If you’re scheduled for a critique for the conference, think ahead of time about what you want to learn. I emphasize the words “to learn.” Most people go into a critique hoping that the agent/editor is going to be so blown away by their stellar first chapter that they’ll have the contract ready to sign. Some people say the best you can hope for is a request to see the first fifty pages. I say, the best you want is some good solid advice on what you need to do to make your manuscript the best possible novel in town.
The first year I went to the conference I had written about 65 pages of my novel. It was nowhere near ready to sell, but I met with an agent who gave me invaluable recommendations on developing my main character and testing my voice. She told me where I had a good hold on my content and where my plot was weak. I started attending a SCWW critique group and received invaluable guidance. The second year with the same manuscript in tow and 300 pages into it, I met with an agent and did a pitch. I honestly got more from the pitch than the agent this go round. She told me flat out that my plot wasn’t marketable and what I’d have to do to develop it. “Dig deeper,” she said over and over again. “Dig deeper into your plot.” I went home, came back year three with the same manuscript, all three agents recommendations incorporated and sold the book.
I have already received in return every penny I ever put into an SCWW Conference. I think it all depends on what you’re expecting from the agents when you come to the conference. Are you expecting to sell a book or hoping to get professional insight into your strengths and weaknesses. I certainly got what I wanted out of it.
I encourage people to attend the conference and take advantage of the expertise that is all around you. Speaking first hand, it’s not just among the agents. You can gain tremendous insight from your fellow writers who are climbing similar mountain trails, some on the path ahead of you and some just beginning. Reach out and lend a helping hand. Listen and learn.
Showing posts with label critique. Show all posts
Showing posts with label critique. Show all posts
2011 Crituque Guidelines Reminder
Although the SCWW standard and extended critique guidelines are pretty much the same as it was in 2009 and 2010, please, read this before submitting your critique materials!
Before I cover some FAQs I want to make one thing totally clear. If you purchase a standard critique, send ONLY ten (10) pages of the material. You may send an optional one (1) page synopsis. I will not send any more than tweleve (12) pages to the faculty member: cover, synopsis, manuscript. The same goes for extendeds. Send only thirty (30) pages, the cover and the optional synopsis, bringing the total to thirty-two pages. If you send more, I will return the electronic copy to you and you'll have one chance to delete the extra pages. Beyond that I will destroy the copy and it will not be sent to the faculty member and you will not get a refund. Send ONLY what's asked for and included in the purchase price. Please, do not "force fit" all the information you want to get in for those pages. The material should be double spaced and with 1-inch margins. Do not change it to an 8-point font.
1.How should I format the hard copies I send to you?
Although some agents and editors have particular instructions for submissions, for the conference, it's best to stick with standard formatting. All critiques should be in Times New Roman or Courier 12pt font. They should be printed on regular printer paper (20lb., 92 brightness). Make sure all your margins are 1". For the header, place your name and the working title of your manuscript in the upper left hand corner. In the upper right, insert the page number and the estimated word count (if you know it). Send a title page, for each of the two copies, with the title of the manuscript and your contact information. You may send a one-page synopsis if you'd like--standard format. Bind each copy together with a binder clip, rubber band or paper clip. Now for the DON'T part: no report covers, no staples and please, PLEASE no cardstock weight paper.
2.How about the formatting for the electronic copy?Save the electronic copy as a .DOC or .RTF. Name the file like this:
2011manuscriptyourlastname.
For example, if my manuscript was named The Devil and Hotdog Smith, here's how the file would look once I save it.
2011TheDevilandHotdogSmithMcCullough.rtf
Include all three elements, manuscript, synopsis, and cover page, in ONE file. If I get your manuscript and it's not in the right format, I will return it to you and ask that you save it in the right format. To select the format, To do this, open your document, go to SAVE AS. Name your document (see instructions above) and then in the drop down, below the name, select one of the above formats.I hate to be a stickler for this but it's imperative, for all sorts of compatibility issues, that I get the files in this format. While I would like to be able to just fix it for you, I neither cannot nor will not do that. I do not want to alter your work, intentionally or otherwise, in any way.
3. How will I know you got my stuff?
When I get your materials, I will send you an email confirming they arrived safe and sound. In the case of hard copies, I will stamp them with the date and file them alphabetically. In the case of electronic copies, I will open them and check for any file corruption issues. If you have emailed or mailed your materials and you have not heard from me in a reasonable time frame, feel free to email. Please give the Post Office (and me) ample time to process your materials before you email.
4. Where do I send my stuff?
For the hard copies, mail them to the address below. Please copy this address EXACTLY to avoid any snags in delivery.
Carrie McCullough
SCWW Critique
2240 Cadden Road
Augusta, GA 30906
For the electronic copies, attach your file and email them to:
scwwconference2011@gmail.com
5. Can I revise my manuscript once I send it to you?
No. I will only accept the first version you send, unless of course there is some major disaster like my computer crashes or your file is corrupt. There's a lot of planning behind this aspect of the conference and to be fair to everyone, I cannot accept revisions. Make sure you send the best, most polished version to me. If you attempt to send a revision, the email will be returned with the attachement unopened and any hard copies will be shredded.
6. Can I change my faculty choices after you get my materials?
No. Once the manuscript has been received and assigned, there will be no changes -- unless the faculty member is for some reason unable to accomodate your manuscript.
7. What if I query my faculty member before the conference and receive a rejection letter after I've chosen that person to critique my work?
Still, NO. My advice would be to refrain from querying the person(s) you select for critique. It can make for a very awkward meeting. Save the query letter until after you've met at the conference.
8. If my book sells before the conference, can I get a refund for my critique?Once your materials have been received, logged in and confirmed, there will be NO refunds for critiques. Check out our policy for conference attendance refunds on the registration grid.
9. Will you call me if you see something terribly wrong with my manuscript so I can change it before it's sent to a faculty member?
If there is a problem with the file--corruption, weird characters, in another language---I will contact you and offer you the opportunity to resend. However, I will not, in any way, edit or read-though your submission for content or for copy-editing purposes. I will occassionally read the first couple of paragraphs to make sure your manuscript matches the requests of the faculty member. It is your sole responsibility to be comfortable and confident with your work before you send it to me.
Email me at scwwconference2011@gmail.com with any questions you have--or post to comments--and I'll answer them. It's best to get the questions out of the way before the rush of materials in late summer.
Before I cover some FAQs I want to make one thing totally clear. If you purchase a standard critique, send ONLY ten (10) pages of the material. You may send an optional one (1) page synopsis. I will not send any more than tweleve (12) pages to the faculty member: cover, synopsis, manuscript. The same goes for extendeds. Send only thirty (30) pages, the cover and the optional synopsis, bringing the total to thirty-two pages. If you send more, I will return the electronic copy to you and you'll have one chance to delete the extra pages. Beyond that I will destroy the copy and it will not be sent to the faculty member and you will not get a refund. Send ONLY what's asked for and included in the purchase price. Please, do not "force fit" all the information you want to get in for those pages. The material should be double spaced and with 1-inch margins. Do not change it to an 8-point font.
1.How should I format the hard copies I send to you?
