Publishing Pulse: 6/01/2012

Success Stories


Congratulations and best of luck to our latest QT success stories:

Stephanie Diaz and Michelle Painchaud


Publishing and Writing Links Around the Web


Agent Kristin Nelson tackles a genre that the editors she talked to are seeing a lot of, and wished they weren't.

On Galleycat, author David Thorne makes a case for self-publishing.

Writers in the Storm posted an excellent article on figuring out what your publishing goals are and acting accordingly.


With e-books gaining more popularity, why it makes sense to bundle e-book and print editions of the same book via Future eBook.

Also from Future eBook, Agent Orange gives authors an inside look on how acquisitions works at some houses and why it takes so long for editors to acquire books.

An interview with Stephenie Meyer via Galleycat about her thoughts on 50 Shades of Gray and fan fiction.

Author/editor Chuck Sambuchino has a break down of different types of writers' conferences and how you can figure out which ones are right for you.

Author Patricia C. Wrede discusses whether to preach or not to preach when you're writing a book and why her solid answer is, "It depends."

Have a great weekend!

Danyelle Leafty| @danyelleleafty writes YA and MG fantasy. She is the author of The Fairy Godmother Dilemma series (Catspell, Firespell, and Applespell), and can be found on her blog. She can also be found on Wattpad.

Publishing Pulse: 6/10/2011

Reminder

Summer is rapidly approaching, which means the publishing industry slows down and some agents close their doors to queries. Make sure you check the agent’s website before submitting during the next few months to make sure your query won’t be automatically deleted. Also plan to wait longer than usual to hear back from an agent.

Querying

If you’re new to querying, or will be jumping into the querying ring for the first time at some point, you’ll want to read author (and former literary agent) Nathan Bransford’s post on rejections.

Agent Jessica Faust explained why it’s important that an agent is passionate about your book when she offers representation.

Realities of Publishing

You’ve landed an agent and she sells your book on auction to a major publisher. Check out author Kirsten Hubbard’s post on the realities of being a midlist, debut author. 

Industry News

Although bidders are emerging to buy Borders, the company announced this week that up to fifty-one additional stores may need to be closed in the next few weeks.

Conference News

If you’re a writer of thrillers, ThrillFest is the place you’ll want to be next month. It takes place July 6-9 in New York City. Just days after the sold out Romance of America national conference ends.

If you’re going to pitching at an upcoming conference, check out these pitching tips.

Have a great weekend everyone!

Stina Lindenblatt writes romantic suspense and young adults novels. In her spare time, she’s a photographer and blogging addict, and can be found hanging out on her blog, Seeing Creative.

Publishing Pulse: 3/11/11

Agent Success Stories

Congrats to our four success stories this week.

Kristine Carlson Asselin  

Kathy Bradey   

Veronica Canfield   

David Kazzie    

Agent Related Advice

Assistant agent Natalie Fischer talked about when the client/agent relationship doesn’t work anymore.

E-books

Nathan Bransford explained this week why some ebooks cost more hardcover.

Pimp My Novel talked about five things to know about the e-evolution.

Writer Conferences

Are you going to any upcoming writer conferences? Agent Janet Reid shared some advice about the benefits of attending conferences and what you shouldn’t do after attending one.

Agent Jessica Faust has some tips on how to pitch successfully at conferences.

Conference Handouts for Free

Check out this listing of free handouts from the RWA (Romance Writers of America) annual conferences. You don’t have to be a romance writer to appreciate many of the handouts, which include topics on craft and promotion.

Free Online Conference

And if you haven’t already heard, the 2011 WriteOnCon dates are now out. Mark off your calendars for August 16-18^th.  You don't want to miss out on the awesome event.

YA Fiction and Teen Opinions

Agent Mary Kole discussed the hierarchy of publishing opinions when it comes to YA novels.

Turning Your Book Into A Movie

Agent Rachelle Gardner talked about in the Hollywood side of the book deal (parts one and two).

 Hope you all have a great weekend!

Stina Lindenblatt writes romantic suspense and young adults novels. In her spare time, she’s a photographer and blogging addict, and can be found hanging out on her blog, Seeing Creative.  

Pathway to Becoming a Bestselling Author

Now that the New Year is rapidly approaching, it’s a perfect time to discuss writing goals for 2011. What you want to accomplish next year may be dependent on where you are on the above pathway to becoming a bestselling novelist (or one with a loyal and growing fan base).

Newbie Writer

So you want to write a novel (or have already started one). Congratulations! The first thing you need to figure out is WHY you want to be a writer. Is it because you want to be the next Stephen King or J.K. Rowling? If so, quit now. You’re doing it for the wrong reasons. But if you want to be a writer because you hope to write stories that might one day be published and make a difference in someone’s life or entertain your readers, then welcome to the club. But before you join us, there’re some things you need to do:

• Read Read Read in the genre you want to write. If you woke up this morning and decided to become a YA writer, then you’ve got a lot of homework ahead of you. Same deal if you want to write a medical thriller and have never read one before. Of course, in this case, you might want to consider attending medical school first (or law school if you want to write a legal thriller).
• Read outside your genre. You might get some brilliant ideas for your story. Plus, you might discover a genre you never thought about writing before.
• Study nonfiction books on writing.
• Read blogs. A lot of writers are delighted to share their knowledge and writing tips in bite-sized pieces. This makes it easier for you to remember the pointers when writing and editing your novel.
• Analyze the writing of your favorite authors and see how it can improve your writing.
• Join a critique group or find some knowledgeable beta readers.
• Learn to research. Most novels require research, even if it’s just to make sure your characters aren’t stereotypes.
• Attend conferences. They’re a great learning and networking experience.

