WOW! Women On Writing | Workshops | Writing Contests | The Muffin

March 2024 Markets Newsletter

In this issue:

• "Blaze a Trail Like These Writers During Women’s History Month" by Renee Roberson
• "On Submission with Purple Ink Press, Founding Editor Yael Valencia Aldana" interview by Christy O'Callaghan
• March Deadlines: Poetry, Fiction, Nonfiction, Multigenre, Just for Fun
• Craft Corner: "How Dreams & Visions Can Guide Your Writing: An Interview With Anna Quinn, Author of Angeline" interview by Nicole Pyles
• Recent WOW Features and Posts from The Muffin
• Success Stories from the WOW! Community

Writers!

Last March, I wrote a blog post for WOW! in honor of Women’s History Month where I shared that one of my writing mentors was a college professor who had won a Pulitzer Prize for Meritorious Public Service in 1979. She and her then-husband wrote a series of articles exposing abuses in the Synanon drug rehabilitation center in California. The fact that she had made history at a young age in her writing career both inspired and intimidated me.

I’m sure that when most of us are writing, editing, and dreaming of new projects, we aren’t assuming we’re going to make much of an impact in the publishing world. But the other day, as my son was sitting in my home office, he made the offhanded remark that he admired me for continuing to pursue my dreams “at my age.” I’m 47, and because I know my son and that it was meant to be a compliment, I wasn’t offended.

I took a copy of the book Lessons in Chemistry off my desk and showed him the author photo of Bonnie Garmus in the back. After years of writing novel drafts and working a day job as an advertising copywriter, she published her first novel at the age of 64, and the book even got its own streaming service on Apple+. I told him that if she could do it, maybe I could.

For this month’s newsletter, I wanted to take a look at a few women who blazed trails through the literary world against all the odds, and faced the many numerous obstacles female writers face. Below are five female writers who made history in their own unique ways:

Having sold 2-4 billion copies of her novels, mystery novelist Agatha Christie holds the title of the world’s best-selling novelist, according to the Guinness World Records. She wrote 66 novels and 14 short story collections. Her play, The Mousetrap holds the record of the longest-running play in history. She’s also the most translated author in history.

Lorraine Hansberry became the first Black woman whose work was produced on Broadway when she penned A Raisin in the Sun, which earned multiple Tony Award nominations and a film adaptation in 1961. Before her death from cancer at the young age of 34, she never shied away from writing about topics such as sexism, homophobia, and racial justice.

Writer, poet, and activist Alice Walker became the first Black woman to win the Pulitzer Prize for Fiction in 1983 with her book The Color Purple, which was later adapted into a feature film and Broadway musical.

Lifting Voices, Never Giving Up, and Following Your Dreams with Yael Valencia Aldana and Purple Ink Press

By Christy O'Callaghan



Purple Ink Press is a new and exciting publication on the scene. Today, we are speaking with Yael Valencia Aldana, founding editor and the dreamer who brought it to life. Yael is not only a Pushcart and Best of The Net nominated writer and poet, but she’s also the author of the chapbook Alien(s) (Bottlecap Press) and the forthcoming poetry collection Black Mestiza (University Press of Kentucky, 2025). She won the University Press of Kentucky New Poetry and Prose Series Prize 2023 in poetry. Purple Ink Press aims to publish unusual projects from in-between spaces. She lives and teaches creative writing in South Florida, where she lives with her son and too many pets. You can find her online at YaelAldana.com.

WOW: Welcome, Yael. It’s a pleasure to speak with you about Purple Ink Press, which is just taking off. Before we talk about the press, we’d love to get to know you a bit better. You are an active writer with publications and guest editor spots, and you teach creative writing. Tell us about what led you to become a writer.

Yael: My main inspirations are Margaret Atwood and Toni Morrison. I was astonished when I read Atwood’s Cat’s Eye and Morrison’s Beloved. After reading them, I wrote this and that privately for years simply for the joy of writing. Decades later, when I was pursuing a Master’s degree in Women and Gender studies, my professors consistently told me I wrote well and I should look into English and creative writing. I ignored them because my goal was to get a Ph.D. and become a professor. Then, I had a huge fight with the thesis advisor. She told me I was too creative for the Ph.D. track and should study creative writing. I didn’t take it well, but after sulking for a while, I applied to some MFA programs and landed at Florida International University.

WOW: Atwood and Morrison are two amazing and inspirational women writers. And a BIG yes to the joy of writing. Writing is such an up-and-down experience, which can be frustrating. What is your favorite moment as a writer, and what keeps you coming back to the page?

Yael: My favorite experience as a writer is surprising people. My favorite moment as a writer/poet was surprising my mentor, Richard Blanco. Richard is a very kind teacher who always gives generous feedback, but I never got his top praise. I was an OK poet in his classes but worked hard on my craft. I had a chapbook project I guilted him into helping me with. He did, although he was swamped. I expected his constructive criticism, but I was taken aback by how much he liked the manuscript. He said it startled him. He enjoyed some poems so much that he read them back to me. It was in that moment I gained confidence as a poet. I love bringing my family’s story to people with completely different experiences and connecting on a human level. Our stories may be different, but our humanity connects us.

WOW: “Our humanity connects us.” Love that. Having a mentor offer support and praise is so helpful in carrying a writer through those times when we feel stuck. Purple Ink Press is a brand-new publication. What made you want to start it?

Yael: My friend and fellow founding editor Erik Ebright inspired me. He is a part of the Narcotics Anonymous community, and I was struck by how much they supported each other. Years ago, I had an idea to create an accessible online writing course for everyone. As an ally of the NA community, I saw people who were willing to work on projects together. I thought we could publish a yearly anthology. We founded Purple Ink with this Recovery Anthology in mind. This project will take considerable planning and is a long-term goal. Meanwhile, we started with more traditional print projects.

“People are hungry to see the courage of vulnerability in others. The artists, the writers, and the poets are courageous and are on the front lines of authenticity. We give others the courage to create and be themselves.”

WOW: The NA community is impressive in how they come together to lift each other up, but they’re also amazing storytellers who share with honesty and vulnerability. The Purple Ink Press tagline is “Publishing work from places in-between.” Could you tell us more about it?

Yael: I love hybrid work. That is work that isn’t quite a poem, not fully prose, words with images, work that doesn’t fit into categories. I am a painter and visual artist. Art is its own type of language that I don’t think it is well understood. When you pair the right art with the right words, it sings and creates a magic third thing. Our books will prominently feature visual art paired with poetry and prose. Many people see these categories as separate: art, poetry, fiction, nonfiction, and hybrid. I see them as all part of a whole. We are looking to publish pieces and books that straddle categories.

We are looking for raw, vulnerable work that surprises us. Our culture continually sidesteps authenticity and vulnerability for quips and trends. People are hungry to see the courage of vulnerability in others. The artists, the writers, and the poets are courageous and are on the front lines of authenticity. We give others the courage to create and be themselves. It’s like a chain that passes from one person to the next.

WOW: Authenticity absolutely creates a connection for a reader to a piece of writing or art. Even when writing takes place in fictitious worlds, readers tend to be more willing to take that journey when the characters feel genuine and honest at their core. BIPOC and Queer voices are your focus. Could you share about creating a platform to showcase these voices? Do you accept other voices as well?

Yael: We encourage everyone to submit. But we especially encourage BIPOC, Queer, and under-represented people. As an editor at other publications, I saw a lot of CALLS for BIPOC and Queer voices, but not of lot of work was accepted. A big issue is that editors seek similar work that doesn’t veer out of their narrow tastes. We love work that challenges us. Sometimes, when I talk with my senior editor, Madison Whatley, a piece will challenge us, and we can see it’s good. It might make us uncomfortable, and we feel we have to publish it to get that voice out there in the world.

WOW: Two of the most incredible experiences that come from experiencing other voices are finding a connection and learning about different human experiences. You have two calls for anthologies—can you tell us first about the Bimbo Feminist Anthology?

Yael: Editors on the team inspired both of these calls. Senior editor Madison Whatley inspired the Bimbo Feminist Anthology. We went to graduate school together, and she developed this Feminist Bimbo stance in her poetry. It was such a unique in-your-face identity. I loved it. I approached Madison about an anthology as soon as the press was going. With the Barbie movie being such a huge hit, it seemed to be the right time for Bimbo Feminism. We say Bimbo people hear Barbie. Barbie has done so much work for us in terms of smashing through gender norms.

The concept of bimbos, himbos, and thembos expands the idea of equality and feminism. People have been so excited about this anthology. People on social media have grabbed the bo’s and announced themselves as thembos, himbos, or Bimbos. We love getting responses like this: “Dear Bimbo Anthology, I am a fellow Bimbo, Thembo, Himbo.” Some of our favorite Bimbos, Thembos, and Himbos are Anna Nicole Smith, Rupaul, and Prince. You can find details about The Bimbo Feminist Anthology here: https://purpleinkpress.com/bimbo-feminist-anthology/

Our original deadline was in May, but we moved it to March 15th. We are about two-thirds full, and the way it is going, we might have to close earlier if we reach our page count. The good news is that we are planning to do a second Bimbo anthology, and if the interest is there, we might mighty do one yearly.

WOW: 50 Years of Hip Hop is the second call. It brings back memories of my Digital Underground, Tribe Called Quest, BBD, and, of course, Janet Jackson Rhythm Nation (my favorite) tapes and seeing Salt N Peppa live as my first No Grownups concerts when I was in middle school. Those artists are still inspiring and groundbreaking. Who were some of your favorite Hip Hop artists as a kid and now?

Yael: Some of my favorite old skool artists are Queen Latifah, LL Cool J, and Missy Elliott. A current artist I love is Lil Nas X. 

The Hip Hop Anthology was inspired by this as Hip Hop’s 50th year and our founding editor, Erik Ebright. Erik is a musician. He’s the kind of person that speaks in rhyme. I wanted to do something to celebrate this milestone as I didn’t see much acknowledgment in the literary community. Hip Hop has been so influential and important culturally. I asked Erik to edit this anthology because Hip Hop and music are part of his DNA. We ask that submissions are influenced by Hip Hop in some way. We are also accepting lyrics, original songs, and reprints for this. The details for Hip Hop are here: https://purpleinkpress.com/50-years-of-hip-hop/

WOW: These sound so exciting and different from so many of the calls out there right now. Once these anthologies wrap up, what is your vision for Purple Ink Press?

Yael: We have a poetry anthology called Chameleon Chimera, an Anthology of Florida Poets, coming up. It is an anthology of over 100 Florida poets and was curated by Lenny DellaRocca for the online literary journal South Florida Poetry Journal. It is an incredible collection with poets like Maureen Seaton, Denise Duhamel, Jessica Q. Stark, and Geoffrey Philp. I can’t believe we were able to secure this fantastic project. We also have two more anthologies planned. One is based on a particular writer, and the other will focus on female, femme-identifying, and nonbinary experiences in the Americas.

