Friday, December 13, 2013

Congratulations to our Graduates

Congratulations to all of the LU MFA graduates who participated in Lindenwood University's December 2013 Commencement!


Thursday, November 21, 2013

Instructor Course Descriptions

To supplement the catalog descriptions with more details for our students, our instructors have provided the following course descriptions. They are grouped by instructor and posted in the order listed below. More descriptions will be added in future quarters.

UPDATE: More Instructor Course Descriptions are available HERE. On that page, click on each instructor's name to view his/her course descriptions.

Tony D'Souza:
Adv Focused Fiction Workshop (online)
Narrative Journalism (online)

Eve Jones:
Focused Poetry Workshop (online)
Poetry Genres (online)

Anthony Connolly:
Fundamentals of Contemporary Fiction (online)
Adv Studies in the Craft of Fiction (online)
The Lyric Essay (online)

Mary Anderson:

Flash Fiction (online)
Prose Collection: Alice Munro (online)
Prose Collection: Richard Ford (online)

Catherine Rankovic:
Personal Essay & Memoir (online)
Creative Nonfiction Workshop (online)
Adv Studies Craft of Poetry (online)

Beth Mead:
The Literary Journal (online)
Prose Collection: Tobias Wolff / David Sedaris (online)

David Hollingsworth:
Fiction Cluster (in-class)

Michael Castro:
Adv Poetry Cluster (in-class)

Peter Carlos:
Scriptwriting Cluster (in-class)

Kelli Allen:
Poetry Cluster (in-class)
Narrative Journalism Cluster (in-class)

Adv Focused Fiction Workshop / Tony D'Souza:
What part of the literary family tree do you belong to? By exploring a wide range of writers and styles from the minimalist Ray Carver to the fantastical Italo Calvino, we'll develop a stronger foundation in the canon we all spring from, while cultivating our own writing through intensive workshops. The fictional line may have the longest learning curve of all the literary arts, especially for the beginning novelist. This course will emphasize the art of writer's discipline and offer tips on creating the routine and creative workspace a writer needs to run the marathon of writing a great book. Character, tone, and gravitas will all be discussed in relation to our work and final projects will include an exploration of the contemporary publishing marketplace and just how one goes about submitting work and seeing our names in real print.

Narrative Journalism / Tony D'Souza:
Narrative journalism is the art of telling a true story, weaving research and facts into an engaging, page-turning piece of non-fiction that reads with energy, insight and depth. Readers love non-fiction as a means to better understand the world and people different from them. The task of the narrative journalist is to paint accurate and vivid portraits of people and subjects even the journalist, at the beginning of the writing, may know little about.

Media is changing quickly with many new online platforms for publishing narrative journalism; in fact, narrative journalism may be enjoying is most vibrant period ever. We will look at a diverse sampling of long narrative non-fiction pieces from some of the leading outlets today, including The New Yorker, Rolling Stone, Harper's, and Vanity Fair. We'll discuss how to achieve the 'holy grail' of the narrative journalist--writing a piece with 'three-dimensionality'--as well as investigate how to balance primary and secondary sources, dialogue, interviews, and hard facts with the demands of story-telling. Students will have free range to investigate whatever subjects are dear to their own hearts while building strong foundations as narrative journalists in this field of writing where publishers are actively looking for new writers and content.

We’ll not only explore non-fiction writing and publishing for today’s world, but also ethics, craft, the submissions process and the social importance of it all. The ability to write narrative journalism greatly diversifies a writer's range and ability to answer the question, "How do I tell this true tale in a way that always brings the reader along?"

Focused Poetry Workshop / Eve Jones:
This course is an intensive poetry writing workshop in which each student will produce original work and submit it to the class for analysis, close reading, line editing, discussion of theme and content, and suggestions for revision. Depending on class size, students will have the chance to submit several poems and receive critical feedback. We will use Jack Myers' Portable Poetry Workshop, a text focusing on both craft and workshop guidance/tips.

Poetry Genres / Eve Jones:
Poetry Genres is a lit class in which we examine the integral elements of a poem: What is the purpose of The Line? The metaphorical image? Does the poem make sounds? Against what sort of cage does it rattle? Are you Team Open Poem or Team Closed Poem? What makes a poem “succeed”? We focus on each poetic element in two-week units, discussing various ancient & contemporary examples from the readings. The primary focus is discussion, although the course also includes journal exercises and brief essays.

Fundamentals of Contemporary Fiction / Anthony Connolly:
It is hard to describe. I have an idea of the beginning. I write the first line and continue to the last. I correct a great deal, work hard and write several drafts, but I never question the finished work – Alain Robbe-Grillet

Producing fiction, let alone defining its process, can be difficult. There are so many paths to the top of that mountain. But what is less shrouded in mystery is the equipment a writer needs – Stephen King famously calls them tools for the toolbox.

This course provides the tools that all writers need to get the words on the page. Acquiring these tools means exploring the expansive boundaries and the foundational principles of current long and short prose fiction in order to prepare writers for today’s art form.

