I want to extend a quick and heartfelt thanks once again for inviting me to be a part of your conference. I participate in six to eight conferences each year, and while I almost always enjoy them and find them worthwhile, it's been a long time since I've been to one that left this much of an impression on me. It was top notch all around, both for presenters and for attendees. Truly, not many conferences have such heart and and soul, professionalism, and value. Your selection of speakers / agents/ faculty was fabulous (even I left energized!), the attendees were open to suggestions and very eager to learn, there was a feeling of respect and excitement over being in the world of books and writing -- and none or very little of the doom and gloom that is present at so many conferences. And of course the meals were excellent, and the location was as well. I only wish we could have stuck to our original plan to stay for an extra few days.
PS: And I should add that I loved the Real Time Query appointments. A great way for attendees to pitch, but to also leave there with hopefully a more effective query.
Showing posts with label 2011 Conference. Show all posts
Showing posts with label 2011 Conference. Show all posts
SCWW Members' Books Accepted on Consignment
Jill Hendrix of Fiction Addiction is willing to extend the conference deal regarding book consignment to all SCWW members (http://www.fiction-addiction.com/). For details email Jill at info@fiction-addiction.com. Thanks, Jill.
It's in the Bag!
Today, the 21st annual SCWW Writers' Conference is history. As the conference ended yesterday, I heard enough feedback to say with reasonable certainty that it was a good one. Many of you told me that this year's was one of the best, citing our excellent faculty. We have Carrie McCullough, Conference Chair, to thank for that - along with just about every other detail pertaining to planning this event. Please give Carrie a round of applause for the outstanding job she performed all year.
Of course the conference couldn’t have been as successful without the efforts of Kia Goins, Conference Co-Chair, (volunteer, vendor, sponsor coordination and ace all-round problem solving) and Kim Blum-Hyclak, Silent Auction Chair. They worked like Trojans to make Conference 2011 an enjoyable, informative, seamless and financially-viable endeavor.
Then there are the 20 volunteers that gave up a good portion of their conference time to insure that attendees were comfortable and on time to their specific sessions and appointments. This was accomplished with smiles and enthusiasm. In addition, there were many behind-the-scene chores shouldered by these members. Good volunteers are the oil that makes the gears of an organization turn smoothly, and this weekend our conference machinery operated with premium-grade WD40TM.
Here’s a big thanks to each member of our faculty members who took time away from their busy lives to share their knowledge and expertise. They didn’t make a great deal of money, had to rearrange their work schedules and dealt with the annoyances of travel in order to be with us. We were fortunate to snag them.
I have a quote from an email I received this morning. “I sat beside a writer from NY Saturday night and I asked him how he discovered our conference. He found it online, a site that reviewed conferences in the USA and ours was listed as NUMBER ONE!”
Also, I spoke with an attendee an hour ago who said, “I am busy putting to work some of the things I learned this past weekend. I expect better results than I’ve had.”
On Sunday morning, an 18-year-old man stopped to pass on his thanks to SCWW and our annual conferences. He said he had been attending them since he was 15 years old and owed his writing career to SCWW.
And lastly, a lady paused at the door as she was leaving the conference when I asked her if she’d enjoyed her weekend. She placed her hand over her heart and with a blissful expression sighed, “I have been inspired.”
If you couldn’t be with us this year, start planning to attend the 22nd annual SCWW Writers' Conference, November 2-4, 2012. I’ll see you there.
Of course the conference couldn’t have been as successful without the efforts of Kia Goins, Conference Co-Chair, (volunteer, vendor, sponsor coordination and ace all-round problem solving) and Kim Blum-Hyclak, Silent Auction Chair. They worked like Trojans to make Conference 2011 an enjoyable, informative, seamless and financially-viable endeavor.
Then there are the 20 volunteers that gave up a good portion of their conference time to insure that attendees were comfortable and on time to their specific sessions and appointments. This was accomplished with smiles and enthusiasm. In addition, there were many behind-the-scene chores shouldered by these members. Good volunteers are the oil that makes the gears of an organization turn smoothly, and this weekend our conference machinery operated with premium-grade WD40TM.
Here’s a big thanks to each member of our faculty members who took time away from their busy lives to share their knowledge and expertise. They didn’t make a great deal of money, had to rearrange their work schedules and dealt with the annoyances of travel in order to be with us. We were fortunate to snag them.
I have a quote from an email I received this morning. “I sat beside a writer from NY Saturday night and I asked him how he discovered our conference. He found it online, a site that reviewed conferences in the USA and ours was listed as NUMBER ONE!”
Also, I spoke with an attendee an hour ago who said, “I am busy putting to work some of the things I learned this past weekend. I expect better results than I’ve had.”
On Sunday morning, an 18-year-old man stopped to pass on his thanks to SCWW and our annual conferences. He said he had been attending them since he was 15 years old and owed his writing career to SCWW.
And lastly, a lady paused at the door as she was leaving the conference when I asked her if she’d enjoyed her weekend. She placed her hand over her heart and with a blissful expression sighed, “I have been inspired.”
If you couldn’t be with us this year, start planning to attend the 22nd annual SCWW Writers' Conference, November 2-4, 2012. I’ll see you there.
Conference Update
In less than a week, SCWW members will be driving and flying into Myrtle Beach for the 2011 conference. Have you registered? There's still time. Just visit www.myscww.org/conference and follow the link for credit cards (we can't accept anymore checks because the mail might not make it to us in time). Want to pay by check though? You can register at the conference.
Did you manage to shift your schedule and can attend sessions on Friday? You can add it to your previous registration by emailing scwwconference2011@gmail.com. Please, don't start a new registration. That costs the organization needless fees.
Or, did you sign up for a basic conference package and now you really want to add meal tickets? Again, don't start a new registration, just email scwwconference2011@gmail.com.
Appointment Times
You signed up for an appointment with a faculty member. You're anxious to know who and when you'll meet, right? Well, this year we'll be sending out appointment time information the week before the conference. Appointment times will be emailed out, starting Friday. Please, keep in mind we sold 100 critiques alone, so it's impossible to send out all of the emails in one day. But, everyone should have their information by Monday. If you don't, please email scwwconference2011@gmail.com.
Keep in mind that appointment times and faculty cannot be changed, unless there was an error on the part of SCWW. Also, unlike previous years, you MAY NOT swap times or appointments. Only the attendee listed on our appointment schedule will be allowed in. Reselling of appointments is prohibited.
The Notebook
No, we're not referring to the Sparks’ novel by that title. We want to tell you about our conference notebook; it will be your guide for our conference weekend, October 21-23.
The Table of Contents will help you use the information more effectively, along with a map of the Hilton Myrtle Beach Resort and the menus for our meals. The notebook features front and back pockets to hold transparencies for slush piles and handouts from sessions. Of course, you’ll want to bring your own notebook to take notes. They’ll fit together perfectly.
In the conference notebook, in addition to the schedule for sessions and activities for the entire weekend, you’ll also find bio pages of our faculty with their photos so you’ll know what they look like before you go into your appointments or be able to recognize them on the elevator and mealtimes. There are instructions for the Silent Auction and SCWW Board of Directors bios and pics. Please introduce yourself to us; we want to get to know you.
Faculty Silent Auction Donations
David Coe – 50 page critique; books
James Frenkel – 50 page critique; books
Toni Plummer – 30 page critique; books
Jessica Regel – 50 page critique
Stephanie Sun – critique of query letter + 1st three chapters of a manuscript
Jon Sternfeld – 50 page critique
Eddie Schneider – (2) critiques, 50-75 pages + 1 page synopsis
Melissa Jeglinski – 25 page critique to be submitted by the end of November
Mollie Glick – books
Matt Frederick – books
Sarah LaPolla – critique of query letter + 1st Chapter
Sorche Fairbank – books
Chuck Sambuchino – books
Andrew Gross – books
Stephen Barr – 75-page critique
Silent Auction Proxy Bidding
Have you heard the news? There’s new and exciting activity with this year’s Silent Auction. The first is what is on the auction tables. We have 3 amazing get-aways: Three Oaks in TN, The Lazy Spring Ranch in WY and The Hilton Myrtle Beach Resort in SC. We have after-conference faculty critiques ranging from 25 pages to a query + the first three chapters. See above for a complete list of bid lots.
And very new this year, we’re offering Proxy Bidding! Members unable to attend the conference may place bids on silent auction lots through a designated proxy bidder. Below are the guidelines for taking advantage of this new opportunity.
All bids must be placed by a member attending the SCWW Conference Members wishing to place bids by proxy should notify Silent Auction Chair, Kim Blum-Hyclak at kim.blumhyclak@gmail.com no later than noon on Friday, October 21, with the following information:
Name
Contact information: phone number, address, email
Name of designated proxy bidder
Members attending the conference and serving as a proxy bidder will submit a proxy bid sheet which will be in the conference notebook. All items must be paid for by 1:00 Sunday, October 23. Items won through proxy bid must be paid for through the proxy bidder and proxy bidder is responsible for taking and delivering the auction item. SCWW will not ship any auction winnings.
Vendors and Sponsors
Fiction Addiction – bookseller for the Conference
Henry Wren Publications
Postertext
Glimmer Train
USC Press
Spalding University
Finishing Line Press
Dancing Lemur Press
Drop by these sponsors tables and thank them for supporting SCWW.
Volunteers
At the conference you will meet other SCWW members, published authors, editors and agents. You will also meet conference volunteers. Volunteers are SCWW members who are help to staff the conference. You’ll see volunteers practically everywhere you go during the conference. They will check you in at the registration desk, or sell you a t-shirt or Petigru Review at the Book Nook, or they’ll check your badge at meals. Say hi, they are really nice people and they’ll be glad to meet you.
Volunteers will easily indentified by the blue and green “Volunteer” buttons they will be wearing. If you need help with anything, from directions to a particular location or the answer to a question, just ask. If that volunteer doesn’t immediately have an answer to your question, he or she will find Carrie, Ginny or Kia and get you an answer as quickly as possible.
Have any questions about the conference? Email scwwconference2011@gmail.com.
Hope to see you soon!
Did you manage to shift your schedule and can attend sessions on Friday? You can add it to your previous registration by emailing scwwconference2011@gmail.com. Please, don't start a new registration. That costs the organization needless fees.
Or, did you sign up for a basic conference package and now you really want to add meal tickets? Again, don't start a new registration, just email scwwconference2011@gmail.com.
Appointment Times
You signed up for an appointment with a faculty member. You're anxious to know who and when you'll meet, right? Well, this year we'll be sending out appointment time information the week before the conference. Appointment times will be emailed out, starting Friday. Please, keep in mind we sold 100 critiques alone, so it's impossible to send out all of the emails in one day. But, everyone should have their information by Monday. If you don't, please email scwwconference2011@gmail.com.
Keep in mind that appointment times and faculty cannot be changed, unless there was an error on the part of SCWW. Also, unlike previous years, you MAY NOT swap times or appointments. Only the attendee listed on our appointment schedule will be allowed in. Reselling of appointments is prohibited.
