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The Winners of Our Personal Narrative Essay Contest

We asked students to write about a meaningful life experience. Here are the eight winning essays, as well as runners-up and honorable mentions.

By The Learning Network

Update: Join our live webinar on Oct. 8 about teaching with our Narrative Writing Contest.

In September, we challenged teenagers to write short, powerful stories about meaningful life experiences for our first-ever personal narrative essay contest .

This contest, like every new contest we start, was admittedly a bit of an experiment. Beyond a caution to write no more than 600 words, our rules were fairly open-ended, and we weren’t sure what we would get.

Well, we received over 8,000 entries from teenagers from around the world. We got stories about scoring the winning goal, losing a grandparent, learning to love one’s skin and dealing with mental illness. We got pieces that were moving, funny, introspective and honest. We got a snapshot of teenage life.

Judging a contest like this is, of course, subjective, especially with the range of content and styles of writing students submitted. But we based our criteria on the types of personal narrative essays The New York Times publishes in columns like Lives , Modern Love and Rites of Passage . We read many, many essays that were primarily reflective but, while these pieces might be well-suited for a college application, they weren’t exactly the short, powerful stories we were looking for in this contest.

The winning essays we selected were, though, and they all had a few things in common that set them apart:

They had a clear narrative arc with a conflict and a main character who changed in some way. They artfully balanced the action of the story with reflection on what it meant to the writer. They took risks, like including dialogue or playing with punctuation, sentence structure and word choice to develop a strong voice. And, perhaps most important, they focused on a specific moment or theme — a conversation, a trip to the mall, a speech tournament, a hospital visit — instead of trying to sum up the writer’s life in 600 words.

Below, you’ll find these eight winning essays, published in full. Scroll to the bottom to see the names of all 35 finalists we’re honoring — eight winners, eight runners-up and 19 honorable mentions. Congratulations, and thank you to everyone who participated!

The Winning Essays

Nothing extraordinary, pants on fire, eggs and sausage, first impressions, cracks in the pavement, sorry, wrong number, the man box.

By Jeniffer Kim

It was a Saturday. Whether it was sunny or cloudy, hot or cold, I cannot remember, but I do remember it was a Saturday because the mall was packed with people.

I was with my mom.

Mom is short. Skinny. It is easy to overlook her in a crowd simply because she is nothing extraordinary to see.

On that day we strolled down the slippery-slick tiles with soft, inconspicuous steps, peeking at window boutiques in fleeting glances because we both knew we wouldn’t be buying much, like always.

I remember I was looking up at the people we passed as we walked — at first apathetically, but then more attentively.

Ladies wore five-inch heels that clicked importantly on the floor and bright, elaborate clothing. Men strode by smelling of sharp cologne, faces clear of wrinkles — wiped away with expensive creams.

An uneasy feeling started to settle in my chest. I tried to push it out, but once it took root it refused to be yanked up and tossed away. It got more unbearable with every second until I could deny it no longer; I was ashamed of my mother.

We were in a high-class neighborhood, I knew that. We lived in a small, overpriced apartment building that hung on to the edge of our county that Mom chose to move to because she knew the schools were good.

We were in a high-class neighborhood, but as I scrutinized the passers-by and then turned accusing eyes on Mom, I realized for the first time that we didn’t belong there.

I could see the heavy lines around Mom’s eyes and mouth, etched deep into her skin without luxurious lotions to ease them away. She wore cheap, ragged clothes with the seams torn, shoes with the soles worn down. Her eyes were tired from working long hours to make ends meet and her hair too gray for her age.

I looked at her, and I was ashamed.

My mom is nothing extraordinary, yet at that moment she stood out because she was just so plain.

Mumbling I’d meet her at the clothes outlet around the corner, I hurried away to the bathroom. I didn’t want to be seen with her, although there was no one important around to see me anyway.

When I finally made my way to the outlet with grudging steps, I found that Mom wasn’t there.

With no other options, I had to scour the other stores in the area for her. I was dreading returning to her side, already feeling the secondhand embarrassment that I’d recently discovered came with being with her.

I couldn’t have been more wrong. Mom was standing in the middle of a high-end store, holding a sweater that looked much too expensive.

She said, “This will look good on you. Do you want it?”

It was much too expensive. And I almost agreed, carelessly, thoughtlessly.

Then I took a closer look at the small, weary woman with a big smile stretching across her narrow face and a sweater in her hands, happy to be giving me something so nice, and my words died in my throat.

I felt like I’d been dropped into a cold lake.

Her clothes were tattered and old because she spent her money buying me new ones. She looked so tired and ragged all the time because she was busy working to provide for me. She didn’t wear jewelry or scented perfumes because she was just content with me.

Suddenly, Mother was beautiful and extraordinarily wonderful in my eyes.

I was no longer ashamed of her, but of myself.

“Do you want it?” My mom repeated.

“No thanks.”

By Varya Kluev

I never kissed the boy I liked behind the schoolyard fence that one March morning. I never had dinner with Katy Perry or lived in Kiev for two months either, but I still told my entire fourth-grade class I did.

The words slipped through my teeth effortlessly. With one flick of my tongue, I was, for all anybody knew, twenty-third in line for the throne of Monaco. “Actually?” the girls on the swings beside me would ask, wide eyes blinking with a childlike naivety. I nodded as they whispered under their breath how incredible my fable was. So incredible they bought into it without a second thought.

I lied purely for the ecstasy of it. It was narcotic. With my fabrications, I became the captain of the ship, not just a wistful passer-by, breath fogging the pane of glass that stood between me and the girls I venerated. No longer could I only see, not touch; a lie was a bullet, and the barrier shattered. My mere presence demanded attention — after all, I was the one who got a valentine from Jason, not them.

This way I became more than just the tomboyish band geek who finished her multiplication tables embarrassingly fast. My name tumbled out of their mouths and I manifested in the center of their linoleum lunch table. I became, at least temporarily, the fulcrum their world revolved around.

Not only did I lie religiously and unabashedly — I was good at it. The tedium of my everyday life vanished; I instead marched through the gates of my alcazar, strode up the steps of my concepts, and resided in my throne of deceit. I believed if I took off my fraudulent robe, I would become plebeian. The same aristocracy that finally held me in high regard would boot me out of my palace. To strip naked and exclaim, “Here’s the real me, take a look!” would lead my new circle to redraw their lines — they would take back their compliments, sit at the table with six seats instead of eight, giggle in the back of the class when I asked a question. I therefore adjusted my counterfeit diadem and continued to praise a Broadway show I had never seen.

Yet finally lounging in a lavender bedroom one long-sought-after day, after absently digesting chatter about shows I didn’t watch and boys I didn’t know, I started processing the floating conversations. One girl, who I had idolized for always having her heavy hair perfectly curled, casually shared how her parents couldn’t afford to go on their yearly trip the coming summer. I drew in an expectant breath, but nobody scoffed. Nobody exchanged a secret criticizing glance. Instead, another girl took her spoon of vanilla frosting out of her cheek and with the same air of indifference revealed how her family wasn’t traveling either. Promptly, my spun stories about swimming in crystal pools under Moroccan sun seemed to be in vain.

The following Monday, the girls on the bus to school still shared handfuls of chocolate-coated sunflower seeds with her. At lunch, she wasn’t shunned, wasn’t compelled to sit at a forgotten corner table. For that hour, instead of weaving incessant fantasies, I listened. I listened to the girls nonchalantly talk about yesterday’s soccer game where they couldn’t score a single goal. Listened about their parent’s layoff they couldn’t yet understand the significance of. I listened and I watched them listen, accepting and uncritical of one another no matter how relatively vapid their story. I then too began to talk, beginning by admitting that I wasn’t actually related to Britney Spears.

By Ryan Young Kim

When first I sat down in the small, pathetic excuse of a cafeteria the hospital had, I took a moment to reflect. I had been admitted the night before, rolled in on a stretcher like I had some sort of ailment that prevented me from walking.

But the nurses in the ward were nice to me, especially when they saw that I wasn’t going to be one of the violent ones. They started telling me something, but I paid no attention; I was trying to take in my surroundings. The tables were rounded, chairs were essentially plastic boxes with weight inside, and there was no real glass to be seen.

After they filled out the paperwork, the nurses escorted me to my room. There was someone already in there, but he was dead asleep. The two beds were plain and simple, with a cheap mattress on top of an equally cheap wooden frame. One nurse stuck around to hand me my bedsheets and a gown that I had to wear until my parents dropped off clothes.

The day had been exhausting, waiting for the psychiatric ward to tell us that there was a bed open for me and the doctors to fill out the mountains of paperwork that come with a suicide attempt.

Actually, there had been one good thing about that day. My parents had brought me Korean food for lunch — sullungtang , a fatty stew made from ox-bone broth. God, even when I was falling asleep I could still taste some of the rice kernels that had been mixed into the soup lingering around in my mouth.

For the first time, I felt genuine hunger. My mind had always been racked with a different kind of hunger — a pining for attention or just an escape from the toil of waking up and not feeling anything. But I always had everything I needed — that is, I always had food on my plate, maybe even a little too much. Now, after I had tried so hard to wrench myself away from this world, my basic human instinct was guiding me toward something that would keep me alive.

The irony was lost on me then. All I knew was that if I slept earlier, that meant less time awake being hungry. So I did exactly that. Waking up the next day, I was dismayed to see that the pangs of hunger still rumbled through my stomach. I slid off my covers and shuffled out of my room. The cafeteria door was already open, and I looked inside. There was a cart of Styrofoam containers in the middle of the room, and a couple people were eating quietly. I made my way in and stared.

I scanned the tops of the containers — they were all marked with names: Jonathan, Nathan, Kristen — and as soon as I spotted my name, my mouth began to water.

My dad would sometimes tell me about his childhood in a rural Korean village. The hardships he faced, the hunger that would come if the village harvest floundered, and how he worked so hard to get out — I never listened. But in that moment, between when I saw my container and I sat down at a seat to open it, I understood.

The eggs inside were watery, and their heat had condensated water all over, dripping onto everything and making the sausages soggy. The amount of ketchup was pitiful.

But if I hadn’t been given plastic utensils, I think I would have just shoved it all into my mouth, handful by handful.

By Isabel Hui

When I woke up on August 4, 2016, there was only one thing on my mind: what to wear. A billion thoughts raced through my brain as wooden hangers shuffled back and forth in the cramped hotel closet. I didn’t want to come off as a try-hard, but I also didn’t want to be seen as a slob. Not only was it my first day of high school, but it was my first day of school in a new state; first impressions are everything, and it was imperative for me to impress the people who I would spend the next four years with. For the first time in my life, I thought about how convenient it would be to wear the horrendous matching plaid skirts that private schools enforce.

It wasn’t insecurity driving me to madness; I was actually quite confident for a teenage girl. It was the fact that this was my third time being the new kid. Moving so many times does something to a child’s development … I struggled finding friends that I could trust would be there for me if I picked up and left again. But this time was different because my dad’s company ensured that I would start and finish high school in the same place. This meant no instant do-overs when I pick up and leave again. This time mattered, and that made me nervous.

After meticulously raiding my closet, I emerged proudly in a patterned dress from Target. The soft cotton was comfortable, and the ruffle shoulders added a hint of fun. Yes, this outfit was the one. An hour later, I felt just as powerful as I stepped off the bus and headed toward room 1136. But as I turned the corner into my first class, my jaw dropped to the floor.

Sitting at her desk was Mrs. Hutfilz, my English teacher, sporting the exact same dress as I. I kept my head down and tiptoed to my seat, but the first day meant introductions in front of the whole class, and soon enough it was my turn. I made it through my minute speech unscathed, until Mrs. Hutfilz stood up, jokingly adding that she liked my style. Although this was the moment I had been dreading from the moment I walked in, all the anxiety that had accumulated throughout the morning surprisingly melted away; the students who had previously been staring at their phones raised their heads to pay attention as I shared my story. My smile grew as I giggled with my peers, ending my speech with “and I am very stylish, much like my first period teacher.” After class, I stayed behind and talked to Mrs. Hutfilz, sharing my previous apprehension about coming into a new school and state. I was relieved to make a humorous and genuine connection with my first teacher, one that would continue for the remainder of the year.

This incident reminded me that it’s only high school; these are the times to have fun, work hard, and make memories, not stress about the trivial details. Looking back four years later, the ten minutes I spent dreading my speech were really not worth it. While my first period of high school may not have gone exactly the way I thought it would, it certainly made the day unforgettable in the best way, and taught me that Mrs. Hutfilz has an awesome sense of style!

By Adam Bernard Sanders

It was my third time sitting there on the middle school auditorium stage. The upper chain of braces was caught in my lip again, and my palms were sweating, and my glasses were sliding down my nose. The pencil quivered in my hands. All I had to do was answer whatever question Mrs. Crisafulli, the history teacher, was going to say into that microphone. I had answered 26 before that, and 25 of those correctly. And I was sitting in my chair, and I was tapping my foot, and the old polo shirt I was wearing was starting to constrict and choke me. I pulled pointlessly at the collar, but the air was still on the outside, only looking at the inside of my throat. I was going to die.

I could taste my tongue in my mouth shriveling up. I could feel each hard-pumping heartbeat of blood travel out of my chest, up through my neck and down my arms and legs, warming my already-perspiring forehead but leaving my ghost-white fingers cold and blue. My breathing was quick. My eyes were glassy. I hadn’t even heard the question yet.

Late-night readings of my parents’ anatomy textbooks had told me that a sense of impending doom was the hallmark of pulmonary embolism, a fact that often bubbled to the surface of my mind in times like these. Almost by instinct, I bent my ring and little fingers down, holding them with my thumb as the two remaining digits whipped to my right wrist and tried to take my pulse. Mr. Mendoza had taught us this last year in gym class. But I wasn’t in gym class that third period. I was just sitting on the metal folding chair, waiting for Mrs. Crisafulli to flip to the right page in her packet for the question.

Arabella had quizzed me in second-period French on the lakes of Latin America. Nicaragua. Atitlán. Yojoa. Lake Titicaca, that had made Raj, who sat in front of me, start giggling, and Shannon, who sat three desks up and one to the left, whip her head around and raise one fist to her lips, jab up her index finger, and silence us. Lakes were fed by rivers, the same rivers that lined the globe on my desk like the cracks in the pavement I liked to trace with my shoe on the walk home. Lake Nicaragua drains into the San Juan River, which snakes its way around the port of Granada to empty into the Caribbean Sea. I knew that.

At that moment I was only sure of those two things: the location of Lake Nicaragua and my own impending doom. And I was so busy counting my pulse and envisioning my demise that I missed Mrs. Crisafulli’s utterance of the awaited question into her microphone, as I had each year in the past as one of the two people left onstage.

“ … Coldest … on earth,” was all I heard. My pencil etched shaggy marks as my shaking hands attempted to write something in the 20 seconds remaining.

“Asia,” I scrawled.

So, for the third time in three years, I got it wrong, and for the third time, I didn’t die. I walked home that day, tracing the faults in the pavement and wondering what inside me was so cracked and broken. Something had to be fissured inside, like the ridges and rivers on my desk globe that I would throw out later that evening, but fish from the trash can when the sun rose the next day.

By Michelle Ahn

My phone buzzes. An unfamiliar number with a 512 area code — I later find out it’s from Texas. It’s a selfie of a 30-something man, smiling with his family, a strange picture to receive as I live halfway across the country.

For the past three years, I — a 14-year-old girl living in Virginia — have been getting texts meant for this man, Jared. Over the years, I’ve pieced together parts of who he is; middle-aged, Caucasian, and very popular according to the numerous messages I’ve received for him.

Throughout this time, I’ve also been discovering who I am. When I received the first text, I was a playful sixth grader, always finding sly ways to be subversive in school and with friends. With this new method of mischief in my hands, naturally, I engaged:

“My sweet momma just told me that BYU Texas Club is holding a Texas Roundup free BBQ dinner on October 10th! Thought y’all would enjoy,” came one of the texts.

After staring at the message for a while, I responded.

As time went on, the story of the mystery man deepened. I was halfway through sixth grade, for example, when I learned he was part of the “Elder’s Quorum,” a rather ominous-sounding group. Looking it up, I learned that it was not a cult, as I’d initially thought, but rather an elite inner circle within the Mormon Church.