Although some agents and editors have particular instructions for submissions, for the conference, it's best to stick with standard formatting. All critiques should be in Times New Roman or Courier 12pt font. They should be printed on regular printer paper (20lb., 92 brightness). Make sure all your margins are 1". For the header, place your name and the working title of your manuscript in the upper left hand corner. In the upper right, insert the page number and the estimated word count (if you know it). Send a title page, for each of the two copies, with the title of the manuscript and your contact information. You may send a one-page synopsis if you'd like--standard format. Bind each copy together with a binder clip, rubber band or paper clip. Now for the DON'T part: no report covers, no staples and please, PLEASE no cardstock weight paper.
2.How about the formatting for the electronic copy?Save the electronic copy as a .DOC or .RTF. Name the file like this:
2011manuscriptyourlastname.
For example, if my manuscript was named The Devil and Hotdog Smith, here's how the file would look once I save it.
2011TheDevilandHotdogSmithMcCullough.rtf
Include all three elements, manuscript, synopsis, and cover page, in ONE file. If I get your manuscript and it's not in the right format, I will return it to you and ask that you save it in the right format. To select the format, To do this, open your document, go to SAVE AS. Name your document (see instructions above) and then in the drop down, below the name, select one of the above formats.I hate to be a stickler for this but it's imperative, for all sorts of compatibility issues, that I get the files in this format. While I would like to be able to just fix it for you, I neither cannot nor will not do that. I do not want to alter your work, intentionally or otherwise, in any way.
3. How will I know you got my stuff?
When I get your materials, I will send you an email confirming they arrived safe and sound. In the case of hard copies, I will stamp them with the date and file them alphabetically. In the case of electronic copies, I will open them and check for any file corruption issues. If you have emailed or mailed your materials and you have not heard from me in a reasonable time frame, feel free to email. Please give the Post Office (and me) ample time to process your materials before you email.
4. Where do I send my stuff?
For the hard copies, mail them to the address below. Please copy this address EXACTLY to avoid any snags in delivery.
Carrie McCullough
SCWW Critique
2240 Cadden Road
Augusta, GA 30906
For the electronic copies, attach your file and email them to:
scwwconference2011@gmail.com
5. Can I revise my manuscript once I send it to you?
No. I will only accept the first version you send, unless of course there is some major disaster like my computer crashes or your file is corrupt. There's a lot of planning behind this aspect of the conference and to be fair to everyone, I cannot accept revisions. Make sure you send the best, most polished version to me. If you attempt to send a revision, the email will be returned with the attachement unopened and any hard copies will be shredded.
6. Can I change my faculty choices after you get my materials?
No. Once the manuscript has been received and assigned, there will be no changes -- unless the faculty member is for some reason unable to accomodate your manuscript.
7. What if I query my faculty member before the conference and receive a rejection letter after I've chosen that person to critique my work?
Still, NO. My advice would be to refrain from querying the person(s) you select for critique. It can make for a very awkward meeting. Save the query letter until after you've met at the conference.
8. If my book sells before the conference, can I get a refund for my critique?Once your materials have been received, logged in and confirmed, there will be NO refunds for critiques. Check out our policy for conference attendance refunds on the registration grid.
9. Will you call me if you see something terribly wrong with my manuscript so I can change it before it's sent to a faculty member?
If there is a problem with the file--corruption, weird characters, in another language---I will contact you and offer you the opportunity to resend. However, I will not, in any way, edit or read-though your submission for content or for copy-editing purposes. I will occassionally read the first couple of paragraphs to make sure your manuscript matches the requests of the faculty member. It is your sole responsibility to be comfortable and confident with your work before you send it to me.
Email me at scwwconference2011@gmail.com with any questions you have--or post to comments--and I'll answer them. It's best to get the questions out of the way before the rush of materials in late summer.
Critiques Take II or Oh, yeah, I forgot to tell you . . .
The other day when I posted the information on critiques---formatting, where to send it, etc---I forgot to clearly state two things.
1. Your critique materials MUST be the first ten (10) or thirty (30) pages of your manuscript. Do not send a chapter in the middle of your book. Our agents and editors specifically want to see the beginning of your manuscript. (Thanks, M.L.)
2. The deadline for submitting critiques is as follows:
Electronic version: Must hit my inbox no later than midnight on September 1, 2010.
Hard Copy: Must be postmarked on or before September 1, 2010.
These are hard deadlines. In order to get materials to faculty members in ample time, the materials must be organized and transmitted by the second week in September. It takes me about a week to get everything sorted and sent---and it's a very busy week. (Thanks, Angie.)
Let me know if you have additional questions. You can email me or post to comments.
Watch out for Carrie McCullough's upcoming blog. It will be divided into several parts and will give the ins and outs of each faculty member.
1. Your critique materials MUST be the first ten (10) or thirty (30) pages of your manuscript. Do not send a chapter in the middle of your book. Our agents and editors specifically want to see the beginning of your manuscript. (Thanks, M.L.)
2. The deadline for submitting critiques is as follows:
Electronic version: Must hit my inbox no later than midnight on September 1, 2010.
Hard Copy: Must be postmarked on or before September 1, 2010.
These are hard deadlines. In order to get materials to faculty members in ample time, the materials must be organized and transmitted by the second week in September. It takes me about a week to get everything sorted and sent---and it's a very busy week. (Thanks, Angie.)
Let me know if you have additional questions. You can email me or post to comments.
Watch out for Carrie McCullough's upcoming blog. It will be divided into several parts and will give the ins and outs of each faculty member.
Conference Critique Pointers: FAQ Take 1
Conference registration opens on June 5. Since that's only a couple of days from now, I thought it might be time to answer some questions that have built up since last year.
Before I cover some FAQs I want to make one thing totally clear. If you purchase a standard critique, send ONLY ten (10) pages of the material. You may send an optional one (1) page synopsis. I will not send any more than tweleve (12) pages to the faculty member: cover, synopsis, manuscript. The same goes for extendeds. Send only thirty (30) pages, the cover and the optional synopsis, bringing the total to thirty-two pages. If you send more, I will return the electronic copy to you and you'll have one chance to delete the extra pages. Beyond that I will destroy the copy and it will not be sent to the faculty member and you will not get a refund. Send ONLY what's asked for and included in the purchase price.
1.How should I format the hard copies I send to you?
Although some agents and editors have particular instructions for submissions, for the conference, it's best to stick with standard formatting. All critiques should be in Times New Roman or Courier 12pt font. They should be printed on regular printer paper (20lb., 92 brightness). Make sure all your margins are 1". For the header, place your name and the working title of your manuscript in the upper left hand corner. In the upper right, insert the page number and the estimated word count (if you know it). Send a title page, for each of the two copies, with the title of the manuscript and your contact information. You may send a one-page synopsis if you'd like--standard format. Bind each copy together with a binder clip, rubber band or paper clip. Now for the DON'T part: no report covers, no staples and please, PLEASE no cardstock weight paper.
2.How about the formatting for the electronic copy?
