New Review of A Writer’s Craft

It’s always fun to find a mention of something you’ve done. The other morning, I came across a recent review of my textbook, A Writer’s Craft. As it turns out, a site called Lost In Book included it last month (Dec. 20, 2020) in their round-up of 7 Best Creative Writing Books for Beginners. Thanks to the author Eruslan Yilmaz for including it at #3, right after Janet Burroway’s Writing Fiction and Alice LaPlante’s The Making of a Story. It’s not totally clear whether their numbering is a ranking of just list of the best seven books they found. Mine is the first in the list that is multe-genre, and they note that it begins with chapters that discuss writing practice common to all the genres, then has chapters on individual genres, including digital media and literary citizenship to provide  “a comprehensive understanding of creative writing as a discipline and fostering creativity.”

Many thanks to Eruslan Yilmaz and Lost in Book for featuring A Writer’s Craft.

What I’m Up To: Jan. 2021 edition

January is always a tough month on my blog. Despite the New Year’s resolutions to post more regularly (that I’ve mostly stopped making), life gets pretty busy. That’s true, even more than usual, this year. Besides the normal start of the semester flurry of getting classes online, getting students in classes, admitting new students, etc., there was, of course, the inauguration and all the news from Washington as a distraction.

Closer to home, the normal tasks of a department chair, like putting together the summer and fall schedules while juggling classes and students for the current semester, were complicated with a major revision to our English major that our department has been working on for the last two years. That meant writing up 17 proposals to revise our major and create five concentrations (instead of 3): Literature, African American Literature, Creative Writing, Professional Writing, and English Teacher Ed. We realigned our requirements, added new classes in Digital Writing and Black Women Writers, and modified existing classes to create Professional Writing, Applied Linguistics, and Young Adult Literature. And Spanish and Philosophy got into the act with a few curriculum and course changes, including a new course in Spanish to substitute for study abroad by working with local native-Spanish speakers.

Most of the work to get to this point was done in the Fall and earlier, but writing everything up in proposal format took a fair amount of time. We then had our department meeting to vote on all proposals, and then put it all together to send to the dean and on to the curriculum committee.

In the midst of all this, we had a faculty member resign (for unrelated reasons), so we juggled his classes and I put together a proposal to hire his replacement. That position announcement, for a tenure-track Assistant Professor in English / Creative Writing Fiction is now on our school’s website.

So I apologize for not posting more about the normal subjects on this blog. Hopefully, I’ll be able to get back to those soon. In the meantime, I have a few last details to figure out for our fall schedule!

More Fun with Libre Office Base

As I wrote last, I’ve had some success moving my submissions from my old self-made system to a database, using LibreOffice Base. I was able to set up database tables for my Titles, Places (Magazines, Book Publishers, Prizes, etc.) and link those with a table for each Submission (one title per submission, though I can see all the submissions I’ve made to each Place when I view the place). So I can view everything I’ve ever submitted, and it all works reasonably well. That’s a huge success. I was even able to design a couple of forms to view each Title and Place with their corresponding Submissions. The problems started when I went to link those databases and write a “form” to enter data.

Here’s the thing about databases that makes them powerful but also takes some getting used to. Each entry in a table needs a Primary Key, which is a unique identifier, usually an integer that is created automatically when you add a new record so that no two recrods have the same primary key. I was able to add primary keys to each of my tables and to cross-reference the existing primary keys for Titles and Places when I brought in my Submissions, but I’m still not used to relying on them, so my databse design is a little wonky. It will be easy enough to fix, but it has taken me awhile to admit that I need to fix it.

I’ve learned that I can create a form with a List Box control that can look up information from one table and store other information from that table. In other words, my list box can allow me to select a title from the Titles table and put the corresponding TitleID primary key in the Submission record, and I can do the same thing for Places. That’s great, but because I’m not used to working with databases, I wanted to store the TitleID, Title, and Genre for each submission, and couldn’t find a way to do that. I could only look up and store one field at a time.

A helpful person on an OpenOffice forum told me I was going about it all wrong, as I was beginning to suspect. (LibreOffice is one implementation of OpenOffice, so they’re essentially the same thing.) I shouldn’t store the Title in both the Submissions and the Titles tables, but should rely on the TitleID and use a databse query to pull the other information from Titles when I read Submissions. Or at least, I think that’s what s/he meant, though I could be explaining it wrong. It gets a little confusing, and I know I have some reading to do to figure out how to use the Query feature, though the helpful person from the forum did send me a couple of examples that are close to what I’ll need (thank you very much!).

