Call for Submissions: Translation Column
The Margins / AAWW
DEADLINE: Rolling
INFO: The Margins seeks work from writers for an ongoing monthly column on language, culture, and translation from Asia. We consider Asia as an umbrella term that encompasses all of its regions (South, Southeast, East, Central, and North Asia, and SWANA) and the many diaspora communities of Asians all over the world.
We welcome essays, hybrid works, translations, and translator’s notes that engage with Asia’s literature, cultures, subcultures, languages, and diasporas. We are also interested in works that grapple with the concept of the Transpacific, colonialism, history, and empire, especially as they relate to language and translation.
We pay all writers and translators. Please refer to our rate sheet for more details.
Examples of work we’re interested in:
Translator’s notes: Essays on the philosophy, craft, and art of translation
Translator’s diaries: Writings about the experience and choices for a particular book in translation
Essays and translations of essays on languages and multilingualism
Essays on power and empire as they relate to translation
New translations/re-translations of essays by important Asian scholars, thinkers, philosophers, and revolutionaries
Reportage on the writing, reading, publishing, and translation culture of a particular place
Photo essays about bookstores and literary salons in Asia or that feature Asian literature
Interviews with independent publishers, writers, artists, and thinkers in Asia or the Asian diaspora
Some examples of what we’re looking for:
Send pitches of up to 500 words or finished pieces from 1,000-2,500 words to Soleil David, senior editor, at translation@aaww.org. For translations into English, translator must have already obtained permission from the copyright owner.
We read submissions year round and in all languages spoken and read in Asia. Simultaneous submissions are accepted, but please let us know via email if your pitch/essay has been accepted elsewhere. Writers can expect a reply within three to four months.
aaww.org/submissions-translation-column/
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open call from Shenandoah’s editorial fellow in creative nonfiction
Shenadoah
SUBMISSIONS OPEN: July 1, 2024 (and closes when they receive 300 submissions)
INFO: Stevie Billow (they/them) is a writer, educator, and creative organizer living in DC. They are the founder of Rotary Arts, a multimedia arts collective for and by emerging LGBTQ+ creatives. Stevie has received support from GrubStreet as a 2023-2024 Emerging Writer Fellow and from the Straw Dog Writers Guild as a 2024 Edith Wharton Writer in Residence.
Stevie holds a BA in History and Art History from Smith College and an MAT from the Universidad de Alcalá. Their independent work has previously appeared in Fauxmoir, Meat for Tea: the Valley Review, Meow Meow Pow Pow, and Beyond Queer Words among others.
STEVIE’S OPEN CALL:
For the Spring 2025 issue of Shenandoah, I’m seeking creative nonfiction that explores the relationship between language and identity. Send me your personal essays that bend and
break the “rules” of grammar, tackle the translation of self between and beyond languages, ruminate on verbal code-switching, your bilingual and multilingual writing, your emojis and emoticons where words won’t suffice, the words that fail you, the words that feel like home.
I am especially interested in promoting the work of emerging writers from marginalized backgrounds, communities, and experiences. I highly encourage folks who don’t have an extensive publication history to submit!
Pieces between 1000 and 4000 words is my preference, but is not a hard-set rule. Contributors are paid $80 per 1000 words up to $400
shenandoahliterary.org/submissions/
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FSG FELLOWSHIP
Farrar, Straus & Giroux
DEADLINE: Extended to July 7, 2024 by 11:59pm ET
INFO: The FSG Writer’s Fellowship is a yearlong 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.
FELLOWSHIP AWARD:
$15,000 paid over two installments: half paid at the start of the Fellowship program, half paid in June 2025
Plus:
Yearlong 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 will have the opportunity to publish writing in Work in Progress, FSG’s weekly newsletter.
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.
TIMELINE:
The Fellowship runs from January to December 2025
The five finalists will be interviewed in November 2024
The Fellowship winner will be announced in December 2024
The Fellowship begins January 6, 2025
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
THE JUDGING PROCESS:
The FSG community will conduct the first review of the applications and select twenty semifinalists for consideration by the judges. The Fellow will be chosen by FSG from among five finalists selected by the judges. The first two stages of the selection process will be anonymous.
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call for submissions: 2024 Fall/Winter Print Issue
Epiphany
DEADLINE: July 8, 2024 at 11pm
INFO: We are pleased to announce Epiphany is open for submissions for our 2024 Fall/Winter print issue in the categories of fiction, poetry, nonfiction, translation, hybrid work, and art. We look forward to reading your best work—work that makes you excited and in turn will make us pause and wonder. Please click the link in our bio for more information and to read a selection of work from previous issues to get a sense of what we've published in the past.
We also offer everyone who submits a free digital subscription to Epiphany. The code for a free digital subscription will be included in our initial response letter.
GUIDELINES:
Prose submissions: submit one piece at a time, double-spaced
Poetry submissions: submit up to five poems
Translated Work: submit one piece at a time, double-spaced for prose; translations require rights permission from the original writer
We accept simultaneous submissions but please inform us in your cover letter and withdraw promptly through Submittable should your work be accepted elsewhere.
We only consider previously unpublished work.
All work will be considered for online publication
Please include your name, title, and word count on the first page of the submitted file.
Self-contained novel chapters/excerpts are welcome.
Please include a short bio with your cover letter.
epiphanyzine.com/features/submissions-open-for-fallwinter-2024
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PIGEON PAGES FICTION CONTEST
Pigeon Pages
DEADLINE: Extended to July 9, 2024
SUBMISSION FEE: $15
INFO: The Pigeon Pages Fiction Contest will be judged by Vanessa Chan, author of The Storm We Made.
AWARD:
The winner will receive $250 and publication in Pigeon Pages.
Honorable mentions will be receive $50 and publication.
GUIDELINES:
Original, previously unpublished short stories of 3,500 words or less are eligible for this contest.
We do accept simultaneous submissions, but please let us know if the submitted piece is accepted elsewhere.
Please do not include personal information on your piece, as submissions will be read blind.
All submissions will be considered for publication in the general journal.
pigeonpagesnyc.com/fiction-contest
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Rooted + Relational Research Associate Program
Center for Puerto Rican Studies at Hunter College (CUNY)
DEADLINE: July 12, 2024 at 11:59pm ET
INFO: The Center for Puerto Rican Studies invites applications for the 2024-2025 cohort of the CENTRO Research Associate Program. For this round, we are accepting applications for: Hybrid/remote fellows, independent researchers, artists, and dissertation fellows. The fellowships are held for one year (August 2024-July 2025). Fellows will spend their time at CENTRO working on a specific research project and will be required to attend weekly seminar meetings, as well as additional workshops, and public events.
The CENTRO Library & Archives of the Puerto Rican Diaspora is the only archival repository in the United States committed to documenting Puerto Rican communities in the United States. From this standpoint, we are uniquely positioned to invite scholars to reflect on how archives, archival theory, and practice allow us to reframe the present past of Puerto Rico and Puerto Rican communities as well as help us imagine and build Boricua futures.
The inaugural theme: Archives, Memory & the Present Past of Puerto Rico, invites researchers to engage with the word “archives” as concept, practice, and theory by bringing together some of the most important framings of historically inflected research. The theme contends with the material and theoretical importance of the archive in contemporary scholarship and research practices while opening a space to engage with contestation, archival reckoning, archival architecture, facilities, and accessibility, and quotidian interventions and forms of archival refusal.
At a time when Puerto Rican Studies is seeing a resurgence in the United States, this is an opportunity to examine the roots of the field as we also contemplate what lies ahead. Both archival studies and archival structures in the Puerto Rican context, can be contentious and precarious. Thinking about the promises, betrayals, and possibilities of the archive in material and theoretical contexts opens a space for us to consider questions such as: How do we engage with institutional archives that continue to uphold colonial fantasies of race and gender? What are the material and theoretical relations between archives, memory, and temporality (e.g. notions of past, present, future)? What do we gain from challenges to various prominent historical archival practices like reading “archives against the grain,” which challenge the dominant historical consciousness and praxis of European empires? How do we approach memory and cultural preservation in times of austerity and natural disasters? These questions, and others, will guide our discussions during this year-long seminar, where we will be considering different uses of the archive and explore how these spaces, collections, and practices can be transformed through a decolonial, feminist, and queer lens.
POSSIBLE TOPICS:
Archival Silences
Memory and preservation
Archives and Affect
Embodiment
Afro-Boricua archives
Feminist Archives and archival practices
Queer Archives
Community Archives
Family Archives
Oral Histories
Archiving performance
Archives and Accessibility
Archiving through disaster
Tropical Archives
Born digital archives
Archiving social media
Information/Right to Information (FOIA and other types of access to public information)
Archives and Accountability
Processing and new archival technologies
Metadata and Algorithms
Archival Engineering and Structures
We invite applications from researchers and artists in all fields of study and disciplines, including creative writing and visual arts.
