Who are Writers Like? Other Writers.

I’ve attended three major writers’ conferences in 2026 so far (including a stellar event in Atlanta last week). Each has its own flavor, its own pacing, and its own geographic flair.

But I can safely say, after mingling in person with literally hundreds of writers over these last several months, and from my vantage point as an instructor, we have a great deal in common—whether we’re beginners or established, whether we’re writing fiction or memoir, and whether we’re 25 or 65.

Here’s what I’ve observed:

1. We are all thirsty sponges seeking information about our craft and all aspects of the publishing industry. But we’re concerned about whom to trust (both individuals and institutional sources). There are so many contradictory opinions on how to be a writer and build a writing career and an increasing amount of AI slop that’s confusing and misleading. Writers are struggling to figure out what to pay attention to, what to dial out, and what to take with several grains of salt.

2. Writers are getting wise to the fact that the publishing industry often says one thing and does another. For example, writers are encouraged to write original material and be as authentic as possible (#ownvoices, anyone?). Yet agents and publishers tend to go with what they know—the trends that are selling and the kinds of stories that readers already love. It’s very hard to break the mold (any literary mold), when the mold is privileged time and again. We’re living with this contradiction every day.

3. The agent marketplace remains opaque. Despite the fact that agent websites are easy to find and peruse and that myriad sources (e.g., QueryTracker, Duotrope, Manuscript Wish List) let writers sift through agent profiles in search of reasonable matches, many writers have little to no idea about what an agent does, how they do it, and what to expect from pitching. I attribute this to the way agents generally present themselves: as receptive, responsive, and incredibly eager to read your query or your pages. In fact, they are often not any of these things; they are overwhelmed, under-paid, and finding it increasingly difficult to sell through manuscripts by authors they already represent.

4. Writers are undermined by a culture that prizes speed and efficiency. We expect fast service, fast food, fast fashion, fast cars, fast test results. No wonder, then, that writers rush to finish a manuscript and submit it. In doing so, they skip over the time needed to let the work marinate, to revise it, to get it edited, and to think through the path to publishing that will suit them best. It’s no one’s fault, really; we live in a hurry-up culture at a time when the best long-form writing still takes lots of time to do well. But this habit is very evident, as many writers are pitching way too early or dashing to self-publish before they’ve written the best version of their book.

5. Self-doubt persists among writers, even successful ones. I can’t resist observing that our capacity for self-doubt as creatives is persistent, consistent, and virtually unlimited. Scratch any writer at a writer’s conference, and they will instantly confess their doubts about every aspect of the journey, from coming up with a workable story idea to figuring out how to market a published book. There’s no real antidote; all we can do is adapt a mindset that is comfortable with uncertainty and where we give ourselves permission to persist, to make mistakes, and to get up after every rejection. That’s about as universal as it gets.

My new novel TENT CITY, is getting some amazing reviews!

“Amy L. Bernstein’s powerful novel reflects modern times with a twist, offering powerful insights into groups that used to work together and now find themselves seemingly at odds, but connected in unusual ways…

“The food for thought generated by this social and psychological examination will prove especially compelling for readers seeking literary reflections of present and future dilemmas surrounding haves and have-nots, simmering frustrations on all sides, and the raise of poverty that both births Tent City and portends its ultimate collapse, as well.”

--D. Donovan, Senior Reviewer, Midwest Book Review