Manuscript Conferences

Online Manuscript Conference


An Online Conference For Poets preparing manuscripts for submission

We have been offering our manuscript conferences now for ten years.


Manuscript Conference Dates

November 13th – 16th

(Only two spots left)

New Conference dates for 2021:

January 15th – 18th

February 19th – 22nd

Announcing a New Fall Zoom-Based Poetry Manuscript Conference from Tupelo Press


Tupelo’s online conference model offers an intimate group of poets the chance to meet with faculty in small groups and build a writing community with one another. Your faculty are three of the most experienced editors, mentors, poets, publisher, and spirit guides in the country: Jeffrey Levine, Publisher & Artistic Director of Tupelo Press, Kristina Marie Darling, Editor-in-Chief of Tupelo Press and Tupelo Quarterly, and Veronica Golos, Editor of 3:A Taos Press. (See bios below.) Together, we will generate real-time, immediately applicable feedback on your manuscript, including comments on individual poems and substantive guidance toward final revision, poem ordering, and manuscript titling. You will be guided through both the art and craft of making your manuscript not just cohere, but sing.

Using Zoom (no app need, just click a link), we will meet as a group for Q&A sessions, poetry readings, and “happy hours” to socialize, in addition to the important, daily, break-out sessions where manuscript reviews will take place. Unlike the process at other manuscript conferences, the Tupelo faculty will have read your entire manuscript and annotated the first ten pages in advance of our meeting. Over the four days of the conference, we will make individually tailored suggestions about where to send your manuscript, as well as the placement of individual poems in magazines and journals. We will also share strategies for how to build an audience before formally submitting your book to publishers.

FAQs and Detailed Schedule Below

Fee $950 (includes the short-version, pre-conference ms review). 


Who are these conferences for?

  • Poets who have published a significant number of individual poems and/or chapbook(s), but who have not yet assembled their work into a full-length manuscript; AND/OR
  • Poets who have already assembled a full-length manuscript of individual poems, a number of which have been published;
  • Poets who have published books, and who have a new manuscript;
  • Poets who have submitted their manuscript a number of times, and who want to learn new ways to improve the work and increase the likelihood of publication.

What will happen in advance of the conference?

  • Soon after registering, you will receive a set of expertly designed, pre-conference exercises geared toward deepening your understanding of what goes into the making – and remaking – of your poetry manuscript;
  • Soon after registering, you will send your manuscript to kristina.marie.darling@gmail.com; 
  • Upon receipt, each manuscript will receive a thorough reading by Kristina Marie Darling, along with detailed annotation of the first ten pages;
  • Poets choosing to purchase the full manuscript review at a reduced cost (details below) will have their manuscript reviewed by Jeffrey Levine. 
  • Your annotated manuscript will be returned to you shortly before the conference begins, if you wish, poets paying for the full manuscript review (at the reduced conference rate) can have their full ms review delivered either (just) before the conference, or they can use what they learn at the conference and submit a manuscript up to three months after the conference.
  • All poems and manuscripts will be submitted and shared electronically, as WordDocs;

What will happen during the conference?

  • We will meet online, but face-to-face via Zoom, an easy-to-use platform that’s gotten a lot of positive attention and use during our months of sheltering and teaching from home. There’s nothing to install. Just click on the emailed link you get from us five minutes before each meeting; 
  • You will need a good WiFi connection and a dependable computer;
  • For some sessions, we will meet as a full group: the Friday introduction and social hour; daily introductory remarks; participant and faculty poetry readings; panels and Q&A sessions; and the final wrap-up: real world strategizing about how, when and where to send not only your manuscripts, but packets of poems.
  • On Saturday and Sunday, you will also meet in small groups for intensive conferencing with each faculty; every participant will have time with each of the three faculty.
  • See detailed, four-day schedule below.


(NOTE: All times are EST, geared toward accommodating most time zones; all meetings are synchronous, via Zoom):

Friday:  3 pm introduction, with BYO wine and cheese, and a full orientation and overview of what’s in store for the weekend.

Friday: 5 pm optional poetry reading by faculty and participants

Saturday and Sunday: Morning sessions will run from 10:00 am to 1:00 pm, and afternoon sessions will run from 3:00 pm to 5:30 pm

NOTE: There will be several built-in breaks, including generous time for lunch and snacks. You will have assignments to work on in the off-hours.

Monday morning: 10 am: overview of publishing nuts and bolts with tailored advice on where, when, and how to submit individual packets of poems and entire manuscripts, along with proprietary information about how to “improve the odds.” 11:30 am: Farewell.

Enrollment and Logistics 

Each four-day conference will:
Convene Friday at 3pm,
Meet daily Saturday and Sunday for workshops from10:00 to 1pm, and from 3pm to 5:30 pm.
Conclude Monday at 11:30am.


Limited to 12 participants, divided into two, intimate groups.



