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 Faculty. Show all posts
Showing posts with label 2011 Conference Faculty. Show all posts
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.
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.
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.
Love Letter to Our Faculty Bloggers
I want to take this opportunity to thank all our faculty members who have taken the time to share a blog on this page. As writers knocking on the door of Publishing, it's enlightening to get a glimpse of what it looks like on the inside. In addition, their tips and suggestions for making the most of our conference appointments have been varied and helpful.
However, what has impressed me most is each one's accessibility - their willingness to put us at ease before we meet with them. Reaching out to us in these congenial ways should help us relax, be ourselves, and present our work and concepts to their best advantage. Think having a cup of coffee with a new friend as opposed to waiting for an appointment to have a root canal.
So THANKS, Faculty Bloggers, for welcoming us into and preparing us for our critiques, pitches, and real-time queries. We look forward to meeting you too.
However, what has impressed me most is each one's accessibility - their willingness to put us at ease before we meet with them. Reaching out to us in these congenial ways should help us relax, be ourselves, and present our work and concepts to their best advantage. Think having a cup of coffee with a new friend as opposed to waiting for an appointment to have a root canal.
So THANKS, Faculty Bloggers, for welcoming us into and preparing us for our critiques, pitches, and real-time queries. We look forward to meeting you too.
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!
10 Smart Questions About the Query Process
By Chuck Sambuchino - Writer's Digest Books
Conference Faculty Member
When contacting agents, the query process isn’t as simple as “Just keep e-mailing until you make a connection.” There are ins, outs, strange situations, unclear scenarios, and plenty of what-have-you that block the road to signing with a rep. It’s with that in mind that I have collected 10 of the more interesting questions submitted to me by readers regarding protocol during the query process.
1. Can you query multiple agents at the same agency?
Generally, no. A rejection from one usually means a rejection from the entire agency. If you query one agent and she thinks the work isn’t right for her but still has promise, she will pass it on to fellow agents in the office who can review it themselves. Agents work together like that.
2. Can you re-query an agent after she rejects you?
You can, though I’d say you have about a 50/50 shot of getting your work read. Some agents seem to be more than open to reviewing a work if it’s been overhauled or undergone serious edits. Other agents, meanwhile, believe that a no is a no—period. So, in other words, you really don’t know, so you might as well just query away and hope for the best.
3. Do you need a conservative agent for a conservative book? A liberal agent for a liberal book?
I asked a few agents this question and some said they were willing to take on any political slant if the book was well written and the author had platform. A few agents, on the other hand, said they needed to be on the same page politically with the author for a political/religious book, and would only take on books they agreed with. Bottom line: Some will be open-minded; some won’t. Look for reps who have taken on books similar to yours, and feel free to query other agents, too. The worst any agent can say is no.
4. Should you mention your age in a query? Will agents take on an older client?
I’m not sure any good can come from mentioning your age in a query. Usually the people who ask this question are younger than 20 or older than 70. Concerning an age bias, I would say some agents may be hesitant to sign older writers because reps are looking for career clients, not simply individuals with one memoir/book to sell. If you’re older, write multiple books to convince an agent that you have several projects in you … and don’t mention your age in the query to be safe.
5. Can I query an agent for a short story collection?
I’d say 95 percent of agents do not accept short story collection queries. The reason? Collections just don’t sell well. If you have a collection of short stories, you can do one of three things: 1) Repurpose some/all of the stories into a novel, which is much easier to sell. 2) Write a new book—a novel—and sell that first to establish a reader base. That way, you can have a base that will purchase your next project—the collection—ensuring the publisher makes money on your short stories. 3) Query the few agents who do take collections and hope for the best. If you choose this third route, I suggest you get some of the stories published to help the project gain some momentum.
6. When should you query? When is your project ready?
There is no definitive answer, but here’s what I suggest. You want to get other eyes on the material—what are called “beta readers”—people who can give you feedback that is both honest and helpful. These beta readers (usually critique group buddies) will give you feedback and you can take what you want then ditch the rest. What you’re aiming for is no more major concerns. So let’s say you give the book to three friends and they come back with some major concerns, such as “It starts too slow” or “This character is not believable.” Through revisions, you can address these problems. After rewrites, give it to three more beta readers. If they come back with no major concerns, the book is ready, or at least very close.
