connecticut student writers magazine

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Connecticut Writing Project

Connecticut student writers, the connecticut student writers contest.

The Connecticut Writing Project (CWP) sponsors Connecticut Student Writers , a magazine established in 1987 by the CWP to honor excellence in writing by students from kindergarten through high school. The highlight of the publication process is the Student Recognition Night, a celebration hosted by the CWP on the UConn campus.

The magazine provides an arena for Connecticut students to present their original work in poetry or prose. The  CSW  provides validation of authorship from kindergarten through high school, as well as provides an opportunity for some students to present their work before a live audience. Through the  CSW  pages, Connecticut students recognize the importance of writing in their lives. For some, writing for the  CSW  offers the stepping stone for further literary endeavors.

Annually, over 1,500 students from across Connecticut submit entries vividly demonstrating their passion for the craft of writing. From this large pool of poetry, essays, stories, and drama, submissions in Poetry and Prose are chosen to be published or honored from each grade level.

Submission Guidelines and Forms

For submission guidelines for the 2024 Connecticut Student Writers, click here.

To access the submission form for the 2024 Connecticut Student Writers, click here.

To access the parent/guardian permission form, click here .

Student Recognition Night

Lists of all honored students

Click the photo of Adele's Tiger to access complete lists of all published and honored student writers from this year's Connecticut Student Writers magazine.

Connecticut Student Writers magazine

Photos from Recognition Night 2019

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Submission Deadlines Coming Up

The Connecticut Writing Project (CWP) Connecticut Student Writers 2022 Submissions close | January 24, 2022 Guidelines CWP sponsors  Connecticut Student Writers , a magazine established in 1987 by the CWP to honor excellence in writing by students from kindergarten through high school. The highlight of the publication process is the Student Recognition Night, a celebration hosted by the CWP on the UConn campus. Entries are accepted in the categories of poetry, fiction, nonfiction, and art.

Woodhall Press Submissions close | January 1, 2022 Guidelines Woodhall press is currently accepting submissions in poetry, fiction, and nonfiction.

Housatonic Book Awards Submissions open | January 1, 2022 Guidelines   Open to all in the categories of fiction, nonfiction, poetry, and young adult/middle grade.

2022 Nutmeg Poetry Awards Submissions close | January 31, 2022 Guidelines The Connecticut Poetry Society (CPS) announces the 2022 Nutmeg Poetry Award, a contest open to all Connecticut poets. Submission is free for CPS members, $10 for non-members, and winning poems will be posted on the CPS website.

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Hall Students Recognized by Connecticut Students Writers Magazine

Ten students from West Hartford’s Hall High School have earned recognition from Connecticut Students Writers magazine.

Submitted by Carol Blejwas

Ten students from William H. Hall High School garnered recognition from the Connecticut Student Writers Magazine. 

They are seniors Michael Cherny , Alicia Chiu , Amy Hildago , and  Afrah Kahlil, and juniors Anna Baker , Jack Brown , Julia Cianflone , Liv Drazen , Connor Ferguson , and Sarah Goldman . 

Connecticut Student Writers is a magazine established in 1987 by the Connecticut Writing Project to honor excellence in writing by students from kindergarten through high school. Annually, almost 2,000 students from across Connecticut submit entries vividly demonstrating their passion for the craft of writing. 

Connor Ferguson earned Gold recognition for “Truth Has Kicked the Bucket” (non-fiction). 

Julia Cianflone earned Silver for “What You’re Made Of” (non-fiction).   

Honorable Mentions were earned by Alicia Chiu for “lunch ?” (artwork), “nearly violent” (poetry) and “Make Up, My Truth” (non-fiction);  Michael Cherny for Alive, An Abstract Term (non-fiction) and “A Standardized Test” (poetry); Amy Hildago for “The Climb” (artwork); Anna Baker for “Unhappy Earth Day” (fiction); Jack Brown for “Understanding Others’ Realities” (non-fiction); Liv Drazen for “Stages” (poetry); Sarah Goldman for “To Save America’s Unions The Government Must Intervene” (non-fiction);  and Afrah Kahlil for “Refuge Life: (non-fiction).  

