On the Radar – Fall Edition

NYSCA/NYFA Artist Fellowships, awarded in fifteen different disciplines over a three-year period, are $7,000 cash awards made to individual originating artists living and working in the state of New York for unrestricted use. Deadline: January 24, 2018.

Fine Arts Work Center Fellowships are open to writers and visual artists in the emerging stages of their careers. Writing Fellowship Application Deadline: December 1, 2017

How to Get Accepted at an Artist Residency. I chatted with writer Alanna Schubach for this one. She culled together a Lifehacker article that is packed with good info.

Note: I’ll update this list with more solid opportunities coming up from now until the end of the year so make sure to check back every so often. This will never be comprehensive – it’s always been a list I create for myself and share. 

To be honest, I haven’t written at all this year. Picking out floor lamps and handtowels excites me more than writing these days and I don’t believe in continuing to do something if it makes me miserable. I am teaching fiction to a boisterous pack of 9 – 11-year-olds and you know what? They have fun. Their ideas excite them. They are unencumbered by things that lay outside of pure creation. No thoughts of legacy, or their parents, or saleability, or respectability, or agents, or publication, or even readers. 

This doesn’t feel fun anymore, it feels grueling. Right now, I am at peace saying that I am not writing and will not unless I can do it with the same thrill my kids do. Until I can be a kid alone in my room. And if I never feel that way again, then I never will. I’ve never been of the hyperbolic mindset that I would die if I couldn’t write. Writing has never been my lifeblood, it’s always felt more like one of the pathways to understanding myself, my loved ones, strangers. But other things have at different times been fulfilling pathways. Friendships. Meditation. Family. Cooking. Reading. 

But I’m not opposed to seeking out opportunities that will lead me to be that kid in her room, scribbling scenes for the joy of it. I’ll continue to share what I find.



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On the Radar – April Edition

Tin House will once again be awarding both full (includes room and board) and tuition scholarships for our Summer Workshop. For 2017, we are pleased to announce an expansion of the number of scholarships offered, from thirteen to fifteen. This was made possible by a private donation that was inspired by a talk given by Kiese Laymon during our 2016 Summer Workshop. As the focus of that lecture was a discussion on who is given access to literary institutions such as Tin House, this donation was intended to encourage writers of color to seek fellowships for the workshop.” (I was there for Kiese’s talk. It was a relief, an unburdening, and thoughtful. He said publicly what POC there were speaking to each other about privately. While I was disappointed that as usual a writer of color was the only one to bring up questions of accessibility, I am glad to see something came from it.Deadline for Scholarship applications: April 1

Australian Book Review welcomes entries in the 2017 ABR Elizabeth Jolley Short Story Prize, one of the world’s leading prizes for an original short story.” (I got long-listed for this one last year.) Deadline: April 10

KSF Artists of Choice supports artists in the creation of new work by providing financial support (£10k / $10k)  and mentoring. Open to artists who have exciting, creative and unique projects across the genres of Musical Theater, Dance, Film and Theater.” Deadline: April 14

The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent.” Deadline for Fall 2017 residencies: April 15

“April 15 is the deadline to submit to the Kundiman Mentorship Program with Paisley Rekdal and Alexander Chee.”

SLICE magazine welcomes submissions for short fiction, nonfiction, and poetry.” Reading period open from April 1 – June 1

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Episode 237: Glendaliz Camacho!

I spoke with John King in the last days of my three-month residency at the Kerouac House.

The Drunken Odyssey

Episode 237 of The Drunken Odyssey, your favorite podcast about creative writing and literature is available on iTunes, or right click here to download.

In this week’s episode, I talk to fiction writer Glendaliz Camacho near the end of her residency at the Kerouac House in Orlando.

glendaliz-camacho Photo by Linda Nieves-Powell


Check out Glendaliz’s work:

Reinaldo Arenas’s story “The Glass Tower” appears in Mona and Other Tales


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Why I Leave “Pushcart Prize nominee” in my Bio

When a small journal nominated one of my stories in 2013, it was the first nod of anything besides publication. It felt good. It was a story I liked, one I still love, one a lot of people since have told me they loved. It’s the story I’ve tinkered on the least post-publication. One I felt I executed with every ounce of skill and heart I had, harmoniously, and to the max. The editor that nominated it treated it like a teacher would a student they really believed in.

