Two hands made of words grasp.

Community Outreach to Find Hidden Gems

Ooligan Press receives many unsolicited submissions through our Submittable from authors all over the world looking to get their books published. Despite the traffic our Submittable receives, however, there are times where the works we have received do not provide the press with the manuscripts we need. This is where community outreach comes into play.

As a teaching press, it is important for Ooligan Press to acquire all different types of manuscripts to provide students with a variety of learning experiences. Our submissions tend to be cyclical, with certain types of books coming to us in groups. For example, the holidays and new year often bring about an influx of novel and memoir submissions as writers wrap up their goals for the year or designate getting published as a New Year’s resolution.

These submissions are always welcome, but we are not always looking for literary fiction or memoirs at any particular time. These holes in our manuscript submissions call for some boots-on-the-ground work from the acquisitions department.

Community outreach can take many forms, such as attending book festivals or author workshops. One of our previous events, Write to Publish, was a great way for the acquisitions department at Ooligan Press to receive submissions; the event featured a panel for authors to pitch their books to the acquisitions managers. Some of our published books came directly from this event. However, in today’s digital and pandemic-ridden world, all of our efforts have been taken online.

Social media is a powerful tool for all sorts of marketing and promotion, and so this is often our first strategy to reach both readers and potential authors. One form of community outreach we’ve been experimenting with in the acquisitions department is #PitMad, which was discussed in our previous acquisitions Manager Monday blog post.

#PitMad is a great way to see what authors are putting out into the world, but maintaining a presence in local and regional writing groups can allow for a more personalized connection with writers, and can help you engage with posts and pages regularly to improve your industry awareness and author accessibility. Participating in local author’s guilds and writing workshops can also connect you with authors who may be new to the publishing world and are not sure of the best way to reach out to a press.

Additionally, community outreach from a lesser-seen portion of the press can help to humanize a publisher, making it more accessible and relatable to not only potential authors, but also the press’s readership. Often, the publishing industry can seem somewhat cold and hidden from the public. The inner workings aren’t always seen, and increasing community outreach and publicity in various areas of the press can help add personality and transparency to the organization.

Ultimately, additional submissions may require more time to work through the slush pile, but it’s a small price to pay to find the perfect author and book for your press. And making an effort to improve community outreach from the editorial, design, and acquisitions departments of the press will humanize an industry that can often come across as an unfeeling machine that doesn’t see the smaller authors and readers who are ultimately the heart of the industry.

#PitMad: Your Quick Ticket to Pub

For many new writers, the question is how to break in, get an agent, and get published. There are many tracks to getting to the peak, but the route is often long and arduous, and authors can go many months—which can compound to years—without hearing about the masterpieces on their hard drives. How can a writer get noticed and noticed fast?

Like with all contemporary remedies, the internet has a hand in getting new authors noticed.
According to Pitch Wars, the curators of the event, “#PitMad is the original twitter pitch event, where writers tweet a 280-character pitch for their completed, polished, unpublished manuscripts. No previously published works. Agents and editors make requests by liking/favoriting the tweeted pitch.” It’s really something like speed dating, where agents and editors get to peruse the quick pitches and interact with authors. It doesn’t guarantee that you’ll be published, but you will have eyes on your manuscript’s idea.

Another key feature of #PitMad is the use of hashtags, not only to denote the genre of your manuscript, but also to let agents and editors know about target audience and authentic authorship. As we move forward with Ooligan’s acquisitions process, we looked at not only #YA, but also at #BVM (Black Voices Matter, for Black writers), #POC (People of Color), #IMM (Immigrant), #OWN (Own Voices), and many more. These hashtags help agents and publishers fill in gaps in their publication list, but also help promote diversity in publishing.

However, not all see this as a great use of time. Jessica Faust from BookEnds Literary Agency says that not only is #PitMad not the best use of her time as an agent, but also that she doesn’t consider “an event like this [as] querying.” She goes on to say that 140 characters is not enough for a full pitch. And while Faust isn’t wrong about the pitch length, she doesn’t speak for all agents and publishers out there. Writers do get picked up here, but it might be a bad idea to put all your eggs in this basket.

