Dana Diehl is the author of Our Dreams Might Align (Splice UK, 2018) and the collaborative collection, The Classroom (Gold Wake Press, 2019). Her chapbook,TV Girls, won the 2017-2018 New Delta Review Chapbook Contest judged by Chen Chen. Diehl earned her MFA in Fiction at Arizona State University. Her work has appeared in or is forthcoming in North American Review, Necessary Fiction, Mid-American Review, and elsewhere. She is an educator in Tucson.

Dana 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 Dana at no additional charge.

Dana is accepting everything from flash fiction to novels for critique. 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

All manuscripts should be double spaced and formatted in 12-point font. The deadline to submit work for this consultation program is July 31. Dana will complete her work and respond to all participants by August 31.

----------------------

Dana's Statement of Purpose

I’m drawn to fiction for its ability to make the familiar feel unfamiliar. I love work that is inventive, prose that electrifies, and stories that transport and reveal.

As your consultant, my goal is to meet your writing where it is. I want to identify what makes your writing stand out—what makes it you—and to help your work become the best version of itself. I will do this by looking at how story elements such as plot structure, characters’ emotional arcs, setting, and language work together to realize your vision. My focus will not be on copyediting, but on identifying how your writing works on a macro level. I will ask questions that may help you tighten your plot structure. I will ask “what if?” questions that, if necessary, may help you expand it.

I love speculative writing, magical realism, genre-blurring work (particularly work that draws from horror, fantasy, and sci-fi), and realism. However, I enjoy reading in any genre. Some novels and story collections I’m into right now are The Antidote by Karen Russell, Exit Zero by Marie-Helene Bertino, Meet Me at the Crossroads by Megan Giddings, and What We Fed to The Manticore by Talia Lakshmi Kolluri. I enjoy these books for their immersive details, sense of wonder, and use of speculative storylines to reveal emotional truths.  

In my own work, I often take inspiration from the natural world, fairy tales, film and TV, and sometimes video games. I write stories that are often rooted in setting and explore themes such as climate change, motherhood, and transformation. I have published a chapbook of flash fiction, TV Girls, exploring the tropes of reality television. I’ve also published two short story collections, Our Dreams Might Align and The Classroom, the latter of which is a collaboration with Melissa Goodrich. I have a third short story collection, The Earth Room, forthcoming from Black Lawrence Press in early 2026.

Alexandra Lytton Regalado is a Salvadoran-American author, editor, and translator. She is the author of Relinquenda, winner of the National Poetry Series (Beacon Press, 2022); the chapbook Piedra (La Chifurnia, 2022); and the poetry collection, Matria, winner of the St. Lawrence Book Award (Black Lawrence Press, 2017). Alexandra holds fellowships at CantoMundo and Letras Latinas; she is winner of the Coniston Prize, and her poetry, short stories, and essays have been published in Poetry, poets.org, Best American Poetry, BOMB, World Literature Today, Agni, and Creative Nonfiction among others. Her translations of contemporary Latin American poetry appear or are forthcoming in the New England Review, Poetry International, FENCE, and Tupelo Quarterly and she is translator of Family or Oblivion by Elena Salamanca, Prewar by Tania Pleitez, and co-translator of heidi restrepo rhodes’ Ephemeral. She is co-founder of Kalina, a press that showcases bilingual, Central American-themed books and she is assistant editor at the non-profit SWWIM, Supporting Women Writers in Miami.

Alexandra is accepting folios, chapbooks, and full-length collections for critique. 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

Alexandra 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 Alexandra at no additional charge. We offer 30-minute Zoom sessions to writers who submit chapbooks and 45-minute sessions to writers who submit full-length manuscripts.

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

----------

Alexandra Lytton Regalado's Statement of Purpose

We need time and distance.

We need to get out of the way.

We need another set of eyes.

We need to trust chiming bells, listen for off-key or flat sounds.

We need to toss extras and strays into the bonepile.

We need to listen to its pulse.

We need to prune and carve. 

We need to let it be its own thing. 

It’s great when we learn to trust our instincts for editing. To understand that we need to separate ourselves from our creations, to strangify the work so that we can see how it resonates, revise without remorse, go deeper if needed, abandon or amplify ideas, test new strategies. Maybe it’s enough to let that new poem sit for a while and have another look when the dizzy haze of excitement, the thrill of completion have burned away with the morning’s light. Some subjects feel too close to us we feel the urge to stick the whole manuscript in a drawer and look at it years later. Sometimes, what tips off that editing process is honest and clear feedback from a trusted reader.