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May 8, 2012 | Alyssa Krueger & Will Dunlop

Helping Teachers Teach Writing

The Connecticut Writing Project is a resource for professional growth and the development of writing skills.

Research has shown that students of teachers who participate in National Writing Projects such as this make significant gains in writing performance.

Many students at all levels struggle with writing. And many teachers welcome some help in working with them, too.

The Connecticut Writing Project (CWP) at UConn is a resource both for those who teach writing, from kindergarten through college, and for the students they teach.

The CWP-Storrs was established in 1982 with the goal of improving the writing of incoming students and providing training to teachers in how to teach writing. It is one of the oldest sites of the National Writing Project.

Today, the CWP works closely with the Neag School of Education, the University Writing Center, the Early College Experience and Freshmen English programs, and the Creative Writing program. Much of this is facilitated by the Aetna Chair of Writing, which the CWP helped establish.

The common thread among these programs is that they recognize the paramount importance of writing to student achievement. To that end, one of the CWP’s main goals is to provide teachers and students with opportunities to be writers.

From its earliest days, the CWP published the undergraduate literary journal Writing UConn , which later became the award-winning Long River Review , as well as a journal of graduate student writing that was a forerunner to Essay Connections . While these two publications have long since become the purview of other programs, the CWP continues to provide writing opportunities through a Summer Institute, Writers Retreats, a Teacher-as-Writer program, and Connecticut Student Writers magazine.

The Summer Institute is the foundation of the CWP. It is an intensive, interdisciplinary, four-week program that provides an interactive environment in which K-college teachers share their research and their writing . Half of the coursework is dedicated to work in writing groups and the development of a portfolio of original writing.

Participants say that having the opportunity to share work and receive peer feedback is invaluable. “Some of the best times are when we share our own writing,” says Kelly Andrews-Babcock, a teacher from Killingly who co-teaches the Summer Institute with CWP director Jason Courtmanche. “There are often gales of laughter, tears, and some heavy sighs. Friday read-arounds become an emotional roller coaster for all of us. It becomes a time of discovery, and we bare our souls through sharing our passions and pains.”

At the conclusion of the Institute, participants are asked to self-select one piece of writing for publication in Teacher-Writer , an annual journal that also includes writing from a fall contest and the Writers Retreats program.

Writers Retreats for teachers have been held since 1990, and take place at Wisdom House in Litchfield. These retreats provide teachers much-needed time to write and to benefit from the company of other teachers who write. Participants leave the retreats energized and recommitted to their work.

Nicole Waicunas, an English teacher at EO Smith High School in Storrs and recipient of the 2012 Stephen Sondheim Inspirational Teacher Award, said of her recent experience, “I felt welcomed as I read the words that I had so carefully written. The experience could not have been better for a new writer like me.” Rosemary LoStocco, also an English teacher at EO Smith High School, said of the program, “Wisdom House provided the uninterrupted concentration I needed to quiet my spirit and awaken memories. I grew from sharing my work with such gifted, compassionate writers.”

Denise Abercrombie runs both the Writers Retreats and the Teacher-as-Writer program, which meets several times a year on the Storrs campus. In this program, a small group of teachers gather to share their writing in a supportive environment.

Abercrombie describes the essence of the program when she says, “Teachers who make themselves vulnerable as fellow writers not only model the writing life for their students, but deepen their own teaching and writing practice.”

The CWP also provides opportunities for students to publish their writing. Since 1988, the CWP has published Connecticut Student Writers magazine, which features writing by students from kindergarten through high school. The magazine is currently edited by Griswold High English teacher Nadine Keane. More than 1,000 students submit their work each year; about 150 are published or receive honorable mention. These students are honored each spring at an event called Recognition Night, which is held at the Jorgensen Center for the Performing Arts and features a keynote address by a local children’s or young adult author, as well as readings by select students from each grade level.

