The Practicing Writer 2.0: July 2024
Featuring dozens of fee-free opportunities that pay for winning/published work. Serving writers of fiction, poetry, and creative nonfiction for more than 20 years.
Welcome, new readers, and welcome back to the regulars. (Over the past month, we crossed another milestone: We now number more than 11,000 subscribers here!)
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IN THIS ISSUE:
Editor’s Note
Success Stories
Featured Resource
Contests, Competitions, and Other Opportunities (NO FEES TO ENTER/APPLY; PAYING OPPORTUNITIES ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)
Submission Alerts (NO SUBMISSION/READING FEES; PAYING CALLS ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)
Blog Notes
Newsletter Matters
1. EDITOR’S NOTE
Greetings, practicing writers:
Some publication news to share with you since last month’s newsletter went out:
First, Paper Dragon's new issue includes my flash essay “At the Movies.” This piece was inspired by a foray last year to see the film adaptation of Judy Blume’s Are You There God? It’s Me, Margaret. It took me a long time to place, albeit with some super-encouraging rejections passes along the way. (I was just too attached to it to give up on it.) In fact, Paper Dragon initially “declined” it, too! But they followed up with a message saying that they’d done so in error and still wanted the piece if they could have it.
Reader, they could! (Fun fact: This isn’t the first time that a piece of mine has been officially rejected before it was accepted and published. Odd, maybe. But true. And literally just this morning I checked email to find that another outlet had rejected it—although, as the follow-the-rules type that I am, I’d already withdrawn it from that outlet’s continued consideration, and received a confirmation of the withdrawal, immediately upon the Paper Dragon acceptance. Once again, I’m grateful that my skin has thickened so much over the years.)
My only regret is that as the production process continued I was told that it wouldn’t be possible to embed video of the key moment I’d written about (and hyperlinked) within my submission’s opening words. Since I can share that moment here, though, I invite you to come back and take a peek after you’ve read the piece. (The photo below is a screenshot I grabbed from the film’s trailer, which, lucky for me, includes the exact moment I was writing about.)
Also published just a few weeks ago: “A Tale of Lists and Blacklists,” an essay commissioned by Hadassah magazine.
In related news: Just last Monday, the Authors Guild (AG) released a statement that hasn’t seemed to be aggregated/amplified as much as one might have expected.
I’m curious to know how many of you were aware of this statement prior to reading about it here (and, for those who were aware, how/where you encountered it). If you have a moment, please respond to this poll.
Thank you.
I don’t anticipate that there will be much from my own desk to share next month—in part because I’m going to be away from said desk for chunks of the next weeks. (Which reminds me—please don’t worry if there’s a decline or fade-away in blog and/or social-media posts at times.) But I do expect to get the August issue to you right on schedule.
With all best wishes for all of you and your writing practices,
ERIKA
P.S. I am grateful when you share this newsletter, in its entirety, with your networks. But if you choose to share only certain listings, please respect my work of research and curation and credit your source—ideally, with a link back to this newsletter. Thank you so much.
2. SUCCESS STORIES
From Marcie Geffner:
Thank you for “Where to Read (and Publish) Writing on Jewish Themes” on your website. I recently placed a short nonfiction piece with The Jewish Writing Project after finding it on your resources page. The story had been rejected elsewhere and set aside before I submitted it there. Bruce Black not only said yes, but also took the time to provide some editorial guidance that made the piece better…. this wouldn’t have happened without your resources page.
From Fran Levin:
Thanks for sharing the information about the Iron Words Israel journal in your resource list for Jewish reading and publishing. I was delighted that my short essay “Freeze” about the first month of the war here was published on their website recently. I was also heartened by the warm and personal acceptance letter that I received from the editor.
I so appreciate your ongoing commitment and support to the writing community!
From R.L. Maizes:
Many thanks, Erika. I was just awarded a Memorial Foundation for Jewish Culture grant for my novel-in-progress about antisemitism and vigilantism. I learned about the grant from you. Thanks again for all you do for Jewish writers and Jewish writing.
