Last year I was a full-time volunteer at our annual writing conference in Myrtle Beach. It was quite an experience. I knew SCWW put on a strong writers’ conference, but what I saw from my vantage point of the check-in/answer desk was a real wake-up message.
On Friday of last year’s conference, a very tire couple trudged up to the check-in desk. The lady said, “Can I still register?”
When I said she was most certainly welcome to do so, her face flooded with relief.
“My husband and I have driven from Phoenix, Arizona just so I could attend this conference.”
Dumbstruck I pushed the registration forms toward her. “How did you learn about us,” I asked her.
“There is a writers’ conference in Tempe and before I registered for it, I decided to Google writers’ conferences, and I found yours is the most comprehensive and best value. It was worth it to me to drive nearly across the country to attend. And the faculty you have put together is very impressive.”
I was impressed too! As she finished with the registration process and we continued to chat, she became so comfortable that she and her husband decided that he should take the opportunity to go visit friends in a near-by state and return on Sunday to get her.
I saw her again on Sunday morning, face beaming. I asked her if she had had a good experience at the conference, did she feel she had made a good decision to spend her weekend with SCWW. Enthusiastically she said yes and that she was planning to come back next time and bring a carload from her writing group. It was a highlight of my volunteer experience.
On Saturday I checked in a writer, physician by profession, who had flown in…again from Arizona…to get A critique ONLY from editor, Caitlain Alexander. I was awed that someone with a writer’s passion and very limited free time would fly cross country for a 20-minute appointment. Again I was struck by the quality of our faculty.
I ran into a friend from my home chapter on Saturday evening. She was as mad as a wet hen. “I am never coming to this conference again,” she said. It turns out the agent she thought would be her soul mate and would understand her writing esthetic was not a good fit. I tried consoling her, but it didn’t work…she was on her way home!
The next time I saw her was on Sunday morning after another critique with a different faulty member (who asked to see more of her work) and a pitch appointment (with a third faculty member who wanted to see the first 50 pages of another of her works). She was smiling and skipping to the tune of “Zippidy-Do-Da,” complete with the animated bluebirds from Song of the South.
“Aren’t you glad you stayed,” I asked, even though the answer was written on her face.
“We’re writers,” she said. “We’re opinionated and volatile. The agent I thought was so like me and would ‘get me’ was not who I needed to see.” And off she skipped, still smiling. I smiled too, happy to be associated with a writing conference that offers a wide variety of professionals so well versed in their fields of expertise.
I’m looking forward to volunteering at the SCWW 21st annual writers’ conference again this year. I hope I’ll hear a success story from you.
Showing posts with label conference. Show all posts
Showing posts with label conference. Show all posts
Conference Volunteers
By Kia Goins
Thank you to everyone who offered to volunteer at this year’s conference. We had a great number of people to select from and it was a difficult choice. If you weren’t selected this year, I hope you will offer again next year, we can’t do it without you.
Our volunteers come from South Carolina, North Carolina and beyond. We are indeed a national organization.
The volunteers are:
J. Michael Robertson - Mt. Pleasant
Joann Kelley - Greenville
Christina Ruotolo, Greenville
Jayne Bowers - Camden
Kathryn Lovatt - Camden
Shelby Adams Lloyd - Southport, NC
Stephanie E. Reed - Moncks Corner
Beth Browne
Teresa Burgher - Mexico, Missouri
Susan Jeffers
Brooke Buffington - Anderson
Shane Stewart - Myrtle Beach
Lauren Allen - Lugoff
Thank you again to all who offered to help, I hope to see you in Myrtle Beach this October!
Thank you to everyone who offered to volunteer at this year’s conference. We had a great number of people to select from and it was a difficult choice. If you weren’t selected this year, I hope you will offer again next year, we can’t do it without you.
Our volunteers come from South Carolina, North Carolina and beyond. We are indeed a national organization.
The volunteers are:
J. Michael Robertson - Mt. Pleasant
Joann Kelley - Greenville
Christina Ruotolo, Greenville
Jayne Bowers - Camden
Kathryn Lovatt - Camden
Shelby Adams Lloyd - Southport, NC
Stephanie E. Reed - Moncks Corner
Beth Browne
Teresa Burgher - Mexico, Missouri
Susan Jeffers
Brooke Buffington - Anderson
Shane Stewart - Myrtle Beach
Lauren Allen - Lugoff
Thank you again to all who offered to help, I hope to see you in Myrtle Beach this October!
Registration is OPEN!
Registration is open for the 2010 South Carolina Writers Workshop Conference!
If you intend to pay using a check, please use the link below
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1006929
If you intend to pay using a credit or debit card, please use the link below
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1006943
If you have questions about the conference, please visit our website at
Conference Critique Pointers: FAQ Take 1
Conference registration opens on June 5. Since that's only a couple of days from now, I thought it might be time to answer some questions that have built up since last year.
Before I cover some FAQs I want to make one thing totally clear. If you purchase a standard critique, send ONLY ten (10) pages of the material. You may send an optional one (1) page synopsis. I will not send any more than tweleve (12) pages to the faculty member: cover, synopsis, manuscript. The same goes for extendeds. Send only thirty (30) pages, the cover and the optional synopsis, bringing the total to thirty-two pages. If you send more, I will return the electronic copy to you and you'll have one chance to delete the extra pages. Beyond that I will destroy the copy and it will not be sent to the faculty member and you will not get a refund. Send ONLY what's asked for and included in the purchase price.
1.How should I format the hard copies I send to you?
Although some agents and editors have particular instructions for submissions, for the conference, it's best to stick with standard formatting. All critiques should be in Times New Roman or Courier 12pt font. They should be printed on regular printer paper (20lb., 92 brightness). Make sure all your margins are 1". For the header, place your name and the working title of your manuscript in the upper left hand corner. In the upper right, insert the page number and the estimated word count (if you know it). Send a title page, for each of the two copies, with the title of the manuscript and your contact information. You may send a one-page synopsis if you'd like--standard format. Bind each copy together with a binder clip, rubber band or paper clip. Now for the DON'T part: no report covers, no staples and please, PLEASE no cardstock weight paper.
2.How about the formatting for the electronic copy?
Save the electronic copy as a .DOC or .RTF. Name the file like this:
Before I cover some FAQs I want to make one thing totally clear. If you purchase a standard critique, send ONLY ten (10) pages of the material. You may send an optional one (1) page synopsis. I will not send any more than tweleve (12) pages to the faculty member: cover, synopsis, manuscript. The same goes for extendeds. Send only thirty (30) pages, the cover and the optional synopsis, bringing the total to thirty-two pages. If you send more, I will return the electronic copy to you and you'll have one chance to delete the extra pages. Beyond that I will destroy the copy and it will not be sent to the faculty member and you will not get a refund. Send ONLY what's asked for and included in the purchase price.
1.How should I format the hard copies I send to you?
Although some agents and editors have particular instructions for submissions, for the conference, it's best to stick with standard formatting. All critiques should be in Times New Roman or Courier 12pt font. They should be printed on regular printer paper (20lb., 92 brightness). Make sure all your margins are 1". For the header, place your name and the working title of your manuscript in the upper left hand corner. In the upper right, insert the page number and the estimated word count (if you know it). Send a title page, for each of the two copies, with the title of the manuscript and your contact information. You may send a one-page synopsis if you'd like--standard format. Bind each copy together with a binder clip, rubber band or paper clip. Now for the DON'T part: no report covers, no staples and please, PLEASE no cardstock weight paper.
2.How about the formatting for the electronic copy?
Save the electronic copy as a .DOC or .RTF. Name the file like this:
yourlastname_titleofmanuscript.
For example, if my manuscript was named The Devil and Hotdog Smith, here's how the file would look once I save it.elamsandifer_thedevilandhotdogsmith.rtf
Include all three elements, manuscript, synopsis, and cover page, in ONE file. If I get your manuscript and it's not in the right format, I will return it to you and ask that you save it in the right format. To select the format, To do this, open your document, go to SAVE AS. Name your document (see instructions above) and then in the drop down, below the name, select one of the above formats.I hate to be a stickler for this but it's imperative, for all sorts of compatibility issues, that I get the files in this format. While I would like to be able to just fix it for you, I neither cannot nor will not do that. I do not want to alter your work, intentionally or otherwise, in any way.
