Quote of the Week: A Relapse of Poetry
1 day ago
Showing posts with label a day in the life. Show all posts
Showing posts with label a day in the life. Show all posts
Friday, August 26, 2011
Stormageddon
No round-up today, mes auteurs—we New Yorkers are all preparing for Hurricane Irene. We'll (hopefully) be back on Monday, and for those of you in Irene's path, stay safe and stay dry!
Wednesday, August 17, 2011
Keeping Your Butt in the Chair
This is, à mon avis, the most difficult part about writing, folks. I've been having some trouble with it lately myself, so I thought I'd dedicate a post to the subject.
• Make a list of your usual distractions. It's helpful to recognize your weaknesses before they become an issue. Do you obsessively check e-mail? Go out for a coffee? Play Farmville? Whatever it is, write it down. Being aware of it will help you stop doing it (see below).
• Block out time to write. Scheduling is half the battle, mes auteurs. Pick a time that works well for you and do your best to stick to it. If you're a morning person, 6:00 am is great; if not, maybe not so much. Be as regular in your commitment to writing as you can, even (especially) if you're not writing every day.
• Get any distractions out of your system before you sit down to write. Trying to quit all your distractions cold turkey will probably result in your caving and going back to them to blow off steam, potentially during time you'd otherwise spend writing. Play your games, check your e-mail, tweet, update Facebook. Then write. And write when you're supposed to, not just in between rounds of StarCraft.
• Take steps to prevent distractions while writing. If you can't stop checking Twitter, turn off your Internet connection. If you keep getting up to see whether the guy next door is still trimming his hedges into the shapes of Jersey Shore cast members, close your blinds. &c, &c.
• Schedule regular breaks. You're not a machine; it's just as important to know when to stop writing as it is to set a time to start. I usually take ten minutes off for every hour I set aside. If you try to write through your break and you're not seriously on a roll, you'll probably end up more prone to your usual distractions anyway.
• Reward yourself for sticking to your schedule. After you finish your hour of writing, go get that coffee. After a week of sticking to your schedule, buy yourself a new book. The more you reward yourself for a job well done, the more you'll start looking forward to that scheduled writing time you've set aside. Pavlov! He was perhaps on to something.
That's all I've got for you today, meine Autoren. How do you keep your butts in your chairs each day?
• Make a list of your usual distractions. It's helpful to recognize your weaknesses before they become an issue. Do you obsessively check e-mail? Go out for a coffee? Play Farmville? Whatever it is, write it down. Being aware of it will help you stop doing it (see below).
• Block out time to write. Scheduling is half the battle, mes auteurs. Pick a time that works well for you and do your best to stick to it. If you're a morning person, 6:00 am is great; if not, maybe not so much. Be as regular in your commitment to writing as you can, even (especially) if you're not writing every day.
• Get any distractions out of your system before you sit down to write. Trying to quit all your distractions cold turkey will probably result in your caving and going back to them to blow off steam, potentially during time you'd otherwise spend writing. Play your games, check your e-mail, tweet, update Facebook. Then write. And write when you're supposed to, not just in between rounds of StarCraft.
• Take steps to prevent distractions while writing. If you can't stop checking Twitter, turn off your Internet connection. If you keep getting up to see whether the guy next door is still trimming his hedges into the shapes of Jersey Shore cast members, close your blinds. &c, &c.
• Schedule regular breaks. You're not a machine; it's just as important to know when to stop writing as it is to set a time to start. I usually take ten minutes off for every hour I set aside. If you try to write through your break and you're not seriously on a roll, you'll probably end up more prone to your usual distractions anyway.
• Reward yourself for sticking to your schedule. After you finish your hour of writing, go get that coffee. After a week of sticking to your schedule, buy yourself a new book. The more you reward yourself for a job well done, the more you'll start looking forward to that scheduled writing time you've set aside. Pavlov! He was perhaps on to something.
That's all I've got for you today, meine Autoren. How do you keep your butts in your chairs each day?
Monday, August 15, 2011
Prithee, Inform Me: What Are You Writing?
It occurs to me, lords and ladies, that I have not asked you about what you're writing in over a year. A year! So, without further ado:
What are you writing? If you responded the last time I asked, have you finished that project? Have you secured representation, self-published, given up on that MS, started a new one? What genre, what's it about, what's going well, what are you struggling with? How many projects are you juggling at once?
To the comments!
What are you writing? If you responded the last time I asked, have you finished that project? Have you secured representation, self-published, given up on that MS, started a new one? What genre, what's it about, what's going well, what are you struggling with? How many projects are you juggling at once?
To the comments!
Monday, August 8, 2011
An Open Letter to the Industry
Dear everyone: please, please stop asking me to fax things.
The publishing industry gets made fun of enough for its technological prowess—or, really, lack thereof—as it is. Please let me scan documents and e-mail them to you rather than force me to rely on a fax machine that is, in all likelihood, older than I am.
While we're on the topic, please let me use e-mail, cloud-based services, and flash memory devices to move information from one place to another. There is no need for me to write a PowerPoint presentation to a DVD. There is no need for me to print something out so I can fax it to you (this is happening less frequently, but really, it shouldn't be happening at all). There is no need for me to print something out so I can mail it to you when I could scan and e-mail it instead.
I understand that you're used to paper. There are many purposes for which I prefer paper, too. But the transfer of time-sensitive information is not one of them.
Speaking of! What are we doing chasing news stories with physical books, folks? By the time we set up, print, and distribute the book in question (assuming it's already been written, which is a big assumption), the public interest—and therefore the opportunity to make a sale—has passed. E-books, I say, or nothing.
Not that I'm an unapologetic advocate for the e-book, but I think this particular realm of publishing is an area in which the Internet will almost always do better. Many topical books need to be electronic in order to get them out in a timely fashion.
All of this to say, then, that time is money, and the less we do things because it's the way we've always done them and the more we look toward more efficient ways to get our stories out there, the better off we'll all be.
P.S. It's been over two years since anyone asked me for anything on a floppy disk. Keep up the good work.
The publishing industry gets made fun of enough for its technological prowess—or, really, lack thereof—as it is. Please let me scan documents and e-mail them to you rather than force me to rely on a fax machine that is, in all likelihood, older than I am.
While we're on the topic, please let me use e-mail, cloud-based services, and flash memory devices to move information from one place to another. There is no need for me to write a PowerPoint presentation to a DVD. There is no need for me to print something out so I can fax it to you (this is happening less frequently, but really, it shouldn't be happening at all). There is no need for me to print something out so I can mail it to you when I could scan and e-mail it instead.
I understand that you're used to paper. There are many purposes for which I prefer paper, too. But the transfer of time-sensitive information is not one of them.
Speaking of! What are we doing chasing news stories with physical books, folks? By the time we set up, print, and distribute the book in question (assuming it's already been written, which is a big assumption), the public interest—and therefore the opportunity to make a sale—has passed. E-books, I say, or nothing.
Not that I'm an unapologetic advocate for the e-book, but I think this particular realm of publishing is an area in which the Internet will almost always do better. Many topical books need to be electronic in order to get them out in a timely fashion.
All of this to say, then, that time is money, and the less we do things because it's the way we've always done them and the more we look toward more efficient ways to get our stories out there, the better off we'll all be.
P.S. It's been over two years since anyone asked me for anything on a floppy disk. Keep up the good work.
Wednesday, July 27, 2011
License to Thrill
First! PMN turns two years old this month, mes auteurs, so please leave any and all presents in the comments. Be warned: I already own every Transformers action figure and Kurt Vonnegut novel ever produced.
(I kid. At least with regard to Transformers action figures.)
Now then, ladies and gentlebros, I'd like to revisit a topic of yore: the mfa. As I've mentioned before, there's no such thing as a license to write: while the mfa is useful as a qualification to teach creative writing at the postsecondary level, there is no academic prerequisite for writing commercially successful novels. None whatsoever.
However! If you're writing literary fiction, the mfa might not be a bad idea. First, it provides you with a community of writers who can support and provide invaluable feedback for your work; it allows you access to a network of writers, editors, and educators to which you would never have otherwise been privy; and it makes you comfortable with revising and reading your work aloud on a regular basis. I don't think the degree is necessary in any sense, and I think getting it out of boredom or as a result of the misguided belief that it will make you more attractive to agents or editors are tremendously poor choices. It does have its uses, though.
