Robert Long Foreman has published three books since 2017:Weird Pig (a novel), Among Other Things (a collection of essays), andI Am Here to Make Friends (a collection of short fiction). His work has appeared inThe Missouri Review, AGNI, The Utne Reader, Kenyon Review Online, hex, X-RAY, Beloit Fiction Journal, the 2014 Pushcart Prize anthology, and other publications. A former college professor, Robert currently works as a freelance writer and editor. He lives in Kansas City.

Robert is accepting everything from flash fiction to full-length novels. The fees and parameters for each of these categories are as follows:

• Flash fiction, up to 2 pages in length, $25
• Short stories, up to 20 pages in length, $55
• Chapbooks, up to 40 pages in length, $275
• Novellas, up to 100 pages in length, $425
• Short story collections, up to 180 pages in length, $550
• Novels, up to 300 pages in length, $795

Robert will provide detailed comments on your manuscript as well as a cover letter. After receiving these files, participants who submit chapbooks and full-length manuscripts may also book phone/video conferences with Robert at no additional charge.

All manuscripts should be double-spaced and formatted in 12-point font. The deadline to submit work for this consultation program is October 31. Robert will complete his work and respond to all participants by November 30.

___________

Robert Long Foreman's Statement of Purpose

My expertise as an editor comes from a couple of different places. I was a tenure-track creative writing professor for four years; prior to that, I taught writing courses part-time and in graduate school, off and on, for twelve years. In the classroom, especially when instructing undergraduates, I was in a position to help young writers take their first steps, or most deliberate steps, into taking themselves seriously as artists. This is delicate work, when it is done right; many such students are being critiqued for the first time, and it’s important to tread lightly. You have to be critical, but overdo it and you lose the one you’re trying to help.

For seven years, since I left academia, I have been a freelance editor for writers who seek to publish books. I have edited novels, self-help books, memoirs, and collections of short fiction, as well as individual essays and short stories. Many of these texts are by first-time writers; others are authors with several books already to their names. This work is very different from what I did in the classroom; the writer who hires me to edit or critique a finished book wants to publish it traditionally, or self-publish, as soon as is reasonably possible. So I cannot mince words. I must identify all visible problems and plot the most efficient courses to addressing them that I can determine. The goal is to assess how much labor a work will require before it is ready for publication, and show the writer what it seems they must do in order to accomplish that. 

My goal, when editing or critiquing a manuscript for hire, is to have the sense of urgency that clients so often have, while at the same time indulging the lapsed teacher in me, who believes that all work undertaken seriously has something to offer; that even the roughest work only requires revision(s) to find it, some more than others; and that no investment of time is too much for a project the author believes in. I have had a great success rate with helping clients see the unrealized potential in their works-in-progress. Through my eyes, they recognize the shortcomings of the approaches they have taken so far, and I take pains as well to show them the ways their work succeeds, the things they have already achieved and can build on—which we writers, self-critical to a fault, are too often oblivious to. 

I strive at all times to be both the incisive critic and the generous professor. I don’t want to be a doomsayer, nor will I handle the material before me with velvet gloves. When I write my pages-long summary critiques for the writer, and when I offer commentary on the texts as I pore over them, I ensure that I am clear, thorough, and as helpful as I can be.

In addition to my work as a professor and as an editor, I have published three books of my own—a novel, essay collection, and short story collection. I have published essays and short stories in many magazines, including The Missouri Review, AGNI, Kenyon Review Online, Indiana Review, and Beloit Fiction Journal. I am a contributing editor at The Missouri Review and Copper Nickel, and I have been a first reader for fiction and nonfiction at a number of literary journals in the last twenty years. My work has won a Pushcart prize, the Nilsen Prize for a First Novel, the Robert C. Jones Prize for Short Prose, and the Robert and Adele Schiff Award at the Cincinnati Review, among others, and has been shortlisted six times for Best American Essays. 

