Gwendolyn Paradice is the author of the short story collection More Enduring for Having Been Broken (Black Lawrence Press, 2021), winner of the 2019 The Hudson Prize, & the co-authored chapbook Carnival Bound (or, please unwrap me) (The Cupboard Pamphlet, 2020). Their work has appeared in Booth, Zone 3, ANMLY, Tin House Online, The Journal of American Folklore,  & others. Gwendolyn is a queer, disabled, enrolled citizen of the  Cherokee Nation, & their prose often explores form and personal  identity. They are currently an Assistant Professor of English and  Philosophy at Murray State University where they direct the Creative  Writing Program.

Gwen 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

Gwen 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 Gwen 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 December 31, 2024. Gwen will complete their work and respond to all participants by January 31, 2025.

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Gwendolyn Paradice's Statement of Purpose

I’m a writer and reader who is always looking for stories that feel like they’re doing something new. I get excited by strangeness, experimentation, and work that flirts with showing me its construction, because I am also someone who is fascinated by structure. For me, structure is what makes a story. A short story, novel, or flash piece could have the most original conflict, characters, or command of language I’ve ever seen, but if the structure isn’t benefitting the story—if I can’t come up with a single argument for how structure and story are well-paired—then I have a problem. Even a narrative that’s familiar in its telling can find new life with a new structure. Structure is my map, my anchor, and in some of the short stories and novels I love most, it’s cause for the ways I’m most significantly surprised and moved. 

When working writers on their manuscripts, I like to find out what stage an author is at with their work and use this as a guide for how I initially read and respond. Some writers are working with new rough drafts, other writers feel like their work is almost finished, and still others are trouble-shooting why completed pieces aren’t finding homes with journals or presses. Each of these circumstances can benefit from a specific editorial approach. 

At the same time, I also think from an independent perspective informed by over a decade of work with students, literary journals, and crafting my own prose. I believe that in order to successfully consult on a work, a fellow writer needs an editorial eye, but also insight into craft and execution from a writer’s perspective. I look for craft that’s currently in service to a narrative, I also look for craft that could benefit from revision or re-thinking, and I also explore how craft elements might work together in more effective ways. I like to know what a writer’s current concerns and thoughts are on the craft in their work so that I can also provide feedback in response to specific points a writer would like addressed. 

In my own fiction—both short form and longform—I gravitate to the speculative. Magical realism, weird fiction, sci-fi, fantasy, horror, historical fiction, and revisionist fiction are all sub genres I work in. That said, I read very widely across time, place, and sub-genre. New friends and students are often surprised to hear that one of my favorite novels is Charlotte Brontë’s Jane Eyre and that one of my favorite stories is Guy de Maupassant’s “La Maison Tellier,” which was published in 1881. I also like to play with structure (though admittedly, I do this more in my nonfiction than my fiction), and I’m often inspired by unique imagery and rhythms of prose. I also consider myself a place writer—my work informed by the constant reminder that the United States is occupied land, and my writing tends to skew towards thematic conversations about race and ethnicity, gender and sexuality, and disability. As a queer, disabled, Cherokee-Caucasian writer, identity usually finds its way into story, or if not that, at least the initial brain-storming process. Because I know identity is often a part of process, I especially look forward to having conversations with writers about the lifespan of their work, not just the finished product. 

Marcela Sulak's fifth title with Black Lawrence Press, a novella-in-verse, The Fault, was published in 2024. Her previous four titles include three poetry collections, City of Skypapers, a 2021 finalist for the National Jewish Book Award, Decency, and Immigrant, as well as her lyric memoir, Mouth Full of Seeds. She’s co-edited with Jacqueline Kolosov the 2015 Rose Metal Press title Family Resemblance. An Anthology and Exploration of 8 Hybrid Literary Genres. Sulak, who translates from the Hebrew, Czech, and French, is a 2019 NEA Translation Fellow, and her fourth book-length translation of poetry: Twenty Girls to Envy Me: Selected Poems of Orit Gidali, was nominated for the 2017 PEN Award for Poetry in Translation (University of Texas Press). Her essays have appeared in The Boston Review, The Iowa Review, The Los Angeles Review of Books, Asymptote, and Gulf Coast online, among others. She coordinates the poetry track of the Shaindy Rudoff Graduate Program in Creative Writing at Bar-Ilan University, where she is an associate professor in American Literature. She also edits The Ilanot Review and hosts the TLV.1 Radio podcast, Israel in Translation.

Marcela 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

Marcela 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 Marcela at no additional charge.

All manuscripts should be formatted in 12-point font. The deadline to submit work for this consultation program is December 31, 2024. Marcela will complete her work and respond to all participants by January 31, 2025.

