Tag Archives: fiction

Submissions Now Open for 2018 Chapbook Competition


Sundress Publications is pleased to announce its fourth annual chapbook contest. Authors of all genres are invited to submit qualifying manuscripts during our reading period of January 15th to April 15th, 2018.

We are looking for poetry, fiction, nonfiction, or any combination thereof. Manuscripts must be between twelve to twenty-six (12-26) pages in length, with a page break between individual pieces. Individual pieces may have been previously published in anthologies, print journals, online journals, etc., but cannot have appeared in any full-length collection, including self-published collections. Both single-author and collaborative dual-author manuscripts will be considered. Manuscripts must be primarily in English; translations are not eligible.

The entry fee is $10 per manuscript, though the fee will be waived for entrants who purchase or pre-order any Sundress title. We will also accept nominations for entrants, provided the nominating person either pays the reading fee or makes a qualifying purchase. Authors may submit and/or nominate as many chapbook manuscripts as they would like, so long as each is accompanied by a separate reading fee or purchase/pre-order. Entrants and nominators can place book orders or pay submission fees at our store.

The winner will receive a $200 prize, plus publication as a beautiful full-color PDF available exclusively online for free. Runners-up will also be considered for publication.

This year’s judge will be Wren Hanks. Hanks is a trans writer from Texas and the author Wren_Headshotof Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). A 2016 Lambda Emerging Writers Fellow, his recent work appears in Best New Poets 2016, Gigantic Sequins, Jellyfish Magazine, The Wanderer, and elsewhere. His third chapbook, gar child, is forthcoming from Tree Light Books in 2018. He currently lives in Brooklyn.

All manuscripts should include a cover page (with only the title of the manuscript), table of contents, dedication (if applicable), and acknowledgments for previous publications. These pages will not be included in the total page count. Identifying information should not appear in any part of the manuscript. Authors with a significant relationship to the judge (friends, relatives, colleagues, past or present students, etc.) are discouraged from entering.

To submit, attach your manuscript as a DOCX or PDF file along with your order number for either a Sundress title or the entry fee to contest@sundresspublications.com.

Simultaneous submission to other presses is acceptable, but please notify Sundress immediately if the manuscript has been accepted elsewhere. Multiple submissions are allowed, but a separate entry fee must accompany each entry. No revisions will be allowed during the contest judging period. Winners will be announced in Summer 2018.


Tagged , , , , , , , ,

AWP Roundtable: Journalism Skills for Fiction Writers

Joan Didion, Maya Angelou, Alex Haley, Stieg Larsson, Charles Dickens, Edna Buchanan, and Mark Twain (among many others) created memorable fiction largely as a result of the skills they honed as reporters. Journalists churn out hundreds of words every day (without the luxury of waiting for inspiration), write to a word count, write to deadline, learn to work with editors, and develop an eye for extraneous words, authentic dialogue, and telling details. They also tend to have pretty solid grammatical skills and a keen sense of story. Is it any wonder they often make brilliant novelists?

A reporter’s toolkit can help novelists and storytellers of all kinds write gripping first lines, create memorable characters, and imagine authentic worlds in their fiction. There are stories in the world far more important—and far more interesting—than those drawn merely from our own experience. With global tensions intensifying, it feels urgent to tell stories that reach beyond our own borders and engage us with both the broader world and other humans.


Jennifer Steil (Moderator): Why don’t we each start off by talking about how the skills we acquired as a journalist are reflected in our own fiction writing?

Jo Piazza: Speed is the first thing that comes to mind. I started out as a newspaper reporter for the New York Daily News right before the Internet completely changed newspapers forever. But even when I was on a daily deadline instead of an hourly deadline I was still crunched to churn out clean, well-crafted copy on tight deadlines.

The Internet has only made those deadlines faster. What that means is that I have never had the luxury of fretting over my words. I just had to write. I do the same thing with my fiction writing. I can get a first draft on paper fast as hell. Then, once the whole thing is written, I take the time to go back and massage it and make it beautiful. I credit my work as a reporter for never getting writer’s block. I laugh when people talk about writer’s block. Who has the time for it?

My work as a journalist has also taught me to take meticulous notes. I used to carry three or four reporters’ notebooks with me all the time to write down my interviews. Now I carry much smaller notebooks that can slip into my back pocket. I am constantly writing down descriptions of things or bits of dialogue and then stashing them away as inspiration for my fiction.

Tom Zoellner: I believe the top trait demanded of a reporter is the ability to listen. You must ask probing questions and not accept superficial explanations. You must develop the ability to understand inference – to understand what is left unsaid. The art of writing fiction is about “listening” to your characters as though they were interview subjects.

