Jack Jones at SMU-in-Taos

Jack Jones Literary Arts is hosting its first annual writing retreat at SMU-in-Taos in Taos, New Mexico. This two-week retreat will be held October 12- 26, 2017, and is open exclusively to women of color. National Book Award finalist, Angela Flournoy, author of The Turner House, is joining us as our Writer-in-Residence for week one, and Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellow and NEA award winner, Angel Nafis, author of BlackGirl Mansion, will join us as Writer-in-Residence for week two.

As part of the retreat experience, Jack Jones is featuring daily one hour Skype master classes with agents, editors and acclaimed women in publishing to promote networking, learning and engagement. These sessions are totally optional for retreat participants.

The retreat rate is $1050.00 for the two weeks and includes individual writing suites with private bedroom, communal baths, writing area, library room, computer center, wifi, and all meals are provided.

Professional and emerging women writers of color at work on book projects are eligible for residencies. Women with and without MFAs are eligible, but students who are currently enrolled in a degree program are ineligible for a residency. Unfortunately, the SMU-in-Taos grounds do not support wheelchairs or walkers. We are making every effort to secure a location for 2018 that is both cost-effective and accessible.

To apply to the Jack Jones Literary Arts writing retreat, please fill out our online application. The application includes a project proposal, a reference and the writing sample. The  non-refundable application processing fee is $25 and can be paid by debit or credit card. If you have any questions concerning the residency, please consult our FAQs. If you can't find your answer there, email us at hello@jackjonesliteraryarts.com. 

We are pleased to offer fifteen fully-funded scholarship opportunities, travel stipends and admissions fee reimbursements. All supporting documentation will need to be submitted at the time of application. No supplemental materials will be accepted via email outside of the recommendation letter. Please read the eligibility guidelines carefully. Application deadline is May 5, 2017 midnight/EST and recommendation letters need to be received by May 15, 2017 midnight/EST. Acceptance notifications are mailed out through July 15, 2017. 

Arrival at the retreat is Thursday, October 12, 2017 and departure is Thursday October 26, 2017.

The application process is highly competitive; please submit your strongest work.


The Roxane Gay Fellowships
We are grateful to Roxane Gay, author of Difficult Women, Hunger, Bad Feminist, An Untamed State and Ayiti for fully funding these opportunities.

Fellowship one covers the full retreat attendance rate of $1050.00 for an LGBTQ woman of color age 40 years or older writing in any genre. This fellowship includes travel reimbursement for a coach class ticket.

Fellowship two covers the full retreat attendance of $1050.00 for a woman of color writing in fiction who does not have an MFA degree. This fellowship includes travel reimbursement for a coach class ticket.

The Angela Flournoy Fellowship
We are grateful to Angela Flournoy, author of The Turner House, for fully funding this opportunity and to friend and literary advocate Rigoberto Gonzalez, author of  Butterfly Boy: Memories of a Chicano Mariposa and numerous other titlesfor providing a $500 travel stipend.

This fellowship covers the full retreat attendance rate of $1050.00 for an African American woman with financial need and includes a $500 travel stipend. Need will be demonstrated with supporting tax documentation. 

The Natalie Diaz Fellowships
We are grateful to Natalie Diaz, author of When My Brother Was an Aztec, for fully funding these opportunities.

Fellowship one covers the full retreat attendance rate of $1050.00 for a Native woman writing in any genre. This fellowship does not include the cost of travel. 

Fellowship two covers the full retreat attendance of $1050.00 for a Latina woman writing in any genre. This fellowship does not include the cost of travel. 

The Lucille Clifton Fellowship
We are grateful to an anonymous donor for fully funding this opportunity.

This fellowship covers the full retreat attendance rate of $1050.00 for a woman of color  writing in any genre. This fellowship does not include the cost of travel. 

The Zora Neale Hurston Fellowship
We are grateful to an anonymous donor for fully funding this opportunity.

This fellowship covers the full retreat attendance rate of $1050.00 for a woman of color writing in any genre. This fellowship does not include the cost of travel. 

The Lorraine Hansberry Fellowship
We are grateful to an anonymous donor for fully funding this opportunity.

This fellowship covers the full retreat attendance rate of $1050.00 for a woman of color 30 or under writing in any genre. This fellowship does not include the cost of travel. 

The Octavia Butler Fellowship
We are grateful to Olivia A. Cole, author of A Conspiracy of Stars and the Panther in the Hive series, for fully funding this opportunity.

