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

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There’s a theory popularized by Malcom Gladwell’s book, Outliers, that states it takes 10,000 hours of practice to reach mastery, regardless of a person’s natural aptitude. That with enough practice (roughly ninety minutes per day for twenty years), anyone could achieve a level of proficiency that would rival that of a professional. It’s a matter of putting in the time daily.

I’ve never been one to write daily. My “method,” if you could call it that, is to write when the mood strikes in one big brain dump. This produces a few essays and chapters a year, but I can tell you without a doubt, it isn’t highly productive. I’ve had my reasons: I’m a full-time caregiver. I own and operate two businesses. I don’t have enough time. But really, who does have enough time?

E.B. White, author of the popular book, Charlotte’s Web said, “A writer who waits for ideal conditions under which to work will die without putting a word on paper.”

New York Times bestselling novelist, Barbara Kingsolver, who’s written over a dozen books, wakes up at 4 a.m. every morning and heads to her desk:

“I write a lot of material that I know I’ll throw away. It’s just part of the process. I have to write hundreds of pages before I get to page one.

“For the whole of my career as a novelist, I have also been a mother. I was offered my first book contract, for The Bean Trees, the day I came home from the hospital with my first child. So I became a novelist and mother on the same day. Those two important lives have always been one for me. I’ve always had to do both at the same time. So my writing hours were always constrained by the logistics of having my children in someone else’s care. When they were little, that was difficult. I cherished every hour at my desk as a kind of prize. As time has gone by and my children entered school it became progressively easier to be a working mother. My oldest is an adult, and my youngest is sixteen, so both are now self–sufficient—but that’s been a gradual process. For me, writing time has always been precious, something I wait for and am eager for and make the best use of. That’s probably why I get up so early and have writing time in the quiet dawn hours, when no one needs me.”

Jodi Picoult, the bestselling author of twenty-five novels, believes in just sitting down and doing it:

“I don’t believe in writer’s block. Think about it—when you were blocked in college and had to write a paper, didn’t it always manage to fix itself the night before the paper was due? Writer’s block is having too much time on your hands. If you have a limited amount of time to write, you just sit down and do it. You might not write well every day, but you can always edit a bad page. You can’t edit a blank page.”

Having a limited amount of writing time does work. Author Toni Morrison wrote her first novel, The Bluest Eye, in fifteen-minute sprints during her days spent as a working mom.

Emily Everett is a writer and the managing editor of The Common, so she knows a thing or two about craft. Founded in 2011, The Common is an award-winning print and digital literary journal published biannually, in the fall and spring. Emily’s short story “Solitária” appeared in the Jan/Feb 2020 issue of The Kenyon Review, where it was selected as a runner-up for the 2019 Short Fiction Contest. Other short fiction appears in Electric Literature, Tin House, Mississippi Review, and other publications. Her work has been selected for Best Small Fictions 2020 and supported by the Vermont Studio Center. She recently completed a novel set on a family farm in Iowa during World War II, when German POWs were brought in to work alongside farmers to mitigate wartime labor shortages. Find her online at emily-everett.com or on Twitter at @public_emily. The Common can be found at thecommononline.org, or followed on Twitter at @commonmag.

WOW: Emily, it’s a pleasure having you join us for our markets newsletter. With your experience as both a writer and managing editor, you have a wealth of experience and insight to share. First, what does a managing editor of a literary journal do?

Emily: Managing editor is a role that differs from magazine to magazine. At The Common, it means I have a hand in most things we do. Twice a year, we put out our print magazine, which is a months-long process that I shepherd from copyeditor to designer to printer. On the editorial side, I’m proofing, working with authors and editors to make sure the final is beautiful and error-free. For the logistical side, I’m arranging author payments, compiling the mailing list, adding the issue to our web store, and working with our interns to arrange marketing.

Beyond the print magazine, we publish three to four new pieces a week on our website, and I facilitate those with authors and section editors and with our interns who publish them, and promote via social media and our weekly newsletters. And I do a million other things—reading fiction submissions, revising pieces with authors, managing Submittable, our volunteer reading team, and running meetings. We have a team of five to six paid interns, and keeping track of assignments and workloads is its own job!

WOW: It sounds like there’s never a dull moment, but that you also love what you do. Tell us about The Common and what makes it unique.

Emily: The Common publishes stories, essays, poems, and art with a modern sense of place. The magazine was founded by our editor-in-chief, Jennifer Acker, and inspired by the traditional role of the town common, a public gathering place for the display and exchange of ideas. We love work that transports the reader to a real or imagined place, where setting factors into every facet of the piece. We publish global work, so a story about a small, claustrophobic hometown might sit right next to an essay about the Thai-Burmese border. We accept prose up to 10,000 words and up to five poems in one submission, and we love works in translation.

Our print magazines often include a portfolio of work from a specific part of the world. Recent issues included stories from Syria and Jordan, work from Puerto Rican writers a year after Hurricane Maria, and poetry from South Africa and China. Our spring issue, out at the end of April, has a portfolio of stories from Sudan, translated from Arabic. The fall issue will feature writing from the Lusosphere—Portugal and its colonial and linguistic diaspora. These portfolios connect diverse writers with readers who might not otherwise find their work.

WOW: A sense of place inspired by the town common. You can just see everyone out on the green, speaking with each other. With two print publications a year and a weekly digital platform, how does it come together?

Emily: All the work we do relies on our incredible interns. We’re based at Amherst College, so our student employees are Amherst undergrads. They have a hand in everything—reading submissions, proofing final versions, publishing work online, marketing, designing promotional materials, updating databases, and compiling data for grant applications. They also research new projects for the magazine and write their own pieces for publication. Working with our students is really a highlight of the job.

WOW: The Common sounds like a true team effort to bring together. The audio section of the website is interesting. Why is that important to a literary magazine, and how are the recordings made?

Emily: We love our audio recordings! Originally these were only our published poems, but recently, we’ve asked our prose writers as well. The author or poet records at home, which is simple with smartphones. We host the audio on our website via SoundCloud. I think the recordings give the piece a second life—once a recording goes up, we share that on social media and in our newsletter, and brand-new readers and listeners discover it. And as a writer, I think it can be valuable to hear how an author intended a line or a sentence to sound. One example is “Wetland,” a poem by Moriel Rothman-Zecher. It comes alive in Moriel’s recording. I love hearing the asides and chants and Yiddish words performed exactly as the poet intended. I recently recorded a short story for the Kenyon Review and was excited to know people would hear the musicality I worked so hard to put into the sentences. It also meant that my wonderful grandmother, who lost her vision, could hear my story read aloud.

WOW: You’re right. Listening to an author read her work does allow for a new level of understanding. What a great use of technology to add depth to the experience! Are you seeing any trends in the submissions you’re receiving?

Emily: There are always strange winds that blow through fiction submissions. Over time, we’ve seen stories and essays about the big moments: death of a parent, breakup of a marriage, estrangement, professional or personal failure, etc. Those run the risk of being too commonplace. But we’ve published several about these topics, if they’re handled with nuance and specificity, or viewed through a certain lens that gives them new power. Danielle Batalion Ola’s essay, “The Idle Talk of Mothers and Daughters,” is a great example.