We are also sponsoring some local events in April, poetry month.

WOW: The poetry anthology, future calls, and the events in April are exciting ways to lift up the literary community. All social media and website info is below, and people can keep an eye on those for more information. As a new publication, what were some of the biggest challenges you faced starting Purple Ink Press?

Yael: Our two main challenges are good problems to have. With Chameleon Chimera, we secured an amazing project with a lot of moving parts, and The Bimbo Feminist Anthology caught on fire. Both of those projects require a lot of organization. Thankfully, one of our interns is a spreadsheet guru to keep us in check. 

I still can’t believe we landed Chameleon Chimera. It’s such a stellar project. I keep pinching myself.

WOW: Thank goodness for organized people to support good problems. What advice would you offer to others considering starting a press or journal?

Yael: Firstly, I would say do your homework. I was lucky enough to have experience at several journals and presses, which gave me the insider track on how to run and organize an independent press. Secondly, have a strong sense of purpose. There are so many presses out there. Why does another one need to exist? Thirdly, I would say don’t do this alone. It’s a lot of work for a team, not one person. And finally, be flexible and ready to learn. Anything could happen at any moment, both good and bad; be ready.

“Don’t give up. The fiftieth idea might be the one that works.”

WOW: Great advice, thank you. Speaking of not doing it alone, how did the staff get together?

Yael: Purple Ink Press was born organically. Initially, it was my idea. I first talked with Erik about starting the press. He has a lot of web and programming experience and is an artist. I thought he was going to say no. But he said yes and put in a ton of work to get it started. He also picked the name. When I approached Madison to edit Bimbo, I thought she would say no. But she jumped on board and enthusiastically took on a larger role than we planned. Everyone I asked to become involved said yes. And we quickly gained four interns. While we’re independent, we are looking into creating an official internship program with a local college. I am grateful for everyone who works on this press. We are all volunteers. I have had so many ideas over the years that I failed. It is exciting to have the right idea at the right time. Don’t give up. The fiftieth idea might be the one that works.

WOW: Those are such important lessons in both not giving up and asking, even if you think the person might say no. They could totally say yes. Now that you have this platform, if you could have any writer (living or dead) in Purple Ink Press, who would it be and why?

Yael: I can’t believe I am going to say this, but one of my dreams has already happened. We are publishing three of my mentors in the Chameleon Chimera: Julie Marie Wade, Denise Duhamel, and Richard Blanco. This was beyond my expectations. To extend the fantasy, I would love it if one of them would bring their next project to us. Beyond that, I want to partner with one person in this country, Oprah. Someway, somehow, I want to spin into Oprah’s orbit. She has the resources and an eye toward the community to make a meaningful positive impact in whatever she does. When Oprah herself takes my call to develop a project, I will be where I want to be.

WOW: The fact that your mentors wanted to work with you shows that inspiration and respect are mutual. Beyond our collective call for Oprah to find you, how else can people support, get involved with, and find Purple Ink Press?

Yael: We are a nonprofit, so people can donate on our website, purpleinkpress.com, or buy something in our writer-themed fundraising shop. 

Follow us on social media and to share our content.

X: @PurpleInkPress

Instagram: @purpleinkpress

Facebook: @PurpleInkPress8

Bluesky: @purpleinkpress.bsky.social

Many thanks to Purple Ink Press’s founding editor, Yael Valencia Aldana. It’s been inspiring to learn about this uplifting and supportive press. Writers, if you’d like to submit to one of Purple Ink Press’s anthologies, remember their deadline is March 2024 (or until filled). Visit this page for further information: https://purpleinkpress.com/call-for-submissions/ 

Christy O’Callaghan is a writer and developmental editor in Upstate, NY. For two decades, she was a community organizer and educator. Christy loves strange stories, plants, and lore. Her work has appeared in The Los Angeles Review, Great Weather for Media, Trolley Journal, Under the Gumtree, Chestnut Review, and more. christyflutterby.com

Poetry

Baltimore Science Fiction Society Poetry Contest

Deadline: March 1

The Baltimore Science Fiction Society is accepting entries for its poetry contest. 1st prize: $100; 2nd prize: $75; 3rd prize: $50. Entries should address the themes of science fiction/fantasy/horror/science. Limit: 3 poems/person, maximum 60 lines each. No fee.

https://www.bsfs.org/bsfspoetry.htm

Mo Habib Translation Prize in Persian Poetry

Deadline: March 1

University of Washington is seeking submissions for the second cycle of the Mo Habib Translation Prize in Persian Literature. This round will focus on Persian poetry (any genre or period, from the 10th century CE to the present day). Bi- or multilingual projects are welcome (e.g. Persian-Arabic, Persian-Pashto). Translators are free to propose the translation of one or more collections of poems (no fewer than 50 and no more than 250 texts) from a single poet or multiple authors, provided that the final manuscript is submitted by the deadline. The winning translation will receive a prize of $10,000 ($2,000 once the award is announced in June 2024, and $8,000 once the work is turned in by the deadline May 2025). This prize comes with a commitment by Deep Vellum to publish the translated work. No fee.

https://melc.washington.edu/news/2023/09/06/call-poetry-translators-second-cycle-mo-habib-translation-prize

Randall Jarrell Poetry Competition for NC Writers

Deadline: March 1

The Randall Jarrell Poetry Competition, sponsored by the North Carolina Writers’ Network, accepts one-poem submissions. The contest awards the winner $200 and publication in storySouth. The competition is open to any writer who is a legal resident of North Carolina or a member of the North Carolina Writers’ Network. Submissions should be one poem only (40-line limit, including epigraphs and stanza breaks), original, and previously unpublished. Fee: $10 for NCWN members, $15 for non-members

https://www.ncwriters.org/programs/competitions/randall-jarrell-poetry-competition/

The TRP Southern Poetry Breakthrough Series for KY Writers

Deadline: March 1

The TRP Southern Poetry Breakthrough Series highlights a first full-length collection by emerging authors from each state in the southern U.S. Open to any poet born in Kentucky, currently residing in Kentucky, or who has lived in Kentucky for five consecutive years at any point, who has not yet published a full-length collection of poetry. Manuscripts must be between 50 and 100 pages in length. Winner will receive a standard royalty contract, and 10 copies of the published book. No fee.

https://texasreviewpress.org/submissions/trp-southern-breakthrough-series

Woman, Life, Freedom: Poems for the Iranian Revolution

Deadline: March 14

Editors Bänoo Zan and Cy Strom are accepting poetry submissions in English or translated into English from all countries and continents. They strongly encourage submissions by minorities within Iran and among Iranian diaspora communities in terms of gender, sexual orientation, ethnicity, religion (or lack thereof), language, etc., as well as people of Iranian heritage and background. They also encourage submissions by poets from the Middle East. Please submit both the original poem and the translation. Maximum 3 poems and a total of 6 pages. All poets and translators will be paid with one copy of the anthology. If their fundraiser is successful, they will pay a small sum to the contributors in addition to a copy of the anthology. No fee.

https://guernicaeditions.submittable.com/submit/257173/woman-life-freedom-poems-for-the-iranian-revolution

Backbone Press 6th Annual Chapbook Contest

Deadline: March 15

Backbone Press is currently accepting submissions to our annual chapbook competition. Chapbook-length manuscripts of 20-40 pages and poems previously published in journals are encouraged. Winner is awarded a $250 prize and (20) author copies. In addition, each winner receives a $250 travel stipend for public reading or event. Final Judge will be Allison Joseph. Fee: $20

https://backbonepress.submittable.com/submit/284214/backbone-press-6th-annual-chapbook-contest

Lexi Rudnitsky Editor’s Choice Award

Deadline: March 15

The Lexi Rudnitsky Editor’s Choice Award competition is open to any poet who has previously published at least one full-length book of poems. The winner receives an advance of $2,000 and publication of their collection by Persea. Submissions should be at least 48 pages of poetry, which must be primarily in English. Fee: $30

https://perseabooks.submittable.com/submit/35654/lexi-rudnitsky-editors-choice-award-submissions

Mary Blinn Poetry Prize

Deadline: March 15

After Hours launched the inaugural Mary Blinn Annual Poetry Prize in 2019. One $200 Winner and three $50 Finalists will be selected in an anonymous review by After Hours editors with the final winning decisions made at the discretion of our annual judge (TBD for 2023). Winning entries will be published annually in the Summer Issue of After Hours. Unlike their standard submission guidelines which require contributors to have a connection to metro Chicago, the Mary Blinn Poetry Prize is open to all poets writing in English. The competition is open to all themes, styles and forms of poetry. Fee: $15

http://www.afterhourspress.com/mary-blinn-poetry-prize/about-the-prize.html

National Poetry Series Open

Deadline: March 15

The National Poetry Series seeks book-length manuscripts of poetry written by American residents or American citizens living abroad. Manuscript length is not limited. However, a length of 48-64 pages is suggested. Five winning poets will each receive a $10,000 cash prize in addition to having a full-length manuscript published by a participating publisher. Fee: $35

https://nationalpoetryseries.org/apply/#nps-open

The Lascaux Prize in Poetry

Deadline: March 31

Poems may be previously published or unpublished, and simultaneous submissions are accepted. Winner receives $1,000 and a bronze medallion. Finalists receive $100. Winner and finalists are published in The Lascaux Review. There are no length restrictions. All genres and styles are welcome. Judges are the journal’s editors. Fee: $15

https://lascauxreview.com/contests/

2024 Frost Farm Prize for Metrical Poetry

Deadline: March 31

The winner receives $1,000 and an invitation, with honorarium, to read at The Hyla Brook Reading Series, August 16, 2024 at the Robert Frost Farm in Derry, New Hampshire. The reading opens the three-day Frost Farm Poetry Conference. The winner will receive a scholarship to attend the conference. The winner has the option to have the winning poem published in The Robert Frost Review. This year’s judge is Mike Juster. Poems must be original, unpublished and metrical (any metrical form). No translations. There is no limit to the number of poems entered by an individual. You are welcome to submit a poem sequence (a crown of sonnets, for example) but each poem must be entered as a separate file and will be judged individually. They welcome international submissions written in English. Fee: $6

http://www.frostfarmpoetry.org/prize 

The Robert Phillips Poetry Chapbook Prize

Deadline: March 31

Established in 2001, The Robert Phillips Poetry Chapbook Prize highlights one book a year that excels in the chapbook format. Since 2024, the Prize comes with a $1,000 advance, a standard royalty contract, and 10 copies of the published book. Manuscripts may be no longer than 40 pages. Fee: $20

https://texasreviewpress.org/submissions/robert-phillips-poetry-chapbook-prize

The Laura Boss Narrative Poetry Award

Deadline: March 31

A prize of $5,000, publication by New York Quarterly Books, and 25 author copies is given annually for a collection of narrative poetry. The winner is also invited to give a reading in Paterson, New Jersey, in partnership with the Poetry Center of Passaic County Community College. Jan Beatty will judge. Submit up to 10 pages from a manuscript. Semi-finalists will be notified by June 1 and asked to submit full manuscripts of 70 to 90 pages by June 30. Fee: $25

https://laurabosspoetryfoundation.org/award 

America Media: The Foley Poetry Contest

Deadline: March 31

Each entrant is asked to submit one poem of 45 lines or fewer. Poems should not be under consideration elsewhere. Poems may address any topic. The winning poem will be announced in early June and published in the print edition of America. The cash prize is $1,000. Three runners-up will also be published in subsequent issues. No fee.