This was around the same time my family had stopped going to church. I’d started to spend more time taking art classes and trying out various sports — tennis, basketball, even archery — and soon church fell to the side. Instead, I meddled in the Quorum’s group texts; when a message came about a member moving away, I excitedly responded, “Let me help y’all out, brother!”

I’m not sure exactly when it happened, but after a while I started to feel guilty about this deception. I wondered if I’d somehow ruined Jared’s reputation, if his friends were turned off by my childish responses. I was also dealing with changes within my friend group at the time; the biggest change being letting go of a close but toxic friend; I realized that I needed friendships that were more mutually supportive.

Shortly after, I got a phone call from a strange woman. She started talking about the struggles in her life; her children, her job, even about how she wanted to leave Texas forever. In comparison, my own problems — the B minus I’d gotten, the stress of an upcoming archery tournament, the argument I had with my sister — all seemed superficial. I timidly informed her I wasn’t Jared, and her flustered response told me that I should have told her at the start of the call.

A while later, I got another text: “Congratulations on getting married!” It had never occurred to me how much Jared’s life had changed since I had received his number. But of course it did; over time, I’d outgrown my prankster middle school self, gained the confidence to build a solid friend group, and devoted myself to my primary loves of art and archery. Why wouldn’t Jared also be settling into his own life too?

Though I’ve since taken every opportunity to correct those who text Jared, it still happens every once in a while. Just last month, I got another random text; all it said was: “Endoscopy!” When I got it, I laughed, and then I wrote back.

“Hey, sorry, you have the wrong number. But I hope Jared’s doing well.”

By Maria Fernanda Benavides

“Mayfier? Marfir?” the tournament judge called squinting her eyes, trying to find the spelling error, although there was no error.

“It’s Mafer. It’s a nickname for my full name, Maria Fernanda.”

She stared at me blankly.

“My parents are creative,” I lied, and she laughed.

“O.K., Mahfeer, you’re up!”

I walk to the center and scanned the room before starting as instructed. I took a deep breath.

I reminded myself, “Use your voice.”

I spoke loudly at first, trying to hide the fact that I was overthinking every single word that came out of my mouth. As my performance continued, the artificial confidence became natural, and I started speaking from my heart as I told the story of my experience as an immigrant woman, and I described how much I missed my father who had to travel back and forth every weekend to see my mom and me, and how disconnected I felt from my family, and how I longed to have a place I could call home.

My performance came to an end, and I made my way back to my seat with newly found optimism as I reflected on how performing had consumed me.

I used my voice. Finally. I had found my home in the speech program.

Waiting for the speech tournament to post the names of the finalists was excruciating. I jumped off my seat every time a staff member passed by. I didn’t care about accumulating state points or individual recognition. I wanted the chance to speak again.

Finally, a girl walked up to the oratory postings with a paper on her hand, and the entire cafeteria surrounded her, impatiently waiting to see who the finalists were. Then, I saw it.

My name. Written in dense, black letters.

I smiled to myself.

This time, as I walked to the oratory final, I did so by myself, as I had finally acquired self-assurance needed to navigate the quiet hallways of the high school. I could only hear the heels of the two girls behind me.

“I heard that Saint Mary’s Hall freshman made it to oratory finals,” one of them said, obviously speaking about me. “She broke over me. I didn’t see her performance. Did you? Did you see her performance? What is her speech about?” she questioned the other one.

“It’s about being a Mexican immigrant.”

“Oh, so that’s why she broke.”

“It’s the same pity narrative, there’s nothing different about it.”

Suddenly, the confidence that I had acquired from the previous rounds vanished, and I found myself wishing that I had my older, more experienced teammates by my side to help me block the girls’ words. But no one was there.

I thought my narrative was what made my words matter, what made me matter.

But they didn’t matter. Not anymore. From that moment on, I knew I would be recognized around the circuit as the Mexican girl whose name no one knows how to pronounce. I didn’t even need to speak about my identity to be identified. Everyone would recognize me not for my achievement or my being, but by the peculiar way I pronounce words. I could speak about different topics, but it felt like it wouldn’t make a difference. It felt like my voice didn’t make a difference.

“Mafer, how did it feel?” my coach asked me after the round. “It felt amazing!” I lied.

I didn’t feel anything. Not anymore. Speech gave me a voice, but it also took it away.

By Gordon Lewis

We’re all average boys: hard working in school, spending every minute together in the summer, and doing our best to pretend we don’t have a worry in the world. The facts are no different as the sun is beginning to set on a warm July evening. Sam and I say goodbye to Ben, stepping out of our best friend’s house.

“My sister is going to pick me up while we’re walking, is that O.K.?” I ask.

“Actually, she can probably drive you home, too.”

“Sounds good,” says Sam, but lacking his usual upbeat, comedic energy. Neither of us says anything else, but I’m O.K. with it, we just keep walking. I look around, admiring the still, peaceful park as the warm summer breeze brushes across my face. The crickets are chirping and an owl sings along between the soft hum of cars rolling along nearby. It’s nature’s tune of serenity.

I almost forgot Sam was with me until he asked, “Can I ask you kind of a weird question?”

“Sure,” I say, expecting a joke in poor taste as per usual.

“You don’t have to answer if you don’t want to,” he says before asking.

More hesitantly, I say, “O.K.”

“Do you have someone that you talk to about like deeper stuff … Like more emotional stuff?” Silence hits us like a brick wall: The crickets stop chirping, the owl stops hooting, even the cars stop driving by. It’s deafening. I’m only shocked at the question because it’s Sam, one of the happiest and funniest people I know.

I’m wondering. My disappointment takes over just as quickly as my hope fades as I fail to come up with a name. In the end, the closest thing I can think of is the book I occasionally write in when I’m feeling sad or stressed.

“Huh,” I say quietly, “I’ve never really thought about that, but I guess not.”

“Yeah, I didn’t either, but at camp we did activities and had talks that led to more emotional conversations.” I’m silently both jealous and proud of him, but it’s mostly jealousy.

“It’s funny,” I say, “in English we always joked about that TED Talk guy talking about the man box, but it’s actually so true. We shouldn’t feel like we can’t talk about deeper stuff like that.”

“Yeah,” laughed Sam. Silence drapes over us again, but this time it’s more comfortable. I’m lost in my thoughts trying to think of what to say next, but there’s too much. I’ve never had an opportunity like this before. However it’s not shocking or overwhelming, even though it’s with Sam of all people — instead it’s therapeutic.

The silence is broken once again by Sam:

“Like I never told you guys that my parents got divorced.”

“I’m-I’m sorry,” I say, “That really sucks.” I’m disappointed in myself for not saying more.

“It’s O.K.,” Sam says, but I know he’s lying. I can feel his sadness.

Drowning in my thoughts, I try to pick out something to say. But there’s too much to say. There are too many options after being silent for 16 years.

Headlights appear in front of us, and for a split second I’m relieved, but it rapidly turns into regret.

Knowing it’s Rose, I quickly tell sam, “If you ever want to talk again just let me know.”

I say hi to Rose, masking my solemn, thoughtful mood as tiredness. The warm breeze gives my cheek one final kiss; nature resumes her number, and the cars roll by again as Sam and I reluctantly step into the car.

In alphabetical order by the writer’s last name

“Sorry, Wrong Number” by Michelle Ahn

“Speechless” by Maria Fernanda Benavides

“First Impressions” by Isabel Hui

“Nothing Extraordinary” by Jeniffer Kim

“Eggs and Sausage" by Ryan Young Kim

“Pants on Fire” by Varya Kluev

“The Man Box” by Gordon Lewis

“Cracks in the Pavement” by Adam Bernard Sanders

“The First (and Last) Time Speedy Wasn’t Speedy Enough” by Maya Berg

“Searching for Air” by Sydney Do

“Fear on My Mind” by Daytona Gerhardy

“Under the Starry Sky” by Letian Li

“Chinatown Diptych” by Jeffrey Liao

“They” by Haven Low

“The Vigil” by Beda Lundstedt

“How My Brother Taught Me to Drive” by Sarah Shapiro

Honorable Mentions

“The Six in Mid-August” by Liah Argiropoulos

“‘Those Aren’t Scratches Are They?’” by Casey Barwick

“Brown Is Beautiful” by Tiffany Borja

“I Am Ordinary, After All” by Rebecca Braxley

“Torn” by Melanie D.

“The Stupid Seven” by Madeline G.

“Speak No Evil” by Amita Goyal

“Building My Crown” by Ambar Guzman

“Me, Myself, and a Peanut Butter and Jelly Sandwich” by Zachary Hommel

“The Tomato” by Raymond Huang

“Out” by Michael H.

“Cold Noodles With a Side of Birdballs” by Audrey Koh

“Banya in Siberia” by Arshiya Sanghi

“Traffic” by Kecia Seo

“The Power of Ambiguity” by Marcus Shallow

“Land Mine” by Geneve Thomas-Palmer

“How to Fall Asleep With the Lights On” by Caroline Wei

“The Taste of Tofu” by Amy Zhou

“The Newcomer’s Journey” by Maria Z.

Thank you to all our contest judges!

Edward Bohan, Amanda Christy Brown, Elda Cantú, Julia Carmel, Elaine Chen, Nancy Coleman, Nicole Daniels, John Dorman, Shannon Doyne, Jeremy Engle, Tracy Evans, Ross Flatt, Vivian Giang, Caroline Crosson Gilpin, Michael Gonchar, Lovia Gyarkye, Annissa Hambouz, Karen Hanley, Christine Hauser, Susan Josephs, Shira Katz, Dahlia Kozlowsky, Megan Leder, Miya Lee, Debbie Leiderman, Shauntel Lowe, Keith Meatto, Sue Mermelstein, Amelia Nierenberg, Anna Nordeen, John Otis, Ken Paul, Pia Peterson, Natalie Proulx, Nancy Redd, Kenneth Rosen, Rebecca Rufo-Tepper, Kristina Samulewski, Meghan Stoddard, Brett Vogelsinger, Bonnie Wertheim, Jack Wheeler, Lena Wilson, Sanam Yar

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The 10 Best Short Story Collections of the Decade

And then some.

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels of the decade , and now we’re back with the best short story collections of the decade—or to be precise, the best collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. Feel free to add any favorites we’ve missed in the comments below.

The Top Ten

Claire vaye watkins,  battleborn 2012.

Claire Vaye Watkins’ searing, Nevada-set debut collection—which includes a sixty-page novella that takes place during the 1848 Gold Rush and a dazzling, devastating opening tale in which Watkins audaciously blends fiction, local history, and myth with the story of father’s involvement in the Manson Family during the late ’60s—is as starkly beautiful, as lonesome and sinister and death-haunted, as the desert frontier through which its stories roam. There’s an enviable fearlessness to Watkins’ writing, a refusal to look away from the despair that lies within the hearts of her lost and weary characters, to give them tidy trajectories or tidy resolutions. Her landscapes are exquisitely drawn, full of lush sensory detailing and characters stalked by the sorrows and violence of their pasts, the parched desperation of their presents. In one particularly aching story, a man finds a bundle of letters amid the strewn wreckage of a car crash, and proceeds to carry on a therapeutic, and increasingly revealing, one-sided correspondence with their owner, onto whom he superimposes the identity of a desperate neighbor he killed decades previous. In his reverie he remembers how nature marked the season it happened: “Late that Spring, a swarm of grasshoppers moved though Beatty on their way to the alfalfa fields down south. They were thick and fierce, rolling like a thunderstorm in your head.” It’s remarkable to come across a debut collection in which the voice, the vision, is so fully formed, so assured, but that’s what Watkins has achieved with this exceptional work. –Dan Sheehan, Book Marks Editor

Alice Munro, Dear Life 2012

Well, this one’s not really fair. I mean, any Alice Munro collection published in any given period of time has to automatically be on the list of best collections of said period. (I guess what I really mean is that it’s not really fair to other writers that Munro is such a goddamn genius.) Most of the stories in Dear Life were previously published in The New Yorker , Harper’s , and Granta ; they all display Munro’s uncanny ability to take a lifetime—or even generations of a single family—and shrink it into a thirty-page text—not by spinning out event after event, but by delivering a character so textured, and a series of moments so precise, that we can’t help but feel we know all about them. These stories and characters are not flashy, there’s little in the way of high concept; it’s simply that Munro knows people, and represents them so accurately, so wisely, and so humanely, that you can’t help but be moved. This is despite the fact that, as Michiko Kakutani pointed out, with age, Munro has gotten a little bit sharper in her portrayals of the common man. “Though Ms. Munro has not become judgmental exactly, she seems more focused on the selfishness, irrationality and carelessness people are capable of.” The collection also includes a few semi-autobiographical sketches—“autobiographical in feeling, though not, sometimes, entirely so in fact”—we are told. She writes: “I believe they are the first and last—and the closest—things I have to say about my own life.” They too are wonderful.

Munro was awarded the Nobel Prize in literature the year after the publication of Dear Life , in 2013; the Swedish Academy called her a “master of the contemporary short story.” No shit. –Emily Temple, Senior Editor

George Saunders, Tenth of December 2013

It can be hard to tell what historical era you’re actually living through, as its happening. Is this the post-9/11 era or the Trump era? Or maybe we’re really in what will one day (I hope) be labeled the Misinformation Era. Honestly, though, this is probably the “we had a chance to save the planet but did nothing” era, in which case, there probably won’t be historians around in 200 years to call it anything… How ever you choose to see the last decade of life on Planet America, it is likely some version of it appears in George Saunders contemporary classic, Tenth of December .

This collection is as remarkable for its range of emotional registers as it is for its formal variety. From the aching, class-conscious pathos of “Puppy,” in which two families intersect around the possible purchase of a dog, to the grim, neo-futurist allegory of “Escape From Spiderhead,” in which clinical drug trials go way too far, Saunders sets his characters down in a series of bespoke narrative dioramas, a wry and loving god forever suspicious of the disappointments his creations engender, yet unable to resist setting little boobytraps to see how they’ll react. With a tenderness and generosity that catalyzes satirical clarity rather than the cloudiness of sentimentality, Saunders lets his characters puzzle their way through the confines of their own fictional lives, as wounded and joyous and magnificently broken as any among us, the living.

It is a dark timeline, in which reality has outpaced satire, but at least it is a world we have seen before, in the short stories of George Saunders.  – Jonny Diamond, Editor in Chief

Clarice Lispector, tr. Katrina Dodson, ed. Benjamin Moser, The Complete Stories 2015

It’s complicated to include a “complete stories” collection in our list for the best of the decade, not least because Clarice Lispector has been considered Brazil’s greatest writer more or less since 1943 when her revolutionary debut novel, Near to the Wild Heart , was first published (she was 23). But in 2012, publisher New Directions began releasing new translations, from four different translators, of Lispector’s novels, a concerted effort to bring her remarkable work to the attention of an English-speaking readership. In 2015, the novels were followed by these “Complete Stories”—86 in all, originally published between 1952 and 1979. Translated by Katrina Dodson, the collection received dazzling reviews, establishing Lispector firmly in America’s consciousness as one of the preeminent writers of the last century.

A Clarice Lispector story is not easy to describe; they are feminist and absurdist, charting familial drama, love affairs, and existential surrealism, wheeling through the preoccupations and modes of twentieth century literary experimentation with a disorientating facility—and disorientation is the point. “Coherence is mutilation,” a character reflects at one point, “I want disorder”—an urge that Lispector understands and brings to life with more power than almost any writer I can think of, and perhaps with more relevance and urgency in these times than in any other in the four decades since her death.  –Emily Firetog, Deputy Editor

Lucia Berlin, ed. Stephen Emerson, A Manual for Cleaning Women 2015

Is it all that remarkable that a short story collection by a writer who died in 2004 should, in fact, be one of the best collections of the decade that followed? Aside from the earthy brilliance of Berlin’s A Manual for Cleaning Women itself, the fact of its phenomenon—at least among those who consume multiple story collections a year—speaks to a great gap in our literary culture. It won’t ever be possible to fully account for the stories and novels that went unheralded and untaught in a literary culture geared toward canonizing the anxieties and insights of well-to-do white guys, but at least in Berlin’s posthumous collection—and its frank rendering of women’s lives—we have a small correction to the record.

