The world’s leading independent media company, Buzzfeed has called for applications for its Editorial Fellowship. The fellowship is a year-long program for “the next generation of writers, editors, and content creators” who have a desire to become highly skilled at social storytelling, through Buzzfeed.com. The fellowship is also highly recommended for anyone who wishes to pursue a career in writing. The deadline for applications is the 20th of December, 2019.

Why You Should Apply:

• You will learn to create the type of content that readers love to interact with.

• It’s an opportunity to work with, and learn from, members of the Buzzfeed Team.

Who is Eligible:

• People with high emotional intelligence.
• People who are filled with a positive curiosity and a playful disposition.
• People who have a deep love for pop culture, and an interest in social platforms.
• Applicants must have 1-3 years of experience with content writing, either as interns or as freelancers/writing for their own personal blog.
• Applicants must be able to work with critical feedback.
• Experience with design or illustration tools is an added advantage.

How to Apply:

• Write a few brief paragraphs on what topics you would want to write about on Buzzfeed, and a few on what you find interesting about the site.
• Create a Buzzfeed.com/community profile, and create between 2-3 posts that reflect your voice and interests. When submitting your posts, include “This is for the Buzzfeed Fellowship.” After completing your application, you’ll be asked to provide the links to the posts.
• Provide links to your public social media accounts.
• Attach a resume of not more than a single page.
• Apply here.

Payment:

• Asides the experience, the selected fellows will be paid $18 per hour.

Good luck.

The post Buzzfeed Editorial Fellowship/ How to Apply (Payment: $18/hour) appeared first on Creative Writing News.

The Carey Logan non-fiction fellowship is currently open for submissions.

If you are a non-fiction writer, documentary filmmaker, photojournalist, podcaster and multimedia creator, you might want to send in your application. An average of 10 non-fiction writers are accepted per session.

What will the accepted Logan non-fiction fellows receive?

While they are attending the program, all fellows will be given:

• Accommodation and meals
• A workspace,
• professional guidance
• And a vibrant community.
• Tuition will be fully covered.

No grant or reporting stipend will be awarded

Artists can choose to be at the fellowship for about 5 – 10 weeks (there is a range of option) The venue s  the Carey Institute for Global Good’s historic 100-acre campus in upstate New York.

Who is eligible to apply for the Carey Institute for Global Good : Logan Non-fiction Program?

• non-fiction writers, documentary filmmakers, photojournalists, podcasters and multimedia creators from any part of the globe.
• Entrants are expected to be working on a long-form project. (e.g.: an article, book, film, collection, podcast, etc.).
• Academics and non-professional journalists are welcome to apply.

The organizers are most interested in supporting projects that examine the most pressing issues of the day, including but not limited to: conflict and security; democracy and governance; education; environment and climate change; food security; gender, race, sexual orientation, disability and intersectionality; globalization; health; inequality and exclusion; media and journalism; social justice; and sustainability and resilience. Small groups (of 2 to 3 journalists wishing to work collaboratively) are encouraged to apply. There are two annual deadlines.

Application Materials Required To Be Considered For The Logan Nonfiction Residency Program

CV: Please be sure to include a detailed work and publishing history (with links where applicable) in your CV. Also note any previous fellowships or residencies, as well as education and professional experience.

Work Sample: Your work sample should be taken from the piece you plan to pursue during the fellowship. The sample should convey the spirit of the piece as well as your technical/craft abilities. You can provide a consecutive sample or a collection.

If you are in the beginning stages of your project, please provide a detailed synopsis and chapter/scene outline.

For print—no more than 40 pages, double-spaced.

For film and radio—no more than 15 minutes of footage.

Cover Letter: Cover letters should be no more than two pages maximum. Your cover letter should demonstrate your interest in the program, a brief professional history and an overview of your project (including what you hope to accomplish in fellowship). Please also note how you heard about the program.

Letters of Recommendation:

Two letters of recommendation are required. Recommenders should email letters directly to Carly Willsie, Program Manager, at nonfiction@careyinstitute.org.

How to apply:

• Submit all application materials (as attachments) to the Logan Nonfiction Program submissions page
• All letters of recommendation must be emailed to: nonfiction@careyinstitute.org.
• If you have no reliable internet connection, contact the organisers at nonfiction@careyinstitute.org for a Word-based or mailed application form

Application Deadlines

For the Spring class (February-April), apply by October 15 each year.

