Ruby Creatives In Residence Program
The Ruby
DEADLINE: July 8, 2025
INFO: The Ruby is a collective of creative women, trans women, femmes, and nonbinary people that values empathy and education. Our Creatives in Residence (CIR) program supports QT BIPOC Bay Area creatives with 10 fully-funded year-long memberships.
Our Creatives in Residence Program is designed to offer creatives the opportunity to immerse themselves in a supportive environment and create new work while interacting with the Ruby community. Our program is open to creatives working in all disciplines, including visual arts, music, literature, performing arts, journalism, and more. In addition, we welcome applications from arts educators, oral historians, cultural workers, food and drink-based artisans, community organizers, and other changemakers.
As a Creative in Residence, you will have access to our community workspace and resources from September 15, 2025 - September 15, 2026. You will also have the opportunity to engage with Ruby community members through workshops, readings, community meals, and other events.
The program is open to both emerging and established creatives.
GENERAL CREATIVES IN RESIDENCE PROGRAM:
We are excited to offer 5 CIR opportunities to LGBTQ+ and/or BIPOC individuals who would not otherwise be able to afford a Ruby membership. These are year-long Full Ruby memberships that will span a year, from September 15, 2025 - September 15, 2026.
SPECIALIZED CRATIVES IN RESIDENCE OPPORTUNITIES:
We also have several specialized creatives in residence opportunities available for those with financial need who would benefit from a Ruby membership. These are also year-long Ruby memberships spanning from September 15, 2025 - September 15, 2026.
The Dorothea Gertrude Flynn CIR Opportunity will be given to a recipient who was the first in their family to enroll in higher education. Dorothea Gertrude Flynn was born in 1917. She had planned to attend Barnard College (Columbia did not accept women at the time) and dreamed of a becoming a writer—specifically, a journalist. After her mother died in childbirth and her father subsequently lost everything in the Depression, she was no longer able to afford college, and never attended. She was always a passionate advocate for education for women, and would have been thrilled by the community of writers and creatives here at the Ruby. This is a full, one-year membership to The Ruby.
The Leonore Peyser Davis CIR Opportunity will be given to a musician or music writer with financial need. Leonore Peyser Davis was a devotee of all the arts, and music, especially opera, which was something she adored. This CIR opportunity celebrates her passion for music and is dedicated to cultivating emerging voices in the field. This is a full, one-year membership to The Ruby.The Rachel Khong CIR Opportunity will be given to a LGBTQ+ and/or POC fiction writer with financial need working on their first novel. Rachel Khong is a San Francisco-based writer and the founder of The Ruby. Rachel worked tirelessly to provide a collaborative, safe space for women and non-binary people to pursue their goals and creative work in community with others. This CIR will join the Ruby for a year as a full member and as a welcome contributor to the mutually affirming community that Rachel built.
The So-Youn Kim CIR Opportunity will be given to an emerging Bay Area LGBTQ+ and/or POC writer tackling topics relating to social justice. So-Youn Kim was a writer and activist, tackled the injustices she saw all around her. She was passionate about advocating for women and girls, the LGBTQ+ community, and people of color. She loved deeply and recklessly, leaving a lasting impression on anyone who met her. A San Francisco native, she died at the age of 23 in 2009, while serving with the Peace Corps in Morocco. The So-Youn Kim Creative in Residence opportunity celebrates her life and creativity. In addition to a year-long community membership at the Ruby, the CIR will be able to contribute to a chapbook, housed in the Ruby library, that includes writings from So-Youn and prior So-Youn Kim Creatives in Residence.
The Tillie Olson CIR Opportunity will be given to a creative over the age of fifty with financial need. Tillie Olson was a Bay Area-based writer and labor organizer who stopped writing for thirty years because of financial issues before publishing her seminal work, Silences, at 66. Her interest in long-neglected women authors inspired the development of academic programs in women’s studies. This is a full, one-year membership to The Ruby.
CREATIVES IN RESIDENCE VALUES:
The Ruby Creatives in Residence program extends and expands on The Ruby’s values for collective support and collaboration for artists and creatives. In applying to this program, we expect alignment with the below values:
Collective Support and Care: Creatives in residence, as all Ruby members, are expected to contribute time and care to the Ruby. Each member is expected to contribute approximately 3 hours monthly to the community. This may include organizing opportunities for members to gather, staffing the front desk, supporting an event, or mentoring and supporting other members of the collective.
Dedication to work: Creatives in residence are expected to use the provided communal space for working and showcasing on their art and creative projects.
Respect for the community: Creatives in residence are expected to conduct themselves in a respectful manner towards other community members. They should treat the space and resources with care and be mindful of the impact their work may have on the community.
Active participation: As the crux of our work is collective support and community empowerment, creatives in residence are expected to participate actively in workshops, exhibitions, events, and, like all members of our community, contribute time in support of community stewardship of our space.
Overall, artists in residence of a creative collective are expected to be collaborative, dedicated, respectful, and active. In exchange, they will have access to a supportive and inspiring environment to create new work, develop their skills, and build connections with other creatives.
APPLICATION SEASON: We are seeking applicants who will regularly use The Ruby as a work space, who might make meaningful progress on their projects during the course of this year, share in our collective values, and who are in financial need. Creatives in residence, as all Ruby members, are expected to contribute time and care to the Ruby. Each member is expected to contribute approximately 3 hours monthly to the community. This may include organizing opportunities for members to gather, staffing the front desk, supporting an event, or mentoring and supporting other members of the collective.
therubysf.com/creativesinresidence
_____
call for submissions - Imagined Histories: A Folio for The Margins
The Margins (Asian American Writers Workshop)
DEADLINE: July 15, 2025 by 11:59pm EST
INFO: “Who are you and whom do you love?” asks Bhanu Kapil in The Vertical Interrogation of Strangers. In this polyvocal collection, Kapil weaves personal and imagined histories into a tapestry of women’s postcolonial experience, moving back and forth between South Asia and the diaspora. Abstraction, collage, docupoetics, and the prose poem are just some of the formal devices that allow for this movement.
As two authors engaging with intergenerational storytelling, personal archives, and memory, we are interested in expanding how we write about our own lineages, using imagination to look backward—writing into the gaps that history, or silence, has left behind—and forward, into the future as a place that is informed by a reimagined history.
To write about who we are and the people that we love, we must observe, learn, and glean what we can from the intimacies of our relationships—and navigate what goes unsaid. Can you write around a secret without giving it away? Or does writing the secret set you, or the ones you love, free? What happens when you, as Megan compels us in “Earth-Like,” “imagine you could begin again”? What is it like to, as Kiran directs in “How to take root,” “imagine a nonlinear lineage”?