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(S): JOBS FOR WRITERS
’s recent post on “Making Money as a Writer” is worth reading for multiple reasons—including the concluding set of links that can help readers find writing-related jobs. Among them you’ll find my own website’s “Jobs for Writers” page. 4. CONTESTS, COMPETITIONS, AND OTHER OPPORTUNITIES
SPECULATIVE LITERATURE FOUNDATION DIVERSE WRITERS AND DIVERSE WORLDS GRANTS
Applications: July 1-31. “Since 2014, the SLF has offered two diversity-centered grants intended to foster the creation of speculative fiction work rich in diversity. Writers may apply for either or both grants.” Each grant confers $500. “Open to all levels of publishing experience, worldwide.”DIVERSITY IN BEER WRITING GRANT
Deadline: July 8. From the North American Guild of Beer Writers (NAGBW). “Now in its seventh year, the Grant’s goal is to highlight the value of stories that showcase diversity and inclusion—in all its forms and challenges—within beer. The Grant’s view of diversity is wide. It encompasses not only race, gender, ethnicity, sexuality, and gender, but also geography, socioeconomic status, disability, religion, and more.” Compensation: “Chosen writers will receive payment of 50 cents per word for their work, up to $1,000. Adjustments for pay will be accommodated if a selected pitch is another media format. Length of story or other project will be agreed on with editors before reporting. The final amount will be paid after completion and publication of a story.” (Hat tip: The Writer’s Job Newsletter)DONN GOODWIN PRIZE
Deadline: July 14. “The Milwaukee Irish Fest poetry award for the Donn Goodwin Prize will be given to the entry that best reflects Irish or Irish-American poetry traditions. Although the poems do not necessarily need to have direct Irish or Irish-American themes, the winning entry should have a cultural or literary relation to either Ireland, Irish-America, or to Irish poetry. The person with the winning submission as determined by our panel of adjudicators will receive a $100 honorarium and will be invited to read their poem at Milwaukee Irish Fest (if available).”KARI HOWARD FUND FOR NARRATIVE JOURNALISM
Deadline: July 14. Memorializing Kari Howard and administered through the International Women’s Media Foundation, this program supports narrative journalism with grants up to $5,000. “Applicants may be a print journalist or a print journalist leading a multi-media team. Projects reported and published in English anywhere in the world are eligible. All reporting and publishing must be completed within six months of the award of the grant.” NB: “This opportunity is open to women and nonbinary journalists.”STONY BROOK SHORT FICTION PRIZE
Deadline: July 14. For this competition, “only undergraduates enrolled full time in United States and Canadian universities and colleges for the academic year 2023-2024 are eligible. This Prize has traditionally encouraged submissions from students with an Asian background, but we urge all students to enter….The author of the winning story will receive $1,000 and a scholarship to the 2025 Southampton Writers Conference. Additionally, the winning story will automatically be considered for publication in TSR: The Southampton Review.”BURLINGTON CONTEMPORARY ART WRITING PRIZE
Deadline: July 15. Prize “seeks to discover talented writers on contemporary art. The winner of the Prize receives £1,000, their review is published on Burlington Contemporary and they have the opportunity to publish a review of a future contemporary art exhibition in The Burlington Magazine.” NB: “Entrants must have published no more than six pieces of writing in print or online prior to their submission. This does not include personal blogs and websites.”THE IRON HORSE LITERARY REVIEW PHOTOFINISH COMPETITION
Fee-free submissions for one day only: July 15 (“extended through July 16”). “For the IHLR annual PhotoFinish, we seek well-crafted and very brief ekphrastic work that pushes beyond an absolute literal read of a photo prompt. We’re looking for work that recognizes what’s hidden in the world we see, responding to the physical details that the picture offers or what emotion it conveys or both. We provide the photo on our website and social media platforms every mid-May….Winner receives $250. The finalists receive: $50. The winner and nine finalists are published in the e-edition, released at midnight on New Year’s Eve--our last horse over the year’s finish line.”IRON HORSE BOOK PRIZE
