WOW! Women On Writing | Workshops & Classes | Quarterly Contests | The Muffin

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Walking down the dirt path to feed the barn cat this morning, I watched the misty clouds swoosh and twirl above the mountains and felt a sudden sense of victory. We’re days away from the end of 2022, and we made it! This is the time I love, right between the busy holidays and New Year, where the world seems sparkly and filled with promise. During this time, I like to revisit my favorite reads to zoom back into the writing zone.

One essay that gets me every time is Zadie Smith’s “Joy.” She talks about her pleasures, one of them being eating a popsicle at the end of a long day. She writes, “Even the great anxiety of writing can be stilled for the eight minutes it takes to eat a pineapple popsicle.” I would trade a popsicle for hot chocolate this winter morning, but it’s reassuring that an award-winning author like Zadie Smith has anxiety about writing; and that popsicles can provide a pleasurable, albeit momentary, solution to page fright. Maybe it’s because a popsicle requires all your attention. You can’t take a bite and set it aside or hold it in your hand without licking it, for all the sugary juice will drip down your arm. Similarly, when you focus on a theme, it can ease writing anxiety because you are narrowing your choices and looking at your experiences through the filter of one lens.

Essays like “Joy” are sometimes called the “contemplative” or “meditative” essay, where a writer poses an open-ended question, and then attempts to answer it in the body. Zadie opens with: “It might be useful to distinguish between pleasure and joy. But maybe everybody does this very easily, all the time, and only I am confused.” This is a classic move, almost like a journalistic nut graf that tells you what the piece is about; then she sets out to define the difference between the two. This type of theming not only helps tighten your writing lens but it can also spark connections. The topic serves as a jumping off point for the mind to explore a virtual playground of scenarios. Instead of using a narrative arc like Freytag’s pyramid—with rising action, climax, falling action, and resolution—the contemplative essay often takes the shape of a spiral. This cultivates spontaneity on the page.

And it’s these spontaneous connections that create surprising shifts. Zadie starts her essay by talking about seemingly innocent, pleasant things, like the aforementioned popsicle, or the pleasure she derives from looking at people’s faces while working in the library, or how she likes to anthropomorphize the dog. Then the essay takes a sharp shift, when she says her daughter is a strange admixture of terror, pain, and delight that she has come to recognize as joy. The most memorable scene in the essay is when she finds joy while on ecstasy at a London nightclub when the DJ mixes A Tribe Called Quest’s “Can I Kick It?” with Nirvana’s “Smells Like Teen Spirit” into a deep house track. She dances with a skinny pill head who keeps asking her if she’s “feeling it yet?” She questions if that was joy, but then realizes it was a synthesized version. Near the end, she lists all the times she’s experienced real joy. The moment after giving birth, swimming in a Welsh mountain lake, and sitting on a high hill in the south of France. Then, holy cow, she throws the reader for a loop by saying she found true love while on a train to the Holocaust Museum in Auschwitz—Auschwitz!—which she says was real joy. In another surprising move, she negates her entire reason for writing the piece by saying there’s no point in thinking about or discussing joy! Ultimately, Zadie realizes that joy cannot be felt without some pain; thinking about if her child or husband goes before she does, knowing that the dog or cat will leave before you do. She quotes Julian Barnes: It hurts just as much as it is worth. When the essay concludes, the reader is left in a bittersweet place where we know that joy is the things that will hurt us when they are no longer there.

I relate to this push and pull. The last time I felt an overwhelming feeling of joy was while off-roading in the forest. On a straightaway, I felt my body vibrating and heart beating with what I can only describe as the brimming apex between joy and sorrow. My father had just died, and I wished he could’ve been there to see the beauty of the forest rising above me like a rogue wave. This dichotomy created powerful emotion, which leads me to my first tip of five on theming:

1. Use emotion to ferret out your theme. Maybe you’ve written a short story or memoir or novel and don’t know what you’re trying to say. Collect all the moments of high emotion in the piece and examine what those emotions do to your character. How do they handle them? What actions do they take? You may begin to see lessons or ideas pop up in your piece. Then guess what? You’ve found a theme. When you are using emotion to find your theme, it will most likely be the moment where readers recognize themselves in your story.

2. Think about your audience. Who would benefit from reading this piece? You can often find the answer in your character’s narrative arc. Maybe you’re writing a story about how becoming an empty nester led you to try sculpting and eventually you opened an art gallery. It wouldn’t be a story about your kids leaving home and feeling a sense of uselessness, it would be about how you found a passion that gave your life a new purpose.

Want to start the New Year on a high note by landing a paid byline at a prestigious women’s magazine? Find out how by reading our interview with the creative and talented Sarah Elaine Hawkinson, the editor of Sasee Magazine.

Raised barefooted and at the beach, Sarah Elaine grew up in Pawleys Island, South Carolina. When it came time for college, she had no idea what she wanted as far as a career, but her first dream was always to attend Clemson University and become a “Tiger Twirler.” She started twirling when she was 6 years old and 20 years later, she is still twirling on the side as a professional fire performer. She graduated from Clemson with a degree in Business & Entrepreneurship, so when she moved back to the beach, she kept busy with accounting work while trying to figure out her next move.

Sarah Elaine’s main interests and passions have always been related to music, community, and anything creative. She decided to volunteer for a local nonprofit music festival and that is actually what led her to her current position at Strand Media Group. After attending a few volunteer meetings, the marketing director informed her that the person in the position was retiring and she thought Sarah would be a good fit. Sarah read through the list of dynamic duties and completely agreed. They interviewed her and she was hired in October 2020.

Strand Media Group has managed a nonprofit music festival for the last 13 years, but they have always been a for-profit publishing company. Although they produce multiple publications throughout the year, they’re most known for Sasee Magazine. Every staff member wears several hats, and Sarah Elaine is not only editor of Sasee and other works, she also serves as the grant writer and outreach coordinator for the Pawleys Island Festival of Music & Art. She loves how this position has allowed her to learn and grow in such a unique way.

WOW: Sarah Elaine, thank you so much for agreeing to be interviewed for WOW! First, I’m wondering where the name Sasee came from. Can you elaborate?

Sarah Elaine: After many years of producing numerous publications, the idea of a women’s magazine came along in 2002. The publisher, Delores, and her sister, Susan, the director of marketing and sales, always loved reading the women’s magazines they came across while visiting other places during their travels. The publications were inspiring, and they agreed that the Grand Strand (the greater Myrtle Beach, S.C. area) needed a magazine that was for women and produced by women.

After months of surveying potential readers, writers, and advertisers, they came up with a list of strong female names to choose from. Once they decided on the name “Sassy,” they just tweaked the spelling to make her unique. The marketing department played around with the fonts and illustrations and once they tried the hat above the “S” they knew it was the perfect aesthetic to fit Sasee’s personality.

The mission of Sasee has forever been to entertain, inform, and inspire her readers as well as share dynamic experiences. She is meant to be an inviting platform to reach other women by showcasing sophisticated, well-written editorial focusing on personal interviews, lifestyle perspectives, fashion, home décor, food, art, and culture.