The Notebook
No, we're not referring to the Sparks’ novel by that title. We want to tell you about our conference notebook; it will be your guide for our conference weekend, October 21-23.
The Table of Contents will help you use the information more effectively, along with a map of the Hilton Myrtle Beach Resort and the menus for our meals. The notebook features front and back pockets to hold transparencies for slush piles and handouts from sessions. Of course, you’ll want to bring your own notebook to take notes. They’ll fit together perfectly.
In the conference notebook, in addition to the schedule for sessions and activities for the entire weekend, you’ll also find bio pages of our faculty with their photos so you’ll know what they look like before you go into your appointments or be able to recognize them on the elevator and mealtimes. There are instructions for the Silent Auction and SCWW Board of Directors bios and pics. Please introduce yourself to us; we want to get to know you.
Faculty Silent Auction Donations
David Coe – 50 page critique; books
James Frenkel – 50 page critique; books
Toni Plummer – 30 page critique; books
Jessica Regel – 50 page critique
Stephanie Sun – critique of query letter + 1st three chapters of a manuscript
Jon Sternfeld – 50 page critique
Eddie Schneider – (2) critiques, 50-75 pages + 1 page synopsis
Melissa Jeglinski – 25 page critique to be submitted by the end of November
Mollie Glick – books
Matt Frederick – books
Sarah LaPolla – critique of query letter + 1st Chapter
Sorche Fairbank – books
Chuck Sambuchino – books
Andrew Gross – books
Stephen Barr – 75-page critique
Silent Auction Proxy Bidding
Have you heard the news? There’s new and exciting activity with this year’s Silent Auction. The first is what is on the auction tables. We have 3 amazing get-aways: Three Oaks in TN, The Lazy Spring Ranch in WY and The Hilton Myrtle Beach Resort in SC. We have after-conference faculty critiques ranging from 25 pages to a query + the first three chapters. See above for a complete list of bid lots.
And very new this year, we’re offering Proxy Bidding! Members unable to attend the conference may place bids on silent auction lots through a designated proxy bidder. Below are the guidelines for taking advantage of this new opportunity.
All bids must be placed by a member attending the SCWW Conference Members wishing to place bids by proxy should notify Silent Auction Chair, Kim Blum-Hyclak at kim.blumhyclak@gmail.com no later than noon on Friday, October 21, with the following information:
Name
Contact information: phone number, address, email
Name of designated proxy bidder
Members attending the conference and serving as a proxy bidder will submit a proxy bid sheet which will be in the conference notebook. All items must be paid for by 1:00 Sunday, October 23. Items won through proxy bid must be paid for through the proxy bidder and proxy bidder is responsible for taking and delivering the auction item. SCWW will not ship any auction winnings.
Vendors and Sponsors
Fiction Addiction – bookseller for the Conference
Henry Wren Publications
Postertext
Glimmer Train
USC Press
Spalding University
Finishing Line Press
Dancing Lemur Press
Drop by these sponsors tables and thank them for supporting SCWW.
Volunteers
At the conference you will meet other SCWW members, published authors, editors and agents. You will also meet conference volunteers. Volunteers are SCWW members who are help to staff the conference. You’ll see volunteers practically everywhere you go during the conference. They will check you in at the registration desk, or sell you a t-shirt or Petigru Review at the Book Nook, or they’ll check your badge at meals. Say hi, they are really nice people and they’ll be glad to meet you.
Volunteers will easily indentified by the blue and green “Volunteer” buttons they will be wearing. If you need help with anything, from directions to a particular location or the answer to a question, just ask. If that volunteer doesn’t immediately have an answer to your question, he or she will find Carrie, Ginny or Kia and get you an answer as quickly as possible.
Have any questions about the conference? Email scwwconference2011@gmail.com.
Hope to see you soon!
Conference Prep from an Illogical Mind
By J.M. Kelley
Prepping for an upcoming conference can be traumatic for an author, especially one who has issues with logic. Like me.
Last year, my first SCWW conference, I hadn’t even achieved South Carolina residency yet. Sure, that’s not a requirement. But a tiny part of me felt like I was cheating on my home state of Pennsylvania when I slipped into my car in the wee hours of the morning to slink off to visit my new paramour, the SCWW.
Logic isn’t my friend.
Luckily, this time, I can attend with a clear conscience. I broke up with Pennsylvania and moved to Greenville. Nearly a year later, my relationship with The Palmetto State is as strong as ever.
But, I digress. We were about to discuss conference prep.
We all know the basic battle plan for attending a conference with an unsold manuscript in possession. Some of the more important points are:
1. Know your story. Be prepared to sell it. Have your query ready. Memorize your elevator pitch.
2. Dress comfortably but professionally.
3. Have your classroom supplies ready. Bring notepads, pens and pencils, maybe a voice-activated digital recorder.
4. Choose your courses with thought. Think about what you want to take away from the conference. What are your weaknesses? Grammar? Marketing? Clueless about formulating a professional query letter? Focus on your needs, but don’t be afraid to mix it up a little.
5. Step outside of your comfort zone. We’re authors. We understand the introvert tendencies some of us experience. Make friends. Make contacts.
**************
Pretty straightforward information, but always worth repeating, don’t you think?
Especially for a scatterbrain such as myself. I know the rules. Honest. But when it comes to applying them, logic often fails me. So let’s explore my brain in pre-conference prep mode. Consider it an exercise in how not to prepare.
Know Your Story.
I know my story. I can describe it to you. Do you have a half an hour? See, this girl, she has to come home to help out her father…
Okay, I know my story. And I’m working on the short version. I promise you that. It’s the elevator pitch that frightens me. How do you sum up a hundred thousand words in one sentence? This is the question that keeps me awake at night. And queries? Don’t even get me started on queries. My first novel went through about seven different queries before I finally found one that stuck. The first one will someday be featured on several agent sites to demonstrate what not to do when trying to entice an agent.
My biggest conference fear is that the following conversation will occur.
Be Prepared To Sell It.
In my mind, that means one thing. Snazzy business cards. And when it comes to business cards, my idiocy emerges and I need the intervention of friends to return me to sanity.
Dress Comfortably But Professionally.
Exchanges like this are not productive when trying to decide on appropriate conference attire:
Have Your Classroom Supplies Ready:
My interpretation:
Go to Target and spend an hour trying to decide between a neon pink Hello Kitty theme or a notebook that looks like a tropical garden just exploded from its recycled material innards.
Feel bad about leaving behind the giant wooden pencil I’ve owned since kindergarten.
Choose Your Courses With Thought.
This means you shouldn’t accidentally wander into the conference room hosting the Morticians of America Annual Meet and Greet and Crematorium Emporium.
This also means that the crumpled course list you’ve been nervously twisting and untwisting in your hands has another, more important, use.
Step Outside of Your Comfort Zone.
Last year, I was a wall flower. An unemployed wallflower who selected the Basic Package and somehow managed to leave the conference without realizing she’d been awarded a Carrie McCray Memorial Literary Award.
This year I’m volunteering. That, my friends, is a step outside of my claustrophobic box of isolation.
**************
Okay. Clearly, I’m exaggerating my mindset as the 2011 SCWW Conference approaches. Well, a little bit. I really am logic-impaired, and really do have a Hello Kitty notebook that is trying to wriggle its way into my bag of conference supplies.
The real point I’m trying to make, all kidding aside, is this: Don’t overthink it. But don’t underthink it, either.
You’re a writer forging into territory where some pretty impressive names in the publishing industry will be lurking. It’s smart to be at the ready, just in case you manage to catch the ear of your dream agent or editor.
Don’t wander the conference rooms with three printed copies of your full manuscript, attacking editors and agents at will. But don’t be afraid to think positive. There’s nothing wrong with having a flash drive handy with samples of your work, ready to print out in the Business Center just in case you get that miracle moment where an agent begs to see the evidence of your brilliance. More than likely, if you get an invitation to submit your work from an agent, you’ll be emailing the requested material once the conference ends. But a writer can dream.
Don’t sweat the attire. But don’t wear your twenty-one year old Chuck Taylor All Star sneaks and a ratty pair of acid-washed jeans that looked great on you in 1986. Be comfortable, but be mindful of the image you project to publishing professionals.
Pick the classes that appeal to you and your particular writing niche. And be prepared to take notes. Don’t let all the free-flowing information go to waste. A year after my original SCWW Conference experience, and I still often peek at the notes I took to refresh my memory about a certain point.
Have the kind of fun that doesn’t end up with you doing the Macarena on the hotel bar with a lamp shade on your head.
The most important advice I can impart is this: Reach out. I emphasize this because I am too often compelled to blend into the scenery. Interacting with real humans is infinitely more stressful to me than creating fictional characters. Thing is, even the most introverted, shy person at a writing conference has the easiest conversation starter at their disposal. Look around you. Find a kind face. Walk up to them and say, “Hi! So what’s your book about?”
Everybody there will have an immediate answer for you.
Solidarity, brothers and sisters. Embrace the opportunity to connect with the milling crowds of people who know just what it’s like to have the one job in the world in which it’s perfectly okay to respond to the voices in your head. You won’t be sorry.
J.M. Kelley's debut novel, Drew in Blue, is a contemporary romance available from Lazy Day Publishing. Drew in Blue was nominated for Best Contemporary of 2010 by The Romance Reviews, and is a TRR and Night Owl Reviews Top Pick. Drew is available for download from Amazon, B&N, All Romance, and OmniLit. J.M. dabbles next in the paranormal realm with her short erotic romance, Laws of Attraction, included in the Lazy Day Publishing anthology, Indulgence: Tales from the Cirque Romani, available via Amazon on October 19th. For information and news, please visit www.jmkelleywrites.com.
Prepping for an upcoming conference can be traumatic for an author, especially one who has issues with logic. Like me.
Last year, my first SCWW conference, I hadn’t even achieved South Carolina residency yet. Sure, that’s not a requirement. But a tiny part of me felt like I was cheating on my home state of Pennsylvania when I slipped into my car in the wee hours of the morning to slink off to visit my new paramour, the SCWW.
Logic isn’t my friend.
Luckily, this time, I can attend with a clear conscience. I broke up with Pennsylvania and moved to Greenville. Nearly a year later, my relationship with The Palmetto State is as strong as ever.
But, I digress. We were about to discuss conference prep.
We all know the basic battle plan for attending a conference with an unsold manuscript in possession. Some of the more important points are:
1. Know your story. Be prepared to sell it. Have your query ready. Memorize your elevator pitch.
2. Dress comfortably but professionally.
3. Have your classroom supplies ready. Bring notepads, pens and pencils, maybe a voice-activated digital recorder.
4. Choose your courses with thought. Think about what you want to take away from the conference. What are your weaknesses? Grammar? Marketing? Clueless about formulating a professional query letter? Focus on your needs, but don’t be afraid to mix it up a little.
5. Step outside of your comfort zone. We’re authors. We understand the introvert tendencies some of us experience. Make friends. Make contacts.
