"Getting the Most from Your Writers' Conference" with Paula Morrow.

Moderator is Mel Boring, web editor for this site and author of 8 books and 25 stories and articles. He also taught writing for children for 18 years. He has been a writer, plus house-husband to four children.

Paula is Paula Morrow, editor of Ladybug Magazine since 1991 and Babybug Magazine since its 1994 launch, both of which are part of the Cricket Group. In addition to the magazines, she edits chapter books for Cricket Books. She is a published author of children’s, adult, and professional materials and a regular columnist for Once Upon a Time. Paula particularly enjoys speaking at writers’ conferences.

Names color coded in pink are viewers who had questions.

Interviews are held every other Thursday night for two hours beginning [9 CANADA/Atlantic], 8 Eastern, 7 Central, 6 Mountain, and 5 Pacific.

Moderator: Good evening, everyone! I'm Mel Boring, very happy to be moderating as web editor for the first time tonight. I'm delighted to introduce to you Paula Morrow, who will talk to us about "Getting the Most from Your Writers' Conference." I am very excited to hear her tonight myself, because as we have prepared, I've gotten to know Paula as a lively person to chat with. She is easy to get to know, and has a sparkling sense of humor. Welcome to the Chat Room, Paula--we're glad you came tonight!

Paula: Thanks, Mel, it's good to be here.

Moderator: Paula, before we talk about conferences, may I ask you first about your own writing, how and when you first got started, and where writing and editing has taken you since?

Paula: Wow, broad question! I was first a librarian--children's services for a large public library. Well, I guess I’m going backward, I was first a writer, and before that a reader, and before that I had a mother who read to me when all I couild do was listen and look at the pictures.

Moderator: Could you tell us some about your published writings for children, how you got started?

Paula: My first published piece was in the old Girl Scout magazine called American Girl, no relation to the current American Girl, of course. I sent them a short story when I was about 13 or 14. They published it, I was paid $10 and even got fan mail! That whetted my appetite for more, of course.

Moderator: Before joining Cricket publications, did you write for Cricket or Ladybug or Babybug?

Paula: No, I didn't. My husband was a Cricket author, though. Actually, Ladybug and Babybug didn't exist back then.

Moderator: So then, how did you develop your interest in conferences along the way?

Paula:Trial by fire! Part of my job description is speaking at conferences, workshops, etc., and I hadn't been at Ladybug very long before they handed me an airplane ticket and an itinerary. Fortunately, I'd had all those years in the library to get used to being in front of groups and planning literary programs, and so on. The two jobs are actually very compatible!

Moderator: There are so many conferences out there--how do I choose one?

Paula: You're right, there are lots to choose from. Examine your own goals and interests first, then read the conference descriptions very carefully to find the best fit. Check out the SCBWI schedules, writers' journals, etc., to find out what's available. If you're looking for a local critique group to join, you'll probably meet suitable fellow-writers at a local conference. If there's a special writer or editor you want to meet and hear, you may have to travel across the country. And there are plenty of options in between.

stephmc: How do you find out about conferences near where you live and how much do they cost?

Paula: Join a professional organization such as SCBWI! And read the newsletters faithfully. Once you subscribe to one professional source, your name will be added to lots of lists, and that's a good thing! I get ads and brochures all the time, and I really appreciate it.

stephmc: Please explain SCBWI and give some names of writer's journals.

Moderator: Will I really get to talk to an editor or publisher or big-name author at a conference (and if so, so what)?

Paula: Yes, you'll really have an opportunity to talk to the speakers at a conference. Whether you take advantage of the opportunity is up to you, of course. There's lots of elbow-rubbing at meal functions, break times, small group sessions. The "So what?" I suppose is that it gives you a chance to pick their brains--to find out what they're looking for and how they think and what they like or don't like. You can also find out whether you think your own work is a good fit for a particular publisher, or whether you'd rather cross them off your list and focus elsewhere. That's valuable info, too, because it can save you a lot of wasted time (not to mention postage).