For the Fall class (October-December), apply by June 15 each year.

The post Carey Institute for Global Good : Logan Non-fiction Residency Program–Apply appeared first on Creative Writing News.

The Bitch Media Fellowships for Writers is currently open for submissions. Writers who are interested in writing about feminism, tech, pop culture and activism are encouraged to apply. Who knows? You could win a spot in this highly selective  three-month intensive writing fellowship.

Bitch Media co-founder, Andi Zeisler, will be directing the program.

If selected, you will have the honor of  working with Bitch Media during any of the following four quarters:

• January 1 – March 30
• April 1 – June 30
• July 1 – September 30
• October 1 – December 31

What subject areas will fellows work throughout the duration of the fellowship ?:

Fellows will be working on: Sexual politics, Pop-culture criticism, Technology and Global feminism.

During the 3-month fellowships, our fellows will:

• Produce a minimum of six online articles for Bitch Media in the topic area of their fellowship. These pieces can take a variety of forms: reported, analytical, advocacy-focused, and even infographic.

• Produce at least one longform article to be published in the quarterly magazine Bitch: Feminist Response to Pop Culture.

• Participate in biweekly discussions (by phone or Zoom if fellows cannot meet in person) with the fellowship director and other members of the Bitch Media staff.

• Receive mentorship and support in creating, shaping, and editing articles and online pieces.

• Receive follow-up support with placing future articles and essays, and make great connections within the feminist-media community.

• Receive a $2,000 stipend for the three-month fellowship.

Submissions :Guidelines:

1. Read the Bitch Media FAQs on the submittable page. It is an important criteria.
2. Write a cover letter (or statement of purpose) of a maximum 600 words. Describe your interest in the fellowships subject area of your choice.
3. Your cover letter should address the following questions:

• What are the topics you’re passionate about?

• What are the facets and angles of this subject that you think are underreported and under-discussed elsewhere in the media?

• What unique experiences and perspectives will you bring to the topic?

1. A 1-2 page(s) long resume. Your resume must include among other things, your publication history if applicable. (You can still apply to a Bitch Media Writing Fellowship even if you don’t have any clips or prior publications).
2. Three (3) relevant writing samples
3. Short answer questions to help Bitch get to know you
4. Upload your documents on the Bitch Media 2020 Fellowship for Writers Submittable Page

Who is eligible to apply for the 2020 Bitch Media Fellowships for Writers?

• Emerging writers with minimal publishing experience.
• Writers who are passionate about any of the aforementioned subject areas/topics.(especially if you don’t have a history of writing or blogging about any of these topics).
• Writers who are still trying to discover themselves.
• Fellows may be based globally, and U.S. citizenship or residence is not a criteria for the fellowship. In other words, writers from all over the world are welcome to apply.

Important fact to note:

This is not a full-time position, but an independent fellowship designed for writers who want to develop confident, well-rounded voices and are particularly interested in feminist criticism and mission-driven journalism.

Good luck.

The post Bitch Media 2020 Fellowships For Writers (Awards: $2000 stipend + Training) / How To Apply appeared first on Creative Writing News.

If you read my list of 10 Story Podcasts That Inspire Creative Writers With Unique Story Ideas,“you have probably deduced that I am a big fan of podcasts. I have even considered launching a series on storytelling or something like that.

If you’re like me, you’ll probably be excited to know that Google has just published an open call for podcast ideas from around the world. This billion dollar tech giant will be giving teams:

• US $40,000,
• Mentorship opportunities
• And 20 weeks of training. in Boston and virtually at scheduled intervals.

Isn’t this amazing?

Anyway, the training is slated to commence July 29, 2019 and end around December 9, 2019.

Deadline for applications is 23:59 ET on April 14, 2019. This means you have less than two weeks to apply. Start brainstorming.

To increase your chances of success, study this  paragraph in the press release:

It’s an exciting time in podcasting, whether you live somewhere with a thriving podcast industry or a place where people are just starting to learn about podcasts.

However, to be successful, it takes more than just a good idea. You need a strong sense of who you are making your podcast for, why you are the right person or team to do it, and a clear-eyed understanding of the work it takes to keep it going. Your responses will be essential to the selection process. “

So now that you know what they want,  it’s time to learn more about the application criteria.