Fundamentals include:
- How to establish a strong and regular writing practice
- Exploring the principles of fiction
- Mastering the power of details
- Developing rich characters
- Discovering the tricks of plotting
- Creating effective dialogue
- Structuring prose for maximum effect
- Establishing and using point of view
- Serving to launch the writer out into the larger community of fellow writers and readers

And throughout all of this exploring, developing, and establishing – writing of course; and remember, “you don’t have to be great to start, but you have to start to be great,” wrote Joe Saba.

So let’s start.

Adv Studies in Contemporary Fiction / Anthony Connolly:

This eleven-week course is for the skilled fiction writer who wants to up their game. Each week the course will offer a new craft technique to produce prose with publication as the goal. Advanced Studies in Contemporary Fiction prepares students to work within historical and current creative writing practices and provides a supportive environment to refine their short stories, novellas or novels.

The Lyric Essay / Anthony Connolly:
The lyric essay is at the forefront of innovative writing melding the best of poetry with the best of essay composition. If a stand alone essay is said to be the autobiography of a thought and poetry the sound of experience then a lyric essay is a symphony of your brain. It looks like prose, but reads like music; it's composed like painting, but dries much quicker and you don't have to wear a smock. A lyric essay is connotative rather than denotative; it raises more questions than it answers; it's associative rather definitive; and it's beautifully fragmentary. It free-falls with juxtaposition and folly. A close cousin to the prose poem, the lyric essay is a short work of prose designed to illustrate not only what the writer is thinking, but perhaps more importantly how the writer thought what they were thinking. A lyric essay reveals how you view the world.

It's actually a classic essay form, dating back to antiquity, but under a different name; today, lyric essay is one of the major reasons why creative nonfiction is tres hot. For an example, read my lyric essay "Through The Hands of Strangers":

Flash Fiction / Mary Anderson:

Writing good flash fiction has been defined as structuring words so that they “consume themselves like ice melting on a stove.” Bring truth to your storytelling by wielding the sudden twist, suggesting a lyrical nuance, and beginning in the middle of your scenes. Through a series of readings, exercises, and workshopping in this flash fiction course, you will experiment with capturing discrete moments in time, writing slice-of-life vignettes, and streaking the sky with comets!

Prose Collection: Fiction: Alice Munro / Mary Anderson
Dare to write about the ordinary. Learn to craft short stories with the impact of a novel. Come read and study Dear Life, the latest stories by Alice Munro, as we examine this beloved, award-winning, Canadian writer’s “unparalleled gift for storytelling.” Try your own hand at writing your way through clarity and into vision.

Prose Collection: Richard Ford / Mary Anderson:
To paraphrase The Paris Review (No. 147), Richard Ford’s much acclaimed collection of short stories, Rock Springs, established him as a master of the genre. Ford consciously concentrates on the distinctions among such fictive concerns as narrative strategy, setting, character types, plots, point of view, and dramatic structure.

This class will investigate, analyze, and inhale two short story collections from different periods of Ford’s writing career. You will also look at your own writing in relation to Ford’s in order to enhance your working knowledge of accessible fiction and add to your collection of writing techniques.
Ford continues to write award-winning fiction in part for the reader he was at nineteen, and for the language—“To me, it’s the thought that you can make something out of words, which organizes experience in the way Faulkner is talking about when he says that “literature stops life for the purpose of examining it.” To be able to do that for another person is a good use of your life.”

Personal Essay & Memoir / Catherine Rankovic:
Personal essays and memoirs are the autobiographical branches of creative nonfiction. Expressing feelings and memories is only the first step in the fascinating process of re-creating for your readership an interior world or a world lost in time. In this course students practice and master literary skills such as revision, description, observation, fact-gathering, and dialogue. The goal is work of publishable quality – which means developing the writer’s distinctive “voice” and learning how to write a deeply personal work that can attract and move an audience. We will also be reading and studying published examples of the personal essay and the memoir—and the two are not the same. Along the way we consider questions about privacy and the problems of writing from memory.

Creative Nonfiction Workshop / Catherine Rankovic:
In this group-workshop course, students read, study and discuss examples of excellent creative nonfiction and write four drafts each of two complete essays, finishing the course with two well-crafted and highly polished examples of creative nonfiction. Creative nonfiction, also called "the literature of reality," includes personal essays, memoirs, travel or nature writing, nonfiction narratives, and cultural criticism such as reviews. Individual lessons and writing exercises focus on topic selection, scene writing, observation and description, dialogue reconstruction, describing people, and research on factual material. We aim for work of publishable quality.

Adv Studies Craft of Poetry / Catherine Rankovic
I’d subtitle this course “How to Improve Your Poetry,” or “How to Create Poems that Move Your Readers.” After writing your first draft, which is like a pencil sketch, optimize your poem using classic and modern poetic techniques to create a memorable full-color experience for your reader. The poets who move you have skills, nerve, and techniques; you can be like them. Feedback and revision will support you in acquiring the ability to write poems of consistent quality. You will also learn the lingo. If you don’t know what syllabics or enjambments are, you will learn. Poetry exercises will encourage you to free your imagination. Teaching us via their textbooks are contemporary poets Mary Oliver and Stephen Dobyns.

