Thoughts about writing contests

One of the questions I often receive from students and writers I work with is whether or not there’s value in submitting work to literary contests.

I get it. You’ve worked hard to polish a great piece of fiction or memoir, and you want to send it out somewhere that offers the best chance at publication.

Here’s my perspective. My first publications (both fiction and nonfiction) came about as a result of writing contests sponsored by literary magazines. Contests have a couple of advantages. Generally, the pool of submissions for a literary contest is lower than for general submissions. There’s the advantage of sometimes knowing the judges in advance, and so choosing a piece that may appeal to his or her tastes (although really, any good juror will be reading outside his or her own comfort zone and looking for the strongest writing). There’s also a very fixed timeline for learning about whether or not your piece is accepted.

Most contests sponsored by magazines also offer a one-year subscription to the magazine, so there’s the added bonus of all that free reading. Finally, the cash prize for winning will generally be much higher than for regular publication (some publications will also pay you the prize money PLUS regular publication fees). 

The downside? Contest guidelines may not permit you to enter the piece to another contest (ie. no simultaneous submissions). Also, there’s the contest fee, which is typically in the $20-$25 range. 

Check out literary contests with notable Canadian magazines like The Malahat Review, Fiddlehead, The New Quarterly, Prairie Fire, The Puritan, and more. 

If you’re looking for contests outside of the literary journals, there’s the lauded CBC Literary Prizes, which offer contests in Fiction, Nonfiction, and Poetry. If you’re a student, The Bridge Prize out of the University of Lethbridge offers a fiction prize in alternating years for Canadian postsecondary students.

Further afield, check out the prestigious Commonwealth Short Story Prize, the Bristol Short Story Prize, and the Manchester Fiction Prize.

Know about a contest not mentioned here? Let me know, and I’ll share it with the One Life community. 

Also be sure to check out this great list of resources for writers (including sample submission letters) on writer Kevin Hardcastle’s website.

“You Were Loved” published in Russian

Very excited to announce that my short story “You Were Loved” has been published in one of Russia’s leading literary journals, Inostrannaya Literatura (Foreign Literature). 

Last May, Inostrannaya Literatura dedicated an issue to Canadian writing. This is my first Russian publication, and a huge honour. Inostrannaya Literatura has published some fine writers over its long history, including Samuel Beckett, William Goldin, John Updike, Jerome J. Salinger, Kenzaburo Oe, Tennessee Williams, Jean-Paul Sartre, Franz Kafka, Evelyn Waugh, Umberto Eco, and Julio Cortazar. 

“You Were Loved” was first published in The Malahat Review, and reprinted in Journey Prize Stories 24. JP Stories 24 features great work by writers like Kris Bertin, Kevin Hardcastle, Shashi Bhat, and more. You can order a copy here. 

Northern Intentions: New Year's Eve Retreat in Alqonquin Park

Northern Intentions: December 30-January 2
Northern Edge Algonquin Retreat Centre

Hoping to step into 2020 with focus and intention?

Join Joshua Lewis and I for Northern Intentions, a special four-day retreat at Northern Edge Alqonguin, a luxurious all-seasons retreat centre in Algonquin Park. The retreat will feature gentle yoga, meditation, reflective writing, and the chance to indulge in the best winter has to offer. Think cross-country skiing, snowshoeing, enjoying the wood-fired sauna, or simply napping by the fire with a book. Retreat activities will be complimented by healthy gourmet meals and the chance to indulge in quality solo time or to dip into a writing project of your own. Our intention is to allow you to gently and intentionally anchor into the promise and abundance of a new year, in gorgeous lakeside surroundings.

Earlybird rates begin at $799 per person. Visit our retreat page for more information about pricing , accommodation options, scheduling, and other FAQs.

Wine and Chocolate: My One Life Writing Retreat Experience

By Terra Bruhm

In April of 2019 I received amazing news – I was the chosen recipient of the One Life Writing scholarship to attend the Write by the Sea writing retreat. Naturally, I was over the moon. The scholarship, valued at $875, would give me an opportunity to devote five uninterrupted days to my manuscript The Robin’s Egg. I felt like I had just won the lottery.

Anyone who has ever written a book will tell you how difficult it can be to find pockets of time to write. This is particularly true of your first book. You haven’t yet earned the right to blow off family engagements, time with friends or work functions to bang out a few extra pages. You’re not a writer yet. It’s just a hobby until you ‘make it real’.

