Writing Competitions to Enter in May


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As writers, we need to overcome rejection and it helps to have several irons in the fire at any one time. Competitions are great for this, giving you something else to keep you going or work towards. And the occasional – perhaps surprise – win is a huge encouragement. No excuses, then, for not entering lots of the following:

Colm Toibin International Short Story Award for stories up to 2,000 words. Prizes: 700É, 500É 300É. Entry fee: 10É. Closing date: 1 May. Details: http://www.wexfordliteraryfestival.com (These things can be won – a member of ninevoices – not me – did so a year or two ago and had a wonderful trip to Ireland to accept her award.

Mairtin Crawford Awards for short stories up to 2,500 words or 3-5 poems. Prizes: £500 and invitation to read at Belfast Book Festival. Entry fee: £6. Closing date: 1 May. Details: https://belfastbookfestival.com/mairtin-crawford-award

Bristol Short Story Prize for stories up to 4,000 words. Prizes: £1,000, £500, £250; £100 for 17xshortlisted. All published in prize anthology. Deadline: 4 May. Details: http://www.bristolprize.co.uk

Nick Darke Award for full-length stage plays: Prizes: £6,000. FREE ENTRY. Closing date: 4 May. Details: http://www.falmouth.ac.uk/nickdarkeaward (Please double-check this one, it proved elusive)

Bath Novel Award for the first 5,000 words of a novel, plus a one-page synopsis. Prizes: £3,000; 2nd agent introductions and manuscript feedback; 3rd Cornerstones online course. Entry fee: £29. Closing date: 31 March. Details: http://bathnovelaward.co.uk

Bluepencilagency First Novel Prize for the first chapter of an unpublished novel up to 5,000 words. Prizes: £1,000, manuscript review, introduction to judge/literary agent Nelle Andrew. Entry fee: £20 Deadline: 29 May. Details: http://www.bluepencilagency.com

Bridport Prize for short stories (up to 5,000 words), novels (first 8,000 words), poetry (up to 42 lines) and flash fiction (up to 250 words). Prizes: £5,000, £1,000, £500 and ten £100 highly commended for short stories and poetry; £1,000, £500, £250 and five £100 highly commendeds for flash fiction; £1,500, £750, plus editiorial guidance. Entry fee: £9 per flash fiction; £10 per poem; £12 per short story; £20 novel. Deadline 31 May. Details: http://www.bridportprize.org.uk

Frome Festival Short Story Competition for stories 1,000-2,200 words. Prizes: £400, £200, £100. Entry fee: £8. Closing date: 31 May. Details: http://www.fromeshortstorycompetition.co.uk

The Yeovil Literary Prize 2022 is inviting entries in the following categories: Novel. Enter the opening up to 10,000 words and a synopsis up to 500 words. Prizes are £1,250, £300 and £125. The entry fee is £14.50. Short Story. Enter short stories up to 2,000 words. Prizes are £600, £250 and £125. Entry fee is £8. Poetry. Enter poems up to 40 lines. Prizes are £600, £250 and £125. Entry fee £5 per poem. Children’s/Young Adult Novel. Enter the first 3,000 words and a 500-word synopsis. One illustration may be included. Prizes are £600, £250 and £125. Entry fee £12.50. Writing Without Restrictions. Enter work that doesn’t fit into usual competition categories. Prizes are £250, £125 and £75. Entry fee £6. Entries may have appeared online, but must be commercially unpublished. Closing date: 31 May. Details: http://www.yeovilprize.co.uk

As ever, please check entry details before committing yourself.

Good luck!

Why read Nevil Shute in 2022?


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Nevil Shute – inspirational reading for Easter 2022?

Nevil Shute (1899-1960) was once a best-selling author, but these days any fans who devoured his novels when young – and who still reach for their favourites in certain moods – are likely to be from the older generation.

Some Nevil Shute  novels may feel dated, but there are others which speak as strongly today as they did when first published. Younger readers may only be familiar with A Town Like Alice, an enthralling story combining romance with the horrors of the second world war in the Far East. Nevil Shute’s novels often contain strong female characters, but Jean Paget is his most inspirational for her selfless courage and enterprise. It’s no surprise A Town Like Alice remains Nevil Shute’s best-loved and most popular novel.

