The 2024 Commonwealth Short Prize Regional winners have been announced.

The post The Commonwealth Short Story Prize Regional Winners appeared first on Creative Writing News.

The black mountain institute invites application for residential fellowship for the 2024-25 academic year.

Fellows of the Black Mountain Institute Shearing Fellowship will join a community of creative writers and scholars in a thriving literary scene in Las Vegas and on campus of UNLV.

There are no formal teaching requirements, but this is a ‘working fellowship’. BMI visiting fellows will maintain a regular in-office presence, around 10 hours a week, along with 10 hours of service to community.

Who is eligible for the Black Mountain Institute Shearing Fellowship?

• Candidates who have published at least one book
• There is no application fee
• No age restrictions

Submission Guidelines

• A one or two page cover letter which should include;

1. Who you are
2. Why you want to be part of the Las Vegas lit community
3. What you will be working on in terms of the writing projects
4. What you would like to do for your service hours

• A writing sample (10 pages, double spaced, 12 pt.)
• A resume or CV
• Application is via submittable
• Application opens in September and closes in November! 

The Black Mountain Institute Shearing Fellowship includes;

• A stipend of $20,000 paid over four-month period
• A semester long letter of appointment
• Eligibility for health coverage
• Office space in the BMI offices on the campus of UNLV
• Free housing in a unique and vibrant arts complex in the bustling district of downtown Las Vegas- home to the Writer’s block, our city’s beloved independent bookstore; and
• Recognition in BMI’s literature and on the Believer’s  masthead as a “shearing fellow”

Upon acceptance into the program, each fellow will craft a work plan in partnership with BMI program’s manager that is meaningful to all involved parties. Some examples of activities a visiting could pursue include;

• Offer readings, craft talks, and other public presentations to the readers and writers of UNLV and Southern Nevada.
• Curate an event or program, leveraging the fellows’ professional and creative networks.
• Contribute original work to The Believer (i.e., a column or feature essay, or occasional work such as lists, or entries in “Notes & Apologies”).
• Provide editorial support to The Believer (edit essays, conduct an interview, consult on editorial conversations). 
• Assist with headlines, blurbs, and occasional Twitter campaigns; offer opinion on drafts and other editorial concerns that arise in the life of a literary institution.

Finalists will be asked to send their copies of their books (Applicants must have at least one book published by a trade press). Candidates will be selected by the staff and community members of the BMI and the Believer.

If you need to follow up on the fellowship, please send your questions via email to blackmountaininstitute@unlv.edu

To learn more about this fellowship, you can check out their FAQ section

Good Luck!

The post Black Mountain Institute Shearing Fellowship ($20,000 + accommodation) appeared first on Creative Writing News.

The Howard foundation offers fellowships in a cyclic rotation to the following fields for following years. The fellowship for fiction and poetry will be held 2026/27. The organizers urges interested individuals to plan ahead.

The support targets specifically mid-career individuals, who have completed at least one major project and demonstrate potential to be future leaders in their fields. 

The Howard foundation is committed to supporting artist and scholars of diverse cultural, sexual and ethnic background.

The foundation will consider proposals from authors and scholars in any genre, style or media that can be classified as creative nonfiction. This includes but is not limited to;

• Familiar or personal essay
• Biography
• Autobiography
• Memoir
• Oral history
• Travel writing
• Nature writing
• Science writing
• Sports writing
• The interview
• Or other form of literary nonfiction.

Eligibility for the George A. and Eliza Gardner Howard Foundation Fellowship

• Applicants regardless of citizenship should be currently living or working in the US or U.S. territories
• Candidates should be mid-career, not fully established
• More information on eligibility can be accessed here

Submission Guideline for the George A. and Eliza Gardner Howard Foundation Fellowship

• You must create a Survey Monkey Apply profile first
• A project description (double space, three pages, 800-900 words)
• Two-page curriculum vitae
• A writing sample of no more than 20 pages
• Email address and names of two people that are willing to provide letters of recommendation for the applicant.
• More so, applicants should have a record of a major publication. And demonstrate a promising program of creative development using Fiction or Poetry as a mode of creative expression.

To access the monkey survey apply page so as to start your application, you need to click here.

You can also find an instructional video on application for the Howard Foundation Fellowship here

Good Luck!

The post The George A. and Eliza Gardner Howard Foundation Fellowship/ How to Apply (Award: TBA) appeared first on Creative Writing News.

Mysterion calls for submissions for speculative fiction, science fiction and fantasy stories that revolve around Christian themes or include Christain Characters or Cosmology, as well as artworks. 