One time, I was looking back on some childhood school photos with someone and they pointed out my penchant for colored socks. Like visible-under-the-hem, bright-ass socks. And it was a moment when you realize that something you did and thought little about or did and loved was incredibly dorky.

It’s like that in writing-as-career too. And I mean career in the blandest sense possible. You get your first piece accepted in some little journal and you’re ecstatic. Until something makes you aware of the hierarchy of journals. Then that little journal doesn’t seem worth mentioning anymore, even though it sure made you feel like a real fucking writer two seconds ago. The harder it is to get picked, the better it must be, right? If other people can have this too, it must be crap.

Somewhere between other writers’ snark (usually white, usually over-educated, and fond of hierarchies) making me aware that thousands of writers get nominated for Pushcarts, I came to the conclusion leaving it on my bio was incredibly dorky. Less than a month ago, I was at a writing conference/workshop where it was a joke in someone’s opening remarks. If you google Pushcart Prize, there are dozens of blog posts pointing out how much of a dork you are for believing your small accolade. I should’ve been embarrassed at leaving such a clear trail of newb-ness.


A fruit vendor’s push cart, Cartagena, Colombia by Joe Ross

One day, the Pushcart nominee thing came up in conversation with a respected and lauded poet and teacher friend who keeps it on his bio along with “bigger” awards. “Everyone and their moms gets one of those,” was what I said. And in that way he has of putting your your shit in perspective with an economy of words (fucking poets!) he said, “My moms didn’t.”

What that did to me was two things. One, it snapped me out of a touch of the comemierdas I contracted from these writers. So because these writers who I deemed more knowledgeable about writing-as-career deemed it meh, I had to deem it meh too? Automatically? Without measuring for myself, against myself?

And Two, who was this “everyone” because he was right. Our moms were not getting Pushcart nominations. They were busy getting visa nominations (or not), work nominations, nominating what bills they could pay, and nominating what was for dinner. To put a finer point on it, as another teacher would later put it, “Herman Melville was not thinking about you when he was writing Moby Dick.” Perhaps thousands of American white writers have been nominated, but how many that look like me and come from where I come from? Your small potatoes can be someone’s whole meal.

That conversation, no longer than a minute or two, was a call to stop measuring myself against rulers not made for me. There’s no such thing as everyone or universal experience. And hey if your moms was getting Pushcart nominations and the like, that’s great, my daughter will be able to say that kind of thing, but I was wrong to hold you up as “everyone” when I knew different.

Now, this is not to say, we shouldn’t aim for larger, higher, more. This is also not to say that as you get more that some things won’t drop off to make room for other things, but dammit you be the one to decide what betterment means to you. You be the one to decide what is important on your bio and reflects your trajectory the best at that moment. I just submitted a piece to a prize and left it in. It’s followed by other things that say something about how I’ve been becoming a writer since that nomination, but it’s in there. And look, tomorrow, six months from now, years from now I could totally decide to drop it, but today it still has significance for me.

I loved those socks. My grandma bought them for me with retirement checks. She matched them to my scrunchies. And even though all my socks are black, white, and gray (like my soul!), I look back at the cheerful ankles of my youth with kindness and affection.

You like the socks? Wear the fucking socks.

On the Radar – June Edition


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“Submissions for the Bakwin Award for Writing by a Woman are NOW OPEN through June 15, 2016. The Bakwin Award honors full-length prose work (novel, short story collection, or memoir) by an author who is a woman. The winner will receive a $1,000 honorarium, and the winning book will be published by Carolina Wren Press.” Judge is Tayari Jones. Submission deadline: June 15

Hedgebrook 2016 Screenwriters Lab. “Hedgebrook’s Screenwriters Lab supports five screenwriters in developing their projects over a weeklong residency, with two mentors from the film industry, at our retreat on Whidbey Island, Washington.” Application deadline: June 16