How to apply for the Google Podcast  Creators Program Contest (Awards: US $40,000, Mentorship And 40 Weeks of Training)

• Read the FAQ and recommended blog post on the Google Podcast Creator Program submittable page
• Click to fill and submit the form on the Google Podcast Creator Program submittable page

Successful applicants will be notified by the 31st of May 2019.

Good luck.

The post Google Podcast Creators Program (Awards: $40,000 USD, Mentorship And More)– How To Apply appeared first on Creative Writing News.

Life is funny, really. When I applied for the Purple Hibiscus Trust Creative Writing Workshop [which will be referred to as PHTCWW from now, as I hope you honestly don’t expect me to write that long thingy again], I’d hoped to get in but I didn’t expect to, if you know what I mean. I’d even gotten the response date mixed up so that when the ‘mixed-up date’ arrived and I received no email, I automatically assumed rejection. It was my first time after all, so how did I just expect to get in?

So it came as quite the stunner when I checked my email to confirm an online payment and I saw a reply mail from PHTCWW. I opened the email and simply stopped reading after I saw the words, ‘Dear Justin, I am pleased…’

When my mental faculties actually allowed me to finish reading the mail, I shouted at random intervals, in spaced bursts of vocal incoherence [I’m just throwing around the fact that I can write big-big words. Please, pay me no mind]. When I saw Chimamanda’s name at the end of the email, my vision had dark edges around for the rest of the day, as if I were in a dream or seeing through vignette lenses. At one point that day, as my brother and I watched a movie, I paused it just to say, “Wait, is today real?”

I was in Port Harcourt at the time I got the email and travelled to Lagos sometime later, which was about three days before we were to check in at the hotel; I actually live in Lagos.

The day I checked in, I met with two other participants and we talked in one’s room about how the workshop would be, about who would faint on seeing Chimamanda Adichie, and all other forms of Chimamanda-related panic attacks.

I went to sleep that night, with my brain processing four-sentence thoughts.

Will I faint tomorrow?

*    *    *

The next day, Day One, all twenty-two participants were seated in the hotel’s conference room, waiting. Personally, I believe that greatness and punctuality aren’t really good companions, that delay is a symptom of greatness [It’s what I tell myself on the days I arrive someplace at a time later than I or others anticipated. Justin, don’t worry. You will be great.] So I waited. We all did. And for some unfathomable reason, everyone was talking in whispers, and I fancy maybe even laughing in whispers [Dunno if ‘laughing in whispers’ is a thing but we’ll just assume it is. Hehehe.]

Then she came.

When the door opened and she walked in, smiling, saying, “Hello, everyone,” my thinking now reduced to three-sentence thoughts: That is Chimamanda. Chimamanda is here. Chimamanda is real. I need oxygen.

At that point, I wondered why no one had tackled Chimamanda to the floor with hugs, screaming at the top of their lungs for her autograph. Everyone was so quiet and chill, that I wondered if they’d all had a secret meeting with her last night and I was the only absentee. [Of course, I would later find out that they were all like me on the inside. People can hide emotions sha… Na wa o.]

The tables were arranged in a large ‘U,’ with Chimamanda at the ‘curve’ of it and we participants at its arms. My seat was the first in my arm, on Chimamanda’s right side and I kept thinking: Chimamanda Adichie herself, this world-famous literary giant is sitting less than a metre from me. I can reach out and actually grab her arm. Oh. My. Goodness.

Of course, if I’d followed my thoughts, I’d have been slapped with about nine-lifetime restraining orders and probably RKOed by Chimamanda herself in a way that would have made Randy Orton nod his head in vicious approval. So I didn’t listen to my head. Instead, I sat down in place as tremors ran through my jaw and my entire body quivered. Whether it was from the air-conditioner or the fact that I was seated that close to Chimamanda, I don’t know but the quivering continued and I tried to make it appear as subtle as possible.

“Why don’t we all introduce ourselves a bit? Like, say something, anything about you,” Chimamanda said. [Mon Dieu, her voice was so pellucid and mesmerizing! If I weren’t so sceptical about the supernatural, I’d have assumed juju was involved].

I had initially wanted to go first so that the tension hovering around me could dissipate as I listened to the others after. But I simply couldn’t. I sat there, quivering, staring at the container of sweets in front of me, as the others talked about themselves. And the bloody thing was that I couldn’t tell if it was the cold or Chimamanda making me shiver, no matter how much I thought about it. But honestly, that cold was mad.

