For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But a little over a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition. You can consult the May issue—packed with 50+ opportunities—here.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But a little over a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition. And in case you missed it, the May issue—packed with 50+ opportunities—went out to all subscribers late last week.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

Welcome, new readers, and welcome back to the regulars.

For updates and additional opportunities between newsletters, please check the “Practicing Writing” blog and follow me on Bluesky, Twitter/X, Facebook, and/or Substack.

If you are accessing this newsletter via email, you may find a “Message Clipped” notice as you continue reading. That’s due to the length of this info-packed missive. Please be sure to click as appropriate to access the full text.

Reminder: Be sure to consult this newsletter early and often! Each month’s issue is sent in its entirely to all subscribers; once a new issue appears, the previous one goes behind the paywall, with archival access provided as a benefit for paid subscriptions.

IN THIS ISSUE:

1. Editor’s Note

2. Success Stories

3. Featured Resource

4. Contests, Competitions, and Other Opportunities (NO FEES TO ENTER/APPLY; PAYING/FUNDED OPPORTUNITIES ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)

5. Submission Alerts (NO SUBMISSION/READING FEES; PAYING CALLS ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)

6. Blog and Update Notes

7. Newsletter Matters

1. EDITOR’S NOTE

Greetings, practicing writers,

Longtime readers will perhaps recall my fondness for the month of May. Without going into details, I’ll disclose that I’m currently going through a stressful time. But anticipating all the best things about May (including, but not limited to, the coincidence of Jewish American Heritage Month and Short Story Month) is bringing me lots of light.

Also serving up some inspiration and encouragement: subscriber “success stories” such as the ones listed below. The ongoing existence of enough opportunities that seem to meet my curatorial criteria to keep this newsletter (and the weekly updates) going. Some beautiful writing that I’ve been reading (most recently: Rachel Goldberg-Polin’s When We See You Again).

I’m pleased to send you on now to read the rest of this month’s issue. And, as always, I wish you all the best with your writing practices.

Warmly,
ERIKA

2. SUCCESS STORIES

From Emily Barton:

I'm writing to thank you for posting about the Hawthornden Residencies. I applied last year—and received a precious, month-long residency at their castle in Scotland this past January! Being there was truly a dream: a beautiful, inspiring location, with access to gorgeous walking trails; five lovely other writers to eat dinner with and talk shop with; and the staff there cared for us so graciously! I recommend this residency wholeheartedly to other writers. I made good progress on my next novel there, while making friends, and getting to love beautiful Scotland.

From Hillary Chorny:

Thanks to your newsletters, I’ve found community among writers over the past six years. Even moments that felt like rejection eventually gave way to the very relationships that led to my first book contract (Ben Yehuda Press, 2027). The latest success I credit to your [resources] was publishing an essay on Zibby Owens’ Substack. I encourage others to submit to that platform; the team is lovely, sharp, and encouraging.

On Being Jewish Now

The New, New Jews

This essay is part of a collection of work inspired by the anthology On Being Jewish Now: Reflections of Authors and Advocates. Want to contribute? Instructions here. Subscribe here…

Read more

a month ago · 19 likes · 6 comments · Hillary Chorny

From Matthew Goldberg:

I wanted to thank you for highlighting . It’s such a cool concept for a literary magazine, and two of my poems were accepted for the debut issue.

The Poison Well

'Hevel' & 'Becoming Crustacean'

Hevel Lightning strikes…

Read more

16 days ago · 2 likes · The Poison Well

Also, I wanted to thank you for being such an invaluable resource. I've been following your work for a while now, and it's helped so much with navigating the world of Jewish literature.

From Eli Ehrenpreis:

I hope your week is off to a good start! I want to let you know that three of my poems titled “View,” “Bluebirds on my Arm,” and “Kaddish”, wrapped gently around Jewish themes, were accepted for publication by OfTheBook [from your resources].

From Laynie Tzena:

This is a double-header: In the March 2026 Practicing Writer, you listed a competition from Brilliant Flash Fiction, which I entered and in which I recently won honorable mention for “My Daughter.” It was published in their latest issue.

But there’s more to the story: While I’ve written short fiction for a long time, I hadn’t been writing it for a while when you introduced us to and “Flash Nano,” her wonderful response to National Novel Writing Month. I wrote “My Daughter” during the second year doing Flash Nano.

Big thanks to you and to Nancy!

Reminder: Please share news from your writing practice that may be connected with this newsletter, or my blogs/other resources. I love to celebrate and amplify in this space!

3. FEATURED RESOURCE: FEE-FREE RESIDENCIES

Resource lists are great—so long as they’re regularly checked for broken links and other necessary housekeeping.

In that spirit: I’ve recently managed my annual review and update for this list of fee-free writing residencies.

To be included on this list, programs must charge no fees for the residency application OR attendance. In other words, these are funded residencies that don’t require application fees. Some programs—but not all—also confer stipends.

4. CONTESTS, COMPETITIONS, AND OTHER OPPORTUNITIES

• GRANUM FOUNDATION PRIZE
  Opens May 1; regarding the deadline, take note that “applications will be closed once 1,000 entries are received, even if this occurs before August 1. We encourage writers to apply early.” 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 the Granum Foundation Prize, “one winner will be awarded $5,000. Up to three finalists will be awarded $500 or more.” For the translation prize, “one winner will receive $1,500 or more.”

• THE REPUBLIC OF LETTERS “SUBSTANCE” CONTEST
  Deadline: May 3. “Rimbaud preferred absinthe; Hemingway booze; Sartre mescaline; Ginsberg acid; Kerouac grass; Easton Ellis cocaine. Balzac drank fifty cups of coffee a day when he wrote; and Rousseau could write only when petting his cat. Do YOU have a substance that’s connected to your writing? How does it relate to your writing? (The word ‘substance’ is used loosely here)….Selected pieces receive $50.” (Find full guidelines/submission instructions early in the post from linked above.)