Michael Downs: What Tom said is really important – for journalists, novelists, everyone. There’s a quote from Gabriel Garcia Marquez – another journalist/novelist – that I often mention to students in which Marquez chides interviewers for relying too much on technology and recording devices and paying attention only to a person’s words. But those things, he says, don’t “hear the beating of the heart, which is the most important part of the interview.” He’s talking about empathy, and I think journalism teaches that. Journalism helped me become a person who knows how to pay attention to another person. It’s empathy, it’s listening, it’s openness to the world and experience. That was a great gift.

But as for skills, I’d say the ability to research and report have primarily helped my fiction writing. I’ve set a lot of my work in other decades – my forthcoming novel is set in the 1840s, and it’s about the early days of anesthesia. It took a lot more than Google to understand the world and the science and my characters’ lives. I had to know where to search, how to search, and why to search. Journalism taught me a lot of that.

Sophfronia Scott: At both Time and People magazines I frequently had to write short articles, like 500 words and less. Those short articles still had to be packed with information and the prose had to pop. Writing like that taught me to respect words. Every word has to pull its weight when you write short, every verb has to be on target. I’ve carried that respect into my fiction writing. My novel may be over 100,000 words but none of those words are throwaway words.

Jennifer Steil: You’ve all made really important points. Like Jo, I don’t have time to sit around waiting for inspiration. I’m very good at writing to deadline. I also carry a notebook everywhere because if I don’t write down a thought the minute I have it, it floats up into the ether. My experience scribbling interviews in my reporters’ notebooks, making sure to record the exact words, was terrific preparation for writing convincing dialogue. Reporting also brought me in contact with people I would never otherwise encounter or get to know. They made me aware of very different lives, different stories. Perhaps among the most important things I learned as a reporter was how to ask questions of the world and how to listen closely to the answers.

My journalism background is also entirely responsible for my career as a novelist. Before 2006, I had written many stories and one entire novel, but none of them felt urgent. When I moved to Yemen in the summer of 2006, I finally found a story worth telling. I became the editor-in-chief of a Yemeni newspaper, which was the hardest and most fascinating thing I had ever done. It felt urgent to tell the world the stories of my reporters, to tell the world that Yemenis are nothing like their portrayal in the media. Thus my first book ended up, to my surprise, being a memoir. After publishing a work of nonfiction, it was much easier to sell a novel. I already had an agent, an editor, and a publishing track record.


Jennifer Steil (Moderator): If you were teaching a masterclass in using journalism tools for fiction writing, what one journalism tool would you teach, and how would you do it? What have students or colleagues really responded to?

Michael Downs: I’ll return to what Tom and I alluded to above: the interview. Becoming a good interviewer requires that you as a writer learn how to move from an answer to a question, to discover in an answer a new question –and isn’t that the direction literature takes? Also, interviewing skills help at parties and receptions and the like. Strangers, it turns out, are more interesting when you ask them interesting questions.

Sophfronia Scott: I would teach the power of detail. We tend to think of description as telling what something or someone looks like—his hair was gray, the sky was blue. But I would teach to choose detail that does more, detail that tells you someone’s situation or state of mind or provides a stunning contrast. I once reported a story about a middle school age student who took a knife to school in her backpack with the intention of harming her teacher. My editor wanted me to try to find out what else was in her backpack: pink lip gloss? Math homework that had been left undone? A crumpled bus pass? She wanted to play off that contrast of a violent instrument placed among a pre-teen’s school things. Detail is so important. I would want students to open their eyes to see more than what they may be taking in now.

Jennifer Steil: Absolutely. That’s a terrific example of evocative detail, Sophfronia.

One exercise my students consistently find useful is a lede-writing exercise. While there is a lot more to writing a good book than crafting a riveting first sentence, a riveting first sentence never hurts. I talk about 13 different types of journalistic ledes, giving several examples of each type. (Many of my favorites come from Pulitzer Prize-winning Edna Buchanan, who wrote memorable ledes such as, “Bad things happen to the husbands of Widow Elkin” and, “His last meal was worth $30,000 and it killed him,” but I also include examples from novels, such as, “Lydia is dead. But they don’t know this yet,” from Everything I Never Told You by Celeste Ng.) After we read dozens of brilliant first sentences and learn something about what makes them work, I ask my students to interview each other and write a profile of their partner, starting with one of the lede types we discussed. They do not need to stick to the facts (fiction writing!) but can freely spin off from the material. The interview is just a starting point. Students always come up with some great stuff. Even seasoned authors have let me know they went home and rewrote the first sentence of their book after this particular lecture.

