The WASHINGTON PRIZE

In 1981, Karren Alenier, Deirdra Baldwin, Jim Beall, and Robert Sargent created the Washington Prize, a United States national literary competition awarding $1000 to an American poet. In 1999 the prize award was increased to $1500. From 1981 to 1987 winning poems were published in a full-page ad in Poets & Writers magazine. In 1988, the prize progressed from a single poem competiton to a book-length manuscript award. Washington area poets read and judge contest entries blind. Literary merit is the sole criterion. As a book publication award, the Washington Prize has given The Word Works national recognition and has increased distribution.

In 1999, The Word Works published WINNERS: A RETROSPECTIVE OF THE WASHINGTON PRIZE, an anthology of poems, anecdotes, essays, and photos of and by the winners and judges of the prize from 1981 to 1999. This collection of work by 80 poets tells the complete story of the Washington Prize. Entrants to the competition should consider this book a reference for how to win this prize.

All snail mail queries about the Washington Prize are answered with a graphically attractive brochure that describes the organization, provides the Washington Prize contest rules, profiles our books, and solicits orders. Typically, distribution is through booksales at readings by the author and mail orders to The Word Works. 

• Year 2010 Guidelines
• Frequently Asked Questions
• 2009 Winner
• List of Winners (annually since 1981)
• Washington Prize Anthology

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WASHINGTON PRIZE GUIDELINES

In 2010, The Word Works will award a living American or Canadian poet $1,500 and book publication for a volume of original poetry in English. To enter:

• Submit a manuscript of 48 to 64 pages.
  • Include a title page with name, address, phone number, email address and signature. Author's name should appear on the title page only.
  • Repeat the title of the manuscript on the table of contents page.
  • Include an acknowledgments page and brief bio. Attach acknowledgments and bio to title page with a staple.
  • Use a binder clip to fasten the manuscript. No manuscripts will be returned.
  • Kindly indicate the information source where you learned about the Washington Prize. For example, AWP newsletter, Poets & Writers Magazine, the Word Works web site.

Enclose entry fee: $25 US drawn on a US bank only, payable to The WORD WORKS.

Enclose a self-addressed stamped envelope (SASE) for contest results. Early in 2011, all entrants to the 2010 Washington Prize will receive the winning publication.

Between January 15 and March 1, 2010, inclusive, mail manuscript by first class postage, entry fee, and business-sized SASE to:

• Nancy White, Administrator
• WORD WORKS Washington Prize
• Dearlove Hall
• Adirondack Community College
• 640 Bay Road
• Queensbury, NY 12804

The winner will be selected by August 2010. Book publication is planned for January 2011.

Direct questions to Nancy White, Washington Prize Administrator, electronically or by regular mail to The Word Works, PO Box 42164, Washington, DC 20015. Include a self-addressed stamped envelope with all regular mail inquiries. Many questions are answered in WINNERS: A RETROSPECTIVE OF THE WASHINGTON PRIZE .

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FREQUENTLY ASKED QUESTIONS

Q: May I send a manuscript that exceeds your limit of 64 pages?

A: While we prefer that submissions meet our guidelines of 48 to 64 manuscript pages, we usually tolerate a manuscript that might run over or under by a few pages.

Q: May I send a postcard for notification that you received my manuscript?

A: Yes, but we prefer that you consider your canceled check as proof that your MS arrived safely.

Q: May I send more than one manuscript?

A: Yes, and it is best if we know that you are doing this so that the manuscript can be distributed to different first readers. Please be sure to submit a $25 entry fee per manuscript--i.e., $50 for two manuscripts, $75 for three, etc.

Q: Why do you require that a binder clip hold manuscripts together?

A: if your manuscript is selected, we will copy that manuscript for our final judges and want easy access to the pages. Therefore we do not want stapled or bound manuscripts. We also do not want manuscripts sent in folders because the pages might fall out and get lost.

