The PEN/Jean Stein Grant for Literary Oral History is now open.

PEN/Jean Stein Grant for Literary Oral History recognizes a literary work of nonfiction that uses oral history to highlight an event, individual, place, or movement. They have recently announced the commencement of the 2021 grant conferral.

More so, they will confer two PEN/Jean Stein Grants for Literary Oral History with cash prizes of $15,000 each.

Eligibility for the Prize

• The submitted project must be the work of a single individual, written in English.
• In addition, this project must be an unpublished work.
• Furthermore, entrants must enter a work of literary nonfiction (scholarly/academic writing is not eligible).

• Oral history must be a significant component of the project and its research.

How to submit for the PEN/Jean Stein Grant for Literary Oral History 

• Make sure to submit a 1-2 page, single-spaced description of the work, its importance, and why the author chose to take on this project. This space can additionally be used to discuss any permissions, rights, contracts, publication timelines, or other aspects of your project.
• More so, a statement of not more than 2 pages, explaining why and how oral history was used in the project.
• Also, a statement of 300-500 words, explaining how this grant would aid in the completion of the project.
• A CV for the author of the project, which should include information on any previous publications.

Additional Requirements

• An outline that includes the work completed thus far and the work remaining. The outline should include the names of all participants.
• Transcripts of the project interviews (6-10 double-spaced pages).
• A writing sample from the project (20-40 double-spaced pages).
• These documents should be submitted as one PDF file, using a standard 12-point font and 1 inch margin.
• Deadline: Submissions will close on August 1, 2024

Click here to Submit

GoodLuck!

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Lunch Ticket has made known its intention to host The Gabo Prize for Literature in Translation & Multilingual Texts. The Gabo Prize is funded by writers, translators, and Antioch University Los Angeles MFA Alumni Allie Marini and Jennifer McCharen, who launched the prize to support the work of peer translators.

Literary translation is important to writers of all cultures. Without a translator, Cervantes’s Don Quixote would never have been read by William Faulkner. Faulkner’s work, in turn, was translated into Spanish and influenced the work of Gabriel García Márquez, whose work has been translated into over a hundred languages, influencing authors far and wide. For that reason, the prize was named and created in honor of “Gabo”—Gabriel García Márquez—who once said:

“Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.”

― Gabriel Garcí­a Márquez, One Hundred Years of Solitude
(Translated by Gregory Rabassa)

Without literary translation, we are all separate races and cultures, condemned to live out one hundred years of solitude. Our parchments would never be deciphered, and our stories would be unrepeatable forever more. But with translation, we do not have to spend that time alone. Through the voices and stories of those far removed from us, but human just the same as us—we earn our second opportunity on this earth.

Who is Eligible for the Gabo prize for Literature in Translation & Multilingual Texts.

• Translators and authors of multilingual texts are encouraged to submit their work for The Gabo Prize.
• There is no age limit set for entries.
• More so, application is free.
• Friends, family, and associates of the judges are not eligible for consideration for the award.

How to submit for The Gabo Prize for Literature in Translation & Multilingual Texts.

• To submit, please click on this link and then, click on the category titled “The Gabo Prize for Literature in Translation & Multilingual Texts.”
• Please indicate whether your translation falls under poetry or prose.
• Include a cover letter in your submission. Your cover letter should briefly and sharply highlight who you are.
• Make sure to include the original work along with your translation. Original, bilingual work qualifies for the Gabo Prize: however if this describes your work, please indicate this clearly in your cover letter.
• The reading period for the prize the month of August for the issue that publishes in December.Deadline is August 31.
• Any work that has been previously published will not be acceptedor considered.
• All submissions for the award will be considered for publication in other sections of Lunch Ticket.
• Thewinner, selected by a guest judge, will receive $200, and the winning piece will be published alongside two semi-finalists in the upcoming issue of Lunch Ticket.
• The Gabo Prize is awarded twice each year.(June and December)

NOTE ON TRANSLATION RIGHTS

Your submission should include the original work along with your translation.

The organizers also require a statement that grants them permission to publish both the original work and the translation online, and that certifies that you have received permission from the original rights holder (either the publisher or the author, as applicable) to grant them such rights.

CODE OF ETHICS

The Gabo Prize is dedicated to upholding the Council of Literary Magazines & Presses code of ethics, defined as such:

CLMP’s community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest.

To that end, they agree to:

1) conduct their contests as ethically as possible and to address any unethical behavior on the part of the readers, judges, or editors;

2) to provide clear and specific contest guidelines—defining conflict of interest for all parties involved; and

3) to make the mechanics of their selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can be run ethically. They have adopted this Code to reinforce their  integrity and dedication as a publishing community and to ensure that their contests contribute to a vibrant literary heritage.

The post The Gabo Prize for Literature in Translation & Multilingual Texts/ How To Submit ($200 + Publication) appeared first on Creative Writing News.

Many budding short story writers struggle with holding-attention in a short-story. Writing a short story seems like an easier form of prose than writing a full-length novel. Writers who do not have the passion to write full-length novels may find ways to express their creativity through short stories.

However, just as novel writing has its techniques, so do short stories. The misconception that short stories are easier to write must be corrected, as this is not usually the case. Many times when I read short stories, it is as though they are written in haste. Many writers have not mastered the art of holding-attention in a short-story and do not know how to properly engage readers as they miss the techniques required to write a successful short story. 

Sometimes Holding-Attention in a short-story of 500 – 3000 words might be difficult because it seems like the word count limits the expression of creativity. However, writers must write in a way that helps readers understand the message they are trying to pass across. There are steps that writers must follow in order to share their creativity in the best way possible.

It was for this reason that I decided to listen to Jack Wang’s presentation: Holding Attention in the Short Story. 

According to Jack, the most important thing a writer must know while writing short stories or fiction in general, is how to hold attention. They must compel the readers to keep up until the very last word.

In this article about Jack Wang’s presentation; Holding Attention in the Short Story, he explores the technicalities of a short story and how one can properly have the attention of any reader. The following are some things I learned from the presentation.

A Tale of Two Tensions

According to Wang, every short story answers two questions.

• The first is why now? Wang believes that a short story cannot capture the entirety of a person’s consciousness. A short story is like a synecdoche. A part has to represent the whole. This brings about the question that your short story should answer — why now? Why this part? Why do you think that this part is what would hold attention in your short story? Your short story should be able to give an answer to this question.
• The second question a short story should answer is; what is at stake? The question triggers the readers to be intrigued. Why should the story matter to them and why must they pay attention? There has to be something at stake that pulls them and alerts them to read until the very end.

Jonathan Godshell states that there is a universal grammar for every kind of story. Stories across cultures have their unique essence. The universal grammar is character, predicament and extracted extrication.