Save the electronic copy as a .DOC or .RTF. Name the file like this:
Before I cover some FAQs I want to make one thing totally clear. If you purchase a standard critique, send ONLY ten (10) pages of the material. You may send an optional one (1) page synopsis. I will not send any more than tweleve (12) pages to the faculty member: cover, synopsis, manuscript. The same goes for extendeds. Send only thirty (30) pages, the cover and the optional synopsis, bringing the total to thirty-two pages. If you send more, I will return the electronic copy to you and you'll have one chance to delete the extra pages. Beyond that I will destroy the copy and it will not be sent to the faculty member and you will not get a refund. Send ONLY what's asked for and included in the purchase price.
1.How should I format the hard copies I send to you?
Although some agents and editors have particular instructions for submissions, for the conference, it's best to stick with standard formatting. All critiques should be in Times New Roman or Courier 12pt font. They should be printed on regular printer paper (20lb., 92 brightness). Make sure all your margins are 1". For the header, place your name and the working title of your manuscript in the upper left hand corner. In the upper right, insert the page number and the estimated word count (if you know it). Send a title page, for each of the two copies, with the title of the manuscript and your contact information. You may send a one-page synopsis if you'd like--standard format. Bind each copy together with a binder clip, rubber band or paper clip. Now for the DON'T part: no report covers, no staples and please, PLEASE no cardstock weight paper.
2.How about the formatting for the electronic copy?
Save the electronic copy as a .DOC or .RTF. Name the file like this:
yourlastname_titleofmanuscript.
For example, if my manuscript was named The Devil and Hotdog Smith, here's how the file would look once I save it.elamsandifer_thedevilandhotdogsmith.rtf
Include all three elements, manuscript, synopsis, and cover page, in ONE file. If I get your manuscript and it's not in the right format, I will return it to you and ask that you save it in the right format. To select the format, To do this, open your document, go to SAVE AS. Name your document (see instructions above) and then in the drop down, below the name, select one of the above formats.I hate to be a stickler for this but it's imperative, for all sorts of compatibility issues, that I get the files in this format. While I would like to be able to just fix it for you, I neither cannot nor will not do that. I do not want to alter your work, intentionally or otherwise, in any way.
3. How will I know you got my stuff?
When I get your materials, I will send you an email confirming they arrived safe and sound. In the case of hard copies, I will stamp them with the date and file them alphabetically. In the case of electronic copies, I will open them and check for any file corruption issues. If you have emailed or mailed your materials and you have not heard from me in a reasonable time frame, feel free to email. Please give the Post Office (and me) ample time to process your materials before you email.
4. Where do I send my stuff?
For the hard copies, mail them to the address below. Please copy this address EXACTLY to avoid any snags in delivery.
Lateia Elam Sandifer
SCWW Critiques
PO Box 503
Bamberg, SC 29003
For the electronic copies, attach your file and email them to:
5. Can I revise my manuscript once I send it to you?
No. I will only accept the first version you send, unless of course there is some major disaster like my computer crashes or your file is corrupt. There's a lot of planning behind this aspect of the conference and to be fair to everyone, I cannot accept revisions. Make sure you send the best, most polished version to me. If you attempt to send a revision, the email will be returned with the attachement unopened and any hard copies will be shredded.
6. Can I change my faculty choices after you get my materials?
No. Once the manuscript has been received and assigned, there will be no changes---unless the faculty member is for some reason unable to accomodate your manuscript.
7. What if I query my faculty member before the conference and receive a rejection letter after I've chosen that person to critique my work?
Tough. My advice would be to refrain from querying the person(s) you select for critique. It can make for a very awkward meeting. Save the query letter until after you've met at the conference.
8. If my book sells before the conference, can I get a refund for my critique?
Once your materials have been received, logged in and confirmed, there will be NO refunds for critiques. Check out our policy for conference attendance refunds on the registration grid.
9. When will I find out who my critique was assigned to?,
When you check in, at the registration desk, you will be given a card that lists the details of your critique appointment(s). I will not be able to tell you who you are assigned to until that point. I'm not trying to be a meanie, but since the schedule is so complex, it may change several times before it's finalized. However, since you are able to select your top three choices of faculty member, I will guarantee that you get one of those three people. If I cannot accomodate your requests, I will call or email you and we can figure out what is the best way to handle the conflict. If I cannot offer you a critique slot with someone that fits your needs, I will happily refund your critique fee.
10. Will you call me if you see something terribly wrong with my manuscript so I can change it before it's sent to a faculty member?
If there is a problem with the file--corruption, weird characters, in another language---I will contact you and offer you the opportunity to resend. However, I will not, in any way, edit or read-though your submission for content or for copy-editing purposes. I will occassionally read the first couple of paragraphs to make sure your manuscript matches the requests of the faculty member. It is your sole responsibility to be comfortable and confident with your work before you send it to me.
Email me with any questions you have--or post to comments--and I'll answer them. It's best to get the questions out of the way before the rush of materials in late summer.
Bummer! or What to Do if You Had a Rough Critique
I know I promised to take the month off but I miss you guys! I've had several calls from attendees who had a rough critique and I wanted to give you a few tips on how to handle the disappointment.
First, we have to look at WHY the critique didn't go so well. There are several reasons for this: the material was not a good match for your faculty member, the material wasn't ready for the eyes of an editor, agent or publisher, or you just didn't like what the faculty member had to say.
Once you've decided the WHY, you need to figure out your next step.
If the problem is only that it wasn't the right faculty member, this is an easy one to fix. Do a little more comprehensive research on who's right for your manuscript. What agents and editors want changes all the time so be sure to keep a constant pulse of market to make sure you're targeting the right folks.
If the material wasn't ready for the eyes of your faculty member, you need to figure out precisely where you stand. Are you capable of the required edits and revisions yourself or do you need to hire a freelance editor to help you make the most of your manuscript? There are lots of professionals out there who can really help you to see what needs improvement. If you think you're past the point of needing a freelance editor, you can always find a critique group --- real or online --- to help you iron out the wrinkles.
Now, if you just didn't like what the faculty member had to say, that's a little more problematic. Again, you have to discover the WHY. Did you feel the person was flat wrong? Did he or she just "not get" your submission? Are you being pig-headed and not taking responsibility for the flaws in your work? Were you overconfident? Was the faculty member just having a hard time understanding your angle? Think long and hard about this. Talk to others who are familiar with your work AND the industry.
At some point in this business, you have to develop a thick skin. You have to understand there are all kinds of people and viewpoints. Maybe your faculty member was right. Maybe not. But don't be so overconfident in your work that you refuse to change, revise or edit. Flexibility is key.
A small word to the wise: No matter how vehemently you disagree with the faculty member who performed your critique, don't blast them on the web or in any other public forum. Word gets around in publishing circles very quickly.
First, we have to look at WHY the critique didn't go so well. There are several reasons for this: the material was not a good match for your faculty member, the material wasn't ready for the eyes of an editor, agent or publisher, or you just didn't like what the faculty member had to say.
Once you've decided the WHY, you need to figure out your next step.
If the problem is only that it wasn't the right faculty member, this is an easy one to fix. Do a little more comprehensive research on who's right for your manuscript. What agents and editors want changes all the time so be sure to keep a constant pulse of market to make sure you're targeting the right folks.