7. Should I mention that my work is copyrighted or has had professional editing?
No. All work is copyrighted the moment you write it down in any medium, so saying something that’s obvious only comes off as amateurish. On the same note, all work should be edited, so saying that the work is edited (even by a professional editor) also comes off as amateurish.
8. How should I start my query? Should I begin with a paragraph from the book?
I would not include a paragraph from the book nor would I write the letter in the “voice” of one your characters—those are gimmicks. You can just jump right into the pitch—there’s nothing wrong with that. But you can also try to establish a connection with an agent (i.e., try to explain why you’ve picked this agent out of the whole bunch). Ways to make a connection include 1) a referral, 2) citing an interview with them you read online, 3) mentioning a prior book they repped, 4) revealing that you met in person at a writers’ conference.
9. Should I mention that the query is a simultaneous submission?
You can, but you don’t have to. If you say it’s exclusive, they understand no other eyes are on the material, but if you say nothing, they will assume multiple agents must be considering it. Keep in mind to always check each agent’s submission guidelines; a few rare agents will specifically request to be informed if it’s a simultaneous submission.
10. Should I query all my “target” agents at once?
No, and let me tell you why. You don’t want to send out 50 queries all at once, because if the query doesn’t hook readers or your first chapter needs tweaking, then you’ve sent out sub-par work to all reps. You’ll get rejected across the board and blow lots of chances with agents. My recommendation is to send out 5-7 queries and see what you hear back. If everyone is saying no and you don’t get requests for pages, you have to start examining where you’re going wrong. Make some adjustments before querying again.
Conference Faculty Member
When contacting agents, the query process isn’t as simple as “Just keep e-mailing until you make a connection.” There are ins, outs, strange situations, unclear scenarios, and plenty of what-have-you that block the road to signing with a rep. It’s with that in mind that I have collected 10 of the more interesting questions submitted to me by readers regarding protocol during the query process.
1. Can you query multiple agents at the same agency?
Generally, no. A rejection from one usually means a rejection from the entire agency. If you query one agent and she thinks the work isn’t right for her but still has promise, she will pass it on to fellow agents in the office who can review it themselves. Agents work together like that.
2. Can you re-query an agent after she rejects you?
You can, though I’d say you have about a 50/50 shot of getting your work read. Some agents seem to be more than open to reviewing a work if it’s been overhauled or undergone serious edits. Other agents, meanwhile, believe that a no is a no—period. So, in other words, you really don’t know, so you might as well just query away and hope for the best.
3. Do you need a conservative agent for a conservative book? A liberal agent for a liberal book?
I asked a few agents this question and some said they were willing to take on any political slant if the book was well written and the author had platform. A few agents, on the other hand, said they needed to be on the same page politically with the author for a political/religious book, and would only take on books they agreed with. Bottom line: Some will be open-minded; some won’t. Look for reps who have taken on books similar to yours, and feel free to query other agents, too. The worst any agent can say is no.
4. Should you mention your age in a query? Will agents take on an older client?
I’m not sure any good can come from mentioning your age in a query. Usually the people who ask this question are younger than 20 or older than 70. Concerning an age bias, I would say some agents may be hesitant to sign older writers because reps are looking for career clients, not simply individuals with one memoir/book to sell. If you’re older, write multiple books to convince an agent that you have several projects in you … and don’t mention your age in the query to be safe.
5. Can I query an agent for a short story collection?
I’d say 95 percent of agents do not accept short story collection queries. The reason? Collections just don’t sell well. If you have a collection of short stories, you can do one of three things: 1) Repurpose some/all of the stories into a novel, which is much easier to sell. 2) Write a new book—a novel—and sell that first to establish a reader base. That way, you can have a base that will purchase your next project—the collection—ensuring the publisher makes money on your short stories. 3) Query the few agents who do take collections and hope for the best. If you choose this third route, I suggest you get some of the stories published to help the project gain some momentum.
