WordCraft LA Writers' Resolution Virtual Boot Camp

Following the success of our Writers’ Resolution Boot Camp last year, we’re now offering an expanded 13-week program with separate tracks for fiction and memoir writers. From generating ideas to building an author platform, we’ll help you make significant progress on a writing project and start the year off right! For only $90, you will receive inspiration and motivation in the form of weekly e-mails with craft tips, writing prompts, excerpts from classic and contemporary writers, and links to other resources. Contact us today to get started!

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Thursday
Mar212013

The Best Tip for Writing a Good Dissertation


You may have heard the popular refrain when opening a business: location, location, location. Just like your business wouldn’t exist in a void, neither does your dissertation. The best tip for writing a good dissertation is simple: audience, audience, audience. Audience is to writing what location is to commerce. How can you best reach the people you want to interest in your project?

The first thing NOT to do is assume the only people interested in your work are your department chair and dissertation committee. Such an assumption almost guarantees your dissertation will be dry, and more importantly, difficult to write. When you are able to imagine a curious and compassionate reader, who may not be the expert that you now are after years of graduate school, you can make writing decisions that will enhance your work.

Even within the constraints of the typical dissertation framework – introduction, literature review, study design, results, conclusions – your work can still be unique and compelling at the prose level. Think of yourself as someone teaching the material, which in many cases, you will be soon. How do you keep the students from nodding off? How do you keep your colleagues’ attention? The same things that interested you initially about the research will most likely interest your audience. What were they?

Audience consideration can solve many common writing issues. If you are consistently aware of your reader, you will not repeat information with no elaboration or contextualization because you will know the reader already has that information. If you consider your reader as someone who is not as knowledgeable as you are, you will take the time to explain concepts and provide illuminating examples. If you think of your project as a narrative that you are walking your reader through, you will be able ensure you keep her attention and organize your ideas in the most logical way possible.


Posted by Chris Daley

Sunday
Mar172013

Submission Sunday 3.17.13


Glimmer Train Fiction Open Contest (Deadline March 31)

Glimmer Train has been discovering and publishing emerging writers since 1990. Each quarterly issue presents more than 200 pages of great literary short stories. A feast of fiction!

 Open to all subjects, all themes, and all writers. Most entries run from 2,000 to 8,000 words, but stories from 2,000 to 20,000 words are fine.

  • 1st place wins $2,500, publication in Glimmer Train Stories, and 20 copies of that issue.
  • 2nd place wins $1,000 (and 10 copies, if accepted for publication).
  • 3rd place wins $600 (or, if accepted for publication, $700 and 10 copies).


A Public Space
Call for Submissions
(Deadline April 15)

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Sunday
Mar102013

Submission Sunday 3.10.13

 

Photo Credit: 3oneseven

Sundog Lit Call for Submissions – Theme Issue: Games (Deadline June 1)

Sundog Lit publishes writing that scorches the earth. Sundog Lit is all about what emerges from the ruins, not what idles in the calm before the storm. Sundog Lit is blood, rusty gears, the sweat of toil, working-class, revolutionary, everyday. Sundog Lit is literature that rages. 

Sundog Lit's FIRST theme issue centers on: GAMES.We're looking for all that great lit - fiction, creative nonfiction (personal narrative, hybrid, lyric, segmented essays, heavily-researched essays), poetry - that deals with games, with playing, with sport. We're leaving that interpretation up to you, the writer. Video game lit. Baseball lit. Games of the heart lit. Bareknuckle lit. Game of Thrones lit (maybe). Be earth-scorching (as always), be edgy, be fiery, be interpretive. We're looking for your work of 2,000 words or less. 

Beecher's Poetry, Nonfiction, and Fiction Prizes (Deadline March 31)

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Sunday
Mar032013

Submission Sunday 3.3.13


Recess Magazine Call for Submissions

To provide a place for like-minded people to come and read content they can’t find anywhere else. Whether it be a review of a classic Saved by the Bell episode or an exciting fiction serial, we want people to stop in and read content they won’t find anywhere else. There are a lot of talented people out there needing a place to showcase their work. We hope to become that place.

Recess Magazine is always looking for contributors for all of our sections. While we are unable to pay, we promise to promote the hell out of each piece we receive, and we try to respond to submissions as quick as we can.

SmokeLong Quarterly Kathy Fish Fellowship (Deadline March 31)

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Monday
Feb252013

Typography

When I was in my early twenties, I acquired the somewhat pedantic nickname of Web10 Jen. This had nothing to do with the Internet—Ask Jeeves was popular at the time—but rather Merriam-Webster’s Collegiate Dictionary: Tenth Edition, to which we strictly adhered at my job, my first real editorial position at a magazine. I got said job, as an unpaid intern and later a proper editor, after I wrote to the magazine pointing out a typo in one of their section headings. I no longer remember the typo, but it was bad enough, and it had escaped the magazine’s notice for its first few issues.

Madison (now long defunct) was somewhat fresh; we liked to say it was a cross between Vanity Fair and The New Yorker, and it was that interesting to all of us who put it together. It came across my desk when I was an assistant at The New Yorker, in a pile of mail for my boss, a creative on the business side, which is nowhere near as noteworthy as the editorial side, though I did find many occasions to sneak downstairs to the library and pretend I belonged on the floor that mattered to me. Tina was on her way out, David Remnick was on his way in, and I went to work for this large, squarish magazine printed on matte paper so thick it felt like card stock, with the audacity to put on its cover a black-and-white photograph of Helena Bonham Carter puffing on a cigarette, her pale profile taking up half the otherwise blackest page, her tobacco breath the rest. That issue hit newsstands a few months after I’d been hired, and thus, I hope, contained no misspelled heading. 

Beyond the excitement of getting the job, finding that typo brought me joy, a kind of sick little glee, validation that only comes from knowing how right you are, if only people would pay you for it. I have always been good at catching typos. One of my favorite photographs from around that time, back when I had access to a darkroom, was of an error I came across somewhere in the East Village, on a rickety metal sign pointing to a psychic’s shop: $5: FIND OUT WHAT THE FURTURE HOLDS FOR YOU. Which pretty much summed it up.

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Sunday
Feb242013

Submission Sunday 2.24.13


Sonora Review Essay and Fiction Contests
 (Deadline May 1)

Founded in 1980, Sonora Review is one of the oldest student-run literary journals in the country. From start to finish, each issue is put together solely by graduate students in the Creative Writing Department at the University of Arizona. All staff members volunteer their time. Former staff members include Antonya Nelson, Robert Boswell, Richard Russo, Tony Hoagland, David Foster Wallace, Tim Peterson, and Richard Siken. Work originally printed in the Sonora Review has appeared in Best of the West and Best American Poetry, and has won O. Henry Awards and Pushcart Prizes.

Sonora Review invites your short fiction submissions for its annual contest. First-prize receives $500, runner-up receives $250, and second runner-up receives $75. All entries are considered for publication, except those from recent students (within the last five years) of the judge (fiction: Ben Marcus; nonfiction: Dinty Moore). 

