WORKSHOP FAQS

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Who is this workshop designed for? Must I be a published author, or at least present a finished manuscript?

Interactive focus session with former faculty author Barb Shoup

Our workshop is designed for skilled writers who are approaching or renewing their goal of publication. We have two tracks—one for those with completed manuscripts; another for writers who have completed a solid beginning (or more), but not an entire polished first draft. All enrollees are chosen through a manuscript-selection process which may involve our faculty editor and agent.

How do I know if your faculty is right for me?

We are a novels-only workshop. Only faculty experienced with novels will critique your manuscript. Our editor and agent are amiable, proven teachers and/or communicators—experts in their fields. We will take great care to match you with faculty who are potentially or directly interested in your manuscript. For more information, read our faculty profiles.

Has anyone ever signed with an agent, or received a book contract, as a direct result of attending this workshop?

YES! We’re happy to share some success stories:

• Christian Yee signed with our 2015 faculty agent, Stephen Barr of Writers House. The debut YA novel, The Girl Who Was Iron and Gold, is a contemporary, multicultural, adventure-comedy. Abrams BFYR editors Susan Van Metre (our former workshop faculty) and Anne Heltzel won a six-publisher auction for world English rights to the novel. Publication is slated for fall 2017; the sequel in 2018.
• Christian notes, “This workshop’s format helped me put my best foot forward in front of industry professionals. Their whole-novel feedback let me gauge my direction more accurately than at any other workshop I’ve attended.” He also praises his teen critiquers: “It would have been extremely difficult to get that unbiased feedback anywhere else.”
• Kathleen Dougherty signed with faculty agent Fiona Kenshole (Transatlantic Agency), who had critiqued Kathleen’s full novel, The Reluctant Stone Seeker, at our 2013 workshop—an event which, Kat says, “provided a depth that was essential to my growth as a writer.”
• Annemarie O’Brien met her editor, Erin Clarke, at our event. Consequently, her debut novel, Lara’s Gift (Knopf/Random House), was published in 2013. Annemarie says, “I’m so grateful for the opportunities that this seminar has provided me over the years.”
• Claudia Harrington signed with our 2012 faculty agent, Emily Sylvan Kim. Claudia’s full debut novel, The Order of My Universe, was critiqued by Emily as part of our seminar.
• “I’ve just signed with my first agent!” Tracy Holczer reported several months after our 2011 event. “PCCWW played a huge role in my success. My manuscript improved largely due to the professional and peer critiques.” Her debut novel, The Secret Hum of Daisies, was published in 2014 by G.P. Putnam’s Sons—edited by Stacey Barney, the workshop’s future (2017) faculty.
• Joni Sensel signed with Jennifer Rofe of the Andrea Brown Literary Agency, who sold one of Joni’s YA novels, Farwalker (Bloomsbury). Joni says: “Attending PCCWW allowed me to meet a dynamic agent whom I would not have otherwise considered for my work. I’m so glad I participated!”
• Heather Tomlinson’s debut novel, The Swan Maiden, was published by Henry Holt. After Heather signed contracts with PCCWW’s editor and agent, she announced to our alumni: “I’m thrilled to pieces. Many thanks to PCCWW for providing the fantastic opportunity to meet with them both!” See her winning query letter in our enrollees' manual.

What are master classes? Am I required to share my manuscript?

We do have an option for the traditional one-on-one critique. However, since writers learn so much from each other, we've introduced master classes to maximize your workshop value.

This format allows you to observe faculty critiques on other enrollees’ opening pages or whole novels. You may read these peer manuscripts before the workshop, then compare your evaluations to those of the pros. A great self-editing tool.

When faculty team-teach a master class and discuss sample chapters, their comments may reinforce or contradict each other. Common threads may emerge. Throughout the weekend, these key points are developed—enlightening not just the individuals receiving critiques, but the entire group of writers.

How much does the workshop cost?

We offer several enrollment tiers, based on the type of manuscript critique. Discounts are available. See our fees table.

Along with the in-depth craft sessions, will I get marketing or publishing help at this workshop?

Yes! We always offer open-ended faculty Q&A sessions; we also provide publishing tips in our online course manual.

Our manuscript critique sessions provide a first-hand look at what editors and agents are seeking—what they believe will sell. You’ll have many opportunities to hear and discuss the views of these industry professionals. There is no better resource!