“Um, Okey, could you turn down the AC?” I heard Chimamanda say. She laughed. “I know it sounds weird coming from me. Thank you.”

My sigh of relief was fucking epic. She probably didn’t know the person next to her would maybe have dropped to the floor from frostbite if the air-conditioning had been active like that for another minute. This woman is an angel, I thought and sighed again inwardly.

My shaking stopped minutes after the infernal air-conditioning was reduced, and though it may have seemed like the cold was responsible, I really don’t think it was. My room in the hotel was much colder [I think], and the only physical reaction from me would be the coldness of my fingers and toes. Certainly no shivering. Oh, well.

Anyhow, I was able to introduce myself later, and I just fixed my eyes on her for the remainder of the day.

“I remember laughing when I read your story,” she said, smiling. “I know you were writing about something serious but it was just so funny, I kept laughing and laughing.” When she said this, my whole brain was just like, “Chimamanda read my story and found it funny! I am officially famous! I have blown!”

Days One and Two were spent reading each other’s entry pieces to the class, having Chimamanda and other participants analyze and critique them. That was quite the experience. Having your work dissected by twenty-one other writers, plus Chimamanda herself is something that I… Honestly, I have no words on the mix of feelings I had for that. But put simply, it was a one-of-a-kind experience. Chimamanda ended Day Two by giving us two tricky assignments [Alas, if only we knew that those were the first of many]. One of them was writing a short story describing beauty without any mention of the word itself or any of its synonyms, while the other was to write another short story completely composed of dialogue.

I think because everyone had so much common ground as well as similar mindsets, it gave us the chance to relate with each other on a very unique frequency. Friendships came so easy and quick, and barriers came down more rapidly than usual. Breakfast and lunch were so enjoyable and it’s not just because I’m an unrepentant foodie [Lord, help me], but it’s because these two meals were some of our biggest social times. Everyone is eating and talking and making jokes and you are suddenly enveloped in this warm sense of complete belonging.

We read out, reviewed and critiqued our previous assignments on Day Three. Chimamanda highlighted our strengths and flaws, and interacted with us in that surreal way that only she is capable of doing [I think I’m in love]. When she pointed out the flaws in my work, something she’d noticed appeared consistently, initially I was skeptical. No one had ever said that about my writing before and I thought that somehow maybe she’s not really interpreting my stories right [Can you just imagine what my little brain was thinking?]. But by the end of that same day, I began to identify what she was referring to; what I would just unconsciously infuse into my writing. I knew I would never forget that day.

Day Three ended with two assignments once more: A short story on what it means to be an outsider, and a non-fiction story about what we like and dislike most about ourselves. [When the non-fiction assignment was announced, I tried very hard to keep my jaw from dropping. I think I still failed though]. Prior to that day, I had never written a nonfiction story in my entire life, so you can imagine how my head must have been clanging. Most of us went out for ice cream that night, and though I laughed with new friends and had great fun, some nonsense thing in my mind kept whispering, “Oga, you have to write nonfiction. What is the way forward?”

The morning of Day Four, just before breakfast, was when I brought myself to write the nonfiction piece. Initially, I’d intended to construct lyrical, saccharine lies because I didn’t want to go into things that I’ve buried or chosen to ignore about myself and my life. But the thought of reading such a piece to the class, to my friends and to Chimamanda, a story thickly embellished with falsehood made me steel my jaw and open my can of worms. I wrote. When I sent the assignment to the designated email, I gripped my pen tightly and told myself I wouldn’t fucking cry.

*    *    *

Day Four, taking the class, we had Lola Shoneyin [another person with a mesmerizing voice]. Where Chimamanda wanted to kill us with take-back assignments, Lola intended to do the same with in-class works. Her lecture for the day was very insightful, quite awesome and lest we forget very tasking. Lola talked about how trauma writing is a form of therapy and also taught us about the things that make a novel enjoyable and the qualities it must possess. One thing she mentioned that I really picked on was this: “Master the art of showing.” She also taught us on character development and made us all write short stories from a poem sample, grouped us and made us rewrite another poem in pidgin [I know, right?], and she made us write our individual altered forms of another poem. [After that day, I concluded that if I ever met the poets whose poems we used, I’d box their ears.] Lola later had lunch with us too!

