Indianapolis, Indiana – As another academic year takes shape at the University of Indianapolis, the familiar rhythm of creativity and critical reading returns to campus through one of UIndy’s most distinctive traditions: the annual Whirling Prize. Once again, Etchings Press, the university’s student-run publishing operation, is steering the effort, and this time the call for entries stretches toward 2026 with a theme wrapped in intrigue. The prize, now heading into its thirteenth year, continues to be a unique training ground for students who want to understand not only how books are made but how literature functions in real time—how it moves, how it speaks, and how it resonates in the hands of new readers.
This year, Etchings Press is seeking books that respond to mystery—a concept broad enough to capture traditional mysteries, hybrid forms, lyrical meditations, and unexpected narratives that leave room for questioning and discovery. The submission window, which stays open until 11:55 p.m. ET on January 23, 2026, invites authors of poetry and prose whose works have been published since January 2024. Submissions flow through the Etchings Press website, where writers from around the world can enter the conversation and see how their work might connect with a team of emerging literary professionals.
Although the reveal of future winners lies far ahead, the campus is already buzzing thanks to the celebration of recent honorees. Etchings Press is lifting up the 2024 Whirling Prize winners—Nathan Newman and Hannah V Warren—through the launch of the seventh season of the Potluck Podcast. The series, entirely produced by UIndy students, welcomes the winning authors into open conversations about craft, creativity, and the unpredictable nature of the artistic process. These episodes offer listeners an intimate look at the authors’ inspirations while doubling as an extraordinary hands-on learning opportunity for students running the show behind the scenes.
Newman’s book, “How to Leave the House” (Viking, 2024), earned the 2024 Whirling Prize in prose. Warren’s “Slaughterhouse for Old Wives’ Tales” (Sundress Publications, 2024) received the 2024 Whirling Prize in poetry. Each author was awarded a $500 honorarium, along with a set of commemorative postcards designed by a UIndy student and the podcast appearance that has become a hallmark benefit of the award.
The Whirling Prize has long centered attention on debut authors, and last year’s competition also named several finalists whose work captured the judges’ notice: “Boopable!” by Mary Ann Redmond, “In Heritance of Drowning” by Dorsia Smith Silva, “The Dancing Bears: Queer Fables for the End Times” by Rob Costello, “Playing Time in Tongues” by Vita Lerman, and “An Art, A Craft, A Mystery” by Laura Secord. These works—ranging across genres, forms, and publishing houses—highlight the wide net the Whirling Prize casts and the eclectic range of voices students engage with each year.
What makes the Whirling Prize singular is not only the diversity of submissions but the people who determine the winners. Unlike most literary competitions, where veteran writers or industry professionals do the judging, this prize is decided entirely by students enrolled in ENGL 479 and 580, the Etchings Press courses dedicated to publishing studies. Undergraduates and graduate students in these classes handle everything from reading and evaluating the submissions to selecting winners and conducting interviews with the finalists.
The 2024 judging panel consisted of three students—Chandler Ferrer ’25, Steve Polston ’26, and Anastasia Wolfe ’26—each bringing a distinct academic background and set of reading instincts to the table. The combination of creative writing, professional writing, and public relations reflects the interdisciplinary spirit of the program and helps students cultivate a collaborative dynamic reminiscent of professional editorial teams.
Their advisor, Liz Whiteacre, underscored the value of this experience in the students’ development. “The Whirling Prize is an excellent opportunity for UIndy students to engage with contemporary literature from around the world,” she said. “I was impressed by the student judging team’s development of criteria used to identify winners and very thoughtful review of the debut books that represented a variety of genres. This experience helped students apply what they’ve learned about literature in classrooms to the administration of Etching Press’ literary prize, which gives them hands-on experience for fields in the literary arts and a better appreciation of contemporary writing, publishing, and literary citizenship.”
The value of that hands-on approach cannot be overstated, especially in a field where students often struggle to access real-world opportunities. Etchings Press acts as both a guiding structure and a creative laboratory, where students can make decisions that matter and interact with authors whose careers are actively unfolding. Instead of merely studying the publishing world, students spend the semester living inside it, navigating the complexities of evaluation, communication, and public engagement.
This year also brought a change to the class schedule. Historically held in the fall, the course moved to the spring semester, slightly adjusting the Whirling Prize timeline but maintaining the overall cycle. This shift allows the judging team to work in closer proximity to the release of new books, and it also positions the spring as a season of literary momentum on campus.
To further honor the 2024 winners, UIndy student and artist Piper Parks ’26 designed commemorative postcards that celebrate the unique tone and vision of each winning book. The postcards, produced through Etchings Press, serve as both artwork and artifact—miniature representations of the winning works that bring visual storytelling into conversation with literary craft. When the winners appear on the Potluck Podcast, these postcards frame the discussion and offer a tangible reminder of how student creativity permeates every layer of the project.