Bust Culture: The Great Recession in Fiction, Film, and Television – Edited Collection Call for "Breaking Bad" Abstract (Deadline March 1)

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Monday
Feb182013

What People Think Tutors Do vs. What Tutors Really Do

Have you seen the Internet meme “What People Think I Do/What I Really Do”? The meme looks something like this: 



If I were to put together one of these for writing tutors, I would have plenty of preconceived notions to draw on: that a writing tutor’s job is to write students’ papers for them or tell them what to write, for example, or that only students who are really struggling with the fundamentals of academic writing can or should use writing tutors. (I’m amusing myself by thinking about what the photo of the tutor writing his students’ papers might look like.) 

In fact, a writing tutor can help not only struggling students, but stronger students who want additional support as they move from one skill level to the next, or from high school to college, or college to graduate school.

A writing tutor can work with students who need help with self-discipline and organization, or with students who have a specific high-stakes project to complete and want to produce their best work. Most crucially, a writing tutor can be a sounding board, someone who is not a parent or a teacher, who knows how good writing works and how important it is for students to develop confidence in their own individual voices as writers. 

So what can a writing tutor do for you?

Let’s say you are a high school senior working on college applications. You’ve written a good draft of your personal statement, and you think you’ve responded well to the Common Application prompt (“Discuss some issue of personal, local, national, or international concern and its importance to you”). You’ve written convincingly about your volunteer work for the short answer question. And then you look at the supplemental essay questions for individual colleges and universities and spot this option: “So where is Waldo, anyway?” Or this one: “Celebrate your nerdy side.”

A writing tutor can certainly work with you on the more straightforward essay requirements for college applications; she can also help you figure out what you have to say in response to some of the more out-there supplements. She can encourage you to speculate on Waldo’s whereabouts or to let your genuine freak flag fly, and she can help you to edit the finished product so that an admissions committee will have a real sense of who you are and what unique qualities you would bring to the class of 2018. What else can writing tutors do?

  • Writing tutors can help to demystify complex essay questions; they can make it easier to understand what a teacher or professor is really asking for when her comments on your paper say, “Unclear argument” or “Needs more analysis.” 
  • Writing tutors can work with students to practice the writing skills they will need to do well on Advanced Placement or SAT tests. 
  • Writing tutors can help students put their best selves forward in personal statements for applications, whether those applications are for college, for internships, for graduate school, or for jobs. 
  • Writing tutors can strengthen the day-to-day writing skills that we all need in order to communicate: revising drafts effectively, or helping to find the best and most precise word to express your meaning and then showing you how to find that best word every time you write, with or without her help.

A writing tutor should be someone who supports you one-on-one and helps you to develop into the best writer you can be—someone whose goal is to make herself obsolete.


Posted by Megan Stephan

Sunday
Feb172013

Submission Sunday 2.17.13


Robert Frost Poetry and Haiku Contest (Deadline March 1)

Top prize each category: Two Week Residency at The Studios of Key West + $200 cash prize.

The prestigious literary tradition founded by Heritage House Museum 20 years ago, which encourages the creation of new poetry and haiku. Contest winners (and selected other entries) will be published in an anthology to commemorate the fine poetry in this year’s competition. Each author included will receive full credit. Published as an ebook and a paperback, it will be distributed nationally and internationally.  

Hayden's Ferry Review Call for Submissions—Theme Issue: Departures (Deadline June 1)

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Saturday
Feb092013

Submission Sunday 2.10.13

The Los Angeles Review Call for Submissions (Deadline April 20)

Each issue of The Los Angeles Review is dedicated to a West Coast writer who has made an indelible mark on the literary world. We at LAR are proud to announce that our fourteenth issue will be dedicated to the life and work of the poet Madeline DeFrees.

DeFrees was born in Oregon in 1919, and studied at Marylhurst College and the University of Oregon. In 1936, DeFrees joined the Sisters of the Holy Names of Jesus and Mary and served as a nun until 1973. Once she was dispensed from her vows, she turned to writing and teaching, and published 10 collections of poetry, including From The Darkroom, Magpie on the Gallows, Possible Sibyls, Blue Dusk, and Spectral Waves, and two works of nonfiction.

Fiction: We’re looking for to hard-to-put-down shorties under 500 words and lengthier stories up to 4,000 words–lively, vivid, excellent literary fiction. Please indicate word count in your file title.

Nonfiction: Please submit an essay, memoir, or commentary told as compelling, focused, sustained narrative in a distinctive voice, rich with detail. Send 1,000-4,000 words or delight us with flash nonfiction that cat-burgles our expectations.

Poetry: Please submit 3-5 poems that will surprise us, wow us, and make us wish we’d written them ourselves. We are open to form, free verse, prose poems, and experimental styles. Our only criterion is quality.

Hobart Annual Baseball Issue (Deadline March 16)

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Friday
Feb082013

What You Should Expect from a Writing Coach


Image via Academic Coach Taylor

Coaching has become one of the most popular services offered by WordCraft consultants since we launched last July. Yet we’re frequently asked what a writing coach actually does. This post will cover a few things you can expect from a WordCraft coach—or that you should expect from any writing coach.

The coach will set up a schedule that works for you. 
 

Some writers pursue their craft full-time, so a weekly meeting can be most productive for them. Other writers are balancing the demands of work and family and their desire to write. These writers may want a biweekly or even a monthly meeting to stay in touch with their craft but also have time for other obligations. Coaches will also take financial considerations into account when deciding how often the meetings will occur. Because our clients are located in different regions across the country, most of our coaching sessions take place over the phone. Each session lasts for an hour. We will determine a regular time that works for you. Some clients prefer evenings or weekends; a few of our clients use their lunch hour. Most of our consultants are available during mornings and afternoons as well.

The coach will help you set goals to stay on track.
 

Our clients pursue a number of different genres — fiction, nonfiction, business writing, screenplays, and more — so each type of project produces its own set of tasks. Whichever genre you are pursuing, we will help you determine your objective and set reasonable, measured targets. We suggest activities that bring you closer to completing tasks that move you toward your goals. Calendars will be consulted.

The coach will make your phone session as productive as possible.
 

Most of our hour-long meetings include discussion of craft readings, brief writing exercises, review of work that has been written since the last session, and goal setting. Each meeting will be customized based on the goals that you have set. For example, a client who wanted to publish an essay may have a session that looks like this:

12:00–12:10 — Discuss two essays read before meeting as publication models
12:10–12:30 — Discuss draft of essay that client submitted before meeting
12:30–12:40 — Plan revision strategies to complete before next meeting
12:40­–12:50 — Complete exercise in real time that strengthens a skill 
12:50–12:55 — Set tasks and goals to be completed for next meeting

Working with the coach, the client will determine the activities for each session based on the progress made or desired.

The coach will adjust your training regimen depending on the next opponent, like Burgess Meredith does for Rocky.

Our coaches have worked with all levels of writers — from elementary school students to published authors — so we have reasonable expectations for each client, but we also know how to push you toward your objective in a way that feels challenging yet achievable. For some bouts, your regular writing schedule will be perfectly fine; for others, you’ll need to train a bit more rigorously. We’ll help you figure out when to up your game.

If you’d like more information, contact us at wordcraft@wordcraftla.com and we’ll be happy to answer your questions. Also, through February 12, we are offering 15% off all author services, including coaching.


Posted by Chris Daley

Sunday
Feb032013

Submission Sunday 2.3.13



Want to submit your work but aren't sure what to send or where to send it? Take advantage of our sale on submission consultation services through February 12th!