Nevil Shute was an aeronautical engineer and pilot, and many of his books have an aviation or engineering backdrop. Not exactly tempting if you aren’t particularly interested in these areas and switch off when it comes to technical talk about flying and aeroplanes. But what’s surprising is that you become so gripped by Nevil Shute’s incredible story-telling and knack of creating instant empathy with his characters that what seems alien and uncongenial territory actually becomes quite interesting!

Devotees will have their own favourites, but there are four Nevil Shute novels I have found especially unforgettable. Pied Piper, published in 1942, is one of them.  John Howard, a retired country solicitor, dealing with his own grief, tries to escape from France in 1940 when it’s invaded by the Germans, looking after a collection of children he gathers up along the way.

There’s no overblown heroism. You might think it an almost prosaic account of the journey and the dangers faced, but small details and incidents concerning the children bring Howard’s journey across France vividly to life. He demonstrates those qualities typical of characters in Nevil Shute’s novels – a sense of duty, doing what needs to be done whatever the risks, facing difficulties and discomfort with calm and patience. An unassuming old man doing something remarkable.

The Chequer Board, published in 1947, is also a story of someone outwardly very ordinary – a terminally-ill man with a less than admirable past determined to make something of himself in the time left to him. He sets out to discover what happened to the three men, each of them with messed-up lives, whom he met in a hospital ward back in 1943. It’s a quest set against the racist and prejudiced attitudes about skin colour and nationality of that time – and we see how friendship can overcome the barriers human beings erect against each other.

These are themes further developed in Round the Bend, published in 1951, the novel that Nevil Shute considered to be his best. The narrator Tom Cutter, a pilot and entrepreneur, starts up an air freight business transporting goods across the Middle East and Far East, employing the Eurasian Connie Shak Lin. Connie is not only a first class engineer but a spiritual leader. He transforms the attitudes of the other workers with his teaching that doing good work with honesty and responsibility is the way to serve God.

This novel might be seen as being about a spirituality that underlies and unites different religions. God is there for everyone. Significantly, when Tom and Connie were boys and working together for an air circus that travelled all over the British Isles, Connie ‘just went to any old church there was. He went to the nearest, whether it was Anglican or Methodist or Presbyterian or Roman Catholic. He went to a synagogue one time, at Wolverhampton. He collected churches, like another boy might collect cigarette cards or matchbox covers. The gem of his collection was at Woking, where he found a mosque to go to.’ The novel’s ending asks a question that the narrator cannot answer but goes on haunting his mind – and that of the reader.

Nevil Shute’s 1957 novel On the Beach sears itself into the mind in another way. Radiation is drifting inexorably towards the southern hemisphere, after a nuclear war has destroyed the rest of the world. Soon radiation sickness will kill the earth’s last remaining people still alive in Australia. The novel looks with a matter of fact gaze at the way individuals choose to spend the final months of their lives – and how they will end them. A young couple with a baby make plans to grow trees and vegetables in their garden that they will never see. An American naval officer in Australia with his ship buys presents for his wife and children, as if unable to accept in part of his mind that they are dead.

On the Beach is terrifying and moving all at once. In this and all his novels, Nevil Shute gives us characters who find the courage and integrity to stand up for what matters. They can help and inspire us in our modern world – how to live and do our best wherever we are, in the time that remains to us.

Writing Competitions to Enter in April


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This month we celebrate the birthday of the great William Shakespeare, so what better time to pursue one’s own writing ambitions than through entering one of the following competitions:

Bath Short Story Award for stories up to 2,200 words. Prizes: £1,200, £300, £100, plus The Acorn Award of £100 for an unpublished writer. Entry fee: £9 each. Closing date: April 11. Details: https://bathshortstoryaward.com

Red Planet Prize for new series drama scripts. Prizes: script commission and masterclass with award-winning writers. Entry fee: Closing date: April 3. Details: http://www.redplanetpictures.co.uk/the-red-planet-prize.