Mysterion is an ezine of Christian-themed speculative fiction edited and published by the husband and wife team of Donald S. Crankshaw and Kristin Janz. They seek quality speculative fiction with Christian characters, themes, or cosmology.  They believed that the Christian faith is filled with mystery, from the Trinity and the Incarnation to the smaller mysteries found in some of the strange and unexplained passages of the Bible. Examples are Behemoth and Leviathan, Nephilim and Seraphim, heroes and giants and more. Hence, Mysterion Magazine Submissions are expected to be engaging with Christianity but do not have to be more tidy and theologically precise than the faith itself.

Eligibility Guidelines for Mysterion Magazine Submissions

• Writers from anywhere in the world are welcome, as long as their entries are in English.
• There is no submission fee.

 How to Submit

• Entries must have a speculative element but must not be more than 9000 words.
• Submitted entries must have a Christian theme and needs to be something beyond the everyday. Stories such as science fiction and fantasy, good ghost stories are welcomed. The Editors believe there’s great fiction material hidden in the mysteries of Christian theology; cherubim, leviathan, Nephilim, visions, prophecy, and more. You are expected to seek story ideas from such themes.
• No multiple or simultaneous submissions are allowed. However, If multiple writers co-write a story, they consider each distinct group of writers a different submitter. In other words, if two people submit a co-written story and each of them also submits a story written on their own, that would not violate their submissions policy. Submitting two stories co-written by the same two people is not allowed.
• Do not submit a rejected entry unless otherwise stated.
• Stories should be submitted via this link: https://mysterion.moksha.io/publication/mysterion.
• Submit your stories in .doc, .docx, or .rtf format. It must also be double-spaced, in 12-point Times New Roman or Courier font.
• In submitting you should ensure the story title, your byline, word count, and contact information should appear on the first page.  While your last name, story title, and page number should appear in the header information of all other pages.
• You are to attach a cover letter which should contain a list of your three or four most prestigious publications (if any), and any pertinent biographical details.
• You are expected to inform them if your entry was previously published and where it first appeared–even if it appeared on your blog or Twitter feed.

Payment for Mysterion Magazine Submissions

The magazine pays 4 cents per word for reprints and 8 cents per word for original stories.

Deadline

The submissions deadline is January 31st, 2023

The post Mysterion Magazine Submissions is Currently Open/ How to Submit (Payment: 8 cents per word). appeared first on Creative Writing News.

If you love creative writing and want to study the craft at an advanced level, but lack the resources to pursue your dreams, you can consider applying for MFA in creative writing scholarships.

Many schools offer MFA in creative writing scholarships to selected students that meet their requirements. Unfortunately, many aspiring writers have little or no knowledge of how creative writing scholarships work. 

What is MFA in Creative Writing? 

A Master’s degree in Fine Arts (MFA) in a creative writing program helps writers learn the theoretical framework and practical skills required to build a successful career in writing. 

Writers can learn a lot from creative writing programs. Apart from meeting and learning from other talented writers, the program exposes you to the knowledge you need to sharpen your writing skills. 

Getting a scholarship for an MFA in creative writing is no mean feat. However, with determination and careful planning, it is possible to put together an application that will get you accepted into a creative writing program. 

This article will consider some of the most important things you need to know about an MFA in a creative writing program. 

Types of MFA in Creative Writing Scholarships 

There are many types of MFA in Creative Writing Scholarships,

Creative Writing—There are different genres of MFA in creative writing, like fiction, non-fiction, and poetry. Some schools, however, combine different genres of creative writing.

Acting—An MFA in acting teaches students various acting theories and the various methods of successful acting. 

Dance—An MFA in dance is for those interested in studying choreography and other kinds of dance performance. Some MFA dance programs focus on specific dances, while others do all types. 

Filmmaking—This program is for those interested in the study of the skills needed to build a successful career in film and television. 

Fashion Design—An MFA in fashion design helps students build skills to become fashion design professionals. The program exposes students to the various designs in the fashion industry. 

Photography—MFA students studying photography learn the different theories and processes of photography.  

Visual Arts—An MFA in visual arts exposes students to the theories and techniques of fields like sculpture, painting, drawing ceramics, and printmaking. Each MFA in the visual arts program has a specific area of focus. 

Theater—A theater MFA program focuses on most of the work carried out behind the scenes in live productions. 

Fully Funded MFA in Creative Writing Scholarships 

Fully funded MFA in creative writing scholarships are those where students get a full tuition waiver, health care insurance and a stipend for the duration of the program. 

