Making the Most of Your Conference
by Editor Rochelle Bailey
Writing isn't a clinical, linear sort of career. On the surface it may seem as though every writer has the same goal – publication – but the specifics of that goal and the best path to reach it are unique to every individual. So when you've made the commitment to attend a writer's conference like the SCWW, how do you know how to make the conference programming and opportunities work for you?
First, be honest about where you are. Have you written part of a book, a whole book, or a whole series of books? Then be honest about where you want to go. Do you need to see your name in print on your own bookshelf, on the bookstore's shelf, or on the NY Times bestseller stand? Your answers determine the best sessions and classes for what you need right now, and what you'll look for as you progress.
If you're just getting started, stick with classes that will strengthen your writing craft. Classes on characters, plotting, conflict, and even manuscript formatting will be invaluable and help you rise above the 'doorstop' fate of so many first novels. And by fitting in a slush fest or query letter session you'll learn a lot just by listening to the feedback.
If you've been writing and submitting those manuscripts, but you keep getting rejected without a request, it's time to hone your query and synopsis skills, double check the market trends, and renew your enthusiasm with a craft session or two. Make time to tune in to other author's who've been there to see what advice you can glean from their experience.
If you've sold a book or two already, but you want to start swimming in a bigger pond or different genre, focus on promotion and marketing sessions, visit a genre or craft session, and use your time to network professionally with agents and editors.
However you decide to spend your time at a conference, always keep an open mind, a smile on your face, and your business cards handy.
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Rochelle Bailey is the acquiring editor and director of Quake, the YA division of Echelon Press. Writing as Regan Black, she is also the award winning author of the Shadows of Justice series and several short stories geared toward teen and adult readers.
Currently residing in the Lowcountry of South Carolina she balances editing and writing by managing a household of engineers of all ages and an impressive domestic zoo starring two retired greyhounds, two cats, and three quirky birds.
Showing posts with label editor. Show all posts
Showing posts with label editor. Show all posts
Are You Too Married?
A manuscript is an extension of you. In a way it's like a child---you create it, play with it, train it, and hope to share it with the world. But remember, you love your children like no one else in the world. You also love your manuscript more than anyone in the world.
You SHOULD love it, but. . .
It's easy to get too attached to your manuscript. After all, you've spent countless hours working to make it perfect. You've sacrificed time you could have spent with family and friends writing your masterpiece. You've weighed every word, deleted and reinserted the same scene several times, rewritten dialogue for weeks at a time. And now it's finished. And it's perfect. And YOU'RE NOT GOING TO CHANGE A DARN THING.
If you feel this way, you're too married to your manuscript. After you've spent months, or years, with the same story, it's impossible to see your own work. You need the advice of other writers, agents, editors. Change can be a good thing. Don't resist. Listen, weigh, and go back to your masterpiece. Usually you will see that at least a few of them are right.
When writers are too married to a manuscript, a red flag pops into the heads of publishing professionals. If you're unwilling to change a single word, a single scene break, they're going to think you're high maintenance. And you know what that means, right? In the words of my mother, "Don't throw the baby out with the bathwater." If a few changes could make the difference in whether you get published, consider making those changes. Consider listening.
Here's the disclaimer: If the suggested changes mean you have to compromise a theme or change the whole concept of the book, think long and hard before you decide.
On the other hand, if the changes are mostly window dressing, maybe you should make them. After all, it's better to improve your manuscript for your readers than to get your way.
You SHOULD love it, but. . .
It's easy to get too attached to your manuscript. After all, you've spent countless hours working to make it perfect. You've sacrificed time you could have spent with family and friends writing your masterpiece. You've weighed every word, deleted and reinserted the same scene several times, rewritten dialogue for weeks at a time. And now it's finished. And it's perfect. And YOU'RE NOT GOING TO CHANGE A DARN THING.
If you feel this way, you're too married to your manuscript. After you've spent months, or years, with the same story, it's impossible to see your own work. You need the advice of other writers, agents, editors. Change can be a good thing. Don't resist. Listen, weigh, and go back to your masterpiece. Usually you will see that at least a few of them are right.