QUALIFICATIONS + HOW TO APPLY:
Hybrid/Remote Fellows:
Open to researchers working on the annual theme who are unable to relocate to New York City for the duration of the fellowship year.
PhD is not required, but fellows must have extensive background in Puerto Rican Studies.
Artists:
Must be in residence at CENTRO for the 2024-2025 academic year
Independent Researcher:
Must be in residence at CENTRO for the 2024-2025 academic year
PhD is not required
Dissertation Fellow:
Must be ABD in a related discipline by July 1, 2024
Must be in residence at CENTRO for the 2024-2025 academic year
One of the 3 reference letters must come from the dissertation advisor
All applicants must submit the following through the application form:
Cover letter describing related qualifications, experience, and proposed research activities.
Current CV
Writing sample related to the position (20-25 double spaced pages) or artist/media portfolio
One page course proposal
Contact information for 3 professional references.
Upload all documents as ONE single .pdf file
COMPENSATION:
Hybrid/Remote Fellows: $25,000
Artists: $75,000
Independent Researchers: $75,000
Dissertation Fellows: $50,000
If you have any questions about these positions, please email programs@centropr.app
centropr.hunter.cuny.edu/opportunities/rooted-relational-research-associate/
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Call for submissions: The Present
A Public Space
DEADLINE: July 14, 2024 at 11:59pm ET
INFO: In connection with the Editorial Fellowship program at A Public Space, we are pleased to announce an open call for a piece in the magazine to be edited by Louis Harnett O'Meara.
Time keeps budding into new moments, every one of which presents a content which in its individuality never was before and will never be again. Let anyone try, I will not say to arrest, but to notice or attend to, the present moment of time. One of the most baffling experiences occurs. Where is it, this present? It has melted in our grasp, fled ere we could touch it, gone in the instant of becoming. — William James
We can’t escape the present moment, but we can inhabit it in different ways. We can become more physically embodied, experiencing the passage of time as sensuous and sensorial; or we can establish distance from the immediate, and treat the external world as a disordered mass that we must constantly rearrange. The present can be encountered as repetition and recurrence, the fundamental continuity between things; or as Heraclitus said, panta rhei, meaning that all is change, everything flows.
Literature is a temporal art, and while the present is always “gone in the instant of becoming,” we know intuitively that works of poetry and prose can offer us some sense of “the truth” about how we live in each moment. It can do this because it is not limited to the sterile science of minutes, months and years. In books, as in life, time can slow down or speed up; recurring experiences can be imbued with singular charge; and fleeting moments can extend seemingly forever.
I would like to see prose that makes use of the present for my Open Call. I don’t mean that I would like to see writing that is about the idea of the present or writing that is “of its time.” I don't want to read a list of cultural reference points for the 2020s. I would like to encounter writing that is of time—writing that treats the present moment as the stuff that it is made of. I welcome interpretations that are broad, and responses that are specific.
Submission Requirements: Only previously unpublished works of fiction or nonfiction are eligible. International and multilingual submissions are welcome, provided that English is the primary language used. Only one submission per person is allowed. Writers whose work is published in the magazine will receive an honorarium.
Please submit the following:
— A cover letter, including a one-paragraph biographical statement, and a paragraph describing how your work makes use of the present.
— One previously unpublished piece of fiction or nonfiction up to 8,000 words, double spaced.
— Only writers who have not yet published a book or been contracted to write a book-length work in English are eligible.
— Simultaneous submissions are allowed, but please note that if your piece is accepted elsewhere, you will be required to withdraw your entire application; replacement pieces will not be accepted once the deadline has passed.
Note that we only accept PDF or Word files (.doc and .docx). The cover letter and manuscript should be submitted as separate files. Incomplete submissions or submissions that do not address this call will not be considered and will be returned unread.
Questions? Write Editorial Fellow Louis Harnett O'Meara at louis@apublicspace.org.
Examples from the APS archive:
— In “Time’s Weather,” published in APS 23, Friederike Mayröcker writes “I have always written with my body.” For Mayröcker, the flow of writing is linked with her embodied presence.
— Garth Greenwell’s “Mentor,” published in APS 22, describes an experience from moment to moment in sensuous, at-times claustrophobic detail. Questions of attraction and risk run through this, intensifying each second.
— David Hayden published “Dublin, We Were,” in APS 29. In it, the narrator describes the past beneath the present, which is an almost impervious surface: “There are countless pasts here: living, half-living, dead. Worlds that are unattended in the present.”
— “The problem is to make time pass,” writes Hervé Guibert in his journal, translated by Nathanaël and published as “The Mausoleum of Lovers” in APS 17. Guibert’s epistolary form invokes the present as immediate, but also insubstantial, sometimes skipping whole weeks.
— Forty-eight hours disperse across time and space in Tracey Hill’s “In Transit,” published in APS 08, which flies the reader over continents before ending in suspension and stasis.
apublicspace.org/news/detail/open-call-the-present
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Call for submissions: The Art of Culinary Writing
A Public Space
DEADLINE: July 14, 2024 at 11:59pm ET
INFO: In connection with the Editorial Fellowship program at A Public Space, we are pleased to announce an open call for a special portfolio in the magazine to be edited by Maurice Rodriguez.
Cooking can be an art, but it is not the only art where food is present in the center or memorably in the margins. Consider contemporary still lifes in the works of multimedia artist Lucia Hierro, photographer Arden Surdam, or ceramist Stephanie H. Shih. Films like Kelly Reichardt’s First Cow (2020), Tranh Anh Hung’s The Scent of Green Papaya (1993), and Gabriel Axel’s Babette’s Feast (1987) often use food to symbolize integral ideas and narrative threads. In Virginia Woolf’s To the Lighthouse, a rich boeuf en daube grounds the reader at the dinner table amidst a tapestry of memories. Gabriel García Márquez weaves Fermina Daza’s capricious feelings about eggplant throughout Love in the Time of Cholera as a signifier for the state of her marriage. Littered amidst many of Haruki Murakami’s works are carefully crafted, drool-inducing cooking sequences that you could emulate your own recipe after. The depiction of food in art and literature has the myriad potential to transform and transport us just as much as the sensory experiences of cooking and eating do.
I am interested in reading culinary writing in any genre—fiction, creative nonfiction, poetry—that explores but is not limited to, the following questions: How can food be a source of resistance and an expression of cultural identity? What might our depictions of food, or the ways we cultivate, consume, and interact with it, say about who we are? How are our senses and memories conjured through food writing?
I am especially eager to read works that experiment with style, form, and language, as well as works in translation.
Submission Requirements: Only previously unpublished works of fiction, creative nonfiction, and poetry are eligible. International and multilingual submissions are welcome, provided that English is the primary language used. Only one submission per person is allowed. Writers whose work is published in the magazine will receive an honorarium.
Please submit the following:
— A cover letter, including a one-paragraph biographical statement, and a paragraph describing an artistic depiction of food (literature, film, music, etc.) that captures what food means to you.
— One previously unpublished piece up to 6,400 words, double spaced, or up to five (5) poems.
— Only writers who have not yet published a book or been contracted to write a book-length work in English are eligible.
— Simultaneous submissions are allowed, but please note that if your piece is accepted elsewhere, you will be required to withdraw your entire application; replacement pieces will not be accepted once the deadline has passed.
Note that we only accept PDF or Word files (.doc and .docx). The cover letter and manuscript should be submitted as separate files. Incomplete submissions or submissions that do not address this call will not be considered and will be returned unread.
Questions? Write Editorial Fellow Maurice Rodriguez at maurice@apublicspace.org
Examples of stylistic interest from the APS archive:
— Yohanca Delgado's "Our Language," published in APS No. 29. The story remixes a mythical being of Dominican folklore while exploring the malleability of language, as well as cultural imagination and identity.
— Yōko Ogawa's "Backstroke," published in APS No. 01. Here, the decay of a family is captured through the lens of a curiosity about why we do what we do, and why those things are considered acceptable or not.
— Mi Jin Kim's "Pocket Money," published in APS No. 30. The final line encapsulates the everyday tension simmering beneath the surface of our ordinary lives: "It was a body hanging from a rod, or kelp in dark water—that depended on how you saw things, and who you were."
— Selva Almada's "The Monkey in the Whirlpool," published in APS No. 28. This work in translation by Samuel Rutter places us in the production of Lucrecia Martel's Zama (2017) among the Qom of Argentina. Fragmentary in nature, Almada folds and refolds a colonial history upon itself.