Querying Writer

You’ve written your novel and done numerous revisions based on feedback from your critique partners and beta readers. You’ve polished your novel until it shines, and have given it some much needed distance. Now you’re ready to query.

• Learn how to write a query and how not to write one. Many queries are rejected because writers did those things that irritate agents and editors the most. Don’t be one of these writers.
• Research agents. Don’t waste your time and theirs by querying the wrong agents.
• Write a query and have it critted by your critique group and by people who don’t know the story. And don’t forget to make sure it has voice. If it doesn’t, the agent might think your novel lacks voice, too. (Hint: It needs to be in the same voice as in your novel. Believe it or not, this mistake does happen.)
• If you’re just getting form rejections, go back and redo the previous three points.If agents are rejecting requested materials, figure out why. IF you’re lucky, they might give you a hint. For example, if an agent mentions the characterization wasn’t as strong as she would like, now’s the time to study some books on characterization.
• Start working on a new project. I can’t stress this one enough.
• Consider trying out a different genre. Maybe you aren’t cut out to write legal thrillers, but discover you can write a kickass romantic suspense.
• Attend conferences.

Agented Writer

Congratulations, you’re getting closer to your goal of publication, but you’re not there yet. When you consider how many agents represent your genre and how many editors are looking for it, well, the odds aren’t great in your favor of your book being sold.

• Keep reading books in and out of your genre.
• Continue to develop your craft. Just because you’re agented, it doesn’t mean you can stop learning and challenging yourself to do better.
• Start working on a new project so if your current book doesn’t sell, you’ll have something new for your agent.
• If your manuscript is only collecting rejections, study the reasons behind them. Unlike agents, many editors do provide some feedback as to why they rejected the book. See this as an opportunity to improve that area of your writing (if that was the reason for the rejections), especially if they’re consistent. Remember, your goal is to be a professional one day (i.e. make money from your stories). And professionals (physicians, accountants, lawyers) are always learning. It never stops. Which brings me to the next point.
• Attend conferences.

Published Author

Wow, you did it. You’ve made it to a place a lot of writers dream about. Of course, you still have a lot of work to do. You have to promote the book (which I’m not going to go into here) and write a new one. But just because yours is published doesn’t mean you can stop challenging yourself and pushing your writing to the next level. Keep studying those books on writing and attend conferences. Unless you’re an award winning author (I’m talking the major literary awards), you probably still have room to grow. Don’t be the foolish author who assumes he knows everything.

Bestselling Author

Okay, I know no bestselling authors are reading this, but hopefully you keep this advice in mind if you ever get to this point. Your fans might be forgiving, but that can only take you so far. If you start to ignore the rules, it might not necessarily work in your favor (though sometimes it can). How many of you have stopped reading books by your favorite author because the writing just isn’t there anymore? The writer has become lazy. Once your fans drop you, you have to work even harder to get them back—if you ever can. That’s why I consider the pathway to being a bestseller (or a much admired author) a two-way circle. It is possible to move backwards and not just forwards. Also, your first published novel might have been a bestseller, but it was mostly because of hype. Your next novel might not do as well if readers where disappointed with the last one.

Remember, no matter where you are on the pathway, you should never stop learning and challenging yourself to do better. Your readers will thank you for it. So where are you on the pathway, and what are you planning to do next year to help you meet your goal of being published (or keep being published)?

(Note: Because of the limitations of my graphics program, this graph is slightly misleading. Only under very rare instances could a newbie writer skip the querying step and go straight to being a bestselling author. And a writer’s first book might be a bestseller (i.e. they skipped the part about developing a fan base over a period of several books), but I couldn’t show that in my graph. Also, you might be published by a small pressed before landing an agent for your next book.)

Stina Lindenblatt writes romantic suspense and young adults novels. In her spare time, she’s a photographer and blogging addict, and can be found hanging out on her blog, Seeing Creative.  

Conference Etiquette Revisited

Writing forums are full of questions about conferences right now, so I tweaked and reposted this entry from last year.

It's conference season again. Whether you're in the middle of your project or have published your fifth book, attending a well-run, reputable writers' conference can be beneficial. Conferences offer networking opportunities as well as educational workshops. In most cases, the person who stands to benefit the most from a conference is the unpublished author in the query stage. Conferences can give writers access to agents who are not accepting queries except by referral or personal contact.

Now, I love conferences. I look forward to networking and am comfortable in group settings both large and small. Having performed on stage and been a teacher to 150 high school students a day, pitching my novel in person or talking to someone I don't know doesn't faze me. I get nervous, of course, but it provides a positive energy and I enjoy it. That doesn't mean I'm always good at it--it just means I'm more at ease than some. The idea of meeting the Great and Terrible Oz that is the literary agent face-to-face is terrifying for some writers. So terrifying, it ruins the whole conference for them and they end up spending hundreds of dollars for nothing more than a bad case of freak-out.

As with most things, the best way to succeed at a conference is do your research, be prepared, and be professional.

Do Your Research

Find out which agents and editors will be at the conference in advance. Many conferences allow for a brief one-on-one pitch session with an agent or editor of your choice. Research every agent or editor on the list and see if they represent the type of books you write. I know this is obvious, but if an agent only represents children's books, don't schedule a pitch session with her for your Vietnam vet memoir. You are wasting everyone's time. I saw this happen at the last conference I attended, and when the agent asked the writer why he was pitching a genre she didn't represent, he replied that he had registered late and she was the only agent that still had a slot open. If that's the case, let the session go and register earlier next time. All's not lost if you don't get to pitch to your first choice. In most cases, you'll have the opportunity to talk with the agent you prefer sometime during the conference whether it be at a meal or in the bar.