Jo Piazza: Writing on deadline. I guess it’s something I can’t emphasize enough because I keep mentioning it. Right now I’m working on a very quickie project for my publisher. It’s a 75k word novel, and I need to bang it out in about three weeks. Yeah, an entire novel in three weeks. The exercise is daunting every day. I go through the complex emotions one usually experiences writing a novel over the course of a year or two in a single 24-hour span. While you’d think this would dull my writing skills, it has actually done the opposite. It’s forcing my brain to work in different ways. I’m doing a constant sprint now instead of a marathon, and I think the exercise will serve me well on my next big book project. I think reminding people that time is a luxury is really important.

Tom Zoellner: This one is hard to pull off in the classroom except by exhortation, but what helps journalism immeasurably is the simple act of “showing up” – traveling out to see the coal mine, the hospital, the city council chamber, the family home. You are exposed to ten thousand sensory elements and organic connections – the grist of life – that you would never get from reading about it or a phone conversation. Establishing a physical presence first in the places where we seek to create literature is a journalistic habit that fiction writers would do well to imitate.


Jennifer Steil (Moderator): How do you encourage other writers to think beyond their own lives and experiences?

Jo Piazza: I tell everyone who wants to be a writer to set a writing goal every day and make sure to meet it every day for the next month. Mine is between 1,000 and 3,000 words depending on what I am working on. You’d be amazed at how many people come back to me and say they didn’t make it even three days. That’s when I remind them that writing is hard. It’s a craft. It’s a habit. It takes real work. I think from the outside writing looks really easy. Everyone thinks they can be a writer. But when it comes to putting pen to paper on a regular basis (I still say that because I write almost everything long-hand before I type it out) the reality is very different.

I tell people to talk to as many people as possible in a day, but to make sure they’re really listening. Writers are essentially thieves, stealing bits and pieces of other people’s stories and dialogue. I’ve gotten some of my best dialogue from Uber drivers around the world. It’s the listening that is key…and the writing things down. You will tell yourself you will remember something and 99 percent of the time you won’t.

Tom Zoellner: I have never bought into the idea that writers of an assigned gender, race, religion, geography, class, etc. should be confined to only writing about their “identity” (however and by whomever that is defined). Journalism is an excellent way to break those boundaries and establish some empathetic projection – paradoxically enough, through dispassionate observation – with people who live in far different circumstances. And another paradox: getting out of your neighborhood is at once an act of hubris and an act of humility.

Jennifer Steil: I’ve always told young writers that the best thing they could do for their writing is to move somewhere that makes them profoundly uncomfortable and that challenges all of their assumptions. Such a situation is bound to force people to think outside of their own small worlds, from a less nationalistic and more global point of view. It also leads to interesting adventures and relationships, all splendidly rich writing material. One exercise I like to do with students is to have them write a travel story about their home town. Where’s the best pizza place? Where is the best place to throw a birthday party? Which bars would you recommend? What is the town known for? It gives them new perspective to have to describe it to a stranger.

Sophfronia Scott: I tell my students that creativity playdates are just as important as the time they schedule for writing. In fact, their writing time could be difficult and fruitless without them. If they find they are spending much of their writing time staring wordless at the screen or blank page, they’re in need of a creativity playdate. I say if you’re looking for a story idea, ride the subway a few stops or go sit in a park and pay attention. Your next character might step on at West 66th Street, or stroll past you wearing a top hat and walking a fluffy Scottish terrier sporting blue booties on its paws. I know my writing eye is awakened every time I travel the 65 miles south to New York City and take in the energy and movement of a different environment. Suddenly my senses have new sights, sounds, and smells to process. Really the best way to get outside of yourself is to open your eyes and start looking around.

Michael Downs: Creative playdates. I love that. I hope you don’t mind, Sophfronia, if I borrow that one.

This question of moving beyond personal experience is so important, especially for younger writers. Too often they don’t have enough narrative distance from the particulars of their own experiences to be cold about them. A newspaper columnist from California once wrote in Best American Newspaper Writing how he always wrote hot and edited cold. I tell that to my students, but they still often can’t find their way to that cold phase regarding their own experiences.

