Conferences are not cheap, and that’s why I had never attended one before—unless I managed to get a free pass through work. This time, luck was on my side. After entering an $85 competition, I received a $100 discount, which made it easier to justify investing $300 to attend the three-day Pacific Northwest Writers Association (PNWA) conference and pitch session.

If you’ve never attended one before (like me), be warned—it’s overwhelming. You’re so focused on getting from one event to the next that you may only remember to take a single photo (the one above) and forget to exchange details with everyone you meet (guilty)!

Location & Details

The PNWA’s 70th annual conference was held September 11–14 at the DoubleTree Hotel in SeaTac (between Seattle and Tacoma, Washington). Writers of all genres—fiction and nonfiction alike—gathered to sharpen their craft, dissect the latest industry trends, and, perhaps most importantly, pitch their books to agents and editors.

For non-members, the conference was around $575. It turned out to be more cost-effective to join the PNWA membership and register with my discount than to go as a non-member. On top of that, parking was $17 a day, coffee was $7, and I packed my own lunches to keep costs down. Another perk? The venue was only a 30-minute drive from home.

Contest

Back in January, I entered the PNWA Unpublished Literary Contest. Honestly, I never expected to become a finalist, let alone win. The main draw was that the entry fee included two critiques. When I didn’t hear back by March, I assumed my entry had been lost and decided to wait until the conference before filing a complaint.

To my surprise, in late July I received an email announcing that I was a finalist along with my two critques! One critique scored my entry at 97/100, praising it as publishable and encouraging me to have it ready to pitch. The other gave me 89/100 with no comments. While I was flattered, I also knew my manuscript needed significant work—I had learned a lot since submitting it, even after paying for an editorial review.

Presentations & Workshops

Most sessions were informative and entertaining. I did catch myself thinking, “I could learn all of this online for free,” but I quickly realized the real value was the in-person connection. Though I didn’t make lifelong friends (and completely forgot to bring business cards), I had several good conversations.

Not all presenters were natural speakers—writers don’t always make great public presenters (check out my first vlog for proof!). One presenter, unfortunately, had such a difficult awards-night experience that it clearly carried into their session and even resurfaced at the farewell brunch.

The welcome packet included bookmarks, postcards, a 70th-anniversary pin, and even a ticket stub I didn’t realize I needed to enter the writing retreat draw. Many presenters offered handouts or QR codes for their slides, so I never needed the laptop I carried each day.

My favorite sessions were:

• Moveable Book Feast: A 90-minute rotation where attendees discussed different genres at themed tables. I joined the romance, historical, nonfiction, and MG/YA fiction groups.

• Writer’s Lab with Damon Suede: A dynamic breakdown of plotting techniques, from Aristotle’s structure to Save the Cat! beats, with examples across genres.

• Both of Jane Friedman’s workshops: Her depth of industry knowledge was incredible.

• Star Wuerdemann’s “How to Build and Sustain a Resilient Writing Practice”: This session would have been far more useful at the start of the conference, especially for newcomers like me.

Overall, I’m glad I attended. If I do another conference, though, I’ll probably choose one that’s romance-specific.

Pitch Block

For many attendees, pitching was the main reason they came. I hadn’t planned on it, but since it was included, I figured—why not?

In the weeks leading up, PNWA hosted a virtual prep session. The advice: keep pitches to 60–90 seconds. I drafted and memorized mine, but my nerves made me speak too fast. The pitch coach also advised me to adjust my wording about word count: agents expect Regency romances to be at least 70k, and mine was only 63k. I revised my pitch to describe it as a completed standalone (and first in a connected series), which worked much better.

On Saturday morning, I joined Pitch Block C. About 50 of us gathered in a waiting room before being ushered into the ballroom. Each of us had four minutes with the agents and editors. I pitched to four agents and one editor, and here’s what I said:

“Hello, I’m Adelaide Acree, and I’m one of this year’s PNWA finalists in the romance category. Today I’m pitching a Regency romance with a mystery twist titled An Affair at Apsley House.

A completed standalone novel in a connected multiverse series. It’s perfect for fans of enemies-to-lovers and forced proximity tropes—full of witty banter, a touch of suspense, and the irresistible pull of two people who never expected to fall in love.

Adrian Sinclair, Duke of Wakefield, knows he must marry to fulfill his duty and secure the Sinclair legacy. He attends a house party where he can choose a titled bride.

Fiercely independent and orphaned, Miss Adeline Sandringham is close to inheriting her fortune and plans to travel. But her introduction to the duke sparks spirited debates, flirtation disguised as archery lessons, and the tempting suggestion of an affair.

When an art thief places Adeline in peril, Adrian must use his title, influence, and ties to the Raven Seal—a branch of the Home Office—to keep her safe.

An Affair at Apsley House weaves romance, mystery, and slow-burn passion, delivering a heart-satisfying happily-ever-after.

Questions or requests?”

Most people either read from a page or spoke casually, but I liked having mine memorized. The agents’ eyes lit up at words like “completed,” “series,” “slow burn,” and “HEA.” Four requested the full manuscript, and one asked for the first three chapters. Not bad for my first pitch session!

Final Thoughts

Attending the PNWA conference was an investment—in time, money, and courage—but it was worth it. I learned a great deal, stretched myself outside my comfort zone, and came away with manuscript requests I never imagined I’d receive.

If you’re considering your first conference, my advice is: go prepared, bring business cards, and don’t underestimate the value of in-person pitching. Even if you don’t walk away with new best friends or a book deal, you’ll leave with insights, experience, and motivation to keep writing.

Here’s to the next step on the writing journey—wherever it leads.