When writers are too married to a manuscript, a red flag pops into the heads of publishing professionals. If you're unwilling to change a single word, a single scene break, they're going to think you're high maintenance. And you know what that means, right? In the words of my mother, "Don't throw the baby out with the bathwater." If a few changes could make the difference in whether you get published, consider making those changes. Consider listening.
Here's the disclaimer: If the suggested changes mean you have to compromise a theme or change the whole concept of the book, think long and hard before you decide.
On the other hand, if the changes are mostly window dressing, maybe you should make them. After all, it's better to improve your manuscript for your readers than to get your way.
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.
Pitches: Sliders, Curveballs, and The Infamous Wild Pitch, Part II
Yesterday we talked about the basics. Now onto the more advanced stuff.
What are the possible outcomes of a pitch session? Today we'll talk about the Slider, the Curveball and the Infamous Wild Pitch
1. The Slider---If you pitch to the agent or editor, they may ask for a partial or even a full manuscript. This means you've gotten them interested enough in your work to ask for more. This is a GOOD thing. It means you were professional, you had a good pitch, and they saw something they liked. If you're lucky enough to get a SLIDER, keep several things in mind.
A. Send exactly and only what the person asked for--if they want a partial, DO NOT send a full.
B. Don't hound the agent or editor during the rest of the conference. They've met with you and asked for more work. Don't ruin it by being a pest.
C. Stay professional. A request is by no means a guarantee of representation. It's important not to burn bridges. If you're successful in the business, YOU WILL see this person again.
2. The Curveball---If the agent or editor liked you work, but thought an element of it needed to be reworked or revised, or maybe you need to add or delete a character, you may feel a little overwhelmed. But remember, this too, can be a GOOD THING. It means your story was interesting enough for them to suggest changes. If you're thrown a curveball, here are a few ideas on what to do next.
A. Consider the suggested changes. Do you agree with them? Or do they make you feel you would be compromising the work? Are you committed to the changes? Take the time to make your own decision and make sure you don't commit to anything you can't deliver on.
B. Research the person's sales, acquisitions, etc. See what they like and what they don't. Maybe your match was not a good one and maybe another agent or editor would like your story just as it is.
C. Follow up. If you agree to make the changes, especially if you give a time frame, make sure you honor this. Most agents keep detailed databases of contacts with potential clients. You don't want to promise them something and then do a disappearing act. Even if it's not THE BOOK for them, you might sell them on another manuscript in the future and you don't want to ruin your chances by being unprofessional. And again, if you are successful in publishing, YOU WILL see this person again. Somewhere. I promise.
D. Don't argue with their opinion. It's their OPINION. Be gracious and accept it for what it is: constructive criticism.
3. The Infamous Wild Pitch---This category covers several possible outcomes: the agent or editor didn't like your work, you weren't prepared and/or professional, you chose to meet with someone who doesn't handle your type of book, or your story wasn't marketable. Now you think I'm going to say this is a BAD THING, right? Nope. This too is a GOOD THING. But how could it be? I mean, I crashed and burned in there. This is a HORRIBLE THING and it means I'm not good enough to ever make it. I should burn all my work and take a knitting class, right? WRONG. STOP THAT NEGATIVE THINKING! Let me tell you, now that you've calmed yourself, how this too is a GOOD THING.
A. You faced a professional, a real live bona fide agent or editor, and you survived. You realized that they're just people, too. Not fire-breathing dragons with red pens and menacing brows. And now, you know just what to expect the next time. You're not a rookie anymore. And now you'll know how to better prepare.
B. You saw things about your work that may prevent you from succeeding and now you have a chance, before you've sent out a million queries netting a million rejections, to FIX IT.
C. You've learned there is no market for your book. If your goal is to get published, this is a good thing to know. Before you spend hundreds of hours on a manuscript and then face the heartbreak of widespread rejection. This doesn't mean you have to junk the whole story. With your new outlook on marketablity, you may be able to make changes now that will make it more sellable in the future.