So I encourage several strategies: change the setting or change the genders of the characters. Change their ages. One thing that often works is to get them to see their particular experience in terms of its abstractions (their experience involved betrayal, or failed hope, or the strange comedy of grief). Then, they imagine a situation different from their own particular experience, but one that allows them to write about those same abstractions. So rather than the profound betrayal they felt in a love affair, they write instead about a betrayal in a workplace having nothing to do with love. That way they still write about their life experience, but the particulars belong to someone else’s life.


Jennifer Steil (Moderator): Do you still work as a journalist? How does that affect and fit in with your fiction writing on a day-to-day basis?

Sophfronia Scott: I write essays and opinion pieces for publication, but I don’t work as a reporter-type journalist anymore. I focus on my own writing now but the lessons I learned from journalism are still within me and at use every day. How could they not be? I wrote many stories, under deadline, for years and years. It’s imprinted in me at this point.

Jennifer Steil: Sometimes. I like to do freelance work when I can, it brightens up my brain. Working to a tight deadline and word count focuses me. I no longer work full-time as a journalist, largely because I find that if I am writing all day long for a paper or magazine, I don’t have the energy for my own fiction work at the end of the day. I’m better off bartending.

Michael Downs: Like you, Jennifer, I find it difficult to balance the two. It’s an analogy that dates me, but I find it’s like Bo Jackson or Deion Sanders trying to toggle between baseball and football. They’re both sports, but they require such different skills and world views. In my case, journalism is about the rush, the deadline, the ability to learn enough that I can simplify what’s complicated. Fiction, though, is more like method acting. It demands that I be quiet and go deep and concentrate, to take what might seem simple and complicate it. But I love and honor both disciplines and their crafts.

Jo Piazza: I do. Up until I had my baby six months ago I was still working full-time as a journalist and writing books on the side. Now I am focusing mainly on books and baby with some freelance assignments. I typically reserve a couple of hours every day to do the fiction writing regardless of what my full-time job looks like, be it editor of a website or a magazine or being a mom like it is right now. But I follow the quota more than I follow the time limit unless I am editing, then I can edit for about eight hours straight. But when I am in creation mode once I am done with that word count I let myself be done for the day. Sometimes I am finished in a half hour and sometimes it takes five hours. My husband is very used to me saying “I have one hundred more words…I can’t do anything until I get one hundred more words.”

Tom Zoellner: I am far more a journalist – by habit, training, and a liking for paychecks – than I am a fiction writer. But I find I am drawn to write fictional characters that embody a certain reserve and clinical distance resembling that of the journalist’s prose. A refusal to participate in the depths of life in favor of observation, much like the existential ambivalence of the protagonist of Richard Ford’s The Sportswriter. This is a dilemma that we don’t much like to talk about, and one whose best expression is through fiction.



Michael Downs’s debut novel, The Strange and True Tale of Horace Wells, SurgeonVersion 2 Dentist, is forthcoming in May 2018 from Acre Books. His other books include The Greatest Show (Louisiana State University Press, 2012), a collection of linked stories, and House of Good Hope (University of Nebraska Press, 2007), which won the River Teeth Literary Nonfiction Prize. His recent nonfiction has appeared in AARP: The MagazineBaltimore Style, and River Teeth. A former newspaper reporter, he has received fellowships from the National Endowment for the Arts, the Maryland State Arts Council, and the Mid-Atlantic Arts Foundation. He lives in Baltimore’s Hamilton neighborhood and teaches at Towson University.

JoPiazzaJo Piazza is an award-winning journalist and best selling author of both fiction and non-fiction. Her novel, The Knockoff, with Lucy Sykes became an instant international bestseller and has been translated into more than seven languages. Jo received a Masters in Journalism from Columbia and has written for the New York Times, the Wall Street Journal, New York magazine, Marie Claire, Elle and Salon. Her latest novel, Charlotte Walsh Likes to Win, will be published by Simon & Shuster in July 2018. She currently lives in San Francisco with her husband, son and their giant dog.

Sophfronia Scott is author of the essay collectionLove’s Long Line, from Ohio State SophfroniaScottUniversity Press’s Mad Creek Books and a memoirThis Child of Faith: Raising a Spiritual Child in a Secular World, from Paraclete Press. She was a writer and editor at Time and People before publishing her first novelAll I Need to Get By (St. Martin’s Press). Her latest novel is Unforgivable Love (William Morrow). Sophfronia teaches at Regis University’s Mile High MFA and Bay Path University’s MFA in Creative Nonfiction. Visit her website, www.Sophfronia.com.

