Recipient of the 2021 William Peden Prize in fiction, Adam Prince earned his B.A. from Vassar College, his M.F.A. from the University of Arkansas, and his Ph.D. from the University of Tennessee. His award-winning fiction has appeared in The Missouri Review, The Southern Review, Narrative Magazine, and Sewanee Review among others. Bret Anthony Johnston described his short story collection, The Beautiful Wishes of Ugly Men as an example of “the power and sweep of what short stories can do.” His novel-in-progress earned him a 2024 Individual Artist Fellowship from the Alabama State Council on the Arts. Currently, he serves as a Visiting Writer for the Stokes Center for Creative Writing at the University of South Alabama and is a freelance editor. 

Adam 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 Adam at no additional charge.

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

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

The deadline to submit work for this consultation program is September 30. Adam will complete his work and respond to all participants by October 31.

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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 it's built—and how it might be made even better.

Raina J. León, PhD is Black, Afro-Boricua, and from Philadelphia (Lenni Lenape ancestral lands). She is a mother, daughter, sister, madrina, comadre, partner, poet, writer, and teacher educator. She believes in collective action and community work, the profound power of holding space for the telling of our stories, and the liberatory practice of humanizing education. She seeks out communities of care and craft and is a member of the Carolina African American Writers Collective, Cave Canem, CantoMundo, Macondo, among other creative communities. She is the author of black god mother this body, Canticle of Idols, Boogeyman Dawn, sombra : (dis)locate, and the chapbooks,profeta without refuge and Areyto to Atabey: Essays on the Mother(ing) Self. She publishes across forms in visual art, poetry, nonfiction, fiction, and scholarly work. She has received fellowships and residencies with the Obsidian Foundation, Community of Writers, Montana Artists Refuge, Macdowell, Kimmel Harding Nelson Center for the Arts, Vermont Studio Center, the Tyrone Guthrie Center in Annamaghkerrig, Ireland and Ragdale, among others. She is a founding editor of The Acentos Review, an online quarterly, international journal devoted to the promotion and publication of Latinx arts. She recently retired early as a full professor of education at Saint Mary’s College of California, only the third Black person (all Black women) and the first Afro-Latina to achieve that rank there; she now holds professor emerita status, the first Black person to achieve the rank there and third Latinx person. She currently supports poets and writers at the Stonecoast MFA at the University of Southern Maine. She is additionally a digital archivist, emerging visual artist, writing coach, and curriculum developer.

Raina 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 her at no additional charge.

Raina is accepting single poems, folios, chapbooks, and full-length collections for critique. The fees and parameters for each of these categories are 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 September 30. Raina will complete her work and respond to all participants by October 31. 

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Raina J. León's Statement of Purpose

Who are you as a creative in the world?  What inspires you and with whom is your work in conversation?  What are your dreams for your work and who will receive it?  I begin every consult with questions and often suggest other texts, videos, playlists, forms to complement your work.  

As I read your work, I am cultivating a sensitivity to how my own body receives it.  I read deeply for what I understand to be the intention (which I ask you to enlighten me to before I read so that I can honor it as best I can).  I look at the fine details of the form:  its music, its use of the page and space, how the lines begin and end, how meaning is constructed.  I ask questions, too, about how the form revealed itself as the best vessel for the poem, how that form has become a bridge of conveyance from one experience to another.  

I love to talk about revision and organization within a manuscript, considering together what the narrative or emotional arch is of the emerging manuscript and how the poems push towards revelation in how they work together.  I am also interested in those manuscripts that don’t consider cohesion and are more interested in collecting individually structured exemplars in lyric, whole in and of themselves, that in their relationship to one another reveal a multifacetedness of reality, a complexity that is unique and also celebratory of the complexity of a community of readers and beings.

For those interested in augmenting their work, I love cultivating reading lists and pushing folks to explore other artistic forms as a way of deepening their attention to an obsession or iconic invitation to deep relationship with a subject.  I am someone with deep experience in dance, music, visual art, critique, fabric arts, etc, so I love to pull from these various modes of expression in offering prompts to those interested.  

In my own work, I cultivate deep relationship in community, those of the present and those within my lineage through exploration of archival resources and documents.  I have a podcast with my mother, Generational Archives, which serves as this wonderful integration between spiritual revelation and ancestral reciprocal response, mother-daughter love and appreciation for one another, archival and genealogical research, and poetry.  I am also someone who has a keen ear for the sonic work happening on the page and a love of playing with forms, including experimentations in hybridity.  I am also someone who has worked with the incorporation of polyvocality through various techniques and used multiple languages in my work.  Those who are multilingual folks would find an eager reader in me, one who is resistant to the urge of explanation in italics.  