Fee-free submissions for one day only: July 15 (“extended through July 16”). “Texas Tech University Press and Iron Horse Literary Review are pleased to announce the Iron Horse Prize, awarded annually to a first book of collected prose. The author of the winning entry will receive $1000, and their collection will be published in the summer of 2024 by Texas Tech University Press. We are looking for emerging writers who have yet to publish collections of their own prose, either short fiction or nonfiction.” NB: “Entries must be either a collection of short fiction or essays. We are not accepting novels or memoirs, although we welcome story cycles, novellas with other stories, and linked essays.” Also note about the fee-free submissions: “We will accept a limited number of submissions free of charge to ensure the inclusion of as many authors as possible. If you can afford to pay the fee, we ask that you reserve the free slots for others who may not be able to submit otherwise. If you miss the July 15th free submission day and would like to submit your work but cannot pay the fee, please feel welcome to contact Travis Snyder at Texas Tech University Press…but not before July 15th.”HELEN SCHAIBLE INTERNATIONAL SONNET CONTEST
Deadline: July 15. “Categories: #1 Traditional Sonnet – Shakespearean or Petrarchan; #2 Modern Sonnet.” See website for definitions and guidelines. “Enter ONLY ONE poem per Category. This means only 1 or 2 poems total per poet. If any poet enters more than one poem in a category, the contest coordinator will automatically accept only the first one.) Entries must be original, unpublished, not posted online or on social media, and not under consideration for publication elsewhere. Also, poems cannot be created with the help of any artificial intelligence applications. Poets can only win or be noted in one of the two sonnet categories.” Prizes (for both categories): “First Prize: $50. Second Prize: $30. Third Prize: $20. Three Honorable Mentions and three Special Merits will be named per category, ranked. Winners will be notified by the end of September 2024. If poets do not receive an email by then, they can assume they did not win….All winning poets will be invited to participate in an online reading in October.”UCROSS FOUNDATION FELLOWSHIP FOR NATIVE AMERICAN WRITERS
Deadline: July 15. Open to writers working in one or more the the following genres: fiction, nonfiction, poetry, drama, screenwriting, playwriting, and hybrid forms who are also enrolled members “of a state-recognized or federally-recognized Tribe, Pueblo, Nation, Native Community, Political Entity, or Alaskan Native Village.” Confers a residency at Ucross in northern Wyoming.BLACK VOICES IN CHILDREN’S LITERATURE WRITING CONTEST
Deadline: July 22. From Strive Publishing and Free Spirit Publishing: “The contest is open to Black authors who at the time of entry are at least 18 years of age and residing anywhere in the United States. As always, the contest’s mission is to elevate authentic, culturally relevant children’s stories written by and about Black people. Every entry is considered for publication and three cash prizes will be awarded.”BRIEFLY WRITE POETRY PRIZE
Deadline: July 31. “Celebrates and rewards bold, succinct writing. We want well-crafted poems up to 10 lines.” No simultaneous submissions. As of my last check of the site, “there is a prize fund of £75. An announcement on how this will be split will be made soon.”THE LEHRHAUS 2024 SHORT STORY CONTEST
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Deadline: July 31. “We are seeking original short stories within the scope of our mission to explore the depth and diversity of Jewish ideas.” Submitted stories “must contain Jewish content.” Open to all. “The first-place winner will receive a $100 honorarium and featured publication in Lehrhaus.” (Hat tip:SISTERS IN CRIME PRIDE AWARD FOR EMERGING LGBTQIA+ CRIME WRITERS
Deadline: July 31. A legacy project of past SinC president Sherry Harris, this award confers $2,000 for an emerging writer in the LGBTQIA+ community. According to Harris, “Each past president is required to do a legacy project, something that they feel passionate about. When thinking about what I wanted to do, I kept two things in mind. First, why SinC was formed — to equal the disparity in how female crime fiction writers and male crime fiction writers were reviewed and won awards. Second, I love our Eleanor Taylor Bland Award for emerging crime writers of color. With those two thoughts in mind, I realized I wanted to start a similar award for the LGBTQIA+ community.” Note: “An unpublished writer is preferred, however publication of not more than ten pieces of short fiction (excluding poetry) and/or up to two self-published or traditionally published books will not disqualify an applicant. While no prior writing or publishing experience is required, you should include any relevant studies or experience in your materials.” Note also that the application will require you to upload “an unpublished work of crime fiction, aimed at readers from children’s chapter books through adults. This may be a short story or first chapter(s) of a manuscript in-progress of 2,500 to 5,000 words.”WASHBURN CHAPBOOK PRIZE