3. How will I know you got my stuff?
When I get your materials, I will send you an email confirming they arrived safe and sound. In the case of hard copies, I will stamp them with the date and file them alphabetically. In the case of electronic copies, I will open them and check for any file corruption issues. If you have emailed or mailed your materials and you have not heard from me in a reasonable time frame, feel free to email. Please give the Post Office (and me) ample time to process your materials before you email.
4. Where do I send my stuff?
For the hard copies, mail them to the address below. Please copy this address EXACTLY to avoid any snags in delivery.
Lateia Elam Sandifer
SCWW Critiques
PO Box 503
Bamberg, SC 29003
For the electronic copies, attach your file and email them to:
5. Can I revise my manuscript once I send it to you?
No. I will only accept the first version you send, unless of course there is some major disaster like my computer crashes or your file is corrupt. There's a lot of planning behind this aspect of the conference and to be fair to everyone, I cannot accept revisions. Make sure you send the best, most polished version to me. If you attempt to send a revision, the email will be returned with the attachement unopened and any hard copies will be shredded.
6. Can I change my faculty choices after you get my materials?
No. Once the manuscript has been received and assigned, there will be no changes---unless the faculty member is for some reason unable to accomodate your manuscript.
7. What if I query my faculty member before the conference and receive a rejection letter after I've chosen that person to critique my work?
Tough. My advice would be to refrain from querying the person(s) you select for critique. It can make for a very awkward meeting. Save the query letter until after you've met at the conference.
8. If my book sells before the conference, can I get a refund for my critique?
Once your materials have been received, logged in and confirmed, there will be NO refunds for critiques. Check out our policy for conference attendance refunds on the registration grid.
9. When will I find out who my critique was assigned to?,
When you check in, at the registration desk, you will be given a card that lists the details of your critique appointment(s). I will not be able to tell you who you are assigned to until that point. I'm not trying to be a meanie, but since the schedule is so complex, it may change several times before it's finalized. However, since you are able to select your top three choices of faculty member, I will guarantee that you get one of those three people. If I cannot accomodate your requests, I will call or email you and we can figure out what is the best way to handle the conflict. If I cannot offer you a critique slot with someone that fits your needs, I will happily refund your critique fee.
10. Will you call me if you see something terribly wrong with my manuscript so I can change it before it's sent to a faculty member?
If there is a problem with the file--corruption, weird characters, in another language---I will contact you and offer you the opportunity to resend. However, I will not, in any way, edit or read-though your submission for content or for copy-editing purposes. I will occassionally read the first couple of paragraphs to make sure your manuscript matches the requests of the faculty member. It is your sole responsibility to be comfortable and confident with your work before you send it to me.
Email me with any questions you have--or post to comments--and I'll answer them. It's best to get the questions out of the way before the rush of materials in late summer.
CONFERENCE UPDATE: Slight Delay
Due to some unforeseen technical difficulties, registration for the 2010 SCWW Conference will open on Saturday, June 5, 2010 at 12:01am.
We deeply regret that we have to delay until then, but in the interest of fairness to all our attendees, we have no other choice. If there are any updates, I will paste them here. Rest assured, no one---and I mean NO ONE---will be permitted to register before the official opening. Faculty appointments will all open at the same time to allow for fairness.
Thanks for understanding and we can't wait to start seeing your names as you register.
BTW, please read the blog post below mine. Kim Blum-Hyclak had the floor today and she's posted a great piece.
We deeply regret that we have to delay until then, but in the interest of fairness to all our attendees, we have no other choice. If there are any updates, I will paste them here. Rest assured, no one---and I mean NO ONE---will be permitted to register before the official opening. Faculty appointments will all open at the same time to allow for fairness.
Thanks for understanding and we can't wait to start seeing your names as you register.
BTW, please read the blog post below mine. Kim Blum-Hyclak had the floor today and she's posted a great piece.
How Do I Decide?
Conferences are exciting. And overwhelming. When you look at the list of classes and offerings, it can be difficult to decide what you'd most like to attend at a given time.
First of all, unfortunately, unless you're a master of quantum physics, you can't be everywhere and you can't attend every class. But that's okay. Sometimes too much information is worse than not enough. You don't want to overwhelm you body and your brain. You want to get your money's worth.
Here's my suggestion: Be honest with yourself about where you are in your writing path. Then select your classes accordingly.
Here are some examples:
---Ms. Rookie is still working on drafting her first novel. She hopes to finish it sometime in 2010.
***Ms. Rookie should consider taking classes on character development, plot and editing.
---Mr. Hadsome Sucess is polishing his second novel. It's nearly finished and he wants to start querying next month. He's freelanced for several regional magazines and he wants to move into the fiction market.
***Hadsome should considersessions on query letters, synopses and social networking. He should also be sure to attend any panels or Slush Fest sessions that match his genre.
----Ms. Got An Idea loves to read and she has a great idea for a novel. She's scribbled some notes but hasn't actually written anything yet. She loves the idea of being a novelist but she's not sure where to start.
****Ms. Idea should likely take a mix of classes: some on craft and some on the business side of things. Since she's not sure this is the business for her, it might help to hear a little about the money-making side of things. She should be sure to attend the Chapter and Genre mixers. This would give her a chance to meet other writers, in her genre and geographical area.
We all want to be multi-published, sucessful writers, but you have to start somewhere. By being totally honest with yourself about what you need to be successful you can make better choices. It's okay to be in the first leg of the race. Don't put the cart before the horse and try to force yourself to write a query letter when you're not even finished with your book. In order to produce a good book, you have to complete each step. There are no shortcuts, so don't kid yourself.
First of all, unfortunately, unless you're a master of quantum physics, you can't be everywhere and you can't attend every class. But that's okay. Sometimes too much information is worse than not enough. You don't want to overwhelm you body and your brain. You want to get your money's worth.
Here's my suggestion: Be honest with yourself about where you are in your writing path. Then select your classes accordingly.
Here are some examples:
---Ms. Rookie is still working on drafting her first novel. She hopes to finish it sometime in 2010.
***Ms. Rookie should consider taking classes on character development, plot and editing.
---Mr. Hadsome Sucess is polishing his second novel. It's nearly finished and he wants to start querying next month. He's freelanced for several regional magazines and he wants to move into the fiction market.
***Hadsome should considersessions on query letters, synopses and social networking. He should also be sure to attend any panels or Slush Fest sessions that match his genre.
----Ms. Got An Idea loves to read and she has a great idea for a novel. She's scribbled some notes but hasn't actually written anything yet. She loves the idea of being a novelist but she's not sure where to start.
****Ms. Idea should likely take a mix of classes: some on craft and some on the business side of things. Since she's not sure this is the business for her, it might help to hear a little about the money-making side of things. She should be sure to attend the Chapter and Genre mixers. This would give her a chance to meet other writers, in her genre and geographical area.
We all want to be multi-published, sucessful writers, but you have to start somewhere. By being totally honest with yourself about what you need to be successful you can make better choices. It's okay to be in the first leg of the race. Don't put the cart before the horse and try to force yourself to write a query letter when you're not even finished with your book. In order to produce a good book, you have to complete each step. There are no shortcuts, so don't kid yourself.
Guest Blogger: Rochelle Bailey
Making the Most of Your Conference
by Editor Rochelle Bailey
Writing isn't a clinical, linear sort of career. On the surface it may seem as though every writer has the same goal – publication – but the specifics of that goal and the best path to reach it are unique to every individual. So when you've made the commitment to attend a writer's conference like the SCWW, how do you know how to make the conference programming and opportunities work for you?
First, be honest about where you are. Have you written part of a book, a whole book, or a whole series of books? Then be honest about where you want to go. Do you need to see your name in print on your own bookshelf, on the bookstore's shelf, or on the NY Times bestseller stand? Your answers determine the best sessions and classes for what you need right now, and what you'll look for as you progress.
If you're just getting started, stick with classes that will strengthen your writing craft. Classes on characters, plotting, conflict, and even manuscript formatting will be invaluable and help you rise above the 'doorstop' fate of so many first novels. And by fitting in a slush fest or query letter session you'll learn a lot just by listening to the feedback.
