12 Free Writing Contests to Enter This Fall (2024)

Annie Cosby
September 18, 2024 | 3 min read

Calling all writers...

Looking for a chance to showcase your talent and get a little recognition? Look no further than these open writing contests!

Whether you're a seasoned wordsmith or just starting out, creative writing contests are a fantastic way to challenge yourself, receive constructive feedback, and connect with a community of writers.

Here are just a few writing competitions you can submit to this fall.

 

General

The Working Class Writers Grant

Since 2013, the Working Class Writers Grant has been awarded to speculative fiction writers who are working class, blue-collar, financially disadvantaged, or homeless, who have been historically underrepresented in speculative fiction due to financial barriers. Such lack of access might include an inability to purchase a computer, books, and tuition, or to attend conventions or workshops.

Deadline:Sept. 30, 2024

Prize:$1,000

 

Cullman Center Fellowships at New York Public Library

The Cullman Center’s Selection Committee awards 15 Fellowships to outstanding scholars and writers — academics, independent scholars, journalists, creative writers (novelists, playwrights, poets), translators, and visual artists — who would benefit from access to the research collections at the Stephen A. Schwarzman Building in New York City.

Prize: Stipend of $85,000, the use of an office with a computer, and full access to the library’s resources (may be asked to take part in other programs at The New York Public Library)

Deadline:Sept. 27, 2024

 

The Savage Science Fiction / Fantasy Writing Contest

The Mollie Savage Memorial Writing Contest (formerly Three Cheers and a Tiger) is a 48-hour short story writing contest that runs twice a year. All entries must be composed within the contest time frame, and follow the topic and word range announced at the contest start.

Prize: Winning stories are published in the December issue of the literary journal Toasted Cheese; Amazon gift cards also awarded based on number of submissions

Time frame: Sept. 21-22, 2024

 

John Updike Tucson Casitas Fellowship

Prize provided by The John Updike Society to a writer of any genre — since Updike wrote in all genres. Since Updike was an artist as well, multimedia projects will also be considered.

Prize:$1,000 and a 2-week residency at the Mission Hill Casitas within the Skyline Country Club in Tucson, Arizona (casitas that John Updike owned and where he wrote during a part of each year between 2004-2009)

Deadline: Nov. 1, 2024

 

Story of the Year Contest

Storyshares is searching for compelling, diverse stories that are "easy to read and hard to put down."

Deadline: Jan. 13, 2025

Prize: $2,000-$4,000, depending on the category; plus, publication in the Storyshares library, which is currently serving tens of thousands of students in all 50 states and over 180 countries

 

Short Fiction

Substack's Short Story

Substack is on a mission to "revive the art of the short story, support artists, and produce something wonderful."

Prize: $100 + 50% of subscription revenue to be sent by Paypal, Zelle, or check

Deadline:End of each month

 

EveryWriter's Halloween Competition

This flash-fiction contest challenges writers to create a bone-chilling Halloween story in just 50 words!

Prize: $100

Deadline: Sept. 29, 2024

 

Iowa Short Fiction and John Simmons Short Fiction Awards

Annual prizes awarded to two collections of short stories by writers who have yet to publish a book-length volume of prose fiction. The manuscript must be a collection of short stories in English of at least 150 word-processed, double-spaced pages.

Prize: Publication by the University of Iowa Press and royalties

Deadline: Sept. 30, 2024

 

The Writers College Short Story Competition

Open to any writer (from any country) who is unpublished, or has been published fewer than four times. Submit a short story on the theme "It Didn’t Have to Be This Way."

Prize: NZ $1,000 and publication; second prize NZ $500 and publication.

Deadline: Sept. 30, 2024

  

Poetry

Palette Poetry Rising Poet Prize

Open to poets without a full-length collection published at the time of submission

Prize: $3,000 and publication in online literary journal Palette Poetry

Deadline: Sept. 22, 2024

 

Changes Book Prize

Established in 2022, the prize is awarded to a first or second collection of poems. This year’s winning manuscript will be selected by poet Terrance Hayes.

Prize: $10,000 and publication, including a publishing contract, national distribution, extensive advertising and publicity, 50 copies of their book, and a launch event in NYC

Deadline: Oct. 1, 2024

 

Treehouse Climate Action Poem Prize

This prize is given to honor exceptional poems that help readers recognize the gravity of the vulnerable state of our environment.

Prize: First place receives $1,000; second place, $750; and third place, $500; plus publication in the popular Poem-a-Day series, which is distributed to 500,000+ readers.

Deadline: Nov. 1, 2024

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Note: Before submitting to any writing contest, please carefully review the contest's rules and eligibility. These change regularly, so make sure to confirm that a contest has not instituted submission fees since this article was written.