The Literary Journal [Fiction and/or Poetry and/or Essay] / Beth Mead:
Students enrolled in this journal editing class will read submissions to The Lindenwood Review, discuss them with the class, and vote on them for publication; students will be listed as editorial assistants in TLR. Additional coursework includes describing and analyzing your personal aesthetic as a reader and writer, as well as researching and presenting a literary journal to the class (students enrolled in more than one section will research a different journal for each class). In addition, the publication process will be discussed, and students will be required to submit their own original work to an approved publication by the end of the quarter. To become familiar with our journal, visit the website for TLR at and click on CurrentIssue to read excerpts.

Prose Collection / Beth Mead (Tobias Wolff/Margaret Atwood/David Sedaris):
Each Prose Collection class will focus on one collection from a single author (short story collection or personal essay collection). We will discuss and analyze each piece from a writer’s perspective, as well as addressing cohesiveness and the ordering of pieces in a collection. Students will also consider how their observations and insights can be applied to their own writing and a future collection. The Prose Collection is a literature/craft class; there is no workshop component. Students may take up to three Prose Collection classes as long as each class has a different author focus.

DAVID HOLLINGSWORTH:Adv Fiction Cluster / David Hollingsworth:
This course focuses on the intricacies of fiction writing, from characterization, the logistics of plot and consequences to effective description and dialogue. The techniques explored in class can help writers to develop work that is complete in all areas, firm in foundation, and necessarily concise.

To be a good writer is to be a good reader. We will examine a variety of fiction, learning from the successes and failures of contemporary and classic writers.

Students will be able to workshop two stories throughout the quarter, and will be expected to provide constructive and careful feedback for others. In addition, expect writing prompts each class.

Adv Poetry Cluster / Michael Castro:
Students will become familiar with major writers, trends and issues shaping modern poetry. Elements of poetry—syllable, line, image, sound, rhythm—will be explored through readings and writing exercises. Students will develop their own poetry in a workshop setting.

Scriptwriting Cluster / Peter Carlos: 
Scriptwriting Workshop is the study of the process of feature film scriptwriting and its elements: three-act structure, scene building, character, plotting, plot points, universal themes, and professional formatting. Narrative Arc in Film is the study of the high and low points of the dramatic developments, including key plot points, the midpoint, and moments, beats, in a film. Script Analysis is the study of the hero and the hero’s journey, film subtext, and character behavior and dialogue in scripts.

Poetry Cluster / Kelli Allen:
This course will consider poetry’s role in contemporary society. We will explore working definitions of “the poem” “the line” and “meaning.” Expect vigorous discussion on how poetry has changed during the last 50 years. We will consider who is currently publishing, how and where, and what, as writers, we can contribute to the swell of poetry being written and read in a digital age. This course will offer a wide range of contemporary poetry with attention given to specific writers, topics, and themes. Students will have an opportunity to workshop their own poetry every class meeting and will be expected to provide thoughtful and useful feedback on workshop pieces and weekly reading assignments. Come prepared to write, as prompts will also be used in every class. Our objectives are to consider poetry’s function in society and to examine its varying forms, as well as write our own stunning poems and sharpen our editing skills through workshop and outside projects.

Narrative Journalism Cluster / Kelli Allen:
This course is concerned with what happens when we combine the best qualities of journalism and literature. During the quarter we will explore the journalistic, historical, and critical notions that make up the idea of “literary journalism” as we read and analyze many of the best literary journalistic pieces from the mid-1800s to present. We will spend much of our time together discussing how form and content (structure and method) can blend together to create outstanding (mostly) factual literature.

This course will refer to work as far back as the 18th century to some of the literary antecedents to what Tom Wolfe - and others before and after him - have called the "New Journalism." We will read, analyze, respond in written form, and discuss the works of many different literary journalists (and commentators on literary journalism) from the time of New Journalism to present day.

The purpose of our course is to understand how content is written using fiction techniques (sometimes in radical, wild, and very unconventional ways) to create a new kind of literature—one which is at once journalistic –and- narrative. Narrative journalism, when done well and with relevance, creates an excited and important departure from journalistic norms.

This course will explore (among other topics):
1. Literary journalism's historical roots and founders (the “trailblazers”)
2. Literary journalism's present and future in the digital age (so much information, so little ability to sift through it all for “the truth”).
3. Criticism literary journalism receives, positive and not.
4. Theories behind this genre and how we apply for ill or good.
5. Techniques that comprise, shape, and define this genre (think fiction).
6. Using our own (your) writing skills to craft pieces of great literary journalism

What we will do in this course (readings, minimal lecture, maximal discussion, analysis and writing) is intended to give you a perspective of journalism in general and its broader societal and global importance-- especially as it pertains to democracy, open communication, compassion, and multicultural experience.