In summation, #PitMad is a way for you to meet agents, publishers, and even writers in the Twitter community. Pitch your idea of your manuscript and wait for the likes to roll in. It may not be a total success, but it’s a quick route to get there if you remember to also query for real on the side. As an acquisitions editor for a press, I’ll divulge a few pro tips to writers: pitch in the morning (and think about Eastern Standard Time), pin the post to your Twitter page, and post the pitch a few times, but don’t spam. Use the hashtags, but don’t embellish the truth. Add realistic but known comp titles—not comp TV shows or movies—to your post. I’m less likely to go for “Casablanca x Fifty Shades” than a more grounded “Love, Simon x The House on Mango Street.”

Easy Listening: The Importance and Challenges of Audiobook Proofreading for Misophonia

Audiobooks are becoming a popular format in publishing for many reasons: they allow people of all reading levels to passively enjoy their books, sometimes while multitasking. Most of all, audiobooks are often seen both by publishing houses and readers as a blanket solution to accessibility issues in book readership. Certainly, this is true for a lot of conditions; audiobooks can overcome blindness, dyslexia, and various mobility and visual impairments. However, mediums involving oracular involvement come with their own set of conditions that can make enjoying the content a challenge. For every blind person that is well-served by an audiobook, there is a misophonic listener that is underserved by underutilized proofreading practices.

If this is your first time reading about misophonia, its name should help imply its meaning: an aversion to certain sounds, to the extent that those afflicted have negative reactions and limited ability to function when exposed to those particular sounds. Misophonia is a condition that affects
only about 15 percent of the population, yet understanding the condition and avoiding its triggers has benefits that extend far beyond that narrow demographic. It’s a classic instance of the curb-cut effect: when concerns of accessibility are met, others ultimately benefit from it. Many triggers for misophonia—such as microphone pops, chewing, or whistling when breathing in—aren’t necessarily painful for people without the condition, but certainly detract from the experience of listening to an audiobook for anyone.

But saying that looking out for misophonic readers is a beneficial thing is not the same as saying it is easy. There isn’t exactly a style guide for audiobook proofreading in general, let alone one for catching misophonia triggers. Were such a guide to be created, it would need to factor in the variations in triggers. For some with the condition, pitch is the major factor of concern, for others it is tonality, and others still cannot stand droning noises of any pitch or tonality. In addition, the onus of creating misophonia-friendly audiobooks does not begin and end with proofreaders. Audiobook narrators must be made aware of avoiding volume modulation or unnecessary mouth sounds (not breathing into the mouth or clearing one’s voice, to name a few examples), and audiobook editors will have to be careful to edit around such noises. Some publishers will certainly consider such additional work burdensome, and will elect to not raise these concerns.

And yet, other publishers will consider it worth the effort, and will be richly rewarded for it in an overall increase in audio quality. If proofreaders are going to seek out misspoken words, they might as well seek out distracting or potentially distressing sounds that add nothing to the story being read. Some editors will jump at the challenge of creating such tight audio mixing to avoid microphone pops or other minor background noises, and if only one takes the liberty of creating a style guide for such editing, the entire industry could benefit from it. If audiobooks are going to continue to hold a reputation as an accessible medium, it is not enough that they passively address disabilities by the nature of their format; a more active role must be taken by publishers to ensure a product that everyone can enjoy.

Marketing One Book with Multiple Stories

Ooligan’s staff are excitedly preparing all the marketing details for the upcoming release of the literary fiction novel Three Sides Water by Peter Donahue in May. In this vein, I’ve decided to discuss the marketing process for books. Since every book is unique, all the books at Ooligan Press have their own marketing strategy and target audience carefully planned from the very beginning of the publishing process. This makes discussing the marketing of books in general rather difficult, because each book will have different strengths and challenges to consider when planning a marketing campaign, and, thus, there is not a one-size-fits-all approach to marketing a book. However, Three Sides Water is unique from most fiction novels, because it contains not just one narrative, but three separate short stories. Novels that contain multiple short stories have a slightly more challenging marketing process overall, because succinctly describing the book and its message to the potential reader is more difficult.

This isn’t to deride short story collections in any way. Short story author Michael Knight says, “A good [short story] takes a novel’s worth of emotional complexity, strips away all the fat, and compresses what’s left into a much more confined space, which can make for a reading experience that’s hard to match in terms of its intensity.” Short stories are a literary art form that can show off an author’s raw talent, and there is a host of amazing collections of short stories by famous authors, such as the Brothers Grimm, Roald Dahl, Alice Munro, and Agatha Christie. Short story collections can be wonderful ways to get quick, scintillating reads; I am personally quite fond of reading short stories by Edgar Allan Poe during the month of October. But that gets us back to marketing these books.