RA & Pin Drop Short Story Award – for stories up to 4,000 words. Prizes: a reading by a special guest at an evening at the Royal Academy of Arts. ENTRY IS FREE, so what is stopping you? Closing date: April 15. Details: http://pindropstudio.com/

The international Desperate Literature Prize 2022 will receive 1,500 Euros and a writing residency at Civitella Ranieri Foundation for original unpublished short fiction no longer than 2,000 words. The winner will also get an introduction to literary agent Charlotte Seymour from Johnson & Alcock and a manuscript assessment and follow-up meeting from an editor at The Literary Consultancy. Two runners-up will each get 750 Euros. The winners and runners-up will all be published in an anthology with one of the prize’s partner journals and be invited to participate in Desperate Literature salons in Madrid, London and Edinburgh, with one shortlisted writer offered a spot at the Tbilisi International Festival of Literature and a 400 Euro travel stipend. Closing date April 15. Details: https://desperateliterature.com/

Edge Hill Short Story Prize for published short story collections. Prizes: £10,000, £1,000. FREE ENTRY. Closing date: April 15. Details: http://www.edgehill.ac.uk

Grey Hen Poetry Prize invites submissions of unpublished poems of up to 40 lines by women over the age of 60. Prizes are £100, £50 and £25, with publication online. Entry is £3, or four for £10. Closing date: 30 April. Details: http://www.greyhenpress.com

Finally – why not raise your writing profile by attending Swanwick, the Writers’ Summer School? There are three competitions to win a place: a poem of up to 40 lines, a short story of up to 1,000 words; children’s fiction up to 1,000 words. The theme for all entries is: ‘Community’. Prizes: a fully inclusive week at the 2022 Summer School for the winner; a Writing Magazine manuscript appraisal for the second; and a copy of the Writers’ & Artists’ Yearbook 2022 for the third. Entry fee: £6 for each piece; multiple entries are allowed. Closing date: April 30. Details: http://www.swanwickwritersschool.org.uk/win-a-place

Good luck with those entries – just make sure you double-check the details online first, in case there have been changes since I compiled my information.

Bouncebackability – when you (yet again) don’t make a longlist


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‘Bouncebackability’ first entered the Oxford English Dictionary in 2005, after football manager Iain Dowie coined it to describe Crystal Palace’s ascent from the edge of relegation to promotion through play-offs. What happened to his team in the 2003–4 season is, apparently, not uncommon. In 2018, Richard Foster wrote that, ‘the best preparation a team can have for a play-off final is the experience of losing one the year before’ (The Guardian, 25th May, 2018). He backed this up with an amazing statistic: ‘Of the 10 beaten finalists who have returned to the same fixture the next season, nine have succeeded second time around – and the only exception made amends a year later.’

Surely a near miss for writers could have the same effect? The problem is we never know how close our work gets to being longlisted; if it’s not there, it’s not there. The WriteMentor folk addressed this problem recently (as much as it can be addressed) when they published additional lists of ‘Very Close’ and ‘Readers’ Favourites’, alongside their official competition longlist. Those who found themselves on these lists tweeted how hugely encouraging it was. Inevitably, though, there were more omissions than inclusions and I was one of the omissions.

I haven’t had much success lately – and I’ve ended up in a bit of a slough. I’ve been researching a new novel for a year but can’t quite bring myself to write it.

There’s a ton of advice out there to help writers like me who feel discouraged: you should ringfence a slot every morning to write whatever comes into your head; join a writing group; take a course; go on a retreat/workshop; get a mentor, etc.

But what works for one person might be unhelpful to another (assuming it’s even affordable). Stephen King – whose book On Writing: A Memoir of the Craft is a favourite of mine – says he is ‘doubtful about writing classes’, though ‘not entirely against them’, which I found pretty interesting. In case you’re tempted to stop reading right here, perhaps the following (re his view on workshops/retreats in which would-be writers do daily critiques on each other’s work) will resonate more:

‘The pressure to explain is always on, and a lot of your creative energy … is therefore going in the wrong direction. You find yourself constantly questioning your prose and your purpose when what you should probably be doing is writing as fast as the Ginger-bread Man runs, getting that first draft down on paper while the shape of the fossil is still bright and clear in your mind.’