Kristina Marie Darling is the author of thirty-six books, which include Look to Your Left:  A Feminist Poetics of Spectacle, which is forthcoming from the Akron Series in Contemporary Poetics at the University of Akron Press; Stylistic Innovation, Conscious Experience, and the Self in Modernist Women’s Poetry, forthcoming from Rowman & Littlefield Publishing Group; Daylight Has Already Come:  Selected Poems 2014 – 2020, which will be published by Black Lawrence Press; Silence in Contemporary Poetry, which will be published in hardcover by Clemson University Press in the United States and Liverpool University Press in the United Kingdom; Silent Refusal:  Essays on Contemporary Feminist Poetry, forthcoming from Black Ocean; Angel of the North, which is forthcoming from Salmon Poetry; and X Marks the Dress: A Registry (co-written with Carol Guess), which will be launched by Persea Books in the United States.  Penguin Random House Canada will also publish a Canadian edition.  Her work has been recognized with three residencies at Yaddo, where she has held the Martha Walsh Pulver Residency for a Poet and the Howard Moss Residency in Poetry; a Fundación Valparaíso fellowship to live and work in Spain; a Hawthornden Castle Fellowship, funded by the Heinz Foundation; an artist-in-residence position at Cité Internationale des Arts in Paris; six residencies at the American Academy in Rome; two grants from the Whiting Foundation; a Faber Residency in the Arts, Sciences, and Humanities, which she received on two separate occasions; an artist-in-residence position with the Andorran Ministry of Culture; and the Dan Liberthson Prize from the Academy of American Poets, which she received on three separate occasions; among many other awards and honors. She serves as Editor-in-Chief of Tupelo Press & Tupelo Quarterly.

Kristina is accepting everything from individual poems to full-length collections. The fees and parameters for each of these categories are as follows:

•    Single poem or hybrid piece of up to 2 pages: $25
•    Folio of five poems/short hybrid work of up to 7 pages: $55
•    Chapbook of up to 40 pages: $275
•    Manuscript of up to 80 pages: $425
•    Manuscript of up to 200 pages: $625

Kristina will provide detailed comments on your manuscript as well as a cover letter. After receiving these files, participants who submit chapbooks and full-length manuscripts may also book phone/video conferences with Kristina at no additional charge.

All manuscripts should be formatted in 12-point font. The deadline to submit work for this consultation program is October 31. Kristina will complete her work and respond to all participants by November 30.

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Kristina Marie Darling's Statement of Purpose
 

Most of my work as a teacher and an editor attempts to expand what is possible within these received forms of writing.  For many writers, the question of genre is inherently a question of power.  These beliefs about what texts are legible, what texts are considered legitimate, reflect larger structures of authority in the literary community and in the academy.  Poet and critic Sarah Vap writes, “I am extremely interested in what is often called hybrid or conceptual within the outstandingly elastic abilities of poetry-- these efforts that pose a challenge to the categories of writing (scholarship, journalism, coding, etc.), asking them to also expand their abilities and considerations and concerns and ways. To democratize.”  What Vap is suggesting is that dismantling the categories of writing is a larger ontological and metaphysical challenge to the social order – it calls into question the values and hierarchies that we impose upon language. So when she’s saying that hybridity is a democratization, this is what she means.  Hybridity – placing disparate forms and or types of language in conversation – is a way of challenging rules but also the people and institutions in power who make those rules. When working with writers, I welcome unruly texts, unclassifiable texts, the innovative and the experimental.  After all, a new message -- and a challenge to the status quo -- often requires new forms of discourse.

You're in the submission form for poetry. If you're intending to submit prose (fiction, creative non-fiction, etc.), please return to the main page and select the prose category instead. (Chapbooks of prose poems and poetry/prose hybrid projects can be submitted under either poetry or prose, per your preference.)

Twice each year Black Lawrence Press will run the Black River Chapbook Competition for an unpublished chapbook of poems or prose between 16-36 pages in length. The contest is open to new, emerging, and established writers. The winner will receive book publication, a $500 cash award, and ten copies of the book. Prizes are awarded on publication.
 