Jennifer Steil
is an award-winning author and journalist. Her novel, The Ambassador’s JenniferSteilWife, published by Doubleday in 2015, won the 2013 William Faulkner-William Wisdom Creative Writing Competition Best Novel award and the 2016 Phillip McMath Post Publication book award. It was shortlisted for both the Bisexual Book Award and the Lascaux Novel Award. Jennifer’s first book, The Woman Who Fell From the Sky (Broadway Books, 2010), a memoir about her tenure as editor of the Yemen Observer newspaper in Sana’a, was praised by The New York TimesNewsweek, and the Sydney Morning Herald. The Minneapolis Star-Tribune chose it as one of their best travel books of the year in 2010, and Elle magazine awarded it their Readers’ Prize. National Geographic Traveler included the book in their 2014 recommended reading list. It has been published in Australia, New Zealand, Germany, the Netherlands, Italy, Turkey, and Poland.

Her freelance work has appeared in the Saranac ReviewWorld Policy Journal, The WeekThe Washington Times, Vogue UK, Die WeltNew York Post, The Rumpus, TimeReaders’ Digest Version, Irish National Radio, France 24 (English), CBS radioand GRN Global Reporter Network Service.TomZoellner

Tom Zoellner
is an Associate Professor of English at Chapman University and the author of four nonfiction books, including the recently published Train as well as A Safeway in Arizona, Uranium, and The Heartless Stone. His work has appeared in The Atlantic, Slate, Time, Harper’s, Men’s Health, The Wall Street Journal, The New York Times, The Los Angeles Times and many other places.



Tagged , , , , , , , , , , ,

Bernard Grant Releases Fiction Chapbook

Sundress Publications is pleased to announce the release of Bernard Grant’s new fiction chapbook, Fly Back at Me.

Here’s what people are saying about Fly Back at Me:
“Bernard Grant’s Fly Back at Me is filled with riches. One short-short after another shocks, hurts, entertains, and enlightens. His sentences are spot-on. If we thought we knew how households work, we discover how much we need to learn. Each page tells us a new truth and the linked whole leads us to an ending that makes us reel, makes us rethink everything, wises us up. Here is a brand-new and powerful young author whose voice insists on silence and revelation. Get in on the ground floor!”

—Kelly Cherry, author of Twelve Women in a Country Called America: Stories

“Bernard Grant’s tight and masterful collection Fly Back at Me is a story shown and never told, a mysterious and also detailed account of one childhood. We learn about a life through scene, detail, and image. Grant reveals his characters through shimmering slices of writing, fragments of a past that we can only grab onto fleetingly before going back to read and reread. Joy and tragedy and a deep mother-son love rattle here in their cages. Poignant and immediate.”

—Jessica Barksdale Inclán, author of The Burning Hour

“Bernard Grant writes with acute clarity; his language and his imagery alike are sharp and clear, and this collection seems nearly etched on the page. These fragments of childhood that Grant has gathered are—like childhood, like memory itself—both lovely and brutal, gentle and harsh. In prose utterly stripped of excess, Grant brings to life an era, a younger self, and a world that the reader will not soon forget.”

—Marya Hornbacher, author of Wasted and Madness

Bernard Grant is a doctoral student at the University of Cincinnati, where he is a Yates Fellow. He’s also received residency and fellowship support from The Anders Center, the Jack Straw Cultural Center, Vermont Studio Center, Sundress Academy for the Arts, and Mineral School. He holds an MFA from Pacific Lutheran University and his stories and essays have appeared in Crab Orchard Review, New Delta Review, and The Chicago Tribune Printers Row, among others.

The chapbook is available for FREE at www.sundresspublications.com/echaps.htm


Tagged , , , , , , ,

Sundress Academy for the Arts Announces Writing Retreat for Veterans

Sundress Academy for the Arts is excited to announce its first writing retreat for veterans on October 7-8, 2017. This two-day retreat at SAFTA’s Firefly Farms is for military veterans and current service members and will be a space for creativity, writing exercises, discussions on ways to write about trauma, advice on publishing, and more. This weekend will be an opportunity to express shared experiences and learn to write your story for a non-military audience.

A weekend pass includes one-on-one and group instruction, writing supplies, food, drinks, and all on-site amenities for $75. Tents, sleeping bags, and other camping equipment are available to rent.

The event will be open to people of all backgrounds and experience levels and will provide an opportunity to work with talented, published fiction writers and poets, including Jeb A. Herrin and Jan LaPerle.


Jeb A. Herrin was a medic with the 3rd Infantry Division during Operations Iraqi Freedom and New Dawn. He earned his BA in English and MFA in Poetry from the University of Tennessee, where he was the 2016 winner of the John C. Hodges Award for Creative Writing for Poetry. His work can be found in Political Punch and O-Dark-Thirty. Jeb has future plans of blending the world of composition with creative writing as well as finding ways to make the voice of the veteran heard. He lives in Knoxville with his wife, son, and two dogs.