The lit mag world in general has lately come to accept stories outside the mode of realism, and I couldn’t be happier about it. Some of my favorite stories in The Common are a little out there. Kenan Orhan’s story, “Into Air,” is set in an otherworldly Siberia. Our fall issue has a great ghost story set in artist Donald Judd’s museum in Marfa, Texas, “Ana Mendieta Haunts The Block” by Gabrielle Lucille Fuentes. I also love reading good flash fiction, and I see that more and more in mainstream literary magazines.

WOW: Certain experiences do seem to be universal, but putting a fresh spin or wording can make it feel new. The website mentions the mentorship and education programs. Could you tell us more about those?

Emily: For teachers and students, The Common runs a program called The Common in the Classroom, which offers discounted classroom subscriptions, free resources and lesson plans, and editor or author visits in-person or via Skype. We updated the page with new ideas and free resources to help with remote learning. Introducing students in high school and college to literary magazines is a great way to show them what’s happening in contemporary writing (not just the traditional literary canon), and a great introduction to the literary world beyond book publishing, which many students aren’t aware of at all.

For writers, we offer a ten-week writing program twice a year. Weekly Writes is for beginners and advanced writers—it’s weekly structured writing prompts, along with advice from editors and contributors on process, revision, publishing, etc. It’s all online, so we have participants from around the world. Eight hundred writers have done it with us so far! The prompts are for the kind of work we like to publish in The Common, narratives and poetry specific to certain places—real, remembered, imagined—and each participant submits one piece at the end of the program. We’ve published quite a few pieces from them already! Writers can register via this form to hear when we open registration.

WOW: With everything going on, writers and teachers can all use the support and resources they can get. What is the biggest piece of advice you have for writers wanting to improve their craft and increase their chances of being published in a literary journal, such as The Common?

Emily: In 2019, I was in a fiction workshop led by Justin Torres. We had an incredibly diverse group of writers and stories: historical fiction, future sci-fi, farm life, city life, lyric prose, spare prose, absurdist, and realist—everything. But no matter the story, the criticism came to the same point: clarity. Explain to the reader what’s happening right away, so they can hit the ground running with you, not wander around until they figure it out or give up. There is so much pressure on writers to “show not tell,” and there is wisdom in that advice. When the other editors and myself at The Common edit accepted work for publication, we almost always request edits that clarify and ground the piece.

WOW: Clarity and “show, don’t tell” are simple, but important. What are some automatic nos or pet peeves when it comes to submitted work?

Emily: I think the most important thing about submitting to a literary magazine, beyond the work itself, of course, is being professional. Lit mag editors take their work seriously, and many of them do it for free. Your cover letter, formatting, and attention to detail—all show an editor you take your writing seriously. I know we’re sometimes shy to claim, “I’m a writer.” It feels safer to act like writing is a hobby. But when you submit your work, keep your cover letter short and professional. Just the basics, past publications if you have any, and that’s it. Don’t summarize the piece you’re submitting, or pitch it, or joke around about your day job or your cat who edits everything you write. A piece will always be accepted or rejected based on its merits (not based on the cover letter), but it’s smart to make a good first impression.

Another thing which I wish didn’t have to be said—don’t reply rudely to rejections. Form rejections are a necessary evil that make it possible for editors to read hundreds of submissions. For all you know, that editor admired your story, but it was too similar to something they published last month, so it was a no. And a rude reply is a good way to burn bridges you might need.

WOW: When writing isn’t your full-time income, it can be easy to forget to be professional with each interaction. What else would you like to share with writers who might not have submitted to a literary journal or anywhere yet?

Emily: For new writers, the most common (and crucial) advice is to not send work before its ready. Sit on something for weeks, months; give it time to rest; come to it with new eyes. I’m terrible at this, so I rely on my sisters and friends to give me fresh reads and notes. So much of the writing life is assembling a team to support you. It took me a long time to get that. I’ve heard from a lot of writers without MFA cohorts that this can be a struggle—but I promise, it’ll be worth it!

Rejection is a huge part of the experience of writing. Once or twice a week, a form rejection arrives in your inbox, and it communicates that what you’ve created is not good. Then when you’re writing, that inner critic chimes in. You must surround yourself (online or in-person) with people who can offset that negativity and rejection with positivity. Not just people who’ll pretend they like everything you do, but people who have real enthusiasm and interest for your work.

WOW: Great advice. Sit back and look with new eyes, and don’t let the rejections hold you down. Find a support system who can guide you to your best work. Thank you, Emily, for sharing your insight as a writer and a managing editor, and congratulations on The Common’s ten-year anniversary! That’s a huge milestone, and we’re all celebrating with you.

Writers, now that you have some great tips from Emily Everett’s interview, why not submit your creative work to The Common? Their reading period for stories, essays, and poetry is open now until December 1.

Check out the latest issues of The Common here and submit your best work: www.thecommononline.org/submit

Fiction, nonfiction, and poetry will be considered for print and online publication. For fiction, essays, and translations, the word limit is 10,000 words. Poetry: up to 5 poems. The Common offers a $100 honorarium per story, and $20 per poem.

Dispatches are notes, news, and impressions from around the world. Both prose and verse accepted, but must be nonfiction. Length: up to 800 words. They are accepted year-round and are published online only. $50 honorarium per dispatch.

Read more at www.thecommononline.org.

Established to recognize and encourage excellence in the craft of poetry writing and to provide a platform for publication, Anthology Magazine is now accepting entries for their Anthology Poetry Award. Entries are invited from poets of all nationalities, living anywhere in the world, to submit original and previously unpublished poems on the theme of "Freedom." The winner will receive a €500 cash prize and the chance to see their work published in a future issue of Anthology. Fee: €15.

Established in 1998, in honor of the poet Benjamin Saltman (1927–1999), Red Hen Press is seeking an unpublished original collection of poetry submissions. This year's judge will be Major Jackson, an American poet, and professor at Vanderbilt University. The winner will be awarded 3,000 and publication of the awarded manuscript by Red Hen Press. Submit a minimum of 48 pages up to a maximum of 96 pages. Fee: $25.

For their May 2022 issue, The Stinging Fly will be publishing a special issue dedicated to poetry. Their hope for the issue is that it opens new conversations and dialogues. New avenues and renewed avenues. They looking for poetry that allows multiple readings, poetry that reflects the world back to us in a new way, poetry that treats language like paint, poetry that treats language like language, poetry that reconfigures something in us, or something in the poem. Send up to 3 poems together in a single file. Contributors receive a copy of the issue in which their work is featured and poetry is paid €25 per magazine page, but with a minimum payment of €60 per poem. No fee.

The National Poetry Competition 2021 is now open. It's one of the world’s most prestigious prizes for an unpublished poem of up to 40 lines, open to all poets worldwide aged 18 or over. Up to 10 winners are eligible for cash prizes, including a £5,000 first prize, £2,000 second prize, £1,000 third prize, and £200 for commendations prizes. There is no limit on the number of entries a single entrant can make and all poems must not exceed 40 lines in length Fee: £7; £4 for each subsequent entry.

You may submit up to 5 previously unpublished poems. First Prize: $1,000. Final Judge: Natalie Diaz. Fee: $23.