If the material wasn't ready for the eyes of your faculty member, you need to figure out precisely where you stand. Are you capable of the required edits and revisions yourself or do you need to hire a freelance editor to help you make the most of your manuscript? There are lots of professionals out there who can really help you to see what needs improvement. If you think you're past the point of needing a freelance editor, you can always find a critique group --- real or online --- to help you iron out the wrinkles.
Now, if you just didn't like what the faculty member had to say, that's a little more problematic. Again, you have to discover the WHY. Did you feel the person was flat wrong? Did he or she just "not get" your submission? Are you being pig-headed and not taking responsibility for the flaws in your work? Were you overconfident? Was the faculty member just having a hard time understanding your angle? Think long and hard about this. Talk to others who are familiar with your work AND the industry.
At some point in this business, you have to develop a thick skin. You have to understand there are all kinds of people and viewpoints. Maybe your faculty member was right. Maybe not. But don't be so overconfident in your work that you refuse to change, revise or edit. Flexibility is key.
A small word to the wise: No matter how vehemently you disagree with the faculty member who performed your critique, don't blast them on the web or in any other public forum. Word gets around in publishing circles very quickly.
Early Registration Rates End Soon!
It's hard to believe September is just a few days away! For writers who haven't registered for the SCWW conference yet, you can still get the early bird rate. Just be sure to go online and register no later than 11:59 p.m. Tuesday, Sept. 1, 2009. When the clock chimes midnight, rates will go up $50.
Also, Sept. 1, 2009, marks the closing of critiques. You'll be able to buy critiques through Tuesday, but you'll need to have your copies postmarked Sept. 1, and your e-mail copies will need to be in our inbox no later than 11:59 p.m. Tuesday, Sept. 1, 2009.
There are still critique spaces available. Did you buy one during registration and want another? Just contact me (conference@myscww.org) and I'll walk you through the process of adding it to your registration.
In addition, there are still some pitches up for grabs. There's no limit to the number of pitches you can register for, and no deadline for signing up. However, these are going fast, so you'll want to register soon to get the best shot at your top choices. If you've already registered and want to add some pitches, just contact me (conference@myscww.org).
What questions about the conference? You can leave a comment below or feel free to e-mail me (conference@myscww) or the Conference Co-chair Lateia E. Sandifer. (lateia.sandifer@gmail.com). We're happy to help.
Also, Sept. 1, 2009, marks the closing of critiques. You'll be able to buy critiques through Tuesday, but you'll need to have your copies postmarked Sept. 1, and your e-mail copies will need to be in our inbox no later than 11:59 p.m. Tuesday, Sept. 1, 2009.
There are still critique spaces available. Did you buy one during registration and want another? Just contact me (conference@myscww.org) and I'll walk you through the process of adding it to your registration.
In addition, there are still some pitches up for grabs. There's no limit to the number of pitches you can register for, and no deadline for signing up. However, these are going fast, so you'll want to register soon to get the best shot at your top choices. If you've already registered and want to add some pitches, just contact me (conference@myscww.org).
What questions about the conference? You can leave a comment below or feel free to e-mail me (conference@myscww) or the Conference Co-chair Lateia E. Sandifer. (lateia.sandifer@gmail.com). We're happy to help.
Harping: Not the Celestial Kind
At the risk of sounding like your mother, or worse a screeching harpy, I cannot impress upon you the importance of knowing your genre and selecting an appropriate faculty member for your critique.
There are several reasons this is VERY IMPORTANT.
1. Someone who does not know your genre cannot give you the best feedback. Translation: You are wasting your money if you select a faculty member who doesn't want to read, represent or publish your type of manuscript.
2. If you select an inappropriate faculty member, you run the risk of really ticking them off. Why does it matter? Say you're writing romance now and you select someone who represents mostly non-fiction. In two or three years, you may write a book that's non-fiction. And guess what? You've burned that bridge. Translation: People in this business have long memories. If you tick someone off by forcing them to read something they don't want to read, they won't look favorably on subsequent submissions.
3. The myth that if the writing is good enough ANYONE IN THEIR RIGHT MIND would kill for the chance to represent or publish it is exactly that: A MYTH. Even if you're the next Hemingway or Faulkner, you shouldn't bank on the strength of your writing to persuade someone to ADORE your genre. Translation: Your book has to be well-written and well-represented. You want the agent you sign with to be ga-ga over your work. Forcing them to like it is not an option.
4. Publishing is a business. You want someone who's a good fit for your work to read, represent or publish it. Translation: You will be more successful if you don't try to cut corners, get an agent, editor and publisher who's right for your work. You will make more money and get more exposure this way.
In summary, do your homework. Make sure the person(s) you select for critique are appropriate and willing to read your genre.
There are several reasons this is VERY IMPORTANT.
1. Someone who does not know your genre cannot give you the best feedback. Translation: You are wasting your money if you select a faculty member who doesn't want to read, represent or publish your type of manuscript.
2. If you select an inappropriate faculty member, you run the risk of really ticking them off. Why does it matter? Say you're writing romance now and you select someone who represents mostly non-fiction. In two or three years, you may write a book that's non-fiction. And guess what? You've burned that bridge. Translation: People in this business have long memories. If you tick someone off by forcing them to read something they don't want to read, they won't look favorably on subsequent submissions.
3. The myth that if the writing is good enough ANYONE IN THEIR RIGHT MIND would kill for the chance to represent or publish it is exactly that: A MYTH. Even if you're the next Hemingway or Faulkner, you shouldn't bank on the strength of your writing to persuade someone to ADORE your genre. Translation: Your book has to be well-written and well-represented. You want the agent you sign with to be ga-ga over your work. Forcing them to like it is not an option.
4. Publishing is a business. You want someone who's a good fit for your work to read, represent or publish it. Translation: You will be more successful if you don't try to cut corners, get an agent, editor and publisher who's right for your work. You will make more money and get more exposure this way.
In summary, do your homework. Make sure the person(s) you select for critique are appropriate and willing to read your genre.
Critiques and Pitches Day 3: It's Prep Time
In the first part of this three-part blog, I offered advice on why writers need critiques and pitches. In the second part, I looked at suggestions on what to include in your critique package and pitch preparation, and what to avoid in your critique package and pitch preparation. For the final installment, here’s some advice on how to prepare for the one-on-one time of a critique or pitch.
1. Know your stats. What’s your word count? What’s your genre? When can you get a copy out to an interested agent or editor?
2. Know your publishing goals. Is your dream to be a big fish in a little pond or a little fish in a big pond? Have you completed a marketing plan for your manuscript? Is your primary goal to concentrate on writing more or on working as many sales angles as possible on this manuscript?
3. Relax. It might sound easier said than done, but take a minute and enjoy the beautiful beach surroundings. Or, if that isn’t working, listen to a few minutes of ESPN or CNN. Take your mind off any anxieties you might have.
4. Practice your pitch. Even if you’re preparing for a critique, it’s good to have a five-minute pitch ready. Who knows, an agent or editor might ask for you to submit.
5. Bring pencil (or pen) and paper. This is a time when you’re going to want to take notes, as well as listen.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
1. Know your stats. What’s your word count? What’s your genre? When can you get a copy out to an interested agent or editor?