— Kimiko Hahn's "To save the cell-phone battery—," published in APS No. 29. A short, observational poem that weighs as much as one can see.
apublicspace.org/news/detail/open-call-the-art-of-culinary-writing
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An Audacious Book Club Writing Contest
Roxane Gay / The Audacity
DEADLINE: July 15, 2024
INFO: At the end of our June book club selection, Bite by Bite, author Aimee Nezhukumatathil offers a series of food writing prompts to spark your imagination. We would love to see what these wonderful prompts inspire so paid subscribers are invited to participate in an essay writing contest with a guest judge selecting the winner.
AWARD: The winner will receive $2,500, publication in The Audacity, and a one-hour Zoom session where I offer feedback on up to 25 pages (double-spaced) of your fiction or non-fiction prose.
GUIDELINES: Paid subscription status will be verified for all entries! Your essays (this contest is for nonfiction only) should be between 1,000 and 2,500 words. Entries will be accepted until July 15th. Winners will be announced on September 3rd. The prompts are, merely, starting points. Where you go from there is entirely up to you.
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call for submissions: Issue One: Potential Energy
Notch
DEADLINE: July 15, 2024
INFO: At the root of each creative process is the mysterious stillness that precedes the conception of an idea, followed by the thrill of possibility. The moment in which a thousand futures fold into the present, neither true nor false.
While meditating on this shift from absence to presence–potential to kinetic–we discovered an inflection point that each artist has felt. It exists at the neck of an hourglass when ideas transform from the vague realm of the imaginary into something that can be shared in this world. The delightful metamorphosis that is invisible to all but the creator.
For this first issue, we ask our artists to meditate on the top half of the hourglass–the infinitude that potential energy holds before its whittling into reality.
GUIDELINES:
We are looking for new and strange, excellent and mystifying, sharp. Send us work that sparks imaginative discourse, ideas to take our breath away and mull over for days to come.
Literary - Previously unpublished fiction exploring the state of motionless vertigo, poetry from the precipice, essays that rescue excellent works from obscurity, comparative criticism stitching together unexpected forms, screenplays that capture the seismic potential between two souls...
Currentness is overrated. A thoughtful connection to the theme is not.
Pieces up to 1500 words are preferred. Longer work is considered on occasion.
Works in translation are welcome.
Visual - Film negatives that show what light can invert, drawings with perspective that tumbles the viewer into the frame, sculptures that call upon the sediment from which they came, paintings that defamiliarize their objects, textiles that center the stitch...
Or something completely different.
Please send a high resolution image of your art. Artist statement optional.
Other - Tattoo flash sheets that spark momentum, mathematical equations that illustrate the potential between two planets, set lists that build and build, nail art that activates a multiplicity of identity, a puppet show whose pacing defies the insistent pull of gravity...
Please send a link or a high resolution image or audio file. Artist statement optional.
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4th Singapore Unbound Awards for the Best Undergraduate Critical Essays on Singapore and Other Literatures
Singapore Unbound
DEADLINE: July 15, 2024
INFO: For the fourth year running, Singapore Unbound, a NYC-based transnational literary organization, will be giving out three awards of USD250.00 each for the best three undergraduate critical essays on topics in Singapore and other literatures. The purpose of these awards is to encourage the teaching and study of Singapore literature at college level and the cultivation of general appreciation for the character and achievements of Singapore literature.
Funded by Professor Koh Tai Ann (NTU, Singapore), these awards will be given to written works of literary criticism that illuminate their chosen topics for the general reader. We welcome all critical and theoretical perspectives, but we prefer writing that is graceful, compelling, and accessible. The award-winning essays will be published on Singapore Unbound’s journal SUSPECT. Read last year's winners here, here, and here.
For the purpose of these awards, Singapore literature is defined as literature written in English from 1965 onwards by a Singaporean citizen, permanent resident, or anyone with a strong personal and literary association with Singapore. The author does not have to be residing in Singapore or to have maintained their citizenship. The work(s) discussed may be in any of the literary genres, including but not limited to poetry, fiction, literary non-fiction, drama, and graphic novels. In future iterations of the awards, we hope to include Singapore literature written in other languages besides English.
Essay topics may include studies of a single author or a single work (for example, a novel, poetry collection, or collection of short stories). In the case of a single work, the essay must go well beyond the ambition of a book review and reflect mature analysis and reflection. The topics may also be of a comparative nature, that is, the essay may compare an author/work with another author/work, as long as both works are in English. The second author/work may be non-Singaporean, but at least half of the essay must focus on its Singaporean aspect.
JUDGE: Our judge this year is Sophia Siddique Harvey. Professor Harvey holds a PhD from the University of Southern California School of Cinematic Arts. She is an associate professor of Film at Vassar College. Her research interests include Singapore film, Southeast Asian cinemas, and genres such as science-fiction and horror. Her forthcoming publications include a collaborative interview with Tan Pin Pin (Routledge Companion to Asian Cinemas, co-edited by Zhen Zhang, Intan Paramaditha, Sangjoon Lee, and Debashree Mukherjee) and a personal essay about her involvement in Shirkers 1.0 (Incomplete: The Feminist Possibilities of the Unfinished Film, University of California Press, co-edited by Alix Beeston and Stefan Solomon).
The awards will be announced in September 2024.
GUIDELINES:
The prizes are open to all college undergraduates residing anywhere in the world. There is no entry fee.
Your essay must be written in English and be between 4,500-5,000 words, including bibliography and endnotes. Please provide a 150-200 word abstract at the beginning of the essay. Give your essay a title, number the pages of your manuscript, and provide a word count at the end. Format and citation should follow MLA 8th edition.
Email Jee Leong Koh at jkoh@singaporeunbound.org with a brief cover letter in the body of your email and the essay manuscript attached in MSWord format. The cover letter should include your full name, mailing address, institutional affiliation, and year of graduation. The required information should not appear in your essay manuscript.
Please do not submit your essay manuscript to any other places while it is under consideration with us.
singaporeunbound.org/opp/4th-undergraduate-critical-essays-dzhtk
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Teacher + Librarian Scholarships
Key West Literary Seminar
DEADLINE: July 15, 2024
INFO: We are delighted to be opening applications for our 2025 Teacher & Librarian Scholarships.
Up to twenty outstanding teachers and librarians from around the country will be invited to join us for the Key West Literary Seminar, January 9–12, 2025. We seek a diverse group of individuals who are positively impacting readers in their communities, and we hope that participation in our literary community will inspire fresh engagement with literature in schools and libraries.
Full scholarships cover the entire $825 registration fee and offset the cost of lodging (upon request, we will also provide a letter to your employer encouraging financial support for your travel expenses). Winners of this award will be invited to stay in Key West for three nights, attend a Welcome Meet & Greet under the stars and a private library archive tour to view Hemingway's papers. Award recipients will enjoy the full roster of Seminar programming, including the Opening Keynote Reception, and will have the opportunity to network with attendees and authors.
This year's Seminar theme is "Family" - confirmed presenters include John Irving, National Book Award-winner and author of four New York Times #1 bestsellers; two-time National Jewish Book Award-winner Dani Shapiro, S.A. Cosby, whose "southern noir" crime novels were on Barack Obama's summer reading lists; and Emily Raboteau, an American Book Award-winner whose newest book confronts our era's catastrophes from the standpoint of a mother, among many distinguished writers.
ELIGIBILITY: Scholarships are available to all teachers and librarians in the United States. We seek a diverse group of individuals who are making a positive impact upon readers in their communities.
HOW TO APPLY:
Applicants must complete a scholarship application via Submittable. Requirements are listed below:
1. Request Letter:
Please tell us about your work as a teacher or librarian in 750 words or less. A successful request letter will describe your institution, the community it serves, and your role within it; address the theme and/or speakers for the upcoming Seminar; and explain how you hope your attendance at the Seminar will benefit you and your community. Please also tell us something about your financial need, and whether or not you would be able to attend KWLS without our support.
2. Letter of Recommendation:
One letter of recommendation is required. It may be written by a supervisor, former student, patron, or peer. An effective letter will describe your strengths as a teacher or librarian and the impact you have made on others in your community and/or institution.
In the application form, you will be asked to provide an email address for your recommender. Once you submit the application, they will receive an email from Submittable with a link to upload the recommendation letter. We suggest that you contact your recommender before you submit your application and alert them to expect this email.
Applications without a letter of recommendation will not be considered. It is your responsibility to follow up with your recommender to make sure the letter has been sent.
3. References:
Please provide the names, phone numbers, and e-mail addresses of two additional persons who are familiar with you and your work.
kwls.org/awards/teachers-and-librarians
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CALL FOR SUBMISSIONS: BLACK BRITISH LITERATURES & CREATIVE COMMUNITIES
Callolloo
DEADLINE: Extended to July 15, 2024 at 11:59pm
INFO: Callaloo seeks new writing (essays, fiction, poetry, memoir), scholarly articles, and visual art for a special issue entitled "New Dimensions: Black British Literatures and Creative Communities", guest-edited by Karen McCarthy Woolf and Jason Allen-Paisant. Critical and creative writing that focuses on the following areas of Black British life is particularly welcomed:
Art: historical perspectives as well as new approaches in Black British artistic expression
Activism
Music
New perspectives in Black British writing
The rural experience of Black Britons
Queer perspectives and aesthetics
Book reviews: You may propose a review for books with a publication date between October 2024 and February 2025.