6. When should you query? When is your project ready?
There is no definitive answer, but here’s what I suggest. You want to get other eyes on the material—what are called “beta readers”—people who can give you feedback that is both honest and helpful. These beta readers (usually critique group buddies) will give you feedback and you can take what you want then ditch the rest. What you’re aiming for is no more major concerns. So let’s say you give the book to three friends and they come back with some major concerns, such as “It starts too slow” or “This character is not believable.” Through revisions, you can address these problems. After rewrites, give it to three more beta readers. If they come back with no major concerns, the book is ready, or at least very close.
7. Should I mention that my work is copyrighted or has had professional editing?
No. All work is copyrighted the moment you write it down in any medium, so saying something that’s obvious only comes off as amateurish. On the same note, all work should be edited, so saying that the work is edited (even by a professional editor) also comes off as amateurish.
8. How should I start my query? Should I begin with a paragraph from the book?
I would not include a paragraph from the book nor would I write the letter in the “voice” of one your characters—those are gimmicks. You can just jump right into the pitch—there’s nothing wrong with that. But you can also try to establish a connection with an agent (i.e., try to explain why you’ve picked this agent out of the whole bunch). Ways to make a connection include 1) a referral, 2) citing an interview with them you read online, 3) mentioning a prior book they repped, 4) revealing that you met in person at a writers’ conference.
9. Should I mention that the query is a simultaneous submission?
You can, but you don’t have to. If you say it’s exclusive, they understand no other eyes are on the material, but if you say nothing, they will assume multiple agents must be considering it. Keep in mind to always check each agent’s submission guidelines; a few rare agents will specifically request to be informed if it’s a simultaneous submission.
10. Should I query all my “target” agents at once?
No, and let me tell you why. You don’t want to send out 50 queries all at once, because if the query doesn’t hook readers or your first chapter needs tweaking, then you’ve sent out sub-par work to all reps. You’ll get rejected across the board and blow lots of chances with agents. My recommendation is to send out 5-7 queries and see what you hear back. If everyone is saying no and you don’t get requests for pages, you have to start examining where you’re going wrong. Make some adjustments before querying again.
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!
On Twitter...
By Stephanie Sun - Weed Literary
2011 Conference Faculty
I would like to preface this post by saying that in no way, shape, or form, do I (nor can I) declare myself an authority on Twitter, as I am still very much new to this and have less than 500 "tweets" under my belt. With that being said...
I love Twitter, and I think it can do wonders for prospective authors. At almost every book-event I attend, Twitter comes up as a conversation topic amongst editors, agents, and authors-alike, and the benefits of having this social-connection to the publishing world can be amazing for writers who want to be published. Questions about publishing, the querying process, etiquette, anything - answers are only a #-tag away and this is invaluable material for those willing to take the plunge into the world of tweeting.
I have to admit, I had no idea what I was doing when I first signed up for a Twitter account, and quite often mistook the "search", "find people", and "post" boxes for each other and would consequently post extremely odd, piecemeal material. But soon thereafter, I started "following" our agency's authors, other favorite writers, journalists, editors, and industry-people and quickly picked up the lingo and trending #-tags. It is always helpful to write a personalized note about an agency's author or even better, specific book one has read when querying an agent, and most published authors are extremely gracious and helpful when answering insightful questions on the process- many times because they have been in the same position themselves! A little research and quality time investment goes a long way in simply getting a query read, and makes the material highly more probable to be requested.
If you plan to attend SCWW, give me a shout @sooheesun and I will try my best to @-you back! (Still working on how to navigate and nail down that Twitter-language because I am pretty sure "@-you back" is highly incorrect...but I promise to learn more and be a better Tweeter.)
2011 Conference Faculty
I would like to preface this post by saying that in no way, shape, or form, do I (nor can I) declare myself an authority on Twitter, as I am still very much new to this and have less than 500 "tweets" under my belt. With that being said...