In addition to our readings from the three texts, we will discuss brief pieces I bring in to use as comparison against topics we are discussing and as bolster to your own workshop pieces. We will be reading –a lot- in this course, as absorbing others’ work is the very best way to craft your won with grace and excitement. Be prepared to write, read, discuss, and write some more every single class meeting. I expect to hear each of your voices—no one is exempt from discussion. 

Textbooks & 1st Assignments for Winter Quarter 2014


Creative Writing for the MFA/Adv Creative Writing/Adv Manuscript Analysis
IMF 515/518/580

Berzon, Scott –

1st class begins Monday, January 6th, 6pm-10pm, Cultural Center, Conference Room
              Cultural Center, Conference Room – Mondays, 6-10pm (2nd class meeting 1/13/2014)

1st Assignment:

Write a Literacy Narrative between 2-4 pages. Due by Monday, 1/6/14.

If you are unfamiliar with this essay form, there is a clear description of the genre, along with a student example, on this page from W. W. Norton:  

The relevant sections from this site to help with your assignment are also shown below.

From the student website for The Norton Field Guide to Writing (Bullock):

Creative Writing: An Introduction
David Starkey
Bedford St. Martin's
1st Edition, 2014
ISBN 9781457661679

Creative Nonfiction Workshop/The Personal Essay & Memoir/The Lyric Essay
IMF 545/546/547

Pryor, Andrew–

1st class begins Saturday, January 11th, 10am-2pm, Cultural Center, Room 306 (upstairs)
                 Cultural Center, Conference Room – Tuesdays, 6-10pm (2nd class meeting 1/16/2014)

1st Assignment:

Read chapters (12) "The Particular Challenges of Creative Nonfiction" and (13) "The Basics of Good Writing in Any Form" in Tell It Slant (pages 145-177).
For your first writing exercise, do exercise 2 on page 177 and bring it with you to class. These should be typed with standard MLA headers, double-spaced, and in Times New Roman font.

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Adv. Studies in Journalism/Adv. Studies Narr Journalism/Adv. Journalism Readings
IMF 568/569/570

Allen, Kelli –

1st class begins Saturday, January 11th, at 10am-2pm in Cultural Center, Room 100
            Cultural Center, Conference Room – Wednesdays (2nd class meeting 1/15/2014)

1st Assignment:

Your first assignment for this course consists of two parts:
1.      Please email me (KAllen [at] a 1-2 page personal essay telling me what type of prose you enjoy writing (fiction, short memoir, journalism, poetry), how you would describe your writing aesthetic, and a few of your favorite authors and books. If you are published, where and in what genera?  What events in your life brought you to writing?  Please be certain I have these short essays at least three days prior to our first class meeting on Saturday.  Be warned that I may read some of your essays, or have you read them, aloud to the class.
2.      Please have pages 1-33 from The Art of Fact: A Historical Anthology of  Literary Journalism, (Kerrane and Yagoda), read and be ready to discuss the readings.  Be prepared to write a brief in-class response to the readings as well.

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IMF 52500.OL1 Poetry Writing Workshop: Eve Jones
IMF 52900.OL1 Adv Studies Craft of Poetry: Catherine Rankovic
IMF 53900.OL1 Adv St Contemporary Fiction: Anthony Connolly  [Class is now FULL]
IMF 55600.OL1 Prose Collection/Richard Ford: Mary Anderson  [Class is now FULL]
IMF 56600.OL1 Narrative Journalism: Tony D’Souza [Class is now FULL]
IMF 53700.OL1 Selected Emphases in Fiction/Magical Realism: Eve Jones

TEXTBOOKS for Online Courses:

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*Do NOT log into Blackboard until Monday, January 13th —and you MUST post on Blackboard on 1/13*

On Monday, January 13, log into Blackboard (see instructions below), click on your course name, and then click on the FIRST ASSIGNMENT menu tab at the left of the screen. You will click on the discussion board link and post a statement in the discussion indicating that you were able to log in to Blackboard successfully. This MUST be done on Monday, January 13.

Then you will click on the GETTING STARTED menu tab at the left of the screen and read the course content indicated (Class Requirements, etc.).

Then you will click on the WEEKLY ASSIGNMENTS menu tab at the left of the screen, and then click on Week 1. There you will see all of your assignments for the first week of class and their due dates. Online students are required to post/participate on Blackboard three times per week.

Each week during the quarter, you will click on WEEKLY ASSIGNMENTS and then on the appropriate week’s folder to view the assignments and due dates for the week.

If you have any questions or problems, you can contact the instructor (email Beth if you need your instructor's email address), or you can click on Help in Blackboard to contact the Lindenwood Online Support Center.