**************
Pretty straightforward information, but always worth repeating, don’t you think?
Especially for a scatterbrain such as myself. I know the rules. Honest. But when it comes to applying them, logic often fails me. So let’s explore my brain in pre-conference prep mode. Consider it an exercise in how not to prepare.
Know Your Story.
I know my story. I can describe it to you. Do you have a half an hour? See, this girl, she has to come home to help out her father…
Okay, I know my story. And I’m working on the short version. I promise you that. It’s the elevator pitch that frightens me. How do you sum up a hundred thousand words in one sentence? This is the question that keeps me awake at night. And queries? Don’t even get me started on queries. My first novel went through about seven different queries before I finally found one that stuck. The first one will someday be featured on several agent sites to demonstrate what not to do when trying to entice an agent.
My biggest conference fear is that the following conversation will occur.
Random Agent: So what’s your story about?
Me: Huh? What?
R.A.: Your story. The entire point of you being in my presence. What is it about?
Me: It’s a book.
R.A.: Yes. Kinda figured that.
Me: It’s really good.
R.A.: Mm hmm. Excuse me. I have to go throw myself from the roof.
Me: Have fun?
Be Prepared To Sell It.
In my mind, that means one thing. Snazzy business cards. And when it comes to business cards, my idiocy emerges and I need the intervention of friends to return me to sanity.
Me: I think I found a business card design I like. Want to see?
Friend: Sure. (Views link to business card image) There’s a banana on this business card.
Me: Yes. It’s a very cute banana.
Friend. You hate bananas.
Me: I hate eating bananas. I like dancing bananas on business cards, though.
Friend: You’re an idiot. What does this have to do with your writing?
Me: I’m sure there’s a banana somewhere in the book.
Friend. Again, you’re an idiot.
Dress Comfortably But Professionally.
Exchanges like this are not productive when trying to decide on appropriate conference attire:
Me: What do you think of this skirt?
Friend: It looks good on you.
Me: Do you think I can wear my combat boots with it?
Friend: No. No combat boots.
Me: How about this dress? Does it make me look fat?
Friend: No. I think it’s a great choice for the Keynote Address Dinner.
Me: The skirt is longer on this. Definitely a combat boot kind of dress.
Friend: For the love of all that is holy, do not bring the combat boots.
Me: They give me an air of quirkiness.
Friend: They give you an air of Odor Eaters. Those things are ten years old and smell like death.
Have Your Classroom Supplies Ready:
My interpretation:
Go to Target and spend an hour trying to decide between a neon pink Hello Kitty theme or a notebook that looks like a tropical garden just exploded from its recycled material innards.
Feel bad about leaving behind the giant wooden pencil I’ve owned since kindergarten.
Choose Your Courses With Thought.
This means you shouldn’t accidentally wander into the conference room hosting the Morticians of America Annual Meet and Greet and Crematorium Emporium.
This also means that the crumpled course list you’ve been nervously twisting and untwisting in your hands has another, more important, use.
Step Outside of Your Comfort Zone.
Last year, I was a wall flower. An unemployed wallflower who selected the Basic Package and somehow managed to leave the conference without realizing she’d been awarded a Carrie McCray Memorial Literary Award.
This year I’m volunteering. That, my friends, is a step outside of my claustrophobic box of isolation.
**************
Okay. Clearly, I’m exaggerating my mindset as the 2011 SCWW Conference approaches. Well, a little bit. I really am logic-impaired, and really do have a Hello Kitty notebook that is trying to wriggle its way into my bag of conference supplies.
The real point I’m trying to make, all kidding aside, is this: Don’t overthink it. But don’t underthink it, either.
You’re a writer forging into territory where some pretty impressive names in the publishing industry will be lurking. It’s smart to be at the ready, just in case you manage to catch the ear of your dream agent or editor.
Don’t wander the conference rooms with three printed copies of your full manuscript, attacking editors and agents at will. But don’t be afraid to think positive. There’s nothing wrong with having a flash drive handy with samples of your work, ready to print out in the Business Center just in case you get that miracle moment where an agent begs to see the evidence of your brilliance. More than likely, if you get an invitation to submit your work from an agent, you’ll be emailing the requested material once the conference ends. But a writer can dream.
Don’t sweat the attire. But don’t wear your twenty-one year old Chuck Taylor All Star sneaks and a ratty pair of acid-washed jeans that looked great on you in 1986. Be comfortable, but be mindful of the image you project to publishing professionals.
Pick the classes that appeal to you and your particular writing niche. And be prepared to take notes. Don’t let all the free-flowing information go to waste. A year after my original SCWW Conference experience, and I still often peek at the notes I took to refresh my memory about a certain point.
Have the kind of fun that doesn’t end up with you doing the Macarena on the hotel bar with a lamp shade on your head.
The most important advice I can impart is this: Reach out. I emphasize this because I am too often compelled to blend into the scenery. Interacting with real humans is infinitely more stressful to me than creating fictional characters. Thing is, even the most introverted, shy person at a writing conference has the easiest conversation starter at their disposal. Look around you. Find a kind face. Walk up to them and say, “Hi! So what’s your book about?”
Everybody there will have an immediate answer for you.
Solidarity, brothers and sisters. Embrace the opportunity to connect with the milling crowds of people who know just what it’s like to have the one job in the world in which it’s perfectly okay to respond to the voices in your head. You won’t be sorry.
J.M. Kelley's debut novel, Drew in Blue, is a contemporary romance available from Lazy Day Publishing. Drew in Blue was nominated for Best Contemporary of 2010 by The Romance Reviews, and is a TRR and Night Owl Reviews Top Pick. Drew is available for download from Amazon, B&N, All Romance, and OmniLit. J.M. dabbles next in the paranormal realm with her short erotic romance, Laws of Attraction, included in the Lazy Day Publishing anthology, Indulgence: Tales from the Cirque Romani, available via Amazon on October 19th. For information and news, please visit www.jmkelleywrites.com.
Getting Ready for SCWW Conference
The conference will start sooner for me than for attendees. You've still got 16 days before the event begins. I'll be Myrtle Beach bound Oct. 16.
Some of you are probably thinking, "Really? Lucky Duck. What's there to do?"
Well, I'll be reviewing the menus, meeting space and decorations. I'll take care of last-minute details concerning faculty flights, driving schedules and room reservations. With the help of volunteers, Co-chair Kia Goins and Board President Ginny Padgett, I'll put together the notebooks and the conference bags. We'll help the silent auction group, headed by Kim Blum Hyclak, with stuffing baskets and making bid sheets.
But enough about what will be going on behind the curtain, here's what you'll need to know:
1. Appointment times -- The week before the conference, we'll send emails to attendees who purchased appointments, providing the faculty name and the time and day they'll meet. Remember, critiques are on Friday and pitches and real-time queries are Saturday and Sunday.
2. Hotel reservations -- Have you made yours?
3. Meals -- Did you purchase a complete package. If so, you'll start receiving conference meals with Friday dinner and every time the meal bell rings from then until Sunday breakfast, you're covered. If you purchased the Friday morning or all-day intensive sessions, you're also covered for Friday breakfast and Friday lunch. Did you purchase a basic package? Then you're only covered for Saturday and Sunday breakfasts. Meal tickets will be checked. Please, don't try to sneak in. There's only enough for those who purchased.
Want to purchase a meal ticket for yourself or a guest/spouse? Be sure to email scwwconference2011@gmail.com. If you purchase meal tickets at the conference, there will be a fee increase (because it costs us more per meal from The Hilton).
4. Lay of the Land -- Not sure where to go once you arrive at The Hilton? As soon as you stand in front of the hotel reservation desk, look to your right. At the end of the room you'll see a big desk. That's the registration desk as of Thursday evening. Once you check in there, we'll provide you with a conference bag which includes a notebook with a map.
We'll be sending out a special mailing this weekend with other last-minute information about the conference. Remember, it isn't too late to register! We have a handful of appointment times available and there's still room at sessions and the meal tables. There will be plenty of opportunities to meet with faculty and other writers. For more information, check the conference website, www.myscww.org/conference.
The Reward of Patience Is...
When I first heard the phrase “the reward of patience is . . . well, more patience” I felt a twinge of disappointment. I wasn’t expecting a medal pinned on my shirt but patience leading to more patience was tough to accept. But, acceptance is the goal and all this leads me to why I’m getting a little impatient waiting on the scoring from the judges of the Carrie McCray Memorial Literary Awards. We have four judges for each category—First Chapter Novel, Short Non-Fiction, Short Story and Poetry—which comes to twelve judges plus the two people at the South Carolina Arts Commission who tally the scores to come up with the winners. It’s a process and that takes time. We asked them to send in their scores by next week and eight of the twelve already have done so. That’s pretty good.
The winners of the Carrie McCray Memorial Literary Awards will be announced at the Friday evening banquet of the SCWW Conference, October 21-23. If you have not already done so, it’s not too late to sign up for “The Method, The Market & The Muse” which features top agents, top editors and top authors and held at the Hilton Myrtle Beach Resort.
Hope to see you at the Conference.
Martha Greenway
Contests Chair
The winners of the Carrie McCray Memorial Literary Awards will be announced at the Friday evening banquet of the SCWW Conference, October 21-23. If you have not already done so, it’s not too late to sign up for “The Method, The Market & The Muse” which features top agents, top editors and top authors and held at the Hilton Myrtle Beach Resort.
Hope to see you at the Conference.
Martha Greenway
Contests Chair
Conference Appointment Update!
Here's a short update of what appointments are still available during the 2011 conference (Oct. 21-23).
Jon Sternfeld -- 1 Pitch
Sarah LaPolla -- 1 Real-Time Query -- JUST OPENED UP
Stephen Barr -- Sold Out of all appointments
Bernadette Baker-Baughman -- Sold Out of all appointments
Sorche Fairbank -- 3 Pitches
Alyssa Henkin -- 5 Pitches
Molly O'Neill - 3 Real-Time Queries
Stephanie Sun -- 2 Real-Time Queries
Jim Frenkel -- 3 Pitches
Eddie Schneider -- 3 Pitches
Melissa Jeglinski -- 5 Pitches, 5 Real-Time Queries
Jessica Regel -- 4 Pitches
If, when you register, you notice the words SOLD OUT next to a faculty name, do not select that name. There is no way to arrange an appointment once a faculty member is SOLD OUT. There is no waiting list.
SCWW Board Nominations
It's football season, Conference is fast approaching, and SCWW Board nominations are open. Elections will be held at the November Board Meeting. Two-year terms begin January 1, 2012.
SCWW needs representation on the Board from every area of our state. Steve Gordy, Chapter Liaison, has emailed all chapter leaders and asked that each chapter nominate at least one qualified member to run. I followed up that email with an application to share with those members who are interested. If you are an unaffiliated member, please email me for an application and send completed apps by October 31 to ginnypadgett@sc.rr.com. Here are some pertinent facts to keep in mind as you consider service on the Board of Directors.
