One of my favorite reads this year has been Cipher by Jeremy B. Jones. I first heard Jeremy speak about his work on this project more than five years ago, and when I finally got my hands on the finished book, I devoured it. I often feel a sense of pleasure from the books I read, but some books actively call for some kind of engagement with the text or the writer. Cipher spoke to many of my interests, notably place, history, genealogy and genetics. As quickly as I read Cipher, I found myself laying the book aside, over and over, for just long enough to make notes and jot down questions. I’m fortunate that Jeremy was willing to answer those questions, and the result of our conversation is available for you to read at Electric Literature.
I said that I had a lot (a lot!) of questions, and they didn’t all make it into the final publication. So I thought this would be a good place to share Jeremy’s responses when I asked him about editing nonfiction books and teaching nonfiction to his students at Western Carolina University.
Denton Loving: You’re also an editor for In Place, the nonfiction book series published by WVU Press. What makes an essay or a memoir resonate with you?
Jeremy B. Jones: I read and write a lot about place. When I was presented with the opportunity to pitch a book series to WVU Press, I thought immediately of books that had shaped me in my younger days, books like Annie Dillard’s Pilgrim at Tinker Creek and Gretel Ehrlich’s The Solace of Open Spaces and Wendell Berry’s The Long-Legged House. It’s hard to imagine those books being released by a big publisher today and getting the press and attention they deserve in the process. The publishing landscape (pun alert) has changed, so my hope with In Place was to create a space for thoughtful books about place to find a home.
Serving as series co-editor (alongside Elena Passarello) can be pretty catalytic for my writing, as I’m getting to see manuscripts that are engaging with the physical world in exciting (often formally exciting) ways. Even if the manuscripts aren’t quite right for the series or quite ready for publication, just getting access to drafts of these projects spurs on my own work and my own thinking.
DL: What about as a teacher? How do you teach students to shape their work, particularly nonfiction?
JBJ: Nonfiction is especially fun to teach at the undergraduate level because few of the students know exactly what they’ve gotten into. “Nonfiction” isn’t an especially helpful term—it only tells us what the form isn’t. That means I get to open up lots of possibilities for young writers, and that’s a gift. That opening of possibilities was my experience in college. I wrote a short essay in a first-year writing course in college that I now recognize was a memoir, even though I don’t think that was a term I knew then. My professor, Dr. Jane Stephens, pushed me deeper into that form and encouraged my explorations of memory and place that semester, and it was life-changing. I recognize that not every student who shows up in my classroom is going to have their life changed by literary nonfiction, but it’s a privilege to be able to show them what they can do with the world around them, especially if their default nonfiction form is the academic essay. Because of that, I tend to offer students tons of models and encourage lots of experimentation. I want them leaving with a lit spark more than I care about a perfect, polished essay.
Many readers of this blog will be familiar with Kendra Winchester’s name from her work as the host of the popular Read Appalachia podcast, which celebrates Appalachian literature and writing. Kendra is also a Contributing Editor for Book Riot where she writes about audiobooks and disability literature. Kendra and I had a chance to spend some time together in person this past summer during the Appalachian Writers’ Workshop. One day while we were having lunch, Kendra started to tell me about her new project to compile and edit an anthology of work by disabled writers from Appalachia. The dining hall that day was so loud with conversation and laughter that we struggled to hear each other. So Kendra agreed to answer some questions over email about this anthology, which is actively accepting submissions.
DL: I was excited to learn that you will be editing an anthology of work by Appalachians writing about disability. How did the idea of this anthology form?
KW: Far too often, disabled people are treated like we’re invisible. When we are mentioned, we’re featured as inspirations, side characters, or burdens for the nondisabled people around us. Sometimes the very existence of our disability makes other people uncomfortable.
When I first read Disability Visibility, edited by Alice Wong, I didn’t realize how rarely I saw my disabled self in books. Reading stories about people like me was something I never knew I needed. This led me to seeking out as many books by disabled authors as I could get my hands on. Little did I know that there was a whole disability community waiting for me. We have our own culture and history. People just have to realize that it’s there.
In the vein of Disability Visibility, I wanted to bring together Appalachian writers to tell their own stories of what it’s like being disabled in Appalachia. With poetry being such a vibrant tradition in the region, I also wanted to include poets, and my goodness, so many Appalachian poets have shown up in such a big way. My hope is that this anthology will be the first of many anthologies of disabled writers from the region sharing their work with the world. The more voices, the better.
Sometimes people ask me if their disability “counts,” but we’re using the big umbrella for disability. So anyone who is disabled, chronically ill, deaf, or neurodivergent is most welcome to submit.
DL: Do people with disabilities in our region face challenges that are unusual or different from other regions?
KW: Appalachia has higher rates of disability than the national average. Some disabled people have had to completely leave the region to seek treatment. Some disabled people can still live in the region but have to travel back and forth to urban centers to see specialists. And others are disabled because they worked in major Appalachian industries, such as coal mines and paper mills. Whatever our experience, we all have stories to tell.
DL: What genres are you seeking for this anthology, and how long should submissions be?
KW: I’m looking for creative nonfiction essays—around 2,500 – 3,000 words—that center the writer’s experience with living with disability in Appalachia. I’m also looking for poetry—3-5 poems—informed by personal experiences with disability in the region. I also welcome previously published work.
DL: Are you only looking for work from published, experienced writers?
KW: I’m looking for writers of all experience levels! The anthology includes experienced, prize-winning writers and people who have never had a published piece before.
DL: How can writers submit to your anthology, or reach out to you if they have questions?
KW: To submit their work or if anyone has questions, they can reach me at Kendra (at) readappalachia.com. I’m happy to answer any questions that they may have.
DL: When we were at the Appalachian Writers Workshop this past summer, you read a wonderful piece about growing up with a disability. Where can readers find that essay or any of your other recent work?
KW: Owning It: Our Disabled Childhoods in Our Own Words just came out in the U.S. this past August. It includes dozens of essays by disabled adults who were also disabled as kids. I was so honored to be included with writers like Ilya Kaminsky, Imani Barbarin, Ashley Harris Whaley, Rebekah Taussig, and Carly Findlay. I also write for Book Riot and have an occasional newsletter called.
Many thanks to Kendra Winchester for this important work and for answering my questions. You can find out more about Kendra and all of her projects by following her on Instagram or Twitter, or by subscribing to her occasional newsletter called Winchester Ave.