We invite you to submit to “Imagined Histories,” a new folio to be published in The Margins in late 2025. We want your best poems (ghazals, free verse, sonnets, prose poems, hybrid forms, all styles welcome) or visual art (think photo essays, maps, collages, drawings). Experimental and hybrid works are welcome as are traditional forms. Our mission to catalog our collected visions, confessions, and dreaming.
For reference, we are looking for new work in the tradition of:
Bhanu Kapil: The Vertical Interrogation of Strangers, Schizophrene, Incubation: A Space for Monsters
Claudia Rankine: Citizen: An American Lyric
Emily Jungmin Yoon: A Cruelty Special to Our Species
Marwa Helal: Invasive species
Mei-Mei Berssenbrugge: Hello, the Roses
Hala Alyan: The Twenty-Ninth Year
Victoria Chang: Obit
Morgan Parker: Magical Negro, There Are More Beautiful Things Than Beyonce
Divya Victor: Curb, Kith
You can only submit to ONE open call at AAWW at a time. If you have already submitted to Poetry Tuesday this year, you can NOT also submit to this call.
GUIDELINES:
Cover Letter: Your cover letter should include a biography of up to 60 words and a description up to 150 words on why you chose your particular engagement with Lineages.
Poetry: Submit any number of poems totaling no more than six pages. Each poem must start on a new page.
Art/graphic work: Please submit up to six pages of work with enough detail that we can read the text in JPG, GIF, PNG, or PDF files.
If you are submitting translations, please acquire translation and publication permission from the author and/or press prior to submission. Please submit both the original piece and the translation.
Please use a standard serif (e.g., Constantia, Garamond, Times New Roman) or sans-serif font (e.g., Arial, Calibri) in font size no smaller than 12, unless there is a specific formal and visual reason to do otherwise.
We prefer submissions in the .docx form but also accept PDFs.
We allow simultaneous submissions. If a part of your submitted manuscript has been accepted elsewhere, please send a message with the unavailable title(s) on Submittable. If your entire manuscript becomes unavailable, please withdraw the submission.
Writers can expect a reply within three to four months after the submission period closes.
We pay all writers and translators. Please refer to our rate sheet for details.
_____
BOLT CUTTERS COHORT
Unicorn Authors Club
DEADLINE: July 15, 2025
INFO: Bolt Cutters Cohort is a six-week program for authors who have been incarcerated, jailed, or detained by ICE
Authors who have served time inside prisons, jails, and immigration detention centers have vital stories to share. If you’re a system-impacted writer, the Bolt Cutters Cohort is here to support you to further your writing project. This program is fully funded for all accepted participants.
The program will run from September 15 to October 31, 2025.
WHAT’S INCLUDED:
I - Interactive Cohort Gatherings
Learn from writers who share expertise, offer generative writing prompts, discuss assigned readings, and answer your questions.
Tuesday, September 16, Tuesday, October 7, and Tuesday, October 28, 5-6:30 pm Pacific.
II - Café Unicorn
Write your book in facilitated co-writing sessions, with supportive prompts and check-in circles.
Friday, September 26 and Friday, October 17, 12-1:30 pm Pacific.
III - Solve Your Story Group Coaching
Brainstorm with peers and a coach to get real-time help with your book’s problems.
Thursday, October 9, 5-6 pm Pacific.
IV - Private Unicorn Clubhouse
Chat with other cohort members online and use our curated toolkit of resources for every stage of the writing process.
Available 24/7.
ELIGIBILITY: We invite applications from people who have been held in an immigration detention center or incarcerated/jailed in the United States prison industrial complex in the past. (This program is not set up to be accessible to currently incarcerated folks.)
All genders are welcome. Strong priority will be given to applicants who are Black, Indigenous, Latine, or a person of color; or white allies with a track record of racial justice work.
The cohort supports works of fiction, nonfiction, memoir, poetry, and graphic storytelling. This can include, but is not limited to, projects about your experience of the carceral system; stories of communities establishing and using power through organizing and activism; and works of imagination that help diversify the literary world.
You are welcome to work on books; shorter pieces such as a chapter, autobiographical statement, article, essay, op-ed, short story, artist bio, or artist statement; or just establishing a daily word count.
WHAT YOU WILL NEED:
This is an intensive program, and we seek writers who can commit to all parts of it. Please review the list below and make sure this program is a good fit for you:
Commitment to attend all cohort gatherings (see schedule above).
Capacity to dedicate a minimum of 4 hours per week to your writing project.
Access to stable internet, a place where you are able to work, and a computer.
Ability to use Zoom, respond promptly to cohort emails, navigate an online forum, and ask for tech assistance if you need it.
Commitment to complete evaluation surveys about the program at the end.
All sessions are live online via Zoom and include auto-captioning. For security purposes, Bolt Cutters Cohort sessions will not be available via recording. We are committed to maintaining the privacy of all applicants and members. If your carceral record or immigration status involves special considerations, please let us know, and we will work with you to build a safe environment where you can create your narrative without fear of repercussions, up to and including maintaining anonymity.
Please reach out to boltcutters@unicornauthors.club for any safety or accessibility concerns.
unicornauthors.club/bolt-cutters/
_____
KYOTO RETREAT
DEADLINE: July 15, 2025
APPLICATION FEE: $95
INFO: The Kyoto Retreat is a new program created by Japan-based, independent curator Dexter Wimberly. The Kyoto Retreat offers artists, curators, and writers, based anywhere in the world, an opportunity to spend four weeks in Kyoto, Japan, for research, exploration, and inspiration. If selected for the retreat, you will receive a roundtrip flight, a private bedroom, and $800 USD to supplement meals and local transportation.
We select artists, curators, and writers at all career stages, working in drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, interdisciplinary, and social practice. Individuals must be over 21 years old to apply.
The inaugural Kyoto Retreat will take place from October 16 - November 13, 2025. Individuals selected for the retreat will be notified by August 15, 2025.
A 4-WEEK EXPERIENCE:
We select artists, curators, and writers at all career stages, working in drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, interdisciplinary, and social practice. Individuals must be over 21 years old to apply. Our application requires you to submit a CV or resume, a brief statement about your creative interests and a description of how you anticipate using the time if selected for The Kyoto Retreat. You can also provide up to 10 work samples.
For artists, Kyoto's temples and shrines, such as the golden splendor of Kinkaku-ji and the serene rock gardens of Ryoan-ji, provide a gateway into traditional Japanese aesthetics. The interplay of light and shadow in these sacred spaces, alongside the intricate details of wooden architecture and ornate carvings, can ignite a profound creative spark.
Curators will find Kyoto's preservation of heritage arts—like tea ceremonies, ikebana (flower arranging), and Noh theater—a living museum that transcends time. The city's numerous galleries and artisan workshops showcase both classical crafts and contemporary art, offering a unique opportunity to explore the evolution of Japanese artistry.