“Students often work toward extrinsic rewards, such as good grades or parental approval,” says Keane. “However, the intrinsic rewards that come from publication are more profound. As the students enter Jorgensen Auditorium on Recognition Night, the young authors are radiant with pride.” This year’s event will be held on May 15.

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Connecticut Student Writers Winners!

We are pleased to announce we had two (2) Silver Award Winners published this year!

https://cwp.uconn.edu/ct-student-writers-magazine/awards-night/

CONGRATULATIONS! 2022-23

Grade 8:  Allison Chaleski, Platinum Award. Published in CSW Magazine  - "1/2 Portait "

Grade 8:  Colleen Espinoza , Silver Aw ard. Published in CSW Magazine  - "1/2 Ca t Portait "

CONGRATULATIONS! 2021-22

Grade 7:  Shalika Basavaraj, Published in CSW Magazine  - " Toucans"

CONGRATULATIONS! 2019-20

Grade 6:  Sandhya Sudarsanam, Platinum  Winner, Non-fiction - The Beauty of Neuromusicology

Grade 7:  Juliet Dahlstrom, Silver Winner, Fiction - Hole in the Ceiling

Riya Pharsiyawar, Silver Winner, Fiction - A Mere Facade

Grade 7:  Riya Pharsiyawar, Silver Winner, Non-fiction - A Picture of Our Misery

Jennifer Blue - Honorable Mention Teaching Award for Excellence in the Teaching of Writing

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Krista Mitchell has extensive experience in creative writing, particularly in the genres of poetry and creative nonfiction. She is currently pursuing a bachelor's degree in English with a concentration in Creative Writing at the University of Connecticut, alongside a second bachelor's degree in art. Krista was a 2022 winner of the UConn Creative Writing Program's Poetic Journeys competition, which features poem excerpts written by students and faculty on placards designed by students in the University’s Design Center, which are displayed across campus. Her winning excerpt can be found here: https://poeticjourneys.uconn.edu/galleries/screen-shot-2022-04-26-at-2-04-04-pm/. She was also a featured reader in the 2021 Long River Reading Series, also sponsored by the UConn Creative Writing Program. Krista is currently a member of the Spring 2024 staff of Long River Review , UConn's literary magazine, serving as arts liaison, poetry panelist, and web team member.

Beyond her creative writing talent, Krista is adept in academic writing and literary analysis, with a keen eye for detail that enables her to comprehend and analyze dense, complex texts. She has years of experience in revising, editing, and proofreading creative writing pieces, having served as student leader of her high school's creative writing club and the secretary of the UConn Creative Writing Club as a freshman, where she also acquired vital leadership and public speaking skills. Throughout her freshman year, Krista further developed her revision skills as member of the Willimantic Writers Group, where she engaged in monthly critiques of writing drafts with other club members. She was also a contributor to the group's 2022 literary magazine: https://www.willimanticlibrary.org/news-events/documents/Willimantic_Writers_Volume_2.pdf

While in high school, Krista's poetry was recognized by the UConn ECE Wallace Stevens Poetry Contest, Hillstead Museum's Fresh Voices Competition, Connecticut Student Writers Magazine, and Connecticut Poetry Society's Lynn Decaro Poetry Competition; she also received recognition for her creative nonfiction and visual art from the Connecticut Students Writers magazine. Krista studied poetry recitation throughout high school and was a state finalist in the 2021 Poetry Out Loud Competition for Connecticut. She completed an independent study in poetry writing, revision, and performance as a high school senior, and received Outstanding Achievement in English awards throughout all four years of high school.

Krista continues to develop her writing practice alongside her visual art through her English and creative writing coursework at UConn. With aspirations in illustration, she is interested in how text-based content can be expressed visually. She plans on pursuing pursuing art coursework related to illustration and animation, using her literary background to explore visual storytelling in various mediums including comics and children’s books.