Vermont Studio Center Residency Fellowships
(Deadline February 15)

The Vermont Studio Center holds three annual fellowship deadlines, with new juries and different awards each time. In 2011, VSC awarded 193 fellowships to artists and writers from the U.S. and 20 other countries. Unless otherwise noted, all of the fellowships listed below are for 4-week residencies at VSC.

The following fellowships are available at our February 15, 2013 Deadline:

  • Vermont Studio Center Fellowships Open to All
  • Pollock-Krasner Foundation Emergency Relief Residencies 
  • NEA Literature in Translation Fellowships 
  • VSC/Joan Mitchell Foundation Fellowships
  • Zoland Poetry Fellowships 
  • Harpo Foundation Native American Fellowships 
  • James Merrill Fellowships 
  • Helen Zell Residency Fellowship 
  • The Association of Literary Scholars, Critics, and Writers (ALSCW) Fellowship 
  • Bloomsburg University Fellowship
  • David Bermant Foundation Fellowship 
  • Civil Society Institute Fellowship 
  • Kay Evans Award 
  • Charles C. Gurd Artist Residency Award for Concordia University 

Omnidawn Poetry Chapbook Contest (Deadline April 22)

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Friday
Feb012013

Announcing the WordCraft February Sale!


February is the month that writing resolutions may start to waver, and we would like to help. Throughout the month of February, we’ll be having a sale on all of our services.

Any order placed this month will receive 15% off the regular price. Any service priced by project — a manuscript edit, copywriting, a critique — will have 15% deducted from the total. Any service priced by the hour — coaching, tutoring, consulting — will have 15% deducted from the hourly rate for up to ten hours. 

February 1–12       Authors

February 13–20  Students

February 21–28  Writers at Work

For the first phase of the sale — February 1–12 — the discount can be applied to all of our author services. Working with authors is a particular strength of the WordCraft collective. Our consultants have a wide range of experience: from managing projects to developmental editing, from personal coaching to group writing instruction, from research and indexing to marketing consultation. 

Coaching

Sometimes a writer may have a great idea but not know exactly how to proceed. Other times, a writer knows exactly where she wants to go with a concept, but motivation and time management are standing in her way. Hiring a writing coach can remove both of these obstacles to a completed manuscript, whether it be a short essay or story or a book-length project. We will custom design a coaching program for you based on your aspirations and writing practice to help you get where you want to be. 

Manuscript Preparation

With experience at established publishing houses, newspapers, academic presses, literary journals, and graduate programs, our consultants have worked with almost every possible kind of manuscript. We can join you early on in the process (providing feedback on style and structure) or when you have completed your project (proofreading and line editing to perfect the expression of your ideas) or at any time in between. We offer a full range of manuscript preparation services, including line and developmental editing, ghostwriting, research, fact checking, indexing, and consultation on format and design.

Submission and Marketing Consultation

Even though a project may be complete, the publication process is far from over. Whether you need to determine which publications or agents would be most receptive to your work, decide whether self-publishing is the best course for you, or get assistance with publicity and self-promotion for a published work, our consultants can help you to get your work before a larger audience. 

If you are an author, contact us before February 12 to receive 15% off your project. Later in the month, we will highlight our other client categories: Students and Writers at Work.


We look forward to working with you!
Chris, Megan, Sacha, and Jennifer
 

Sunday
Jan272013

Submission Sunday 1.27.13


First Annual Saranac Review Writing Contest (Deadline this Thursday, January 31)

The Saranac Review was born in 2004 out of four writers' vision to open a space for the celebration of many voices including those from Canada. Attempting to act as a source of connection, the journal publishes the work of emerging and established writers from both countries. As our mission states, "The Saranac Review is committed to dissolving boundaries of all kinds, seeking to publish a diverse array of emerging and established writers from Canada and the United States.

The Saranac Review aims to be a textual clearing in which a space is opened for cross-pollination between American and Canadian writers. In that way, we aim to be a textual river reflecting diverse voices, a literal "cluster of stars," an illumination of the Iroquois roots of our namesake, the word, Saranac. We believe in a vision of shared governance, of connection, and in the power of art.

The Saranac Review is a literary journal published by the Department of English under the auspices of SUNY Plattsburgh. The Editorial staff of the Saranac Review will review and screen the manuscripts for the judges. The screeners will select ten to 15 manuscripts in each genre for each judge’s final evaluations. The judges: Jo-Ann Mapson, Fiction; Aimee Nezhukumatathil, Poetry.

FIRST PRIZE: $500 FOR BEST POEM; $500 FOR BEST STORY, AND PUBLICATION. Deadline January 31.

The Broken Social Scene Story Contest

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Sunday
Jan202013

Submission Sunday 1.20.13

Joe Strummer (Images for past two weeks via Australian Typewriter Museum, Canberra)

Gothamist Call for Story Submissions

Gothamist is looking to expand and deepen our coverage of New York City, and we're paying. We want original, compelling, heartbreaking, funny, enraging, enlightening work, written clearly and with an eye towards stories that cut through the dull hum of the internet—stories that help the reader better understand New York City and the people living in it. It should not have been published anywhere else in print or online.

A well-sourced, 1,500-word indictment of governmental incompetence is just as welcome as a 500-word profile of the rat-slaying building super who listens to Van Halen while on the hunt. We want the gems buried at the bottom of Kafka-esque municipal board meetings and the life-affirming acts of kindness often obscured by the relentless crush of humanity; the joys of working for a dog-walking marijuana delivery service and the hazards of donning a Santa suit at Saks Fifth Avenue.

You should be as excited writing or pitching your story as we are reading it. The only thing we don't want (at the moment) is fiction. Pay depends on experience, quality, and length.

Fourth Genre Steinberg Essay Prize

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Sunday
Jan132013

Submission Sunday 1.13.13

 

Virginia Quarterly Review Online Theme Issue: Classic Hollywood (Deadline Tomorrow, January 14)

We are seeking posts that explore any aspect of Hollywood, LA life, film/TV, and celebrity. While we’re open to any kind of pitch, we’re specifically seeking writers who want to contribute on the following topics:

  • The first movie (or possibly a TV show) that deeply impacted your life or way of thinking, or that holds emotional weight worthy of dissection.
  • Entertainment obsessions or guilty pleasures

Length: Flexible and up to the writer
Deadline: Jan. 14, 2013
Pay: $100 per post
Pub date: If accepted, the post would run between January and March 2013.

Tomorrow Project/Arc Short Story Competition (Deadline Tomorrow, January 14)

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Sunday
Dec162012

Submission Sunday 12.16.12


Omnidawn Open Book Poetry Contest

Omnidawn Publishing was founded by wife and husband team Rusty Morrison and Ken Keegan to create books that are most closely aligned with each author's vision, and to provide an interactive and rewarding publishing experience for poets and writers. We encourage authors to participate at every point in the decision making process of book design and book production, and thus far all have taken an active part, deciding on or providing cover art and assisting in the design of the interior of the books. Omnidawn has been publishing poetry since 2001, with Fabulist and New Fabulist Fiction added in 2006.