I love Twitter, and I think it can do wonders for prospective authors. At almost every book-event I attend, Twitter comes up as a conversation topic amongst editors, agents, and authors-alike, and the benefits of having this social-connection to the publishing world can be amazing for writers who want to be published. Questions about publishing, the querying process, etiquette, anything - answers are only a #-tag away and this is invaluable material for those willing to take the plunge into the world of tweeting.
I have to admit, I had no idea what I was doing when I first signed up for a Twitter account, and quite often mistook the "search", "find people", and "post" boxes for each other and would consequently post extremely odd, piecemeal material. But soon thereafter, I started "following" our agency's authors, other favorite writers, journalists, editors, and industry-people and quickly picked up the lingo and trending #-tags. It is always helpful to write a personalized note about an agency's author or even better, specific book one has read when querying an agent, and most published authors are extremely gracious and helpful when answering insightful questions on the process- many times because they have been in the same position themselves! A little research and quality time investment goes a long way in simply getting a query read, and makes the material highly more probable to be requested.
If you plan to attend SCWW, give me a shout @sooheesun and I will try my best to @-you back! (Still working on how to navigate and nail down that Twitter-language because I am pretty sure "@-you back" is highly incorrect...but I promise to learn more and be a better Tweeter.)
I'm Counting the Days...
By Mollie Glick - Foundry Literary & Media
2011 Conference Faculty Member
I'm counting the days to the SCWW because having spent summers in Kiawa Island as a child, South Carolina holds a special place in my heart! And I'm dying to fall in love with some new novels.
I've been selling a lot of high concept literary fiction lately, from Ronda Rhiley's ADAM HOPE to Ecco (the same publisher as EDGAR SAWTELLE), to Carol Brunt's TELL THE WOLVES I'M HOME, which sold to Dial, to Elizabeth Garrett's THE DROWNING HOUSE, which sold to Nan Talese, but I haven't been swept off my feet for a while and I am always looking for the next TIME TRAVELER'S WIFE, THE NIGHT CIRCUS or THE SPARROW.
I've also been selling a lot of great YA projects like Gennifer Albin's CREWEL to FSG Kids, and Josie Angelini's STARCROSSED series to Harper, and can't wait to find my next YA crush. And as always, I adore popular science, memoir and narrative nonfiction of all stripes. I just read an article about a blind man who taught himself to navigate by a form of sonar, that absolutely fascinated me, and I'd love to find a great one of a kid story like that.
The publishing market is tough these days, but I firmly believe that cream rises to the top, and if you're passionate about a project, you can make it work. One of the best things about being an agent is the close collaborative relationship you form with your authors, so I very much look forward to meeting all of you this October. And if you've got a novel I won't be able to out down, send it my way!
Warmest wishes,
Mollie Glick
2011 Conference Faculty Member
I'm counting the days to the SCWW because having spent summers in Kiawa Island as a child, South Carolina holds a special place in my heart! And I'm dying to fall in love with some new novels.
I've been selling a lot of high concept literary fiction lately, from Ronda Rhiley's ADAM HOPE to Ecco (the same publisher as EDGAR SAWTELLE), to Carol Brunt's TELL THE WOLVES I'M HOME, which sold to Dial, to Elizabeth Garrett's THE DROWNING HOUSE, which sold to Nan Talese, but I haven't been swept off my feet for a while and I am always looking for the next TIME TRAVELER'S WIFE, THE NIGHT CIRCUS or THE SPARROW.
I've also been selling a lot of great YA projects like Gennifer Albin's CREWEL to FSG Kids, and Josie Angelini's STARCROSSED series to Harper, and can't wait to find my next YA crush. And as always, I adore popular science, memoir and narrative nonfiction of all stripes. I just read an article about a blind man who taught himself to navigate by a form of sonar, that absolutely fascinated me, and I'd love to find a great one of a kid story like that.
The publishing market is tough these days, but I firmly believe that cream rises to the top, and if you're passionate about a project, you can make it work. One of the best things about being an agent is the close collaborative relationship you form with your authors, so I very much look forward to meeting all of you this October. And if you've got a novel I won't be able to out down, send it my way!
