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Our Writing Contests Issue features arts organizations offering prizes more valuable than cash, twenty-five first-book contests, and the Anatomy of Awards; a profile of novelist Adam Haslett; an interview with New York Times Book Review editor Pamela Paul; articles about trauma and storytelling, writers and imposter syndrome, and selling your story collection; plus writing prompts, over 100 contests with upcoming deadlines, and more.
In his brilliant and devastating new novel, Imagine Me Gone, Adam Haslett navigates an enormous darkness, allowing his readers to bear witness to the persistence of love in the face of mental illness.
In our special section on writing contests, we take a look at three literary organizations offering prizes that include more than just cash—including time and space to write, career development, and more.
Information about twenty-five first-book contests for poets and fiction writers ready to submit their manuscripts.
As part of a continuing series, we offer a breakdown of the numbers behind our Grants & Awards listings, highlighting the total amount of prize money given each year, the average cost of entry, types of sponsoring organizations, and more.
With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Masande Ntshanga’s debut novel, The Reactive, and Emma Straub’s third novel, Modern Lovers, as the starting point for a closer look at these new and noteworthy titles.
Now in its fifth year, the New York City–based Uni Project has installed hundreds of pop-up reading rooms in public spaces, bringing books to underserved communities throughout the city and beyond.
From Stephen King’s The Body to Kurt Vonnegut’s Slaughterhouse-Five, Ig Publishing’s new Bookmarked series offers short personal narratives that explore how a particular work of fiction helped shape a writer’s career.
Small Press Points highlights the innovation and can-do spirit of independent presses. This issue features the Midwest-based Rescue Press, a publishing house that’s championing fluidity of form in literature.
On her Instagram account, German artist Eda Temucin pairs found artwork with book covers, uncovering striking similarities between contemporary visual art and literary design.
The American Literary Translators Association’s executive director discusses the organization’s new administration of the Cliff Becker Book Prize—the only U.S. award that offers publication to a full-length book of poetry translated into English—and the importance of awarding fellowships to emerging translators.
A new project crowdsources redesigned covers for classic works of literature, with the goal of “reviving the canon for a new generation of readers.”
The newly revamped Literary MagNet highlights an emerging author alongside the journals that have published that author’s work. This issue’s MagNet features essayist Angela Morales, whose debut collection, The Girls in My Town, is out in April from University of New Mexico Press; and a selection of print and online journals that first published the essays in her book, including River Teeth, Arts & Letters, 1966, the Baltimore Review, and Literary Mama.
An author, an agent, a publisher, and an editor explore the often difficult path to selling a story collection—when what most publishers want is a novel.
New York Times Book Review editor Pamela Paul shares her insights on the ethical and practical challenges of being the head of the last of the stand-alone newspaper book review sections.
How do we record traumatic events when our survival often depends on us not thinking at all? Fiction writer and essayist J. T. Bushnell explores this question through the lens of a house fire, combining ideas of memory, storytelling, and...
Explore your parental relationships, gain unexpected access to somebody else’s data, and assess the qualities of a favorite celebrity—three prompts to ignite the creative process.
A poet, novelist, and memoirist investigates the experience of imposter syndrome—that insidious feeling of being a fraud—and poses the question, What would happen if writers stopped viewing their careers as a series of happy accidents?