Stories are about predicament. Something has to happen to the character that they have to face head on. It is this predicament that triggers a series of event that the writer eventually shares with the readers. Without this, a story has no true essence.

There are different kinds of predicaments.

• Acute tension: a predicament that characters face immediately; here and now. They disturb the habitual/ status quo in the character’s life. The emphasis is on action, incident, and plot. This kind of tension helps to answer the question “Why now?”
• 
• Chronic tensions: problems from the past. It is a kind of tension that is longstanding. The problems are ongoing in the character’s life. This kind of predicament emphasizes more on the character. Stories are about the mystery of character and chronic tension helps to reveal that mystery. It helps to answer the question, “What’s at stake?”

A short story is an interplay of these two tensions. For a writer who wishes to be successful in short story writing, understanding these tensions and knowing when and how to use them is a prerequisite.

Turn and Face the Strange Changes

Perceptual systems don’t work unless there are changes to detect. The human mind can only pay attention to what they find fascinating and new. When unexpected change happens, readers are more inclined to find out what it means and what effect it has to everything ongoing.

Humans always want to understand the concept of change and where it might lead to. Is it good or bad? Curiosity is what readers should feel in the opening movements of an effective story. This helps to keep them on their toes and hold their attention.

There are stories where the acute tension doesn’t change. However, it all depends on how well the author can embody this.

Suspicious Minds

Every writer should understand that the content of one’s mind differs from the content of others. In learning the techniques of holding-attention in a short-story, a writer must understand that suspense creates eagerness, and this can only happen when the reader’s mind becomes suspicious. 

The theory of mind describes our ability to explain people’s behavior in terms of their thoughts, feelings, beliefs, and intentions.

The human mind is naturally designed to be suspicious, eager to know, and willing to properly understand what goes on around.

Mind the Information Gap while Holding-Attention in a Short-Story 

As humans, we want information. We want to know what is happening. Story tellers should often use this to their advantage. According to Wang, “The more context we learn about mystery, the more anxious we are to solve it.”

Readers need to be informed, they need to understand the drama in order to keep up with the build up a writer is creating. Providing readers with visual presentation using a creative ppt is a must to keep them updated at all times. The curiosity of readers plays a significant role. The zone of maximum curiosity is what a writer should aim at. It is a situation whereby storytellers play; making readers think that they have some idea, but with uncertainty.

A short story should have these basics in order to properly hold attention. When a writer begins a story in a particular way, creating chronic or acute tension at the beginning, the writer should also make sure that at the end of the story, these tensions are resolved.

Short stories must not have a complex structure or form. Every story start at the latest possible moment and only the writer can decide when that moment is. Many successful endings of stories project into the future, but it doesn’t need to expatiate the entirety of that future.

Once a writer has resolved the acute and chronic tension, as well as the information gap, then there is no more information to share.

Finally on Holding-Attention in a Short-Story 

Without holding attention, a writer will struggle to persuade readers to continue reading when there are many works to read.

These tips mentioned in this article are some basic techniques a writer should follow in order to hold the attention of readers in a short story.

Chiziterem Chijioke is a creative writer, editor and a student of mass communication. She has worked as a volunteer and is a member of Fresh Writers Community and currently works as an editor for Creative Writing News. She has authored four works, some of which have been published on Pabpub.  She is purpose driven and passionate about writing.

The post 5 Tips on Holding Attention in a Short-Story { Step by Step Guide + Examples} appeared first on Creative Writing News.

Budding writers often wonder how to write a story. Not just a story, but a good story that everyone remembers and recommends. The world is full of stories, so you have to work hard at yours to make it outstanding. So if you often wonder how to create a story, you have come to the right place. 

Prolific writer, Charles Opara in his article, offers writers a step-by-step guide on how to write a good story. This guide will help you figure out how to  create the best story you possibly can. It will also show you how to overcome certain challenges that writers face such as unproductivity nnd writers’ block.

Ready to learn? Let’s read on.

How To Write A Story Like A Literary Great (Story Writing Tips + Examples)

It is almost impossible to learn how to write a story without first understanding the concept of the story. So let’s start by describing or defining a story.

What is a story? 

When you think of a story, think of a necklace. Or a string of pearls. The entire string is the narrative. Simply put, it is the fiction-writing mode in which the narrator communicates directly to the reader.

The pearl, in other words, is the description. It usually contains the scenes. (Recall, the four rhetorical modes of discourse: narration, description, exposition, and argumentation.)  

Scene vs. Narrative And Why They Matter In Storytelling and Story Writing

The scenes paint a picture and they usually describe places, things, or characters. Consider the piece of string between two adjacent pearls.

In story writing, scenes move at a fast pace. The events that happen in this part are not detailed, and for that reason, advance much quicker.

Here, the writer wishes to inform the reader that this or that occurred, or that time has passed (events that take place between one scene and the next) albeit summarily. Without this vital part it would be difficult to follow the story, difficult to tell what stage the story is in.

While the pearls handle the significant events the writer wishes to share in detail, the string hides details of events the writer does not wish to bother the reader with. I’m sure you’ll agree that the pearls are the beauty of the necklace, the reason why we buy it. And so it is with fiction.

A Step-by-Step Guide On How To Write A Good Story.

When writing a story, even if you must sacrifice the plot (that thing that connects all your scenes) you can’t write a good fiction without at least a scene, which would most likely feature a character in a setting.

If you try, the outcome will be something aimed at informing the reader (rather than transporting him to a different time and place) like a story outline, a skeletal account, or plot points. And this is not good.

People read fiction mainly to be entertained, and it’s hard to entertain them when they do not feel drawn to your story.

While creating a story, it is important to note that  scenes are the building blocks of an entertaining story. There is no better way to make readers feel emotions like joy, anger, disgust, lust, horror, sorrow, tension, excitement and the rest than putting them in a scene with your characters.

Learn to move your story forward: How to keep your readers au fait

The renowned German poet and playwright Bertolt Brecht, who died in 1956, used narrators or narrative figures to fill the missing action in his plays. Today, the use of narrators before a scene opens has become a feature in epic dramas.

These narrators tell us the action that is not played out for us by the actors, the action that we missed between the last scene and the next.

Figure Out What Makes Up A Good Story

• A good story is a collection of scenes connected by a narrative. In other words, it has description and narration.
• Sometimes, a story can have just one scene.
• A good work of fiction can never be just the narrative. (That would be the story outline or the synopsis, which is different from the sample chapters we send to publishers and literary agents).
• The narration that doesn’t occur within a scene, often giving a sketchy account, is meant to help the reader follow the sequence of events in the story. We will refer to this as the narrative.