Moderator: What's the difference between a general session and a breakout session?

Paula: A general session is a lecture-style session in a large room with everyone listening to a speaker. The topic is usually either a broad area such as "Children's Publishing in the Coming Decade" or something specific to the speaker, like "How I wrote my Newbery-Award Winning Novel."

mbvoelker: When is it worthwhile to pay the extra fee to have your writing reviewed one-on-one?

Paula: It's worthwhile when you think your manuscript is the best you can make it yourself. Don't waste your money for a review of something if you already know what's wrong with it. When you're satisfied with it, then go for the "master class" idea (to use a musical analogy).

Moderator: Can't I just bring my manuscript without paying?

Paula: Sure, you can bring it, but don't hand it to an editor. Instead, seek out other writers who might be interested in trading manuscripts and critiqueing each other. Many times at conferences, attendees stay up late at night in the hotel enjoying pick-up critique sessions and getting lots of good brainstorming and sharing done.

Moderator: What kinds of things might I be told in a review of my manuscript at a conference, Paula?

Paula: Well, when I do a review…Wait, back up. If you sign up for a review, you'll submit the manuscript in advance, right? I receive the manuscripts several weeks before the conference and actually have time to go over them carefully and repeatedly, if necessary. I scribble in the margins, do minor editing, and make notes. Then when I meet with the author, I give all that back, along with a conversation. Comments: I'll point out strengths in the writing--great characters, say, or vivid descriptions or whatever. Then I'll give specific suggestions for areas to improve. "You have a great plot idea, but there's a logical leap on page 2 that needs to be addressed. Work on the transition." That sort of thing. Sometimes we brainstorm during the critique to solve problems on the spot. If I like a manuscript a lot, I'll invite the person to submit it to me.

Moderator: What kinds of general questions can I ask the editors and authors to answer at a conference?

Paula: In general sessions, ask things that will benefit everyone in the room. That's only fair. Things like "What will your house be looking for in the near future" help everyone. Save questions about your own manuscript for private conversations.

Moderator: Will an editor give me his address so I can sidestep the slush pile?

Paula: I can only speak for the Cricket Group, because every house is different. We receive over 1500 submissions every month, and our procedures are the way we keep track of them all. If you try to sidestep the established procedures, you run a very real risk that your manuscript will be lost, not intentionally, just because it happens.

lodger: Is that 1500 submissions of articles every month, or books? or both? Does the Cricket group publish books?

Paula: That's just for the two "bug"s magazines. Cricket, Spider, Ladybug, Babybug, and Cicada are all published in one office. I don't know how many submissions there are for the nonfiction magazines, since they're published in other offices, Chicago and New Hampshire. And books are separate, too.

Moderator: Why would a publisher publish fiction from one office, and nonfiction from another?

Paula: History. Cricket was founded in a small town (family business, family homestead, interesting story for another time). As the company expanded, a Chicago office was opened for family reasons. Recently Cricket Group purchased Cobblestone Group but didn't make them relocate. We also have a New York office, where our book publisher hangs out, although books are edited in all the offices.

Moderator: I don't want to just sit and listen to lectures at a conference all day. Will I get to I read my manuscript aloud sometime?

Paula: Again, look for fellow writers who are interested in sharing. Many conferences feature an open-mike session after dinner, and that's a great time to stand up and read. If that option isn't offered, create it yourself! Invite others to meet you in the lounge or by the pool or whatever and have fun! Other writers can have great ideas, too.

mbvoelker: Do you need to dress in business/office clothes to make a good impression at a conference?

Paula: I'm laughing here! I may wear a business suit one day, blue jeans the next!

mbvoelker: I guess I phrased my question badly. If I wear presentable "mom clothes" (not sweats), instead of stockings and heels will I make an unprofessional impression on editors I might meet?