I read Edgar Allan Poe in October. Why? For his scary stories. I know what I’m getting from any of Poe’s stories before I read them. Book publishers signal this to me in many ways: a black cover covered with creepy ravens, a sinister-looking font in red, the word “macabre” in the description on the back, the book’s location in the horror section, creepy excerpts from the book used in promotional materials, reviews and blurbs by other famous horror aficionados and authors, and publicity and advertising around October in preparation for Halloween. While each story by Poe is different, they are unified by one theme––horror. Elements like those listed above can all be part of a marketing strategy, but the common thread is what helps guide the marketing process.

The Huffington Post notes that authors without the established reputation and brand to sell their writing on their name alone should craft their collection of short stories to contain the same central characters, setting, or theme. With this cohesive thread, a literary agent—or a publisher, such as Ooligan—will have an idea of how to market your collection and get copies of it into the hands of interested readers. For the reader who is not attracted to short stories as a form, but to a genre, setting, or character-type, these themes can market the book as containing many examples of the kind of stories they like as opposed to just a collection of stories. A unifying thread can also comfort the reader in their choice to buy a whole collection of works rather than seeking out individual pieces, because the collection may offer greater insight and nuance into the message the author wishes to convey.

A challenge for authors writing a collection of short stories (and their publishers) is to find the thread that will resonate with their audience and make it known to them. That way, more people will be willing to dive into a collection of separate stories.

Writing Contests, Ticket Sales, and Speakers, Oh My!

Since being revamped and restructured last April, the Outreach and Project Development team has finally stabilized and secured a solid foundation for its future. We’ve got a lot of experience behind us now and plenty more on the horizon—including the much-anticipated tenth annual Write to Publish conference.
In our most recent post, we discussed key developments in the planning of the conference. Planning is still underway, and we still have a lot to prepare, but there are a few exciting new things we’d like to share with you!
Writing contests: The annual Write to Publish writing contests are now open to submissions! We welcome anyone and everyone to participate in our categories of flash fiction and poetry. Here are the submission guidelines:

  • Submissions are accepted February 1–March 1
  • The maximum length for flash fiction is 1,000 words
  • The maximum length for poetry is fifty lines
  • Flash fiction pieces must adhere to this year’s theme of journeys and adventures
  • Poetry pieces must adhere to this year’s theme of personal journeys
  • All work must be original and previously unpublished
  • $10 entry fee per submission

The winner of each category will receive a $50 cash prize, have their work published by a partnering journal, and get an opportunity to read their winning piece at this year’s Write to Publish conference! We’d like to thank Master’s Review for partnering with us for our flash fiction contest again this year as well as Silk Road Review for partnering with us for our poetry contest.
Tickets: Looking to attend Write to Publish 2018 and celebrate our tenth anniversary with us? Tickets are on sale now! Click here to purchase tickets online! Early Bird tickets are now on sale for a reduced price of $65 until March 1. After March 1, general tickets will be available for $80. Students may also purchase reduced-priced tickets for $35—just present a valid student ID at the registration table on the day of the conference. Reminder: Student tickets are available to students of all ages and from all schools and universities!
Speakers: We’re still gathering what promises to be an impressive list of speakers and panelists, but there are a few names we now have confirmed. We’re very excited to announce that Write to Publish 2018 will include Joe Biel, the founder of Microcosm Press and co-founder of the Portland Zine Symposium; Elly Blue, the co-owner of Microcosm Press and co-producer and director of Groundswell films; and Laura Stanfill, the publisher of Forest Avenue Press and the founder of Mainstreet Writers Movement!
What else to look for: Our 2018 social media campaign has officially launched, so watch the #W2P2018 hashtag for more information on the conference! We’ll be posting updates on confirmed speakers and topics for our panels and interactive learning sessions. Please note that this year’s conference will not include workshops like in previous years; instead, we’ve scheduled “interactive learning sessions” (ILSs), which are structured as participatory lectures with a single instructor. We will also have more information in the upcoming weeks about our ever-popular Pitch to a Professional session, which acts as an educational opportunity for writers to learn about the pitching process and receive feedback from agents and publishers on their pitching techniques.
We look forward to seeing you at the conference on April 21!

