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 November 30. Robert will complete his work and respond to all participants by December 31.

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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. 

TJ Beitelman is a writer, teacher, and manuscript consultant living in Birmingham, Alabama. He’s published a novel, John the Revelator, and a collection of short fiction, Communion, as well as three collections of poetry: In Order to Form a More Perfect Union, Americana, and This Is the Story of His Life, all from Black Lawrence Press. His stories and poems have appeared widely in literary magazines, and he’s received fellowships from the Alabama State Council on the Arts and the Cultural Alliance of Greater Birmingham. He taught writing and literature at Virginia Tech, where he earned an M.A. in English, and at the University of Alabama, where he earned an M.F.A. in creative writing and also edited Black Warrior Review. He currently directs the creative writing program at the Alabama School of Fine Arts in Birmingham. 

TJ 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 TJ at no additional charge.

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

• Individual Poems, up to 2 pages in length, $25
• Folios, up to 7 pages in length, not to include more than 5 poems, $55
• Chapbooks, 16-40 pages in length, $275
• Full-length collections, 45-80 pages in length $425

All manuscripts should be formatted in 12-point font.

The deadline to submit work for this consultation program is November 30. TJ will complete his work and respond to all participants by December 31.

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TJ's Statement of Purpose

“These are the two forces that form must come to terms with. The imaginative tendency to include everything, through disjunction and wildness, allows all to enter a poem, versus the concentrating gravities of formal control, of will and limits. We must work to lose control when control has become too limiting, just as we must assert more vigorously the presence of choice to counter a too great loss of control. The making of poems is in constant tack between these two poles and there will always be poems that fail in this zigzag sail.”

– Dean Young, from The Art of Recklessness: Poetry as Assertive Force and Contradiction

I agree with Young’s sentiment, and I think the “zigzag sail” is a perfect metaphor for how a poem or a manuscript forges its way into the world. If it was a straight line, we’d all be writing technical manuals. These are some basic elements I consider when I read and respond to poems-in-progress:

Intention. The essential question all readers must ask of what they read—why did I read this? What is it trying to communicate to me?

Form. Line and shape and punctuation are the parameters of a poem. Has this poem found its parameters? Is the poem in a traditional verse form? Free verse? Why?

Sound. What sounds does the poem make and how does it make them? Does it pay proper attention to the rhythms of language? Are there poetic devices such as alliteration/consonance, anaphora/repetition, rhyme, etc.? What affect do they have on the poem’s meaning?

Image. What does the poem help us see? What about the other physical senses? Are those things concrete or abstract? Satisfying or not? Are the metaphors fresh, unique, pertinent?

Language. Does this poem have good words in it? Does the juxtaposition of words create energy and meaning? (That is to say, there’s a difference between “orange juice” and “blood orange,” even though they both contain citric acid and originally come from trees.)

Voice. Does this poem come from an idiosyncratic (original, unique) perspective? All good writing does. Is that idiosyncrasy successfully communicated to the broadest audience possible?

I’ll respond to individual poems and to manuscripts with these elements guiding my commentary, with the overarching goal of reading the work on its own terms. You are, after all, the captain of the ship (to circle back to Young’s maritime metaphor); I aim to be the guy who climbs the mast and shouts “Land ho!”

Kristina Marie Darling is the author of over thirty volumes of poetry, essays, and fiction. An expert consultant with the United States Fulbright Commission and a twice-awarded Fulbright Scholar, Dr. Darling’s work has also 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 2024 Villa Lena Foundation Fellowship, a 2024 Civita Institute Fellowship, and eleven juried residencies at the American Academy in Rome. Dr. Darling has taught at Yale University, the American University in Rome, Stanford University, where she leads a workshop in professional empowerment through their Continuing Studies Division, the New School, the University of Cyprus, The Los Angeles Review of Books Publishing Workshop, Cedar Crest College’s Pan-European M.F.A. Program, and Webster University’s Geneva, Switzerland Campus, where she leads a biannual writing workshop for diplomats. She will serve as Visiting Researcher at Universidade do Porto and Visiting Fellow at the European Law and Governance School in Spring 2025, as well as Visiting Faculty at the Universidad Complutense de Madrid for the 2025-2026 academic year. She has served on juries for the Fulbright Specialist Award, the Corporation of Yaddo’s artist-in-residence program, the literature fellowship program at Millay Colony for the Arts, the Helene B. Wurlitzer Foundation’s artist-in-residence program, and many other awards in the United States and abroad.  Born and raised in the American Midwest, she now divides her time between Greece, Rome, and the Amalfi Coast.

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 November 30. Kristina will complete her work and respond to all participants by December 31.

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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 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.

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.

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.

EARLY BIRD SPECIAL: Submit your manuscript by November 30 and enjoy a $5 discount on the entry fee!