Jan LaPerle lives in East Tennessee with her husband, Clay Matthews, and daughter, Winnie. She has published a book of poetry, It Would Be Quiet (Prime Mincer Press, 2013), an e-chap of flash fiction, Hush (Sundress Publications, 2012), a story in verse, A Pretty Place To Mourn (BlazeVOX, 2014), and several other stories and poems, and in 2014 she won an individual artist grant from the Tennessee Arts Commission. LaPerle was on Active Duty at Fort Campbell for three years and has spent 12 years as an Army Reservist, most recently as a Career Counselor.


Space at this workshop is limited to 15 people, so reserve your place today.

Tagged , , , , , , , , , ,

Sundress Academy for the Arts Presents Form in Fiction: A Workshop

Join us for an exciting writing workshop, “Form in Fiction: How to Use Form to Your Advantage,” which focuses on the ways we can use form to help generate new works of fiction with our own Katherine Bell. This workshop will run from 1PM to 4PM on Saturday, September 9th, 2017 at Firefly Farms, the home of the Sundress Academy for the Arts.

In this workshop, participants will look at a variety of formal short stories, including epistolary stories, fragmented or braided stories, and “unusual” point-of-view-driven stories, to see how the authors work within and beyond their chosen forms to craft successful and impactful short stories. Workshop participants will generate their own short stories inspired by the formal work we’ll encounter and share their work in a creative environment. We will use this workshop to create new work and celebrate the joy of creating while under constraint.

Katherine Bell

Katherine Bell is the current Writer-in-Residence at the Sundress Academy for the Arts in Knoxville, Tennessee. Originally from Frederick, Maryland, she earned her MFA from Eastern Washington University in 2017 and has been published in The Fem, Welter Literary Journal, Connotation Press, and others.

Tickets are $25 or $15 for students, and include instruction, snacks, and drinks.

Reserve your space today!


Tagged , , , , , , , , , ,

Project Bookshelf: Chloe Hanson

My “school book bookshelf” was salvaged from the belongings of my husband’s late grandmother.  The top shelf houses my rare books, including a copy of Edgar Allen Poe’s stories from the 1870s and my prized possession, a signed copy of The Last Unicorn.  The rest of the shelves hold books on how to teach composition, pedagogy, and linguistics, and a mini figurine of Aragorn, son of Arathorn.

My fiction bookshelves are, upon closer examination, mostly weird dog figurines that my grandparents send me and Neil Gaiman novels, though I do have a surprising (embarrassing?) number of Sookie Stackhouse novels as well. I also use my bookshelves to house her collection of vinyl records, tapes, and cute wine and beer bottles.

Chloe Hanson is a Ph.D. candidate at the University of Tennessee. She earned her MA and BA from Utah State University, where she also helped to establish and direct the Science Writing Center. Her poetry has appeared or is forthcoming in several journals, including Public Pool, Off the Coast, and Driftwood Press. While she’s procrastinating her homework, she can often be found with a beer in her hand and her dog, Simon, by her side.

Tagged , , , ,

Announcing VIDA Residency Fellowship Winners

sundresslogoSAFTA Presents VIDA Fellowship Winners,
Hera Naguib and Elina Mishuris

Sundress Academy for the Arts (SAFTA) is pleased to announce the winners of the VIDA fellowships for the fall residency period, Hera Naguib and Elina Mishuris.  SAFTA paired with VIDA, a research-driven organization aiming to increase critical attention to contemporary women’s writing and further transparency around gender equality issues in contemporary literary culture, to offer these fellowships for two women writers in any genre.  The full scholarship was awarded to Hera Naguib and the fifty percent scholarship was awarded to Elina Mishuris.  Idra Novey served as the judge for this year’s VIDA Fellowship.  

hera.jpgHera Naguib is a poet and teacher based in Lahore, Pakistan. She earned her MFA in Poetry from Sarah Lawrence College through the Fulbright Scholarship Program and her M.Litt in Literature in English from Beaconhouse National University, Lahore. Hera’s poems have appeared or are forthcoming in Tinderbox Poetry Journal, World Literature Today, Prairie Schooner, Beloit Poetry Journal, Spillway, among others.