There are six required Saturday meetings/year, about three or three-and-a-half hours in duration. Only two excused absences/year are permitted.
Each board member is expected to be a committee chair or committee member.
This is a working board. Be prepared to follow through on your commitments on your own between meetings.
Each chair has its own SCWW email account. Please monitor it closely.
Please respond to all email and phone calls pertaining to SCWW within 48 hours.
I will be returning as president again next year; we have a secretary, Quill editor, and Petigru Review editor. We'll be looking for a treasurer, membership chair, chapter liaison, grants chair, contests chair, vice president, conference committee members. If any of these positions interests you in particular, I suggest you email the board member who holds that spot now and ask them about their responsibilities and time obligation. (See the latest Quill or www.myscwww.org for board members and their email addresses.
If you have any questions, email or call me -- 802-738-9062. I look forward to working with you.
Remember our annual general membership meeting at the conference. I'm excited to see familiar faces and make new fiends.
SCWW needs representation on the Board from every area of our state. Steve Gordy, Chapter Liaison, has emailed all chapter leaders and asked that each chapter nominate at least one qualified member to run. I followed up that email with an application to share with those members who are interested. If you are an unaffiliated member, please email me for an application and send completed apps by October 31 to ginnypadgett@sc.rr.com. Here are some pertinent facts to keep in mind as you consider service on the Board of Directors.
There are six required Saturday meetings/year, about three or three-and-a-half hours in duration. Only two excused absences/year are permitted.
Each board member is expected to be a committee chair or committee member.
This is a working board. Be prepared to follow through on your commitments on your own between meetings.
Each chair has its own SCWW email account. Please monitor it closely.
Please respond to all email and phone calls pertaining to SCWW within 48 hours.
I will be returning as president again next year; we have a secretary, Quill editor, and Petigru Review editor. We'll be looking for a treasurer, membership chair, chapter liaison, grants chair, contests chair, vice president, conference committee members. If any of these positions interests you in particular, I suggest you email the board member who holds that spot now and ask them about their responsibilities and time obligation. (See the latest Quill or www.myscwww.org for board members and their email addresses.
If you have any questions, email or call me -- 802-738-9062. I look forward to working with you.
Remember our annual general membership meeting at the conference. I'm excited to see familiar faces and make new fiends.
Writing Isn't a Race
By David B. Coe David B. Coe - http://davidbcoe.livejournal.com
http://magicalwords.net
http://www.DavidBCoe.com
Conference Faculty Member
One of the workshops I’ll be giving during October’s SCWW conference will be on structuring story arc and pacing your novel -- the official title is “Writing Isn’t a Race: Pacing and Story Arc.” Obviously, I’m not going to cover exactly the same material in this post, because that would leave us with nothing to do in October but sit around and stare at one another. And after the first hour or so, that can get kind of weird.
But in preparation for discussing the nuts and bolts of story arc, I thought it might be helpful to define a couple of terms. I write fantasy, and like so many in my genre, much of my work is serialized. I have written two trilogies and a five book sequence. Most recently, I have written the first two books of a new historical fantasy series, and am now working of the first books of at least three other series. Part of this is the market -- in fantasy and science fiction, mystery and romance, young adult and middle reader, series are all the rage. The market is looking not just for a single book, but for the next money-making franchise. And while all of us want to be true to our creativity and write the best books we can, we also have to look at this as a business.
This is not to say that you can’t get published writing a stand-alone novel, or that you have to write a series in order to survive in the current climate. But any writer -- whether an established professional or an aspiring author still looking for that first big sale -- needs to understand where his or her work fits in the market. The answer to the question “What are editors and publishers looking for?” depends on what sort of book you’re writing. Actually, more to the point of this post, it depends on what kind of series you’re writing.
Let’s define some terms. In my genre, we call every multi-book sequence a series. But as you’ll soon see, not all “series” are created equal. Specifically, we need to distinguish between two terms: “true series” and “extended story arc.”
A true series is a sequence of connected books with recurring characters, in which each narrative pretty much stands on its own but has ramifications for the next book (or for previous ones if the author goes back and writes a prequel or two). A perfect example of this would be the Harry Dresden books by Jim Butcher. For those of you not familiar with the Dresden books, this is an urban fantasy series featuring a wizard who is also a private eye. Each book has its own mystery, its own plot, its own set of unique characters. But there are also recurring characters, chief among them Harry himself, his sidekick, and his love interest. And the subplots that revolve around these recurring characters run like threads through all the books. There are other examples, for those of you who haven’t read Butcher’s books. C.E. Murphy’s Joanne Walker series fits the definition, as do Faith Hunter’s bestselling Skinwalker novels. If you’re looking for an example from another medium, think of a TV show like BONES. Again, there are recurring characters and subplots, but each episode works on its own. A viewer could watch on any given night, and get the gist of what’s going on. The books I’m writing now, including my historical fantasy series, The Thieftaker Chronicles, which I’m writing under the name D.B. Jackson (the first book, THIEFTAKER, will be released in May 2012) are true series.
An extended story arc, which is what many big-name fantasists write -- George R.R. Martin, Terry Goodkind, Robert Jordan -- is quite different. The phrase “extended story arc” basically means that you're telling one epic-length tale (usually with several related sub-plots) over the course of several books. Not only do characters recur in these volumes, but they are working toward the same basic goal throughout the sequence. Ironically, the extended story arc became popular in fantasy after the publication of J.R.R. Tolkien’s LORD OF THE RINGS, which came out in three volumes. I say ironically, because LOTR is not a true story arc. It was originally written and intended as a single work, but was split into three volumes for marketing purposes. For this reason, the three books don’t hold together well as single volumes: THE FELLOWSHIP OF THE RING has no satisfying ending; THE RETURN OF THE KING has no effective opening; and the middle volume, THE TWO TOWERS, has neither. But while the severity of these problems is somewhat unique to LOTR, nearly all extended story-arcs suffer from similar issues to some small degree. Since the overarching conflict is not resolved until the final volume, it can be difficult, although not impossible, to make each book truly stand alone. On the other hand, because each volume is actually part of a single larger story, the books are far more interdependent, and many readers love this aspect of the form. Again, if you’re looking for a pop culture equivalent, think of a daytime soap opera, or my daughters’ current prime-time favorite, PRETTY LITTLE LIARS. A viewer could try to watch an episode mid-season, but chances are he or she would be somewhat lost. Similarly, with extended story arcs, it can be hard to pick up readers mid-arc. Extended story arcs are what I wrote for my first three series, and they have been a staple of fantasy for several decades.
My take on the market right now is that extended story arcs are less viable than they used to be, even in fantasy, where they are so deeply rooted in the literary tradition. Publishers are wary of them when they're proposed by young authors, and they’re only slightly more receptive to them when they’re proposed by established writers. Why? Because they demand a contractual commitment of several books. If I go to an editor with an idea for a four-book extended story arc, that editor knows that she has to buy all four books or none of them. There’s no middle ground. Her publishing house can’t publish two of them and then stop if the books don’t sell well, at least not without really ticking off those readers who bought the first two books. A true series, on the other hand, gives publishers far more leeway. I can still go to that editor with a proposal for four books, but in this case each book stands alone. The editor can buy two books and see how they do before committing to two more.
I would never tell an aspiring author to write to “the market,” whatever that means. The fact is that the market is far too fluid, and book turnarounds are far too slow. Cannibalistic Troll Erotica might be all the rage right now, but who’s to say it still will be in a year, when your great new take on CTE is ready for publication? Instead, I tell aspiring writers that they need to write the books they’ve imagined, the books that they care about. Creativity is too fickle to be taken for granted. Write the book that’s inside you; follow the characters who are speaking to you.
That said, though, you should also understand that some projects are going to be easier sales than others. If you have a three or five book extended story arc burning a hole in your chest, by all means, write it. But if you can write a true series instead, that is going to be the more viable project from a commercial standpoint. Generally speaking, publishers are far less willing to offer contracts for several books at a time than they were a decade ago. That means less security for writers. Yet it can also present opportunities. Conceiving a project that can be marketed one or two books at a time might well make you a safer bet for a publisher. And in these difficult times, that might be exactly the advantage you need to break through.
In October, we’ll discuss the pacing and structure of your projects. In the meantime, think about story arcs and serialization, and figure out which one is best suited to your current work.
http://magicalwords.net
http://www.DavidBCoe.com
Conference Faculty Member
One of the workshops I’ll be giving during October’s SCWW conference will be on structuring story arc and pacing your novel -- the official title is “Writing Isn’t a Race: Pacing and Story Arc.” Obviously, I’m not going to cover exactly the same material in this post, because that would leave us with nothing to do in October but sit around and stare at one another. And after the first hour or so, that can get kind of weird.
But in preparation for discussing the nuts and bolts of story arc, I thought it might be helpful to define a couple of terms. I write fantasy, and like so many in my genre, much of my work is serialized. I have written two trilogies and a five book sequence. Most recently, I have written the first two books of a new historical fantasy series, and am now working of the first books of at least three other series. Part of this is the market -- in fantasy and science fiction, mystery and romance, young adult and middle reader, series are all the rage. The market is looking not just for a single book, but for the next money-making franchise. And while all of us want to be true to our creativity and write the best books we can, we also have to look at this as a business.
This is not to say that you can’t get published writing a stand-alone novel, or that you have to write a series in order to survive in the current climate. But any writer -- whether an established professional or an aspiring author still looking for that first big sale -- needs to understand where his or her work fits in the market. The answer to the question “What are editors and publishers looking for?” depends on what sort of book you’re writing. Actually, more to the point of this post, it depends on what kind of series you’re writing.
Let’s define some terms. In my genre, we call every multi-book sequence a series. But as you’ll soon see, not all “series” are created equal. Specifically, we need to distinguish between two terms: “true series” and “extended story arc.”
A true series is a sequence of connected books with recurring characters, in which each narrative pretty much stands on its own but has ramifications for the next book (or for previous ones if the author goes back and writes a prequel or two). A perfect example of this would be the Harry Dresden books by Jim Butcher. For those of you not familiar with the Dresden books, this is an urban fantasy series featuring a wizard who is also a private eye. Each book has its own mystery, its own plot, its own set of unique characters. But there are also recurring characters, chief among them Harry himself, his sidekick, and his love interest. And the subplots that revolve around these recurring characters run like threads through all the books. There are other examples, for those of you who haven’t read Butcher’s books. C.E. Murphy’s Joanne Walker series fits the definition, as do Faith Hunter’s bestselling Skinwalker novels. If you’re looking for an example from another medium, think of a TV show like BONES. Again, there are recurring characters and subplots, but each episode works on its own. A viewer could watch on any given night, and get the gist of what’s going on. The books I’m writing now, including my historical fantasy series, The Thieftaker Chronicles, which I’m writing under the name D.B. Jackson (the first book, THIEFTAKER, will be released in May 2012) are true series.
