Start Writing Fiction is a free online course offered by The Open University. The eight-week program focuses on a skill which is central to the writing of all stories and novels – creating characters.

Participants will hear from a number of successful authors, including Michele Roberts, Alex Garland, and Louis de Bernieres, as they talk about how they started writing. The rituals of writing and the importance of keeping a journal will also be explored.

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Iceland Writers Retreat is offering talented writers from around the world the chance to attend its April 2018 program for free.

For this scholarship program, writers can apply for either full or partial funding. The full funding scholarship includes a round-trip airfare plus the full retreat package including accommodation, tours, most meals and all workshops for the duration of the event. Partial funding covers the participant costs only and does not include accommodation or flights.

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Tin House is Accepting Unsolicted Submissions for 2017

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“Tin House is an invaluable repository of fine American writing and American fiction, presented in a crisp and entertaining visual format.”
– Stephen King

The first issue of literary magazine Tin House was published in 1999. Based in Portland, Oregon, Tin House publishes fiction, essays, and poetry, and its contributors have frequently been recognised by major American literary awards and anthologies including the Best American Short Stories and the O. Henry Prize.

Throughout September Tin House will be accepting submissions for its first two issues of 2018:

  • Spring – Theme: Candy, to be published 1 March 2018
  • Summer – Open, non-themed, to be published 1 June 2018

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Aerogramme Writers’ Studio has always aimed to provide helpful and interesting news and resources to writers at all stages of their careers. What started out as a small blog with a readership of a few friends (and some accidental visitors looking for collectible vintage stationery) has grown into something much larger. We’ve trended on Reddit, been retweeted by Neil Gaiman and linked to by the New York Times, to name but a few highlights.

As the site has grown, so have the costs. Up until now most of these have been offset by (ever dwindling) advertising revenue and some affiliate links. Unfortunately, this revenue model is not covering our growing expenses and we’ve had to look for something new.

To help secure the future of this site, and its continued growth, we’ve decided to launch a Patreon page. If you haven’t come across Patreon before, it’s a site designed to give creators a way to connect directly with their audiences and get paid for things they are already doing.

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Kathy Fish Fellowship - SmokeLong Quarterly

Literary journal SmokeLong Quarterly is inviting applications from new and emerging flash fiction writers for the 2018 Kathy Fish Fellowship.

Established in 2003, SmokeLong Quarterly aims to publish the best flash fiction to the web, whether written by widely published authors or those new to the craft. Flash fiction published by SmokeLong has been recognised by the Pushcart Prize, Best of the Web, Best Small Fictions and the Wigleaf Top 50.

The winner of the Kathy Fish Fellowship 2018 will act as a writer-in-residence, with their flash fiction appearing in every issue of the magazine next year. The successful writer will receive a total remuneration of US$500; $100 per story plus $100 when the fellowship is announced.

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The Arkansas International is inviting entries for its inaugural emerging writer’s prize. The winner will receive US$1000 and publication. The prize is only open to writers who have not yet published a full-length book.

The Arkansas International is a journal of literature from the University of Arkansas Program in Creative Writing and Translation. Its first issue was published in Fall 2016 with the aim of publishing the best fiction, poetry, essays, comics and works in translation from the United States and abroad.

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A guest post by Sadye Teiser, Editorial Director of The Masters Review

When it is done right, a story told in the first-person plural can hold incredible power. In this craft essay, we take a look at successful uses of this point of view and some of its common pitfalls.

“If the first-person plural tries to be too sweeping, if it does not acknowledge its own subtleties, it can miss the mark.”

Here at The Masters Review, we often see trends among submissions. During any given reading period, patterns emerge: sometimes, there are a remarkable number of stories with surreal elements; lately, we’ve been seeing a lot of pieces about drones; for one anthology, we received an uncanny number of stories that involved fish hooks. One of the most interesting trends to identify, however, is the popularity of specific points of view. For a while, we received an enormous amount of stories told in the second person (and we still get a bunch of these). But what we have been noticing a lot of lately (and loving) is fiction told in the first-person plural. Authors are embracing the collective voice—“us” and “we”—to tell tales about group experience.

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