2. Know your publishing goals. Is your dream to be a big fish in a little pond or a little fish in a big pond? Have you completed a marketing plan for your manuscript? Is your primary goal to concentrate on writing more or on working as many sales angles as possible on this manuscript?
3. Relax. It might sound easier said than done, but take a minute and enjoy the beautiful beach surroundings. Or, if that isn’t working, listen to a few minutes of ESPN or CNN. Take your mind off any anxieties you might have.
4. Practice your pitch. Even if you’re preparing for a critique, it’s good to have a five-minute pitch ready. Who knows, an agent or editor might ask for you to submit.
5. Bring pencil (or pen) and paper. This is a time when you’re going to want to take notes, as well as listen.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
Critiques and Pitches Day 2: What you should include (and avoid)
In the first part of this three-part blog, I offered advice on why writers need critiques and pitches. Now, let’s look at suggestions on what to include in your critique package and pitch preparation, and what to avoid in your critique package and pitch preparation. These suggestions are based on what I saw while I was a publisher and what I’ve seen in the past three years that I’ve been a publishing consultant.
First, here’s my advice on what you should include in your critique pages:
1. A synopsis. While this is optional for you to include for an SCWW conference critique, I encourage writers have one in their materials.
2. Formatted manuscript pages. When you register for your critique, you know you’ll only be turning in 10 pages or 30 pages. You want to make the most of those pages. Don’t fall for the temptation of taking out paragraphing. Don’t change it to single spaced paragraphs. Don’t delete the page breaks between chapters. Keep it formatted as a manuscript – double spaced, correct paragraphs, 12-point type, single-sided printing.
3. Your best, edited version. You’ve gone to all the trouble of registering for a conference and a critique. Make sure yours are not the only set of eyes that have looked at the pages. It’s impossible to edit yourself. Your eyes will fill in words you haven’t typed and will automatically correct errors. Whether you ask a friend to look at your package or you hire an editor, make sure you aren’t the only one who has seen your submission.
Here are a few things to include in your pitch prep:
1. Know your genre and make sure you state it. Sometimes that’s easier said than done. I’ve run into many proposals that start with “My novel is a thriller, with a touch of women’s issues and a sub-genre of fantasy.” The problem is, if you don’t know what you’re trying to sell, how will a marketing guru at a publishing house pitch it to book buyers?
2. Time your pitch. With the SCWW conference, an attendee will have five minutes to make a pitch. Then, the faculty member will provide five minutes of feedback. An agent or editor might even ask to see your work, based on the pitch. Use a stop watch. Force yourself to weigh each word. Be sure you’re speaking at your normal, conversational speed. An agent probably won’t ask for a submission from someone who speaks faster than a chipmunk or slower than a turtle (though, in all honesty, they likely won’t ask for a submission from any talking animal).
3. Watch yourself prepare in a mirror. It might sound silly, but this is a good way to make sure you’re going to make eye contact. You’ll also notice if you’re smiling, if you’re excited about the project, if your body language shows how confident you are about your manuscript.
Now, a list of things to avoid in your preparation for critiques and pitches:
1. Don’t break the rules. If you’re supposed to submit 10 pages, don’t submit 12 pages. If you’re set to submit 30 pages, don’t submit 35 pages. If you’re preparing a pitch, don’t prepare a 15-minute pitch.
2. Don’t send or pitch work that isn’t ready. If you don’t feel confident about your submission, switch to one of your manuscripts you feel is ready. Your lack of confidence in a work will show. If you aren’t excited, why should anyone else be excited? Also, if agents or editors say they’d like to see the entire manuscript, will you be able to provide it within 30 days?
3. For a critique, don’t miss the deadline for submitting materials.
Remember, all critique materials must be received by September 1, 2009. Mail your critique materials to:
Lateia Sandifer
SCWW Board
PO Box 503
Bamberg, SC 29003
In part three, I’m going to offer my advice on how to prepare for your one-on-one time during your critique or pitch.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
First, here’s my advice on what you should include in your critique pages:
1. A synopsis. While this is optional for you to include for an SCWW conference critique, I encourage writers have one in their materials.
2. Formatted manuscript pages. When you register for your critique, you know you’ll only be turning in 10 pages or 30 pages. You want to make the most of those pages. Don’t fall for the temptation of taking out paragraphing. Don’t change it to single spaced paragraphs. Don’t delete the page breaks between chapters. Keep it formatted as a manuscript – double spaced, correct paragraphs, 12-point type, single-sided printing.
3. Your best, edited version. You’ve gone to all the trouble of registering for a conference and a critique. Make sure yours are not the only set of eyes that have looked at the pages. It’s impossible to edit yourself. Your eyes will fill in words you haven’t typed and will automatically correct errors. Whether you ask a friend to look at your package or you hire an editor, make sure you aren’t the only one who has seen your submission.
Here are a few things to include in your pitch prep:
1. Know your genre and make sure you state it. Sometimes that’s easier said than done. I’ve run into many proposals that start with “My novel is a thriller, with a touch of women’s issues and a sub-genre of fantasy.” The problem is, if you don’t know what you’re trying to sell, how will a marketing guru at a publishing house pitch it to book buyers?
2. Time your pitch. With the SCWW conference, an attendee will have five minutes to make a pitch. Then, the faculty member will provide five minutes of feedback. An agent or editor might even ask to see your work, based on the pitch. Use a stop watch. Force yourself to weigh each word. Be sure you’re speaking at your normal, conversational speed. An agent probably won’t ask for a submission from someone who speaks faster than a chipmunk or slower than a turtle (though, in all honesty, they likely won’t ask for a submission from any talking animal).
3. Watch yourself prepare in a mirror. It might sound silly, but this is a good way to make sure you’re going to make eye contact. You’ll also notice if you’re smiling, if you’re excited about the project, if your body language shows how confident you are about your manuscript.
Now, a list of things to avoid in your preparation for critiques and pitches:
1. Don’t break the rules. If you’re supposed to submit 10 pages, don’t submit 12 pages. If you’re set to submit 30 pages, don’t submit 35 pages. If you’re preparing a pitch, don’t prepare a 15-minute pitch.
2. Don’t send or pitch work that isn’t ready. If you don’t feel confident about your submission, switch to one of your manuscripts you feel is ready. Your lack of confidence in a work will show. If you aren’t excited, why should anyone else be excited? Also, if agents or editors say they’d like to see the entire manuscript, will you be able to provide it within 30 days?
3. For a critique, don’t miss the deadline for submitting materials.
Remember, all critique materials must be received by September 1, 2009. Mail your critique materials to:
Lateia Sandifer
SCWW Board
PO Box 503
Bamberg, SC 29003
In part three, I’m going to offer my advice on how to prepare for your one-on-one time during your critique or pitch.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
Critiques and Pitches: Why you need these, what you should include (and avoid) and how to prepare for it all! Part 1 of 3
Recently, a handful of writers have asked me if they should add a critique or pitch to their registration, which is better, what they need to do before their meeting at the conference, and how to format their critique. Luckily, most attendees don’t ask all those questions at once – what a mouthful! But you get the idea. Since I have a publishing background and have sat on the “other side” of the critique table several times, I have a different perspective that some of the other conference volunteers. I’m going to split my suggestions into three days and three posts – Day 1: Why you need critiques and pitches; Day 2: What you should include or avoid; and Day 3: How to prepare for your one-on-one time.