WOW: What a terrific story and mission! I do love the logo, and how every cover features a woman in a chic hat or hairstyle. Many of our WOW readers are nonfiction writers, and we appreciate the fact that Sasee specifically seeks first-person stories for or about women. You also make it easy for writers by setting an editorial calendar in advance, with a call for work with timely and intriguing themes such as December’s “In the Spirit” or, coming up for March and April 2023,“A Passion for Fashion” and “Making A House Your Home.” (Hint, hint, WOW readers, the respective deadlines are January and February 15th!) So tell us, what kind of submission gets a “yes” from you?

Sarah Elaine: In my personal opinion, anything that makes me laugh or pulls at my heartstrings are the ones that are my favorites. When it comes to choosing essays, my job is to read through all of the monthly submissions (there are usually 50-75 each month) and narrow it down to 10-15 to pass along to my publisher who makes the final decisions. We all wish we were able to include more essays each month (right now it’s anywhere from 2-5) because we receive so many well-written stories that deserve to be published. I love getting to reply with a “yes” but having to send out so many replies that say “no” is by far the hardest part of my job. For Sasee specifically, I think the most important goal to keep in mind is that on top of writing an entertaining story, the work must also coincide with the monthly theme, even if it’s a fun spin or a play on words. We are all about being inspirational, entertaining, and of course, supporting women.

“For Sasee specifically, the most important goal to keep in mind is that on top of writing an entertaining story, the work must also coincide with the monthly theme, even if it’s a fun spin or a play on words. We are all about being inspirational, entertaining, and of course, supporting women."

WOW: Many of the essays in Sasee have a fair share of humor. “Gravy Can Save Anything” by Leslee W. Kahler (November) and “Brow Repair” by Patti Wade (September) are some of the funniest pieces I’ve ever read! As writers, do you think being able to laugh at ourselves helps our work? 

Sarah Elaine: Oh, I am a firm believer in humor being a helping hand. Whether it has to do with our work or with many other situations that arise during our lifetime, it’s humor and the ability to laugh at myself that allows me to actually forgive, gain perspective, and move on along with the natural ebb and flow of life.

WOW: The idea of humor as a salve for our wounds is a lovely one. What are some of your favorite Sasee essays?

Sarah Elaine: The first Sasee I worked on was the November 2020 “Pies & Parades” issue. The first essay I read was “Razzle Dazzle & Hope” by Terri Elders which just so happened to be about a baton twirler in a parade. That was one I’ll never forget because it was such a special coincidence, but there are so many more that I have adored as well. Every single essay that is published (and even many that haven’t) have had a strong effect on me. I love that words can hold that kind of power.

WOW: Words can indeed stir the soul. We writers especially appreciate the fact that Sasee pays its writers competitively. How important is it to you as an editor that contributors get paid?

Sarah Elaine: Writing is an incredible art form. Every artist who contributes a piece (to any platform) deserves to be compensated for their time, energy, and creative work.

WOW: I couldn’t agree more. Sasee is a regional magazine targeted toward readers living on the coast of South Carolina, but as one of your recent contributors, I was so happy to learn that you do accept submissions from writers outside this area. Does sifting through so many submissions make it challenging as an editor?

Sarah Elaine: Luckily, we have a very specific way of keeping organized. Part of our writer’s guidelines is that every submission needs to have the month(s) of consideration listed as the subject line. This benefits me as well as the writer because I am able to classify the submission into its correct monthly folder. This makes it easy to keep track of and they are ready to be read when the time comes. I do appreciate that we accept writers from all over the country because it allows us to publish diverse stories and perspectives which I believe is important.

WOW: Many of the editors I interview start out as writers. Was this the case for you?

Sarah Elaine: Surprisingly, no. Although I have always enjoyed writing and the creative aspect of it, I would not consider myself a writer before this job. Writing songs and journaling as a kid is about as close as I ever got to being a writer. Proper grammar has always been important to me as well as expressing myself through words and music. As my family and friends would say, I have always had a way with words—especially when being witty or punny. I just never gave myself the opportunity to write my words down as often as I get the chance to now with this position.

WOW: I’ve enjoyed getting to know you a little bit through your monthly “From the Editor” messages, and I especially appreciated what you wrote in November, which encouraged readers to consider setting a new holiday tradition by volunteering. Such wise words! Writing these messages and other articles monthly must offer tremendous discipline. Do you have any hints for writers on building a regular writing routine?

Sarah Elaine: If I am being completely transparent, I do not know if I have a regular writing routine. Sometimes, putting demanding pressure on myself to come up with something is actually what hinders my creative thought process. Some months, the ideas for my “Letter From the Editor” just flow, and sometimes, I stare at the blank page for a while. When I do not know where to begin, I often think about the monthly theme and past experiences in my mind when I am not at work, like when I am driving or before I fall asleep. I do surprise myself when I come up with one small idea and then when I actually sit down to write, before I know it, I am wondering how I can make it shorter because I have written too much. Part of my job is to create the Sasee editorial calendar, so I always find it interesting when I discover my own surprising take on the theme.

WOW: Isn’t it funny how much “writing” actually happens when we’re doing other things? Speaking of doing other things, in another “From the Editor,” you write about your baton twirling coach, Laura Card, and how she inspired you to not only excel at your craft but to be a better human being. Do you have a writing or editing mentor as well? What have you learned from them?

Sarah Elaine: While I’m not sure if any of them would consider themselves “editing mentors,” I have definitely learned quite a bit from my coworkers at Sasee over the last two years. The publisher, the director of marketing and sales, and even the graphic designer have all taught me so much about proper writing, grammar, and publishing as well as plenty about adulthood and life in general.

WOW: With such a demanding job, I know it must be hard to squeeze in time for leisure reading. Do you read for fun, and if so, do you mind telling us what’s on your bookshelf right now? 

Sarah Elaine: Due to how much I read at work, I do not make as much time for leisure reading as I would like. I also have a hard time staying focused on one book throughout a long period of time, but I have grown even more fond of poetry—a writing form I have always found mesmerizing. Some of my favorite poets are April Green, Eleanor Russell, Pierre Jeanty, and Tiana Hart.

WOW: I love poetry, too, and the reading as well as the writing of it, can definitely become addictive. Here’s another question I always like to ask everyone I interview. When I wake up in the morning, I like to get the creative juices flowing with either a cup of tea or cranberry-pomegranate juice. What gets you going in the morning?

Sarah Elaine: My morning sip of inspiration is usually tea as well. Matcha and Chai are my favorites, but I also have alternative ways to get my juices flowing that involve music and movement. Oh, and my day is ALWAYS better when I start it with watching the sunrise over the water.

WOW: Wow, what a divine way to start the day! Okay, now that the sun’s up, how do you like to end the day? In other words, you know you’ve had a good day when….

Sarah Elaine: I’ve had a good day when I have checked off many to-dos on a list, whether it be work-related or personal. Knowing I had a day full of motivation and intention makes me feel fulfilled. It’s not necessarily just about doing my laundry or getting a writing piece finished, it’s also about taking time for myself to rest as well as rejuvenate. A few to-dos that help me accomplish this feeling are things like learning a new baton trick, spending time outside with nature, or putting up / rearranging décor in my home. As far as ending my day, I like to care for my body through a deep stretch and a solid skincare routine before I hit my silk lavender pillow.

