The Practicing Writer 2.0: May 2024
Featuring 50 fee-free opportunities that pay for winning/published work. Plus: success stories, an updated writing-residency resource list, and 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 Twitter (yes, I’m still calling it that, and for reasons I don’t entirely understand, I’m still there), Facebook, and/or Substack.
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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:
Here’s a fun fact: When I prepare each issue of this newsletter, I check its predecessor issue for the prior year. So as I drafted this issue for you, I’ve revisited the one that went out one year ago.
Which reminded me that I had intended to do better this year. Instead of alerting you to May’s role as both Short Story Month and Jewish (American) Heritage Month with just a single day to spare, I had intended to give you more notice.
Let’s review this material from last May’s newsletter:
I’m revisiting this now for a few reasons. Perhaps the one I’m currently most passionate about is my sustained commitment to Jewish literary advocacy. May’s heritage observance provides an important opportunity for that.
Last May, I spotlighted Jewish-American short-story collections throughout the month on Twitter. You’ll find the full list, with notes, threaded there. I also compiled a list of as many of the selections as I was able to find available on Bookshop. I’m re-upping these titles here with a request that you please consider them for your own reading, as well as for any lists, displays, or other efforts with which you may be engaged. (NB: Aware of the concurrence of JAHM and Asian American and Pacific Islander [AAPI] Heritage Month, I highlighted joint and/or intersectional books, events, and resources last year as well.)
As this May approaches, helpful resources I’ve noticed so far include this JAHM hub (hosted by the Weitzman National Museum of American Jewish History); another suite of materials from the American Jewish Committee (AJC); and this Canadian site.
But, wait! Yet again, there’s more.
For the vast majority of Diaspora Jews for whom a connection to the Jewish state and our family in Israel (literal and spiritual) is intrinsic to our Jewish identity, May also brings multiple “modern” Jewish holidays that have taken root in response to more recent history. As with all holidays anchored in the Jewish calendar, their secular observance dates shift each year.
Often, the holidays that I’m about to mention occur in April. But this year, they’re taking place in May. And given what occurred on October 7 and all that’s unfolded since then, I believe that several of them—including Yom HaShoah (Holocaust Remembrance Day), Yom HaZikaron (Israel’s Memorial Day), and Yom HaAtzmaut (Israel’s Independence Day)1—are important to recognize, too. For this year’s Jewish (literary) heritage project, then, I plan to highlight books that, in various ways, embody connections and intersections among Jewish people in United States (and Canada) and in Israel, where just about half of the world’s current population now lives. Call it a project imbued by the sense of K’lal Yisrael, a sense of Jewish peoplehood, which was integral to my own Jewish upbringing—and which I’ve experienced more than ever before since October 7.
At the moment, I plan to highlight one book each day throughout the month (again, on Twitter—possibly, if I can manage it, elsewhere, too). And, similar to last year’s practice, I plan to compile the featured titles at month’s end on Bookshop.
And who knows? Perhaps there will be a mid-May update here on Substack, too. (No promises just yet!)
With all best wishes,
ERIKA
P.S. #1 also pertains to my Jewish literary advocacy. Let’s just say that it’s been busy since last month’s newsletter went out. Some of my own writing/speech can be found in a new subsection (“Regarding Literary and Literary-Adjacent Communities”) within this resource document.
P.S. #2: 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 Lorna Likiza:
I have been a subscriber to your newsletter from August 2022 and check every beginning of the month for submission opportunities. I have since submitted to many literary journals thanks to your efforts, and I am happy to announce that I have been featured twice on Aniko Press for my book reviews of No Longer at Ease by Chinua Achebe and Desertion by Abdulrazak Gurnah. Thank you so much for the work that you do!
From Robert Binney:
I recently had a piece posted in the Lowestoft Chronicle... I can’t find the newsletter where you posted it as a possibility, but how else would I have found them!??!? On to the next! [ED note: I can’t find it, either—and judging from the outlet’s guidelines, it looks as though they don’t pay (any longer?). But it does sound familiar! Did I share it somewhere, once upon a time? Maybe?!]