Here’s my advice on why writers need critiques and pitches:
1. If you crave input, feedback and suggestions, you should add a critique. Some writers are content writing for the pure joy of putting words on paper. However, most writers want to know what they’re doing right, what they need to improve and what they can do to make their work more competitive in the market.
2. If you’re ready to shop your manuscript around to agents, editors and publishers, a critique would really help, but definitely add a pitch. While you should be sending out query letters and manuscripts (while strictly following the submission guidelines of each professional you query), critiques and pitches at the conference afford you face time and reading time you can’t guarantee with a query. In 2008, about fifty manuscripts were requested by faculty members. At least one of those requests has already resulted in a published book. Several attendees from last year have shared news that even if their manuscript wasn’t a match for the faculty member who critiqued it, they got suggestions of agencies and houses to query. Some attendees even got introductions to these agents and editors.
3. If you’re tweaking your query and synopsis and need feedback on how you describe your story, a pitch session would help. Have you ever had someone ask what your book is about and it takes 30 minutes to explain? Do you dread putting together a two-page synopsis? Do you feel like you’re living in a vacuum and need to bounce your query approach off someone? That’s what you’ll be doing in a pitch session. You’ll have five minutes to describe your project. Then, the faculty member will have five minutes to ask questions and provide feedback. The faculty members won’t have any prior knowledge of your work. An agent or editor might ask for more of your work if you grab his/her attention during the pitch. In fact, publisher Karen Syed says most of her requests are based on one-on-one interactions with writers.
Next time, I’ll provide suggestions on what to include in your critique package and pitch preparation, and what to avoid in your critique package and pitch preparation.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
Here’s my advice on why writers need critiques and pitches:
1. If you crave input, feedback and suggestions, you should add a critique. Some writers are content writing for the pure joy of putting words on paper. However, most writers want to know what they’re doing right, what they need to improve and what they can do to make their work more competitive in the market.
2. If you’re ready to shop your manuscript around to agents, editors and publishers, a critique would really help, but definitely add a pitch. While you should be sending out query letters and manuscripts (while strictly following the submission guidelines of each professional you query), critiques and pitches at the conference afford you face time and reading time you can’t guarantee with a query. In 2008, about fifty manuscripts were requested by faculty members. At least one of those requests has already resulted in a published book. Several attendees from last year have shared news that even if their manuscript wasn’t a match for the faculty member who critiqued it, they got suggestions of agencies and houses to query. Some attendees even got introductions to these agents and editors.
3. If you’re tweaking your query and synopsis and need feedback on how you describe your story, a pitch session would help. Have you ever had someone ask what your book is about and it takes 30 minutes to explain? Do you dread putting together a two-page synopsis? Do you feel like you’re living in a vacuum and need to bounce your query approach off someone? That’s what you’ll be doing in a pitch session. You’ll have five minutes to describe your project. Then, the faculty member will have five minutes to ask questions and provide feedback. The faculty members won’t have any prior knowledge of your work. An agent or editor might ask for more of your work if you grab his/her attention during the pitch. In fact, publisher Karen Syed says most of her requests are based on one-on-one interactions with writers.
Next time, I’ll provide suggestions on what to include in your critique package and pitch preparation, and what to avoid in your critique package and pitch preparation.
Still have questions about pitches and critiques? Feel free to ask via a comment on the blog (you can be anonymous) or send an e-mail to conference@myscww.org.
The Literary Equivalent of The Dog Eating Your Homework
Let's say your wish comes true. You meet with Mr. Dreamagent (or editor or publisher) at the conference and he requests a full manuscript. If you're finished with the book---and it's polished and gleaming and ready to grace his desk----no problem, right?
But, what if. . .maybe you said it WAS finished, and you'd love to send it, BUT. . .
"I'm leaving for Bangladesh (or some other place with unreliable wi-fi) as soon as I leave this table and I won't be able to send to you for six or eight months, it's monsoon season, you know and . . . "
"I need to fine-tune it a little. Can I send it to you next spring. . ."
"My computer crashed right after I printed theses pages and it might be a while before (insert Best Buy, Tech Support, etc right here) can recover my manuscript. The whole thing was lost and . . ."
These are all EXCUSES or BIG, FAT LIES, depending on how honest you are with yourself. Finished means FINISHED. Not just your story has a beginning, a middle and an end, but done. Finito. Mr. Dreamagent has heard all these lines before, and more besides. He'll be asking himself why you can't send it from the hotel before you leave on your whirwind world tour, why you didn't back up your work, how come finished means not really, completely finished. You are not getting anything past Mr. Dreamagent and in the long run you're only hurting yourself and your reputation.
Agents, editors and publishers are looking for something to sell. They can't sell a book that isn't finished. If your book is still in the works, admit it. Be honest. Tell Mr. Dreamagent where you are in the process and see if he's still interested. Be realisitic in your timeline. Don't promise to mail it next week if you know that's an impossibility. If you tell Mr. Dreamagent you'll mail it next week, and for some REAL reason you can't, email and explain. (NOTE: I'm NOT telling you to write a two page email re: your loved one's entire medical history, including the juicy parts---more like "A family health crisis prevented me from mailing the manuscript as planned. It will be posted on Monday.")
Lying to a person that you hope to develop a professional relationship with, right off the bat, is not the way to go. If you snag Mr. Dreamagent, you want to create a relationship that's honest, open and cordial. In order to create a good relationship with Mr. Dreamagent, you need to make sure you live up to your word, meet deadlines, and deliver as promised. Hopefully, he'll do the same. It's kind of like a three-legged race---you're in it together.
But, what if. . .maybe you said it WAS finished, and you'd love to send it, BUT. . .
"I'm leaving for Bangladesh (or some other place with unreliable wi-fi) as soon as I leave this table and I won't be able to send to you for six or eight months, it's monsoon season, you know and . . . "
"I need to fine-tune it a little. Can I send it to you next spring. . ."
"My computer crashed right after I printed theses pages and it might be a while before (insert Best Buy, Tech Support, etc right here) can recover my manuscript. The whole thing was lost and . . ."
These are all EXCUSES or BIG, FAT LIES, depending on how honest you are with yourself. Finished means FINISHED. Not just your story has a beginning, a middle and an end, but done. Finito. Mr. Dreamagent has heard all these lines before, and more besides. He'll be asking himself why you can't send it from the hotel before you leave on your whirwind world tour, why you didn't back up your work, how come finished means not really, completely finished. You are not getting anything past Mr. Dreamagent and in the long run you're only hurting yourself and your reputation.
Agents, editors and publishers are looking for something to sell. They can't sell a book that isn't finished. If your book is still in the works, admit it. Be honest. Tell Mr. Dreamagent where you are in the process and see if he's still interested. Be realisitic in your timeline. Don't promise to mail it next week if you know that's an impossibility. If you tell Mr. Dreamagent you'll mail it next week, and for some REAL reason you can't, email and explain. (NOTE: I'm NOT telling you to write a two page email re: your loved one's entire medical history, including the juicy parts---more like "A family health crisis prevented me from mailing the manuscript as planned. It will be posted on Monday.")