Last year, submission posts like this one fell by the wayside, and I’m sorry. When I looked back at 2024, I saw that I did not submit enough of my own work, and I realized how building and sharing these lists and my own submissions go hand in hand. So I’m trying to start 2025 off the right way by sending some of my own work out into the world.
As we move forward, I want to give some extra energy to finding new journals and magazines to recommend to you. There are so many great outlets, and there are new journals emerging all the time. I often feel overwhelmed by all these magazines I’ve never heard of. So you’ll see on this list of ten submission opportunities a few names that are new to me. I hope they are new for you also.
How do we rank these new journals or compare them to some of the ones we’re more familiar with? I don’t know that yet. Please take a look at each one to determine if it feels like a good match for your work and your publication goals.
Today was a great day for me to think about all this, as I was somewhat snowed in. I’m guessing some of the rest of you in the South and East might stuck inside, too, if not by snow then probably by these Arctic temperatures. I hope the timing is right for you to receive this list.
For those of you in Southern California, especially those directly affected by the wildfires, please know that there are so many of us heartbroken by the extreme loss that you’re experiencing. I’m praying for your safety. To anyone and everyone reading this, I wish you all the best for the new year. Happy submitting.
The 2025 Yeats Poetry Prize is a public program since 1997 of the all-volunteer WB Yeats Society of NY. Our 2025 Judge is January O’Neil who also served as last year’s judge. Poets of any age from anywhere in the world may enter through February 1, 2025. There is no limit on entries, and they can be on any topic. They must also be in English, unpublished, and no more than 60 lines in length. First prize is $1,000, second prize is $500, and two or three honorable mentions are usually awarded at the judge’s discretion. The entry fees, which help to underwrite the competition, are $15 for the first poem and $12 for each additional poem. Winners are announced in early March, and awards are presented in New York City in April. https://yeats.submittable.com/submit
Deep South Magazine accepts original fiction, short stories and shorts, nonfiction and poetry during open reading periods. For fiction and nonfiction, we will do special themed calls. We will announce a new theme sometime in 2024. For poetry, our reading period will be open through February 14, 2025. We will mainly publish poetry in April during National Poetry Month, so around 30 selections will be chosen. All submissions must have a Southern connection, whether the author lives in the South, used to live in the South, has family in the South or was inspired by a visit to the region. Poetry submissions can be up to five poems of any length. Fiction, short stories and nonfiction are limited to one work at a time and may not be longer than 3,500 words. https://deepsouthmag.com/submission-guidelines/
Beaver Magazine publishes poetry, flash fiction and nonfiction, hybrid works, art and anything else you have to offer during our open reading periods. For poetry, send 3-5 poems of any format, each beginning on a new page. We love work that plays with traditional forms and modes. We want the lyric, the narrative, and everything in between. For prose, send up to 3 flash pieces of no more than 1,000 words each (though we do prefer brevity). Creative nonfiction can include personal, research, or lyric essays as well as memoirs. Fiction can be of any genre or style. Hybrid work can be whatever you want it to be! We celebrate and yearn for work from LGBTQIA2S+ and BIPOC. Submit through February 15, 2025, for the Spring Issue. https://beavermag.org/submit/
The Santa Clara Review is a student-edited literary magazine that publishes poetry, fiction, nonfiction, and visual art. The magazine is published biannually in February and May, drawing on submissions from Santa Clara University students, faculty, and staff, as well as from writers around the nation and globe. Please submit works of fiction or nonfiction prose under 6,000 words. Please submit no more than five poems or pieces of artwork at a time. Submissions for Volume 112.2 are currently open through February 15, 2025. https://santaclarareview.com/submit
Canary is published four times a year to welcome each new season on the solstices and equinoxes. We will be open from February 1- 28 for Spring-themed work for the Spring Equinox issue due out March 21, 2025. Please submit no more than 5 poems, or essays/short stories of not more than 1500 words. We look forward to reading your work on your experience of the losses to the natural world in your home environment and the joys of that natural world that we stand to lose. https://canarylitmag.org/submissions.php
Brevity publishes well-known and emerging writers working in the extremely brief (750 words or fewer) essay form. We have featured work from Pulitzer prize winners, NEA fellows, Pushcart winners, Best American authors, and writers from India, Egypt, The Netherlands, Ireland, Spain, Malaysia, Qatar, and Japan. We have also featured many previously-unpublished authors, and take a special joy in helping to launch a new literary career. While Brevity (the magazine) publishes the finest examples of flash nonfiction, the Brevity Blog offers a place to discuss issues related to the writing of creative nonfiction. https://brevitymag.com/submissions/
Pine Hills Review seeks submissions of previously unpublished fiction, nonfiction, poetry, and visual art. We are interested in quality work, no matter the genre, form, or style. Hybrid and experimental works are especially encouraged. Poetry submissions should include no more than six poems total. Nonfiction, fiction submissions, and hybrid or cross-genre work should be no more than 3,000 words total. Our regular reading period ends April 30, 2025. https://pinehillsreview.com/submit/
The Baffler is America’s leading voice of incisive and unconventional left-wing political criticism, cultural analysis, short stories, poems, and art. Founded in 1988 by Thomas Frank and Keith White as “the journal that blunts the cutting edge,” the magazine is currently edited by Matthew Shen Goodman. Nonfiction should be submitted in pitch form (no complete manuscripts, please), consisting of two paragraphs that describe your project. Poetry and fiction are welcome; our preferred length for prose is between 2,200 and 5,000 words. https://thebaffler.com/about/submissions
Forge Literary Magazine publishes one prose piece per week selected by a rotating cast of editors. Free submissions open on the 1st of each month. If there is no free link, we’ve hit our quota. We will reopen at the top of each month, except for September and December. We prefer stories under 3,000 words but will consider up to 5,000 words. We love flash and micro! We consider previously unpublished pieces only. We are open to all genres and voices, and stories with any background, race, ethnicity, gender, sexual or personal identity from all over the world. Literary excellence is our only criteria. https://forgelitmag.submittable.com/submit
Streetlight Magazine reads year-round and typically responds to submissions within three months. Send us 3-5 unpublished poems in a single document. Please send one story at a time, 2,000 words max. We currently seek creative essays/memoirs with an emphasis on the interaction of place and one’s personal relationship to it. We also welcome guest bloggers. We’re interested in topics about the literary and visual arts as well as personal perspectives on much more. Blogs should be between 300-700 words and may be edited to fit SL format. https://streetlightmag.com/submissions/
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Thanks for reading. Please feel free to share these opportunities with other writers. If you’re not already receiving these posts directly to your inbox, please subscribe.