https://americamedia.submittable.com/submit/284670/foley-poetry-contest-2024 

Fiction

Tales to Terrify Flash Fiction Contest – Theme: Secret Societies

Deadline: March 1

Tales to Terrify is a short horror podcast. They are seeking fiction submissions of up to 1,000 words for their flash fiction contest. The story must have horror elements and relate to the theme of Secret Societies. Secret societies are distinct from cults in that they don’t operate based on a specific dogma and focus on manipulating outcomes to further their own nefarious agendas. Other than this distinction, how you choose to interpret that theme is up to you, but it must be central to the story. A minimum of ONE winner will be announced on or before May 1, 2024. The top flash piece will be produced for audio narration on Tales to Terrify and receive $50 (USD). Up to four runners up may also be considered for production. No fee.

https://talestoterrify.com/flashcontest/ 

Gutsy Great Novelist Chapter One Prize

Deadline: March 1

The Gutsy Great Novelist Chapter One Prize is open internationally to writers over 18 who are working on an as-yet-unpublished novel (fiction only). Please submit only the complete first chapter of your unpublished novel-in-progress (fiction only). First prize: $1,000; Second Prize: $500; Third Prize: $250. Fee: $20

https://gutsygreatnovelist.com/chapter-one-prize/

On The Premise Short Story Contest - Theme: Vehicle

Deadline: March 1

For this contest, write a creative, compelling, well-crafted story between 1,000 and 5,000 words long in which some kind of vehicle plays an important role. Merely using the vehicle as a simple plot device or to help characters get somewhere is not enough. Winners receive: First Place: $250; Second Place: $200; Third Place: $150; Honorable Mention: $75. No fee.

https://onthepremises.com/current-contest/

Intrepidus Ink

Deadline: March 3

Submit your short stories to Intrepidus Ink. "We explore intrepid culture: our stories feature four elements in every story: danger, struggle, emotion, and OVERCOMING. Our stories are intrepid first and not subordinated to other themes." They accept many genres and writing styles, including literary, speculative fiction (science fiction & fantasy, literary sf), action and adventure, romance, magic realism, historical fiction, and others. Flash Fiction 300 – 1,000 words; Short Stories 1,500 – 2,500 words. $.02/word for flash fiction 300 – 1,000 words. $30 flat rate for short stories 1,500 – 2,500 words. No fee.

https://intrepidusink.com/submissions/

Room Magazine Fiction Contest

Deadline: March 10

Submit short stories up to 3500 words. Room's contests are open to women (cisgender and transgender), transgender men, Two-Spirit and nonbinary people. All submissions include a one-year subscription to Room and their contest fees are the same as their regular subscription prices. First Prize: $1,000 + publication in Room. Second Prize: $250 + publication in Room. Honorable Mention: $100 + publication on Room's website. Fee: Canada: $39 CAD; US: $49 CAD; Outside North America: $59 CAD

https://roommagazine.com/contests/

Archive of the Odd: Found Fiction

Deadline: March 15

Archive of the Odd is a biannual magazine of found fiction—stories told in the style of found footage, also known epistolary, neo-epistolary, found file, or found document fiction. Essentially, stories told in the form of other documents. 500-8,000 words is preferred for the main magazine, but they will consider 5,000-12,000 for a standalone chapbook publication. Pay: $0.01 per word plus a share in the royalties. No fee.

https://archiveoftheodd.com/submissions/ 

32nd Annual James Jones First Novel Fellowship

Deadline: March 15

A prize of $10,000 is given annually for a novel-in-progress by a U.S. writer who has not published a novel. First runner-up will receive $3,000, second runner-up will receive $2,000. A two-page (maximum) outline or synopsis of the entire novel and the first 50 pages of the novel-in-progress are to be submitted. Manuscripts may be simultaneously submitted for the First Novel Contest and to a publisher for publication. If the work is accepted by a publisher at any time up to the announcement of the First Novel winner, the Society must be notified and the selection will be withdrawn from the contest. Fee: $33

https://www.wilkes.edu/academics/graduate-programs/creative-writing-ma-mfa/james-jones-fellowship-contest.aspx

Alice Munro Festival of the Short Story

Deadline: March 15

The winning entry will be a work of fiction up to 2,500 words in the English language, written by an author not yet published in book format. For adult contest: First Prize: $1,500; Second Prize: $250; Third Prize: $250. For youth contest: First Prize: $500; Second Prize: $250; Third Prize: $250. Eligible for Canadian citizens or landed immigrants /refugees and those living in Canada. Fee: $25 (Adult); $10 (Youth)

https://www.alicemunrofestival.ca/shortstorycontest

Phyllis Grant Zellmer Prize for Fiction

Deadline: March 15

This contest is open only to emerging writers only who have not yet published a book with a print run over 1,500. $1000 and publication in West Trade Review will be awarded to the winning story. Other entries of merit may be considered for publication. Submission is one original short story. Fee: $15

https://westtradereview.com/phyllisgrantzellmerprizeforfiction.html

The Rumpus Original Fiction

Deadline: March 15

The Rumpus Original Fiction series features original short fiction of a wide variety. Please submit a short story of up to 5,500 words as a double-spaced Word doc or PDF, accompanied by a brief cover letter and third-person bio. If you are sending flash fiction (1000 words or less), you’re welcome to submit up to three pieces for consideration as one submission. Pay: $400 divided among all contributors. No fee.

https://therumpus.submittable.com/submit/23502/rumpus-original-fiction

NuNum Spring 2024 Issue Flash Fiction

Deadline: March 22

A journal dedicated to blending flash fiction and art. They are seeking flash fiction up to 500 words for their spring issue. You can submit up to 3 stories per submission. First publication only - means your story or image can’t be published elsewhere, including on a blog, social media account, etc. Pay: $20 CAD. Fee: $3

https://nunum.submittable.com/submit/283797/nunums-spring-2024-issue-flash-fiction

The Mollie Savage Memorial Writing Contest - Mystery

Deadline: March 24 (Opens March 22)

The Mollie Savage Memorial Writing Contest (formerly Three Cheers and a Tiger) is a 48-hour short story writing contest. The spring edition of the Savage Writing Contest is a MYSTERY contest. Winning stories are published in the June issue of Toasted Cheese. If 50 or fewer eligible entries are received, first place receives a $35 Amazon gift card & second a $10 Amazon gift card. If 51 or more eligible entries are received, first place receives a $50 Amazon gift card, second a $15 Amazon gift card & third a $10 Amazon gift card. No fee.

https://tclj.toasted-cheese.com/savage-writing-contest/

Little Press Publishing: Middle-Grade Fiction and Young Adult Fiction Manuscripts

Deadline: March 30

Little Press Publishing is open for middle-grade and young adult manuscript submissions from writers in the US and Canada only, and are particularly interested in writers who are members of SCBWI or critique group. Early Middle Grade Fiction: 16,000 - 30,000 words. Middle-Grade Fiction: 30,000 – 65,000 words. Young Adult Fiction: 50,000 – 75,000 words. Submit the first 3 chapters only as an attachment. In your cover email, please include two titles published within the past five years comparable to your title; writing/professional organizations with which you are a member; social media accounts and any other information you think relevant to your ability to market and help in the success of your title (example: attend XYZ children's book festivals.). Pay: royalties. No fee.  

https://littlepresspublishing.com/submissions

28th Annual Parsec Short Story Contest - Theme: AI Mythology

Deadline: March 31

Parsec Short Story Contest has a theme of "AI mythology." They ask that authors try and incorporate both concepts into their speculative work. This can be conveyed in the setting, plot, characters, dialogue; the only limit is your imagination. The theme must be integral to the story in some way and not just mentioned in passing. However, even though the theme is AI, they do not wish to see stories written by AI. Stories have no minimum, no more than 3500 words. The contest is open to non-professional writers who have not met the eligibility requirements for SFWA Full Membership. Writers meeting the SFWA Associate level of membership are eligible to submit to the contest. First-place receives $200 and publication in the Confluence program book. Second-place receives $100. Third-place receives $50. No fee.

https://parsec-sff.org/short-story-contest/

Do You Really Want to Hurt Me? Crime Fiction Inspired by the Music of Boy George and Culture Club 

Deadline: March 31

In the 1980s, the world had never seen anything quite like Boy George and Culture Club. English pop met fashion and androgyny to usher in the New Romantic era of music. With dozens of nominations and award wins, Culture Club secured a spot in music history and produced a music legacy still loved today. And, what better way to celebrate them than with outstanding crime fiction inspired by their music? Your work must be based on a song that’s an original Boy George and/or Culture Club song and cannot be a cover performed by them. You still must have a good crime/mystery. LGBTQIA+ and BIPOC characters and authors very, very strongly encouraged. Published by White City Press. Pay: $25. No fee.

https://www.mistimedia.com/calls-for-submission/do-you-really-want-to-hurt-me-crime-fiction-inspired-by-the-music-of-boy-george-and-culture-club/ 

Under the Pink: Horrors Inspired by the Music of Tori Amos

Deadline: March 31

Book Slayer Press is seeking adult horror stories, including genre-chimeras, from women and anyone that identifies as femme in the most inclusive of definitions. Stories should be 3,000 – 5,000 words and be inspired by the music of Tori Amos. Pay: $100. No fee.

https://www.bookslayerpress.com/submissions 

Red Hen Press Ann Petry Award – Black Authors

Deadline: March 31

Founded in 2020 in partnership with Red Hen Press and the Peauxdunque Writers Alliance, the Ann Petry Award seeks to publish prose literature by Black authors. The Ann Petry Award is for a work of previously unpublished prose, either a novel or a collection of short stories or novellas, with a minimum of 150 pages, by a Black writer. Awards: $3,000 and book publication by Red Hen Press. No fee.