When Berlin writes of last-chance bus depots or cheap borderland hotels or third-rate nursing homes she does so minus the literary tourist’s appropriative bravado, that triumphalist wild boy tick that seems to define so much of the fiction of her male contemporaries. For Berlin, these are not places we pass through, to mine for epiphany or authenticity, but rather the locations in which life happens: as one reviewer put it, the stories in this collection are “all beginnings and middles with no ends,” and one only wishes Berlin had lived long enough to see the beginning of her own renaissance.   – Jonny Diamond, Editor in Chief

Colin Barrett,  Young Skins 2015

I first read Colin Barrett’s stories when I worked at The Stinging Fly magazine and press in Dublin. The editor had been working with Barrett for a couple of months on a few stories, and we were publishing one in an upcoming issue. I distinctly remember finishing the copy edit and turning to the editor and simply saying, “Holy shit.” When we put out Colin’s collection Young Skins in 2013, it wasn’t long before Grove Atlantic picked it up in the US, and it was published here in 2015. In the vein of William Faulkner’s Yoknapatawpha County, its seven stories all take place within the limits of the fictional town of Glanbeigh on the west coast of Ireland. Barrett’s characters live hard lives in the aftermath of Ireland’s Celtic Tiger years, an economic boom time that happened to other people but the effects of whose abrupt end are felt everywhere. There is drink and there are drugs and moments of shocking violence. There is the steady inescapability of failure and loss, and every so often there are moments of soaringly lyrical writing. Barrett’s mastery of the short story form won him the Guardian First Book Award, the Frank O’Connor International Short Story Prize, and a National Book Foundation 5 under 35 honor. It’s a collection that’s striking for its audacity to be a debut—completely assured of voice, of character, and of a setting that is utterly realized. Thus, we’re calling it one of the best short story collections of the decade. –Emily Firetog, Deputy Editor

Ken Liu, The Paper Menagerie 2016

“Whatever has been lost in translation in the long journey of my thoughts through the maze of civilization to your mind, I think you do understand me, and you think you do understand me,” Ken Liu writes in the preface to The Paper Menagerie and Other Stories , a collection in which metaphors are fully unwound into tangible corollaries. The Paper Menagerie gathers some of Liu’s most celebrated stories, summaries of which do little to convey the scope of his imagination. Take, for example, “State Change,” a bleak office rom-com set in a world where people’s souls are physical objects—an ice cube, a cigarette pack, a beech tree branch—that must be protected from mundane things like hot weather and nicotine addiction. “Good Hunting” begins as a folktale about a demon-hunting father-son duo in a small Chinese village and ends with a critique of British colonialism and modernity in Hong Kong, as well as a surprising reversal of misogynistic narrative tropes. The titular story, which won Nebula, Hugo, and World Fantasy Awards, shows Liu in top form. The protagonist, born of a Chinese immigrant mother and white father, grows up loving the origami animals that his mother brings to life with her breath, only to spurn his Chinese heritage as he grows older. Though not all the stories here are quite as moving as this one, The Paper Menagerie cemented Liu as one of the decade’s most inventive (and popular) short story writers, adept at infusing his shapeshifting work with a touch of Charlie Kaufman-esque hyperreality and Eastern Asian folklore. –Aaron Robertson, Assistant Editor

Lesley Nneka Arimah,  What It Means When a Man Falls from the Sky 2017

Lesley Nneka Arimah calls herself a pessimist . Thus unfolds her collection of short stories, What It Means When A Man Falls From The Sky , most of which are set in Nigeria and utilize dystopian themes to reveal the bleak consequences of humankind’s ruthlessness towards the natural world as well as fellow humans. The title story, for example, is about a world ravaged by climate change, where a group of scientists try, by the creation of a “formula,” to undo what has been done and make it so the human body can defy gravity. The flaws in this hubristic, quick-fix mindset are immediately revealed when the eponymous man falls from the sky. Another story in the collection “What Is A Volcano?” reflects a similar human urge to play god, drawing on myth and literally presenting feuding gods who argue over each other’s primacy. Arimah blends magical realism and fable into her narratives to illuminate as she says, the “baser instincts” of humankind, to watch humanity “turn grotesque.”

Arimah tackles the pressures of womanhood, familial relationships, and Nigerian culture, including its religious and social expectations. “Glory” is about a girl of the same name, bearing the pressure of her family to achieve greatly; “Who Will Greet You At Home” is about a woman so desperate for a child and her mother’s blessing that she risks weaving one out of hair: “Everybody knew how risky it was to make a child out of hair, infused with the identity of the person who had shed it. But a child of many hairs? Forbidden.” Despite the variety of its incarnations, this collection portrays a variety of hauntings, often literal in the form of ghosts or dolls coming to life, and others figurative, as in a father’s fear for his daughter out in the world. Underlying all of Arimah’s narratives ultimately though, is emotion: the ways in which we show or suppress love and affection and display vulnerability. Being as we are each an entire mind away from another, grief accompanies not only big events but even everyday instances of a missed chance at getting across to someone we care about what we really mean and want. –Eleni Theodoropoulos, Editorial Fellow

Carmen Maria Machado, Her Body and Other Parties 2017

“[P]erhaps you’re thinking,” the narrator of “Resident,” a short story by Carmen Maria Machado in Her Body and Other Parties , muses, “that I’m a cliché—a weak, trembling thing with a silly root of adolescent trauma, straight out of a gothic novel.” The reference to being in a gothic story is intriguingly apt. On the one hand, “Resident” deliberately conjures up a gothic atmosphere of dread that feels like it could have been taken from many other stories in the genre; on the other, though, it says something about Machado’s haunting collection as a whole. Many of the stories in Her Bodies and Other Parties contain echoes of the images and themes that so often constellate gothic literature and “the gothic” as a mode or atmosphere of writing: ghosts, beheadings, violence, trauma, claustrophobic environments, a pervading sense of unease or uncertainty. But while many classic tales of gothic literature—with a few exceptions—have portrayed women as tropes at best and monsters at worst, Machado’s stories beautifully and poignantly focus on what it means to be a woman, to inhabit a woman’s body, in a gothic landscape that, for all its ghosts and mysterious plagues, feels all too terrifyingly, traumatically like the world we live in. Women are harassed in the stories, as much by people as by the unsettling atmospheres around them. From the title itself, Machado makes it clear that collection will focus on women’s bodies–and her deployment of the dispassionate-sounding “parties” as the title’s second half suggests the cool detachment with which male harassment, for instance, so often involves equating women’s worth to their bodies. Yet “parties” can also suggest festivity, and her women, for all the horror around them, have moments of happiness and release, too. Her Body and Other Parties is a masterful reimagining of what the gothic can do and be, creating a world in which the tremendous weight of being a woman is chillingly palpable throughout nearly all of the stories. It’s a powerful collection that surprised me in the best of ways, and I think it will continue to for a long time to come. –Gabrielle Bellot, Staff Writer

Ottessa Moshfegh, Homesick for Another World 2017

Even before Ottessa Moshfegh had published her first book, people were calling her “the best writer of our generation.” I know this for a fact, because one of those people was me, and I was sure of it based on the short stories she’d been publishing in The Paris Review , including the wonderful (and frequently horrifying, in the best way) “ Bettering Myself ,” the opening story of Homesick for Another World , which won the Plimpton Prize in 2013.

Most of the stories in Homesick for Another World were originally published in The Paris Review —though a couple are from The New Yorker and Vice , one each from Granta and The Baffler , one original. They are all basically realist, if dark, psychological portraits, but there’s something fabulistic about them—Moshfegh pushes humanity to its logical extension, and the results are grotesque and poignant. It’s not quite surrealism—maybe I would call it slime-coated realism. She has a sharp, ironic eye, and a flat affect, which contributes to the sense of irreality, but she’s doing more than just rolling her eyes at her—often horrible—characters; she’s getting into the muck with them, and pulling us along for the ride.

It may not be my actual favorite, but the story I think about most often from this collection is “ The Beach Boy ”—which may be because, as a committed hypochondriac, I am in constant fear of dying the way Marcia does in this story, but also because of the expert unspooling of her husband once she’s gone. –Emily Temple, Senior Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Karen Russell, Vampires in the Lemon Grove 2013

The title short story of Karen Russell’s Vampires in the Lemon Grove is my favorite short story of all time, but the collection itself is mesmerizing. A friend, a fellow English teacher at the high school where I used to teach, first shared a copy with me when I had my seniors read Dracula , and I read it at my desk, towards the end of the day. I discovered that it’s a book that doesn’t so much draw you in as creep up on you. You don’t glide through it, you’ll burrow into it; you’ll start reading it, and by the time you’re finished, the lights in the department office will be out, dusk will have fallen outside, and all your colleagues and some passing students will have stood in front of you trying to get your attention and wave goodbye before giving up and walking out. You don’t simply finish this book, you are released from it. Materially speaking, anyway. It’ll still haunt you after you’re done. This might be because its stories are so tender, so perfectly painful—another reason might be because that they can be so genuinely creepy, so softly scary that you’ll find yourself rereading parts over and over, trying to experience the section more deeply to make sure that what you think is happening is really happening. And then, when it is finally done with you, you’ll walk yourself home in the dark, and it’s a good thing you’ll know the route by heart, because you won’t be able to think about where you’re going. –Olivia Rutigliano, CrimeReads Editorial Fellow

Diane Cook, Man V. Nature 2014

When I first read this collection, during graduate school, I remember having to stop in the middle and take a break. The collection was making me feel bad, and almost panicky. It was just too good. It was so good that I felt confident there was no reason for me to ever write another word; Diane Cook had already done everything I was trying to do and more. Eventually, I got over it (the writer’s ego being a slippery but unquenchable fiend) and finished this surreal and glorious book of stories.

I mean, what to say: in “The Way the End of Days Should Be” one of the last survivors of what is apparently a watery apocalypse tries to keep out invaders as the seas rise around their (Doric columned) home: “This man in the nice suit asked for food and water, then tried to strangle me, choked back tears, apologized, asked to be let in, and when I refused, tried to strangle me again. When I managed to close the door on him, he sat on my veranda and cried.” Did I mention Diane Cook is hilarious? Especially at her darkest, she is a comedic genius. The title story is equally funny and equally bleak; it also involves water as an adversary, and also the men who used to be your friends. At least one of them, anyway.

In closing: where is the next book from Diane Cook? I’ve been waiting for years; it’s starting to feel unfair. Who knows what a woman might do without one? –Emily Temple, Senior Editor

Hassan Blasim, tr. Jonathan Wright, The Corpse Exhibition 2014

It’s rare for a conflict to go on for so long that witnesses may begin to record its history before the conflict is over, and yet that is what has happened as the wars in Iraq and Afghanistan continue, and publishing does its duty to bring suffering into print. Hassan Blasim was a vocal critic of Saddam Hussein’s government, in exile in Finland for much of his literary career, so it makes sense that his story collection would explore the Iraqi expat experience as well as crafting stories immersed in the war itself; several stories are stranded between judging and defending those who have gotten out and who then, refuse to return. Whether Blasim is writing about the war itself or its many rippling effects, he brings a sardonic sensibility to his stories, parodying the language of bureaucracy and always pointing to the violence common to both order and chaos. This is essential reading for anyone who wants to understand both the war and the ongoing attempts to process the conflict through literature, and a necessary complement to the wide array of fiction by American veterans released over the past few years. –Molly Odintz, CrimeReads Associate Editor

Dorthe Nors, Karate Chop 2014

Karate Chop was the first of Dorthe Nors’ books to be available to the English-speaking world (translated from the Danish). It was pressed into my hands by the amazing Julie Buntin (author of Marlena ) when she was my internship supervisor, back in 2014. She told me it was a perfect gem of a collection, and that I was going to love it. Boy oh boy was she right! Karate Chop is a compact powerhouse, with fifteen pithy stories (no more than a few pages apiece!) that pull back the curtain on everyday life to reveal something much more odd and sinister. (A few notable examples: after his wife goes to bed, a man obsessively falls down the online rabbit hole of female serial killers; two hunters agree to kill each other’s dogs in an exploration of male friendship; a young woman leaps from thought to thought, trying very hard to avoid thinking about something traumatic that’s happened. I could go on!) Dorthe Nors writes with such a dry, biting specificity. Her matter-of-fact tone makes you trust her. And then she pulls the rug out from under you in the best way! The situations she throws her characters (and her readers) into could only be conjured up by her. (The story about the hunters that hatch a plan to kill their dogs? It’s also a story about a failing marriage. But in a Dorthe Nors story, it has to be tangled up in this amazing way. Just surrender to the logic.) In a lot of ways, this is a collection about the ways we fail to connect to one another, and the mental and emotional acrobatics we partake in to avoid hurt. –Katie Yee, Book Marks Assistant Editor

Phil Klay, Redeployment 2014

Redeployment is a classic exploration of the veteran’s experience, going back and forth between stories immersed in the moment of trauma and those exploring the dislocating experience of return to a peacetime world after the disruptions of war – my favorite story in the collection details a philosophical confrontation between a veteran at college on the GI Bill and a student activist who feels threatened by him (and whom he, in turn, feels threatened by). Their attempt to understand each other is one of the best dialogue sequences I’ve ever come across, and symbolic of the book’s larger message of humanism, although some stories embrace a bleaker message of the dark comedy of errors and bureaucracy that is war. I’m including this on the list as the first of many works to be written by returning veterans – the Iraq and Afghanistan conflicts have had the dubious honor of being long enough for an entire generation to have returned home, enrolled in MFA programs, and published novels en masse as the war continues. If fiction is the first step in processing trauma, than perhaps this means we’re getting a head start—or perhaps, there’s just too much suffering in the world to wait for a thing to end before writing books about it. –Molly Odintz, CrimeReads Associate Editor

Amelia Gray,  Gutshot 2015

In my former life as a bookseller, this one made its way around the story with hushed whispers and bated breath, furtively paged through and softly recommended in brief lulls between helping customers, perused at the registers as we yawned and waiting for the store to close, on the quiet second floor in the early hours of a Saturday morning, or in the deathly quiet of the children’s section in mid-week to a soundtrack of Muzac radio and the booms and thuds of near-by construction. You have to read this , we said to each other; s tart with the story in the middle , we commanded to friends and colleagues; don’t talk to me until after you finish reading it , we mock-warned to those who appeared on the fence about finishing.

What makes this one so special, in a sea of collections that each try their hardest to capture some kind of zeitgeist with sentences beautiful enough to guarantee that the era their contents define will be remembered? Amelia Grey is the grand-guignol heiress to Angela Carter, crafting grotesque body horror and immersed in the violence of everyday life, full of more blood, sugar, sex, and magic than a 90s-era record store. Although perhaps, given the matter-of-fact way her characters accept their bloody, inglorious fates, I should describe her as Angela Carter meets Etgar Keret, whose story collection The Bus Driver Who Wanted to be God ushered in a new era of magical realism grounded in the everyday, ordinary, and mundane. If art is meant to comfort the disturbed and disturb the comfortable, then Amelia Grey’s Gutshot is very high art indeed. –Molly Odintz, CrimeReads Associate Editor

Kelly Link,  Get In Trouble 2015

I am here for literally everything Kelly Link writes (have you heard she’s writing a novel ?)—after all, she is an official genius whose work combines fairy tale archetypes, horror tropes, pop culture references, and surrealist play with some of the finest literary writing around. I know, this isn’t as uncommon as it once was, but Link is the OG short story irrealist, and she’s also the best. People who haven’t read Kelly Link can’t really understand that they need Kelly Link in their lives, but they do. This is part of why I always think of her work as being a secret, like something only my friends and I know about and reference and pass around to one another and try to copy, a kind of shibboleth for a certain type of writer.