Editors of Speckled Trout Review welcome submissions of unpublished poetry for it's fall 2021 print issue. Their theme for this issue is childhood memories. We often have a penchant to wax nostalgic about our childhood memories or a desire to idealize them. However, the reality is more measured. We know that we may carry these formative recollections, visceral and vivid, with us throughout our lives, even as we perceive them to be warm and nourishing or perhaps frightening. They want poems that leave the front porch and go beyond the trees. Poets can submit up to 4 poems. No fee.

In our pursuit to recognize today's best poets, we want to celebrate one outstanding piece of poetry. Open to all poets, with a $3,000 award and publication. No more than 3 poems per submission. We're excited as well to reward our 2nd and 3rd place poems, selected by the judges, with $200 / $100 respectively and with publication on Frontier Poetry. The winner and finalists will be announced Spring of 2022. While we primarily serve as a platform for new writers, this prize is meant to support and elevate the poetry community on the whole. Fee: $20.

Philadelphia Stories is seeking submissions for The Sandy Crimmins National Prize for Poetry annual national poetry prize. The first-place winner is awarded a $1,000 cash award, and 3 runners-up will receive a $250 cash award. The Crimmins Prize celebrates risk, innovation, and emotional engagement. They especially encourage poets from underrepresented groups and backgrounds to send their work. Submit one single poem up to three pages in length. Fee: $5.

Submit up to 3 of your best, unpublished poems on any subject to compete for $125 (1st); $75 (2nd); and $50 (3rd). Competition winners will be announced December 14, 2020. Only winning authors will be contacted. However, all entries will be considered for general publication in Streetlight. If your poetry is a good fit for a subsequent issue, we will get in touch to see if it is still available. Fee: $10.

Authors of winning manuscripts (recommended length of 50 – 100 pages) receive a cash award of $1,000, and their collections are subsequently published by the University of Georgia Press under a standard book contract. No more than one poem should appear on a page. The competition is open to writers in English, whether published or unpublished. Previous winners of this award are not eligible to win again. Writers must be residents of North America. Fee: $25.

For their 2021 Flash Fiction Contest, CRAFT is seeking unpublished stories that will be judged by author Robert Lopez, who will be selecting three winning stories. Submit flash fiction stories up to 1,000 words. $1,000 award and a bundle of the Rose Metal Press Field Guides. Authors will also be published in CRAFT, with an introduction by Robert Lopez, and an author’s note (craft essay) to accompany the story and have a micro-interview with their flash fiction section editor, Kristin Tenor. Fee: $20.

Dark Matter Magazine is now accepting fiction submissions for its next issue. They aim to bring you stories that explore the shadow side of reality. Since it’s a sci-fi and horror magazine, for the writers who write traditional horror, they encourage you to think of an engaging way to incorporate science or technology (or science/technology gone wrong) into your existing strengths as a storyteller. Sci-fi horror, cosmic horror, weird fiction, sci-fi thriller, and cyberpunk are some of the more obvious sub-genres to play in, but please feel free to get creative. They pay $0.08 per word and accept submissions between 1,000 and 5,000 words. No fee.

Lost Boys Press is seeking submissions for their 2022 spring anthology under the theme, "Heroes." Their prompt: Write a story using a hero/heroine from any era or culture and the original major plot points from their legends to craft a retelling in an entirely alternate setting. If accepted, contributors will receive $50.00 as a flat fee for their story and receive (3) author copies of the printed anthology after publication. Expected word count is between 3,000 to 9,000 words. No fee.

Established in 2008 by Gil Williamson, Mythaxis is seeking fiction submissions for the next upcoming issue. They welcome writers of any and all backgrounds, be they cultural or personal, and submissions exploring diverse perspectives and experiences, provided they do not seek to attack or demean those of others. If you would like to receive feedback on your story when they respond, please say so and they shall try to provide something constructive to consider. They accept stories between 1,000 and 7,500 words, but generally speaking, the further a story goes beyond 5,000 words the more it will need to impress. Writers will receive $20 on acceptance. Fee: $0.

Never Whistle At Night, edited by Shane Hawk and Ted Van Alst, an anthology exclusive to Indigenous creatives is seeking submissions for its anthology to be published by Penguin Random House in 2023. The anthology will comprise of twenty-one dark fiction short stories and a foreword by Stephen Graham Jones. Approximately seven stories are reserved for lesser-known and up-and-coming authors who will be selected through this open call. They are not restricting authors to a specific theme aside from an adherence to the umbrella term of dark fiction. Selected writers will receive $1,000 and two trade paperback copies. Expected word count is between 2,000 and 5,000 words. No fee.

The FC2 is accepting submissions for its Ronald Sukenick Innovative Fiction Contest. Submissions may include a collection of short stories, one or more novellas, or a novel of any length. FC2 remains dedicated to recruiting new and diverse makers of the images of tomorrow and to forging an ever more representative and provocative collective to challenge and overwrite the brutal conventions of our insufficient now. The prize includes $1,500 and publication by FC2, an imprint of the University of Alabama Press. There is no length requirement. Works that have previously appeared in magazines or in anthologies may be included. Fee: $25

One Story Inc. is an award-winning, 501(c)(3) not-for-profit literary publisher committed to supporting the art form of the short story and the authors who write them. They are looking for stories that leave readers feeling satisfied and are strong enough to stand alone. Stories can be any style and on any subject as long as they are good. They are seeking literary fiction between 3,000 and 8,000 words One Story pays $500 and 25 contributors copies for First Serial North American rights. No fee.

Solarpunk Magazine wants optimistic climate-themed SF. However, the time has never been more urgent for an explosion of utopian stories to light a path forward out of the darkness into which humanity has dug itself. We need more fiction and poetry about amazing technological advancements of the future that work in harmony with nature. We need stories about sustainable communities that thrive on cooperation and mutual aid rather than competition and profit. We need to build utopias with pen and page where capitalism and its social ills such as white supremacy, patriarchy, and massive wealth disparity are things of the past. In short, we need more literature that envisions a better future. With that in mind Solarpunk Magazine will publish short stories and poetry that tell stories of such utopian endeavors, as well as nonfiction that explores various real world, contemporary topics and their intersection with the solarpunk movement.500 - 7,500 words. Pay is $.08/word. No fee.

We are horrifying short stories, interviews and editorials matching the theme as it relates to all mediums of the horror genre including books, comics, music, movies, art and television 1,000 to 10,000 words in length. We also encourage writers to include good representation of POC, LGBTQ+, and women. Pay is $25. No fee.

"We are open to literary fiction on any subject or theme, including experimental forms." Stories may be from 1-50 pages in length, though longer pieces will have a more difficult time finding acceptance than shorter ones. We are always interested in new writers as well as established writers. Fee: $3.

"We are interested in literary, experimental, and mainstream short fiction." Short stories should be 5,000 words or less. Do not submit more than one short story at time. We pay $15 per page with a min of $45 and max of $105. No fee.