Creating Contact Lists for The Ocean in My Ears

In my first two terms at Ooligan Press on The Ocean in My Ears team, the majority of my assignments revolved around contact lists. Contact lists are painstakingly cultivated and relentlessly revised until, from the blood, sweat, and tears put into its conception, a list of possible reviewers is birthed. This process is exhausting and often seems never-ending; like the list will be growing long after your own demise, eternal in a way you could never comprehend—at least until the pub date looms so close that The List is finally dubbed “good enough.” However, The List is important; it’s worth the work. We need these hundreds of names from different types of publications so we can contact them all in the hopes that our requests  will garner a few reviews. Those reviews are what get a book noticed. Here’s how we made our list for The Ocean in My Ears.
Thankfully, we don’t start from scratch with each new publication. Instead, we started with contact lists used previously when publishing other books. After we got that list, we divvied up sections of it, because there were quite literally hundreds of names, and began to weed out those that wouldn’t work for us. Sometimes this meant that the magazine, blog, or podcast was no longer doing reviews or creating new content in general. Other times, we found that our book just didn’t fit for that source.
Once we narrowed down the contacts we had, we began the search for even more. We knew the themes of the book and the audience we were trying to reach, so that’s where we began our search. Out of every five or so sites I looked through, I found one that would actually fit. The goal each week was to find a few dozen contacts to feed The List. Each source needs to have contact information available on their site because, as proved by many emails with either no response or an unrelated automated response, that is likely the only way you’ll obtain it. We also had to find out whether the reviewers would want a galley or digital copy. If they wanted a galley, we needed to know how many. Whether or not this information was available varied depending on the source.
The last step was to make a note of why the source worked and what they were all about. For example, is the publication aimed at young women? Do they talk about feminism? Do they only review romance novels? We repeated all of this process from the beginning again and again until the pub date was only a few short months away. Then, it was time to make use of The List.
The information we collected for The List was used to write pitch letters. I’m not sure how many we wrote in total, but I am sure it was over one hundred. I know I wrote at least forty-five. While that sounds daunting, the process is actually more painless than finding contacts. This is because we have a basic template with information about the book and author into which we plug a targeted sentence or two for our contact. If it was a publication meant to empower young women, I asked myself, “How does Meri embody a powerful young woman? Why is she a role model and why would this source care?”
This process has had frustrating results. Some of our letters and galleys were sent back beat up because the address was incorrect. For many, follow-up emails were sent more than once. Mostly, though, all of this work has been like shouting into a void just hoping to hear some sort of response. For a while, we didn’t hear anything.
Now that The Ocean in My Ears has received numerous positive reviews, I see the light. I understand something that was once only a vague concept. All of this hard, monotonous, tedious work becomes worth it when positive reviews start rolling in and you finally get tangible proof that the world sees the value in a book that’s become near and dear to you.

Write to Publish is Coming to Town

In our past two posts, we’ve told you about our new team and developing protocols and a manual for the team. Now that fall has begun, Write to Publish planning is in full swing, and we have some announcements we can share with you!
Date: Write to Publish 2018 will occur on Saturday, April 21, 2018 from 9 a.m. to 6 p.m. Unlike in recent years, the conference is taking place in the spring instead of winter. Why? We wanted to celebrate this conference’s roots—this is Write to Publish’s tenth anniversary, and the conference was originally held in the spring. It was moved to the winter in 2013 due to concerns about potential scheduling conflicts. However, with the move to winter came weather-related fears, and Write to Publish 2017 was nearly in danger of cancellation because of the heavy snowfall. By moving the conference to April, we’ve eliminated those concerns.
Venue: This year, Write to Publish will take place in Hoffmann Hall, a gorgeous structure built in 1995 and named after George C. Hoffmann, the history professor responsible for renaming Portland State University in 1951. We’ll use Hoffmann for our panel discussions, vendor fair, and keynote speech, and we’ll utilize nearby classrooms for small group discussions and interactive learning sessions.
Keynote Speaker: We are so excited to announce Claire McKinney, the founder and owner of Claire McKinney PR in New York City, as our 2018 Keynote Speaker! Claire is a book publicist with over twenty years of experience and has worked in publicity and marketing departments in multiple renowned publishing companies. Claire recently released a book on promotion for authors, Do You Know What a Book Publicist Does? A Guide for Creating Your Own Campaigns, which will be for sale at Write to Publish this year. She will speak at the 2018 Writer to Publish conference about book promotion, branding, and the importance of thinking about branding even without a finished book.
Presenting Sponsors: We are extremely pleased and grateful to Willamette Writers and Pomegranate Communications for being our presenting sponsors for Write to Publish 2018. Willamette Writers supports aspiring and professional writers throughout the Pacific Northwest, and Pomegranate publishes award-winning fine art books and gift products. Their support helps make this conference happen!
There’s still a lot of work we need to do to prep for Write to Publish, but the conference planning is well under way. We can’t wait to take you with us on a journey through publishing this spring!