So! If you're thinking of pursuing an mfa at some point, take the following into consideration (in more or less the following order):
• Location, location, location. There's no sense in spending one to three years in an area you dislike—or potentially even hate. As great as the programs in Iowa and Michigan may be, seriously ask yourself whether you'd want to spend that much time there.
• Funding. I firmly believe that there is no reason whatsoever to go into debt for an art degree. So, if you're choosing between the slightly more prestigious school with the $100,000 price tag and the less well-known school that'll pay your way, go with the latter.
• Time commitment. Do you want to attend a less intensive studio program? An academic program that requires 40+ hours per week of preparation? A full-time program, a half-time program, a low-residency program? Keep in mind that you'll have to balance your personal and perhaps professional life with your academic existence as you earn your degree.
• Reputation. How successful are the alumni of the programs you're considering? As crass as it sounds, do the names of your schools serve as social currency in literary circles? The better known your school, the more likely you are to participate in social circles that will benefit your writing career.
• Faculty. This sounds like it would be a top priority, but in reality, faculty move from program to program on a fairly regular basis. The danger of selecting a program based on its faculty is that the poet or writer you most want to work with may be on sabbatical or may have left the institution entirely by the time you begin your studies. If a single individual is your primary criterion for attending a program, you may want to rethink your decision to enroll in said program.
So! Those are my current thoughts on the mfa. Responses, thoughts, corrections, questions, and tangents welcome in the comments!
(I kid. At least with regard to Transformers action figures.)
Now then, ladies and gentlebros, I'd like to revisit a topic of yore: the mfa. As I've mentioned before, there's no such thing as a license to write: while the mfa is useful as a qualification to teach creative writing at the postsecondary level, there is no academic prerequisite for writing commercially successful novels. None whatsoever.
However! If you're writing literary fiction, the mfa might not be a bad idea. First, it provides you with a community of writers who can support and provide invaluable feedback for your work; it allows you access to a network of writers, editors, and educators to which you would never have otherwise been privy; and it makes you comfortable with revising and reading your work aloud on a regular basis. I don't think the degree is necessary in any sense, and I think getting it out of boredom or as a result of the misguided belief that it will make you more attractive to agents or editors are tremendously poor choices. It does have its uses, though.
So! If you're thinking of pursuing an mfa at some point, take the following into consideration (in more or less the following order):
• Location, location, location. There's no sense in spending one to three years in an area you dislike—or potentially even hate. As great as the programs in Iowa and Michigan may be, seriously ask yourself whether you'd want to spend that much time there.
• Funding. I firmly believe that there is no reason whatsoever to go into debt for an art degree. So, if you're choosing between the slightly more prestigious school with the $100,000 price tag and the less well-known school that'll pay your way, go with the latter.
• Time commitment. Do you want to attend a less intensive studio program? An academic program that requires 40+ hours per week of preparation? A full-time program, a half-time program, a low-residency program? Keep in mind that you'll have to balance your personal and perhaps professional life with your academic existence as you earn your degree.
• Reputation. How successful are the alumni of the programs you're considering? As crass as it sounds, do the names of your schools serve as social currency in literary circles? The better known your school, the more likely you are to participate in social circles that will benefit your writing career.
• Faculty. This sounds like it would be a top priority, but in reality, faculty move from program to program on a fairly regular basis. The danger of selecting a program based on its faculty is that the poet or writer you most want to work with may be on sabbatical or may have left the institution entirely by the time you begin your studies. If a single individual is your primary criterion for attending a program, you may want to rethink your decision to enroll in said program.
So! Those are my current thoughts on the mfa. Responses, thoughts, corrections, questions, and tangents welcome in the comments!
Monday, July 25, 2011
Notes from the Writing Life
Summer has always been a time for me to get a lot of writing done, so I suppose that's why it's also when I tend to learn the most about the writing process.
So! Here are some things I've (re)discovered about writing over the past few weeks:
1. There's a time and a place for everything, including writing. I like tables that are supposed to be for eating—cafeteria tables, my dining room table, diner booth tables—either early in the morning or early in the evening.
2. Editing can oppose as well as complement writing. I know a lot of people who can edit as they go along, but I can't. It kills my momentum.
3. Writing is mostly practice. Practice, patience, perseverance. You make mistakes. You learn from them. You write some more. It's more about discipline and introspection than talent, though talent certainly helps.
4. Being good at one type of writing doesn't automatically make you good at the others, but it means you can learn to be. I'm a decent poet. I used to be a lousy fiction writer. I think now I'm a mediocre fiction writer. The form you practice more, the one you read more, is the one you'll get better at.
5. Trying to publish keeps you honest. It keeps you writing, it keeps you rereading your work to understand why it wasn't accepted, it keeps you humble, it keeps you hungry. I think writers who don't attempt to publish their work can very easily become complacent and many cease to improve.
6. You can always be better. I'm skeptical that individual pieces of writing can never be improved, but flat out deny that individual writers can never improve.
7. Creative writing can be taught. This doesn't mean all students will be equally capable. Nuclear physics can be taught; are all students of nuclear physics equally capable?
8. Writing is a habit. Writing every day, even if the product is sometimes—even often—terrible, is useful. I think it produces stronger long-term results than waiting for the proverbial Muse to move you.
9. Writing well is a real skill. Although I believe that many, if not most, people could write reasonably well, very few actually do. Further, I believe that most people think they're good writers because they write every day—grocery lists, e-mails, birthday cards, &c. Literacy is not equal to writing ability. Good writers are rare and should be paid well for their work.
10. Writing is work. Writing is difficult, writing takes time, writing is not always fun. If it's what you want to do above all else, you'll find a way to do it. If you don't have the patience for revision or desire to succeed or the stomach for rejection, this line of work isn't for you.
What have you recently learned about writing, mes auteurs? And/or what are the best, worst, most and least helpful pieces of advice you've ever received with regard to writing?
So! Here are some things I've (re)discovered about writing over the past few weeks:
1. There's a time and a place for everything, including writing. I like tables that are supposed to be for eating—cafeteria tables, my dining room table, diner booth tables—either early in the morning or early in the evening.
2. Editing can oppose as well as complement writing. I know a lot of people who can edit as they go along, but I can't. It kills my momentum.
3. Writing is mostly practice. Practice, patience, perseverance. You make mistakes. You learn from them. You write some more. It's more about discipline and introspection than talent, though talent certainly helps.
4. Being good at one type of writing doesn't automatically make you good at the others, but it means you can learn to be. I'm a decent poet. I used to be a lousy fiction writer. I think now I'm a mediocre fiction writer. The form you practice more, the one you read more, is the one you'll get better at.
5. Trying to publish keeps you honest. It keeps you writing, it keeps you rereading your work to understand why it wasn't accepted, it keeps you humble, it keeps you hungry. I think writers who don't attempt to publish their work can very easily become complacent and many cease to improve.
6. You can always be better. I'm skeptical that individual pieces of writing can never be improved, but flat out deny that individual writers can never improve.
7. Creative writing can be taught. This doesn't mean all students will be equally capable. Nuclear physics can be taught; are all students of nuclear physics equally capable?
8. Writing is a habit. Writing every day, even if the product is sometimes—even often—terrible, is useful. I think it produces stronger long-term results than waiting for the proverbial Muse to move you.
9. Writing well is a real skill. Although I believe that many, if not most, people could write reasonably well, very few actually do. Further, I believe that most people think they're good writers because they write every day—grocery lists, e-mails, birthday cards, &c. Literacy is not equal to writing ability. Good writers are rare and should be paid well for their work.
10. Writing is work. Writing is difficult, writing takes time, writing is not always fun. If it's what you want to do above all else, you'll find a way to do it. If you don't have the patience for revision or desire to succeed or the stomach for rejection, this line of work isn't for you.
What have you recently learned about writing, mes auteurs? And/or what are the best, worst, most and least helpful pieces of advice you've ever received with regard to writing?
Friday, July 15, 2011
Guest Post: Rotten Rejections
I stumbled upon the following gems while attempting to gather statistics (via the Internet) on what percentage of books get picked up by agents, but are never sold to publishers. I have a novel currently on submission (via my agent Weronika Janczuk), and I was (somewhat morbidly) curious about just how bad my odds of finding a publisher might be.
