Writers' Newsletter
Issue #282
September 2026
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Fresh Words Announces Three International Calls for Submissions for 2026 Anthologies
firstwriter.com – Friday September 11, 2026
Fresh Words – An International Literary Magazine has opened three new calls for submissions for forthcoming global anthologies, inviting poets, flash‑fiction writers, playwrights, and theatre‑makers worldwide to contribute original work. All opportunities are free to enter, open internationally, and accept submissions in English.
The City in Three Lines – Urban Haiku Anthology
Writers are invited to capture the fleeting moments of city life in haiku—everything from rain‑slick streets and crowded buses to rooftop quiet, urban wildlife, and the unexpected beauty found in everyday places. Submit: Up to 7 haiku Deadline: September 30, 2026 Email: specialanthologyfreshwordsmag@gmail.com Publication: October 2026
Tiny Revolutions – Flash Fiction Anthology
This collection seeks 100–300‑word stories exploring small acts of rebellion, courage, resistance, or transformation. Submissions may be contemporary, historical, speculative, surreal, comic, or experimental. Length: 100–300 words Deadline: September 30, 2026 Email: specialanthologyfreshwordsmag@gmail.com
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News |
Some of this month's news for writers from around the web.
U.K. Indie Bitter Lemon Press Launches New ‘International’ Imprint
publishingperspectives.com – Friday September 18, 2026
François von Hurter, publisher and co-founder of Bitter Lemon Press, said the new imprint will focus on “international fiction you enter at your own risk, that gets under your skin before it lets you go.”
The U.K.-based Bitter Lemon Press has announced the launch of Labyrinth Press, a new imprint for “ambitious international literary fiction, largely but not exclusively in translation,” with the first titles set to appear in early 2027.
In a release, Bitter Lemon reps cited the publisher’s “international reputation” for publishing acclaimed crime fiction and thrillers and for “introducing English-language readers to some of the world’s most compelling contemporary authors.” Labyrinth is “the next stage in that journey,” a release states: “a dedicated home for literary fiction, away from the crime and thriller genre:
“The labyrinth has always been a powerful literary symbol,” said publisher and co-founder of Bitter Lemon Press, François von Hurter. “It represents both the pleasure of becoming immersed in a story and the excitement of discovering unexpected paths. That’s the tradition we’re claiming with this list: international fiction you enter at your own risk, that gets under your skin before it lets you go.”
Writers' Handbook 2027 - Out Now!
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Writing scheme seeks the next generation of unpublished women novelists
uk.news.yahoo.com – Thursday September 17, 2026
A writing programme is offering unpublished women the chance to launch their literary careers.
The Women's Prize Trust has opened submissions for Discoveries, its flagship writer development scheme now in its seventh year.
The programme is free to enter and invites unagented and unpublished women writers in the UK and Ireland to submit the first 10,000 words of a novel for adult readers.
Entrants could win literary agent representation, a £5,000 bursary, mentorship, workshops and a place on a creative writing course.
Claire Shanahan, executive director of the Women's Prize Trust, said: "A crucial part of our mission at the Women's Prize Trust, the charity building a better future by championing women's writing, is inspiring and supporting the new voices of tomorrow, particularly those who haven't had access to or opportunity for a creative life.
New Yorkshire publisher launches her debut children's book
yorkpress.co.uk – Tuesday September 15, 2026
A new independent publisher has launched with its debut children’s title.
Shannon Publishers, based in Eastrington, opened its doors and released its first book, Pony Tales, a short children's title which tells the story of a young horse at her first show.
The publishing house was founded by Emma Swaine, from Cliffe, near Selby, who started the project as part of her master’s degree in publishing.
She said: "In one of my modules we had to look in depth at the process of publishing a book and then for my dissertation we had to undertake our own publishing project.
"I found the research into starting a press and the process of getting a book made and on shelves really interesting and so I thought why not give it a go myself for my dissertation."
The publisher focuses on stories set in the countryside.
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Listings |
A selection of the new listings added to firstwriter.com this month.
New Magazine Listing: The Haiku Shack Magazine
firstwriter.com – Monday August 24, 2026
Focuses on very short poetry and microfiction that seek to make an emotional impact – just like a good haiku would. Every issue is inspired by a specific theme and a photograph. Writers are invited to send their own interpretations of one or both for potential inclusion.
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New Publisher Listing: Wicked Son
firstwriter.com – Friday September 18, 2026
Publishes sharp‑edged political and cultural commentary along with history, fiction, philosophy and other books of Jewish interest. Seeks work that grapples with major questions, advances unconventional views and encourages deeper engagement with Jewish history, culture and ideas. Open to submissions from agents and authors.
