As we move closer to the end of the year, deadlines approach for several poetry competitions. All contests listed below are accepting submissions throughout the coming week.

Nightboat Books Poetry Prize: A prize of $1,000 and publication by Nightboat Books is given annually for a poetry collection. Kazim Ali and Stephen Motika will judge. Entry fee: $28. Deadline: November 15.

Perugia Press Poetry Prize: A prize of $1,000 and publication by Perugia Press is given annually for a first or second poetry collection by a woman. Entry fee: $27. Deadline: November 15.

Jean Feldman Poetry Prize: A prize of $1,000, publication by Washington Writers Publishing House, and 50 author copies are given annually for a poetry collection. Entry fee: $25. Deadline: November 15.

Lena–Miles Wever Todd Poetry Prize: A prize of $2,000 and publication by Pleiades Press with distribution by Louisiana State University Press is given annually for a poetry collection by a U.S. poet. The winner also receives $1,000 for book tour expenses. Traci Brimhall will judge. Entry fee: $25. Deadline: November 15.

Yale Series of Younger Poets: An award of publication by Yale University Press is given annually for a poetry collection by an early-career poet who has not published a full-length book of poetry. Carl Phillips will judge. Entry fee: $25. Deadline: November 15.

Narrative 30 Below Contest: A prize of $1,500 and publication in Narrative is given annually for a poem. The editors will judge. Entry fee: 25. Deadline: November 18.

Visit the contest websites for complete submission details, including eligibility guidelines and poem length requirements. For a look at more writing contests with upcoming deadlines, visit our Grants & Awards database and submission calendar.

Applications are currently open for the Black Mountain Institute & the Believer fellowships, open to emerging and established poets, fiction writers, and creative nonfiction writers. Fellows will reside in Las Vegas for the 2019–2020 academic year, where they will join a thriving community of writers and scholars on the UNLV campus. Fellows will also receive a stipend and contribute to the Black Mountain Institute (BMI) and/or the Believer magazine.

The Shearing Fellowships for Emerging Writers, which offer an honorarium of $18,000 each, are open to writers who have published at least one book with a trade or literary press. The Shearing Fellowships for Distinguished Writers, which offer an honorarium of $25,000 each, are open to writers who have published at least three books.

The deadline for both fellowships is November 14 at 12:59 PM Pacific Standard Time. Using the online submission system, submit a writing sample of 10 to 20 pages, a cover letter, and a proposal (totaling no more than two pages) with suggested contributions to the Believer and/or BMI. Finalists will be asked to send copies of their books.

Applications will be reviewed by an advisory committee of UNLV graduate students, staff, and community stakeholders. Recipients will be notified in Spring 2019.

Based in Las Vegas, Nevada, the Beverly Rogers, Carol C. Harter Black Mountain Institute aims to bring “writers and the literary imagination into the heart of public life through events, fellowships, publications, and student engagement opportunities.” The Believer, a five-time National Magazine Award finalist, is a bimonthly literature, arts, and culture magazine based at the Black Mountain Institute. The 2018–2019 fellows include Hanif Abdurraqib, Lesley Nneka Arimah, Amanda Fortini, Derek Palacio, and Claire Vaye Watkins.

Aldrin Valdez is a Pinoy artist and the author of ESL or You Weren’t Here (Nightboat Books, 2018). Their poetry and visual art has appeared in the Felt, Femmescapes, Nat. Brut, Poor Claudia, and the Recluse. They have presented work at Dixon Place, the Metropolitan Museum of Art, and the Poetry Project, and been awarded fellowships from Queer/Art/Mentorship and Poets House. Currently Valdez curates the Segue Reading Series with fellow poet Joël Díaz.

On October 27 I led a workshop at the Bureau of General Services–Queer Division (BGSQD), currently hosted by the Lesbian, Gay, Bisexual & Transgender Community Center in New York City. The workshop was organized by Sarah Sala, founder of the Office Hours poetry workshop, with support from Poets & Writers’ Readings & Workshops program. I haven’t led many workshops before, so this was an experiment of sorts. I called the craft class “The Image Is _____” and its focus, of course, was the image. A series of questions motivated this workshop:

• What is an image?
• Where and how do we encounter images today?
• As prose writers, poets, and artists who use text, how do we each relate to images?
• Do images factor into our individual works?
• How can we use images to surprise our writing?
• Is there an image that haunts/grips/inspires you, will not leave you, or one that you invoke often?
• What does the image contain?
• Is the image a dam we choose to break? What language emerges if we do?
• Does the language trickle out? Or is it a torrent, flooding us/out of us into writing?
• Are we prepared to write through this flood?

To guide the workshop, I shared poems by Derrick Austin, Anne Carson, Rio Cortez, Rachel Eliza Griffiths, Lara Mimosa Montes, and Justin Phillip Reed. I see their work as having complex, dynamic relationships with images. They’re aware of how we are surrounded by, and surround ourselves with, images and the tools with which to make them. And they acknowledge and question images as historical, political, and personal. What can we learn from their works in thinking about our own creative processes?

In a series of exercises I asked the class to interact with images—those around them (the BGSQD bookshop and the Center are filled with art) and those on their phones (if they had phones)—as catalysts for writing. One particular exercise, inspired by poems from Justin Phillip Reed’s Indecency (Coffee House Press, 2018) and Lara Mimosa Montes’s The Somnambulist (Horse Less Press, 2016), encouraged the class to think of the page—either as the screen of phones and computers or as a sheet of paper in their notebooks or a printed book—as constituting in itself a visual, physical, and material experience. Do we consider the white space, for instance, as blankness, silence, emptiness, a pause, or a held breath? Does a poem require that you move the book about in your hand? Is the poem concerned with legibility? What happens when a photograph precedes the text or a text precedes an image—how does that affect the experience of reading and our subjective ways of making meaning?

As a visual artist and writer, I enjoyed sharing these questions and activities with the class. It was thrilling to be writing together for a few hours, immersed in poetry—a collectivity I’ve been missing lately. I left the space feeling uplifted by the vulnerability and tenderness with which the group thoughtfully engaged and shared with each other.

Support for the Readings & Workshops Program in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the New York City Department of Cultural Affairs, with additional support from the Frances Abbey Endowment, the Cowles Charitable Trust, and the Friends of Poets & Writers.