https://redhen.org/ann-petry-award/ 

Sisters in Crime: Eleanor Taylor Bland Crime Fiction Writers of Color Award

Deadline: March 31

This is an annual grant of $2,000 for an emerging writer of color. Open internationally. This grant is intended to support the recipient in crime fiction writing and career development activities. The grantee may choose to use the grant for activities that include workshops, seminars, conferences, retreats, online courses, and research activities required for completion of the work. Submit an unpublished work of crime fiction, aimed at readers, from children’s chapter books through adults. This may be a short story or first chapter(s) of a manuscript in-progress of 2,500 to 5,000 words; a resume or biographical statement; and a cover letter that gives a sense of the applicant as an unpublished work of crime fiction, aimed at readers, from children’s chapter books through adults. This may be a short story or first chapter(s) of a manuscript in-progress of 2,500 to 5,000 words. No fee.

https://www.sistersincrime.org/page/EleanorTaylorBland

The Clay Reynolds Novella Prize

Deadline: March 31

Established in 2001, The Clay Reynolds Novella Prize highlights one book a year that excels in the novella format. Since 2024, the Prize comes with a $1,000 advance, a standard royalty contract, and 10 copies of the published book. Novella manuscripts should have a total word count of between 20,000 and 50,000 words. Fee: $20

https://texasreviewpress.org/submissions/clay-reynolds-novella-prize

Hearth Stories

Deadline: March 31 (Opens March 1)

Hearth Stories publishes speculative fiction slice-of-life stories with a focus on connection, family, relationships, comfort, and the natural world. They accept works from 1,000 words up to 10,000. However, the ideal length may be something in the 1,500-3,500 word range. They are very into slice of life stories, the ruralism of Richard Jefferies (ruralism in general, extending to so-called “cottagecore”), and stories in general that take place in wooded places. They like witches and magic, new world stories (usually terraformed planets), alien worlds, and the small adventures of daily life. Pay: $0.01 per word (with a minimum of $20 regardless of length). No fee.

https://hearthstories.org/submissions.html 

Nonfiction

Writers Read: True Stories About Changes

Deadline: March 1

We live in a rapidly changing world where assumptions about the integrity of our institutions, environment, relationships—even democracy itself—may no longer hold true. Writers Read seeks thought-provoking, five-minute personal stories of change. In 650 words, describe a change you’ve made, or have been wanting to make in your life or your community; write about a change brought on by time—suddenly or gradually; write about how change has changed you. Stories will be featured on stage and on their podcast. Fee: $5

https://writersread.org/submissions

Third Street Review: Literally On the Edge - Creative Nonfiction

Deadline: March 8

Located on the Pacific Ocean in the artists' colony of Laguna Beach, California, Third Street Review lives on the edge, literally and figuratively. California has always been synonymous with exploration and innovation and, in creative expression, with boundary expansion and the dynamic re-invention of artistic forms. Third Street Review is no different. Share your best writing and visual art. They welcome traditional formats and pieces that push boundaries, embrace experimentation, and reflect artistic excellence. Fiction and poetry close in February, but creative nonfiction is open until March 8th (or until filled). CNF should be 1,000 words or less. If you wish to submit micros, please do so in one document, with each piece of writing on a separate page, and make sure the total word count does not exceed 1000 words. Pay is $25 via PayPal. No fee.

https://thirdstreetwriters.submittable.com/submit/278415/third-street-review-non-fiction-creative-non-fiction 

2024 Annie Dillard Award for Creative Nonfiction

Deadline: March 15

Bellingham Review's annual writing contest awards $1,000 for first place. Submit 3 pieces of flash nonfiction of up to 1,500 words each OR an essay of up to 4,000 words. All entries will be considered for publication in the journal. Fee: $15

https://bhreview.submittable.com/submit/661/the-2024-annie-dillard-award-for-creative-nonfiction 

Edna Staebler Personal Essay Contest - Canadian Writers

Deadline: March 28

They are interested in essays in which the writer’s personal engagement with the subject provides the frame or through-line. Entrants must be Canadian (citizen or resident). Submissions must be unpublished, nor can they be accepted for publication elsewhere. While there is no word limit to personal essay contest entries, most essays fall within the range of 2000 – 5000 words. A $1000 top prize will be awarded for one personal essay. All entries will be considered for publication in The New Quarterly ($250 paid upon publication). Entry fee includes a 1-year Canadian subscription or renewal to The New Quarterly. Fee: $40

https://tnq.ca/edna-staebler-contest/

Arts & Letters/Susan Atefat Prize for Creative Nonfiction

Deadline: March 31

They accept one winning Creative Nonfiction piece of up to 25 pages (other submissions will be considered for publication at their normal rates). They offer the winner a $1,000 prize and publication in next year's Fall or Spring issue. Fee: $20

https://artsandletters.submittable.com/submit/1608/arts-letters-susan-atefat-prize-for-creative-nonfiction

2024 Creative Nonfiction Prize

Deadline: March 31

Send one creative nonfiction piece, up to 5000 words, for a chance at $1000 + publication. Each paid submission also gets you a year-long subscription to Indiana Review. Final judge is Lars Horn. Fee: $20

https://indianareview.submittable.com/submit/287282/2024-creative-nonfiction-prize 

2024 Uplift Voices Nonfiction Book Award

Deadline: March 31

Jaded Ibis Press is an independent, nonprofit, feminist press committed to publishing socially engaged literature with an emphasis on the historically marginalized voices. For this contest, they are specifically looking for memoirs, essays, and reporting from marginalized folks. All qualifying entries will be first read by screeners, and finalists will be sent to Myriam Gurba, their judge and esteemed bestselling author of Mean and Creep. They are looking for writing with no holds barred: visceral, subtle, loud, honest, confounding prose that tackles a personal or universal truth and that makes us see the world around us more clearly or from a different perspective. The grand prize is $1,500 plus a competitive publishing contract, but all submissions will be considered for publication. Manuscripts should be a minimum of 45,000 words and a maximum of 75,000 words. Fee: $20

https://jadedibispress.submittable.com/submit/285319/2024-uplift-voices-nonfiction-book-award 

How2Conquer – Nonfiction Books

Deadline: March 31

How2Conquer specializes in unique how to books that are designed to help readers master new skills quickly. Their books generally share three things in common: use of story, an emphasis on graphics, and an encouraging tone. They prefer completed manuscripts with a target range of 40,000 – 70,000 words, and they’re currently working to build the lists in the following categories: Business – General (including Business Development, Business Leadership, Business Management); Business – Industries (including Security, Business Resiliency, Franchise, Restaurant & Food Industry); Hobbies & Home (including Crafts, Cooking, Pets & Animal Care); Parenting & Relationships; and Self-Help & Personal Growth. Pay: royalties. No fee.

https://www.how2conquer.com/submit-your-manuscript/

2024 Silvers Grants for Work in Progress

Deadline: March 31

Anglophone writers of any nationality may apply for up to $10,000 to support long-form writing in the fields of literary criticism, arts writing, political analysis, and/or social reportage. Grants may not be used to fund translation. Applications must be submitted as a single PDF and include: a curriculum vitae, a one-page description of the project, full responses to the financial questionnaire, and a 500–2,000 word sample of the writer’s work. No fee.

https://silversfoundation.org/grants/ 

Multigenre

My Galvanized Friend – Theme: Firsts

Deadline: March 1

Do you like to be the first to discover something new? Is your first sip of coffee your favorite? Do you remember your first trip to the library? Join My Galvanized Friend for a brand new first ever issue of an LGBTQIA+ literary magazine collecting our community’s “firsts.” The My Galvanized Friend literary magazine is published quarterly (starting April, 2024) and is focused on highlighting works from those identifying as part of the LGBTQIA+ community. Fiction, nonfiction, and essays should be between 500 – 3,500 words. Poetry: 2 pages or less. Pay: $25 for prose, $10 per page of poetry. No fee.

https://www.mygalvanizedfriend.org/literary-submissions

Gully Magazine

Deadline: March 1

Gully is a new literary magazine, published annually in print and online. For poetry, send no more than five poems at a time. For photography, art, and ephemera, no more than eight pieces. For prose, they will consider works of short fiction and short non-fiction for their Gullets section and works of 1,000 words and up for our features section. There is no word limit, but please use your judgment. Fiction must be submitted as a complete draft; for non-fiction, they prefer pitches. Pay: $15 for poems and Gullets (flash fiction and nonfiction of less than 1,000 words), and $30 for features and longer fiction (1,000 words and over). No fee.

https://gully-mag.com/ 

Chismosa Literary

Deadline: March 1

Chismosa Literary is a new literary journal, and their debut issue is themed “CHISMOSA.” To celebrate the beginning of their magazine, they will be awarding $100 to the piece that best captures the spirit of chismosa that lives in all writers. They want work that explores the idea that to be a writer is to gossip; it is to people-watch and eavesdrop and turn the things we observe into protagonists and plot-devices. Give them a story brimming with gossip, or write a poem to tell them about the art of eavesdropping. Tell them what being a chismosa writer means to you. They accept all genres of writing, and they encourage work that is experimental. Poetry: 3 poems max. Prose: 500 words max. Flash Fiction: 700 words max. Creative Nonfiction: 5,000 words max. Short Stories: 5,000 words max. No fee.

https://chismosalit.com/submit/ 

Solstitia Fiction Fans - Theme: Pets in Space

Deadline: March 1

They accept all genres (yes, even literary fiction) and all submission types (fiction, non fiction, poetry, art). Word count 20,000 or less preferred. Theme: Pets in Space. Accepted submissions will have a token award of $50 per piece. No fee.

https://www.fictionfanspodcast.com/solstitia

THEMA Literary Society Contest - Theme: Bookmarks

Deadline: March 1

The theme for the contest is: bookmarks. The premise (target theme) must be an integral part of the story, not necessarily the central theme but not merely incidental. Stories longer than 20 double-spaced typewritten pages will not be considered. On acceptance for publication, they will pay the following amount: short story, $25; short-short piece (up to 1000 words), $10; poem, $10; artwork, $25 for cover, $10 for interior page display. No fee.

https://themaliterarysociety.com/submissions.html

Maureen Egen Writers Exchange Award - Native American Writers 

Deadline: March 1

Two prizes of $500 each are given annually to a poet and a fiction writer residing in the United States. Each winner also receives a monthlong residency at the Jentel Artist Residency Program in Wyoming and will meet with writers, editors, publishers, and agents virtually or in person in New York City. The 2024 contest is open to U.S. residents who are enrolled members of a Native American tribe in the contiguous United States or Alaska. Poets and fiction writers who have published no more than one full-length book in the genre in which they are applying are eligible. Submit 7 to 10 pages of poetry or up to 25 pages of fiction via e-mail. No fee.