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, Leslie Li, Kevin Fenton, and Emily Mitchell. 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.

Black Lawrence Press welcomes proposals for bold and engaging anthologies that have the potential of contributing to our understanding of literature and the genres within it. Proposals by and/or about historically marginalized groups are especially encouraged.

Please include bios for the anthology editor(s), an abstract and proposed outline, and sample selections. Manuscripts should be paginated and formatted in an easy-to-read font such as Garamond or Times New Roman.
Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

During the November Reading Period of 2025, Black Lawrence Press (BLP) will consider anthology proposals through two submission tracks. The first track will be for anthology proposals on any subject; the second will be on themes specified by BLP that are topical and consistent with BLP's goals of publishing anthologies that are "bold and engaging with the potential of expanding our understanding of literature, literary genres, and/or social issues."

Track One - For the November Reading Period of 2025, BLP welcomes submissions for anthologies on subjects that are consistent with BLP's goals. Authors and anthologists who are members of historically marginalized voices and/or communities are especially encouraged to submit proposals for our consideration. 

Track Two - For the November Reading Period of 2025, BLP welcomes anthology proposals, from authors and anthologists, on the Black Male Experience in America. 

For Prospective Authors and Anthologists - Please know that we get numerous submissions during our reading periods, and we can accept no more than two anthology proposals in a single year. We ask that the vision behind each proposal be clear and well-articulated. 

Questions - Please send questions to Abayomi Animashaun, BLP's anthologies editor, at this email address: abayomi@blacklawrencepress.com

Submit biography and cultural studies manuscripts to our open reading period here.

All manuscripts should include a title page (including your name and contact info), table of contents, 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. Biography & Cultural Studies submissions should be double-spaced and 45-500 pages in length. Please include a brief bio or something about yourself in your cover note on Submittable.

Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit creative nonfiction manuscripts to our open reading period here.

All manuscripts should include a title page (including your name and contact info), table of contents, 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. Creative Nonfiction submissions should be double-spaced and 45-500 pages in length. Please include a brief bio or something about yourself in your cover note on Submittable.

Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit novels to our open reading period here.

All manuscripts should include a title page (including your name and contact info), table of contents, 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. Novel submissions should be double-spaced and 120-500 pages in length. Please include a brief bio or something about yourself in your cover note on Submittable.

Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit novellas to our open reading period here.

All manuscripts should include a title page (including your name and contact info), table of contents, 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. Novella submissions should be double-spaced and 50-110 pages in length. Please include a brief bio or something about yourself in your cover note on Submittable.

Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit full length poetry collections to our open reading period here.

All manuscripts should include a title page (including your name and contact info), table of contents, 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. Full-length poetry collection submissions should be 45-120 pages in length. Please include a brief bio or something about yourself in your cover note on Submittable.

Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit short story collections to our open reading period here.

All manuscripts should include a title page (including your name and contact info), table of contents, 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. Full-length short story collection submissions should be double-spaced and 90-300 pages in length. Please include a brief bio or something about yourself in your cover note on Submittable.

Simultaneous submissions are acceptable and encouraged, but please notify us by withdrawing your manuscript on Submittable immediately if it is accepted for publication elsewhere.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit poetry chapbooks to our open reading period here. (Chapbooks of prose poems and poetry/prose hybrid projects can be submitted under either poetry or prose, per your preference.) Chapbooks should be 16-36 pages in length.

*Please note: if you have submitted this same chapbook manuscript to the Black River Chapbook Competition that has just closed, there is no need to re-submit during the Open Reading Period.  

All manuscripts should include a title page, 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, not including front and back matter (table of contents, title page, etc.). Please include a brief bio or something about yourself in your cover note on Submittable.

• 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 during a given open reading period) are permitted, however we recommend you allow us to read only one manuscript from you at a time.
• Collaborative collections are welcome.
• Hybrid/multi-genre submissions are also welcome; please enter under the submission category that best fits your work.
• 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.

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 consideration–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 consideration.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Submit prose chapbooks (fiction, creative non-fiction, lyric essay, and prose hybrid) to our open reading period here. (Chapbooks of prose poems and poetry/prose hybrid projects can be submitted under either poetry or prose, per your preference.) Chapbooks should be 16-36 pages in length, double-spaced.

*Please note: if you have submitted this same chapbook manuscript to the Black River Chapbook Competition that has just closed, there is no need to re-submit during the Open Reading Period.  

All manuscripts should include a title page, table of contents (if applicable), and when appropriate, an acknowledgments page. Manuscripts should be 16-36 pages in length (double-spaced for fiction and creative non-fiction), not including front and back matter (table of contents, title page, etc.). Please include a brief bio or something about yourself in your cover note on Submittable.