From Marina Petrova:
I wanted to thank you for putting together the Jewish Writing Resources page. I am a short story writer living in NYC. I have watched many lit magazines publish pieces that were antisemitic or overtly antisemitic. I appreciated the [“Writers, Beware” list on the resources page] and pulled my submission from Agni and Guernica. In the comments, I explained why. Doubt it will change anything, but at least I could do what felt like the “right” thing to me. It was also comforting to find other writers who are experiencing, to put it mildly, discomfort with what has been happening in the literary world since October 7th.
And from Sheena Daree Romero:
I’m very grateful that you shared the Miriam Chaikin Writing Award a few months back. My essay “The Happiest Country in the Whole Wide World” won this year’s prose award, and I still can’t quite believe it. Your thorough and thoughtful sharing and curation help writers find gems we wouldn’t otherwise. Thank you!
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:
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. Some programs—but not all—also confer stipends.
4. CONTESTS, COMPETITIONS, AND OTHER OPPORTUNITIES
THE CAROLYN MOORE WRITING RESIDENCY
Applications: May 1-May 15. “Portland Community College and the Humanities & Arts (HARTS) Council invite writers of all genres—including poetry, fiction, and non-fiction—to apply for a 2024 Residency. The Residency is the first of its kind to be hosted by a community college in the United States. PCC’s mission is to deliver access to quality education while advancing economic development and promoting sustainability in a collaborative culture of diversity, equity, and inclusion. Consisting of three- to eight-week terms at the Carolyn Moore Writers House in Tigard, Oregon, the Carolyn Moore Writing Residency offers writers concentrated time to focus on developing a written work, while also providing PCC students the opportunity to meet and interact with talented writers from across the country….The Writers House is a beautiful log cabin home with full modern amenities on nine acres, complete with a fruit orchard, gardens, and a marsh. The house has two wings, enabling two concurrent residencies. Each wing has its own generous living space, bedroom, bathroom, and kitchen, as well as separate access to the onsite laundry room. In addition to use of the House and grounds, residents receive a stipend of $400 dollars per week, delivered in full upon arrival.”ON THE PREMISES MINI-CONTEST #60
Deadline: May 3. “For this mini-contest, tell, show, or evoke a complete story between 25 and 50 words long in which a hat of some kind matters to the story.” Prizes: “First place pays $35, second pays $25, and third pays $15, all in US dollars. Honorable mentions get published, but make no money.”SOUTH ARTS INDIVIDUAL ARTIST CAREER OPPORTUNITY GRANTS
Deadline: May 7. These grants support “a milestone opportunity in an individual artist’s career that is likely to lead to substantial and significant career advancement. Grants of up to $2,000 are available to support opportunities taking place between July 1, 2024 and December 31, 2024.” To be eligible, an artist/writer must “be a United States citizen, lawfully admitted to the U.S. for permanent residence, or have permission from the Department of Homeland Security to work permanently in the U.S.,” and must “be a resident of Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, or Tennessee,” among other requirements.RTÉ SHORT STORY COMPETITION
Deadline: May 10. In honor of writer and broadcaster Francis MacManus. Open to writers “resident on the island of Ireland, or, if living abroad, hold[ing] an Irish passport.” 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.”CAVE CANEM PRIZE
Deadline: May 13. Awarded annually to “the best debut collection of poems submitted by a Black poet,” this prize confers “$10,000, publication by Graywolf Press in fall 2025, 15 copies of the book, and a feature reading. (More info is available here.)ABA JOURNAL/ROSS WRITING CONTEST FOR LEGAL SHORT FICTION