I headed off to Prince Edward Island to ‘make it real’ on a hot, sunny day in June. Driving over the Confederation Bridge, I could feel the stresses and responsibilities of life melting away as my thoughts turned to what I hoped to accomplish. My manuscript was in desperate need of structure. With so many events, characters and flashes between the 80s and 2000s, I needed to find clever ways to advance my narrative that made sense and were easy to follow. It was the one element standing between me and a completed first draft.

The retreat exceeded my expectations. Between the one-hour personal session I booked with Trevor and the conversations I had with the other talented, knowledgeable retreat participants, I was able to establish a structure that worked. The daily morning workshops Trevor conducted taught me things I didn’t even realize I needed to know – things about character development, scene setting and the psychological and emotional reasons why writers put words on paper. Joshua’s meditation and yoga helped me reconnect with the feelings and motivations driving my project, giving me the strength and introspection needed to write some of the more difficult chapters I had been avoiding. The Orient Hotel was an inspiring place to write, nestled within the majestic village of Victoria by the Sea. With pink, purple and white lupins peppering the fields surrounding the in, set against the backdrop of red sands and rolling oceans, it was like stepping into an alternate universe. It was a truly transformative experience.

What I could not have anticipated is how close I would become with my fellow retreat participants and how much they would teach me by telling me about their projects, their processes and their writing struggles. So many literary insecurities were laid to rest over late-night glasses of wine and delicious home-made chocolate from Island Chocolates. These moments drove home the importance of connecting with other writers. My week on the Island taught me that writing is actually a group sport. You need to establish a tribe of talented people you trust who will help you work through those problem areas. Like with children, it takes a village to nurture a book into existence. Write by the Sea provided me with that village.

I finished draft one of my manuscript that week, taking me closer to my goal of ‘making it real’. The support, assistance and encouragement I received from Trevor, Joshua and my fellow retreat participants gave me the strength, courage, focus and time I needed to achieve that milestone. If you’re looking for a quiet place to nurture some phase of your own project into existence, consider venturing to the Island for a transformative retreat experience with One Life. And, of course, make sure you carve out a little time for wine and chocolate.

Martha Bennett on completing her first manuscript

A Closer Look

Martha Bennett
Valdasota, Georgia

Genre: Memoir

Through Manuscript Tune-Up, I get to work closely with writers of all sorts. Some are experienced, award-winning writers who have published many books and are looking for a critical second set of eyes on a manuscript before sharing with their agent or publisher. And others are first time authors, completing a project of fiction, memoir, or nonfiction.

In the coming year, I’m planning to profile a number of writers who have completed Manuscript Tune-Up to share their tips and experiences in the program.

First up is Martha Bennett. Martha is primarily a nonfiction writer. A retired teacher, she divides her time between Georgia and eastern Prince Edward Island.

___

Tell us about your writing project, Martha.

Shortly after retiring from a teaching career spanning 28 years, I began writing the stories of experiences I had with students, teachers, principals and schools that I thought demonstrated good educational practices. My thinking was these stories would become an inspiration book for new teachers.

Why did you decide to work with an editor?

I was tired of rewriting my stories. I felt like I needed the input from someone who was not a family member who would read my manuscript with a writer’s sensibility and who would give me honest feedback.

What was it like to work with Trevor in the editing process? Any surprises?

When I met Trevor at a writing workshop on PEI, I thought he was someone I could trust to help me with my manuscript. His teaching style reassured me that he would be kindly analytical, encouraging and insightful. And he has been all of those things!! The big surprise for me has been that his comments and analysis of my manuscript have inspired me to continue to expand my writing as a memoir of my teaching career that will include stories demonstrating how this new teacher became an experienced teacher recognized for her creativity in the classroom. Another surprise was the understanding that these new stories may increase this book’s inspirational value for new teachers.

Any words of advice for other writers considering Manuscript Tune-Up?

Readiness was a key factor in my decision to contract with Trevor for a Manuscript Tune-Up. I needed someone who would read what I had written and then enable me to see what was missing, what was not clear, and where I could show and not tell. Having a list of questions to ask Trevor during our first conversation caused me to clarify expectations of the process.

___

With thanks to Martha Bennett. If you’d like to learn more about Manuscript Tune-Up, be in touch. Note that spaces in Manuscript Tune-Up are limited and quite often fill up well in advance of published start dates. Two spots remain for Fall, 2019.