Research the workshops and speakers. Pick the ones that are most relevant to your genre and stage in the publishing process. Most conference coordinators post workshop information on the host website well in advance of the conference. If you have questions, email or call the listed contact for the conference ahead of time, rather than try to hunt her down at registration. Registration for larger conferences is like a trip into one of Dante's inner rings of Hell for some of these coordinators; the last thing they need is a question about which workshop would be more beneficial for you while they are trying to track down someone's AWOL registration paperwork or placate an irate attendee who wants blood for not getting her first choice of agents to pitch.

Be Prepared

Approach the writers' conference as if it were a job interview. If you're looking to catch the eye of an editor or agent at the conference, the number one thing you need to do is prepare a pitch. For a conference, I recommend having two versions ready. One would be the 30 second to 1 minute pitch to deliver at your pitch session. The other would be the one sentence pitch. You will use the one sentence pitch a lot. At most conferences, it is easy to engage agents and editors in conversation in social settings. You'll be surprised how many times someone will ask, "what is your book about?" Nobody wants to hear a writer launch into a 5 minute oration on her masterwork. If the one sentence pitch is effective, the writer will usually be asked to reveal more about the book. This makes for natural discourse rather than a memorized speech. If you don't have a brief oral pitch for your project, check out One Line Pitches (by agent Joanna Stampfel-Volpe) and Elevator Pitches.

Questions that most first time conferees have are: "What do I wear," and "What do I take?"

What you wear is a matter of personal taste. Most conferences consist of long days. 10 hours in heels is not a feasible option for me. Uncomfortable suit is out. As long as you look nice and are not wearing shorts or jeans with holes in them, you'll be fine. It's not a Sunday finest affair. Be yourself. Be professional.

Even though you will receive a goodie bag when you sign in at most conferences that includes a pen and paper along with promotional material, you should bring your own pen and paper so you can take notes during workshops or write down other authors' email addresses or websites.

If possible, bring business cards. I know this might feel pretentious if you don't already have them, but a simple card with your name and contact info is enough. You can get cards printed for very little money online. Some companies print them cheaper than you can print them yourself on Avery forms. If you don't have the time, money or inclination to print business cards, that's okay. I've had writers hand me a pre-printed slip of paper with their contact information on it. I rarely hand my card to an agent or editor at a conference. I use them to network with other writers.

If for nothing more than your own peace of mind, bring a copy of your synopsis, your first three chapters, and a copy of the complete manuscript. Chances are, you won't need these, but on the remote possibility you wow an agent on the first day of a three or four day conference to the point they want to read your work right away, it's good to be prepared. This happened at the last conference I attended and the writer was offered representation before the conference was over.

Be Professional

I think this one is the most important of all. Conference etiquette is pretty much the application of good manners and common sense. Be polite and aware of what is going on around you.

Be courteous during workshops and presentations. People pay a lot of money to attend these events. Agents, editors and authors take time off to teach the workshops. Turn off your cell phones and don't talk to the people around you during the presentation. It's better not to take notes on your laptop during workshops--it's noisy and distracting. Use paper and pen. Some workshop settings are okay for computers, like ones where writing is part of the curriculum, but there is nothing more annoying than listening to "tap, tappity tap" the entire workshop. Wait, yes there is! More annoying than the laptop tapping and whirring is someone munching chips right next to you. Workshops rarely exceed an hour. Go to the bathroom first. Eat your snack at another time. Talk on the phone and listen to music on your own time. Chat with fellow writers between sessions.

No agent stalking. None.

The agents usually go out of their way to make themselves accessible. Be respectful and pitch to them at appropriate times. If you are in the bathroom together, do not pitch your project. Do not follow them onto the elevator and corner them. It's called an elevator pitch, but refrain from using it there. You might think I'm going overboard with all this obvious blather, but look around at the next conference you attend. It happens all the time.

If a group of agents and editors are having a conversation, don't go up and interrupt. Sure, agents attend conferences in search of new clients, but honestly, they also do it to network. They get to talk to other people in the industry they don't see while doing their everyday job as an agent. They are there to make contacts too. Writers are not the only ones with agendas.

Some conferences have dinners or meals. Often, an agent will sit at a table with writers. This is a good time to mention your project if it appears the agent is receptive. They expect to be wooed at these meals. Do not usurp the conversation. Let the other writers talk. You want to be charming, not pushy. Ask industry questions. Intelligent questions. As long as you do not get personal, you can ask the agent things about himself/herself. Pets, favorite books. Think of some things you want to know ahead of time so that you come away enlightened even if the agent has no interest in your project.

Do NOT try to hand your manuscript to agents during a conference. Now, I know I said it was prudent to have a copy just in case. If you bring it for a "just in case" situation, leave it in your hotel room or car. An agent does not want to lug a hard copy of your manuscript through the airport. She will ask you to email your submission or snail mail it to her office if she is interested. I have a clever friend who put her manuscript on a usb drive and attached a laminated tag with her contact information and title/genre on it with the thought that if an agent wanted to read it on the return plane trip home on a laptop, this would be a good thing.

Conferences are a blast for me, but are not some people's scene. I certainly understand that. If it is a miserable, stressful experience, it is not worth the money, time or energy. But if you are going to put the time and money into attending a conference, do your research, be prepared and be professional.

All conferences are different. If you have any questions or anything to add regarding your own conference experiences or funny stories stemming from conferences, I'd love it if you'd comment below.

Have a great week!

Mary

Publishing Pulse: 4/23/2010

Enter Our Agent-Judged Contest!


The QueryTracker Blog is hosting another Agent-Judged Contest! 


Who: Chris Richman of Upstart Crow Literary wants to read your one-sentence pitch. 


