Genre: Creative Nonfiction

Fresh Voices Fellowship

Epiphany
Entry Fee: 
$0
Deadline: 
November 1, 2025
A prize of $2,000 and publication in Epiphany is given annually for a poem or a group of poems, a work of fiction, or a work of creative nonfiction. The winner will also be offered a one-year editorial fellowship at Epiphany. BIPOC writers who do not have an advanced degree in creative writing and are not currently enrolled in a degree-granting program are eligible. Using only the online submission system, submit up to five pages of poetry or prose and a cover letter by November 1. There is no entry fee. Visit the website for complete guidelines.

Willie Morris Award for Southern Nonfiction

University of Mississippi
Entry Fee: 
$0
Deadline: 
September 30, 2025
A prize of $12,000 is given annually for a book of creative nonfiction published during the current year that asks readers “to engage with or reflect on the complexities of the U.S. South.” The winner will also receive an all-expenses-paid trip to Oxford, Mississippi, for the awards ceremony in March 2026. Submit a hard copy of a published book, or an advance reader’s copy of a book to be published in October, November, or December, by September 30. There is no entry fee. Visit the website for complete guidelines.

John Lewis Writing Grants

Georgia Writers
Entry Fee: 
$0
Deadline: 
October 1, 2025
Three grants of $500 each are given annually in poetry, fiction, and nonfiction to “elevate, encourage, and inspire the voices of Black writers in Georgia.” Grantees also receive a scholarship to attend and present a reading at the Red Clay Writers Conference, held in March 2026 at Kennesaw State University in Marietta, Georgia. Black writers who have been residents of Georgia for at least one year (or who are full-time students at a Georgia college or university at the time of application and on the date of the award) and who have published no more than one book are eligible to apply. Submit a poetry or prose writing sample of up to 10 pages and an artist’s statement of no more than 500 words discussing your work and goals as a writer by October 1. There is no entry fee. Visit the website for an application and complete guidelines.

Nonfiction Prize

Dzanc Books
Entry Fee: 
$25
Deadline: 
September 30, 2025
A prize of $1,500 and publication by Dzanc Books will be given triannually for a book of nonfiction, including essays, memoir, polemical writing, historical writing, and biography. The editors will judge. Using only the online submission system, submit a manuscript of at least 40,000 words, a synopsis, and a brief bio with a $25 entry fee by September 30. Visit the website for complete guidelines.

Writing Fellowships

John Simon Guggenheim Memorial Foundation
Entry Fee: 
$0
Deadline: 
September 16, 2025
Fellowships of approximately $60,000 each are given annually to poets, fiction writers, and creative nonfiction writers on the basis of “exceptional creative ability.” Citizens and permanent residents of the United States and Canada who are midcareer professionals and have “already made significant contributions to their field” are eligible. Using only the online submission system, submit a career summary, a list of publications, a three-page project proposal, and contact information for up to four references by September 16. There is no entry fee. Visit the website for complete guidelines.
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Money Chronicles: A Story Initiative

Principal Foundation
Entry Fee: 
$0
Deadline: 
October 12, 2025
A prize of $1,000 and publication on the Short Édition website and in Principal Foundation’s Short Story Dispensers (located in six cities across the United States) will be given annually for a short story or essay “on themes related to money and personal finance.” Mateo Askaripour, Paco de Leon, David Drury, Bourree Lam, and Daniel Lefferts will judge. Using only the online submission, submit a manuscript of up to 7,500 characters of prose by October 12. There is no entry fee. Visit the website for complete guidelines.

Banned Artists

In a recently published article in T Magazine, artists, including John Waters, Andres Serrano, Karen Finley, Khaled Hosseini, Geraldine Brooks, Art Spiegelman, Kate Bornstein, and Dread Scott, were interviewed about how censorship changed their work and lives. “The censorship does the opposite of what it wants to do,” said playwright and director Moisés Kaufman. “It makes people really think: ‘What are the issues in the play? Whose stories get to be told?’” This week write a personal essay that focuses on either a work of art, literature, or performance that has endured censorship at some point. Describe the work and the themes within the work that provoked censorship. How did this banning affect your ideas of the role of an artist?

Garrett Hongo and Edward Hirsch

Caption: 

In this Poets House event, Garrett Hongo reads from his fourth poetry collection, Ocean of Clouds (Knopf, 2025), and Edward Hirsch reads from his new memoir, My Childhood in Pieces: A Stand-Up Comedy, a Skokie Elegy (Knopf, 2025), followed by a conversation between the authors about their friendship and humor.

Kerouac’s Road: The Beat of a Nation

Caption: 

Directed by Ebs Burnough, this documentary explores the influence that Jack Kerouac’s 1957 novel, On the Road, has had on writers, actors, storytellers and artists, and follows the lives of Americans who set off on their own journeys in the footsteps of the famous author, who died in 1969 at the age of forty-seven.

Revisiting

7.31.25

“The Chelsea was like a doll’s house in the Twilight Zone, with a hundred rooms, each a small universe. I wandered the halls seeking its spirits, dead or alive,” writes Patti Smith in her award-winning 2010 memoir, Just Kids, recounting her time living in the Chelsea Hotel in New York City during the golden, gritty chaos of her youth. Inspired by this image, write an essay about returning to a place that once held deep meaning for you. It might be a childhood home, a first apartment, a rehearsal space, or a street corner that once felt like the center of your world. Explore what it feels like to stand in a space that is both familiar and changed. How does memory overlay reality? Do ghosts of your former self or others linger in the corners?

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