For writers, Kyoto's tranquil gardens and winding cobblestone streets evoke narratives waiting to be penned. The changing hues of autumn during October and November paint the city in vibrant reds and golds, providing a stunning backdrop for contemplation and storytelling. Walking through the bamboo groves of Arashiyama or along the philosopher's path can stir reflections on nature, philosophy, and the human experience.
_____
2026 artist residency
Marble House Project
DEADLINE: July 15, 2025
INFO: Marble House Project is a multidisciplinary artist residency program that fosters collaboration and the exchange of ideas, by providing an environment for artists across disciplines to live and work together. The residency is dedicated to ecological principles and integrates sustainable practices, including small-scale organic food production and waste conservation. Residents sustain their growth by engaging with the grounds while working on their artistic practice. Marble House Project is founded on the belief that the act of creating, whether in the studio or in nature, is how human potential expands and community thrives.
Marble House Project accepts approximately 60 residents and is open to artists living in the United States and abroad. You must be at least 21 years old. Each session accommodates eight artists and is specifically curated to bring together a diverse group of creative workers, to maximize potential for collaboration and dialogue while in residence and beyond.
RESIDENCY DATES FOR 2026:
April 21 - May 12
May 19 - June 9
June 30 - July 14 (ecology residency)
September 29 - October 20
ABOUT:
All residents live together in the historic, eight-bedroom Manley-Lefevre house, a communal space organized around responsibilities-sharing systems which highlight sustainability and community. The residency is an opportunity to develop and carry out practices of mutual support, group conversation, and to cultivate adaptive relationships with the environment. This can take the form of discussions with guest multidisciplinary artists, thinkers, and activists and other individual and group activities that benefit our community of residents.
Residents will be paired and asked to cook for shared dinners at least three times over the course of their residency, Monday-Friday. . Each session culminates with a short video interview and artists are invited to publicly share their work with our community and each other. Marble House Project provides private bedrooms, food, private studio space, and artist support. We are not able to cover costs related to travel or materials. There is no fee to attend the residency.
Applications are accepted in all creative fields including but not limited to writing, dance and choreography, performance, music composition and sound, film and video, visual arts, and culinary arts. Applications are reviewed by a jury of alumni and staff. Artists are selected based on quality of work, commitment to practice, and project description. Please choose the application that best describes your work. Two artists may apply together as a collaborative, and should complete one application. Within each application you will be asked to select the session dates best for you.
If you are applying to the ecology residency you must have a project that aligns with this theme. You may also apply to the other residency sessions as well.
Marble House Project does not discriminate on the basis of race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, or military status, in any of its activities or operations. For exact dates, more information or questions about the residency, visit our FAQ page. If you still have questions you may contact info@marblehouseproject.org.
Personal information is not shared with our jury and will remain confidential. This includes email, home address, phone number and any information regarding your family, anything else you would need to tell us and how you heard about Marble House Project. Please remove this information from your resume. All of our outreach questions also remain confidential and blind to our jury.
marblehouseproject.submittable.com/submit
_____
The 2025 Adrift Chapbook Contest
Driftwood Press
DEADLINE: July 15, 2025
SUBMISSION FEE:
GUIDELINES: $25 (each submitter will receive a free copy of a Driftwood Press poetry chapbook of their choosing in the mail)
Original poetry only. Prose poetry, experimental poetry, and poetry with a visual component (color images accepted) are all welcome. We do not accept written or visual works that are AI generated or plagiarized.
15-40 pages of poetry (this does not include title, section break, or acknowledgement pages). We won't turn you away if you are a few pages over or under, but please stay close to that limit.
A standard, 12-point font is preferred.
Poems may have been published individually, but not as a part or whole of a collection. Please include an acknowledgements page listing all previously published poems.
Simultaneous submissions are accepted, but please let us know immediately if the collection has been accepted elsewhere.
Submit works written in English only, no translations.
Please submit your manuscript in a .doc, .docx, or PDF format.
We read submissions blind, so please do not include your name, email, or any identifying characteristics on the manuscript itself.
TIMELINE:
Finalists and winner will be announced by Driftwood editors in November 2025.
The winning chapbook(s) will be published in 2026.
AWARD:
The winner will receive $750 dollars and 20 copies of their chapbook.
A print run of the winning chapbook will be sold on our website, through affiliate bookstores, and will be nationally and internationally distributed by Ingram & Asterism.
The winner will also have the opportunity to be interviewed about their work; the interview will be published in the chapbook following the poems.
The managing poetry editor may offer a runner-up full publication. If a runner-up is chosen, they will be awarded $350, 20 contributor copies, and the same level of marketing and distribution.
GUEST JUDGE: Matthew Olzmann is the author of three poetry publications. In 2012, Olzmann edited Another & Another: An Anthology from the Grind Daily Writing Series along with Ross White.[3] His debut collection, Mezzanines, was published by Alice James Books in 2013, which won the Kundiman Prize. In November 2016, Olzmann published his second collection, Contradictions in the Design, also from Alice James Books. In January 2022, his third book of poems, Constellation Route, was published by Alice James Books.
driftwoodpress.com/adrift-chapbook-contest
_____
U.S. Writers Aid Initiative
PEN America
DEADLINE: July 15, 2025
INFO: PEN America is an organization of writers and their allies, and that solidarity is never more important than when members of our literary community face crises. PEN America’s U.S. Writers Aid Initiative, part of the PEN America Writers Emergency Fund, offers grants for writers in the United States facing acute financial need following an emergency situation.
The U.S. Writers Aid Initiative is intended to assist fiction and nonfiction authors, poets, playwrights, translators, and journalists in addressing short-term financial emergencies. To be eligible, applicants must be professional writers based in the United States, and be able to demonstrate that this one-time grant will be meaningful in helping address a short-term emergency situation. The fund is limited, and not every application can be supported. Grant decisions are made on a quarterly basis by a volunteer committee of literary peers in consultation with PEN America staff, using the following guidelines to evaluate professional credentials:
Publication of one or more books. (Writers who are only self-published or published by a press that charges for publication are not eligible.)
Multiple essays, short stories, or poems appearing in literary anthologies or literary journals (either online or in print) in the last two years.
A full-length play, performed in a theater by a professional theater company. Productions in academic settings qualify if the author is not a student at the time of the production.
Employment as a full-time professional journalist, columnist, or critic, or a record of consistent publication on a freelance basis in a range of outlets during the last two years.
Contracted forthcoming books, essays, short stories, poems, or articles for which the name of the publisher can be provided.
Other qualifications that support the applicant’s professional identity as a writer.