Deadline: May 15 (5pm CDT). “Entries must be original works of fiction of no more than 5,000 words that illuminate the role of the law and/or lawyers in modern society. The winner will receive a prize of $5,000. Entrants must be U.S. citizens or legal permanent residents and 21 years of age or older” by the contest deadline. Note: “Entries may be unpublished, or published no earlier than December 1, 2023.”TABLET PERSONAL ESSAY CONTEST (“BELONGING”)
Deadline: May 15. “Where do you feel at home—or no longer at home—physically, spiritually, or culturally? How do you find community, or a sense that you’re a part of something larger than yourself? Are there places where you feel a sense of belonging, or alienation—or both? Tablet is seeking personal essays that wrestle with these questions. We are looking for previously unpublished work by writers living in North America who have never published in Tablet before…. Writers can be from any background or perspective, but there should be a reason why your piece belongs in Tablet Magazine, a Jewish magazine about the world. Tablet editors will review all submissions and choose our favorite five, which we will edit with the writers. The authors of those five pieces will be invited to New York City to read their story in front of a live audience, and will receive a stipend toward travel and lodging. A guest judge will then select the winner from the finalists. The winning selection will be published in Tablet Magazine and will receive $500. All other finalists will receive $100 for their work.”ANDY WARHOL FOUNDATION ARTS WRITERS GRANT PROGRAM
Deadline: May 15. Supports “emerging and established writers who write about contemporary visual art. Ranging from $15,000 to $50,000 in three categories—articles, books, and short-form writing—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.” Included among the former: applicants must be “a US citizen, permanent resident of the United States, or a holder of an O-1 visa (if your application advances to the final round, you will need to submit current documentation).”RBC NEW VOICES PEN CANADA AWARD
Deadline: May 19. “The annual award supports and celebrates emerging talent in Canadian literature. Unpublished writers are encouraged to submit short stories, creative nonfiction, journalism, and poetry. The shortlisted submissions will be judged by a distinguished jury of Canadian writers. The winning entry will receive a $3,000 CAD cash prize and mentorship from a Canadian author.” NB: Writers who have published books previously may not enter, but those with publishing contracts for forthcoming books may enter. Candidates must not have had any book published prior to or during the entire duration of the award selection process (March 19 – June 30, 2024). Writers who have published pamphlets, or whose work has appeared in magazines and journals may enter.SONOMA COUNTY WRITERS CAMP BIPOC WRITER SCHOLARSHIP
Deadline: May 24. For “a 4.5-day generative writing retreat in Cazadero, CA,” this scholarship provides “a full tuition waiver [classes, panels, room and board] for one recipient who is BIPOC and self-identifies as a woman or non-binary. Camp runs from July 24 - July 28, 2024.”CHANGING LIGHT PRIZE FOR A NOVEL-IN-VERSE
Deadline: May 25. From University of West Alabama’s Livingston Press. Confers “$500 prize plus 20 copies, standard royalty contract. Publication in trade paper, e-book, and Kindle.”GREAT LAKES COLLEGE ASSOCIATION NEW WRITERS AWARD
Deadline: May 25. “For the 55th year this group of thirteen independent Midwestern 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 “receive invitations to visit several GLCA member colleges, where they will read from their works and engage with students and faculty members in a variety of contexts, such as discussions, lectures, colloquia, workshops, and interviews.” Authors “receive an honorarium of $500 from each of the colleges they visit. In addition, writers are reimbursed for all travel, lodging, and food costs they might incur in visits to GLCA member colleges.” Limited to writers resident in the U.S. and Canada; publishers may submit only one entry per category. This year’s competition will consider works “that bear a publication imprint of 2023 or 2024.”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.