The stipend offered to students is usually in exchange for a graduate teaching position or a research assistant. 

Fully funded MFA programs are very competitive. Each school receives thousands of applications from all over the world. 

Partially Funded MFA in Creative writing Scholarships 

We describe MFA in creative writing scholarships as partially funded when the students pay some tuition or school fees. 

Partially funded programs are different for various schools. In some schools, students pay tuition but receive some form of scholarship. In other schools, some students get scholarships while others are required to pay. 

How Long Does MFA Programs Last? 

MFA programs last between one to four years. The duration of an MFA program differs for schools. The shortest MFA programs last for only one year, while the longest can stretch for four years. 

Short MFA programs of one or two years are for those in a hurry to finish grad school. The three and four years longer MFA programs are ideal for writers who want to have enough time to write. 

Requirements for Applying to MFA Programs 

The requirements for applying to MFA programs are slightly different for each university. But the following are the basic requirements for most MFA programs. 

Application fees

While a few schools do not ask for application fees for their MFA programs, the vast majority require varying amounts of application fees. 

Some schools can waive the required application fees for some applicants in certain circumstances. 

GRE 

Another crucial requirement of some MFA programs is the Graduate Record Examination (GRE). The GRE is a multiple-choice, computer-based, standardized test for students applying for graduate studies. The GRE tests show a candidate’s ability in critical thinking, problem-solving, and written evaluation. 

Photo by Kenny Eliason on Unsplash

Writing Samples 

Every MFA program requires each candidate to submit written samples of their works. The writing sample is an opportunity for the program to assess your strength and whether you are a good fit for their program. 

Letter of Recommendation 

A letter of recommendation is a vital part of the requirements for students in graduate school. Someone who knows your writing qualities and ability to succeed in the program should write a letter of recommendation. 

Statement of Purpose (SOP)

Your statement of purpose can make or mar your MFA application. Apart from your writing samples, the selection committee also assesses your personality. Most schools want writers who will fit in and contribute to the success of their MFA program. You should articulate how that particular MFA program can help you grow in your writing career. You can research and check out some successful statement of purpose examples.

Academic Transcript 

An MFA in creative writing is a post-graduate program. The program will want an official transcript from the school where you completed your undergraduate studies. 

Factors to Consider when Choosing an MFA Program 

There are several factors to consider while choosing and applying to an MFA program. 

Location of the School 

Because an MFA can last as long as four years, it is essential to consider the location of the school that will be your new home. Many MFA students have had their program cut short because they could not cope with their new environment. The location of a school can affect your success as a student. If you are not happy with your school environment, your chances of success are slim. 

The Length of the Program 

Another thing to consider when choosing a school is the length of the MFA program. The shortest MFA programs are just for one year, while the more extensive programs can stretch up to four years.  

The short programs focus on courses and workshops that will teach you the essential skills you require in building a successful writing career. The extensive programs will teach you writing skills and expose you to teaching and editorial works. 

The Size of program 

MFA programs differ in their sizes. Small MFA programs can be as small as 4, while the big ones can be as large as 40. The small-sized programs are more likely to be fully funded than others. 

The smaller MFA programs are preferable if you want a more intimate relationship with the faculty members and the other writers. 

The Funding Package 

Another essential factor to consider is the funding package offered by an MFA program. If you lack the funds to support yourself in the program, you should consider the funding package of the school you wish to apply to. While some schools fund and provide stipends for their students all year round, others offer only partial funding. 

The MFA Program Faculty 

There are different genres of creative writing. It is vital to choose a program with lecturers who will help you develop your craft. For example, if you love speculative fiction, choose a program with lecturers experienced in that genre. So do your research and find out which program has professors and writers whose works are compatible with yours. 

Career Opportunities 

Another thing that can shape your choice of an MFA program is the career opportunities in the program. If you want to be a professional writer, you will want to look out for programs with a history of helping their students find agents that will work with them. 

If you would like to pursue an academic career, you might do well to apply to programs that offer teaching-assistantship positions to their students. 

The Cost of Living 

Except funding is not your problem, you should consider the cost of living in the city where the school is located. The cost of living includes things like rent, utilities, food, and transportation.  

A program with relatively high funding may not sustain you in a location where the cost of living is pretty high. Conversely, a program that offers a smaller funding package might be where the cost of living is low. Remember to do your math by cross-checking your earnings against what you will spend. 

Diversity of the MFA program 

Many experts believe that diverse MFA programs are better than homogeneous ones. Although it helps to have lecturers and students who understand you, it is also good to have a little diversity.  