The U.S. Writers Aid Initiative is not intended to subsidize writing-related expenses, such as residencies, sabbaticals, computers, printing, shipping, travel, or publicity services. Applications received on or before the following quarterly deadlines will be reviewed before the last day of that month.
pen.org/us-writers-aid-initiative/
_____
call for submissions: MER 24: “Mother & Family”
MER
DEADLINE: July 15, 2025
ENTRY FEE: $3 fee for each poetry submission (of up to 3 poems), nonfiction/creative prose submission, art, and fiction or cross-genre submission (up to 1000 words total—can be several short pieces that total under 1000 words).
INFO: Often, as mothers, we are the nuclei of families—of the legacies, obligations, and stories that orbit around us. Family of heritage, family of birth, family of choice, our greater human family: our families can be sources of support, of exhaustion, of love, of pain. Our families can pass down to us lore or trauma. For MER 24, we are exploring poems, fiction, and creative prose works that address our role as mother in these unwieldy units, how we embroider with and untangle these familial threads that can heal or hinder. Send us your poems, your family recipes, your generational myths, your memories that you’ve borne, your visions for the future.
Please read our print journal and online quarterly: http://merliterary.com
We publish poetry (up to 3 poems, no more than 5 pages), and fiction, creative prose/nonfiction, and hybrid works (up to 1000 words) on mothering or motherhood. We also seek mother-themed art. You need not be a mother to submit. Our calendar conforms to Eastern Time.
Submit work that has not been previously published online or in print. Simultaneous submissions are okay, but please let us know promptly if your submission is accepted elsewhere, by using your Submittable.com account to add a note to your submission telling us which titles are no longer available for consideration.
Submissions will be considered for the print issue and for MER Online on our website unless you specify that you are only submitting for one or the other. If you have previously submitted to MER online or print, we request that you submit work other than that previously submitted.
PLEASE NOTE: If your work was included in the Mom Egg Review Vol. 23, please wait until next year to submit in the same genre to our print issue. You may submit in a different genre. If you submit work in the genre previously published, it will be considered for online publication only.
WHAT TO SUBMIT:
Cover letter: Please include the title(s) of each individual work in the submission and a brief (50-75 word) third person bio.
Submit your work in one document named "Last name, First name, Genre." We strongly prefer .doc, docx, .txt, or .rtf. If your work requires a pdf, please email us at mersubmissions@gmail.com and attach the pdf.
Poetry: Please submit up to 3 poems in a single word or text document of no more than 6 pages with the file name Last name, First name, Poetry. Please number your pages and start each poem on a separate page. Important: Please left justify your poem without indenting and single space your poem unless indenting or extra spacing is an integral part of the poem.
Creative Prose, Fiction, Cross-genre: Please submit one piece up to 1000 words, or several short-short pieces that total fewer than 1000 words in all, in a single word or text document with the file name Last name, First name, Genre. Please double space, number your pages, and put title of the submission (but not your name) on top of each page.
Visual Art: Please submit up to four works of art (drawings, paintings, photos, etc.) that relate to mothers or motherhood, in a .jpg file at 300 dpi. (MER cover is color; interior art is black and white. If your art is selected, we will request a larger file.
SCHOLARSHIP SUBMISSIONS: We have a limited number of submission scholarships available. If the submissions fee is a hardship, you may submit during the "Early Bird" period or email us at MERsubmissions @gmail.com with your submission, cover letter and bio. Please put “Scholarship Application” as subject line.
CONTACT: MERsubmissions@gmail.com (Please be sure to add this address to your email program so that you can receive correspondence from us). We will add all submitters to our mailing list (we send a bimonthly newsletter) but you may unsubscribe if you wish.
themomegg.submittable.com/Submit
_____
FSG Writer’s Fellowship
Farrar, Straus and Giroux
DEADLINE: July 18, 2025 at 11:59pm EST
INFO: The FSG Writer’s Fellowship is a program designed to give an emerging writer from an underrepresented community additional resources to build a life around writing: funding, editorial guidance, and advice on how to forge a writing career. It offers the unique opportunity for a writer to spend time with and enjoy the support and mentorship of the FSG community. The fellowship celebrates the spirit of the FSG list and its commitment to invention, curiosity, and extending the limits of literature.
TIMELINE:
The Fellowship runs from January to December 2026
The application period begins on June 16, 2025, and ends 11:59 PM EST, July 18, 2025
The five finalists will be interviewed in November 2025
The Fellowship winner will be announced in December 2025
The Fellowship begins January 6, 2026
THE FELLOWSHIP AWARD:
$15,000 paid over two installments: half paid at the start of the Fellowship program, half paid in June 2026
Mentorship with an FSG house author
Guidance from two in-house editors, who will offer line and structural feedback on the fellow’s work throughout the year
Opportunities for meet-and-greets with representatives from other departments – including Publicity/Marketing, Art, Subsidiary Rights, and Managing Editorial – to discuss their areas of expertise, answer questions, and help build a broader understanding of the publishing business
Support with networking beyond FSG
The Fellow and finalists will receive a collection of FSG classics.
The Fellow agrees to offer to FSG the Fellow’s first book-length work before submitting to, or soliciting offers from, any other publisher.
APPLICATION REQUIREMENTS:
Applicants must submit:
A sample of work—fiction, nonfiction, or poetry—aimed at an adult audience
For fiction and nonfiction, the sample must be between forty and fifty double spaced pages
For poetry, the sample must be eight to twelve pages
The sample can include previously published work and does not need to be from a single section of the work
A Statement of Purpose of no more than 500 words
Please note: The applicant’s name and contact information must not be anywhere on the writing sample or the Statement of Purpose—this includes within the uploaded file name.
ELIGIBILITY:
The applicant must not have published a book-length work in any genre, have a book under contract, or be negotiating a contract either in the United States or abroad by the time the fellowship begins. Having published short poetry chapbooks will not exclude an applicant from eligibility
Applicants must submit in only one category (fiction, nonfiction, or poetry)
The applicant must be a U.S. Permanent Resident (green card) or U.S. Citizen
There are no experience, degree credentials, or location requirements. This fellowship will take place remotely
The applicant should be writing for an adult audience in the English language
The applicant must be over 18 years of age
The applicant cannot be an employee or family member of an employee of FSG or any other Macmillan affiliate
The applicant may not use generative AI or work from AI-generated text for their samples and statements
_____
CALL FOR SUBMISSIONS: Summer 2025 Special Digi Issue
The African American Folklorist
DEADLINE: July 25, 2025
INFO: The African American Folklorist is now accepting submissions for our Summer 2025 Special Digi Issue.
This issue is a tribute to the deep-rooted and evolving relationships that Black communities have with the land, environment, and agrarian practices—exploring stories of conservation, environmental justice, food sovereignty, ancestral land stewardship, and sustainable futures.
SUBMISSION TOPICS:
Reclaiming the Soil: Black Land Rematriation and Stewardship
Stories of reclaiming land, from legal battles to collective purchases.
How families and communities are restoring ancestral connections through landownership.