Lying to a person that you hope to develop a professional relationship with, right off the bat, is not the way to go. If you snag Mr. Dreamagent, you want to create a relationship that's honest, open and cordial. In order to create a good relationship with Mr. Dreamagent, you need to make sure you live up to your word, meet deadlines, and deliver as promised. Hopefully, he'll do the same. It's kind of like a three-legged race---you're in it together.
Critique Rules and My Two Cents, or How To Win A Prize for Doing It Correctly
First off, I want to send a big thanks to Scott Eagan of Greyhaus for such an insightful guest blog yesterday. Not only did we love the blog, but you were kind enough to hang out and answer questions and respond to comments.
Thanks, Scott!
Now down to other conference business.
CRITIQUE SUBMISSIONS.
The instructions on how to submit is available on the website (www.myscww.org/conference) and inside the registration grid, but I wanted to post them here to make sure everyone reads them before sending submissions. I've posted the rule in yellow and my extra two cents in white.
THE RULE: All manuscripts, including the optional synopsis, must be double-spaced, with standard one-inch margins. Please include your name, the page number, and the name of your manuscript on each page.
LES ADVICE: A header is best way to do this. In MS Word, click on VIEW, HEADER AND FOOTER, then type your name and title in the grey box that appears on the top of the page. Then go to INSERT, click on INSERT PAGES and follow the prompts.
THE RULE: Write the genre of your submission in the lower left hand corner of the envelope.
LES ADVICE: Use a Sharpie or a Red Pen. Pencil will become blurred and illegible by October.
THE RULE: Send two hard copies to Lateia Sandifer, SCWW Board, PO Box 503, Bamberg, SC 29003.
LES ADVICE: Make sure to copy the address EXACTLY. We've already had issues with this---it has something to do with the way Post Office computers sort mail---I know it's stupid, but. The long and short of it is: COPY THE ADDRESS EXACTLY.
THE RULE: Email a copy to critiques2009@myscww.org. Put your document in .RTF or .DOC format.
LES ADVICE: Make sure it's in one of the above formats. This year we will be sending many of the submissions electronically. Due to compatibility issues, they must be in one of the above formats. To do this, open your document, go to SAVE AS. Name your document and then in the drop down, below the name, select one of the above formats.
THE RULE: All submissions must be postmarked by September 1, 2009.
LES ADVICE: I will be checking postmarks. I will notify you via email when I get your submissions---both parts. If more than seven (7) business days have passed since you mailed or emailed, and you don't get word of receipt, EMAIL ME because something might have gone awry.
THE RULE: Upon arrival at the conference, you will be notified of the time, place, and faculty member for your 20-minute appointment or group critique session.
LES ADVICE: We'll do everything we can to make sure you get one of your three choices. However, if we are unable to do this, we will call or email you to discuss options. Please don't call or email and ask for a guarantee of faculty member because we're unable to give it to you. It's not that we don't want to---it's simply that there are so many variables---length of critique, registration order, scheduling---that we can't guarantee your first choice. Rest assured, we have thoroughly checked-out all of our faculty and they are all more than capable of giving you a professional analysis of your work.
Now for the INSIDER'S BONUS:
If you submit correctly, following the above rules, you'll save me lots of time. And I like that. A lot. To show you read and followed the rules, put a sticker---any sticker, even a price sticker---on the envelope and I'll put your name in a drawing for a prize to be awarded at registration. I'll make sure it's a SUPER COOL PRIZE. This is the only place the prize will be mentioned, so if you put a sticker on your envelope, I'll know two things: 1. You followed directions and 2. You read the blog. Both of which make me VERY, VERY HAPPY.
Thanks, Scott!
Now down to other conference business.
CRITIQUE SUBMISSIONS.
The instructions on how to submit is available on the website (www.myscww.org/conference) and inside the registration grid, but I wanted to post them here to make sure everyone reads them before sending submissions. I've posted the rule in yellow and my extra two cents in white.
THE RULE: All manuscripts, including the optional synopsis, must be double-spaced, with standard one-inch margins. Please include your name, the page number, and the name of your manuscript on each page.
LES ADVICE: A header is best way to do this. In MS Word, click on VIEW, HEADER AND FOOTER, then type your name and title in the grey box that appears on the top of the page. Then go to INSERT, click on INSERT PAGES and follow the prompts.
THE RULE: Write the genre of your submission in the lower left hand corner of the envelope.
LES ADVICE: Use a Sharpie or a Red Pen. Pencil will become blurred and illegible by October.
THE RULE: Send two hard copies to Lateia Sandifer, SCWW Board, PO Box 503, Bamberg, SC 29003.
LES ADVICE: Make sure to copy the address EXACTLY. We've already had issues with this---it has something to do with the way Post Office computers sort mail---I know it's stupid, but. The long and short of it is: COPY THE ADDRESS EXACTLY.
THE RULE: Email a copy to critiques2009@myscww.org. Put your document in .RTF or .DOC format.
LES ADVICE: Make sure it's in one of the above formats. This year we will be sending many of the submissions electronically. Due to compatibility issues, they must be in one of the above formats. To do this, open your document, go to SAVE AS. Name your document and then in the drop down, below the name, select one of the above formats.
THE RULE: All submissions must be postmarked by September 1, 2009.
LES ADVICE: I will be checking postmarks. I will notify you via email when I get your submissions---both parts. If more than seven (7) business days have passed since you mailed or emailed, and you don't get word of receipt, EMAIL ME because something might have gone awry.
THE RULE: Upon arrival at the conference, you will be notified of the time, place, and faculty member for your 20-minute appointment or group critique session.
LES ADVICE: We'll do everything we can to make sure you get one of your three choices. However, if we are unable to do this, we will call or email you to discuss options. Please don't call or email and ask for a guarantee of faculty member because we're unable to give it to you. It's not that we don't want to---it's simply that there are so many variables---length of critique, registration order, scheduling---that we can't guarantee your first choice. Rest assured, we have thoroughly checked-out all of our faculty and they are all more than capable of giving you a professional analysis of your work.
Now for the INSIDER'S BONUS:
If you submit correctly, following the above rules, you'll save me lots of time. And I like that. A lot. To show you read and followed the rules, put a sticker---any sticker, even a price sticker---on the envelope and I'll put your name in a drawing for a prize to be awarded at registration. I'll make sure it's a SUPER COOL PRIZE. This is the only place the prize will be mentioned, so if you put a sticker on your envelope, I'll know two things: 1. You followed directions and 2. You read the blog. Both of which make me VERY, VERY HAPPY.
Conference FAQs: Take 2
We've been getting some new questions lately so I thought it was a good time to stop and answer a few.
Q. I don't see pitch sessions or critiques on the schedule. When will they take place?
A. Pitch and critique sessions will be scheduled based on the faculty member's teaching schedule. When you arrive and check in at the registration desk, you will be given a card listing your appointment time. They will be going on throughout the conference, beginning on Saturday morning.