Instructions for Logging in to Blackboard for Online Classes:
• Go to
• Hover your mouse over Blackboard in the white bar at the top of the screen
• Click on Access Blackboard
• Log in with the same user ID and password you use for your Lionmail account (if you have not activated your Lionmail account, go to, hover over Email at the top of the screen, and click on Find Your Username; follow the instructions to get your user ID and password)
• Once you are logged in, click on your course name to enter the class site
• If you have any problems, click on Help at the top of the Log In page or contact your instructor

Sunday, November 17, 2013

TLR3 Pushcart Nominations

We are very happy to announce our Pushcart nominations from Issue 3 of The Lindenwood Review. Congratulations to all our nominees!

W. Scott Thomason
"I Am Goliath"

Maria Hummer

Claudia A. Geagan
"Durable Powers"

Lisa Haag Kang

Paul Scot August

Lindsey Miller

To order Issue 3, visit our website here.
Issue 4 submissions will be accepted through December 15.
Lindenwood University MFA in Writing Program—In-Class or Online
Fully Online Option—No Residency Requirement

Visit us at:

Friday, November 15, 2013

Class Schedule for Winter Quarter 2014

Registration begins on November 18 for Winter Quarter. Email Beth to enroll.

IMF52500.OL1 Poetry Writing Workshop -- Eve Jones [Class is now FULL]
IMF52900.OL1 Adv Studies Craft of Poetry -- Catherine Rankovic
IMF53700.OL1 Selected Emphases in Fiction: Magical Realism -- Eve Jones
IMF53900.OL1 Adv Studies in Contemporary Fiction -- William Connolly [Class is now FULL]
IMF55600.OL1 Prose Collection: Richard Ford -- Mary Anderson [Class is now FULL]
IMF56600.OL1 Narrative Journalism -- Tony D'Souza [Class is now FULL]

IMF515/518/580 Creative Writing Cluster (Fiction and Poetry Workshops) -- Scott Berzon -- Mondays
IMF545/546/547 Creative Nonfiction Cluster -- Andrew Pryor -- Tuesdays
IMF568/569/570 Adv Narrative Journalism Cluster -- Kelli Allen -- Wednesdays

Lyric Essay Contest Results

Thank you to everyone who submitted work to The Lindenwood Review's Lyric Essay Contest. We enjoyed reading so many wonderful essays. Response emails have now been sent to all who entered, and we are happy to announce our winners:


Christine Stewart-Nunez


Peter E. Murphy
"Six Ways to Make People Like You"

Virginia Newell
"The Tone Chord"

Brenna J. Conley
"Notes from St. John's Hospital"

Aileen Rabbitt
"The Place Between"

Dawn Paul

The winner and honorable mention essays will appear in Issue 4 of The Lindenwood Review, available in June 2014.

Lindenwood University MFA in Writing Program—In-Class or Online
Fully Online Option—No Residency Requirement

Visit us at:

Thursday, October 3, 2013

LU MFA Student Michael DeVault to Speak at LU Commencement

Congratulations to LU MFA student Michael DeVault, who has been chosen to speak at the December graduation ceremony at Lindenwood University.

Michael DeVault is a writer living and working in Monroe, Louisiana. He has published four novels, including 2010's The Patriot Joe Morton, which was first runner up for the Faulkner Gold Medal in Novella. Michael is a graduate of the University of Louisiana-Monroe and holds a B.A. in English. While at ULM he competed on a nationally recognized speech and debate squad, served as copy editor for the campus newspaper, and sang in the University Choir.

When he is not studying, Michael is a contributing writer to BayouLife Magazine, where he covers topics ranging from the outdoors to a visit by His Holiness the Dalai Lama. He is an award-winning journalist and served at virtually every level of the media business in his native Louisiana, including stints as editor of The Ouachita Citizen, news editor at The Franklin Sun, and editor-in-chief of Bayou Outdoors Magazine. After completing his studies at Lindenwood University, Michael anticipates pursuing a PhD in Rhetoric and Composition with a focus on the rhetoric of science. Ultimately, Michael hopes to spend time teaching writing in all its forms at the university level.

Lindenwood University MFA in Writing Program—Online or In-Class
Fully Online MFA Program—No Residency Requirement

Visit us at:

Saturday, September 14, 2013

Top Ten Online MFA Programs

The Lindenwood University MFA in Writing Program is proud to appear on Word Focus' Top Ten List of Online Creative Writing Programs. Read the full article here. Along with the benefits of our program described in the article, Lindenwood offers a 50% tuition discount to students over the age of 55, as well as an education grant of $60 off per credit hour for currently teaching high school, middle school, or elementary teachers. All LU MFA students may take classes online, in the classroom, or a combination of both. Fully online students do not have a residency requirement. Our program offers writing workshops as well as craft and literature coursework, and our students have the opportunity to serve as editorial assistants on the literary journal The Lindenwood Review. We hold two literary readings per year, and students and alumni receive quarterly program updates with lists of publication opportunities and literary events. More program information is available here (online option) and here (full MFA program info), and bios of our dedicated faculty members are available here. We are proud of our program and are happy to see it recognized by Word Focus.