Deadline: July 31 (fee-free entries for BIPOC-identifying writers only). Named for poet and professor Laura Lee Washburn (who serves as final judge), this prize “is awarded once a year to a woman or non-binary writer for a micro chapbook, which Harbor Review will publish digitally on our website. Our definition of woman includes all women, including transgender and all female-identifying individuals. Women of color and queer women are encouraged to apply.” Note: “Micro chapbooks should be exactly 10 poems long.” Prize also confers a $200 cash award.Deadline: August 1: Awarded annually “to help U.S.-based writers complete substantive literary works—such as poetry books, essay or short story collections, novels, and memoirs—or to help launch these works. Additionally, the Granum Foundation Translation Prize will be awarded to support the completion of a work translated into English by a U.S.-based writer. Funding from both prizes can be used to provide a writer with the tools, time, and freedom to help ensure their success. For example, resources may be used to cover basic needs, equipment purchases, mentorship, or editing services.” One winner will receive $5,000; up to three finalists will be awarded “$500 or more”; for the Translation Prize, one award of $1,500 “or more” will be made.
PEN/BARE LIFE REVIEW GRANTS
Deadline: August 1. “The PEN/Bare Life Review Grants support literary works in progress by immigrant and refugee writers, recognizing that the literature of migration is of inherent and manifest value. Beginning with the 2024 grant conferral, PEN America will confer two PEN/Bare Life Review Grants of $5,000 each. The grants are made possible by a substantial contribution from The Bare Life Review, which celebrates world literature and has been a champion for migrant and diasporic arts.” Among important notes: “The project must be an unpublished work-in-progress that will not be published prior to April 1, 2026, as the grants are intended to support the completion of a manuscript. The project must be a work of a literary nature: fiction, creative nonfiction, or poetry. This grant is available to foreign-born writers based in the U.S., and to writers living abroad who hold refugee/asylum seeker status.”PEN/PHYLLIS NAYLOR GRANT FOR CHILDREN’S AND YOUNG ADULT NOVELISTS
Deadline: August 1. “Previously called the PEN/Phyllis Naylor Working Writer Fellowship, the award was developed to help writers whose work is of high literary caliber and assist a writer at a crucial moment in their career to complete their novel.” Confers an award of $5,000.CAROL SHIELDS WRITER-IN-RESIDENCE PROGRAM
Deadline: August 1. At the University of Winnipeg. “Canadian writers of all genres who have no more than three published or professionally performed solo works and no more than three previous writer-in-residence terms at other locations” are eligible. “The four-week residency is intended to support an emerging and innovative writer whose work contributes to the changing landscape of Canadian literature. A background in community engagement, such as teaching and mentoring writers, will be an asset. The Carol Shields Writer-in-Residence will be responsible for participating in a Welcome Reading and Q&A, teaching a masterclass on any aspect of craft, providing a public lecture on writing, reading and consulting one-on-one with writers from the University of Winnipeg community and the general public, as well as have the opportunity to visit up to two creative writing classes during the month-long residency. Dates are flexible and can be undertaken from January-March 2025 (not including reading break). Remuneration is $4500.00.”CALDERA ARTIST-IN-RESIDENCE PROGRAM
Deadline: August 4. Located in Oregon, these residencies “are open to U.S.-based creatives and cultural workers in any discipline. Artists at any stage of their careers, who are not current students, are eligible to apply. Residencies are also available for parent artists who would like to bring their children. Residents will receive private lodging, studio, and artist stipend. Please note: transportation to and from the residency site is not provided by Caldera Arts.” NB: The 2025 theme is “Stars”; “while applicants are not required to connect work to our annual theme, panelists will give special consideration to competitive applications that do.” Note additional priorities as noted within the guidelines.