Paula: In all the conferences I've attended, I honestly can't remember what a single writer was wearing. Although I suppose I'd notice if someone had on ragged cutoffs or a bikini. <grin>

mrspigglewiggle: If you go to a conference, do you have to have a manuscript ready to read or can you just go to soak up info and atmosphere?

Paula: Oh, I remember the Mrs. Pigglewiggle books! I loved them! Oh, by all means, soak up info and atmosphere! It's a great way to start!

Moderator: What about handouts, sample copies, guidelines, and so on at a conference, Paula?

Paula: There will be lots of good stuff available! When I speak, I offer the conference organizers the option of having sample copies of all our magazines, which can be quite a bundle! Look at the freebie table early and decide what's appropriate for your interests. A note about courtesy, though. Take anything you want for yourself, but don't take extras for a friend at home. If you do, there's a chance someone who paid to attend the conference won't get a copy, and after all, why should non-attendees freeload?

mbvoelker: How can I best prepare for a conference? To get the most out of it?

Paula: Wow, another big question! First and foremost, decide what your goal is. Networking? Critique? To learn a specific skill? Look at the schedule carefully. The program may feature big names, but if two people you want to hear are speaking at simultaneous breakout sessions, you'll only be able to hear one of them. Look up the guest speakers in advance, read at least one book by an author you plan to hear, so you'll have a context for his or her remarks. And for a publisher, look up the company's catalog to get a feel for the kinds of things published there. Of course, also look at samples of any magazines so you'll know what an editor's orientation is.

Moderator: What is networking?

Paula: Making connections. One of the most valuable things you can do! Take a supply of business cards (including your e-mail address, if you think you might be interested in an electronic critique group with other writers you meet there). Pay attention to the questions other people ask in the sessions and the comments you hear at meals. Notice the other writers who seem to be on your wavelength or who write in your area of interest. Then introduce yourself and ask if they'd like to stay in touch. Networking means they pass along market tips you might have missed and you do the same for them; it means you give each other suggestions and support. It means you share your contacts. In a nutshell: it's community.

Moderator: Why would I want to network with other authors? Aren't we competing to place our manuscripts with the same publishers?

Paula: Yes, you are competing--but don't worry about it. You may be accepted sometimes, they might be successful other times, but there's plenty of room for BOTH of you to become published authors.

Moderator: Will attending a conference improve my chances of publication?

Paula: Indirectly, yes. You're gaining and growing as an author. You're learning skills and finding out about the market, and picking up all kinds of valuable information. But attending a conference won't directly improve your chances. The bottom line is that your work has to be good. If it is, then publication is only a matter of time. Attending a conference will never get a bad manuscript acccepted. But then, you don't write bad manuscripts, so you're okay!

mrspigglewiggle: Do most conferences offer workshops?

Paula: Workshops? No, a lot of conferences are only general sessions and breakout sessions. Again, read the conference materials carefully. A workshop can be very, very beneficial if you can find one.

stephmc: What might I expect to pay for a conference, generally?

Paula: Oh dear, I don't have to pay to attend, and I didn't think to look that up ahead of time. Can you help me here, Mel?

Moderator: I have paid from $35 for a day or two, in the old days. I went to a weekend children's novel workshop recently and paid $200.

Paula: I did attend a workshop this summer that cost me nearly a grand, fees plus transportation, but it was 7 whole days!

Moderator: What workshop was that, Paula?

Paula: "Room to Create" in Boyds Mills, PA. GREAT workshop.

Moderator: I am curious to know, was the Boyds Mills conference you mentioned connected to the Chautauqua Highlights conference in New York?

Paula: Not connected to the conference, but sponsored by the same people.

mary lois: Do you take profuse notes at a conference, or just outline so you can listen?

Paula: I mostly listen and jot down anything I want to remember. Even though it all seems vivid at the time, I know how tricky memory is. I also know you can miss a lot while you're writing, which is why I only jot.

mrspigglewiggle: Are there discounts to attend a conference if I have a membership to the SCBWI or some other group?