If you’re in the greater Knoxville area on Thursday, September 7th, I hope you’ll join me at the monthly meeting of the Knoxville Writers Guild at Addison’s Bookstore, located at 126 S. Gay St., in Knoxville. The meeting begins at 7:00 p.m.
I’ll be talking about ekphrastic writing or ekphrasis. The word “ekphrasis” comes to us from the Greek where it means “description.” If you still aren’t sure what ekphrastic writing is, then I’ll briefly define it as writing that vividly describes a pre-existing work of art. I’ll share some of my favorite examples of ekphrasis, and we’ll even generate new work using some of the fantastic art on display at Addison’s.
Here are some of the images I’ll be talking about in this session.
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If you live too far away to be in Knoxville on Thursday, I hope you’ll use one of these images or an image of your own in your writing practice this week. If you come up with something you especially like, please send it to me. If you need more guidance, check out my conversation with Julia Wendell about her ekphrastic poem “Horse in the Landscape.”
Georgann Eubanks is a veteran writer and storyteller. She has published five books of nonfiction ranging from literary guides of North Carolina to natural phenomena across multiple Southern states. Along with photographer Donna Campbell, Georgann operates Minnow Media which has produced a number of public television documentaries. When I was visiting City Lights Bookstore in Sylva, North Carolina, last month, I stumbled across Georgann’s fourth book, The Month of Their Ripening. This book explores 12 different heritage foods found within North Carolina while drawing on first hand accounts from the foods’ producers. Along the way, Eubanks reveals fascinating histories of the foods, the people who produce the foods, and the places where they’re produced. I first met Georgann about ten years ago, and since that time, I’ve seen that she is also a consummate community builder. This fact echoes throughout her work in The Month of Their Ripening, one of several reasons why I emailed Georgann even before I could finish reading the book. I was so excited to ask her questions about this book and her writing process, and now I’m excited to share our conversation with you.
DL: One of the pleasures in reading The Month of Their Ripening is the diversity of foods you write about, and especially that they cover all areas of North Carolina which in itself is a large, diverse geography. How did you come to the idea to write about heritage foods? And how long did it take you to write The Month of Their Ripening?
GE: It took a couple of years to do the research, travel, and writing for this book. But as I always say when someone asks this question, the only proper answer is to give my age at the time of completion of a manuscript. A book takes everything I’ve learned over all my years! To be ready to write it, I had to ripen, too!
My first three books with UNC Press were literary travel guides featuring excerpts from North Carolina writers about very specific places where they had lived, worked, or visited in the state. So yes, North Carolina is big, and it took three regional volumes—mountains, piedmont, and coastal plain—to cover the 400 years of writers and the 600+ miles it takes to cross the state. That was a ten-year project, but once photographer Donna Campbell and I rested up after that long journey, we wanted to travel the state again. This time we would eat our way across North Carolina!
How it started: I planted a fig in my yard that was the first to survive of many I had tried to grow over the years. When it began producing figs, I was stunned by the delicious fragility and ephemeral nature of the fruit. You have to WAIT for a fig to ripen, and they only come around once a year. The figs got me to thinking about how spoiled we are in this country, being able to find most any food any time of the year at the grocery.
I started wondering about the foods that are a key part of North Carolina’s history and heritage, and further, what are the foods that our forebears planted in the ground or harvested from the water that they looked forward to eating as a seasonal ritual? Twelve essays seemed a good size to match up to a whole year of foods in their time of ripening. Of course, January was tricky—nothing much to harvest here in January—so the book starts with snow, which becomes a rarer treat the farther east you go in North Carolina. Nevertheless, people have been fanatically making snow cream forever, and as it turns out, there are a million recipes and very strong opinions here about the best way to make snow cream. So that’s where the book begins.
DL: Each chapter in The Month of Their Ripening is beautifully written, and as I read, I was often struck by the voice of your writing which finds the perfect intersection between essay (what some would call creative nonfiction with lush description and personal experience) and investigative journalism (that involves some deep research). Was it difficult to arrive at this intersection, or is this just your natural voice? Do you have tips for writers who want to employ personal interviews or research in their projects?
GE: This is a style that works for me. I start out with my ignorance and take the reader with me on the journey to discover the history, science, and people who have perpetuated these food traditions. As I discover the stories, the reader does, too. And I try to capture my own joy and surprise in what I learn—some of it deep history, like how figs are discussed in the Old Testament. Then there’s the funny story about how a lady friend of Thomas Jefferson was told by her kitchen staff that she could not serve figs in Washington, DC, at a formal dinner party because figs were “vulgar.” And of course, there’s D.H. Lawrence’s sexy prose on the fig. But these are historical anecdotes anyone can find. What made these stories only mine were the interviews/visits with people on the ground, such as the single man left in Ridgeway, North Carolina, who is still growing a special variety of cantaloupe that was once was harvested by his extended family and shipped north by train in great quantities and served as a special seasonal treat at New York’s Waldorf Astoria.
My advice is to embrace your ignorance and go from there—find the best stories from people who have good tales and expertise to share. Honor their stories.
DL: One of my favorite aspects in these chapters is the exploration of these various communities that exist all around us. There’s a good amount of detective work involved in your writing, as one person connects you to another and another. More than simply following the pathways from production to consumption, you’re actually getting to know the people you’re talking to and understanding how their lives and livelihoods are connected. How much of that is driven by your own curiosity such as when you wonder what the berries are on the tree outside your home? Do you have advice for writers about following their own curiosities?
GE: I wanted to show the diversity of communities and people in North Carolina. And now, at least three of the homegrown experts on foods who are featured in The Month of Their Ripening have passed away—the octogenarian and scuppernong grower Clara Brickhouse, the persimmon festival host Gene Stafford, and the snow ice cream expert and unforgettable writer/scholar Randall Kenan. I am so glad to have known them and learned from them and shared their food stories in print. I think this quote from nonfiction writer Tracy Kidder says it best:
“Essays often gain authority from a particular sensibility’s fresh apprehension of generalized wisdom. But the point is not to brush aside the particular in favor of the general, not to make everything a grand idea, but to treat something specific with such attention that it magnifies into significance.”
— from Good Prose: The Art of Nonfiction by Tracy Kidder and Richard Todd
DL: As with your past books, this one was published by The University of North Carolina Press. Can you talk about how you developed a relationship with them and about your experience publishing with a university press?