Q. When will I find out who my critique faculty is? When will I find out who my pitch faculty member is?
A. Upon checking-in at the registration desk, you will be given a card with the name of your faculty member and the time you will meet for your critique and or pitch.
Q. What if I don't get any of my choices?
A. We do our best to give each attendee one of their three choices. However, sometimes this is impossible. If we cannot assign you to one of your top three, we will call you, well before the conference, and discuss options with you.
Q. How does the faculty have time for all of the critiques, classes, meals and other time with attendees?
A. Scheduling, scheduling, scheduling. We do our best to make sure each faculty member has time for everything, but sometimes it's a squeeze. Faculty members work the entire time, so please keep the following things in mind. When your critique time is over, please thank the faculty member and move on. Don't take up the next person's time. If you make a connection and get a request, don't 'hog" the faculty member for the rest of the conference. You might wear out your welcome. And please, please, don't do anything creepy like send you manuscript to his or her room, don't stalk at the bar, don't try to hem someone up in the restroom or at the pool. Keep it professional AT ALL TIMES.
Q. What is the best way to pick my critique and pitch people?
A. Check out our website at www.myscww.org/conference and look at all the individual bios. Then google the person and find out what they're selling and what they may be looking for at the present time. Make sure you write what the faculty member sells.
Q. Who do I contact about Carrie McCray?
A. Check out the contacts link on our website. Ms. Kim Blum-Hyclak is in charge of the contest. You can email her using the link on that page.
Q. Who do I call or email if my question hasn't been answered?
A. You can call me, Lateia, at 803-671-1664 or email me at lateia.sandifer@gmail.com. Or you can call Carrie at 706-564-7998. Her email address is mcculloughca@bellsouth.net. Both of us are on the East Coast and we take calls from 9am - 9pm. Please don't call super late or super early. All of our staff members are volunteers so please be patient if it takes a few hours for us to get back to you. We WILL return your calls/emails. If we don't contact you within 72 hours, feel free to call or email again.
Q. I don't see pitch sessions or critiques on the schedule. When will they take place?
A. Pitch and critique sessions will be scheduled based on the faculty member's teaching schedule. When you arrive and check in at the registration desk, you will be given a card listing your appointment time. They will be going on throughout the conference, beginning on Saturday morning.
Q. When will I find out who my critique faculty is? When will I find out who my pitch faculty member is?
A. Upon checking-in at the registration desk, you will be given a card with the name of your faculty member and the time you will meet for your critique and or pitch.
Q. What if I don't get any of my choices?
A. We do our best to give each attendee one of their three choices. However, sometimes this is impossible. If we cannot assign you to one of your top three, we will call you, well before the conference, and discuss options with you.
Q. How does the faculty have time for all of the critiques, classes, meals and other time with attendees?
A. Scheduling, scheduling, scheduling. We do our best to make sure each faculty member has time for everything, but sometimes it's a squeeze. Faculty members work the entire time, so please keep the following things in mind. When your critique time is over, please thank the faculty member and move on. Don't take up the next person's time. If you make a connection and get a request, don't 'hog" the faculty member for the rest of the conference. You might wear out your welcome. And please, please, don't do anything creepy like send you manuscript to his or her room, don't stalk at the bar, don't try to hem someone up in the restroom or at the pool. Keep it professional AT ALL TIMES.
Q. What is the best way to pick my critique and pitch people?
A. Check out our website at www.myscww.org/conference and look at all the individual bios. Then google the person and find out what they're selling and what they may be looking for at the present time. Make sure you write what the faculty member sells.
Q. Who do I contact about Carrie McCray?
A. Check out the contacts link on our website. Ms. Kim Blum-Hyclak is in charge of the contest. You can email her using the link on that page.
Q. Who do I call or email if my question hasn't been answered?
A. You can call me, Lateia, at 803-671-1664 or email me at lateia.sandifer@gmail.com. Or you can call Carrie at 706-564-7998. Her email address is mcculloughca@bellsouth.net. Both of us are on the East Coast and we take calls from 9am - 9pm. Please don't call super late or super early. All of our staff members are volunteers so please be patient if it takes a few hours for us to get back to you. We WILL return your calls/emails. If we don't contact you within 72 hours, feel free to call or email again.
Agent or Editor?
Lots of you are trying to decide whether to pick an editor, publisher or an agent for your critique at the conference. This isn't always an easy question to answer because it depends on a lot of different factors. Let's consider the scenarios below.
Q: I intend to sell my book to a small press. Who should I choose?
A: Most small presses will accept unsolicited manuscripts. Since you likely don't need an agent to work with these publishers, consider meeting directly with an editor or publisher from a small press. It's always a good idea, whether you're coming to the SCWW conference or another one, to check out the publishers website before you pick them for your critique. Make sure your work fits into the parameters of what they publish.
Q: My book is commercial fiction and I think it would appeal to a large publishing house like Random House. Who should I pick for my critique?
A: Most of large publishers don't accept unsolicited manuscripts. By unsolicited, I mean non-agented. They prefer your agent send your manuscript to them. It's not a bad idea to meet one of their editors because it's a unique opportunity to introduce them to your work. If your work is polished and revised to the point that it's sellable, this is one viable option. Keep in mind, though, most editors representing large houses prefer to work with agented writers. For most writers in this spot, it's likely best to meet with an agent. Agents often work with the writers they represent to make a manuscript ready for the editor's eye. If you think you've got a great story, but it needs some revision, you might want to consider meeting with an agent.
Q: I have no idea where my manuscript would fit into the market. It needs a lot of work---especially when it comes to craft. Who should I meet with?
Q: I intend to sell my book to a small press. Who should I choose?
A: Most small presses will accept unsolicited manuscripts. Since you likely don't need an agent to work with these publishers, consider meeting directly with an editor or publisher from a small press. It's always a good idea, whether you're coming to the SCWW conference or another one, to check out the publishers website before you pick them for your critique. Make sure your work fits into the parameters of what they publish.
Q: My book is commercial fiction and I think it would appeal to a large publishing house like Random House. Who should I pick for my critique?
A: Most of large publishers don't accept unsolicited manuscripts. By unsolicited, I mean non-agented. They prefer your agent send your manuscript to them. It's not a bad idea to meet one of their editors because it's a unique opportunity to introduce them to your work. If your work is polished and revised to the point that it's sellable, this is one viable option. Keep in mind, though, most editors representing large houses prefer to work with agented writers. For most writers in this spot, it's likely best to meet with an agent. Agents often work with the writers they represent to make a manuscript ready for the editor's eye. If you think you've got a great story, but it needs some revision, you might want to consider meeting with an agent.
Q: I have no idea where my manuscript would fit into the market. It needs a lot of work---especially when it comes to craft. Who should I meet with?
A. It might be best to schedule a meeting with an editor because he/she can tell you what is and isn't marketable about your manuscript and what flaws or bad habits that need to be addressed.
I hope this helps. A little. It's a big pond out there and you need to make good decisions at each step of your writing career. Thinking honestly about your work---where you are, what you're willing to commit to writing, and how far you have to go to make your work publishable---will insure you get the most for your money when it comes to choosing a faculty member for your critique.
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