Being exposed to a program where the faculty and students are diverse will help you learn new things about your craft. You are likely to learn little or nothing when you choose a program where everyone shares a similar experience with you. 

How to Survive an MFA Program 

Getting admitted into an MFA program in creative writing is only the beginning of your journey in acquiring an advanced degree in writing. 

Admission into an MFA program does not guarantee you will finish the program. There are several reasons many MFA in creative writing students drop out of the program. 

To avoid dropping out of an MFA creative writing program, you must prepare to do the following: 

Persevere 

Many things will make you question your decision to pursue a career as a creative writer. The pressure can be so much that you may consider leaving the program. Things will get tough. It is your perseverance that will keep you going. 

Devote time to write 

Remember that the primary purpose of an MFA program is to help you improve your writing. Like everything in life, there are distractions in MFA programs. If you do not prioritize and devote time to your writing, you may become overwhelmed by the workload. 

Form a Support Group 

There is a tendency for writers in your program to form cliques. Look for one or more writers to form a support group to encourage each other during the program. Members of your support group can help strengthen each other’s work before the writing workshop.  

Go to writing events 

There will be a lot of writing events. Some writing events will happen in your school, while others will hold outside your school and city. 

Find time to attend as many of these writing events as possible. These writing events are an excellent opportunity for aspiring writers to meet principal actors in the industry. You never know when or where you will meet someone who will help catapult you to the top.  

Benefits of an MFA Program 

If you are wondering if you need an MFA in creative writing to be successful in your writing career, below are some benefits of an MFA program.

Valuable Feedback—One benefit of an MFA workshop is the opportunity of having your work critiqued by your colleagues and professors in a workshop. In an MFA workshop, the writer doesn’t talk but only listens to what others think about it until the end. Although listening to others critique your work can be difficult, it offers a great insight you can use to revise the work. Getting feedback from people from different cultural and historical backgrounds can be a great eye-opener on how to strike a balance in your work. 

Creative Platform—An MFA creative writing program offers students an advanced education and a platform to hone their skills. The program not on provides writers with a structured program to write but exposes them to the expertise to succeed in the writing profession. 

A Support Group—There is no better place to meet people who share the same passion for creative writing as you. The connections you will develop will be useful during the MFA program and also after you have finished school. 

Final thoughts on MFA in Creative Writing Scholarships

Getting a scholarship for an MFA in a creative writing program can be a life-changing opportunity to kick-start your writing career. 

But first, you must prepare yourself to learn all you need to know about MFA in creating writing and what to expect during the program.

The tips in this article will help those who want to pursue an advanced degree in creative writing but lack the required resources to apply for scholarships. This article also has tips on successfully navigating the murky waters of an MFA program.

The post MFA in Creative Writing Scholarships: How They Work appeared first on Creative Writing News.

The Commonwealth Foundation is the Commonwealth’s agency for civil society. They support people’s participation in democracy and development. In this article, Alexander Opicho, intends to suggest more the foundation can do, for the betterment of all.

The London based Commonwealth Foundation has enticing leadership programs. 

This year, the Foundation held a critical conversation on how the Commonwealth Foundation can empower youths in Commonwealth countries, so that these youths can:

• hold positions of political leadership,
• earn corporate headship
• and attain professional prosperity. 

The Commonwealth Foundation Conference 

The conference is set to take place through virtual platforms from during the first two weeks of December 2020 .These arrangements are usually done through the sub-departments like the Queen’s foundation on youths & leadership, and the Commonwealth Foundation Youth Council.

For this year, the foundation invites online participation from all the youths in the Commonwealth countries. 

Thus, the writer of this article is among the invited participants hence these arguments trumpeting for the long overdue Commonwealth political commitment to support youths in professional and corporate headship through enterprise formation and oversight.

What is Commonwealth Foundation?

Before I make my suggestions on what is to be done, let me first explain to my young readers what the Commonwealth is and what its social connotations and are:

The Commonwealth refers to all the countries that are former colonies of Britain. 

These countries use English as an official language. Kenya is one of them. Some other Countries are in Asia and in Caribbean Islands. The current demographic survey by the same Commonwealth Foundation has revealed that there are 2.4 billion people in the Commonwealth countries. 

The statistics also show that 70% of the Commonwealth population are the youths, substantially educated and unemployed.

Technically, this means that the Commonwealth has the best human resource potential for entrepreneurs, if not the reverse will be the best potential for massive poverty.