Prose pieces should be no more than 6000 words long, unpublished, and not currently under consideration elsewhere. Scholarly articles should follow the MLA Style Manual and Guide to Scholarly Publishing (3rd edition) and include a works cited and endnotes, not footnotes.
callaloo.submittable.com/submit
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FELLOWSHIP FOR NATIVE AMERICAN WRITERS
Ucross
DEADLINE: July 15, 2024 by 11:59pm MT
APPLICATION FEE: $0
INFO: Ucross is dedicated to fostering the creative spirit of working artists by providing uninterrupted time, studio space, living accommodations, and the experience of the majestic High Plains, while serving as a responsible steward of our historic 20,000-acre ranch in northern Wyoming.
In 2020, following the success of its Fellowship for Native American Visual Artists, Ucross launched a similar opportunity for Native American writers at all stages in their professional careers. The Ucross Fellowship for Native American Writers is open to practicing writers who are currently producing work in one or more of the following genres — fiction, nonfiction, poetry, drama, screenwriting, playwriting, or hybrid forms.
Two Ucross Fellowships for Native American Writers are awarded each year. Those selected for the fellowship are offered a four-week residency, a stipend of $2,000, and an opportunity to present work publicly.
Current work is requested. An applicant's work sample and project description are the most significant feature of their application. Unless work is interdisciplinary, i.e. the various genres interconnect, each applicant is encouraged to apply in a primary discipline and submit a work sample and project description that emphasizes this single discipline. Competition for residencies varies annually and with the number of applications. While only one Fellowship winner will be selected, all applicants will have the option of being considered for a general Ucross residency.
ELIGIBILITY: Residencies are open to Native American writers who meet the criteria below.
They must:
Be a practicing contemporary writer who is currently producing works in one or more of the following genres, including but not limited to FICTION, NONFICTION, POETRY, DRAMA, SCREENWRITING, PLAYWRITING, and HYBRID FORMS;
Be an enrolled member of a state-recognized or federally-recognized Tribe, Pueblo, Nation, Native Community, Political Entity, or Alaskan Native Village.
FICTION WORK SAMPLE: Your writing sample should represent the genre in which you plan to work while in residence. Writing samples should be double-spaced and include your full name. * Appropriate sample: 20 pages of fiction, which could be a novel excerpt, a story, several stories, or a combination.
NONFICTION WORK SAMPLE: Your sample should represent the genre in which you plan to work while in residence. Writing samples should be double-spaced and include your full name. * Appropriate sample: 20 pages of nonfiction.
POETRY WORK SAMPLE: Your sample should represent the genre in which you plan to work while in residence. Poetry submissions may be single-spaced and should include your full name. * Appropriate samples: 10 pages of poetry.
PLAYWRITING WORK SAMPLE: Your sample should represent the genre in which you plan to work while in residence. Writing samples should be double-spaced and include your full name. * Appropriate samples: One complete play (documentation of production may be included, if relevant), noting the 20 pages that you would like the reviewers to read.
SCREENWRITING WORK SAMPLE: Your sample should represent the genre in which you plan to work while in residence. Writing samples should be double-spaced and include your full name. * Appropriate samples: One complete screenplay (documentation of production may be included, if relevant), noting the 20 pages that you would like the reviewers to read.
ucrossfoundation.submittable.com/submit
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Robert and Adele Schiff Award
The Cincinnati Review
DEADLINE: July 15, 2024 at 11:59pm ET
ENTRY FEE: $25
INFO: The Cincinnati Review invites submissions for the annual Robert and Adele Schiff Awards. One poem, one piece of fiction, and one piece of literary nonfiction will be chosen for publication in our prize issue, and winning authors will receive $1,000 each. All entries will be considered for publication in The Cincinnati Review.
RULES: Writers may submit up to 8 pages of poetry (up to 5 poems total within those pages); up to 10,000 words of a single double-spaced piece of fiction; or 5,000 words of a single double-spaced piece of literary nonfiction, per entry. Previously published manuscripts, including works that have appeared online (in any form), will not be considered. There are no restrictions as to form, style, or content; all entries will be considered for publication. Simultaneous submissions are acceptable under the condition that you notify us if your manuscript is accepted elsewhere. As the contest is judged anonymously, no contact information may appear anywhere on the manuscript file. Files that do include identifying information will be rejected unread, and entry fees will not be refunded (though you’ll still get your free subscription).
TO ENTER: The entry fee is $25, and includes a one-year subscription to The Cincinnati Review. Multiple submissions are welcome and come with additional yearlong subscriptions, which can be used to extend your original subscription or given as gifts. All entrants with an international address will receive an e-book subscription. (If you live at a US address and would prefer an e-book subscription, please write that in the “comments” field as you submit your entry.)
We will be accepting submissions only via our online submission manager, through which you’ll pay the entry fee. Again, please do not include the writer’s name or any identifying information in the manuscript file. Instead, in the “comments” field at the bottom of the entry page, enter the writer’s name, mailing address, telephone number, email, and the title(s) of the submitted work(s). Also, be sure to use the “genre” tab to indicate whether your submission is poetry, fiction, or literary nonfiction.
SUBMISSION PERIOD
The 2024 contest will run from June 1 to July 15 at 11:59 p.m. EDT. Results will be announced on October 1. Winning entries will be published in the Summer 2025 issue, which comes out in May.
CONTACT INFO: If you have any questions about the contest or problems submitting and/or making payment, please email editors[at]cincinnatireview[dot]com or use the contact form on this site, and we’ll get back to you shortly.
CLMP CONTEST CODE OF ETHICS:
In keeping with the CLMP‘s contest code of ethics, we’d like to inform you of the following:
CLMP’s community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to 1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; 2) to provide clear and specific contest guidelines—defining conflict of interest for all parties involved; and 3) to make the mechanics of our selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage.
OUR SELECTION PROCESS:
We ask all entrants to omit names or other identifying information from their files. If such information is included, that entry will not be read and the entry fee will not be refunded (though that writer will still receive a free subscription).
Then, we also use a special feature on our submission manager to remove the author and cover-letter sections from view of our screeners and judges.
In the first round of judging, the screeners for each of the three contest tracks (poetry, fiction, and literary nonfiction) pick 15-40 pieces to send on for the next round of judging. With the special feature still blocking author and cover-letter information, Erica Dawson judges the poetry contest, Michael Griffith judges the fiction contest, and Kristen Iversen judges the literary nonfiction contest.
As with our regular submission policy, current and former students, faculty, and staff of the University of Cincinnati are ineligible to submit unless they are more than two years removed from their affiliation with the university.
cincinnatireview.com/contests/robert-and-adele-schiff-awards/
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CALL FOR SUBMISSIONS: ISSUES IX + X
Mulberry Literary
DEADLINE: July 15, 2024 at midnight CT
INFO: Submissions are open for Mulberry Literary’s Issue IX (Fall/Winter 2024) and Issue X (Spring/Summer 2025). Please note that submissions for a particular genre are subject to close early if a large amount of submissions are received.
Mulberry accepts all creative media—from prose, flash, poetry, script, and comics, to film, music, visual art, dance, and everything in-between. Cross-genre, experimental, and hybrid work are always welcome, as well as excerpts of longer pieces.
We accept work from everyone who wishes to submit, but we particularly encourage work from LGBTQIA+, gender expansive creators, and BIPoC voices. If you’re a creative writing undergraduate, graduate student, or member of creative writing faculty at a college/university, we’d love to hear from you. As ever, international submissions and submissions of translated work are welcome.
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2024 Community Anthologies
Seventh Wave
DEADLINE: July 18, 2024
SUBMISSION FEE: $7
INFO: Our 2024 Community Anthologies — curated by our editors-in-chief Xu Li, Isaiah Yonah Back-Gaal, dezireé a. brown, and Para Vadhahong — are now open for submissions.
Prior to submitting, please ensure that you have read about this program in full here, as well as visited our FAQ page here. To call out a few key details:
Four 2024 Community Anthologies. There are four Community Anthologies open for submission, each of which is curated and edited by a different editor-in-chief. The Seventh Wave selected our four 2024 Editors-in-Chief through an application process in March 2024, and our four EICs — named above — were selected based on the anthology topic they wished to curate in the world.
Each Community Anthology focuses on a different topic. As mentioned at the links above, our four 2024 Community Anthologies are On Endings (curated by Xu Li), On Queer Family (curated by Isaiah Yonah Back-Gaal), On Gaming (curated by dezireé a. brown), and On Prayer (curated by Para Vadhahong). Each Community Anthology has its own call/topic for submission, but there is only 1 submission form for all 4 (as you can only apply to one anthology).