I have been with UNC Press for so long that I have had three editors—the first two have now retired. I first worked with them on the literary guidebooks. That project was a work-for-hire with a contract from the North Carolina Arts Council. The last two books I pitched to UNC Press on my own. Both are trade books, the last being Saving the Wild South: The Fight for Native Plants on the Brink of Extinction, which has done pretty well, too. I am finishing my sixth book now, also about natural phenomena and covering seven states of the South. (Saving the Wild South featured endangered plants in six states.)
These days university presses are doing more trade books, meaning popular books that are not written only for an academic audience. This is a good thing in that the commercial publishing industry has become more and more centralized and seems only interested in best sellers or what they hope will be best sellers. Regional books have a better chance with a university press. For the press, their trade list often sells enough to supplement the small revenues (if any) that come from highly specialized academic books that have a narrower audience.
But here’s the thing, no matter who your publisher is nowadays, the success of a book rests on the shoulders of the author. You need to be able to present the book in such a way that readers buy it. I think my books have been accepted because they are evergreen, as the publisher likes to say—they tell stories that will last. I also have a track record of giving countless book talks through all five of these books, and I enjoy speaking about the work. Truth is, there is only so much time and money that a press has to give to an individual book. My editor at UNC Press just launched 12 new books this spring that are his babies. Meanwhile, he is going to be reading my new manuscript come November and trying to acquire new titles and coaching first time authors. He called upon me last week to read a book proposal from a new author and give my assessment of its distinctions and potential. That’s how university presses work—the editors depend on the proposal and later the manuscript being reviewed by professionals in the academic field being addressed or by seasoned writers with trade book experience who know the marketplace.
I also have an editor I privately engage to read and critique the manuscript because I know that is necessary. I am also responsible for creating an index—that’s part of the contract these days, too. I have gotten a small grant to cover my travel expenses for the current book I’m writing, which helps, but I don’t do this for the money. I do it because it’s a great challenge, I care about the topic, and I can make a little money giving talks. I get other writing assignments that also help support me.
DL: I’m looking forward to seeing you later this month at the Table Rock Writers Workshop, which is a lovely community of writers and musicians that you shepherd. I believe registration will be closed by the time our conversation is published, but can you talk about your work with TRWW for readers who aren’t familiar? And do you have anything to say about why community is important for writers?
GE: The Table Rock Writers Workshop was born out of the Duke University Writers Workshop, which I attended in the 1980s and then directed for 20 years starting in the 90s. The workshop at Duke was heavily focused on the faculty, getting big name writers—lots of them—to teach. Over the years, we have carved out a different path. We are focused on the participants. I invite faculty who love to teach and have a passion for writing that transcends any concern about commercial success. We don’t really talk much about publication per se, or the marketplace. We focus on writing the best book or story or poem you can. Our workshop is about craft and being in community—getting the support and encouragement you need for the story you want to tell. Our way of building that community of writers is having generous teachers who model how to give useful feedback. Participants begin to learn how to edit themselves and how to stick with the discipline needed to finish a draft. Our teachers are people like you, Denton, who do it for the love of words and are generous with sharing what you know.
I’m very grateful for Georgann’s time in speaking to me. You can order The Month of Their Ripening directly from University of North Carolina Press, or wherever books are sold. Please visit Georgann’s website for more information about her and her work.
If you’re in the Knoxville, Tennessee, area, I hope you’ll join me at Union Avenue Books on Sunday, August 13. I’ll be reading alongside my great friend Sylvia Woods, author of What We Take With Us, a beautiful collection of poems that explores Sylvia’s personal experience as an educator, as well as her own transition from daughter to mother and eventually to grandmother. The reading begins at 2:00 p.m., and we’d love to see you there.
Perhaps it’s the heat, but I can’t quite fathom how we are already steaming in the July sun. July. How did it get here so soon? Not only is summer at least half over, so too is the whole year. That makes it a good time to re-evaluate your goals for your writing and submitting? Do you have any ongoing projects? Are you moving them forward or feeling stuck? Are you submitting your work to journals and magazines?
When I first began to send my stories and poems out to literary journals, my friend Darnell Arnoult encouraged me and my writing group to give ourselves a goal, not for acceptances, but for rejections. That first year, my goal was to receive 50 rejections. Making a kind of game out of it took the sting away every time an editor rejected my work. But the surprise was that I agonized less over trying bigger, higher-tiered journals. I was only aiming for a rejection, but I got some surprise acceptances along the way.
Even though the year is half over, it’s not too late to set some goals for your writing. To that end, here are ten submission opportunities for writers plus a bonus if you will go back and see my recent conversation with Andy Fogle who shared that Salvation South is also open for your submissions. Good luck!