The authors themselves expressed appreciation for the opportunity to connect with the student judges. Newman shared, “I loved talking with the Whirling Prize judging team in December – it was a lovely experience which reminded me why we all read and write. I was very honored to accept the prize.” Warren echoed that sentiment, explaining, “I’m overwhelmed with gratitude to the Whirling Prize team for their ongoing and unwavering support. Slaughterhouse is a deeply personal collection, drawing from both memory and research to emphasize the truly impossible task of growing up in a place that feels hostile toward women, from girlhood to adulthood. Beyond recognition, I’m honored that this bildungsroman poetry collection caught the attention of a student-selected award. Inside and outside academia, I work with young adults to cultivate their poetic voices—and I’m devoted to learning from their experiences as we discuss craft, the state of the world, and our own reckless attempts at proving we’re alive.”
A Closer Look at the 2024 Prize Winners
The Whirling Prize often highlights books that demonstrate a deep sense of craft, creative risk, and emotional resonance, and this year’s selections were no exception.
Newman, a London-based novelist and filmmaker, has built a career that spans short fiction, film, and soon, television. Their debut novel is slated for publication by Little Brown in the UK and Viking Penguin in the U.S., and a television adaptation of How to Leave the House is already in development with Freemantle, with Newman set to write the entire series.
UIndy judge Anastasia Wolfe offered a vivid reflection on Newman’s winning book: “Nathan Newman’s novel ‘How to Leave the House’ follows a day in the life of Natwest who is in pursuit of a wayward package. During his search, a colorful cast of characters are introduced throughout Natwest’s hometown. Each and every character contributes to Natwest’s overall discovery by the end of the novel and helps Newman express powerful ideas about the human condition and self-discovery. The way Newman handles these ideas is also done in a manner that is respectful and meaningful, given the mature content presented, and will get readers emotionally attached to the characters. A balance of laughter and fun, along with addressing real-life issues, is beautifully archived. By the end of the novel, which ends in a unique way where two endings are presented in two very different ways, readers will be left rooting for all the characters. Newman’s mastery of telling these interwoven stories demonstrates his passion and fine skill in storytelling and for exceptional writing. When readers reach the last pages, they won’t want to say goodbye.”
Warren, whose work examines the tensions between gender, mythology, and the monstrous, has established herself as a voice of lyrical intensity and intellectual precision. With support from organizations such as Fulbright-Germany, the PEN/Heim Translation Grant, and Bread Loaf, her writing blends the scholarly with the visceral.
Judge Chandler Ferrer described her book with equal admiration: “‘Slaughterhouse for Old Wives’ Tales’ by Hannah V Warren is a collection of poems that are as dark and eerie as they are intriguing and thought provoking. The poems feel closer to incantations at times, turning the book into something of a grimoire. A deep, mourning, humorous piece of work that draws readers in with no false promises of safety or coddling. Reading ‘Slaughterhouse for Old Wives’ Tales’ is like walking through a cave just a few inches too short to stand up straight in, covered in sharp rocks and steep crevices in the dark, but somehow each step is into soft sand, sinking the reader just low enough to walk comfortably and painlessly through the treacherous terrain. One aspect that stands out is Warren’s original use of language. She creates her own lexicon for readers and invites readers to enjoy the strange and new writing style. The themes feel gothic, somber, and unsettling, and the writing is graphic at points, but never feels gratuitous or unearned. The content that may be upsetting for more sensitive readers is necessary, like a feint making a boxer flinch away and unwillingly open themselves up to a finishing blow. The content often takes readers by surprise, leaving them vulnerable to ideas that they otherwise would have had their guard up against, and taking up space in their mind for years to come. It isn’t often that a piece of writing so prone to ruffling feathers is done well enough to get past that, but Warren’s ‘Slaughterhouse for Old Wives’ Tales’ achieves this.”
Looking Toward 2026
With the submission period now open, Etchings Press is laying the groundwork for another season of reading, evaluating, and deep engagement with contemporary literature. The mystery theme promises a wide range of interpretations, and students are preparing to examine works that may blend suspense with lyricism, factual storytelling with imaginative leaps, or narrative inquiry with emotional uncertainty.
What sets this competition apart is its ability to prepare students not only to read with precision but to act as members of a real editorial committee. Every submission becomes a doorway into a new voice and a new perspective. Every decision becomes a practice in ethical literary stewardship. And every interview, postcard, or podcast episode becomes another thread in the fabric of UIndy’s growing literary legacy.
As Etchings Press moves into another year of storytelling and discovery, one thing remains clear: the Whirling Prize is not simply an award. It is a classroom, a community, and a celebration of what happens when students step into the role of literary citizens, shaping the future of contemporary writing one book at a time.
