“The realm of my own life is the quotidian, the everyday, where I sleep and eat and work and think,” writes Helen Macdonald in a New York Times Magazine essay adapted from her new collection, Vesper Flights (Grove Press, 2020). “It’s a space of rising and falling hopes and worries, costs and benefits, plans and distractions, and it can batter and distract me, just as high winds and rainfall send swifts off-course.” In the essay, Macdonald makes a connection between the flight patterns of swifts—how they ascend and descend to different altitudes, at times alone or in a flock—and her own routine movements, including those of her mind. Write a personal essay that takes a pattern or routine you observe in the natural world and applies it to your own everyday habits. You might decide to delve deeper into some scientific research, or use poetic license to draw connections from sensory observation.

Bring in mid-August by submitting to contests with deadlines of August 15 or August 20. These poetry and fiction awards all offer cash prizes of $1,000—or $500 with the opportunity to receive two cases of craft beer!

Dogfish Head Craft Brewed Ales Poetry Prize: A prize of $500, publication by Broadkill River Press, 10 author copies, and two cases of Dogfish Head craft beer are given annually for a poetry collection written by a poet living in Delaware, Maryland, New Jersey, New York, North Carolina, Pennsylvania, Virginia, Washington, D.C., or West Virginia. The winner is expected to attend a reading and award ceremony at the Dogfish Inn in Lewes, Delaware, on December 12. Lodging is provided, but travel expenses are not included. Edgar Kunz will judge. Deadline: August 15. Entry fee: none.

Grayson Books Poetry Prize: A prize of $1,000 and publication by Grayson Books is given annually for a poetry collection. Brian Clements will judge. Deadline: August 15. Entry fee: $25.

Kallisto Gaia Press Poetry and Short Fiction Prizes: Two prizes of $1,000 each and publication in the Ocotillo Review are given annually for a poem and a short story. Chip Dameron will judge the Julia Darling Memorial Poetry Prize; Charlotte Gullick will judge the Chester B. Himes Memorial Short Fiction Prize. Deadline: August 20. Entry fee: $20 (includes a copy of Ocotillo Review).

Red Wheelbarrow Poetry Prize: A prize of $1,000 and publication in Red Wheelbarrow is given annually for a single poem. The winner will also receive 20 copies of a letterpress broadside of the winning poem. Dorianne Laux and Joseph Millar will judge. Deadline: August 15. Entry fee: $15.

The Word Works Tenth Gate Prize: A prize of $1,000, publication by the Word Works, and 50 author copies is given annually for a poetry collection by a poet who has published at least two full-length books of poetry. Lee Ann Roripaugh will judge. Deadline: August 15. Entry fee: $25.

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.

“Storytelling has much to do with the experience of opening an old shoe box or a sandwich bag full of polaroids and building a narrative out of the bits and pieces that have been left behind,” writes Carlos Fonseca at FSG Work in Progress about the process of writing his novel Natural History (Farrar, Straus and Giroux, 2020), translated from the Spanish by Megan McDowell. This week open a drawer, closet, or old shoe box and search through miscellaneous objects. Then, write a story inspired by the narrative that builds slowly as you browse through the fragments of a makeshift archive. How does each piece of the puzzle reveal a tiny bit more of the big picture? Is the entire picture ever really completely realized or knowable?

How are you doing? This is an essential question for all of us. In New Orleans, asking such a question could still mean how are post-Katrina? Recovery. Resilience. These are words attached to the city’s brand. However the reality for many people, in particular writers and artists, is still arduous.

The world can learn from New Orleans during the coronavirus pandemic without deeming it a “Katrina moment.” Our moment was our moment but the lessons about government failure, natural disasters, and depending on strangers for survival are applicable. We know how education systems can change overnight.

For many in New Orleans and the surrounding affected areas, the pandemic adds more weight to an already heavy living. But New Orleans has the writers, researchers, artists, stories, food, land, and music that tell stories of humanity and point a way to the light.