Image: Blackout poetry from A Streetcar Named Desire , 2022

Copyright © 2024 Krista Mitchell - All Rights Reserved.

Connecticut Writing Project at UConn

There are presently no open calls for submissions.

Since 1982, the Connecticut Writing Project at UConn has worked to improve writing instruction in Connecticut's schools.  To that end, the CWP sponsors several opportunities for teachers to engage in quality professional development and for both teachers and K-12 students to publish their writing.  Below are several forms for applying to some of these opportunities, including the Summer Institute, Connecticut Student Writers , and Letters About Literature.  Click the icon above to visit our website, or email us at [email protected].

Columbia’s student journalists produced New York magazine’s cover story. Here’s how they did it

Editor’s Note: A version of this article first appeared in the “Reliable Sources” newsletter.  Sign up for the daily digest chronicling the evolving media landscape here.

In mid-April, when New York magazine sought to report on the pro-Palestinian student protests engulfing Columbia University, the features editor overseeing the storied publication’s coverage devised an outside-the-box approach.

Rather than dispatching his own staff writers to the Morningside Heights campus, the editor, Nick Summers, tapped away at his keyboard, writing an email to Isabella Ramirez, the editor-in-chief of Columbia Daily Spectator.

The Spectator, the student newspaper that has served the university since 1877, had been all over the story — and Summers was hoping to tap into its network of sources, deep knowledge of the campus community, and trust its staff had amassed over the years among students and faculty for New York’s May issue.

“It was clear from the outset that The Spectator was really leading the coverage,” Summers told CNN by phone Monday. “And so, we had the idea to approach them and offer: Do you want to make the next cover package?”

The final product, out Monday,  is a special report  on the campus unrest, executed in total partnership with The Spectator. It includes an oral history of the encampments and Hamilton Hall takeover, portraits of both pro-Palestinian and pro-Israel demonstrators, and a 700-person poll of the campus community.

The package was not only written in its entirety by the student journalists, but it was edited by Ramirez who worked hand-in-hand with Summers and another features editor, Ryu Spaeth. The photographs were captured by student journalists — including the cover image shot by freshman Stella Ragas — working in conjunction with New York photo director Jody Quon.

“They delivered a depth of reporting that exceeded our expectations,” said Summers, who once served as the top editor at The Spectator himself.

Working with the magazine also allowed the students to learn from top industry veterans, who Quon told CNN, took joy in passing along tips to the next generation of journalists. Quon relayed a story from when she visited campus to help with the photography process. She said she introduced some students to top industry photojournalists, who took time to offer their advice.

“I was so warmed by that,” Quon said.

Gathering reporting from campus for the issue, however, was not without its challenges for the student journalists. The Spectator’s staff is comprised, obviously, of students — and the protests reached the crescendo just as finals approached and end-of-the-semester papers were due. Adding to the stress was the fact that many student demonstrators have been press shy, expressing skepticism that the news media has accurately portrayed their views.

That also gave The Spectator an edge over just about everyone else. The protesting students who wanted to speak to the media were far more likely to trust their fellow classmates than the hordes of reporters from national and international news organizations who had descended on the campus.

“There is significantly more trust of us than national outlets who parachute in and maybe don’t have the intimate knowledge,” Ramirez told CNN.

“We have been covering this since October 7. We have been here before, during, and we will be here after,” Ramirez added. “And I think what that means is we have cared about this storyline even before the peak of escalation. And so we spent months forming our connections with the organizers.”

For the journalists at The Spectator, offering the campus community an unrelenting stream of updates about the tense and politically polarizing situation carried with it a strong sense of duty. And so, they have spent the last several weeks pouring their souls into the coverage.