Granum Foundation Prize&Granum Foundation Translation Prize The Granum Foundation Prize will be awarded annually to help U.S.-based writers complete substantive literary works—such as poetry books, essay or short story collections, novels, and memoirs—or to help launch newly published works. One winner will be awarded $5,000. Up to three finalists will be awarded $500 or more. Additionally, the Granum Foundation Translation Prize will be awarded to support the completion of a work translated into English by a U.S.-based writer. One winner will receive $1,500 or more. Funding from both prizes can be used to provide a writer with the tools, time, and freedom to help ensure their success. For example, resources may be used to cover basic needs, equipment purchases, mentorship, or editing services. Competitive applicants will be able to present a compelling project with a reasonable timeline for completion. They also should be able to demonstrate a record of commitment to the literary arts. There is no fee to apply. Applications close on August 1, 2024. https://www.granumfoundation.org/granum-prize
Fried Chicken & Coffee FCAC is an ezine/blog edited by Rusty Barnes, mostly interested in crime fiction, rural, working-class and Appalachian concerns. FCAC accepts short stories, poems and essays. Rusty says: “Send me rural, funky, dirty stories about churchgoing women who never sin. I would love to see more stories about women. Get to the grit, get to the love, show me the scars, and take Harry Crews to heart: ‘Blood, bone, and nerve, that’s fiction. Show me the stuff that cuts to the quick.’” There are no word limits. To submit, send an email to rusty (dot) barnes (at) gmail (dot) com with the words FCAC and SUBMISSION in the subject line. https://friedchickenandcoffee.com/manifesto/submissions/
Lanternfish Press We are seeking novella-length manuscripts between 20K and 40K words that fall in the mist-wreathed borderlands between literary and speculative fiction. In particular, we are interested in climate fiction; regional American Gothic fiction—Midwestern, in the vein of These Bones by Kayla Chenault; Southern, like The Salt Fields by Stacy D. Flood; or Alaskan Gothic, or Rust Belt Gothic—whatever kind of luxuriant and atmospheric decay floats your boat; well-researched historical fiction that breathes life into its material and cultural milieu; queer monsters for readers who enjoyed Carmilla or Elegy for the Undead; fiction that can claim as a comp title the novel Wednesday Addams was typing on her typewriter in the attic. Deadline to submit is July 31, 2023. https://lanternfishpress.com/submissions
Orion We’re excited to read your pitches for our upcoming Summer 2024 issue. This time we will specifically be looking to read pitches for essays and reporting about animals and floods. How is marine life impacted by water reaching the shore? What are the interesting ways you’ve observed land animals responding to water? We’re looking for pitches for stories that would be 3,000 to 4,000 words in length for an issue of Orion looking with fresh eyes at the floods around us. Please try to keep pitches to 500 words or so. https://orion.submittable.com/submit/267484/pitches-for-summer-2024-issue-on-floods
Necessary Fiction This October, we want to be scared. We want to feel unsettled. We want to go to sleep with dread knotted in our stomachs. Send us your spooky tales, your uncanny narratives, your haunted places, your tortured monsters, and your Gothic twists. We accept unpublished fiction up to 3,000 words only. Deadline to submit: July 31, 2023. https://necessaryfiction.submittable.com/submit/200451/special-call-october-stories
Galileo Press Galileo Press is open for submissions of full-length collections of poems, essays, stories, as well as novellas, novels, memoirs, or hybrids (with exception to 4-colour art / text hybrids). Please indicate in the title of your submission which genre you feel best describes it. Galileo hopes to publish 2-4 selections while also reserving a few manuscripts for development. A small stipend of $200-$500 is provided, along with copies and standard royalties. A few elements we consider are a confident, appealing voice; the thematic cohesiveness and the emotional range and maturity; vivid imagery and the balance of abstract to concrete imagery; deft handling of highly charged emotion; the capacity to surprise; use of wit, humor, and self-implication; the elastic syntax, pace, and music; and the choice and use of extended metaphor, skillfully juxtaposing the micro and the macro. There is an $18 submission fee. Submissions are open through August 1, 2023. https://freegalileo.com/submissions/
Short Story, Long We are accepting short stories, 2k-8k words long (with the 3,000-5,500 range being our real sweet spot). What are we looking for? Honestly, best indicator is to read a story or two we’ve already published. Second best indicator is to generally be familiar with Editor Aaron Burch’s taste and what he’s published on HAD, and Hobart before that. Every published story will be paired with original art, with both the writer and artist receiving $100. Submissions are open until August 1, 2023. https://ashortstorylong.submittable.com/submit
Kitchen Table Quarterly Kitchen Table Quarterly is a journal preoccupied with history- cultural, political, geographical, personal, and how each interacts with the other to mold our experience. Adolescent blunders, dental records, the archaic origins of long-held or long-lost traditions— we want to know all of it. We are looking for work that spills secrets and wipes the dust off of old memories. Submit no more than five poems (with a maximum of 10 pages). For creative nonfiction, submit a stand-alone piece of up to 3000 words. While we accept all forms of creative nonfiction, we typically prefer essays. Submissions are open until August 1, 2023. https://www.kitchentablequarterly.org/submit
Salt Hill Salt Hill publishes poetry, prose, translations, essays, interviews, and artwork. Please submit no more than five poems at a time. For prose, please do not submit works of more than 30 pages, double-spaced. We accept multiple flash pieces, so long as their combined length does not exceed 30 pages. We accept nonfiction and art submissions year-round. Deadline for all other submissions is September 13, 2023. https://salthill.submittable.com/submit
Potomac Review Rooted in the nation’s capital’s suburbs, Potomac Review is the antidote to the scripted republic that surrounds it. We seek literature from emerging as well as established writers around the globe to facilitate literary conversation. We accept submissions through October 15, 2023. We’ll read stories and essays of any size, though typically we find it difficult to make room for works that run longer than 7,500 words. Please submit up to five poems. http://mcblogs.montgomerycollege.edu/potomacreview/submission-guidelines/
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Thanks for reading. Please feel free to share these opportunities with other writers.
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In case you missed it… I had the opportunity earlier this month to celebrate place poems alongside P. Scott Cunningham and J.D. Isip, as part of Emerge Journal’s Be Well Reading Series. And earlier this summer, I had a wonderful conversation with Patricia Hudson about her novel Traces, which gives voice to Rebecca Boone and her daughters.
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While I was putting together today’s list of submission opportunities, I discovered that Catamaran Literary Reader is charging $8 for general submissions. That’s insane. My personal philosophy is to never pay this much to submit my work. I’ve been involved with numerous literary journals and organizations over the years, and I understand all of the reasons to charge reading fees and generate income. I’m not opposed to the idea. But $8 is obscene even in a time plagued with inflation. Back to my own philosophy on the matter: There are too many good journals who don’t charge at all or who only charge a nominal fee. Submitting work can be expensive, and I try to take that into account when I compile submission lists. You’ll notice that some of today’s opportunities do come along with application or submission fees. Again, I’m not opposed to the concept. The key, I believe, is to make sure the benefit is proportionate to the risk and/or reward. In that spirit, here are 10 opportunities I recommend. Good luck!