An extended story arc, which is what many big-name fantasists write -- George R.R. Martin, Terry Goodkind, Robert Jordan -- is quite different. The phrase “extended story arc” basically means that you're telling one epic-length tale (usually with several related sub-plots) over the course of several books. Not only do characters recur in these volumes, but they are working toward the same basic goal throughout the sequence. Ironically, the extended story arc became popular in fantasy after the publication of J.R.R. Tolkien’s LORD OF THE RINGS, which came out in three volumes. I say ironically, because LOTR is not a true story arc. It was originally written and intended as a single work, but was split into three volumes for marketing purposes. For this reason, the three books don’t hold together well as single volumes: THE FELLOWSHIP OF THE RING has no satisfying ending; THE RETURN OF THE KING has no effective opening; and the middle volume, THE TWO TOWERS, has neither. But while the severity of these problems is somewhat unique to LOTR, nearly all extended story-arcs suffer from similar issues to some small degree. Since the overarching conflict is not resolved until the final volume, it can be difficult, although not impossible, to make each book truly stand alone. On the other hand, because each volume is actually part of a single larger story, the books are far more interdependent, and many readers love this aspect of the form. Again, if you’re looking for a pop culture equivalent, think of a daytime soap opera, or my daughters’ current prime-time favorite, PRETTY LITTLE LIARS. A viewer could try to watch an episode mid-season, but chances are he or she would be somewhat lost. Similarly, with extended story arcs, it can be hard to pick up readers mid-arc. Extended story arcs are what I wrote for my first three series, and they have been a staple of fantasy for several decades.
My take on the market right now is that extended story arcs are less viable than they used to be, even in fantasy, where they are so deeply rooted in the literary tradition. Publishers are wary of them when they're proposed by young authors, and they’re only slightly more receptive to them when they’re proposed by established writers. Why? Because they demand a contractual commitment of several books. If I go to an editor with an idea for a four-book extended story arc, that editor knows that she has to buy all four books or none of them. There’s no middle ground. Her publishing house can’t publish two of them and then stop if the books don’t sell well, at least not without really ticking off those readers who bought the first two books. A true series, on the other hand, gives publishers far more leeway. I can still go to that editor with a proposal for four books, but in this case each book stands alone. The editor can buy two books and see how they do before committing to two more.
I would never tell an aspiring author to write to “the market,” whatever that means. The fact is that the market is far too fluid, and book turnarounds are far too slow. Cannibalistic Troll Erotica might be all the rage right now, but who’s to say it still will be in a year, when your great new take on CTE is ready for publication? Instead, I tell aspiring writers that they need to write the books they’ve imagined, the books that they care about. Creativity is too fickle to be taken for granted. Write the book that’s inside you; follow the characters who are speaking to you.
That said, though, you should also understand that some projects are going to be easier sales than others. If you have a three or five book extended story arc burning a hole in your chest, by all means, write it. But if you can write a true series instead, that is going to be the more viable project from a commercial standpoint. Generally speaking, publishers are far less willing to offer contracts for several books at a time than they were a decade ago. That means less security for writers. Yet it can also present opportunities. Conceiving a project that can be marketed one or two books at a time might well make you a safer bet for a publisher. And in these difficult times, that might be exactly the advantage you need to break through.
In October, we’ll discuss the pacing and structure of your projects. In the meantime, think about story arcs and serialization, and figure out which one is best suited to your current work.
What Do you Want From a Critique?
If you’re scheduled for a critique for the conference, think ahead of time about what you want to learn. I emphasize the words “to learn.” Most people go into a critique hoping that the agent/editor is going to be so blown away by their stellar first chapter that they’ll have the contract ready to sign. Some people say the best you can hope for is a request to see the first fifty pages. I say, the best you want is some good solid advice on what you need to do to make your manuscript the best possible novel in town.
The first year I went to the conference I had written about 65 pages of my novel. It was nowhere near ready to sell, but I met with an agent who gave me invaluable recommendations on developing my main character and testing my voice. She told me where I had a good hold on my content and where my plot was weak. I started attending a SCWW critique group and received invaluable guidance. The second year with the same manuscript in tow and 300 pages into it, I met with an agent and did a pitch. I honestly got more from the pitch than the agent this go round. She told me flat out that my plot wasn’t marketable and what I’d have to do to develop it. “Dig deeper,” she said over and over again. “Dig deeper into your plot.” I went home, came back year three with the same manuscript, all three agents recommendations incorporated and sold the book.
I have already received in return every penny I ever put into an SCWW Conference. I think it all depends on what you’re expecting from the agents when you come to the conference. Are you expecting to sell a book or hoping to get professional insight into your strengths and weaknesses. I certainly got what I wanted out of it.
I encourage people to attend the conference and take advantage of the expertise that is all around you. Speaking first hand, it’s not just among the agents. You can gain tremendous insight from your fellow writers who are climbing similar mountain trails, some on the path ahead of you and some just beginning. Reach out and lend a helping hand. Listen and learn.
The first year I went to the conference I had written about 65 pages of my novel. It was nowhere near ready to sell, but I met with an agent who gave me invaluable recommendations on developing my main character and testing my voice. She told me where I had a good hold on my content and where my plot was weak. I started attending a SCWW critique group and received invaluable guidance. The second year with the same manuscript in tow and 300 pages into it, I met with an agent and did a pitch. I honestly got more from the pitch than the agent this go round. She told me flat out that my plot wasn’t marketable and what I’d have to do to develop it. “Dig deeper,” she said over and over again. “Dig deeper into your plot.” I went home, came back year three with the same manuscript, all three agents recommendations incorporated and sold the book.
I have already received in return every penny I ever put into an SCWW Conference. I think it all depends on what you’re expecting from the agents when you come to the conference. Are you expecting to sell a book or hoping to get professional insight into your strengths and weaknesses. I certainly got what I wanted out of it.
I encourage people to attend the conference and take advantage of the expertise that is all around you. Speaking first hand, it’s not just among the agents. You can gain tremendous insight from your fellow writers who are climbing similar mountain trails, some on the path ahead of you and some just beginning. Reach out and lend a helping hand. Listen and learn.
You Can’t Always Get Know What You Want
By Stephen Barr - Writers House
Conference Faculty Member
Literary agents are lucky folk.
In fact, I’d say we’re spoiled. It’s our responsibility to march around, shouting into the air, telling anyone who’s willing to listen (writers, mostly) what it is that we want (Military history? Illustrated memoir? History of the armoire?), and then those listeners and writers try over and over again to give it to us.
Sweet gig!
And the questions come up especially often in shouting distance of a conference…“What are you looking for? What do you want?”
Luckily, part of me knows the answer to that question.
I know that I want memoirs from people whose voices aren’t exactly what you’d expect from their stories…humor from the downtrodden, humility from the lopsidedly gifted, etc. Weird books by and about weird people who come from places that onlyseem normal (please allow me to shamelessly plug my client Jared Dillian’s upcoming memoir of bipolar disorder on the Lehman Brothers trading floor, the wicked and wonderfulStreet Freak).
I know that I’m a sucker for unrequited love…in life, yes (alas!), but also in between the covers of a book, and I know that I’d thank my lucky stars if I could find a contemporary young adult novel with zero paranormal activity and oodles of longing, my own littlePaper Town(s).
I know that I want author/illustrators who think (or perhaps understand!?) that less is more when it comes to picture book texts and illustrations (check out Press Here if you like excellence!)
I know that I want ghost stories where the writing’s haunted, too.
I know that I want a comic novel with a dreadfully serious plot.
But I also know that last week, after 25 years of doing everything in my power to avoid math (because my brain sucks at it), an article on Gawker about scientists allegedly disproving the possibility of time travel sent me on an entirely unanticipated math binge, which led me to the text of a lecture delivered by David Hilbert to the International Congress of Mathematicians at Paris in 1900 about the 23 most pressing mathematical problems facing the 20th century, and now I’m weirdly obsessed with finding a quirky math novel…maybe something about a kid who lines up his 23 most pressingreal life problems (the bully, the unattainable girl, the increasingly distant best friend, etc.) against the 23 most pressing mathematical problems that his University Professor parents are fixated on (the compatibility of arithmetical axioms, etc.), none of which our hero understands, but all of which he’ll try to compare hisown problems to in a search for parallels.
That’s a pretty specific craving, I realize, but my point is, up until a few days ago, I most definitely didn’t know that I wanted a novel with a bunch of math in it. But now I do, and the more I think about it, the more it seems to me that what Ireally want is something that I didn’t know I wanted. For instance, I tend to clam up pretty seriously around paranormal YA, but odds are there’s a writer out there who’s taken the exhausted genre and reinvented it in a thousand ways, and that’s what I want—a writer who takes enough risks in his or her writing to give readers what we didn’t know we wanted.
Seriously, though, no jokey middle grade novels where farts play a central role in the story. I will never realize that I wanted that.
Conference Faculty Member
Literary agents are lucky folk.
In fact, I’d say we’re spoiled. It’s our responsibility to march around, shouting into the air, telling anyone who’s willing to listen (writers, mostly) what it is that we want (Military history? Illustrated memoir? History of the armoire?), and then those listeners and writers try over and over again to give it to us.
Sweet gig!
And the questions come up especially often in shouting distance of a conference…“What are you looking for? What do you want?”
Luckily, part of me knows the answer to that question.
I know that I want memoirs from people whose voices aren’t exactly what you’d expect from their stories…humor from the downtrodden, humility from the lopsidedly gifted, etc. Weird books by and about weird people who come from places that onlyseem normal (please allow me to shamelessly plug my client Jared Dillian’s upcoming memoir of bipolar disorder on the Lehman Brothers trading floor, the wicked and wonderfulStreet Freak).
I know that I’m a sucker for unrequited love…in life, yes (alas!), but also in between the covers of a book, and I know that I’d thank my lucky stars if I could find a contemporary young adult novel with zero paranormal activity and oodles of longing, my own littlePaper Town(s).
I know that I want author/illustrators who think (or perhaps understand!?) that less is more when it comes to picture book texts and illustrations (check out Press Here if you like excellence!)
I know that I want ghost stories where the writing’s haunted, too.
I know that I want a comic novel with a dreadfully serious plot.
But I also know that last week, after 25 years of doing everything in my power to avoid math (because my brain sucks at it), an article on Gawker about scientists allegedly disproving the possibility of time travel sent me on an entirely unanticipated math binge, which led me to the text of a lecture delivered by David Hilbert to the International Congress of Mathematicians at Paris in 1900 about the 23 most pressing mathematical problems facing the 20th century, and now I’m weirdly obsessed with finding a quirky math novel…maybe something about a kid who lines up his 23 most pressingreal life problems (the bully, the unattainable girl, the increasingly distant best friend, etc.) against the 23 most pressing mathematical problems that his University Professor parents are fixated on (the compatibility of arithmetical axioms, etc.), none of which our hero understands, but all of which he’ll try to compare hisown problems to in a search for parallels.
