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A prize of $1,500 and publication in Boulevard is given annually for a short story by a writer who has not published a nationally distributed book. The editors will judge. Submit a story of up to 8,000 words with an $18 entry fee, which includes a subscription to Boulevard, by December 31. All entries are considered for publication. Visit the website for complete guidelines.
Four prizes of $1,000 each are given biannually for a single poem, a short story, a short short story, and an essay. The winners also receive publication in New Millennium Writings and on the journal’s website. Works that have not appeared in a print publication with a circulation over 5,000 or were published only online, as well as previously unpublished works, are eligible. Submit up to three poems totaling no more than five pages, a short short story of up to 1,000 words, or a story or essay of up to 7,499 words with a $20 entry fee by November 30. All entries are considered for publication. Visit the website for complete guidelines.
A prize of $1,000, publication by the Florida Review, and 50 author copies is given annually for a chapbook of short fiction, short nonfiction, or graphic narrative. Submit a manuscript of up to 45 pages with a $25 entry fee by January 7, 2026. All entries are considered for publication. Visit the website for complete guidelines.
Three prizes of $2,000 each are given annually for a book of poetry, a book of fiction, and a book of creative nonfiction published by an independent press in the current year ($1,000 for each author and $1,000 for their respective publisher). Works in translation and graphic novels are accepted. Using only the online submission system, publishers may submit books of poetry or prose published in 2025 with a $65 entry fee ($55 for CLMP members) for the first book and a $45 fee ($35 for CLMP members) for each additional entry by November 14. Visit the website for complete guidelines.
A prize of $1,000 is given annually for a short story or an essay that “seeks to convey the rich and varied existence of Black North Carolinians.” The winning entry is considered for publication in Carolina Quarterly. Black writers who live in North Carolina are eligible. Submit a story or essay of up to 3,000 words (a self-contained excerpt from a longer work is also accepted) with a $20 entry fee ($10 for NCWN members) by January 2, 2026. Include two copies if submitting by mail. Visit the website for complete guidelines.
Watch the trailer for the graphic novel series adaptation of Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. Developed by Ridley Scott and Mechanical Cake, the two-volume series will be released on Halloween and imagines a world where Hyde overtakes Dr. Jekyll. Written by Jesse Negron with Joe Matsumoto, and artists Gary Erskine and Chris Weston, Johnny Depp portrays the sinister character.
In this Service95 Book Club conversation hosted by Dua Lipa, Percival Everett revisits his award-winning 2021 novel, The Trees, and talks about how the murder and image of Emmett Till urged him to write the story, and how important the relationship between author and reader is to art. “People find their truth in art. It’s not complete until the reader comes to it. That’s when meaning gets made,” says Everett.
In Vaim (Transit Books, 2025) by Nobel Prize–winning author Jon Fosse, translated from the Norwegian by Damion Searls, one might search for certainty and stability in vain as the fishing village from which the novel gets its title is not a place in the real world, and perhaps not even a real place within the world of the book. Ania Szremski, senior editor of 4Columns, describes the novel as a “a book of amphibolous belief” with a protagonist who “wavers between ‘yes’ and ‘no.’” Write a short story that revolves around a character who inhabits a place that may or may not really exist. In Fosse’s book, the protagonist’s motorboat grounds the reader while the use of shifting points of view and lack of punctuation can be unsettling. How do you inject your own story with both stabilizing and destabilizing elements to create tension and momentum?
“I think I’m a natural maximalist, and I still enjoy orchestrating a complex, layered scene or sentence, but I often found myself paring down versus building up.” —Jade Chang, author of What a Time to Be Alive