Master The Parts Or Elements Of A Story

The plot, the story goal, the theme, the characters, the conflict and the setting, especially the opening and final scenes, are six things you need to determine before you begin to write your story.

If you are clear on these, then, only your writing can let you down. Before I learned how to write a story, I used to be one of those people who didn’t plan my plot right up till the end before I started to write.

This meant I never knew how my story would pan out until I had reached the very last scene nor did I know how my characters would develop.

My theme was often a mystery to me. Which is why I often had to redraft my stories, many times — too many times. Sometimes having to make major changes to the story.

To forestall against this, develop the habit of working with and working through a story plan that includes the six elements of fiction. By story plan, I mean a skeletal framework on what you want to write about. A story plan is a vital step to writing a good story.

The elements of fiction (expressed as parts of the figurative story necklace)

Going back to our metaphor of the necklace, let’s appreciate the various elements of fiction better. We find the plot coursing through the whole necklace. Having the same dynamics as fluid, it moves much faster in the narrow string and much slower in the pearl.

As I’ve already said, the beads would be that part of the story where characters perform actions.  The part where your characters and their conflicts unfold, allowing you to form an opinion about them, an opinion not (explicitly) defined for you by the author’s narrative (as we see in the string), allowing you to experience or visualize a character or a setting (through sensory images). The string would be that part that takes you to a scene.

Or, you could say, the events mentioned in summary so the reader can follow the story better (e.g. the passage of time). Looking at the necklace more closely, you’ll notice a repeating pattern in the beads (there usually is, in a good necklace.) This pattern is the theme. There’s one part of the string I still haven’t talked about. The clip.

So, what element of fiction do you think the clip of the necklace represents? Here’s a clue: it’s something that keeps the necklace firmly around your neck. It’s that thing that brings all your elements together. Can you guess? Pause from reading and take a minute to think about it.

The Clip And Its Role In Helping You Learning How To Write A Story.

Without the clip would the necklace stay around your neck? No. It would fall off. So the clip is very important. In fact, without it, there will be no point of owning a necklace; its aim is defeated as you can’t wear it.

If you just carry it in the palm of your hand, no one will see it like it ought to be seen, no one will appreciate it. So what is that which plays the role of a clip in a good story?

It is the thematic statement. The theme has two parts: a concept and a statement. The thematic concept is the design or pattern that we see in the beads while the thematic statement is the clip at the end of the necklace that allows it to be worn. The thematic concept is commonly referred to as the theme.

While there isn’t a common name for the thematic statement, to my knowledge, my guess for its more generic term would be the story goal. (The story goal is different from the character goal, please take note.)

Story goals have to do with the morals or the lessons stories try to teach. The thematic statement is the salient message/idea/point that the reader gets from the story. And what determines this is usually how the story is resolved. So you will not be entirely wrong if you called the clip the resolution.

Decide On What The Point Of Your Story Will Be.

When a story lacks a thematic statement then it is  not a good story because it is all plot and no purpose, a collection of different events (different actions described within a setting) that have nothing binding them together, nothing to make you appreciate why the writer took the trouble to tell them. Many readers consider these type of stories a waste of time.

 What Makes A Good Story?

Most times, as writers, we focus on the art of writing, neglecting the art of storytelling or story-crafting. A lot of us are good writers, but some of us have trouble telling a good story.

When your writing is up to par, and you’re still having trouble getting your stories accepted for publication, it’s time for you to master the art of storytelling.

Storytelling is what takes your writing from raw sentences to real entertainment. It is like the glaze on a ceramic sculpture that makes it look finished.

If writing is artistic expression, storytelling is artistic direction. The two are like hand and glove. And like hand and glove, they can be separated.

Storytelling: How Story Writing Works.

Begin by asking yourself what the story you want to write is about. Can you say it in one sentence (called an elevator pitch, a premise, or a logline)?

Whenever you’re trying to figure out what a story is really about, look for the internal conflict. When you ask people what a story is about, most make the mistake of telling you the plot of the story.

Well, it’s not the plot. It’s the theme. And it ought to be so because, when you consider our story necklace metaphor, you’ll see that the theme gives the necklace beautiful patterns; it adds value to it. So it’s all about the theme when trying to decide on the worth of the necklace.

If the necklace is supposed to be a thing of beauty, then, it’s all about the patterns on it. If you can summarize the story you want to write in one sentence and make it include the theme, then, that’s it. That’s what it’s about.

The Two Types Of Conflict.

In a good story, there are usually two types of conflicts: the external one and the internal one.

Why? Because a well-developed story makes us appreciate a character’s inner turmoil, his emotional/ psychological struggle, and in the end, it says something about life. Stories with internal conflicts are deep. When you think of a good story to write, remember that conflicts are important.

They paint pictures about the human condition, the human struggle, the human mind, the human character, the human virtue, the human resilience, and more.  Ultimately, their resolution by characters who show humanities (even if they are aliens) gives your story its meaning, gives it an underlying message, a lesson that can be framed into one sentence called the thematic statement.

The Six Elements of Fiction.

• Plot
• Theme
• Setting
• Character
• Conflict
• Style

Things like, Point of View and Voice, Tone and many others fall under Style.

The plot

The plot is what happens in your story. It usually revolves around an external conflict.

For example, a man takes the bus home from work after his car breaks down.

The external conflict is all that stands in the way of his trying to get home. The need to get home is the character’s goal. It’s a combination of his car breaking down and all the setbacks he encounters on his way home.

The Theme And It Helps You Create A Stronger Story.

The theme is what your sub-story (your deeper, underlying story) is about. And it revolves around your internal conflict.

A man refuses to let his wife give him a ride back home when his car breaks down.

Why does he refuse his wife’s favour?

Because he’s still mad at her for cheating on him with the school coach, his best friend. They’ve already resolved this matter, but he still wants to give her a hard time over it.

So the internal conflict is the emotions he’s still dealing with surrounding his wife’s unfaithfulness, now that he has knowledge of it.

The theme here is infidelity, or dealing with unfaithfulness, the unfaithfulness of a spouse.

Let’s say our story opens with our protagonist trying to start his car. He gets a call from his wife. He tells her he’s having car trouble and turns down her offer to pick him up.

The rest of the scenes in the story detail the things the man sees on his bus trip, and the discomfort and culture shock he has as a result (he has never taken the bus in his life).

While all this is going on, his thoughts flashback to how he learned of his wife’s affair (exposition) and we understand better the phone conversation he had with her in the beginning, why she said something about him wanting to still punish her.

Our example is taken from a short story called The Bus by Brock Clarke. Most of the scenes take place in the bus so it seems the story is about a bus trip, but it’s not.

The internal conflict hints at what the story is really about.