Warmest wishes,
Mollie Glick
New Faculty Member & Other Updates
We’ve added our final faculty member for the 2011 conference – Mollie Glick of Foundry Media. For more information on Mollie, please be sure to visit the SCWW website, www.myscww.org/conference. You’ll also find updated pages on many of the faculty members, as well as more information on critiques.
Speaking of critiques and other faculty appointments, we've got several faculty members selling out or close to selling out. Here's a quick udate:
SOLD OUT:
Frenkel Extended Critiques
Plummer Standard Critiques
NEARLY SOLD OUT:
Baker-Baughman Standard Critiques
LaPolla Real-Time Queries
Barr Pitches
Barr Extended Critiques
Jeglinski Extended Critiques
Henkin Standard Critiques
O'Neil Standard Critiques
Sun Pitches
Sun Real-Time Queries
If you haven't registered yet, be sure to do so soon if you want the best chance to grab an appointment with your dream faculty member. All appointments are scheduled on a first-come, first served basis. And, to clarify some confusion from last year, that means first-to-register-online basis. Do not lose the chance to get one-on-one time with a faculty member because you think you can sign up for time when you get to the conference. All appointments must be purchased before the conference. In addition, to lessen confusion at the appointment rooms, you may not change, transfer or swap appointment times. This way, all attendees will be able to make the most of every second of their appointment times.
As mentioned before, attendees who register for critiques will be notified within five business days of receipt of critique materials who their appointments will be with in October. Shortly before the conference, attendees with appointments will receive emails with their times.
Should you have any questions about other faculty appointments, please wait until at least five business days after you register and then email scwwconference2011@gmail.com.
Finally, if you've already registered and would like to add an appointment, please email scwwconference2011@gmail for more information.
Speaking of critiques and other faculty appointments, we've got several faculty members selling out or close to selling out. Here's a quick udate:
SOLD OUT:
Frenkel Extended Critiques
Plummer Standard Critiques
NEARLY SOLD OUT:
Baker-Baughman Standard Critiques
LaPolla Real-Time Queries
Barr Pitches
Barr Extended Critiques
Jeglinski Extended Critiques
Henkin Standard Critiques
O'Neil Standard Critiques
Sun Pitches
Sun Real-Time Queries
If you haven't registered yet, be sure to do so soon if you want the best chance to grab an appointment with your dream faculty member. All appointments are scheduled on a first-come, first served basis. And, to clarify some confusion from last year, that means first-to-register-online basis. Do not lose the chance to get one-on-one time with a faculty member because you think you can sign up for time when you get to the conference. All appointments must be purchased before the conference. In addition, to lessen confusion at the appointment rooms, you may not change, transfer or swap appointment times. This way, all attendees will be able to make the most of every second of their appointment times.
As mentioned before, attendees who register for critiques will be notified within five business days of receipt of critique materials who their appointments will be with in October. Shortly before the conference, attendees with appointments will receive emails with their times.
Should you have any questions about other faculty appointments, please wait until at least five business days after you register and then email scwwconference2011@gmail.com.
Finally, if you've already registered and would like to add an appointment, please email scwwconference2011@gmail for more information.
Overcoming Your Fears
By Sarah LaPolla - Associate Agent at Curtis Brown, Ltd.
2011 Conference Faculty Member
I attended my first conference about a year ago. At the time, I was a shiny new agent with only one client to my name. I was very, very nervous, but in that excited way, like the first day of school. Will the other agents accept me? Will I make friends? Will the writers respect me? What if they don’t want to pitch to me? As a life-long introvert, I was terrified at what might be expected of me.
Turns out, everything was fine. Both colleagues and writers were professional, welcoming, and pleasant. I’ve since attended many other conferences, and even served on panels with only minimal anxiety. At these other conferences, I’ve encountered many different types of writers, many of whom were suffering from their own forms of anxiety that manifested in ways that sometimes effected their pitch sessions. There were five common afflictions.
The Overachiever: This writer is ALL business. To them, a handshake wastes precious "getting out my binder and carefully typed notes" time and “hello” is just another word for "I will read you my query letter, credentials, and bio in under three minutes." An agent will respond positively to this approach only if they are interested in the project. Otherwise, it is a bit daunting and scary.