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New Literary Agent Listing: Katie Kennaway
firstwriter.com – Wednesday September 16, 2026
Represents voice‑driven fiction with original plots and vivid world building. Seeks challenging and unsettling work featuring flawed and morally ambiguous characters, as well as books exploring the darker side of human nature with wit and insight. Attracted to stories with a strong sense of place and time, and to absorbing narrative nonfiction that evokes subjects and locations with precision. Always keen to read great short stories and collections.
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| Click here for more of this month's new listings > |
Articles |
Some of this month's articles for writers from around the web.
Who Are MFA Workshops *Really* For?
lithub.com – Wednesday September 16, 2026
How many writers does it take to fix a short story? The premise of the creative writing workshop is that it takes a room full of writers, reading and offering feedback and working through the kinks of the story together. This approach has three obvious benefits: One, the writer learns how to improve the story in question. Two, the class develops their skills as readers and editors, building a technical vocabulary that will serve them in their future writing careers. And three, the writer walks away from the workshop feeling inspired, encouraged, and motivated to continue writing.
A good day in workshop succeeds on all three counts. But inevitably, there are times when these worthy aims come into conflict. Take the following anecdote, from an MFA-level workshop: A student brought in a short story that was written in the second person. At the start of the workshop, the student announced that, while he was generally open to feedback, he did not want to hear any criticism of the story’s point of view. The second person was working for him, and he had no intention of changing it.
An awkward silence followed his announcement. If the goal of this workshop was to improve the story in question, some discussion of the point of view was essential. Trying to fix the story without addressing the unconventional narration would be like, as a mentor of mine once put it, “trying to make the bed while the house is on fire.” If the goal of this workshop was to educate the class and build up their editorial skillset, a candid discussion of the story’s narration was likewise essential. If, however, the goal of workshop was to support and encourage the writer, the way forward seemed clear: the class should honor the writer’s request and limit their feedback to other, secondary aspects of the story.
How an effective workshop should handle such cases depends on what you think workshop is really for.
‘Writers are facing our moment of enclosure – we must fight the destruction of our profession’
writersguild.org.uk – Monday September 14, 2026
“The Government is staring at AI with eyes wider than Bugs Bunny. It doesn’t know what it is, it doesn’t know whether to run towards it or run away. It doesn’t know whether it’s the future of our country’s economy or a massive destructive force,” said Writers’ Guild of Great Britain (WGGB) President and award-winning writer Jack Thorne, addressing an audience at London’s Queen Elizabeth Hall yesterday evening (Sunday 13 September 2026) for an event on Authorship in the Age of AI.
Making a direct appeal to the new Prime Minister Andy Burnham (a former Culture Secretary, and self-confessed advocate for the creative industries), Thorne said that “I am absolutely certain the next five years and the way that Government acts or doesn’t act to protect our sector will define what the next hundred looks like for every writer in this country.”
Thorne admitted that “If harnessed correctly … AI will bring advances to science and the economy… But the harm it produces could outweigh that benefit if we believe that the current modellers are entitled to behave however they like for the furtherment of their technology”. He spoke about the industrial-scale theft/scraping of writers’ work to train Large Language Models without consent or payment (in breach of existing UK copyright law) and tech companies spending millions on second-hand books for this purpose, plus numerous copyright cases against big tech companies in the States. “These language models are in an arms race with each other … and are intent on getting stronger,” he said. “I have spoken to people inside the machine who’ve told me the worst excesses in tech are encouraged and led by the idea that whatever they’re doing, the other side are doing worse. They are working at speed and with great intelligence on their side.”
Writers’ AI Fears Often Run Ahead of the Facts
janefriedman.com – Friday September 11, 2026
The biggest questions I get right now about AI:
- How do I protect myself from an agent or publisher (or other publishing professional) using AI on my work?
- How do I protect myself from a false accusation of AI use?
- How can I prove that I wrote my work and/or how can I prove that my particular AI use is not a problem or doesn’t run afoul of agent/publisher guidelines?
Unfortunately, these questions don’t have straightforward answers.
How do writers protect themselves from publishing professionals using AI tools on their work without permission?
First things first, be sure to read any available policy from the agent, publisher or publishing professional about their AI use. Increasingly you’ll find a statement on their website, in their submission guidelines, or other documents they provide authors. If you can’t find one, ask. Generally you can trust them to keep their word, although I admit trust can be in short supply these days.
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