Getting your first draft down before you lose that vital spark appeals to me. (Elsewhere, he says, ‘If I don’t write every day, the characters begin to stale off in my mind – they begin to seem like characters instead of real people.’) He also advocates reading widely. That, of course, has to be right. At the end of last year, I came across an insightful tweet from literary agent Jennifer Laughran (@literaticat):

‘The best advice if you want to write for kids is, GO TO THE LIBRARY AND READ 100 BOOKS PUBLISHED IN YOUR CATEGORY IN THE PAST FIVE YEARS. Put your favourites in a special pile and buy your own copies of those so you can write in them. Tear them apart. Why and HOW do they work? If you do this: CONGRATULATIONS, you just did much of the work for a master’s degree without having to pay for it. While you’re at it – make a spreadsheet of those 100 books, noting WHO PUBLISHED THEM, and agent/editor if they are listed in the acknowledgments. Note patterns! If you do THIS step: CONGRATULATIONS, you just got a crash course in publishing and are armed with the knowledge of “who publishes what” that you will need as you begin your querying/publishing journey.’

I’m thinking this advice is transferable to anyone writing for adults, too, though reading 100 recent books might be a stretch.

I’ve also discovered that outings connected with my subject are really helpful (though this probably isn’t startling news to anyone else!). Towards the end of last year, I had an overnight stay in Dorchester and walked to various places connected with Thomas Hardy. Google Maps took me across fields to the church where Hardy’s father first saw his mother, then to the nearby house (what remains of it) where she was in service, and finally, along the road, to the cottage where Hardy was born. I came back feeling more hopeful and inspired than I had for months!

Ditto after a trip to Charles Dickens’ house in Doughty Street, London, last week.

I’ve also found writers baring their souls about failure and insecurity immensely encouraging. In Cathy Rentzenbrink’s new book Write It All Down, she says:

‘It is pointless to worry whether the work is any good or whether you are any good. It’s all about learning to tolerate the gap between our aspiration for the finished thing and the current dog’s breakfast that we see before us. With each of my five books I wasted aeons of time fretting about whether it was rubbish and I was useless and would everyone laugh at me and had I bitten off more than I could chew …

‘A sea change came when I had a talk about it with my agent, Jo. We were sitting on a wall outside the London Book Fair, and I was crying because I felt so adrift and miserable and unable to finish the next draft of what would become The Last Act of Love. I told her that I just didn’t think I was good enough. “Look,” she said kindly, “self-doubt is intertwined with creativity. I don’t understand why, but all the creative people I know spend a lot of time believing they are useless. You just need to not listen to it.”

‘That was a life-changing moment for me …’

Bouncebackability is about the state of your morale, the ability to shut out negative voices. The reason I remember when the OED first included it is because a boy in my son’s English class decided to celebrate by inserting it into an essay on Romeo & Juliet as often as possible! For example, Romeo, he said, showed bouncebackability when he moved on from his unhappy adoration of Rosaline (‘I have a soul of lead’) to joyous devotion to Juliet (‘Did my heart love till now?’) I don’t know how else he applied it but it must have made his teacher smile (a bit) and I’ll never think about bouncebackability without doing the same. It helps me lighten up.

Writing Competitions to Enter in March

Spring is the time for new beginnings and, perhaps, new writing. So grab your pencil and a coffee and check out these competitions that you could enter in March:

Bridgend Writers’ Circle Open Short Story Competition for stories up to 1,800 words – but with no minimum word count. Prizes: £100, £50, £30. Entry fee: £5, £7.50 for two. Closing date: March 1st. Details: http://www.bridgendwriters.org

Neil Gunn Writing Competition for stories up to 2,500 words and poetry up to 40 lines, interpreting a quote from Scottish Writer Neil Gunn. Prizes: £500, £300 and £200 in each category. Entry fee: £8. Closing date: 4 March. Details: http://www.neilgunntrust.org

Evesham Festival of Words Short Story Competition for short stories up to 2,500 words. Prizes: £150, £50 and £30. Entry fee: £5. Closing date: 11th March. Details: https://eveshamfestivalofwords.org

Searchlight Awards invites submissions for its Best Short Story for Children or Young Adults competition. The top 10 stories will feature in an agent/publisher pitch book, as well as being published in an annual anthology. First prize – £500. Entry fee: £10. Closing date: 21st March. Details: https://www.searchlightawards.co.uk/competitions/