Paula: Yes, SCBWI is good for a discount usually. Most groups have two fees, one for members and one for nonmembers.

dellarf: Should I submit my best work at a conference, or one that I need help with?

Paula: Oh, good question!! If you already know that your best work is great, why don't you just submit it to a publisher? Use the critique session for a piece that's as good as you can make it on your own, but you know it needs something and you don't know quite what. At the workshop this summer, I took a novel I've had finished for quite some time. I knew it had a problem, I even knew what the problem was. But I didn't know how to solve it. I brought it up after supper one night, and the six people in the room solved the problem within 15 mintues! Everyone needs help!

Moderator: GREAT anecdote, Paula!

Paula: It's great to have people who will discuss your work with you.

Moderator: I want to tell you for all of us that you're doing a GREAT job here!

mbvoelker: Is there any way to reduce fees for attending? Those prices are pretty intimidating to someone who thinks of 3-figure money in terms of the grocery bill or the rent.

Paula: I wish I could give a definite answer, but it would have to depend on the conference organizers. Some do offer scholarships. There are also grants you can apply for, to help with fees.

Moderator: The Highlights Chautauqua, NY conference has offered scholarships in the past.

Paula: Oops! Lights just went off here. Am I still online?

Moderator: YES!

Paula: Whew! Good thing I can touch-type…sort of!

Moderator: You're doing excellently for being in the dark, Paula! <smile>

Paula: OK, back to the questions!

Paula: I'd say BOTH are important. You'll never be a writer unless you can sit down and write, but there comes a point where some outside stimulation is truly valuable. I don't believe in writer's block, but I do believe in support!

irish eyes: There are many conferences during the course of a year, what criteria would you recommend for choosing, when they all seem worthwhile?

Paula: Again, evaluate your own personal goals. I can't remember exactly what I said above, so please forgive me if I repeat. Weigh the cost, distance, time, convenience, whether the speakers seem right for your kind of writing, the relative value to you personally where you are right now as an author. Now I feel like I'm getting redundant. Sorry….Oh, another thought: weigh the number of general sessions and breakout sessions or workshops against your current needs. Beginning writers will probably learn a lot from the general sessions, advanced writers will probably need specific breakouts or workshops.

mrspigglewiggle: Are mini-recorders allowed at conferences?

Paula: A definite "maybe!" I've seen them at some conferences, but in other places they were forbidden. You could check with the organizers when (or before) you register, or you could just bring one and see if anyone asks you to put it away. <grin>

stephmc: Earlier, were you talking about submitting your manuscript to a publisher to be critiqued and gone over with you? If so, how do you get it to them in advance?

Paula: You'll send it to the conference organizers in advance, usually to a designated address, sometimes with your registration. This is a good time to mention--read the promotional materials carefully to find out who will do your critique, whether it will be the editor or publisher of your choice, or whether it's pot-luck. Also, I've been to conferences where the "overflow" manuscripts were critiqued by the conference organizers themselves. Find out the situation before you write your check. Nothing wrong with peer critiques, but you need to know what you're getting, not be surprised.

long shadows: I'm going to my first writer's "retreat" in a week. I've already sent in my "best" manuscript (that can't find a publisher) to be critiqued by the editor in attendance. There will be opportunities for critiques from attendees. I can't decide whether to take my "second-best" manuscript or one I'm struggling with. Suggestions?

Paula: If there are "opportunities," why not take both?

Paula: General session is the large group I mentioned earlier. I think I wandered off the topic and didn't explain breakout session, which is usually still lecture format, but a small group and a very specific topic, such as "Creating Believable YA Characters" or "Bringing Fantasy to Life." A workshop, then, is still smaller and more casual, usually includes discussion as well as lecture, and may involve some hands-on exercises. For example, an editor may read from a manuscript and discuss ways it could be improved or invite the participants to brainstorm in some way.

mbvoelker: What should we bring to a writer's conference?