Online Class: Become Your Own Best Editor.“Our popular editing course offers a rare, behind-the-scenes look at the editorial process. You’ll learn to bring the same sharp editorial eye to your own work that the editors of One Story bring to each issue. Daily online lessons will guide you through a case study of a One Story debut, issue #188, “The Remains” by Laura Spence-Ash. You’ll follow the story from first draft to publication—studying actual marked-up manuscripts—as the author and editors work together to make the story the best it can be.” June 22nd – 28th

“Register for AAWW’s third Publishing Conference on Saturday, June 25th and you’ll hear from veteran authors, agents and editors from The New Yorker, Penguin Random House, Grove Atlantic, Vice, Buzzfeed, Bomb, and Catapult.”

It went so well last month, I’m teaching Write It Better again. “David Sedaris said that good short stories, “take me out of myself and then stuff me back in, outsized now and uneasy with the fit.” How do they do this? Through a combination of readings, discussion, exercises, and critique this class will cover the elements in short fiction that – when done well – make for a great short story. We’ll discuss characters, plot, setting, dialogue, rewriting, and editing.” Begins June 28

1913 Press is accepting submissions for a prose book to publish. Judge is Maggie Nelson. Deadline: June 30

“The BLR Prizes award outstanding writing related to themes of health, healing, illness, the mind, and the body. First prize is $1,000 (in each genre) and publication in the Spring 2017 issue of BLR. Honorable mention winners will receive $250 and publication in the Spring 2017 issue of BLR.” Submission deadline: July 1

The Winter Tangerine Awards. Judges are Chris Abani for prose, Aracelis Girmay for poetry. Submission deadline: July 1

StoryQuarterly is looking for fiction for its Winter 2017 issue. Submission deadline: July 10. 

Fairy Tale Review is thrilled to announce our third annual contest, with awards for poetry and prose—Kelly Link will serve as our judge for prose, and Traci Brimhall will judge poetry. The selected winners of the prose and poetry contests will each receive $1,000 and publication in The Translucent Issue, which will be released in 2017.” Submission deadine: July 15

This is one of the most nurturing residencies I’ve ever been to. Apply! “Six writers are in residence at a time, each housed in a handcrafted cottage. They spend their days in solitude – writing, reading, taking walks in the woods on the property or on nearby Double Bluff beach. In the evenings, they gather in the farmhouse kitchen to share a home-cooked gourmet meal, their work, their process and their stories. The Writers in Residence Program is Hedgebrook’s core program, supporting the fully-funded residencies of approximately 40 writers at the retreat each year.” Application deadline: July 26

Virginia Quarterly Review reads unsolicited fiction, poetry, and nonfiction submissions from July 1-31

“Feminist Press has partnered with TAYO Literary Magazine to launch a contest seeking the best debut books by women and nonbinary writers of color. First time authors, submit your complete manuscript, either fiction, including novels and short story collections, or narrative memoir, of 50,000 to 80,000 words, and you could receive $5,000 and a publishing contract from the Feminist Press!” Submission deadline: July 31

Gimmick Press is “currently accepting chapbook length (30-50 pages) submissions of pro-wrestling themed poetry, fiction, creative nonfiction, and black & white comics and/or illustrations. From the submissions received, we will choose three chapbooks, to be published together in one collection. The creators of each of the three chosen chapbooks will receive payment of $250 and 10 copies of the completed collection.” Submission deadline: July 31

Willapa Bay AIR offers “month-long, self-directed residencies to emerging and established artists, writers, scholars, singer/songwriters, and musical composers. The Residency provides lodging, meals, and work space, at no cost, to six residents each month from March 1 through September 30 of the year.” Application due July 31

“On the Island of Itaparica the Sacatar Foundation operates the Instituto Sacatar, an oceanside historic estate where creative individuals working in all disciplines may apply for eight-week residency fellowships. These residency fellowships provide unstructured time and space for selected Fellows to develop new work in the vibrant context of Bahia, Brazil. Selected through a competitive process open to all, each Sacatar Fellow receives airfare, studio, room and board, as well as logistical support during his/her stay.” Application due July 31


Write It Better: A Short Story Class (the next round!)