The spiritual and cultural significance of land in Black traditions.
Building from the Ground Up: Infrastructure, Enterprise, and Black Agrarian Futures
Narratives of creating farms, businesses, co-ops, and sustainable agricultural enterprises.
How Black-led food systems support economic independence and community resilience.
Challenges and triumphs in developing sustainable infrastructure.
Blues and the Land: Music, Culture, and Agrarian Legacies
The role of blues, field songs, and other musical traditions in Black agrarian life.
How land and labor shaped the sound and stories of Black musical heritage.
Blues as a form of resistance, storytelling, and cultural preservation.
Lessons in Black Cultural Maintenance: Keeping Traditions Alive
How Black farmers, gardeners, and land stewards preserve cultural knowledge.
The intersection of herbal medicine, spiritual practices, and agriculture.
How oral traditions shape ecological practices and land-based storytelling.
Food, Memory, and Liberation: Cultivating Ancestral Wisdom
How food traditions connect to Black ecological knowledge and resilience.
The role of food sovereignty in Black liberation movements.
Recipes, rituals, and farming practices that sustain cultural identity.
Music, the Land, and Black Social Spaces:
How have the sounds of the blues, gospel, and other Black musical traditions been shaped by the experiences of Black farmers, sharecroppers, and land stewards?
How do juke joints and social clubs reflect the rhythms of agrarian life?
We invite you to contribute your:
Essays and articles
Visual art and photography
Oral histories and interviews
Poetry and creative writing
Documented traditions or community stories
Multimedia submissions
Together, let’s uplift the narratives, memories, practices, and visions that continue to shape Black relationships to land, environment, and legacy.
https://docs.google.com/forms/d/e/1FAIpQLScKa4JBjsHWbAeQU_Q7y96_ByfRdUOZPhTiSWz4cPriuuejYA/viewform
_____
CALL FOR work exploring disability and neurodivergence
Ave Astra
DEADLINE: July 25, 2025
INFO: Ave Astra, an organization dedicated to discovering disability and neurodivergent culture through a fresh perspective, is now accepting submissions for our inaugural digital magazine issue.
We invite contributions that challenge established narratives and bring forward perspectives that deepen and complicate our understanding of disability and neurodivergence. Through essays, personal reflections, poetry, visual art, and research, your unique perspective becomes a vital force in driving precise and thoughtful dialogue.
By sharing your work, you actively shape conversations grounded in rigor, depth, and authenticity. Together, we build a platform that respects the complexity of disability and neurodivergent experiences, ensuring every contribution sharpens the collective discourse.
TYPES OF SUBMISSIONS:
Articles & Essays - Personal reflections, opinion pieces, research summaries, interviews, or cultural commentary (typically 800–1,500 words).
Creative Writing - Stories, poems, or other literary works that engage with meaningful themes, evoke emotion, and offer fresh perspectives.
Art & Photography - Original artwork, sculptures, illustrations, or photography that explore compelling themes, emotions, and perspectives through creative expression.
Other Media - Multimedia projects, audio, or video pieces may be considered—please contact us prior to submission.
SUBMISSION GUIDELINES:
Ownership and Publication - We accept original work created by you. Submissions previously published elsewhere are welcome, provided you have the rights to share them on our platform. Please verify any restrictions from prior publishers or platforms before submitting.
Format Requirements:
Text submissions: Word document (.doc/.docx) or Google Doc preferred.
Images: High-resolution JPEG or PNG files. Please include captions or descriptive text to ensure accessibility.
Accessibility: We encourage clear, straightforward language and recommend avoiding jargon to make your work accessible to a broad audience.
Respectful Content - We seek thoughtful, respectful contributions that foster understanding and inclusivity. Content promoting harm, discrimination, or exclusion will not be accepted.
Permissions - If your submission includes work by others, please ensure you have the appropriate rights and permissions to share it.
_____
CALL FOR PAPERS: ‘PORTALS’
WSQ (Feminist Press)
DEADLINE: July 30, 2025
INFO: In the 2020 essay “The Pandemic is a Portal,” novelist and activist Arundhati Roy invites her readers to consider how the COVID-19 global pandemic, in all of its devastation—both immediate and lingering in impact—has operated as a portal through which we may discover and enter into new and different modes of relationality, for good and ill. Pandemics, Roy reflects, force “humans to break with the past and imagine their world anew.”
Responding to Roy’s appeal, this special issue represents a continued and collaborative effort—a portal in itself—to think, dream, agitate, and “con-spire” (we are interested in the practices of “breathing together” and gathering that are often misconstrued as malicious planning instead of defending our literal ability to breathe) to name the kinds of worlds we wish, and indeed need, to see come into being. We refuse to cede the future to those whose vision of it consists of ruin and annihilation, which is essentially no future at all. Like Arundhati Roy, we believe “another world is not only possible, she is on her way. . . . On a quiet day, if [we] listen very carefully, [we] can hear her breathing.”
We welcome submissions by, among others, political theorists, creatives, scholars of feminist studies, queer and transgender, and Black studies, creative writers, artists, and activists engaging the question of what it means to participate in constructing portals to elsewhere, bridges from this world to the next (along temporal, geographic, epistemic, institutional, political, and spiritual lines), and how portals can be throughways to either more or less habitable worlds. Future visioning, as we are thinking about it, does not mean ignoring the present or reneging on the healing work needed to repair the violence of the past and present. Instead, future work enables us to understand precisely how and why we must fight for the past and the present.
Arundhati Roy’s theorizations about portals have been borne out in myriad ways. For instance, workers across an array of sectors became more acutely aware of their perceived fungibility as the capitalist profit motive underwriting their workplaces placed them in closer proximity to dangerous spheres of risk. Workplace risk, danger, and death in Roy’s India looked like forty-six million people pushed out of multiple urban cores, walking toward rural family, starvation, and joblessness while bearing and collecting more sickness. During the pandemic’s portal time, the sick, the suffering, and the dying could not simply be abandoned and placed beyond the fortress of safety.
Roy’s descriptions of pandemic-era anti-Muslim lynchings and fugitives taking refuge in graveyards while heads of state worried over elections, state visits, and their public image as be trustworthy fathers of the nation are deliberately horrifying. Roy curated the linkage between personal protective equipment manufactured in India and sold to medical workers in the US by a government whose alleged nationalism prioritized their citizens. Portal time, explains Roy, exposed how the virus brought the world’s people closer together through shared viral vulnerabilities, while also yanking us farther apart because the response to the virus still followed some of the rules about global racial hierarchies.