The winner of each of the three Omnidawn poetry book competitions wins a cash prize as indicated above for each contest (Open Book $3000), publication of the book with a full color cover by Omnidawn, 100 free copies of the winning book, and extensive display advertising and publicity, including prominent display ads in American Poetry Review, Poets & Writers Magazine, Rain Taxi Review of Books and other publications. Winning books have been reviewed in Library Journal, American Book Review, The Huffington Post, and other publications, and all winning books that have been published for at least one year have been adopted as texts for college classes. Deadline January 15.

NewsAction.org/Pulitzer Center Digital Storytelling Competition

This competition is open to all middle and high school students.

Your goal is to tell a great story. Focus on one person and tell how his or her story relates to a bigger global issue. Your reporting must be original, factual and true, and it should consider multiple sides of the story. It should feature at least three voices: an in-person interview with the individual affected, an expert on the topic (like a researcher, a teacher, a doctor, or a professor), and any other third voice of your choice. That third person can be you, the narrator.

Stories can be told using any combination of infographics, audio, video, photography and text. Think carefully about the media you use to tell yours to an audience of peers around the world. Articles must be no longer than 2,000 words. Video and audio stories must be no longer than 5 minutes. A photo gallery or infographic collection must contain no more than 10 captioned photographs. The best reporting will be published on NewsAction.org. The top three projects will also be featured by the Pulitzer Center, and US$200 will be donated to each winner’s charity of choice.

CommuterLit Call for Submissions

CommuterLit.com is an ezine for readers like you — smart, interested in the world and on the go. CommuterLit.com posts a new short story, novel excerpt or poem each day from Monday to Friday, specially formatted to read on a mobile device (smart phones, iPads, Blackberries). Of course, you can also access the stories and poems from the CommuterLit.com website at any time.

Our focus is on works of fiction or poetry that can be enjoyed during a 20- to 30-minute public-transit commute to work. And because we know your taste in reading material is varied and sophisticated, we plan to surprise you by selecting samples of not only literary fiction, but sci fi, fantasy, horror, mystery, thriller, romance and experimental combinations thereof. CommuterLit.com is looking for short stories, novel excerpts and poetry (one poem or a series of poems), in any genre, with a word count of 500 to 4,000.

Quarter After Eight Robert J. Demott Short Prose Contest

Quarter After Eight is an annual literary journal devoted to the exploration of innovative writing in all its forms. QAE is committed to publishing fiction, poetry, prose poetry, sudden fiction, creative and critical nonfiction, interviews, reviews, interactive pieces, digital work, letters, memoirs, translations, dramas, and less defined forms of prose from new and established writers.

PRIZE: $1,000 + Publication
SUBMISSION DEADLINE: December 31st, 2012

Submit your prose-poem, short-short fiction, essay-in-brief, etc. of 500 words or fewer. Include a title page with your name, address, phone number, and the title of your submission(s). The reading fee is $15 for three pieces and includes a complimentary one-year subscription to the journal. Please make checks payable to Quarter After Eight.

ROAR Magazine Call for Submissions

ROAR Magazine exists to provide a space to showcase women’s fiction, nonfiction, poetry and visual art. ROAR is committed to publishing literature by emerging and developing writers and aims to support the equality of women in the creative arts. ROAR accepts work that represents a wide spectrum of form, language and meaning.  In other words, don’t worry if your work isn’t specific to feminist issues. If you’re a gal, we just want your point of view.


Ploughshares Emerging Writer's Contest

Since 1971, Ploughshares has been committed to promoting the work of up-and-coming writers. In the spirit of the magazine’s founding mission, the Ploughshares Emerging Writer's Contest will recognize work by an emerging writer in each of three genres: fiction, nonfiction, and poetry. Literary work first published in Ploughshares has been cited in the Pushcart Prize volumes more frequently than any other literary journal and is regularly featured in Best American anthologies. The magazine has an international readership and is widely distributed throughout the United States.

The 2013 Emerging Writer's Contest is open to writers of fictionnonfiction, and poetry who have yet to publish a book. The winner in each genre will be awarded $1,000. We define an “emerging writer” as someone who has yet to publish a book, including chapbooks, eBooks, and self-published works, in any of the content genres: creative nonfiction, poetry, or fiction. Please log in to our online submission manager between February 1st and April 2nd to submit.


Contemporary Music and Fiction (Edited Collection) Call for Proposals

Submissions are sought for a collection of essays titled Write in Tune: Contemporary Music in Fiction, which is under contract at Bloomsbury Press (formerly Continuum). As the title suggests, the forthcoming volume focuses on post-1960s fiction that engages the themes, artists, songs, genres, or cultural import of popular music.

 Since the 1960s the confluence of music and literature has moved far beyond simple adaptation studies, with writers turning to music for cultural references, foundational metaphors, and complex intertextual structure. Indeed, the range of novels that reference contemporary music is stunning, from obvious examples such as Roddy Doyle’s The Commitments, Nick Hornby’s High Fidelity, Jonathan Lethem’s Fortress of Solitude, Alan Warner’sMorvern Callar, and Sherman Alexie’s Reservation Blues, to more subtle intertextual negotiations in Irvine Welsh’s Trainspotting, Willy Russell’s The Wrong Boy, and Don DeLillo’s Great Jones Street.

We welcome essays that offer readings of how specific authors or texts negotiate these intertwined art forms, but also encourage broader theoretical investigations that illuminate this moment in contemporary fiction. We are also interested in contributions that reflect an international perspective. Deadline January 31.

BioStories Call for Submissions

We welcome creativity and originality in the nature of your work and your approach to your subject and maintain no clearly recognizable editorial biases.  We do, however encourage you to consider that by the inherent nature of written expression, we find that a well-wrought passage that narrates a specific story or a finite moment within a life is usually far more effective at presenting something essential about that life than volumes of generalizations or summary.  Similarly, we encourage you consider the frequent value found in getting out of the way of your subjects and allowing your subjects to speak for themselves.  Indeed a carefully crafted interview with a subject might prove every bit as compelling and meaningful as a crafted narrative or exposition.  But of course we value your voice as well and ask that submitting writers honor the uniqueness and innovation of their original, natural narrative voices every bit as much as they strive to present their subjects with honesty and candor.  The smell of dishonest representation penetrates even within the cyber world.  We react to such smell with the same reprehension as we do to work that appears focused on accomplishing an agenda.  Present yourself and your subject as they are, part of the diverse, complex, and unruly citizenry of the universe, complete with warts and moles, hangovers and hangnails.  Real life is messy, filled with broken plumbing and coagulating bacon grease, unmade beds and imperfect comebacks.  Real biography recalls that sometimes you have to change the dressings on healing wounds and sometimes you have to add a little starch as you iron the shirt.  Human nature is idiosyncratic and frequently contradictory, and, quite often, when you look close enough, it is downright graceful.

Sunday
Dec092012

Submission Sunday 12.9.12


"The Queer South" (Anthology) Call for Submissions

Sibling Rivalry Press seeks poetry and creative nonfiction submissions for The Queer South, an anthology scheduled for publication in October 2014. The anthology, edited by Douglas Ray, will be the first-ever to explore and celebrate Dixie’s queer culture in essays and poetry. Whether your roots are in the South, you spent some time there, you had an unforgettable encounter at a Mardi Gras ball in the Reagan Era, or you staged an impromptu drag show in Talladega after a NASCAR race, your submissions are welcome. This anthology will build on the shoulders of Capote, McCullers, and Williams (among others) and show that queer culture has, does, and will flourish in the red states south of the Mason-Dixon.