WOW: Ahh! I’m relaxed just reading about your routine. Self-care should be a priority for all writers and editors. Is there anything else you want to share? What’s coming up in the future for you or Sasee? 

Sarah Elaine: A specific part of my job that was added to this position when I was hired was to grow our social media presence. As with many features of artwork, it feels like magazines and print in general do not have the same following or support they once did due to the digital world we live in today. My advice to anyone who loves and appreciates these creative outlets is to find ways to support them so they can continue to prosper. We offer subscriptions ($30/year) so Sasee can be mailed to your home. Those interested can email me ([email protected]) as well as follow us on Instagram (@saseemag) and Facebook (Sasee Magazine). For the latest, please visit the website for Sasee. To follow me personally, my Instagram handle is @SarahElaineHawk.

I know I do not have the background of a typical editor, but I admire WOW so much for this opportunity to be interviewed. Everyone’s story is unique, and I respect WOW for providing a platform where we can rejoice in the aspect of diversity as well as connect, learn, and grow with other creatives. Thank you!

WOW: And we are so grateful to you. Thank you so much, Sarah Elaine, for spending time with us today! We wish you all the best, in both your personal and professional pursuits. 

Want to Submit to SASEE? 

Sasee welcomes editorial submissions from freelance writers. They’re seeking new, unpublished, first-person, non-fiction material that is for or about women. Essays, humor, satire, personal experience, and features on topics relating to women are their primary editorial focus. Diversity of subjects that reflect all age groups and variety of writing styles are invited. Payment for articles varies. Note: Sasee does not publish fiction or poetry and will not be able to respond to such submissions.

Requirements: 500 to 1,000 words in length. Sasee reserves the right to edit articles for length and content. Your submission should also include your contact information (name, address, phone, e-mail, fax), a short bio (25-30 words), and a photo/headshot. All material must be emailed two months in advance (by the 15th) as specified on the editorial calendar.

How to submit: E-mail your submission to [email protected]. Please include the month(s) of consideration in the subject line. Sasee asks that you please send the text of your article in plain text in the body of your e-mail, rather than as an attached file. For more, please see their Writer Guidelines.

Prize: $1,000 and publication by Two Sylvias Press. Seeking an original, unpublished full-length manuscript of poetry (no translations or previously self-published books). Length: 48-80 pages of poems. Fee: $20

Bayou Magazine is seeking submissions for their poetry contest. Contest winners will receive $1,000 and a year’s subscription to Bayou Magazine. Finalists will be named on their website, and all entries will be considered for publication. You may enter up to three poems per entry. Fee: $20

Winning poet receives $200. Top three poets and all finalists (usually about 10) are published in Smartish Pace. Simultaneous submissions are allowed. Submit 3 poems and bio along with a $10 entry fee. You may enter more than once (e.g. 6 poems, $20). All poems submitted for the prize will be considered for publication in Smartish Pace.

Gemini Magazine is seeking entries for its 13th annual poetry open contest. First Prize: $1,000; 2nd Prize: $100; and four Honorable Mentions: $25 each. Submit up to three poems. All six finalists will be published in the March/April 2023 issue of Gemini. No restrictions on form, length, subject or style. Poems must be unpublished, but work on personal blogs is eligible. Fee: $9

This competition is open to writers of ALL AGES from anywhere in the world. Open to all previously unpublished, chapbook-length manuscripts of poetry (loosely defined) written in English. Manuscripts that contain previously published poems are eligible, so long as the manuscript is unpublished as a collection. Submit a previously unpublished, chapbook-length (20-30 pages, 8.5x11 page-size) manuscript of poetry. Prize: The winner will receive publication, 50 free author copies, and a $500 honorarium. Fee: $15

92NY Street is looking for submissions to its Joan Leiman Jacobson Poetry contest. Four winners receive a reading at 92NY, publication in Lit Hub, a two-night residency at the ACE Hotel and $500 each. Travel expenses are covered. Submissions must be no longer than ten pages, typed; at least two of the poems must be a page or shorter. Do not submit more than one poem per page. Fee: $15

Asheville Poetry Review offers a first-place $1,000 prize and publication for a single poem through its annual William Matthews Poetry Prize. The second prize includes $250 and publication. The third prize includes publication. Submit 3 poems in a single file, any style, any subject, and any length. Fee: $20

This prize awards $10,000 to a poet with one complete book-length collection to be published by Milkweed Editions. The poet must reside in Minnesota, Iowa, North Dakota, South Dakota, Wisconsin, or Michigan. Submit 48 or more pages. The submitted manuscript must be previously unpublished, though individual poems included may have been previously published in periodicals, chapbooks or anthologies. No fee.

The landscape has exploded with presses and magazines over the last few decades with the advent of digital publications—so many good poems have been found, celebrated, and, unfortunately, forgotten. They want to bring light to those lost pieces of poetry, the work that you love but no longer receives the attention it deserves. Send them your favorite previously published poems! There is no page requirement but submission must be no more than 3 poems. The poems must have been previously published online or in print to be eligible and must not have won a previous award of $100 or more. 1st Place: $3000 + Publication; 2nd Place: $300 + Publication; and 3rd Place: $200 + Publication. Fee: $20

Send one poem of 3 to 10 pages. Stacy Doris was a poet, translator, and an Associate Professor in San Francisco State University’s Department of Creative Writing, where she taught for ten years. She created new worlds with her unexpected poetics. Following upon her spirit of creative invention, engaging wit and ingenious playfulness, discovery in construction, and radical appropriations based on classical forms, pastiche, etc., and love, the Stacy Doris Memorial Poetry Award is given to a poet with a truly inventive spirit. The winning poet will receive $500 and publication in the Spring 2023 issue of Fourteen Hills. Works that don’t win will be considered for publication. No fee.

Prizes includes: The Judge’s Prize – poems of 11 to 50 lines and The Editors’ Prize – poems of up to 10 lines. First prize for the Judge’s and Editors’ Prize is £1000, second prize £300 and third prize £150. The six prize-winning poems will be published in Magma and there will also be five special mentions for the Judge’s Prize and for the Editors’ Prize. Winning and commended poets will be invited to read their poems at a Magma Competition Event in Spring 2023. Fee: £5

The Jesmyn Ward Prize will be awarded annually to one short story submitted for consideration to the Michigan Quarterly Review. The Michigan Quarterly Review has established this prize in honor of Helen Zell Writers’ Program Alumna Jesmyn Ward and her significant contributions to the literary arts. Please submit one unpublished short story of 1,500-7,000 words. Simultaneous submissions are welcome but please withdraw your submission as soon as it is accepted elsewhere. The prize will be in the amount of $2,000 and publication. All submissions will be considered for publication. Fee: $25

Open to writers who has not yet published a book of fiction, poetry, or creative non-fiction with a nationally distributed press. 8,000 words. All entries will be considered for publication and for payment at their regular rate. The winning story will be first announced on the website, traditionally during June, though occasionally earlier, and then published in the subsequent Fall or Spring issue of Boulevard. Awards: $1,500 and publication in Boulevard. Fee: $16

A kraken, a vampire, and the Loch Ness Monster walk into an English pub. But that’s just the beginning. Join Norway’s prestigious penguin knighthood in the fight against the ever-present wolverine menace. Uncover the secrets behind Iceland’s mysterious mosquito absence. But think very seriously before crossing the Celtic warrior queen Boudica. (Publishes in March.) Stories between 300 and 1,000 words. Pay: $50 per story. No fee.