Q: is there a limit on the length of any one poem submitted for this contest? For example, could one poem exceed one or two pages?

A: Individual poems may be of any length as long as the manuscript adheres reasonably to our manuscript length of 48 to 64 manuscript pages.

Q: What kind of paper should I use?

A: Use standard white 20 lb copying paper sized 8 ½ “ X 11”. We handle a lot of manuscripts and do not want unnecessarily heavy manuscripts.

Q: May I use distinctive fonts and styling?

A: Text should be printed in black ink. The single font you choose should be standard and easy to read, such as Times New Roman.

Q: May I include illustrations and/or drawings?

A: No. The contest is judged solely on the poetry.

Q: I have submitted to your contest before and want to know if I am wasting my time and money sending my manuscript again.

A: In 2009, there will be a completely new roster of first and second readers. All manuscripts are read without identification of the author. If you read about our judging process, you will see that it is not likely that your manuscript will be read by the same first reader, which is a critical point in the competition’s process. If you have been submitting your manuscript without notice of it being selected as a finalist, consider working with a professional editor or a peer group to make revisions.

Q: How does your judging process work?

A: When a manuscript arrives, it is assigned an identification number and logged into our database. When the contest closes March 1, first readers are assigned 20-30 manuscripts. From that group, a first reader selects up to 5 manuscripts to pass on to a second reader. Second readers receive 15 to 20 manuscripts and pass along as many as 3 manuscripts to the final judges. Final judges receive copies of the same 10-12 manuscripts. Therefore, a single manuscript making it to the hands of the five final judges is read by one first reader, one second reader, and the complete panel of five judges. If a reader or judge recognizes the work, he or she will recuse him/herself from reading the manuscript and will allow others to read it. After the final judges have read the final manuscripts, they meet, discuss the merits of the manuscripts, and vote on a winner. The winner is usually called from that meeting.

Q: Is there a particular school or style of poetry that The Word Works prefers?

A: The Word Works looks for the best manuscript without any restriction to style or subject matter. The best advice for a winning manuscript can be found in an essay by Hilary Tham in Winners, A Retrospective of the Washington Prize.

Q: What happens to my fee?

A: Your $25 fee helps support the cost of printing the winning book, supplying the winner’s monetary award, advertising the prize, and the mailing costs associated with sending every entrant a copy of the book.

Q: When or how will I hear the contest results?

A: if you are selected as the winner, you will be called. Be sure to include your phone number and email address. If you provide an SASE, we will send you a news release about the winner. Results will be posted on our website at wordworksdc.com.

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2009 WASHINGTON PRIZE WINNER

The Word Works is pleased to announce that that Frannie Lindsay, of Belmont, MA, has won the 2009 Washington Prize for her full-length poetry manuscript, Mayweed. The prize includes publication and a cash award of $1,500.

Lindsay’s two previous books are also prize winners: Lamb won the 2006 Perugia Press Intro Award and was runner-up for the James Laughlin Award from the Academy of American Poets. Where She Always Was (Utah State University Press) was selected for the 2004 May Swenson Award. Her poems have appeared in The Atlantic Monthly, Black Warrior Review, The Georgia Review, Field, Prairie Schooner, The Yale Review, and many others. Her poems have been featured on Poetry Daily, Verse Daily, and read by Garrison Keillor on National Public Radio’s Writer’s Almanac. She earned her MFA at the University of Iowa and is also a classical pianist. Lindsay has received fellowships from the National Endowment for the Arts and the Massachusetts Cultural Council, as well as residencies from Yaddo, the MacDowell Colony, and the Millay Colony.