Each EIC will be selecting 6-8 contributors. If you are one of the 6-8 contributors selected by the EIC you submit work to, please note that you will be working directly with that EIC from acceptance to publication. TSW will host orientation sessions for all accepted contributors in August, but you will then work on revisions with your EIC from September - November.
GUIDELINES:
In terms of genre/form, Xu is specifically looking for poetry (long(er) poems especially encouraged), lyric essays, and creative non-fiction.
In terms of form/genre, Isaiah is specifically interested in poetry, fiction, creative nonfiction, and multimodal art. This call is also a hybrid call: Isaiah will be inviting 1-3 contributors to submit work, and the remaining 5-7 spots will be filled via an open call on Submittable (each anthology publishes 6-8 people).
In terms of form, Dez is looking for creative writing — poetry, flash fiction, flash CNF, short screenplays, hybrid, and interactive works — and visual art.
In terms of form, Vadhahong encourages BIPOC artists to submit, though this call is open to all writers and artists.
seventhwavemag.submittable.com/submit
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flash fiction open reading period
The Margins / AAWW
DEADLINE: July 22, 2024 by 11:59pm ET
INFO: In 2025, we are excited to once again publish stories in our Flash Fiction series, featuring emerging and established Asian, Asian American, and Asian diasporic writers. The series has been on hiatus for the past six months—a time for us to plant the seeds for future creativity, to let the garden lie fallow and rejuvenate its soil.
We plan to notify writers in November 2024 and publish accepted stories in 2025.
We are only accepting submissions from writers who have not already been published in the series.
Some of the most fascinating and experimental writing exists as short, fished pieces, like rare blooms in a kaleidoscopic garden. Gardens—like flash fiction—can be enchanting, lush, serene, exuberant, idyllic, rustic, meticulous, overgrown, fragrant, wild.
WE’RE LOOKING FOR:
Short fiction that luxuriates in capaciousness and bursts with urgency
Forms that subvert what “flash fiction” means
Memorable characters and moments that appear in brevity but linger long afterward
Writing that embraces humor, sensuality, irreverence, and audacity
Work that interrogates the zeitgeist, evokes history, and imagines bold futures
GUIDELINES:
Submit up to two pieces of flash fiction between 500 and 1,000 words in length. Include both stories in the same file.
We do not accept work that has been previously published elsewhere.
Submissions are only open to writers who have not already published work in the Flash Fiction series.
Title your submission with the title(s) of your stories separated by semicolons.
We accept simultaneous submissions. However, notify us immediately via Submittable if a piece has been accepted elsewhere. If you need to withdraw one piece and leave the other, please specify which in your message.
If you make an error in your submission document, withdraw your submission and re-submit according to the guidelines.
Send us your best work. As we often think of flash as the length of a campfire story, we recommend reading your draft aloud to listen to the language as you revise your submission.
We welcome submissions from Asian and Asian diasporic writers, including those that identify as South, Southeast, East, North, and Central Asian; SWANA; Pacific Islander; and Indo-Caribbean.
Authors whose flash is accepted for publication will receive a writer fee of $150.
We invite you to read an essay by the series editor and works from the series (here and here) to have an idea of what we’ve published so far. We’re also looking to be surprised. We can’t wait to read your flash!
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call for contributors: 51 Words Anthology
Branden Janese / Reparative Reading Consultancy
DEADLINE: July 30, 2024
INFO: We are looking for creators to contribute to our limited edition anthology.
51 Words: An Examination of Language Evolution is an anthology focused on the radical evolution of the English language. This project is sponsored by the New York State Council of the Arts.
51 Words is a reaction to the radical changes that our language has gone through in the past several decades. How have some of the biggest historical events changed our language? What have contemporary artists learned from these changes? What’s next for our language and the ways we use it? These are some questions that 51 Words will challenge the readers to think about. This project will be a mix of fiction, nonfiction, interviews, illustrations and more.
ELIGIBILITY: Applicants must reside in New York State.
We are currently looking for:
Photo collections that depict "Love Languages"
Essays on the language of grief
Flash fiction focused on language as the antagonist
We are publishing novel takes on language evolution, including, fiction stories that follows a character navigating a lost language, and nonfiction essays on the history of slurs and bad words, (like that time you called someone a 'blank'), or how gentrification changed the language you hear in New York City. We are looking for political cartoons outing our modern social ills and exposing the new dog whistles said by our government officials. We are looking for graphic designs that depict the ever changing data of language. We are publishing innovative, novel, complex, and completely inappropriate literature and visuals. Send us something off-beat, raunchy, tear-jerking, uncomfortable and uncouth. We are not opposed to something that might get us cancelled. Show off, surprise us.
We are accepting Fiction, Nonfiction, Illustration/Graphic design, Research/Data, Interviews, and Criticism/Reviews.
Selection process: Our editors will review your work samples thoroughly and make a decision within two weeks or less. Selected contributors must attend a reading presentation upon the anthology's release in Winter 2024 in New York City.
COMPENSATION: Each selected contributor will receive a $300 payment.
docs.google.com/forms/d/e/1FAIpQLSdY1VtQDdMUotbyJcIodQ5IdqvLHnPGl-Mau02JoXw4KowI8Q/viewform
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CALL FOR SUBMISSIONS: "SPACEFARING AUNTIES" Issue
FIYAH
DEADLINE: July 31, 2024
INFO: It’s time to explore the adventures of bold, fearless women who defy societal expectations and embark on daring space voyages. From thrilling space operas to quiet character studies, we want to see Aunties who are scientists, engineers, pilots, and leaders guiding their crews through uncharted territory.
Guest Editor Kerine Wint is looking for:
Women-led stories, not as sidekicks but fleshed-out protagonists.
SHOW how cool these Aunties are through their actions. Quiet moments on a spaceship are good, but make enough tension to highlight the bravery of these women.
A wide spectrum of women- queer, disabled, etc. – without feeding into the “Strong Black Woman ™” tropes that often dehumanize and stifle characters.
airtable.com/appW2EIPQbzXiQRkD/shrtoN6661Y2Pcbly
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CALL FOR SUBMISSIONS: THE FICTION THAT CHANGED ME
Raising Mothers
DEADLINE: July 31, 2024
INFO: We’re seeking strong narrative voices that dig deep into the why and how a fiction title has impacted your motherhood/parenthood in beautiful ways. Provide a poignant description of how a work of fiction has heavily shifted your perspective, helped to heal old wounds, or pushed you through a difficult time. What book, written by and about a person belonging to the global majority changed your life?
IMPORTANT INFO:
Word count: 2000
Response Time: 1-3 months
Genre: Essay
Column: Books on Books - Connections
Editor: Ain Heath Drew
raisingmothers.com/submissions/
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CALL FOR SUBMISSIONS: PERSONAL ESSAYS FOR ‘RADICAL JOY’ COLUMN
Raising Mothers
DEADLINE: Extended to July 31 2024
INFO: For its Radical Joy column, Raising Mothers is interested in personal essays and other forms of creative nonfiction that explore the intersection of joy and motherhood/parenthood. Specifically, essays that require the reader to sit with the way our desires and longings for pleasure and joy are impacted by both the practicalities of parenting as well as the often-unspoken emotional and psychological conflicts that can arise from mothering while Black/Brown. That said, the center of any piece should be joy and not necessarily trauma or pain.
From Editor Tracey Michae’l Lewis-Giggetts: “Good storytelling, a unique lens, and writing that makes me want to throw my own laptop in the trash will always get my attention.”
WORD COUNT: 1500 words
raisingmothers.com/submissions/
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THE JULY OPEN: call for book-length manuscripts of poetry, prose + literary nonfiction
Sarabande Books
DEADLINE: July 31, 2024
SUBMISSION FEE: $22
INFO: Sarabande is pleased to offer an open reading period for book-length manuscripts of poetry (hybrid and visual poetry, book-length poems, and experimental poetry), short fiction (micro/flash fiction, short stories, novellas, and short novels), and literary nonfiction (essay collections, book-length essays, and hybrid and experimental works).
The July Open is also open to proposals for works of poetry, fiction, and literary nonfiction in translation.
ELIGIBILITY: This submission period is open to manuscripts in English. Employees and board members of Sarabande are not eligible. 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 to the right.
SUBMISSION REQUIREMENTSL
Submissions to The July Open should include:
A cover letter with a description of the work and a brief author bio
A complete, full-length manuscript, paginated consecutively with a table of contents and acknowledgements page
poetry should be single spaced, prose should be double spaced, all manuscripts should be typed in a standard 12 pt font
***
TRANSLATION PROPOSALS:
ELIGIBILITY:
Publication of a translated work is contingent upon the agreement to grant English language rights and other contractual terms. Employees and board members of Sarabande are not eligible. Sarabande reserves the right to reject any submitted manuscript or to withdraw a publication offer if contractual obligations are not met.