Coincidentally, the Commonwealth Foundation is carrying this critical conversations with its members when Britain is on the Brexit path, a moment which nudges conscious minds to be wary of quality of honesty that is guiding the entire process of institutionalizing the Commonwealth political relationships. 

This is a fact to guide all the peripheral players participating in the formation of the Commonwealth political and economic institutions.

A fact which gathers gravitas from Samir Amin’s postulations that ‘historical experience of slavery, colonialism and neocolonialism blended to form injurious affections on the texture of self-esteem among entrepreneurs and corporate headships in the Post colonies,’. The same experience informs present and future social decisions both for the former colonized and the former colonizer.

Suggestions for the Commonwealth Foundation

Having reckoned with that, it is also imperative to realize that if at all these critical conversations are genuine, honest and driven by a win-win spirit then some basic Commonwealth institutions like the English Monarchy have to be liberalized towards racial inclusivity and tolerance to human diversity.

This position is eked on the fact that the Monarchy of England is founded on the strong economic substructure which got its strength from material and labour resources looted from India and Africa during the colonial times. 

Thus, it is logical in the present times for the Commonwealth Institutions to move away from the outdated culture of preserving the Monarchy of England for the English royal blood. Economic history of the Commonwealth and the English Monarchy justifies an Indian as well as an African to serve as a King or Queen of England . All these have both implicit and explicit leadership and entrepreneurial implications on the youths and the institutions within the Commonwealth.

Commomwealth as a weapon for youth empowerment 

The above has been just the preamble, but coming to the gist of the matter ; – about what is to be done so that the Commonwealth Foundation can enable the youths in the Commonwealth countries to achieve progress and then developed status in business and leadership is a social process whose dynamics are contingent to the specific region in the Commonwealth. However, arguments by Bjorn Lomborg in the book, ‘How to Spend 50 Billion Dollars on Solving World Problems,’ are worth our while in this juncture. 

And it is evidently true, Youths of India and Africa can not prosper in business and professional adventures unless these two regions have control on the matters identified in this book.

The facts are that putting the Commonwealth youths in the better economic and social positions through educational and some entrepreneurial adventure can only be possible if the Commonwealth countries have internal capacity to manage climate change, capacity to control domestic health care , have capacity to manage spread of communicable diseases, have capacity to manage food and nutritional intake, have the capacity to provide good quality education to their youths, have capacity to provide good governance at corporate and political levels , have internal capacity to manage armed conflicts, have internal capacity to give clean water to the local populations , have internal capacity to manage stable financial systems geared towards local borrowers, have internal capacity to add value to what they produce to export, have capacity to manage local agricultural systems and also have the internal capacity to execute South-south dialogic communications among themselves on various economic and cultural subjects without suffering interruptive policing of the mind from the former colonial masters.

Further suggestions 

These are also the same issues raised by Ali A. Mazrui in his book ‘the African Conditions’. These ideas look so radical but they are the basic minimums upon which the Commonwealth countries can stand on to achieve their capacity to create wealth internally through net profits.

Western policy intervention has never been productive for Africa and other subaltern Commonwealth countries. Like the structural adjustment programs of the last century were nothing else other overt intellectual malice aimed at fatal poisoning of African enterprise. This is also the same case when it comes to social front.

In most cases, some Western policy makers give priority to cosmetic matters like gender and sexuality when discussing social challenges to development through businesses in Africa, but this has never been an issue.Africa’s philosophy about a family as an economic unit is clear that both monogamous and polygamous families can work well with the labour intensive production environment in Africa.

This is more logical compared to the Anglo-American pressure on Africa to discard polygamy and accept self – defeating family models like voluntary or non biologically founded but commercially instigated homosexuality.

Alexander Opicho

(From Lodwar, Kenya)

Mail-opichoalexander@gmail.com

The post “Commonwealth Foundation Should Focus on Putting the Youths in Professional and Enterprise Leadership Positions,” Says Alexander Opicho appeared first on Creative Writing News.

Serious poets want to be better writers of poetry. Also, they want to learn how to edit poetry.

Many poets understand that editing is as important as the actual writing. It’s your opportunity to examine and refine your work into a better and more developed piece worthy of awards. It makes sense to learn how to edit poetry. Who knows where your reputation as a poetry editor might take you?

Editing can seem daunting, and it’s also quite exciting. So take some time to experiment and find the techniques and processes that best work for you and your poetry.  Yes, you’ll have to learn to edit your poems first.

Here’s a guide on how to edit poetry. This guide includes poetry editing strategies guaranteed to help you become a great poetry editor. One strategy is to use poem editing tools like AI PoemGenerator to help you create and edit poems in a blink of an eye.