David Sedaris said that good short stories, “take me out of myself and then stuff me back in, outsized now and uneasy with the fit.” How do they do this? Through a combination of readings, discussion, exercises, and critique this course will cover the elements in short fiction that – when done well – make for a great short story. We’ll discuss characters, plot, setting, dialogue, rewriting, and editing. The goal is to tighten these elements in our own stories. Beginning and intermediate short fiction writers are welcome. Participants can choose to have a short story critiqued in class, begin a new piece, or simply take everything in and use what they learn later. Maximum class size: 6

About the instructor:

Glendaliz Camacho studied English literature at Fordham University and worked in the editorial departments of Victoria Sanders & Associates and Cambridge University Press. She is a 2013 Pushcart Prize nominee and 2015 Write A House Finalist. She has been an Artist in Residence at Jentel, Caldera, Kimmel Harding Nelson, Hedgebrook, and Lanesboro Arts. Glendaliz is an alum of the Voices of Our Nations Arts Foundation (VONA) Fiction Workshops. She is currently the recipient of a Lower Manhattan Cultural Council Workspace residency.

Her work appears in The Female Complaint: Tales of Unruly Women (Shade Mountain Press), All About Skin: Short Fiction by Women of Color (University of Wisconsin Press), The Butter, The Brooklyn Rail, and Kweli Journal, among others.

Tuesdays (June 28, July 5, July 19, July 26)

6pm – 8pm in Upper Manhattan


For more information and to register: glendalizcamacho [at] gmail.com

Applying For Writing Residencies Webinar

Have you ever said, I wish I had time and space to write? Writing residencies provide  unstructured time, a quiet environment, living and working space, and many times even funding. Whenever I am at a residency, I feel like I am living and working exactly as I was meant to. So if you need time to work on that novel, a place away from the stresses and distractions of daily life, a writing residency could be right for you.Writers applying for the first time or those who are looking to troubleshoot rejections are welcome.

This 3-part webinar will cover:

My cottage at Hedgebrook

-the purpose of a writing residencies

-where to search for residencies

-how to determine which residency is right for YOU

-organizing yourself

-what’s commonly asked for on applications: artist statement, bio, statement of intent, project description, resume, writing samples, references and recommendation letters

-actual applications (we will look at two current open applications together)

-what happens after an acceptance (preparing practically & mentally)

-what happens after a rejection (coping with disappointment, reasons for rejection besides quality of work, and moving forward)

About the instructor:

Glendaliz Camacho is a 2013 Pushcart Prize nominee and 2015 Write A House Finalist. She has earned residencies at Jentel, Caldera, Kimmel Harding Nelson, Hedgebrook, Lanesboro Arts, Lower Manhattan Cultural Council, Anderson Center, and Kerouac Project. She has served in the selection committee for Caldera and the programming committee for BinderCon. She is an alum of the Voices of Our Nations Arts Foundation (VONA) fiction workshops and in July the Tin House Summer Writer’s Workshop. She is a recipient of a Money For Women/Barbara Deming Memorial Fund grant.

Her work appears in The Female Complaint: Tales of Unruly Women (Shade Mountain Press), All About Skin: Short Fiction by Women of Color (University of Wisconsin Press), The Butter, The Brooklyn Rail, and Kweli Journal, among others.

What prior participants had to say:

“After attending Glendaliz Camacho’s webinar on applying to writing residencies I really feel better equipped to send out stronger apps.” -Nadia A.

“I knew something was wrong as the rejections letters piled up. Seeing
that Glendaliz had been awarded so many residencies in one year, I
definitely needed to take her webinar to see how I could better
represent my work. Seeing her application materials showed me how
uninspired mine seemed. After revamping them, I was accepted into the
first residency I applied to. I can’t thank Glendaliz enough!” -Ivelisse Rodriguez PhD

“I thought this was so thorough and real and accessible. Such great tips. Loved it.” -Angelique R.

$60 for all three 50 minute recorded video sessions

To purchase : glendalizcamacho [at] gmail.com