The story is not about a dreadful bus ride. The bus ride is what happens in the story. That is the plot. The story is about a man trying to punish his wife for an affair she had with his best friend by turning down her offer of a ride home from work.

 I know this from the internal conflict. The theme will tell you what the story is about and it usually revolves around an internal conflict.

The Role Of Conflict, Plot, and Theme When Figuring Out How To Write A Story.

You can see that the conflict (both external and internal) is a distinct element of fiction, distinguishable from the plot and the theme. Plot and Theme usually revolve around conflicts. Plot is what happens in a bid to resolve some external conflict. Theme is the idea and the message that the internal conflict brings to our attention.

Do you now see why you should decide what your conflicts will be before you start to type your story? It helps you decide on what will happen in your story and what your story will be about, helps you decide on the plot and the theme.

What happens when a story has more than one external conflict?

Sometimes a story may have several external conflicts and several internal conflicts. But it should have one major internal conflict. If you have two or more internal conflicts, you could end up telling two or more stories instead of one.

That’s not a crime per se, but it is a little too much, from an aesthetic point of view, if you ask me. From an artistic perspective, I don’t advise this. Better for you to break up your story into several chapters and have one theme for each chapter. Or if you’re writing a TV series, have one theme for each episode.

Since the point of a story revolves around an internal conflict, having two internal conflicts would cause some confusion.

(Note that one internal conflict can lead to several external conflicts and not the other way around, not normally. You don’t want your readers to grapple with too many life lessons in one chapter or episode because it would water down or dilute the impact of your piece.)

From our story, our male protagonist could get off the bus and be chased by muggers. This would result in a new external conflict, one that takes place outside the bus: he now wants to escape muggers (the first was getting through an unbearable bus ride home), but it’s still one plot: a man’s effort to get back home after his car broke down (now having two parts: the bus trip and the chase).

When a story has several themes

A story can have several themes. A theme is an idea that the story revolves around. And it is usually rooted in an internal conflict. Several ideas could revolve around one internal conflict. A story can have several themes but it should make a statement about just one (the central theme). From our example, one idea could be unfaithfulness or infidelity. Another could be, resentfulness.

The theme: concept and statement

Earlier, I said the theme is both the idea (concept) and the message (statement) your story carries. If you have an internal conflict, you already have an idea for the theme. What remains now is what statement you make about it. Your theme is not complete unless your story says something about it. And you make it say what you want by how you end your story.

Oh

Determine The Thematic Concept Of The Story.

So, what do you think is the thematic concept of our story example?

How about, ‘Resentfulness vs. truly forgiving’? Begrudging vs. Letting go. What about, ‘the things we put ourselves through to make a point’?

Our ending determines what our thematic statement says.

If the bus trip turns out to be an experience our protagonist wishes he had not undergone, then, the thematic statement would be,

‘Resentfulness after reconciliation leads to regret’?

Or, ‘It doesn’t pay to still begrudge those who have told us they are sorry’.

Or, ‘Refusing to let old wounds heal begets new pains’.

Character and Setting Plays A Good Role In Story Writing.

The other elements of fiction, Character and Setting, are self-explanatory. I won’t go into them. I’ll just say, depending on the length of your story, you ought to devote a certain amount of words to character development and setting. In flash fiction, character development is either omitted completely or done in very few words.

Style

The last is Style, also called ‘writing style‘ or ‘narrative style’. It’s all about the technique you deploy in your narration. You should decide on what style to use after crafting your story, before you sit down to write it. And so it should also be one of your pre-considerations. Style is your art of writing, or your literary expression. It includes things like POV choice, Voice, Tone, Diction and more. It’s very broad.

How To Write a Story Using Diegesis and Mimesis

From our metaphor of a story, some could argue that the string tells more than it shows, and the pearl, a metaphor for a scene (and since scenes are heavy on description), shows more than it tells.

Showing and telling, telling and showing. Aren’t we, as writers, all too familiar with the terms?

The more technical terms would be Diegesis (telling) and Mimesis (showing). They are both style choices.

Diegesis

In diegesis, the narrator tells the story. The narrator presents the actions (and sometimes thoughts) of the characters to the readers or audience. Diegetic elements are part of the fictional world (“part of the story”), as opposed to non-diegetic elements which are stylistic elements of how the narrator tells the story (“part of the storytelling”).

In Diegesis, there is a filter to the action, a narrative filter that gives us a sense of an authorial presence.

We are made even more aware of this presence by the writer’s voice, especially if he or she speaks in a non-standard dialect. Remember the novel The Help by Kathryn Stockett? There are many more examples.

Mimesis

Mimesis is imitative representation of the real world in art and literature. It’s understood as a form of realism in literature.

Dissect The Diegesis vs. Mimesis

Mimesis shows rather than tells, by means of action that is enacted. Diegesis is the telling of a story by a narrator. The narrator may speak as a particular character, or may be the invisible narrator, or even the all-knowing narrator who speaks from “outside” in the form of commenting on the action or the characters. In Diegesis, there’s a filter to the action. In Mimesis, there’s none.

I’m sure you’ll agree that the decision to write with or without a filter is a style choice. So you see, it’s not accurate to say that showing occurs in the beads and telling occurs in the string because it’s a style choice.

A story can be diegetically told, with no aspect of Mimesis. Your writing style pervades all aspects of your story and can be seen in every part of the necklace, both string and bead. The only thing we can be certain of is that the plot moves at a faster pace in the string than in the bead.

Writing is art expression; storytelling is art direction

A good writer is not necessarily a good storyteller and vice versa. Writing is a literary expression; storytelling is literary direction. Some writers do one better than the other.

Think of the other five elements (outside style) as all the things that will make you a good storyteller, a good story crafter while style is everything you need to apply to your writing that will make you a good writer.

To learn how to write a story, learn to create a story plan.

If I’m asked what makes a good story, I would tell them it’s a story that deploys the six elements of fiction (plot, theme, conflict, setting, character and style).

If you want to write better stories, create a story plan that looks something like this:

• Plot Summary (in one or two sentences)
• Theme (in one word)
• Concept of theme (in more than one word)
• Statement of theme (in one sentence)
• Setting (place and time period e.g. present-day, 1994, medieval times.)
• Characters (List all your characters with their relationship to the protagonist or their relevance to the story in brackets.)
• Conflict
• External
• Internal
• Style
• POV
• Voice
• Tone

(You can add other aspects of style not on this list). You can create a story plan before you start writing your story, or after the story has been written. The story plan is supposed to help you figure out ways to plu plot holes and to develop your characters.

Conclusion On How To Write A Story Like A Literary Great.

Good story writing is not as easy as accomplished writers make it seem. But you can write good stories if you choose your scenes, characters and themes wisely. And pay attention to the narrative techniques in your story.