Paula: Comfortable shoes! Plenty of pens...there's nothing worse than running out of ink at a crucial moment. Most conferences provide a packet of materials at registration including a writing tablet, but you should probably bring your own paper in case they don't. For that matter, if you bring your journal, you'll have your notes in a permanent place!

Moderator: Are publishers aware of most conferences, and do they participate in any conferences, or contribute to them in any way?

Paula: Heavens yes! Publishers think conferences are very important! As evidenced by the fact that they send materials and speakers. (We won't even guess how much it costs for all those free sample copies.) We see conferences as a chance to express our needs to the writing world. Before a Cricket Group editor goes to a conference, he or she will usually go around to all the other editors in the office and ask, "What do you want me to ask them for this time?" So you're getting the very latest market research right there on the spot at the conference!

nancydrew: What do editors and agents get out of the conferences/retreats?

Paula: Hopefully, we get good manuscripts from new authors. We're constantly alert for new talent.

dellarf: How often have you purchased a manuscript from a critique?

Paula: Never. But don't gasp--it's a matter of procedures again. I don't buy at conferences, but I DO invite submissions. If I'm interested in a manuscript, I ask the author to send it to me and then we buy it through normal channels.

dellarf: What's the best way for an author to mingle with an editor without pestering?

Paula: Same way you'd mingle at a wedding or cocktail party or church social! Pay attention to the other people around you, look for opportunities to join in a conversation, be a good listener as well as a willing conversationalist. Editors like to talk about their pets or their vacations or their hobbies, too. Then watch for ways that conversation can lead into what you're writing.

Moderator: Paula, when you say to mingle with other conference attendees interested in "your kind of writing," do you mean just fiction/nonfiction?

Paula: Fiction/nonfiction, or picture book/chapter book, YA novel, or science fiction, mystery, humor, or whatever genre, age group. Or to be more specific: nonfiction articles about cutting edge physics? Just look for things that genuinely interest you.

suesunflower: Has anyone ever gotten nasty with you over a critique?

Paula: Never. When I do a critique, it usually feels (to me at least) like a friendly conversation. I hope the writer feels that way, too.

mbvoelker: Do conference organizers deliberately try to get like-minded writers together in any way?

Paula: Sometimes the breakout sessions help you sort yourselves out, a picture book session, a science session, and a YA session scheduled simultaneously. Guess whom you'll meet in each one?

mary lois: Where do you get your ideas for short stories and books?

Paula: Me, personally? Oh my. Everywhere. My friend Sandy Asher has written a book called "Where Do You Get Your Ideas?" It's targeted for young readers, not working professionals, but if you're writing for kids, why not read like a kid? See if your library has a copy.

Moderator: Sandy's book is SUPER!

bettyboop: Spider magazine doesn't give names of the editors to send your manuscripts to. Do they want us to just send it under the title instead of a name?

Paula: You can always address a submission to "Submissions Editor"--and that goes for any house. The Spider editor is Heather Delabre. But putting her name on the envelope won't make any difference at Cricket Group because an administrative assistant opens and sorts ALL the mail. Unsolicited manuscripts will go to a first reader, no matter whose name is on the envelope. And I promise you every manuscript WILL be read. Sometimes it takes a long time, though. <Sigh>.

Moderator: Steph has another question about the meaning of "breakout," Paula.

Paula: Ready!

Moderator: She wants to know why the term "breakout" is used.

Paula: Not sure--I guess because you break out of the constraints of sitting in a lecture hall?

stephmc: Mel, that didn't help, because I missed what a breakout session is. I got what a general session and workshop are.

Paula: Not sure I understand the question. Do you want a definition of breakout session? It's still lecture format, but a smaller audience than the general sessions, and a more specific topic that will interest writers in a particular area, such as "Creating Realistic Dialog" or "Including Cultural Details Without Sounding Like a Textbook."

Moderator: GOOD answer!

mary lois: Does reading books by speakers help in the learning process?