Lindenwood University MFA in Writing Program—Online or In-Class
Fully Online MFA Program—No Residency Requirement

Visit us at:

Thursday, September 12, 2013

LU MFA Update ~ September 2013

In this update:
  • Fall Quarter registration info: instructor course descriptions, textbook lists, first assignments, and start dates
  • Student & Alumni Publications
  • Calls for Submission
Fall registration is now underway. Email Beth to enroll in online classes or in-class clusters. Click on the links below for info on our fall coursework:


  • Lisa Haag Kang’s poetry chapbook manuscript, A Benign Sort of Cannibalism, was the winning manuscript in the Clockwise Chapbook Competition and will be published by Tebot Bach.
  • The press release for Janna Vought’s book Evolution of Cocoons is available here.
  • The press release for Dacia Wilkinson’s latest book is available here.  
  • Daron Kappauff became the Proposal/Technical Writer at MTM-Inc. Daron is also working on a graphic novel project called Horizon’s End.
  • Alan Zacher’s story, “Santa Claus is Stuck on the Roof,” will be published in the Christmas edition of Chicken Noodle Soup for the Soul. 


The Southern Review: submissions page

Poor Yorick is now accepting submissions for its online launch scheduled for the fall of 2014.
Please see our website ( for more information and submission guidelines.

The Oklahoma Review will be accepting submissions in fiction, creative nonfiction, and poetry until October 15. Submissions may be sent via email to

Mason’s Road is accepting submissions through October 20th, 2013. Please look here for submission guidelines.

3Elements Review is a unique journal because each quarter we choose three "elements" that must be included in all stories and poems. This issue's elements are posted on our website. Pieces are due on October 10th. To learn more about our journal, please visit


Heron Tree Call for Poetry Submissions

Email submission deadline: December 1, 2013
Heron Tree, an online journal of poetry, will accept submissions from September 1 through December 1. Accepted work will be published on the Heron Tree website and will be included in a yearly bound edition available as a print-on-demand volume. Visit to read what we've published, to visit a page of poems we're drawn to, and to find the complete guidelines, including the email address for submissions.

Inviting Tanka Poetry Submissions on House and Home

Online/Email submission deadline: October 1, 2013
Inner Art Journal is inviting authors to submit tanka, tanka prose and other short form poetry on the subject of houses and homes. Contributors are invited to interpret the theme liberally. We plan to publish a printed book with the best submissions via Createspace, as well as include the works online in Inner Art Journal. Please submit your work by October 1st. Take a look at Inner Art Journal online for examples of the work we like. If you would like to see our first print publication, it is called Tanka Practice. Details can be found at

Isthmus Literary Review call for submissions

Online submissions accepted year-round.

Isthmus is a biannual print publication based in Seattle. We seek fiction, creative nonfiction, and poetry. Translations are considered in all genres. The Spring issue will debut at AWP 2014. Simultaneous submissions are accepted. Please visit our website for full guidelines and to submit online:

New Plains Review: Call for Submissions

Online submission deadline: Rolling

New Plains Review is accepting submissions for our Fall 2013 Issue. We are interested in poetry, fiction, and creative nonfiction that is thoughtful and compelling, but otherwise we do not have any specific guidelines for style or subject matter. Please see our Editorial Guidelines section of our website for more details:

Scapegoat Review looking for Submissions

Scapegoat Review is a quarterly journal looking for work for its winter issue. Poetry, flash fiction and flash nonfiction are welcome. We strive for work that is rare and exceptional. Both established and unpublished poets welcome. Work we like—Paul Celan, Simone Meunch, Osip Mandelstam, Yusef Komunyakaa, Wilsawa Symborksa; work that captures our brain and heart. Check for guidelines.

Twisted Vine Literary Inaugural Issue

Submission deadline: October 31, 2013

Twisted Vine, the biannual literary journal of Western New Mexico University's Masters of Interdisciplinary Studies Program, is now accepting submissions for the inaugural issue. Reading period: August-October. The editors at Twisted Vine strongly encourage submissions that are interdisciplinary in nature (poetry about math is one example,) progressive, unexpected and ever-evolving. There are no fast and hard rules in our selection criteria and much of our process is intuitive. We want to ignite your creativity, so show us what you got! Submit here:

Call for Submissions: The Cumberland River Review

Submission deadline: April 30, 2014

The Cumberland River Review is a quarterly online journal of new poetry, fiction, essays, and art, welcoming submissions from both national and international writers and artists at any point in their careers. Each issue of The Cumberland River Review features ten poems and one story or essay, all chosen on the basis of their excellence. While we read with no particular theme or issue-length arc in mind, we’re always happy when one develops. Our goal, always, is to feature work of moral consequence—work that transports us.