Cimarron Review We accept submissions year-round in poetry, fiction, nonfiction, and art. Please include a cover letter with your submission. Please send 3-6 poems, one piece of fiction, or one piece of nonfiction. Please only submit to one genre at a time. Address all work to the appropriate editor. https://cimarronreview.com/submit/
Southeast Review The Southeast Review publishes poetry, literary fiction, creative nonfiction, and art in each biannual issue as well as on SER Online, in addition to online book reviews and interviews. We pride ourselves on presenting emerging writers alongside well-established ones. Please submit one double-spaced short story of up to 7500 words. Please submit no more than 5 single-spaced poems at a time, with a maximum of 15 pages per total submission. Place all poems in one document. https://www.southeastreview.org/general-submissions
32 PoemsWe welcome unsolicited poetry year round and accept simultaneous submissions. As a rule we publish shorter poems that fit on a single page (about 32 lines), though we sometimes make exceptions to accommodate remarkable work that runs a little longer. $3 submission fee. http://www.32poems.com/submission-guidelines
Berkeley Fiction Review Berkeley Fiction Review accepts short fiction, sudden fiction, comics, and art submissions. We look for innovative and reflective short fiction from new and emerging writers across all genres that play with form and content, as well as traditionally constructed stories with fresh voices and original ideas that say something new or bring nuance and perspective to an ongoing cultural conversation. https://berkeleyfictionreview.org/submit/
Juked There are no limits on word count for online fiction or nonfiction—we like narratives and essays of all sizes, so long as the colors fit. For our print issue, we accept prose submissions of at least 2,500 words. For poetry, we are looking for long poems (four pages or longer) or sequences of two or more linked poems. Submit a maximum of five poems. We read year-round. http://www.juked.com/info/submit.asp
Key West Literary Seminar Emerging Writer Awards The Cecelia Joyce Johnson Award, Scotti Merrill Award, and Marianne Russo Award recognize and support writers who possess exceptional talent and demonstrate potential for lasting literary careers. Each award is tailored to a particular literary form. The Merrill Award recognizes a poet, while fiction writers may apply for either the Johnson Award (for a short story) or the Russo Award (for a novel-in-progress). Winners of the 2024 Emerging Writer Awards will receive full tuition support for our January 2024 Seminar and Writers’ Workshop Program, round-trip airfare, lodging, a $500 honorarium, and the opportunity to appear on stage during the Seminar. There is a $12 application fee. Deadline is June 30, 2023. https://www.kwls.org/awards/emerging-writer-awards/
Rhino PoetryRhino looks for the best-unpublished poems, translations, and flash fiction/nonfiction by local, national, and international writers. We welcome all styles of writing, particularly that which is well-crafted, uses language lovingly and surprisingly, and feels daring or quietly powerful. General submissions are open through June 30, 2023. https://rhinopoetry.org/general-submissions
Muzzle Magazine Muzzle publishes poetry, interviews, and book reviews. We are actively seeking submissions in poetry and are also open to queries about reviews and interviews. Please send 3-5 poems at a time. Include all poems in one DOC or PDF file. Make sure that your name does not appear anywhere in the document or submission title; our editors like to view submissions blindly. We are open from June 15 through July 15, 2023. http://www.muzzlemagazine.com/submissions.html
Sundress Publications Call for Full-Length Poetry Manuscripts Sundress Publications is open for submissions of full-length poetry manuscripts. All authors are welcome to submit qualifying manuscripts through August 31, 2023, but we especially welcome authors from marginalized and underrepresented communities. We’re looking for manuscripts of forty-eight to eighty (48-80) single-spaced pages; front matter is excluded from page count. Individual pieces or selections may have been previously published in anthologies, chapbooks, print journals, online journals, etc., but cannot have appeared in any full-length collection, including self-published collections. Single-author and collaborative author manuscripts will be considered. There is a $15 reading fee per manuscript, but the fee will be waived for entrants who purchase or pre-order any Sundress title or broadside. http://www.sundresspublications.com/fulllength/2023/06/sundress-opens-for-full-length-poetry-manuscripts/
Ploughshares We accept fiction and nonfiction that is less than 7,500 words. Excerpts of longer works are welcome if self-contained. Submit 1-5 pages of poetry at a time with each poem beginning on a new page. We accept submissions to the journal from June 1, 2023, to January 15, 2024. There is a $3 submission fee. https://www.pshares.org/submit/journal/guidelines
Thanks for reading. Please feel free to share these opportunities with other writers.
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In case you missed it… I had a wonderful conversation with Patricia Hudson about her novel Traces, which gives voice to Rebecca Boone and her daughters.
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I’ve had a lot of fun this last month as my new collection, Tamp, has found its way into readers’ hands. Thanks to all of you who have ordered the book, and extra thanks to those of you who’ve reached out to let me know what you think about the poems. Just as the days are growing warmer and longer, I’m very aware of how much I hope to accomplish this summer. I have several writing projects that I want to move forward in at least some way. And there also has to be time set aside to submitting our work. To that purpose, I offer this list of one dozen submission opportunities. It’s tempting to pretend most journals are taking the summer off, and maybe we should take it off, too. But neither is exactly true. A lot of great journals, like these 12, are open right now, and would love to read whatever you’ve been writing. Good luck!
Exacting ClamExacting Clam is an online and in print quarterly journal from Sagging Meniscus Press, publishing short fiction, poetry, book, art and music reviews, essays, interviews, and visual art/illustrations. https://www.exactingclam.com/submit/
Florida Review & Aquifer: The Florida Review Online We are looking for innovative, luxuriant, insightful human stories—and for things that might surprise us. Please submit no more than one piece of fiction, nonfiction, graphic narrative, review, or digital story at a time. Poets and visual artists may submit up to (but no more than) five poems or artworks as a single submission. We charge a $2 or $3 submission fee depending on category. https://floridareview.submittable.com/submit
Pithead ChapelPithead Chapel electronically publishes art, literary fiction, nonfiction, and prose poetry monthly. At present, we only accept submissions under 4,000 words. https://pitheadchapel.com/submission-guidelines/
Tipton Poetry Journal The Tipton Poetry Journal is published quarterly both in print and an online archive. The Tipton Poetry Journal publishes about 35 poems each. Poems with the best chance for acceptance are quality free verse which evokes a shared sense of common humanity. The Tipton Poetry Journal is published in Indiana, so themes with a regional focus are encouraged. Submissions are read year-round. http://tiptonpoetryjournal.com/submission.html
Waxwing We read submissions of poetry, short fiction, and literary essays Sept 1 to May 1; translations of poetry and literary prose are read year-round. Each issue features approximately thirteen poets, six prose writers, and six authors in translation. Poets should send one to five poems, and prose writers one story, essay, novella, or novel chapter (or up to three short-short stories or micro-essays). https://waxwing.submittable.com/submit
Qu Qu is a literary journal, published by the MFA program at Queens University of Charlotte. The Qu editorial staff is comprised of current students. We publish fiction, poetry, essays and script excerpts of outstanding quality. Payment upon publication is $100 per prose piece and $50 per poem. Next reading period opens May 15th, 2023. http://www.qulitmag.com/submit/
The Stinging Fly We publish new, previously unpublished work by Irish and international writers. Each issue of The Stinging Fly includes a mix of poetry, fiction, and non-fiction, alongside our Featured Poets and Comhchealg sections, occasional author interviews and novel extracts. We have a particular interest in promoting new writers, and in promoting the short story form. We plan on being open again for submissions from May 16 until May 31 2023, for Issue 49 Volume Two (November 2023). http://www.stingingfly.org/about-us/submission-guidelines