It is highly recommended that those who intend to submit a proposal familiarize themselves with Sarabande’s catalog. You can find some of our bilingual titles and works in translation to the right.
SUBMISSION REQUIREMENTS:
Translators wishing to submit a query should include:
A one-page cover letter that that addresses the book’s cultural, historical, and artistic significance
A brief biography of the poet and the translator, including previously published works
A sample translation of at least 20 pages (more complete manuscripts are preferred, but not required)
A statement confirming that permission has been granted to the translator(s) for English translation and publication of the original text by the rights holder
A $15 reading fee
sarabandebooks.org/the-july-open
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2025 Queer|Art|Mentorship program
Queer Art
DEADLINE: July 31, 2024
INFO: The Queer|Art|Mentorship program nurtures exchange between LGBTQ+ artists at all levels of their careers and works against a natural division between generations and disciplines.
Fellows apply with a specific project they would like to work on during the program and meet with their Mentors monthly to discuss their progress.
Fellows also meet each month as a group to work through important issues shaping their creative and professional development in a collaborative and interdisciplinary environment.
The program begins in January 2025 and ends in October 2025
“QAM Debuts” are virtual artist talks scheduled throughout the program year in which current Fellows introduce their work to the broader QAM community and receive vital feedback. “The QAM Works-in-Progress (WIP)” series provides additional opportunities for Fellows to advance their Mentorship projects through public in-person presentations.
MENTORS:
Queer|Art is pleased to announce the new Mentors for the 2025 Queer|Art|Mentorship program cycle:
FILM
Andrew Ahn
Tabitha Jackson
Frédéric Tcheng
LITERATURE
Alexander Chee
Leah Lakshmi Piepzna-Samarasinha
Stacy Szymaszek
PERFORMANCE
Raja Feather Kelly
Young Joon Kwak
Erin Markey
VISUAL ART
Liz Collins
Chitra Ganesh
Ken Gonzales-Day
Now in its 14th year, the organization’s celebrated year-long creative and professional development program supports both remote and in-person participation between early-career and established LGBTQ+ artists from across the country. In expanding nationally, Queer|Art|Mentorship bridges professional and social thresholds that often isolate artists by generation, discipline, and region. The program supports a year-long exchange between emerging and established LGBTQ+ artists across four distinct fields—Film, Literature, Performance, and Visual Art.
Fellows apply with a specific project they would like to work on during the program and meet each month with their Mentors to discuss their progress in the lead-up to this event. Fellows also meet each month as a group to learn from and provide support for one another throughout the year.
STRUCTURE:
The program is a year in length. Fellows in Film, Performance, Literature, and Visual Art apply with a specific project they would like to work on during the program. Proposing a project is a way for Fellows to introduce themselves to Mentors, and working on that project in dialogue with a Mentor is a way to focus the development of the relationship. Keeping Queer|Art|Mentorship project-based also provides a manner by which to assess, and modify if necessary, the program’s long-term effectiveness in facilitating and supporting the actual creation of new work.
The program is largely driven by the unique character of each Mentor/Fellow pairing, organized through individual monthly meetings. Fellows also meet each month as a group in an environment that provides an opportunity for sharing ideas across disciplines and gathering further support among peers. The entire group of Mentor/Fellow pairs also convenes for two dinners throughout the cycle, hosted by Queer|Art. Throughout the year, Queer|Art staff engage in an ongoing dialogue with the Mentors and Fellows in an effort to ensure that the program best serves its participants. Further opportunities for ongoing career education and development will be sought out as the unique needs of each group of Fellows are assessed.
HISTORY + CONTEXT:
Queer|Art|Mentorship was born of a need to address the lack of support for queer content in a variety of cultural sectors and the scarcity of examples of sustainable careers for LGBTQ+ artists. A sensitivity to the absence of mentors who would have emerged from the generation most strongly affected by AIDS is also a palpable and driving force behind the program. The program launched in 2011.
Queer|Art|Mentorship aims to expand the perceived value of queer work and cultivate a collection of voices that amplify queer artistic experience. The program does not expect any kind of specific content in terms of artists’ work or how queerness manifests within and around it.
WHO SHOULD APPLY?
Artists must be working at a generative level within at least one of the following fields:
Film
Literature
Performance
Visual Art
Queer|Art|Mentorship is for artists who are:
Self-identified as queer, lesbian, gay, bisexual, transgender, non-binary, and/or intersex
Based in the United States, including US territories
Early-career and professionally focused, with a body of work already behind them
Not currently enrolled in school or university
And have a specific project they’d like to work on with a Mentor during their Mentorship cycle.
Most importantly, we are looking for artists who have an extraordinary potential for engagement in queer and artistic communities and would gain from, and add to, interaction with others.
Each Mentor chooses the Fellow they will be working with during the program. We encourage Mentors to look for artists who stand to receive maximum benefit from the resources of the program and bring diverse experiences and perspectives to the Queer|Art community.
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HUMAN Residency Fellowship
Ragdale / Lake Forest College
DEADLINE: July 31, 2024
APPLICATION FEE: $10
INFO: Ragdale is pleased to announce the HUMAN Residency Fellowship, an exciting new partnership with Lake Forest College made possible by the Mellon Foundation.
This multi-year collaboration invites artists from diverse disciplines to explore the intersection of the humanities, artificial intelligence, and social justice. Ragdale encourages applications from individuals whose work addresses questions about the impact of bias on AI outputs, the influence of dominant historical narratives on current AI technologies, and the ethical considerations for integrating AI into daily life.
ELIGIBILITY: Emerging, midcareer, and established writers, dancers, musicians, composers, and visual artists are encouraged to apply.
AWARD: Ragdale will award the HUMAN Residency Fellowship to 6 artists. This award includes an initial 6-day Group Residency in spring 2025 (dates TBD) with fellow HUMAN Residency Fellowship recipients and comes with a $1,000 stipend to offset travel and expenses. This AI-themed residency session will be followed by a full, individual, 18-day, fee-waived residency to be scheduled in the subsequent two years (2026 or 2027).
Full residencies are comprised of cohorts of up to 14 multidisciplinary artists working on their own projects. Awardees will receive a second stipend of $3,000 during the 18-day residency. All applicants who apply for the HUMAN Residency Fellowship will be asked to participate in a program, such as a panel talk, visiting artist lecture, workshop, or other related event as part of a culminating AI symposium in 2027. Program details will be determined after the cohort is selected.
The HUMAN residency at Ragdale is part of the Lake Forest College’s $1.2 million grant from the Mellon Foundation for HUMAN: Humanities Understanding of the Machine-Assisted Nexus, led by Professor of English and Executive Director of the Krebs Center for the Humanities, Davis Schneiderman.
GUIDELINES: All applicants submit electronic materials through the Submittable application portal. Do not email or mail any application materials. Please note the following requirements to complete your application.
A completed online application form includes:
A one-page artist statement and proposal. Proposals should describe how a residency would support the applicant’s work in exploring the intersection of the humanities and artificial intelligence (AI) and automation, with an emphasis on questions of equity and social justice.
A one or two-page CV or resume that summarizes your professional background.
Work samples that show work from the past 2-3 years. All media is acceptable. Most electronic file types and sizes are accepted.
PLEASE NOTE: Letters of recommendation are not required nor accepted.
ragdale.submittable.com/submit/293033/2025-human-residency
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YADDO RESIDENCY
Yaddo
DEADLINE: August 1, 2024
INFO: Yaddo offers residencies to professional creative artists from all nations and backgrounds working in one or more of the following disciplines: choreography, film, literature, musical composition, painting, performance, photography, printmaking, sculpture, and video. Artists apply individually. Peer review is the keystone of our selection process, with different panelists each season. Residencies last from two weeks to two months and include room, board and a studio. There is no fee to come to Yaddo, and we have modest access grants to help offset the costs of attending a residency.
All artists whose work falls within the five disciplines we serve are encouraged to apply. Generally, those who qualify for Yaddo residencies are either working at the professional level in their fields or are emerging artists whose work shows great professional promise. An abiding principle at Yaddo is that applications for residency are judged solely on the quality of the work. Yaddo places no publication, exhibition or performance requirements on artists in residence.
Not only is Yaddo an equal opportunity employer—we will not discriminate against any individual, employee, or application for residency based on race, color, marital status, religion, age, sex, sexual orientation, gender, national origin, disability, or any other legally protected status recognized by federal, state, or local law—we strongly encourage applicants from backgrounds underrepresented in arts and culture to apply.