The widespread exposure to vulnerability—the degree of which was further calibrated by one’s social location along lines of race, gender, and migrant status—engendered a collective consciousness that prompted a mass multiethnic, multigenerational labor exodus termed by researchers the “Great Resignation.” The pandemic also created an opening for societies and communities across the globe to generate and imagine novel ways of practicing collective responsibility, which in some sense represents a renewed commitment to care for one another. In both of these instances, the portals wedged open by both individuals and societies were about creating a path toward, perhaps, a more human-oriented world.
Conversely, some saw the pandemic as an opening to drawing deeper and more dangerous lines of differentiation between one’s own group or ideological commitments and others whose existence they deemed both contaminating and threatening. The discursive expressions of this form of portal-opening work are on display in a plethora of white/ethnic nationalist–inflected propaganda where entire groups of people are foully marked as “enemies,” “foreigners,” “interlopers,” “invaders,” or inferior subjects having stepped out of their place. The call in such statements is to construct a gateway to the future where any divergence from the norm of whiteness is equal to deficiency and deviance. Within this paradigm, “different” serves as a proxy for “dangerous,” and therefore as an element in need of expunging. This value-claim, of course, bears grave implications for the future, as well as for how we construct visions of and make sense of the past.
Submissions might reflect on the following questions: How do you conceptualize the notion of portal-work? What initiates a break from the present and the past? What pedagogical practices create possibilities for movement into the futures we want to live in? What do portals make perceivable? How might groups engage in collective acts of portal-work? In what ways can protest and movement building serve as portals? What must we take with us into the future? What must we leave behind as we envision new, more human-workable worlds / worlds worthy of us? What portals need to be sealed off, and who must we become in order to initiate such foreclosures? Is the project of opening up portals an insurgent act? How do individuals engage in portal work in quotidian ways?
Other topics may include but are not limited to:
Physical conduits to elsewhere
Feminist notions of futurity and future-making
Trans futurities
The portals engendered through world-making practices of collectivities
Radical dreaming as constituting a portal
Afro-futurist constructions of portals
Disaster/catastrophe as a portal
Spatial conduits to elsewhere
Pedagogical practices that transport
Borders and crossings as portals
Water/flows as a conduit
Protest as a portal
Feminist ecological practices
Authoritarianism as a dangerous throughway
The body as a portal
Sonic transportations to elsewhere
The role of Spirit and ritual in portal work
Eschatological elsewheres
Literature as a gateway to the beyond
Art as a portal
Environmental justice work and climate change activism
Fugitive modes of portal-work
Poetics of portal time
Pandemic poetry
Indigenous theories, cultural practices, or imaginaries
Engagements with physics
ISSUE EDITORS:
DESIREÉ R. MELONAS, University of California, Riverside
ZAHRA AHMED, St. Mary’s College of California
TIFFANY WILLOUGHBY-HERARD, University of California, Irvine, and University of South Africa
SUBMISSION GUIDELINES:
Scholarly articles should be submitted to WSQ.submittable.com. Upload one Word document that includes the anonymized, complete article. Directly in Submittable, not as an attachment, please write a cover page that includes the article title, abstract, keywords, and a short author bio. Remove all identifying authorial information from the file uploaded to Submittable. Scholarly submissions must not exceed 6,000 words (including un-embedded notes and works cited) and must comply with formatting guidelines at feministpress.org/submission-guidelines. For questions, email the guest issue editors at WSQEditorial@gmail.com.
Artistic works (whose content relates clearly to the issue theme) such as creative prose (fiction, essay, memoir, and translation submissions between 2,000 and 2,500 words), poetry (3 poems maximum per submitter), and other forms of visual art or documentation of performative artistry should be submitted to WSQ.submittable.com. Note that creative submissions may be held for six months or longer. We do not accept work that has been previously published. Simultaneous submissions are acceptable if the editors are notified immediately of acceptance elsewhere. Visual artists are also asked to submit a document containing captions for all works (including title, date, and materials), an artist’s statement and a short bio, each 100 words or less. For questions, email the guest issue editors at WSQEditorial@gmail.com.
For works that are difficult to categorize, including those that fall between academic articles and personal narratives or creative essays, please choose the hybrid works option on Submittable, and explain the nature of the work in your cover page. Please especially indicate whether the work requires academic peer review.
All submitters please note that if your submission contains images (including images embedded into a larger article or essay) please include them as separate attachments of 300dpi or more. Please also include a short bio and current email address [all submitters, directly onto the Submittable form, not as an attachment] as well as an artist’s statement and image caption [visual artists] or an abstract and keywords [academic submissions].
ABOUT WSQ:
Since 1972, WSQ has been an interdisciplinary forum for the exchange of emerging perspectives on women, gender, and sexuality. Its peer-reviewed interdisciplinary thematic issues focus on such topics as Open Call, Unbearable Being(s), Pandemonium, Nonbinary, State/Power, Black Love, Solidão, Asian Diasporas, Protest, Beauty, Precarious Work, At Sea, Solidarity, Queer Methods, Activisms, The Global and the Intimate, and Trans-, combining legal, queer, cultural, technological, and historical work to present the most exciting new scholarship, fiction, creative nonfiction, poetry, book reviews, and visual arts on ideas that engage popular and academic readers alike. WSQ is edited by Shereen Inayatulla (York College, CUNY) and Andie Silva (York College and the Graduate Center, CUNY), and published by the Feminist Press at the City University of New York. Visit feministpress.org/wsq.
feministpress.org/current-call-for-papers
_____
THE SARABANDE OPEN: Poetry
Sarabande Books
DEADLINE: July 31, 2025
SUBMISSION FEE: 30
INFO: Each year during the month of July, Sarabande offers writers and translators the opportunity to get their manuscripts in front of our editors without the mediating factors of agents or judges. Providing direct access to writers is a core Sarabande value, rooted in our long-held belief that you, writers, know best what kind of work we're going to love.
We can’t wait to read your full-length manuscripts of poetry, fiction, hybrid work, literary nonfiction, and literature in translation!
ELIGIBILITY: The Sarabande Open is open to manuscripts in English. Employees and board members of Sarabande are not eligible. Agented manuscripts are not eligible. Works that have previously appeared in magazines or in anthologies may be included.
It is highly recommended that those who intend to submit a manuscript familiarize themselves with Sarabande’s catalog. You can find some of our recent titles below.This submission period is open to manuscripts in English. We recommended all those who intend to submit a manuscript familiarize themselves with Sarabande’s catalog.
SUBMISSION REQUIREMENTS — POETRY:
Submission form must include a cover letter with a brief author bio and acknowledgements of past publications.
Manuscript must be anonymous.
Manuscript must be typed, standard font, 12 pt.
Poetry manuscripts should have a minimum length 48 pages.
Manuscript should be paginated consecutively with a table of contents.
