop participants (Credit: Tara Ferretti).

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