I cannot read a book without a pencil in my hand. I engage with the text in the margins—asking questions, making exclamations of praise or surprise. After letting that first impression wash over me if the poem is really good I’ll re-read it and try to figure out its dance moves, try to discover the architecture, and see what tricks and tips I can add to my toolkit. Reading good poetry spurs my own creative impulse—I make notes on ideas for my own work, sometimes I magpie-steal a great word or phrasing style. I like to approach the poem cold, then I gather some information about the author, I might read a review, I might look for older work to compare the range and development of style. Poets that I have been reading or re-reading lately and that serve as tuning fork for my own writing are Ada Limón, Natalie Diaz, Tracy K. Smith, Paisley Rekdal, Carolina Ebeid, Tarfia Faizullah, Ilya Kaminsky, Aracelis Girmay, Patrick Rosal, Eduardo C. Corral, Yusef Komunyakaa, Eavan Boland, Robert Hass, Larry Levis, Sylvia Plath, and Ranier Maria Rilke.

I am an editor, translator, and writer and in my own experience it has been useful to switch hats throughout the process of writing a manuscript. I have served as a judge for literary prizes including the Neustadt Prize, the Andrés Montoya Prize, the Poetry International Prize, the Alta California Chapbook Prize, as well as the Juegos Florales, the annual national prize in El Salvador. I’ve been a reader for the National Poetry Series and for the Miami Book Fair fellowships. I currently serve on the advisory board for the Lorca Latinx Prize and am a humanities advisor for the Latino Poetry Initiative of the Library of America. I have an MFA in poetry as well as an MFA in fiction and I love writing that pushes genre categories.  

When I consider a manuscript I approach the work openly and try my best to engage with it. I approach from different perspectives—I see the bird’s eye view of the manuscript and also focus on the individual parts of the poems, the verses, the words, and sounds. Big picture concerns: How does the structure work towards strengthening the main themes and ideas? How is the manuscript formulated? Is it an A/B side of a record, is it a series of boxes you go opening up, is it Act 1, Act 2, Act 3? Why does this poem exist? Here, we consider intention/urgency/innovation. What is it saying and how is it saying that in a new/different/unexpected way?

Zooming in then: When I annotate your manuscript I present an x-ray of what is going on my mind as a reader so you can see if the results are in line with your intentions. I ask questions, make comments about what resonates and what is in discord; I consider word choice/image. Sometimes it’s about adding more, considering another layer, going deeper—sometimes we haven’t fully committed to an experiment and we need to underline our intentions, go to the next level—but most of the time it’s about sifting through the noise and cutting out the flab, paring away to the core, discovering the strengths of the poems and building on those, sharpening, clarifying. What I most appreciate is an authentic voice and when editing, my ultimate goal is to respect the writer’s style and intentions. I do offer suggestions and alternatives, but mostly, I ask questions. So, with thanks to BLP, I offer you my eyes and my honest feedback.

Jenny Irish is the author of the hybrid poetry collections Common Ancestor (Black Lawrence, 2017) and Tooth Box (Spuyten Duyvil, 2021),  and the short story collection I Am Faithful  (Black Lawrence, 2019). She teaches creative writing at Arizona State University. Jenny is accepting everything from short pieces (up to 2 pages) to full-length manuscripts (up to 200 pages). The fees and parameters for each of these categories is as follows:

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

 • Folios, 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 formatted in 12-point font.

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

----------------------------------------------------------

Jenny Irish's Statement of Purpose

Foundational to my engagement with any manuscript is the understanding that it is a work-in-progress: a space of possibility. Rather than approach a manuscript as a flawed object needing to be fixed, my first priority is to understand the goals of the writing, how those goals are currently being achieved, and then determine how my feedback can help to more fully realize them.

Writing isn’t formulaic, so it’s vital to treat every piece as unique and meet it on its own terms. For example, a non-linear, fragmentary novella is very different than a linear sequence of micro prose pieces. Each unique piece will receive the most benefit from feedback that encourages that particular manuscript to be the strongest version of itself. Working together, our objective is to strengthen, not to “correct” your work.