Experiencing My First Pitch

I’m a bit of an outsider here at Ooligan. I’m not a spy, nor am I here with any other sinister purpose, it’s just that I’m not in the publishing program. I’m a grad student in PSU’s MFA fiction strand. I needed a one-credit course for the term, and the publishing lab looked interesting, so I registered.

In my first class, I experienced my first executive pitch. As a writer, I know a little bit about pitches. Making a pitch is an art form in itself. And it’s a necessary part of the business of writing. If you want to make any money, or at least if you want someone to read what what you’ve written, you have to get published. And to get published, an author has to make pitches.

But this was something new to me: an in-house pitch. Molly and Bess took over the podium at the front of the room. I expected the author to be there, but she wasn’t. That was weird—how could there be a pitch without the author? But Molly and Bess told the class how the book came to Ooligan. The author, Meagan Macvie, attended an Acquisitions Department workshop and shortly afterward gave a direct pitch of her manuscript, Conspiring to be Meri, to Ooligan Press. So the author had been in front of Ooligan, once. Just not now.

Now the team that was working with the manuscript was pitching its publication to the entire staff. Bess and Molly explained that the story takes place in rural Alaska, so it has the Pacific Northwest connection required of Ooligan publications. They also noted the possibility of a bundle with similar books Ooligan has already published in the YA genre. They covered potential profit and loss. They discussed the author’s bio, noting that the author’s short fiction has been published in Narrative, Fugue, and Barrelhouse Online. And they said Conspiring is a debut novel and that the author is excited to work with Ooligan.

Molly and Bess and the rest of the team had clearly put a lot of time and energy into the presentation, leaving me feeling very informed and positive about the book. So much work had obviously gone into the acquisitions process, I figured it was a foregone conclusion that Ooligan was going to publish the book. I was wrong.

Once the presentation was over, it was time for discussion. There were numerous comments in favor of publication, and there were many who were opposed. My hands got a little clammy. This was something serious, after all. Some of the voices against publication were strong, and they had some valid points. (At least to me.) But I was rooting for publication. I thought about the author—her dream of publication; of seeing her novel in print. I looked at Molly and Bess, still standing before the rest of the class, and I thought about all the hard work they had done. Could all their efforts result in failure?

Eventually the discussion ended and everyone who wanted to speak had the opportunity. Then it was time to vote. Ballots were passed out and filled in. Molly and Bess gathered them up and left the room. Soon afterward, they returned and announced the vote: eight opposed, and over thirty in favor. I could breathe again. But I probably shouldn’t have been so worried. I asked Molly later if an executive pitch had ever been voted down, and she said that it has not yet happened at Ooligan Press. It happens quite often at larger publishing houses, she said, and admitted that it is not a given that every manuscript pitched at Ooligan will be published.

Ooligan Press will continue to grow, its reputation will gain strength, and eventually it will have so many manuscripts to choose from that some will be voted down after an executive pitch. That leaves me torn. One one hand, I hope that day comes soon, but on the other hand I pity the author whose manuscript is the first to get that far, only to be voted down.

Pitch Workshop and Roundtable with Ooligan Acquisitions Team

As Ooligan’s Acquisitions team, we were honored to be asked to conduct the pitch workshop and participate in the pitch roundtable during this year’s Write to Publish. Authors are often confused about what is expected of them during the pitching opportunities at many writing conferences or other networking events. Though we designed the workshop to be a straightforward presentation on the things an author needs to be aware of when they consider pitching their manuscript, it was important that this also be a time for attendees to practice what they’d learned.

The workshop began with a short presentation that asked authors to place themselves in the shoes of the person to whom they’re pitching. If authors can learn to think about the things agents or editors are thinking about when they listen to a pitch, they can prepare a pitch that has that much more potential for success. This means considering things like the market and how the manuscript fits into it, as well as the timeliness of the subject matter.

After giving authors advice that boils down to “do your homework,” we broke down how to conduct two different types of pitches. The first is a longer-style pitch like the type authors would need in a five-minute pitch session, much like the one many of them would attend later during the pitch roundtable. The second is a short, one-sentence elevator pitch to have on hand when authors find themselves being asked, “What’s your book about?” by agents or editors they might find themselves mingling with during a conference or networking event. The examples we worked from were based on Ooligan’s recently acquired title, A Series of Small Maneuvers by Eliot Treichel.

Smoothly integrating the setting and setup, the conflict, a resolution, and a nod to the book’s potential audience is a difficult thing to do in one sentence, or even three. It takes time, patience, and a willingness to pare down an entire narrative to what is essential. To that end, we felt it was very important to give attendees ample time to practice. Everyone broke up into small groups to work on their own pitches and to offer feedback to their group mates. We made the rounds to answer questions and offer advice. It was encouraging to hear the constructive criticism that the authors offered each other; the opportunity for feedback from fellow writers is not one that comes around as often as many would like. That’s why we wanted to be sure authors had enough time to give thoughtful advice and gain confidence in their ability to present their manuscripts in the best possible light, no matter the circumstances.

The opportunity to host a pitch roundtable is also a rare one. It’s not often that we have the privilege of sitting down with authors, face-to-face, to hear their proposals. Although digital submissions are a godsend in the mere fact that they create a much-needed organizational system for a busy acquisitions editor, they unfortunately often contribute to a lack of transparency between publisher and author. Many writers spend countless hours crafting their proposals and cautiously weighing each and every word in a query letter only to send it out to some editor they know little or nothing about. The digital surface strips us of human connection and provides few opportunities for conversation to take place. It is also often not the most appropriate forum for an extensive conversation about expectations or the best space for extensive feedback to take place.

As much as many acquisitions editors would love the chance to engage in a lengthy conversation with each author, this quickly can get out of hand as the editor often has other functions in the publishing house as well. It is with efficiency in mind that we, like many other businesses, have certain guidelines and regulations in place when it comes to digital communication. In this light, conferences such as Write to Publish are things we look forward to every year because they allow us to shed our digital skins and appear in our rare human form to connect with local writers and authors.

As we sat down to listen to a variety of pitches and proposals, we noticed an overarching theme in our interactions—a desire for the elucidation of certain publishing practices and guidelines. Many authors, when finished pitching and listening to feedback, were curious about the internal workings of the industry and were able to freely ask any lingering questions they might have about the business, questions that never really properly fit in any window of query. Aside from being a great opportunity for prospective publishing, we think this observation speaks volumes about why writing and publishing conferences are great and important places: you get some face time with publishing professionals, and they are often very eager to demystify publishing. We had a great time at W2P, and we hope you did too!

Tying Up Loose Ends: Write to Publish 2015 is Almost Here

Write to Publish is in its final stretch, with only one week left until the big day!
Last week, our moderators met up with myself and the director of our quaint little publishing program, Per Henningsgaard, to undergo an hour-long training session. The session was a casual discussion on how to best introduce panelists, generate natural conversations, and overall, make sure everyone in the room is comfortable, informed, and, just maybe, even entertained.
Open discussions like these have helped Brandon and I learn from our peers and team members. Ooligan’s a teaching press after all, and we’re both learning as we go.
Along with last-minute design needs, like conference programs, raffle tickets, attendee surveys, and badges (to name a few), our team is essentially tying up loose ends. We’re accomplishing tasks that had to wait until tickets were sold and this little thing we’d been planning for the past year finally “feels real.”
In other news, we finally have a winner of this year’s High School Essay contest: Olivia Trueb of West Linn Highschool in West Linn, Oregon! Olivia will be joining us at the conference to learn more about book publishing and writing. Be sure to tune in over the next few weeks to read Olivia’s winning essay.
With little over a dozen spots left, the Write to Publish 2015 Pitch Round Table is filling up fast! If you haven’t already, be sure to email us at w2p@ooliganpress.pdx.edu to claim your chance to share your work with local literary agents and publishers. But first, don’t forget to read over the information already listed on the conference’s website.
Although tickets will be on sale at the door on the day of the conference, we suggest purchasing one in advance. If nothing else, it helps our team put into perspective just how many attendees we can hope to expect and ensures we are prepared to meet the demand. Not that we’re scared. We’ve assembled an army of volunteers to assist us and a bookfair full of talented and skilled vendors. We’ve prepared for nearly a year. We’ve got this.
Until next time.