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Marcela's Statement of Purpose

I am seduced by tensions in poetry. With regard to the music of the poem, “tensions” might mean the slippage between an ideal form or meter and the physical form or meter embodied in the syntax of the sentence and line breaks. In narrative, it might mean the balance between what is said and what remains unspoken. In documentary poetics, it might mean the desire new facts and information create in me to change my life, or to learn more. In hybrid work, tension might mean the memory of a traditional genre in the unmapped freedom of an experimental form. 

Although we love most what we have to work for in poetry, as in most things, we also have to have a reason to invest our interest and our care. Sometimes poetry fails to engage us because we can’t access it—the poem is still in the poet’s head, speaking a private symbolic language. Sometimes a poem is so anxious to please us or so anxious not to be misunderstood, it spells everything out, overwhelming us. A good poem is an exploration the reader and writer make together. A good poem is a process—it introduces us to a new born world, rather than wrapping up a completed one.  A good poem is a generous poem, that gives the reader a space to feel, think, and discover connections for herself, through the gaps between what is said and what is suggested; what is and what might be. 

My approach to reading your poems and helping you maximize their creative tensions is discovering what your poem most values by determining how the poem works. Then, I can act as a poet-mechanic, helping you fine-tune the language, the music, the balance between what is there and what is implied. I pay special attention to the meaning-making music of your work (rhythms, vowel and consonant sounds, the play of syntax and stress, etc.).

My approach to reading your manuscript is to determine what your collection values, and how best to achieve the fullest effect, with regard to musical scope, narrative arc, and the timing of emotions, information, and sound. 

In my own work, I specialize in prosody (the music of lines), documentary poetics, hybrid work (prose poems, nano-nonfiction, essays in verse, lyric essays, etc.) and literary translation. In other people’s poems, I particularly enjoy work that engages with the world around it with fresh curiosity. I love work that is beautiful and musical, but not slight. I appreciate poems that are honest, vulnerable, complex, and that take risks. I like poems that are acts of investigation and discovery. Poets and writers I have recently been enjoying, and who have influenced me most long term include Yehuda Amichai, Elizabeth Bishop, Paul Celan, Hart Crane, Natalie Diaz, Emily Dickinson, Terrance Hayes, Yusef Komunyakaa, Layli Long Soldier, Sabrina Ora Mark, Erika Meitner, Pablo Neruda, Mary Ruefle, Wallace Stevens, C.D. Wright, Rachel Zucker, and Louis Zukofsky, to name a few. 

Each year Black Lawrence Press will award The Big Moose Prize for an unpublished novel. The prize is open to new, emerging, and established writers. The winner of this contest will receive book publication, a $1,000 cash award, and ten copies of the book. Prizes will be awarded on publication. 

The Big Moose Prize is open to traditional novels as well as novels-in-stories, novels-in-poems, and other hybrid forms that contain within them the spirit of a novel.

The Big Moose Prize is open to traditional novels as well as novels-in-stories, novels-in-poems, and other hybrid forms that contain within them the spirit of a novel.

Entries are read blind by senior Black Lawrence Press editors and a rotating panel of former Big Moose Prize winners.

All manuscripts should include a title page (listing only the title of the work), and when appropriate, an acknowledgments page and table of contents. Manuscripts should be paginated and formatted in an easy-to-read font such as Garamond or Times New Roman. Manuscripts should be 90-1,000 pages in length, 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. 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.

Manuscripts containing previously published excerpts are absolutely eligible–please simply note previously published work on an acknowledgments page. On the other hand, if your manuscript has been previously published as a whole (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.

• 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 manuscripts are welcome.

The annual deadline is January 31.

The previous winners of The Big Moose Prize are Tracy DeBrincat, Jen Michalski, Betsy Robinson, Genanne Walsh, Megan McNamer, Robley Wilson, Shena McAuliffe, Colin Hamilton, Ron Nyren, Caroline Patterson, Jill Stukenberg, Sara Johnson Allen, and Leslie Li. Below, you will have the option to purchase a selection of their novels for a discounted fee, which includes the cost of shipping. While authors from around the globe may submit to the Big Moose Prize, these discounted book prices are only available to those with U.S. mailing addresses.

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.

​tr. is an international literary journal that celebrates and highlights the cultural power and vital contributions of literature in translation to the english-speaking world. ​
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tr. publishes poetry and prose translated from any language. we read submissions on a rolling basis. we publish work on a rolling basis. 

tr. reads the world. join us. . .

Submissions should be formatted in an easy-to-read font such as Garamond or Times New Roman. Please attach your work as a .pdf, .doc, or .docx file and include a copy of the original text as well as a cover letter and bios for the author and the translator. 

It is the translator’s responsibility to secure all relevant and appropriate translation rights.

All submissions must be previously unpublished. Simultaneous submissions are allowed. 

If you have a pending submission, please wait for a response before submitting again. Our average response time is 2–3 months. 

General submissions require a submission fee of $2.00 per submission.   

Fiction and Nonfiction (up to 3000 words)  

Poetry (no more than 5 poems)