The Press 53 Award for Short Fiction is awarded annually to an outstanding, unpublished short story collection. This contest is open to any writer, regardless of his or her publication history, provided the manuscript is written in English and the author lives in the United States or one of its territories. The winner of this contest will receive publication by Press 53, a $1,000 cash advance and fifty copies of the book; all prizes will be awarded upon publication. Manuscripts should contain a collection of short stories, which can include flash fiction, and may include one, and only one, novella. Total page count should be double-spaced with numbered pages, set in a standard 12-point font (such as Times New Roman, Garamond, etc.), and around 100 to no more than 250 pages in length. Fee: $30.

Submissions for flash fiction are open. They are interested in stories set in the future and revolving around Sol, including planets, moons, asteroids, Oort, and Kuiper, you name it! Now that you know what we need, we need stories, flash fiction-sized, about 1500 words maximum, Payment: $0.08 per word. Payment is upon publication. No fee.

Let the season of love inspire you and delight your readers with a holiday romance to remember! Stories must be written within the Romance genre. However, other genres can also be involved in the story-line. Winners will be chosen by our unique algorithm based on 1200 reader behaviors. The minimum word count per submission is 10,000 words. There is no maximum word limit. 1st Place: $200 and a social media spotlight across all of the Inkitt platforms 2nd Place: $100 and a social media spotlight across all of the Inkitt platforms 3rd Place: $50 and a social media spotlight across all of the Inkitt platforms Judged by our algorithm, the author will be chosen as the winner at the end of the contest based on over 1200 reader behaviours. No fee.

Literal Latte is seeking submissions for its K. Margaret Grossman Fiction Award. Send unpublished stories, 10,000 words max. All subjects and styles are welcome. First prize: $1000; Second prize: $300; Third prize: $200. Fee: $10

They are looking for horror stories under 2,000 words to fit their monthly themes. If accepted, they'll get their fantastic narration team to lend their voices, their editor will sprinkle some magic pixie dust on the track, and you could have your story heard by thousands of listeners each week. Pay is 15GBP per story. No fee.

Submit short stories between approximately 1,500–5,000 words (soft range, with a preference toward lower word count). Payment is two (2) cents per word and one contributor copy in each of all published formats. Submit anything with a supernatural and dark element, such as Horror, Dark Fiction/ Dark Fantasy, Weird Fiction, etc. No fee.

We are seeking stories for an anthology to be titled Gargantua which will collect stories of massive engineering megastructures that reshape stellar systems. To be published in the spring of 2023 by the Air and Nothingness Press. All stories to be exactly 1000 words. We pay $0.08/word for the stories we publish. Anthology authors will receive one print copy of the anthology, plus wholesale pricing for additional print copies (40% off the retail price). No fee.

Stories should not exceed 3,000 words but stories of up to 4,000 words are considered. The contest is open to entrants from anywhere in the world (English language only please), and a prize of $150 will be awarded for the winning story. No fee.

We are looking for unpublished sci-fi, fantasy and horror stories of between 2,000 and 6,000 words. They are accepting submissions inspired by/based on tabletop games - roleplaying games, board games, miniature wargames. They will pay £20 per accepted story, paid upon publication. No fee.

The contest is open to all writers who have not yet published a book of fiction. Submissions must be no longer than 3,000 words. The final judge will be acclaimed author Danielle Evans. The Kenyon Review will publish the winning short story and the author will be awarded a scholarship to attend the Kenyon Review Writers Workshop. Stories must be no more than 3,000 words in length. Writers must not have published a book of fiction at the time of submission. Fee: $24

Write a 600-word piece on the theme: The best writing tip I’ve ever received. They will publish the best piece in their newsletter and blog, plus the winner receives $200 (R2 000 or £100). Use the subject line "My Writing Journey Competition" in your email. No fee.

In February, the darkest and shortest month of the year, we’re looking to highlight stories about love, romantic or otherwise. Give us stories that make us feel warm and bubbly inside. Stories that give us hope in humanity. Or, if you don’t have that, give us your anti-love story, your broken heart, your journey to healing. Love is messy and we want it all. Stories must be true and about you. Word count: 500 - 3,000 words. Pay: $20 per essay. Fee: $3

They are looking for first-person essays as well as art and photography from women and gender non-conforming writers. Every month has a theme with the next two themes being "Crime" with a deadline of January 1 and "Food" with a deadline of February 1. Although the essay holds the central role at DPA, they are open to other genres, including experimental, poetry and flash nonfiction, as long as there is a first-person point of view. Preferred length: 500 to 2000 words. No fee.

Under the Sun is accepting manuscripts of creative nonfiction of 7500 words or less, including essays, graphic essays, memoir excerpts that stand alone. They also accept manuscripts by email (email address on their website) if you prefer to avoid the Submittable fee. Simultaneous submissions are okay but please notify them promptly if your work is accepted elsewhere. Submit your manuscripts without identifying information on them, including no headers or footers. For more about Under the Sun, check out WOW's markets interview with editor Cindy Bradley. They paid a $50 honorarium in 2022 and are working to continue paying honoraria. No fee if submitting via email; $2 if using Submittable.

Hippocampus publishes personal essays and memoir excerpts up to 4,000 words, and flash creative nonfiction up to 800 words. They are looking for true tales from your life. Honesty that possesses both the situation AND the story. Intensely personal experiences that reflect universal truths about what it means to be human. Firsthand accounts from the full spectrum of humanity – folx from the LGBTQIA+ community, Black writers, Indigenous writers, and writers of Color, disabled writers, writers of all genders, backgrounds, experiences, lifestyles, and identities. Pay: $40 per piece. Fee: $3

A prize of $2,500 will be awarded for an essay on early American history (up to 1825), not previously published, with preference being given to New England subjects. Essays should be 40-60 pages. No fee.

The Ellen Meloy Fund for Desert Writers grants one $5,000 award in the spring of each year. Only proposals for literary or creative nonfiction book projects will be considered. The Fund supports writing that combines an engaging individual voice, literary sensibility, imagination and intellectual rigor to bring new perspectives and deeper meaning to the body of desert literature. Only proposals for literary or creative nonfiction book projects will be considered. No fiction or poetry proposals will be reviewed. All applications will be reviewed through a peer-panel process. Fee: $15

Submit work that encourages us to see the world from new perspectives and different angles, ones that we may not have previously considered or imagined. Submission are currently open to nonfiction. Submit up to 5,000 words. No fee.