BBC Short Story Award for stories up to 8,000 words. Prizes: £15,000, 4x£600. FREE ENTRY. Deadline: 21st March. Details: http://www.bbc.co.uk/nssa

Harpers Bazaar Short Story Competition for stories up to 2,500 words on a given theme. Prizes: publication plus free weekend break. FREE ENTRY. Closing date: 13th March. Details: http://www.harpersbazaar.com/uk/culture/culture-news/a36157/harpers-bazaar-short-story-competition/

Gordon Burn Prize for a published novel or work of fiction that challenges perceived ideas about genre. Prizes: £5000, up to three months’ retreat at Gordon Burns’s cottage. FREE ENTRY. You may enter after 3rd March, with a 7th April deadline. Details:www.newwritingnorth.com

Limnisa Short Story Competition for stories up to 3,000 words on a set theme. Prizes: one week writing retreat at Limnisa, Greece, including full board and accommodation. FREE ENTRY. Closing date details unclear, but expected to be in March: Please therefore double-check details: http://www.limnisa.com

London Magazine Short Story Competition is seeking stories of up to 4,000 words. Prizes: £500, £300, £200. Entry fee: £10, £5 for each extra. Deadline: 31 March. Details: http://www.thelondonmagazine.org

Red Shed Open Poetry Competition for poems up to 50 lines. Prizes: £100, £50, plus £10 for shortlisted poems. Entry fee: £3 for the first poem, £2 for subsequent poems. Deadline: 31 March. Poems can be entered by post, with online entries having a small extra entry fee. Details: currockpress.com/theredshedpoetrycompetition2022.html

Several of these competitions are FREE to enter, so no excuses for not jumping in! But do please check all entry details first, especially the deadlines which can sometimes change at short notice.

Good luck!

Books you’ve lent


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What is the etiquette about getting back books that you lent someone a long time ago?  Asking for a friend.

My friend used to think that he would never forget which book he had lent to whom.  But it was the disappearance of a prized hardback copy of Margaret Atwood’s The Penelopiad that undeceived me him.  None of the people to whom he might have lent it remembered (or admitted) that they had it.

So he started to note loans down in a special notebook.  But that has created its own problems.

For rereading it recently he saw that one book (signed by the author) had been lent to a friend a full five years ago.  

Put yourself in this situation: various embarrassments can arise. 

Does asking for it back after so long make you seem nerdish?  Untrusting?  In some way accusing your friend of carelessness?  Best to have some specific reason for needing it, rather than just wanting to reclaim a piece of property for the sake of having it at home and not in their house.

Your friend might deny having got it.  If it’s left at that, then the book will never be recovered.  If the denial is challenged – well, do you suspect them of lying?  Surely not – but that corrosive thought is in your mind now. 

Do you ask your friend to check their shelves to make sure?  If they do, and it can’t be found, why not?  Have they in turn lent it to someone else?  Have they lost it – left behind, perhaps, on some Spanish beach?  Has a zealous spouse bent on clearing space given it to a charity shop? 

If it is found – aha!  They may claim (genuinely, let us hope) that it is their own copy.  How to resolve this?  Writing your name in your books is the obvious answer, but is that also nerdish?  Something schoolboys do (or used to, when they still read books rather than looked at screens)? Obviously the worst thing you can do is to write your name in the book in the presence of the person you’re lending it to …

Let’s hope that this ownership problem doesn’t arise.  It’s yours, and they’ve got it, and they’re giving it back.  Do you make the mistake of asking them whether they liked it?  For if they haven’t actually read it, how awkward ….  Would you agree to their hanging on to it so they would sometime get round to reading it?  Then you might have to go through the whole sorry performance again – but how can you politely say no?

This whole area is fraught with difficulty.  And when you look round your house, and see books piled on windowsills and on the floor, because there is no more space on your shelves, then maybe that’s the perfect excuse for letting this particular sleeping dog lie.

Neither a lender nor a borrower be …

Impostor Syndrome


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Although our blog has covered the pain of impostor syndrome before – see Maggie’s Kafka sketch of February 7th 2020 – we feel it deserves another mention, especially if it is preventing you from doing your own writing. We are none of us impostors. If we write, we are writers…

Yet most of us do struggle from time to time with the impostor syndrome – the suspicion that we are not proper writers at all, but frauds. That we should take repeated rejections at face value and instead devote our time to learning Mandarin or perfecting our tennis serve. But ninevoices urge you not to give up. To persevere. Because only by persistence will you get a short story published; a book deal; a review of your work that makes your heart sing and all your hard work worth while.