November 13th – 16th

January 15th – 18th

February 19th – 22nd



Work Plan & Pre-conference Assignment

Please download the following documents:

Participant Comments

“I do feel that my editor’s eye has been trained in both the close read and the overall picture. Being invited to questioning the strategy and the moment of a poem were very helpful techniques to me. Also, the emphasis on finding the place where a poem is hiding from itself, or where the speaker is hiding from where the poem wants to go–thinking in that way in those terms was revelatory. Thank you for a very valuable learning experience.”  –Renee Schell

“I could go on for days about what I learned, but to sum it up I walked away with a valuable toolbox much needed for improving my craft and tapping into more creativity; and how to dissect the poem as if it were a science project! I have experience with those helping my kids in science fairs for so many years!  I learned to make each word a poem! I also benefited immensely from the list of journals for submissions and advice on submitting a full manuscript and names of publishers.”  —Lorene Zouzounis

“I’ve attended three conferences with Jeffrey, and each one opens new doors to my writing. His editor’s eye teaches how to stand back from one’s work, with a positive attitude, and find just the right next step to take, whether a subtle tweak or radical revision. He engages all the senses, keeps a varied and respectful pace that demands your full engagement but does not exhaust you. His reading is incisive, his interactions generous, and his passion for the art infectious.”  —Nancy Meyer

Jeffrey Levine is the author of three books of poetry: At the Kinnegad Home for the Bewildered, (Salmon Press, 2019), Rumor of Cortez, nominated for a 2006 Los Angeles Times Literary Award in Poetry, Mortal, Everlasting, which won the 2002 Transcontinental Poetry Prize, and most recently,  Levine’s many poetry prizes include the Larry Levis Prize from the Missouri Review, the James Hearst Poetry Prize from North American Review, the Mississippi Review Poetry Prize, the Ekphrasis Poetry Prize, and the American Literary Review poetry prize. His poems have garnered 21 Pushcart nominations. In addition to his own writing, he is principal translator of Canto General, Pablo Neruda’s epic work of poetry. A graduate of the Warren Wilson MFA Program for Writers, Levine is founder, Artistic Director and Publisher of Tupelo
Press, an award-winning independent literary press located in the historic Berkshire Mountains of Western Massachusetts, and he also serves as Director of the esteemed Tupelo Press Writing Conferences. Also an accomplished musician, Levine is a concert clarinetist, jazz guitarist and pianist.

Kristina Marie Darling is the author of thirty-four books, including DIFFICULT:  Essays on Contemporary Feminist Poetry (Black Ocean, forthcoming); Look to Your Left:  A Feminist Poetics of Spectacle (Akron Poetry Series, forthcoming); Angel of the North (Salmon Poetry, forthcoming in 2023); Je Suis L’Autre:  Essays & Interrogations (C&R Press, 2017), which was named one of the “Best Books of 2017” by The Brooklyn Rail; DARK HORSE:  Poems (C&R Press, 2018), which received a starred review in Publishers Weekly; and two critical studies on contemporary poetry, which are forthcoming from Clemson University Press and Spuyten Duyvil Press, respectively. Her work has been recognized with three residencies at Yaddo, where she has held both the Martha Walsh Pulver Residency for a Poet and the Howard Moss Residency in Poetry; a Fundación Valparaíso fellowship; a Hawthornden Castle Fellowship, funded by the Heinz Foundation; an artist-in-residence position at Cité Internationale des Arts in Paris; five residencies at the American Academy in Rome; two grants from the Whiting Foundation; a Faber Residency in the Arts, Sciences, and Humanities; a Morris Fellowship in the Arts; and the Dan Liberthson Prize from the Academy of American Poets, which she received on three separate occasions, among many other awards and honors.  Her poems appear in Guernica, The Harvard Review, Poetry International, New American Writing, Nimrod, Passages North, The Mid-American Review, and on the Academy of American Poets’ website, Poets.org.  She has published essays in Agni, Ploughshares, The Brooklyn Rail, The Gettysburg Review, Gulf Coast, The Green Mountains Review, The Iowa Review, The Literary Review, and numerous other magazines. Kristina currently serves as Editor-in-Chief of Tupelo Press and Tupelo Quarterly, an opinion columnist at The Los Angeles Review of Books, a contributing writer at Publishers Weekly, a staff blogger at The Kenyon Review, and a freelance book critic at The New York Times Book Review. In 2019, she was named to the U.S. Fulbright Commission’s roster of Senior Specialists. 

Veronica Golos is a founding co-editor of the Taos Journal of International Poetry & Art, former Poetry Editor for the Journal of Feminist Studies in Religion, and core faculty at Tupelo Press Writers Conferences. Golos is the author of four poetry books, GIRL (3: A Taos Press) awarded the Naji Naaman Honor Prize for Poetry, 2019 (Beirut, Lebanon); Rootwork (3: A Taos Press. 2015); Vocabulary of Silence (Red Hen Press, 2011), winner of the 2011 New Mexico Book Award, translated into Arabic by poet Nizar Sartawi; and A Bell Buried Deep (Storyline Press, 2004), co-winner of the 16th Annual Nicholas Roerich Poetry Prize, adapted for stage and performed at Claremont School of Theology, Claremont, CA. Golos has read or lectured at Columbia University’s Teacher’s College, Hunter College, Julliard School of Music, Regis University, University of New Mexico, Dine (Navajo) Technical College, Kansas StateUniversity, Transylvania University, and Colorado (Pueblo) University, among others; She lives in Taos, New Mexico. U.S.A., with her husband, David Pérez.


Contact Information

Email: conferences@tupelopress.org
Phone: 413‐664‐9611

Refund Policy: Refund up to 4 weeks prior each conference, less 15% processing fee.