Baltimore Review Summer The Baltimore Review is a quarterly, online literary journal. Submit one short story or creative nonfiction piece, no more than 5,000 words. Submit three poems. Our current submission period runs through May 31, 2023. www.baltimorereview.org
2023 New American Fiction Prize The New American Fiction Prize is awarded each year to a full-length fiction manuscript, such as a story collection, novel, novella(s), or something that blends forms, like a novel in verse. The winner receives $1,500 and a book contract, as well as 25 author’s copies and promotional support. Deadline is June 15, 2023. There is a $25 submission fee. https://newamericanpress.submittable.com/submit
The Fairy Tale Review Founding Editor Kate Bernheimer will edit the twentieth annual issue of Fairy Tale Review. Vol. 20 will not have a theme. We are looking for your best new work. Writers may submit a single prose piece up to 6,000 words or up to three prose pieces under 1,000 words each. We welcome short fiction, essays, lyric nonfiction, and creative scholarship. Submit up to four poems totaling no more than ten pages. Submissions will be accepted through July 15, 2023. http://fairytalereview.com/submit/
Poetry South Poetry South is a national journal that considers all kinds of poetry. Though we pay particular attention to writers from the South — born, raised, or living here — all poetry within our covers has a claim to the South because it is published here. The magazine has a tradition of including poets from other regions in the US and other countries. We are looking for a great mix of styles and voices that will appeal to our audience and breathe new life into the poetry of the South. Send 1-4 unpublished poems in Word or RTF format. Our annual submission deadline is July 15. https://www.muw.edu/poetrysouth/submit
Masque & Spectacle Masque & Spectacle is a bi-annual arts and literary journal.We publish short fiction of all genres, up to 7,500 words. We are looking for unpublished nonfiction essays, literary analysis pieces, and personal essay/memoirs of up to 7,500 words. We are looking for all forms of poetry, including formal and experimental work. Submit work to be included in our next issue between May 1 and July 31, 2023. http://masqueandspectacle.com/submission-guidelines/
Thanks for reading. Please feel free to share these opportunities with other writers. If you’re not already receiving these posts directly to your inbox, please subscribe.
Coming up… Join me Tuesday, May 16, at 7:00 p.m., as I speak with Erica Nichols-Frazer about her book, Feed Me, in Birch Bark Editing’s InConversation series. The event is free but registration is required. I hope to see you there.
Since it’s still January, it feels acceptable to still wish you a happy new year. In yet another attempt to get the year off to a good start, I spent much of yesterday sorting through these calls and submitting my own work. I was reminded both of how much time and effort it takes, and how important it is. Submitting is vastly different than the work of writing. We can be steadfast writers, dedicated to our craft, but the act of submitting our work forces us to evaluate our words in new ways. Which of my poems work together? Which of my essays is the most ready for others to read? Which of my stories is a good fit for this journal? Sometimes we’re lucky and our work is accepted. But even rejection can prompt us to see our pieces under new eyes. If we’re very fortunate, a kind editor takes time to offer a word of encouragement or advice. So yeah, I believe submitting is an important part of our job as a writer. Toward that end, I offer this list of one dozen submission opportunities. Good luck!
Glass: A Journal of Poetry Glass is back and now actively accepting submissions. We’ll be publishing weekly, a single poem every Wednesday, starting in July and we’d love to see your work. We’ll never charge reading fees and we’ll read year-round (except in March when we’ll be reading chapbook submissions). Past contributors have included Rane Arroyo, Saeed Jones, Lisa Fay Coutley, Adam Tavel, Sandy Longhorn, and Xochitl-Julisa Bermejo, among many many others. Past work has been included in Sundress Publication’s Best of the Net and on Verse Daily. Submit 3-5 poems, any style, any length. http://www.glass-poetry.com/journal/submit.html
Café Review Submit up to three unpublished poems in one file. The Café Review welcomes both new and established voices and has no limitations or preferences as to form or style. We publish the most exciting, impressive, and affecting poems that come to us. https://www.thecafereview.com/submissions/poetry/
Prelude Prelude is a journal of poetry and criticism based in New York. We publish online quarterly. Send us up to 8 pages of poetry. Send us a draft or a description of an essay. It could be a critical essay, an experimental essay, a personal essay relating to poetry, etc. https://preludemag.com/about/
Hawai`i Pacific Review HPC is Hawai`i Pacific University’s award-winning online literary magazine. While we often publish work about Hawai`i and the Pacific, we accept great work from all regions and on all subjects. Submit no more than 3 poems at a time. Fiction and Creative Nonfiction submissions should be less than 4000 words. We also accept flash fiction and flash nonfiction up to 750 words. Deadline: February 4, 2023. https://hawaiipacificreview.org/submissions/
Orange Blossom Review OBR publishes innovative poetry, short fiction, creative nonfiction, and visual art. Submit short fiction and creative nonfiction up to 5,000 words. Submit up to three poems. We accept unsolicited general submissions through February 15, 2023. https://orangeblossomreview.org/
Swing Swing is home for the emerging writer to the renowned, the discovered to the too-long neglected. We are creating a magazine with the energy and verve of its home city, Nashville, a town of vagabonds and roots, where new influences course through the old. Swing wants the poetry, fiction (auto-, hybrid, very short, or regular but extraordinary), nonfiction (creative, travel, personal, hybrid, surely there are other variations), and comics that could only have been written by you. Submit up to 5 poems or up to 8,000 words of prose. Deadline: February 16, 2023. https://www.porchtn.org/swing
Dunes Review The Dunes Review is published in northern lower Michigan, a place of exquisite natural beauty and hardy local culture. Place is really important to us. Not only physical place, but the place created in a piece of writing. The feeling of being rooted in any somewhere grounds our work. If your work expresses or includes a significant tie to a significant somewhere, we are bound to love it. You and your work do not necessarily need a tie to a Michigan location, but we do appreciate work that fits Michigan-like themes or motifs. We consider short fiction or creative nonfiction up to 3,000 words, or up to 4 poems. Deadline: March 1, 2023, or when we have received 300 submissions, whichever comes first. www.michwriters.org/dunesreview/dunes-review-submission-guidelines/
Gulf Coast Stories and essays should be no more than 7,000 words. Send up to 5 poems per submission. Gulf Coast typically commissions book reviews, but unsolicited reviews are accepted and occasionally published. We are particularly interested in reviews of first or second books. Interviews should not exceed twelve pages. Deadline: March 1, 2023. http://gulfcoastmag.org/submit/
Barrow Street BS is a nonprofit literary arts organization that was started in Greenwich Village, NYC in 1994. Submit up to five manuscript pages. Response time is one week to four months. Deadline: March 31, 2023. http://barrowstreet.org/press/submit/
Raleigh Review General submissions are open from January through March for Poetry. Send up to 5 poems. Deadline: March 31, 2023. https://www.raleighreview.org/submit.html
Salamander Published biannually, Salamander features poetry, fiction, and nonfiction. Submit no more than five poems at a time, OR one story or memoir at a time, OR up to three flash pieces in either fiction or nonfiction. Deadline: April 1, 2023. https://salamandermag.org/how-to-submit/
Asheville Poetry Review APR is an annual literary journal that publishes 180–220 pages of poems, interviews, translations, essays, historical perspectives, and book reviews. Send 3–6 poems of any length or style. We are open for regular submissions from January 15 through July 15, 2023. http://www.ashevillepoetryreview.com/submissions
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A lot of journals and magazines are opening up now that schools are also starting back. This month, I’ve compiled a list of a dozen opportunities for writers in every genre. So take advantage of the timing and send them some work.