Elina Mishuris is a writer and translator living in New York. She received an MFA in fiction and translation from Columbia University in 2016, and a BA from the Gallatin School at New York University in 2011. Currently an English Editor at Morningside Translations, she was previously a teaching fellow in the Undergraduate Writing Program at Columbia, and a Writing Fellow at NYU Abu Dhabi. Her writing appears or is forthcoming in
BOMB, Guernica, The Southeast Review, Slice, and Brooklyn Magazine.  In 2016, she was nominated for the PEN/Robert J. Dau Short Story Prize.

Applications for spring residencies at SAFTA are now open and can be found at our website.


The Sundress Academy for the Arts (SAFTA) is an artists’ residency on a 45-acre farm in Knoxville, Tennessee, that hosts workshops, retreats, and residencies for writers, actors, filmmakers, and visual  artists. All are guided by experienced, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.

Tagged , , , , , , , , , , ,

Sundress Academy for the Arts & Lambda Literary Now Accepting Applications for Spring Artist Residencies

thumbnail_logo      lambda graphic


Sundress Academy for the Arts (SAFTA) is excited to announce that they are now accepting applications for short-term artists’ residencies in creative writing, visual art, film/theater, music, and more. Each residency includes a room of one’s own, access to a communal kitchen, bathroom, office, and living space, plus wireless internet.

The length of a residency can run from one to three weeks. SAFTA is currently accepting applications for our spring residency period, which runs from January 1st to May 6th, 2018. The deadline for spring residency applications is September 10th, 2017.

For the spring residency period, SAFTA will be pairing with Lambda Literary to offer two fellowships (one full fellowship and one 50% fellowship) for a week-long residency to LGBTQIA+ writers of any genre. Lambda believes Lesbian, Gay, Bisexual, Transgender and Queer literature is fundamental to the preservation of our culture, and that LGBTQIA+ lives are affirmed when our stories are written, published and read. All applicants to the two fellowships must identify as LGBTQIA+.  Partial scholarships also available to any applicant with financial need. This year’s judges will be Wren Hanks, Noh Anothai, and librecht baker.

The SAFTA farmhouse is located on a working farm that rests on a 45-acre wooded plot in a Tennessee “holler” perfect for hiking, camping, and nature walks. Located less than a half-hour from downtown Knoxville, an exciting and creative city of 200,000 in the foothills of the Great Smoky Mountains, SAFTA is an ideal location for those looking for a rural get-away with access to urban amenities.

The residency bedrooms are 130 sq. ft. with queen-size platform bed, closet, dresser, and desk. There is also a communal kitchen supplied with stove, refrigerator, and microwave plus plenty of cook- and dining-ware. The office and library have two working computers—one Mac, one PC—with access to the Adobe Creative Cloud. The library contains over 800 books with a particularly large contemporary poetry section and, thanks to the Wardrobe, many recent titles by female-identified and genderqueer writers. The facility also includes a full-size working 19th century full-size letterpress with type, woodworking tools, and a 1930’s drafting table.

To apply for the Sundress Academy for the Arts residency, you will need the following:

-Application form (including artist’s statement and contact information for two references)
-CV or artist’s resume (optional)
-Artist sample (see website for more details on genre specifications)
-Application fee of $15 or $10 for current students (with student email) payable online*

For more information, visit our website: http://www.sundressacademyforthearts.com/
or find us on Facebook, under Sundress Academy for the Arts
or on Twitter, @SundressPub


*Application fee will be waived for those applying for the Lambda Literary scholarship who demonstrate financial need. Please state this in your application under the financial need section.

Tagged , , , , , , , , , , , ,

Sundress Academy for the Arts Announces Writing Retreat for Survival and Healing

Sundress Academy for the Arts is excited to announce its first annual generative writing retreat celebrating survival and healing on June 24th and 25th. This two-day retreat for sexual assault survivors at SAFTA’s Firefly Farms will be a safe space for creativity, generative writing exercises, discussions on ways to write trauma, advice on publishing, and more. Come join us in mutual support for a weekend of writing time for healing, safety, and comfort.

A weekend pass includes one-on-one and group instruction, writing supplies, food, drinks, and all on-site amenities for $75.  Tents, sleeping bags, and other camping equipment are available to rent.

The event will be open to writers of all backgrounds and provide an opportunity to work with many talented, published fiction writers and poets from around the country, including Beth Couture, Heather Knox, Krista, Cox, and Jennie Frost.

Beth Couture is the author of Women Born with Fur (Jaded Ibis Press). She received her Ph.D. in Creative Writing from the Center Center for Writers at the University of Southern Mississippi. She currently lives in Philadelphia and is completing a Master’s degree in Social Work at Bryn Mawr College.