Fellowship covers the full retreat attendance rate of $1050.00 for a woman of color writing in any genre. This fellowship does not include the cost of travel. 

The Tiphanie Yanique Fellowship
We are grateful to an anonymous donor for fully funding this opportunity in the name of literature from the Caribbean diaspora with emphasis on the cultural contributions of Tiphanie Yanique.

This fellowship covers the full retreat attendance rate of $1050.00 for a woman of the Caribbean diaspora writing in any genre. This fellowship does not include the cost of travel. 

The Yi Dae Up Fellowships
We are grateful to novelist Alexander Chee, author of Edinburgh and Queen of the Night, for fully funding these opportunities. Alexander has named this scholarship in memory of his late grandmother, Yi Dae Up, who began practicing the art of Chinese calligraphy in middle age after raising seven children, deferring her practice for marriage and family, and then going on to win national prizes for her art." This fellowship is open to women writers of Asian American descent, and Asian immigrant women writers, writing in any genre, and with the intention of encouraging older women to apply but not limited to them. Two awards will be granted.

This fellowship covers the full retreat attendance rate of $1050.00 and includes a $500 travel stipend.

The Writers of Immigration and Diaspora Fellowship
We are grateful to novelist Yoojin Grace Wuertz, author of Everything Belongs to Us, for fully funding this opportunity. 

This fellowship covers the full retreat attendance rate of $1050.00 and includes a $500 travel stipend for a woman of color writing in any genre who is an immigrant or child of immigrants.

The Working Woman's Fund
We are grateful to the generosity of Manjula Martin, author of Scratch, Women Who Submit Los Angeles, Mary-Kim Arnold, author of Litany for the Long Moment, Andrea Blancas Beltran, Michael Schmeltzer, R. A. Villanueva, author of Reliquaria, Meredith Alling, author of Sing the Song, an anonymous donor and Women Work.

This scholarship fund was established to help a working woman who might not otherwise have the money or time to get to the retreat. It can be put towards travel expense, childcare, or reimbursement for missed pay for women who have to miss work or take vacation days to attend the residency. The fellowship covers the $1050.00 retreat attendance rate.

The Audre Lorde Fellowship
We are grateful to an anonymous donor for fully funding this opportunity because of the impact Lorde's The Cancer Journals had on his life and work.

This fellowship covers the full retreat attendance rate of $1050.00 for a black woman writer 30 or over writing in any genre. This fellowship does not include the cost of travel. 

The Marsha P. Johnson Fellowship
We are grateful to an anonymous donor for fully funding this  opportunity.

This fellowship covers the full retreat attendance rate of $1050.00 for a trans woman writing in any genre. This fellowship includes a $500 travel stipend.

The African Women Create Fellowship
We are grateful to AfriPOP!'s founder and editor Yolanda Sangweni for fully funding this opportunity. 

This fellowship covers the full retreat attendance rate of $1050.00 for an African woman writer. This fellowship does not include the cost of travel. Per the Caine Prize's parameters, "an African writer is taken to mean someone who was born in Africa, or who is a national of an African country, or who has a parent who is African by birth or nationality." The recipient of this fellowship will be featured in AfriPOP! Magazine.


And more....

A very special thank you to writer and editor Ashley C. Ford whose donation covers application fees. The first six residency applicants will receive a reimbursement of their application fee from Jack Jones Literary Arts. Thank you again, Ashley.

A very special thank you to editor and digital workshop leader Allison Wright who has generously donated a travel stipend for one retreat applicant. The writer awarded the stipend will receive a $300 reimbursement from Jack Jones Literary Arts. Thank you again, Allison.

A very special thank you to writer and editor Jenn Baker  and two anonymous donors for their generous donations to the Jack Jones Retreat Logistics Fund. This fund allows us to keep the retreat as cost-effective for the attending women as possible. If you'd like to donate, please write to jack@jackjonesliteraryarts.com.

Master Classes




Angel Nafis is an Ann Arbor, Michigan native and the author of BlackGirl Mansion (Red Beard Press/ New School Poetics, 2012). She earned her BA at Hunter College and is an MFA candidate in poetry at Warren Wilson College. Her work has appeared in The BreakBeat Poets Anthology,, The Rumpus, Poetry magazine, and elsewhereNafis is a Cave Canem fellow, the recipient of a Millay Colony residency, an Urban Word NYC mentor, and the founder and curator of the Greenlight Bookstore Poetry Salon. In 2011 she represented the LouderArts poetry project at both the Women of the World Poetry Slam and the National Poetry Slam. With poet Morgan Parker, she runs The Other Black Girl Collective, an internationally touring Black Feminist poetry duo. Nafis was a recipient of the 2016 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation and a 2017 National Endowment for the Arts Fellowship. Facilitating writing workshops and reading poems globally, she lives in Brooklyn.