https://www.pw.org/about-us/maureen_egen_writers_exchange_award 

The Miracle Monocle Award for Young Black Writers

Deadline: March 1

Miracle Monocle is pleased to announce the third installment of its award series: The Miracle Monocle Award for Young Black Writers. The winner of the prize will receive a $200 prize and publication in the journal. They welcome work in the following categories: poetry, prose, and experimental and hybrid literature. Writers must be 25 years old or younger and identify as Black. No fee.

https://miraclemonocle.submittable.com/submit/288057/the-miracle-monocle-award-for-young-black-writers 

Deep Wild Graduate Student Prose Contest

Deadline: March 1

The editors of Deep Wild: Writing from the Backcountry invite students currently enrolled in graduate studies to submit work for our 2024 Graduate Student Prose Contest. They seek work, either fiction or nonfiction, that conjures the experiences, observations, and insights of backcountry journeys. By “backcountry,” they mean away from paved roads on journeys undertaken by foot, skis, snowshoes, kayak, canoe, horse, or any other non-motorized means of conveyance. Send them your best single essay or short story of up to 3,000 words that is backcountry-infused and inspired. Up to three pieces will be chosen for publication in the June 2024 volume of Deep Wild Journal, and the authors will receive cash awards and five copies of the journal. 1st Place prize: $200; 2nd Place: $100; 3rd Place: $50. Judges may also select a number of other pieces for Honorable Mention, and if so, the writers will receive a copy of the journal and possible publication online or in the journal. No fee.

https://deepwildjournal.com/deep-wild-2024-graduate-student-prose-contest-guidelines/ 

Iron Horse Literary Prose Chapbook Competition

Deadline: March 1 (Free submission day)

For the 2024 Chapbook Competition, manuscripts should be 40 - 56 pages with each story/essay/chapter starting on a new page. The winning manuscript will be published in the Fall of 2024 as a separate issue (Volume 26.3). Full-color cover art will reflect the collection’s content and emphasize its title, not the name of Iron Horse. The published chapbook will look like the single-author book that it is. The winner also receives a $1,000 honorarium and 15 copies. No fee on March 1. (After March 1: $18)

https://www.ironhorsereview.com/chapbook

Wisconsin Institute for Creative Writing Fellowships

Deadline: March 1

Up to five writers receive an academic year in residence, which includes a stipend of at least $40,000, at the University of Wisconsin in Madison. Each writer also receives a semester-long teaching assignment in undergraduate creative writing at the University of Wisconsin and an invitation to give a public reading. To be eligible, applicants must have completed or be scheduled to complete an MFA or PhD in Creative Writing by August 15 of the fellowship year. Eligible applicants may have published no more than one full-length collection or book of poetry, fiction, or creative nonfiction. Submit 10 pages of poetry or one story or novel excerpt of up to 30 pages, a curriculum vitae, and contact information for two references. Fee: $50

https://creativewriting.wisc.edu/fellowsapply/

Expo's Flash 405 Contest - Theme: The Host

Deadline: March 5

Flash 405 is Exposition Review’s multi-genre flash competition, awarding prizes and online publication to the winners. Guest judge is Sam Burt and the theme is "The Host." What does it mean to be a host? Who makes the rules, and what are the consequences if they're broken? What happens when the expectations of a host and their guest are misaligned? How does the act of hosting alter the host, and the hosted? Does hosting imply displacement—is it about exclusion as well as inclusion—and if so, what gets lost along the way? Fiction: A complete story, up to 405 words (Get it?). Nonfiction: A complete story, up to 405 words. Poetry: one poem, up to 5 lines (including prose poems). Stage & Screen: A complete scene, up to 4 pages. Experimental: A complete short form narrative utilizing innovative techniques and/or hybrid forms. 1st prize: Online publication + 40% of all entry fees. 2nd prize: Online publication + 20% of all entry fees. Honorable Mention: Online publication. Fee: $5

https://expositionreview.com/flash-405/

Book XI – Theme: Love

Deadline: March 8

Issue XIV for Book XI will concern the theme of love. They will consider only previously unpublished and philosophically informed creative work. Please submit only one prose manuscript or up to five poems for each issue. Please submit poems in one document. They are generally looking for pieces that are between 2,000 and 7,000 words. Pay: $200 per prose piece, and $50 per poem. No fee.

https://bookxiajournalofliteraryphilosophy.submittable.com/submit/287548/love 

Book Pipeline Unpublished Contest - Book Length

Deadline: March 10

The 2024 Book Pipeline Unpublished contest seeks unpublished manuscripts across 10 categories of fiction and nonfiction: Literary, Mystery, Horror, Thriller, Romance, Sci-Fi & Fantasy, General Fiction, Young Adult, Middle Grade, Picture Books, Nonfiction & Memoir, Comics & Graphic Novels. $25,000 to winners ($2,500 for each category winner). Select publishers and agents get first look at the top selection for each category, including CAA, HarperCollins, and Verve Publishing. For fiction and memoir: submit the first 5,000 words and a full story synopsis. Nonfiction: submit a full proposal. Picture books: submit your entire manuscript. Comics & Graphic Novels: submit a full script of 20-28 pages along with a general synopsis. Fee: $30

https://pipelinemediagroup.submittable.com/submit/279491/2024-unpublished-contest

Sans. Press: Stranger Anthology

Deadline: March 12 (or until filled)

Stranger is an anthology for stories that look into unexpected places. They want real or magical, lyrical or experimental, as long as it finds that truth wasn't as simple as once thought. They are looking for stories of all genres that respond to their title and/or cover art. Selected writers will receive a flat rate of €175 for accepted submissions. No fee.

https://www.sanspress.com/submissions 

NEA Creative Writing Fellowships

Deadline: March 13

The National Endowment for the Arts (NEA) Literature Fellowships program offers $25,000 grants in prose (fiction and creative nonfiction) and poetry to published creative writers that enable recipients to set aside time for writing, research, travel, and general career advancement. Applications are reviewed through an anonymous process in which the criteria for review are the artistic excellence and artistic merit of the submitted writing sample. No fee.

https://www.arts.gov/grants/creative-writing-fellowships/program-description 

Replenish Residencies - BIPOC

Deadline: March 13

Replenish Residencies provides 1-2 week restorative visioning retreats to local BIPOC artists and cultural bearers in the greater New Orleans area. They offer these residencies to provide time to rest and restore, vision, and create. Recipients will be provided with a $1600 stipend, a one to two week residency, staff support and an opportunity to have a documentation session with a photographer. No fee.

https://www.astudiointhewoods.org/apply-for-replenish-residencies-2024-25/ 

Sequestrum – Themes: Slipstream & Magical Realism, Optimism

Deadline: March 15

Sequestrum is seeking submissions for their upcoming themes. Slipstream. Fantasy. Magical Realism. Science fiction. They're after literary-quality writing with a healthy serving of imagination. They are also seeking submissions on their theme of Optimism. “We know how un-literary ‘optimism’ sounds. To be clear, we aren’t looking for any sickly-sweet submissions. But we’ll read heartbreak if we get a little redemption. We’ll stomach tragedy and brutality if there’s a little ambition and hope. Humor is fine too. Hell, we’ll even take some revenge. Revenge is optimistic, right?” Fiction and Nonfiction: Submissions should generally not exceed 12,000 words. Poetry: Submissions should be no more than thirty-five (35) lines; up to four (4) poems per submission. Pay: $20 per piece and a six-month subscription. Fee: $6.35

https://www.sequestrum.org/submissions 

Monstrous Magazine – Issue #2

Deadline: March 15

They are seeking horror stories dealing with time travel for their second issue. No Morlock stories. Fiction length: 1,000 – 1,500 words. Pay: $0.06 per word for fiction. They are also seeking pitches for articles about time travel. It could be about the history of time travel in fiction or you can get more creative with it. Don’t send finished articles. The pitches need to be only a short paragraph long. Pay: $0.03 per word for articles. They are also looking for comics that deal with time travel in some way and lean toward horror. No fee.

https://monstrousbooks.com/submissions 

The Nancy D. Hargrove Editors' Prize

Deadline: March 15

They are accepting submissions for their Nancy D. Hargrove Editors' Prize for both fiction and poetry. Both winners receive $500 and publication in Jabberwock Review. For poetry: Each entry should consist of 1-3 poems. The winning entry may be for a single poem or group of poems. For fiction: Each entry should consist one short story of any length. All finalists are considered for publication. All entrants receive a one-year (two-issue) subscription beginning with the prize-winning issue. Fee: $15

https://jabberwockreview.submittable.com/submit

The 2024 Prairie Schooner Raz-Shumaker Book Prize Contest 

Deadline: March 15

The Prairie Schooner Raz-Shumaker Book Prize Series welcomes manuscripts from all living writers, including non-US citizens, writing in English. Both unpublished and published writers are welcome to submit manuscripts. The fiction prize is for a short story collection, and manuscripts should be at least 150 pages long. The poetry prize is for a collection of poems, and manuscripts should be at least 50 pages long. Winners will receive $3000 and publication through the University of Nebraska Press. Fee: $25

https://prairieschoonerbookprizeseries.submittable.com/submit

phoebe Literary Magazine Contests

Deadline: March 15

Every spring, phoebe hosts contests in Poetry, Fiction, and Nonfiction, each with a $500 prize. Up to five (5) poems per submission. For fiction or nonfiction: one piece per submission, up to 5,000 words OR up to three pieces of flash prose of less than 1,000 words each. Fee: $7

https://phoebe.submittable.com/submit

Bellingham Review Prizes

Deadline: March 15

Bellingham Review is accepting submissions for their annual contests. $1,000 first-place prizes will be awarded in poetry (49th Parallel Award), fiction (Tobias Wolff Award), and creative nonfiction (Annie Dillard Award). Fiction: Submit 3 pieces of flash fiction of up to 1,500 words each OR a story of up to 4,000 words. Poetry: Submit 1-3 poems. Nonfiction: Please submit 3 pieces of flash nonfiction of up to 1,500 words each OR an essay of up to 4,000 words. Fee: $15

https://bhreview.submittable.com/submit

2024 Able Muse Write Prize

Deadline: March 15

Submit your fiction or poetry to Able Muse. $500 prize for the best poem, and $500 prize for the best short story (flash fiction), plus publication in Able Muse (the print journal). Finalists in each category will also be considered for publication. For poetry entries, each entry may contain 1 to 5 poems maximum, but all the poems combined should not exceed 16 pages per entry. For fiction entries, each entry may contain 1 to two stories maximum (each story should be flash fiction/short-short-short under 1,500 words each, typed double-spaced). Fee: $15

https://www.ablemusepress.com/ablemuse-write-prize

Indiana Review Prizes

Deadline: March 15

Indiana Review currently runs four prizes annually. All entries are considered for publication, and the winner receives publication and a $1,000 honorarium. For their Poetry Prize, send no more than three poems in a single document. Send one creative nonfiction piece, up to 5000 words. Each paid submission also gets you a year-long subscription to Indiana Review. Fee: $20

https://indianareview.submittable.com/submit

Westerly – Issue 69.1

Deadline: March 17

Westerly is an Australian magazine that publishes short stories, micro-fiction, poetry, memoir and creative non-fiction, artwork, essays and literary criticism. It publishes creative writing and scholarship from throughout the world, but maintains a special emphasis on Australia, particularly Western Australia, and the Asian region. Poetry: maximum of five poems, with maximum 50 lines each. Fiction and Creative Non-Fiction: maximum 3500 words. Scholarly Articles: maximum 5000 words. Reviews: approximately 800 words, to be published online or in print. Pay: $250 per poem or $300 for a poetic sequence; $300 for prose; $300 for visual art/photo essays; $180 for online publication. No fee.

