The first deadlines of the year for fiction, nonfiction, poetry, and translation contests have arrived. With a deadline of either January 14 or January 15, these awards include two residencies in rural Texas and financial support to pursue a creative project in a desert environment; all feature a prize of $1,000 or more.    

Asheville Poetry Review William Matthews Poetry Prize: A prize of $1,000 and publication in Asheville Poetry Review is given annually for a single poem. The winner is also invited to read at Malaprop’s Bookstore in Asheville, North Carolina. Ilya Kaminsky will judge. All entries are considered for publication. Deadline: January 15. Entry fee: $20. 

Australian Book Review Calibre Essay Prize: A prize of $5,000 AUD (approximately $3,392) is given annually for an essay. A second-place prize of $2,500 AUD (approximately $1,696) will also be given. The winners will be published in Australian Book Review. J. M. Coetzee, Lisa Gorton, and Peter Rose will judge. Deadline: January 15. Entry fee: $25 AUD (approximately $17).

BkMk Press Ciardi/Chandra Prizes: Two prizes of $1,000 each and publication by BkMk Press are given annually for a poetry collection and a short story collection. Deadline: January 15. Entry fee: $25 ($30 for electronic submissions).

Colorado Review Colorado Prize for Poetry: A prize of $2,000 and publication by the Center for Literary Publishing is given annually for a poetry collection. Kiki Petrosino will judge. Deadline: January 14. Entry fee: $25 ($28 for online submissions).

Ellen Meloy Fund Desert Writers Award: A prize of $5,000 is given annually to enable a creative nonfiction writer “whose work reflects the spirit and passions for the desert embodied in Ellen Meloy’s writing” to spend creative time in a desert environment. Deadline: January 15. Entry fee: $15.

French-American Foundation Translation Prizes: Two prizes of $10,000 each are given annually for translations from French into English of a book of fiction and a book of nonfiction (including creative nonfiction) published during the previous year. A jury of translators and literary professionals will judge. Deadline: January 14. Entry fee: none. 

Literal Latté Fiction Award: A prize of $1,000 and publication in Literal Latté is given annually for a short story. All entries are considered for publication. Deadline: January 15. Entry fee: $10. 

National Endowment for the Arts Translation Fellowships: Grants of $12,500 and $25,000 each are given annually to translators of poetry and prose from any language into English. Deadline: January 15. Entry fee: none. 

New American Press Poetry Prize: A prize of $1,200 and publication by New American Press is given annually for a book of poetry. Corey Van Landingham will judge. Deadline: January 15. Entry fee: $20.

Nowhere Magazine Travel Writing Contest: A prize of $1,000 and publication in Nowhere Magazine is given twice yearly for a poem, a short story, or an essay that “possesses a powerful sense of place.” Porter Fox will judge. All entries are considered for publication. Deadline: January 14. Entry fee: $25.

Public Poetry Contest: A prize of $1,000, publication in an anthology, and an invitation to give a reading in Houston is given annually for a single poem on a theme. This year’s theme is “Wicked Wit.” Deadline: January 15. Entry fee: $15 to submit up two poems ($25 to submit three).

University of Notre Dame Andrés Montoya Poetry Prize: A prize of $1,000 and publication by University of Notre Dame Press is given biennially for a debut poetry collection by a Latinx poet residing in the United States. John Murillo will judge. Deadline: January 15. Entry fee: none. 

University of Texas in Austin Dobie Paisano Fellowships: Two residencies, cosponsored by the Texas Institute of Letters, at a rural retreat west of Austin are given annually to writers who are native Texans, who have lived in Texas for at least three years, or who have published significant work with a Texas subject. The six-month Jesse H. Jones Writing Fellowship is given to a writer in any stage of his or her career and includes a grant of $18,000. The four-month Ralph A. Johnston Memorial Fellowship is given to a writer who has demonstrated “publishing and critical success” and includes a grant of $24,000. Deadline: January 15. Entry fee: $20 ($30 to enter both competitions).

WOMR/WFMR Community Radio Joe Gouveia Outermost Poetry Contest: A prize of $1,000 is given annually for a single poem. Marge Piercy will judge. Deadline: January 14. Entry fee: $15.

Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, and creative nonfiction.

When a new year begins, we often think of new beginnings or about trying new things. But is there any value in doing the same thing over and over again? In “The Unexpected Joy of Repeat Experiences” in the New York Times, Leah Fessler writes about the tendency for novelty to wear off and champions the pleasure that can be found in repeating the same experiences again and again. This week, when you’re tempted to try something new, make an effort to partake in an activity that you’ve already done before—perhaps eating a meal you’ve prepared before, rewatching a movie, walking in a familiar neighborhood, or looking at a favorite painting in a museum. Write an essay that explores what you discover the second (or third) time around.

Last month at the Art Basel Miami Beach art fair, Italian artist Maurizio Cattelan exhibited an artwork titled “Comedian” that consisted of a ripe banana duct-taped to a wall. Three editions of the piece—certificates of authenticity for the concept with replacement installation instructions of the banana specified by the artist—were sold, each for over $100,000. Gallerist Emmanuel Perrotin eventually had to remove the work as it became a safety risk due to crowds, but said of the piece, “‘Comedian,’ with its simple composition, ultimately offered a complex reflection of ourselves.” Write a short story that relies on an absurdist or comedic ingredient as the linchpin for its unfolding. How does your story bring into question the very definition of art, fiction, or storytelling?

“Comics are a staccato medium, with evidently small elements adding up to bigger ones,” says cartoonist Jason Adam Katzenstein in “Graphic Narrative Workshops” by Elena Goukassian in the January/February issue of Poets & Writers Magazine. “Comics panels feel like stanzas in a poem.” Find a favorite short comic strip and write a poem comprised of one stanza per panel. Study the comic to gather a sense of the theme and pacing, working backwards from the images to write a piece that reflects a bigger whole created out of smaller, distilled moments.

Charles Yu’s new novel, Interior Chinatown (Pantheon, 2020), is formatted as a screenplay—with typewriter font, second-person narration, and camera and scene directions—to reflect the narrative’s examination of the stereotypical roles that have historically been played by Asian American actors and how those roles bleed into lived experience. By writing in this style Yu blurs the lines between the performed character and the authentic self, raising questions about assimilation, artifice, and identity. Take inspiration from Yu’s use of this form and think of a past experience in which you felt required to perform or maintain a certain persona. Write a lyric essay that incorporates scenes written like a script or screenplay. How does the form create a sense of distance or defamiliarization? How might this angle provide you with a new perspective or insight?

Last November, I spoke with poet Peter Cooley following the International Poetry Reading cosponsored by Poets & Writers at Tulane University. Cooley, professor emeritus of English at Tulane University and the former poet laureate of Louisiana, is the author of ten books of poetry, most recently World Without Finishing (Carnegie Mellon University Press, 2018). We talked about the passing of his dear wife and laughed about advice his daughters recently gave him about the dating world. Here’s a short Q&A that extends our conversation.

As professor emeritus of English at Tulane, what do you look for in the writing of MFA applicants?
The ability to see life a little differently, from a new angle, and the possession of a facility with language.

How have creative writing programs changed since you were a student at the Iowa Writers’ Workshop?
There are, happily, many different kinds of MFA programs now, from the studio model like the Iowa Writers’ Workshop, to the more structured programs like the University of Arkansas. They are all over the country. And there are low-residency programs, similar to Warren Wilson College’s MFA program.

Recently, you spoke to me about becoming a widower and the advice your daughters have given you about dating. How has this experience impacted your writing?
I am finishing a whole book about grief and being a widower. My wife died on March 15, 2018. I thought I couldn’t write about this, which meant I needed to write it.

As a former poet laureate of Louisiana what advice can you offer for writers?
My advice to writers is the old advice: read, read, read, revise, revise, revise. Find a couple of people whose opinion you respect and show your stuff to them with the hope of receiving criticism. Be prepared for continuous rejection in sending your work out and remember that some of the most famous works have been rejected countless times.

You told me you’ve subscribed to Poets & Writers Magazine for years. What do you like most about the magazine?
I have subscribed to Poets & Writers Magazine for as long as I can remember. I enjoy the feature articles, the news of new writers, and the classifieds. I also like the layouts and photographs of writers.

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