Angel Nafis is the 2017 Jack Jones at SMU-in-Taos in Poetry.

Angela Flournoy is the author of The Turner House, which was a finalist for the National Book Award and a New York Times notable book of the year. The novel was also a finalist for the Center for Fiction First Novel Prize, the PEN/Robert W. Bingham Prize for Debut Fiction and an NAACP Image Award. She is a National Book Foundation "5 Under 35" Honoree for 2015. Her fiction has appeared in The Paris Review, and she has written for The New York Times, The New Republic, The Los Angeles Times, and elsewhere.

A graduate of the Iowa Writers' Workshop, Flournoy received her undergraduate degree from the University of Southern California. She has taught at the University of Iowa, The New School and Columbia University. Flournoy is currently the Rona Jaffe Foundation Fellow at the New York Public Library Dorothy and Lewis B. Cullman Center for Scholars and Writers.

Angela Flournoy is the 2017 Jack Jones at SMU-in-Taos in Fiction.



Monika Woods is a literary agent at Curtis Brown, Ltd. She is a graduate of the Columbia Publishing Course and has worked at Trident Media Group and InkWell Management, where she worked closely with leading voices in contemporary literature. Her interests include literary and commercial fiction and compelling non-fiction in food, popular culture, journalism, science, and current affairs. Monika is particularly excited about plot-driven literary novels, non-fiction that is creatively critical, unique perspectives, a great cookbook, and above all, original prose.

Monika will discuss her work as an agent, the kinds of queries and writing that most interest her and what it means to take a book to auction.



Allison Wright is the executive editor of the Virginia Quarterly Review. She also serves as president of the nonprofit literary organization WriterHouse and editor of Tiny Hardcore Press. Her writing has appeared in the AtlanticVQRPopular Mechanics, the Texas Observer, Literary Hub, the Rumpus, and elsewhere. She is a member of the American Society of Magazine Editors, the National Book Critics Circle, and the Overseas Press Club.

At national conferences, college talks, and other events, she has presented on several topics, including the representation of women in media, sports & media, adolescents in America, competitive cheerleading, the future of journal editing, socially conscious fiction, debut novels, and alternative-academic careers. Work she has edited has been honored with inclusion in several of the Best American series anthologies and has been a finalist for the National Magazine Award, among other prizes.

Allison will discuss her work as executive editor at Virginia Quarterly Review.


Carmen Maria Machado’s debut short story collection, Her Body and Other Parties, is forthcoming from Graywolf Press in 2017. She is a fiction writer, critic, and essayist whose work has appeared or is forthcoming in The New YorkerGrantaTin HouseGuernicaElectric LiteratureThe Paris ReviewAGNI, NPR, Gulf Coast, Los Angeles Review of BooksVICE, and elsewhere. Her stories have been reprinted in Best American Science Fiction & Fantasy, Best Horror of the Year, Year’s Best Weird Fiction, and Best Women’s Erotica.

She holds an MFA from the Iowa Writers’ Workshop and has been awarded fellowships and residencies from the Michener-Copernicus Foundation, the Elizabeth George Foundation, the CINTAS Foundation, the Speculative Literature Foundation, the Clarion Science Fiction & Fantasy Writers’ Workshop, the University of Iowa, the Yaddo Corporation, Hedgebrook, and the Millay Colony for the Arts. She is the Artist in Residence at the University of Pennsylvania, and lives in Philadelphia with her partner.

Carmen will discuss the process of selling your book, the writer-editor relationship and what to expect the first year leading up to publishing.


Kelly Forsythe is the former Director of Publicity for Copper Canyon Press, the largest independent nonprofit poetry publisher in the U.S. Prior to working with Copper Canyon, she was a consultant for the web team at the Poetry Foundation, and worked with the marketing department at Poets & Writers Magazine. She has given lectures on publishing and book publicity at NYU, The Academy of American Poets, the Institute of American Indian Arts, and Manhattanville College. Her publicity endeavors at Copper Canyon include Natalie Diaz’s “When My Brother Was an Aztec,” Ocean Vuong’s “Night Sky with Exit Wounds,” and “Then Come Back: The Lost Neruda.” She is on the Board of Directors for the C.D. Wright Women Writers Conference, and the author of “Perennial,” forthcoming from Coffee House Press in 2018. In addition to her work with Copper Canyon, she edits Phantom, an online journal, and teaches creative writing at the University of Maryland. Kelly is now the Communications Manager, on the Global Communications team for National Geographic.