I can go back to my Submissions table and delete the fields for Titles, Places, Types (of places), and Genres (of titles). Then a Submission record will just have SubmissionID, PlaceID, TitleID, Date(s), and Response, but none of that pesky text. I’ll have to figure out how to use a query to show me the information I need on certain forms and learn more about subforms and form tables to show the data in the format I want. I have more work to do, in other words, before I can have my database working the way I want, but it can be done, just not the way my non-database brain would have thought.

Incidentally, I’m glad I exported the data the way I did. As I was setting things up, I linked my tables together in Relationships with Primary Keys and Foreign Keys, which is essentially the database terminology for referring to another table’s primary key in a table, and setting them up so that when the primary key gets changed or deleted, that also gets done to the foreign key in the linked table. I got a few errors as I did this and had to search to find out why. As it turned out, some of my Titles didn’t had an empty TitleID field in the Submissions record. Why? I found a couple of misspellings and a few titles whose name had been changed over time. In my old system, the old name could still be out there and wouldn’t be updated. Moving to a relational database should fix that problem. In my Submissions spreadsheet, I could find the empty fields and figure out which TitleID they should have held. Unlike a computer, I can see my old title and remember what the new title is or correct the typo and then look up the right number.

If I hadn’t included the title with each submission when I exported it, then it would have been a lot harder to find and correct the errors with just numbers for identification. But databases work better with limited and accurate information, so the work I’m doing now to clean up my information and set it up correctly will make it all work much more smoothly in the future.

In the process, I may decide to change Genre to Genre and Subgenre and set up two small databases for those, so I can use IDs so I can store those in the database instead of storing text. Then I could have Poetry as genre and Translation as subgenre, for instance. Or Poetry as Genre and Book as Subgenre. I could do the same for Type of place. I could also set up a database of submission Responses to limit those but also make it possible to add options. But we’ll see if I get that ambitious right away.

Now is the best time to do a lot of this, though, since I haven’t started actually using the database yet. But it’s also the start of a new semester, so I have lots of work to do on my syllabi and lots of classes to figure out in my department and students to help sign up for those classes. I can’t devote a whole day to it, in other words, as I could over break. But I can work on it off and on for the next week or so, and I might have a database I’m ready to use and ready to share before too long.

New Base for Submissions

One current project has been to finally get the data from my old submission tracking system transferred into LibreOffice‘s Base database program. As I wrote awhile ago, moving over 30 years worth of submissions from one platform to another is a monumental undertaking. Back when I moved from Hypercard to Supercard, there was a conversion program, since Supercard was wooing Hypercard users. Hypercard was Apple’s free software to create programs and databases on stacks of virtual index cards. When it was abandoned, programs like Supercard and Runtime Revolution filled the gap, though they were hardly free. To be fair, both are priced for developers, not really for hobbyists, and Runtime Revolution now has moved to LiveCode. Supercard still isn’t 64-bit and is too expensive for me to pay to upgrade for personal use, so I’m finally making the move over to a relational database for tracking my submissions.

This took writing a fair amount of code to export all the text in my Supercard stacks in a form that I could input into the database. Fortunately, I had done a lot of programming in SuperTalk, the scripting language of Supercard, so I knew how to write to a file and how to read what I wanted to read from each card. There was some trial and error to get everything to work right — I’ll spare you the details, since no one else will probably ever have to do this, and if they did, their Supercard stacks would undoubtedly be very different from mine.

Once I had three text files for Places, Titles, and Submissions, I could import those into LibreOffice’s Calc spreadsheets, and then from there copy them into Base. This is a good time to acknowledge that I’ve sent out 523 titles to about 550 places (there are 564 place records, but I know a few are ones I’ve never actually sent to yet), resulting in 3,413 submissions sent out in 923 groups. Since I’m a poet, I usually sent out 4-5 poems in one group, so I thought it might be helpful to track those groups together. One group, for an issue of a magazine I guest-edited, had 55 translations, but most are 5 or less and a few are 6-10. I created a table that lists the groups of submissions by date, though I’m not sure if I’ll need to use that.

*Geek alert*

If you haven’t zoned out already, here’s where I get even more technical. Copying the data into Base was deceptively easy, but I did learn a few things that might be helpful for anyone doing that. What I realized was that some of the lines from my Calc spreadsheet didn’t copy in, so I was missing some data. It took awhile to figure out where the problems were, so I’ll explain what I found.

First, there was very little help on how to import data into Base, but The Frugal Computer Guy’s tutorials were invaluable. I plan to go back and watch more once all my data is imported and I’m ready to start working with it. He showed me how to copy a Calc spreadsheet into Base, which I probably would never have discovered on my own, at least not without a lot of searching in the online Help, which like for most open source programs is okay, but wonky, hard to navigate, and missing some key info. For instance, no one tells you how to format the spreadsheet for importing boolean data. The documentation calls the data ‘yes’ or ‘no’ (and that there’s an option for how to display an empty field). But it doesn’t say what the Calc file should look like.

It turns out that boolean fields in Calc need to be right justified and say either TRUE or FALSE (or empty). I only learned this by creating my table in Base and then copying it back into Calc after I had changed the info for a few rows to Yes and No (checked and unchecked). I also had to be sure to format the cells of this column to Boolean in the Calc file. Similarly, I had a problem with importing dates until I formatted the Calc column as a date.

Still, I had issues with the import of text. One thing I learned was that I couldn’t have any quotation marks in my text or Calc went haywire. I replaced all the quotes in my comments fields with asterisks, though I could have just left them out, I suppose. Thank you Replace All! I also thought that Base had an issue with the string ” / / ” so I replaced all of those, which were indicating line breaks in my original comments. Now I’m not sure if that was really necessary.

The main issue that caused loss of data was that the length of certain fields (Calc columns) needed to be adjusted. I eventually set the length of my Comments field to 1000 characters after checking the character count of some of my longest comment fields. I’ve added comments to individual submissions now, so I can track what was said better, and the comments from each Place won’t get so long, though I doubt I’ll go back and move the old comments. I might do that for some recent ones, though. I had another field set to be 1 character long (from when it was going to be a boolean value), so I changed that to be 10 so it would accommodate any word I want to use for how Places accept submissions. Testing the lengths and looking at the data to see what was coming in and where it wasn’t working took awhile, but I finally have all my Places in. Now I just have to fix my Titles, and I’ll be okay.

One other trick I learned in Base is that to get a blank copy of a table (which is where you put your data — because Base indexes every new record with a number, you need to start with a blank slate every time you import new data in (unless you’re adding to what you have), so I did this a lot while fixing my import). To get a blank copy, right-click on the table and choose Edit. This will open the interface where you can add fields or change the length or format of fields. Do that if you need to (and save), then click Save As and give the table a new name. That will create an empty copy of your table where you can import data, starting from 0, the first record in any Base table.

End Geek Zone (sort of)

Once my import is complete (and fixed), I will have a database table of Places that lists the name, address, and other information for each publisher, magazine, prize, etc.. I’ll have another table of Titles with their information, and I’ll have a table with an entry for each submission that links a title with a place and has a field for when it was sent, when a response was recieved, and what the response was.

Then I can create a Form for Places, Titles, and Submissions, which I can use to view and enter the data in my tables, and the forms for Places and Titles can have subforms that display the submissions for each Place or Title by reading the Submissions table, so I can see what has been submitted where and what the response was by going to the Place or Title. I may even be able to add the response from this subform without a separate Submissions form. That’s something I’ll be working on — how to enter new data.

I can also create a Query to show me all submissions that are currently Out or all submissions sorted by title, so I can see which titles aren’t out anywhere. I’ll be working on a way to run a Report to show me the titles that are in, but if I can’t do that, I can always get that information from the full report by sorting or filtering it. And I may be able to filter out the titles that I’ve marked as Accepted or Retired (some that I no longer send out anymore).

All in all, Base will make a good home for my submissions, and the bulk of the work in transferring it over is done. Then it will be a question of learning how to work with the data in a database. And the good news is that if I ever have to do this again, I can copy a Base table into a Calc spreadsheet and export it from there without all the programming that I had to do to extract my data from Supercard. Here’s hoping that LibreOffice stays around for awhile, though, and I don’t have to do this again.

Once I have things set up pretty much the way I want them (at least the basics), I may post a blank copy of my database that someone could use to track their own submissions. It’s not quite ready for prime time, but it’s getting close. Check back in the new year!

Happy Holidays!

The holiday season is always in interesting time for academics. On the one hand, we have a break from classes for a few weeks — this year is longer than most due to shortened COVID semesters — and we need it for working on syllabi for the next semester and dealing with all the fall-out of the previous one. We also enjoy having a little time with family. This year, it’s a little different, too, as we (along with many others) are staying home for Christmas and not doing our usual holiday travel, though we’ll all gather on Zoom at some point.

For me, the holidays always mean a change in jobs, as I transition from academic to publisher and warehouse manager. My college office transforms into a shipping department (of one) for sending out copies of the two magazines published by our MFA program, Poetry South and Ponder Review.

This means downloading all the contributors and subscriptions for each magazine from Submittable and creating a spreadsheet with their addresses, so I can mail merge them to labels, indicate the number of copies, and then start stuffing hundreds of envelopes. These get sorted, addressed, and taken to the post office. International shipments take the extra step of customs forms. In a few days, all are taken to the post office, and I can clean up the mess in my office — the one step I haven’t gotten to.

It’s a fun change of pace, and it’s nice to send people the product of our labors. Now I can turn back to reading submissions, contacting students to make sure they’ve signed up for classes, reviewing enrollments, and working on my syllabi. And there’ll be time for eggnog, presents, and all the other holiday fun, even if some of it will be different this year.

2020 Craziness Just Keeps Coming

As if COVID-19 wasn’t enough, this year is ending on a completely crazy note. Like many people, we stayed home over Thanksgiving and only visited family later, visiting my wife’s mother and not seeing anyone else. We did a Zoom call with my family on the big day and then ate dinner with our son at college (all of us on Zoom — he had cafeteria leftovers while we ate our fresh cooked vegetarian meal). But that wasn’t half the crazy 2020 had in store for us.

I’ve survived a semester teaching fully online and even directed a writers’ symposium that was fully online. All of that is starting to feel normal. But the craziest part was getting grades turned in while the campus where I work was dealing with a ransomware attack.

We’ve fared very well, with no loss to our major systems, which were back up and running within hours. PCs in offices were what was affected most, and though we hope we’ll be able to recover that data, offices were closed until hard drives could be replaced and computers disinfected. Faculty computers are still off limits, but I’m hopeful that mine will be okay, since I use a Mac and I’ve heard they weren’t infected and their files weren’t encrypted. If that’s wrong, I have most everything on my home computer or in the cloud, so I’ll be okay with minimal loss of data anyway, and since many of my colleagues were working remotely this semester, their PCs were off, so they are probably also in good shape.

It all happened at the very end of the semester, but we were able to get our grades in and communicate with students with very few hiccups. Our IT department has worked overtime to get us back up and running, and everything is going to be okay.

That’s what we keep saying about this crazy year. No matter what 2020 throws at us, somehow we’ll make it through, and there is light at the end of the tunnel. I know that’s not the case for everyone, and I feel very fortunate that I still have my job and my family, and it looks like we’ll make it to 2021 as long as we can stay healthy, wear our masks, avoid groups as much as possible, and keep dealing with everything this year sends our way.

Advice from the Editor’s Desk

This is the time of year I love — no, I’m not talking about preparations for Thanksgiving and Christmas or even about finals week. I’m talking about the time each year when I get to sit down, as I did this weekend, and put together the pages for Poetry South.

As always, there has been a lot of work that went into this weekend. My staff of four grad student writers had already read most of the submissions. (I usually get a head start and read the first six months worth or so before their class begins.) They had voted, and then I reviewed all of their votes and made the final selections, while also teaching my Fall classes, running the Eudora Welty Writers’ Symposium, etc. It usually takes me most of the semester to get through all the final decisions.

I will say, the students do a great job at reading and finding some fabulous poems, and our submissions are always stellar. Nonetheless, we occasionally disagree. I’ve rescued a few very fine poems from their reject pile, and I’ve ultimatley decided to return a few poems that they were enthused about, finding that they just didn’t fit the magazine’s tone or the way the issue was shaping up.

The lesson I take from this is that I know we always miss some very good poems. Maybe we read them at the wrong time of day or at the wrong point in our reading marathon. What I take from this is that no editor is perfect. We all do our best, but we will miss some poems, or we may get more excited about some other poems for some reason. I try to remember this whenever my poems come back to me from another journal.

Another lesson I always am reminded of in the decision-making process, is how important it is to keep good records when simultaneously submitting, and to immediately inform all other magazines when something is accepted elsewhere. You have no idea how annoying it is to accept a piece and then be told it’s no longer available. When that happens weeks after the acceptance, the anger is ten-fold. Don’t be that writer. Enough said.

Except that the third lesson should be that editors remember. And we remember the good as well as the not-so-good. There are plenty of names I’ve seen in a few rounds of submissions, who I notice when I see them again. Sending your work to a magazine more than once, even if it’s been returned to you multiple times, is often a good idea, especially if you’ve gotten some personalized encouragement.

But the joy this weekend was in taking all those accepted poems — 88 poems by 66 poets for Issue 12 of Poetry South — sorting them, shuffling them, and finding the ways they speak to one another. Laying them out in the magazine, seeing which will go well next to which, and watching as the themes of the issue ebb and flow, is a wonderful experience, even if I did feel glued to my office chair for a few days. It’s also great to start hearing from contributors as they proof their pages and catch a few errors — some we made copying into the magazine file and some that hadn’t been caught in their submissions. There’ll be at least one more round of proofing on our end as well, and then it will ready to off to the printer and then off to those who’ve subscribed.

Another fun part of the weekend was putting together the contributors’ notes and learning more about who is in the issue. Besides being impressed with people’s accomplishments, I always find out about who has books coming out, what presses their books are with, and what other journals they’re publishing in. So my last bit of advice is to read the contributor’s notes. It’s like a snapshot of who is publishing where right now. Make notes about the places you’d like to send your work. This is even more fruitful if you’ve also read the magazine, so you can judge whether your work is like theirs and might be a good fit for the places their work has appeared. Whether this is a way to find new outlets for your work or to be reminded of places you haven’t sent work to in a while, it’s all part of keeping up to date on the publishing world.

Want to see what we’ve been up to at Poetry South this year? You can buy a copy, subscribe, or submit for Issue 13 on Submittable.

Celebrate National Scholarships Month by Searching for One

I’ve recently received a notice about Sallie Mae’s scholarship search tool for graduate scholarships, so I wanted to mention it here. Finding funding for grad school can be a challenge, unless your program is fully funded. Having a search tool like this could be a game-changer for some. Their $20,000 Bridging the Dream Scholarship would virtually pay for our MFA program. This month, they are also offering a $10,000 scholarship:

This tool exclusively for graduate scholarships has 950,000 scholarships with up to $1 billion in resources available. Students that sign up for this free service are automatically entered into our $1,000 a month scholarship drawing, and for the month of November (national Scholarship month) this is a $10,000 award.

They also have good advice on searching for scholarships and ways to fund your graduate education. Sallie Mae is also one of the lending institutions that offer student loans, so they have information on those as well.

Those of you who are applying to graduate programs now (and those who are already in one) should take advantage of this service. I’ve known a grad student who received significant aid for being Polish-American; you may fit another criterion that a scholarship focuses on. You never know what you may qualify for until you search.

Three Questions for MFA Applicants

It is that time of year when those who are deciding whether and where to apply to an MFA program in cretive writing are busy preparing their applications or deciding where they will actually apply. Whether you’re in the final stages or just getting started, here are three questions I think you should ask yourself.

Why Do I Want an MFA?

If you’re writing your statement of purpose, one of the key questions you’ll need to answer is why you want an MFA, and if you’re just looking at MFA programs to see whether you should go down that path, then it is also important to know why. What do you write already, and in what ways do you want to write better? An MFA can jump-start your writing by introducing you to writers you likely wouldn’t find on your own. Contrary to what some people claim, I firmly believe that writing can be taught or I woudn’t be in the business of teaching creative writing. Knowing what you want to learn can help you choose the programs that are right for you.

An MFA also gives you a built-in community of writers, the faculty and fellow students, as well as visiting writers who come to give a reading or lead a seminar. These are connections that will stay with you throughout your lives, not just the few years you are in a program. An MFA can be the start of networking as a writer and can lead to professional connections down the road. And an MFA trains you to be a writing professional, to take your writing and yourself seriously (and how to do that). Knowing why you want an MFA can help you find the programs with the culture that will be right for you.

An MFA will also challenge you to grow as a writer in unexpected ways. Are you ready for that challenge? Have you adequately prepared for your MFA? Have you researched programs and learned everything you can about what will be expected of you, and are you ready for that? There’s nothing wrong with discovering that you aren’t ready, if that discovery helps you recognize what you need to do to be ready.

Do I Need an MFA?

As I’ve written in the past, no one absolutely needs an MFA to be a writer. There are other ways to grow and even network as a writer — summer workshops, seminars, retreats, local writing groups, etc. — so the answer to this question shouldn’t automatically be “yes.” But there are many reasons why you might feel you do need an MFA. Besides the reasons you might want an MFA, you might need an MFA as a credential. For instance, if you want to teach at the college level and don’t already have a Master’s degree or a Ph.D. Or you may have an advanced degeree in another field, but you want to teach creative writing, then you may need an MFA to be qualified. Similarly, in secondary education, having a Master’s degree can be advantageous to your career. Or you may feel that an MFA degree can help you break into publishing or other writing-related careers. Outside of academia, the MFA degree isn’t an absolute requirement of any position that I know of, but it can certainly help you advance in your career. And if your employer recognizes it as a degree that can lead to promotion, then that is another good reason to say you need the degree.

As you look at both these first questions, consider how much you want an MFA and how much you need one or how useful it can be to you, and weigh the two. One (wanting it or needing it) may be more important to you than the other, but both are important to consider as you think about your goals for entering a program, and both can help you decide on the kind of program that will be best for you.

How Can I Afford an MFA?

Assuming you’ve weighted both why you want an MFA and why you need one, and that you’ve come to the decision that you should pursue one, then the last question is how you can afford it. If you really want to pursue one, then there will be a way to make that happen, but you should always consider the costs and the benefits. That may also affect your choice of programs to apply to. If finances are the biggest issue and if you are at a place in your life where you can go to a traditional residential MFA program, then you should definitely look into fully funded programs. Most programs will ask you to work your way through by teaching composition, creative writing, or possibly literature. If you don’t get into a fully funded program, then you definitely want to consider how much tuition you can afford. Can you get into a partially funded program so that you don’t need to go into a lot of student loan debt? Can you keep working and go to school? This is often possible in a low-residency program. It’s best if you can afford the program without taking out a lot in loans, but if the program is affordable enough and your loan debt isn’t too high, then you may feel the benefits outweigh the cost.

I always urge students to try to support themselves as much as possible without loans. If they reserve loans for tuition and books only, then they may be looking at a loan they can pay off in a reasonable amount of time. Also consider who to get the loan from. Federally subsidized loans are usually the best, but if you don’t qualify for them, there are other options. A family member can lend money to you at pretty low interest rates, and that can be mutually benificial, since you know the interest you pay is going back to someone you know. Of course, you have even more incentive not to default on a family loan. There are also private lenders who offer student loans, though the interest rates are generally not as good as federal loans.

Finally, consider other expenses that you are likely to have while you’re in school. If you’re planning to buy a house, get married ,or start a family, or if you have to move or care for aging parents, these can all be factors that will affect your finances. I’m not saying you can’t go to grad school and do any of those things, but you at least want to consider the financial burden and decide whether now is the best time.

That can be a sobering thought to end on, but it is important to know what you’re getting into and to have a plan for how you’ll be able to pay for grad school. With appropriate planning, you can make it happen, but you may need to look for additional sources of funding besides what your university can provide.

Answering these three questions can help your application and can help you decide which programs are the best ones for you to apply to. Don’t just automatically apply to the same programs everyone is applying to, find the programs that will meet your needs, and your chances of being accepted will be higher and your satisfaction with the program you choose will likely be higher, too.

Virtual Symposium Followup

A week ago was the first day of the 32nd annual Eudora Welty Writers’ Symposium at Mississippi University for Women. For the first time in those 32 years, our symposium was totally virtual, something that is happening with a lot of events this year. The photo we used for our cover was taken a few years ago when we were in person in Poindexter Hall. Doing a virtual event like this was surprisingly good. Our readings felt personal and intimate. Writers invited us into their homes and readers were able to connect from wherever they were and even watch after the fact. Videos are still available.

We used Zoom to bring the writers together, and we had two classes on the Zoom call who had all read most of the books. This allowed us to do a live Q&A, and we were able to start Zoom before the public event and let everyone chat a bit as I was getting the tech ready. We always encourage our authors to attend eachother’s readings, which also helps with cameraderie. It went almost as well as it usually does in person, except there was no book signing after our keynote (though we did promote book sales), and there were no conversations in the van that I usually drive authors in to and from the hotel. We didn’t get to have meals or drinks together either, but still it was a great time, and no one caught the virus.

Now that we’ve done one virtual symposium, we’re eager to have the next one back in an auditorium, yet we’ll also be strategizing about how we can stream the video so people who can’t travel to Mississippi University for Women can also join in.