In fact, when the encampments first propped up on campus, Ramirez told CNN that the student journalists were reluctant to retire for the night. For the first few days, they remained tirelessly on scene. Ultimately, a shift system was put into place that allowed reporters and editors to continue delivering updates on the protests on a rolling, 24/7 basis.

“Someone needs to do the history keeping, the record keeping,” Ramirez said.

While The Spectator churned out non-stop breaking news alerts, the partnership with New York magazine allowed the journalists to “take a step back and explore a long form medium,” Ramirez said. She said the “ability to do something incredibly comprehensive” added important context into the historical record.

“I think it will stay for us forever,” Ramirez said, “and I hope it will stay with our community forever.”

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‘The program of no’: Creative writing program faces lecturer shortages

Two creative writing lecturers requested anonymity due to fears of professional retaliation. Pseudonyms and gender neutral pronouns were used to protect sources’ identities and improve readability.

Rose Whitmore, a former Jones lecturer, was one of Kathaleen Mallard’s ’25 favorite teachers and mentors. She received the 2023 Phi Beta Kappa Teaching Prize — the same year she was let go. When another student asked her to be their advisor that year, Whitmore had to decline.

“I advised her for the rest of that year and then she had to go find somebody, and I think that was a bummer for her,” Whitmore said. 

Whitmore’s dismissal was necessitated by a four-year cap on lectureships, implemented by the creative writing program last year, which meant that those hired after the cap would be terminated at the end of their four years. But despite the policy, Stanford’s creative writing program — which claims to be “one of the best-known in the country” — continues to struggle to meet student demand, with high-volume waitlists for capped workshop classes.

For some students and lecturers, this tension between the program’s hiring limits and student demand means that creative writing students are not receiving the resources they need.

“Students are having a harder time getting into the classes,” said Charlie, a lecturer who requested anonymity due to fear of professional retaliation. “That’s why we’re disappointed at the faculty’s decision to reduce the number of lectureships — we feel like it’s wrong and it’s exactly the opposite of what we should be doing, considering the demand.”

This academic year is the first that current Stegner fellows, from whom Jones lectureships are usually hired, are not being offered the opportunity to apply for the lectureship. In an email obtained by The Daily, Nicholas Jenkins, the co-director of the creative writing program, and Elizabeth Tallent, the former co-director of the program, wrote that the program lacked the funds to support new positions. Following advocacy to increase compensation to allow lecturers to afford Bay Area rent, the program recently increased salaries for Jones lectures.

Some students who face limited resources and teaching staff say they are being discouraged from the program. 

Natalie Rodriguez ’25, who said she applied to Stanford because of its creative writing program, said that despite being a declared English major, there has not been a quarter where she has not been stressed about enrollment. 

During her frosh winter, Rodriguez said she struggled to get into ENGLISH 90: “Fiction Writing” and eventually got off the waitlist after classes had already started. She considered herself lucky — if she had not gotten into the class, she said she likely would have been turned off by the program and probably would not have become an English major with a concentration in creative writing.

“That is the whole reason that I wanted to come here and it probably would have been incredibly stressful to have to figure out a whole plan and to feel like I had been lied to,” she said.

Even students who brave the enrollment process say the challenges are making them hesitant about pursuing a creative writing career.

Mallard said she can feel a sense of discouragement in the classroom from seeing lecturers get let go and experiencing the difficulty of getting into classes, which both make it seem like Stanford does not think creative writing is a “valid pathway.”  

According to Mallard, Whitmore is “one of the best short story writers [in the] nation.”

“If she was let go, what hope do the rest of us have for finding a job in creative writing?” Mallard asked. 

Sam, a lecturer who requested anonymity due to fear of professional retaliation, wrote that they found it strange that Stanford does not have the funds for additional creative writing classes when other departments and classes, like engineering, require more expensive resources. If there was a lack of instructors in the computer science department, they wrote, Stanford would immediately address the issue. 

Hiring caps mean that creative writing instructors also often have to turn down students looking for advisors.