Paula: For me it does. When I read a book (or article or whatever) I can't help noticing the way it's constructed, what I like and what I don't care for. I pick up ideas for techniques or structure or whatever.

dellarf: Does a published author's manuscript bypass the first reader ?

Paula: Yes, sometimes. I assume you're asking about Cricket Group again, right? We have what we call VIP authors. These skip the first reader and go directly to the editor who has worked with the person before, but it's not automatic after just a single acceptance. Because our magazines are about 90% freelance written, we have LOTS of authors. A writer needs to establish a good track record with us before being made a VIP. Usually at least 3 or 4 or 5 acceptances and not many rejections. (Four acceptances out of 45 submissions would not qualify. <another grin>)

vernaculady: How long does it take for an accepted piece to be scheduled for publication?

Paula: It can seem like forever! At Cricket Group, we have pretty full files of fiction--so it may be 3 or 4 years from acceptance to publication for a short story. But we don't have as many activities on hand, so they're used sooner. Poetry takes longest, unless you happen to hit an upcoming issue theme. That's a matter of luck, though, because we may already have six poems on the theme.

vernaculady: How do you feel about multiple poetry submissions (two or three at a time) to Babybug or Ladybug?

Paula: Two or three at a time is fine. Our guidelines say up to 5. Sending one at a time is a waste of postage! But sending twenty makes me very grumpy--because according to our procedures (there's that word again) if there's one poem in the batch that I really really like, I have to review the entire bunch for our files.

vwoman: What is Ladybug looking for currently?

Paula: Activities, I always welcome activities. Action rhymes that have a specific theme or focus. We have way too many submissions that are simply "I can wiggle my ears, I can wiggle my nose...," and assorted body parts. But if you can come up with an unusual action rhyme, I love you! Think about illustration potential!

stephmc: I understand that I shouldn't submit illustrations with my manuscript for a book, but how do I let the publisher know that I have an illustrator and the illustrations are ready to be submitted?

Paula: Do not pick your own illustrator. Period. No room for discussion. Sorry, but that's the art director's job. If your friend wants to be considered for the art assignment, have him or her submit a portfolio to the art director. And the artist may think the illustrations are ready to be submitted, but it's a good chance they're not. The art director has "specs"--specifications--that must be met. When an art assignment is made she sends a layout and specific instructions. The stock must fit on the drum of our separator's laser scanner, for example. If you're an illustrator yourself and you want to illustrate your own work, that's more possible. Send sketches (not finished art) with the manuscript if you like, and mention in your cover letter that you're interested. But again, you'll have to have a portfolio on file with us to be considered for the assignment.

katyd: If an editor doesn't appear interested in the manuscript that you brought to be critiqued at a conference, but still offers you her business card, does this mean that she is interested in seeing more of your work, or is she simply being polite?

Paula: I never hand out a business card "just to be polite." If I give it to you, it's because you're welcome to use it.

Paula: Don't eat too much!

Moderator: HA! Fat chance I won't eat too much!

Paula: Sorry, that slipped out. The food was so good at the conference last summer. But seriously, seven days was much too short. I had taken many, many projects to work on and had to budget my days carefully. I guess the secret of survival is to bring more than one project to work on. If you hit a snag on one, switch to another to "cleanse the palate," so to speak. But come back to the first one later, don't give up on it completely.

mbvoelker: What is the most valuable part of attending a writers' conference?

Paula: Gosh, that would be a personal thing. For some it's inspiration, for others, perhaps solving a specific problem, for others, meeting an editor who loves your work, or maybe just linking up with a compatible critique group. How's that for waffling?

Moderator: What really happens in a critique group, Paula?

Paula: Well, first, the critique group should agree on "road rules" so everyone understands how it's going to work. The rules can be agreed on after discussion. Does everyone get to read every time? How long do you have for your reading? Are comments made orally or written down and handed to the writer privately? It's a good idea to have a rule that the FIRST comment you make on someone's reading MUST be positive. That makes you look for the strengths as well as the weaknesses in a manuscript, and there's always something positive you can see.

katyd: Is there anything in particular that you are looking for in chapter books for Cricket Books?