https://westerlymag.com.au/contribute/ 

Tangled Locks Spring 2024 Issue

Deadline: March 20

Tangled Locks Journal is an online literary journal committed to sharing complex, well-rounded stories, poetry, and essays that illuminate the experience and lives of women. Fiction and Nonfiction: 1500 word maximum. Poetry: Please submit one poem in a single document. Pay: $15 per piece. Fee: $4

https://tangledlocksjournal.com/about/submit/

Tennessee Williams Writing Contests

Deadline: March 26

The Key West Art & Historical Society invites poets and writers to submit original works to the Tennessee Williams Poetry and Short Story Writing Contests. There is no specific theme for the 2024 writing contests, however, submissions must in some way reference Tennessee Williams. Poets and authors may choose to reference Williams, his family, one of his characters, or one of the actors/actresses who played a role in his plays or films. Poetry submissions are limited to 30 lines. Short Story submissions must be between 1,500 to 4,000 words. The first-place winner in each contest will be awarded $300 while the second-place winners will receive $150. Fee: $10

https://www.kwahs.org/museums/tennessee-williams/tw-writing-submissions

Arboreal Literary Magazine - Theme: Eternity

Deadline: March 30

Their next issue has the theme of eternity. They seek works that explore the boundless landscapes of time, the immortal pulse of nature, the timeless essence of being, or however you understand and interpret the concept of infinitude. They accept unpublished works of poetry, short fiction, creative nonfiction, and visual art. Please limit poetry submissions to 4 poems. Please limit fiction or nonfiction submissions to no more than 3,000 words. No fee.

https://arborealmag.com/submissions/

The Gertrude Conference Gertie Award

Deadline: March 30

The Gertrude Conference - a cross-pollinating wonderland for literary and screenwriters - is open for submissions for the Gertie Award, which will be presented at the writing conference September 27-28, 2024 in Los Angeles. Poetry: Max of 3 poems in one pdf file. Fiction: Max of 5,000 words, double-spaced. Nonfiction: Max of 5,000 words, double-spaced. All Finalists will be able to attend an exclusive Roundtable at the 2024 Conference in LA, to meet with agents, managers, and other writers. Winners of The Gertie Award will be announced at the Closing Night Gala on September 28, 2024, hosted on their site in a mini-winner-journal, and receive an all access pass to the 2025 TGC Conference. Fee: $9

https://gertrudepress.submittable.com/submit

Arts & Letters Prizes

Deadline: March 31

Poetry, Creative Nonfiction, and Fiction Winners will appear in next year’s Fall issue of Arts & Letters and receive a $1,000 prize. They accept one winning fiction or nonfiction piece up to 25 pages (other submissions will be considered for publication at their normal rates). Submit up to four poems (maximum of ten pages total), Fee: $20

https://artsandletters.submittable.com/submit

The Hudson Prize - Poetry or Prose Collection

Deadline: March 31

Each year Black Lawrence Press will award The Hudson Prize for an unpublished collection of poems or prose. The prize is open to new, emerging, and established writers. The winner of this contest will receive book publication, a $1,000 cash award, and ten copies of the book. Prizes awarded on publication. Manuscripts should be 45-95 pages in length (poetry) or 120-280 pages in length (prose). Fee: $28

https://www.blacklawrence.com/submissions-and-contests/the-hudson-prize/

Tahoma Literary Review

Deadline: March 31

Submit your fiction, nonfiction, and poetry to Tahoma Literary Review. Word limit for fiction and nonfiction is 1,500 to 6,000 words. You can also submit one or two pieces of flash fiction or nonfiction prose with a total word count of 1,500. Send up to six poems. Payments: $55 for flash prose and short poems; $135 for longer prose and poems. Fee: $4 (poetry and flash); $5 (fiction and nonfiction)

https://tahomaliteraryreview.submittable.com/submit

Riddle Fence

Deadline: March 31

Riddle Fence is a Newfoundland and Labrador-based journal of arts and culture, published four times yearly. They endeavor to publish high-quality fiction, non-fiction, poetry, visual art, and creative non-fiction from our home province, across Canada, and around the world. For fiction and nonfiction, their suggested maximum word count is 3,000 words. For poetry, submit no more than 10 pages per submission (3 to 5 poems is best). They pay $50 per published page for written works. No fee.

https://riddlefence.com/submit/

Prime Number Magazine Awards

Deadline: March 31

Two prizes of $1,000 each and publication in Prime Number Magazine are given annually for a poem and a short story. Maya J. Sorini will judge in poetry and Dennis McFadden will judge in fiction. Poetry: Submit one (and only one) unpublished poem, no more than three pages in length in standard 12-pt. type. Short Fiction: Submit one (and only one) unpublished short story of up to 5,300 words, with title and word count, double spaced with numbered pages in standard 12-pt. type. Fee: $15

https://www.press53.com/prime-number-magazine-awards 

Scholarships for Aspiring and Achieving Authors – Colorado

Deadline: March 31

The Colorado Authors’ Hall of Fame Scholarship is open to applicants who are at least 16 years of age and are legal residents of the state of Colorado. Applicants must be unpublished authors. Scholarships are awarded to underwrite the education, classes, and conferences to support authors’ and aspiring authors to achieve their publishing goals. The total value of each scholarship is $20,000. Part of the application process will include writing an essay of up to 1,000 words on the topic: “Why I Want to Write and Become an Author” along with how they intend on using the money. The winners will be invited to attend the Colorado Authors’ Hall Aspiring Authors Scholarship luncheon at the Doubletree Hilton, Denver Tech Center on September 16, 2024 to accept their scholarship. No fee.

https://www.coloradoauthorshalloffame.org/aspiring-authors-scholarship-form 

Paul Engle Prize

Deadline: March 31

A prize of $25,000 is given annually to a writer “who, like Paul Engle, represents a pioneering spirit in the world of literature through writing, editing, publishing, or teaching, and whose active participation in the larger issues of the day has contributed to the betterment of the world through the literary arts.” Poets, fiction writers, and nonfiction writers are eligible. Submit a nomination, including a list of the writer’s works and a statement about how the writer embodies the spirit of the prize to info@iowacityofliterature.org. Include the author’s name, a list of work highlights, and a statement about why the author meets the unique criteria for this award. Self-nominations are not accepted. No fee.

https://www.iowacityofliterature.org/paul-engle-day/ 

Bethlehem Writers Roundtable - Theme: Dog Days of Summer: Lazy stories . . . or dog stories!

Deadline: March 31

They accept work in most genres of fiction, as well as memoir and poetry. They are a secular literary journal and seek non-sectarian work. Please submit only one story or one poem for consideration at a time. Your manuscript length must be 2,000 words or fewer. Pay: $50 per story, $20 for stories published on their &More page, $10 for poems. No fee.

https://bwgwritersroundtable.com/submissions-contacts/ 

Chestnut Review

Deadline: March 31

Chestnut Review appears four times per year online and once per year in print in their annual anthology. They are drawn to beautiful language, resonant images, and they crave narrative. Poetry: Submit up to six poems (three for free submissions). Flash: Submit one piece of no more than 1000 words. Prose: Submit one piece of between 1000 and 5000 words. Visual art/photography: Submit images of up to 20 works. Images must be of publishable quality. Mixed-genre/mixed-media: They love mixed-genre and mixed-media pieces! Pay: $120 per piece. No fee.

https://chestnutreview.com/submissions/  

midnight & indigo - Black Women Writers

Deadline: March 31

midnight & indigo is a literary platform dedicated to short fiction and narrative essays by Black women writers. They are currently seeking short stories and personal essay submissions. Fiction must meet their minimum 1,500 word count requirement. Max word count: 7,000. Pay: $0.07 per word for fiction. Personal Essays must meet their 1,200 word count requirement. Pay: $150 per essay. No fee.

https://midnightindigo.submittable.com/submit

The Ilanot Review - Theme: Fixations: Obsessions and Repairs

Deadline: March 31

The Ilanot Review is currently seeking submissions for its Summer 2024 edition with the theme of "Fixations: Obsessions and Repairs." Poetry: submit up to 5 poems, not to exceed 7 pages. Flash/Micro Prose: 1-3 works of fiction or creative nonfiction, up to 1,500 words total. Longer-Form Creative Nonfiction: One essay between 1,500 and 4,000 words long. Comics, Photo Essays, Visual Narratives: Please submit a single document or up to 6 image files. They also accept art and photography and translations. Fee: $3

http://www.ilanotreview.com/submissions-page/

Moving Across the Landscape in Search of an Idea

Deadline: March 31

Air and Nothingness Press is seeking 1500 words divided as follows: long titles (minimum 250 words [though we know this might be difficult so, as long as it is an obnoxiously long title, we'll be ok]), concise narratives (minimum 250 words, maximum 800 words) and copious footnotes, endnotes, marginalia, indices and glossaries (minimum 250 words, maximum 800 words). Authors are welcome to shift word counts between these three parts of their submission, but they must stay within a range of 1500 words for the total submission (ex. a 500 word title, a 600 word narrative, and 400 words of footnotes.). Stories are welcome to be submitted in any genre. Pay: $0.08 per word. No fee.

http://aanpress.com/submissions.html 

WOW! Women on Writing Quarterly Flash Fiction and Creative Nonfiction Contests

Deadlines: February 28 (fiction) and April 30 (nonfiction). Our favorite writing community offers quarterly contests judged blindly with multiple cash prizes and more for 20 winners, up to $1,350 (fiction) and $1,175 plus a gift certificate to CreateWriteNow (nonfiction), an affordable critique option, and a 300-entry limit on each contest. Previously published work is accepted! What’s not to love? This season's guest judge is Literary Agent Hannah Andrade with Bradford Literary Agency. Fee: $10 (Flash Fiction) and $12 (Nonfiction).

https://www.wow-womenonwriting.com/contest.php

Just for Fun

March 8 is International Women’s Day! Celebrate the holiday by submitting to the Wild Women Story Contest with the same deadline (March 8). Historian Stephanie Camp wrote, "Women's history does not merely add to what we know; it changes what we know and how we know it." Women's very stories change how we know things. History and the present moment are not just a series of wars and domination. The creative force, frankly, does not get enough appreciation, and the creative force and the Wild are innate in the Feminine spirit. Tulip Tree Press is looking for empowering stories whose main characters embody the Wild Woman spirit. Stories can be fiction, nonfiction, or poetry—if it tells a story, it fits! Grand prize is $1,000. Contributors for each issue will be paid $50. Prose: 10,000 word limit. Poetry: 5 pages per poem. Entry fee is $20.