Mayweed was chosen from 242 manuscripts submitted by American poets. Doug Ramspeck of Lima, OH, received an Honorable Mention for Possum Nocturne. The 2009 finalists represented a wide range of styles, from formalism to prose poems: Dross by Melissa Cannon of Nashville, TN; No Eden by Sally Rosen Kindred of Columbia, MD; Living in the Candy Store by Leonard Kress of Perrysburg, OH; Little Lung Damage by Esther Lee of Salt Lake City, UT; The Nomenclature of Small Things by Lynn Pedersen of Kennesaw, GA; and Paul’s Hill by Shelby Stephenson of Benson, NC.

The final judges were Karren Alenier, J. H. Beall, Barbara Ungar (winner of the Gival Prize), Nancy White (winner of the Washington Prize), and Maria van Beuren. First readers were Stuart Bartow, Michelle Galo, Carol Graser, Elaine Handley, Marilyn McCabe, Kathleen McCoy, and Mary Sanders Shartle. Second readers were George Drew, Naton Leslie, and Jay Rogoff (winner of the Washington Prize).

The Word Works has awarded the Washington Prize since 1981, using a “blind” judging process that gives all poets, regardless of previous experience, an unprejudiced reading throughout the selection process. In 2010, the Word Works again will offer publication and a $1,500 prize to a volume of original poetry. Submissions will be accepted from Jan. 15 to March 1, 2009, and the entry fee will be $25. All entrants receive a copy of the winning book. For further information and guidelines (available December 2008), send a stamped, self-addressed envelope to the Word Works, P.O. Box 42164, Washington DC 20015, or visit the Word Works Web site at wordworksdc.com.

Advance orders for Ace are available for $15 plus $3.95 shipping and handling from WORD WORKS Books, P.O. Box 42164, Washington, DC. 20015.   We expect publication of the book in January 2010.

SAWTOOTH

POETRY PRIZE

Call for Manuscripts
January 1, 2010 through March 1, 2010

$1,500 for a book of poems
Final Judge: Terrance Hayes
The winning volume will be published in January 2011 by Ahsahta Press.

 

Ahsahta Press, a member of the Council of Literary Magazines and Presses,
conforms to the CLMP Code of Ethics and participated in its drafting.

•     The Sawtooth Poetry Prize honors a book of original poetry in English by a single author; translations are not eligible for this award. The winning poet receives a $1,500 honorarium upon publication plus 25 copies of the published book. In addition to announcements in national publications, the winning book and author will be featured on the Ahsahta website, as will lists of finalists and semi-finalists.

•     The final judge for the competition is Terrance Hayes. Read more about Terrance Hayes.

•     Entries must be postmarked between January 1 and March 1, 2010.

• Entries sent by e-mail or fax are not permitted and will be disqualified.

A self-addressed stamped postcard is necessary if you'd like notification of our receipt of your manuscript.

•     Manuscripts should be 48 to 100 pages of poetry, consecutively numbered, single-spaced, printed on one side of an 8-1/2" x 11" or A4 page only.

• The author's name should not appear on the manuscript. The title page should contain the title only. More about our judging process.

Include a separate title page with the author's name, address, phone, and, if available, e-mail address. Attach this to any acknowledgments pages or biographical note, which will be filed separately from the manuscript.

Contain pages in a plain manila folder or bind manuscript with a secure clip. Please do not bind manuscript in a notebook.

Handwritten manuscripts are not accepted.

Manuscripts will not be returned, so please do not send your only copy.

Manuscript revisions are not permitted during the contest.

•     Include $25.00 reading fee per manuscript (payable to Ahsahta Press). Entrants will receive a copy of the winning book when it is printed if they include a 7" x 10" self-addressed mailer with $5.25 postage (or a USPS Priority Mail envelope with $4.90 postage). Because media mail packages are routinely opened by the U.S. Postal Service, we send the books by priority mail, but if insufficient postage is supplied the books will go out first-class or other affordable rate. Our books measure 6" x 8" and will not fit in smaller-sized mailers. Overseas? Click here to pay reading fee through PayPal.