However, when I think this, I am wrong: not only did Link win a MacArthur, but her most recent collection, Get In Trouble , was a finalist for the Pulitzer Prize, and widely and well reviewed . The secret’s out. And well, fine, because I want (most) people to be happy. Like every Link collection, Get In Trouble is full of classics: all killer, no filler, as the kids—maybe once, one time, used to—say. “The New Boyfriend” is like something out of Grimm’s My So Called Life , “The Summer People” is mysterious, atmospheric masterpiece, and “Valley of the Girls” is a story that I do not fully understand, and never will, but that I read again every year and think about all the time. –Emily Temple, Senior Editor

Kirstin Valdez Quade,  Night at the Fiestas 2015

Kirstin Valdez Quade’s debut collection, Night at the Fiestas , came out almost five years ago now, in early 2015, and it’s not overstating to say that it managed on a first reading to expand my conception of American literary fiction, what it could do, what a story collection could do, and the kinds of stories that could and should be told. Returning to the stories in the time since—especially to the visceral, driving “Five Wounds” and the haunting “Nemecia”—has only confirmed that feeling, that Valdez Quade is one of the most talented storytellers at work today. New Mexico—its landscapes, its cultures, its families—is the setting for her work, and the majority of the stories center around people dealing with the weight of everyday life, spiritual striving, and the deep, complex connections that bind them. In “Five Wounds,” a man reenacts the Passion of the Christ; in “Nemecia,” two girls reckon with a dark family legacy. Throughout the collection, the strange textures of sin, blood, and relations arise again and again. The stories are intense, finely observed works of realism, but they pulsate with a special kind of energy that seems to allow for an enhanced reality, another plane of possibility. A religious feeling, in short. It’s rare to find that kind of power or preoccupation in contemporary fiction. When you do, it’s a reminder of why we tell stories in the first place, of the kind of communal reckoning we’re undertaking when we explain our stories, our families, our pasts. –Dwyer Murphy, CrimeReads Managing Editor

Adam Johnson, Fortune Smiles (2015)

I’m a little perplexed as to why more people haven’t read this book. Or, if they have, why it seems to have all-but disappeared from the Best Books of the Twenty-First Century conversation (despite having won the National Book Award for Fiction less than five short years ago). Perhaps the rapturous reception that greeted The Orphan Master’s Son , the grimly absurdist novel for which Johnson won the Pulitzer Prize three years previous, served to drown out his quieter follow-up. Perhaps it’s the fault of the book’s cheery cast of characters, which includes an uncomfortably sympathetic child-porn addict, an unrepentant former Stasi prison guard, a young mother with cancer, a pair of North Korean defectors, a hologram of a recently-assassinated US president, and a woman with advanced Guillain-Barré syndrome. Or perhaps it’s that every one of these six lengthy tales—dark, disquieting, and all the more unsettling for their subtle infusions of tenderness—leaves an indelible, but rarely pleasant, mark on the reader’s consciousness. As Lauren Groff wrote in her New York Times review: “Each of these stories plants a small bomb in the reader’s head; life after reading Fortune Smiles is a series of small explosions in which the reader—perhaps unwillingly—recognizes Adam Johnson’s gleefully bleak world in her own.” This is not an uplifting collection. It will illicit chuckles only as a means to further devastate. It will not make you feel good about yourself, about technology, about our ability to successfully navigate life’s random cruelties. But it will exhilarate. It will suck the breath from your lungs. –Dan Sheehan, Book Marks Editor

Steven Millhauser, Voices in the Night 2015

I’ve never understood why Stephen Millhauser isn’t more widely read (at least in the United States—apparently he’s big in France, which makes sense, because the French tend to appreciate the finer things). Maybe it’s because his “most famous” book— Martin Dressler , which was awarded the Pulitzer Prize in 1997—is his least interesting. Listen, I love Millhauser, and I can easily imagine someone reading Martin Dressler , thinking “hmm, okay,” and then forgetting all about him forever. But no one should do this. Because Millhauser’s stories , on the other hand, are wonderful, weird things, steady and fantastical at once, as if Raymond Carver had developed a thing for ghosts and girls who die of laughter.

This latest collection contains some of my favorite stories from Millhauser’s long career, including the opener, “Miracle Polish,” which I won’t describe, but will tell you that I return to it regularly, and am moved every time. If you find that more frustrating than intriguing, I’ll tell you that at the beginning of We Others , Millhauser’s 2011 collection of new and selected stories (also considered for this list, naturally), he writes: “What makes a story bad, or good, or better than good, can be explained and understood up to a point, but only up to a point. What’s seductive is mysterious and can never be known. I prefer to leave it at that.”

So I’ll leave it at this: these stories are better than good. –Emily Temple, Senior Editor

Helen Oyeyemi,  What Is Not Yours Is Not Yours 2016

Helen Oyeyemi’s writing is woven with imagination, complexity, and such fierce intelligence that I have always been thoroughly amused and fascinated with anything she writes. In her collection What Is Not Yours Is Not Yours , Oyeyemi showcases this talent by planting keys, hidden rooms, puppets, ghosts, magical libraries, and secret gardens which the reader follows, as if they were breadcrumbs, hoping they will lead to answers. Admirably, equal to Oyeyemi’s appetite for adventure is her commitment to attaining truth. In that way, she reminds me of storytellers like Angela Carter, Ursula Le Guin, and Jorge Luis Borges.

Embracing a voice uniquely her own, however, Oyeyemi toys with the reader with titles like “if a book is locked there’s probably a good reason for that don’t you think.” Then, she infuses that wryness with piercing emotion, as in the story “is your blood as red as this,” in which the narrator, uninhibited, observes a character at a party, “you had a string of fairy lights wrapped around your neck. I sort of understood how that would be comforting.” The narrator continues, “Sometimes I dream I’m falling, and it’s not so much frightening as it is tedious, just falling and falling until I’m sick of it, but then a noose stops me short and I think, well, at least I’m not falling anymore.” A signature of Oyeyemi’s creative talent is that she can begin a story from somewhere, drag the reader by the hand and then suddenly drop them into unknown territory.

What Is Not Yours Is Not Yours deserves a place on this list because each narrative is immersive, a complete universe onto itself. Each story flaunts a whole cast of diverse characters imitating life in the many comings-and-goings of people; it delves into historical moments, like the Spanish saint’s day, The Day of the Book and the Rose, just to tell the obscure story of some character affected by this moment in time. Though curiosity may launch an Oyeyemi story, the ultimate joy of it is that it’s all about connection, forged under unexpected circumstances by moments of pure synchronicity. –Eleni Theodoropoulos, Editorial Fellow

Samantha Hunt,  The Dark Dark 2017

This is Samantha Hunt’s first short-story collection, though her fourth book. She’s an eccentric, imaginative creator and a candid storyteller, often presenting slightly fantastical, vaguely supernatural scenarios frankly and unblinkingly. She can make the most far-flung ideas seem very real. The Dark Dark dials this tendency back down. The most common site of magic in these stories is actually the female body, which, she points out, always transforms itself and has the power to make life and to kill parts of itself and can turn women into endless new versions of themselves. The Dark Dark is about women, mostly, and about fear, loneliness, being a parent, losing a parent, becoming someone else, realizing you’re losing yourself. Despite the lack of literal magic, these stories are still shivery, still eerie, and still, when they need to be, dreamy. –Olivia Rutigliano, CrimeReads Editorial Fellow

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Danielle Evans, Before You Suffocate Your Own Fool Self (2010)  ·  Brad Watson, Aliens in the Prime of Their Lives (2010)  ·  Patricia Engel, Vida (2010)  ·  Don DeLillo, The Angel Esmeralda (2011)  ·  Charles Baxter, Gryphon (2011)  ·  Colm Toíbín, The Empty Family (2011)  ·  Can Xue, tr. Karen Gernant, Vertical Motion (2011)  ·  Jamie Quatro, I Want to Show You More (2013)  ·  Aimee Bender, The Color Master (2013)  ·  Susan Steinberg, Spectacle (2013)  ·  Rebecca Lee, Bobcat (2013)  ·  Ramona Ausubel, A Guide to Being Born (2013)  ·  Laura van den Berg, The Isle of Youth  (2013)  ·  Rivka Galchen, American Innovations  (2014)  ·  Naja Marie Aidt, tr. Denise Newman, Baboon (2014)  ·  Lydia Davis, Can’t and Won’t (2014)  ·  Stuart Dybek, Paper Lantern (2014)  ·  Donald Antrim, The Emerald Light in the Air (2014)  ·  Joy Williams, The Visiting Privilege (2015)  ·  Thomas Pierce, Hall of Small Mammals (2015)  ·  Jen George, The Babysitter at Rest (2016)  · Rion Amilcar Scott, The Insurrections (2016) · Alexandra Kleeman, Intimations (2016)  ·  James McBride, Five-Carat Soul (2017)  · Viet Thanh Nguyen, The Refugees (2017)  ·  Denis Johnson, The Largesse of the Sea Maiden (2018)  ·  Jamel Brinkley, A Lucky Man (2018)  ·  Lauren Groff, Florida (2018)  ·  Xuan Juliana Wang, Home Remedies (2019)  ·  Nana Kwame Adjei-Brenyah, Friday Black  (2018)  ·  Karen Russell, Orange World  (2019), Edwidge Danticat, Everything Inside (2019).

Emily Temple

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2022 Winning Essay by Theodora McGee

2022 Winning Essay List of Winners, Finalists, Semifinalists, and Honorable Mentions

José Tomás Canales: An Early Voice for Reform

By Theodora McGee Moorestown High School in Moorestown, New Jersey

While the 2020 death of George Floyd focused the nation’s attention on the inequalities in law enforcement, this is not the first time police brutality and racism have been put on trial. Over 100 years ago, José Tomás Canales, a representative in the Texas State House, took a stand against violent acts by law enforcement. In 1919, Canales accused the Texas Rangers of killing innocent Mexican-Americans in South Texas. In the early 1900s, Texan law enforcement officers and the Texas Rangers responded to Mexican raids into Texas with extreme violence, killing not only raiders, but also Tejanos, landowners who had become American citizens when the  Texas-Mexico border shifted south (Lira Ramirez). It is estimated that the Rangers killed up to 5,000 Hispanics between 1914 and 1919 (Rangers and Outlaws). On January 15, 1919, Canales introduced a bill in the state legislature to address the violence by reforming the Rangers (Victoria Smith). The bill failed, but an investigation of abuses by the Texas Rangers was launched. Through his bill and the role he played in the subsequent investigation, Canales exhibited remarkable personal and political courage.

Canales' main obstacle in his pursuit of reform was lack of support for his people. Despite delivering impassioned speeches to gather support from his colleagues, he encountered almost unanimous resistance in the legislature (Lira Ramirez). As the only Latino in the legislature, Canales' ethnicity contributed to his isolation. During his years in the House, Canales found himself distanced from “leading Caucasian men who called him a ‘greaser from Brownsville.’” “His ethnicity generated an incredible hostility” (Lira Ramirez).

The lack of legislative support for Canales' bill reflected lack of public interest in the issue. The press was apathetic towards violence against Tejanos; “the discovery of Mexicans’ dead bodies had reached the point where it created little or no interest to media outlets” (Victoria Smith). The public, which tolerated violence by law enforcement, felt that Canales was blowing the issue out of proportion. Both politicians and the public perceived Canales’ reform proposals as extreme (Lira Ramirez).

Canales also faced an uphill battle because he was criticizing a well-liked organization. Canales was strongly criticized for attacking “an idealized force” that protected the public (Lira Ramirez). The judicial system had a history of turning a blind eye to the Rangers’ violence (Monica Martinez). The Rangers also enjoyed the support of prominent politicians, some of whom served on their defense team for the investigation.

Faced with opposition from fellow legislators and an unsupportive public, it became clear that pursuing reforms would jeopardize Canales' political future. Commitment to reform threatened his relationship with Canales' most influential political ally, Texas Governor William Hobby. Canales was personally loyal to Hobby and actively supported his election. When the Hobby administration fought against the reform bill, however, Canales did not back down (Sonia Hernandez and John Moran Gonzalez).

By refusing to abandon his reform efforts, Canales also put his life on the line. Advocates of previous efforts to reform the Rangers had been assaulted, including one attorney who had been pistol-whipped by a Ranger (Rebecca Onion). Canales himself was accosted on the street and threatened with violence by a prominent Texas Ranger who warned, “You are hot-footing it here, between here and Austin and complaining to the Governor and the Adjutant General about the Rangers, and I am here to tell you that if you don’t stop that you are going to get hurt” (Proceedings). At one point, Canales expressed his belief that if his efforts were not successful, “he would not live another six months” (Sonia Hernandez and John Moran Gonzalez).

Canales' reform bill failed when the legislature concluded there was a lack of evidence of the Rangers’ misdeeds. During the investigation that followed, the Rangers’ defense team twisted the review of the Rangers’ abuses into a debate over whether the Rangers should be disbanded. The other primary defense strategy was attacking Canales' credibility and integrity. He was painted “as a delusional, hypocritical shill for ‘larger interests’ and as an unpatriotic Mexican, with all the negative connotations the term held at the time.” (Richard Ribb). After twelve days of testimony, the investigation concluded that the Rangers should not be disbanded, though they acknowledged a “‘gross violation of both civil and criminal laws’” (Victoria Smith). The legislature then passed a watered-down reform bill that placed fewer restrictions on the Rangers.

Canales' efforts to reform the Texas Rangers had repercussions for Texas history, for the Rangers, and for Canales himself. The “Proceedings,” the official transcript of the investigation, provided an official documentation of racial violence perpetrated against Mexicans and Tejanos, thus memorializing the voices of the witnesses.

 Although the bill that ultimately passed did not contain a number of the reforms Canales had fought for, the resulting reforms and attention drawn to the issue resulted in a decrease in Ranger violence against Mexicans and Tejanos. There were even instances when the Rangers stopped racially fueled violence by private citizens (Victoria Smith). The investigation also increased public awareness and outrage by the press. After the investigation ended, the prominent Dallas Morning News concluded that “only Canales' courage and sense of responsibility prevented the continuation of ‘shocking and intolerable conditions’” (Sonia Hernandez and John Moran Gonzalez).

While Canales' fight to reform the Texas Rangers helped reduce violence against Mexicans and Tejanos, it spelled the end to his political career. Due to his diminished status in the legislature and the threats against him, Canales decided not to seek re-election to the Texas House (Lira Ramirez). This was not the end for Canales’ public contributions, however, as he continued to fight for equal rights in education, politics, and society (Sonia Hernandez and John Moran Gonzalez).

José Tomás Canales was “willing to meet crushing defeat rather than compromise his principles” (John F. Kennedy). By initiating and then persevering in his efforts to prevent violence against Mexicans and Tejanos, Canales exhibited extraordinary personal and political courage. Despite threats of physical violence and the near certain end of his political career, José Tomás Canales took a stand against the misuse of official power, thus serving as an inspiration to current and future politicians.

Works Cited

Canales, J. T. (Jose Tomas), et al. “Proceedings of the Joint Committee of the Senate and the House in the Investigation of the Texas State Ranger Force, Volume I.” University of Texas Rio Grande Valley University Library Special Collections & Archives , https://scholarworks.utrgv.edu/lrgv/10/.

Hernández Sonia, et al. “José Tomás Canales and the Paradox of Power.” Reverberations of Racial Violence: Critical Reflections on the History of the Border , University of Texas Press, Austin, Texas, 2021, pp. 168–187.

“The History of Racial Violence on the Mexico-Texas Border.” Refusing to Forget , 17 Sept.2021, https://refusingtoforget.org/the-history/.

Kennedy, John F. Profiles in Courage . Harper, 1961.

Martinez, Monica Muñoz. “Recuperating Histories of Violence in the Americas: Vernacular History-Making on the US–Mexico Border.” American Quarterly , vol. 66, no. 3, 2014, pp. 661–689., https://doi.org/10.1353/aq.2014.0040.

Onion, Rebecca. “America's Lost History of Border Violence.” Slate Magazine, Slate , 5 May 2016, https://slate.com/news-and-politics/2016/05/texas-finally-begins-to-grapple-with-its-ugly-history-of-border-violence-against-mexican-americans.html.

Ramirez, Lira. “José T. Canales, Conflict and Compromise, Tejano Identity in Politics,” Senior Division Historical Paper, National History Day, Texas State Library and Archives Commission , 2018, https://www.tsl.texas.gov/sites/default/files/public/tslac/arc/thrab/2018liraramirez.pdf.

“Rangers and Outlaws.” Texas State Library and Archives Commission , 10 Apr. 2019, https://www.tsl.texas.gov/treasures/law/index.html.

Ribb, Richard. “A Reader’s Guide to the ‘Proceedings of the Joint Committee of the Senate and the House in the Investigation of the Texas State Ranger Force’ (1919).” Refusing to Forget , Aug. 2020, https://refusingtoforget.org/wpcontent/uploads/2021/04/ENDNOTESReaders-Guide-to-the-Canales-Investigation.doc.pdf

Smith, Victoria. “The Canales Investigation: A Turning Point for the Texas Rangers.” The Measure: An Undergraduate Research Journal, Sam Houston State University , 9 Sept. 2020, https://measure-ojs-shsu.tdl.org/measure/index.php/measure/article/view/59.