*    *    *

Tash Aw was the head honcho on Day Five. Calm, and full of this wry humour, Tash’s class was centered more on ourselves than the other classes we’d had. He paired each of us and asked us to write a story about our partner, based on whatever they choose to tell about themselves. His exercise confirmed something I’d been thinking about: this workshop wasn’t simply improving a writer’s ability by impacting some hidden knowledge or so. You would learn new technical things too but I think one of this workshop’s main powers is pushing you to points you’d never imagined you had, let alone attained. It was about finding your inner writing spirit, and letting it loose. Chimamanda came later that evening [we missed her like crazy!] and with she and Tash in the same room, the atmosphere was suddenly more awesome.  We read some of the pieces from the nonfiction assignment and this heavy sombreness descended on the hall. One or two of those that read theirs actually had tears running. I listened to the stories, deep, personal tales about insecurities and all, and I was suddenly thankful that I had also poured out myself into my piece; I would have felt like a traitor had I read a false story while people bared their souls to each other, to us.

We couldn’t finish reading everyone’s pieces, so we shifted them to the next class. After Chimamanda left with Tash, we spent the remainder of the night doing one of the things we usually do at night [I’m King Arthur’s age mate, so I can’t remember which one]: movies at my room, drinks and cigarettes at the bar or a hangout in someone’s room.

And sometimes, all three.

*    *    *

Finally, before we would just die, Day Six was a Sunday, which happened to be our free day. We had already made plans the previous day to go to a beach. So after those that went to church returned [Don’t bother thinking, I did not follow them to church], we got ourselves ready. The beach was a ten-minute boat ride from the pier and as the boat hurtled over the water, we laughed, squealed, hooted and took pictures. I made a comment on how I’ve heard of boats that stop in the middle of the waters, with no land in sight. And what do you know, abracadabra, our boat stopped. It was quite interesting to see how some of the laughter turned to funny little wails. Well, the boat started up about a minute later and we continued on our way [It still stopped once more but anyhow…] and arrived at the beach with all our body parts intact.

If I write about how we spent our time there… See, honestly, I don’t have that strength. Just know one thing. It was amazing.

*    *    *

We had Dr. Eghosa Imasuen on Day Seven. His interesting lecture focused more on the technical aspects of the literary craft. Two of the major things he covered included Points Of View and writing realistic dialogue. Before his class, he’d actually sent us six short stories to read beforehand [He had sent us these stories before we even checked in at the hotel. *sigh* Just imagine]. He pointed out the things we could learn in the technical presentation of each story, why each story is told as it is and all other things. Chimamanda showed up again as well! Eghosa ended the day by giving us an assignment… to rewrite the particularly horrible prologue of a popular novel.

*    *    *

Though the acceptance email had mentioned he’d be attending, I was still giddy and I consciously had to stop myself from crying out when I opened the door to the conference room that morning for classes, and saw Dave Eggers sitting at the head of the arranged tables. He turned to me and gave a little smile as I came in [probably because of the look on my face]. Even as I sat down, I wondered again why no one was actually prostrating and still sat normally, as if that weren’t Dave Eggers himself sitting in the same room with us. First Chimamanda, now Dave. I sighed inwardly and concluded:

“You all are just mad.”

Dave gave us some pretty interesting in-class works and lectured us a bit about editing our stories. Among many things, he advised us to not edit while we’re actually writing the story; we were to let the words pour out till we’d finished, before going back to edit. One of the interesting things he asked us to do was to think of who we each thought was the embodiment of evil, whether living or dead or fictional. Here comes the plot twist: we were to write a story that shows their redeeming qualities. In other words, present them in a good light. [I know, just… wow]. After the class was over, I quickly left, so that I could jam Dave on his way out. It was so worth it, I nearly died.

*    *    *

Day Nine already and a lot of us were thinking of the workshop’s impending end. Today was the day we were to turn in Eghosa’s prologue assignment but because of the volume of work we were swamped with, we had all decided together the previous day to collectively bypass Eghosa’s assignment [Hehehe]. But of course, every class has those people that are just academically sadistic. See the majority of us thinking that we would all forego the assignment, only to find out later that some people had already done theirs in secret [fear girls and quiet people]. I had to do mine that morning and it actually looked good, to my complete surprise. That showed me another lesson: if you really had to write something, it would come to you.

Eghosa awarded the person with the best assignment with a complete collection of Chimamanda’s novels in the lovely Ankara cover. Hmm, high blood pressure is very real.