For an upcoming issue, Creative Nonfiction is seeking new narratives about caring for the heart—medically, technologically, or metaphorically. We’re looking for stories from healthcare workers and researchers; counselors and cardiologists and coaches; nurses and nutritionists … or any red-blooded writer with a heart. Essays must be previously unpublished and no longer than 4,000 words. Pay: $125 flat fee + $10/printed page, plus a copy of the magazine. Fee: $3

Back Where I Came From will be an anthology of twenty essays by diasporic writers about travelling to their motherlands. Editors Omar Mouallem and Taslim Jaffer are looking for personal, lyrical, and candid essays that touch on the themes of culture, identity, belonging, home, and estrangement. The editors are considering submissions of works (between 1500 to 2500 words). If your essay is accepted for publication, you will receive a $200 honorarium and two copies of the finished anthology. No fee.

Submit your stories of migration and/or your sense of place, of home or lack of, and your empathy to the plight of migrants around the world. Please feel free to interpret the theme of this contest in any way that is fitting for you personally, keeping in mind the overarching theme of Dreamers Creative Writing – that of heartfelt stories. You do not need to be a migrant to enter this contest – you only need to empathize with the theme in some way and have a heartfelt story to tell on the topic. Entries should be between 15 and 4000 words. The winning entry will receive $250 CAD, two copies of the winter/spring magazine. Fee: $20

$1,000 and publication in Boulevard awarded to the winning essay by a writer who has not yet published a book of fiction, poetry, or creative non-fiction with a nationally distributed press. They accept essays up to 8,000 words. Fee: $16

A Fresh Start. 2023 will be a new way to reconnect with poets and prose writers looking for a challenge. We will select up to 5 finalists to read in a forthcoming online reading in January 2023. We will select the one and only winner at the end via a roulette wheel. The winner will receive all 4 books from our 2022 Catalog (Broke Witch, Tentacles Numbing, How to Keep Time, Those Who Scream,) a $100 honorarium, and be featured in the Work of the Week. Up to two (2) microfiction pieces, max 300 words each or up to two (2) poems, max of 50 lines each. No fee.

The annual contest awards prizes of $1,000 in poetry, fiction, and nonfiction. Winners and finalists will make up next summer's print issue of the national literary magazine Mississippi Review. Contest is open to all writers in English except current or former students or employees of The University of Southern Mississippi. Fiction and nonfiction entries should be 1,000-8,000 words; poetry entries should be three to five poems totaling ten pages or less. Fee: $16

Formerly known as Crazyhorse, swamp pink publishes fiction, poetry, and nonfiction on a semi-monthly basis. Maximum payout for accepted work is $200. Submissions of fiction and nonfiction can be up to 7,500 words in length. We have published exceptional work that falls outside this range, but it is an unusual occurrence. For poetry, please submit a set of 3-6 poems. Poems receive $40 each, and we pay $0.05 a word for prose. Fee: $3

This major contest is only open to BIPOC writers. Entrants may submit up to three poems in the Poetry Category or one piece of fiction or creative nonfiction to the Prose Category. Poems, no more than 2 pages each. Prose, no more than 3,000 words. Unpublished work only. Prizes include $200 USD Prize in Poetry and $200 USD Prize in Prose. No fee.

Submit your best work in any genre, fiction OR nonfiction, in 100 words or less. Grand Prize: $1,000 and publication in our magazine, publication in a print issue of The Writer magazine, publication on our website, and one (1) one-year VIP The Writer membership. Second Place: $500, publication on writermag.com and one (1) one-year VIP The Writer membership. Third Place: $250, publication on writermag.com and one (1) one-year VIP The Writer membership. Fee: $15

Entries will be accepted in ficton, nonfiction, and poetry. One grand prize winner will receive a full scholarship, accommodations, and travel stipend to attend the tenth annual DISQUIET International Literary Program in Lisbon (June 25-July 7, 2023). Genre winners will receive a tuition waiver for DISQUIET 2023 in addition to publication. Winners who are unable to attend the progam in Lisbon may elect to receive a $1000 cash prize in lieu of the tuition waiver. For fiction: ONE short story or novel excerpt, maximum 25 (double-spaced) pages per entry. For non-fiction: ONE nonfiction piece or book excerpt, maximum 25 (double-spaced) pages per entry. For poetry: No more than SIX poems per entry, up to 10 pages total. Fee: $15

Accepting poetry and fiction under the theme for 2023: "LOVE." Although romance preferred, but love between friends, family members, pets and their humans, etc., will be considered as well. Remember, stories and poems must have the theme in them, even though it needn’t be a huge part of the story. Length of stories is 1,000 to 5,000 words, but 1,000 to 3.500 is preferred. Poems must be no longer than 500 words. They play a flat rate of $50. No fee.

This fellowship helps writers complete a book project. Up to six Steinbeck Fellows are selected each year from disciplines including fiction, creative non-fiction, biography, drama, and Steinbeck studies (no poetry). The creative writing fellowship does not require that there be any direct connection between Steinbeck’s works and that of the applicant. The Steinbeck Fellowship is a one-year residency at San José State University which includes a stipend of $15,000. Fellows are expected to give one public reading from their work and must reside in the Bay Area during the academic year. Submit a project proposal, résumé/CV, writing sample (up to 25 pages), and the email addresses of three references. No fee.

Submit under the theme of ghosts. Room seeks writers of marginalized genders for poems full of folklore, creative nonfiction on rattling encounters, transient fiction, and other such spirited words. Fiction and creative non-fiction: up to 3500 words. Poetry: up to 5 poems. All contributors will be paid upon publication: $50 CAD for one page, $60 for two pages, $90 for three pages, $120 for four pages, $150 for five or more pages. No fee.

They are open for submissions to a portfolio entitled “Luminous Gender Vessel” guest edited by Gabrielle Calvocoressi and Melissa Faliveno, to be published in 2023. They want creative nonfiction (up to 6,000 words), poetry, fiction, art, including comics, and multimedia pieces exploring ideas and questions of gender. “We want work that tells us something about what it means to be alive in a body, that makes us feel more alive in our own. Tell us what you don’t understand, what you’re trying to figure out. Get experimental. Get speculative. Get hybrid. Get weird. Push boundaries of style and form. Because genre, like gender, is a construct. It’s rarely one thing or the other.” Payment is upon publication. No fee.

They are looking for short fiction, flash fiction, poetry, and art submissions under the theme of: mirrors. All contributors published for this issue will be awarded 5 USD via PayPal. Fiction submissions should be no longer than 3,500 words. Fiction submissions that are 1,000 words or fewer will be considered flash fiction. Poetry submissions should be no longer than 50 lines and under three pages. Please send no more than two fiction or flash fiction pieces or four poems per issue. No fee.

There are 17 ways to submit, from a four-line poem to a 3,000-word lead article, from a 300-word bedtime story to a 700-word memoir performance piece – so there’s bound to be something to suit your kind of writing. Including big-name commissions and as-yet-undiscovered newcomers, we publish over 60 women in every issue. Open only to writers who identify as female. Flash fiction theme for issue 97 is "infatuation." Nonfiction theme for their Timepiece section is "1991." Poetry theme for issue 97 is "water." No fee.

