Ends in 6 days, 21 hours

Multiple price options

During the month of February, Black Lawrence Press authors Adam Prince and Kelly Magee are on board to critique fiction manuscripts; and they are accepting everything from flash fiction to novels. The fees and parameters for each of these categories is as follows:

  •     Flash fiction, up to 2 pages in length, $15
  •     Short stories, up to 20 pages in length, $45
  •     Chapbooks, up to 40 pages in length, $150
  •     Novellas, up to 100 pages in length, $250
  •     Short story collections, up to 180 pages in length, $350
  •     Novels, up to 300 pages in length, $700

All manuscripts should be double spaced and formatted in 12-point font.

The deadline to submit work for this consultation program is February 28. The consultants will complete their work and respond to all participants by March 31.

Space in this program is limited, so please be sure to submit your work soon!

Note: Please do not send manuscripts that promote hate speech, are intended to harass or bully a specific person or group of persons, or include glorified sexual violence.

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Adam's Statement of Purpose

Though my writing education started with the short story, I’ve recently branched out a great deal—into novel writing, creative nonfiction, screenplays, and even some poetry. In all of this, though, my emphasis is narrative. I live in awe of the many various forms stories can take. Often, it’s just a matter of following our stories rather than trying to control them. We think we’re shaping the work, but the work has a shape of its own, if only we can find it.

I don’t believe in rules, but I do believe in choices. Writing any narrative is a series of choices—about who our characters are, about tone, point of view, plot, genre and so on. Many of these may be subconscious, but they’re choices we make all the same.

My Ph.D. helped me learn about the wide variety and deep history of narrative. So, when I’m working through a conundrum in my own work, I can often look into how other writers have tackled similar conundrums. As an editor and teacher of writing, then, I see my role as helping the writer see some of the choices open to them. For the most part, I focus on the bigger picture issues that give a narrative life and shape.

As a reader, my interests tend to vary quite a lot. I love the giant drama of Charles Dickens and Patrick O'Brian. I love the quiet precision of Virginia Woolf and James Salter, the sheer mastery of James Baldwin and Alice Munro, the imaginative force of George R.R. Martin and Neil Gaiman, the quirk of Kazuo Ishiguro and George Saunders, the lyrical power of Toni Morrison and Jhumpa Lahiri. And on and on . . .

Really, I can fall in love with any good story, no matter the genre or subject matter. And I don’t believe that my interests need to be your interests. More, I want to help you see what’s happening in your work already, and how you might help it along. I love diving into the guts of a narrative to really see how its built—and how it might be made even better.

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