Have you learned the ins and outs of writing a story? Please share your tips with us in the comments section. We want to learn more on how to write a story.

ABOUT THE AUTHOR

Charles Opara is a Nigerian-born author who writes suspense, speculative fiction, and short stories, who is about to publish a collection of short stories. He is a programmer with a passion for groundbreaking technologies. His creative mind enjoys the logic involved in writing stories and programs. In 2015, his horror short “It Happened” was shortlisted for the Awele Creative Trust Prize and in 2017, another story ‘Baby-girl’ was long-listed for the Quramo National Prize in his country. His stories have appeared in Ambit, Flash Fiction Press, and Zoetic Press.

twitter handle: Charles Opara@OparaCc

The post How To Write A Story Like A Literary Great (Story Writing Tips + Examples) appeared first on Creative Writing News.

The Alpine Fellowship Writing Prize 2024 is open for fiction, non-fiction and non-academic essays.

Alpine Fellowship is a charitable foundation that supports, commissions and showcases artists, writers, academics and playwrights. They are committed to discovering emerging talent, to disseminating new ideas and to sharing thoughts about art, literature and philosophy. Through their five prizes, Including the Alpine Fellowship Writing Prize, they evaluate thousands of entries by entrants from around the world, and offer financial support in the form of grants, mentoring, performances and exhibitions of the work of talented young artists, writers, academics and playwrights. They also work with partner artistic and academic institutions to commission new works of art and to further the humanities and interdisciplinary study.

For the Alpine Fellowship Writing Prize, writers are expected to write based on the the theme of the Alpine Fellowship 2024 – Language. 

Submissions Guidelines for Alpine Fellowship Writing Prize

• Submissions should be made through the approved link. 

• Also, all genres of writing are permitted, including fiction, non-fiction and non-academic essays.

• Open to all nationalities.

• Furthermore, applicants must be aged 18 or above at the time of entry.

• All entries must be written in English.

• More so, applicants can only enter one of the Alpine Fellowship prizes.

• Limited to one entry per person.

• Submissions must be standalone and cannot be extracts from a larger piece.

• Submissions must be not more than 2,500 words.

• Importantly, stories must not have been:

Published, Self-published or Accepted for publication in print or online, or have won or been placed in another competition at any time.

• As regards travel expenses, it can be used for economy travel costs only and are not exchangeable for cash.

• In addition, travel expenses can be used for transport only, and can not be used towards accommodation outside of the dates of our symposium.

• Submissions will be judged anonymously, so please ensure that your name does not appear anywhere on your work.

• Due to the volume of applications the judges decisions are final and no correspondence will be entered into following the results.

Prize

The winner of the Writing Prize will receive a cash prize, and the runners up will receive travel expense support that must be used to attend their 2024 symposium which will be held from 10th-13th August 2023 in Fjällnäs, Sweden

First place: £3,000 cash grant

Second place: £1,000 travel expense

Third place: £1,000 travel expense

Deadline

The Prize closes on 1st March 2024 at 23:59 (UK time). 

Furthermore, to learn more about the prize, and read previous winning entries, visit their website. 

The post The Alpine Fellowship Writing Prize is Open for Submissions (Prize: £5,000) appeared first on Creative Writing News.

Dear Writer, are you wondering how to overcome a writer’s block? Are you in the middle of a huge writing project and it suddenly feels like you’ve run out of creative ideas? Then this is for you!

Writer’s block is a common condition that affects almost every writer. This term is often used to describe a situation where a writer loses their creative drive or experiences a creative meltdown of sorts. Many creatives often struggle to overcome writer’s block and are often in despair when they can’t get their creative juices flowing.

Studies suggest that it is possible to experience writer’s block and to overcome it several times. Many literary greats have written eloquently after various spells of writer’s block.

To make your job easier, we have compiled a list that may help you to figure out how to overcome writer’s block and in some ways, even, avoid this malaise.

Understand your writing style

Every writer has a unique voice. Every writer has their own style of writing. As a writer, you must be able to understand your own tune, your own voice and your style. Many a time when writers get mental blocks during their writing. This is because they suddenly did not know how to put their ideas down, how to write it or express it.

This is most times because they have gotten to a point where they no longer understand themselves. Most times they never understood themselves from the very beginning.

Some writers often aim to write like their favorite author. They put up this narrative in their head. The voice of another author writing, but when everything gets jumbled up, they stop.

Dear writer, discover yourself on your own. Do not aspire to write like anyone because they are well achieved or because you simply like their way of writing. Struggle to find what suits you, what is buried within you. This way, there is a chance you won’t get stuck on the way and wonder how to write down your own idea.

The following steps would help you discover your own voice:

• Know your genre.
• Read a lot of books, by different authors. When you see different writing styles, it would jumpstart yours.
• Lastly, practice writing the genre you want to be an expert in. If you prefer short stories, write a lot of them. When you do this frequently, you’ll surely be able to uncover what tone you write it.

Make sure your story idea is organized before you begin writing

When I began my writing journey, I was spontaneous. I wrote as it came to my head. I wrote without having it organized and it was fun. I thought that I would know it all as I wrote, that it would come to me anyhow and that it was better that way. But it was not. The story ended up having a lot of plot holes and at some point, I ended up not knowing where I stopped and where I was supposed to go on from. Now, a lot of us writers are like that. We think our story would figure itself out as we go and we find this fun.

Dear writer, stop starting a story when you’ve not fully organized it. When the plot has not been thought out. This would lead you to a dead end. Before you begin your story, figure it all out, from the beginning, middle and the end. Figure out the point of view you want to use, the names of characters, the narrative and descriptive arc and also, the location. Figure out everything to the very spoon your character uses.

When you do this, it would be difficult for you to lose your way while writing. Many people talk about how to overcome a writer’s block, but have you asked yourself if there are ways to avoid it? Ways to just prevent it from ever coming? This is a way.

Creating a Plot Outline Can Help You Get Rid of Writer’s Block. 

A plot outline is a plan. It helps you put all your organized ideas together and in a chronological order. Having a plot outline would make you more organized. All those jottings and whispers in your head would be in a single place.

More so, it is a plan that would remind you of what you are writing as you go. It would keep hitting you hard and telling you. “This is what you planned. This is what you wanted.” That way you don’t get lost.

Also, having a plot outline does not mean you cannot make changes or little tweaks. It does not mean that you cannot at some point feel the need to put Tunde in the car instead of in a truck — it just helps you understand your idea in blueprint. Dear writer, create a plot outline today!

There are even apps that can help you through creating your plot outline. I understand that the excitement of a new idea would send you feeling the need to begin writing immediately. Avoid it. Use that energy to create your plan. You won’t regret it.