In the last few days Lisa the Book Owl (website OwlBeSatReading) has published a review of Maggie Richell-Davies’ debut novel, The Servant, on both WordPress and Goodreads. Maggie has been rejected many, many times over the years – and written about the experience on this blog – but has refused to lay down either her pen or abandon her keyboard. That is why she has finally been published and why she is gaining some gratifying reviews.

Below is what Lisa has written about her book:

‘Once again, I appear to have chosen historical fiction that’s earned itself a place on my ‘best of 2022’ goodreads shelf.

Maggie Richell-Davies should never doubt her ability to spin a good yarn, The Servant had me hooked from the very first chapter.

Maggie contacted me on Twitter, asking if I would be interested in reading her novel, and on reading the synopsis, I had the feeling it would be the kind of story I’d enjoy.

Disgraced aristocracy, a house full of mysteries; including a locked library, the main character being able to secretly read and write, and characters so vile and despicably realistic, I wanted to shout and swear at them! What’s not to love when a story gives you all the ‘feels’.

The Servant reminded me in many ways of Michel Faber’s The Crimson Petal and the White, a firm favourite of mine. The foulness and stench of the setting, the superbly immersive writing, the crass language. So much research went into this creative masterpiece. I’ve learned so much, having to look up words throughout, all adding to my enjoyment. To be both educated and entertained whilst experiencing an author’s imaginative story-telling is essential to the reading experience. It was the most memorable history lesson.

From the description of what people were wearing, to intricate detail of the furnishings, The Servant ticked every box. I couldn’t fault it.

“The Chinese cabinet is the thing I admire the most in that room because of the figures in strange costumes inlaid in the black lacquered wood. There is a river with two people on a hump-backed bridge, lovers perhaps, picked out in mother-of-pearl. A willow weeps from the sloping shore, with a building that might be a temple in the distance and a long-legged bird circling above. The lady holds a curious-looking umbrella and the couple look to be whispering beneath it. I would love to know their story.”

How clear is that piece of furniture in your mind’s eye from that perfect description?

The reactions of characters had me smiling, laughing, and visualising with ease.

“Perhaps she was a beauty in her youth, before her face turned to porridge.”

The way the opinions, thoughts and situations related to present day rang true throughout.

“The rich get away with everything,” Peg mutters, at my shoulder. “Always have. Always will.”

As I reluctantly came to the end of the story (I took my time, taking two weeks to finish as I loved it too much to let it go so soon!) the ‘End Note’ was simply the icing on this glorious historical cake. When an author takes time to explain their story, and its roots, it gives the reader more understanding and a bit of closure. I needed it because I was sad to see Hannah, Peg and Thomas go.

The Historical Writers’ Association (HWA) selected The Servant for their HWA/Sharpe Books Unpublished Novel Award 2020. It was completely deserving of this accolade and I’m hoping somebody, somewhere will take this gem of a novel under their wing and create a tv adaptation or film – I’d watch it with relish!

The Servant is an astonishing story of one woman’s steely determination. Do add it to your TBR piles, make a ‘Beat The Backlog’ exception for this one, because it is EXCEPTIONAL historical fiction. I will be recommending it to everyone.

Thank you, Maggie, for sending me a copy to review. It was a beautiful, dark pleasure.’


Maggie is naturally ecstatic at this generous review and warns that she might have to buy larger-sized hats, since her head is becoming ridiculously swollen. More importantly, though she hopes that her example will keep you writing and submitting.

Her book is still available on Amazon, with the Kindle/ebook version a modest £1.99.

Jane Eyre Revisited


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“The next day commenced as before, getting up and dressing by rush-light; but this morning we were obliged to dispense with the ceremony of washing: the water in the pitchers was frozen. A change had taken place in the weather the preceding evening, and a keen north-east wind, whistling through the crevices of our bedroom windows all night long, had made us shiver in our beds, and turned the contents of the ewers to ice.”