Submit up to four previously unpublished poems or one essay of no more than 5000 words. Sumbit only one document by June 15, 2013.

Ellen Meloy Fund for Desert Writers

Established in 2005 to honor the memory of Ellen Meloy, the Fund provides support to writers whose work reflects the spirit and passions embodied in Ellen’s writing and her commitment to a “deep map of place.” Ellen’s own map-in-progress was of the desert country she called home. 

The Ellen Meloy Fund for Desert Writers grants one $3,000 award in the spring of each year. Only literary or creative nonfiction proposals will be considered. No fiction or poetry proposals will be reviewed. The Fund supports writing that combines an engaging individual voice, literary sensibility, imagination and intellectual rigor to bring new perspectives and deeper meaning to the body of desert literature. All applications will be reviewed through a peer-panel process. 

Considerations in the selection process will be:

  • the writing sample’s artistic excellence and desert literacy,
  • the proposal’s strength,
  • the biography’s ability to demonstrate a history and future of writing and desert experience.

We encourage emerging, mid-career or established writers in the field of literary nonfiction to apply.

Unbest Call for Submissions

Unbest celebrates the music that impacted us (fans, writers, artists, everyone) in major and totally undoubtable ways this year. Music released whenever, by whomever, that crawled into our lives and lingered—for weeks, months, or maybe just one crucial/weird/fantastic afternoon. We love what The Millions does with their Year in Reading series, and we aim to give music fans of all stripes that same kind of celebratory, revelatory space.

We are looking for honest, funny, thoughtful stories about the music that meant something to you in the year 2012. We don’t care what genre or when it was released or in what form you encountered it so long as you loved it or hated it or felt weirdly neutral about it but somehow still managed to have a profound relationship with it anyway. We don’t believe in guilty pleasures, and you don’t need to be “a writer”—you just need something to share. Here’s what folks wrote last year. We’d love for you to join them. Deadline January 31.

The Book of Mormon (Anthology) Call for Abstracts

The official reaction of the Church of Jesus Christ of Latter-day Saints to The Book of Mormon, the musical from Matt Stone and Trey Parker of South Park and Robert Lopez of Avenue Q, consists of a single sentence: "The production may attempt to entertain audiences for an evening, but the The Book of Mormon as a volume of scripture will change people's lives forever by bringing them closer to Christ." But the musical has done much more than merely attempt to entertain people for an evening: it regularly brings audiences to their feet in a wild ovation at its end, and it earned a whopping 14 Tony nominations, winning in nine of the categories it was nominated in, including "Best Musical." As the musical is now touring, we are reopening our CFP to potential submissions from the expanded tour audience in 2012-2013.

What is going on in this show? In Varieties of Religious Experience, William James states, "a book may well be a revelation in spite of errors and passions and deliberate human composition, if only it be a true record of the inner experiences of great-souled persons wrestling with the crises of their fate." Certainly the individuals in the BOM musical struggle with the crises of their fate; are any of the characters "great-souled"? What "revelations" are contained within the musical itself? We seek essays of 4,000 to 6,000 words from a variety of disciplines for a critical anthology exploring this new musical phenomenon. Please send a 500-word abstract to BOM.musical.interp@gmail.com by February 28. 

Boulevard Short Fiction Contest for Emerging Writers

Boulevard has been called 'one of the half-dozen best literary journals' by Poet Laureate Daniel Hoffman in The Philadelphia Inquirer. We strive to publish the finest in poetry, fiction and nonfiction.

$1,500 and publication in Boulevard awarded to the winning story by a writer who has not yet published a book of fiction, poetry, or creative non-fiction with a nationally distributed press. All entries must be postmarked by December 31, 2012.  

Only Interconnect Call for Submissions

Have you penned fables featuring Flickr? Tales told through texting? Pinterest prose, Reddit reading, LinkedIn lit, irony over Instagram — or flash fiction in the framework of Facebook? If so, your work may have a place in ONLY INTERCONNECT, a forthcoming print and e-Book exploring the intersection between social media and short stories.

Digital media is now an inescapable aspect of how our lives are lived, and it influences who, what, where, why and how we read — and write. Increasingly, writers not only invoke emails, iPads and even good old MySpace in our plots, but integrate interactive conventions into the actual form and structure of our work.

ONLY INTERCONNECT seeks highly creative work whose content and/or form are inspired by social media — great writing that moves beyond using digital forms as mere quirks or gimmicks. In essence, we’re looking for effective, provocative storytelling whose form and content just happens to be pretty damn innovative, too.

If you have a story that fits this bill or want to try your hand at creating one between now and April 1, 2013, we want to hear from you. We'd love to see new, previously unpublished work but we're open to giving a wider audience to reprints that are aligned with our theme.

Berkeley Poetry Review Call for Submissions

The Berkeley Poetry Review (BPR), the longstanding poetry journal affiliated with the University of California, Berkeley, has published an annual issue of poetry and interviews since 1974. Poets we have published in the past include Robert Pinsky, Robert Hass, Josephine Miles, Cole Swensen, John Ashbery, August Kleinzahler, and many more. Today, we aim to continue our tradition of publishing new talent alongside poets with established reputations.

Submit no more than 5 previously unpublished poems with a cover letter (including name, contact information, and a brief bio) to our email address: bpreditors [at] gmail [dot] com. Affiliation with UC Berkeley or Berkeley, CA is not required for submission. This being said, do let us know if you are a student, community member, or have ties to the area in some way. Simultaneous submissions are allowed, but please contact us immediately if your work is accepted elsewhere. The deadline for the 43rd issue, which will be produced in spring 2013, is March 15, 2013

2013 Nelligan Prize for Short Fiction

The Nelligan Prize for Short Fiction was established in 2004 in memory of Liza Nelligan, a writer, editor, and friend of many in Colorado State University’s English Department, where she received her master’s degree in literature in 1992. By giving an award to the author of an outstanding short story each year, we hope to honor Nelligan’s life, her passion for writing, and her love of fiction. The Nelligan Prize is offered annually. The winner receives a $2,000 honorarium and the story is published in the fall/winter issue of Colorado Review.

$2,000 will be awarded for the best short story, which will be published in the fall/winter 2013 issue of Colorado Review. This year’s final judge is Jim Shepard; friends and students (current & former) of the judge are not eligible to compete, nor are Colorado State University employees, students, or alumni. There are no theme restrictions, but stories must be under 50 pages. Contest opens January 1, 2013. Deadline is the postmark of March 14, 2013.

Sunday
Dec022012

Submission Sunday 12.2.12


Tupelo Press Dorset Prize

Tupelo Press, Inc., which released its first five books in fall 2001, is an independent, literary press devoted to discovering and publishing works of poetry and literary fiction by emerging and established writers. What we look for is a blend of urgency of language, imagination, distinctiveness, and craft. What we produce and how we produce it — from design to printing to paper quality — honors the writing in books which boast the uniquely sensual look and feel of a Tupelo Press book.

The Dorset Prize includes a cash award of $3,000 in addition to publication by Tupelo Press, a book launch, and national distribution with energetic publicity and promotion. Manuscripts are judged anonymously and all finalists will be considered for publication. Deadline December 31.