Wednesday, July 13, 2011
Guest Post: The Glamour Life on a Book Tour
by Wayne Arthurson
I’m riding the bus through downtown Los Angeles. It’s packed, it’s hot, I’m wearing a suit and I’ve been standing since I got on 30 minutes ago. I will stand for the entire 90 minute trip.
Why am I riding LA Transit on a book tour for my big American novel release? Because I’m paying for everything, flights, hotels, food, beer, cabs, all of it is on me. I may be one of the few Edmonton/Alberta writers with a major US book deal, but in the US, I’m unknown and untested. My publisher is paying for nothing.
Well, not really. They are paying for my LA hotel. And it’s nice. Located in posh area of Westwood, the Palomar is a funky boutique hotel with free wine in the lobby everyday from 5-7 pm.
Unfortunately, the Palomar is 20 miles from the University of Southern California, the site for the LA Times Festival of Books. To get there I took a cab. $45 dollars before tip. Which explains the bus ride back.
The festival was great. It’s more of a book fair really, with hundreds of booths selling anything related to publishing. There are some great panels featuring great writers, poets and celebrities, all of it free. But I have no time for that. I must get a book signed by Mo Willems for my daughter. It’s hot, sunny and I’m wearing a dark suit. After 75 minutes in line, I get Mo’s signature on Knuffle Bunny, Too. My pits are sticky; my pale Canadian skin is sizzling.
Fortunately, my event is in a shaded tent. It’s an hour-long signing at the Mysterious Galaxy, a San Diego Bookstore. I’m signing with Michael Koryta, 28, with seven published books already. Nice guy, but I want to kill him because of his youth and talent. I sell about 10 books, which is good, and I later meet up with LA writer/filmmaker Stephen Jay Schwartz. We met at a mystery convention in March and bonded because our main characters have addictions. He’s an actual book festival panelist and sneaks me into the green room where there is free food and soda. Nice, but a Canadian book festival would at least have free beer. Since Stephen’s from LA, I ask him about taking the bus back to my hotel.
“No one who’s anyone in LA takes the bus,” he says. “But if you have to, don’t make eye contact and watch your back because you’ll be going through some sketchy neighbourhoods.”
But the LA bus in LA is no different than an Edmonton bus, except that it’s only $1.50. Nothing weird happens.
The weird stuff comes later. After showering, eating and phoning the family, I head to the hotel bar for a beer. I missed the free wine.
News breaks on the TV. Osama bin Laden is dead. No one leaves, we wait for Obama to speak. When he does, the patrons get up from their seats and gather around the TV. The bartender turns off the Muzak. A few take cell phone photos of the TV. It’s like the first moonwalk or some other awe-inspiring historical event. No one speaks, no one cheers. There’s just a hushed silence. The bartender does not turn the music back on. I finish my beer and go back to my room, setting the alarm an hour earlier than planned because I know airport security is going to be tight tomorrow. I’m heading to Vancouver.
Wayne Arthurson’s latest detective novel, Fall From Grace, is available on Amazon and various other online locations—plus, at good old fashioned book stores. His recent book tour in Canada and the U.S. is recounted in an exclusive four-part series for GigCity. Part 1 starts in in Los Angeles. (Read: Part II, Part III, Part IV)
I’m riding the bus through downtown Los Angeles. It’s packed, it’s hot, I’m wearing a suit and I’ve been standing since I got on 30 minutes ago. I will stand for the entire 90 minute trip.
Why am I riding LA Transit on a book tour for my big American novel release? Because I’m paying for everything, flights, hotels, food, beer, cabs, all of it is on me. I may be one of the few Edmonton/Alberta writers with a major US book deal, but in the US, I’m unknown and untested. My publisher is paying for nothing.
Well, not really. They are paying for my LA hotel. And it’s nice. Located in posh area of Westwood, the Palomar is a funky boutique hotel with free wine in the lobby everyday from 5-7 pm.
Unfortunately, the Palomar is 20 miles from the University of Southern California, the site for the LA Times Festival of Books. To get there I took a cab. $45 dollars before tip. Which explains the bus ride back.
The festival was great. It’s more of a book fair really, with hundreds of booths selling anything related to publishing. There are some great panels featuring great writers, poets and celebrities, all of it free. But I have no time for that. I must get a book signed by Mo Willems for my daughter. It’s hot, sunny and I’m wearing a dark suit. After 75 minutes in line, I get Mo’s signature on Knuffle Bunny, Too. My pits are sticky; my pale Canadian skin is sizzling.
Fortunately, my event is in a shaded tent. It’s an hour-long signing at the Mysterious Galaxy, a San Diego Bookstore. I’m signing with Michael Koryta, 28, with seven published books already. Nice guy, but I want to kill him because of his youth and talent. I sell about 10 books, which is good, and I later meet up with LA writer/filmmaker Stephen Jay Schwartz. We met at a mystery convention in March and bonded because our main characters have addictions. He’s an actual book festival panelist and sneaks me into the green room where there is free food and soda. Nice, but a Canadian book festival would at least have free beer. Since Stephen’s from LA, I ask him about taking the bus back to my hotel.
“No one who’s anyone in LA takes the bus,” he says. “But if you have to, don’t make eye contact and watch your back because you’ll be going through some sketchy neighbourhoods.”
But the LA bus in LA is no different than an Edmonton bus, except that it’s only $1.50. Nothing weird happens.
The weird stuff comes later. After showering, eating and phoning the family, I head to the hotel bar for a beer. I missed the free wine.
News breaks on the TV. Osama bin Laden is dead. No one leaves, we wait for Obama to speak. When he does, the patrons get up from their seats and gather around the TV. The bartender turns off the Muzak. A few take cell phone photos of the TV. It’s like the first moonwalk or some other awe-inspiring historical event. No one speaks, no one cheers. There’s just a hushed silence. The bartender does not turn the music back on. I finish my beer and go back to my room, setting the alarm an hour earlier than planned because I know airport security is going to be tight tomorrow. I’m heading to Vancouver.
Wayne Arthurson’s latest detective novel, Fall From Grace, is available on Amazon and various other online locations—plus, at good old fashioned book stores. His recent book tour in Canada and the U.S. is recounted in an exclusive four-part series for GigCity. Part 1 starts in in Los Angeles. (Read: Part II, Part III, Part IV)
Wednesday, June 29, 2011
The Summer Slowdown
Your queries have been met with silence. Your agent has inexplicably vanished. Your editor has departed for parts unknown. What gives?
The answer: it's summer.
The publishing industry doesn't exactly go into hibernation during the summer months, but it's fair to say that business slows down substantially between Memorial Day and Labor Day. Aside from physical production, everything winds down a bit: offers from agents, acquisitions from editors, &c, &c. It's sort of the calm before the storm of the holiday season (October through December).
If you're currently submitting a manuscript, don't be surprised if it takes longer than usual to hear back. Not only is there an industry-wide downtrend in acquiring new work, but the majority of publishing professionals take vacation during the summer months, meaning that at any given time a large percentage of available staff are out of the office. Even if your agent is around, if (s)he depends on his/her assistant to filter submissions and that assistant is in Cancún for the week, you probably won't be hearing back about your novel for at least that long.
My advice? Spend the summer writing. As I've mentioned before, Iwaste spend my non-publishing, non-blogging time as a poet, and since most literary journals and magazines are affiliated with universities, they either close submissions or are much slower in responding during June, July, and August. I take this time to recharge my batteries, burn a little well-deserved vacation, and write/rewrite in preparation for the autumn submission period.
What about you, mes auteurs? Are you submitting now? If not, how are you spending your writing-related time?
The answer: it's summer.
The publishing industry doesn't exactly go into hibernation during the summer months, but it's fair to say that business slows down substantially between Memorial Day and Labor Day. Aside from physical production, everything winds down a bit: offers from agents, acquisitions from editors, &c, &c. It's sort of the calm before the storm of the holiday season (October through December).
If you're currently submitting a manuscript, don't be surprised if it takes longer than usual to hear back. Not only is there an industry-wide downtrend in acquiring new work, but the majority of publishing professionals take vacation during the summer months, meaning that at any given time a large percentage of available staff are out of the office. Even if your agent is around, if (s)he depends on his/her assistant to filter submissions and that assistant is in Cancún for the week, you probably won't be hearing back about your novel for at least that long.
My advice? Spend the summer writing. As I've mentioned before, I
What about you, mes auteurs? Are you submitting now? If not, how are you spending your writing-related time?