The BFF: This writer so excited and is such a fan of [something agent's done]. He or she might use the phrase "I feel like I know you!" and the agent will be forced to think of a game plan lest the writer attempts to hug them. It’s always good to be personable, especially if you follow an agent on Twitter, read their blog, or have met them before. But you do not want to appear so familiar that you lose your sense of professional boundaries.
The Lost Puppy: This writer is adorably nervous, but also slightly exhausting. They will stammer and stare until, finally, they're able to get out their one-sentence pitch just as their time is up. All they need is a little love, encouragement, and a gentle shove to keep moving, but sometimes it’s very hard not to lose patience with them.
The Fast Talker: As someone who fears public speaking more than death, I can relate to The Fast Talker. I know what it's like to think oh god if I just get through this as quickly as possible it'll all be over and I'll never have to speak again! In the rare instances I was unable to feign illness to get out of speaking, remembering these two things helped me: 1) Be an expert. No one knows your book better than you do, so don’t be afraid to talk about with confidence and authority. 2) Breathe. Before you sit down with an agent, count to three and exhale. It's pretty textbook, but it tends to work.
The Mumbler: What if the agent doesn’t think it’s good? What if I’m pitching it all wrong? What if I die in here?? When these thoughts run through a writer’s head, their words come out too jumbled and quiet to understand. All they want to do is disappear.
Hopefully none of you suffer from these nervous side effects, but if you do, know that you are not alone. You can overcome them! Just remember that conferences aren’t mandatory. We’re all here by choice and both agents and writers attend conferences for the same reason – to get your amazing book published. A good project will always shine through, so don’t worry about presentation or appropriate amount of eye contact. Just trust that you wrote the story you wanted to tell, and share it with confidence.
2011 Conference Faculty Member
I attended my first conference about a year ago. At the time, I was a shiny new agent with only one client to my name. I was very, very nervous, but in that excited way, like the first day of school. Will the other agents accept me? Will I make friends? Will the writers respect me? What if they don’t want to pitch to me? As a life-long introvert, I was terrified at what might be expected of me.
Turns out, everything was fine. Both colleagues and writers were professional, welcoming, and pleasant. I’ve since attended many other conferences, and even served on panels with only minimal anxiety. At these other conferences, I’ve encountered many different types of writers, many of whom were suffering from their own forms of anxiety that manifested in ways that sometimes effected their pitch sessions. There were five common afflictions.
The Overachiever: This writer is ALL business. To them, a handshake wastes precious "getting out my binder and carefully typed notes" time and “hello” is just another word for "I will read you my query letter, credentials, and bio in under three minutes." An agent will respond positively to this approach only if they are interested in the project. Otherwise, it is a bit daunting and scary.
The BFF: This writer so excited and is such a fan of [something agent's done]. He or she might use the phrase "I feel like I know you!" and the agent will be forced to think of a game plan lest the writer attempts to hug them. It’s always good to be personable, especially if you follow an agent on Twitter, read their blog, or have met them before. But you do not want to appear so familiar that you lose your sense of professional boundaries.
The Lost Puppy: This writer is adorably nervous, but also slightly exhausting. They will stammer and stare until, finally, they're able to get out their one-sentence pitch just as their time is up. All they need is a little love, encouragement, and a gentle shove to keep moving, but sometimes it’s very hard not to lose patience with them.
The Fast Talker: As someone who fears public speaking more than death, I can relate to The Fast Talker. I know what it's like to think oh god if I just get through this as quickly as possible it'll all be over and I'll never have to speak again! In the rare instances I was unable to feign illness to get out of speaking, remembering these two things helped me: 1) Be an expert. No one knows your book better than you do, so don’t be afraid to talk about with confidence and authority. 2) Breathe. Before you sit down with an agent, count to three and exhale. It's pretty textbook, but it tends to work.
The Mumbler: What if the agent doesn’t think it’s good? What if I’m pitching it all wrong? What if I die in here?? When these thoughts run through a writer’s head, their words come out too jumbled and quiet to understand. All they want to do is disappear.