• ANDY WARHOL FOUNDATION ARTS WRITERS GRANT PROGRAM
  Deadline: May 6. Supports “emerging and established writers who write about contemporary visual art. Ranging from $15,000 to $50,000 in four categories—articles, books, short-form writing, and translation—the grants support projects addressing both general and specialized art audiences, from short reviews for magazines and newspapers to in-depth scholarly studies. We also support art writing that engages criticism through interdisciplinary methods and experiments with literary styles. As long as a writer meets the eligibility and publishing requirements, they can apply.” NB: “Due to legal constraints the program can only fund U.S. citizens, permanent residents of the United States, and holders of O-1 visas.”

• TULSA ARTIST FELLOWSHIP
  Deadline: May 7 (“Applications started by the deadline will have an additional three-day grace period to finalize and submit materials.”) “Grounded in the George Kaiser Family Foundation’s vision for social change,” this fellowship “is committed to cultivating an environment where artists and arts workers invested in community can thrive….Open to artists and arts workers with at least five years of field experience, the Fellowship selects up to ten awardees….Each awardee is provided a comprehensive support package that includes a $150,000 stipend, housing support, fully subsidized studio space, and access to shared art-making facilities.” NB: Applicants must “be at least 25 years old”; “be a U.S. citizen, permanent legal resident, or O-1 Visa holder”; and “commit to residing and working in Tulsa, Oklahoma for the full three-year term.”

• PATRICIA KAILIS INTERNATIONAL WRITING FELLOWSHIP
  Deadline: May 8. This fellowship, a residency based at the Centre for Stories in Perth, is for writers living outside Australia, including “fiction, non-fiction, poetry and short story writers who work in English and whose work is available in Australia. Applicants must have at least two full-length publications published by a trade publisher. Applicants currently enrolled in an undergraduate or postgraduate (including higher degree by research) university course are not eligible.” Fellowship will take place during a“15-day period between June and July 2026.” Included in the fellowship package: $12,000 honorarium, accommodation in Perth, return economy airfare, travel expenses and accommodation for three days in Western Australia’s Kimberley region. (Hat tip: Freelance Opportunities!)

• WASHINGTON WRITERS’ PUBLISHING HOUSE PRIDE 2026 POETRY AND PROSE CONTEST
  Deadline: May 11. “Theme: Transmission: Do You Read Me? In the face of turbulent times, Washington Writers’ Publishing House invites trans, nonbinary, intersex, and other gender expansive writers to send us writing that represents them and their stories. This year for Pride, we wish to focus on highlighting and uplifting trans voices in our community. We believe that trans writing does not have to be about the trans experience explicitly, so please send everything–your joy, fear, love, resistance, dreams, and otherwise. We want to read what is true to you.” The winner and runner-up in each category will receive $100/$50 and publication. NB: “Open to writers in Maryland, DC, and Virginia.”

• GHOST ARMY LEGACY PROJECT RESEARCH AND CREATIVE GRANT
  Deadline: May 15. “This grant program supports original scholarship and creative projects that explore, interpret, or provide new insights to expand public understanding of the unique contributions and legacy of the US Army’s 23rd Headquarters Special Troops and 3133rd Signal Service Company—also known as the ‘Ghost Army.’…During World War II, this unique US deception unit drew on state-of-the-art resources from diverse fields to create convincing illusions designed to influence enemy decision-making. The unit also contained many artists, some of whom became famous after the war. Because of this, the Ghost Army can be studied from multiple disciplinary perspectives.” Awards grants “up to $4,000.” NB: “U.S.-based applicants preferred, but international proposals will be considered if aligned with the mission.”

• THE PATTIS FAMILY FOUNDATION CREATIVE ARTS BOOK AWARD
  Deadline: May 15. Presented annually “to a book that inspires, illuminates, or exemplifies the creative process in fields such as creative writing, dance, film and new media, music, theatre, and visual arts….The winning author receives a $25,000 cash prize, and will conduct a multi-day residency at Interlochen Arts Academy and join the lineup of the National Writers Series in Traverse City, Michigan. Two runner-up awards of $2,500 may also be presented.” NB: They seek to recognize books, with copyright dates of 2024 or 2025, that “center on the creative process of an artist or the arts—broadly defined—as [the] theme. Eligible books include full-length books of fiction and nonfiction or collections of short stories and/or essays by a single author.”

• RTÉ SHORT STORY COMPETITION
  Deadline: May 15. In honor of writer and broadcaster Francis MacManus. For “writers over the age of 18 living in Ireland, and Irish writers around the world.” Prizes: “The overall winner will be awarded €5,000, while €4,000 and €3,000 will be awarded to the second and third place prize winners respectively. A further seven runners-up will receive €250 each, and all 10 shortlisted stories will be published on rte.ie/culture and broadcast in a season of new writing on RTÉ Radio 1.”

• TULIPÁN ART & CULTURE AWARD
  Deadline: May 15. Confers grant funding “up to $15,000” to support “individuals that are committed to enriching the Hungarian American cultural landscape.” NB: “Applicants do not need to be of Hungarian or Hungarian American descent, but they must show a strong commitment to promoting Hungarian culture within the United States. Open to artists aged 18 and older across all disciplines—including visual arts, performing arts, literary arts, folk arts, multimedia projects, and cultural curation—the award welcomes individuals at all career stages (emerging, mid-career, and established) with a proven track record of professional achievements or raise awareness of Hungarian culture in the U.S. Please note, all projects must be completed within one year of the award announcement date.”

• CHANGING LIGHT AWARD
  Deadline: May 25. “Livingston Press awards the Changing Light prize to one novel-in-verse per year….$500 dollar prize, 20 copies, and a standard royalty contract. Publication will be in trade paper, e-book, and Kindle. Recommended length: 90-160 pages.”

• GREAT LAKES COLLEGE ASSOCIATION NEW WRITERS AWARD
  Deadline: May 25. “For the 57^th year this group of independent liberal arts colleges will confer recognition on a volume of writing in each of three literary genres: poetry, fiction, and creative non-fiction. Publishers submit works on behalf of their authors; a defining criterion for this award is that a work must be an author’s first-published volume in the genre.” The winning writers are invited for campus visits; they receive $500 for each campus visit, plus “reasonable travel, lodging, and meal costs.” Authors must reside in the United States (U.S. territories excluded). Publishers may submit only one entry per genre. This year’s competition will consider works “that bear a publication imprint of 2025 or 2026.”