Krista Cox is a poet, paralegal, and single mother of two living in Northern Indiana. She edits for Stirring: A Literary Collection and Pittsburgh Poetry Review, and she runs Lit Literary Collective, a nonprofit that celebrates and elevates the literary arts in her local community.  Her work has been or will be published in Columbia Journal, Rappahannock Review, and the Indianola Review, among other places in print and online.

Jennie Frost is a queer poet from Maryville, TN. She is currently the Writer-in-Residence and Literary Arts Director at Sundress Academy for the Arts where she works closely with visiting writers and a herd of sheep. Her poetry has appeared or is forthcoming in Border Crossing, Kudzu, Glass Mountain, Indicia, Stirring, and more. She is a dedicated member of the LGBTQ+ community and created the first Sexual Assault Prevention program at her alma mater, Tusculum College, where she studied Title IX closely and presented her Honors Thesis, “Sexual Assault Prevention: Research, Implementation, and Re-Creation in Small, Liberal Arts Colleges.”

Heather Knox is the author of the poetry collection Dowry Meat (Words Dance Publishing) and the forthcoming YA fiction series Vampire Wars (EPIC Escape). Her poetry has appeared in Columbia Poetry Review, [PANK], decomP magazinE, Word Riot, Thrush Poetry Journal, and elsewhere. She received her MFA from the Iowa Writers’ Workshop. Heather currently teaches online for The Poetry Barn and Southern New Hampshire University and serves as Managing Editor for The Wardrobe.

We have two full scholarships available for the retreat as well as limited 20% scholarships for those with financial need. To apply for a scholarship, send a packet of no more than (8) pages of creative writing along with a brief statement on why you would like to attend this workshop to Erin Elizabeth Smith at erin@sundresspublications.com no later than April 30th, 2017. Scholarship recipients will be announced in May.

Space at this workshop is limited to 16 writers, so reserve your place today.

For more information, find Sundress Academy for the Arts on our websiteFacebook, or Twitter.


Tagged , , , , , , , , ,

2017 Summer Fiction Writing Retreat Sign-Ups Open

The Sundress Academy for the Arts is thrilled to announce its Summer Fiction Writing Retreat, which runs from Friday, June 2nd to June 4th, 2017.  The three-day, two-night camping retreat will be held at SAFTA’s own Firefly Farms in Knoxville, Tennessee.  This year’s retreat will focus on generative fiction writing and include two break-out sessions “Transmogrification: Magic and the Body” and “The Most Weird and Practical Dream: Advice on How to Communicate With Strangers, or, Everything I’ve Learned in the Last 20 Years Cut Down to 2 Hours,” plus discussions on kicking writer’s block, publishing, and more.

A weekend pass includes one-on-one and group instruction, writing supplies, food, drinks, transportation to and from the airport, and all on-site amenities for $250.  Tents, sleeping bags, and other camping equipment are available to rent for $25.  Payment plans are available if you reserve by March 31, 2017; inquire via email for details.

The event will be open to writers of all backgrounds and provide an opportunity to work with many talented, published fiction writers from around the country, including Chen Chen and Emilia Phillips.

M.O. Walsh


M.O. Walsh is from Baton Rouge, Louisiana.  He is the author of the short story collection The Prospect of Magic and the novel My Sunshine Away, which was a New York Times Bestseller, an Amazon Featured Debut, and won the Pat Conroy Book Award for Southern Fiction.  His stories and essays have appeared in the New York Times, The Guardian, Oxford American, The Southern Review, and others. He currently lives in New Orleans, LA, where he is the director of the Creative Writing Workshop at the University of New Orleans.


tessa-mellas-for-gristTessa Mellas received the 2013 Iowa Short Fiction Award for her collection, Lungs Full of Noise. She holds an MFA from Bowling Green State University and a PhD from the University of Cincinnati. She teaches writing at the University of Maine at Machias, a college so far east it is the first in the nation each morning to see the sun. Figure skater, vermicomposter, vegan, and tender of a fierce feline twosome, she relates to soil and snow.

We have one full scholarship available for the retreat as well as limited 20% scholarships for those with financial need. To apply for a scholarship, send a packet of no more than (8) pages of poetry along with a brief statement on why you would like to attend this workshop to Erin Elizabeth Smith at erin@sundresspublications.com no later than March 31, 2017. Winners will be announced in April.


Space at this workshop is limited to 15 writers, so reserve your place today!

Tagged , , , , , , , , , , , , ,
%d bloggers like this: