Many people sign up for writing conferences hoping they'll send a manuscript home with an editor - or better yet - be offered a contract right there at the conference. Has that ever happened at a conference? Probably. But you're probably more likely to come home with a cold than a contract. Does this mean writing conferences aren't worth your time and money - not at all. It does mean that you need to know what you can expect to gain from a conference so you can prepare for all it has to offer.

BEGIN BY BEING CHOOSEY

When choosing a conference to attend, it's easy to think "big" is "best." Some writers start right out with one of the two big national conferences from the Society of Children's Book Writers as their first. But these huge conferences can be a bit overwhelming - it's difficult to connect with other writers in the bustling conference atmosphere (unless you've preplanned to meet up with "online" friends) and virtually impossible to chat with any of the conference presenters (with the huge number of people in attendance, the conference has to limit contact for the presenter's welfare.) You will receive a wealth of valuable information, but if it's your first conference, your overall impression may be that you didn't "do it right" because you didn't talk to people much.

Smaller conferences can be better because you'll get more chance to meet other conference attendees and there is more chance to interact with presenters also. However, not all small conferences are created equal. It's important to choose wisely. One way to do that is to "check out" certain things…

1. Check out who is sponsoring the conference - is it a source you can trust. Conferences and Workshops may be sponsored by the Society of Children's Book Writers and Illustrators [SCBWI], by Highlights Foundation, by Universities, and by Writing or Arts programs. They can also sometimes be sponsored by small groups of people who put on conferences as a source of income. Any of these "might" be a good conference, but some are likely to be more of a sure thing than others. Conferences put on by groups known for excellence are often the best use of your conference dollars.
2. Check out the focus of the conference - if you have a specific writing focus, it pays to attend conferences with the most to offer about what you write. So a conference on "Romance Today" isn't likely to be helpful for picture book writers, but might have some worthwhile sessions for those writing teen romance. Although conferences put out by SCBWI or Highlights will be only for children's writers, many conferences put out by writing groups or universities may cover a variety of genre and be primarily for adults. This can be helpful if you're interested in both writing for adults and for children - but less helpful if you're strictly interested in writing picture books since much of the conference information will not relate to how things work in picture book publishing.
3. Check out the speakers at the conference - a conference that doesn't tell you who is speaking is not a conference you want to attend. You need to be able to check out the speakers and find out what they write/represent/or publish. For example, a conference put out by a tiny company whose books don't appear in bookstores where the speakers are chosen within the company will not be giving information about publishing overall and may lead authors astray by making it sound like all of publishing works the way micropublishing works. So, check out the speakers and be certain you'll be hearing from speakers with real publishing experience.

KNOW WHAT TO EXPECT

Most conferences are certain to offer these things:

• Valuable freebies like copies of magazines, writer's guidelines, publisher's catalogs, book posters, and advanced reader copies of new books. Be certain to bring along a tote-bag for carrying these goodies. Individual workshops may also give handouts and you'll usually be offered an opportunity to buy signed books by the presenters (so if there is a presenter you especially admire, be sure to budget for the book signing.)
• Valuable insider information about publishing. You'll learn what the editors and agents presenting especially like (and don't like). You'll often be offered a chance to submit to closed publishing houses. And you'll get lots of inspiration and wisdom about the craft of writing. Be sure to bring a notebook and pen. If allowed, you may want to bring a small hand-held recorder to make note taking easier (but always check to see if this is allowed - often it is not.)
• Valuable networking opportunities. The editors and agents are not the only people you need to meet at a conference - you need to meet the person sitting beside you in workshops and the folks seated around your table at lunch. The more people you know in this business (including other writers and illustrators), the more chance of getting a hot tip through networking. Be friendly and interested - and you might want to bring your camera, because if you're nice to your fellow attendees, you just might make some life-long friends.

WHAT TO WEAR

Most conferences are held in places with erratic climate control - your first session may be freezing while the next is sweltering, so it's wise to bring light clothes that you can layer. You'll want to make a good impression, but don't overdress - business casual is fine. You'll see people wearing everything from shorts or even overalls to business suits and nice dresses. Whatever you choose, you'll not be the only one dressed at that level.

Choose clothes that are comfortable. You'll be doing two things a lot - sitting and walking. If your shoes pinch, it'll quickly drain your cheery personality, as will hot sticky clothes. The most common outfit you'll see is light weight slacks, a light weight short sleeved blouse and a light wrap or blazer and flat shoes.

WHAT'S IN YOUR BAG

I generally choose a freestanding totebag roomy enough for handouts and catalogs. I always pack a bottle of water (sometimes water is available between sessions and soft drink machines may be close by but I've learned not to count on it) and usually a package of something to nibble. I also pack a notebook, several pens (because if you only pack one, it won't write - it's a cosmic rule), my small tape recorder (even if I can't record sessions, I can sometimes use it to remember someone's email address if they tell me on the fly in between sessions), my digital camera, and a business card wallet with cards I've printed - these have my name, email, website, and a line of information to help the person remember later why they have this card. I keep them for anyone who asks for one, or if I really hit it off with someone and we want to exchange information. The blank back side of the card also allows me to add a note to help the person remember why they got the card. By the end of the conference, it's easy to have a handful of business cards and not remember who they belonged to - the woman in the pink jacket? The lady with the cheery smile?

ABSOLUTE NO-NO BEHAVIOR

1. Don't try to give a manuscript to any editor or agent. If they want it, they'll ask for it. It's far more likely they will ask you to mail it to them so they don't have to pack it. But nothing makes a bad impression on an editor or agent quicker than to have you hand them a manuscript - if the editor or agent shows interest in your work, offer a card with a note on the back saying you're planning to follow up on the interest with a submission. No manuscripts - really.
2. Don't talk on your cell phone during workshops. Turn it off. Rude cell-phone behavior is not how you want to be known. If you absolutely must have the phone on, put it on vibrate and slip out of the room to answer it.
3. Don't argue with critiques. If you've signed up for a critique and you feel like your critiquer totally missed the boat, say, "Thank you, you've given me a lot to think about." That's it. No arguing. If you have points you aren't sure you've understand the person's comments, it's okay to ask questions to get further information, but no arguing or defending your work - it's not a court, it's a critique. It's that editor/agent's professional opinion. It should be listened to, evaluated later, and applied if useful - but don't debate.
4. Don't sign up for a critique hoping for a book sale - sign up hoping for insight and improvement and growth. You may make a book deal. It's happened before, but it's profoundly unlikely. And if you go in with your sights set on a book deal, you're likely to miss out on the insight, improvement and growth as you're overwhelmed by not getting the book deal.

By choosing, preparing and behaving appropriately, you can find a writing conference invaluable. They are hugely inspirational - I always feel all fired up about my working during a conference. They are full of good information - I always learn something new or gain a new way of looking at an area that I thought I knew everything about. They are a great place to network - so smile and say hi to the person beside you. You never know what kind of publishing wonders begin with the first cheery smile.