The Masters Review is hosting its first Novel Excerpt Contest! They are looking for excerpts that show off a sense of style, with a clear grasp on craft: narrative, character, and plot. Your excerpt can come from any point in your completed or in-progress novels, but a synopsis should not be required for understanding the excerpt. Excerpts must be from previously unpublished novels; if your novel has been self-published, it is ineligible for this contest. The winning excerpt will be awarded $3000 and online publication and an hour-long consultation with Halley Parry, an agent at Drift(less) Literary. Submit an excerpt under 6,000 words. Fee: $20.

Indiana Review is now accepting submissions for its creative nonfiction prize. This year's judge is Anna Qu, a Chinese American Writer, critically acclaimed debut memoir, Made In China: A Memoir of Love and Labor, was published in August 2021. Writers have the chance of winning $1,000 and publication. Submit up to 5,000 words. Fee: $20.

We are looking for true stories about acts of kindness that have happened to you or that you have witnessed firsthand. Stories can be serious or funny or both but they should definitely inspire our readers to look for ways in which they can perform their own kind acts. Pays $200 and ten copies. Limit 1,200 words. No fee.

The Gabriele Rico Challenge for Nonfiction recognizes outstanding works of nonfiction, awarding $1,333 to the author of the winning entry. They are looking for creative nonfiction, such as personal essays or narratives, not scholarly papers or book reviews. All works should be stand-alone essays, not chapters of a longer work. Please limit prose submissions to 5,000 words. Fee: $20.

Managed by graduate students in Binghamton University’s Department of English, Harpur Palate is accepting submissions for its creative nonfiction prize. Developed by former Editor-in-Chief Marissa Schwalm, the prize is awarded annually. All submissions will be considered for publication and all entrants will receive a copy of the issue in which the winning submission appears. The annual winner receives a $500 prize and publication in the following issue of Harpur Palate. Creative non-fiction submissions should be previously unpublished, original work shorter than 5,500 words. Fee: $19.

CAROUSEL (est. 1983) is an exquisitely produced hybrid literary/arts magazine representing new & established artists, with a focus on positioning Canadian talent within an international context. This innovative journal prides itself on presenting work across many genres: if it’s original & engaging, they want to give it a home. They are now accepting poetry and ficion submissions. Accepted contributors will receive an honorarium upon publication. For poets, submit 3-6 six poems to a maximum of 10 pages in a single document. For fiction submissions, submit one story up to 3,500 words. Fee: $2.

Room Magazine invites unpublished writing on any theme for their open issue 45.2, edited by Lue Palmer, alongside Assistant Editor, Micah Killjoy and Shadow Editors, Cassandra Cervi and Ruchika Gothoskar. They are an international feminist magazine and encourage writing and art submitted to them from all over the world. Fiction and creative non-fiction: up to 3500 words. Poetry: up to 5 poems. Pays $50 CAD per page for all genres, to a maximum of $200 CAD. No fee.

Poetry: Joy Harjo Contest. Submit up to 3 poems in 12-point font. Final Judge: Patricia Jabbeh Wesley

Fiction: Rick DeMarinis Short Story Contest. Submit one short story (5,000 word limit/double-spaced) in 12-point font. Final Judge: Jennifer Givhan.

Nonfiction: “One essay or memoir piece (5,000-word limit/double- spaced) in 12-point font. Final Judge: J. Drew Lanham. No author name on any manuscript. No former CUTTHROAT prize-winning author may enter the contest he/or she has previously won. Enter as often as you wish. Multiple submissions okay, but we must be informed immediately of acceptances elsewhere. Finalists considered for publication. First Prize in each genre: $1,500 and publication; Second Prize is $300 and publication; Honorable Mentions receive publication. Fee: $23.

Barzakh is a multi-genre journal with an internationalist stance seeking work that transcends genre. “Barzakh” is a word/concept that names the connecting link, the “between” of something, such as different spheres of existence. They are accepting original art, poetry, and prose submissions for their fall 2021 issue. They want to hear voices hidden and silenced, quiet and yearning, loud and impossible. For prose, including fiction, creative nonfiction, essay and criticism, please submit one single submission with a maximum of 10,000 words. For poetry, submit one single submission of up to five poems. No fee.

New England Review welcomes submissions in fiction, poetry, nonfiction, dramatic writing, and translation in all genres. We publish poetry and fiction in a variety of forms and styles—from the formally adventurous to the startlingly traditional—alongside a range of nonfiction, including personal essays, cultural revaluations, travelogues, and more. Payment for work published in the journal is $20 per page ($50 minimum), plus two copies of the issue in which the work appears and a one-year subscription to the print or e-book edition. For fiction and nonfiction, their word limit is 20,000, although most of what they publish is shorter than 10,000 words. For poetry, send no more than six poems at once. Fee: $3.

For our Spring/Summer 2022 issue, What Now?: The Future We Make, Nimrod International Journal invites poems, short stories, creative nonfiction pieces, and translations on the subject of the future we make. They’re looking for work that examines both micro- and macro-versions of the future: both our futures on an individual, relationship, or family level and our social, national, and worldwide future. Accepted submissions will receive $10/page with a $200 maximum. Fiction and creative nonfiction may be up to 7,500 words; poetry may be up to 7 pages. Fee: $3.

Ninth Letter will be accepting submissions of fiction, nonfiction, and poetry for their web edition. You may submit up to three poems, or one piece of short prose (fiction or nonfiction) of up to 3500 words; you may also submit up to three pieces of flash prose totaling no more than 3500 words. Pay is $25 per poem; $75 per story or essay, plus a 2-year subscription to Ninth Letter. No fee.

The Malahat Review invites entries for its annual Open Season Awards in poetry, short fiction, and creative nonfiction. The contest is open to Canadian and international writers anywhere in the world. The winner in each category will receive a prize of CAD $2,000 and be published in the magazine's spring 2022 issue #218. For poetry, submit up to 3 poems per entry. For short fiction and creative nonfiction, submit up to 1 piece per entry, no more than 2,500 words in length. Fee: $35 for Canadian entries; $45 for international entries.

The Under Review is open for submissions for their winter 2022 issue. They are accepting fiction, poetry, and creative nonfiction with a sports edge, glance, or focus. Fiction and creative nonfiction submissions must be limited to 3,000 words. Poetry submissions must be limited to three poems or fewer. Fee: $3.

Water~Stone Review is accepting fiction, poetry, and creative nonfiction submissions for their next issue. They welcome and encourage diversity in voice and form and believe in honoring the tradition of the literary journal and the work of established writers. They believe in carefully ushering new writers into the world and cultivating considerate editors. Accepted submissions will receive two copies of the issue in which the author's work appears. Fiction and creative nonfiction submissions must be limited to 8,000 words. Poetry submissions must be limited to three poems or fewer. No fee.

Every year, the literary journal So To Speak holds annual contests in the genres that they publish: visual art, fiction, nonfiction, and poetry. Each contest is judged by a renowned writer in that genre. For visual art, poetry, fiction, and nonfiction, the winner will be awarded a $500 prize and publication in the journal. Up to three finalists may also be featured in the journal. Submit up to 3 to 5 of your best poems in a single submission. For fiction and nonfiction, send your best work up to 4,000 words. Fee: $9.