When: The contest will open this coming Tuesday, April 27, 2010 at 6:00 a.m. EST and will remain open for 24 hrs -- the brave Mr. Richman is not capping entries!


Genres: Mr. Richman is looking for Middle Grade and Young Adult ONLY.


What to submit: 25 word (or less) one-sentence pitch.

• You must be a follower of the QTblog to enter.
• You must be a member of QueryTracker.net (membership is free)

Conferences

We're coming up on conference season!  Here are just a few highlights (none of which are intended to suggest we endorse a particular workshop over another -- they're just to whet your appetite).  You can find more conferences on Shaw Guides.

The May Backspace Writers Conference is held in NYC and still has some spots open.  The conference will be hosting a plethora of agents, authors, editors, and publishing professionals (see the conference site for more details).

The 70th Indiana University Writer's Conference is coming up in June and includes faculty-led workshops on fiction, poetry, and creative nonfiction.

The 25th Annual Antioch Writers' Workshop near Dayton, Ohio is coming up in July for writers of fiction, creative non-fiction, poetry, and memoir, and welcomes beginning, intermediate, and advanced writers.

The Southern California Writers' Conference is held in September in San Diego, LA, and Palm Springs.  Talk about not being able to go wrong when it comes to location!

Editorial Ass blogged about the Sirens festival, an October conference in Vail, Colorado about women in fantasy literature.  Sounds exciting!

Around the Internet

According to writing coach Daphne Gray-Grant, the ability to tell stories in your nonfiction writing makes it "sticky, concrete, and memorable."  Read more on Quips and Tips for Successful Writers.

The Blood-Red Pencil has a great piece explaining the hows and whys of what good dialogue is not: Dialogue is Not Necessarily How We Talk.

Jane Friedman talks about how technology like the Kindle, iPhone, and yes, the iPad, are impacting writers.

Rachelle Gardner and her blog readers tackle the question: Should Writing Be Fun?

Guide to Literary Agents helps you decide whether (and how) to Collaborate With a Co-Writer.

Have You Been Yet?

Okay, so I'm going to delve into writing conferences today. This is not the first time we've discussed these blessed events on the blog. Oh no. Mary expounded on why she goes to conferences here. And then she gave some excellent advice on etiquette at a conference here. Both are worth your time.

Since I'm literally hours away from being on "the other side of the desk" at a writers' conference, I thought it would be a great time to revisit the topic.

I'm going to give you some tips as I prepare to not only attend classes at a conference, but PRESENT at one too. Tips from both sides, I suppose you could say.

As a (terrified) presenter, here's what I'm hoping each attendee will do--and what I try to do when I attend classes/workshops:

Learn one new thing in each class/workshop. Attitude is everything, and if you go into a class just expecting to learn one new thing, you'll be surprised by how much you hear.

Listen, don't write. I know, I know. This goes against everything I stand for too. I mean, we're writers, right? We write stuff down. But instead of writing every. single. thing. someone says, listen and interact with them. Make eye contact. Just absorb what they're saying, then write it in your own words, if you must.

Eat, talk, laugh. I found my critique group by eavesdropping on two people talking in the lunch line. I'm actually pretty embarrassed to admit that, but I'm also proud that I said something because those ladies are awesome. So converse. Smile. With the attendees and the presenters--after all, they're people too!

Be prepared. If you've signed up for pitches with editors/agents, be ready. Class/workshop schedules are usually online way in advance. Choose the classes you want to attend and prepare intelligent questions. And don't forget the chocolate. That's important too.

So, have you attended a writing conference before? What did you like? What did you wish were different/better? I seriously can't wait for Friday morning, even though I have to be somewhere at 6:30 AM. Because there's nothing better than hanging out with writers. And that alone is enough to attend a writing conference. So have you been yet?

Interview with Mystery Author Roberta Isleib

Today we are lucky enough to be joined by clinical psychologist Roberta Isleib, the author of eight mysteries published by Berkley Prime Crime--most recently ASKING FOR MURDER.

As you all know, my (Carolyn's) "thing" is helping writers get the psychology right in their stories, and I cheered all the way through Roberta's Advice Column Mysteries.  Not only are they a great read with wonderfully engaging characters, they're also the best example I've ever seen of psychology wrapped so beautifully (and accurately!) into a series. Put her novels on your Do Not Miss reading list!

Roberta's books and stories have been short-listed for Agatha, Anthony, and Macavity awards. She is the past president of National Sisters in Crime and is presently serving as the chair of the Edgar best novel committee for Mystery Writers of America.

QueryTracker Blog: How did you start writing?

ROBERTA: I’ve been a student for so many years (Ph.D in clinical psychology) that I should say I’ve always written. But I started writing articles about the psychology of golf in the mid-nineties, as a way to try to make use of the time I spent learning to play golf (too much—you can’t imagine.) Then, because I’ve always read and loved mysteries, I began a story about a neurotic professional golfer wannabe who became a murder suspect while trying to make it onto the Ladies golf tour. Hence, the Cassie Burdette golf mystery series was born.

QT: Please tell us about your road to publication.

ROBERTA: Since I knew no one in the business, I studied books on publishing like Elizabeth Lyon’s The Sell Your Novel Toolkit and Jeff Herman’s Writer’s Guide to Book Editors, Publishers, and Literary Agents.

I made huge charts of agents who had interests like mine (mystery, sports, psychology), or who had some feature in their personal background that made me think we might connect, or who had sold books with some similarity to mine. I attended mystery conventions (Bouchercon, Malice Domestic, and Left Coast Crime) and talked with people there about the publishing process. And I sent out almost thirty queries over a year with no success.