Kelly will discuss the business of publicizing and marketing poetry collections.


Ayesha Pande has worked in the publishing industry for over twenty years. Before launching her boutique agency, Ayesha was a senior editor at Farrar Straus & Giroux. She has also held editorial positions at HarperCollins and Crown Publishers. She is a member of AAR (Association of Author’s Representatives), PEN, the Asian American Writer’s Workshop and Women’s Media Group. She has attended numerous writing conferences and has taught college level courses in editing. She holds a master’s degree from Columbia University. As an agent, she has helped launch the careers of PEN-Bingham Prize winner Danielle Evans, National Book Award Winner Ibram X. Kendi, international bestseller Shilpi Somaya Gowda, and YA author Sheba Karim. Her interests are wide-ranging and include literary as well as popular fiction, young adult, women’s, African-American and international fiction. She is also seeking authors of nonfiction, including biography, history, economics, popular culture, cultural commentary, memoir, and graphic novels. She is particularly drawn to distinctive, original and underrepresented voices. 

Ayesha will discuss her work as an agent and the process of choosing the projects she acquires.

Natalie Diaz was born and raised in the Fort Mojave Indian Village in Needles, California, on the banks of the Colorado River. She is Mojave and an enrolled member of the Gila River Indian Tribe. Her first poetry collection, When My Brother Was an Aztec, was published by Copper Canyon Press in 2012. Diaz’s work has also appeared  in Narrative Magazine, Gwarlingo, The Rumpus, and Ploughshares. Her poetry has has garnered the Nimrod/Hardman Pablo Neruda Prize for Poetry, the Louis Untermeyer Scholarship in Poetry from Bread Loaf, the Narrative Poetry Prize, the Holmes National Poetry Prize from Princeton University, a US Artists Ford Fellowship, a Native Arts Council Foundation Artist Fellowship, and a Lannan Literary Fellowship. Her poems, folding Spanish and Mojave into American English, yield an urgent and important new voice to the cannon of contemporary Native American poetry, finding a place among the work of Leslie Marmon Silko and Joy Harjo.

Natalie will discuss cultivating and sustaining a life as a creative woman of color.


Kim Fu's debut novel For Today I Am a Boy won the Edmund White Award, was a finalist for the PEN/Hemingway Award and a Lambda Literary Award, and was a New York Times Book Review Editors' Choice. Her first collection of poetry, How Festive the Ambulance, received a starred review from Publisher's Weekly. Her essays, reviews, and literary journalism have been published in the New York Times, the Times Literary Supplement, Hazlitt, the Rumpus, NPR, and the Atlantic. Fu lives in Seattle, WA and is the associate editor of Maisonneuve magazine. Her second novel, The Lost Girls of Camp Forevermore, will be out in early 2018.

Kim will discuss publishing and her creative process as a multi-genre writer.

After graduating from Colgate University, Samantha Shea joined Georges Borchardt, Inc. in 2010 and was made a Vice President in 2016. Her list is primarily focused on literary fiction and narrative nonfiction and includes such writers as Lesley Nneka Arimah, Karen Brown, Amy Butcher, Camille Dungy, Zach Dorfman, Greg Jackson, John McManus, Tobey Pearl, Rahna Reiko Rizzuto, Novuyo Rosa Tshuma, and Jenny Zhang.

Samantha will discuss her work as a literary agent and the book projects that most excite her.




Esmé Weijun Wang is a novelist and essayist. Her debut, The Border of Paradise (2016), was named a Best Book of 2016 by NPR and one of the 25 Best Novels of 2016 by Electric Literature. She is the recipient of the 2016 Graywolf Nonfiction Prize for her forthcoming essay collection, THE COLLECTED SCHIZOPHRENIAS. Her work has appeared in Hazlitt, the Believer, Elle, and Lenny, among other publications. She lives in San Francisco, and can be found at esmewang.com, as well as on Twitter @esmewang. 

Esmé will deliver her workshop, Ass Kicking with Limitations.