• MATTHEW LANYON POETRY PRIZE
  Deadline: May 25. Open to UK residents, this “new national poetry prize” honors “the life and creative legacy of Matthew Lanyon (1951-2016).” For the inaugural prize, “entrants are invited to submit poems that interpret or respond to Matthew’s work and interests in new and intriguing ways. The winner and shortlisted poets will be announced during The Archaeology of Tomorrow: Ten Years into the Afterlife, Festival of Matthew Lanyon taking place at Falmouth University on 3rd and 4th July 2026. The theme for this year’s competition is ‘The Archaeology of Tomorrow’. Poets are encouraged to interpret the theme widely. A prize of £500 will be awarded to the overall winner. The winner and 5 highly commended poets will have their poems published on the Matthew Lanyon website and print copies will be kept in the Archive. The winner of the best poem from a writer living in or from Cornwall will have the opportunity to be published in the Guillemot Press online journal and £200.”

• HAWTHORNDEN CASTLE RESIDENCIES
  Deadline: May 29. “Hawthornden Literary Retreat at Hawthornden Castle in Scotland was originally founded to provide a peaceful setting for creative writers to work without disturbance. The residency receives writers for ten months of the year. It houses six writers at a time, in sessions lasting four weeks each. The residency is international in character and welcomes applications from writers from all over the world. Creative writers of many kinds – poets, novelists, short-story writers, playwrights, scriptwriters, essayists, creative nonfiction writers, translators – are welcome to apply.” Participating writers are each “offered a stipend of $1,000 (if they are traveling from Europe) or $2,500 (if they are traveling from elsewhere in the world) to help defray the costs that attending the residency may entail….As guests of the residency, the writers receive full room and board for the duration of their session.” [ED note: If you missed Emily Barton’s “success story” about her recent Hawthornden residency above, scroll up for it!]

• PD JAMES MEMORIAL FUND
  Deadline: May 29. Administered by the Society of Authors, this fund “offers regular payments to a small number of authors who find themselves in financial hardship. Awards are given by a committee to authors who are either aged 60 or over or are completely incapacitated for work. The fund currently distributes £2,500 per annum to each recipient.”

• IRENE ADLER PRIZE

  Deadline: May 30. From Lucas Aykroyd: “I’ve been very fortunate, and it’s time for me to give back. With the Irene Adler Prize, I’m awarding a $1,000 scholarship to a woman pursuing a degree in journalism, creative writing, or literature at a recognized post-secondary institution.” The competition “is open to entrants worldwide, and up to two $250 honorable mentions will be also awarded.” Check guidelines for the prompts.

• ARTHURDALE WRITERS RESIDENCY
  Deadline: May 31. Established “to support the creative work of Appalachian writers,” this one-week residency is open to eligible writers “who strive to write more nuanced narratives about Appalachia, including queer and BIPOC narratives. The writer-in-residence will stay on a rural Arthurdale homestead in a historic cottage surrounded by tall trees and will be given a $250 stipend. On Friday, August 28, they will teach an hour-long writing workshop followed by a public reading or performance at the Travis Stimeling ‘Know Your Neighbors’ Memorial Reading, at Arthurdale Heritage. Genres: poetry, fiction, non-fiction, creative nonfiction, songwriting, plays, screen-plays.” (Hat tip: .)

• ASIAN VOICES IN CHILDREN’S LITERATURE WRITING CONTEST
  Submissions: May 4-31. “The contest is open to authors of Asian heritage who at the time of entry are at least 18 years of age and residing anywhere in the United States. The contest’s mission is to elevate authentic, culturally relevant children’s stories written by and about people of Asian heritage. Every entry is considered for publication and three cash prizes will be awarded.” (Hat tip: .)

• JERRY JAZZ MUSICIAN SHORT FICTION CONTEST
  Deadline: May 31. Thrice-yearly contest for “the best original, previously unpublished work of short fiction” submitted. NB: “The Jerry Jazz Musician reader has interests in music, social history, literature, politics, art, film and theater, particularly that of the counter-culture of mid-twentieth century America. Our newsletter subscribers include publishers, artists, musicians, and fellow writers. While your writing should appeal to a reader with these interests and in these creative professions, all story themes are considered.” Open to writers in English worldwide. Confers a prize of $150 and publication.

• ELIZA MOORE FELLOWSHIP FOR ARTISTIC EXCELLENCE
  Deadline: May 31. Awarded annually by the Oak Spring Garden Foundation “to one outstanding, early-career artist who is developing new works that address plants, gardens, or landscapes in the broad sense. This award is open to visual artists, literary artists, dancers, and musicians. The award includes a $10,000 individual grant and requires a 2 - 5 week stay at Oak Spring.” (Anyone interested in this fellowship may also wish to check the OSGF Interdisciplinary Residency Program, with options for 2-week and 5-week attendance, which has the same deadline.)

• NIGHTNESS: RUMINATIONS ON THE DARKER SIDE OF DAY
  Deadline: May 31. From Wild Lot Press. (ED note: This one isn’t advertised as a contest, but rather as an anthology call. I am sharing it as a contest due to this text within the guidelines: “The winning essay will receive a prize of $250; all selected contributors will receive free copies.”) “We’re looking for essays/creative nonfiction of any length, from snippets and passing anecdotes to longform opuses, that take keen interest in what happens between dusk and dawn in the wild spaces of our world, or better still, in the liminal spaces that bridge the human-centric, built world and the extra-human margins that encircle us.” (Hat tip: Funds for Writers.)

• SPECULATIVE LITERATURE FOUNDATION OLDER WRITERS GRANT
  Deadline: May 31 (opens May 1). A $1,000 grant awarded to a writer 50 years of age or older at application time. Grant is “to assist such writers who are just beginning their careers as speculative fiction writers….These funds may be used as each writer determines will best assist their work.” Be sure to check the capacious definition of “speculative literature” and other terms of the grant.

• WHITING NONFICTION GRANT FOR WORKS-IN-PROGRESS
  Deadline: May 31. Grants of $40,000 are “awarded to ten writers completing a deeply researched and imaginatively composed book-length work of nonfiction for a general adult readership….Projects must be under contract with a publisher in Canada, the UK, or the US.”

• BARD FICTION PRIZE
  Deadline: June 1 (received). For “a promising emerging writer who is an American citizen aged 39 years or younger at the time of application. In addition to a $30,000 cash award, the winner receives an appointment as writer in residence at Bard College for one semester, without the expectation that he or she teach traditional courses. The recipient gives at least one public lecture and meets informally with students.” Application must include “three copies of the published book they feel best represents their work.”

• GRIMSSON FELLOWSHIP
  Deadline: June 1. “The Grímsson Fellowship program appoints 2-6 fellows annually in order to encourage research and writing in an idyllic space close to the Arctic Circle. The aim is to promote cooperation and knowledge as well as relations between international and Icelandic communities….The program offers a 2-4 weeks stay in Grímshús, the House of Grímur, where President Ólafur Ragnar Grímsson was born and his family lived. President Grímsson owns the apartment which hosts the fellows for the program. In addition to living in this splendid old house which offers excellent working space, the fellows have access to the Town Library in the magnificent old hospital, a one-minute walk from the House of Grímur, or in the facilities of the University Centre of the Westfjords, located further downtown. Airfare for the fellow from Icelandair's European and American destinations is covered as well as 50 USD dollars per day stipend as a contribution towards living expenses.”

• PEGGY WILLIS LYLES HAIKU AWARDS
  Deadline: June 1. From The Heron’s Nest. Prizes include cash awards ($200/$100/$50). No simultaneous submissions. Note: “Monetary awards to non-US winners will be made through PayPal, where possible, in order to avoid the high cost of bank processing fees.”

• ALAN ANDRES PICTURE-BOOK WRITER FELLOWSHIP
  Deadline: June 5. “Funded by an anonymous investor, the Associates of the Boston Public Library’s Alan Andres Picture Book Writer Fellowship intends to makes a profound impact on the lives of emerging writers.” Open to “U.S. citizens or green card holders living in New England (Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, or Vermont),” who have not already published books for children, the fellowship will consider works for “ages 0–2 (board books)” as well as “ages 3–8 (picture books and early readers).” Note also that “eligible projects may include fiction, non-fiction, memoir, or poetry. Graphic novels are not eligible.” Confers “$25,000 stipend, paid in monthly installments over one year” as well as an “opportunity to request up to an additional $2,500 to be paid to an expert of your choice for coaching, editorial assistance, a critical reading of your manuscript, or a similar activity that will be helpful to you in completing your manuscript.”

REMINDER: Some opportunities listed in last month’s newsletter remain open into the new month. (The archive is available as a benefit for paid subscribers.) And don’t skip over the “Blog Notes” below for an important tip about additional opportunity listings!

5. SUBMISSION ALERTS

• The PRINCETON SERIES OF CONTEMPORARY POETS, now edited by Rowan Ricardo Phillips, is open for manuscript submissions during the month of May.

• NONBINARY REVIEW, which seeks “speculative work that looks at our theme from unexpected angles,” will be open for submissions on “Film” during the month of May.

• From CHRONICLE BOOKS: “We are thrilled to announce that for a limited time, we are accepting manuscript submissions for children’s books!📚 Anyone is welcome to submit! We are particularly seeking submissions from creators of marginalized or underrepresented backgrounds. We are looking for board books, picture books, chapter books, middle grade, and graphic novels. The submission period is May 3-17, 2026‼️ Visit 🔗chroniclebooks.com/submissions for full submission instructions and the email address to send your project.”

• SOUTHWEST CONTEMPORARY is seeking writers “based in or closely connected to the North American Southwest to submit story ideas for our Fall-Winter 2026-27 issue, Volume 14: Alien. Pitches should be focused on contemporary artists working in the region who are grappling with political, social, psychic, and cosmic dimensions of the alien.” Pitch by May 8. (Hat tip: The Writer’s Job Newsletter.)

• From FOURTEEN POEMS: “We publish our anthology of the most exciting LGBTQ+ poets around 3 times a year and we want to include you!” Submissions are rolling, “but the deadline for the next issue” is May 15.

• LUNA STATION QUARTERLY, which “publishes speculative fiction written by women-identified authors,” is open for submissions until May 15.

• Also posting a May 15 deadline: OUTLOOK SPRINGS, “a literary journal from another dimension” that “is devoted to fiction, poetry, and non-fiction tinged with the strange.” NB: “When we are open for submissions, if we hit our Submittable limit, submissions will close until the first of the next month.”

• BALTIMORE REVIEW’s submissions window is scheduled to close May 31. Publishes fiction, creative nonfiction, and poetry.

• Also closing May 31: general submissions for a summer issue at BLACK FOX LITERARY MAGAZINE, “an international print and online biannual publication featuring quality fiction of all styles and genres, poetry, and nonfiction.” NB: “If you find that you are not able to submit for free during our open period, that means we have reached our submission limit for the month.”

• Although the BLACK LAWRENCE PRESS IMMIGRANT WRITING SERIES considers manuscripts year-round, submissions received after May 31 will be considered in the November instead of the June reading period. Check the detailed guidelines. Note, for example, that “only full-length manuscripts of poetry (at least 45 pages), prose (fiction or nonfiction), and hybrid texts of poetry and prose (at least 100 pages) will be considered for the Writing Series” and that “submission is open to any individual living in the U.S. who identifies as an immigrant and who either (i) was born in another country, (ii) has at least one parent who was born in another country (iii) is a refugee, or (iv) lives in the United States under Asylum or a Protection Program, such as TPS or DACA.”