Monday, June 27, 2011
The Vanishing Advance
You may have been hearing about this from other publishing professionals or from fellow writers, mes auteurs, but in case you haven't heard, the average advance has declined a bit over the past couple of years. Much of my evidence for this is either proprietary or anecdotal, so hopefully there are a few literary agents or editors in the house to confirm the trend.
In case you're curious, though, there are a few reasons I think lower advances have been—and continue to be—the norm.
Belt-tightening. With forbidding economic indicators such as unemployment still high and talk of a double-dip recession floating around, editors and publishers have become much more frugal in terms of the advances they offer. Many have modified their P&Ls to reflect current sell-through and consumer habits, and decreased demand for physical books has resulted in decreased up-front cash for authors.
Publishing is a business, and we've got to try to make money on as many books as possible in order to stay in business. Speaking of physical media, another reason (à mon avis) for lower advances is:
The shift to electronic media. Because e-books don't face the same kind of supply chain/distribution challenges as physical books and are not returnable, it's easier for publishers to run P&Ls for e-books and to simply offer higher royalties than to stick with the advance model.
True, the vast majority of titles currently acquired are eventually released as concurrent physical and electronic books, but I don't think the day is long off in which a substantial section of the market will comprise e-only titles. Once that occurs, I think the idea of the advance will become even more antiquated; it's much easier to pay an author a fixed percentage of dollars earned in the more or less real-time environment of e-book sales than to bother with advances.
In fact, much (though certainly not all) of the work done by advances is obviated by the fact that:
Advertising and marketing budgets for e-books are often lower than for physical books. While a publishing house—particularly a large one—will pay the advertising and marketing costs for their lead titles, there are many midlist titles and titles published by smaller publishers for which the burden of lining up media and marketing falls squarely on the author. The advance is a way of mitigating this hardship; authors can use the money given to them by publishers to pay to promote their books (e.g. conduct book tours, create book trailers, and so on).
As advertising and marketing have become easier and cheaper—predominantly by way of social networking services like Facebook and Twitter—the cost of promoting books through these channels has necessarily also fallen. If publishers feel they can pay less money for the same commercial success from any given title, they absolutely will. Wouldn't you?
So that, dear readers, is my take on why average advances seem to be declining in this industry. It may be a relatively short-term reaction to the continuing economic uncertainty inherent in the recession, or (as I believe) a long-term reaction to the drastic changes that are occuring in the publishing industry as it transitions from physical to electronic media. Regardless of which, I think it signals an industry-wide recognition of the challenges the business is facing.
What do you think, gentle readers?
In case you're curious, though, there are a few reasons I think lower advances have been—and continue to be—the norm.
Belt-tightening. With forbidding economic indicators such as unemployment still high and talk of a double-dip recession floating around, editors and publishers have become much more frugal in terms of the advances they offer. Many have modified their P&Ls to reflect current sell-through and consumer habits, and decreased demand for physical books has resulted in decreased up-front cash for authors.
Publishing is a business, and we've got to try to make money on as many books as possible in order to stay in business. Speaking of physical media, another reason (à mon avis) for lower advances is:
The shift to electronic media. Because e-books don't face the same kind of supply chain/distribution challenges as physical books and are not returnable, it's easier for publishers to run P&Ls for e-books and to simply offer higher royalties than to stick with the advance model.
True, the vast majority of titles currently acquired are eventually released as concurrent physical and electronic books, but I don't think the day is long off in which a substantial section of the market will comprise e-only titles. Once that occurs, I think the idea of the advance will become even more antiquated; it's much easier to pay an author a fixed percentage of dollars earned in the more or less real-time environment of e-book sales than to bother with advances.
In fact, much (though certainly not all) of the work done by advances is obviated by the fact that:
Advertising and marketing budgets for e-books are often lower than for physical books. While a publishing house—particularly a large one—will pay the advertising and marketing costs for their lead titles, there are many midlist titles and titles published by smaller publishers for which the burden of lining up media and marketing falls squarely on the author. The advance is a way of mitigating this hardship; authors can use the money given to them by publishers to pay to promote their books (e.g. conduct book tours, create book trailers, and so on).
As advertising and marketing have become easier and cheaper—predominantly by way of social networking services like Facebook and Twitter—the cost of promoting books through these channels has necessarily also fallen. If publishers feel they can pay less money for the same commercial success from any given title, they absolutely will. Wouldn't you?
So that, dear readers, is my take on why average advances seem to be declining in this industry. It may be a relatively short-term reaction to the continuing economic uncertainty inherent in the recession, or (as I believe) a long-term reaction to the drastic changes that are occuring in the publishing industry as it transitions from physical to electronic media. Regardless of which, I think it signals an industry-wide recognition of the challenges the business is facing.
What do you think, gentle readers?
Monday, June 20, 2011
In Fact, I'll Commend It Again
Television for Children Ages 8 – 10
Raunchy Late Night Comedies
Science Fiction/Fantasy with a Strong Female Lead
If any of this looks familiar, we'd probably be bros in real life: these are a few of the category recommendations Netflix has recently made for me. Whether it's via Netflix, Amazon, or our friends and families, recommendation is an undeniable and potent factor in our media consumption decision-making.
Now for the book-related part of today's segment! Some books I've recently been told I absolutely must read:
The Pale King by David Foster Wallace
Mockingjay by Suzanne Collins
In the Garden of Beasts by Erik Larson
Bossypants by Tina Fey
The Alchemist by Paulo Coelho
What's been recently recommended to you, gentle readers?
Raunchy Late Night Comedies
Science Fiction/Fantasy with a Strong Female Lead
If any of this looks familiar, we'd probably be bros in real life: these are a few of the category recommendations Netflix has recently made for me. Whether it's via Netflix, Amazon, or our friends and families, recommendation is an undeniable and potent factor in our media consumption decision-making.
Now for the book-related part of today's segment! Some books I've recently been told I absolutely must read:
The Pale King by David Foster Wallace
Mockingjay by Suzanne Collins
In the Garden of Beasts by Erik Larson
Bossypants by Tina Fey
The Alchemist by Paulo Coelho
What's been recently recommended to you, gentle readers?
Wednesday, June 15, 2011
Publishing Time
I was reading an article in The New Yorker awhile back by a foreign correspondent in West Africa who introduced to me the phenomenon of "African time." This consists of a much more relaxed attitude toward scheduling, punctuality, and time in general across many African countries than is traditionally found in the United States.
In case you're curious, there is such a thing as "publishing time," and it's similar in some respects. An editor might sit on an e-mail for two weeks even though it could be answered in five minutes; an assistant might take a week to read a partial even if (s)he could reasonably get to it in an afternoon; a marketing or sales manager might take several days to post materials to an internal website even though it could probably have been done much sooner.
A lot of this is the result of the kind of prioritization and reprioritization that is endemic not only to publishing, but to any major corporate enterprise—some projects just keep getting pushed back. Some of it, however, is due to the nature of the business.
Publishing—at least in general, and at least below the very top echelons of management—is not a fast-paced business, and the sense of urgency and desire for efficiency you might find in the offices of an investment bank or law firm don't generally exist, simply because publishing doesn't generally attract the sorts of people you often find in those fields. Couple that with the overworked staff of smaller publishers and the bureaucratic red tape of the Big Six, and it's no wonder you haven't heard back about that royalty check question you posed a month ago.
Publishing professionals are not inefficient or lazy, but a combination of multitasking/prioritizing and the culture of the industry means that it may take awhile for your e-mails to be returned, your manuscript to be read, your questions to be answered. Be patient, but don't be afraid to send reminders or request something a second time if your initial query is met with a protracted silence. We're not ignoring you, I promise! We're just busy. And a little strange.
In case you're curious, there is such a thing as "publishing time," and it's similar in some respects. An editor might sit on an e-mail for two weeks even though it could be answered in five minutes; an assistant might take a week to read a partial even if (s)he could reasonably get to it in an afternoon; a marketing or sales manager might take several days to post materials to an internal website even though it could probably have been done much sooner.
A lot of this is the result of the kind of prioritization and reprioritization that is endemic not only to publishing, but to any major corporate enterprise—some projects just keep getting pushed back. Some of it, however, is due to the nature of the business.
Publishing—at least in general, and at least below the very top echelons of management—is not a fast-paced business, and the sense of urgency and desire for efficiency you might find in the offices of an investment bank or law firm don't generally exist, simply because publishing doesn't generally attract the sorts of people you often find in those fields. Couple that with the overworked staff of smaller publishers and the bureaucratic red tape of the Big Six, and it's no wonder you haven't heard back about that royalty check question you posed a month ago.