APPLICATION GUIDELINES + INSTRUCTIONS:
Application Deadlines: The January 10 deadline is for residencies starting May of the same year, through March of the following year. Applicants receive results by email in mid-March.
The August 1 deadline is for residencies starting November of the same year through June of the following year. Applicants receive results by email in early October.
Late applications are not accepted. All applications must be submitted electronically through the SlideRoom portal, yaddo.slideroom.com. The application portal opens in June for the August 1 deadline and early November for the January 10 deadline.
ELIGIBILITY:
Artists who are enrolled in graduate or undergraduate programs, or who are engaged in completing work toward an academic degree at the time of application, are not eligible.
Artists may apply once every other calendar year. For example, if you applied to a 2022 deadline, you will be eligible to apply again to a 2024 deadline.
Yaddo supports individual artists engaged in the genesis of new, original work. Auxiliary artists such as sound and lighting technicians, musicians, dancers and designers are ineligible to apply.
REAPPLICATION:
The criterion for repeat visits is the same as for first visits – the quality of the artist’s work. All artists must submit a complete application, including recent work samples.
FEES:
The nonrefundable application fee is $30. Depending on the discipline, an added fee of $5 to $10 for media uploads may apply. Application fees must be paid by credit card. If the fees represent a barrier to application, please contact our Program Department. Artists are responsible for their travel to and from Yaddo. We have modest access grants available to offset the costs of accepting an invitation. Applications for Access Grants are sent with your invitation.
LENGTH OF STAY:
Residencies vary in length, from two weeks to two months.
DISCIPLINES:
Applications are considered by independent Admissions Committees. Membership changes with each application round, and is composed of artists whose work is recognized and esteemed by their peers.
Panels consider applications to Yaddo in the following disciplines:
Literature: fiction, nonfiction, poetry, drama, librettos, and graphic novels.
Visual Art: painting, drawing, sculpture, printmaking, photography, mixed media, and installation art.
Music Composition: instrumental forms, vocal forms, electronic music, music for film, and sound art.
Performance: choreography, performance art, and multimedia works incorporating live performance.
Film & Video: narrative, documentary and experimental films, animation, and screenplays.
Apply to the Admissions Panel that best represents the project you’d like to work on at Yaddo. Apply to only one admissions panel, and in one genre, at a time. Contact the Program Director with any questions.
COLLABORATIONS:
Yaddo is no longer accepting applications under Collaborative Teams. Our Admissions department is exploring workshop formats that invite collaborators to Yaddo. Details are forthcoming.
Artists who wish to be in residence at the same time should apply to the Admissions Panel in their individual artistic discipline. Concurrent dates of residence may be requested.
REFERENCES:
At this time, references are not required as part of our application process.
APPLICATION INSTRUCTIONS:
All application materials, including contact information and work samples must be submitted through yaddo.slideroom.com. Complete instructions by discipline, including details about the process and requirements, are offered in the SlideRoom portal. Specific work sample requirements are available here.
Submit a work sample(s) that reflects the project you wish to pursue during your residency, and that represents recent, finished work. The weight of your application is on your work sample; please choose your strongest work. Samples may be visual images, video clips, manuscript pages, or audio files, depending on the requirements for your discipline.
Address admissions questions to admissions@yaddo.org. Include your name and discipline in all correspondence. For technical assistance during the application process, contact support@slideroom.com.
Please note: Follow the instructions in Slideroom for your specific discipline, outlined below.
INSTRUCTIONS BY DISCIPLINE:
The initial stages of our application review are anonymous. Therefore, we ask that you omit your name from all work sample uploads in the file title and anywhere embedded in the file. Identities are revealed in the later stages of review. More detailed instructions on upload requirements are available in SlideRoom when the portal is open (early November – early January and again early June – early August).
Literature - Submit both a two-page preview sample and a full-length writing sample in double-spaced, manuscript format. For the longer excerpt, page length is determined by literature genre, including fiction & nonfiction (20 pages, about 5,000 words), drama & libretto (30 pages), poetry (10 pages), and graphic novel (10 pages). Work sample requirements are available here.
Visual Art - Submit seven digital images of visual artwork. Note: The Admissions Committee views images on personal computer screens and a large screen via projection. Optional: Documentary or elemental video of an installation. Work sample requirements are available here.
Music Composition - Submit two separate musical works, with recordings of one or both works. Both must include either a score or a brief statement. Work sample requirements are available here.
Performance - Submit both a preview work sample and a full-length work sample. For the preview, submit a two-minute continuous excerpt of one of your performance works. For the longer excerpt, include video documentation of up to three excerpts, totaling no more than 10 minutes in length. Include title, year, performers, any major collaborators, performance space/ location, and a brief description. Work sample requirements are available here.
Film & Video - Submit both a preview work sample and a full-length sample of the same work. For the preview, offer a two-minute continuous excerpt of your work. The longer sample includes a video or film segment, no more than 10 minutes total. Optional: Brief description of the samples. Work sample requirements are available here.
Screenwriters - Submit two writing samples of your screenplay. One longer sample of no more than 10,000 words or 30 pages and a second two-page excerpt of the same work. Optional: May include a brief synopsis if necessary. Work sample requirements are available here.
yaddo.org/apply/#instructions-by-discipline
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CREATIVE NONFICTION ESSAY CONTEST
Prairie Schooner
DEADLINE: August 2, 2024
ENTRY FEE: $20, which includes a copy of the Spring 2025 issue of the Schooner, in which the winning essay will appear.
INFO: Our annual summer nonfiction contest seeks all types of creative nonfiction essays up to 5,000 words.
PRIZE: The winner will receive $1,000 and publication in our Spring 2024 issue.
JUDGE: Safiya Sinclair was born and raised in Montego Bay, Jamaica. She is the author of the memoir How to Say Babylon, winner of the National Book Critics Circle Award, finalist for the Women’s Prize in Non-Fiction and the Kirkus Prize, and longlisted for the OCM Bocas Prize. How to Say Babylon was one of the New York Times’ 100 Notable Books of the year, a Washington Post Top 10 Book of 2023, a TIME Magazine Top 10 Nonfiction Book of 2023, one of The Atlantic’s 10 Best Books of 2023, a Read with Jenna/TODAY Show Book Club pick, and one of President Barack Obama’s Favorite Books of 2023.
GUIDELINES:
Entries will consist of three parts: a cover letter, the essay manuscript, and the entry fee.
Cover Letter: In the cover letter, include the submission's title and your contact information, including e-mail address, phone number, and mailing address. Your name and contact info must not appear anywhere within the manuscript itself (double-check headers and footers!).
Essay Manuscript: The contest is open to all types of creative nonfiction essays up to 5,000 words. We're interested in reading imaginative essays of general interest. (Scholarly articles requiring footnote references should be submitted to journals of literary scholarship.) Manuscripts should be double-spaced and use a standard font, and, again, the submitter's name and contact info should not appear within the manuscript itself.
Multiple submissions are welcome and encouraged, but a separate entry fee must accompany each submission.
This contest is administered anonymously. Editorial Assistants, Assistant Nonfiction Editors, the Guest Judge, and the Editor in Chief of the Schooner are not privy to submitters' identifying information.
If you have a problem with your submission, please write to Managing Editor Siwar Masannat at prairieschooner@unl.edu.
prairieschooner.submittable.com/submit
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2024-2025 Arts Writing Incubator
The Black Embodiments Studio
DEADLINE: August 2, 2024
INFO: Participants in the Arts Writing Incubator meet to discuss contemporary black art, sharpen our understanding of the practice of arts writing, and to develop our own publishable arts writing.
This year will feature a single cohort of 5 people who convene October 2024 - May 2025. The cohort will convene virtually every month to discuss assigned arts writing and to workshop writing-in-progress. They are tasked with seeing black art in their own locales on their own time, maintaining a writing practice that engages this art, and will be expected to pitch and ideally publish at least once during their session. Their writing will also be collected in the annual BES journal, A Year in Black Art.
The cohort will also gather for an in-person convening—details TBD—where they will participate in closed-door sessions with invited artists, arts writers, and arts workers.
Cohort members will receive a humble $1,000 for their participation.
APPLICATION DETAILS:
The application consists of a 2-page letter of interest describing your critical practice, how using writing to think through contemporary black art will be generative to your practice, and what you hope to gain through engaging with The Black Embodiments Studio.
We welcome applicants coming to BES with a variety of interests and experiences in arts writing. This year, however, we are emphasizing the formal and conceptual strategies necessary for two often distinct poles of arts writing: short-form arts journalism, where the arts writer often has to churn out short reviews with high frequency, and longer-form catalogue essays, where writers are often given months if not a year plus to write. This emphasis reflects the national and global conversation about the “death'“ of arts journalism (moving apace with fears about the broader death of traditional journalism, particularly print journalism) as well as the distinct forms, stakes, and ethics that comprise fine art publication practices.