Submit at

Blueline Seeks Poetry, Fiction, and Nonfiction about the Adirondacks

Email/Postmark submission deadline: November 30, 2013

Blueline: A Literary Magazine Dedicated to the Spirit of the Adirondacks seeks poems and stories about the Adirondacks and regions similar in geography and spirit, focusing on nature's shaping influence. We also welcome creative nonfiction that interprets the literature or culture of the region. Submission period July through November. Decisions mid-February. Payment in copies. Send no previously published works and no simultaneous submissions. Send manuscripts to Blueline, 120 Morey Hall, SUNY Potsdam, Potsdam, NY 13676. Electronic submissions encouraged, as Word docx attachments to blueline [at] Please indicate the genre in the subject line. welcomes visits to our new website:

Call for submissions graduate & undergraduate writers

Online submission deadline: November 1, 2013
Ninth Letter will be accepting submissions of fiction and poetry from students currently enrolled in a creative writing program for a special online edition to be published at in Winter 2013-14. Graduate and undergraduate students are invited to send work. Submissions will be open until November 1. Authors whose work is selected for this special feature will receive a complimentary 2-year subscription to Ninth Letter. Submit your poetry and short stories for this special feature at Submissions sent via snail mail or submitted through our general submissions at will not be considered for the feature.

Dead Flowers Seeks Guest Editors and Submissions

Submissions accepted year-round.
Bohemian Pupil Press seeks Poetry and Micro-Essay submissions for Dead Flowers: A Poetry Rag, a hopefully not too heady "experiment" exploring the notion that there are no careerists in the underground. As well, Dead Flowers is seeking intelligent readers who are indifferent to poetry—who are outside the poetry world—to accept the rewarding challenge of Guest Editing. There is no pay involved; rather, by introducing a discerning voice from outside the poetry world, guest editors will be partaking in the enormous task of influencing a new perception of poetry. Visit (go to Dead Flowers tab) for full details.

Kudzu Review is now reading for Summer Solstice Issue 4.1

Online submission deadline: March 1, 2014
Kudzu Review is looking for submissions for its Summer Solstice Issue. We look for savvy, sharp, well-polished literature that captures life in a post-natural world. We publish work that is outstanding, and motivated by concerns with man’s place in the world. Show us the "new-nature" with your place, post-colonial, post-gender, and activist writing. Show us new takes on what is "natural." Turn your ecocritical eye on any aspect of modern life, see what comes out. Avoid overt or preachy messages. Show us what it means to exist in an ecosystem, a biosphere. Most of all, inspire us. Give us hope.

Looking for Brief But Ever So Clever Submissions

Online submission deadline: April 24, 2014
Foliate Oak Literary Magazine is open for art, photography, video, creative nonfiction, fiction, and poetry submissions. Please use our online submission manager: We prefer short and quirky over long and dreary.

North Carolina Writers and War: Creative Nonfiction

Submission deadline: December 1, 2013
The North Carolina Literary Review will accept creative nonfiction submissions for the 2014 issue special feature section on North Carolina literature and war to December 1 (the deadlines for other genres have passed). For more information, writers’ guidelines, and submissions instructions, go to:

Prairie Schooner is now open for submissions!

Postmark/Online submission deadline: May 1, 2013
Looking for a home for a terrific short story, poem, essay, or book review? Send your work to Prairie Schooner, an international literary quarterly based out of the University of Nebraska. Prairie Schooner, now in its 87th year of continuous publication, delivers the best fiction, poetry, essays, and reviews being published today by beginning, mid-career, and established writers. Accepting submissions during the months of September through April only. To learn how to submit electronically or by hard mail, visit

Storm Cellar open for submissions

Online submissions accepted year-round
We welcome literary writing of all kinds, as well as visual art and hybrids. Funny and serious, avant and traditional, sour and sweet. We're open to pretty much anything, as long as it blows our minds. Women and Midwestern writers especially encouraged. For more detail visit or to view length limits and submit, see

The Fourth River Accepting Submissions

Online submission deadline: March 15, 2014
The Fourth River is the literary journal of Chatham University’s MFA Programs, published annually in print and monthly online. We welcome submissions of creative writing that explore the relationship between humans and their environments, both natural and built, urban, rural or wild. We are looking for writing that is richly situated at the confluence of place, space and identity–or that reflects upon or makes use of landscape and place in new ways:

Issue #10 of Workers Write!

Postmark deadline: December 31, 2013
Issue 10 of Workers Write! will be More Tales from the Cubicle and will contain stories and poems from the office worker's point of view. Drop us a line if you have a question. The deadline for submissions is Dec. 31, 2013 (or the issue is full). Submit your stories via e-mail to: cubicle [at], or send a hard copy to: Blue Cubicle Press, P.O. Box 250382, Plano, TX 75025-0382. Word count: 50 to 5,000 words. Payment: Between $5 and $50 (depending on length and rights requested). We will consider previously published material.