• At STONE’S THROW, “the monthly online companion to Rock and a Hard Place Magazine,” they’re open for submissions early each month. “We’re looking for all the same dark fiction, crime, and noir as our usual submissions, but with a target length between 1,000 and 2,000 words, and aligned with the monthly submissions prompt….We’ll read through each story, choose the one story that shines brightest, and publish it online the following month. After a year, we’ll collect all twelve stories into a Stone’s Throw Annual Anthology, to be published alongside our other print issues.” For submissions June 1-4 (for the July 2026 issue), they seek work along the following lines: “THE RED, WHITE, AND DUE. Some people think July is America’s birthday, but they’re wrong. America was here thousands of years before the Fourth of July was even a twinkle in Jefferson’s eye. This month, we want stories from those who were here before, about the indigenous people who were here first. Whether it’s set as Custer and his cronies moved across the plains, or before the first white people stepped in to the woods, or now, in cities or on the Rez, we want the stories that so many powerful people worked to keep silent for so long. *EDITOR’S NOTE* – Please note, everyone is encouraged to submit. But this month, special consideration will be given to Own Voices writers with indigenous histories.”

• At latest check, the editorial calendar for WRITER’S DIGEST showed still-open pitch windows for the November-December 2026 issue (theme: “Harnessing Your Creativity”) and for the January-February 2027 issue (theme: “Write Your Book in 2027”). Be sure to consult the overall guidelines for pay rates and other information.

• Reminder: Make it a habit to check the CHICKEN SOUP FOR THE SOUL website, where titles in development are posted. Upon my last check, multiple volumes have posted May or June 2026 deadlines. Note: “If this is your first time, please visit our Story Guidelines page.”

• Reminder: CLAUDINE is a “free, online monthly literary magazine. Each issue presents two microfictions, two micro creative nonfictions, a micro by a new writer, and a prose chapbook review (or two). Just like Claudine the cat, the prose we publish is curious, clever, and quick. Always 400 words or fewer.” Submissions are open January-November.

• Reminder: CRAFT LITERARY’s “creative categories are open year-round to any emerging or established author.”

• Reminder: FLASH FROG is open year-round for “flash fiction only (no poetry or CNF please),” except during January (when they run a contest) and July (when they seek ghost-story submissions only).

• Reminder that FRACTURED LIT “publishes Micro and Flash Fiction from writers of any background or experience. Both Micro and Flash categories are open year-round.”

• Reminder about FRONTIER POETRY: “Submissions for our New Voices poetry category are open year round to any new and emerging poet who has not published more than one full-length collection of poetry. New Voices are published online only and will feature a number of poems from new authors each month.” (Scroll way down the page to find this category.)

• Reminder from THE MASTERS REVIEW: “Our New Voices category is open year-round to any new or emerging author. Writers with single-author novel-length work published or under contract with a major press are ineligible.”

• Reminder: OKAY DONKEY, which publishes “one new piece every Friday, alternating between flash fiction and poetry,” opens for free submissions “on the 1st of every month but December and stays open until we hit our submissions cap. If we hit the submission cap, regular submissions will close and reopen on the 1st of the next month. However, Tip Jar and Expedited Response submissions will remain open.”

• Reminder about PALETTE POETRY: “Submissions for our Featured Poetry category are open year-round to poets at any stage of their careers. Featured poems are published online only and will spotlight a number of poems from new authors each month. We highly encourage emerging authors to submit.”

• Reminder: PARANOID TREE, which welcomes fiction, creative nonfiction, and prose poetry (with a word limit “~400 words”), is also always open for submissions.

• Reminder: , which aims to “revive the art of the short story, support artists, and produce something wonderful,” selects one story for publication each month and considers reprints.

• Reminder: VAST CHASM, which publishes “bold work that explores the expansive human experience, including flash and short fiction, creative nonfiction, poetry, and other nonconforming work,” considers submissions “year-round, on a rolling basis, for our quarterly online issues.”

REMINDER: Some opportunities listed in last month’s newsletter remain open into the new month. (The archive is available as a benefit for paid subscribers.) And don’t skip over the “Blog Notes” below for an important tip about additional opportunity listings!

6. BLOG NOTES

The newsletter is published just once each month, but there’s always something new on the Practicing Writing blog:

• (Monday) Markets and Jobs for Writers (including fee-free/paying opportunities that don’t make it into the monthly newsletter; for extra convenience, paid subscribers to this newsletter now receive this information directly, and significantly earlier in the day, via Substack posts.

• (Friday) Finds for Writers

• #SundaySentence

• Occasional Notes from a Practicing Writer

Please visit, comment, and subscribe.

Interested in matters of specifically Jewish literary and cultural interest? Please also visit the My Machberet blog (“machberet” is the Hebrew word for “notebook”). And be sure to consult our collection of Jewish Writing Resources.

7. NEWSLETTER MATTERS

Information contained in The Practicing Writer is researched carefully but readers should always verify information. Any necessary corrections, when discovered, are added post-publication within each archived issue. The Practicing Writer and its editor disclaim any liability for the use of information contained within. Thank you for following/reading.

I value this newsletter’s subscribers, and I do not share the subscriber list (but as I’ve recently learned, your own Substack settings may disclose that you subscribe to this and/or other publications).

About the editor: Erika Dreifus is a writer, teacher, and literary consultant whose books include Birthright: Poems and Quiet Americans: Stories. A fellow in the Sami Rohr Jewish Literary Institute, a board member for both the Leo Baeck Institute and The Artists Against Antisemitism, and an adjunct associate professor at Baruch College/CUNY, she lives in New York. Please visit ErikaDreifus.com to learn more about her work and follow her right here on Substack and/or on Bluesky, Facebook, and Instagram.

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But a little over a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition. And believe it or not, the May newsletter will be going out to you shortly! In the meantime, please be sure that you haven’t missed any of the multiple opportunities that are still open for submissions as shared within the April edition.