That’s a pretty specific craving, I realize, but my point is, up until a few days ago, I most definitely didn’t know that I wanted a novel with a bunch of math in it. But now I do, and the more I think about it, the more it seems to me that what Ireally want is something that I didn’t know I wanted. For instance, I tend to clam up pretty seriously around paranormal YA, but odds are there’s a writer out there who’s taken the exhausted genre and reinvented it in a thousand ways, and that’s what I want—a writer who takes enough risks in his or her writing to give readers what we didn’t know we wanted.
Seriously, though, no jokey middle grade novels where farts play a central role in the story. I will never realize that I wanted that.
Choosing a Conference – an Agent’s Perspective
By Sorche Fairbank - Fairbank Literary Representation
Conference Faculty Member
Whenever I am invited to a writers conference, a familiar internal dialog kicks in. Do I really want to travel again? Where to? Will being gone for three or four or five days put me too far behind?
I, and most agents, get far more requests and invitations for conferences than we could possibly manage in a given year. I have to choose carefully. The downside to attending conferences is that they take time away from the office, or from what little free, non-publishing time I have. Add to that the fact that flying has become more and more a hassle, especially now that we moved to New York’s Hudson Valley. And what about the cost to my signed authors? Am I giving up a weekend that could or should be spent helping them with their projects?
But the upside, oh, the upside. . . When I say yes to a conference, I know the rewards will be many. Still, a number of considerations factor into my decision to accept.
Location - A selfish reason, perhaps, but location matters. Coastal South Carolina in late October – perfect! Kudos to SCWW organizers for knowing just how tempting that sounds. I love nubby, cozy sweaters and suede boots, but I’m all too aware that it will only get colder and bleaker for the next four months. A bit of sunshine and warm breeze will be exactly what’s needed come late October.
Sometimes a conference invite appeals to me because it’s a chance to see one of my own authors. Because so much of book business is conducted over phone and email, it’s a rare treat to get to sit down with an author of ours to share food and drink, meet some of their family, toast to their continued success, and plan for the next, even better thing. While I don’t *yet* have a South Carolina writer on board, two of my authors will be at the conference with me. I also contacted my beloved Georgia authors right away to let them know I’d be attending SCWW.
The Faculty / Speaker Roster - One of the first things I look at is who else is attending. Of course I look for agent and editor friends and acquaintances, but I also look at the keynoter and authors who are presenting as well. Keep in mind, we agents have our rock stars too. In the past twelve months or so I got to hang with Alice Hoffman (swoon!) as she knitted something green and lovely for a gift; I learned from Chuck Palahniuk why one should never slice off the point of a wedge of Brie cheese (at least not while in France); and I, the fabulous Meg Tilley, and a handful of others exchanged our shoes and any shyness for a low Japanese table, chopsticks all around, and a heaping pile of sushi while in the Pacific Northwest. I have no doubt that MJ Rose and others at SCWW will also rock my world in some fine way.
Reputation - Nothing is worse for an agent than a poorly organized conference, and word of sub-par organization easily and quickly spreads among agents and editors. Before accepting a conference invite, I ask past attending faculty what they thought of the conference, from accommodation to schedule to quality of attendees to ease of travel to and from the local airport. SCWW’s stellar reputation won me over in an instant.
Number and Focus of Attendees - I know you’ve been waiting for it, so yes, agents who go to conferences are hoping to find new clients there, and the size and focus of the conference matters. I am no exception; I’m hoping and indeed looking for that next great connection with a potential new author. It doesn’t happen every conference or even every year, but those times it does, the magic can be is immediate. The book is right, timing is right, it’s near ready to go; I bond with the author instantly. However, more often than not, when I sign a conference author, it happens months or even years after the conference ends. Sometimes it is the same book they pitched, but substantially polished or reworked (hopefully you’ll leave the conference full of ideas and advice for needed edits), other times I sign on a completely different book altogether. Sometimes I hear from an author I didn’t meet directly; they were in the back of the room, learning, listening, and when finally ready, they contacted me. And occasionally it’s not an attendee I sign on, but a referral from an attendee. Conferences have long shelf-life benefits for everyone.
There is one more reason I accept conference invites, but it’s far more subjective, and rather internal. I take the time to go to conferences because people trump electrons or pieces of paper any day. I spend untold hours every month sending out rejections; during busier times it’s a Dear Author form rejection. With 8,000 - 10,000 queries a year, I often do not have time for anything else. So it’s incredibly humbling and gratifying to be reminded at conferences that behind all the story ideas, behind all the pitches, proposals, and book ideas, are people. Enthusiastic, talented, interesting people. It keeps the humanity in what I do, and even if I don’t find / sign a single attendee at a conference, I return to the office refreshed and recharged, having been witness to so much collective creative energy. I’m reminded that I wouldn’t have this awesome job if it weren’t for writers like you. So a heartfelt thanks to you all for showing up, for giving me a chance to help, to acquire, and to remember that people are at the heart of any story.
See you in the South!
Conference Faculty Member
Whenever I am invited to a writers conference, a familiar internal dialog kicks in. Do I really want to travel again? Where to? Will being gone for three or four or five days put me too far behind?
I, and most agents, get far more requests and invitations for conferences than we could possibly manage in a given year. I have to choose carefully. The downside to attending conferences is that they take time away from the office, or from what little free, non-publishing time I have. Add to that the fact that flying has become more and more a hassle, especially now that we moved to New York’s Hudson Valley. And what about the cost to my signed authors? Am I giving up a weekend that could or should be spent helping them with their projects?
But the upside, oh, the upside. . . When I say yes to a conference, I know the rewards will be many. Still, a number of considerations factor into my decision to accept.
Location - A selfish reason, perhaps, but location matters. Coastal South Carolina in late October – perfect! Kudos to SCWW organizers for knowing just how tempting that sounds. I love nubby, cozy sweaters and suede boots, but I’m all too aware that it will only get colder and bleaker for the next four months. A bit of sunshine and warm breeze will be exactly what’s needed come late October.
Sometimes a conference invite appeals to me because it’s a chance to see one of my own authors. Because so much of book business is conducted over phone and email, it’s a rare treat to get to sit down with an author of ours to share food and drink, meet some of their family, toast to their continued success, and plan for the next, even better thing. While I don’t *yet* have a South Carolina writer on board, two of my authors will be at the conference with me. I also contacted my beloved Georgia authors right away to let them know I’d be attending SCWW.
The Faculty / Speaker Roster - One of the first things I look at is who else is attending. Of course I look for agent and editor friends and acquaintances, but I also look at the keynoter and authors who are presenting as well. Keep in mind, we agents have our rock stars too. In the past twelve months or so I got to hang with Alice Hoffman (swoon!) as she knitted something green and lovely for a gift; I learned from Chuck Palahniuk why one should never slice off the point of a wedge of Brie cheese (at least not while in France); and I, the fabulous Meg Tilley, and a handful of others exchanged our shoes and any shyness for a low Japanese table, chopsticks all around, and a heaping pile of sushi while in the Pacific Northwest. I have no doubt that MJ Rose and others at SCWW will also rock my world in some fine way.
Reputation - Nothing is worse for an agent than a poorly organized conference, and word of sub-par organization easily and quickly spreads among agents and editors. Before accepting a conference invite, I ask past attending faculty what they thought of the conference, from accommodation to schedule to quality of attendees to ease of travel to and from the local airport. SCWW’s stellar reputation won me over in an instant.
Number and Focus of Attendees - I know you’ve been waiting for it, so yes, agents who go to conferences are hoping to find new clients there, and the size and focus of the conference matters. I am no exception; I’m hoping and indeed looking for that next great connection with a potential new author. It doesn’t happen every conference or even every year, but those times it does, the magic can be is immediate. The book is right, timing is right, it’s near ready to go; I bond with the author instantly. However, more often than not, when I sign a conference author, it happens months or even years after the conference ends. Sometimes it is the same book they pitched, but substantially polished or reworked (hopefully you’ll leave the conference full of ideas and advice for needed edits), other times I sign on a completely different book altogether. Sometimes I hear from an author I didn’t meet directly; they were in the back of the room, learning, listening, and when finally ready, they contacted me. And occasionally it’s not an attendee I sign on, but a referral from an attendee. Conferences have long shelf-life benefits for everyone.
There is one more reason I accept conference invites, but it’s far more subjective, and rather internal. I take the time to go to conferences because people trump electrons or pieces of paper any day. I spend untold hours every month sending out rejections; during busier times it’s a Dear Author form rejection. With 8,000 - 10,000 queries a year, I often do not have time for anything else. So it’s incredibly humbling and gratifying to be reminded at conferences that behind all the story ideas, behind all the pitches, proposals, and book ideas, are people. Enthusiastic, talented, interesting people. It keeps the humanity in what I do, and even if I don’t find / sign a single attendee at a conference, I return to the office refreshed and recharged, having been witness to so much collective creative energy. I’m reminded that I wouldn’t have this awesome job if it weren’t for writers like you. So a heartfelt thanks to you all for showing up, for giving me a chance to help, to acquire, and to remember that people are at the heart of any story.
See you in the South!
2011 Conference Countdown Update
It happens every year that I've worked with the SCWW conference. Just when I thought things couldn't get any better, it does. Here's a list of what we're working on and what you have to look forward to this year!
1. We're offering a specific batch of critiques attendees (already registered and those who haven't registered yet) through Sept. 15. If you already purchased a critique, those materials were due Sept. 1. If you haven't submitted your required electronic and hard copies, do so immediately. When you sent in your materials, sent you an email confirming the faculty for your appointment (unless you emailed or mailed a couple of days before Sept. 1. I'm still processing those!). Here's a list of the new critiques we're offering, in random order:
* Sorche Fairbank -- extended and standard critiques
* Jon Sternfeld -- extended and standard critiques
* Melissa Jeglinski -- standard critiques
* Jim Frenkel -- standard critiques
* Molly O'Neill -- extended critiques
* Alyssa Henkin -- standard critiques
* Eddie Schneider -- extended critiques
* Bernadette Baker-Baughman -- one extended critique
* Sarah LaPolla -- standard and extended critiques
* Stephanie Sun --standard and extended critiques
* Jessica Regel -- standard and extended critiques
* Stepehn Barr -- standard critiques
If you've already registered and want to add a critique, email scwwconference2011@gmail.com.
2. We really want to hear from our members! Tell us what you think about what's posted on the SCWW blog. To put our enthusiasm where our typing is, we're having a blog chapter challenge. For the month of September (all posts in September), the chapter with the most comments on the SCWW blog will win a free pitch to be given to the chapter member of its choice. Remember, for your chapter to get credit, you need to mention your chapter in your post. If it catches on, we'll give away something else for October, right before the conference.
3. I'm not sure if you've heard the news, but we have a new keynote for the 2011 conference -- Andrew Gross! The New York Times bestselling author will not only provide a keynote address Saturday night, he's teaching a session Saturday. For more on Mr. Gross, be sure to visit his faculty profile on the conference site, www.myscww.org/conference.