Start Writing

After you have taken all the steps above, begin your writing. Write. As you write, read through your plot outline, to remind yourself of that idea. Read it like you are reading an exotic story, one that is new to you. Write that story.

Discard every self doubt

Avoid thinking that the idea was never good enough. That would set a writer’s block in. When you begin to doubt your idea, a creative block sets in.

As a writer you must remember that a story is of your own creation. Just like Chimamanda  Adichie said during her Purple Hibiscus Workshop. “Do not think about the audience when writing, think about the story.”

Many times we writers like to think about what people might think or how they would view the story — yes, this is a good thought. However, always remember that a story doesn’t have to fit into the everyday life. It doesn’t have to be regular. It is fiction. Think about the best way to put your idea out, not the best way to bend it to be pleasing to the audience. Remember that a story is told so people can see or read what you have created.

Do not write when you feel exhausted

Every human is often preoccupied. You are often busy with many things at a go. Then you get exhausted by one thing and you are unable to actually do the other thing. Sometimes the other thing is writing. My dear, don’t kill your self, please. Write when your mind is fresh and not worried or exhausted from something else.

But hey, this gives you no right to become a procrastinator. No no, Aunty/Uncle — do not begin to shift your writing because you feel another day of preparation will come. Get up and write. Cast away the spirit of procrastination and face your laptop. It takes discipline to fight procrastination, nothing else. Remember this.

No one is chasing you

Stop thinking that you have to meet up with time — except of course a publisher is on your tail. If no one is on to you then write at a pace that suits you.

Many times we writers think we might lose something if we do not finish this story within this time frame. Stop that. It doesn’t matter how long it takes you to write that story. In the end what matters is that you do. Again I’m not saying procrastinate o. I’m saying when you feel overwhelmed, put aside your thinking and any thing that would involve you working mentally and just relax, rest, soothe yourself. Take your time.

Overthinking how you need to write fast or write this amount of words per day, could shut off your brain and boom, writer’s block. Take it slow, you’ll be fine.

Find Creative Activities that Trigger Your Creativity

As creatives, we are mostly inspired to be creative by other creative works. One time I was buying Sharwama and I was watching the guy make it. It was so random. He made it look as though he were creating something- which he was, but it was with attention, eagerness, zeal, passion. It was just wow. And I was struck. I began to imagine the ways in which I could put that scenario down in my story. It was just beautiful. I was inspired.

For some people it could be music, movies, reality tv shows like BBNAIJA, being in a quiet place, watching real life play out too —

one time I took the bus to go to a nearby mall because I wanted to see something that would inspire me. Then I saw a conductor jump down from the bus to stop a little girl from drinking a water she saw by the road side and I was simply motivated. It could be a random thing, so just find it.

For some people it could be writing for contests, call for submissions or even writing prompts that could set them ablaze. The adrenaline when writing something short and with a deadline attached to it can create an excitement and you just feel like writing again.

I also get inspired by movies, reading books by other authors, articles about relatable concepts or even listening to music and understanding their lyrics. Just find that thing that can help you overcome your writer’s block. That thing that fuels your creativity.

Create a writing routine

As a person who would have other things to do, you can create a writing routine that aligns with your everyday routine. Fix your writings for times when you know you’d be free, less busy and willing to write.

This has worked for some people and it may likely work for you. If of course, you are determined and disciplined enough to follow it. You should give this a try. During these set times, you could also set a word count goal or just wing it, as little or as much as you write should be considered a plus.

Always remember why you began writing in the first place

• Never forget your story, the inspiration behind it and most especially, the excitement to share it.
• Re read your plot draft.
• Find movies that relate to what you’re writing.
• Seek people to talk out your ideas with – this is important! Talk about your work, ask for opinions, share your ideas. Most times when writing, you could find a beta reader (if you like) the person might be your ginger! Hyping you to go on and criticizing you as well. This could motivate you to keep going.

I hope these few points help you overcome your writer’s block, or find what you’re looking for.
Dear writer, you are amazing, never forget that.

About the Author 

Chiziterem Chijioke is a creative writer, editor and a communications professional. She has worked as a volunteer and is a member of Fresh Writers Community and currently works as an editor for Creative Writing News. She was awarded the Quramo Writers Prize in 2023.  She is purpose driven and passionate about writing.

The post How To Overcome Writer’s block {10 Tips + Personal Examples} appeared first on Creative Writing News.

Are you one of those looking for easier ways to conduct research for creative writing projects? If yes, then you are not alone.

Research for creative writing projects can be daunting. Fortunately, online resources have made almost any information available. This applies to both cutting-edge scientific research and old historical data. The problem is that only the bravest and most persistent can conquer this digital sea. 

With each publication on the network, it becomes more difficult to see the line between credible information and baseless opinions.

Read: 5 Tips for Publishing Your First eBook

Sometimes it’s difficult to figure out what exactly you’re working with: an assumption, an author’s idea, or a proven fact. 

Luckily, there are tools and services available to help with academic papers, such as Paperwriter, an APA paper writing service that assists in organizing content and citing sources appropriately. 

Research is the starting point of your creative project. How well you research the topic will determine its success. If you are not ready to let everything take its course, trust this article to teach you how to research for creative writing projects.

Types of Creative Writing:

1. Fiction:
   • Novel: A sprawling canvas that allows authors to weave intricate plots and develop multidimensional characters, the novel is a literary form of substantial length, offering immersive storytelling experiences.
   • Short Story: The art of brevity and precision, short stories distill narratives into a concise form, often capturing a singular moment or theme with impactful storytelling.
   • Flash Fiction: An exercise in conciseness, flash fiction challenges writers to encapsulate complete narratives within a minimal word count, honing the skill of economical storytelling.
2. Poetry:
   • Haiku: Rooted in Japanese tradition, haikus are three-line poems with a 5-7-5 syllable structure, inviting writers to distill powerful imagery and emotions into a minimalist form.
   • Free Verse: Liberated from the constraints of rhyme and meter, free verse poetry provides a canvas for free-flowing expression and experimentation with form.
   • Sonnet: A structured 14-line poem with specific rhyme schemes, sonnets often explore themes of love, beauty, and introspection.
3. Drama:
   • Playwriting: The art of crafting scripts for the stage, playwriting involves creating dialogues, stage directions, and characters that come to life in live performances.
   • Screenwriting: Tailored for the screen, screenwriting emphasizes visual storytelling, pacing, and creating a dynamic experience for the audience.
4. Non-Fiction:
   • Essay: Essays are thoughtful and reflective compositions that explore a particular topic or issue, providing insight and analysis with a structured approach.
   • Memoir: Personal narratives that delve into significant life events, memoirs offer a glimpse into the author’s experiences, often combining introspection and storytelling.
   • Journalism: Grounded in factual reporting, journalism involves objective coverage of news and events, adhering to principles of accuracy and impartiality.