Writers whose work I love and read include folks like Jasminne Mendez, Lupe Mendez, Alexis Pauline Gumbs, Aracelis Girmay, John Murillo, Nicole Sealey, Evie Shockley, Craig Santos Perez, Audre Lorde, June Jordan, Martín Espada, Sandra María Esteves, Yesenia Montilla, Jenise Miller, Sarah Rafael García, Faith Adiele, Denise Frohman, Kirwyn Sutherland, Tongo Eisen-Martin, among many others.  

EJ Colen is a PNW-based educator, writer, and editor interested in long-form poetry, the lyric essay, literary and visual collage, and research-based approaches to storytelling and memoir. She is the author of What Weaponry, a novel in prose poems, poetry collections Money for Sunsets (Lambda Literary Award and Audre Lorde Award finalist) and Waiting Up for the End of the World: Conspiracies, flash fiction collection Dear Mother Monster, Dear Daughter Mistake, long poem / lyric essay hybrid The Green Condition, and fiction collaboration True Ash. With more than two decades of social justice activism, EJ remains committed to centering marginalized voices in all the work that she does. Nonfiction editor at Tupelo Press and freelance editor/manuscript consultant, she teaches in the English and Women, Gender, and Sexuality Studies Departments at Western Washington University.

EJ is accepting everything from short 2-page pieces of work to full-length manuscripts. The fees and parameters for each of these categories is as follows:

• Short pieces up to 2 pages in length, $25

• Folios of up to 5 pieces of work, up to 7 pages in length $55

• Extended pieces/chapbooks, up to 40 pages in length, $275

• Short manuscripts, up to 90 pages in length, $425

• Long manuscripts, up to 200 pages in length, $625

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

The deadline to submit work for this consultation program is September 30. EJ will complete her work and respond to all participants by October 31.

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EJ Colen's Statement of Purpose
 

Genre is a story we tell ourselves in order to make the world understandable. Like the moon is to the east of the north star this day. Like north is north and east is east. The moon doesn’t believe in east, and the star doesn’t know what north is. It only knows its fission, which it doesn’t have a name for anyway.

This is to say, I don’t believe in genre. I believe a work stands or it falls regardless of what it’s called. The moon still there, nameless.

That is not to say there are no rules.

In the second century b.c., Terence said, “There’s nothing to say that hasn’t been said before.” The first rule is to make it beautiful, to push it up against some newness in presentation. Since, after all, you’re just repeating. The first rule is to bring focus into qualitative control. Where the reader looks, where the eye lingers, where the moon’s dark leaves a wet ring on the coffee table. The first rule is balance.

I read best from a surface place of enjoyment, loving the words for what they are, stung cold when they don’t perform, worse yet when a writer packs a page with loose and unnecessary sounds. Condense, condense. While I read to understand the deeper intentionality of a piece, it is the line-level urgency of communication I’m most interested in.

When constructing a whole book, the manuscript should move forward by way of narrative, concept, sound, or the building of image, accruing meaning through both intention (content) and intuition (sound).

My aesthetics are informed by ravenous reading habit, 2-4 books a week, with a focus on work that doesn’t rely on conventional means. It is my hope that by reading everything, all the secrets of language and story will unlock themselves, matrix-like before me. Writers I currently cannot live without include Maggie Nelson, Roland Barthes, John Keene, Rachel McKibbens, Carmen Machado, Gertrude Stein, Selah Saterstrom & Craig Santos Perez.

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 This is Not a Frank Ocean Cover Album by Alan Chazaro, Oh My Darling by Cate O’Toole, Notes on the End of the World by Meghan Privitello, Killing It by Gaia Rajan, and Far Enough: A Western in Fragments by Joe Wilkins. 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 This is Not a Frank Ocean Cover Album by Alan Chazaro, Oh My Darling by Cate O’Toole, Notes on the End of the World by Meghan Privitello, Killing It by Gaia Rajan, and Far Enough: A Western in Fragments by Joe Wilkins. The discounted price of $39.95 for this chap bundle includes the cost of shipping. Purchase not required for submission to the BRCC!

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.

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 September 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.