Eliza Borné is the editor of the Oxford American, a national magazine dedicated to featuring the best in Southern writing and art, while documenting the complexity and vitality of the region. Best known for its annual Southern Music issue, the OA has won four National Magazine Awards—including the 2016 National Magazine Award in General Excellence—and other high honors since it began publication in 1992. The OA is a 501(c)(3) nonprofit organization, and the magazine’s offices are located in Little Rock’s South Main neighborhood. Borné was born and raised in Little Rock and received a B.A. in English from Wellesley College. She has also served as editorial intern, associate editor, managing editor, and interim editor of the OA. She currently serves on the Board of Directors of the the C.D. Wright Women Writers Conference, is on the Arts & Culture Commission of the City of Little Rock, and is on the talent committee of the Arkansas Literary Festival.

Eliza will join us on-site to discuss her work as editor of the Oxford American and take creative nonfiction pitches at a special luncheon.


Jia Tolentino is a contributing writer at the New Yorker’s website, formerly deputy editor at Jezebel and contributing editor at the Hairpin. From Texas, undergrad at University of Virginia, MFA at University of Michigan, represented by Amy Williams. Work at the New York Times, Grantland, NYT Mag, Slate, Fader, Pitchfork

Jia will discuss her work as both an editor and writer and the future of cultural criticism.



Sarah Bowlin is an agent at Aevitas Creative Management which she joined in early 2017.  Before becoming an agent, she spent nearly a decade as an editor of literary fiction and nonfiction, first at Riverhead Books and most recently at Henry Holt & Company. She has edited many acclaimed writers including Juan Gabriel Vásquez, Sheila Heti, Salvatore Scibona, Helen Phillips, Kseniya Melnik, Luvvie Ajayi, Ramona Ausubel, Gabriel Urza, Rachel Khong, and Julie Buntin. As an agent, she has recently begun working with emerging writers Souvankham Thammavongsa, Halimah Marcus, and Kevin
Nguyen, among others. Based in Los Angeles but originally from the South, Sarah is interested in great writing and bold voices—specifically stories of strong or difficult women and unexpected narratives of place, identity, and the shifting ways we see ourselves and each other. She’s also interested in food history, wine (drinking it and reading about it), and dance.

Sarah will discuss her work as both a book agent and seasoned editor and what debuts writers can expect.


Jamey Hatley is a native of Memphis, TN. Her writing has appeared in the Oxford American, Torch, The Account, Long Hidden: Speculative Fiction From The Margins of History, Memphis Noir, and elsewhere. She has attended the Callaloo Creative Writing Workshop, the Voices of Our Nation Writing Workshop and received scholarships to the Oxford American Summit for Ambitious Writers and the Bread Loaf Writers’ Conference. She received an MFA in Creative Writing from Louisiana State University. She made her home in Louisiana for a decade. She wrote her way home to Memphis. She is a 2016 Prose Fellow for the National Endowment for the Arts and a 2016 Rona Jaffe Foundation Writers' Award Winner.

Jamey will discuss what a writer needs in her arsenal to submit to major awards and fellowships. 


Jesmyn Ward, whose novel Salvage the Bones won the 2011 National Book Award for Fiction, has been called “fearless and toughly lyrical” by The Library Journal. Her unflinching portrayals of young black men and women struggling to thrive in a South ravaged by poverty and natural disaster have been praised for their “graphic clarity” by The Boston Globe and for their “hugeness of heart” by O, The Oprah Magazine. Ward’s precise and graceful narratives make her a fitting heir to the rich literary tradition of the American South. Jesmyn is also the author of Men We Reaped, Where the Line Bleeds and the forthcoming novel, Sing, Unburied, Sing. In Sing, Unburied, Sing, Ward will return to Mississippi and the grand themes of her earlier work. Confronting the realities of life in the rural South, Ward gives us a road novel through Mississippi’s past and present that explores the bonds of family as tested by racism and poverty.

Jesmyn will discuss sustaining a life of creativity and artistry as a black woman in America.



Yolanda Sangweni is the founder of AfriPOP!, a dynamic, engaging and celebratory digital magazine and platform that gives readers a front-row seat to the modern African perspective by celebrating what's new and what's next in Global African culture. AfriPOP! aims to inspire across borders by curating relevant cultural conversations around what affects Afropolitans around the globe. AfriPOP's smart and engaging take on African pop culture, fashion and art is relevant, fun, and in the know. Yolanda is also the digital content director at Essence Magazine.

Yolanda will discuss her work as editor of two multimedia platforms and how to stay both ahead of and on pop culture trends. 