If you've been writing and submitting those manuscripts, but you keep getting rejected without a request, it's time to hone your query and synopsis skills, double check the market trends, and renew your enthusiasm with a craft session or two. Make time to tune in to other author's who've been there to see what advice you can glean from their experience.
If you've sold a book or two already, but you want to start swimming in a bigger pond or different genre, focus on promotion and marketing sessions, visit a genre or craft session, and use your time to network professionally with agents and editors.
However you decide to spend your time at a conference, always keep an open mind, a smile on your face, and your business cards handy.
***********
Rochelle Bailey is the acquiring editor and director of Quake, the YA division of Echelon Press. Writing as Regan Black, she is also the award winning author of the Shadows of Justice series and several short stories geared toward teen and adult readers.
Currently residing in the Lowcountry of South Carolina she balances editing and writing by managing a household of engineers of all ages and an impressive domestic zoo starring two retired greyhounds, two cats, and three quirky birds.
by Editor Rochelle Bailey
Writing isn't a clinical, linear sort of career. On the surface it may seem as though every writer has the same goal – publication – but the specifics of that goal and the best path to reach it are unique to every individual. So when you've made the commitment to attend a writer's conference like the SCWW, how do you know how to make the conference programming and opportunities work for you?
First, be honest about where you are. Have you written part of a book, a whole book, or a whole series of books? Then be honest about where you want to go. Do you need to see your name in print on your own bookshelf, on the bookstore's shelf, or on the NY Times bestseller stand? Your answers determine the best sessions and classes for what you need right now, and what you'll look for as you progress.
If you're just getting started, stick with classes that will strengthen your writing craft. Classes on characters, plotting, conflict, and even manuscript formatting will be invaluable and help you rise above the 'doorstop' fate of so many first novels. And by fitting in a slush fest or query letter session you'll learn a lot just by listening to the feedback.
If you've been writing and submitting those manuscripts, but you keep getting rejected without a request, it's time to hone your query and synopsis skills, double check the market trends, and renew your enthusiasm with a craft session or two. Make time to tune in to other author's who've been there to see what advice you can glean from their experience.
If you've sold a book or two already, but you want to start swimming in a bigger pond or different genre, focus on promotion and marketing sessions, visit a genre or craft session, and use your time to network professionally with agents and editors.
However you decide to spend your time at a conference, always keep an open mind, a smile on your face, and your business cards handy.
***********
Rochelle Bailey is the acquiring editor and director of Quake, the YA division of Echelon Press. Writing as Regan Black, she is also the award winning author of the Shadows of Justice series and several short stories geared toward teen and adult readers.
Currently residing in the Lowcountry of South Carolina she balances editing and writing by managing a household of engineers of all ages and an impressive domestic zoo starring two retired greyhounds, two cats, and three quirky birds.
Watching your Ps and Qs -- on Twitter, Myspace, Facebook...
Recently, Janet Reid mused on her blog about just how public the Internet is. This is something I've mentioned in publicity and submission seminars. While Ms. Reid stated it much better than I can, here are a few points to ponder when evaluating your online image.
- Items posted on Myspace and Facebook might show up in Internet searches.
- Comments posted on public blogs, as well as blogs, will appear in Internet searches.
- Agents do read blogs.
- Agents not only Google prospective clients' names, but their own names. If you "go off" about an agent on your blog, they can see it. While you might not think much of the person or his/her decision, other agents do and probably won't side with you.
- While your friends might appreciate your humor and slang, agents might not. It's all about context. If every post on your blog is about how much you drank, how much you ate and how many failed relationships you've had, an agent might run before they learn there's so much more to you.
However, there's hope.
- You can set your social networking profiles to private. If you've "friended" agents and editors, there are privacy settings to filter how much of your life they can see.
- There's always the possibility you'll be able to go back to blogs and delete previous posts.
- The visibility of your blog is a great way to showcase your talent and the positive thoughts you have about your writing, your conference experiences, etc.
- There's a way to keep tabs on yourself -- visit the Google page and learn more about Google Alerts.
- Want to learn how to use the World Wide Web for good instead of embarrassment? There are sessions covering social networking at the 2009 South Carolina Writers Workshop.
One last thought, photos you and your friends post on public sites can be searched as well. So, you might want to start bargaining now to get your sister to take down that photo of you...
Where Have I Been? An Update on All Things Conference
Sorry I've been so slack on posting the last couple of weeks, but Carrie and I have been swamped with last minute details. Last minute details? The conference is six weeks from now. Isn't it a bit early? Not really. For us, it's right around the corner. We started planning LAST YEAR and we're in the home stretch. (At least, we keep telling each other that.) I thought I'd take a few minutes to update everyone on what we're doing.
CRITIQUES---The submissions are going out this week! Some faculty members already have them and the rest will receive them by Friday. If you want to add another critique, call or email us ASAP so we can get your submission to faculty. There are still a few primo spots left so don't miss the opportunity to get priceless feedback from a professional.
SILENT AUCTION---Boy, do we have some FANTASTIC ITEMS this year! I can't tell you about all of them---there isn't room, but I will tell you that MOST of our faculty members have donated something and that includes SEVERAL critiques. (Think BIG NAMES, FANTASTIC AGENTS AND EDITORS). More information will be posted on the SCWW website soon. Be sure to check it out so you can start planning your bidding strategy. When it's posted, I'll blog about the details. We're still taking donations, so if you have some new or slightly used books you'd like to donate or arts and crafts items, we'd love to have them!
GOODIES---We've selected some items you're going to love! The Book Nook will be carrying a whole host of SCWW merchandise including T-shirts with this year's quote (HINT: Toni Morrison), BPA-free water bottles, recycled journals, pens, NEW & IMPROVED over sized mugs (and yes, we'll have more coffee this year thanks to a couple of Chapters), and books galore.
CARRIE McCRAY--According to our Contests Chair, Kim Blum-Hyclak, the contest is off and running. The judges have the submissions and are working hard to choose winners in each of the categories. The winners will be announced at Friday night's dinner. If you purchased a Basic, but would like to go to the awards presentation, there's still plenty of room . Email us and we'll be happy to add a dinner ticket to your registration.
ACCOMMODATIONS---If you haven't booked your room yet, you need to do it ASAP. Hilton will guarantee our discounted rate until Wednesday, September23. If you like a little extra space, consider booking a room at Royale Palms. These condos are connected to the Hilton proper---no dashing through wind and water to get to class---and they each have a kitchens and deluxe baths. (They're SUPER NICE.) They're offering great rates on these rooms. They have 2 and 3 bedroom units available, too----great if you're bunking with a friend.
All the links you will need are at www.myscww.org/conference.
Please call or email if you need to add anything, ask anything, or donate anything. We'd love to hear from you!
A special thanks to Nikki Poppen for her blogs. I, for one, will be sneaking into her Friday Intensives. I promise to get back on schedule as soon as I get all your manuscript babies out to your faculty members.
CRITIQUES---The submissions are going out this week! Some faculty members already have them and the rest will receive them by Friday. If you want to add another critique, call or email us ASAP so we can get your submission to faculty. There are still a few primo spots left so don't miss the opportunity to get priceless feedback from a professional.
SILENT AUCTION---Boy, do we have some FANTASTIC ITEMS this year! I can't tell you about all of them---there isn't room, but I will tell you that MOST of our faculty members have donated something and that includes SEVERAL critiques. (Think BIG NAMES, FANTASTIC AGENTS AND EDITORS). More information will be posted on the SCWW website soon. Be sure to check it out so you can start planning your bidding strategy. When it's posted, I'll blog about the details. We're still taking donations, so if you have some new or slightly used books you'd like to donate or arts and crafts items, we'd love to have them!
GOODIES---We've selected some items you're going to love! The Book Nook will be carrying a whole host of SCWW merchandise including T-shirts with this year's quote (HINT: Toni Morrison), BPA-free water bottles, recycled journals, pens, NEW & IMPROVED over sized mugs (and yes, we'll have more coffee this year thanks to a couple of Chapters), and books galore.