For poetry, please send no fewer than three and no more than five poems per submission. For fiction and creative nonfiction, please send no more than thirty pages per submission; any excerpts from a longer project must work as self-contained essays or stories. They will pay contributors $120 for prose of six typeset pages and under, $250 for prose of over six typeset pages, and $25 per poem, in addition to two copies of the issue in which the piece is published and a copy of the subsequent issue. No fee.

Alien Magazine is looking for all types of fiction, nonfiction, poetry and visual art submissions. However, as a guideline, we are especially interested in pieces that explore non-traditional narratives, though we still enjoy traditional ones that have a bit of a twist. Submit fiction or nonfiction up to 5,000 words. Only submit up to one poem, of any length, per document. We pay $20 for each accepted story, poem, or nonfiction submission. No fee.

Seeking submissions for their next issue. For poetry, submit no more than 3 poems. For both fiction and nonfiction, submit no more than 8,000 words. Payment Upon Publication: $100 per prose piece, $50 per poem or visual art. Fee: $2.50

Driftwood Press is hosting two contests: one for poetry and one for short stories.

Poetry Contest: Submitters may send up to five poems in a single document for consideration. Each poem must not exceed sixty lines. Prose poetry, experimental poetry, and poetry with a visual element are all welcome. The winning poet will receive $400, five copies of the issue they appear in, and the opportunity to participate in a standout interview about their work. Up to five finalist will be selected as well. Finalists will receive $50, publication in Driftwood Press' print journal, and a free copy of the issue they appear in. Fee: $10.99

Short Story Contest: Submit fiction only stories between 1,000 - 5,000 words. The Grand Prize winner will receive $500 and five copies of the issue in which the story appears. The winner will also have the opportunity to be interviewed about their work; the interview will be published alongside the story. Runner-ups will be offered publication, an accompanying interview, $150, and one copy of the issue in which their work appears. Fee: $12.99

Fiction & nonfiction: submit 1,000 to 4,000 words; submit up to three poems. Payment is $20 for fiction, nonfiction, and poetry submissions. No fee.

For over two decades, Reunion: The Dallas Review (formerly Sojourn) has been dedicated to finding and publishing exceptional examples of previously unpublished short fiction, drama, visual art, poetry, translation work, non-fiction, and interviews. Published annually each fall, our mission remains cultivating the arts community in Dallas, Texas, and promoting the work of talented writers and artists both locally and across the globe. Fiction: one story, up to 5,000 words. Poetry: 3-5 poems. Longer poems will be considered, but shorter poems are desirable. Please submit poems as one document. Creative Nonfiction: up to 5,000 words. No fee.

Submissions for Great Weather's next print anthology are open for writers worldwide. Their focus is on the innovative and unexpected. They accept poetry, short fiction (under 2,500 words), flash fiction, creative non-fiction, hybrid...surprise them with your fearless best! Submit one to four poems of any length. One prose/creative nonfiction piece, two if both under 500 words. Maximum word count: 2,500. Accepted submissions receive one contributor copy, plus $10 for writers based in USA. International writers receive one copy. No fee.

For The Saltbrush Review's third issue, they are seeking submissions of short fiction, poetry, and creative non-fiction (including personal essays and life writing) of up to 3,000 words on the theme of ‘Intersections.’ Submissions are open to all, but they particularly welcome work from South Australian and regional writers, emerging writers, First Nations and POC writers, the LGBTQI+ community, and writers with a disability. Pay is pay AUD$150 per piece of fiction and non-fiction and AUD$100 per poem or piece of flash fiction. No fee.

It will be a collection of science fiction short stories and fact articles illustrating current and future near-Earth space-related threats and dispelling misconceptions about America’s newest service branch. It will be published by Baen Books in 2023. Stories should be scientifically plausible. Alien contact or wildly advanced physics is a hard sell, though we may well include one or two of the most excellent. You are invited to submit your lyric suggestion or craft service-appropriate verse in the spirit of Robert MacArthur Crawford’s 1938 “The Air Force Song” (Off we go into the wild blue yonder…) for some other tune. Query an article first. New stories pay pro rate, $0.08 per word, to 10,000 words. Verse pays $50. No fee.

They are open to all kinds of narratives but are particularly interested in ones about WAYFINDING: stories that explore our relationships with physical (and metaphorical) spaces and places, how we orient ourselves within or among them, and how we navigate and find our way. Fiction and creative nonfiction up to 1,000 words. Pay is $50 per piece.

They are currently accepting submissions for their Money issue. Only one submission per reading period. Poetry: Up to 5 poems, not to exceed 7 pages. Microfiction: Up to 3 pieces of microfiction, no longer than 400 words each. Creative Nonfiction: One essay of up to 3000 words, or up to 3 flash pieces, no longer than 1500 words total. Comics, Photo Essays, Visual Narratives: Please submit a single document or up to 6 image files (all files must be included in a single submission). Art and Photography: Artwork submitted to this category will be considered for inclusion within the journal’s pages and as cover art. Fee: $3

They publish new and upcoming writers along with more established writers among the ranks of past contributors including R.T. Smith, Denise Duhamel, Donald Hall, Brett Lott, Maxine Kumin, Dinty Moore, Bob Hicok, Xu Xi, Lia Purpura, Mark Jarman, and David Kirby. Poetry: Submit up to six poems at one time as one file. Fiction and creative nonfiction: Up to a maximum of 25 pages. Flash fiction: In a single attachment, submit up to 3 pieces of around 500-1,000 words each. Pays $50 minimum or $10 per published page.

Fee: $3.

Deadlines: January 31 (nonfiction) and February 28 (fiction). 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 Emily Forney with BookEnds Literary Agency. Fee: $10 (Flash Fiction) and $12 (Nonfiction).

As we embark on a new year, let's embrace this as a year of healing. Frontier is accepting poetry submissions for it's 2023 Hurt & Healing Prize. The first place winner will receive $3,000 + publication. Second and third place winners will receive $300 and $200 respectively, as well as publication. They are accepting submissions up until January 31st, so get those pens going.

Grown-up geek women like me remember the dark days of fandoms. We remember buying our anime from the dimly lit back walls of video stores. We remember memorizing every line from the 2000 X-Men movie, back when Hugh Jackman was still cutting his claws into his role as Wolverine. And more than anything, we remember seeking out others like ourselves. The ridiculed and rejected. The nerdy outcasts, usually other girls, who spoke our language and understood our obscure references to various canon.

After finding and gathering our female nerd tribe, we engaged in the most sacred ritual of all. We swapped our stuff: worn VHS tapes, scratched DVDs, poorly translated manga, comic books, video games in dented cases—our accumulated libraries of fandoms were evaluated, appreciated, and loaned out.

For us, these works were our sacred texts. We found ourselves fascinated by these heroes who splashed and ripped through their respective plots. We appreciated all the characters from the little cousin relevant to the complicated backstory to the dangerously sexy villain.