You’ll also want to check for anything still-open that you may have missed within the weekly supplements posted since then: April 6, April 13, and April 20.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But a little over a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition. (Believe it or not, the May newsletter will be going out to you late next week! In the meantime, please be sure that you haven’t missed any of the multiple opportunities that are still open for submissions as shared within the April edition, or within the weekly supplements posted since then: April 6 and April 13.)

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But a little over a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

• Fee-free submissions (fiction and nonfiction) remain open at Wallstrait through April 14. Payment: “$100 via PayPal upon publication.”

• The Swiss-based Embassy of Foreign Artists “is launching a new cycle of Art&Science residencies (2026–2028) around the cross-cutting theme of imagination in research processes….The aim is to create artist-scientist duos around ongoing research projects, in which artistic practice questions, enriches or recontextualises scientific processes and representations.” Selected artists “will be hosted for three months at the laboratory (in Geneva or the surrounding region), working directly with the scientific team, and will receive mediation support from the programme team.” Artists also receive “accommodation in a private room with access to the areas shared with other residents” and “a residency stipend of CHF 1400 per month.” Review the details on the website carefully—note, for instance, that candidates must be “over 28 at the time of application.” Deadline: April 19.

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But a little over a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Which reminds me: If you haven’t yet perused the 55+ opportunities in April’s newsletter, you’ll find them here:

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But just about a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

One more reminder: Although you can expect the April newsletter to go out to all subscribers tomorrow, some opportunities listed in the March edition remain open for submissions and applications. Same holds true for the March 23, March 16, March 9, and March 2 updates. (Remember: Paid subscribers have full archival access.)

And now—the latest gleanings:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But just about a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

One more reminder: Quite a few of the opportunities listed in the March newsletter remain open for submissions and applications. Same holds true for the March 16, March 9, and March 2 updates.

And now—the latest gleanings:

Read more

[As a mid-monthish treat, this post was unlocked just a couple of days after it initially went out to paid subscribers.]

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But just about a year ago1, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

• This one’s a twofer. If you’ve been waiting for this news, The Cincinnati Review opened yesterday for print-journal submissions; they’ve announced a March 31 deadline, although they’ve also noted that they’ll close once 2,000 submissions have been received. They’ve also announced the re-opening of submissions for their miCRo online flash feature, which has a later deadline but a tighter cap (400 submissions). Pay rates: “We pay $25/page for prose and $30/page for poetry in the print journal and $25 for miCRo posts or special features.”

• The Bellagio Center Residency Program in Italy is now open for applications for 2027 residencies. NB: The application process requires a pre-application questionnaire, which must be completed by 5pm (Eastern), March 20, to verify eligibility.

• In partnership with the Myer Foundation, the Neilma Sidney Literary Travel Fund “supports emerging, midcareer, and established Australian writers and literary sector workers in pursuing professional development opportunities. This includes writers, editors, agents, publishers, librarians, booksellers, employees and associates of literary organisations and journals, and other literary professionals currently living in Australia.” Confers “grants between $2,000 and $10,000” to “support professional development through travel.” Current deadline: March 23.

• Open for pitches until the morning of March 25: Cake Zine, “a literary print magazine exploring art, history, and pop culture through food.” Their next issue will be themed “Spoiled Rotten” and “will explore extravagance, excess, and decay. Tell us what you think is stale, overripe, and curdled—in the fridge, on the menu, or in our culture. Or extend your gaze from the trash to the compost pile to share how new life can come from rot or how culinary ingenuity can be borne from ingredients past their prime. We’re looking for both what's lost and what’s gained when things go bad.” Pay rates range from $125-$300 as detailed on the site.

• “First America is hosting two creative writing workshop series for emerging Indigenous writers ages 16–25—one in person in Tulsa and one online. Through guided sessions and revision support, participants will develop short fiction (1,000–2,000 words) imagining Indigenous nations 250 years in the future. The workshops extend the themes of the First America podcast, which explores Indigenous history 250 years in the past. Selected pieces will be published online, with one featured on the podcast and awarded a $500 prize. A culminating public reading in Tulsa will follow (date TBD). Free to attend. Open to Native writers.” Apply by March 31.

• Canada-based Event “is offering a paid part-time internship opportunity, starting this May. If you’re a student or recent graduate in the Vancouver area who is interested in gaining hands-on experience with an award-winning literary magazine, please get in touch!” Compensation: “$22 per hour plus 4% vacation pay, paid biweekly for 20 weeks, to a maximum of 200 hours for the duration of the internship.” Deadline: March 31.

• In the UK, the University of Leeds is taking applications from poets “with a developing national and/or international profile for whom a poetry fellowship would make a significant artistic and professional difference” for the next Caster Cultural Fellowship. The fellowship includes a salary of “£41,064– £48,822 p.a. depending on experience.” Deadline: April 1.

• The latest mini-contest from On the Premises, “an online fiction magazine,” is open for entries until April 3. The prompt this time is “The Long and Short of Family Arguments.” Details: “For this mini-contest, tell, show, or evoke a complete story about some kind of family dispute or disagreement… TWICE. Give us a longer version of the story (75-100 words long) and then rewrite that same story into a traditional mini-contest length (25-50 words long). We’re adding a bit of money to the prize pool, since you’re working harder this time.” Prizes: “First place pays $45, second pays $35, and third pays $25, all in US dollars. Honorable mentions get published, but make no money.”

• In Pennsylvania, “Franklin & Marshall College invites applications for an adjunct position in the Department of English to teach one section of ENG225 (Intro to Creative Writing): see course description below..The course(s) will be taught in person beginning August 24, 2026; the employment period extends for two weeks following the completion of the Fall 2026 semester….Applicants should possess or be close to completing a Master of Fine Arts in Creative Writing (any genre). Teaching experience preferred. The salary is $7,000 per course.” Deadline: “Review of applications will begin immediately and will continue until the search is closed.”

• And one closing reminder: We’re only halfway through March, which means that plenty of the opportunities listed in the March newsletter remain open for submissions and applications. Same holds true for the March 2 and March 9 updates.