I don’t seek to primarily draw an author’s attention to what is “flawed,” so much as I read to identify areas where the writing could benefit from more, less, or different. More, less, and different are macro concepts that can help generate useful questions about a piece. Where would the writing benefit from more? This could involve the foreshadowing that makes a revelation feel like a discovery for the reader, as opposed to a manipulation, or, could be about the groundwork for thematic concerns a piece of writing wants to engage, or, an absence of clear motivation. Asking where more is needed can help with cohesion and clarity. Asking where less is needed, can help point to areas where authorial strategies are perhaps being overused, or, a recurring image that appears more than is needed, diluting its effect, or, a situation where an author has written their way into a narrative that actually begins on the third page. Different, can help a writer think about an element that isn’t achieving what it intends, and encourage the consideration of alternatives. This might apply to the relationship between content and form, or the ordering of a sequence.

As well as engaging with a manuscript on a macro level, I will be reading and responding to it on a micro level: at the level of the line—not line editing—but speaking to language and image, the texture and flow created by diction and syntax.

As a writer, I am interested in the vast possibilities for movement and the accumulation of meaning in different structures. My work is narrative, often moves associatively, and draws on a range of genre influences including fiction, poetry, and the essay. I do love a striking sensory detail. I love sound and texture on the page. As a reader, I am often drawn to works that challenge easy genre classification. I enjoy a wide range of aesthetics and read broadly. Some of my recent favorites are The White Book by Han Kang, Spectacle by Susan Steinberg, Many Restless Concerns by Gayle Brandeis, and Not Merely Because of the Unknown that was Stalking Toward Them by Jenny Boully.

Each year Black Lawrence Press will award the St. Lawrence Book Award for an unpublished collection of poetry or prose. The St. Lawrence Book Award is open to any writer who has not yet published a full-length collection in any genre. 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.

Entries are read blind by senior Black Lawrence Press editors and a rotating panel of former St. Lawrence Book Award winners.

Manuscripts should include a title page (listing only the title of the work), 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. Manuscripts should be 45-95 pages in length (poetry) or 120-280 pages in length (prose), 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 individual stories, essays, or poems that have been previously published online or in print 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 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.

• 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.

The annual deadline for the prize is August 31. Please enter poetry submissions here.

The past winners of The St. Lawrence Book Award are Marcel Jolley, Stefi Weisburd, Jason Tandon, Fred McGavran, Yelizaveta P. Renfro, Brad Ricca, Katie Umans, Adrian Van Young, Craig Bernier, KMA Sullivan, Thomas Cotsonas, Alexandra Lytton Regalado, Vedran Husic, Leigh Camacho Rourks, Jody Chan, Anna B Sutton, Kim Sousa, Shubha Sunder, Charlie Peck, Max McDonough, and Jill Rosenberg. Below, you will have the option to purchase a selection of their titles for a discounted fee, which includes the cost of shipping. While authors from around the globe may submit to The St. Lawrence Book Award, these discounted book prices are only available to those with U.S. mailing addresses.

Each year Black Lawrence Press will award the St. Lawrence Book Award for an unpublished collection of poetry or prose. The St. Lawrence Book Award is open to any writer who has not yet published a full-length collection in any genre. 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. 

Entries are read blind by senior Black Lawrence Press editors and a rotating panel of former St. Lawrence Book Award winners.

Manuscripts should include a title page (listing only the title of the work), 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. Manuscripts should be 45-95 pages in length (poetry) or 120-280 pages in length (prose), 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 individual stories, essays, or poems that have been previously published online or in print 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 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.

• 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.
   

The annual deadline for the prize is August 31. Please enter prose submissions here.

The past winners of The St. Lawrence Book Award are Marcel Jolley, Stefi Weisburd, Jason Tandon, Fred McGavran, Yelizaveta P. Renfro, Brad Ricca, Katie Umans, Adrian Van Young, Craig Bernier, KMA Sullivan, Thomas Cotsonas, Alexandra Lytton Regalado, Vedran Husic, Leigh Camacho Rourks, Jody Chan, Anna B Sutton, Kim Sousa, Shubha Sunder, Charlie Peck, Max McDonough, and Jill Rosenberg. Below, you will have the option to purchase a selection of their titles for a discounted fee, which includes the cost of shipping. While authors from around the globe may submit to The St. Lawrence Book Award, these discounted book prices are only available to those with U.S. mailing addresses.

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

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

FAQ
 

1. Who is eligible for this scholarship?

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

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

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

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

No. We do not require any such demonstration.