Did you know that March 20th is International Day of Happiness? Put on your dancing shoes and consider submitting your work to Meow Meow Pow Pow Lit's theme Happy Phantom by March 28th! What pleasant ghosts have stopped to visit you recently? What red-haired anthems do you play on repeat while smiling specters tap at the window? They’re open for Happy Phantom submissions, inspired by the artist and album that got us through some hard times; and the delight that comes with considering some songs visitors from the past. Length of the work: their sweet spot is between 150 and 300 words. Anything over or under, they'll be less psyched on. Poems? Let’s try to keep it under 25 lines. Check out Meow Meow Pow Pow Lit to get an idea of what they publish. No fee.

How Dreams & Visions Can Guide Your Writing: An Interview With Anna Quinn, Author of Angeline

By Nicole Pyles

Every writer has a special way of developing their characters, revealing the setting, and understanding what is to come from a story. Whatever method you personally use, you will be fascinated by Anna Quinn’s way of channeling her dreams, visions, and other meditative techniques to create Angeline, a novel whose title character is unwillingly sent to a radical convent where she confronts her tragic past. It asks the deep question, follow your heart or follow the rules?

Anna is the author of The Night Child, (Blackstone, 2018) which was nominated for a Washington State Book Award, and listed as #1 Best Real Psychological Fiction on Goodreads. Angeline, (Blackstone, 2023) was also nominated for a Washington State Book Award. The author’s writing has also appeared in Psychology Today, New York Times Book Review, Medium, Writer’s Digest, and the Alone Together Anthology: Love, Grief, and Comfort in the Time of COVID-19. Anna is also the founder of The Writers’ Workshoppe in Port Townsend, WA. When she isn’t writing, she’s reading, teaching, biking, or hiking somewhere on this beautiful planet. 

WOW: First, congratulations on your book, Angeline. You've created such an incredible and unique novel that is so well-written. When did the idea for the novel come to you? How did you flesh it out?

Anna: Thank you for your kind words. I loved writing this novel. Initially, there was a line I hesitated to cross, but eventually, I did, and it all became very exciting.

For me, stories often take root in my dreams. The wild thing about writing Angeline, was that the entire narrative played out in my night dreams—the characters, the sequence of events, the conflicts, all of it. 

Angeline emerged first, draped in a full black-and-white habit—fading in and out like a fractured hologram. Several nights later, she returned. This time she became more vivid, and it seemed she could see straight through me. One eye bore the deep hue of green, while the other sparked gold. The emotional tone wasn’t frightening really—but it was haunting. 

Night after night, she returned, enveloped in an evolving montage of images and whispers of dialogue. Ordinarily, I’d transcribe or illustrate my dream imagery, but this time something held me back. Having long severed my ties with the Catholic Church, the apparition of a nun, made me cautious, suspicious. I worried this might be some sort of latent, repressed emotion or something.

Yet, her tenacity prevailed.

So, I decided to pay attention. I suspended my biases. Rather than attempting to interpret the dreams or delve into their genesis, I determined to find Angeline’s essence—her identity, her purpose. I began writing and sketching immediately upon waking up. 

WOW: That is amazing. I love how you pay attention to dreams as an avenue to storytelling. What a unique process! Did you do any research to prepare for writing this novel? 

Anna: Although this is a fictional story, I wanted to portray nuns with sensitivity and awareness. I listened closely to Angeline, read everything I could about nuns, and drew upon my upbringing and professional life which was intensely rooted in Catholicism. My mother was from Ireland and brought a deeply religious upbringing into our home. I attended Catholic schools where every teacher was a nun—and perhaps surprisingly, my experiences were mostly positive in a formative kind of way. As a teen, I believed nuns represented female boldness and rebellion and seemed unapologetic about all of it, which captivated my young mind. Their choices to eschew conventional norms—rejecting traditional marriage, abstaining from motherhood, and embracing communal living—defined their identity beyond physicality and societal approval, focusing instead on transformation and their relationship with God. Subsequently, I taught at a Catholic school, the sole non-nun among the faculty, and later served as a principal within the Catholic educational system, so I was privy to, and part of, many, many personal conversations, and experiences with nuns. 

WOW: I had no idea. You have such a personal connection to the life and world of a nun. I think it’s amazing you used your background as a source of information but then further enhanced it with research. You created such an in-depth character with Angeline. What techniques did you use to develop this character? 

Anna: My approach to understanding Angeline involved countless hours alone, envisioning her presence, and meticulously transcribing our imagined exchanges. Over time, our relationship transitioned from solely witnessing to deeper interactions, allowing me to move extensively into her psyche and perceive the world through her eyes. 

One of the most significant challenges I encountered lay in understanding the emotional depth behind her experiences. While we shared a few similarities, she possessed traits and underwent life circumstances that starkly contrasted with my own. Her temperament, fears, and reactions to situations often diverged greatly from what I had experienced. These differences asked me to continually step outside my own frame of reference (and comfort zone) in order to immerse myself in her perspective. Yet, it was these contrasts that completely intrigued me.

WOW: I think it’s an interesting technique that you imagined conversations with her to connect with and build her character. I think that’s an important technique for writers to take with them in their character development exercises. I love the poetic style of writing throughout the novel. How did you know which parts to include this technique in the story?

Anna: In truth, determining where to use poetic elements is kind of a gut thing for me. I never have a blueprint; it’s more of an organic, subconscious happening that unfolds as I write. I rely more on instinct—a feeling that guides me toward using these elements where they will resonate emotionally. 

I think too, because my thoughts tend to manifest in fragments, my narratives unfold through fractured pieces and often mirror forms found in poetry. Instead of linear storytelling, the narrative sometimes evolves through sensory impressions and can echo a poetic cadence. 

When I’m first writing a scene, I do a lot of mind-mapping around the images sketched in my notebook. During this part of the process, I spend a considerable amount of time with closed eyes, a practice that allows me to immerse myself in these conceptual snapshots and feel around for the pulse and heartbeats.  

Once I sense the reverberations emanating from an image—a flicker of emotion, a hint of narrative potential—I deliberately broaden my focus beyond the visual depiction because it’s rarely just about the image; there’s the mood, tone, sound, light, and shadows of the surrounding space—the emotional landscape, Later, I free associate around all of it, and this is where poetic techniques—rhythm, alliteration, metaphor or white space arrive, amplifying the impact. I read aloud a great deal at this point, listening hard to the sounds, rhythmically and melodically—I want to be sure I’ve kept the distinctive quality of Angeline’s voice.



“I rarely set out with themes in mind, or an arc or plot or ending. I follow the characters, listen to them, and record what I hear and see in my dreams and imagination.”

WOW: I love how you blend in your artistry with developing poetry. You also have an interesting technique that almost seems like a creative meditation to tap into the world and landscape you create for your writing. The setting was so vivid within your novel. How did you capture those incredible details so well to transport the reader into that specific locale?

Anna: The story of Angeline is deeply rooted in place—her choices and experiences were all activated by, provoked by, and absorbed by place. Place reflected her past and present identity, and she reflected it back.

I’ve spent a great deal of time in all the settings in Angeline—Chicago, church, the San Juan Islands in Washington State. Each place impacted me, changed me. I guess it’s the feeling of being radically changed that makes me curious about how setting can do that, you know, change a person? How it works on emotion from the outside, in. So much of our emotion is experienced through our senses, and much of what we sense is in the physical world surrounding us. As I envisioned Angeline living in each of these places, it became evident that each place held the potential to function as a cloak, a shield, and a refuge. Simultaneously, I could envisage how these surroundings possessed the capacity to inflict harm, cause distress, even rob her of elements of her identity.

For example, for seven years Angeline lived in a cloister—seven years in silence, seven years in a setting with a deep patriarchal history, and minute to minute reminders of the vows of obedience, poverty, chastity, a place with very clear expectations. Those kind of extremes can wield a strong influence on a person. Initially, she found herself drawn to, perhaps even feeling a necessity for, the extremity of this environment. In a way, the intensity mirrored her own acute feelings of guilt, providing a sort of echo chamber for her inner turmoil and offering a type of solace that aided her healing.

WOW: It’s interesting that you used “place” as a connection to her identity in addition to being a backdrop for the plotline. That brings me to my next question: this book features a convent that is more radical than traditional. Why did you decide to write about this type of convent? 

Anna: The depiction of a non-traditional convent wasn’t solely a conscious decision on my part; it was the characters themselves, especially Angeline, who guided this choice. Also, I’ve often found myself daydreaming of a life within a secular convent.

WOW: It’s amazing how you listen to your character! There were so many unique themes that resonated in the novel, such as spirituality, feminism, trauma, and loss. Tell me about how each played a part while you planned and wrote this novel. 

Anna: Oh, that is a huge question! Here’s my short version; I rarely set out with themes in mind, or an arc or plot or ending. I follow the characters, listen to them, and record what I hear and see in my dreams and imagination. Later, I think about; Why are they saying this? What do they mean? Why are they doing this? What do they hope will happen or won’t happen? I write and write and observe and listen and see what happens, and meanings naturally emerge. The characters drive the story and drive the themes. 

Ultimately, this book is about personal power vs. collective power, equality vs. inequality, religious spirituality vs energy-based spirituality. Mostly though, it’s about belonging—how belonging can hurt or heal you. 



“Once I became clear on the themes, if an event or character or word didn’t hold or expand on those meanings, I deleted it. I deleted maybe 40,000 words from Angeline.”

WOW: Those questions are so important for writers to think about as they interact with their characters and develop their stories. How did this novel change from first draft to final draft?

Anna: My first draft was a very messy, very disorganized stream of consciousness—a fast recording of the story as I watched it in my dreams, and as Angeline told it to me. She was intensely secretive, and her sentences tended to drift off in muffled sounds, so it wasn’t an easy thing to transcribe her words while also observing her gestures and mannerisms. The hardest part though was keeping my own biases in check, and often, emotion would overpower me, or her, and we’d have to take long breaks. 

In later drafts, I intentionally “re-visioned” and layered in sensory detail, punctuation, repetition, alliteration, and line breaks to establish atmosphere and deepen emotion. I also deleted words and ideas that didn’t carry essential weight. Those drafts were all about deciphering the emotional weight and motivations that drove Angeline’s choices as well as including her pervasive fears and ardent desires to shed a previous version of herself. Once I became clear on the themes, if an event or character or word didn’t hold or expand on those meanings, I deleted it. I deleted maybe 40,000 words from Angeline. 