Reminders: Information contained in The Practicing Writer and related posts is researched carefully but readers should always verify information. Any necessary corrections, when discovered, are added post-publication within each archived post. The Practicing Writer and its editor disclaim any liability for the use of information contained within. Thank you for following/reading.

I welcome news of “successes” that come your way after pursuing any of the leads I share. Please reach out to let me know—I love to amplify subscribers’ good news in the monthly newsletters.

I value subscribers, and I do not share the subscriber list (but as I’ve recently learned, your own Substack settings may disclose that you subscribe to this and/or other publications).

About the editor: Erika Dreifus is a writer, teacher, and literary consultant whose books include Birthright: Poems and Quiet Americans: Stories. A fellow in the Sami Rohr Jewish Literary Institute, a board member for both the Leo Baeck Institute and The Artists Against Antisemitism, and an adjunct associate professor at Baruch College/CUNY, she lives in New York. Please visit ErikaDreifus.com to learn more about her work and follow her right here on Substack and/or on Bluesky, Facebook, and Instagram.

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But some months ago, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in a single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But some months ago, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition. The March newsletter went out to all subscribers, in its entirety, at the end of last week, and it features dozens of opportunities.

Another note about these Monday posts: Unlike the monthly newsletter, which filters out listings that may be limited to writers in single city/state/province, these posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest gleanings:

Read more

Read more

Some of you may recall my standalone post from mid-March 2024, in which I wrote about a number of then-recent developments that I’d observed in the literary community. In one lengthy segment, I attempted to explain why I found criticisms of PEN America—at the time, under the leadership of Suzanne Nossel, who left later that year; Summer Lopez and Clarisse Rosaz Shariyf then assumed joint interim leadership—to be ill-founded. I tried, there, to make a case for all of us to appreciate what PEN America was then trying to do, even as each of us—myself included—might not have wholeheartedly supported every one of their pronouncements.

But as the much more recent NYT article chronicles, much has changed since then. What began as (again, in my view, ill-founded) criticism quickly intensified into what I ruefully began referencing in conversations with friends and colleagues as “The Plot Against PEN America.”

I may not have commented much publicly about each development over the past two years, but I’ve been watching closely. I’ve also been a part of behind-the-scenes conversations and correspondence. After reading the new article, I was moved to “pen” (if you will) something intended to be public-facing in response.

I submitted a letter to the NYT editor Sunday, February 15.

You may or may not know that NYT requires letters to meet a number of criteria. For starters, letters must be fairly short (”preferably...150 to 200 words”). They must also be under NYT’s “exclusive” consideration; “writers of letters selected for publication will generally be notified within a week.”

I have received no such notification. Ten days after sending the letter, I’ve decided to publish it myself. Here.

Re: “PEN America Names New Leadership” (news article, February 14)

To the editor:

I am among those whom Summer Lopez and Clarisse Rosaz Shariyf, as interim leaders of PEN America, “reach[ed] out to” in an effort to “rebuild trust” after the “Gaza fallout” referenced in the online headline. Sadly, their succumbing to the bullying tactics of anti-Israel activists prior to their newly-announced permanent joint appointment—examples of which appear in the article, and against which I and others repeatedly cautioned them—reveal that the time and labor invested in those conversations were utterly wasted.

Lopez and Rosaz Shariyf may have won praise from the group’s current president and board chair, who told your reporter that he “take[s] comfort” in their decisions leading up to their selection from a field of nearly 50 candidates. But there is an opposite takeaway—namely, that PEN America is no longer an organization that fights for free speech without bias. I assure you that I am not alone in gleaning it.

Erika Dreifus
New York
The writer is the author of “Quiet Americans: Stories” and “Birthright: Poems” and a former member of PEN America.

During the period in which NYT had this brief text under its “exclusive” consideration, others wrote publicly, and in greater detail, about what has transpired at PEN America. In one piece, Ari Ingel, Executive Director for Creative Community for Peace, summarized the organization’s devolution under the headline of “PEN America’s Jewish Exception.”

I encourage you to read that piece in full. Here, I’ll highlight only the point of engagement that I referenced in my own brief message. Ingel affirms:

Over the past two years, many leaders in the literary and cultural world have attempted to engage PEN’s leadership in good faith. The pattern has been consistent: They listen, offer no meaningful response,1 and then double down on a hostile anti-Zionist and anti-Israel posture.

In doing so, PEN America has helped legitimize antisemitic discrimination at a moment when antisemitism in the United States is at historic levels. This is not an isolated failure of judgment, but a structural rot in the organization, one that reflects leadership choices, institutional culture, and a governing board that has failed to intervene.

This past week, the organization formalized the leadership of interim co-executives Summer Lopez and Clarisse Rosaz Shariyf, a move that signals continuity rather than course correction and suggests the organization is unlikely to return to viewpoint-neutral principles anytime soon.2

I do not regret what I wrote two years ago about PEN America and for my audience of (then) 10,000 subscribers. I do not regret lending my support to the organization at that time. But as mentioned above and chronicled elsewhere, “The Plot Against PEN America” became only more virulent and vicious after my March 2024 post. Perhaps it was inevitable that the organization would succumb.

But I can no longer stand by my former support, and I’ve sensed a growing responsibility to acknowledge that publicly. Now, I have done so.

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But some months ago, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition. The March newsletter will be going out at to all subscribers, in its entirely, at the end of this week, and it will feature dozens of opportunities.

Another note: Unlike the monthly newsletter, which filters out listings that may be limited to writers in single city/state/province, these Monday posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission or application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest opportunities:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But some months ago, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note: Unlike the monthly newsletter, which filters out listings that may be limited to writers in single city/state/province, these Monday posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission/application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest opportunities:

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit lat…

Read more

For many years—since long before Substack arrived on the scene—I’ve been curating weekly “Monday Markets and Jobs” posts on the Practicing Writing blog, where everyone can still find them (albeit later in the day than in the past). But some months ago, I began sharing this information early every Monday morning via Substack, too, as a benefit for paid subscribers.

Reminder: These weekly posts are supplements to the free monthly newsletter, allowing me to amplify opportunities that I may not have caught in time for each month’s edition.