4. And one of our late faculty additions, Mollie Glick is hard at work this weekend helping me iron out a few details on her three sessions. Be sure to check the class descriptions next week for updated titles, but here's a hint -- her Friday session will guide you from putting together your list of who to query all the way to working with an agent to get your book into publication. Her appointment times are sold out, so you'll really want to add her Friday session to your schedule. Already signed up for the conference, but haven't added Friday? Email scwwconference2011@gmail.com and I'll walk you through the process.
5. When it comes to submitting critique materials, you've got to follow the SCWW guidelines. Not sure what that means or where to find the guidelines? Check out the following blog: http://scwwblog.blogspot.com/2011/07/2011-crituque-guidelines-reminder.html. It's incredibly important to follow these rules so everyone gets the most of their appointments. Also, if you registered for a specific faculty member who doesn't accept your genre, we try to catch that and let you know there's a problem. However, be advised that we've got a small group of volunteers and a lot of critique appointments. Do your homework BEFORE you request an appointment.
6. Have you reserved your room for the conference? Part of the way we're able to keep down the cost of the SCWW conference is by agreeing our members will use a specific number of Hilton and Royal Palms rooms. In exchange we get free meeting space and great room rates. So please, keep that in mind when reserving a room. Also, we've gotten a couple more two-bedroom and three-bedroom condos at Royal Palms. With a gaggle of beds, these are great for chapter folks heading down as a group. For rates and our discount code, visit http://myscww.org/conference/accommodations.php.
7. Finally, did you know we don't have a cut-off date on Pitch and Real-Time Query appointment purchases? We'll sell those until we can't sell anymore! So, if you missed your critique faculty dream, you might want to snag one of these. Here's a list of folks what's sold out and what's available:
* Bernadette Baker- Baughman -- Sold out Real-Time Query, One Pitch left!
* Sarah LaPolla -- Sold out Real-Time Query, One Pitch left!
* Toni Plummer -- Sold out Real-Time Query, Pitches available
* Stephen Barr -- Sold out Pitch, no Real-Time Query (check critiques above)
* Stephanie Sun -- Sold out Pitch, Two Real-Time Queries
* Jim Frenkel -- Sold out Real-Time Query, Four Pitches available
* Eddie Schneider -- Sold out Real-Time Query, Five Pitches available
* Alyssa Henkin -- Sold out Real-Time Query, Three Pitches left
* Sorche Fairbank -- Sold out Real-Time Query, Five Pitches left
* Jon Sternfeld -- One Real-Time Query, Two Pitches left!
* Melissa Jeglinski -- Four Real-Time Queries, Four Pitches
* Molly O'Neill -- Three Real-Time Queries, no Pitch
* Jessica Regel -- Three Pitches, No Real-Time Query
* Mollie Glick -- Sold Out of all appointments
Have any questions about the conference? Email scwwconference2011@gmail.com.
Sit Down and Relax: The Agent Meeting
Melissa Jeglinski - The Knight Agency
Conference Faculty Member
So you’ll be attending the South Carolina Writers' Workshop in October. And you want to make the most of your experience. You’ve looked over the program and decided which workshops to attend. But the list of agents is confusing. Who do you meet with and what do you do when you sit down face to face?
First, remember that the agent is there to find quality material. As much as I love the idea of Myrtle Beach in October, I’m still giving away my weekend of free time to work. (Though an ocean view can make anything sweeter.) We all want to come out of this with something positive to show for our time. I would love nothing more than to find my dream project and sign a client right on the spot.
You need to decide whether you want to work with an agent. If so, which agent or agents? Why meet with one you have no interest in? Time is a valuable commodity for everyone so don’t waste it just because you’re curious. If that’s the case, come to one of our sessions and ask questions there. But save the one on one times for those who are really interested in that agent; the opportunity for such a face to face meet does not often occur. And remember, you can always chat us up over a meal or in the hall between sessions--as long as we’re not looking like a frazzled mess.
Be sure you’re meeting with an agent who represents the type of project you are working on. For example, I don’t do non-fiction or illustrated books or short story collections; not because I don’t enjoy those works, I’m simply concentrating on other areas. Take a look at the agent’s website and see who they represent and what types of projects they are currently selling. If you think you may be a good match, try to get an appointment.
When you have the chance to sit down with the agent, be prepared. When pitching your project, be succinct but complete. I like to know the title, word length and genre. Most importantly, is the manuscript complete because I can’t shop an unfinished project by and unpublished author. As for synopsizing the plot; I prefer to just hear about the main conflicts, set up and resolution. I don’t need to know every little plot point. Tell me if it is a planned series or a standalone novel. I’d also like to know about your writing credentials or background, something that tells me you are serious about your craft. I’m using this introduction to see if this is a project I could be excited about and not every project will be the right fit. However, if I’m intrigued I will ask you to send me your work as nothing can tell me as much about your writing as actually reading it.
Then it’s time for you to ask questions.
There’s a time limit for these appointments and it’s usually pretty tight. So really plan out what you want to know about the agent. If you’re the type to get nervous, have your questions in front of you. It’s okay to read from a piece of paper or jot down notes. You can ask about the agent’s current client list, most recent sales, subjects or genres they are particularly interested in. Question them about their agency agreement, commission percentages and the like. Feel free to ask them how they prefer to work with clients; are they very hands-on, do they send revisions, give detailed notes, etc. Any question is fair as long as it has to do with publishing.
When your meeting is over and you go back to the conference and then return home, don’t forget to follow up with the agent. If they requested material...send it. If it’s not quite ready, update the agent on when you expect to submit the project. Or, if you’ve decided that you wouldn’t be a good fit, let them know that as well. Acting in a professional manner is always key.
Hopefully the conference will prove a wonderful experience for you and provide an opportunity for us all to make some terrific connections.
Looking forward to seeing you in October!
Conference Faculty Member
So you’ll be attending the South Carolina Writers' Workshop in October. And you want to make the most of your experience. You’ve looked over the program and decided which workshops to attend. But the list of agents is confusing. Who do you meet with and what do you do when you sit down face to face?
First, remember that the agent is there to find quality material. As much as I love the idea of Myrtle Beach in October, I’m still giving away my weekend of free time to work. (Though an ocean view can make anything sweeter.) We all want to come out of this with something positive to show for our time. I would love nothing more than to find my dream project and sign a client right on the spot.
You need to decide whether you want to work with an agent. If so, which agent or agents? Why meet with one you have no interest in? Time is a valuable commodity for everyone so don’t waste it just because you’re curious. If that’s the case, come to one of our sessions and ask questions there. But save the one on one times for those who are really interested in that agent; the opportunity for such a face to face meet does not often occur. And remember, you can always chat us up over a meal or in the hall between sessions--as long as we’re not looking like a frazzled mess.
Be sure you’re meeting with an agent who represents the type of project you are working on. For example, I don’t do non-fiction or illustrated books or short story collections; not because I don’t enjoy those works, I’m simply concentrating on other areas. Take a look at the agent’s website and see who they represent and what types of projects they are currently selling. If you think you may be a good match, try to get an appointment.
When you have the chance to sit down with the agent, be prepared. When pitching your project, be succinct but complete. I like to know the title, word length and genre. Most importantly, is the manuscript complete because I can’t shop an unfinished project by and unpublished author. As for synopsizing the plot; I prefer to just hear about the main conflicts, set up and resolution. I don’t need to know every little plot point. Tell me if it is a planned series or a standalone novel. I’d also like to know about your writing credentials or background, something that tells me you are serious about your craft. I’m using this introduction to see if this is a project I could be excited about and not every project will be the right fit. However, if I’m intrigued I will ask you to send me your work as nothing can tell me as much about your writing as actually reading it.
Then it’s time for you to ask questions.
There’s a time limit for these appointments and it’s usually pretty tight. So really plan out what you want to know about the agent. If you’re the type to get nervous, have your questions in front of you. It’s okay to read from a piece of paper or jot down notes. You can ask about the agent’s current client list, most recent sales, subjects or genres they are particularly interested in. Question them about their agency agreement, commission percentages and the like. Feel free to ask them how they prefer to work with clients; are they very hands-on, do they send revisions, give detailed notes, etc. Any question is fair as long as it has to do with publishing.
When your meeting is over and you go back to the conference and then return home, don’t forget to follow up with the agent. If they requested material...send it. If it’s not quite ready, update the agent on when you expect to submit the project. Or, if you’ve decided that you wouldn’t be a good fit, let them know that as well. Acting in a professional manner is always key.
Hopefully the conference will prove a wonderful experience for you and provide an opportunity for us all to make some terrific connections.
Looking forward to seeing you in October!
Sold Out Appointments
Appointments are really selling this week, especially with the critiques deadline less than a week away. Here's a quick list of faculty who are sold out of specific types of appointments. We're attempting to update the registration system as quickly as possible.
Bernadette Baker-Baughman -- SOLD OUT of Real-Time Query
Sarah LaPolla -- SOLD OUT of Real-Time Query
Toni Plummer -- SOLD OUT of Real-Time Query, Standard Critique
Stephen Barr -- SOLD OUT of Pitch
Stephanie Sun -- SOLD OUT of Pitch
Jim Frenkel -- SOLD OUT of Extended Critique
Also, if you register for more than three of a specific appointment type, be sure to send an email to scwwconference2011@gmail.com with the complete list of your top choices, providing one more choice than the number you purchased (in case one of the choices is sold out).
Please, don't attempt to request someone who was not a choice during the registration process. It will be impossible to fill the request.
Finally, if you would like to add an appointment to your registration, please email scwwconference2011@gmail.com. Do not start a new online registration.
A little more about some conference sessions (Frederick and Glick)
Are you a non-fiction writer? Excited about Matthew Frederick's three sessions, but not really sure what to expect? The author provided these teasers to his upcoming sessions:
TheFour P’s of Nonfiction
This workshop will help you assess thestatus of your nonfiction work and identify the next steps you need to take to improveyour chances of publication. You will read aloud a brief statement ordescription of your work—a pitch, synopsis, first page, or similarlyinformative piece of 250 words or less. The instructor and class participantswill assess your project in terms of the Four P’s: Platform (can you convince a publisher youhave the expertise, reach, or name recognition to attract an audience ofreaders?); Prose (are your writingand narrative skills suited to your project?); Proposal (what is this peculiar document required by agentsand publishers for nonfiction projects, and what makes it most effective?); andPurpose (is the concept or formatyou have chosen for your book appropriate to the needs of readers as well asyour own goals?). From there, the instructor will guide you as you work on yourweaker area(s). Bring to the session the first chapter of your manuscript, achapter outline, and any related documents you have been working on (query,proposal, etc.).
