If you’re not at the beach this Memorial Day, why not apply to some writing contests with a June 1 deadline? There is no entry fee for three generous awards: the Bard Fiction prize, which comes with $30,000 and a one-semester appointment as a writer-in-residence at Bard College; PEN America’s PEN/Heim Translation Fund Grants, which offer awards of up to $4,000 to support the translation of book-length works; PEN America’s PEN/Jean Stein Grants for Literary Oral History, which offer awards of $15,000 to two nonfiction works-in-progress that “use oral history to illuminate an event, individual, place, or movement.” All other contests offer a cash award of $1,000 or more and publication. Good luck, writers!

American Short Fiction
Halifax Ranch Fiction Prize
A prize of $2,500 and publication in American Short Fiction is given annually for a short story. The winner also receives a weeklong, all-expenses-paid writing retreat at the Tasajillo Residency in Kyle, Texas. Entry fee: $20.

Bard College
Bard Fiction Prize
A prize of $30,000 and a one-semester appointment as writer-in-residence at Bard College is given annually to a U.S. fiction writer under the age of 40. The recipient must give at least one public lecture and meet informally with students but is not expected to teach traditional courses. Entry fee: None.

Boulevard
Emerging Poets Contest
A prize of $1,000 and publication in Boulevard is given annually for a group of poems by a poet who has not published a poetry collection with a nationally distributed press. The editors will judge. Entry fee: $18.

PEN America
PEN/Heim Translation Fund Grants
Ten grants between $3,000 and $4,000 each are given annually to support the translation of book-length works of poetry, fiction, and creative nonfiction that have not previously appeared in English or have appeared only in an “outdated or otherwise flawed translation.” An additional $5,000 grant, the PEN Grant for the English Translation of Italian Literature, is given to support the translation of a book of fiction or nonfiction from Italian into English. Manuscripts with up to two translators are eligible. Entry fee: None.

PEN America
PEN/Jean Stein Grants for Literary Oral History
Two grants of $15,000 are given annually for nonfiction works-in-progress that “use oral history to illuminate an event, individual, place, or movement.” Entry fee: None.

Salamander
Fiction Prize
A prize of $1,000 and publication in Salamander is given annually for a short story. Kirstin Valdez Quade will judge. Entry fee: $15

Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, creative nonfiction, and translation.

When travelers arrive at the Denver International Airport, they are greeted by a thirty-two-foot-tall sculpture of an electric blue steed with neon eyes and pulsing veins, locally known as Bluecifer. For over ten years, the notorious sculpture has sparked rumors and tall tales about the airport, including that a humanoid reptilian race lives under the facility and hundreds of miles of tunnels beneath the airport lead to subterranean survival bunkers. This week, write an essay about a sculpture or a place that has inspired tall tales. Do you believe any of the stories?

Although the summer solstice for the Northern Hemisphere is still a month away, the upcoming Memorial Day weekend celebrated by Americans often marks the unofficial beginning of summer. Some enjoy the long weekend with barbecues, road trips, and beach outings. While others visit cemeteries to honor and commemorate members of the military as well as loved ones who’ve passed away. Inspired by the days leading up to the start of summer, write a story set during a holiday weekend in which grief and celebration come to a head. What complicated emotions do your characters experience while enjoying their time off?

First published in the October 1999 issue of Poetry magazine, Yusef Komunyakaa’s “Seven Deadly Sins” is a series of seven poems, each one named after the deadly sins of medieval Christian theology. Each poem is a distinct lyric portrait with its own sentiment, style, and approach to the topic. In “Sloth,” Komunyakaa writes with an open-ended musicality: “In this / Upside-down haven, you’re reincarnated / As a fallen angel trying to go home.” In “Gluttony,” the poet sets the scene concretely in the first stanza: “In a country of splendor & high / Ritual, in a fat land of zeros, / Sits a man with string & bone / For stylus, hunched over his easel.” Inspired by this series, write a poem dedicated to one of the seven deadly sins: pride, avarice, lust, envy, gluttony, wrath, and sloth. What approach will you take?

Calling all emerging poets: Don’t forget to send your poetry manuscripts to Milkweed Editions’ Max Ritvo Poetry Prize, which offers an award of $10,000 and publication for a debut poetry collection.

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Using only the online submission system, submit a manuscript of at least 48 pages with a $25 entry fee by May 31. Nobel Prize–winning poet Louise Glück will judge. Visit the website for complete guidelines.

The Max Ritvo Poetry Prize celebrates the life of the acclaimed author of the poetry collections Four Reincarnations (2016) and The Final Voicemails (2018), both published by Milkweed Editions, an independent publisher based in Minneapolis. Ritvo, who died in 2016, “came into the Milkweed family like a ball of fire,” Daniel Slager, the press’s publisher, said when the prize was established in 2017. “I can think of no better way to honor Max and his legacy than a first-book poetry prize, which will honor outstanding accomplishment in the art form he excelled in, enriching American letters for years to come.”

In a recent installment of our Ten Questions series, Jennifer Lunden, author of American Breakdown: Our Ailing Nation, My Body’s Revolt, and the Nineteenth-Century Woman Who Brought Me Back to Life (Harper Wave, 2023), mentions a quote by Jean Cocteau she considers the best writing advice: “Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don’t like—then cultivate it. That’s the only part of your work that’s individual and worth keeping.” Write a list of criticisms you have encountered as a writer—including ones you have of yourself. Then, write an essay that looks to the value in those parts of your voice.

In a scene from Mary Gaitskill’s novel Veronica, the protagonist reflects on an innocent moment from her childhood: “When I was a young child, my mother told me that love is what makes the flowers grow. I pictured love inside the flowers, opening their petals and guiding their roots down to suck the earth.” This week write a story based on a myth told to you as a child, whether it be storks delivering babies, the tooth fairy trading money for teeth, or that chewing gum would stay in your stomach for seven years if you swallowed it. Were there good intentions behind these stories or did they cause more harm than good?

“This where all the roadside memorials are, / pink wreaths and dirty teddy bears. // This where a man walked when he wanted to fly,” writes Tyree Daye in his poem “Ode to Small Towns,” which appears in his collection Cardinal (Copper Canyon Press, 2020). Daye uses the repetition of “this where” to fold in various threads of distinct stories, making it feel as if the poem was written while driving through a series of towns and telling the tales as they surfaced. Inspired by Daye’s poem, write an ode to the small towns you’ve encountered while on the road. What kinds of stories do you picture when you pass through?

In a recent installment of our Craft Capsules series, Christine Imperial, author of Mistaken for an Empire: A Memoir in Tongues (Mad Creek Books, 2023), writes about the freedom in hybrid forms of the essay and how becoming comfortable with failure helped the process of writing her book. “The essay should be an experiment—without a guarantee of success, like the hypothesis before an experiment,” she writes. “When one writes with failure as kin, one writes without the expectation of understanding, ceding to the persistence of the opaque.” Write an essay about a time when failure led to a better understanding of something in your life. What lessons did you learn through this process?