*    *    *

The tenth day came finally, the literary evening being the next day. The last class was Dave too, though both Chimamanda and Eghosa came later. This was the day I finally read out my nonfiction piece [yes, reading everybody’s pieces took that long and I was among the last few]. Chimamanda was delighted with my piece and said, “Though it still has that X, X X, it now has X. This is really good, Justin.” Before he left, Dave had a chat with a few of us that had questions. I asked him if it were possible to make and sustain a living from writing, and he said something I’m sure I’ll never forget. He said, “If you take it as a job, then sure, you will definitely live off it.”

*    *    *

The literary evening was held in the ballroom of a magnificent hotel. We spent the better part of an hour taking pictures with each other, sipping our glasses of wine and enjoying the most of each other’s company. Ten days had come and gone. By the same time tomorrow, we would be back in our former lives. That evening, we chose to forget everything that came after; we were living the present, and we would relish every second of it, while we still could. Chimamanda presented our certificates to us that day, giving each of us individual citations as she handed us the certificates. There were talks, spoken-word performances and also music performances by Falana, Zoro and Phyno. Chimamanda returned with us to our hotel and we had a final dinner together in those midnight hours. In that space of time, a dull ache lodged in my chest at the thought that this was goodbye for all of us, that after being a part of Chimamanda’s world, even if only for ten days, we would soon go our separate ways. She stayed with us until about three a.m before we had to watch her go. I left for my room before she left, a mistake I still regret whenever I think of it; but I’d only done that because I was so tired that keeping my eyes open was a problem.

Goodbyes are painful, especially among friends of this sort. These are people you’ve shared this uncommon connection with, which for some is something never experienced before the workshop. In the midst of the farewells, I realize that the best part of the workshop isn’t actually the knowledge gained or skills sharpened. It isn’t even the fact that you are brought face to face with your idols.

Now, eight hundred plus pictures later, I realize that the best part of the workshop is the people you meet, those people who become your friends and yet are more than friends. It is this thing, this connection, that you will remember even decades after. It is this resonance of minds and characters that you will never ever forget.

END.

Justin Clement is a talented young man who writes in the dead of night (maybe), sleeps all day and eats at ungodly hours. Writing both literary and speculative fiction, his work has appeared on AfricanWriter magazine. He is a graduate of both Chimamanda Adichie’s Purple Hibiscus Trust Workshop and Goethe-Institut’s AfroYoungAdult Workshop. He is a sucker for alternative music bands with abstract-sounding names.

We are currently accepting submissions. Please visit our Write for Us page for details.

The post Resonance: A Personal Essay on the 2018 Purple Hibiscus Trust Creative Writing Workshop appeared first on Creative Writing News.

Let me tell you a story about the benefits of writing internships.

Jennifer was one of those youngsters whose beautifully written stories made me go green with envy. Often she would churn out piece after piece in every genre.

Her fiction and personal essays were not just logical and inspirational; they were also filled with rounded characters, memorable scenes and excellent sentences. I wanted to know how she never ran out of steam, how she kept producing all these award-winning works.

She smiled at me after I’d asked my question. “High school internships,” she said.

“You write so well as a result of your high school internships?” I frowned a little to show that I was serious about my inquiry.

“Yes. You know what internships are, right?” she giggled and looked around. “Internship: an official program or an apprenticeship where inexperienced people can gain on-the-job experience in their chosen field.”

I nodded and gestured for her to continue.

“I spent most of my high school vacation interning with publishers,” said Jennifer. “At some point, my father operated an academic publishing house. There, I learned to edit and rewrite manuscripts. The trade required a lot of reading and all.”

Everything made perfect sense. She had invested so much time working and learning a craft she loved and now she was making a lot of money as a top-rated freelance content and story writer.

Today, many youngsters work part time or full time at online and offline companies or corporations. Most internships are for a specified duration. In my little corner of the world, internships are more popular amongst undergraduate and post-graduate students, usually in the third and fourth years of the college degree course.

There are two types of internships:

• Paid internships
• Unpaid internships

During my university days, I accepted both paid and unpaid internship positions. Both have their advantages and disadvantages. What I learned though is that the intern always benefits immensely from assisting the expert.

Don’t be afraid to work for free. Read Pamelyn Casto’s post to see how she began earning thousands of dollars from writing for free.

My Experience As A Writing Intern

I worked as a journalism intern after I had graduated from the university. It was a paid internship position. I was happy to learn the different aspects of writing and editing news reports, opinion and feature pieces. With time, I gained enough experience to be employed as a full staff of the newspaper firm.