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The Top 10 Essays Since 1950

Robert Atwan, the founder of The Best American Essays series, picks the 10 best essays of the postwar period. Links to the essays are provided when available.

Fortunately, when I worked with Joyce Carol Oates on The Best American Essays of the Century (that’s the last century, by the way), we weren’t restricted to ten selections. So to make my list of the top ten essays since 1950 less impossible, I decided to exclude all the great examples of New Journalism--Tom Wolfe, Gay Talese, Michael Herr, and many others can be reserved for another list. I also decided to include only American writers, so such outstanding English-language essayists as Chris Arthur and Tim Robinson are missing, though they have appeared in The Best American Essays series. And I selected essays , not essayists . A list of the top ten essayists since 1950 would feature some different writers.

To my mind, the best essays are deeply personal (that doesn’t necessarily mean autobiographical) and deeply engaged with issues and ideas. And the best essays show that the name of the genre is also a verb, so they demonstrate a mind in process--reflecting, trying-out, essaying.

James Baldwin, "Notes of a Native Son" (originally appeared in Harper’s , 1955)

“I had never thought of myself as an essayist,” wrote James Baldwin, who was finishing his novel Giovanni’s Room while he worked on what would become one of the great American essays. Against a violent historical background, Baldwin recalls his deeply troubled relationship with his father and explores his growing awareness of himself as a black American. Some today may question the relevance of the essay in our brave new “post-racial” world, though Baldwin considered the essay still relevant in 1984 and, had he lived to see it, the election of Barak Obama may not have changed his mind. However you view the racial politics, the prose is undeniably hypnotic, beautifully modulated and yet full of urgency. Langston Hughes nailed it when he described Baldwin’s “illuminating intensity.” The essay was collected in Notes of a Native Son courageously (at the time) published by Beacon Press in 1955.

Norman Mailer, "The White Negro" (originally appeared in Dissent , 1957)

An essay that packed an enormous wallop at the time may make some of us cringe today with its hyperbolic dialectics and hyperventilated metaphysics. But Mailer’s attempt to define the “hipster”–in what reads in part like a prose version of Ginsberg’s “Howl”–is suddenly relevant again, as new essays keep appearing with a similar definitional purpose, though no one would mistake Mailer’s hipster (“a philosophical psychopath”) for the ones we now find in Mailer’s old Brooklyn neighborhoods. Odd, how terms can bounce back into life with an entirely different set of connotations. What might Mailer call the new hipsters? Squares?

Read the essay here .

Susan Sontag, "Notes on 'Camp'" (originally appeared in Partisan Review , 1964)

Like Mailer’s “White Negro,” Sontag’s groundbreaking essay was an ambitious attempt to define a modern sensibility, in this case “camp,” a word that was then almost exclusively associated with the gay world. I was familiar with it as an undergraduate, hearing it used often by a set of friends, department store window decorators in Manhattan. Before I heard Sontag—thirty-one, glamorous, dressed entirely in black-- read the essay on publication at a Partisan Review gathering, I had simply interpreted “campy” as an exaggerated style or over-the-top behavior. But after Sontag unpacked the concept, with the help of Oscar Wilde, I began to see the cultural world in a different light. “The whole point of camp,” she writes, “is to dethrone the serious.” Her essay, collected in Against Interpretation (1966), is not in itself an example of camp.

John McPhee, "The Search for Marvin Gardens" (originally appeared in The New Yorker , 1972)

“Go. I roll the dice—a six and a two. Through the air I move my token, the flatiron, to Vermont Avenue, where dog packs range.” And so we move, in this brilliantly conceived essay, from a series of Monopoly games to a decaying Atlantic City, the once renowned resort town that inspired America’s most popular board game. As the games progress and as properties are rapidly snapped up, McPhee juxtaposes the well-known sites on the board—Atlantic Avenue, Park Place—with actual visits to their crumbling locations. He goes to jail, not just in the game but in fact, portraying what life has now become in a city that in better days was a Boardwalk Empire. At essay’s end, he finds the elusive Marvin Gardens. The essay was collected in Pieces of the Frame (1975).

Read the essay here (subscription required).

Joan Didion, "The White Album" (originally appeared in New West , 1979)

Huey Newton, Eldridge Cleaver, and the Black Panthers, a recording session with Jim Morrison and the Doors, the San Francisco State riots, the Manson murders—all of these, and much more, figure prominently in Didion’s brilliant mosaic distillation (or phantasmagoric album) of California life in the late 1960s. Yet despite a cast of characters larger than most Hollywood epics, “The White Album” is a highly personal essay, right down to Didion’s report of her psychiatric tests as an outpatient in a Santa Monica hospital in the summer of 1968. “We tell ourselves stories in order to live,” the essay famously begins, and as it progresses nervously through cuts and flashes of reportage, with transcripts, interviews, and testimonies, we realize that all of our stories are questionable, “the imposition of a narrative line upon disparate images.” Portions of the essay appeared in installments in 1968-69 but it wasn’t until 1979 that Didion published the complete essay in New West magazine; it then became the lead essay of her book, The White Album (1979).

Annie Dillard, "Total Eclipse" (originally appeared in Antaeus , 1982)

In her introduction to The Best American Essays 1988 , Annie Dillard claims that “The essay can do everything a poem can do, and everything a short story can do—everything but fake it.” Her essay “Total Eclipse” easily makes her case for the imaginative power of a genre that is still undervalued as a branch of imaginative literature. “Total Eclipse” has it all—the climactic intensity of short fiction, the interwoven imagery of poetry, and the meditative dynamics of the personal essay: “This was the universe about which we have read so much and never before felt: the universe as a clockwork of loose spheres flung at stupefying, unauthorized speeds.” The essay, which first appeared in Antaeus in 1982 was collected in Teaching a Stone to Talk (1982), a slim volume that ranks among the best essay collections of the past fifty years.

Phillip Lopate, "Against Joie de Vivre" (originally appeared in Ploughshares , 1986)

This is an essay that made me glad I’d started The Best American Essays the year before. I’d been looking for essays that grew out of a vibrant Montaignean spirit—personal essays that were witty, conversational, reflective, confessional, and yet always about something worth discussing. And here was exactly what I’d been looking for. I might have found such writing several decades earlier but in the 80s it was relatively rare; Lopate had found a creative way to insert the old familiar essay into the contemporary world: “Over the years,” Lopate begins, “I have developed a distaste for the spectacle of joie de vivre , the knack of knowing how to live.” He goes on to dissect in comic yet astute detail the rituals of the modern dinner party. The essay was selected by Gay Talese for The Best American Essays 1987 and collected in Against Joie de Vivre in 1989 .

Edward Hoagland, "Heaven and Nature" (originally appeared in Harper’s, 1988)

“The best essayist of my generation,” is how John Updike described Edward Hoagland, who must be one of the most prolific essayists of our time as well. “Essays,” Hoagland wrote, “are how we speak to one another in print—caroming thoughts not merely in order to convey a certain packet of information, but with a special edge or bounce of personal character in a kind of public letter.” I could easily have selected many other Hoagland essays for this list (such as “The Courage of Turtles”), but I’m especially fond of “Heaven and Nature,” which shows Hoagland at his best, balancing the public and private, the well-crafted general observation with the clinching vivid example. The essay, selected by Geoffrey Wolff for The Best American Essays 1989 and collected in Heart’s Desire (1988), is an unforgettable meditation not so much on suicide as on how we remarkably manage to stay alive.

Jo Ann Beard, "The Fourth State of Matter" (originally appeared in The New Yorker , 1996)

A question for nonfiction writing students: When writing a true story based on actual events, how does the narrator create dramatic tension when most readers can be expected to know what happens in the end? To see how skillfully this can be done turn to Jo Ann Beard’s astonishing personal story about a graduate student’s murderous rampage on the University of Iowa campus in 1991. “Plasma is the fourth state of matter,” writes Beard, who worked in the U of I’s physics department at the time of the incident, “You’ve got your solid, your liquid, your gas, and there’s your plasma. In outer space there’s the plasmasphere and the plasmapause.” Besides plasma, in this emotion-packed essay you will find entangled in all the tension a lovable, dying collie, invasive squirrels, an estranged husband, the seriously disturbed gunman, and his victims, one of them among the author’s dearest friends. Selected by Ian Frazier for The Best American Essays 1997 , the essay was collected in Beard’s award-winning volume, The Boys of My Youth (1998).

David Foster Wallace, "Consider the Lobster" (originally appeared in Gourmet , 2004)

They may at first look like magazine articles—those factually-driven, expansive pieces on the Illinois State Fair, a luxury cruise ship, the adult video awards, or John McCain’s 2000 presidential campaign—but once you uncover the disguise and get inside them you are in the midst of essayistic genius. One of David Foster Wallace’s shortest and most essayistic is his “coverage” of the annual Maine Lobster Festival, “Consider the Lobster.” The Festival becomes much more than an occasion to observe “the World’s Largest Lobster Cooker” in action as Wallace poses an uncomfortable question to readers of the upscale food magazine: “Is it all right to boil a sentient creature alive just for our gustatory pleasure?” Don’t gloss over the footnotes. Susan Orlean selected the essay for The Best American Essays 2004 and Wallace collected it in Consider the Lobster and Other Essays (2005).

Read the essay here . (Note: the electronic version from Gourmet magazine’s archives differs from the essay that appears in The Best American Essays and in his book, Consider the Lobster. )

I wish I could include twenty more essays but these ten in themselves comprise a wonderful and wide-ranging mini-anthology, one that showcases some of the most outstanding literary voices of our time. Readers who’d like to see more of the best essays since 1950 should take a look at The Best American Essays of the Century (2000).

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The Philosophical Quarterly Essay Prize: Winning Articles

Since 1995, the editors of The Philosophical Quarterly have awarded an essay prize to the best paper on a chosen theme. Browse the full list of previous prize winners in this free Virtual Issue. Click the links below to start reading!

De Minimis Normativism: a New Theory of Full Aptness J Adam Carter (2019)

On Parfit’s Wide Dual Person-Affecting Principle Michal Masny (2018)

The Essential Indexicality of Intentional Action Matthew Babb (2015)

Analysing Animality: A Critical Approach Jason Wyckoff (2014)

The Identity of a Material Thing and its Matter Mahrad Almotahari (2013)

Unethical Acts Tzachi Zamir (2012)

Refuting The Whole System? Hume's Attack on Popular Religion in The Natural History of Religion Jennifer Smalligan Maruši? (2011)

Love as a Reactive Emotion Kate Abramson and Adam Leite (2010)

Autonomy and Plurality Larry Krasnoff (2009)

Creativity Naturalized Maria E. Kronfeldner (2008)

A New Defence of Anselmian Theism Yujin Nagasawa (2007) 

The Regress of Pure Powers? Alexander Bird (2006)

A New Argument for Evidentialism Nishi Shah (2005)

Poverty and Rights James W. Nickel (2004)

The Attractions and Delights of Goodness Jyl Gentzler (2003)

Future Contingents and Relative Truth John MacFarlane (2002)

Reid and Epistemic Naturalism Patrick Rysiew (2001) 

Is ‘Normal Grief’ a Mental Disorder? Stephen Wilkinson (1999)

The Limits of Human Nature Keith Horton (1998)

Emergence: Non-Deducibility or Downwards Causation? Jürgen Schröder (1997)

Art Media and the Sense Modalities: Tactile Pictures Dominic Lopes (1996)

An Unconnected Heap of Duties? David McNaughton (1995)

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• EXPLORE Random Article

How to Write an Award Winning Short Story

Last Updated: July 13, 2021

This article was co-authored by Stephanie Wong Ken, MFA . Stephanie Wong Ken is a writer based in Canada. Stephanie's writing has appeared in Joyland, Catapult, Pithead Chapel, Cosmonaut's Avenue, and other publications. She holds an MFA in Fiction and Creative Writing from Portland State University. This article has been viewed 37,202 times.

Though you may feel confident putting your words to paper, you may struggle with how to write a short story that will win awards and contests. Often, an award-winning short story will follow the guidelines and requirements of the contest and impress the judges enough to come out on top. You can write an award-winning short story by starting your story strong and writing your story with precision and detail. You should then polish the story so it is at its best when you submit it for an award.

Sample Short Stories

Starting the Story

• You should also check if the contest is called a “literature contest”, as this means they are often interested in stories that use language in an interesting way with compelling characters. The judges of this type of contest may not be as interested in a plot driven story.
• If the contest is labeled a “writing competition”, the judges may be looking for popular fiction, where there is a clear plot and a strong opening line.

• You can find the 10 Best Creative Writing Prompts on WritetoDone.com .
• To do a freewrite to a writing prompt, set a timer for 10-15 minutes and use the writing prompt as a guide. Do not lift your pen from the paper for the entirety of the freewrite or read over what you have written until after the freewrite is over.

• You can also look at short stories that have won a specific award, such as the Pushcart Prize award or the Science Fiction short story of the year award.
• Search for award winning short stories online or in print form at your local bookstore or library.

• Try to give your main character specific qualities that will separate them from a crowd. For example, rather than have a main character who goes to high school in a small town, you may be more specific and create a main character that goes to a private all girls catholic school in Lincoln, Nebraska. This gives the reader a more detailed picture of your main character.
• Because you are writing a short story and you want to keep it concise, you should try to avoid having more than three to four characters in the story. Your main character should dominate the narrative, with one to three supporting characters who also appear in the story.

• For example, you may have a main character who finds out her biological mother is alive and wants to see her. This is the external conflict or issue in the story. The internal conflict or issue will then be how the main character deals with meeting her biological mother.

• Your plot diagram should include exposition, the inciting incident, the rising action, the climax, the falling action, and the resolution.
• If you use the snowflake method, you should create a one sentence summary of your story, followed by a one paragraph summary, character synopses, and a spreadsheet of scenes.

Writing the Story

• No matter which narrative perspective you use in your story, make sure it is unique and compelling to read. This means using language and description in interesting ways. Make sure you use sensory detail when you describe something, where you tap into how something or someone smells, tastes, sounds, looks, or feels.

• Try starting with the “who” first, such as a character voice, or a “what”, such as the main conflict, in the first line of your story. Then, gradually shift into the “where” and “when” in the following paragraphs so your reader knows where they are and what time period they are in.
• Put your reader in a setting within the first few paragraphs of the story. Use sensory detail to situate your reader so they are not confused or thrown off.
• Avoid overly descriptive passages and aim for precision instead. You do not want to bore your reader with sentences about the weather or the color of the sky. Instead, focus on descriptions that show the reader just enough to keep them reading.

• Avoid dialogue like “Hi, how are you?” or “How was your day?” This type of casual dialogue may be useful in real life, but in fiction it can come off as mundane and dry.
• Instead, write dialogue that feels snappy and tight. Give your main character a certain way of talking or expressing themselves. Then, let the dialogue reflect their voice and mannerisms. Try to do this for all of your characters so the dialogue feels unique and specific in your story.

• You may put obstacles in the way of your characters to make it more difficult for them to achieve their goal or to resolve their conflict. Doing this can add to the overall tension of the story.
• For example, for your story about your character’s meeting with their biological mother, you may have an obstacle like your character’s relationship with her adopted parents. Or you may give the biological mother problems of her own that create obstacles for your main character.

• You may have an ending that makes the story feel unified, where themes or elements of the story come together and overlap or bounce off of each other. You may also try to give your main character what they want or allow them to achieve some part or all of their goal.
• Try to have an ending that leaves the reader with a certain feeling or emotion. Maybe you have a twist ending that leaves the reader unsettled or disturbed. Perhaps you have an ending that leaves the reader cautiously happy for the main character. Often, unsettling endings can be more effective than happy ones.

Polishing the Story

• You should then revise the story using feedback from others and your own notes. Look for any awkward sentences or passages and adjust them. Make sure the narrative voice feels consistent and compelling throughout. Check that the reader is grounded in setting and time from the beginning to the end of the story.
• You should also proofread the story for any spelling or grammar errors. Do not depend on the spellcheck function on your computer. Read the story backwards so you can check each word to make sure it is grammatically correct.

• You may need to revise and cut certain passages in your story to meet the required word count for a contest. Be assured that doing this will likely only make your short story stronger, as you should strive for precision and compression in your short stories.