One day, I dragged myself into New York City for an International Women’s Writers Guild “Meet the Agents” panel. One hundred and fifty wannabe writers crowded the hall to hear nine agents speak about their areas of interest. Then we rushed to the front of the room to give our two minute pitches to the agent we felt most closely matched our interests. The agent I chose asked for a three-week exclusive look at my manuscript. I sent it off. Two weeks later she called with the news that a second agent had seen the manuscript on her desk, read it, and wanted to represent me. Hurray! She’s been my agent ever since. (Paige Wheeler of Folio Literary Management.)

QT: You have two ongoing series. The Golf Lover's Mystery series features Cassie Burdette and the Advice Column Mystery series features psychologist Rebecca Butterman. Could you tell us a bit about each series and what inspired you to write them?

ROBERTA: There were five books in the golf lovers’ series, all featuring Cassie Burdette and her sports psychologist sidekick. I had so much fun researching those—had the chance to play many wonderful golf courses and meet pro golfers and others in the golf world. After five books, Berkley asked to see another idea and I so I created Dr. Rebecca Butterman, clinical psychologist and advice columnist. ASKING FOR MURDER is the latest in that series, which takes place in the town next to me on the Connecticut shoreline. I find the work of a psychotherapist to be very similar to that of a detective—so this path turned out to be a natural progression!

QT: What are you working on now?

ROBERTA: I’m finishing a new standalone suspense novel with the working title “Married Seeking Married.” It goes like this: Just after hearing that her husband has left her for another woman, Mirabelle Conti finds a business card on the bulletin board in a local coffee shop: Married Seeking Married. Reacting from grief and anger, she contacts the card owner to try to understand her husband’s desertion and ends up a suspect in a suburban prostitution ring.

I will be sending it off to my agent soon and if every one of your readers crosses their fingers, maybe she’ll sell it quickly!

QT: What is the hardest/least favorite part of being a writer?

ROBERTA: The business part of writing is hard--the part I have no control over. I can produce a fabulous book, but unless the publisher really gets behind it and I have a bit of luck somewhere along the line, it's unlikely to be a commercial success. That's why I do as much as I can to promote, as long as it doesn't interfere with my writing! I want to be able to say I gave it my all without killing myself in the process.

QT: What is your favorite part about being a writer?

ROBERTA: My absolute favorite parts are seeing the books out in the world and then hearing from and meeting readers. These two things make all the agony worthwhile!

QT: Do you have a quote that motivates you?

ROBERTA: I love quotes from writers on writing. Here’s a good one that gets at the idea that you must treat this as a job, not wait for the muse to strike:

“Every morning between 9 and 12 I go to my room and sit before a piece of paper. Many times, I just sit for three hours with no ideas coming to me. But I know one thing. If an idea does come between 9 and 12 I am there ready for it.” — Flannery O'Connor

QT: What is your advice to new or unpublished writers?

ROBERTA: Okay, you asked for it!

1. MAKE A PLAN THAT INCLUDES LOTS OF LITTLE, MANAGEABLE GOALS: As I begin a book, I look ahead to the due date and figure out how many pages I’ll need to write each week in order to hand it in on time. I build in time for trips and family and time for my writers group to read and critique, and then time for me to rewrite. Then I have a page goal for each week. I write until I’ve hit the goal, sometimes even getting a little ahead. If I have an unproductive day, it just means writing a little faster later in the week to keep up.

2. HAMMER IT OUT: Get it all down, even if it's awful. You can always go back and fix things later. Anne Lamott called this “the shitty first draft”—she had it right!

3. SET YOUR SIGHTS HIGH: As a psychologist, I know the importance of having "big goals" for my subconscious to aim at. So I keep a copy of the NY Times bestseller list pasted up over my computer. Then I forget about it and work on the books word by word...

4. YOU’VE GOT TO HAVE FRIENDS: Writing can be such a lonely, discouraging business. I’ve gotten very involved with mystery organizations (Sisters in Crime and MWA,) and joined Romance Writers and Yahoo groups such as Fiction That Sells. I also have a very supportive and loyal writers group and a group blog, Jungle Red Writers. The friends I’ve met have saved my sanity and supported me endlessly along the way. I was president of national Sisters in Crime last year—a very rewarding and time-consuming experience! http://www.sistersincrime.org

5. TAKE YOUR TIME: Don’t rush off too soon to try to get your work published. This business is extremely competitive so it’s crucial to have your writing polished before sending it out. The Internet makes querying too easy—don’t press send until you’re sure the piece is the best it can be. I have lots of info on my website about agents and getting published and some of the scams writers fall for. http://www.robertaisleib.com

And meanwhile, there are lots of conferences that are attended by literary agents. It’s not a bad idea to get some face time with an agent—this personal contact could be what helps your manuscript get a serious look.

QT: Our readers are very interested in platform. What kinds of things do you do to promote your books?

ROBERTA: Right now I’m taking a little break from maniacal promotion to write. But in the past, I’ve done a lot of promoting, making use of niche markets in psychology and golf, social networking, viral marketing, book signing tours alone and with other writers, blogs and blog tours, sending out books and bookmarks, a good website…hmmm, what have I forgotten? My greatest coup was getting interviewed by Sports Illustrated about the golf mystery series in 2006.

The SI writer came to my house in Madison, CT and walked the local golf course with me (where PUTT TO DEATH was set.) A week later a pair of photographers drove out from New York and took lots of photos of me looking very fierce in the marsh where the fictional body was found. So much fun!

With promotion, you never know for sure what will work, so you’re throwing things at the wall to see what sticks. For the advice column mysteries, I consulted with Laney Becker, a very smart agent and former PR maven at my agent’s agency. She reminded me to use the advice column angle in all my publicity. So press releases were sent out in the format of an advice column and I even got Margo Howard (Ann Landers' daughter) to blurb the first book.