Publishing professionals are not inefficient or lazy, but a combination of multitasking/prioritizing and the culture of the industry means that it may take awhile for your e-mails to be returned, your manuscript to be read, your questions to be answered. Be patient, but don't be afraid to send reminders or request something a second time if your initial query is met with a protracted silence. We're not ignoring you, I promise! We're just busy. And a little strange.
Wednesday, June 8, 2011
Market Update
It's been awhile since I've talked about what seems to be selling, mes auteurs, so below are the five categories I've noticed particular growth in over the past few months.
Keep in mind that (1) these are based on a healthy mix of data and anecdotal evidence, and (2) these are my thoughts on what seems to be selling now, not what will necessarily be popular in a year (the earliest your book would come out, assuming it's acquired in short order).
Graphic novels. It's likely these are seeing a bump because summer is superhero movie season, but it's pretty clear that this category is up from earlier this year. And (according to BookScan) it's not just properties with movies out/forthcoming, such as Thor or Green Lantern, so if you happen to be a graphic novel type of guy or gal, this is good news for you.
YA apocalyptic fiction. This (to my mind, anyway) was probably touched off by Suzanne Collins' The Hunger Games in the same way vampire mania was touched off by Stephenie Meyer's Twilight series, but I feel like I'm seeing an awful lot of end-of-the-world scenarios (Harold Camping's failed Rapture prediction and the New Age folks' Mayan 2012 nonsense notwithstanding).
Weird diet books. I've seen everything from "only eat raw foods and if you eat a cooked vegetable you will die" to "feel free to eat your weight in bacon." Some of this is probably seasonal—while a ton of diet books come out in January, I figure there's always a beach season bump—but I feel like I've been getting an earful about Paleolithic diets, raw food diets, Mediterranean diets, and no- or low-carb diets for months.
Thrillers/horror novels. While I still firmly believe the mass market paperback is on its way out, sales appear to be holding steady in this format for thrillers and horror novels (not so much straight mysteries, for some reason). Again, it's beach season, and I imagine anyone without a Kindle is buying a stack of inexpensive paperbacks for the beach or pool.
Romance. A perennial favorite, romance is probably doing well for the same reasons as the aforementioned thrillers—it's generally inexpensive and great for beach or poolside reading. Romance readers also tend to buy repeatedly and generally buy more books per purchase than other readers, so the effect may be amplified by those kinds of consumer habits.
That's all I've got for today, cats & kittens. What books have you been hearing about/reading about/seeing everywhere lately?
Keep in mind that (1) these are based on a healthy mix of data and anecdotal evidence, and (2) these are my thoughts on what seems to be selling now, not what will necessarily be popular in a year (the earliest your book would come out, assuming it's acquired in short order).
Graphic novels. It's likely these are seeing a bump because summer is superhero movie season, but it's pretty clear that this category is up from earlier this year. And (according to BookScan) it's not just properties with movies out/forthcoming, such as Thor or Green Lantern, so if you happen to be a graphic novel type of guy or gal, this is good news for you.
YA apocalyptic fiction. This (to my mind, anyway) was probably touched off by Suzanne Collins' The Hunger Games in the same way vampire mania was touched off by Stephenie Meyer's Twilight series, but I feel like I'm seeing an awful lot of end-of-the-world scenarios (Harold Camping's failed Rapture prediction and the New Age folks' Mayan 2012 nonsense notwithstanding).
Weird diet books. I've seen everything from "only eat raw foods and if you eat a cooked vegetable you will die" to "feel free to eat your weight in bacon." Some of this is probably seasonal—while a ton of diet books come out in January, I figure there's always a beach season bump—but I feel like I've been getting an earful about Paleolithic diets, raw food diets, Mediterranean diets, and no- or low-carb diets for months.
Thrillers/horror novels. While I still firmly believe the mass market paperback is on its way out, sales appear to be holding steady in this format for thrillers and horror novels (not so much straight mysteries, for some reason). Again, it's beach season, and I imagine anyone without a Kindle is buying a stack of inexpensive paperbacks for the beach or pool.
Romance. A perennial favorite, romance is probably doing well for the same reasons as the aforementioned thrillers—it's generally inexpensive and great for beach or poolside reading. Romance readers also tend to buy repeatedly and generally buy more books per purchase than other readers, so the effect may be amplified by those kinds of consumer habits.
That's all I've got for today, cats & kittens. What books have you been hearing about/reading about/seeing everywhere lately?
Monday, May 30, 2011
Guest Post: 5 Tools to Carry in a Conspiring Universe
by Sarah Allen
Is it just me, or do you feel like every time you start a new project, the universe conspires against you to take away all the time you thought you had to work on it? You finally get started, and then you look at your calendar and realize that the next several days are a string of doctors' appointments, meetings, helping your friend move, the Hare Krishna Festival of Colors, and you wonder where your time went.
So what do you do? Being busy doesn't just happen at the beginning of projects, it happens all the time. Many of us are balancing jobs, parenting, school, and all the other things going on in our lives with our writing and writing careers. How do we balance it all?
1) Carry a notebook. That way, when you're sitting at your kid's kindergarten waiting for school to get out, you can pull out the notebook and jot down a few sentences. You can outline the next chapter of your novel while sitting in the lobby of the doctor's office.
2) Carry a book. You could fit in a good page or so while filling up the car at the gas station. To be a good writer you must be a good reader, and I imagine that sneaking bits of writing time helps your brain keep at high functionality throughout the day, just like sneaking crackers or apple slices helps move things efficiently through your digestive system. Poetry and short story collections as well as literary magazines are particularly suited for this.
3) Carry business cards. Take the time for some guerilla marketing. Sneak a card into one of the magazines on the coffee table at the doctors office. Give your card or even a copy of your book to your kid's teacher or school librarian. Whatever you think might work.
4) Carry a planner. With writing time tightly squeezed, its useful to plan ahead and know exactly when you will be able to actually sit down and write, even if it's just in ten minute chunks. And then, once you know when you'll be at your computer, while you are out and about, plan ahead and know where and how you're going to start up again when you get back. That way you will minimize the unproductive staring-at-the-screen time.
5) Carry an iPhone. Or something like it, if possible. That way you can update your blog or Facebook fan page while sitting at the lecture you didn't want to go to in the first place. Get your e-mailing and social networking done while you're on lunch break, and then when you get home and finally have your own time, you can use it for the actual writing instead of having to catch up on all the businessy-type things.
Life will still be crazy and busy, no doubt, but carrying and efficiently using these tools can help maximize your writing productivity. Are there any other tools you think might be useful?
Sarah is a 22-year-old aspiring writer working on her first novel who recently graduated as an English major from Brigham Young University in Provo, Utah. She has been published in a handful of lit magazines and blogs about her adventures and misadventures on the road to future publication. She loves Cavalier King Charles spaniels, jazz, white chocolate, and owns all 11 seasons of Frasier.
Is it just me, or do you feel like every time you start a new project, the universe conspires against you to take away all the time you thought you had to work on it? You finally get started, and then you look at your calendar and realize that the next several days are a string of doctors' appointments, meetings, helping your friend move, the Hare Krishna Festival of Colors, and you wonder where your time went.
So what do you do? Being busy doesn't just happen at the beginning of projects, it happens all the time. Many of us are balancing jobs, parenting, school, and all the other things going on in our lives with our writing and writing careers. How do we balance it all?
1) Carry a notebook. That way, when you're sitting at your kid's kindergarten waiting for school to get out, you can pull out the notebook and jot down a few sentences. You can outline the next chapter of your novel while sitting in the lobby of the doctor's office.
2) Carry a book. You could fit in a good page or so while filling up the car at the gas station. To be a good writer you must be a good reader, and I imagine that sneaking bits of writing time helps your brain keep at high functionality throughout the day, just like sneaking crackers or apple slices helps move things efficiently through your digestive system. Poetry and short story collections as well as literary magazines are particularly suited for this.
3) Carry business cards. Take the time for some guerilla marketing. Sneak a card into one of the magazines on the coffee table at the doctors office. Give your card or even a copy of your book to your kid's teacher or school librarian. Whatever you think might work.