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Anomaly CALL FOR BLOG & FEATURE WRITERSWe’re looking for writers who are interested in contributing in an ongoing manner to the Anomaly Blog, either by proposing a column or series, or by joining a team of staff writers who both pitch and take on assigned pieces for the blog. We are particularly interested in writers to focus on reviews, interviews, and profiles of artists and writers; and in getting pitches for columns or series that focus specifically on a particular artistic or writing community within the purview of our expanded mission. If you are interested, please send an email to Features & Reviews Editor Sarah Clark [sarah (at) anomalouspress (dot) org] with a paragraph about what you’re interested in writing about and your CV attached. https://anmly.org/calls/
Bodega Bodega releases digital issues on the first Monday of every month, featuring poetry, prose, and occasional interviews by established and emerging writers. Submit up to 3 poems or up to 3000 words of fiction or nonfiction. http://www.bodegamag.com/about
Lime Hawk Lime Hawk, a quarterly independent online journal of culture, environment, and sustainability, seeks new, unpublished submissions of short fiction, creative nonfiction, poetry, and visual art. No deadline to submit. No reading fees. www.limehawk.org/journal
Four Way Review FWR accepts poetry and fiction from both established and emerging authors. We look for work that demonstrates fine attention to craft while retaining a powerful and compelling voice. We want writing that showcases the imagination’s unique ability to refine the raw materials of human experience. Unsolicited submissions are considered year round. Submit 3-5 poems or up to 6,000 words of fiction in a single document. http://fourwayreview.com/submit-3/
CRAFT Our creative categories are open year-round to any emerging or established author. For flash fiction and flash creative nonfiction, send work up to 1,000 words. For short fiction or creative nonfiction, send work up to 6,000 words. We will also consider previously published creative work. We pay our authors $100 for original flash and $200 for original short fiction and creative nonfiction. https://www.craftliterary.com/submit/
BULL We are dedicated to examining and discussing modern masculinity: what works, what doesn’t, what needs to change and what needs to go. We’re in quickly shifting times and more than ever this conversation is crucial. We want fiction and essays that engage that conversation from every angle from men and women, gay and straight, Americans and citizens of the world. Everybody has a stake in making men better and, by proxy, culture as a whole. We want stories of exemplary masculinity, cautionary tales, accounts from every possible perspective and persuasion. https://mrbullbull.com/newbull/submit/
2022 University of New Orleans Press Publishing Lab Prize We are looking for the best unpublished novel or short story collection. The Publishing Laboratory at the University of New Orleans seeks to bring innovative publicity and broad distribution to authors. We collect submissions through August 31, 2022, deciding on 15-20 finalists. The finalists are read by students from The Publishing Laboratory in the fall, and one is chosen for publication. The work does not have to be regionally focused. There is no word limit. There is no limit on subjects covered. https://unopress.submittable.com/submit
Another Chicago Magazine We’re open through August 31, 2022, for poetry, fiction, nonfiction, reviews, and translations on the theme of Trans/formation. (Trans/formation: shifting, fluidity, change, and rediscovery in all forms, big and small. Consider how trans/formation raises the ideas of both a continuing process of becoming, and of some kind of coalescence. What does trans/formation mean to you?) We have no restrictions on length or style. https://anotherchicagomagazine.net/submissions/
Apple Valley Review Apple Valley Review is currently reading submissions of poetry, personal essays, and short fiction. Several pieces from the journal have later appeared as selections, finalists, and/or notable stories in Best American Essays, Best of the Net, Best of the Web, and storySouth Million Writers Award. We accept poetry, short fiction, flash fiction, and essays. Submissions are read year-round, but the deadline for the fall issue is September 15. http://www.applevalleyreview.com/
Cream City Review We devote ourselves to publishing memorable and energetic fiction, nonfiction, poetry, and artwork which represent a broad range of creators with diverse, unique backgrounds. Both beginning and well-known writers are welcome. We are currently reading for our Fall/Winter Issue from now through November 1, 2022. For Fiction and Nonfiction, send fewer than twenty double-spaced pages. We are interested in dynamic, well-crafted nonfiction, including creative journalism, personal essays, travelogues, flash, and polemics. We seek book reviews of any CCR-published genre and relevant author interviews. Please submit no more than five poems at a time. https://uwm.edu/creamcityreview/general/
Scholarships & Fellowships Available for the 2023 Eckerd College Writers’ Conference: Writers in Paradise Located on the coast of the picturesque Boca Ciega Bay in St. Petersburg, Florida, Eckerd College Writers’ Conference: Writers in Paradise offers an intimate experience of workshop classes in Crime & Suspense, Memoir, Non-fiction, Novel, Poetry, Structure, Short Story and Historical Fiction, along with craft talks, panel discussions, Q&As, readings, book signings, and receptions with our award-winning faculty and lecturers. The workshop is scheduled for January 14 – 21, 2023. Deadline is November 1, 2022. www.writersinparadise.com
Outlook Springs Send us stories we can’t put down. Our emphasis is literary fiction, but we aren’t biased against genre. Send poems that ooze with sonic pleasure and stagger from line-to-line with an animated corpse’s lingering bravado. As for nonfiction, send us your travel narratives, your lyrical essays, your personal essays, and everything in between. If it’s real, if it’s interesting, if it’s well-written and gives us a new and exciting way to see the world (or – even better—inside your head), then we’ll publish it. Our current reading period ends December 14, 2022. http://outlooksprings.com/
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Denton Loving 