CARRIE McCRAY--According to our Contests Chair, Kim Blum-Hyclak, the contest is off and running. The judges have the submissions and are working hard to choose winners in each of the categories. The winners will be announced at Friday night's dinner. If you purchased a Basic, but would like to go to the awards presentation, there's still plenty of room . Email us and we'll be happy to add a dinner ticket to your registration.
ACCOMMODATIONS---If you haven't booked your room yet, you need to do it ASAP. Hilton will guarantee our discounted rate until Wednesday, September23. If you like a little extra space, consider booking a room at Royale Palms. These condos are connected to the Hilton proper---no dashing through wind and water to get to class---and they each have a kitchens and deluxe baths. (They're SUPER NICE.) They're offering great rates on these rooms. They have 2 and 3 bedroom units available, too----great if you're bunking with a friend.
All the links you will need are at www.myscww.org/conference.
Please call or email if you need to add anything, ask anything, or donate anything. We'd love to hear from you!
A special thanks to Nikki Poppen for her blogs. I, for one, will be sneaking into her Friday Intensives. I promise to get back on schedule as soon as I get all your manuscript babies out to your faculty members.
Early Registration Rates End Soon!
It's hard to believe September is just a few days away! For writers who haven't registered for the SCWW conference yet, you can still get the early bird rate. Just be sure to go online and register no later than 11:59 p.m. Tuesday, Sept. 1, 2009. When the clock chimes midnight, rates will go up $50.
Also, Sept. 1, 2009, marks the closing of critiques. You'll be able to buy critiques through Tuesday, but you'll need to have your copies postmarked Sept. 1, and your e-mail copies will need to be in our inbox no later than 11:59 p.m. Tuesday, Sept. 1, 2009.
There are still critique spaces available. Did you buy one during registration and want another? Just contact me (conference@myscww.org) and I'll walk you through the process of adding it to your registration.
In addition, there are still some pitches up for grabs. There's no limit to the number of pitches you can register for, and no deadline for signing up. However, these are going fast, so you'll want to register soon to get the best shot at your top choices. If you've already registered and want to add some pitches, just contact me (conference@myscww.org).
What questions about the conference? You can leave a comment below or feel free to e-mail me (conference@myscww) or the Conference Co-chair Lateia E. Sandifer. (lateia.sandifer@gmail.com). We're happy to help.
Also, Sept. 1, 2009, marks the closing of critiques. You'll be able to buy critiques through Tuesday, but you'll need to have your copies postmarked Sept. 1, and your e-mail copies will need to be in our inbox no later than 11:59 p.m. Tuesday, Sept. 1, 2009.
There are still critique spaces available. Did you buy one during registration and want another? Just contact me (conference@myscww.org) and I'll walk you through the process of adding it to your registration.
In addition, there are still some pitches up for grabs. There's no limit to the number of pitches you can register for, and no deadline for signing up. However, these are going fast, so you'll want to register soon to get the best shot at your top choices. If you've already registered and want to add some pitches, just contact me (conference@myscww.org).
What questions about the conference? You can leave a comment below or feel free to e-mail me (conference@myscww) or the Conference Co-chair Lateia E. Sandifer. (lateia.sandifer@gmail.com). We're happy to help.
Guest Blogger: Jim Casada
Today we're joined by Jim Casada. He has some tips on how to MAXIMIZE your conference experience.
****
TIPS ON WORKING A CONVENTION
Over the years I’ve attended close to a hundred state, regional, or national gatherings of writers in my field of interest—the outdoors. That attendance has come from both sides of the fence—as a speaker and as someone anxious to improve my craft—and perhaps sharing some tips on what I have learned about how best to benefit from conference attendance will be helpful. Here are some thoughts in that regard.
*Go prepared. That means having an ample supply of business cards, some means of taking notes (tape recorder, note pad, laptop, or the like), and a “game plan” focused on the agenda.
*If there are simultaneous sessions which interest you, see if the convention offers tapes or if you can get a friend to tape for you.
*Don’t be afraid to ask questions. Often the give-and-take at the end will be the most productive part of a seminar.
*Keep the fact that some of the most beneficial aspects of attending a convention take place outside of seminars or programs. Social settings, whether meals, social hours, or just elbow-rubbing during breaks, offer marvelous opportunities.
*Be persistent but don’t be pushy. In other words, leave no doubt about your eagerness but don’t be a pest. If you have any feel at all for social interaction you will be able to tell the difference.
*Try to establish contact with people who are successful writers, and that doesn’t always mean just the speakers. Ask others how they work, what has worked best for them, and the like. Then you can pick and choose from what you hear in a fashion which suits you personally.
*When talking to editors, agents, or someone you hope can help you, do all you can to exude professionalism. The writing life is, by its very nature, a lonely life. Yet at conferences it is important to shake off tendencies towards being reclusive or a misanthrope. Professionalism involves a lot of things—personal appearance, demeanor, politeness, and even obvious (yet often overlooked) things such as a business card or vita. Think about how you want to present yourself, look folks in the eyes, respect their time, and be ready to cut to the chase without wasting a lot of time. Conventions are meant to be educational, not entertaining, although the two aren’t mutually exclusive.
*Once you return home from a convention, act on opportunities, notes, contacts, and the like promptly. You want to follow up while things are fresh in mind.
*Finally, and I’ve seen enough of this to know it can be a problem, don’t make a fool of yourself by drinking too much, boorish behavior, or, to put it bluntly, being an ass.
********
Jim Casada is a son of the Smokies, and the region has figured prominently in his work as a freelance writer. He grew up in Bryson City, N. C. and says “a corner of my soul still belongs to the high country. His formal education includes a B. A. in history from King College (Bristol, TN), an M. A. in British history from Virginia Tech (Blacksburg, VA), and a Ph. D. in British imperial history from Vanderbilt University (Nashville, TN). He taught at Winthrop University from 1971-1996 before taking early retirement to devote all his energies to writing. While at Winthrop he rose to the rank of full professor, served two terms as chair of the graduate faculty, was recognized as the institution’s Distinguished Professor in 1983, and won numerous excellence in teaching award.
He is a long-time member of a number of outdoor writers’ groups and has served as president of the Outdoor Writers Association of America, the Southeastern Outdoor Press Association, and the South Carolina Outdoor Press Association. Casada has been honored by all three organizations as recipient of their top service awards. He has won upwards of 150 awards from regional and national organizations for his writing and photography, and has been the recipient of a number of honors including the Federation of Fly Fishers’ Arnold Gingrich Memorial Award for contributions to angling literature, the South Carolina Wildlife Federation’s Harry Hampton Memorial Award, and the National Wild Turkey Federation’s 2007 Communicator of the Year.
Casada is the author of more than a dozen books, the editor of dozens more, and has written forewords, contributed chapters, or provided introductions to more than 100 books. He writes weekly columns for three newspapers and holds masthead positions with several magazines including being Editor-at-Large for Sporting Classics and Turkey & Turkey Hunting. His work has appeared in virtually every major outdoor-related publication and over the course of his career he has had more than 4000 articles published.
His current major projects include completion of A Pursuit of Passion: An Insider’s Guide to Fly Fishing in the Great Smoky Mountains National Park, editing and compiling a collection of Archibald Rutledge’s stories relating to the Christmas holidays, and research for a biography of Rutledge.
****
TIPS ON WORKING A CONVENTION
Over the years I’ve attended close to a hundred state, regional, or national gatherings of writers in my field of interest—the outdoors. That attendance has come from both sides of the fence—as a speaker and as someone anxious to improve my craft—and perhaps sharing some tips on what I have learned about how best to benefit from conference attendance will be helpful. Here are some thoughts in that regard.
*Go prepared. That means having an ample supply of business cards, some means of taking notes (tape recorder, note pad, laptop, or the like), and a “game plan” focused on the agenda.
*If there are simultaneous sessions which interest you, see if the convention offers tapes or if you can get a friend to tape for you.
*Don’t be afraid to ask questions. Often the give-and-take at the end will be the most productive part of a seminar.
*Keep the fact that some of the most beneficial aspects of attending a convention take place outside of seminars or programs. Social settings, whether meals, social hours, or just elbow-rubbing during breaks, offer marvelous opportunities.