•     A self-addressed stamped #10 envelope must be included for notification of winners. Please note: About 10% of entries come to us without SASEs for notification. Until recently we have attempted to notify these entrants by e-mail or other means, but the time involved has become too burdensome. If you wish notification of the winners of the contest, you must include a standard, stamped, business-sized SASE with your entry.

•     Winner is expected to be announced in May 2010. All entries are eligible for publication by Ahsahta Press; separate submission of a Sawtooth entry during our open reading period is unnecessary.

•     Eligibility: Poets writing in English are eligible. Previous book publication is not a consideration. Students and former students of Boise State University and of this year's judge may not enter; close friends of the judge are also not considered eligible. Simultaneous submissions are permissable, but entrants are asked to notify Ahsahta Press immediately if a manuscript becomes committed elsewhere.

•     The CLMP Code of Ethics: CLMP's community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to 1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; 2) to provide clear and specific contest guidelines -- defining conflict of interest for all parties involved; and 3) to make the mechanics of our selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage.

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Send Entries to:

Sawtooth Poetry Prize
AHSAHTA PRESS, MS1525
1910 University Drive
Boise State University
Boise, ID 83725-1525
208-426-3134

Jill Scott On Mo’Nique Show

By Tambay, on February 16th, 2010

Tuesday, December 16, 2008 

Interview with Director Part 1 Category: Blogging An Interview with Faith Trimel Writer, director, and producer of "Family" By Shelton Dickson What does the term "family" mean? Family means a great many things but in the context of this film it is a colloquialism and/or a "code word" used in the gay, lesbian, bisexual, and transgender community to denote one who also identifies as gay, lesbian, bisexual, or transgender. Family also means the community that one who is homosexual must build around themselves for safety and support. Since many same-gender loving people our ousted from their family of origin after declaring their homosexuality, the friends in the gay and lesbian's life, surpass typical friendships, and often become surrogates relationships to the lost mother, father, brother, sister, etc. The same needs of interdependence such as emotional, physical, and spiritual support are now found in people without blood ties; however, they're family in every since of the word, and actually, even better because they chose each other. Finally, family means what it has traditionally meant: all those with whom one is genetically tied. What makes them "family" as opposed to just relations is the deeper level of love—unconditional love and support. Why do you wear so many hats? Because I've had to. Budgetary restrictions have required that I learn to do what I couldn't pay others for. And I don't know if it's me or just the will of the universe, but I've had so many people declare their support and assistance on this and many other projects initially but later when I call them up, they either didn't return my calls or didn't have the time. I refuse to shelf my projects/dreams because someone flakes. Many won't/don't share my same commitment and passion. Also, if some others made it through the initial stages, eventually, they'd turn in shoddy work or lose focus, so there again, I'd have to bring up the rear alone, anyway. You know, finally, there's also the more positive reason in that I thrive on challenges; I stretch with each new responsibility, and I believe I have the innate ability to juggle and excel at many tasks simultaneously. I know what I want and less checking in and collaborating on every point helps manifest my vision much clearer and much sooner. You're mighty sure of yourself? That's right. I am, especially in this domain. I dedicate so much time in work and study. When I'm on a project, I become consumed by it and devote 12-14 hours or more a day working on it. I read books, get advisors, mentors, and study models of what has been successful for others. So, it's not so much me being sure of myself as an artist as me being sure of myself as a committed, driven being who's relentless. I complete any task set before me. And finally, with filmmaking, I found what I was meant to do and so many of the elements that confound others come so easily to me. Now, by the same token, I can barely wash a load of clothes or remember to pay bills on time, but I can write and make movies and music pretty darn well. How did you come up with the concept of Family? I was jogging early one morning and while watching the sunrise, the story came to me in vivid scenes, character's names, and scenarios. I was so passionate about the story from the very beginning, that I did what I rarely do: beeline home without completing my workout to draft an outline. I was barely able to catch my breath all doused in sweat jotting down the story details flowing out of me, and then later that evening at work, (I was a server in a restaurant) I continued exploring more. This was in the summer of 2002 and I have no idea why I would write "Family," a story about best lesbian girlfriends; I guess I was just a conduit; the relationships and situations in "Family" were none I could personally relate to, meaning: a group of close girlfriends supporting each other and in the closet at thirty. I have great friends, but I call myself something of a solo traveler throughout life. What is the film's message? Theme? To state it on-the-nose: one finding the courage, to make the choice, to reveal that one is homosexual regardless of the consequences for the secondary gain of a sense of integrity and peace found only when one lives authentically. I believe that when one is authentic, they can be honored, appreciated, and loved for who they truly are; they can welcome those in their life who offer the true unconditional love and support. On the other hand, this same act of "rebellion" in this society and the reactions of those in our lives tell us those who are unworthy of further commitment and affection from us. Do you have that kind of bond with a group of women now? You know, I'm from a family that's majority women and we've all never been that close, and while I share deep, rich friendships with various women, I really haven't and probably never will have that kind of female clique/crew of the friends in "Family". It's never worked for me. I've seen some though, and I do believe in the friendships that I created with the characters in the movie. I think it gives and honest portraiture of lesbian friendship in which the majority are African American. Really, how? There is the banter, the teasing, the rivalry, the mild physical attraction to one another, as well as the support. These women are true friends who push each other to be a better version of them; they "check" each other, as necessary, using teasing and banter to hold the other accountable and insure that they squarely face the truth. Also, in the case of a couple of characters, they were lovers before friends. I've often seen the incestuous in the lesbian community when friend become lovers and a friend's ex-lover and current friend date; it's the insistence of most lesbians to remain in the convenient relationship-pool rather than step out and find new suitors. How many lead/principal characters do you have? I have six leads {Faith blows out a deep breath} Why so many? Believe me, that number was cut down significantly. There were many reasons but the most important one was a desire to show the myriad of lives within lesbian community, especially because they are typically displayed so one-dimensionally. I found each character to be a kind of archetype of lesbians or just archetypes period, to deal with the issues that a same-gender-loving person faces. Kemp, the lothario/the lover, must deal with celebrity, money, and status like Mars; Felicia, the leader and seeker of truth, has to deal with integrity to grow and become a better woman and artist. She is motivated by love and art like Artemis. Tonya is the innocent child-like character who does it all for love, like the archetype of Venus. I could go on and on and many might challenge my position or accuracy but this was something that played in my mind as I wrote the screenplay. So many obstacles befall a lesbian, particularly, one of color who ventures forth to be honest about who she is; since I had a platform to convey this, I wanted to explore as many as I could.