Michael Chabon Anthology Call for Submissions

We are particularly interested in adding essays that discuss Michael Chabon's short fiction, create connections to one or more themes in American literature, and/or situate Chabon’s work within the concept of the American Experience, whatever you take that to mean in the context of your essay. Please send 250-500 word abstracts and brief CV/biography to both Bob Batchelor (rpbatche@kent.edu) and Jesse Kavadlo (jkavadlo@maryville.edu) by January 1, 2013.

Original CFP: Scholarly essays sought on the work of Michael Chabon. This collection of essays (edited by Bob Batchelor, Kent State University, and Jesse Kavadlo, Maryville University) will be the first volume in the Scarecrow Press “Contemporary American Literature” Series edited by Batchelor. Its goal is to provide scholars, faculty members, student readers, and the general reading public with creative, well-researched, and well-written analyses on the work of Pulitzer Prize-winning writer Michael Chabon.

Devotion: Crafting Your Journey Inward Through Memoir (Esalen Institute, Big Sur - December 23-28)

How do we begin to know our own stories, and to tell them in a way that feels universal? How can we structure our inward journeys so that they resonate with others? In this interactive workshop, we will explore multiple aspects of writing a memoir. There is a profound difference between "journaling" and writing memoir. In journaling, we are interested in writing only for ourselves. In memoir, we are also conscious of our readers. As we craft a memoir, we want to make art out of our lives, turning confession and even confusion into clear-sighted, purposeful prose. 

In many traditions, the year's end is a time of contemplation and meaningful reflection on one's own life. This workshop—accessible to writers of absolutely all levels from the published to the beginner—encourages an inventory of the stories we tell ourselves, and the stories we are compelled to share with others. There will be plenty of time for meditation, personal writing, guided exercises, and coming together as a group in a supportive and nurturing atmosphere.

Dani Shapiro, bestselling novelist and memoirist, will guide the group through exercises designed to open the channels to memory and emotion. In an intimate and supportive environment, she will provide useful, hands-on tools for beginning to shape our journeys into compelling narratives. Please note: There will be a celebratory Christmas Eve dinner in the Esalen Lodge.

CutBank 2013 Montana Prize in Fiction, Montana Prize in Creative Non-fiction, and Patricia Goedicke Prize in Poetry

We’re proud of CutBank‘s thirty-eight years as Montana’s foremost literary magazine, founded in 1973 by the Creative Writing program at the University of Montana and helmed initially by favorite literary son William Kittredge. We publish two print issues a year of compelling poetry, fiction, and literary nonfiction by established writers and new voices alike.

Submissions for all contests are accepted December 1, 2012 through March 1, 2013. Winners receive $500 and publication in CutBank 79. All submissions will be considered for publication in CutBank. The contests’ $17 entry fee includes a one-year, two-issue subscription to CutBank, beginning with the prize issue, CutBank 79.
Please send only your best work. With all three of these awards, weare seeking to highlight work that showcases an authentic voice, anoriginal perspective, and willingness to push against the boundariesof the form at hand.

Founded in spring 2012, TOSKA is a quarterly online literary magazine that strives to publish the highest quality nonfiction writing and photography. With a strict focus on nonfiction, we accept narrative nonfiction, flash nonfiction, biography, autobiography and memoir, experimental, political, historical, LGBT, journalistic works, and most other nonfiction subgenres. We will also consider art, music, book, and media reviews of exceptional quality for occasional publication.

TOSKA is looking for bold, genuine, and raw works of nonfiction that speak to the human condition, deal with a personal experience, explore an obscure topic, promote a greater awareness or understanding of a subject, or simply take the reader on an interesting journey.

I am currently seeking your "darlings," those paragraphs that have been excised from published or forthcoming works (specifically essays, stories, memoirs, or novels) for a book-length project addressing fragmentation and omission via editing in writing.  

Please send your abandoned, deleted, saved-in-another-document paragraphs to the e-mail listed on my contact page.  In addition, please provide a sentence (or two) explaining why the paragraph was eliminated.  I look forward to reading your lost paragraphs.   

Deadline:  February 1, 2013

Theme: Natural Disaster

Everyone is affected by natural disasters. Preparing for, surviving or witnessing such phenomena can cause a fundamental shift that changes, inspires or defies us. And it’s not just weather-related catastrophe we’re thinking of—people can be natural disasters too, with mental or physical illnesses wreaking havoc on themselves and others as they lose control.

We seek short stories about characters affected by a natural disaster or its aftermath, whether it’s a twister in the air or a whirlwind within their minds. Give us a unique insight into a phenomenon and how it changes us.

**In light of Hurricane Sandy and other natural disasters that affect us and our loved ones, we will be donating $1 of every entry to the American Red Cross. Deadline December 31.

The London Magazine
is England’s oldest literary periodical, with a history stretching back to 1732. Today – reinvigorated for a new century – the Magazine’s essence remains unchanged: it is a home for the best writing, and an indispensable feature on the British literary landscape.

We publish literary writing of the highest quality. We look for poetry and short fiction that startles and entertains us. Reviews, essays, memoir pieces and features should be erudite, lucid and incisive. We are obviously interested in writing that has a London focus, but not exclusively so, since London is a world city with international concerns.


CFP for edited collection of creative nonfiction stories of experience in the college classroom specifically focused on the growing phenomenon of college student disrespect: causes, results, proof, and solutions Tentatively titled Disruptive Disrespect in the College Classroom, this collection will be submitted to Kindle Singles at the end of January 2013. Stories/essays of 1,500 – 2,000 words in any form (creativity and imagination in form and style encouraged!) should be submitted to the editor, Amanda Morris, at amandamorrisphd@gmail.com no later than January 15, 2013. Total collection word count will not exceed 30,000, so there may be an opportunity to create a second collection (Part Two) if enough stories are submitted.

Anonymous submissions are encouraged, given the persnickety nature of academia – I will identify authors by position, region, and years of college teaching experience (ie, Mid-Atlantic Assistant Professor, 6 years). Submissions welcome from professors and students who have firsthand experience with any kind of student-created disruptive disrespect in the college classroom or environment (such as emails, office meetings, etc.).  

River Styx 2013 Schlafly Beer Micro-Fiction Contest

River Styx began in the early 1970s when a group of poets and musicians began reading and jamming together in various St. Louis apartments. The first issue of River Styx Magazine, printed on a lithographic press and hand-collated, hit the streets a few years later in 1975. Both the magazine and the readings were characterized by energy, accessibility, humor, wit and a spirit of inclusiveness. That playful yet dedicated spirit survives today.

$1500 First Prize plus one case of micro-brewed Schlafly Beer
500 words maximum per story, up to three stories per entry.
$20 reading fee includes a one-year subscription (3 issues).
Include name and address on cover letter only.
Include S.A.S.E. for notification of contest results (to be mailed out in March).
Winner published in Spring issue.
All stories will be considered for publication.
Sunday
Nov252012

Submission Sunday 11.25.12

Typewriter cake via Amanda Patterson


Granta Call for Submissions

Granta does not have a political or literary manifesto, but it does have a belief in the power and urgency of the story, both in fiction and non-fiction, and the story’s supreme ability to describe, illuminate and make real. As the Observer wrote of Granta: ‘In its blend of memoirs and photojournalism, and in its championing of contemporary realist fiction, Granta has its face pressed firmly against the window, determined to witness the world.’