*Be persistent but don’t be pushy. In other words, leave no doubt about your eagerness but don’t be a pest. If you have any feel at all for social interaction you will be able to tell the difference.
*Try to establish contact with people who are successful writers, and that doesn’t always mean just the speakers. Ask others how they work, what has worked best for them, and the like. Then you can pick and choose from what you hear in a fashion which suits you personally.
*When talking to editors, agents, or someone you hope can help you, do all you can to exude professionalism. The writing life is, by its very nature, a lonely life. Yet at conferences it is important to shake off tendencies towards being reclusive or a misanthrope. Professionalism involves a lot of things—personal appearance, demeanor, politeness, and even obvious (yet often overlooked) things such as a business card or vita. Think about how you want to present yourself, look folks in the eyes, respect their time, and be ready to cut to the chase without wasting a lot of time. Conventions are meant to be educational, not entertaining, although the two aren’t mutually exclusive.
*Once you return home from a convention, act on opportunities, notes, contacts, and the like promptly. You want to follow up while things are fresh in mind.
*Finally, and I’ve seen enough of this to know it can be a problem, don’t make a fool of yourself by drinking too much, boorish behavior, or, to put it bluntly, being an ass.
********
Jim Casada is a son of the Smokies, and the region has figured prominently in his work as a freelance writer. He grew up in Bryson City, N. C. and says “a corner of my soul still belongs to the high country. His formal education includes a B. A. in history from King College (Bristol, TN), an M. A. in British history from Virginia Tech (Blacksburg, VA), and a Ph. D. in British imperial history from Vanderbilt University (Nashville, TN). He taught at Winthrop University from 1971-1996 before taking early retirement to devote all his energies to writing. While at Winthrop he rose to the rank of full professor, served two terms as chair of the graduate faculty, was recognized as the institution’s Distinguished Professor in 1983, and won numerous excellence in teaching award.
He is a long-time member of a number of outdoor writers’ groups and has served as president of the Outdoor Writers Association of America, the Southeastern Outdoor Press Association, and the South Carolina Outdoor Press Association. Casada has been honored by all three organizations as recipient of their top service awards. He has won upwards of 150 awards from regional and national organizations for his writing and photography, and has been the recipient of a number of honors including the Federation of Fly Fishers’ Arnold Gingrich Memorial Award for contributions to angling literature, the South Carolina Wildlife Federation’s Harry Hampton Memorial Award, and the National Wild Turkey Federation’s 2007 Communicator of the Year.
Casada is the author of more than a dozen books, the editor of dozens more, and has written forewords, contributed chapters, or provided introductions to more than 100 books. He writes weekly columns for three newspapers and holds masthead positions with several magazines including being Editor-at-Large for Sporting Classics and Turkey & Turkey Hunting. His work has appeared in virtually every major outdoor-related publication and over the course of his career he has had more than 4000 articles published.
His current major projects include completion of A Pursuit of Passion: An Insider’s Guide to Fly Fishing in the Great Smoky Mountains National Park, editing and compiling a collection of Archibald Rutledge’s stories relating to the Christmas holidays, and research for a biography of Rutledge.
Critiques and Pitches Day 3: It's Prep Time
In the first part of this three-part blog, I offered advice on why writers need critiques and pitches. In the second part, I looked at suggestions on what to include in your critique package and pitch preparation, and what to avoid in your critique package and pitch preparation. For the final installment, here’s some advice on how to prepare for the one-on-one time of a critique or pitch.
1. Know your stats. What’s your word count? What’s your genre? When can you get a copy out to an interested agent or editor?
2. Know your publishing goals. Is your dream to be a big fish in a little pond or a little fish in a big pond? Have you completed a marketing plan for your manuscript? Is your primary goal to concentrate on writing more or on working as many sales angles as possible on this manuscript?
3. Relax. It might sound easier said than done, but take a minute and enjoy the beautiful beach surroundings. Or, if that isn’t working, listen to a few minutes of ESPN or CNN. Take your mind off any anxieties you might have.
4. Practice your pitch. Even if you’re preparing for a critique, it’s good to have a five-minute pitch ready. Who knows, an agent or editor might ask for you to submit.
5. Bring pencil (or pen) and paper. This is a time when you’re going to want to take notes, as well as listen.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
1. Know your stats. What’s your word count? What’s your genre? When can you get a copy out to an interested agent or editor?
2. Know your publishing goals. Is your dream to be a big fish in a little pond or a little fish in a big pond? Have you completed a marketing plan for your manuscript? Is your primary goal to concentrate on writing more or on working as many sales angles as possible on this manuscript?
3. Relax. It might sound easier said than done, but take a minute and enjoy the beautiful beach surroundings. Or, if that isn’t working, listen to a few minutes of ESPN or CNN. Take your mind off any anxieties you might have.
4. Practice your pitch. Even if you’re preparing for a critique, it’s good to have a five-minute pitch ready. Who knows, an agent or editor might ask for you to submit.
5. Bring pencil (or pen) and paper. This is a time when you’re going to want to take notes, as well as listen.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
What's In It For Me?
Every so often, people ask me what membership in South Carolina Writers' Workshop will do for them. Having recently answered that question, I decided to devote this post to those benefits. Some of this information came from the Join Us link on our web site, http://www.myscww.org/. I've expanded on that information, so please don't check out on me here.
Benefits of membership include:
Local (or remote) SCWW Chapter meetings
I always find that I write better after meeting with my local chapter. Membership allows you to attend ANY chapter meeting within SCWW, so you can get that shot of energy even while on vacation or out of town on business. I did that last year while vacationing in Myrtle Beach, SC.
Practical advice from other writers
Sources for advice abound. You can locate them in the SCWW blog, from SCWW members, and through free workshops presented by our chapters. A member-only yahoo group is in the works, and it will connect all of our members.
If you read ANY serious writing magazine, you will read that membership in a writing group is extremely important to your success. I've learned so much about my writing style just by tapping into SCWW's available avenues of advice.
Interesting conversation (not necessarily restricted to writing).
Shoulders to cry on in celebration of your first (or hundredth) rejection letter.
Friends to invite to the champagne party celebrating your first (or fifth) bestseller.
Your chapter friends can help you decide where to submit your work and how to word your query, synopsis, etc.
Fun (and inexpensive) entertainment for a few hours a month.
Some of my closest friends are members of SCWW and not just in the Greenville area. We have over 500 members throughout the US and a few international members.
Discount rate for SCWW conference attendance
Members have the opportunity to sign up for the conference at a reduced rate, plus you can renew your membership at a discount if you do so while registering for the conference. My membership doesn't expire until late August, but I take advantage of the reduced rate rather than wait.
Our conference rates are incredible when you compare them to other conferences. Many conferences offer 1/3 the number of faculty or workshop offerings that we do, and often cost upwards of $600. We strive to keep our rates low so our members can enjoy this benefit.
Our Conference Committee negotiates a fantastic hotel sleeping room rate for our members. We've considered moving to other resorts, but we can't beat what we have at the Myrtle Beach Hilton. In fact, other groups using the same resort are paying much higher room rates.
Our conference has grown from attendance of 150 people to 500+. It offers multiple opportunities for conversations with agents and editors, and last year, Writer's Digest featured the conference in one of their issues. This exposure means that New York publishing is well aware of SCWW, and membership in our organization carries a positive reputation. Last year's faculty kept commenting on the high caliber of writers within our organization. And, if you've somehow missed this fact, agents and editors requested over 50 manuscripts during last year's conference. We know of at least one that has already been published.
Eligible to Compete in Anthology Contest
The Petigru Review gives our members an opportunity to be published. Some of last year's authors were nominated for the Pushcart Prize.
Eligible to Compete in the Carrie McCray Memorial Literary Awards
This contest is named after one of our founding members, Carrie McCray. It comes with a $500 first place prize and $100 second place prize. Members must attend the conference to enter. One of last year's judges (an agent) requested the full manuscript from one of the First Chapter entries.
The Quill - SCWW's monthly newsletter
The Quill provides up-to-date information on occurrences within SCWW. Also, we have contests, giving members another way to build their publishing resume.