• 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 during a given open reading period) are permitted, however we recommend you allow us to read only one manuscript from you at a time.
• Collaborative collections are welcome.
• Hybrid/multi-genre submissions are also welcome; please enter under the submission category that best fits your work.
• 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.

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 consideration–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 consideration.

Black Lawrence Press is happy to select many of our titles through our twice-annual Open Reading Periods in June and November. We ask all submitters to select one Black Lawrence Press publication at a discounted price ($14, including shipping for print editions). Proceeds from the open reading period will go directly back into supporting the activities of the press.

Each issue of Fair Copy includes a limited number of prose pieces, each comprised of an early draft; the final, fair copy; and a reflective craft essay from the author about the drafting and revision process.

Fair Copy wants to see flash prose, short stories, essays (broadly defined), hybrid prose, and experimental prose up to 7500 words. We’re open to submissions from both emerging and established writers, and we’re especially interested in pieces with forms and content solidified in surprising ways through the drafting and revision process. Fair Copy is also open to a variety of subgenres and movements including speculative and genre-bending work, and we skew towards literary styles and techniques. Pieces with gratuitous violence–physical, emotional, or psychological–are highly unlikely to fit our aesthetic, and for the benefit of our readers, we ask that you provide content warnings when appropriate. We do not consider AI-generated work or pieces developed with the aid of AI generators/software.  

In your cover letter, please provide a short, third person bio with your preferred contact information. Upload one file in 12pt, double-spaced font. Your file should include your submission followed by a page break and then a draft from your writing process which best shows the evolution of your piece. Submissions that do not adhere to these guidelines will not be considered. We aim to respond to authors in 3-6 months.

If a piece is accepted, editors at Fair Copy will request the author contribute a mini craft essay/reflection on your drafting and revision process, and either a writing exercise authored by the writer meant to engage an aspect of craft featured predominantly in the piece or permission for the editors of Fair Copy to develop a craft-based writing exercise based on the published piece. All accepted submissions will be included in print issues; select submissions will also be published online.

Questions about submitting can be directed to editors@faircopyjournal.com.

​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. ​
​
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) 

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.

Poets, Writers, if you are interested in facilitating a workshop for the Black Lawrence Press Workshop Series, please review the information below and submit a proposal.
 

Workshop Series Description

Join Black Lawrence Press on the second Tuesday of each month for writing workshops on craft and the writing life. Featuring Black Lawrence Press authors and other nationally recognized authors, these virtual Workshops on poetry, prose, and hybrid texts are open to poets and writers, regardless of age and level of expertise. Workshops last for ninety minutes, and they are free to the public.

When: The Second Tuesday of Each Month (Except in January & July)

Time: 8:00 PM - 9:30 PM EST
 

Where: Zoom (with Online Registration)

For Prospective Workshop Leaders:

Compensation: Compensation is $75 cash or $75 BLP gift card.

Format: The workshops usually last about 90 minutes. They are free and open to the public, but they require registration.

Essays for Workshops: Workshop leaders are invited to share craft essays or essays on the writing life with participants. Essays can be original works by workshop leaders, or they can be essays by other writers.  

Outreach: We’ll publicize each workshop on our social media and through our newsletter.

Note: The series is popular and is often well-attended. We encourage workshop facilitators to be prepared and to come ready to share their knowledge and joy of writing.

Proposals:

Proposals should include the following -

1. Title of your workshop

2. A short description of your workshop

3. PDF of the Craft Essay you'd like to use (This is optional)

4. Your short bio

Sample Description of Workshop

Writing your Mad Skills: a workshop with Tanis MacDonald

Permission is a mad skill; this workshop is designed to assist poets in locating the space from where they write and the people to whom they write. By identifying our individual “mad skills” through a series of writing prompts, we will generate material for poems that weave together generosity, risk, and connection. Come prepared to write! 

Reading: “Mad Skills for the Twenty-First Century,” Far Villages, pages 508-514.   

Frequently Asked Questions:

Q: Are the events really free and open to the public?

A: Yes! The Black Lawrence Press Workshop Series is free and open to the public.

Q: Are the events also free to people living outside of the United States?

A: Yes! The Black Lawrence Press Workshop Series is free and open to all peoples from all countries. 

Q: Are the events recorded?

A: No, the sessions for the series are not recorded.

Q: Do workshop leaders need to assign craft essays before each workshop?

A: No, this is optional.

Q: Can workshop leaders invite friends and students to attend the workshop?

A: Absolutely!

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 award up to $1,000 in scholarships per month. The deadline to submit your manuscript is November 22. We will award the scholarships in the first week of October. If your manuscript is not selected for the scholarship, please feel free to apply again in the future. However, please wait at least six months before sending a second scholarship application.

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.