Paula: Something different! That's what every publisher says, right? Well, we seem to have a lot of YA submissions at present. We would welcome more beginning chapter books, and of course humor. I'm currently editing a series by Barbara Seuling featuring a little boy named Robert. They're for second and third graders, and they're funny but very respectful of the age group underneath the humor. Don't COPY, of course, but something else for the same audience would be great.

Moderator: Paula, do the various editors in the Cricket Group talk to each other about submissions they've received, maybe even share submissions around some?

Paula: Oh yes, all the time. Dunno if you mean magazines or books, but it applies in either case. I may receive a submission that would be more suitable for Spider, so I'll walk over to Heather's office and hand it to her--or vice versa. The book editors have a meeting by speaker phone once a week to discuss what we're working on, as well as manuscripts we're reading, etc.

Moderator: Do you ever notice someone who goes from publishing a story in the Cricket Group to publishing a book?

Paula: All the time. We have some great success stories. There are many book authors who launched their careers with Cricket, and illustrators as well.

bettyboop: I've heard that not enough material is written that is targeted towards boys. Is this still an issue?

Paula: Not for us. In fact, if a story could apply to either gender--say, fear of the first day of school--I've noticed that writers are more likely to have a boy than a girl as the main character.

dellarf: Would Cricket Books consider easy reader/first chapter books?

Paula: We'd consider anything. I'd say we want to break the mold, except that we don't have a mold. Most of what we've published so far has been unique in some way.

mrsbrat: To rhyme or not to rhyme in my picture book manuscripts? That is my question. I'd like your opinion, because in my research I see those who frown upon it, and those who are open to it as long as it's well done.

Paula: Most writers conferences and books about how to write for children tell you not to do it, but look in any bookstore and you'll see that rhyming books are being published constantly. My own take is that editors don't object to rhyme, they only object to bad rhyme. I'd suggest looking through the rhyming books at the bookstore or library and see which publishers seem to be doing it, which ones don't. Then market accordingly.

Paula: The four magazines are constantly looking for good nonfiction. We want lively, engaging articles written in a conversational rather than didactic style.

Moderator: How do you mean "conversational," Paula--like I would talk?

Paula: The way you'd talk to a friend, someone you like. I always caution against writing "down" to kids, but avoid ten-dollar words when plain speech will work.

mbvoelker: Do conferences schedule breathing space to help make sense of it all or are they non-stop?

Paula: Usually they schedule breathing room, but they may schedule the critique sessions during the open time, so you might be running from here to there and back.

Moderator: And plenty of food to fuel that running? (-:}

Paula: Oh yes!

long shadows: How would you suggest how to choose which simultaneous presentation to attend, when several are of interest to you?

Paula: That's hard! Sometimes I pout! I read the session description carefully. And I may ask around to see if anyone else has heard the different speakers and what they thought of the presentations. Word of mouth can let you know who's dynamic, who gives lots of great suggestions, who's more likely to simply talk about his or her own work, which may be less useful unless it's relevant to yours.

Moderator: I'm sorry to have to end, but the two hours have sped by, and we're out of time. Thank you all so much for coming! And thank YOU, Paula, for sharing your expertise about writers' conferences and writing with us tonight! You've given us a lot to conference--and write--about, THANKS!

Paula: Hey, this was fun! Come to a conference, folks--I'd love to meet you!

Moderator: Do come back and join us here on October 17 to hear Judy Bradbury talk about "Reading and Writing Go Hand in Hand: Why Reading in the Field is Crucial." We writers all know that we must feed our writing by reading, but often don't have much time for it. Come back in two weeks and talk with Judy Bradbury about how crucial it really is--and maybe that will help you find more time for reading. Until then, thanks again, Paula Morrow, and good night, everyone!

Paula: 'Night, all!