Chapter VI, Jane Eye

Having been deprived of central heating for nearly five weeks, I have thought often about Jane and the shivering conditions at her charity school. Our bathrooms may currently be icy, but we do have hot water. Perhaps it is timely to follow Jane and count our blessings.

Writing Competitions to Enter in February


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If your New Year Resolution was to write more, and perhaps win a competition or two in the next twelve months, here are some suggestions that might give you a head start. And, remember, entering and winning a competition listed on this site has been known to get someone published…

The winner of the CWA’s Margery Allingham Short Mystery Prize will receive £500, plus two tickets to the 2022 CrimFest. They are looking for unpublished mysteries of up to 3,500 words that satisfy Margery Allingham’s definition: “The mystery remains box-shaped, at once a prison and a refuge. Its four walls are, roughly, a Crime, a Mystery, an Enquiry and a conclusion with an Element of Satisfaction in it.” Entry is £12 per story. Deadline: 28 February. Details: https://writ.rs/cwamystery

The CWA’s Dagger Award has changed for 2022 to allow self-published authors to enter. There is a cash prize of £500, plus potentially career-changing opportunities to get work seen by literary agents and editors. It is open to writers who have not had a novel traditionally published and do not have a contract with a literary agent. Send the first 3,000 words of an unpublished crime manuscript plus a synopsis of up to 1,500 words. Entry is £36. Closing date: 28 February. Details: https://thecwa.co.uk/debuts/debut-dagger

Writers’ & Artists’ Yearbook Short Story Competition is for stories up to 2,000 words. Prizes: a place on an Arvon writing course. Entry is FREE. Closing date 12 February. Details: http://www.writersandartists.co.uk/competitions

Spotify First Novel Competition. A one-page synopsis plus the first page of an unpublished novel. Prizes: mentoring package; spotlight page on website, synopsis posted online. Entry fee: £16. Deadline: 14 February. Details: http://www.adventuresinfiction.co.uk

National Flash Fiction Day Microfiction Competition. Up to 100 words. Prizes: £100, £50, £25 Wakefield postcode prize. Entry fee: £2, £3.50 for 2, £5 for 3. Closing date: 15 February. Details: https://nationalflashfictionday.co.uk/index.php/competition/

Fish Flash Fiction Contest for up to 300 words. Prizes 1,000 Euros, 300 Euros, online writing course. Entry fee: 14 Euros. Deadline: 28 February. Details: http://www.fishpublishing.com

Exeter Writers Short Story Competition. Up to 3,000 words. Prizes: £700, £250, ££100, £100 for a Devon writer. Entry fee: £7. Closing date: 28 February. Details: http://www.exeterwriters.org.uk

Lindisfarne Prize for crime short stories or novel openings, up to 10,000 words, by unpublikshed authors from, or writing about the North of England. Prizes: £2,500, plus mentoring services. Closing date: 28 February. Details: http://www.ljrossauthor.com/lindisfarne-prize/

Kelpies Prize for fiction in any genre aimed at children aged 6-14 years. There are three entry categories which must (I think, but please check) be set mainly in Scotland. Prizes: £500 for the overall winner plus mentoring and possible publication. Closing date: 28 February. Details: https://discoverkelpies.co.uk/kelpies-prize

Theatre 503 Playwriting Award. Biennial award for full length, original, unproduced and unperformed theatre plays. Prizes: £6,000 and a guaranteed theatre production. Free entry. Closing date: 28 February. Details: https://theatre503.com/

Elmbridge Literary Competition is looking for poem and short story entries on the theme of ‘Enigma’. In the adult categories, there are prizes of £250, £150 and £100 for the winners. In the children’s categories, the winners will receive book tokens. Winning entries will also be published as a chapbook by Sampson Low publishers. Send original, unpublished short stories up to 1,000 words (8-13 years) or 1,500 words (14 years+) and poems up to thirty lines. Entry fee for adults is £5 per story or poem. Entry for young writers is free. Each writer may enter one story and one poem. Closing date: 28 February. Details: http://www.rcsherrifftrust.org.uk/elmbridge-literary-competition.

Please remember that deadlines can change, competitions can be cancelled at short notice, or requirements altered, so the delightful Snowy (one of our Beta Readers) asks you to make sure you double-check before entry. She also wishes you Good Luck!