Also, because it was in third-person close POV, (which gave me freedom in terms of voice and psychic distance) it was easy to head hop. So, I had to go back through several times to be sure I’d only revealed thoughts and information as it occurred to Angeline or was heard through another character’s dialogue.  

Finally, once my publisher’s developmental editors reviewed it, the draft changed again. Nothing major, and I never felt I was compromising story or style, but enough that the story improved in clarity and intention. Remarkable really, the difference that third eye can make. 

WOW: What a process! You almost seemed to be like a journalist recording the account of a witness describing an event that happened. What a fascinating technique! What advice do you have for authors about marketing and promoting their book?

Anna: Trust your story. Trust that that the readers who need to find it, will find it. Trust in word of mouth. You will hear a lot of shoulds about how to promote. You might also hear “If you don’t do this, you’ll be left behind” or “Your success hinges on this.” Nonsense. Doing it all is a slippery slope to misery. Thousands of books find thousands of readers without their authors sacrificing their mental or physical health. Yes, marketing matters, but there’s no one way. And it requires such a different skill set than writing! How you choose to market, or if you choose to, or what you can afford or not, (make a budget and stick to it!) is an individual matter. Trust your intuition. If you feel your emotions and body suffering, revise your definition of success. Remember why writing is important to you, why you write, what it has meant in your life, and the lives of whomever reads your work. Know what your deeper yes is and stay as close to that as you can.

And be a good literary citizen. Support libraries and bookstores. Write reviews for fellow authors’ books, attend their readings, and consider collaborations on panels and group giveaways. Oh, and have a beautiful website and add a link to it in your email signature. Be real. Celebrate the successes, big and small. Enjoy the journey. 

“Trust your intuition. If you feel your emotions and body suffering, revise your definition of success. Remember why writing is important to you, why you write, what it has meant in your life, and the lives of whomever reads your work.”

WOW: What great tips! I especially love the tip to support libraries. What do you hope readers take away from reading your book?

Anna: Mostly, I hope it will open conversations. I’d like to feel I contributed something, even if it’s just a small bit, to the discussions of belonging, feminism, oppression, hope and healing.

WOW: I truly believe you have. What are you working on next? 

Anna: It’s confidential for now, but it’s historical fiction, which is new to me, and I’m loving every moment of it.

WOW: I can’t wait to read it. Thank you so much for your time today. You have such an unusual way of writing and engaging with your characters. I hope other writers are inspired by your unique techniques like I have been. 

Readers, you can connect with Anna on Instagram, Facebook, Goodreads, or by visiting her website at annamquinn.com. It’s been a pleasure to learn about Anna’s uniquely intuitive craft of writing process. We hope you enjoy Angeline as much as we did!

The Muffin: Recent Blog Posts

3 Ways to Soften Rejection

By Sue Bradford Edwards

Last time I blogged here on the Muffin, I wrote about querying. In 2023, I made a push to get more of my work out into the world. I want to renew this goal for 2024, but the problem with querying more is that you get more rejections. 

Some rejections I shrug off. I may pop into my database and see how many more agents have my proposal or jot myself a note to send out another batch of queries. But this isn’t always the case. Some rejections flatten me. 

This week I was talking to one of the students. The fear of potential rejection stops her from polishing a piece to the point that she can send it out. We discussed some of the ways she can deal with rejection because rejections are part of life. 

At various points in my writing life, I’ve dealt with rejection in different ways. Here are three of them.

READ MORE

How I Became a Reformed "Pantser"

By Renee Roberson

A few years ago, I wrote a post called “Confessions of a Free Spirit Writer.” I discussed the differences between being a free spirit writer (also known as a “pantser) and the type of writer who prefers outlines and projects that are planned out before attempting them. 

I’m here today to announce that I’ve almost grown out of my free spirit writing attitude (maybe). I’m on the verge of finishing up a massive edit of a book I wrote during NaNoWriMo in 2021, and I wouldn’t have been successful without the use of sticky notes on my office wall explaining the major plot points. I also have accompanying documents for this book that list the different characters, brief backstories, and physical attributes that are mentioned. The outline for this book is around 5,600 words, which is longer than some short stories I’ve written! 

READ MORE

Ask the Book Doctor: About Tight Writing and Voice

By Bobby Christmas

Q: There is someone in my current critique circle who keeps saying, “Write tight.” Is he just being incredibly critical, or is he just trying to say something I should know?

A: “Write tight” is one of the basic tenets of creative writing. In truth it should be “Edit tight.” We need to write first, in any way that comes to mind. After we complete the first draft, though, we need to go back through the manuscript and examine every word to see if it is vital to the sentence, paragraph, or plot. We can then delete almost every superfluous, redundant, or unnecessary word, sentence, paragraph, or chapter. As an example, I could edit your initial question to read like this: Someone in my critique circle keeps saying, “Write tight.” Is he being critical, or is he saying something I should know? Recasting reduced thirty words to twenty-one without any loss in meaning.

READ MORE

Grandmothers and the Marvelous Magical Real

By Christy O'Callaghan

“The narrator doesn’t get upset when out-of-this-world things happen, nor does he dismiss them or try to explain them. That would be considered disrespectful to the Grandmothers.” —Gabriel Garcìa Màrquez 

To best understand and respect a form like the Magical Marvelous Real, one must first understand and respect Grandmothers. So often, this style is misunderstood or forced into boxes that don’t fit. Familial relationships can suffer from the same problem of being placed into a single box labeled family, but each connection has its own vibe. The role of mothers and daughters is too much reality. That’s a whole other style of writing. The relationship of child to child is too much magic. That’s where Fantasy and Surrealism truly shine. The beautiful balance of grandmother and granddaughter is the deliciously perfect combination of marvelousness and realism. Grandmothers are the keepers of dreams and the teachers of life. They are the core and the heart of what makes Magical Realism so unique.

READ MORE

Evergreen Content? What's That?

By Sue Bradford Edwards

Recently I saw a call for evergreen content. In the past, when I’ve seen posts about evergreen content, they were talking about subjects that readers want to read about year after year. For online markets that might include articles about holidays (Christmas and Valentine’s Day) or annual events (the new school year or tax season). 

The wording in this post made it clear that that was not what the publisher wanted. They wanted material that would continue to bring people to their site. 

READ MORE

WOW! Book Promotion Services

Are you an author interested in promoting your book?

WOW! Women on Writing offers virtual marketing options for authors, such as blog tours, podcast/radio tours, opportunities for your book to be reviewed, and fun events that step outside of the box. Whether you are a self-published author, indie author, or traditionally published, we’d love to work with you on promoting your book.

Visit WOW's Book Promotion Services page or email us at blogtour@wow-womenonwriting.com.

Success Stories for the WOW! Community

By Margo L. Dill

Fellow authors really inspire me! I’m currently finishing up The Vanishing Half by Brit Bennett, and Brit is an amazing writer telling a complex, intriguing, and often heartbreaking story. I feel like I’m taking a master class every time I pick up her book, and her inspiration and influence are making their way into my own fiction writing. This book is a #1 New York Times bestseller, and it lives up to the hype, in my opinion.

New York Times bestselling authors are not the only writers we can learn from and draw inspiration! As a matter of fact, Sally Curtis, mentioned in the first success story below, found inspiration in a critique provided by us at WOW! when she entered a flash fiction contest. Have you had the chance to read some of these award-winning flash fiction stories and essays yet? You'll be introduced to excellent and innovative storytelling—a master class from writers in our own community. 

Reading the excitement and enthusiasm from our Facebook community about their current and upcoming projects which are listed below is also motivating and inspiring. Look at Sarah Angleton! She’s publishing her fourth historical fiction novel this spring. That is no small feat!

Inspiration, motivation, excellent writing, and positive vibes are all around us, even in the midst of heartbreaking and devastating news. We hope by sharing a glimpse into what other writers are doing will inspire you as we head into spring in the Northern Hemisphere and fall in the Southern. These seasons are often favorites of poets and creatives, for all that Mother Nature brings us. And please remember, if you have a success story or writing goal you want to share with us, but you haven’t had the opportunity, please email me at margolynndill@gmail.com and margo@wow-womenonwriting.com (please send to both emails, as it keeps these out of spam!). Label the email with WOW! Success Story, and share your good news with us for a future newsletter issue. 

Email

Sally Curtis writes, "I would just like to let you know that I took the advice offered in your critique for my story, ‘Three Lilies,’ and it has just been awarded 3rd place in the Flash 500 quarterly competition. 

"As suggested, I tightened a few of the sentences and changed the passive construct, which helped the story flow more. I also double-checked and amended the technical elements, bringing the piece up-to-date with current style requirements. 

"However overall, I just want to thank you again for critiquing the piece so thoroughly, not only with what could be improved but what worked well, giving me the confidence to continue working on it. Thank you for being honest about what needed work on - very much appreciated."

Facebook

Ellen Notbohm, Author, writes: “My writing goal every year is for my pencil to boldly go where it never has before. So far, so good for 2024. My first short story was published in February, one of my essays is part of an anthology to be published in Australia in February, another essay is included in a lit magazine's Best of 2023 anthology, to be published in the spring. I'm working on a 20th anniversary update of my first book, and have four new translations of my books coming out this year. Oh yes, and just for fun, playing with a ghost story novella as a sequel to my 2018 novel.”

Beach Access 1 writes, “My poem ‘If I Could’ was chosen for publication in the current issue Of Poets And Poetry on Empathy…from the Florida State Poets Association. A humbling experience.”

Sangeetha Narayan writes, “My biggest success story is that of publishing my children's picture book, Meera Makes Aloo Paratha. The book highlights South Asian Cuisine and showcases the beautiful relationship that grandparents share with their grandchildren. My goals for 2024 would be to step out of my comfort zone and promote my book as much as possible. Writing is my passion, and I hope to continue writing more of such stories that aim to bring all of us closer together.”

Tiffany Doerr Guerzon writes, “I got a request for a full and a partial on my manuscript.”

Holly Grover Brandon writes, “I got an HM in your flash contest and I’m a finalist for another contest!”

Conni Ohler Eckstein writes, “Completed the first draft of my book!”

Author Casey Cline writes, “I started writing the manuscript for my second novel this week!”

Sarah Angleton writes, “I'm gearing up for the release of my fourth historical novel in April.”

Bronwyn Kay Galloway writes, “Owning my own business. Divorce With Dignity San Francisco.” 

Rhonda Zimlich writes, “I won a book award, and so my novel, Raising Panic, will be published this fall. I’m still in shock and overwhelmed with gratitude.”