Natalie Rodriguez ’25, who applied for an honors in the arts, said she reached out to several lecturers to advise her creative writing project. But none had the capacity to help her, because they were at capacity for the number of other students who had asked to do independent work. Eventually, Rodriguez found someone in a different department to advise her. 

Sam wrote that since the passing of the last program director, Eavan Boland, the new co-directors have implemented a policy of two independent studies students per year, per lecturer. Though many lecturers, like Charlie, say they take this maximum amount of two independent studies students per year, they are unable to fully meet student demand.

Capped workshops, which Rodriguez said are some of the program’s most popular and demanded classes, are also affected by teaching staff shortages. The most popular introductory creative writing classes, ENGLISH 9CE: “Creative Expression in Writing,” ENGLISH 90: “Fiction Writing” and ENGLISH 91: “Creative Nonfiction” are all workshops. 

“It’s important that workshops are kept to a class of 15 students, so that each student’s work gets the attention it deserves,” Sam wrote. “Most introductory courses have waitlists of 10 students or more.”

Whitmore said she used to receive many emails from students, especially from seniors who really needed to take a specific class to fulfill their minor. She would occasionally take more students than the cap, but such a decision is up to the discretion of each particular lecturer. 

“If there’s too many students in the class, people just don’t get the same experience,” Whitmore said. “Creative writing classes should be small because it’s an intimate excavator process and it’s meant to be.”

Workshops typically begin with a few weeks dedicated to studying the works of other authors, before students take turns sharing their personal work. Class sessions are then spent providing feedback to individual students — Rodriguez said these are her favorite classes to be in because she enjoys reading her classmates’ work and getting feedback from them and lecturers.

Since the introduction of enrollment groups, though, Sam wrote the composition of their introductory creative writing classes has been affected, with more seniors and juniors than before. “Of course we want seniors and juniors in our classes, but we’d especially like for freshmen and sophomores to have access to these introductory classes,” they wrote. 

“This is a failure of vision and attention at all levels of upper administration at Stanford. If I was a parent of a Stanford student who could not take a Creative Writing class, I would be astonished and angry,” Sam wrote.

Mallard said this was a huge problem for creative writing students, because it is hard to get into the classes they need. She said that it feels like there are more creative writing minors and English majors with a creative writing concentration now, “but they’re not hiring any new lecturers and a lot of really, really famous lecturers, like famous writers, are let go.” 

Sam wrote that when the creative writing program was under former director Eavan Boland, the culture and priority of the program was centered around the students. However, since her passing in 2020, the leadership and direction of the program has changed. Sam wrote that critical needs are not addressed, even when expressed by lecturers and students.

“Every email from our directors detail all the things that can’t be done. It’s become the Program of No. The culture and morale that was built by Eavan in partnership with the Jones lecturers and generations of undergraduates is falling apart in front of our eyes,” Sam wrote. 

In an email to The Daily, Gabriella Safran, senior associate dean of humanities and arts, wrote that she and the faculty in the program were aware of the high demand for creative writing classes, and that she could not speak to personnel and hiring issues. 

“We hope to provide more opportunities for students in the future once the restructuring of the program is complete,” she wrote. 

According to Charlie, under the co-directorship of Jenkins and Tallent, a process to restructure the creative writing program began with the formation of a working group comprised of creative writing faculty members. There was no Jones lecturer representation in the group. 

“I think if Stanford wants to claim that they have a great creative writing program, they need to offer the same funding and the same support that they offer to other programs,” said Rodriguez.

Mallard said she recently attended a poetry reading held by a Stegner Fellow. It was a packed event, which surprised her.

“So I think the problem isn’t with engagement or the lack of people who are passionate about creative writing … I think there are lots of students who want to make creative writing their livelihood after college,” she said. “It’s like, truthfully, Stanford is just, ignoring the students and what they want.”

Judy N. Liu '26 is the Academics desk editor for News and staff writer at The Daily.

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