In this article, I will outline and explain the most valuable benefits one can get from working as a writing intern, especially in the internet age where content is king (as Bill Gates put it). If you intend to set up a blog or write professionally for one, take time to contribute content to blogs you admire.

Blogs are always looking for content. If you get a rejection from one blog, you can always send the content to another blogger (especially one that will give you feedback). Storywriters and poets can intern with publishers, literary journals, and literary agents.

Working as a beta or alpha reader can teach you a lot about the elements of WordPress blogging, poetry or fiction writing. The on-the-job training can also teach you what editors look out for in stories.

Now, let’s get to the top 5 benefits of writing internships for high school students, undergraduates and everyone who might be trying to make a living from writing.

The rest of this article will focus on the benefits of writing internships and ways it can improve the writer’s chances of meeting the demands of the job market.

1. A Good Way To Acquire Valuable Work Experience In The Writing Field

Every writer knows that on-the-job experience is far more valuable than classroom lessons. This isn’t to say writing courses are not useful. Take writing courses and attend creative writing workshops. You’ll learn a lot from them. However, you will only get better if you practice all you’ve learned.

By the time Jennifer arrived at the international writing workshop we attended together, she had already learned what mistakes to avoid and what made a good story or essay. She had gotten a great deal of practice.

Not only did she gain specialized skills in the writing field, but she also acquired transferable skills such as formal and informal communication, teamwork etiquettes, computer proficiency, and more. This explained why she found it easier to land juicy writing jobs and to win writing contests. If you want to make a headway in your writing career, start an internship.

2. Gives You Added Advantage Over Your Competition

Another important benefit of internships is that it affords both high school students and undergraduates the opportunity to prove themselves as diligent and hardworking employees.

Research has shown that human resource managers often give higher points to applicants who have had a lot of experience interning in the field they are applying for. To increase your marketability, get a lot of on-the-job experience. Potential employers are likely to place more value on you.

The assumption is that applicants with internship experience need less training and supervision. In the writing world, higher salaries are given to writers who have had many writing, editing and publication credits.

Writers who are starting a new career are likely to be taken more seriously when they have internship experience.

3. Provides Opportunities To Build and Polish Your Writing Skills

Before I became a journalism intern, I struggled to write page-length error-free pieces. This was because I hadn’t gotten sufficient practice. If like Jennifer, I had enrolled for a high school internship, perhaps I wouldn’t have struggled so much as a print journalist.

One key benefit of a writing internship is that it will give you room to discover your strengths and weakness. The experience will also give you room to get expert advice on overcoming your weaknesses. Looking back, I can see how much my writing improved every time I got feedback from my bosses and colleagues. I could never have managed a thriving freelance writing career.

If you’ve been struggling to make progress as a writer, perhaps you need to attach yourself to a more successful writer. You’ll learn from accomplishing the tasks you’ll be assigned. You’ll also get a chance to ask questions, grow and excel as a writer.

4. Expand Your Social Network

Like in every other field, writing careers thrive when you belong to the right social circles. You can write in isolation, but you’ll have to know where the ready markets are. Sometimes, word of mouth, social media groups and the right social circles are the most common sources of exclusive information.

A writing internship will make it easier for you to meet the professionals that matter in the industry. Most literary agents, for instance, don’t read unsolicited submissions. The same goes for very big publishers. You could have a manuscript worth millions of dollars, but you’ll need to be in the right circles to know where to place your work.

Feel free to write or volunteer at writing events and blogs. You’ll never know who you’ll encounter during your internship. The connections you might get might help you land your first scholarship or book deal.

5. Boosts Confidence

Unlike most writers I have met, Jennifer was—and still is—very confident in her abilities. It was obvious that she had tried out several techniques as a high school intern.

Before she started writing professionally, she had sharpened her skills in a safe environment where mistakes don’t attract dire consequences. This is obviously better than learning the hard way in a writing world that is fraught with rejections.

Final thoughts on the benefits of Writing Internships

Writing internships offer a valuable opportunity for writers to bridge the gap between academic learning and real-world application.

You can start by sending articles and essays to Creativewritingnews.com. Our submission guidelines are on the write for us page.