REMINDER: Some opportunities listed in last month’s newsletter remain open for applications and entries, too. And please keep reading the “Blog Notes” below for an important reminder about additional opportunity listings!
5. SUBMISSION ALERTS
Since submission calls tend to be fewer at this time of year, this month’s newsletter includes even more “reminders” than usual regarding opportunities that are essentially open year-round.
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.” For submissions July 1-4 (for the August issue), they seek work as follows: “It's the hottest time of the year, and things are getting sweaty. This month, we’re looking for steam and sweat and, yes, sex. Send us your best story where sex, desire, or lust lead to the undressing and undoing of those involved.”
For the month of July, FLASH FROG will be open for ghost-story flash fiction only.
LITMOSPHERE, “formerly home for Charlotte Lit’s Lit/South Awards winners and finalists—is now an open submission, paying online literary and art journal, published twice a year,” with submissions for its fall issue open during the month of July.
Opening July 1 (and remaining open until August 30): VALIANT SCRIBE, for submissions for "Issue V: W.A.R. (We Are Resilient), “which will focus on resilience in the face of war or its aftermath.” Note: Valiant Scribe “was established in December 2019 in New York City to explore the intersection of the Christian faith and social issues….If you’re a writer or artist with a passion for the human condition, Valiant Scribe invites you to join their community and contribute to their mission.”
From AFTER HAPPY HOUR: “The reading period for Issue #24 (Fall/Winter 2024) will be open from July 1-August 31….We’re not limited to any particular genre, and publish poetry, fiction, creative non-fiction, visual art, and hybrids of any of the above. We’re headquartered in Pittsburgh, and love to get work from folks who have a connection to the region, but the journal is not exclusive to Pittsburgh-based writers and artists--we’ve published stories, poems, and artwork from all over the world.”
Ireland-based SANS.PRESS is open until July 2 (or until a cap is reached) for a new collection, The Garden. “We are looking for stories of any genre that respond to our title and/or cover art.” (Hat tip: WOW! Women on Writing Markets Newsletter.)
BRIGHT WALL/DARK ROOM, “an independent online film journal devoted to exploring the relationship between movies and the business of being alive,” has evidently extended the deadline for an issue on “Heartbreak/Heartbreakers” (mentioned in last month’s newsletter) to July 5. And for a Spike Lee-focused issue, the deadline is July 20.
BLANKET GRAVITY MAGAZINE, featuring “art and literature for people in mental health crisis, having a hard day or season, looking to feel connected with themselves or something outside themselves for a moment,” is open for submissions of fiction, nonfiction, and art until July 19. (Hat tip: Jeanne Lyet Gassman.)
FOUR PALACES PUBLISHING, which aims to be “the leading publisher of stories and voices of unpublished authors from underrepresented communities,” is open until July 31 for nonfiction submissions for an upcoming anthology on “Solastalgia”: “As opposed to nostalgia—the melancholia or homesickness experienced by individuals when separated from a loved home—solastalgia is the distress that is produced by environmental change impacting on people while they are directly connected to their home environment.” NB: Contributors must be “brand new” or “emerging” writers—“if you’ve published a book on a national level, please leave room for those who haven’t sunk their teeth in the writing industry yet. Chapbooks, magazine and literary journal publications are okay.”
NONBINARY REVIEW is open until July 31, for speculative-writing submissions in poetry and prose, and visual art, for an issue with the theme of “False Memories”; note that there’s a submission cap for each issue, so they may close early.