But I still believe the best thing a writer can do is to write an outstanding book!

Thanks so much for inviting me to stop in at Query Tracker. Hope some of this information proves to be helpful—and I’m always happy to answer questions.

Dr. Carolyn Kaufman is a clinical psychologist and professor residing in Columbus, Ohio. A published writer, she runs Archetype Writing: Psychology for Fiction Writers and an associated blog. She is often quoted by the media as an expert resource. 

Have a psychology/writing question?  Ask here (or using my email address to the right) and you may see it answered on the QueryTracker.net Blog!

Why Attend a Writers' Conference?

Recently, I was following a thread on a forum regarding writers' conferences. After some discussion about conferences, someone

asked if it was worth going if there wasn't an agent representing his/her genre.

Lots of folks answered, "no." Some even said that it was a waste of money to attend more than one conference because once you've been to one, well, you've "been there, done that."

I disagree.

Now, let me preface my dissent by saying before you plunk down a substantial chunk of cash for a conference, you should decide why you are going. Be realistic. Do you expect to walk out with an offer for your book? Offers at conferences are rare. What you need to do in addition to dreaming big is to set a reasonable goal. Is that goal worth the money?

If the only goal is to pitch an agent or editor, it's essential to research and be sure there is an agent/editor in attendance who represents your genre. Even if you don't get your first choice of pitch appointments, don't be discouraged. You'll have chances to talk to your preferred editor or agent at some point during the conference. As a general rule, agents and editors make themselves available at meals, between workshops and at the bar. Some conferences specifically schedule casual time to chat up the editors and agents, like a cocktail hour at the end of the day. You have to decide that your goal is worth the effort and find the nerve to go introduce yourself. Be sure to have your 30-second pitch ready. Informal meetings do not lend themselves to a full book description.

Now, there are plenty of other reasons to go to conferences. I attend several a year. I don't go because I want to learn what an agent does, how to query an agent, or how to write a synopsis. I'm pretty well versed on those topics, but sometimes I attend workshops on them because it's nice to have different people's takes on agent basics. You can never know everything.

I ask myself two things when I select my conferences: 1. What industry professionals are going to be there? I'm not just talking agents and editors. I'm talking published authors and other industry professionals. 2. What workshops/discussion panels are being offered?

I have a secret third criterion: Does it look like fun?

Okay. The third one is subjective. I must say though, that if you've ever attended an RWA or RWA chapter conference, you know what I'm talking about. RWA conferences are flat-out fun. Compared to the multi-genred conferences I attend, there seems to be a higher proportion of published authors who just go to sell books, hang out and have fun.

I attended an RWA chapter conference in Dallas last weekend and had a blast. The hotel internet went down so everyone hung out at the bar after the sessions were over for the day. Not only did I get to catch up with local writers who had driven up from Houston like I had, I met writers from all over the country. New friends. I loved it. I came home energized and ready to write. If you aren't a social person, this networking aspect might not appeal.

My goal for this most recent conference was simple. I attended for the express purpose of meeting other writers--especially those with extensive publishing experience. The workshops were great, but I learned more from sitting around in the bar with other writers. It's nice to come out of seclusion and socialize with other people who have been holed up behind their computers, too. Writing is a lonely job. Conferences take the sting out.

Okay. Is a big, fun, networking party worth hundreds of dollars? For me it is, but for most unpublished authors, pitching is the primary purpose of a conference. I totally get that. All I'm saying is, before you go to the next one, decide, "What's in it for me?"

I came out of this last conference with exactly what I'd hoped for: New friends, excellent connections and some killer writing tips.

I'm headed to a conference today, in fact. Alas, it's not a fun writers' conference. It's a boring legal conference. I'm going to keep hubby company. Yawn. It's okay. I'm taking my computer in the hopes of cranking out some chapters.

Have a fantastic day.

Mary

Mary Lindsey writes paranormal fiction for children and adults. Prior to attending University of Houston Law School, she received a B.A. in English Literature with a minor in Drama.

Mary can also be found on her website.

Writers' Conference Etiquette

It's conference season again.  Whether you are in the middle of your project or have published your fifth book, attending a well-run, reputable writers' conference can be beneficial.  Conferences offer networking opportunities as well as educational workshops.  In most cases, the person who stands to benefit the most from a conference is the unpublished author in the query stage.  Conferences sometimes give writers access to agents who are not accepting queries except by referral or personal contact.

Now, I love conferences.  I look forward to networking and am comfortable in group settings both large and small.  Having performed on stage and been a teacher to 150 high school students a day, pitching my novel in person or talking to someone I don't know doesn't faze me.  I get nervous, of course, but it provides a positive energy and I enjoy it.  That doesn't mean I'm always good at it--it just means I'm more at ease than some.  The idea of meeting the Great and Terrible Oz that is the literary agent face-to-face is terrifying for some writers.  So terrifying, it ruins the whole conference for them and they end up spending hundreds of dollars for nothing more than a bad case of freak out.  

As with most things, the best way to succeed at a conference is do your research, be prepared, and be professional.  

Do Your Research

Find out which agents and editors will be at the conference well in advance. Many conferences allow for a brief one-on-one pitch session with an agent or editor of your choice.  Research every agent (or editor) on the list and see if they represent the type of books you write.  I know this is obvious, but if an agent only represents children's books, do not schedule a pitch session with her for your Vietnam vet memoir.  You are wasting everyone's time.  I saw this happen at the last conference I attended, and when the agent asked the writer why he was pitching a genre she didn't represent, he replied that he had registered late and she was the only agent that still had a slot open.  If that is the case, let the session go and register earlier next time.  All is not lost if you don't get to pitch to your first choice.  In most cases, you will have ample opportunity to talk with the agent you prefer sometime during the conference whether it be at a meal or in the bar.  