The Writer's Workout is now accepting fiction, prose, or poetry submissions on the theme of, "New Beginnings," and creative nonfiction on the theme of "Guides." With so many varied options for writers around the world, The Writer's Workout wants this literary journal to inspire fresh ideas for pieces new and old with their chosen themes and tributes at the heart. They excited to publish first-time writers, seasoned authors, and everything in between. Submit fiction short stories and creative nonfiction up to 5,000 words or two poems up to 15 lines each, inspired by the particular theme. No fee.

Poetry: Submit up to 3 poems per entry, not to exceed 8 pages.

Prose: Quarterly West has shifted away from the traditional bifurcation of fiction and nonfiction. For this contest, we're interested in fiction, nonfiction, experimentation, hybridity, texts that somehow defy categorization. Send one longer piece of prose or up to three pieces of flash prose (1,000 words or less) per entry. If you'd like to submit more prose pieces, please submit them as a separate entry. Winners and runners-up in both contests receive $500 and $200 respectively and publication; all entries considered for publication. No fee.

Poetry: Submit up to 3 poems. Prose: No more than 5,000 words or 3 prose/poetry pieces per person (total). No fee. https://labyrinth.submittable.com/submit/ 

The annual Carve Magazine Prose & Poetry Contest seeks the best fiction, nonfiction, and poetry from writers all over the world. A guest judge in each genre selects one winner to be awarded a $1,000 cash prize. No limit to number of entries but each entry requires a separate entry fee and submission. One story per fiction submission; one essay per nonfiction submission of up to 10,000 words; one poem per poetry submission of up to 2,000 words. Fee: $17.

“For POETRY, send one poem. We are partial to free verse and are not big fans of traditional forms. We are not seeking rhymed couplets. For PROSE, send 1,000 words or less. This can be one piece or linked micros. We are unlikely to accept action/gore/thriller/slasher genres, and unlikely to accept themes of romance/erotica. REMINDER: Your work MUST contain elements of the natural world.” Claw & Blossom pays $25 USD per acceptance within 10 days of publication. No fee.

Myths are the stories we tell about the world, tell about ourselves, tell about each other. Myths are large enough to hold up the sky, yet small enough to be cradled in a child’s hands. Myths are interlocking circles and endless outward spirals, trees with roots reaching the very heart of the earth. Myths were born in caves, carved into the face of mountains—and now lurk in suburban parking lots, darting away when the lights flicker on. Myths speak in languages we don’t remember yet still understand. Warnings. Celebrations. Promises. Lies. They speak of who we were, who we are, and who we might become—in blooming rings of past, present, and future. But beyond the great floods, heroes raised by wolves, and laughing tricksters is, apparently, a kernel of truth. Do you know? Would you share? Does it matter? Send us the narratives that survived, the poems that endure. The words that came before all other words. Send us the stories that make and unmake us over and over and over again.

Poetry: Submit up to four poems, to a maximum of six pages. Do NOT submit six one-page poems.

Prose: Recommended length for submissions is 4,000 words or less. While we accept prose submissions of up to 25 pages (6,250 words), we must emphasize that it is only exceptional pieces of this length that will receive publication. Pays $30/printed page for prose and $40/printed page for poetry plus two copies of the issue in which work appears. Submit only one piece at a time, unless you are submitting flash fiction or non-fiction (under 1,000 words), in which case you may submit up to three pieces in a single document. Fee: $3 CAD.

This contest explores the porous boundaries between genres. We welcome all hybrid, genre-blurring and experimental work. Flash fiction and nonfiction, prose poetry, and poetry comics all fall in the broad spectrum of possibilities! First Prize $500, Second Prize $300; both include publication in Redivider’s Spring issue alongside a blurb from our judge. Length restrictions: Each entry should contain one piece and should total 1,000 words or fewer. (Entries containing images should total no more than four pages.) Fee: $8. https://redivider.submittable.com/submit/173540/2020-blurred-genre-contest 

We want to understand why. We want reasons. We may not always like the reasons. We may not always understand the reasons. But we still want reasons. Interpret this any way you’d like. We do want to see the word reason or reasons (or explanation or rationale or justification—or some similar word) somewhere in the title or the work. Three winners will be selected from among all entries. 3,000-word limit for one work (only one, please) of fiction or creative nonfiction. One to three poems in an entry. $300 prize for winner in each category. All entries considered for publication. Fee: $8.

Abandon Journal is accepting submissions for their third issue, under the theme of "Abandon Time." They want to showcase writing and artwork that has been created with abandon. That term is free to be interpreted liberally, but ideally, it is the kind of work that takes risks, created in a space wherein the artist doesn’t care what anyone else thinks or what everyone else is doing. They accept flash fiction, short (and longer) stories, creative nonfiction, poetry, artwork, and more. No fee.

The Narrative Magazine fall story contest is open to all fiction and nonfiction writers. They are looking for short shorts, short stories, essays, memoirs, photo essays, graphic stories, all forms of literary nonfiction, and excerpts from longer works of both fiction and nonfiction. First Prize is $2,500, Second Prize is $1,000, Third Prize is $500, and up to ten finalists will receive $100 each. All entries will be considered for publication. Short stories and creative nonfiction can have 2,000 to 15,000 words. Short-short stories can be between 500 to 2,000 words. Fee: $27.

Parhelion welcomes submissions for fiction, poetry, nonfiction, and flash, as well as regular features. They are especially interested in strong voices, compelling stories, and innovative narrative technique. For poetry, send no more than 10 pages of poetry when you submit. Stories and essays should be around 3,000 words or less. Flash should be 1,000 words or less--you may submit up to three flash pieces, but please put them in one document starting each piece on a new page. Fee: $3.

Thin Air Magazine is excited to announce the second annual The Bird in Your Hands Prize: a contest that centers and celebrates BIPOC voices. This is a no-fee contest accepting poetry, fiction, and nonfiction in any form under 500 words. The winner of the contest will be awarded $1000, published in Thin Air Magazine, and interviewed for Thin Air Online. The winner will also be invited to read the winning entry, all expenses paid for, at the Northern Arizona Book Festival held in April 2022. First and second runners up will also be awarded an honorarium. No fee.

Epiphany is a semiannual literary journal and independent nonprofit 501(c)(3) that supports practicing writers at every stage of their careers. They are now accepting poetry, fiction, and creative nonfiction submissions for their fall/winter issue of 2021. During this submissions period, they are offering everyone who sends us work a free digital subscription to Epiphany. Nonfiction and short story contributors will receive a payment of $150 and two copies of the journal. Poetry contributors will receive a payment of $50 per poem and two copies of the journal as well. Submit up to one story or nonfiction piece at a time, and submit up to 5 poems at a time. Fee: $5

WOW! Women on Writing Quarterly Flash Fiction and Creative Nonfiction Contests - Deadlines: November 30 (Fiction) and October 31 (Creative 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. What’s not to love? This season's guest judge is Literary Agent Erin Clyburn with the Jennifer De Chiara Literary Agency. Fee: $10 (Flash Fiction) and $12 (Nonfiction).