We welcome unsolicited submissions. Our criteria for publication are best gauged by a close reading of the magazine. We publish fiction, memoir, reportage, poetry and art. We do not publish academic essays or book reviews. We only publish original material, i.e. first-ever publication. We cannot run a piece that has already appeared on the web or elsewhere in print. We can, however, publish an original translation if the work has previously appeared in another language. We have no set maximum length or minimum length, though most of our submissions are between 3,000-6,000 words.

Alice James Books Beatrice Hawley Award

Alice James Books is named after the sister of the famous philosopher William James and novelist Henry James, Alice James. She lived a largely confined and isolated life. The youngest of five children, she never married and lived with her parents until their deaths. Although her four brothers were broadly educated in the US and Europe, Alice’s education was haphazard, reflecting her father’s belief   that “The very virtue of woman… disqualifies her for all didactic dignity. Learning and wisdom do not become her.” Keenly self-aware, she started a journal in 1889, as a way of recording her own understanding of herself. She entrusted it to her friend Katherine Loring, shortly before her death in 1892, of breast cancer. Loring sent copies to her brother Henry and other family members. In 1943 it was published, in incomplete form, by a niece, who called it Alice James: Her Brothers — Her Journal. Not until 1964 was the journal published in its entirety. Alice James has since become somewhat of a feminist icon, in recognition of her struggle for self-expression within the repressive Victorian notion of femininity.

Alice James Books will be accepting submissions of poetry manuscripts to the Beatrice Hawley Award postmarked through December 1, 2012. The Beatrice Hawley Award welcomes submissions from emerging as well as established poets. Entrants must reside in the United States. The winner receives $2000, book publication, distribution through Consortium, and has no cooperative membership commitment. In addition to the winning manuscript, one or more additional manuscripts may be chosen for publication.

Literal Latte Call for Submissions

For almost a decade, the print edition of Literal Latté was widely read and critically acclaimed throughout New York City, from our first issue in 1994 to our last print issue in 2003.  These days, Literal Latté is entirely online, and we bring our writers to the world.  Although we were among the first literary journals to have an online presence (in 1997!), we completely redesigned our site in 2008.  In time, we plan to include the entirety of our massive archive of top-shelf prose, poetry and art on the site. In a world where it is harder than ever for new writers to get a foot in the door of the traditional publishing world, Literal Latté remains committed to finding and nurturing great talents, both on its website and in its new anthology, in book format. 

It’s not who you know or where you’ve been…it’s what you write. 98% of what we publish comes from the so-called slush pile. We take submissions 365 days a year. We accept work for publication on a continual basis and publish within one year of acceptance. Most issues contain someone who has not been published before.

It’s not who you know or where you’ve been…it’s what you write.98% of what we publish comes from the so-called slush pile. We take submissions 365 days a year. We accept work for publication on a continual basis and publish within one year of acceptance. Most issues contain someone who has not been published before.

The 2012 Open City Magazine No-Fee RRofihe Trophy Short Story Contest

For an unpublished short story (Minimum word count: 3,500; maximum to 5,000 words)

Winner Receives:
$500 cash
Trophy
Announcement & Publication on anderbo.com

Deadline December 31, 2012

Barrelhouse Essay Anthology Call for Submissions

Barrelhouse is very excited to announce the launch of BARRELHOUSE BOOKS, and we want you to be a part of our first project.

Barrelhouse is NOT afraid to commission an airbrush portrait of your essay’s subjet. Just saying.

From the beginning, we’ve been bridging the gap between literature and pop culture. Over the years, we’ve published essays about Henry Rollins, Barry Bonds, The Hills, The Three Stooges, roller coasters, huffing gas, Bob Dylan’s beard, roller derby, and more.

Our first book will celebrate the great essays authors have shared with us by compiling Barrelhouse’s greatest hits. But what greatest hits album is complete without some new tracks?

So here’s your invitation: send us your best pop-culture related essays, and we’ll publish the two best submissions in the first Barrelhouse book.

The Baltic Writing Residency (Latvia) 

The Baltic Writing Residency in Latvia was founded in 2008 in an effort to nurture the literary arts by offering talented individuals both a comfortable and rich cultural environment in which to immerse themselves, and a substantial amount of time in which to begin or further significant projects. Thus, each year, a single poet, playwright, or writer of fiction is offered a month-long residency at the gorgeous Hotel Bergs in historic Riga.

The residency takes place during the summer months, and is located in less than twenty miles from the Baltic Sea, in the Latvian capital of Riga. Given annually through a competition to one poet, playwright, or writer of fiction, the residency was established to encourage the further study and writing of poetry, fiction, and theatre, as well as to expose artists to Latvia, its people and its culture. Though the residency offers privacy and seclusion, residents are encouraged, if not urged, to take full advantage the vibrant city in which they will find themselves.

The residency and $1,000 are awarded based on a completed application. Applications are chosen by a peer-review committee. To apply, candidates are required to submit all of the following as ONE PDF or Word document by December 15th of each year.

The Mammoth Call for Proposals

The Mammoth is an online journal publishing non-fiction narrative writing.

We welcome your proposals for blog-length pieces (600-1000 words) and longer non-fiction essays (2000 words and over). In particular we like well-researched narrative journalism, but will nevertheless consider any non-fiction on its own merits.

Send us: an outline of the article you wish to write and information about where you’ve written before, with links.

Bayou Magazine James Knudsen Prize for Fiction & Kay Murphy Prize for Poetry

Edited and curated by the faculty and students of the Creative Writing Workshop, Bayou Magazine's mission is to present exceptional, original writing by both established and emerging writers. 

While we are always looking for new voices, Bayou Magazine is proud to have featured work from such writers as Marcia Aldrich, Jacob M. Appel, Mark Doty, Marilyn Hacker, Timothy Liu, D.A. Powell, Eric Trethewey, Tom Whalen, and Christy Wise. Writing that first appeared in Bayou Magazine has been short-listed for the Pushcart Prize and named in the notable essays list in Best American Essays. 

Winners receive $500 and publication. Deadline December 31.

Sunday
Nov182012

Submission Sunday 11.18.12


Glimmer Train Short Story Award for New Writers

People often ask why we call it Glimmer Train. We'd sat down one afternoon over pizza and beer, wondering what we might name the magazine, and we started talking about our lives as we do, and thought how crazy it was that we were embarking on such an adventure. We'd certainly never anticipated it, though in retrospect we could see that there had been glimmers of it. And, despite not knowing where, exactly, we were going or how we'd get there, we were going full steam ahead.

First place wins $1,500, publication in Glimmer Train Stories, and 20 copies of that issue. Open only to writers whose fiction has not appeared, nor is scheduled to appear, in any print publication with a circulation over 5,000. Most entries run from 1,500 - 6,000 words, but any lengths up to 12,000 words are welcome. Deadline November 30.

College Literature: A Journal of Critical Literary Studies Call for Submissions

College Literature: A Journal of Critical Literary Studies is dedicated to publishing original and innovative scholarly research across the various periods, intellectual fields, and geographical locations that comprise the changing discipline of Anglophone and comparative literary studies. 