The Milo Review

Online submissions accepted year-round.
The Milo Review, a literary print and online journal, welcomes your submissions. Please visit us at for submission guidelines, or forward short stories, novel excerpts, essays, and narrative nonfiction (9500 words or less) to associate editor, Susan Matthews at info [at]

Submit to Lalitamba

Submissions accepted year-round
Lalitamba is a journal of contemporary spiritual literature. Contributors have been included in the Best American series, written award-winning novels, and received NEA grants. We have also been known to discover new authors, and to publish the writings of people who are homeless or in prison. The journal accepts submissions of fiction, poetry, essays, interviews, translation, and artwork. Lalitamba was inspired by a song sung in the evenings on a pilgrimage through India—“Lalitamba, Lalitamba.” The name “Lalitamba” means Divine Mother.


Online submission deadline: October 25, 2013
Brickplight is an online journal that promotes the exploration of unique identities through daring poetry. We will be accepting submissions for our inaugural issue from September 1st, 2013 through October 25th, 2013. Please visit our site for submission guidelines:

Call for Submissions—Fiction International

Submission period: September 1 – December 15, 2013
For an issue on Phobia / Philia Fiction International will read fiction, nonfiction & indeterminate prose between 9/1 and 12/15, 2013. To submit online or hard copy texts or visuals, go to Queries:

Call for submissions: Stand Magazine

Stand Magazine, a quarterly print publication now in its 60th year, seeks submissions of poetry, translations, and short fiction (preferably under 3,000 words). Submissions are by post only (with an SASE), either to the North American office (Dept. of English, Virginia Commonwealth University, Richmond, VA 23284-2005) or to the home office in the UK (School of English, University of Leeds, Leeds LS2 9JT). Simultaneous submissions are frowned upon. For more information visit—or the Facebook page.

Call for Submissions: "This Carnival Life"

Postmark submission deadline: September 15, 2013
“We have a nice time here. But remember, carnivals come cheap. What matters is the day after, when we will have to return to normal lives. Will there be any changes then?” —Slavoj Zizek (to the Occupy Wall Street protesters in Zuccotti Park) Carnival, in the sense of political carnival will be explored. As with the recent Occupy Wall Street “movement,” one must ask, Can movements without clearly defined demands be successful in enacting real change? Or are such movements just part of the “cult of participation”?

The Citron Review Call for Submissions - Fall Issue

Submission deadline: Rolling
The Citron Review is an online literary journal created and edited  by alumni of the esteemed Antioch University Los Angeles M.F.A.  Program. We seek submissions of resonant beauty in the form of micro-fiction, flash fiction, poetry and creative non-fiction. We are reading for our Fall 2013 Issue, but we accept submissions on a rolling basis. Electronic submissions only via our submissions manager. Links and full guidelines can be found at

Dark Matter Journal Seeks Submissions

Dark Matter: a journal of speculative literature accepts submissions of poetry, fiction, essays, and musings year round. Selected pieces appear on the blog. Online issues are published in summer and winter. Submit now for the 2013 winter issue. Go to for guidelines and to submit your work.

The Healing Muse Submission Period Starts September 1, 2013.

Email/Postmark deadline: May 1, 2014
The annual journal of literary and visual art that is published by SUNY Upstate Medical University’s Center for Bioethics and Humanities is looking for artists and writers for our 2014 fall publication. We welcome fiction, poetry, narratives, essays, memoirs, drawings, photography, and graphic art, particularly but not exclusively focusing on themes of medicine and healing. Submission period: September 1, 2013 through May 1, 2014. Original and unpublished works only. Detailed guidelines can be found at:

The MacGuffin is what you're looking for

Submission deadline: Year-round
The MacGuffin wants your short fiction, nonfiction, and poetry. We’re currently working on our Winter 2014 issue which will include the winners of our 18th National Poet Hunt Contest and a short commentary by Philip Levine. This one’s always a big seller at AWP. For inquiries, visit or macguffin [at]

Raven Chronicles: Submissions Wanted for Winter 2013 Issue

Postmark submission deadline: October 1, 2013
Theme: Race: Under Our Skin. Many agree that race is a social construct, born out of ideas of superiority and inferiority, a social construct that has shaped our history, both collectively and individually. Race plays a part in how others define us, as well as in our individual sense of who we are, and what group, or groups, we belong to. Seeking stories, memories, desires, family legends, half-buried truths, images, poems, your rants and raves, your good experiences and bad, the worst and the best and, above all, send us your dreams. No one is neutral on this topic.

Vol 11.1 Radicalism Issue Open for Submissions

Online submission deadline: October 20, 2013
BathHouse Journal ( is currently accepting submissions for our next issue, Vol. 11.1, featuring works of a radical nature. Please send creative experiments, hybrids, and critiques that play in provocative intersections and extremes—radicalism in politics, environment, race, and gender. We are looking for work that redefines and recontextualizes form, genre, and every ism imaginable. Please send work to eic [at] as an email attachment. For larger sized files, a dropbox/youtube/vimeo link or an external host is preferred. Please include a brief bio and artist statement along with your work. The deadline for your radicalized works is October 20, 2013.

Beth Mead
Professor of Humanities
Director, MFA in Writing Program
Lindenwood University
bmead [at]
Lindenwood University MFA in Writing Program—Online or In-Class
Fully Online MFA Program—No Residency Requirement

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