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A prize of $1,000 and publication in TulipTree Review is given annually for a single poem, a short story, or an essay “whose main characters embody the Wild Woman spirit.” Submit up to five pages of poetry or up to 10,000 words of prose with a $20 entry fee by March 8. All entries are considered for publication. Visit the website for complete guidelines.
A prize of $2,000 and publication in Paterson Literary Review is given annually for a single poem. A second-place prize of $1,000 and publication is also given. The winning poets are invited to give a reading at the Poetry Center in Paterson, New Jersey. Using only the online submission system, submit three copies of up to five poems of no more than two pages each with a $20 entry fee by February 1. All entries are considered for publication. Visit the website for complete guidelines.
A prize of $1,000, publication by Tupelo Press, and 25 author copies is given annually for a poetry chapbook. Richie Hoffman will judge. Submit a manuscript of 20 to 36 pages with a $25 entry fee by February 28. All entries are considered for publication. Visit the website for complete guidelines.
In a tribute published in the Yale Review to Ellen Bryant Voigt, who passed away in October, executive editor Meghan O’Rourke writes: “Through her, I learned to read like a poet. Not to identify themes, as I’d been trained to do as an undergraduate at Yale, but to attend to effects.” This type of close examination included describing poems by how many medium-length lines and periods were in a poem, and how many lines a sentence takes up. “Her rigor taught me how to read my own work as I’d learned to read others’: closely enough to see what it was resisting,” writes O’Rourke. Revisit a poem you’ve written and consider what the work may want to be, and what it might be resisting. What about its syntax or grammar might lead you to these conclusions? Explore reworking the poem a little or a lot to shape how it arrives at its desired effects, or resists them.
“You have to learn to write when you don’t feel like it.” —Raquel Gutiérrez, author of Southwest Reconstruction
The author of Ocean of Clouds (Knopf, 2025) considers the lineage of his own loping lines and encourages poets to try them.
“This table has been a house in the rain, an umbrella in the sun.” In this video that originally aired in 2012, poet Joy Harjo reads her poem “Perhaps the World Ends Here,” which appears in her collection The Woman Who Fell From the Sky (Norton, 1994), for PBS NewsHour.
Write a poem that begins with the image of an animal arriving where it should not be, such as a whale in an office space or a Zebra in a suburban backyard. Allow this surreal scene to take you to unexpected places and metaphors. Is the animal an omen or is it concealing a secret? Focus on the literal and symbolic dimensions of the encounter, drawing out the scene to illuminate overlooked truths, inner stirrings, and the quiet absurdities of the world around you.
The author of Ocean of Clouds (Knopf, 2025) considers the benefits of planning elements of a poem before its composition.