D. Don't give up! This is your dream, remember? And one pitch session is not the end of the world.
What are the possible outcomes of a pitch session? Today we'll talk about the Slider, the Curveball and the Infamous Wild Pitch
1. The Slider---If you pitch to the agent or editor, they may ask for a partial or even a full manuscript. This means you've gotten them interested enough in your work to ask for more. This is a GOOD thing. It means you were professional, you had a good pitch, and they saw something they liked. If you're lucky enough to get a SLIDER, keep several things in mind.
A. Send exactly and only what the person asked for--if they want a partial, DO NOT send a full.
B. Don't hound the agent or editor during the rest of the conference. They've met with you and asked for more work. Don't ruin it by being a pest.
C. Stay professional. A request is by no means a guarantee of representation. It's important not to burn bridges. If you're successful in the business, YOU WILL see this person again.
2. The Curveball---If the agent or editor liked you work, but thought an element of it needed to be reworked or revised, or maybe you need to add or delete a character, you may feel a little overwhelmed. But remember, this too, can be a GOOD THING. It means your story was interesting enough for them to suggest changes. If you're thrown a curveball, here are a few ideas on what to do next.
A. Consider the suggested changes. Do you agree with them? Or do they make you feel you would be compromising the work? Are you committed to the changes? Take the time to make your own decision and make sure you don't commit to anything you can't deliver on.
B. Research the person's sales, acquisitions, etc. See what they like and what they don't. Maybe your match was not a good one and maybe another agent or editor would like your story just as it is.
C. Follow up. If you agree to make the changes, especially if you give a time frame, make sure you honor this. Most agents keep detailed databases of contacts with potential clients. You don't want to promise them something and then do a disappearing act. Even if it's not THE BOOK for them, you might sell them on another manuscript in the future and you don't want to ruin your chances by being unprofessional. And again, if you are successful in publishing, YOU WILL see this person again. Somewhere. I promise.
D. Don't argue with their opinion. It's their OPINION. Be gracious and accept it for what it is: constructive criticism.
3. The Infamous Wild Pitch---This category covers several possible outcomes: the agent or editor didn't like your work, you weren't prepared and/or professional, you chose to meet with someone who doesn't handle your type of book, or your story wasn't marketable. Now you think I'm going to say this is a BAD THING, right? Nope. This too is a GOOD THING. But how could it be? I mean, I crashed and burned in there. This is a HORRIBLE THING and it means I'm not good enough to ever make it. I should burn all my work and take a knitting class, right? WRONG. STOP THAT NEGATIVE THINKING! Let me tell you, now that you've calmed yourself, how this too is a GOOD THING.
A. You faced a professional, a real live bona fide agent or editor, and you survived. You realized that they're just people, too. Not fire-breathing dragons with red pens and menacing brows. And now, you know just what to expect the next time. You're not a rookie anymore. And now you'll know how to better prepare.
B. You saw things about your work that may prevent you from succeeding and now you have a chance, before you've sent out a million queries netting a million rejections, to FIX IT.
C. You've learned there is no market for your book. If your goal is to get published, this is a good thing to know. Before you spend hundreds of hours on a manuscript and then face the heartbreak of widespread rejection. This doesn't mean you have to junk the whole story. With your new outlook on marketablity, you may be able to make changes now that will make it more sellable in the future.
D. Don't give up! This is your dream, remember? And one pitch session is not the end of the world.
Also, no matter what the outcome of you pitch session may be, keep in mind that there is no implied guarantee of representation or acquisition. It's simply a chance to introduce someone in the business to your work.
One of the agents who will be on our faculty in October, Scott Eagan of Greyhaus, has some great tips on effective pitching. Check out his latest "pitch blog" using the link below. I know I mentioned this yesterday, but it's worth a second mention.
http://scotteagan.blogspot.com/search/label/Pitching
Good luck to all of you in the preparation and presentation of your pitches. This may just be YOUR YEAR!
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