Blue/Red Pencil

These are short, fifteen-minute sessions. They’re an excellent opportunity to gain feedback on 2-3 pages of your manuscript from a seasoned writer/editor. In some cases, you bring your material with you and the Wielder of the Pencil gives it their “first impression” input. At other times, you’ll be asked to submit your writing in advance of the conference. This gives the Pencil Wielder extra time to go over your submission. (I prefer the latter.)

My experience with Pencil Wielders over several conferences has fluctuated widely. (If I were writing ad copy, I might say, “Your mileage may vary.”)

One Pencil Wielder was having so much fun with the appointment ahead of mine that I only got two minutes of their time. We didn’t cover much of anything before I was ushered out to make room for their next appointment.

The following day, at the same conference, a different Blue Pencil Guru—after reading my submission—inquired, “Would you like an editorial critique, or story development?” I chose story development, and learned a lot in our short conversation together.

My absolute favorite, most-helpful and most-challenging experience was when I signed up for “Is Your Manuscript Ready for Publication?” at When Words Collide earlier this year. It was like a Blue Pencil On Steroids. I was able to submit 3500 words (almost three chapters!). Barb Galler-Smith and Ann Marston provided me with stellar input and critique, and encouraged me to pitch my novel at the Surrey International Writers Conference.

(I’m writing this post in Surrey. The conference starts tomorrow, and I’ll be pitching my novel on Saturday.)

Which brings me to another facet of writing conferences and why you should go (nice segue, eh?).

Pitching

Conferences allow you the opportunity to pitch your novel to publishers and agents. This is simultaneously nerve-wracking and empowering. You’re speaking with a real, live human being in the publishing industry. Query letters will always be part of a writer’s reality, but pitching—live and in person—is worth the risk and the nail-biting preparation.

Just make sure you read the biography of the person(s) you want to pitch to. Bringing your sci-fi masterpiece to an agent who specializes in auto repair manuals may not work out the way you dreamed.*

*(Unless you’re Frank Herbert. Dune was originally published by Chilton, famous back in the day for their . . . wait for it . . . auto-repair manuals.)

Workshops

This definitely fits the expression, “Last, but not least.” Conferences provide a dizzying number of workshops and panel discussions. You name the aspect of writing: story ideas, plotting/planning, writing a series, genre-specific requirements, editing, marketing, research, social media campaigns, advertising, signing contracts, et cetera. Talented and experienced professionals are onsite and available.

At times, you’ll feel as though you’re trying to sip water from a fire hose, but the insights and tips you’ll learn are invaluable.

Friends & Family

Some things are worth repeating. There’s something profoundly validating about spending a weekend in close proximity to so many other creatives. They hail from all walks of life, representing a wide swath of genres and age demographics. Again, it’s encouraging, challenging, and rewarding.

I’m a better writer after attending these conferences. Books, webinars, and podcasts are all helpful, but there’s nothing quite like learning in community with your fellow creatives.

When brainstorming your writing goals for 2020, include at least one writers’ conference. You’ll thank yourself later.