Now that I've covered the website's benefits list, let me add a few:
Website (myscww.org)
If you haven't visited the web site lately, you should. We have a great new look. Any member who has a website, blog, or published book can have a link, along with the picture of your book, on our site. The site also provides information on contests and other opportunities for writers.
Our Chapter page helps writers locate the local chapter meetings. Plus, you can create a chapter web site through the SCWW site. Our webmaster, can help you with this.
The SCWW Board is exploring the idea of a members only sign-in that provides access to information. One feature will be access to our membership, allowing you to look up CURRENT member listings at any time.
Thanks to several enthusiastic members, you can join our Facebook or LinkedIn groups.
Connections
You get out of SCWW what you are willing to put in. In 2007, I jumped in feet first and gained wonderful connections with several publishing professionals. It's the old adage of networking: What matters is who you know. This week, I sent a partial of my manuscript to an agent who performed my critique last October. Two other publishing professionals have expressed an interest in reading my manuscript. Several published authors, who I met through the conference, have given me valuable assistance and feedback in the past two years. I would never experience these milestones of success if it wasn't for SCWW.
Broader Visibility
Besides the publishing options, you have the opportunity to run for open positions on our Board of Directors or volunteer for a committee position. Volunteering will make you more visible to the publishing world. I co-chaired the conference last year, and the experience opened several doors for me.
Free Workshops
SCWW provides financial support and guidance to local chapters that want to provide a one-day seminar. The chapter provides a service to the community while increasing its contacts and visibility. We have members of the Board who know the ropes and are willing to help you with this process. Because of our grant from SC Arts Council, we must offer a few free workshops each year. The Greenville chapter has one scheduled for Saturday, Aug. 8 from 1 - 3 at the Greenville Main Library. Ray Blackston, author of Flabbergasted and 5 other books, is speaking on "The Twisted Road to Publishing".
Whew! That's a lot! All of this for a $50 membership fee. It's like that credit card commercial:
Membership in SCWW - $50
Contacts with other writers - Priceless
Visibility and Connection with Publishing Professionals - Priceless
Benefits of membership include:
Local (or remote) SCWW Chapter meetings
I always find that I write better after meeting with my local chapter. Membership allows you to attend ANY chapter meeting within SCWW, so you can get that shot of energy even while on vacation or out of town on business. I did that last year while vacationing in Myrtle Beach, SC.
Practical advice from other writers
Sources for advice abound. You can locate them in the SCWW blog, from SCWW members, and through free workshops presented by our chapters. A member-only yahoo group is in the works, and it will connect all of our members.
If you read ANY serious writing magazine, you will read that membership in a writing group is extremely important to your success. I've learned so much about my writing style just by tapping into SCWW's available avenues of advice.
Interesting conversation (not necessarily restricted to writing).
Shoulders to cry on in celebration of your first (or hundredth) rejection letter.
Friends to invite to the champagne party celebrating your first (or fifth) bestseller.
Your chapter friends can help you decide where to submit your work and how to word your query, synopsis, etc.
Fun (and inexpensive) entertainment for a few hours a month.
Some of my closest friends are members of SCWW and not just in the Greenville area. We have over 500 members throughout the US and a few international members.
Discount rate for SCWW conference attendance
Members have the opportunity to sign up for the conference at a reduced rate, plus you can renew your membership at a discount if you do so while registering for the conference. My membership doesn't expire until late August, but I take advantage of the reduced rate rather than wait.
Our conference rates are incredible when you compare them to other conferences. Many conferences offer 1/3 the number of faculty or workshop offerings that we do, and often cost upwards of $600. We strive to keep our rates low so our members can enjoy this benefit.
Our Conference Committee negotiates a fantastic hotel sleeping room rate for our members. We've considered moving to other resorts, but we can't beat what we have at the Myrtle Beach Hilton. In fact, other groups using the same resort are paying much higher room rates.
Our conference has grown from attendance of 150 people to 500+. It offers multiple opportunities for conversations with agents and editors, and last year, Writer's Digest featured the conference in one of their issues. This exposure means that New York publishing is well aware of SCWW, and membership in our organization carries a positive reputation. Last year's faculty kept commenting on the high caliber of writers within our organization. And, if you've somehow missed this fact, agents and editors requested over 50 manuscripts during last year's conference. We know of at least one that has already been published.
Eligible to Compete in Anthology Contest
The Petigru Review gives our members an opportunity to be published. Some of last year's authors were nominated for the Pushcart Prize.
Eligible to Compete in the Carrie McCray Memorial Literary Awards
This contest is named after one of our founding members, Carrie McCray. It comes with a $500 first place prize and $100 second place prize. Members must attend the conference to enter. One of last year's judges (an agent) requested the full manuscript from one of the First Chapter entries.
The Quill - SCWW's monthly newsletter
The Quill provides up-to-date information on occurrences within SCWW. Also, we have contests, giving members another way to build their publishing resume.
Now that I've covered the website's benefits list, let me add a few:
Website (myscww.org)
If you haven't visited the web site lately, you should. We have a great new look. Any member who has a website, blog, or published book can have a link, along with the picture of your book, on our site. The site also provides information on contests and other opportunities for writers.
Our Chapter page helps writers locate the local chapter meetings. Plus, you can create a chapter web site through the SCWW site. Our webmaster, can help you with this.
The SCWW Board is exploring the idea of a members only sign-in that provides access to information. One feature will be access to our membership, allowing you to look up CURRENT member listings at any time.
Thanks to several enthusiastic members, you can join our Facebook or LinkedIn groups.
Connections
You get out of SCWW what you are willing to put in. In 2007, I jumped in feet first and gained wonderful connections with several publishing professionals. It's the old adage of networking: What matters is who you know. This week, I sent a partial of my manuscript to an agent who performed my critique last October. Two other publishing professionals have expressed an interest in reading my manuscript. Several published authors, who I met through the conference, have given me valuable assistance and feedback in the past two years. I would never experience these milestones of success if it wasn't for SCWW.
Broader Visibility
Besides the publishing options, you have the opportunity to run for open positions on our Board of Directors or volunteer for a committee position. Volunteering will make you more visible to the publishing world. I co-chaired the conference last year, and the experience opened several doors for me.
Free Workshops
SCWW provides financial support and guidance to local chapters that want to provide a one-day seminar. The chapter provides a service to the community while increasing its contacts and visibility. We have members of the Board who know the ropes and are willing to help you with this process. Because of our grant from SC Arts Council, we must offer a few free workshops each year. The Greenville chapter has one scheduled for Saturday, Aug. 8 from 1 - 3 at the Greenville Main Library. Ray Blackston, author of Flabbergasted and 5 other books, is speaking on "The Twisted Road to Publishing".
Whew! That's a lot! All of this for a $50 membership fee. It's like that credit card commercial:
Membership in SCWW - $50
Contacts with other writers - Priceless
Visibility and Connection with Publishing Professionals - Priceless
Understanding Conference Lingo
“I’ve decided to register for the conference,” one of the members of my chapter announced at our last meeting.
“Really? What changed your mind?” I asked.
It turns out that she misunderstood a major selling point of our conference, our faculty. Those of us who have participated in the SCWW conference for several years know that the term faculty refers to the agents, editors, authors, and poets that teach the workshops at our conference. This new member thought that faculty meant members of the SCWW organization teaching workshops! Once she realized the difference she got excited about the conference.
Wow!
This made me wonder about other terms that we toss around. This blog has done a great job on explaining pitches, so that’s one area that I don’t think needs explanation, but I thought of a few others. So, I’m going to try and scrape away the jargon and shed light on two other areas.
Proctors: When you register for the conference, one of the questions you’re asked is would you like to proctor. If you don’t know what that means, you probably left the box blank.
I attended my first SCWW conference in 2007, and I agreed to proctor one session. That means that I made sure that the faculty member (remember that’s our agents, editors, authors, and poets) had everything they needed in the workshop room. If a projector didn’t work or the temperature was uncomfortable, I knew who to contact to fix it. The best part of this opportunity is that you meet the faculty member and introduce them at the beginning of the workshop.