Types of Research for Creative Writing Projects:

1. Historical Research: Essential for projects set in specific historical periods, historical research ensures accuracy in depicting settings, events, and cultural nuances, providing a solid foundation for authenticity.
2. Scientific Research: Crucial for science fiction or projects involving scientific elements, scientific research forms the bedrock for constructing plausible and immersive narratives in speculative genres.
3. Cultural Research: Cultural research is vital for crafting authentic representations of diverse cultures and backgrounds, fostering inclusivity avoiding stereotypes, and ensuring a respectful portrayal.
4. Geographical Research: Accurate and vivid depictions of settings are crucial for immersion. Geographical research contributes to the overall atmosphere, credibility, and sense of place within the narrative.

Stages of Research for Creative Writing Projects

Writing is a personal activity for you. You will have your own research process and each genre will have its specific research requirements. However, most creative writing projects generally go through three stages of background research.

1. Perform General Research

When you start a project, you may have a general idea of the area you’re interested in, but not a specific aspect to explore. Let’s say you’re interested in the role of women during World War II, which is quite broad. Conducting general research allows you to identify the exact aspects to focus on.

Here are some techniques for conducting general research:

• Conduct a keyword search at your local library.
• Read all available books on the topic.
• Interview experienced people if you have access to them.
• Watch documentaries, and visit museums. Look for any piece of data you can get your hands on.

2. Focus on Specific Research:

Once you have narrowed down your topic, it’s time for focused research. For example, let’s say you decide to focus on the 1942 Dieppe Raid. Here are some methods to guide your focused research:

• Read all available books on the topic, including personal accounts and compilations.
• Read archival news articles about the event.
• Explore national and regional archives, both online and, if possible, in person.

3. Double-Checking Details:

As you start to write, you may need help in developing authentic scenes and providing accurate details. It’s generally best to keep writing whenever inspiration strikes but mark any details that you need to double-check and do the research later.

The internet is a valuable resource for specific details:

• Use Google Maps to explore locations and get a sense of the surroundings. However, if your book is set in a different period, you may need to dig deeper. For example, the National Library of Scotland offers WWI trench maps online, and other cities and regions provide historical maps.
• For information on clothing, technology, and culture, there are many websites dedicated to specific periods or cultural aspects.

Navigating Online Resources for Research

Smart Usage of Search Engines

Refining your research through advanced search techniques can greatly enhance its precision. Operators like AND, OR, and NOT enable researchers to streamline their results and focus on relevant data. For example, if you are studying the effects of caffeine on sleep, using “caffeine AND sleep” will yield results that specifically discuss both aspects. 

Conversely, using “caffeine NOT tea” will provide information about caffeine without any references to tea. Additionally, employing phrase searching, where you enclose search terms in quotes, ensures the search engine considers the exact phrase instead of treating each word separately.

Although search engines offer a wealth of information, it is essential to critically evaluate the search results. Outdated, biased, or false information is not uncommon. 

Factors such as publication date, author credentials, and publishing platform reputation should always be considered. Additionally, with the proliferation of fake news and clickbait-focused content farms.

Evaluating Source Credibility

Access to a wide range of academic databases and journals has been democratized in the digital realm. These platforms host a variety of articles, studies, and papers that undergo rigorous peer review, ensuring credibility. Knowing where to search becomes crucial with the abundance of platforms.

However, not all resources are freely available in the digital age. Open Access and Paid Subscriptions in academic publishing have sparked debate. Open Access journals provide free content to the public, ensuring wide dissemination of research. 

Paid Subscriptions, although sometimes restrictive in access, often include a curated selection of high-quality papers with rigorous peer review. 

It’s worth noting that many university libraries offer public access to a range of paid journals, bridging the gap between accessibility and quality for students or independent researchers without institutional access.

Advice! You should be prepared to go further in your research. It’s about accessing materials that are available in your region. To cope with the task, you will need a safe Tor browser and a VPN. Although the security of the Tor browser may be questionable, it is truly a better alternative to traditional browsers that spy on and restrict us all.

Utilizing Online Libraries and Databases

You will find millions of titles in online libraries, offering search functionalities to quickly locate specific sections or chapters, eliminating the often tedious task of manual searching. Moreover, online libraries grant access to rare or out-of-print books, ensuring that no resource remains out of reach.

If you want to experience the power of the digital age, just open Project Gutenberg or similar platforms. From cult classics to personal works of art, you can find over 60,000 eBooks in just one place. For those who prefer auditory learning or seek a break from screen time, LibriVox offers a vast collection of audiobooks read by volunteers from around the globe.

Engaging with Online Communities

Online communities, forums, and social media groups related to writing can be valuable resources. Engage with fellow writers, seek advice, and share experiences to enrich your understanding of the craft.

How to Begin a Creative Writing Project:

#1 Find Your Inspiration

Finding inspiration is a multifaceted process that involves tapping into the rich reservoir of life experiences, observations, and even the creative works of others. Immerse yourself in diverse stimuli—books, art, nature, conversations, or personal reflections. Inspiration often strikes unexpectedly, and by cultivating an open mind, you invite the muse to illuminate your creative path.

#2 Define Your Purpose

Before setting pen to paper or fingers to keyboard, take a moment to articulate the purpose of your creative endeavor. What do you want to communicate? Is it a personal exploration, a commentary on societal issues, or a fantastical escape? Clearly defining your purpose provides a guiding light throughout the project, anchoring your creativity in intentionality.

#3 Create a Writing Schedule

Consistency is the backbone of any creative project. Establishing a writing schedule not only nurtures discipline but also creates a dedicated space for your imagination to flourish. Whether it’s a daily writing session, weekend retreats, or specific project milestones, a schedule transforms writing from a sporadic activity into a habitual practice.

#4 Start Writing

The blank page can be intimidating, but the key is to overcome the initial inertia and start writing. In the initial draft, don’t succumb to the pressure of perfection. Allow your ideas to flow organically. This is the stage where creativity thrives unhindered, and every word you write becomes a building block for the narrative you’re crafting.

#5 Revise and Refine

Revision is a fundamental part of the creative writing process. After the initial draft, revisit your work with a critical eye. Refine the language, structure, and pacing. Consider the feedback you’ve received and assess how it aligns with your vision. The revision stage is where your narrative begins to take its final shape, each edit enhancing the clarity and impact of your storytelling.

#6. Embrace Iteration

Creative projects are seldom a linear progression from start to finish. Embrace the iterative nature of the process. It’s okay to revisit earlier sections, tweak character arcs, or experiment with narrative structures. Iteration is not a sign of indecision but an acknowledgment that creativity evolves, and each refinement brings your project closer to its ultimate expression.

