Would you like two months in bustling Shanghai to hilolish on your manuscript? Or perhaps a working cattle ranch in rural Wyoming would provide you with the inspiration you need to start a new project? These residencies provide writers with a chance to escape daily life’s distractions and focus on their work. Each residency has its own terms and conditions, so please read the relevant websites thoroughly before commencing any applications.
Krakow UNESCO City of Literature Residency Program
is dedicated to young and emerging writers from the Cities of Literature of the UNESCO Creative Cities Network. It offers a two-month stay at Villa Decius, a historical complex and cultural centre in Krakow. Residents receive a stipend of 2500 PLN (US$730) for travel costs. Applications close on 22 January.
Robert Louis Stevenson Fellowship
is an annual award that allows professional writers living in Scotland to enjoy a month-long residency at the Hôtel Chevillon International Arts Centre at Grez-sur-Loing in France with a stipend of £1200. Each year, four writers are invited to spend time with other artists and absorb fresh cultural experiences. Applications close on 31 January.
Visegrad Literary Residency Program
consists of a series of residency stays and literary events for writers of fiction and non-fiction, poets, essayists, critics as well as literary translators, publicists and journalists from the Visegrad Countries (Czech Republic, Hungary, Poland and Slovakia). Applications are open until 31 January.
Philip Roth Residence in Creative Writing
is hosted by Bucknell University in Lewisburg, Pennsylvania. Named for the University’s renowned literary alumnus and initiated in the fall of 1993, the Philip Roth Residence in Creative Writing offers up to four months of unfettered writing time, lodging in Poets’ Cottage and a stipend of US$5000. Applications close on 1 February.
A guest post by Ana Prundaru
Regardless of your disability or health status, the following ten barrier-breaking literary venues are absolutely worth your time.
A literary magazine for disabled women and non binary individuals, Monstering features a clean design and showcases pieces that intersect race, gender and class with disability, while addressing commonly faced issues of oppression, poverty and discrimination. The advice column “Dear Monster” adds a pleasingly offbeat touch to the otherwise writing-centric publication.
- The Deaf Poets Society
The editors of The Deaf Poets Society publish art, interviews, reviews, poems, prose and cross-genre works by deaf and disabled creatives. The issues are filled with hauntingly vivid creations, which draw heavily from personal experience and – in line with its manifesto – elegantly capture complex topics like intersectional discrimination, breaking down marginalising rhetoric about deafness or disability. Deaf Poets Society also offers community writing workshops focused on the lived experience of deafness or disability.
The Sesame Street Writers’ Room is accepting applications from writers from underrepresented racial backgrounds for its 2018 Fellowship Program.
The Sesame Workshop will select between seven and ten emerging writers who will each receive hands-on writing experience guided by Sesame Street veterans and other media industry leaders. The selected fellows will participate in an eight-week program (one three-hour class per week) in New York City and up to two participants will have the opportunity to receive creative development deals and further mentorship.
Entries are now open for the Kenyon Review Short Fiction Contest for 2018.
Kenyon Review was founded by John Crowe Ransom in 1939. It prides itself on publishing talented emerging writers, especially from diverse communities, alongside many distinguished, established writers. Kenyon Review’s short stories have won more O. Henry Awards than any other non-profit journal and it frequently appears on lists ranking America’s best literary magazines.
The Kenyon Review Short Fiction Contest is only open to writers who have not yet published a book of fiction. To enter writers must provide a story of up to 1200 words.
A guest post by Melissa Merritt
I’m sitting in front of a computer in the Center for Literary Publishing reading creative nonfiction essays that have been submitted for publication. I’m an editorial assistant with the Colorado Review, and sadly, I’ve spent most of the afternoon reading essays that for one reason or another just don’t fit our journal. I stretch and take a big breath before plunging back into the queue.
Next up is a sixteen-page essay that has been waiting its turn for about six weeks. I imagine the author, waiting patiently through these excruciating weeks to hear back about this essay, probably one of her favorites.