GENESIS JEWISH BOOK WEEK EMERGING WRITERS’ PROGRAMME
Deadline: May 31. This program “covers fiction, non-fiction, and poetry and includes bursaries, mentoring, peer support and an event at London’s longest-running literary festival.” Open to “emerging writers over 18 years of age and living in the UK with no more than three years’ experience of being published, who feel they would benefit from the support and insight of a more established writer.”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.)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 starting to work at a professional level. These funds may be used as each writer determines will best assist their work.” Be sure to check the capacious definition of “speculative literature.”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.”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.”OPEN DOORS POETRY FELLOWSHIP
Deadline: June 1. Offered by the Porches Writing Retreat to a first-time visitor with one published collection. Provides a week-long residency.THE PATTIS FAMILY FOUNDATION CREATIVE ARTS BOOK AWARD
Deadline: June 1. The Pattis Family Foundation Creative Arts Book Award at Interlochen is 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. This inaugural award recognizes outstanding works of fiction or nonfiction. 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 2022 or 2023, 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.” Also, per response to my email inquiry: Self-nominations are permitted.DAN VEACH PRIZE FOR YOUNGER POETS
Deadline: June 1. This prize from Atlanta Review honors Dan Veach, the founding editor and publisher of Atlanta Review from 1994 to 2016. It solicits “unpublished poems from college-age students, aged 18-23, on any subject or style. Poems with an international focus are especially welcomed, but all poems must be written in English.” Confers a $100 prize and publication.MASS MoCA ASSETS FOR ARTISTS RESIDENCY FELLOWSHIPS
Deadline: June 8. From the Studios at MASS MoCA in the Berkshire Mountains, for residencies between January and June 2025. “We offer many full-ride fellowships (no residency fee charged to the artist), often in specific donor-identified categories, but there are always multiple general fellowships available. In addition to general fellowships, current fully-funded offerings include General Fellowships, Fellowships for Black or Indigenous Artists and Writers, Massachusetts Fellowships (for Massachusetts-based creatives), and Puerto Rico Artist Fellowships. Some of these awards also confer stipends.
5. SUBMISSION ALERTS
THE BOMBAY LITERARY MAGAZINE, which accepts submissions in five categories (fiction, poetry, translated fiction, translated poetry, essays, and graphic fiction), is scheduled to re-open for submissions May 1. NB: “We only consider the first 400 submissions in each category.”
Also scheduled to open again (for print-magazine submissions) May 1: THE CINCINNATI REVIEW. They’ll close once they hit their submission cap (and definitely by month’s end).
Also scheduled to open
May 1[UPDATED: May 15] (for fiction submissions only): CUTLEAF.During the month of May, THE MALAHAT REVIEW welcomes submissions in poetry, fiction, and creative nonfiction from writers worldwide.
The PRINCETON SERIES OF CONTEMPORARY POETS, now edited by Rowan Ricardo Phillips, is open for manuscript submissions during the month of May.
At STONE’S THROW, “the monthly online companion to Rock and a Hard Place Magazine,” they’re “open for submissions the first week of every month, from 12AM on the first through 11:59PM on the seventh. 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 May 1-7, they seek work that addresses the following: “Home is where the noir is. This month, we’re looking for stories set at home, wherever that is. Apartments. The suburbs. A townhouse. An RV. Under an overpass. We all need to lay our head somewhere, and while we imagine it to always be safe, sometimes that’s just wishful thinking.”
MATCHBOOK has returned. “We look for works of short fiction, creative nonfiction, and indeterminate prose. Like our name suggests, we are interested in literary art that manages brevity without sacrificing fullness. We like narrative, but we also like work that uses form to express something about the time in which we live.” Per this tweet, they’ll re-open May 1 and remain open until May 8 (“or when our submission count reaches 1,000”).
Open for submissions until May 10: FUNICULAR, which publishes “quality fiction and poetry that shocks, surprises, moves, and tickles us. Maybe all of those things in a single piece. We are a Canadian magazine and we want to publish Canadian voices, but don't be shy if you aren’t Canadian. We love sharing international writers with our readers too.” NB: Pays for print publication only.
Attention, Oceania writers. Until May 13, Australia-based GOING DOWN SWINGING is currently open for print submissions. “We’re going looooooong. We want to see what you can do with a little more room to stretch your literary legs. Think long short stories, mini-manifesto, chapbook collections, perfectly paired essays.” (Hat tip: @Duotrope.)