Another note: Unlike the monthly newsletter, which filters out listings that may be limited to writers in single city/state/province, these Monday posts do carry such localized opportunities (jobs included).

But in all cases, calls and competitions must not charge submission/application fees, and they must offer (specified) payment for winning/published work (or, in the case of residencies, they must not charge application or participation fees).

And now—the latest opportunities:

• I’d be remiss if I didn’t remind you that the February newsletter has gone out to all subscribers. It’s packed with 55+ fee-free and paying/funded opportunities that are now or will soon be open for submissions and applications.

Read more

Welcome, new readers, and welcome back to the regulars.

For updates and additional opportunities between newsletters, please check the “Practicing Writing” blog and follow me on Bluesky, Facebook, and/or Substack. (I’m still hanging on, somewhat, at Twitter/X; I’m also, intermittently, on Instagram.)

If you are accessing this newsletter via email, you may find a “Message Clipped” notice as you continue reading. That’s due to the length of this info-packed missive. Please be sure to click as appropriate to access the full text.

IN THIS ISSUE:

1. Editor’s Note

2. Success Stories

3. Featured Resource

4. Contests, Competitions, and Other Opportunities (NO FEES TO ENTER/APPLY; PAYING/FUNDED OPPORTUNITIES ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)

5. Submission Alerts (NO SUBMISSION/READING FEES; PAYING CALLS ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)

6. Blog Notes

7. Newsletter Matters

1. EDITOR’S NOTE

Greetings, practicing writers,

I know that for many reading this, especially here in the United States, this is a very troubling time. I know that a lot of writers are sharing a lot of thoughts in that vein. I hope that you will forgive me for not joining that chorus in this space. At the moment, I do not feel as though I have anything original to contribute—especially in a literary context.

And if you will indulge me further, I would like to take a moment to celebrate something, because the screenshot just below is correct: The first issue of this newsletter was distributed—in plain-text format, via Yahoo! Groups—to a tiny group of subscribers 22 years ago.

As I’ve mused in this space on previous anniversaries, a lot has changed since then. And I’m not just referencing the newsletter’s obvious technological, formatting, and content changes. Or about the now 13,500-plus subscribers who have signed up to receive these missives.

Within the past year, the biggest change was the activation of paid-subscription options. I’m so grateful to everyone who has supported the research, curation, and writing that this newsletter requires in that way, especially as the ever-shrinking pool of relevant opportunities requires more time and effort to compile.

I want to recap, briefly, a few points about some ongoing practices (if you will) that may help explain what you find posted—and what you don’t.

1. Each new issue is posted in full for all subscribers and remains visible to the public until the subsequent month’s edition replaces it, at which time, with occasional exceptions, it moves behind the paywall. (Access to the full archive is a paid-subscriber benefit.)

2. Although paid subscribers now receive weekly posts with supplementary opportunity listings first thing each Monday morning (New York time) directly via Substack, I continue to cross-post that information (albeit not until later) over on the Practicing Writing blog, where it is accessible to everyone. And I continue to provide reminders about this in each month’s “Blog Notes” newsletter section. (Scroll down for an example.)

3. Opportunities listed in each monthly newsletter must meet the time-tested criteria of being both fee-free (no reading/submission fees) and paying or otherwise funded.1 (Residency opportunities included here, for example, must not charge for applications or for participation, although not all of them may confer additional stipends.) For maximum relevance, opportunities limited to writers in a single city/state/province are also excluded, although such listings can appear in the aforementioned weekly supplements.

4. With the exception of cases in which the promise of a (standard) royalty agreement is indicated, each opportunity listed here has specified its pay rates. Moreover, within the “Submission Alerts” section, you’ll find only those journals/presses whose guidelines guarantee a minimum of double-digit payment in U.S. dollars or the equivalent. (As a practicing writer myself, I vastly prefer listings that specify this information up front—and am frustrated when it’s missing.)

5. I continue to strive to avoid knowingly amplifying any opportunity offered by an outlet or organization that engages in the sort of bias and/or professional malpractice that I have delineated in “Writers, Beware” (https://bit.ly/47vTyHl).

Even beyond the success stories (again, scroll down!) that I’m always so happy to receive and then publish here, I’ve been told by many of you that one, some, or all of the above-delineated practices provide unusual and much-appreciated value in the writing-newsletter landscape.

And that, dear readers who are also writers, is why this newsletter is continuing into its 23rd year.

With all best wishes for you and your writing practices,
ERIKA

2. SUCCESS STORIES

From Andrea Joy Adams:

Hi Erika. I wanted to let you know that thanks to an edition of The Practicing Writer earlier this year, my essay “Time Capsule” was recently published in Line of Advance. Thanks so much for keeping this incredibly generous effort going.

From Janice Alper:

Thanks for the reference to OfTheBook (ED note: included here.) They accepted three of my poems: “Where the Train Tracks End,” “Bella,’ and” Zayda’s Kiddish Cup.”

From Bethany Bruno:

Just wanted to let you know that I just received an acceptance from Chicken Soup for the Soul! They’re publishing my humor piece in their I Can’t Stop Laughing edition scheduled for release in April 2026. I would have never known about submitting to them without [your newsletter], so thank you so much!

From Zelda Knapp:

Your lists have been game-changing for me. I had nine pieces accepted for publication in 2025, most of which were opportunities I found through The Practicing Writer. Thank you so much for all you do!

Reminder: Please share news from your writing practice that may be connected with this newsletter, or my blogs/other resources. I love to celebrate and amplify in this space!

3. FEATURED RESOURCE: “RESOURCES” TAB ON MY WEBSITE

Thinking of the reference to my “lists” above, I realize that this anniversary edition may be the most appropriate time to remind everyone that my own website was conceived as a place to share plenty of resources for writers even beyond this newsletter. If you haven’t been over there in a while, please check them out; the “Resources” tab, highlighted below, is your friend!

4. CONTESTS, COMPETITIONS, AND OTHER OPPORTUNITIES

Read more