All entries are read without identifying information by our panel of editors. All manuscripts should include a title page (listing only the title of the work), table of contents (if applicable), and when appropriate, an acknowledgments page. Manuscripts should be paginated and formatted in an easy-to-read font such as Garamond or Times New Roman. Manuscripts should be 16-36 pages in length (double-spaced for fiction), not including front and back matter (table of contents, title page, etc.). Identifying information for the author should not be included anywhere on the manuscript itself, including in the name of your file or in the "title" field in Submittable. You are welcome to include a brief bio or something about yourself in your cover note on Submittable, which will only be made accessible to the editorial panel after the group of Semi-Finalist and Finalist manuscripts has been chosen.

A note regarding previously published work: Chapbooks containing individual stories or poems that have been previously published online or in print are absolutely eligible for the BRCC–please simply note previously published work on an acknowledgments page. On the other hand, if your chapbook–or a significant portion of the work included in your chapbook–has been previously published as a book or chapbook-length collection (including publication with a press, self-publication, online/digital publication, and publication in a small, limited-edition print run), then the manuscript is not eligible for the BRCC.

• Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.
• Multiple submissions (the submission of more than one manuscript to the contest) are permitted.
• Collaborative collections are welcome.
• Hybrid/multi-genre submissions are also welcome; please enter under the submission category that best fits your work.
• Prose category: Beginning with the Spring 2019 contest, our category previously titled “fiction” has been re-categorized as “prose” to accommodate fiction, creative non-fiction, lyric essay, and prose hybrid manuscripts. (Chapbooks of prose poems and poetry/prose hybrid projects can be submitted under either poetry or prose, per your preference.)
• We cannot accept translations for the BRCC.
• We will consider submissions including visual art (i.e. interior illustrations or photographs), but please note we do not regularly publish chapbooks with interior art. Please do not include suggested cover artwork with your submission.

  The annual deadlines for the prize are May 31 and October 31.

Optional book bundle: Interested in reading a few of our chapbooks while we read yours? Below you will have the option to purchase a bundle of five of our chapbooks, which includes No Girls No Telephones by Brittany Cavallaro and Rebecca Hazelton, Far Enough: A Western in Fragments by Joe Wilkins, at first & then by Danielle Rose, Revenge Body by Caleb Luna, and Dominant Genes by SJ Sindu. The discounted price of $39.95 for this chap bundle includes the cost of shipping. Purchase not required for submission to the BRCC!

You're in the submission form for prose. (This includes fiction, creative non-fiction, lyric essay, and prose hybrid manuscripts.) If you're intending to submit poetry, please return to the main page and select the poetry category instead. (Chapbooks of prose poems and poetry/prose hybrid projects can be submitted under either poetry or prose, per your preference.)

Twice each year Black Lawrence Press will run the Black River Chapbook Competition for an unpublished chapbook of poems or prose between 16-36 pages in length. The contest is open to new, emerging, and established writers. The winner will receive book publication, a $500 cash award, and ten copies of the book. Prizes are awarded on publication.
 

All entries are read without identifying information by our panel of editors. All manuscripts should include a title page (listing only the title of the work), table of contents (if applicable), and when appropriate, an acknowledgments page. Manuscripts should be paginated and formatted in an easy-to-read font such as Garamond or Times New Roman. Manuscripts should be 16-36 pages in length (double-spaced for fiction), not including front and back matter (table of contents, title page, etc.). Identifying information for the author should not be included anywhere on the manuscript itself, including in the name of your file or in the "title" field in Submittable. You are welcome to include a brief bio or something about yourself in your cover note on Submittable, which will only be made accessible to the editorial panel after the group of Semi-Finalist and Finalist manuscripts has been chosen.

A note regarding previously published work: Chapbooks containing individual stories or poems that have been previously published online or in print are absolutely eligible for the BRCC–please simply note previously published work on an acknowledgments page. On the other hand, if your chapbook–or a significant portion of the work included in your chapbook–has been previously published as a book or chapbook-length collection (including publication with a press, self-publication, online/digital publication, and publication in a small, limited-edition print run), then the manuscript is not eligible for the BRCC.

• Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.
• Multiple submissions (the submission of more than one manuscript to the contest) are permitted.
• Collaborative collections are welcome.
• Hybrid/multi-genre submissions are also welcome; please enter under the submission category that best fits your work.
• Prose category: Beginning with the Spring 2019 contest, our category previously titled “fiction” has been re-categorized as “prose” to accommodate fiction, creative non-fiction, lyric essay, and prose hybrid manuscripts. (Chapbooks of prose poems and poetry/prose hybrid projects can be submitted under either poetry or prose, per your preference.)
• We cannot accept translations for the BRCC.
• We will consider submissions including visual art (i.e. interior illustrations or photographs), but please note we do not regularly publish chapbooks with interior art. Please do not include suggested cover artwork with your submission.

The annual deadlines for the prize are May 31 and October 31.

Optional book bundle: Interested in reading a few of our chapbooks while we read yours? Below you will have the option to purchase a bundle of five of our chapbooks, which includes No Girls No Telephones by Brittany Cavallaro and Rebecca Hazelton, Far Enough: A Western in Fragments by Joe Wilkins, at first & then by Danielle Rose, Revenge Body by Caleb Luna, and Dominant Genes by SJ Sindu. The discounted price of $39.95 for this chap bundle includes the cost of shipping. Purchase not required for submission to the BRCC!

The immigrant narrative is at the heart of the American experiment. However, despite the contributions of immigrants to the cultural, financial, scientific, and artistic makeup of the United States, there is no clear home for new immigrant writings in the United States. To remedy this, Black Lawrence Press proudly announces the Black Lawrence Immigrant Writing Series, an innovative program designed to provide a home for new immigrant writings in the United States and bridge a gap in the American literary community. The Series will remain a self-standing body with complete autonomy within Black Lawrence Press, and its editorial and advisory boards will be composed of immigrant writers and/or authors whose works explore the immigrant experience.

Mission Statement:

The Black Lawrence Immigrant Writing Series aims to provide a clear and consistent home for new Immigrant Writings in the U.S. Book selections will be made by a four-member editorial board composed of writers in the U.S. who are either immigrants or whose works focus on the immigrant experience. Selections will be based on merit with the goal of publishing the best works by immigrants. Poets and authors, at any stage of their careers, who identify as immigrants are welcome to submit a book manuscript of poetry or prose or a hybrid text for consideration. Submissions are accepted year-round. However, selections are made in June and November for a total of two books per year. In addition to publication, marketing, and a standard royalties contract from Black Lawrence Press, authors chosen for the Black Lawrence Immigrant Writing Series will receive a travel stipend of $500, which can be used for book tours or in any manner chosen by the authors.

Editorial Board:
 Sun Yung Shin
 Rigoberto Gonzalez
 Ewa Chrusciel
 Abayomi Animashaun

Advisory Board:
 Barbara Jane Reyes
 Ilya Kaminsky
 Omofolabo Ajayi-Soyinka
 Virgil Suarez

Rules & Eligibility

1. Works by immigrants will be considered for the Black Lawrence Immigrant Writing Series. 

2. Submission is open to any individual living in the U.S. who identifies as an immigrant and who either (i) was born in another country, (ii) has at least one parent who was born in another country (iii) is a refugee, or (iv) lives in the United States under Asylum or a Protection Program, such as TPS or DACA .
 

3. No more than two book manuscripts can be submitted per year per author.
 

4. A third book manuscript submitted in a given year by an author will not be considered for the Writing Series.
 

5. All manuscripts received after May 31st will be considered for the November Reading Period.
 

6. All manuscripts received after October 31st  will be considered for the June Reading Period.
 

7. Only full length manuscripts of poetry (at least 45 pages), prose (fiction or nonfiction), and hybrid texts of poetry and prose (at least 100 pages) will be considered for the Writing Series. We are not accepting chapbook manuscripts at this time.
 

8. An author whose book manuscript has previously been selected for the Writing Series and published through Black Lawrence Press will not be considered a second time for the Series. However, the author in question is welcome to send new book manuscripts to Black Lawrence Press (BLP) for consideration during BLP’s June and November Open Reading Periods.
 

9. Only authors who have not previously published with Black Lawrence Press will be considered for the Black Lawrence Immigrant Writing Series.
 