Hello? It’s an opportunity to meet someone on faculty in a service capacity. Now don’t let that word “service” throw you. This is one of the BEST ways to connect with a faculty member. If you give them what they need without promoting yourself to them, they often will ask to help you!
That’s what happened to me in 2007. My faculty member had a bad cold and was losing her voice. I knew that she liked hot tea, so I planned a Starbuck’s run (there’s one in the Hilton lobby) prior to her class, had a pack of tissues on hand, and offered her some homeopathic allergy medication. It helped and she found that she could keep her voice strong enough to get through the day. She tracked me down later and gave me her card. Her words to me? “You helped me, so I want to help you.” And she has.
So, if you did not indicate an interest in proctoring (introducing the faculty, making sure the room is set up and comfortable, etc.), you can still contact the conference chair or co-chair to see if they need more proctors.
Slush Fest: We make a big deal about these every year, but if you’ve never attended one, you might not grasp the benefits. Slush Fests are sessions set up by genre and taught by an agent and an editor who represent that genre. Participants bring up to 2 pages of their manuscript on transparency sheets, and the faculty places them on an overhead projector and evaluates the work. This is done anonymously, so no one else knows that your work is onscreen.
There are limits to how many works will be evaluated in a session, but whether yours is or not, you can still learn valuable information. It’s a rare opportunity to eavesdrop on an agent or editor while they get their first look at someone’s manuscript. Imagine the tips you can pick up!
So, I've defined 3 terms: faculty, proctor, and slush fests. Let me know if there are other terms that you find confusing, and I'll see if I can make things clearer for you.
“Really? What changed your mind?” I asked.
It turns out that she misunderstood a major selling point of our conference, our faculty. Those of us who have participated in the SCWW conference for several years know that the term faculty refers to the agents, editors, authors, and poets that teach the workshops at our conference. This new member thought that faculty meant members of the SCWW organization teaching workshops! Once she realized the difference she got excited about the conference.
Wow!
This made me wonder about other terms that we toss around. This blog has done a great job on explaining pitches, so that’s one area that I don’t think needs explanation, but I thought of a few others. So, I’m going to try and scrape away the jargon and shed light on two other areas.
Proctors: When you register for the conference, one of the questions you’re asked is would you like to proctor. If you don’t know what that means, you probably left the box blank.
I attended my first SCWW conference in 2007, and I agreed to proctor one session. That means that I made sure that the faculty member (remember that’s our agents, editors, authors, and poets) had everything they needed in the workshop room. If a projector didn’t work or the temperature was uncomfortable, I knew who to contact to fix it. The best part of this opportunity is that you meet the faculty member and introduce them at the beginning of the workshop.
Hello? It’s an opportunity to meet someone on faculty in a service capacity. Now don’t let that word “service” throw you. This is one of the BEST ways to connect with a faculty member. If you give them what they need without promoting yourself to them, they often will ask to help you!
That’s what happened to me in 2007. My faculty member had a bad cold and was losing her voice. I knew that she liked hot tea, so I planned a Starbuck’s run (there’s one in the Hilton lobby) prior to her class, had a pack of tissues on hand, and offered her some homeopathic allergy medication. It helped and she found that she could keep her voice strong enough to get through the day. She tracked me down later and gave me her card. Her words to me? “You helped me, so I want to help you.” And she has.
So, if you did not indicate an interest in proctoring (introducing the faculty, making sure the room is set up and comfortable, etc.), you can still contact the conference chair or co-chair to see if they need more proctors.
Slush Fest: We make a big deal about these every year, but if you’ve never attended one, you might not grasp the benefits. Slush Fests are sessions set up by genre and taught by an agent and an editor who represent that genre. Participants bring up to 2 pages of their manuscript on transparency sheets, and the faculty places them on an overhead projector and evaluates the work. This is done anonymously, so no one else knows that your work is onscreen.
There are limits to how many works will be evaluated in a session, but whether yours is or not, you can still learn valuable information. It’s a rare opportunity to eavesdrop on an agent or editor while they get their first look at someone’s manuscript. Imagine the tips you can pick up!
So, I've defined 3 terms: faculty, proctor, and slush fests. Let me know if there are other terms that you find confusing, and I'll see if I can make things clearer for you.
Major Announcement: Weekly Blog Contest
We're starting our weekly contest! Each week, until the conference, we'll be having a blog contest. I'll post the weekly challenge each Monday. You'll have until the following Saturday at Noon Eastern to post your entry in the form of a comment to the original post.
On Saturday or Sunday of each week, I'll post the winner (first name and last initial) on the blog. You don't have to be a member of SCWW or be registered for the conference to enter. You can pick up your prize upon registration at the conference. If you're not attending the conference, we will mail your prize to you after the conclusion of the conference.
We have some really cool prizes: signed books, craft books, SCWW merchandise and lots of other unique things.
Here are the rules:
1. You must be at least 18 years of age.
2. If you are a winner, you are not eligible for the following week's contest. Please sit out one week to give others a chance to win.
3. Entries that include graphic sex, violence or profanity, or are not related to the topic will be deleted.
4. All contests will be judged by the Chair or a Co-Chair of the 2009 SCWW Conference Committee. All decisions are final.
5. Conference Chair and Co-Chairs are not eligible to enter the contest.
Be on the lookout for your first chance to win. I'll post the challenge on Monday.
On Saturday or Sunday of each week, I'll post the winner (first name and last initial) on the blog. You don't have to be a member of SCWW or be registered for the conference to enter. You can pick up your prize upon registration at the conference. If you're not attending the conference, we will mail your prize to you after the conclusion of the conference.
We have some really cool prizes: signed books, craft books, SCWW merchandise and lots of other unique things.
Here are the rules:
1. You must be at least 18 years of age.
2. If you are a winner, you are not eligible for the following week's contest. Please sit out one week to give others a chance to win.
3. Entries that include graphic sex, violence or profanity, or are not related to the topic will be deleted.
4. All contests will be judged by the Chair or a Co-Chair of the 2009 SCWW Conference Committee. All decisions are final.
5. Conference Chair and Co-Chairs are not eligible to enter the contest.
Be on the lookout for your first chance to win. I'll post the challenge on Monday.
Registration Links
Here are the links you need to register:
If you plan to pay using your credit card, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005695
If you plan to pay by check or money order, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005691
The earlier you register, the better your chances to get a critique and/or pitch with your first choice faculty member.If you have problems registering or you need more info, just email us at conference@myscww.org.
If you plan to pay using your credit card, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005695
If you plan to pay by check or money order, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005691
The earlier you register, the better your chances to get a critique and/or pitch with your first choice faculty member.If you have problems registering or you need more info, just email us at conference@myscww.org.
Registration Links
Here are the links you need to register:
If you plan to pay using your credit card, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005695
If you plan to pay by check or money order, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005691
The earlier you register, the better your chances to get a critique and/or pitch with your first choice faculty member.
If you have problems registering or you need more info, just email us at conference@myscww.org.
If you plan to pay using your credit card, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005695
If you plan to pay by check or money order, click here
https://www.eventville.com/catalog/eventregistration1.asp?eventid=1005691
The earlier you register, the better your chances to get a critique and/or pitch with your first choice faculty member.
If you have problems registering or you need more info, just email us at conference@myscww.org.
What's your Genre?
This shouldn't be a trick question. While there are some of cross-over authors that can, and sometimes are shelved in more than one place in your neighborhood bookstore, you really NEED to know where your manuscript fits into the big scheme of things. Most cross-overs, like Diana Gabaldon, are big sellers making the use of space profitable.
Why is genre-labeling so important? Think about it this way: A bookstore has a finite amount of shelf space. They want to stock it with titles that will sell, thus making that space profitable. If you're predominatly a horror reader, and you go to this section and don't find what you're looking for, you might pick up something similar. The bookstore has made a sale and you've tried a new author or a new title. If everything is all jumbled together, you may or may not find something that fits your taste. And that's bad for merchants and authors.
If you're in the process of trying to sell your first book, this is an especially important question. You want to make sure you can answer the above question without a lot of waffling. Agents and editors want to know where you fit. If you don't know what you write, and you're not able to pinpoint it in a sentence or two, the agent or editor surely can't tell you. And it's nearly impossible (if not totally impossible) to sell your book to someone who doesn't represent or acquire your genre. It's not that they don't like you or even that they're making any judgement of your work. They simply don't deal with your kind of book. Not to mention it wouldn't be in your own best interest to sign with someone who doesn't know your market.