>http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendID=26217650...

Mississippi Damned Gets UK Premiere at London Lesbian & Gay Film Festival

By MsWOO, on February 16th, 2010

We’ve featured this film many times HERE on this site, and now Tina Mabry’s award winning feature debut, Mississippi Damned, is finally travelling overseas and making its UK premiere at the 24th BFI London & Gay Film Festival, which runs from 17-31 March this year.

If you’re not already familiar with the film, the blurb on the BFI website reads:

Stark and confrontational, the award-winning Mississippi Damned is an ensemble drama that follows the dreams and disappointments of three African American children in poor rural Mississippi. Struggling to overcome the cyclical violence and poverty of their family, each dreams of a brighter future: butch dyke Leigh with her flirtatious high school girlfriend; Sammy with a college basketball scholarship; and Kari, the youngest, with a career as a pianist. However, as each discovers, they will have to confront their family’s past if they are to overcome that which binds them, damned, to their Mississippi home. Anchored by rich characterization and a gorgeous saturated colour palette, Mabry’s remarkable assured debut takes the viewer on a riveting emotional journey, deftly illuminating the social forces and emotional demons that often stand in the way of pursuing our dreams.

Mississippi Damned will screen at 6.10pm on Thursday 25 and Friday 26 at BFI Southbank.