College Literature: A Journal of Critical Literary Studies considers scholarly essays that fall within the scope of its Editorial Policy. The journal will also consider commentary or opinion pieces on issues of importance to contemporary literary scholarship, but please contact the Editor prior to submission with details of your proposed topic for specific submission guidelines.

Gigantic: A Magazine of Short Prose and Art Call for Submissions

Gigantic is a magazine of short prose, interviews, and art. Prose submissions should be under 700 words. Submissions over 700 words will either be rejected or, in certain cases, pared down. If you are submitting a series of pieces where each segment is under 700 words, that could work. Convince us. If you have multiple very short submissions (100 to 300 words) you may submit up to four at a time, but please submit them as individual pieces.

Gigantic publishes mostly fiction, but is open to nonfiction. If you have an idea for restaurant reviews written in haiku, profiles of celebrities in baseball card format or interviews with interesting people about things unrelated to their field of work, feel free to submit or query. Gigantic publishes poetry in our online issues. 

Composite Arts Magazine Call for Submissions: Theme Issue ("Interact") 

Composite is a quarterly electronic publication aiming to showcase visual and literary works from guest artists, both emerging and established, focused around an issue specific theme.  Seeking a continued communal and artistic dialogue among artists at all levels and mediums, we strive to create a space where one can view and consider works that may not be shown together traditionally. In doing so, we hope to create a collaborative exhibition space that exists somewhere between a magazine and a gallery.

Composite is heavily grounded as a collaborative extension of each of our respective art practices. Therefore, in the spirit of collaborative projects, we typically work with our contributors on an invitation basis. However, we have recently begun accepting unsolicited submissions for flash fiction literature and are always open to hearing any project proposals or other interest in working with us in the future. Deadline for fiction and nonfiction submissions November 19 (tomorrow).

A River & Sound Review: The Duckabush Prize for Poetry and The Nisqually Prize for Fiction

As impressive as it would be to say A River & Sound Review is an arts organization that grew out of one man’s vision to promote the literary arts in a rural community with an undernourished appreciation for belles lettres, that would not be completely true.  The truth is it's the product of a grad school assignment whose sole purpose was to help its founder, Jay Bates, stay awake during readings. 

Now an online journal has been added to further publish the best in poetry, fiction, nonfiction, and humor for the world to read. What’s next? Who knows. One thing we'll do is continue our stated mission: To showcase and support the talents of literary and musical artists from the Puget Sound region and abroad, and enrich readers with a diversity of established and emerging voices.

A River & Sound Review now holds two writing contests a year, The Duckabush Prize for Poetry and The Nisqually Prize for Fiction.  Length of manuscripts and subject requirements for each category are the same as for our regular submissions. Reading period for both contests will be open from August 1 to November 30  

Full Stop Call for Blog Contributors

Full Stop is looking for new contributors for our blog section. We’re looking for writers who would be willing to cover any of the following topics:

  • Literature and the publishing industry
  • Science, technology, and the environment
  • Popular Culture
  • Visual Art
  • Film
  • Music
  • Politics

Our writers typically write one to two short blog posts a month, each around 500 words. The writing is, unfortunately, uncompensated for now, but there are a myriad of perks, like free booze at Full Stop meet-ups (if you live in New York), personalized artwork, and, of course, experience. We’re hoping to be able to pay everyone very soon. Until then, no editor will be paid until we’re able to fairly compensate every contributor. Bloggers also receive preference towards our commissioned pieces (we pay for our essays).

We value being able to publish new writers alongside more experienced ones; it’s the constant influx of interested, committed people who keep this site pertinent and fresh. So, whether you’re a seasoned writer, or one who has never been published before, we’d love to hear from you.  

The Marie Alexander Poetry Series Anthology: Flash Sequences

We are putting together an anthology, as yet untitled, composed of what we call Flash Sequences. We hope you’ll consider sending something along. A flash sequence is an accumulation of two or more prose pieces, with each segment not to exceed 500 words. We encourage submissions of every sort; rather than try to define the form, we hope each writer will use whatever organizing principle seems best in any particular case: fiction, nonfiction, prose-poetry, whatever. We will accept submissions from January 1 until June 1, 2013.

On the surface, it makes sense to ask of a sequence that each part should be able to stand alone, as an integral object. Otherwise, the question arises, how does such a sequence differ from a short story simply broken up into parts? For the sequence to be successful, it must itself function as a poem—that is, as a piece of art surrounded by the frame of silence. And who can ask of a poem that each section stand alone? Who can say of a sonnet: the octet must stand on its own, the sestet as well? We ask only that the entire poem be a piece on its own, entire, pristine and self-reliant.

Some sequences are indeed composed of integral sections, but in some others the sections can't be isolated without each piece losing its integrity, the whole in this case being more than simply the sum of its parts. In a way, this second sort of sequence is even more complex than what at first seems the ideal, a whole composed of standalone pieces. However the pieces are organized, they create a rudimentary montage: narrative, syllogistic, or following some other scheme. We aim to include as many examples of this as possible.

How to Pitch the Los Angeles Review of Books

“We do fairly little assigning. We don’t find the books that we think should be reviewed and find the right reviewer for them. I’m much more interested in the passion of critics and letting them follow that. People come to me with fairly well worked out ideas. I talk to them (or one of my other editors) about the idea, we develop the idea and edit quite thoroughly.”

If you are looking to pitch other kinds of writing, the journal is also looking for ideas from “professional and freelance writers, journalists, columnists and authors on all topics, whether it is a book review, hard news journalism, feature articles or op-eds.” Keep your query at 500 words or less.

Here’s more from the journal: “To pitch our Editorial Board, send an email to editorial@lareviewofbooks.org. Your pitch will be forwarded to the appropriate editor. Due to the volume of pitches we receive daily, we can only respond to those we accept.”

Ada: A Journal of Gender, New Media, and Technology Call for Submissions

Ada is a feminist, multimodal, peer reviewed journal that examines the intersections of gender, new media, and technology. It is a publication of the Fembot Collective, and the product of countless hours of volunteer labor on the part of senior and junior scholars and graduate students around the world.


Ada
 intends to be accessible at a number of different levels. First, we want to make feminist research on gender, media, and technology available to an international audience – an audience that may have access to the internet, but not to university libraries or traditional peer-reviewed journals. Second, we want to encourage contributions that are accessible to a diverse and fundamentally interdisciplinary readership. You should thus assume that the readership is interested in your subject, but may not have specialized knowledge, so be aware of how you use jargon. You may want to “translate” or explain any specialized disciplinary terms in an endnote. Editors will be paying close attention to issues relating to audience and are open to discussion on these matters.

Fence Modern Prize in Prose

2013 = Novel
Judge = Rivka Galchen, author of Atmospheric Disturbances
Prize = $2,500 & publication by Fence Books

Founded in 1998 by Rebecca WolffFence is a biannual journal of poetry, fiction, art, and criticism that has a mission to redefine the terms of accessibility by publishing challenging writing distinguished by idiosyncrasy and intelligence rather than by allegiance with camps, schools, or cliques. It is Fence‘s mission to encourage writing that might otherwise have difficulty being recognized because it doesn’t answer to either the mainstream or to recognizable modes of experimentation. Fence is long-term committed to publishing from the outside and the inside of established communities of writing, seeking always to interrogate, collaborate with, and bedevil other systems that bring new writing to light.