• Do not forget to include page numbers in your story. Place them at the bottom right corner so they are easy to spot but do not get in the way of your prose.
• Many short story contests are judged blind so you should avoid placing your name or any other identifiers on the story itself. A title and page numbers are often the only formatting you need to have in your story if you are submitting it to contests.

• You can find a list of reputable short story contests online through websites like Poets&Writers.com . You can also ask your writing teachers to refer you to any short story writing contests.
• If you have any favorite magazines or literary publications, subscribe to their newsletter so you can get updates on any call for submissions for writing competitions they may have in the future.

Expert Q&A

You might also like.

• ↑ http://www.dailywritingtips.com/20-tips-for-winning-writing-contests/
• ↑ https://killzoneblog.com/2014/07/25-tips-for-writing-winning-short-story.html
• ↑ https://www.writing.ie/resources/writing-wining-short-stories/
• ↑ http://writetodone.com/win-short-story-contest-using-deep-structure/

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6 Awesome Scholarship Essays That Worked

When it comes to paying for college, scholarships are the best form of financial aid, since they offer students free money that never needs to be repaid. But let’s face it: completing scholarship applications, especially the essays, can feel overwhelming. The scholarship essay is arguably the most important part of the application and should be well-thought-out. In this article, we’ll walk  through five scholarship essay examples and explain why they worked, so that you can write your own winning scholarship essays .

Here are 6 winning scholarship essay examples that worked:

Why this scholarship essay example worked:, how could this essay have been better , want more resources on writing your scholarship essay, get started with your scholarship essay.

The essay is your chance to let your personality and life experiences shine through, giving you the opportunity to stand out from other applicants.

The best way to get an idea of what scholarship committees are looking for is to look over scholarship essay examples from past winners. Take some time to analyze the writing style, think about the strong points, and consider how you can improve. Below, we’ll show you just how you might dissect a scholarship essay.

1. Going Merry Scholarship Success Story by Gabby DeMott

What’s a winning scholarship essay look like? Check out this Going Merry success story with Gabby DeMott.

ESSAY PROMPT: Discuss an accomplishment, event, or realization that sparked a period of personal growth and a new understanding of yourself or others.

“There were only a few minutes to go and our eyes were glued to the screen. On the edge of our seats, clutching whoever happened to be next to us, we watched as the referee blew his whistle and the German players took their free kick. The ball was hit with precision and skill; it flew up over the Swedish players, past their goalie, and was caught safely in the back of the opposing team’s net. We all jumped up and screamed, a mixture of German and English, of excitement and relief, of pride and anticipation.

We stood, enraptured, for the last several minutes of the game as Germany kept its 2-1 lead over Sweden. The horde of us, Germans and Americans alike, hugged and cheered and made our way out onto the balcony, where we chanted “Deutschland! Deutschland! Deutschland!” for the whole village, the whole country, the whole world to hear. Never have I felt so accepted while being an outsider, so proud of a country that isn’t even mine, so part of something I didn’t really belong to.

My German friends didn’t care that we were from different countries; they didn’t care that we would only be staying for three weeks. They accepted us into their homes and their daily lives, their traditions and their celebrations. In watching that World Cup game, it didn’t matter that we were from different places; we were all cheering for the same team. The acceptance I felt in Germany extended beyond that living room. I came to the country on a three week exchange with ten other students from my school.

We each stayed with host families and attended the Wildermuth Gymnasium, which was surprisingly accommodating to a gaggle of loud American teenagers. The teachers were friendly and welcoming, the students treated us like ordinary peers, and even the people I interacted with in public were understanding.

Before coming to Germany I feared judgment based on my level of the language (which is nowhere near as good as the German students’ English) and American politics. It was intimidating to be in a country with limited knowledge of the language and the customs, even though everyone was welcoming. People did ask myself and the other students about the US’s political climate, but no one blamed us for it. They recognized that we were outsiders, that the place we came from had flaws, and they accepted us anyway.

Since that trip, I’ve found myself trying to provide that acceptance to people in my own country. For example, I work at a canoe livery and we receive a lot of visitors with limited English. Some of my coworkers will avoid such customers because they don’t want to take the time to explain things, to exercise patience with someone who may not understand them. If people had done this to me in Germany, my time there would have been much less enjoyable; in fact, I would have been offended.

So now when someone walks up to me at the livery and asks a question in English that isn’t perfect, I smile and welcome them. I take my time to make sure they understand, that they can have a good time, and that they feel accepted. It’s a small action, but I know firsthand that it can make a big impact, at my place of work and in the world. “

• It shares a personal story of realization. Gabby’s essay throws us right in the middle of the action in her story, from her perspective. She paints a clear picture of where she is, how she feels, and what her goals were in that moment. She then goes on to explain the unity of the German and American students to introduce other people in the essay. LESSON TO TAKE : When including additional people in an essay, introduce them early on so you can continue telling your story in an organic way.
• She reflects on her previous fears and explains how she’s moved past those to grow. In the fifth paragraph, Gabby shares how she feared judgment due to her level of the German language and American politics. As Gabby became more familiar with the host families and her German friends, she realizes they accepted her, and she relaxes. LESSON TO TAKE: Sharing a story in sequential order can help illustrate personal growth and how your character changed for the better.
• She answers the prompt and demonstrates how she’ll put her newfound knowledge in action. Once Gabby realized her German friends and host family accepted her, regardless of her fears, that sparked a realization for her when she returned home to America. Gabby concludes her essay by explaining how she’s providing that same acceptance she received in another country to acquaintances and people in her country, to be patient, help them enjoy themselves, and to welcome them.  LESSON TO TAKE : Consider concluding your essay with a wrap-up of what you learned, and how you plan to apply that lesson in your life.

2. Who is a “Good” Doctor? by Joseph Lee

Below is a winning essay from Joseph Lee, Rush Medical College for the Giva Scholarship.

ESSAY PROMPT: Who is (or what makes) a good doctor?

“Had you asked me the same question one year ago, my answer would have been vastly different to the one I will give today. In the summer of 2012, with my first year of medical school completed, I embarked upon my last official summer vacation with two things in mind: a basketball tournament in Dallas and one in Atlanta. My closest friends and I had been playing in tournaments for the past 10 summers, and it was a sacred bond forged together in the name of competition. However, two weeks before our first tournament, I became instantly and overwhelmingly short of breath. Having been born to Korean immigrant parents, I was raised to utilize the hospital in emergency cases only, and I knew this was such a case. A few scans later, doctors discovered numerous pulmonary emboli (PE), caused by a subclavian deep vein thrombosis (DVT), and just like that, I was lying in a bed of a major hospital for a life threatening condition.

Fast forward a few months, and I am lying in a similar bed to treat the underlying cause of the subclavian DVT: a first rib removal. There is little that can adequately prepare someone physically, emotionally or spiritually to undergo surgery; and my thoughts continued to race in the days following. In addition to the expected physical pain, isolation, fear and frustration were a few of the emotions I experienced in the four day ordeal. The procedure went according to plan thanks to a skilled surgeon and his team, but the attributes that made the doctor “good” went far beyond his ability to operate.

“Wow. I’m glad you are feeling better” and “I can’t believe you went through that” are common reactions people have when they see the scars on my upper chest. Quite frankly, the past nine months have been difficult, literally full of blood, sweat and tears. But through it all, I have been able to maintain my positivity and gratitude knowing that I have gained the invaluable experience of being a patient and discovering the vulnerability and trust that patients give their doctors. Patients indulge information to doctors that they may have never told anyone in their life and in doing so, place a great deal of trust and responsibility in the hands of a doctor. Many patients will not understand the mechanism of disease behind their condition and anticipate that the doctor will explain to them and their family why it is that they are feeling the way they are and ultimately heal them. And that is precisely what my surgeon understood: the privilege of being able to care for patients and the intimacy of the doctor-patient relationship. And as I awoke to the care of my worried parents, the first thing they wanted to discuss was the details of the procedure that was methodically and patiently explained to them by my “good” doctor.

In study after study, patients have reported dissatisfaction with their medical care, not because of lack of knowledge or health outcome, but because their doctors did not show enough warmth in the encounter or listen to the patient’s questions and concerns. There are few times where a patient and their loved ones are more vulnerable and in need of compassion than when dealing with a hospitalization. And for some doctors, a patient may be another item on a checklist, but that patient is someone’s mother or father, son or daughter, sister or brother. My “good” doctor understood this and would often say “If you were my son…” when discussing treatment options, reflecting on the type of care he would want for his family and treating me similarly. Such ideals are rooted in love and compassion for patients, not as clients in the health care system, but as fellow human beings striving to make something of themselves and the world around them (I).

Unfortunately, the ordeal of living with a chronic illness or undergoing a major operation extends beyond the confines of the hospital. Whether it is creditors harassing patients for medical bills, prescriptions that need to be refilled, or lifestyle modifications that need to be made, the health care experience doesn’t end when a patient walks out of the hospital doors. It often takes merely a minute, as in the case of the “good” doctor who told me that as a student I could apply to get the procedure financially covered by the hospital. Such foresight in anticipating financial concerns and directing me on the next steps to be taken provided relief in the surmounting stress.

Lastly, the “good” doctor understands that as our patients are human, so are we. This means we will make mistakes, some of which can result in life-threatening consequences. With that said, the “good” doctor practices humility and honesty, apologizing and sharing as much information with patients as possible. Although no one strives to make mistakes, they will happen, and how one reacts to them is a distinguishing feature of the “good” doctor (II).

Of all the qualities I tried to explain in what makes a “good” doctor, there was no emphasis on skill and knowledge. And while being able to fulfill the duties of making the correct diagnosis and appropriate treatment plans is expected, the intangibles of love, compassion, foresight and honesty is what makes a doctor, “good”. I learned such lessons in the purest manner possible, by being a patient myself, and will use them to guide me in all future patient encounters, as I strive to be a “good” doctor.”

• It tells a captivating story. This essay immediately pulls the reader in, immersing the audience right in the story. . We want to know how Joseph’s definition of a good doctor changed and why it did so. Hooking your reader from the first sentence of your essay or even the first paragraph is a surefire way to keep your reader engaged in the story you’re telling. The story itself is also told really well, with good pacing and just enough detail to elicit empathy without causing boredom. (He could have easily given too much scientific/medical detail!)  LESSON TO TAKE : When telling an anecdote, consider how much detail is the right amount, to make it engaging.
• It’s a list, without you realizing it’s a list. After the first 2 paragraphs (which are mostly story-telling), the rest of the essay is effectively a list of ways that doctors are “good”: they recognize the intimacy and trust involved in the doctor-patient relationship (paragraphs 3-4), they anticipate future sources of patient stress (paragraph 5), and they exercise humility (paragraph 6). Joseph could have easily structured the essay simply by saying “There are 3 main things that make a doctor good” and then explaining each idea. However, that would have been much more boring! Instead, he expertly hides the list format, by couching it in an engaging story. LESSON TO TAKE: Not all list-type essays need to feel like lists.
• It’s personal and believable. Joseph takes a negative personal experience, shows what he learned from it and how it caused him to grow as a person. Sometimes essays about singular, defining moments or experiences can seem blown out of proportion and thus not credible. This one feels right: a big ordeal in his life that has therefore shifted his perspective.  LESSON TO TAKE : Consider which personal stories to tell, and make sure the “size” of the story feels right.

3. Life Happens Scholarship by Emily Trader

Here is an example of a moving scholarship essay on the topic of family loss by Emily Trader for the Life Happens award.

ESSAY PROMPT: How has the death of a parent or guardian impacted your life financially and emotionally? Be sure to describe how the loss of your parent/guardian impacted your college plans, and explain how the lack of adequate (or any) life insurance coverage has impacted your family’s financial situation.

“When I was seventeen years old, my father lost his battle with kidney failure and cardiovascular disease. As long as I shall live, I do not believe that I will ever forget the first moment I saw my father’s once vibrant face in that cold and unforgiving casket. I won’t forget his lifeless and defeated hands, or how his pale lips would never utter another joke or speak to his grandchildren. Even though the day of his funeral was undoubtedly the worst day of my life, I wish I could relive it just to be with him one more time. Since that moment, I have felt as if all of my grief and longing resides underneath my skin with nothing to relieve the pressure. On September 8th, 2016, I lost my voice of reason, my confidant, my cheerleader, and my best friend.

Unbeknownst to me at the time, I had lost so much more. Upon my father’s passing, he left us with funeral and medical expenses that his insurance would not cover. Because he did not have any form of life insurance, the financial burden of his death was now the responsibility of my mother and me. Even though my mother works night shifts as a neonatal nurse and her commute is nearly two hours, she was forced to pick up extra shifts to support my family. Though I already had a job and I worked about ten hours a week, I now work anywhere from twenty-five to thirty-five hours a week, and I am also a full-time high honor student. Even though the death of my father forced me to realize the importance of cherishing time with my family, I do not see them very often because of our busy schedules. I also sacrificed my social life and the joy that every senior in high school should experience. Instead of football games and homecoming, I had to deal with mourning and the possibility that I would not attend college because of my family’s financial troubles.

If my father had a life insurance policy, we would not have to work ourselves to the bone and sacrifice our physical and emotional well-being to keep up with expenses. I would not have to worry so intensely about the future of my education on top of the crippling grief that I have felt over the last five months. If this devastating experience has taught me anything, it is this: financial planning for these situations is absolutely invaluable. I will not soon forget the stress and despair that I have experienced, and I now realize that to have a life insurance policy is to throw your surviving family members a crucial lifeline. Though no one can ever prepare you for the trauma of losing a parent, life insurance allows you to grieve without the constant stress of financial burden, and for that reason, it is an absolutely essential precaution.

I love and miss you so much, Dad. Thank God I will see you again.”

• She answers the prompt . It would be easy to write an essay that just spoke to her grief, or to what her father was like and how much he meant to her. But the essay prompt asks applicants to reflect on how the loss has affected the student emotionally and financially. Emily does a great job of this, by connecting the financial parts (she and her mother needing to pick up extra hours of work), with the emotional (due to the work schedule, the family not being able to spend as much time together). She also addresses how this might affect her college plans. LESSON TO TAKE : 
• She provides (beautiful) detail. The first paragraph immediately pulls the reader in because of the detailed description she provides (“ his lifeless and defeated hands”, “pale lips” ). Similarly, the specificity of how her family is shouldering the financial burden (e.g. her working 25-to-35-hour weeks) make it feel more real rather than generic.  LESSON TO TAKE : Use details and descriptions to make something feel more emotional and tangible.
• She knows her audience . This scholarship is funded by Life Happens, an organization formed by seven leading insurance providers, in order to educate the public about important insurance planning topics. Clearly Emily researched the provider and understood that an essay that spoke to the importance of insurance planning would be well-received by the essay readers. LESSON TO TAKE : Research the scholarship provider and adjust your content to fit the organization’s or company’s mission statement (or business model).

4. Going Merry Scholarship Success Story by Jesus Adrian Arroyo-Ramirez

Jesús Adrian Arroyo-Ramirez wrote a winning scholarship essay (and video!) that he submitted on Going Merry . He earned an outstanding $40,000 through the Golden Door Scholarship.

ESSAY PROMPT: What differentiates you from the hundreds of DACA students who apply to our scholarship? Use one of those opportunities to tell us something else we cannot see just by looking at your grades, test scores, and transcripts.

“I always knew I was different than my friends in some way. Growing up, I struggled to speak English while everyone else had little to no problems. I needed extra help in school while my friends coasted by with ease. My friends would hop on planes and travel all around the world while I had to stay at home. At the age of 13 all of my friends started driving while I still couldn’t.

I built up the courage and asked my mother why I did not have access to the simple liberties everyone else did. My name Is Jesus Adrian Arroyo-Ramirez, and I was illegally brought to this country when I was just six years old. At the time I had no clue that I was breaking any laws, and I did not realize the fact that my life was going to change forever. Growing up with a different citizenship situation than my peers was and still is the biggest challenge I have to face in my life.

Looking back there is not a single thing that I would change. Knowing that I had to work harder than everyone else lead me to be the person that I am today. I took that fire inside of me, pushed myself, graduated first in my class with a cumulative 4.0 GPA, became a Kansas Scholar, and graduated High School with a semester’s worth of college credit. In November of 2016, everything began to look up for me. I received a work permit and a social security card all thanks to the DACA program. I was finally able to get my license, get a job, and most importantly attend college.