Yet, our hearts belonged to the protagonists. Male, female, human, android, animal, purple-skinned? None of that mattered. What mattered was that our heroes triumphed against insurmountable obstacles and impossible odds. From anti-heroes like Vampire Hunter D to do-gooders like Drizzt Do'Urden, we rooted for our heroes in ways only those who perceived themselves as spurned and misunderstood could.

Years passed, and geek girls became geek women. Most of my former sisters-in-fantasy-arms have long forgotten those stories that kept us awake at night and bound us together. But a few of us have held onto our nerdy passions. We've gained some wrinkles and responsibilities along the way, so we have to be selective in how we scratch our nerdy itches. In my case, I spend my preciously rare free time returning to the roots of my fandoms, learning from the G.O.A.T.s (Greatest of All Time) of fantasy and science fiction, like Jules Verne and Octavia Butler.

By studying these masters as well as comparing them to modern-day works of nerd pop culture, I've managed to obtain the secret formula for creating iconic superheroes. (*Cue maniacal supervillain cackle*) After all, this geek woman now writes new geek stories for the next generation of geek girls. It should come as no surprise that my past passions of yore have resurfaced in my writing process.

Every protagonist is a superhero. Even if you're writing an adult romance, you can apply the guidelines of creating a great superhero to your story’s main character. You can accomplish this by remembering the key aspects of any cape-wearing or super-powered good guy.

In anime, as well as in most comic books, the main character rarely changes clothes. As a youngster, I remember wondering why the artists didn’t bother changing any characters’ shirts. Only later did I realize the intent of this choice. The clothing and appearance are assertions of the characters’ inner traits. The characters have some physical aspect that draws attention to their inward nature.

The actual costumes of superheroes often have their own detailed, thorough backstories. This is because the costumes symbolize what the characters stand for and also some of the characters’ inner conflicts. Captain America wears his patriotism on his chest, but he has had a long, complicated relationship with American politics. His costume has shifted through the years to indicate these complexities. Tony Stark keeps his face covered as Iron Man, suggesting that the man behind the mask has many secrets and insecurities that he’d rather not reveal or discuss.

An example from another corner of geekdom is Goku from Dragon Ball Z. Arguably the most iconic character in Japanese animation, Goku’s larger than life persona is matched by his orange martial arts uniform (called a “gi”); his large, symbolic writing (called “kanji”) on his back; and his spiky, color-changing hair. Goku is meant to be noticed by friends and foes alike. He can be a bit reckless, but he's also effective. His fierce loyalty to his friends is also evident in his costume, as many of his siblings-in-arms don the same uniforms.

When I write my characters, I ask myself what physical aspects I can include that will provide potent visual cues regarding the characters’ core traits. My debut novel, The Ghost and the Wolf, includes a broody, moody teen named Lex. I call him my firstborn creative son because he arrived in my brain, fully formed in all his angsty glory and ready for me to craft a story for him. I symbolize Lex’s aloof nature with his ever-present hoodie that he pulls low over his face. He also keeps a skateboard around at all times, offering him a rebellious method of transportation that also serves as a quick escape from awkward social situations. His ripped jeans and skater shoes hint at a character that desperately wants to be understood by the very society he is trying to scorn.

When most of us think of comic book heroes, we think of superpowers. Spider-Man slings webs, Dr. Strange wields magic, and Superman does … well … almost everything. Yet, even authors of more realistic stories can apply the concept of the superpower to their characters.

Every character you create should possess some talent, trait, or strength that is somehow exemplary or noteworthy. The character should be known for this ability, and that ability should also play a part in how he or she ultimately contributes to the story’s resolutions. In anime, I think of L from Death Note. L has no superpower except for the analytical brilliance of his mind. While the anime does involve supernatural elements, L’s only defense against a serial killer with a death god on his side is his logic. For this reason, L is often considered even more of a superhero than the characters who possess powers.

In the superhero genre itself, I have long been fascinated by the heroes who have no “powers” other than their mental faculties. Of course, most of them also happen to be rich, so the resources at their disposal are often endless. Yet, Bruce Wayne would not be Batman if it wasn’t for his infinitely powerful intellect. Bruce Banner as the Hulk is possessed by the smashing powers of a green monstrosity, but Dr. Banner as himself is almost as powerful due to his scientific reasoning.

Let’s return to the crew in my novel. I’ve tried to imbue my side characters with specific strengths to help them stand out from the crowd. Mason has a photographic memory. Elijah can motivate and lead others. Helena fights like a she-devil, especially when her friends are under threat.

My debut novel is part of a trilogy. Helena, Mason, and Elijah all develop their own plots and character arcs as the trilogy progresses. By imbuing these minor figures with some impressive traits, I set my trilogy up with plenty of material to explore in later books.

When done well, your characters’ mannerisms and speech patterns can make them unforgettable to your readers. One of the most famous in recent anime is Naruto in the series by the same name. Naruto is a discarded, sometimes abused outcast who is known for saying, “That’s my ninja way!” He only delivers the line at critical moments, like at the end of a marathon of a fight.

This line stays with fans and never comes off as repetitive. The iconic line serves as a core reminder of what makes Naruto such a unique character everyone finds themselves loving and cheering for. He is determined to succeed, and he is always considering the welfare of others. Some characters dismiss him as stubborn or even simple-minded due to his singular focus on achieving success alongside his friends. Yet, it is this same focus that ultimately leads to his triumphs, time and time again.

And as it relates to action moves, I’m sure anyone with YouTube has seen videos of teens “ninja running” through their school hallways as well as performing elaborate “jutsu” routines with their hands and fingers. Naruto is credited with adding these behaviors to our cultural lexicon.

When I think of Goku, it’s impossible not to hear him shouting “Kamehameha” during the build-up to his signature energy attack. I don’t know one nerd who can even read that word without hearing Goku shout it out, syllable by syllable. It’s loud; it’s repetitive; it’s a little obnoxious—but most importantly, it’s deadly. Those words, to me, sum up Goku. (Yes, Goku is obnoxious—lovable but obnoxious.) Often, mannerisms like these define the characters even more visually than their own names.

When writing other genres, action moves and catchphrases can still be present, but these will require a more subtle touch. In my novel, Penelope nibbles on her nails when she’s nervous, and she finds it difficult to make eye contact with others. While this isn’t a catchphrase in words, it is a physical habit that defines her. Also, the gang is continually telling wise-cracking Drips to “shut up.” Most of my books involve physical combat, but even realistic fighting can include signature moves or weapons. Griffin prefers to get up close and personal to her foes with her brass knuckles while Avi is more likely to attack with the ferocity of an unchained animal.

In the grand scheme of character development, all of these small details may seem unimportant or even superficial. After all, it is the inner heart of a character that drives the story. The heroes’ courage, intelligence, or charisma help them save the day, not their wardrobe choices. What do physical attributes and habits like these matter when it’s the inside of the character that really counts?

Yet, anyone who has been on a first date knows the truth of the old adage “first impressions matter.” This is because we, as people, make many decisions about another person based on what we see. The conclusions we draw, whether on target or misguided, will influence our first interactions as well as our first memories of a person we meet. An impression is just that—a mark left in our minds by a person’s first indentation.