CHARLESBRIDGE “has partnered with Count Play Explore, an initiative led by the Office of Fresno County Superintendent of Schools, Early Care and Education Department, to develop a series of fiction picture books and board books about science, technology, engineering, arts, and math (STEAM) in both English and Spanish. These playful, child-led stories will feature characters who use scientific or mathematical thinking to solve everyday problems and answer questions that matter to them. They will showcase a wide variety of children with different abilities from diverse backgrounds and family structures. STEAMWORKS will introduce STEAM topics to young children in a fun, engaging way and foster enthusiasm and confidence in their capabilities as powerful thinkers, problem solvers, and innovators. Our mission is to show children of all backgrounds and experiences that STEAM is fun, STEAM is everywhere, and STEAM is for everyone!” Submissions are open until August 1. NB: “We are seeking only realistic, contemporary fiction manuscripts. Our target audiences are children ages 0–3 (board books) and 4–7 (picture books) and their caregivers.”
The next deadline at THE FIRST LINE, which seeks short stories that are written with the first line provided, is August 1. Stories must begin with this line: “When she was eight, Alice Henderson briefly held the world record for filling her mouth with marbles.”
“A journal about plants, gardens, gardening, parks, and indoor horticulture,” ALOCASIA “accepts creative writing of all genres from queer writers.” (Hat tip: @Duotrope.)
CERTAIN AGE, “a place where women tell the truth about their lives,” welcomes submissions of poetry and nonfiction and art, photography, and video.
Reminder: Make it a habit to check the CHICKEN SOUP FOR THE SOUL website, where titles in development are posted. Note: “If this is your first time, please visit our Story Guidelines page.”
Reminder: CRAFT LITERARY’s “creative categories are open year-round to any emerging or established author. We accept submissions from international writers.” They also consider “polished craft and critical essays. For interviews, we accept completed pieces or pitches….All work in this section is concerned with fiction or creative nonfiction. Please do not send critical work about poetry. Also, please do not send personal essays (creative nonfiction) to this category.”1
Reminder: THE FORGE, which “publishes one prose piece per week selected by a rotating cast of editors,” opens for free submissions on the first of each month (except for September and December). “If there is no free link, we’ve hit our quota.”
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.”
Reminder from THE MASTERS REVIEW: “Our New Voices category is open year-round to any new or emerging author who has not published a novel-length work of fiction or narrative nonfiction with a major press. Authors with published short story collections are free to submit.”
Reminder: There’s a rolling deadline (the 25th of each month) for OFF TOPIC PUBLISHING’s Poetry Box, which supplies subscribers with a poem “printed postcard-style” along with tea and chocolate. Poems should be no longer than 15 lines (“including blank lines”).
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: RIDDLEBIRD, which features “literary fiction and personal essays,” has “decided to try a rolling submission system. We will be open year round, but capped at 50 a month.”
Reminder: ROUGH CUT PRESS seeks “experimental work of all genres by writers and allies of the LGBTQIA community. To get a sense of what we publish please read some of our former issues. We don’t know what we like until we see it. Each month we announce a different theme, but don’t worry if the work you submit doesn’t quite fit: we often build issues around work that takes us by surprise.”
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: WRITE OR DIE is open for author interviews and creative nonfiction year-round. Regarding the latter: “We are interested in essays that focus on the writing life and especially love work where the personal intersects with the critical. We love essays that examine how publishing, reading, teaching, spirituality, sexuality, identity, obsession, labor, and family shape writing.”
REMEMBER: Some venues listed in last month’s newsletter remain open for submissions, too. And please keep reading the “Blog Notes” below for an important reminder about additional opportunity listings!
6. BLOG NOTES
The newsletter is published just once each month, but there’s always2 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)
(Friday) Finds for Writers
#SundaySentence
Occasional Notes from a Practicing Writer
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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.
We value our subscribers, and we protect their privacy. We keep our subscriber list confidential.
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 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, on Facebook, and/or on Twitter, where she tweets (mostly) “on matters bookish and/or Jewish.”
Although I have not personally determined what to make of this information,
recently published a cautionary post about the company that runs Craft (as well as several other journals that I have listed here this month that offer publishing opportunities that are both fee-free and paying: Fractured Lit, Frontier Poetry, The Masters Review, Palette Poetry). To evaluate the information for yourself, please read it.Well, not ALWAYS. As I mentioned above, I’ll be away from my desk for some chunks of July.