Submission must be submitted electronically through Submittable, accompanied by a $30 submission fee.
sarabandebooks.submittable.com/submit
_____
AWP Writer to Writer Mentorship Program
AWP
DEADLINE: July 31, 2025
INFO: The AWP Writer to Writer Mentorship Program matches emerging writers with established authors for a three-month series of modules on topics such as craft, revision, publishing, and the writing life. Mentors volunteer their time and receive a free one-year AWP individual membership as a token of appreciation. Writer to Writer is free of charge to mentees, though they must be AWP members to apply.
SEASON 22: This session will take place September 15–December 5, 2025.
FAQs:
If I have already been a mentee with W2W, can I apply again?
While you are welcome to apply an unlimited number of times before being matched, we only allow individuals to participate in the program as a mentee once.* We receive a high volume of applications each season and do our best to match as many individuals as possible.
*In the case of extenuating circumstances such as personal or health issues, we make every effort to rematch mentees who must withdraw from the program. However, this is up to staff discretion and depends on the availability of volunteer mentors.
Can I submit in two different genres?
While we do allow multiple applications, please note that you can only be matched with a mentor once; so, if you have a strong preference for one genre over the other, we advise you to apply only in that genre. If you do choose to apply in multiple genres, please indicate that on your application.
Can I submit work that has already been published?
We encourage you to submit a writing sample that gives the best sense of who you are as a writer, and what you will be working on with your mentor. While you are welcome to submit a published piece you are proud of, we encourage you to submit a sample of your work in progress, particularly if you are seeking manuscript review.
How are mentees selected?
We take your interest in connecting with a mentor seriously. After our reviewers read all mentee applications, we send a selection of potential matches to our participating mentors, who ultimately choose their own mentee. They tend to choose mentees based on shared goals and interests, and whether they feel they can help that person at the stage they are in now. Our mentees come from all backgrounds and levels of experience; to ensure that we make the best possible matches this season, we ask that you be open and honest about your goals, your background, and where you are now with your writing.
Should you be chosen to participate, your mentor will review your writing, listen to your concerns, and help you work toward your writing goals. AWP’s membership team will also be there to support you, every step of the way.
awpwriter.secure-platform.com/applications/page/W2W/W2W_Mentees
_____
CALL FOR MENTORS: Prison Writing Mentorship Program
PEN America
DEADLINE: July 31, 2025
INFO: The PEN Prison Writing Mentorship Program has been a pillar of the Prison and Justice Writing Program for nearly 50 years. Separated from the outside world, incarcerated writers face unique challenges to their emergence and careers as writers, journalists, and artists with valuable contributions.
The PEN Prison Writing Mentorship Program aims to fill this gap by matching an incarcerated writer with a writer on the outside who has volunteered to read and respond to submitted work—a relationship similar to that of a writer and editor. The majority of mentees join the program through the annual PEN Prison Writing Awards, either as winners or by recommendation of the judging committee.
Through these pairings, writers receive feedback on new or existing work, support with crafting a writing practice and process, and, most importantly, a tether to literary communities outside prison walls. These exchanges are designed to be connective experiences, where reciprocal learning occurs between mentees and mentors. In this respect, the PEN Prison Writing Mentorship Program aims for participants to:
Celebrate Different Perspectives
Develop a Writing Practice
Strengthen Literary Craft
Explore New Methods of Storytelling
Foster Connections with Literary Landscape
LASTING IMPACT: The impact of the PEN Prison Writing Mentorship Program often extends beyond the writing goals of its participants. Participating mentees who complete the correspondence cycle receive a certificate of completion. Previous participants have included this certificate—as well as other documentation of their work with PEN America—in dossiers for parole hearings.
The program also facilitates the cultivation of deep and enduring relationships between writers in prisons and those on the outside. These meaningful connections are honored through the annual PEN America/L’Engle Rahman Prize for Mentorship, which is named for the 10-year written friendship of the late acclaimed author Madeleine L’Engle and scholar, writer, and former Black Panther Party leader Ahmad Rahman. In his nomination essay, 2023 PEN America/L’Engle Rahman Prize winner Steven Perez writes about his impactful relationship with his mentor, Alison Harney:
MENTEES: The Prison and Justice Writing Program works with adult writers who are incarcerated in federal and state prisons, jails, and detention centers. Program participants are of all age groups, races, ethnicities, genders, ability, and educational backgrounds, and join a community of writers with diverse lived experiences and writing backgrounds. PEN America works with individuals regardless of the circumstances that led to their incarceration.
MENTORS: The community of volunteers involved in the PEN Prison Writing Mentorship Program are writers and editors of all genres who have direct experience with teaching, conducting an editorial process, facilitating workshops, and/or have familiarity with the media, literary, and publishing landscapes. This program is not suited for high school and undergraduate students. Graduate students, in MFA programs or otherwise, are welcome to apply. Individuals with justice involvement are highly encouraged to submit a mentor application.
PAIRING PROCESS: Pairings are decided based on the experience, skills, and strengths of each mentee and mentor applicant. We also cross reference each mentee’s expressed goals and intentions from their onboarding survey to provide a supportive and enriching experience.
Due to the convoluted nature of sending mail to and from prison, as well as the increasing censorship practices and mail digitization, the PEN Prison Writing Mentorship Program is generally limited to writers who are recipients of the PEN Prison Writing Awards. Mentor applicants who are not paired for the upcoming cohort, may apply next year for the 2026-2027 mentorship cycle, and are encouraged to register for Works of Justice—PJW’s newsletter-based content series—to learn about future opportunities.
Please note that this is not a pen pal program. We support and admire the important work of pen pal programs and encourage those who do not fit the above criteria, or who don’t receive a pairing, to pursue those opportunities which are critical to mitigating the impact of isolation on the millions of people incarcerated in the US. Some of our favorites areHuman Rights Pen Pals, Lifelines to Solitary, Black and Pink, pARTner project.
MENTOR ENGAGEMENT:
PEN America facilitates most correspondence between mentors and mentees, with the expectation that mentors respond to each mentee communication within three weeks. Mentors are expected to correspond with mentees throughout the 10-month cycle, but are welcome to continue beyond that.
Throughout the cycle, the Prison and Justice Writing Program team will also host a variety of community-based sessions for volunteers, including an orientation, webinars, and other learning opportunities.
2025-2026 TENTATIVE TIMELINE:
Below are key dates for the 2025-2026 mentorship cycle. Some of these dates, such as the orientation, are subject to change based on internal and participant scheduling.
June 1 – July 31, 2025: Mentorship application open
September 30, 2025: All mentor/mentee pairs confirmed
October 7, 2025: Mentor Orientation (virtual)
October 15, 2025: Correspondence cycle begins
August 14, 2026: Correspondence cycle ends
pen.org/prison-and-justice-writing/mentoring-program/
_____
call for submissions: Milk press spring 2025
Milk Press
DEADLINE: July 31, 2025
SUBMISSION FEE: $5
INFO: Milk Press merges the poetry, visual, and digital art worlds by cultivating, presenting, and publishing multi-disciplinary, collaborative work. We are currently seeking submissions for our Spring issue, launching digitally in April. Flash submissions are open from July 1st through July 31st. Please read our submission guidelines.