Other films of note at this year’s LGFF are:

Drool, Dir. Nancy Kissam, USA

Darkly comic and slightly surreal at times Drool is the story of abused southern housewife and mother of two, Anora (a fantastic Laura Harring), who falls in love with her vivacious next door neighbour, cosmetics saleswoman Imogene. Caught in the act by her drunken spouse the ensuing fight results in a corpse, a slightly concussed son, a disbelieving teenage daughter and a plan to drive cross country to a friend of Imogene’s who has experience in getting rid of troublesome husbands, dead or otherwise. Along the way emotions run high, dark secrets are revealed and a broken family mends itself with the healing power of love and that universal fixer – the makeover. Kissam’s assured debut tackles harsh themes with understanding and humour creating an ultimately uplifting and often hilarious film which draws out fantastic performances by all involved.

Family, Dir. Faith Trimel, USA

During an unexpected house call from her mother, thirty-something Felicia finds herself literally pushing her lesbian lover into a closet. Unsurprisingly her lover is unimpressed and Felicia realises that coming out may be the only way to save her relationship. Unable to deal with the prospect alone she gathers together six friends and proposes that they all release themselves from their similarly repressed identities within thirty days. The friends agree but all find that coming out comes with its sacrifices. For Women’s National Basketball Association player Kemp this means that future endorsements are on the line, while quiet Sabrina struggles to reconcile her religious beliefs with her sexuality and Melanie, the most out member of the group, fights for custody of her daughter with her ex-girlfriend. This is a welcome look at the experience of coming out as an African-American lesbian that has universal appeal and is by turns funny, moving and surprising.

Beyond Labels, Dir. Jaime Sylla, UK

Presented in association with gay men’s health charity GMFA, Jaime Sylla’s new film explores Black gay male experience in London, from Gay Lib pioneer Ted Walker Brown to more recent arrivals on the scene. Tales of friendship and support underly an investigation into the creation of a sense of community. Sylla’s last film No Magic Bullet premiered at the LLGFF in 2007. This film aims to explore how racism, homophobia, HIV and issues around immigration all have an impact on the construction of a healthy identity for Black gay men. The film offers inspiringly diverse voices who share their alternatives to the invisibility or stigmatization which many have experienced within their own communities and families. This world premiere screening will be followed by a discussion with the director and some of the film’s participants as well as representatives from Big Up.

Children of God, Dir. Kareem J Mortimer, Bahamas

Johnny, a white Bahamian artist from Nassau, is depressed and creatively uninspired. Under instructions from his teacher, he relocates to the rural island of Eleuthera, where he meets the confident Romeo, a local boy who inspires a new creative drive in him. Johnny and Romeo embark on a passionate love affair, but when Romeo’s fiancée and overbearing mother arrive at his home unannounced, he is asked to make some important decisions about his life and his relationship with Johnny. Meanwhile, Lena, the wife of an ultra-conservative pastor, also arrives on the island. With her marriage on the rocks, and a growing realisation that her husband is not who he appears to be, Lena sets out on a campaign to spread her anti-gay policies among the quiet community. As Lena’s crusade gathers momentum, she is challenged by her friend Reverend Ritchie, a liberal clergyman who forces her to question her beliefs and to re-evaluate her rigid political stance.

Sweepingly romantic and gorgeously photographed, the film’s aesthetic and emotional pleasures are undeniable. In positioning this classic tale of young love against a backdrop of violent homophobia and social unease, director Kareem Mortimer has also crafted a striking examination of identity and gay politics in the Bahamas, tackling these weighty issues with a confidence and sincerity that makes the film universal in its themes. Emerging from a region not known for the production of gay film, Children of God is an important and bold piece of work, signalling Mortimer as a hugely promising talent in the future of world cinema.

Click on the film titles for details of screening times and venues. For a full listing of films at this year’s LGFF, click HERE to visit the BFI website.