Hopefully none of you suffer from these nervous side effects, but if you do, know that you are not alone. You can overcome them! Just remember that conferences aren’t mandatory. We’re all here by choice and both agents and writers attend conferences for the same reason – to get your amazing book published. A good project will always shine through, so don’t worry about presentation or appropriate amount of eye contact. Just trust that you wrote the story you wanted to tell, and share it with confidence.
Meeting an Agent
By Jon Sternfeld – The Irene Goodman Agency
2011 SCWW Conference Faculty Member
There is always an awkward power dynamic at work when a writer first sits down to meet an agent. Maybe it’s fear, maybe it’s the chaotic environment of conferences, or maybe it’s the magical feeling writers have, the misconception really, that an agent is the gateway to a writing career of fame and fortune. It’s true that agents have the knowledge and contacts to help start a writing career, but we are not the issue. The book in your hand (or head) is the issue. That and how you come across when you pitch it to us.
When I go to conferences, I immediately try to disarm the writers who sit down with me for one on ones. I give them a smile, tell them to relax, make a light joke or just anything to ease the tension – the reason is that I want them to lower their expectations that I am anything but a listener for the moment. It’s like a helpful boost to start things off - I want myself to be lowered so there’s room for them to feel a bit raised. A committed, disciplined writer is confident and agents know this and respond to this. Agents don’t travel weekends and miss time with their family to chat with uncommitted amateurs. We do it because we truly believe that out there are professional (though as of yet unpublished) writers that are just golden and waiting to be discovered.
If you’re shy, just fake the confidence, because often it’s the deciding factor as to whether or not an agent takes you seriously when you first sit down. Your passion, conviction, and sometimes, even your ego, will help get the agent to really see you as a writer, which I think is as important as the ‘pitch’ sometimes. I can’t do any reading in front of you, so whether or not I ask for you to send me your pages will often be based on how well you seem to know your story, how much time and work you’ve put into it, and how articulate you can be when discussing it. All of these are easier with confidence.
It’s an irony that at conferences the agents don’t read the writer’s work, but it’s the nature of the environment. Since they won’t be reading in front of you, the best you can do is get them to want to read more. Then, they’ll be rushing home to check their email to see what you sent in and the power dynamic is back as it should be – with the writers in control.
2011 SCWW Conference Faculty Member
There is always an awkward power dynamic at work when a writer first sits down to meet an agent. Maybe it’s fear, maybe it’s the chaotic environment of conferences, or maybe it’s the magical feeling writers have, the misconception really, that an agent is the gateway to a writing career of fame and fortune. It’s true that agents have the knowledge and contacts to help start a writing career, but we are not the issue. The book in your hand (or head) is the issue. That and how you come across when you pitch it to us.
When I go to conferences, I immediately try to disarm the writers who sit down with me for one on ones. I give them a smile, tell them to relax, make a light joke or just anything to ease the tension – the reason is that I want them to lower their expectations that I am anything but a listener for the moment. It’s like a helpful boost to start things off - I want myself to be lowered so there’s room for them to feel a bit raised. A committed, disciplined writer is confident and agents know this and respond to this. Agents don’t travel weekends and miss time with their family to chat with uncommitted amateurs. We do it because we truly believe that out there are professional (though as of yet unpublished) writers that are just golden and waiting to be discovered.
If you’re shy, just fake the confidence, because often it’s the deciding factor as to whether or not an agent takes you seriously when you first sit down. Your passion, conviction, and sometimes, even your ego, will help get the agent to really see you as a writer, which I think is as important as the ‘pitch’ sometimes. I can’t do any reading in front of you, so whether or not I ask for you to send me your pages will often be based on how well you seem to know your story, how much time and work you’ve put into it, and how articulate you can be when discussing it. All of these are easier with confidence.
It’s an irony that at conferences the agents don’t read the writer’s work, but it’s the nature of the environment. Since they won’t be reading in front of you, the best you can do is get them to want to read more. Then, they’ll be rushing home to check their email to see what you sent in and the power dynamic is back as it should be – with the writers in control.
Posts