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The Young African Leaders Initiative has opened its submissions portal to youths who might be interested in applying for the 2019 Mandela Washington Fellowship. If you’re a talented writer who has excellent leadership skills, you  stand a good chance of getting this merit-based open competition. Don’t wait until the last day. You’ll need a lot of time to write convincingly about your contribution to your society.

Who is Eligible?

• African youth between the ages of 18 – 35
• although exceptional applicants ages 21-24 will be considered.
• Are not U.S. citizens or permanent residents of the United States.
• Are eligible to receive a United States J-1 visa.
• Are not employees or immediate family members of employees of the U.S. Government (including a U.S. Embassy or Consulate, USAID, and other U.S. Government entities).
• Are proficient in reading, writing, and speaking English. Applicants who are deaf should consult the Application Instructions for more information.

How To Increase Your Chances Of Winning A Spot In This Competitive Fellowship:

• Show that you have a proven record of leadership and accomplishment in public service, business, or civic engagement.
• Prove that you are committed to public or community service, volunteerism, or mentorship.
• Demonstrate an ability to work cooperatively in diverse groups and respect the opinions of others.
• You must possess strong social and communication skills.
• You must have an energetic, positive attitude.
• Finally, you must show that you are committed to returning to the continent to give back to the society. You must show your willingness to use your leadership skills and training to benefit  your country and/or community.

How To Apply:

Fill the application form on the Young African Leadership  Initiative website or Click HERE.

Prizes/Awards:

• An all-expense paid trip to Washington DC, USA
• Training in your area of interest
• And lots more.

Good luck to you

The post 2019 Mandela Washington Fellowship (MWF)—Apply appeared first on Creative Writing News.

Writers who are interested in creative non-fiction are invited to apply for a literary exchange project. There will be travel opportunities, mentorship programs, and creative writing workshops, all at o expense to the writer. Read the press release for a detailed description and the submission guidelines.

“Furthering the objectives of our ongoing manuscript project, we are collaborating with Goethe-Institut (in Lagos and Yaounde) and Bakwa Magazine in Cameroon on a workshop for writers interested in creative nonfiction. We invite applications for participation in a mentored series of exchanges.

Though Cameroon and Nigeria are neighbors and share similar cultural values, this potential has scarcely been explored for the collaborative knowledge and advancement of either country. Consequently, though they share a border, they know little or nothing about each other and hardly engage in literary collaborations that could benefit both countries.

The workshop will feature different stages of exchange in both Cameroon and Nigeria at no expense to the applicant.

The body of the e-mail should contain following:

Your Name

A short bio not more than 200 words with relevant publishing history stating whether you are applying from Nigeria or Cameroon.

An unpublished writing sample of not more than 700 words written in English and submitted twice in .doc format. One sample submitted with your name on it and the other without.

Your availability to travel between 10th-16th May 2017 and other dates after being given prior notice.

Your sample of work must be included as an attachment in your mail. Applications not following the rules will automatically be disqualified. The working language of the workshop is English.

To apply send an e-mail to libo@lagos.goethe.org. Your email subject should read “Application for Literary Exchange 2017.”

Selection process: Applicants will be selected by a jury appointed by the organisers. The jury’s decision will be final and non-appealable.

Deadline for Submission is February 15, 2017. Only those accepted will be notified by March 10, 2017. Details regarding dates of exchange and meetings will be communicated upon approval of your participation.”

For further enquiries, please contact the organizers. Or send an email to libo@lagos.goethe.org

Good luck.

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Do you dream of traveling the world with your camera, filming in exotic locales and meeting interesting people along the way?

For this year’s Travel Film Scholarship we’re sending you to capture the culture and communities of Vietnam under the mentorship of professional filmmaker and director, Brian Rapsey.

To win this life-changing opportunity, make a 3-minute film about an inspiring travel experience and complete our application form.

Kick start your travel filmmaking career with World Nomads!

How to apply

•  Make a 3-minute film about an inspirational travel story. Our challenge to you is to go out and interview an amazing adventurer or inspiring traveler and bring to life their compelling travel story. This could be anything from a story of immigration to a close wildlife encounter to a triumph of summiting Mt. Kilimanjaro.
•  Upload your video to YouTube or Vimeo.
•  Complete your application form – tell us what winning the scholarship would mean to you and why we should choose you. Your answer will provide considerable weight in the judging process.

Note: Once you apply, you will not be able to go back and edit your application, so please make sure you are completely satisfied with your essay before you hit the submit button.

Apply here

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