Take a Break From The Poem. 

Writing poetry can be difficult and consuming. After completing your poem, take a break from the creative process. Let your brain relax. Reapproach your poem with a fresh mind. You want to be able to read the line with fresh eyes.

This technique works when you’re editing your own poem and when you’re editing another writer’s poetry.

You’ll do a better job of assessing and editing the poem more objectively if you implement this technique.

Save the First Draft Of The Poem.

One of the reasons editing can feel intimidating is because of the idea that you’re “killing your darlings.”

Keep your unedited first draft, so the poetry editing process doesn’t feel like you’re cutting and discarding your own precious lines of poetry.

If your poem is typed, it can be helpful to print it out. Your unedited draft will remain on your computer, and editing is often easier when you physically highlight and make notes on the poem.

This way, instead of killing your darlings, you’re still letting them hang around, and the unused ones can be used in other poems.

In addition, your edits will be reversible, and you can compare your unedited and edited versions for even more improvements. All the best poetry editors use this strategy. It’s a good tactic for anyone who’s still learning how to edit poetry.

Read your Poem Like a Reader Would.

Read your poem in its entirety. Don’t make edits or think about adjustments. Let yourself enjoy the words and experience your poem like a reader would. After a complete read, note down your immediate thoughts and impressions. 

• Do any words or lines feel strange? 
• Which parts could use reinforcement? 
• Do some areas seem choppy or cramped? 

Think about the reader’s perspective. 

• Is the writing clear or confusing? 
• Is the theme or message of your poem coming across?

It can also be helpful to read your poem aloud so you can pick up on how it sounds. 

• How is the rhythm and flow? Is your writing eloquent enough?

Reading through your poem and breaking down what exactly needs to be fixed will result in more productive and efficient editing. Now you’re prepared to make your first level of edits.

Enhance the Style

After making the first round of adjustments, begin focusing on style edits. The style of a poem is all the choices that are made to create the poem’s meaning. Coleridge’s The Rime Of The Ancient Mariner is a good example of a well edited poem.

This can range from literary devices to punctuation to rhythm to mood. Examine your style elements and how they contribute to the poem; they should enhance your writing and complement the themes and meaning of your poem.

That being said, you should also make sure that your poem isn’t crowded with style elements. Poetry is a form that operates by the “less is more” policy, so sometimes it can be helpful to remove excess.

• Does your style complement your poem?
• What elements could be enhanced to contribute to a more developed piece?
• What elements could be taken out to clear unnecessary crowding and confusion?

Assess the Language Of The Poem.

Carefully study your word choice. Every word should be contributing to the theme, structure, and rhythm of your poem. Also examine your diction and what it is implying. 

• Does the diction match your theme and style? 
• Are there ways to maximize the effect?
• What is one way to revise for word choice?
• Is this poem good enough for oral reading?

This is a good time to take out your thesaurus and experiment with word choice. Also, poetry usually isn’t as word-heavy as other forms of writing. Keep that in mind while editing; it’s better to remove unnecessary adjectives and adverbs. Additionally, make sure you are beginning and ending with powerful lines for a stronger poem and greater impact.

Reorder and Restructure

Once you’ve done all your writing-based edits, give your poem another read. Assess the order and structure of your poem. Experiment with different stanza and line orders to find which sounds and flows the best. This will help you to learn how to edit poetry.

Poetry also involves an aesthetic element; try altering your lines to make your poem look better on the page. If your poem is typed up, a helpful tip is to change the font.

Your brain gets accustomed to observing the same text; changing the font will let you assess it with fresh eyes and assess the structure better. As a bonus, grammar and spelling errors are easier to detect with a font change.

• Can your stanzas be reordered to flow better and make a better poem?
• Could your lines be rearranged within the individual stanzas to emphasize meaning?
• Could your lines be shortened, lengthened, or combined to create a better structure?

Ask Others for Feedback

After you’ve made all your edits, it can be helpful to ask others for their suggestions. Share your poems with trusted friends, family, or other writers and ask them for feedback.

A good practice is to ask others what they think the poem is about. You may get some interesting poetry analyses that can indicate whether your poem is being understood the way you want it to or not.

Keep in mind that you get to decide what to do with the feedback you receive. If you found it insightful you could use it to do another level of edits. You could also choose not to act upon the feedback; it’s your poem, edit it as you see fit. 

