Fiction Consultations with EJ Colen

EJ Colen is a PNW-based educator, writer, and editor interested in long-form poetry, the lyric essay, literary and visual collage, and research-based approaches to storytelling and memoir. She is the author of What Weaponry, a novel in prose poems, poetry collections Money for Sunsets (Lambda Literary Award and Audre Lorde Award finalist in 2011) and Waiting Up for the End of the World: Conspiracies, flash fiction collection Dear Mother Monster, Dear Daughter Mistake, long poem / lyric essay hybrid The Green Condition, and fiction collaboration True Ash. With more than two decades of social justice activism, EJ remains committed to centering marginalized voices in all the work that she does. Nonfiction editor at Tupelo Press and freelance editor/manuscript consultant, she teaches in the English and Women, Gender, and Sexuality Studies Departments at Western Washington University.

EJ will provide detailed comments on your manuscript as well as a cover letter. After receiving these files, participants who submit chapbooks and full-length manuscripts may also book phone/video conferences with EJ at no additional charge.

EJ is accepting everything from flash fiction to novels. The fees and parameters for each of these categories is as follows:

  •     Flash fiction, up to 2 pages in length, $25
  •     Short stories, up to 20 pages in length, $55
  •     Chapbooks, up to 40 pages in length, $275
  •     Novellas, up to 100 pages in length, $425
  •     Short story collections, up to 180 pages in length, $550
  •     Novels, up to 300 pages in length, $795

All manuscripts should be double spaced and formatted in 12-point font.

The deadline to submit work for this consultation program is May 31. EJ will complete her work and respond to all participants by June 30.

Consultations

Fiction Consultations with EJ Colen

Click Here to Submit Deadline: May 31 How to submit ›

Statement of Purpose

The best fiction is the kind that leaves you with more questions than answers about the human condition. The kind that pulls you in and holds you, and leaves you wondering at your own life.

It’s not just about telling a story—it’s about creating a world that feels real.

The best stories live in the cracks of the pavement, in the electric green of new leaves, in a tea that tastes of windows, or when a character’s unsaid fears reveal themselves through subtle action. And every detail should contribute to the overall arc of a story.

Whether that story moves forward by way of narrative, concept, sound, or the building of image, it should accrue meaning through both intention (content) and intuition (sound).

I read best from a surface place of enjoyment and so write that way, loving the words for what they are, choral, humansong, stung cold when they don’t perform, worse yet when the page gets packed with loose, unnecessary sounds. Condense, condense.

I believe in writing that wrestles with itself, that feels uncomfortable, unpredictable, alive. My job is to help you find the edges of your story. To help you discover what your story wants to be, to ask questions to prompt it further along its path, to provide direction to bring it closer to its true intentions.

I will not tell you how to write your story, but I will listen to what it is asking of you and do what I can to help it get there.

Some key questions I ask every story:

  • Why these characters at this specific moment in time?
  • Is the structure vital to the overall arc of the story? How can it get there?
  • Are these the best words in the best order?
  • What is the balance of the three modes of storytelling: scene, exposition, and reflection? How is this contributing to or holding the story back?
  • Does the story include moments of silence, unsaid things, things that linger just beyond the page? Or does it give it all away?
  • And perhaps most importantly: why are we reading this?

EJ Colen

EJ Colen is a PNW-based educator, writer, and editor interested in long-form poetry, the lyric essay, literary and visual collage, and research-based approaches to storytelling and memoir. She is the author of What Weaponry, a novel in prose poems, poetry collections Money for Sunsets (Lambda Literary Award and Audre Lorde Award finalist in 2011) and Waiting Up for the End of the World: Conspiracies, flash fiction collection Dear Mother Monster, Dear Daughter Mistake, long poem / lyric essay hybrid The Green Condition, and fiction collaboration True Ash. With more than two decades of social justice activism, EJ remains committed to centering marginalized voices in all the work that she does. Nonfiction editor at Tupelo Press and freelance editor/manuscript consultant, she teaches in the English and Women, Gender, and Sexuality Studies Departments at Western Washington University.

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How to Submit

Black Lawrence Press accepts submissions and payment of the entry fee exclusively through our online submission manager, Submittable. We are not able to accept submissions via email or postal mail.

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