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I’ve spent years writing while secretly fearing that a single misplaced word would expose me — not just as a bad writer, but as a fraud.

My background is originally in photography, and I see it there, too. A photographer I know recently posted a before-and-after comparison of their editing from 2018 versus now, asking if we also saw changes in our own work over the years.

Naturally, we should. If our work is the same, years apart, have we really grown as artists?

So why is that the growing, the process of it, the daily grind of it, is so painful?

So why is that the growing, the process of it, the daily grind of it, is so painful?

The Haunting

Hitting “publish” on an essay or a blog always stirs up insecurity — the overthinking, the over-editing. The fear that someone will call me out for not being a real writer.

I initially hesitated to make writing part of my freelance work. My background is in photography and design. Writing was something I gravitated toward, but I had no degree to validate it. No official stamp of approval.

Like many writers, I started with zero confidence in my voice — agonizing over edits, drowning in research, second-guessing every word.

I even created a shield for myself: ghostwriting.

I even created a shield for myself: ghostwriting.

If my words weren’t my own, they couldn’t be wrong. Ghostwriting meant safety — no risk, no vulnerability, just words without ownership.

I still remember the feeling of scrolling to the bottom of an article I had written and seeing someone else’s name, their face beside words that had once been mine.

The truth is, I always wanted to write. As a kid, I imagined it. Yet, I found myself handing over my work, letting someone else own it.

I told myself it didn’t matter. It was work. Getting paid to write should be enough.

But here’s the thing: I wasn’t just playing it safe — I was slowly erasing myself. Word by word. Edit by edit. And finally, in the by-line.

I wasn’t just playing it safe — I was slowly erasing myself. Word by word. Edit by edit. And finally, in the by-line.

The Disappearing Act

This was true when I was writing under my own name, too. The more I worried about getting it right, the less I sounded like me.

I worried. I worried about how long an essay was (“people will be bored”), finding endless examples as proof of my research (“no way my own opinion is valid on its own”), the title I gave a piece (“it has to be a hook”), or editing out personal touches (“better to be safe than be seen”).

I built a guardrail around my writing, adjusting, tweaking, over-correcting. Advice meant to help only locked me in. It created a sentence rewritten to sound smarter, an opinion softened to sound safer, a paragraph reshaped to sound acceptable.

I built a guardrail around my writing, adjusting, tweaking, over-correcting.

But playing it safe makes the work dull. Writing loses its edge.

It took deliberate effort to break this habit. I’m not perfect, but here’s what I know after a year of intentionally letting my writing sound like me:

My work is clearer. It moves with my own rhythm. It’s less shaped by external influence, by fear, by the constant need to smooth it into something more polished, more likable.

But playing it safe makes the work dull. Writing loses its edge.

The Resurrection

The drive for acceptance is a slippery slope — one we don’t always realize we’re sliding down. It’s present in the small choices that pull us away from artistic integrity: checking how others did it first, tweaking our work to fit a mold, hesitating before saying what we actually mean.

And let’s be honest — this isn’t just about writing. It bleeds into everything.

It’s there when we stay silent in the face of wrongdoing, when we hold back our true way of being, when we choose work that feels “respectable,” whatever that means. It’s in every “yes” we say when we really want to say “no.”

If your self-expression is rooted in a need for acceptance, are you creating for yourself — or for others? Does your work help you explore your thoughts, your life? Does it add depth, energy, and meaning?

My work is clearer. It moves with my own rhythm. It’s less shaped by external influence, by fear, by the constant need to smooth it into something more polished, more likable.

I get it. We’re social creatures. Isolation isn’t the answer. Ignoring societal norms won’t make us better writers. Often, the most meaningful work is born from responding to or resisting those norms.

But knowing yourself well enough to recognize when acceptance is shaping your work brings clarity.

Am I doing this to be part of a community, to build connections, to learn and grow?

Or am I doing this to meet someone else’s expectations, dulling my voice just to fit in?

The Revival

Here’s what I know as I look back at my writing: I’m grateful for the years spent learning, for the times I sought acceptance with curiosity. But I’m in a different phase now.

I know who I am, and those who connect with my work reflect that back at me — in the messages they send, in the conversations we share.

I know who I am, and those who connect with my work reflect that back at me — in the messages they send, in the conversations we share.

It’s our differences that drive growth. I want to nurture these connections, to be challenged by difference, to keep writing in a way that feels like me. The me who isn’t afraid to show what I think and care about.

So, I ask you, as I ask myself now:

If no one was watching, if no one could judge, what would you write?

If no one was watching, if no one could judge, what would you write?

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