Halloween is just around the corner, and whether you plan to send candy through a chute, have a COVID-safe Halloween party, or turn off all the lights and pretend you're not home, it will be a great day to submit to Apex Magazine’s Holiday Horrors Flash Fiction Contest. They are getting in touch with their horrific roots with the theme of Halloween, and want tales of trick-or-treating gone wrong, monsters lurking in the darkness to grab kiddies on their way home or teens who accidentally raise the dead. The deadline is November 15, and it's free for all to enter.

Did you know that November 8th is National Cappuccino Day? While you add that extra dash of cinnamon to your favorite foamy caffeinated brew, consider submitting a sonnet to Better Than Starbucks Sonnet Contest. Your sonnet can be Shakespearean, Petrarchan, Spenserian, rhymed, or slant-rhymed. You have until November 30 to submit your entry and no entry fee is required.

Brittney Morris is a YA author who is proving to be a vital voice in the world of writing with her novels, SLAY, The Cost of Knowing, and Marvel’s Spider-Man: Miles Morales – Wings of Fury. I recently read her award-winning debut SLAY, an incredibly original YA novel in its presentation and story setting, and a coming-of-age drama that offers the timely exploration of community, race, relationship, and identity against the backdrop of teen video gaming. Within its pages, Brittney Morris expertly interweaves aspects of black culture, black history, and iconic figures in a way that preserves, educates, and entertains. No stranger to making her voice count and bringing about change, Brittney Morris is the founder and former president of the Boston University Creative Writing Group. She boldly exclaims what some of us have whispered: black stories are not a single trope. There is great diversity in our experience, background, and personalities. Black stories matter, and there is not just one theme, setting, or way to tell them.

It’s no surprise that someone who loves storytelling and has the courage to write from the heart would be successful. It is remarkable that such detail, raw emotion, creativity, and ingenuity could be relayed from inspiration to paper with a first draft! SLAY is that story of Kiera, a black female, teenage game developer who is coming to terms with the two worlds that she must exist in—one Black, one White—and developing the strength to be uniquely herself amidst both.

Beginning its journey as an entry in Pit Mad (#PitMad is a Twitter pitch event), SLAY had the luxury of receiving several offers of representation prior to Brittney signing with her current agency, the Nelson Literary Agency, and represented by Quressa Robinson. An enviable position for any writer to be in, and it led me to want to find out more about this former economics major whose work has been hailed as Publisher’s Weekly Most Anticipated Children & YA Novel for 2019, Barnes & Noble’s Most Anticipated Debut YA for 2019, and People Magazine’s Best Book Winner of Fall 2019, amongst many other accolades.

Brittney graciously agreed to speak with me amidst her new and busy writing schedule. I wanted to first of all congratulate her on the accolades for SLAY and the spectacular feat, in my opinion, of writing a novel that is original, timely, and told from a perspective and tense not often attempted successfully by writers. I very much enjoyed our conversation and see how this Boston University alumni and economics major became the next big name in publishing.

WOW: Hi Brittney. Thank you so much for agreeing to speak with me on behalf of WOW! Women on Writing. I want to jump right in and tell you how excited I am about your book. It’s garnered quite a few notable awards and mentions! I had to pick up my own copy, and I’m so excited about one of the first things I noticed. It’s written in present tense, first person point of view. I’ve rarely seen that executed successfully. Was this a conscious choice, and if so, how did you perfect that writing skill?

Brittney: Present tense, first person POV has always been the easiest format with which to convey a sense of immediate action. Since SLAY is packed full of high-stakes duels and tense situations, it seemed only fitting. It’s actually the first book I’ve written in present tense, first person, but I think reading books in that format helped me prepare to write in that format.

WOW: Definitely. Reading the works of others is a writing lesson in itself and one that should be a staple of every writer’s practice. Not only do we pick up style but inspiration. I hear inspiration played a part in your conceiving the idea for SLAY. It’s quite an original concept for me, as it tells the story of a black female teen lead who is a game developer coming of age, grappling with the expectations of existing in two worlds and dealing with the social responsibility and emotional toll than can come when one has an expressed idea that goes against the society ascribed trope regarding one’s gender or culture. How did you come up with the storyline for your character?

Brittney: I came up with the concept first—the concept of a virtual Wakanda (the fictional setting for the movie Black Panther) that I could visit whenever I wanted to feel like I was back in the theater on opening night of the movie. I’ve played or seen gameplay of thousands of video games, many of which are in the indie scene and very focused on social issues; so tackling the complex issue of racism through the vision of a game developer seemed natural.

WOW: Quite an epic movie, I agree. It’s wonderful how you held on to that inspiration and combined it with your knowledge of gaming. It also intrigues me because there is a lag time between inspiration and final draft. In fact, sometimes the story isn’t even completed because the writer gives into doubt. We wonder if we have enough or are a good enough writer to bring the full idea to life. How did you maintain inspiration and motivation during the writing process without giving into that doubt?

Brittney: My answer to avoiding doubt is to outrun it. It’s why I’m a fast drafter. If I can get a first draft out fast enough, I don’t have time to overthink it or lose inspiration. In moments where I’ve lost motivation to continue writing, I usually take a break and go read something—anything. It usually gets me out of whatever funk I’m in.

WOW: Great advice and a wonderful challenge for writers—set a deadline and one within a short time frame. It leads me to my next question. Was the manuscript for SLAY your first effort towards a completed novel or published work?

Brittney: Not quite. My first effort towards a completed novel was in the fourth grade. SLAY was my second attempt to get something published. The first was a dystopian trilogy starring a seventeen-year-old girl caught in a love triangle, up against a totalitarian government with a battle Royale element thrown in for good measure; because back then I read so little, I hadn’t even heard of The Hunger Games! (This is why we read!)

WOW: Reading and experiencing life seem to inspire your writing. Once you had the idea for SLAY, what was your writing routine? Is it something you had time to do on a full-time basis? If not, please share the tips you found helpful towards completing the novel?

Brittney: Great question! This year has been back-to-back writing projects with zero letup, which isn’t how I usually like to work. My natural writing rhythm is to write a book in about a month, and then take several months in-between to read and recover from my breakneck drafting pace. If I tried to write every day all the time, I’d burn out.

WOW: That’s understandable, but the short time frame of four to five weeks is certainly not discernible with the level of detail, style of writing, layout, and formatting of SLAY. One thing I noticed is SLAY’s layout is impeccable. From the font chosen to the formatting used for the texting dialogs, it reads and is easily translatable to a script format or visual novel. Was that a conscious style and formatting choice on your part? If so, why that choice for this novel?

Brittney: Thank you! But I can’t take credit for that. The teams at Simon & Schuster came up with that all on their own. They’re brilliant!

WOW: They have such a rich tradition and history of great literature. Nice to have a creative team like Simon & Schuster on your side! Much of the credit goes to you as well. Your writing is descriptive, detailed, and very accurate regarding cultural icons, societal themes, and even places. Did you rely on research when writing about places like France where one of the main characters (Cicada) resides, or did you write based on firsthand experience?

Brittney: Thank you! While I went to school in Boston where Professor Abbott lives, and I’ve been to Beijing where Maurice Belrose lives, I did rely on research to write about France and Italy where much of Cicada’s chapters take place. As I was writing those scenes, I opened up Google street view and moved through different areas, where I envisioned she might live and just took it all in as a virtual tourist. I’m glad it came through well!