Application materials should be sent in PDF format to blackembodiments@gmail.com by August 2, 2024. 5 people will be notified of their acceptance by September 6, 2024 and publicly announced shortly thereafter. Our organizational capacity unfortunately makes it impossible to respond with individual feedback on applications.
BEST PRACTICES:
You do not have to have any experience in the arts or in arts writing to apply! But you should be experienced in self-directed thinking, invested in contributing to conversation, and able to dedicate time for reading arts writing and for seeing art on your own time. You should also have proficiency in reading, thinking about, and discussing race, and doing so from an anti-racist perspective.
Things to think about when writing your application: be specific!
Nearly every applicant will discuss their commitment to black art(s) and their need or desire to be amongst other critical black arts thinkers. The routes to these commitments, desires, and needs can be very different, however. Your application should show us how specific people, conversations, ideas, works, and/or artists, etc. have helped shape how you have arrived at this opportunity—and what you might make of it.
You don’t have to have any arts writing experience to participate in the AWI but writing is the tool through which BES operates. It is important to discuss the stakes of (arts) writing for you, your practice, and the contributions you want to make in the (arts) world(s) you are a part of.
There may be plenty you don’t know and want to learn through participating in the AWI—you might not even know what you don’t know! When describing your goals, needs, and/or desires to use BES and the AWI as a learning space, be clear on any specific tools, methods, strategies, frameworks, etc. that you hope to develop and why.
The AWI requires participants set their own schedules for experiencing, reflecting on, and writing about black art. Your letter should discuss how you are currently or will be intentionally engaged in cultural practices in your region, and ways that you are or will be intentionally engaged in some sort of reflection on those practices.
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"My Time" fellowship
Writers’ Colony at Dairy Hollow
DEADLINE: August 5, 2024 by midnight CST
APPLICATION FEE: $35
INFO: The Writers’ Colony at Dairy Hollow is pleased to announce the 2024 "My Time" fellowship funded by James Dean. Writers who are parents of dependent children under the age of 18 are invited to apply. Work may be any literary genre: poetry, fiction, plays, memoirs, screenplays, or nonfiction. The successful application will demonstrate literary merit and the likelihood of publication. Prior publication is not a requirement.
PRIZE: Four fellowship winners will receive a one-week residency to allow the recipient to focus completely on their work. A $500 stipend will be provided to cover childcare and/or travel costs to each recipient.
Each writer’s suite has a bedroom, private bathroom, separate writing space, and wireless internet. We provide uninterrupted writing time, a European-style gourmet dinner prepared five nights a week, and served in our community dining room, the camaraderie of other professional writers when you want it, and a community kitchen stocked with the basics for other meals.
Fellowship applications must be accompanied by a writing sample and a non-refundable $35 application fee. There is a limit of one submission per application. The winner will be announced no later than September 9, 2024.
Residencies may be completed anytime before December 2025.
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call for submissions: Vol. 7 (Summer/Fall 2024) - THE DRAG ISSUE
Just Femme and Dandy
DEADLINE: August 5, 2024
INFO: We are currently taking submissions for our 7th issue! The theme is DRAG. Our definition of drag is expansive, and we invite you to consider how drag as the performance of gender shows up in your lives. We want to hear about how/when/where gender is performed, the day to day lives behind the makeup, the politics of gender and normativity, different forms of drag, how this all coincides with fashion and dress. While we would love to hear from up and coming drag artists and independent fashion designers, this theme is for everyone, not just drag artists and enthusiasts. If you have something to say about gendered performance, we want to hear it! You are welcome to send us submissions outside of the theme, but submissions that relate to the theme are highly encouraged. We accept anything that can be displayed on a website: poetry, fiction, nonfiction, tutorial, illustration, comix, photography, painting, video, drag, costume/fashion designs, hot takes, interviews, and so on!
COMPENSATION: We pay 50 USD per text-based submission and up to 150 USD (note, this is a change from previous issues) per multimedia submission (video, photography, image + text, fashion spread + interview, etc.), determined by the editor who accepts the piece for publication. We pay using Venmo or PayPal and we are unable to work with any other payment services.
GUIDELINES:
Please only submit ONE submission. Pitches that don’t fall under any specific category (or multiple categories) can be sent to info@justfemmeanddandy.com, but please do take some time to consider which section it most applies.
Some of our sections have changed! Read below.
We take submissions for consideration in features, manivestoes (queer futures & radical identities), sew what (DIY/shift/makeshift), genderfuckery (isn’t it obvious?), fat + furious (fatshion), life is but a drag (BRAND NEW!), and cancel & gretel (ethics & inclusion). We also take submissions for not what it seams, a column housed within sew what that focuses on costuming.
Please send your submissions to the following emails for each section:
genderfuckery: genderfuckery@justfemmeanddandy.com
sew what / not what it seams: sewwhat@justfemmeanddandy.com
manivestoes: manivestoes@justfemmeanddandy.com
fat + furious: fatfurious@justfemmeanddandy.com
cancel & gretel: cancelgretel@justfemmeanddandy.com
life is but a drag: lifeisbutadrag@justfemmeanddandy.com
We take interviews, artist profiles, complete submissions in any genre that can be housed on a website, as well as pitches and inquiries. Email the specific section you believe your submission fits.
Please include with your submission a short bio of no more than 150 words, your headshot (including image description), any images, video, and/or audio (including alt-text - descriptions of images and video, transcriptions for audio, etc), along with a note of how your submission fits our mission and the particular category you are submitting to for consideration. We have no word count limitations, but we ask you be thoughtful about length as it relates to screen fatigue.
Headshots are not mandatory, so feel free to not include them if you would not like them included, just let us know in your submission.
We do expect you to consider yourself part of the LGBTQIA+ community, but we won’t be policing/asking directly.
We love all your many names and monikers, but please make it explicitly clear which name you would like to be published under.
We do expect all submissions to directly relate to LGBTQIA+ fashion/aesthetics, but our framework for that is flexible. We do not expect nor do we require anyone to be an “expert” on fashion. We see every human as a unique vessel, and we’ve long observed that fashion, aesthetics, and style to be a powerful language and reclamation for the LGBTQIA+ community. One of the reasons we do what we do is to intervene in the elitist, inaccessible, ableist, white supremacist, gatekeeping frameworks that have surrounded mainstream fashion.
ACCESS/DESIGN NOTE: Your submission MUST include descriptions for all visuals, including images, headshots, and audio descriptions/transcripts for video. Please send images separately instead of embedding them in the document, and make clear which description describes which image (by labeling it the same name as the file, etc.). If you’d like images to be placed in a specific location within the text, please make that clear as well. Please do not include more than 10 images for editing concerns and capacity.
Please ask if you need help/support for resources on how to write alt text, and we’re happy to direct you to resources.
NOTE: Your submission will be considered incomplete until you have submitted all of these materials.
AI NOTE: We will not accept ANY SUBMISSION that uses AI. If your submission is accepted and we discover that it has been created using AI, we will pull your publication/submission and ask for you to repay your honorarium. We have no interest in participating in or contributing to a system that steals from artists.
justfemmeanddandy.com/call-for-submissions
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Changemaker Authors Cohort
Narrative Initiative / Unicorn Authors Club
DEADLINE: August 15, 2024
INFO: The Changemaker Authors Cohort is a yearlong intensive coaching program supporting full-time movement organizers and social justice practitioners to complete books that create deep, durable narrative change to restructure the way people feel, think, and respond to the world.
To help create new networks of opportunity, Narrative Initiative partnered with the Unicorn Authors Club to offer this unique writing cohort for Changemaker Authors. Our first Changemaker Authors Cohort launched in early-2022; the 2023-2024 Cohort began on November 2023. Applications are opening June 1st for the 2025 Cohort.
The Changemaker Authors Cohort supports those working towards racial, economic, and social justice to write and publish books that create durable narrative change. This can include books that are about communities establishing and using their power through organizing and activism, as well as those contributing to the plurality of voices in the broader artistic and cultural discourse. Visit the cohort pages for 2022 and 2024 to get a sense of some of the projects supported within this program.
This 12-month virtual program begins on March 1, 2025 and supports cohort members to make significant progress with their project at the end of each 4-month term. This can include manuscript completion or having a submittable manuscript or proposal ready for an agent or publisher, through coaching, regular writing cafés, craft talks, and resources about crafting stories and the publishing industry.
A virtual information session with Q&A about the program will be held on Friday, June 14, 2024 at 8pm ET/5pm PT. You can also watch last year’s info session on YouTube in English and in Spanish.
Please note: Attending or watching an Info Session is required to apply for the program.
Frequently Asked Questions (FAQs) about the upcoming Cohort year can be found here.
Please email (changemakerauthor@narrativeinitiative.org) for any additional questions about the Changemaker Authors Cohort application or the program.