4) Carry a planner. With writing time tightly squeezed, its useful to plan ahead and know exactly when you will be able to actually sit down and write, even if it's just in ten minute chunks. And then, once you know when you'll be at your computer, while you are out and about, plan ahead and know where and how you're going to start up again when you get back. That way you will minimize the unproductive staring-at-the-screen time.
5) Carry an iPhone. Or something like it, if possible. That way you can update your blog or Facebook fan page while sitting at the lecture you didn't want to go to in the first place. Get your e-mailing and social networking done while you're on lunch break, and then when you get home and finally have your own time, you can use it for the actual writing instead of having to catch up on all the businessy-type things.
Life will still be crazy and busy, no doubt, but carrying and efficiently using these tools can help maximize your writing productivity. Are there any other tools you think might be useful?
Sarah is a 22-year-old aspiring writer working on her first novel who recently graduated as an English major from Brigham Young University in Provo, Utah. She has been published in a handful of lit magazines and blogs about her adventures and misadventures on the road to future publication. She loves Cavalier King Charles spaniels, jazz, white chocolate, and owns all 11 seasons of Frasier.
Wednesday, May 18, 2011
Prithee, Inform Me: Summer Reading
A reminder: don't forget to submit your guest posts before midnight on Monday, May 23rd!
I know it seems like spring has only just begun, but the fact is, mes auteurs, that in a month it will officially be summer. And you know what that means: summer reading!
What are you planning to read this summer? What have you recently read that you loved? Favorite/least favorite books of 2011? Books we might have missed in 2010? Go nuts in the comments, and as the summer unfolds I'll be posting short reviews of my own summer reading selections.
Six books I'm definitely going to be reading this summer:
A Game of Thrones by George R. R. Martin. The hbo miniseries has me hooked. I've got to go back and read this.
A Visit from the Goon Squad by Jennifer Egan. I'm a sucker for a Pulitzer Prize winner, especially since hbo has the rights to this, as well!
The Cloud Corporation by Timothy Donnelly. My list wouldn't be complete without some poetry. Speaking of:
The Odyssey and The Iliad by Homer. I re-read these every summer. If you haven't read 'em, you should. The Fitzgerald translations are the best.
Why Evolution is True by Jerry Coyne. I've had my eye on this one for awhile, actually, and I think a science title will round out my summer really well.
This isn't going to be enough to fill twelve+ weeks of summer, however, so be on the lookout for additions over the next several weeks. And don't be shy about sharing your favorites in the comments!
I know it seems like spring has only just begun, but the fact is, mes auteurs, that in a month it will officially be summer. And you know what that means: summer reading!
What are you planning to read this summer? What have you recently read that you loved? Favorite/least favorite books of 2011? Books we might have missed in 2010? Go nuts in the comments, and as the summer unfolds I'll be posting short reviews of my own summer reading selections.
Six books I'm definitely going to be reading this summer:
A Game of Thrones by George R. R. Martin. The hbo miniseries has me hooked. I've got to go back and read this.
A Visit from the Goon Squad by Jennifer Egan. I'm a sucker for a Pulitzer Prize winner, especially since hbo has the rights to this, as well!
The Cloud Corporation by Timothy Donnelly. My list wouldn't be complete without some poetry. Speaking of:
The Odyssey and The Iliad by Homer. I re-read these every summer. If you haven't read 'em, you should. The Fitzgerald translations are the best.
Why Evolution is True by Jerry Coyne. I've had my eye on this one for awhile, actually, and I think a science title will round out my summer really well.
This isn't going to be enough to fill twelve+ weeks of summer, however, so be on the lookout for additions over the next several weeks. And don't be shy about sharing your favorites in the comments!
Wednesday, April 27, 2011
Better Know A Conference: BEA
Overview
This week in Better Know a Conference: BEA, or Book Expo America.
BEA is the premier American trade show for commercial book publishers. I've been to the last four conferences, and honestly, it's overwhelming: thousands of industry professionals, publishers, librarians, and members of the media congregate to network, meet authors, sign books/have books signed, attend panels, buy/trade finshed books/advance copies, and get a look at the forthcoming titles from trade publishers all across the spectrum (and country).
Everyone from the Big Six publishers to small literary houses to academic presses will be present, so there's quite literally something for everyone. This year's conference is taking place from Monday, May 23rd to Thursday, May 26th at the Jacob Javits Center in New York City.
The Pros
· BEA is the event for trade publishers in the United States, so everyone who's anyone is usually there. (Think of it as our version of the London or Frankfurt Book Fairs.) Fancy publishers, famous authors, and members of the media (now including bloggers—see below!) will be milling about, so the opportunities to meet celebrities and/or network are pretty much endless.
· This year the BlogWorld and New Media Expo will be co-locating with BEA, so attendees will be able to learn about everything from monetization to social media marketing techniques. Welcome to the publishing world of tomorrow!
· A number of concurrent events—including a day-long "DIY" panel on publishing and self-publishing for aspiring authors on Saturday, May 21st and a book blogger convention on Friday, May 27th—will round out the Expo. Will I be at said book blogger convention? You'll have to go to find out!
· For those of you writing children's books, BEA will be featuring programming by children's book professionals, including the ABA's ABC Children's Book Group and the Children's Book Council.
The Cons
· The major con: you have to have some connection to the industry to attend. BEA uses a system of badge categories—ranging in price from $80 to $310 for three-day passes—for everyone from authors to retailers. If you don't have a direct connection to the industry, you can register as a friend or family member of an attendee, so long as they've already registered and you accompany them to the conference.
· Unlike other conferences I've profiled, BEA isn't focused on up-and-coming authors or the public, but is more centered around established authors and industry insiders. This means that there are no one-on-ones with agents, no conferences with editors, and virtually no chance of showcasing your work. You might get lucky and meet an agent or editor willing to look at your mss, but the chances are pretty much zero. Leave your most recent book at home.
· As is the case with all conferences (and New York City conferences in particular), BEA is expensive. Travel, lodging, conference fees, and souvenirs could easily set you back over $1,000, even if you only stick around for the three main days of the conference (Tuesday, May 24th; Wednesday, May 25th; and Thursday, May 26th).
· BEA is enormous, extraordinarily busy, and can easily overwhelm even the stoutest heart. This is definitely not a conference for rookies (as I quickly learned at my first BEA, which was also my first book conference ever).
Some DOs and DON'Ts
· DO wear comfortable clothes, including shoes. The Javits Center is enormous (which means a lot of walking) and is relatively far from subway stations (which means a lot of walking). For a break from walking, try the author signing pavilion for a lot of standing.
Also, the end of May in New York City is usually hot and humid. Pack accordingly!
· DON'T bring manuscripts to the conference. Don't even do this at conferences that are aimed at connecting writers with agents and editors. Which BEA is not. So don't do it.
PS: Really.
· DO bring a couple of canvas or collapsible nylon bags. They'll have them at the conference, but you're going to be taking home a lot of books (even as we progress further and further into the Digital Future of Publishing). Also buttons. Oh, and bookmarks. And pens. You get the idea.
· DON'T be intimidated. Sure, there are a lot of people. Sure, none of them are going to be interested in your writing right off the bat. So what? Chat up people manning the publisher booths, befriend librarians, make small talk with a couple of authors. I've said it before and I'll say it again: you never know when a connection might come in handy.
· Lastly, DO have a game plan. There's way too much to see and do for you to see and do it all, so make sure you review the schedule of events. You don't want to miss getting a book signed by Your Favorite Author or hearing a panel presentation on That Topic You've Had Questions About Forever.
That's it for this installment, folks. Questions and suggestions in the comments!
This week in Better Know a Conference: BEA, or Book Expo America.
BEA is the premier American trade show for commercial book publishers. I've been to the last four conferences, and honestly, it's overwhelming: thousands of industry professionals, publishers, librarians, and members of the media congregate to network, meet authors, sign books/have books signed, attend panels, buy/trade finshed books/advance copies, and get a look at the forthcoming titles from trade publishers all across the spectrum (and country).
Everyone from the Big Six publishers to small literary houses to academic presses will be present, so there's quite literally something for everyone. This year's conference is taking place from Monday, May 23rd to Thursday, May 26th at the Jacob Javits Center in New York City.
The Pros
· BEA is the event for trade publishers in the United States, so everyone who's anyone is usually there. (Think of it as our version of the London or Frankfurt Book Fairs.) Fancy publishers, famous authors, and members of the media (now including bloggers—see below!) will be milling about, so the opportunities to meet celebrities and/or network are pretty much endless.