WOW: It did. I’ve used that technique as well, and it’s nice to see how believable it can be for the reader. How did you develop your writing skills, being that you were an economics major, and how do you continue to fine tune your creative writing skills?

Brittney: I’ve been telling stories ever since I learned how to draw. Practicing for years and years certainly helps, but my writing skills didn’t truly take off until I jumped back into reading a few years ago. Reading nothing but economics textbooks for four years in college left me jaded about reading altogether. I was determined to never pick up another book once I graduated. But I didn’t realize just how much I could learn about writing from reading.

WOW: You mentioned drawing which may be key to how your writing comes across as very visual. In terms of the manuscript, when did you know that you had something special and had reached the final draft or agent query ready draft of SLAY?

Brittney: I queried with my first draft. Every querying how-to out there will tell you not to do that, but I was rushing to enter Pit Mad, so I broke the querying rules. I advise those who can take their time to take their time. You’ll never really know if a draft you’ve written is “ready” enough to get a yes, but you can always get feedback from beta readers who won’t mince words with you. Don’t be afraid to go back to the revision board if you need to! Agents aren’t going anywhere.

WOW: Thank you for saying that. It will give many of us more courage. I read you had several offers by the time that you were being considered by your current agent. That’s a great place to be as a writer! What was your criteria for choosing an agent?

Brittney: I was incredibly lucky to have several offers. I had several criteria I was looking for. First, I wanted someone who would honor my voice and the spirit of SLAY and wouldn’t try to soften the tone I was going for with Kiera’s story. I wanted an agent who brought their professional perspective and thoughtful edits but still allowed me to be the cultural expert. I was lucky enough to land an agent whose culture is extremely similar to mine (in that she’s also Black and also not about to soften any tone!). She got the book like nobody else did; so once we had our call, that was it. I’d made my decision.

WOW: You were very fortunate but also had the talent to back up the offers you received. Did you consider self-publishing at some point?

Brittney: I think I was up to around two hundred agent rejections by the time I landed my agent, so I’d considered it a few times. But every time I thought about it, I kept coming back to the idea that it would be unfortunate to self-publish because I felt that I had no choice. Self-publishing is a great option for so many writers, but I had a strong desire to hand marketing/promo/distribution/cover design, etc. over to a publishing house and let me focus on the writing. I was willing to wait to be able to do that.

WOW: Two hundred rejections? Wow! I’m glad you persevered. It’s also great that you had your goals in mind and chose the path that would help you achieve that! What have you learned most from working with an agent and a traditional publisher?

Brittney: It feels like it’s been so long since I signed with my agent that it’s easy to forget what I didn’t know; but if there’s one thing I’m learning and re-learning every day, it’s to have patience with myself, with the process, and with publishing in general. Everything can take so long—even to be able to announce projects! But I have to keep with the paraphrased mantra that nature takes its time, and yet, everything is accomplished. And so, must I.

WOW: I applaud your exploration of what some writers may shy away from: race, cultural, and societal issues that impact our world and our youth. What advice would you give another writer in developing the courage to maintain and use their own voice?

Brittney: Thank you! My advice would be this: As afraid as you may be to speak your truth, for fear of trolls or rejection or imposter syndrome, there is a whole world out there waiting to receive what you have to say. There is a family for you out there with people who have similar experiences and have been waiting for someone to come out and say what they’ve been wanting to say for years. You just have to take the plunge.

WOW: Last question. Who are some of your favorite writers, and how have they influenced your work?

Brittney: Angie Thomas, N.K. Jemisin, and Nic Stone immediately come to mind. I fell back in love with reading after I picked up The Hate U Give. I realized I am capable of reading fast if it’s a book I’m in love with, like Dear Martin. And I learned so much about writing Black characters in sci-fi unapologetically in the Broken Earth trilogy. These three queens are my role models.

WOW: Thanks for that reading list and for your time, Brittney. I wish you well in continuing to SLAY!

There’s no doubt Brittney Morris will continue to succeed and challenge our thinking about the ways we exist in the world and interact with each other. Her formula for success came from being inspired by the work of others and her own love of storytelling coupled with a goal to finish her draft in a month in order to enter the pitch wars. With boldness and unapologetic truth, she’s afforded many the example of courage to write with passion and purpose. Why not challenge yourself the next Pit Mad/NaNoWriMo season? “Snail to Sprint: How to Write Your First Draft in Four Weeks” by Michelle Rene featured in WOW! Women on Writing is a great starting point for tips. Just remember to shower, eat, and come up for air in the process! With a manuscript in hand and courage to try, you’ll be better prepared for the opportunity to succeed.

Plantsers Unite! WOW!’s Latest Success Stories and NaNoWriMo Participants

Hello all you, plantsers! If that’s a new word to you, then you can join the club—last year, it was new to me, and I only learned about it thanks to this most wonderful time of the year. No, not the holidays—NaNoWriMo. A plantser is a writer who is a cross between a planner and a pantser—a little bit of planning and a little bit of winging it. When you read about the NaNoWriMo participants below and the amazing stories and creative nonfiction that will be coming from our WOW! community as a result, you can also check out how many of us are plantsers. It’s true, right? The characters often take over the story no matter what plans you had for them in the beginning…(That’s the plot for a horror movie for sure, as we are on the cusp of Halloween!)

But first, before you read the wonderful plans of our NaNoWriMo participants, please check out the few success stories that were shared with us this month. Jo Skinner emailed me her success story (which is amazing—if you aren’t familiar with the magazine she is published in, check out the link!), and she also included some words of inspiration in her email, which I think we can all feel motivated by. So I included them below. Plus we have people killing it with getting their work out there into the world and published. If you have a success story, please email me! Please use both of my emails to ensure the spam filter does not block you: margolynndill@gmail.com and margo@wow-womenonwriting.com, put Success Story in the subject line, and let us know what you’ve been up to. Also, we don’t judge success here at WOW! If you have reached any goal in your writing, we consider that a success. We are here to celebrate the big and little wins, and we love hearing from you, whether you are a blog reader, social media member, student of classes, contest winner or enterer—email me!

And finally, I have a bit of good news to share myself. I’m thrilled to be featured in a local online magazine in St. Louis called Voyage STL. I’m in the “Hidden Gems” section, and I was interviewed after one of my fellow St. Louis writers nominated me. Here’s the link if you want to check it out. The interview is about how I did not quit writing and publishing, editing and teaching, in spite of having a preemie (who turned 11 on October 26!) and a divorce. And actually in the next two weeks, I’m getting ready to quit my full-time “day” job where I edit for an ag media company, and I’ll be working full-time at writing, editing, and publishing and part-time at Starbucks for benefits (and some socialization!). All of this officially starts on November 6, and it’s been difficult juggling everything since July to get ready for this moment. But I can’t wait. Okay, enough of this…let’s get on to you all!

Jo Skinner wrote, “I recently sent my essay, ‘A Touch of Humanity,’ to the essay competition at WOW and was thrilled to be long listed. I had also sent the essay to The Big Issue, and a few days before being listed, I was advised my piece would be published in the October edition which is now available. Below is the link. As a result, I had to withdraw from the WOW essay comp.