Our characters are similar in that they, too, have the potential to leave deep impressions on our readers. This is where a handy acronym can be used: WDTSAYC? It stands for the following: “What does this say about your character?” As you are designing some of these superhero-aligned traits for your protagonist, ask yourself this question: WDTSAYC?

Don’t give your character pink hair for the sake of pink hair. What does this choice say about her as a person? Is it a protest against conformity? Is she an anime fan? Perhaps she is rather straightforward in nature, and she chose pink hair simply because it is her favorite color.

Regardless of your character’s hair color, eye color, or preferred weapon in a fight, make your choices with a purpose in mind. Always ask yourself, “WDTSAYC”?

If you think your character is worthy of his or her own superhero cape, check out the questions below. The purpose is to motivate your application of these concepts to your protagonist. Notice that each question ends with WDTSAYC? That is because this question is vital and deserves repetition. Every piece of your character should come together for a higher purpose.

As a final thought, remember that antagonists are the heroes of their own stories. The supervillains are often as memorable, if not more memorable, than the main characters. They, too, follow many of the same guidelines as their good-guy counterparts.

Looking at characters from our previous examples, consider Vegeta from DBZ, Artemis Entreri from Forgotten Realms, and the Winter Soldier from Marvel. Vegeta’s pompous attitude and insistence on calling Goku “Kakarot” are signs of his huge ego. Artemis, a bitter loner, is known for his intricate swordplay and dastardly tricks, making him the perfect antithesis to equally skilled but nobler Drizzt. And Bucky Barnes wouldn’t be the tragic, misunderstood Winter Solider without his metallic arm emblazoned with the Communist red star.

For motivation, dig into some retro fantasy, science fiction, and superhero lore. There is something pure, real, and inspiring about these early attempts at hero-based storytelling. These stories stay with us because the characters are worth rooting for (or against). And, with a little planning, your characters can rise to these same superhero heights, datteboyo!

Witching Moon by K.E. Bonner

Every once in an eon, when the Earth eclipses the moon on a winter solstice, an immortal is born under a witching moon. Anne has always had the strangest feelings—memories she couldn’t place; strangers she inexplicably yearned for. After she rescues the enigmatic Phillip from a shipwreck, her comfortable life on the island of Cusabo is shattered, and the mystery of her destiny starts to fall into place. Anne leaves behind the life she’s always known and sets out with Phillip on an arduous journey to Amaranth, where her ancient family awaits her. But the path is dark and daunting, and Anne’s powers have only just begun to manifest.

(Giveaway ends January 1st)

The 20 Little Poems for 20 Little Gnomes by Raven Howell, illustrated by Nazli Tarcan

Discover the magic in simple moments when a child peers in the mirror to unintentionally come upon his smile, where kittens nap in boots, fairy hugs feel good, mice delight in reading books, and January snowflakes taste yummy.

Twenty whimsical poems warm the heart and inspire cheer; a collection enticing both the young and seasoned reader to explore the enchantment of the wonderful world of poetry.

(Giveaway ends January 8th)

I hope you are reading this newsletter with a cup of your favorite steaming beverage and motivation to make 2023 your best year yet. In this column, we look at some of our community’s successes from 2022, and then we look ahead to 2023 with words of the year and goals.

I haven’t decided yet for myself, what my word of the year is—I know there’s not much time left. But recently, my critique group had a virtual plotting day, where one of our members led us in a full-day workshop, and we plotted our next work-in-progress. For me, I hadn’t been working on my own writing for most of 2022—my mom was sick off and on, and I started a new marketing job. Plus, I worked on the authors’ books for my publishing company, Editor-911 Books. And I was happy with all my progress for other writers. But I realized on the plotting day that I do really feel alive when working on my own writing. I do need it. So, my word of the year will be something to do with this novel. I feel excited—maybe I just found my word.

Now for some good news, goals, and words of the year!

Joyce Ragland writes, “My publisher wants to see the manuscript sequel to GIRLS DON’T, which is going out of print, and a revision of GIRLS D as adult fiction. I have hopes for two new books! This, after illness misdiagnosis and my own self-doubt kept me from writing more than Facebook posts for the past two+ years. Big grins now!”

Becky Brandon writes, “I love submitting to Chicken Soup for the Soul because they are just so nice to their contributors. I sometimes have trouble thinking of the brighter side of some events in my life, but this is a reason to undertake the challenge. I wrote about my parents, and their amicable— sometimes hilarious—divorce. So good to have a story published this year!”

Patricia White Gable writes, “Me too. My story was in the Chicken Soup ‘My Wonderful, Wacky Family’ edition.”

Lacey Holloway writes, “Despite having my first baby, I FINALLY started consistently working on my writing again after five years.” She added, “Not really for the newsletter but lovely to share my personal victory with a group that would ‘get it.’ ❤️” [Editor’s note: We think this is exactly the kind of success that is perfect for the newsletter!]

Beth von Behren writes, “Finished writing my first novel. (Now in the editing phase.) After years of blogging, switched to Substack (weekly email). Started a podcast with my daughter about The Gilmore Girls (third episode just dropped). Good year. Thanks for asking. Podcast: Spotify, and Substack.”

Lisa Mae DeMasi @lisamaedemasi tweets, “In the throes of heartbreaking divorce, I funneled my angst into transforming my body to the fittest ever, produced quality writing pieces at work, and meditated and yoga’ed my way to clarity and self-healing, while wholly abstaining from self-medicating with my go-to martini.”

Raegen Pietrucha, Resident Medusa 🐍👩🏻💜 @FreeRadicalRP tweets, “2022 has been an amazing year with the publication of my debut full-length collection, Head of a Gorgon, through @VAPoetry! It was even named a finalist in the @AmerBookFest's awards!"

Chris Moray St Germain writes, “Word of the year ‘Authenticity,’ going beyond honesty to practical expression of positive and honest sentiment that educates and enlightens.”

Andrea Dorn writes, “‘Finish’ is hard to imagine but is definitely my word of the year.”

Create Write Now writes, “Word of the Year: Self-Love 💗.”

Melanie Kerr writes, “'Available' is my word taking up Isaiah's enthusiastic, 'Here I am. Send me!'”

Roberta Codemo writes, “This year, I took an intensive three-month long writing program and received honest feedback on my WIP. It confirmed what I've heard from others that the work is good. So, my goal for this coming year is to trust the process and finish it. I also have a children's picture book that an agent has looked at and said any publisher would be happy to have the book on their list so I need to make a few changes and begin looking for an agent. So...trust the process and believe in myself. That's a pretty audacious goal.”

Victoria Sewell Rose writes, “Word of the year ‘Thrive.’”

@barbiebeaton writes, “My writing goal for 2023 is to query using the acronym RESIST as my formula: Revise, Express, Share, Imperfection, Send anyway. Thank my supporters.”

@arlie707 writes, “It has taken me a while but ‘STRETCH’ will be my OLW for 2023. I hope to stretch in many ways - physically, creatively, spiritually.”

Lisa Mae DeMasi @lisamaedemasi tweets, “Well, actually, it's two words: terminal velocity.”

WOW! Women On Writing | Workshops & Classes | Quarterly Contests | The Muffin