August 29 marks fifteen years since the levees broke in New Orleans during Hurricane Katrina. I am excited to be curating some virtual events with Poets & Writers, including a reading dedicated to remembering the impact the storm has had on the people and culture of this city.

Follow my Twitter feed, @NOLApworg, for more details and updates for this event and more from New Orleans. I’ll also share about upcoming events in our other United States of Writing cities: Detroit and Houston.

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Are trees immortal? Earlier this year, research published in the journal Proceedings of the National Academy of Sciences reported on findings that the biological behavior of gingko trees over six hundred years old was similar to those that were only around twenty years old, prompting the idea that perhaps these trees were immortal. Last month, a new paper published in response in Trends in Plant Science argues that while some trees may indeed live for hundreds or even thousands of years, eventually they are likely to die, and our studies are simply limited by the (relatively) short lifespans of the human beings conducting the studies. Write a pair of poems, one exploring immortality and one exploring mortality. Where do you find yourself turning for allusions or references—nature, civilization, interpersonal relationships?

Is everything just cake? Earlier this month, prompted by viral videos of Turkish chef Tuba Geckil cutting into her ultra-realistic cakes made to look like everyday objects—such as a red Croc shoe, a roll of toilet paper, a potted aloe plant, a carton of eggs, and plastic-wrapped raw chicken drumsticks—Twitter was flooded with cake memes and the internet began to question if everything in the world might, indeed, actually be cake. Write a personal essay that recounts a past incident that made you question your reality. Perhaps you caught sight of something particularly uncanny or jarring, and suddenly so many other things seemed terrifyingly possible. How did you reconcile this shifted perception with what your mind could tolerate? Or did everything remain cake?

Submissions are open for the 2020 Ernest J. Gaines Award for Literary Excellence. Sponsored by the Baton Rouge Area Foundation, this annual award “serves to inspire and recognize rising African-American fiction writers of excellence at a national level.” Given for either a novel or a collection of short stories published in 2020, this award includes a $15,000 cash prize. The winner will also receive the opportunity to attend the prize ceremony in Baton Rouge, Louisiana and participate in educational outreach events at schools and after-school programs in the area; travel expenses are funded by the Baton Rouge Area Foundation.

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Mail a completed registration form and eight copies of a published book or galley to the Baton Rouge Area Foundation offices by August 31. Anthony Grooms, Edward P. Jones, Elizabeth Nunez, Francine Prose, and Patricia Towers will judge. There is no entry fee. Visit the website for complete guidelines.

In honor of the late Ernest J. Gaines, a cherished Louisiana writer, recipient of the MacArthur “Genius” Fellowship, and National Book Critics Circle Award winner, this contest is now in its fourteenth year. The winner of the 2020 book prize will be selected in November of this year, and the awards ceremony will take place on January 28, 2021. Previous winners of the award include Victor LaValle, T. Geronimo Johnson, Jamel Brinkley, and Bryan Washington.

The setting of a story can act as more than just a backdrop, such as in Hemingway’s short story “Hills Like White Elephants,” in which the train station acts as a physical representation of movement and decision. Louisiana’s landscape and climate plays an active role in Kate Chopin’s short story “The Storm.” More recently, the modern-day Brooklyn setting in Daniel José Older’s paranormal novel Shadowshaper was praised in a 2015 New York Times review for offering up “parallels between personal histories and histories of place.” For this week’s prompt, write a piece of short fiction that makes the setting an active character in the story. Consider the protagonist’s relationship and history with their physical surroundings. How can you make a place come to life and interact with the subjects of your story?

In “Translating Poetry, Translating Blackness,” published in the Poetry Foundation’s Harriet blog, poet and novelist John Keene reflects on language as “a medium, a field, a tool, a site of being and expression and communication.” Through his translation work, Keene engages with writing that is often overlooked, such as poetry “by women writers, by LGBTQ writers, and by writers of African descent,” in order to publish the work for more readers. Choose a poet whose work you admire and translate one of their poems into another language or form. Perhaps you attempt a translation from one language to another or try “translating” a sonnet into a pantoum. What would you like to express through this exchange of language?