Jack Jones at Dairy Hollow Staff

Applications for the 2017 retreat are now closed. The 2018 retreat will be announced March, 2018.


Attention: your application will not be saved if you cannot complete it in one sitting.

No one is answering my call.

We are a full-time book publicity company, and we work very hard on behalf of our clients during the day. We are not taking calls regarding the retreat. You may email hello@jackjonesliteraryarts.com with any outstanding concerns.

I don't have a website or Twitter handle. Why isn't my application going through?

Every component of the application is mandatory including the website and Twitter handle. In 2017, websites are standard for both emerging and established writers. We're interested in women who understand the power of, and use, social media.

Can Canadians and non-Americans apply to the retreat?

Unfortunately, no.

Who can write a letter of reference for me?

Your letter should be written by a professor or instructor or someone very familiar with your writing.

My recommender would like to submit the letter themselves. What should I do?

Your recommender should email the letter to jack@jackjonesliteraryarts.com with your name in the subject line.

Can I submit more than one letter of reference?

No, please do not. 

What is a project proposal?

A synopsis of the book project that you're currently working on. If you are not working on a book project, this retreat is not for you. Women writers of color working in any genre who are working on a book project may apply.

Why are white women on the digital master class roster?

Publishing is 85% white. Good allies acknowledge this reality and do the work of diversifying their magazines, client lists, presses, houses and editorial boards. The white women we invited to be a part of this retreat experience are all committed to inclusion efforts. Their work speaks for itself. We encourage you to learn more about all of our master class teachers. Follow them on Twitter. Look at who they're publishing. Look at who they're in conversation with. Seek out their work and familiarize yourself with powerhouse women in this industry.

Is SMU-in-Taos accessible for wheelchairs?

SMU-in-Taos is not accessible for wheelchairs. We are working on finding a space for 2018 that is both cost-effective and accessible.

Can my child, infant, partner or pet come along?


I am part of a writer's collective. Can we submit one application for all members?

No. Separate applications need to be submitted.

If I apply for one of the scholarship opportunities, will my application also be under consideration for general admission into the residency? 

Unfortunately, no. One application per person either scholarship or non-scholarship.

Can you give me more information on the proposal, writing sample and recommendation letter?

Sure, the proposal needs to be 750 words or less, the writing sample is 20 double spaced pages of prose or 10 pages of poetry. The recommendation letter can be uploaded as a .doc, .docx or PDF. The letter needs to be signed, preferably on letterhead, with contact information for your recommender.

Does the writing sample have to be based on the project proposal I submitted?

The writing sample needs to be tied to the project proposal.

Why is the retreat in the fall and not summer?

We feel very strongly that workshops for black writers and writers of color are sacred and necessary spaces, and we did not want to compete with them in any way. Workshops like Kimbilio, Cave Canem, Callaloo, CantoMundo and Kundiman are held during the summer; we didn't want applicants to feel conflicted in applying to this retreat vs. applying for a workshop for writers of color.

What is the difference between a workshop and a retreat and a residency?

A workshop is designed to do two things, 1. generate new work and  2. receive feedback on pages you bring in for peer and supervisor critique. A residency provides time and space to produce work, revise and research without the interruption of everyday life. A residency is time away to work without feedback but with the added component of professional workshops.

I have published a book. May I apply?

Of course. We want you to write another.

I haven't published a book. May I apply?

Of course. We want you to write your debut.

I am a student now but won't be in October. May I apply?


What kinds of students are ineligible?

Students in any program are ineligible. This retreat is serious time away to further your book project and learn invaluable information about publishing while communing with other women of color. We will not make exceptions. Please don't ask.

I can only come for a few days or a week. May I apply?


Are the digital master classes mandatory?

Yes! We want to respect the solitude a retreat allows the writer while providing the kinds of opportunities that are beneficial to writers wanting to know more about the professionalization of their craft. We've curated an outstanding roster of women to speak candidly with you about publishing. We'll gather in the library at SMU-in-Taos.

Do I have to submit tax documentation?

The Angela Flournoy Fellowship is the only opportunity that requires any documentation. 

Why is there an application fee? Why is it $35? Will you consider waiving it?

There is an application fee because our applications are read by jurors, highly accomplished contemporary women writers of color, who we respect and admire. Like anyone else, they need to be compensated for their time and labor. The $35 fee is comparable to other national residencies. The fee stands. Applications aren't processed until payment is received.

I cannot find the application link. Will you email it to me?

The application is now closed. Notification letters will begin to be emailed on June 15, 2017.