You can also seek feedback on the behalf of the writer whose poem you’re editing. The feedback you’ll get will help you do a better job of editing the poem. With time, you’ll figure out everything you need to learn about how to edit poetry.

Rewrite Your Poetry.

Every poet has heard this saying, ‘the first draft is always trash.’

While editing a poem, be prepared to revise some lines. Writing experts advice poets to edit until your poem says what you want it to say. Writing experts advice poets to edit until your poem says what you want it to say before getting it published.

Edit the poem until it sings. If you’re still learning how to edit poetry, don’t be in a haste to rewrite ‘imperfect’ sentences. Be careful to avoid editing out the writer’s voice. Strike a balance between maintaining the writer’s voice and improving the lines of the poem.

Read The Poem Out Loud.

After a few rounds of revision, read the poem aloud. This will help you to spot errors you might have missed.

Read the poem to a small audience, and listen to their opinion. Good poems are often good for oral reading.

Also, ask yourself if you’re satisfied with the edited poem. If you aren’t, revise the part that require some improvement.

Congratulations on completing your poem, if you feel satisfied with the completed poem!

If you aren’t happy with the finished work, no worries! You can always return to the editing process and write as many drafts as you need.

Use A Grammar And Spell Checker Like Every Good Poem Editor.

Every poet who’s still figuring out how to write a poem must use a grammar checker or a spell checker. This will go a long way to help you to correct small grammatical and spelling errors.

Wrap Up On How To Edit Poetry.

Poetry editing isn’t a small feat. It requires a lot of writing and reading, as well as a ot of practicing. You have to learn to take a break from the poem with the aim of backing back to the poem with fresh eyes. Other strategies include:

• rewriting the poem
• Getting feedback from seasoned poetry critics or writers
• Restructure your poem
• Read the poem aloud to yourself and them to a small group of cohorts.
• Using a grammar checker
• Take a break from the poem.
• Using a thesaurus or a dictionary. 

It’s standard practice for every editor to use a dictionary or a thesaurus. This ensures that only the apt and concise words make it into the final draft.

While figuring out how to edit a poem, strive to choose the best words in the poem you’re editing. Many editor poets often wonder, “what is one way to revise for word choice?” My answer: revise awkward-sounding lines and use a thesaurus or a dictionary.

Did you ever have to actively learn how to revise a poem? What lessons have you learned from your experience? Please share your story in the comments section below. There are thousands of poets who want to learn how to edit a poem.

You can find more poetry writing tips in this article.

The post How To Edit Poetry: A Guide On How To Become One Of The Best Poem Editors In The World. appeared first on Creative Writing News.

Ever wanted to tell a whole story just with dialogue? This is an opportunity for you.

Participate in the Black Hare press dialogue challenge with one of the characters from a speculative fiction world (Alien, superhero, werewolf, zombie, vampire, etc) to win cash prizes and publication.

A good example is “The sunset limited by Cormac McCarthy”

Submission Eligibility for the Black Hare Press Dialogue Challenge

• Writers from anywhere in the world
• No age restriction
• No entry fee

Deadline for the Black Hare Press Dialogue Challenge

November 20, 2020

Submission Guidelines for Black Hare Press Dialogue Challenge

• Work must be less than 5,000 words
• Must have two characters, one of which MUST be from a speculative fiction world
• Must be 90% dialogue (Dialogue tags do not count in the 90%)
• Must deliver an engaging story
• Multiple submissions, simultaneous submissions, reprints will not be considered
• Work should be submitted as an attachment in the .doc/.docx format to dialogue@BlackHarePress.com
• Document name should include the call name (Dialogue), author’s name and story title
• Your manuscript should have the word “END” in a new paragraph
• Email subject should be Collection name-Your story name-Author name, for Example, DIALOGUE – My story – A N Author

Prizes for the Black Hare Press Dialogue Challenge

• 1^ST PRIZE – $100 USD
• 2^ND PRIZE – $25 USD
• 3^RD PRIZE – $10 USD
• (Plus Publication)

To learn more about speculative fiction you can click here or if you would like to understand the concept of story and dialogue then click here

Good Luck!

The post Black Hare Press Dialogue Challenge ($135 plus publication) appeared first on Creative Writing News.

The annual Brunel International African Poetry Prize is back in 2023–  to develop, celebrate, promote and reward an African poet.

The Prize works closely with African Poetry Book Fund (APBF). Most poets who have been nominated and/won have published chapbooks with the African Poetry Book Fund. This prize is sponsored by Brunel University London.
Deadline for the submission is in November 2023. 