Research the workshops and the speakers.  Pick the ones that are most relevant to your genre and stage in the publishing process.  Most conference coordinators post workshop information on the host website well in advance of the conference.  If you have questions, email or call the listed contact for the conference ahead of time, rather than try to hunt her down at registration.  Registration for larger conferences is like a trip into one of Dante's inner rings of hell for some of these coordinators; the last thing they need is a question about which workshop would be more beneficial for you while they are trying to track down someone's awol registration paperwork or placate an irate attendee who wants blood for not getting her first choice of agents to pitch. 

Be Prepared

Approach the writers' conference as if it were a job interview.  If you are looking to catch the eye of an editor or agent at the conference, the number one thing you need to do is prepare a pitch.  I addressed the pitch in my post, "The Elevator Pitch."  For a conference, I recommend having two versions ready.  One would be the 30 second to 1 minute pitch to deliver at your pitch session.  The other would be the one sentence pitch.  You will use the one sentence pitch a lot.  At most conferences, it is easy to engage agents and editors in conversation in social settings.  You will be surprised how many times you will be asked, "what is your book about?"  Nobody wants to hear a writer launch into a 5 minute oration on  her masterwork when this question is asked.  If the one sentence pitch is effective, the writer will usually be asked to reveal more about the book. This makes for natural discourse rather than a memorized speech.  If you do not have a prepared pitch, click here for more on this topic.  

Questions that most first time conferees have are: "What do I wear," and "What do I take?"

What you wear is a matter of personal taste.  Most conferences consist of long days.  10 hours in panty hose is not a feasible option for me.  Uncomfortable suit is out.  As long as you look nice and are not wearing shorts or jeans with holes in them, you will be fine.  It is not a Sunday finest affair.  Be yourself.  Be professional.  

Even though you will receive a goodie bag upon signing in at most conferences that includes a pen and paper amidst the plethora of promotional material, you should bring your own pen and paper so that you can take notes during workshops or write down other authors' email addresses or websites.

If possible, bring business cards.  I know this might feel pretentious if you don't already have them, but a simple card with your name and contact info is enough.  You don't need the byline, "Future NYT Bestselling Author" under your name.  You can get cards printed for very little money online.  Some companies print them cheaper than you can print them yourself on Avery forms.  If you don't have the time, money or inclination to print business cards, that's okay.  I've had writers hand me a pre-printed slip of paper with their contact information on it.  I've never handed my card to an agent or editor at a conference.  I use them to network with other writers.  

If for nothing more than your own peace of mind, bring a copy of your synopsis, your first three chapters, and a copy of the complete manuscript.  Chances are, you will not need these, but on the remote possibility you wow an agent on the first day of a three or four day conference to the point they want to read your work right away, it is good to be prepared.  This happened at the last conference I attended and the writer was offered representation before the conference was over. 

Be Professional

I think this one is the most important of all.  Conference etiquette is pretty much the application of good manners and common sense.  Be polite and aware of what is going on around you.  

Be courteous during workshops and presentations.  People pay a lot of money to attend these events.  Agents, editors and authors take time off to teach the workshops.  Turn off your cell phones and do not talk to the people around you during the presentation.  Do not take notes during workshops on your laptop--it is noisy and distracting (use paper and pen).  Some workshop settings are okay for computers, like ones where writing is part of the curriculum, but there is nothing more annoying than listening to "tap, tappity tap" the entire workshop. Wait, yes there is!  More annoying than the laptop tapping and whirring is someone munching chips right next to you.  Or how about the person with the iPod?  Teeny squeaks barely more audible than a gnat emanating from the earbuds making you fantasize about ripping the device out of the wearer's ears.  Why would a person pay for a conference and then wear an iPod through a workshop?  I wish I had asked her.  Workshops rarely exceed an hour.  Go to the bathroom first. Eat your snack at another time.  Talk on the phone and listen to music on your own time. Chat with fellow writers between sessions.  

No agent stalking.  None.  

The agents usually go out of their way to make themselves accessible.  Be respectful and pitch to them at appropriate times.  If you are in the bathroom together, do not pitch your project.  Do not follow them onto the elevator and corner them.  It's called an elevator pitch, but refrain from using it there.  You might think I'm going overboard with all this obvious blather, but look around at the next conference you attend.  It happens all the time.  

If a group of agents and editors are having a conversation, do not go up and interrupt.  Sure, agents attend conferences in search of new clients, but honestly, they also do it to network.  They get to talk to other people in the industry they don't see while doing their everyday job as an agent.  They are there to make contacts too.  Writers are not the only ones with agendas.  

Some conferences have dinners or meals.  Often, an agent will sit at a table with writers.  This is a good time to mention your project if it appears the agent is receptive.  They expect to be wooed at these meals.  Do not usurp the conversation.  Let the other writers talk.  You want to be charming, not pushy.  "Charming" and "pushy" are mutually exclusive.  Ask industry questions.  Intelligent questions.  As long as you do not get personal, you can ask the agent things about himself/herself.  Pets, favorite books. Think of some things you want to know ahead of time so that you come away enlightened even if the agent has no interest in your project.  

Do NOT try to hand your manuscript to agents during a conference.  Now, I know I said it was prudent to have a copy just in case.  If you bring it for a "just in case" situation, leave it in your hotel room or car.  An agent does not want to lug a hard copy of your manuscript through the airport.  She will ask you to email your submission or snail mail it to her office if she is interested.  I have a clever friend who put her manuscript on a usb drive and attached a laminated tag with her contact information and title/genre on it with the thought that if an agent wanted to read it on the return plane trip home on a laptop, this would be a good thing.  