Let me give you an example: I.M. Gonna Beanauthor has a critique appointment with Stellar Agent who represents only mystery. Beanauthor writes fantasy. The critique is a waste of time for both people. Stellar can't speak to the marketability of the book and Beanauthor gets no valueable feedback. If Beanauthor had done a little research and a little reflection on his work, he might have chosen someone better qualified to critique him. And Stellar Agent might have found an author that better fit his agency.
How do you figure out where you fit? It's simple. Read. Read widely from several genres. Figure out what the common thread is in each one. Then it's an easy question to answer. Just because two people fall in love in your book, it isn't necessarily romance. And just because there's an unsolved murder, it doesn't mean it's a mystery. Consider all the elements of your manuscript and then call it. Call it something! And be able to explain your label.
Once a week for the next few weeks, I'll focus on each major genre, one blog at a time, so that you can consider all this before you choose your faculty critique.
Why is genre-labeling so important? Think about it this way: A bookstore has a finite amount of shelf space. They want to stock it with titles that will sell, thus making that space profitable. If you're predominatly a horror reader, and you go to this section and don't find what you're looking for, you might pick up something similar. The bookstore has made a sale and you've tried a new author or a new title. If everything is all jumbled together, you may or may not find something that fits your taste. And that's bad for merchants and authors.
If you're in the process of trying to sell your first book, this is an especially important question. You want to make sure you can answer the above question without a lot of waffling. Agents and editors want to know where you fit. If you don't know what you write, and you're not able to pinpoint it in a sentence or two, the agent or editor surely can't tell you. And it's nearly impossible (if not totally impossible) to sell your book to someone who doesn't represent or acquire your genre. It's not that they don't like you or even that they're making any judgement of your work. They simply don't deal with your kind of book. Not to mention it wouldn't be in your own best interest to sign with someone who doesn't know your market.
Let me give you an example: I.M. Gonna Beanauthor has a critique appointment with Stellar Agent who represents only mystery. Beanauthor writes fantasy. The critique is a waste of time for both people. Stellar can't speak to the marketability of the book and Beanauthor gets no valueable feedback. If Beanauthor had done a little research and a little reflection on his work, he might have chosen someone better qualified to critique him. And Stellar Agent might have found an author that better fit his agency.
How do you figure out where you fit? It's simple. Read. Read widely from several genres. Figure out what the common thread is in each one. Then it's an easy question to answer. Just because two people fall in love in your book, it isn't necessarily romance. And just because there's an unsolved murder, it doesn't mean it's a mystery. Consider all the elements of your manuscript and then call it. Call it something! And be able to explain your label.
Once a week for the next few weeks, I'll focus on each major genre, one blog at a time, so that you can consider all this before you choose your faculty critique.
Icebreakers and Dealbreakers
Most people come to conferences with one goal: to get published. While some of you are conference veterans, others will be attending a conference for the first time. Conferences are great places to meet other writers, connect with industry professionals, and learn how to become a better writer. But it's vital that you know what's expected of you and how to handle yourself. It can be a little intimidating to sit at the dinner table with a famous author or deal-making agent. And do editors 'edit' everything a person says in their heads?
It's also important to respect other writers---no matter where they are in their publishing path. Even if you'd never read their book, it's not cool to bash them. The manner in which you conduct yourself at a conference can follow you---for better or worse---for years in this business.
So, here's my advice: Treat everyone with respect and diginity. Don't assume you are a better writer than anyone else. And remember, agents, editors, and publishers make their living in this industry. It's not a hobby for them. So be professsional. Always.
Here are some ideas for ICEBREAKERS:
1. To a writer: "How did you decide to become a writer?"
2. To a writer: "What writers inspire you most?"
3. To a writer: "What other conferences have you attended?"
4. To an agent: "What interesting trends are you seeing in the market?"
5. To an agent: "I just read a book you sold. What hooked you on it?"
6. To an agent: "What's your biggest pet peeve when it comes to submissions?"
7. To an editor: "What sells you on a book?"
8. To an editor: "What do you read for pleasure?"
9. To an editor: "How many authors do you typically work with at a time?"
10. To a publisher:"How did you become a publisher?"
It's always okay to just chat, too. Not everything has to be about books. Try asking about the flight to the conference or who they're rooting for in the World Series (which will take place the weekend after the conference). They're people too, you know.
On the flip side, there are some things you NEVER, EVER, EVER want to utter at a conference.
Here are some of the dreaded DEALBREAKERS:
1. To a writer: "He'll never rep you. You're wasting your time sending him a query."
2. To a writer: "Show me your synopsis and I'll tell you what's wrong with it."
3. To a writer: "You're wasting your time on that story. No one would ever buy it."
4. To an agent: "If you don't represent me, you'll regret it someday."
5. To an agent: "You're a nice guy, but you're not important enough to represent me."
6. To an agent: "I'll call your room later and we can discuss my book further."
7. To an editor: "How much did Ima Great Author get as an advance for her last bestseller?"
8. To an editor: "Can I have your cell phone number so I can call you when I finish my book?"
9. To an editor: "How horrible were the critique submissions you got for this conference?"
10. To a publisher: "Did you bring your checkbook with you? You're going to love this."
And as usual, stay away from politics, religion, or anything else that's likely to offend or upset others. Keep away from personal questions. Unless you know the person you're speaking to, don't delve into their personal lives. Business is business. You're attending the conference to become a better writer, not to solve the world's problems.
It's also a great idea to check out your favorite agent or editor's blog, website or interview. Usually they give great insight into potential conversation starters.
It's also important to respect other writers---no matter where they are in their publishing path. Even if you'd never read their book, it's not cool to bash them. The manner in which you conduct yourself at a conference can follow you---for better or worse---for years in this business.
So, here's my advice: Treat everyone with respect and diginity. Don't assume you are a better writer than anyone else. And remember, agents, editors, and publishers make their living in this industry. It's not a hobby for them. So be professsional. Always.
Here are some ideas for ICEBREAKERS:
1. To a writer: "How did you decide to become a writer?"
2. To a writer: "What writers inspire you most?"
3. To a writer: "What other conferences have you attended?"
4. To an agent: "What interesting trends are you seeing in the market?"
5. To an agent: "I just read a book you sold. What hooked you on it?"
6. To an agent: "What's your biggest pet peeve when it comes to submissions?"
7. To an editor: "What sells you on a book?"
8. To an editor: "What do you read for pleasure?"
9. To an editor: "How many authors do you typically work with at a time?"
10. To a publisher:"How did you become a publisher?"
It's always okay to just chat, too. Not everything has to be about books. Try asking about the flight to the conference or who they're rooting for in the World Series (which will take place the weekend after the conference). They're people too, you know.
On the flip side, there are some things you NEVER, EVER, EVER want to utter at a conference.
Here are some of the dreaded DEALBREAKERS:
1. To a writer: "He'll never rep you. You're wasting your time sending him a query."
2. To a writer: "Show me your synopsis and I'll tell you what's wrong with it."
3. To a writer: "You're wasting your time on that story. No one would ever buy it."
4. To an agent: "If you don't represent me, you'll regret it someday."
5. To an agent: "You're a nice guy, but you're not important enough to represent me."
6. To an agent: "I'll call your room later and we can discuss my book further."
7. To an editor: "How much did Ima Great Author get as an advance for her last bestseller?"
8. To an editor: "Can I have your cell phone number so I can call you when I finish my book?"
9. To an editor: "How horrible were the critique submissions you got for this conference?"
10. To a publisher: "Did you bring your checkbook with you? You're going to love this."
And as usual, stay away from politics, religion, or anything else that's likely to offend or upset others. Keep away from personal questions. Unless you know the person you're speaking to, don't delve into their personal lives. Business is business. You're attending the conference to become a better writer, not to solve the world's problems.
It's also a great idea to check out your favorite agent or editor's blog, website or interview. Usually they give great insight into potential conversation starters.
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