10. Aside from Rules 1 through 9, there are no conditions for submitting manuscripts.
 

11. There are no entry fees.
 

12. Submissions are accepted year-round.
 

*13. Only one book manuscript will be selected for the June Reading Period, and only one book manuscript will be selected for the November Reading Period, for a total of two books per year. (* If no book manuscript is chosen for a June Reading Period, the Series Editors reserve the right to choose two book manuscripts (instead of one) in the November Reading Period immediately following the June Reading Period in question)
 

14. The Series Editors reserve the right to choose no book manuscript for the Writing Series during any given year or any Reading Period.

Frequently Asked Questions

1. How do you define an immigrant?
Anyone who identifies as an immigrant and who either (i) was born in another country, (ii) has at least one parent who was born in another country, (iii) is a refugee, or (iv) lives in the United States under Asylum or a Protection Program, such as TPS or DACA

2.  I live outside the United States, can I submit my work?
No, immigrant authors must be living in the United States when they submit their work for consideration

3. Can I submit an anthology for consideration?
No, anthologies will not be considered for the Writing Series. However, Black Lawrence Press (BLP) welcomes proposals for anthologies during its June and November Open Reading Periods

4. Are collaborations welcome?
No, works should be by one author only. However, collaborations are welcome during BLP’s June and November Open Reading Periods

5. Are BLP’s June & November Open Reading Periods the same as those of the Black Lawrence Immigrant Writing Series?
No, these are different and distinct programs within the Press. While the readings occur concurrently, The Black Lawrence Immigrant Writing Series is a self-standing entity with its own eligibility and rules and editorial and advisory boards. The editorial board, composed of immigrant authors, has complete autonomy in selecting book manuscripts for the Writing Series. Each year, these editors recommend up to two books for publication through Black Lawrence Press. Please see the program’s mission statement , rules and eligibility, and bylaws.

6. How many book manuscripts can I submit in a given year?
Only two book manuscripts will be considered each year per author

7. Can I submit two book manuscripts in different genres?
No, each author can submit no more than two manuscripts in a given year, regardless of genre

8. I am an immigrant and I have two book manuscripts, can I submit both at once or at different times of the year?
Yes. Each author is welcome to submit a maximum of two books per year either together or at different times in the given year

9. It’s the end of June or November and there’s been no announcement yet on the manuscript selected for the Writing Series. What’s going on?
Thanks for your patience. The four-member editorial board will announce the selected manuscript as soon as they’ve made a decision. That said, the editors also reserve the right to choose no manuscript during a reading period.

10. I have other questions not addressed here. Who should I contact with my questions?
Please send questions to immigrantwritingseries@blacklawrencepress.com. 

You may send an email to the same address to request a copy of the Black Lawrence Immigrant Writing Series bylaws.7. Only full length manuscripts of poetry, prose (fiction or nonfiction), and hybrid texts of poetry and prose will be considered for the Writing Series. We are not accepting chapbook manuscripts at this time.

Black Lawrence Press now offers scholarships for our consultation program. Although we work hard to keep the costs of our consults as low as possible, we understand that many writers are not able to afford these services. 

We plan to award a total of $1,000 in scholarships per month. The deadline to submit your manuscript is October 22. We will award the scholarships in the first week of November. If your manuscript is not selected for the scholarship, please feel free to apply again in the future.

Scholarship recipients will be chosen by senior Black Lawrence Press editors and will be selected based on the merit of the submitted work. While we do not request that submitters disclose any personal financial information, we want to be clear that these scholarships are intended for writers who would not otherwise be able to afford the cost of our consultation service. 

FAQ
 

1. Who is eligible for this scholarship?

Any writer who is looking for feedback on their work and would not otherwise be able to pay for a manuscript consultation is eligible. Applicants may be at any stage in their writing careers and we heartily welcome new writers. 

2. I'm not currently a student, may I apply?

Yes. This scholarship is open to both students AND applicants who are not currently pursuing degrees or otherwise enrolled in academic institutions. 

3. Do I need to demonstrate need to receive this scholarship?

No. We do not require any such demonstration.