“I was advised last year to work on getting a writing CV together, so I took a week off in March and spend nine days (two weekends and five working days) polishing up all my short and flash fiction stories, working on some essays and starting a spreadsheet of wins, publications and rejections. Since then, I regularly add to this and by sending out lots and lots of work all the time. It has been a thrill that despite plenty of rejections, some of my pieces are being long listed, short listed, winning and being published. Hopefully, I will now build up the courage to find an agent and try to get one of my novels published. The rejections are definitely getting easier. I have learnt to shrug them off, polish my pieces more and send them elsewhere.

“One of the things I have found particularly helpful is the feedback at WOW. I always pay for a critique when one is available and when I read through it carefully, it always improves my story or essay. Sometimes even a minor tweak makes a big difference and I then send the piece off again. There is always something to learn, ways to improve.”

@annkkelly wrote, “I had an essay recently appear in a journal with a memorable name: Dorothy Parker’s Ashes.” https://www.dorothyparkersashes.com/current-issue/the-dread-of-a-shred

@25jumpingjacks wrote, “One of my short stories won 1st place in the 2021 SouthWest Writers contest and was published in their anthology!”

@christina_rauh_fishburne wrote, “My next Bronte book collaboration with The Crow Emporium is nearly ready! I illustrated it and wrote the introduction. 😍 And my brother’s newest album, half of the tracks inspired by my novel in progress, is released into the wild next week!”

@earthspiritphotography wrote, “I’ve been submitting my poetry only to receive rejection after rejection. Since my poetry is on the depressing side, I thought to look for ‘sad poetry contests.’ I received an email back from @sadgirlsclublit saying my poem did not win their contest but they enjoyed it so much, they wanted to publish on their site anyway. To me that was a win. To have my work be recognized and appreciated means the world to me.”

We asked:

Amy Carroll Bennett wrote:

1. I'm a bit of both, so...a plantser?

2. An angel goes AWOL and sets himself up on Earth as a holistic healer, much to the chagrin of the (very scientific) town doctor.

Sharon Woods Gerger wrote:

1. Pantser

2. A widowed, newly retired lady with no handyman skills decides to renovate her house herself and put it all on YouTube. Or maybe a blog. See, pantser.

Instagram 

@Christyflutterby wrote: “I am. It's my 4th time, and I'm not sure I'll be able to do it this time. I'm a plantser. I'm working on a collection of short stories about things people keep in jars and am always open to ideas/suggestions.”

@by_maria_simbra wrote, “I did it last year ‘unofficially.’ The end of November came, and I was only half done. I finished the book with 47K by the end of December. It took a lot out of me. I don’t think I can do it this year. It was a good experience, though. Having a writing group to keep me on task helped a lot.”

@shes_so_phierce wrote, “Plantser! I'm writing a murder mystery set around a whisky distillery in Bonnie Scotland!”

@justsherring wrote, “My second time participating. Last year was my first. I'm a pantser with a dash of planner writing a humorous memoir-in-essays.”

@Spunkyjellyfish wrote, “Plantser! I'm writing a mystery set in a forest in Northern Idaho which is the third book in my series.”

@authorkristabeucler wrote, “Planster. I try to plan but end up just winging it. My story may include, among other things: a crew team that finds a dead body, a devastatingly handsome young man, a woman who is in fact not dead, and some morticians who may have other objectives apart from preparing bodies for funerals.”

@taramaherauthor wrote, “I’m a first-timer diving in with women’s fiction.”

@lisarimmy wrote, “I’m a plotter. I’m writing a memoir about caring for and losing my senior dog, Dakota.”

@sdhpoetryphotography wrote, “Pantser. I don't have an outline, but I do have the whole story in my head. The book I am writing has a little romance, a few ghosts and there will be an old house.”

@Meghiltauthor wrote, “Normally pantser, but this year I’m plantsing as I’m trying to finish my novel (I’m a rebel too!). I’m writing a fantasy set in a special bar in London.”

@hayleyreesechow wrote, “I'm in this year! Aiming to get to 50K words in my new monsterific YA paranormal: think Buffy the Vampire Slayer x Veronica Mars. No one believes 16yo Rosemary ‘Ro’ Morgan when she tells them something crawled out of the shadows and snatched her Aunt off the street, so she resolves to track down the creature herself. Her first clue: the annoyingly cute new guy that seems to always be in the wrong place at the right time.”

Welcome back! We hope this issue has provided you with plenty of inspiration to get your pen moving. If you’re taking the NaNoWriMo challenge this year, feel free to send me a buddy request. My pen name is Andrea Mackall.

Many writers focus on word count during NaNo with the goal of 1,667 words per day. The first year I participated, I stressed and made sure I met the word count, but after a couple of NaNo seasons, I realized it’s the practice of sitting down, committing to the page, and ignoring distractions that I appreciate most. Pulitzer Prize finalist, Karen Russell, has a similar practice:

“I know many writers who try to hit a set word count every day, but for me, time spent inside a fictional world tends to be a better measure of a productive writing day. I think I’m fairly generative as a writer; I can produce a lot of words, but volume is not the best metric for me. It’s more a question of: did I write for four or five hours of focused time, when I did not leave my desk, didn’t find some distraction to take me out of the world of the story? Was I able to stay put and commit to putting words down on the page, without deciding mid-sentence that it’s more important to check my email, or ‘research’ some question online, or clean out the science fair projects in the back for my freezer?

“I’ve decided that the trick is just to keep after it for several hours, regardless of your own vacillating assessment of how the writing is going. Showing up and staying present is a good writing day.

“I think it’s bad so much of the time. The periods where writing feels effortless and intuitive are, for me, as I keep lamenting, rare. But I think that’s probably the common ratio of joy to despair for most writers, and I definitely think that if you can make peace with the fact that you will likely have to throw out 90 percent of your first draft, then you can relax and even almost enjoy ‘writing badly.’”

Writing badly, that is the key to NaNoWriMo!

• Aaron Sorkin acted out dialogue as he wrote it.

• Mark Twain, Truman Capote, Eudora Welty, and others wrote lying down.

• Virginia Woolf, Ernest Hemingway, Lewis Carroll, and others wrote standing up.

• Virginia Woolf, Joyce Carol Oates, Henry Thoreau, both Dorothy and William Wordsworth, and other writers used walking to get their writing moving.

• Ernest Hemingway also sharpened twenty pencils every morning.

• Honoré de Balzac wore a dressing gown that looked like a monk’s robe.

• Friedrich Schiller kept rotten apples in his desk drawer and needed the smell to write.

• Ernest Hemingway, Victor Hugo, and others wrote in the nude.

• John Steinbeck wrote to his editor every day as a warm up before working on East of Eden, confining the letters to the left-hand pages and the novel to the right-hand pages of the same journal.

• Charles Dickens and Steven Pressfield arrange(d) objects on their desks before launching the day’s work.

• Steven Pressfield’s ritual also includes lucky clothes, Homer, and a toy cannon.

• Sidonie-Gabrielle Colette picked fleas off one of her twelve cats.

• Alexandre Dumas used different colors of paper and different pens for different kinds of writing, and Saul Bellow used one typewriter for fiction and another for essays and criticism.

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