#7 Build Atmospheric Settings

Settings serve as the backdrop for your narrative, influencing the mood and tone of your story. Whether it’s a bustling city, a quaint village, or an otherworldly realm, build settings that enhance the atmosphere of your story. Use vivid descriptions to transport readers into the world you’ve envisioned, creating a sensory experience that lingers in their minds.

#8 Experiment with Style and Tone

Creative writing is not only about what you say but how you say it. Experiment with different writing styles and tones to find the most authentic voice for your project. Whether it’s lyrical and poetic or straightforward and pragmatic, the stylistic choices you make contribute to the overall impact of your narrative.

#9 Read Widely and Analyze

Reading is a wellspring of inspiration and education for a writer. Explore diverse genres and authors, analyzing their writing styles, character development, and narrative structures. Understand what captivates you as a reader and consider how those elements can be integrated into your own work.

#10 Embrace Writer’s Block as a Challenge

Writer’s block is an inevitable part of the creative process. Instead of viewing it as a roadblock, see it as a challenge to overcome. Take breaks, explore other creative outlets, or simply allow your mind to wander. Often, the solution to writer’s block emerges when you least expect it.

Final thoughts on Navigating Online Research for Creative Writing Projects

While reading the article, you may have already realized the importance of creative writing and the proper approach to writing articles. 

The world expects creative writing projects and will highly appreciate quality work. However, behind a good project, there is always deep research work. 

The more data you collect and the better you research the topic, the more objective you will be. 

In a world of great competition, the only way to take a leading position is to create the best text in all respects: style, content, form, and depth. 

To do this, you need to continue to develop and explore the Internet. This task cannot be called simple, but with this article, you have a valuable guide to the vast expanses of the Internet and the craft of writing.

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F(r)iction Writing Contest is for a literary anthology carefully curated to evaluate an important cultural topic from vastly different perspectives. From historical origins and nonfiction essays to the wildest reaches of fiction, poetry, comics, and art, each issue inspires this literary site to think differently.

For its 2023 Writing contest, F(r)iction encourages all form of literary submission.

Eligibility for F(r)iction Writing Contest

• Staff members are not eligible for participation.
• The contest is not free to enter
• Writers over the age of thirteen are welcome to submit. Please note that if you are aged 13 – 16 and your work is selected for publication, they will require a signature from a parent or a guardian.

Submission Guidelines

• The organizers are unable to offer refunds for contest submissions, so please read these guidelines and choose your submission category carefully.
• They read all submissions anonymously. Please include your name and contact information in your cover letter only and remove any identifying information from both the submitted manuscript and the file name as well.
• Any work previously submitted to F(r)iction for publication is not eligible.
• Please also be aware that as they receive hundreds of submissions for each of their contest. Therefore, they are unable to offer personalized feedback.
• Friction accept, and encourage, simultaneous submissions. However, they ask that you withdraw your piece(s) using Submittable upon acceptance elsewhere.
• previously published works are not acceptable.
• They edit every piece accepted for publication, including all the contest winners. Whether your work is selected for publication through the online blog or in print magazine.
• For this collaborative process they will pair you with one of their Senior Editors. All editors have been trained to help guide the development of each piece to reach its fullest potential in keeping with the author’s vision.
• Submit a cover letter
• Title and category (short fiction, poetry, creative nonfiction, comic) of your piece(s)
• If you are submitting prose, please include the word count in your cover letter.
• You do not need to include the word count if you are submitting poetry: A short bio (100 word maximum)
• All Submissions: Font: Times New Roman, Font Size: 12pt, Title: Centered, Page Numbers: Lower right-hand corner of every page in the footer
• Please do not include your name on your submission. Your name and contact information will be provided through your Submittable account, so remove any identifying information from the submitted manuscript itself. Any submissions that include identifying information will not be considered.

Submission Distributions 

• F(r)iction accept work, written in English, from anywhere in the world—regardless of genre, style, or origin—and welcome speculative writing and experimental literature. Strange is good. Strange with a strong character arc is even better. Keep it weird, folks.
• Prose: Line Spacing: Double-spaced, Justification: Left, Word Count: in the top right corner on the first page, formatted like this: “Word Count: ###”
• Poetry: Line Spacing: Poetry can be laid out as you wish, as we understand that form often relates to the effect of a poem. However, please be sure to adhere to a maximum of 3 pages per individual poem.
• Graphic Short Stories, Credits: Include both author and artist information in your cover letter, Format: PDF files are preferred, Aesthetic: Both color or black-and-white accepted.
• Submit using the official submittable
• Deadline: Nov 1, 2023
• Results: Announced April 15, 2024

Prizes

• Winner goes with $1,600 in prizes!
  

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Longreads is currently accepting submissions of drafts and pitches for reported and personal essays.

Longreads is dedicated to publishing and sharing the best longform nonfiction storytelling on the web. This Longreads Pitch Submission is only for original nonfiction works. You need to be an eloquent writer to submit to Longreads.

Guidelines for Longreads Pitch Submission

• They are a very small team and receive many pitches and submissions each day.
• Longreads only respond if they are interested in publishing your piece, so they strongly recommend submitting simultaneously to other publications.
• Please email essay submissions, feature pitches, reading list ideas, and other queries to hello@longreads.com.
• Add a bit of detail and context in your subject line helps to make your message stand out. Learn ways to write your mail to support your submission.
• Longreads will not accept any submission or pitch that has been written or edited using generative AI tools such as ChatGPT.

Submissions Categories

Essays (Personal, Researched, Reported, Critical) and Columns

1. Essays and columns typically run between 2,000 and 6,000 words. Pieces may be longer or broken up into a series depending on the length and subject matter.
2. Personal essays should be submitted on spec, and they pay $500 per essay. They look for smart, original angles and fresh, unique voices.
3. Pitches for researched and reported essays, critical essays, and columns are accepted.

Rates start at $500, with the fee varying depending on the level of reporting and research required, as well as the overall word count. Essays and columns, including some personal essays, may be fact-checked as necessary.

Ooou

Reading Lists

Longreads seeks writers who are interested in exploring topics through curated reading lists. A reading list typically includes an essay-style introduction, followed by a collection of links to longform stories (and sometimes books and other resources) related to the theme.

They pay $350 per reading list.

Please email hello@longreads.com and include “Reading List” and the proposed topic/theme in your email subject line. Timely topics, but also offbeat and unique angles, are especially welcome, as is a diverse mix of featured publications and writers.

Deadline

There is no specified deadline, but ensure to submit while you can.

If interested, ensure to visit the Longreads Website to see previously accepted works. Good luck.

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