· This year the BlogWorld and New Media Expo will be co-locating with BEA, so attendees will be able to learn about everything from monetization to social media marketing techniques. Welcome to the publishing world of tomorrow!
· A number of concurrent events—including a day-long "DIY" panel on publishing and self-publishing for aspiring authors on Saturday, May 21st and a book blogger convention on Friday, May 27th—will round out the Expo. Will I be at said book blogger convention? You'll have to go to find out!
· For those of you writing children's books, BEA will be featuring programming by children's book professionals, including the ABA's ABC Children's Book Group and the Children's Book Council.
The Cons
· The major con: you have to have some connection to the industry to attend. BEA uses a system of badge categories—ranging in price from $80 to $310 for three-day passes—for everyone from authors to retailers. If you don't have a direct connection to the industry, you can register as a friend or family member of an attendee, so long as they've already registered and you accompany them to the conference.
· Unlike other conferences I've profiled, BEA isn't focused on up-and-coming authors or the public, but is more centered around established authors and industry insiders. This means that there are no one-on-ones with agents, no conferences with editors, and virtually no chance of showcasing your work. You might get lucky and meet an agent or editor willing to look at your mss, but the chances are pretty much zero. Leave your most recent book at home.
· As is the case with all conferences (and New York City conferences in particular), BEA is expensive. Travel, lodging, conference fees, and souvenirs could easily set you back over $1,000, even if you only stick around for the three main days of the conference (Tuesday, May 24th; Wednesday, May 25th; and Thursday, May 26th).
· BEA is enormous, extraordinarily busy, and can easily overwhelm even the stoutest heart. This is definitely not a conference for rookies (as I quickly learned at my first BEA, which was also my first book conference ever).
Some DOs and DON'Ts
· DO wear comfortable clothes, including shoes. The Javits Center is enormous (which means a lot of walking) and is relatively far from subway stations (which means a lot of walking). For a break from walking, try the author signing pavilion for a lot of standing.
Also, the end of May in New York City is usually hot and humid. Pack accordingly!
· DON'T bring manuscripts to the conference. Don't even do this at conferences that are aimed at connecting writers with agents and editors. Which BEA is not. So don't do it.
PS: Really.
· DO bring a couple of canvas or collapsible nylon bags. They'll have them at the conference, but you're going to be taking home a lot of books (even as we progress further and further into the Digital Future of Publishing). Also buttons. Oh, and bookmarks. And pens. You get the idea.
· DON'T be intimidated. Sure, there are a lot of people. Sure, none of them are going to be interested in your writing right off the bat. So what? Chat up people manning the publisher booths, befriend librarians, make small talk with a couple of authors. I've said it before and I'll say it again: you never know when a connection might come in handy.
· Lastly, DO have a game plan. There's way too much to see and do for you to see and do it all, so make sure you review the schedule of events. You don't want to miss getting a book signed by Your Favorite Author or hearing a panel presentation on That Topic You've Had Questions About Forever.
That's it for this installment, folks. Questions and suggestions in the comments!
Monday, April 25, 2011
How to Book a Reading
A few of you have asked me about this, mes auteurs, and since I recognize many of you are working with reduced marketing dollars/publicity attention (or are perhaps even tackling the publication process solo), I thought I'd offer a few pointers.
First of all, make sure you're really ready to read your work in front of friends, family, and strangers, and be sure you've got something to offer that will encourage various venues to host you as a reader. I think it goes without saying, but the more of an "in" you have with the owner, staff, reading organizer, &c, the less well-published or well-known you really need to be.
If, on the other hand, you want to read at Fancy New York City Lounge and you don't know any of the staff there, you'll need an impressive publishing credit or two (or a well-connected friend) to help get your foot in the door.
Next, I'd make a list of the following three types of venues:
1. Places that host readers/reading series where you have a connection with the owner(s) or staff;
2. Places that don't necessarily host readers/reading series but where you have a connection with the owner(s) or staff;
3. Places that host readers/reading series that you admire (but you have no connection with the staff).
In that order! As I've said before: after a certain point, who you know becomes much more important than what you know.
Don't limit yourself to bookstores, either (though they're a great option); cafés, bars, and community centers (your local YMCA, synagogue, community college, library, school auditorium, you name it) are also excellent options.
Once you have your list of potential venues, get in touch with them about a possible reading. A few tips on this:
· If you know the person who runs the readings/venue, give them a call! No-brainer.
· If the venue has a dedicated person who arranges these kinds of events and you're not already best bros with them, call or send a Very Professional E-mail to that person. Call during business hours; shoot an e-mail if it's very early or very late.
· If there's no dedicated contact person, call or e-mail the venue's general number/e-mail address. If you call, be prepared to be handed off to a couple of different people, especially if the place you're calling doesn't usually do readings. Don't lose heart! Or your patience.
· Be professional! If you call, be prepared to talk a little bit about yourself (assuming they ask). If you e-mail, feel free to include a short bio or a link to your website. Remember: the less well you know the venue and its staff, the more established you'll need to be to get a positive response.
· I wouldn't include any kind of sample material with the initial e-mail; most places that are interested in hosting you will ask for it, either as an electronic file (poems, short stories) or in the form of your most recent book.
And that's pretty much it! Once you've cast your net, all you need to do is wait for a response. If you don't receive one, I think it's fair to follow up in a week or two to check in.
If they say no: try again elsewhere.
If they say yes: congratulations! You're doing a reading! Here are some tips for that, courtesy of Brad Phillips.
First of all, make sure you're really ready to read your work in front of friends, family, and strangers, and be sure you've got something to offer that will encourage various venues to host you as a reader. I think it goes without saying, but the more of an "in" you have with the owner, staff, reading organizer, &c, the less well-published or well-known you really need to be.
If, on the other hand, you want to read at Fancy New York City Lounge and you don't know any of the staff there, you'll need an impressive publishing credit or two (or a well-connected friend) to help get your foot in the door.
Next, I'd make a list of the following three types of venues:
1. Places that host readers/reading series where you have a connection with the owner(s) or staff;
2. Places that don't necessarily host readers/reading series but where you have a connection with the owner(s) or staff;
3. Places that host readers/reading series that you admire (but you have no connection with the staff).
In that order! As I've said before: after a certain point, who you know becomes much more important than what you know.
Don't limit yourself to bookstores, either (though they're a great option); cafés, bars, and community centers (your local YMCA, synagogue, community college, library, school auditorium, you name it) are also excellent options.
Once you have your list of potential venues, get in touch with them about a possible reading. A few tips on this:
· If you know the person who runs the readings/venue, give them a call! No-brainer.
· If the venue has a dedicated person who arranges these kinds of events and you're not already best bros with them, call or send a Very Professional E-mail to that person. Call during business hours; shoot an e-mail if it's very early or very late.
· If there's no dedicated contact person, call or e-mail the venue's general number/e-mail address. If you call, be prepared to be handed off to a couple of different people, especially if the place you're calling doesn't usually do readings. Don't lose heart! Or your patience.
· Be professional! If you call, be prepared to talk a little bit about yourself (assuming they ask). If you e-mail, feel free to include a short bio or a link to your website. Remember: the less well you know the venue and its staff, the more established you'll need to be to get a positive response.
· I wouldn't include any kind of sample material with the initial e-mail; most places that are interested in hosting you will ask for it, either as an electronic file (poems, short stories) or in the form of your most recent book.
And that's pretty much it! Once you've cast your net, all you need to do is wait for a response. If you don't receive one, I think it's fair to follow up in a week or two to check in.
If they say no: try again elsewhere.
If they say yes: congratulations! You're doing a reading! Here are some tips for that, courtesy of Brad Phillips.
Monday, April 11, 2011
Schedule, Schedule, Schedule
If you've been reading this blog for awhile, mes auteurs, then you're familiar with my opinion that, even beyond talent and luck, a writer needs discipline in order to succeed. John Gardner once wrote: "Most of the people I've known who wanted to become writers, knowing what it meant, did become writers" (bold emphasis mine). So: what does it mean to be a writer?
· You need to create and keep a schedule. If you can only write from 6:00 am to 6:45 am on Tuesdays, guess when you're writing? Bingo: 6:00 am to 6:45 am, every Tuesday.