Eligibility for the Brunel International African Poetry Prize

• Poets must be African. This can mean born in Africa, or nationals of an African country, or of African parent(s)
• Poets must not have published a full length poetry book. Poets that have self published or published chapbooks and pamphlet can apply.
•  People that have previously entered for the prize can re-submit, but advisably an entirely different poem

Submission Guidelines

• Poem must be original work of the entrant
• Poems must be single spaced
• There is no stipulation as to the font or size
• Each entrant must submit 10 poems, no poem should however exceed 30 lines
• Poets must write in English. Percentage of prize will be given to translator for translated poems.
• Poems must be emailed in a single word document attachment (not PDF), with an index cover page that contains the entrants’ name, nationality, country of birth, full address including country of permanent residence, personal email address, and telephone number.
• The name of the documents must be the name of the poet.
• All entries should be submitted to BUAPP@brunel.ac.uk
• The poem may have been previously published or won previous awards but not as a full length poetry book.
• Submit only poems, other forms of fiction are not eligible 

Award for the Brunel International African Poetry Prize

• £3,000
• Publication for both the winner and shortlisted poets.

You can read what other poets have to say about poetry writing.

Good Luck applying! And do check out other contests that you may be suitable for. 

The post Brunel International African Poetry Prize/ How to Submit (£3,000 + publication) appeared first on Creative Writing News.

Society for Book and Magazine Editors of Nigeria (SBMEN) is proud to announce its Virtual Creative Writing Workshop for young female writers.  

The aim of the SBMEN Creative Writing Workshop For Women  is to:

• enhance the skills and talent of female writers;
• explore the literary works of inspiring female writers
• and provide a platform for female writers to creatively express themselves.

No enrollment fee or application fee is required is required.

Eligibility Guidelines and Target Audience for the SBMEN Creative Writing Workshop For Women

They are interested in enrolling 20 female writers who are willing to hone their craft.

You can apply:

• If you’re female.
• If you’re between the ages of 18 and 30 years,
• If you write fiction, non-fiction, and cover culture journalism and new media.
• If you’ll be available to participate in the literary workshop.
• There are no geographical restrictions.

Everything You Need To Know About The SBMEN Women’s Creative Writing Workshop.

The workshop will hold over four days from Monday 23 November to 26 November 2020.

It will consist of several sessions with the facilitators online. The workshop will be delivered through:

• discussions,
• writing exercises,
• and guided readings.

The last session will be the guest session with an accomplished writer or publisher from Africa.

Submission Guidelines for the SBMEN Writing Workshop 

To qualify to join the workshop:

• Submit an unpublished 1000-word flash fiction or nonfiction piece for consideration.
• Submission deadline is Saturday 7 November 2020.
• Successful applicants will be notified by Wednesday 11 November 2020

Submission Guidelines For The SBMEN Women’s Creative Writing Workshop:

• Please send the following materials in a MS WORD document to womenwriting@sbmen.org.ng.
•  Ensure that the subject head is: Workshop Writing Submission:
• Your writing sample should be an unpublished work in fiction and nonfiction, but not children’s fiction. 
• Include at the top of the Word document your name, contact address, email and phone number.
• Manuscript Formatting Guidelines: Times New Roman size 12 font, black, 2.0 spacing.
• Include a biography of not more than 100 words.
• Include a 200-word personal statement on why you want to participate in this workshop.

Facilitators for the SBMEN Women’s Creative Writing Workshop.

• Dzekashu Macviban, writer and publisher of the award-winning magazine, Bakwa and Bakwa Books from Cameroon.
• Zukiswa Wanner, award winning novelist, journalist and editor from South Africa
• Enajite Efemuaye, writer and managing editor of Farafina books from Lagos.

Awards for Writers Who Participate In This Creative Writing Workshop:

Participants will be awarded:

• a “Certificate of Attendance” after the writing workshop.
• Also, next year, they will receive a free published “SBMEN Writer’s Handbook” a culmination of the workshop courses that will contain lessons and exercises to help with their continuous education to improve their writing.

This workshop is supported by Ford Foundation.

To increase your chances of getting into this highly selective workshop,

• read some interesting short stories online. We reviewed some by Howard Maximus, Simbiat Haroun , Nneka Lesley Arimah , Helon Habila and Others.
• Learn how to write a short story that publishers can’t reject.
• Get inspired by the amazing stories in these recommended podcasts for storytellers.
• Write eloquently.
• Give it your best.

The post SBMEN’s 2020 Creative Writing Workshop For Women Is Supported By Ford Foundation / How To Apply appeared first on Creative Writing News.