For twenty-eight years, the New Women's Voices Chapbook Competition has served as a sustained institutional platform for poets at a formative juncture: writers who have committed to the chapbook as a serious form but have not yet published a full-length collection. Finishing Line Press awards $1,500 and publication to the winning manuscript, and extends the competition's reach by selecting ten additional manuscripts for the New Women's Voices Chapbook Series. The structure is deliberate—one prize, eleven points of entry—and reflects a curatorial interest in breadth rather than a single, singular discovery. The competition's parameters are notably capacious. Manuscripts may be written in a language other than English when accompanied by an English translation, and hybrid work—prose poetry, formal verse—is explicitly welcomed, as is the inclusion of art. This is not a contest that polices the boundaries of the lyric. It asks instead for 16 to 34 pages of sustained attention, submitted without the author's name on the manuscript itself, accompanied by a brief bio, acknowledgments, and a cover letter. The anonymity of the manuscript is a curatorial ethic: the work is read before the biography. What the competition offers, beyond the prize and publication, is a context. Finishing Line Press has maintained this series across nearly three decades, which is to say it has outlasted many of the institutional fashions that have come and gone in American poetry. For a writer without a full-length collection, that continuity matters. It suggests a readership that has been cultivated over time, and a press that understands the chapbook not as a stepping stone but as a form with its own integrity.