Conferences are a blast for me, but are not some people's scene.  I certainly understand that.  If it is a miserable, stressful experience, it is not worth the money, time or energy.  But if you are going to put the time and money into attending a conference, do your research, be prepared and be professional.  

All conferences are different.  If you have anything to add regarding your own conference experiences or funny stories stemming from conferences, please post it in the comments below.  

Mary Lindsey writes paranormal fiction for children and adults. Prior to attending University of Houston Law School, she received a B.A. in English Literature with a minor in Drama.

Mary can also be found on her website.

The Elevator Pitch

Greater than the anxiety of sending a query letter is the knee-dissolving prospect of pitching your book face-to-face to that uber-agent.

My advice?  Be prepared! 

One of the highlights of a writers' conference is getting to meet agents in person to pitch your book.  The workshops are great and so is meeting new friends, but the pitch sessions are why most writers spend hundreds of dollars to go to conferences.  

Mistakes writers make in the pitch sessions: 1) Not being concise, 2) not being prepared, and 3) failure to read the agent.

1)  Be concise: If you are pitching to an agent at a conference, it is understood that you have a completed novel or non-fiction proposal.  The pitch should be a brief, and I mean brief, summary of your project.  You get ten minutes with the agent usually, but ten minutes is a long time to listen to someone prattle on about their book.  Really.  Put yourself in the agent's shoes.  I've heard several agents say the same thing in workshops: Keep it short and let the agent ask questions.  This way, they are engaged and can find out things about your project or you that interest them.  

2)  Be prepared:  Distill your book into a pitch well before the conference.  Don't wait until breakfast the day of the appointment.  

I spent a great deal of time at the last conference I attended watching other writers pitch.  I was amazed how many were unprepared.  Some went on and on, speaking in circles about their project while the agent looked around the room trying to stay awake.  Others had memorized an intricate and detailed five-minute summary of their book.  While some made it through with robotic precision (yawn), others became flustered and had to start over several times, like a kid reciting the Preamble to the Constitution.  The pitches that had the greatest result with agents were the ones that were brief and conversational.  Some of these writers were more at home speaking to an agent, but most of them had a natural, conversational pitches because they had spent a long time preparing and practicing the pitch.

You can have the greatest pitch ever, but if you don't practice out-loud, it will sound stiff.  Find someone to practice with.  Have them ask questions about your book.  Practice! Practice! Practice!  

3)  Read the agent.  This is the hardest part.  You are so nervous you can hardly see straight, much less read someone's body language, but you need to be aware of your audience.  

I watched while agents politely endured ten-minute monologues about projects while shifting in their chairs, covertly sneaking peeks at their watches and gazing longingly at the door.  The writers didn't even notice--they droned on and on, oblivious to the reception their pitch was receiving.  In one case, the agent tried to interrupt a writer to ask a question, and the writer was so engrossed in his recitation, he didn't notice she wanted his attention until she tapped him on the shoulder.  

The pitch is about describing your project and having a conversation about it.  There is a live person across the table from you--take advantage of that.  A full one-sided description can be done in a letter.  

Okay, so why is it called an elevator pitch?  Because it should be short enough to deliver on a standard elevator ride.  Brief.  

Everyone should have an oral pitch for their book whether they plan to pitch to an agent at a conference or not.  

I'm asked all the time what my book is about.  I have several versions of my pitch that I apply in different situations. One is about a minute long, which would be good for a conference pitch.  I have a 30-second pitch I use in situations where I am with someone who is genuinely interested in my project. Another is a one-liner I use when someone is asking to be polite or trying to make conversation.  I call it my "party" pitch.  I love my books, but most people don't want to hear me go on and on about them.  The one-liner discharges the duty on both sides.   I recommend you create one.  

Now for an example of a 30-second elevator pitch!

Jessica Verday is a fellow QTer and one of the nicest people ever.  She was kind enough to let me use her elevator pitch for her book THE HOLLOW, which is coming out in October 2009 from Simon & Schuster.

THE HOLLOW is a modern day ghost story that follows sixteen year-old Abigail Browning in her struggles to deal with the sudden death of her best friend, Kristen.  A death that people say might not have been an accident.  When Caspian, a mysterious and gorgeous stranger, shows up out of nowhere at Kristen's funeral, he encourages Abbey to look further into the situation.  

Just when Abbey feels like she might be able to deal with everything, a hidden diary makes her question everything she thought she knew about her best friend.  Torn between her grief and anger, Abbey sets out to uncover the truth behind the secrets Kristen was keeping from her.  Along the way, she'll stumble upon the buried past of her famous town and learn that some secrets are kept for a reason, when she inadvertently comes face to face with the real Legend of Sleepy Hollow.

Now, if I were an agent across the table from Jessica, I'd be asking questions at this point, wouldn't you?  The oral pitch is concise, informative and intriguing.  I want to hear more. 

Here is Jessica's "party" one-liner:  

A dead friend, an old grave, and a local Legend haunt a sixteen year-old girl.

The challenge!  I'm going to post my 30-second pitch in the comments and encourage you to do the same.  It should be under 150 words.  Jessica Verday's word-count is 149 and my pitch in the comments is 119.  Feel free to post your one-sentence pitch also.  

Seeing other pitches helps us improve our own, which is what QueryTracker.Net is all about--helping writers improve their craft and make the quest for an agent less complicated.  

Mary Lindsey writes paranormal fiction for children and adults. Prior to attending University of Houston Law School, she received a B.A. in English Literature with a minor in Drama.

Mary can also be found on her website.