According to its website, THE STINGING FLY, which features “new, previously unpublished work by Irish and international writers,” will be open for submissions May 15-May 29, for their Winter 2024 issue. “We have a particular interest in promoting new writers, and in promoting the short story form. Each issue…includes a mix of poetry, fiction, and non-fiction, alongside our Featured Poets and Comhchealg sections, occasional author interviews and novel extracts. We also welcome submissions of poetry and prose in translation.”
According to its Twitter account, BARRELHOUSE will be open for submissions “in all genres” for a period beginning in mid-May (“probably May 15-May 30”). Caps will apply.
For its tenth anniversary this year, BRILLIANT FLASH FICTION is celebrating with “an eBook and print anthology entitled TENacity. We are seeking flash fiction stories of 300 words or less on the subject of Tenacity. Writers do not have to use the word ‘tenacity’ in their stories or titles; simply send us your best work expressing the concept.” Deadline: May 15.
FOURTEEN POEMS, which publishes anthologies “of the most exciting LGBTQ+ poets around 3 times a year” is open for submissions. The window “is rolling, but the deadline for the next issue is May 15.” (Hat tip: WOW [Women on Writing] Markets Newsletter.)
VARIETY PACK is open for submissions until May 15. “We’ll be reading for our unthemed issue, Issue 11! So send us your best poetry, fiction, non-fiction/CNF, reviews/review-essays, translations, visual art, mixed media.”
From the WOW! (Women on Writing) MARKETS NEWSLETTER: “Would you like to share your expertise with other writers who read this newsletter? Have you recently found your niche? We are looking for articles for our newest ‘Breaking In’ column. Last month, we published ‘How to Become a Commerce Writer’ by Nicole Pyles; and this issue we published ‘How to Become a Sensitivity Reader’ by Lara Ameen. You’ll see they follow the same formula, including headers like ‘How I Got Started’ and ‘Landing Your First Opportunity.’ If you've found your niche in the last 3-4 years (only because the market changes so quickly) and have some unique tips, we’d love to hear from you!” Pitch by May 15, and be sure to check the full announcement in this issue of the newsletter for contact/pay info and additional instructions.
BALTIMORE REVIEW’s submissions window is scheduled to close May 31. Publishes fiction, creative nonfiction, and poetry.
Also closing May 31: general submissions at BLACK FOX LITERARY MAGAZINE, “an international print and online biannual publication featuring quality fiction of all styles and genres, poetry, and nonfiction.”
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 books of poetry, prose (fiction or nonfiction), and hybrid texts of poetry and prose will be considered” 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.”
“Calling all freelance journalists interested in covering the indie film space: CONE Magazine is seeking coverage and pitches for upcoming independent film premiers, festivals and other related events.” Pays: “Typically 1,000-1,500 word features receive USD$200-400….the range really depends on project and scope.” No deadline indicated. (Hat tip: Write at Home.)
According to its Submittable page, REDIVIDER is currently reading for its Fall 2024 issue. No deadline indicated.
STATUE “publishes fiction stories of between 1000-6000 words.” (Hat tip: @Duotrope.)
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: 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: 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: 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”).
Also:
, 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.
REMEMBER: Multiple 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 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)
(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.
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 the United Nations General Assembly voted in November 1947 to partition territory to create two states—one Arab, one Jewish—only the Jewish leaders accepted this decision. The resulting wars, beginning after the partition vote and taking on a new cast after the official end of the British Mandate and Israel’s declaration of independence in May 1948, led to devastating loss and suffering for all involved. The new Jewish state lost one percent of its population in its War for Independence; a series of expulsions and exodus of Jews from Arab countries began. As is more widely known, the population now identified as the Palestinian people suffered immensely, too. It’s important for me, and other Jewish Zionists, to acknowledge what has come to be termed the Palestinians’ “Nakba,” even as I may wish (and argue, strenuously) for more nuanced discourse about the word’s history and meaning.