I plan to continue my success in the classroom and do everything to the best of my ability as I know that under my current circumstances it can all be ripped away from me at any moment. Growing up with my situation has taught me to not take advantage of a single opportunity. There has been continued support around me past and current and I know there are people out there rooting for my success. I will strive to be the first generation in my family to graduate from an American University and I will set a stepping stone for my future family so they will not have to struggle as I did. My citizenship is not a setback, it is a mere obstacle that I will always learn to work around if it means giving my future children a better life, just like my mother did for me.”

• He shares how hardships made him who he is today. Right off the bat, Jesus sets the tone for his essay by sharing how he struggled to speak English and that he was not given the same opportunities as his peers. He shares his mother’s explanation on why he lived a different life, along with his honesty in the challenges of growing up with a different citizenship situation than the teens around him. LESSON TO TAKE : Share personal details (as you feel comfortable), and consider including a defining memory or conversation hat contributes to your story. This can help paint a picture of your beginnings or your inspirations.
• He includes emotional details. Although Jesus grew up with hardships, he persevered and mentions he wouldn’t change anything. It may have taken a little longer than his peers to get his license, but he also excelled in school, pushed himself to graduate first in class, and take college courses on top of all that. LESSON TO TAKE : Tell your story with details, feelings, thoughts and emotions to explain where you came from and where you are now.
• He plans for the future . Jesus shared his personal story with us, and then explains how he plans to continue his success without letting anything get in the way of his path. He goes on to say his citizenship is not a setback, and that he works to provide a better life for himself and for his future children. LESSON TO TAKE : Include your plan at the end of the essay. Consider how you’ve grown and how you will bring these lessons learned with you to help your future.

5. Why College Is Important to Me by Nicole Kuznetsov

Here’s an example of a simple yet creative and heartfelt essay on the popular prompt, Why is college important to you?

ESSAY PROMPT: Why do you want to go to college? Why is it important to you?

“As a child, my life had structure. Coloring books had lines, letters took on very specific shapes, and a system of rules governed everything from board games to the classroom. I found comfort in the fact that my future had an easy-to-follow template: elementary, middle, and high school, college, job, family retirement, “happily ever after” ending. When I graduated from elementary school I was told I completed 25% of my education. During my middle school graduation, I was told I was halfway there and I know I’ll be told I’m 75% done when I throw my cap in the air this June. College was always factored into the percentage and the overall formula for life. And I never questioned its importance. I always figured it is important because it is necessary.

Going to college makes sense. From helping my parents land stable jobs after coming to America to giving my brother the chance to gain work experience at some of the top financial firms, college educations have shown their worth in my family. Yet I didn’t think about what actually goes on inside the magical universities until I entered high school. Applying to the Academy for Math, Science, and Engineering was the first time I had actively made a decision in my education. With the encouragement of my parents and favorite science teacher who recognized that I would excel in the challenging environment of like-minded students, I applied. Four years later, I can confidently say they were right.

My class of twenty-six has shown me the benefits of a collaborative rather than a competitive environment, especially the impact that camaraderie with my peers has on our collective learning experience. Each student has an inspiring level of passion and motivation that made me excited to learn, work on projects, and participate in discussions both in and out of the classroom. I used my education to gain skills and open doors for myself such as an internship at my local hospital. I gained confidence in my abilities to communicate with individuals from strangers my age to practicing professionals. I was thinking longer and harder than I ever had before to solve individual problems and large-scale challenges. In all honesty, I was having fun.

Looking back on my years at the Academy I realize how big of an impact the school made on how I view education. I wasn’t coming to school to mark another day off my calendar and inch closer to finishing the next 25%. I came to school to learn and question and push myself. Now, as a senior, I’m excited. I’m thankful for the sample that my high school gave me of what learning is supposed to be like and thankful that it left me wanting more. I’m entering college in August with a new understanding of its importance. It is important because it is what I want for my future.”

• It finds structure through chronology . This essay is basically structured like a chronological timeline: As a child, I believed this. Then I applied to this high school (my first active academic decision). Then the high school changed me. Now I’m a senior and I believe this. Not all stories are best told in time order, but the simplest stories often are. And simple stories provide structure, which scholarship committees love. LESSON TO TAKE: Consider structuring your essay like a timeline, emphasizing the milestones along the way that have led you to where you are today. 
• It is simply told . While the essay is descriptive, it doesn’t try to get fancy with overly flowery language or unnecessarily long SAT words. And that’s the strength of it. For instance, this passage [“ College was always factored into the percentage and the overall formula for life. And I never questioned its importance. I always figured it is important because it is necessary” ] explains her child’s logic in a really clear and well-written way. 
• It’s got (mostly) great topic sentences . We here at Going Merry love a good topic sentence– that is, a sentence at the beginning (or end) of a paragraph that summarizes the rest of the paragraph. It helps “signpost” the most important parts of your essay. Here, three of the four paragraphs (1, 2, and 4) have strong and concise topic sentences. “As a child, my life had structure” sets up the rest of the paragraph to explain what these structures and unquestioned rules were. “Going to college makes sense” sets up why college made sense to her parents. 

6. Financial Literacy for Hispanic Women by Rosaisha Ozoria

The inaugural Founder’s Scholarship supported by the New York Women’s Bond Club in honor of Michaela Walsh goes to two New York City public high school students who won an essay competition writing about their hopes for the future of women and girls worldwide . Winners of this scholarship won a trip to accompany Women’s World Banking to Amman, Jordan for their biennial gathering of WWB network members.

PROMPT: Write about your hopes for the future of women and girls worldwide.

WINNING ESSAY:

“Twice a week I head down to volunteer at the Los Sures Social Services office, situated next to the local senior citizen home, to help at the food pantry. We distribute food to people in my neighborhood. Many are familiar faces. Many are middle-aged Hispanic women with children dangling from their hips like grass skirts. These women are there as a result of their culture and lack of financial knowledge. In our Spanish culture, patriarchy prevents women from preparing for themselves as much as they should. This leads to Hispanic women having little or no money management skills. Financial illiteracy is a major issue in my neighborhood, and that is why I hope to give Hispanic women a chance for a better future through financial education.

While I was volunteering I met a woman who happened to live in the same building as my aunt. Unemployed with two young children, and a husband earning minimum wage at a fast food restaurant, she struggled to get by every day. I thought to myself – many in my community are just like her. Then I realized I could do something to help. How? I can start a financial literacy program, which teaches Hispanic women to earn and manage money. Once a woman becomes financially literate, she is capable of making good personal and professional decisions, empowering her to improve her family’s financial well-being. Moreover, such a program will help Hispanic women become competitive employees, even in a slow recovering economy such as the one we are experiencing now.

Participating in the 2013 Women’s World Banking Global Meeting in Amman, Jordan gives me access to invaluable resources that will help me achieve this goal. I hope to find mentors from a roomful of inspiring, experienced leaders who will offer me their guidance. Also, meeting accomplished women from other countries means access to new ideas and unique perspectives. And if I am lucky, I may even come across individuals who can provide financial support to jumpstart my financial literacy program for Hispanic women. Lastly, I will tell my idea to everyone I meet in Jordan, a baby step to help Hispanic women rise from poverty.

The world continues to change rapidly, especially with globalization. It is about time that Hispanic women strive for gender equality. Thus, it is essential that Hispanic women increase their roles and knowledge in finance. The women in my neighborhood shall no longer be left out. I will task myself to help these women become better, stronger and most importantly, take control of their lives. I want to be involved so that they can save themselves from any unforeseen financial crisis. This is a tremendous goal, but for me, it is an opportunity to make a difference – in my neighborhood and for my Spanish community.”

• There is clear structure . Right off the bat, the introduction summarizes what the reader can expect to find in the body of the essay. In particular, the closing line of the first paragraph (“ Financial illiteracy is a major issue in my neighborhood, and that is why I hope to give Hispanic women a chance for a better future through financial education”) works as an effective topic sentence, tying together the anecdote and the reason she’s interested in networking with the scholarship provider, Women’s World Banking. The last 2 paragraphs also serve clear, independent purposes: the penultimate one establishes what she would do with the scholarship (the trip to Amman), and the final paragraph explains why her particular interest is important for the larger Hispanic community. LESSON TO TAKE: Clear structure helps the reader follow your point better (especially if they’re skimming, which scholarship essay readers almost definitely are!) So include a summarizing topic sentence at the beginning or end of your first paragraph, and make sure each subsequent paragraph serves a purpose that moves forward your argument or story. 
• The author’s passion shines. Rosaisha, the scholarship winner, is clearly passionate about serving her Hispanic community of women.  And rather than simply saying that, she shows us how she cares by using personal examples from her volunteer work. LESSON TO TAKE : Show, don’t tell. Use specific personal examples, and don’t be afraid to show your emotions.
• She stays positive.   Even though Rosaisha discusses what might be considered a  difficult and personal topic, she keeps the tone light and inspirational. She expresses hope and her desire to make a change in the world, answering the essay in a positive tone.  It’s important to make sure your essay is not too depressing to read. (Essays about personal trauma are a bad idea.) This is a scholarship provider, not a therapist! 

While this was a winning essay, we note that it did have two points of weakness: 

• The second paragraph lacks a bit of structure. Her point ends up feeling a bit generic, and it’s unclear what she is thinking versus planning or actually doing . For instance, she realized she could start a financial literacy program. Did she then do so? It’s unclear. 
• The last paragraph is again a bit general. Often scholarship committees want to see what concrete steps will be taken, using the scholarship award. Here she speaks in lofty terms about what goals she hopes to accomplish, without explaining ways she might accomplish this goal. 

For more information on writing a killer scholarship essay, check out our list of helpful tips .

Also check out these related blog posts: 

• 6 tips for writing scholarship essays about academic goals
• How to write the best personal statement, with examples
• How to write an awesome essay about your career goals

You can start writing your winning scholarship essay today and submit it to thousands of scholarship applications, all in one place. Sign up for Going Merry today to put your pro scholarship essay writing skills to practice. Going Merry is your one-stop scholarship shop to search and apply for scholarships to get you on the right foot for funding your future.

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Best Essay Writing Contests in 2024

Showing 48 contests that match your search.

Share Your Story

FanStory.com Inc.

Genres: Essay and Memoir

Write about an event in your life. Everyone has a memoir. Not an autobiography. Too much concern about fact and convention. A memoir gives us the ability to write about our life with the option to create and fabricate and to make sense of a life, or part of that life.

💰 Entry fee: $10

📅 Deadline: September 15, 2022 (Expired)

Work-In-Progress (WIP) Contest

Unleash Press

Genres: Crime, Essay, Fantasy, Fiction, Horror, Humor, Memoir, Mystery, Non-fiction, Novel, Novella, Poetry, Science Fiction, Science Writing, and Young Adult

We aim to assist writers in the completion of an important literary project and vision. The Unleash WIP Award offers writers support in the amount of $500 to supplement costs to aid in the completion of a book-length work of fiction, nonfiction, or poetry. Writers will also receive editorial feedback, coaching meetings, and an excerpt/interview feature in Unleash Lit.

Additional prizes:

Coaching, interview, and editorial support

💰 Entry fee: $35

📅 Deadline: July 15, 2024

Environmental Writing 2024

Write the World

Genres: Essay and Non-fiction

The writer and activist Bill McKibben describes Environmental Writing as "the collision between people and the rest of the world." This month, peer closely at that intersection: How do humans interact with their environment? Given your inheritance of this earth, the world needs your voices now more than ever.

Runner up: $50 | Best peer review: $50

📅 Deadline: April 22, 2024

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Creative Nonfiction Prize

Indiana Review

Genres: Essay, Fiction, and Non-fiction

Send us one creative nonfiction piece, up to 5000 words, for a chance at $1000 + publication. This year's contest will be judged by Lars Horn.

💰 Entry fee: $20

📅 Deadline: March 31, 2024 (Expired)

The Letter Review Prize for Unpublished Books

The Letter Review

Genres: Crime, Essay, Fantasy, Fiction, Flash Fiction, Horror, Humor, Memoir, Mystery, Non-fiction, Novel, Novella, Poetry, Romance, Science Fiction, Science Writing, Short Story, Thriller, and Young Adult

Free to enter. Seeking 0-5000 word (poetry: 15 pgs) excerpts of unpublished books (Fiction, Poetry, Nonfiction), including most self-published and indie-published works. 2-4 Winners (publication of extract is optional). We Shortlist 10-20 writers. Open to writers from anywhere in the world, with no theme or genre restrictions. Judged blind.

Optional Publication of Excerpt, Letter of Recommendation

📅 Deadline: April 30, 2024

100 Word Writing Contest

Tadpole Press

Genres: Essay, Fantasy, Fiction, Flash Fiction, Humor, Memoir, Mystery, Non-fiction, Science Fiction, Science Writing, Thriller, Young Adult, Children's, Poetry, Romance, Short Story, Suspense, and Travel

Can you write a story using 100 words or less? Pieces will be judged on creativity, uniqueness, and how the story captures a new angle, breaks through stereotypes, and expands our beliefs about what's possible or unexpectedly delights us. In addition, we are looking for writing that is clever or unique, inspires us, and crafts a compelling and complete story. The first-place prize has doubled to $2,000 USD.

2nd: writing coach package

💰 Entry fee: $15

Lazuli Literary Group Writing Contest

Lazuli Literary Group

Genres: Essay, Fiction, Poetry, Short Story, Flash Fiction, Non-fiction, Novella, and Script Writing

We are not concerned with genre distinctions. Send us the best you have; we want only for it to be thoughtful, intelligent, and beautiful. We want art that grows in complexity upon each visitation; we enjoy ornate, cerebral, and voluptuous phrases executed with thematic intent.

Publication in "AZURE: A Journal of Literary Thought"

📅 Deadline: March 24, 2024 (Expired)

A Very Short Story Contest

Gotham Writers Workshop

Genres: Essay, Fantasy, Fiction, Flash Fiction, Humor, Memoir, and Non-fiction

Write a great short story in ten words or fewer. Submit it to our contest. Entry is free. Winner of the bet gets a free Gotham class.

📅 Deadline: May 31, 2024

NOWW 26th International Writing Contest

Northwestern Ontario Writers Workshop (NOWW)

Genres: Essay, Fiction, Non-fiction, Poetry, and Short Story

Open to all writers in four categories: poetry, short fiction, creative nonfiction, and critical writing.

2nd: $100 | 3rd: $50

💰 Entry fee: $7

📅 Deadline: February 29, 2024 (Expired)

Hispanic Culture Review Contest 2022-2023

Hispanic Culture Review

Genres: Essay, Fiction, Non-fiction, Poetry, Short Story, and Flash Fiction

As the Uruguayan writer Eduardo Galeano once said, "the best that the world has is in the many worlds that the world contains." Therefore, this year we invite you to reflect on the following questions: How do you or your community celebrate these connections? How do you value those experiences with those people who leave a mark on your life? 1 work will be awarded in each category: 1) photography & visual arts, 2) poetry, and 3) narrative/essay/academic investigation.

Publication

💰 Entry fee: $0

📅 Deadline: February 01, 2023 (Expired)

Literary and Photographic Contest 2023-2024

Genres: Essay, Fiction, Memoir, Non-fiction, and Poetry

As we move forward we carry our culture wherever we go. It keeps us alive. This is why we propose the theme to be “¡Hacia delante!”. A phrase that means to move forward. This year we ask that you think about the following questions: What keeps you moving forward? What do you carry with you going into the future? How do you celebrate your successes, your dreams, and your culture?

Publication in magazine

📅 Deadline: February 07, 2024 (Expired)

swamp pink Prizes

From January 1st to January 31st, submit short stories and essays of up to 25 pages or a set of 1-3 poems. Winners in each genre will receive $2,000 and publication.

📅 Deadline: January 31, 2024 (Expired)

Narratively 2023 Memoir Prize

Narratively

Genres: Essay, Humor, Memoir, and Non-fiction

Narratively is currently accepting submissions for their 2023 Memoir Prize. They are looking for revealing and emotional first-person nonfiction narratives from unique and overlooked points of view. The guest judge is New York Times bestselling memoirist Stephanie Land.

$1,000 and publication

📅 Deadline: November 30, 2023 (Expired)

Jane Austen Society of North America Essay Contest

Jane Austen Society of North America

Genres: Children's and Essay

JASNA conducts an annual student Essay Contest to foster the study and appreciation of Jane Austen's works in new generations of readers. Students world-wide are invited to compete for scholarship awards in three divisions: high school, college, and graduate school.