Small Steps, Big Books
Unpublished writers make a frequent mistake:investing too much energy in producing one "great" work instead ofcreating more works. Certainly, thedesire to publish a great book is understandable and even commendable, but amore useful goal for the unpublished writer is simply to become more publishedthan he or she currently is. For most, this means momentarily scaling backone’s ambitions and pursuing lesser but more immediate writingopportunities: community newspaper articles, letters to the editor, newsletteressays, PR copy, book and movie reviews, blogs, books-for-hire, and so on.Small writing projects can help the overly ambitious writer clarify his or her thinking,improve narrative skills, build an audience, make contacts in the publishingindustry, overcome creative blocks, and perhaps even generate an income streamthat will fund your work on your Big Book. Join Matthew Frederick, author offive bestselling small books and one forever-in-progress Big Book, as he helpsyou identify some effective small steps you can take toward becoming morepublished.
Being an Expert Can Pay
Everyone is perhaps expert at something;can your expertise be turned into a book? For that matter, are you certain whatyour area of expertise is? Is it your professional knowledge, yourchild-rearing skills, your winning way with cats, or your ability to avoid hardwork? In this session, bestselling nonfiction author Matthew Frederick willhelp you explore possibilities great and small, serious and silly, for nonfictionbook projects. Bring to the seminar some raw ideas, a sense of humor, and adesire to explore in unexpected directions.
As you can see from Sunday's blog, all appointments with Glick are sold out. However, here's a little more about the three sessions she'll offer during the conference:
From Research to the Dotted Line: What a Writer Should know about Finding, Signing with an Agent
You've written your manuscript or you've outlined a great non-fiction idea. But what do you do next? Agent Mollie Glick will walk attendees through the steps to finding agents in your area, how to send a query, what types of projects need proposals and then move to communicating with agents and what to keep in mind when considering an agent contract.
To Whom it May Concern: Tips on Writing Dynamic Query Letters
You know you've got a gold mine of a manuscript in your hands or in your head. What's the best way to get the project across to an agent? Mollie Glick will share what she looks for when she's reading query letters and tips on how to get yours polished.
Let's Talk About Genres: Learning How to Categorize Your Work and Other Names Agents Might Call It
Literary? Commercial? Upmarket? Young Adult? Middle Reader? Independent Reader? Memoir? Narrative Non-fiction? Let Agent Mollie Glick help you discover what your genre might be called by agents. Bring all your genre/category questions to this one!
Faculty Update - Breaking News!
New York Times best-selling author, ANDREW GROSS, has just been added to the faculty for this year’s conference. Mr. Gross replaces suspense author M.J. Rose as our key note speaker. Ms. Rose had a conflicting family matter and cannot be with us. M.J. was instrumental in securing Andrew to be our Saturday evening key note speaker. I want to thank M.J. for helping us with this and thank Andrew for agreeing to take over for her.
You may know Andrew best because of his writing relationship with mystery/thriller/suspense author, James Patterson. Together they had six number one thrillers, including two of the Women’s Murder Club books.
Andrew is the author of five novels, three featuring fictional detective Ty Hauck of Greenwich, Connecticut. His most recent novel, Eyes Wide Shut, came out in July of this year.
We look forward to having Andrew with us and hearing his words of inspiration during dinner on Saturday, October 22.
Early registration ends on at 11:59 p.m. Thursday, September 1, 2011, when the clock strikes midnight, rates will go up $50.
We’re excited about the conference and hope that you are as well. See you in October!
10 Dos and Do Not’s for Pitching Agents at a Conference
By Bernadette Baker-Baughman - Victoria Sanders & Associates
Conference Faculty Member
10 Dos and Do Not’s for Pitching Agents at a Conference:
Do: Hone your pitch. Practice it on friends, family, in the mirror, on your pet. Practice it until it makes perfect sense and until you feel very comfortable and confidant repeating it.
Do not: plan on leaving a lot of material behind. If you leave anything, leave a one sheet or a business card.
Do: have a few “plan B” questions in case you have an extra moment more than anticipated with an editor or agent. There is nothing worse than a three minute conversation stalling out.
Do not: be nervous. This may be easier said than done. But agents are excited to meet you! We go to conferences because we are hungry for talent.
Do: send your materials right away if an agent requests it at a conference. If you are not going to send the material right away, let the agent know why. You have a higher chance of being remembered if you submit your material right away.
Do not: let it hurt your feelings if an agent/editor declines to review your material. We all have different sensibilities. Instead, focus on the agents who do request your work. Try and figure out what those agents found appealing or what stood out to them, then hone that for your next pitch.
Do: toot your own horn. We only learn what you tell us, so tell us as much as you can (the relevant stuff, of course).
Do not: be aggressive or pushy. Think of this like a first date. You have a better chance at a second date if you are on your best behavior. Agents want relationships that are friendly and mutually beneficial. So keep the smile on.
Do: speak up. You’ll be in a busy room with lots of noise. So eye contact, enunciation, and projection will go a long way.
Do not: forget which agent requested what material from you. Take notes. A dedicated notebook is a good idea for any conference. Be diligent about staying organized. And send only what is requested.
Do: have fun! This is the work of being a writer. We look forward to seeing you in the Fall!
Conference Faculty Member
10 Dos and Do Not’s for Pitching Agents at a Conference:
Do: Hone your pitch. Practice it on friends, family, in the mirror, on your pet. Practice it until it makes perfect sense and until you feel very comfortable and confidant repeating it.
Do not: plan on leaving a lot of material behind. If you leave anything, leave a one sheet or a business card.
Do: have a few “plan B” questions in case you have an extra moment more than anticipated with an editor or agent. There is nothing worse than a three minute conversation stalling out.
Do not: be nervous. This may be easier said than done. But agents are excited to meet you! We go to conferences because we are hungry for talent.
Do: send your materials right away if an agent requests it at a conference. If you are not going to send the material right away, let the agent know why. You have a higher chance of being remembered if you submit your material right away.
Do not: let it hurt your feelings if an agent/editor declines to review your material. We all have different sensibilities. Instead, focus on the agents who do request your work. Try and figure out what those agents found appealing or what stood out to them, then hone that for your next pitch.
Do: toot your own horn. We only learn what you tell us, so tell us as much as you can (the relevant stuff, of course).
Do not: be aggressive or pushy. Think of this like a first date. You have a better chance at a second date if you are on your best behavior. Agents want relationships that are friendly and mutually beneficial. So keep the smile on.
Do: speak up. You’ll be in a busy room with lots of noise. So eye contact, enunciation, and projection will go a long way.
Do not: forget which agent requested what material from you. Take notes. A dedicated notebook is a good idea for any conference. Be diligent about staying organized. And send only what is requested.
Do: have fun! This is the work of being a writer. We look forward to seeing you in the Fall!
Hello, Writers!
By Jessica Regel - Jean V. Naggar Literary Agency
Conference Faculty Member
At the critique sessions, you and I will sit down and talk about your book-- not only the pages that I've read, but also the market for the project, and the general publishing process. Bring any questions you have with you to the session.
Here's a list of what I look for in new clients:
1) I want to be captivated by your writing from the first page. As far as genres go, I represent the following:
Young Adult & Middle Grade: Traditionally, I prefer books that are grounded in reality, but have elements of Romance, Science Fiction, Mystery, Horror or Paranormal. For instance, the WONDROUS STRANGE series, by my author Lesley Livingston, is brimming with fantasy, history, adventure and romance, but the story remains grounded in a realistic context. It is set in Central Park and revolves around a teen actress. I also represent contemporary children's books, such as THE SUMMER OF MAY by Cecilia Galante.
General Adult Fiction and Women's Fiction: I'm not a big fan of character driven stories. Plot is important to me. Books of this genre that I love include: Free Food for Millionaires by Min Jin Lee, What I Loved by Siri Husvedt, Water For Elephants by Sara Gruen, The Time Traveler's Wife by Audrey Niffenegger, and The Story of A Marriage by Andrew Sean Greer. THE TRANSFORMATION OF THINGS by Jillian Cantor is one of the books in this genre that I represent.
Fun Adult Nonfiction: I enjoy lifestyle, memoir, humor, fashion, music and pop culture books. HOW TO BOOZE by Jordan Kaye and Marshall Altier is an example of a non-fiction book that I represent.
I don't handle: Practical Non-fiction (such as Self-Help, How-To, or Textbooks), Religion or Spirituality, Adult Genre Fiction (such as Sci-fi, Fantasy, Cozy mysteries, Romance), Political Thrillers or Crime, Picture Books, Misery Memoirs, Screenplays (while I do handle the film rights for JVNLA books, I do not represent screenwriters), Animal books (Children's and Adult), Children's books that are message or lesson oriented
2) A writer who can talk about their book in a way that gets me excited about it. If you can do this, then I know you'll be able to talk to your editor, your publicist, and, finally, your readers in an engaging way. Being a writer is no longer just about writing the book, it's about selling that book to the public.
3) A writer who knows the market for their book-- and reads their own genre! You need to know (and love) your genre.
I look forward to meeting you at the South Carolina Writers Workshop!
Conference Faculty Member
At the critique sessions, you and I will sit down and talk about your book-- not only the pages that I've read, but also the market for the project, and the general publishing process. Bring any questions you have with you to the session.
Here's a list of what I look for in new clients:
1) I want to be captivated by your writing from the first page. As far as genres go, I represent the following:
Young Adult & Middle Grade: Traditionally, I prefer books that are grounded in reality, but have elements of Romance, Science Fiction, Mystery, Horror or Paranormal. For instance, the WONDROUS STRANGE series, by my author Lesley Livingston, is brimming with fantasy, history, adventure and romance, but the story remains grounded in a realistic context. It is set in Central Park and revolves around a teen actress. I also represent contemporary children's books, such as THE SUMMER OF MAY by Cecilia Galante.
General Adult Fiction and Women's Fiction: I'm not a big fan of character driven stories. Plot is important to me. Books of this genre that I love include: Free Food for Millionaires by Min Jin Lee, What I Loved by Siri Husvedt, Water For Elephants by Sara Gruen, The Time Traveler's Wife by Audrey Niffenegger, and The Story of A Marriage by Andrew Sean Greer. THE TRANSFORMATION OF THINGS by Jillian Cantor is one of the books in this genre that I represent.
Fun Adult Nonfiction: I enjoy lifestyle, memoir, humor, fashion, music and pop culture books. HOW TO BOOZE by Jordan Kaye and Marshall Altier is an example of a non-fiction book that I represent.
I don't handle: Practical Non-fiction (such as Self-Help, How-To, or Textbooks), Religion or Spirituality, Adult Genre Fiction (such as Sci-fi, Fantasy, Cozy mysteries, Romance), Political Thrillers or Crime, Picture Books, Misery Memoirs, Screenplays (while I do handle the film rights for JVNLA books, I do not represent screenwriters), Animal books (Children's and Adult), Children's books that are message or lesson oriented
2) A writer who can talk about their book in a way that gets me excited about it. If you can do this, then I know you'll be able to talk to your editor, your publicist, and, finally, your readers in an engaging way. Being a writer is no longer just about writing the book, it's about selling that book to the public.
3) A writer who knows the market for their book-- and reads their own genre! You need to know (and love) your genre.
I look forward to meeting you at the South Carolina Writers Workshop!
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