We only consider previously unpublished works. Our reading fee is put towards the free and accessible programs that the Poetry Society of New York offers. We hope to make our selection process as equitable and diverse as possible. That being said, BIPOC, queer, and gender non-conforming folks are especially encouraged to apply.
poetrysocietyny.submittable.com/submit
_____
CALL FOR SUBMISSIONS: ISSUE 6 – "BEAUTY"
Spoken Black Girl Magazine
DEADLINE: August 1, 2025
ENTRY FEE: $0
INFO: Spoken Black Girl - a literary platform centering Black women, femmes, and gender-expansive voices - is seeking poetry, essays, short stories, and visual art for Issue 6: BEAUTY, exploring the intersections of mental health, self-discovery, and the radical redefinition of what it means to be beautiful.
For Black women, femmes, and gender-expansive people, beauty has never been just skin deep—it is a practice, a protest, a homecoming. We want to hear how you’ve shed old narratives, embraced healing, and reclaimed beauty as an act of liberation.
We’re looking for work that asks:
How has your relationship with beauty evolved through mental health struggles or breakthroughs?
In what ways has wellness—spiritual, emotional, physical—shaped your understanding of beauty?
How do you define beauty outside of oppressive standards?
What rituals, mantras, or radical acts help you embody self-love?
How has growth—painful or joyful—transformed your sense of worth?
SUBMISSION GUIDELINES:
Poetry: Up to 3 poems (max 5 pages total)
Prose (Essays/Short Stories): 500–2,000 words
Visual Art: High-resolution images (300 DPI) with a short artist statement
No AI generated submissions!
COMPENSATION: Accepted contributors will receive a $50 honorarium and a print copy of the issue.
_____
Granum Foundation Prizes
Granum Foundation
DEADLINE: August 1, 2025 at 11:59pm Pacific Time
ENTRY FEE: $0
INFO: The Granum Foundation Prize will be awarded annually to help U.S.-based writers complete substantive literary works—such as poetry books, essay or short story collections, novels, and memoirs—or to help launch these works.
Additionally, the Granum Foundation Translation Prize will be awarded to support the completion of a work translated into English by a U.S.-based writer.
Funding from both prizes can be used to provide a writer with the tools, time, and freedom to help ensure their success. For example, resources may be used to cover basic needs, equipment purchases, mentorship, or editing services.
Competitive applicants will be able to present a compelling project with a reasonable timeline for completion. They also should be able to demonstrate a record of commitment to the literary arts.
The Granum Foundation is committed to diversity, equity, and inclusion. We welcome applicants from all backgrounds.
PRIZES:
Granum Foundation Prize - One winner will be awarded $5,000. Up to three finalists will be awarded $500 or more.
Granum Foundation Translation Prize - One winner will receive $1,500 or more.
ELIGIBILITY:
Winners and finalists who received cash prizes from previous Granum competitions are not eligible.
Writers who have published more than five books, including chapbooks, are not eligible for the Granum Foundation Prize. Literary journals and anthologies are not included in this count. This restriction does not apply to Granum Foundation Translation Prize applicants.
Only U.S. residents 18+ are eligible for funding, and prizes must be spent in the U.S.
Funds cannot be used specifically for travel or for study at an educational institution.
At this time, we are not accepting screenplays, stage plays, or children’s picture books.
Only one entry is allowed per person for each prize.
Winners and finalists will be announced in November.
granumfoundation.org/granum-prize
_____
Blessing the Boats Selections
BOA Editions LTD
DEADLINE: August 1, 2025
INFO: Blessing the Boats Selections spotlights poetry collections by women of color.
As the 2025-2026 Blessing the Boats Selections Editor-at-Large, Evie Shockley will read submissions and select the final manuscript for publication.
Blessing the Boats Selections is named after Lucille Clifton’s National Book Award-winning collection, Blessing the Boats: New and Selected Poems (BOA, 2000), in honor and celebration of her enduring legacy. Lucille Clifton's writings of Black life and Black female life have shaped a sense of what is possible for so many. In the poem that begins "won't you celebrate with me," she writes: "born in babylon / both nonwhite and woman / what did i see to be except myself?"
Blessing the Boats Selections titles walk behind and grow out of the poetry of those lines. Submissions are thus open to all women poets of color in the U.S., including poets who identify as cis, trans, and non-binary people who are comfortable in a space that centers on women’s experiences, regardless of citizenship and publication history. Our hope is that the Blessing the Boats Selections will further facilitate encounters between readers and writers of some of the most extraordinary texts of our time.
PRIZE:
One Poet Receives:
Book publication by BOA Editions, Ltd. in Fall 2027
$1,500 honorarium
SUBMISSION GUIDELINES:
We accept submissions via Submittable or by mail.
There is no submission fee associated with this reading period.
Submit only one book-length, complete manuscript at a time. If two manuscripts are sent, both will be removed from consideration.
Minimum of 65 pages of poetry (not including Table of Contents, Acknowledgments, etc.), and maximum of 120 pages of poetry.
Manuscript text should be at least 12 pt. font. Manuscript pages should be one-sided.
Include a cover letter. Do not include a résumé or vitae.
Please include your phone number and/or email address on the cover letter.
Simultaneous submissions are okay. Note simultaneous submissions in your cover letter and notify BOA immediately should your submission be accepted elsewhere.
Include title, publisher, and publication year of previous full-length poetry collections you have published, if any. Feel free to include an acknowledgments page for any previously published poems in your manuscript.
Family members, or any students who have studied poetry or fiction or literature with Evie Shockley in the past four years, whether that be through a university, a community setting or a tutorial are prohibited from consideration.
No AI-assisted submissions.
Additional Guidelines for Print submissions:
Send the manuscript ATTN: BLESSING THE BOATS SELECTIONS.
Include a self-addressed, stamped envelope (SASE) with sufficient return postage.
Please note that manuscripts will be recycled, not returned.
Submissions may be mailed to:
BOA Editions, Ltd.
ATTN: Blessing the Boats Selections
250 North Goodman Street, Suite 306
Rochester, NY 14607
ANSWERS TO FAQs:
The winner will be announced in Fall 2026.
The winning manuscript will be published in Fall 2027, in an original paperback edition and an e-book edition of the American Poets Continuum Series, with a standard royalties package.
The winner will retain full copyright of their work.
The paper from all manuscripts will be recycled after the winner is announced.
BOA Editions assumes no responsibility for loss of manuscripts.
As this is an open reading period rather than a contest, submissions are not read blind.
The Blessing the Boats Selections are generously supported by the Lannan Foundation.