Two nights’ lodging for JASNA’s Annual General Meeting

📅 Deadline: June 02, 2022 (Expired)

Young Sports Journalist 2024

The Young Sports Journalist Competition, 2024, seeks well-argued articles from aspiring journalists aged 14-21. Winning entries will be published online and printed in the Summer Issue of Pitch. Critiqued by our panel of accomplished judges, winners will also receive a £50 cash prize and offered work experience here at PITCH HQ. The competition runs from 7 February 2024 to 5 April 2024. And winners will be announced in May.

Publication in magazine and online

📅 Deadline: April 05, 2024

International Voices in Creative Nonfiction Competition

Vine Leaves Press

Genres: Essay, Memoir, Non-fiction, and Novel

Small presses have potential for significant impact, and at Vine Leaves Press, we take this responsibility quite seriously. It is our responsibility to give marginalized groups the opportunity to establish literary legacies that feel rich and vast. Why? To sustain hope for the world to become a more loving, tolerable, and open space. It always begins with art. That is why we have launched this writing competition.

Book publication

💰 Entry fee: $25

📅 Deadline: July 01, 2024

Personal Essay Competition 2024

We want to hear about an experience in your life, rife with characters and description and conflict and scene… but we also want to hear how you make sense of this experience, how it sits with you, and why it has surfaced as writing. Open a window into your life and invite your readers to enter.

📅 Deadline: June 24, 2024

Military Anthology: Partnerships, the Untold Story

Armed Services Arts Partnership

Genres: Essay, Fiction, Flash Fiction, Humor, Memoir, Non-fiction, Poetry, and Short Story

Partners are an integral aspect of military life, at home and afar, during deployment and after homecoming. Partnerships drive military action and extend beyond being a battle buddy, wingman, or crew member. Some are planned while others arise entirely unexpectedly. Spouses, family, old or new friends, community, faith leaders, and medical specialists all support the military community. Despite their importance, the stories of these partnerships often go untold. This anthology aims to correct that: We will highlight the nuances, surprises, joy, sorrow, heroism, tears, healing power, and ache of partnerships. We invite you to submit the story about partnerships from your journey, so we can help tell it.

$250 for each genre category (prose, poetry, visual art)

📅 Deadline: March 01, 2024 (Expired)

International Essay Competition 2023/24

Avernus Education

Genres: Essay

Welcome to our prestigious International Essay Competition. At Avernus Education, we are thrilled to provide a platform for young minds to showcase their prowess in Medicine, Engineering, Law, Economics, Psychology, History and Politics. These varied subject categories underscore the importance of interdisciplinary study, a crucial foundation for future leaders in our increasingly interconnected world. Winners receive an exclusive Avernus Education Scholarship worth over £5000 - granting them free entrance to our exclusive summer camp at Oxford University! Outstanding Runners Up receive 5 hours worth of Credits for Avernus Education courses, conferences and tutoring services.

Partial scholarship

📅 Deadline: February 19, 2024 (Expired)

Journalism Competition 2024

What are the most important issues taking place close to home? Perhaps a rare bird sighting near your town? Or a band of young people in your province fighting for access to higher education? This month, immerse yourself in a newsworthy event inside the borders of your own country, and invite us there through your written reporting.

📅 Deadline: July 22, 2024

The Letter Review Prize for Books

Genres: Crime, Essay, Fantasy, Fiction, Horror, Humor, Memoir, Mystery, Non-fiction, Novella, Poetry, Romance, Science Fiction, Science Writing, Short Story, Thriller, and Young Adult

The Letter Review Prize for Books is open to writers from anywhere in the world. Seeking most unpublished (we accept some self/indie published) novels, novellas, story collections, nonfiction, poetry etc. 20 entries are longlisted.

📅 Deadline: October 31, 2023 (Expired)

Brink Literary Journal Award for Hybrid Writing

Genres: Essay, Fantasy, Fiction, Humor, Memoir, Non-fiction, Poetry, Science Writing, and Short Story

The Brink Literary Journal Award for Hybrid Writing will be administered to the winner of a literary contest designed to champion innovative hybrid and cross-genre work.

💰 Entry fee: $22

📅 Deadline: February 16, 2024 (Expired)

Solas Awards

Best Travel Writing

Genres: Essay, Non-fiction, and Travel

Extraordinary stories about travel and the human spirit have been the cornerstones of our books since 1993. With the Solas Awards we honor writers whose work inspires others to explore. We’re looking for the best stories about travel and the world. Funny, illuminating, adventurous, uplifting, scary, inspiring, poignant stories that reflect the unique alchemy that occurs when you enter unfamiliar territory and begin to see the world differently as a result. We hope these awards will be a catalyst for those who love to leave home and tell others about it.

📅 Deadline: September 21, 2024

WOW! Women On Writing Quarterly Creative Nonfiction Essay Contest

WOW! Women On Writing

Genres: Non-fiction and Essay

Seeking creative nonfiction essays on any topic (1000 words or less) and in any style--from personal essay and memoir to lyric essay and hybrid, and more! The mission of this contest is to reward bravery in real-life storytelling and create an understanding of our world through thoughtful, engaging narratives. Electronic submissions via e-mail only; reprints/previously published okay; simultaneous submissions okay; multiple submissions are okay as long as they are submitted in their own individual e-mail. Open internationally.

2nd: $300 | 3rd: $200 | 7 runner-ups: $25 Amazon Gift Cards

💰 Entry fee: $12

Anthology Travel Writing Competition 2024

Anthology Magazine

The Anthology Travel Writing Competition is open to original and previously unpublished travel articles in the English language by writers of any nationality, living anywhere in the world. We are looking for an engaging article that will capture the reader’s attention, conveying a strong sense of the destination and the local culture. Max 1000 words.

💰 Entry fee: $16

📅 Deadline: November 30, 2024

Askew's Word on the Lake Writing Contest

Shuswap Association of Writers

Genres: Fiction, Non-fiction, Poetry, Essay, Memoir, and Short Story

Whether you’re an established or emerging writer, the Askew’s Word on the Lake Writing Contest has a place for you. Part of the Word on the Lake Writers’ Festival in Salmon Arm, BC, the contest is open to submissions in short fiction (up to 2,000 words), nonfiction (up to 2,000 words), and poetry (up to three one-page poems).

💰 Entry fee: $11

Bacopa Literary Review Annual Writing Contest

Writers Alliance of Gainesville

Genres: Essay, Fiction, Flash Fiction, Non-fiction, Poetry, and Short Story

Bacopa Literary Review’s 2024 contest is open from March 4 through April 4, with $200 Prize and $100 Honorable Mention in each of six categories: Fiction, Creative Nonfiction, Flash Fiction, Free Verse Poetry, Formal Poetry, and Visual Poetry.

📅 Deadline: April 04, 2024

High School Academic Research Competition

Columbia Undergraduate Science Journal

The High School Academic Research Competition is where talented students from around the world compete to publish high-quality research on any topic. SARC challenges students to sharpen their critical thinking skills, immerse themselves in the research process, and hone their writing skills for success.

Indigo Research Intensive Summer Program

📅 Deadline: March 20, 2024 (Expired)

African Diaspora Awards 2024

Kinsman Avenue Publishing, Inc

Up to $1000 in cash prizes for the African Diaspora Award 2024. African-themed prose and poetry wanted. Top finalists are published in Kinsman Quarterly’s magazine and the anthology, “Black Butterfly: Voices of the African Diaspora.”

Publication in anthology, "Black Butterfly: Voices of the African Diaspora" and print and digital magazine

📅 Deadline: June 30, 2024

Great American Think-Off

New York Mills Regional Cultural Center

The Great American Think-Off is an exhibition of civil disagreement between powerful ideas that connect to your life at the gut level. The Cultural Center, located in the rural farm and manufacturing town of New York Mills, sponsors this annual philosophy contest.

📅 Deadline: April 01, 2024 (Expired)

The Letter Review Prize for Nonfiction

Genres: Essay, Memoir, Non-fiction, Crime, Humor, and Science Writing

2-4 Winners are published. We Shortlist 10-20 writers. Seeking Nonfiction 0-5000 words. Judges’ feedback available. Open to writers from anywhere in the world, with no theme or genre restrictions. Judged blind. All entries considered for publication + submission to Pushcart.

Publication by The Letter Review

💰 Entry fee: $2

Killer Nashville Silver Falchion Award

Killer Nashville

Genres: Crime, Essay, Fantasy, Fiction, Humor, Memoir, Mystery, Non-fiction, Novel, Poetry, Science Fiction, Script Writing, Short Story, and Thriller

The Killer Nashville Silver Falchion Award is committed to discovering new writers, as well as superlative books by established authors and, upon discovery, sharing those writers and their works with new readers. There are a large number of both fiction and non-fiction categories you can enter.

💰 Entry fee: $79

📅 Deadline: June 15, 2024

Climate Change Writing Competition

Genres: Essay, Memoir, and Non-fiction

This month, dear writers, ahead of COP27, help us raise the voices of young people in this urgent fight. In a piece of personal narrative, tell the world’s leaders gathering in how climate change impacts you. How has this crisis changed your environment, your community, your sense of the future? Storytelling, after all, plays a critical role in helping us grasp the emergency through which we are all living, igniting empathy in readers and listeners—itself a precursor to action.

Runner-up: $50

📅 Deadline: October 18, 2022 (Expired)

Tusculum Review Nonfiction Chapbook Prize

The Tusculum Review

A prize of $1,000, publication of the essay in The Tusculum Review’s 20th Anniversary Issue (2024), and creation of a limited edition stand-alone chapbook with original art is awarded. Editors of The Tusculum Review and contest judge Mary Cappello will determine the winner of the 2024 prize.

World Historian Student Essay Competition

World History Association

The World Historian Student Essay Competition is an international competition open to students enrolled in grades K–12 in public, private, and parochial schools, and those in home-study programs. Membership in the World History Association is not a requirement for submission. Past winners may not compete in the same category again.

📅 Deadline: May 01, 2024

Discover the finest writing contests of 2024 for fiction and non-fiction authors — including short story competitions, essay writing competitions, poetry contests, and many more. Updated weekly, these contests are vetted by Reedsy to weed out the scammers and time-wasters. If you’re looking to stick to free writing contests, simply use our filters as you browse.

Why you should submit to writing contests

Submitting to poetry competitions and free writing contests in 2024 is absolutely worth your while as an aspiring author: just as your qualifications matter when you apply for a new job, a writing portfolio that boasts published works and award-winning pieces is a great way to give your writing career a boost. And not to mention the bonus of cash prizes!

That being said, we understand that taking part in writing contests can be tough for emerging writers. First, there’s the same affliction all writers face: lack of time or inspiration. Entering writing contests is a time commitment, and many people decide to forego this endeavor in order to work on their larger projects instead — like a full-length book. Second, for many writers, the chance of rejection is enough to steer them clear of writing contests. 

But we’re here to tell you that two of the great benefits of entering writing contests happen to be the same as those two reasons to avoid them.

When it comes to the time commitment: yes, you will need to expend time and effort in order to submit a quality piece of writing to competitions. That being said, having a hard deadline to meet is a great motivator for developing a solid writing routine.

Think of entering contests as a training session to become a writer who will need to meet deadlines in order to have a successful career. If there’s a contest you have your eye on, and the deadline is in one month, sit down and realistically plan how many words you’ll need to write per day in order to meet that due date — and don’t forget to also factor in the time you’ll need to edit your story!

For tips on setting up a realistic writing plan, check out this free, ten-day course: How to Build a Rock-Solid Writing Routine.

In regards to the fear of rejection, the truth is that any writer aspiring to become a published author needs to develop relatively thick skin. If one of your goals is to have a book traditionally published, you will absolutely need to learn how to deal with rejection, as traditional book deals are notoriously hard to score. If you’re an indie author, you will need to adopt the hardy determination required to slowly build up a readership.

The good news is that there’s a fairly simple trick for learning to deal with rejection: use it as a chance to explore how you might be able to improve your writing.

In an ideal world, each rejection from a publisher or contest would come with a detailed letter, offering construction feedback and pointing out specific tips for improvement. And while this is sometimes the case, it’s the exception and not the rule.

Still, you can use the writing contests you don’t win as a chance to provide yourself with this feedback. Take a look at the winning and shortlisted stories and highlight their strong suits: do they have fully realized characters, a knack for showing instead of telling, a well-developed but subtly conveyed theme, a particularly satisfying denouement?

The idea isn’t to replicate what makes those stories tick in your own writing. But most examples of excellent writing share a number of basic craft principles. Try and see if there are ways for you to translate those stories’ strong points into your own unique writing.

Finally, there are the more obvious benefits of entering writing contests: prize and publication. Not to mention the potential to build up your readership, connect with editors, and gain exposure.

Resources to help you win writing competitions in 2024

Every writing contest has its own set of submission rules. Whether those rules are dense or sparing, ensure that you follow them to a T. Disregarding the guidelines will not sway the judges’ opinion in your favor — and might disqualify you from the contest altogether. 

Aside from ensuring you follow the rules, here are a few resources that will help you perfect your submissions.

Free online courses

On Writing:

How to Craft a Killer Short Story

The Non-Sexy Business of Writing Non-Fiction

How to Write a Novel

Understanding Point of View

Developing Characters That Your Readers Will Love

Writing Dialogue That Develops Plot and Character

Stop Procrastinating! Build a Solid Writing Routine

On Editing:

Story Editing for Authors

How to Self-Edit Like a Pro

Novel Revision: Practical Tips for Rewrites

How to Write a Short Story in 7 Steps

How to Write a Novel in 15 Steps

Literary Devices and Terms — 35+ Definitions With Examples

10 Essential Fiction Writing Tips to Improve Your Craft

How to Write Dialogue: 8 Simple Rules and Exercises

8 Character Development Exercises to Help You Nail Your Character

Bonus resources

200+ Short Story Ideas

600+ Writing Prompts to Inspire You

100+ Creative Writing Exercises for Fiction Authors

Story Title Generator

Pen Name Generator

Character Name Generator

After you submit to a writing competition in 2024

It’s exciting to send a piece of writing off to a contest. However, once the initial excitement wears off, you may be left waiting for a while. Some writing contests will contact all entrants after the judging period — whether or not they’ve won. Other writing competitions will only contact the winners. 

Here are a few things to keep in mind after you submit:

Many writing competitions don’t have time to respond to each entrant with feedback on their story. However, it never hurts to ask! Feel free to politely reach out requesting feedback — but wait until after the selection period is over.

If you’ve submitted the same work to more than one writing competition or literary magazine, remember to withdraw your submission if it ends up winning elsewhere.

After you send a submission, don’t follow it up with a rewritten or revised version. Instead, ensure that your first version is thoroughly proofread and edited. If not, wait until the next edition of the contest or submit the revised version to other writing contests.

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Your online Caribbean study group

• CXC CSEC exam guide: English A

CXC CSEC English A exam paper 2 award winning short stories

Cxc csec english a short stories awarded annual best short story: 2001 - 2012.

Every year, CXC publishes a short story which it selects from all the CXC CSEC English A short story exam entries for that year. These short stories exhibit the qualities of good writing which CXC values. They are published by CXC as examples of the quality of writing to which students should aspire.

In this vein, we present here, short stories that have received the CXC annual short story award. We include these stories here because we hope that they will give you an idea of the quality of writing that CXC requires for high marks in its CXC CSEC English A exam short story question.

2003 short story question . "Some people never give up. They keep going on and on." Write a story beginning with these words.

CXC award winning answer

2007 short story question . Write a short story in which you use the words, "The phone rang once and stopped. It rang again. This was it now."

2008 short story question. Write a short story based on the picture below.

2009 short story question. Write a short story based on the picture below.

2010 short story question

It was the middle of the mathematics class. Mrs Taylor our teacher suddenly collapsed and sprawled unconscious on the floor. It was terrifying.

Write a story which includes these words.

2011 short story question

A cold hand grasped his wrist as he slumped to his knees. Write a story which includes these words.

2012 short story question

My people were special to me. I had to warn them that a storm, such as they had never seen, was coming.

You will need to register for membership with CaribExams to see these short stories in full.

Here is a link to short story writing tutorials for paper 2 of the CXC English A exam.

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