It can be difficult to dedicate time to writing when you feel you have very little of it, since the payoff takes so long to realize. Even writing forty-five minutes a day, however, will get you a first draft of a short novel in about a year (assuming a modest 250 words in 45 minutes x five days per week x 52 weeks per year = 65,000 words).
· You need to be disciplined. Not only do you have to carve out the time to put your butt in the chair, you have to use that time wisely. No checking e-mail, no reading webcomics, no on-line shopping. Write longhand, go somewhere without wi-fi, turn off your router if you have to. When you're writing, you're writing. Period.
This can be difficult if you work long hours or have kids to take care of, but remember: there must be some time in the day, if even only a few minutes, during which you can write. Find it, set it aside, and use it regularly.
· You need to be willing to revise. Virtually nothing comes out perfectly the first time. While it can be frustrating to write that final sentence of a first draft and realize you're not even remotely done, you can't quit and decide your first effort will have to be good enough. Find some trusted readers and get busy cutting, recasting, and expanding.
· You can't give up easily. Every writer's life is full of rejection; I don't need to bust out the tired clichés and examples for you. Your short stories will get rejected, your novels will get rejected, you may have to try a dozen times to find an agent. If you're self-publishing, you may find your first half-dozen attempts sell as many copies before settling to the bottom of Amazon's title list. If you're thin-skinned, build some calluses. If you're prone to giving up easily, this isn't the business for you.
· Maintain your relationships with other writers. If people you know are writing, submitting, and publishing, it'll keep the pressure on you to stay on top of your game. Ultimately, your own expectations and motivations will determine your success, but it helps to have other people pushing you forward, intentionally or not. Plus, as I've said, it never hurts to network. Recommendations and referrals jump-start literary careers all the time.
But! You tell me, folks: what do you do to keep yourselves motivated?
· You need to create and keep a schedule. If you can only write from 6:00 am to 6:45 am on Tuesdays, guess when you're writing? Bingo: 6:00 am to 6:45 am, every Tuesday.
It can be difficult to dedicate time to writing when you feel you have very little of it, since the payoff takes so long to realize. Even writing forty-five minutes a day, however, will get you a first draft of a short novel in about a year (assuming a modest 250 words in 45 minutes x five days per week x 52 weeks per year = 65,000 words).
· You need to be disciplined. Not only do you have to carve out the time to put your butt in the chair, you have to use that time wisely. No checking e-mail, no reading webcomics, no on-line shopping. Write longhand, go somewhere without wi-fi, turn off your router if you have to. When you're writing, you're writing. Period.
This can be difficult if you work long hours or have kids to take care of, but remember: there must be some time in the day, if even only a few minutes, during which you can write. Find it, set it aside, and use it regularly.
· You need to be willing to revise. Virtually nothing comes out perfectly the first time. While it can be frustrating to write that final sentence of a first draft and realize you're not even remotely done, you can't quit and decide your first effort will have to be good enough. Find some trusted readers and get busy cutting, recasting, and expanding.
· You can't give up easily. Every writer's life is full of rejection; I don't need to bust out the tired clichés and examples for you. Your short stories will get rejected, your novels will get rejected, you may have to try a dozen times to find an agent. If you're self-publishing, you may find your first half-dozen attempts sell as many copies before settling to the bottom of Amazon's title list. If you're thin-skinned, build some calluses. If you're prone to giving up easily, this isn't the business for you.
· Maintain your relationships with other writers. If people you know are writing, submitting, and publishing, it'll keep the pressure on you to stay on top of your game. Ultimately, your own expectations and motivations will determine your success, but it helps to have other people pushing you forward, intentionally or not. Plus, as I've said, it never hurts to network. Recommendations and referrals jump-start literary careers all the time.
But! You tell me, folks: what do you do to keep yourselves motivated?
Wednesday, April 6, 2011
Better Know A Conference: SCBWI
Overview
This week in Better Know a Conference: the SCBWI (the Society of Children's Book Writers & Illustrators).
The 2011 winter conference just occurred in New York City (January 28th through 30th), but never fear! There's a summer conference being held in Los Angeles August 5th through 8th of this year, and it's never too early to gear up for SCBWI Winter 2012 (to be held January 27th through 29th in New York City).
The Pros
· As mentioned above, there are two SCBWI national conferences per year, which means twice the number of opportunities to attend—regardless of your preferred season or coastal affiliation! (Unless you love fall and are from Kansas, in which case you can pick either one.)
While I think it's probably overkill to attend both conferences in a given year, I think it's a really good idea to switch up your choice from year to year (if you can). You'll likely meet different folks and form a more comprehensive view of the children's book market, which will help you both in terms of networking and developing new projects.
· This conference has an additional audience! Not only do you get to hang out with writers, authors, agents, editors, publishing professionals, &c, but you also get to meet and network with illustrators.
Now: I'm no expert on children's books, but from what I understand, it's the editor—not the author—who ultimately selects the illustrator(s) who will work on any given children's book project. Keep in mind, then, that you're not going to this conference to "pick" an illustrator, but it never hurts to network with them. Not only can you make some new friends, but it can help you immensely to have connections in your field (think recommendations, referrals, opportunities for collaboration, &c &c).
· There are a variety of regional events throughout the year in case you missed the last national conference or can't afford to go to the next one. With dozens of events being held in April alone and over 70 chapters in the United States (there are also international chapters!), there's bound to be something to interest you that's 1.) close to home and 2.) coming up soon.
The Cons
· As is virtually universally the case, national conferences cost a pretty penny. Registration for the winter 2011 conference ranged from $350 – $415 (depending on whether you were a member and whether you registered early), with optional pre-conference programming running an additional $200 – $225. Add to that the cost of travel and three nights' stay in New York City (over $200 per night, even with the SCBWI discounted room rate) and the whole shebang could easily set you back over $1,000.
· As mentioned above, the conference provides a great forum for authors and illustrators to meet and network. As also mentioned above, since editors generally pair authors and illustrators, it's unlikely you'll be able to use the conference as a way to find yourself an illustrator. By all means, if you really hit it off with an author/illustrator and want to pursue a side collaboration, go nuts, but don't expect to be able to sell the project to an agent or editor unless the two of you are already pretty well-known.
While I'm on the topic: for those of you who have experiences in this area, please post in the comments! I don't know as much about children's book publishing as I do about the adult side of the business.
· Because there are two conferences per year, most people will only attend one of them. Moreover, information about the subsequent conference (attending agents/editors, keynote speakers, and so on) probably won't be available while you're planning for the current one, so you'll invariably miss out on some events you'd like to attend/folks you'd like to meet. Again, switching up your venue (East Coast/West Coast) from year to year might be your best option (unless, of course, you've got the time and the cash to attend both each year).
Some DOs and DON'Ts
· DO network. It's why you're there! Don't be afraid to exchange contact information with other authors/illustrators, interested industry professionals, &c, &c.
· DON'T interrupt. Again, if you have a clear shot to briefly chat up an agent or editor, do go ahead, but don't interrupt them while they're engaged with someone else or while they're eating/otherwise occupied. It feels like a missed opportunity, I know, but trust me: it's much better to remain (temporarily) unknown than to make a bad impression.
· DO your homework. Read the SCBWI "Just Getting Started?" page, including their FAQ, as well as their official conference blog, which has invaluable information about past conferences. You can also look up the #NY11SCBWI hashtag on Twitter to review all the comments people made while they were actually in attendance.
· Finally, DON'T worry if you can't make/afford the national conference this year or next—as mentioned above, there are literally hundreds of regional events offered by the SCBWI year-round that you can take advantage of until you can go to nationals.
That's it for this installment, folks—questions and suggestions in the comments!
This week in Better Know a Conference: the SCBWI (the Society of Children's Book Writers & Illustrators).
The 2011 winter conference just occurred in New York City (January 28th through 30th), but never fear! There's a summer conference being held in Los Angeles August 5th through 8th of this year, and it's never too early to gear up for SCBWI Winter 2012 (to be held January 27th through 29th in New York City).
The Pros
· As mentioned above, there are two SCBWI national conferences per year, which means twice the number of opportunities to attend—regardless of your preferred season or coastal affiliation! (Unless you love fall and are from Kansas, in which case you can pick either one.)
While I think it's probably overkill to attend both conferences in a given year, I think it's a really good idea to switch up your choice from year to year (if you can). You'll likely meet different folks and form a more comprehensive view of the children's book market, which will help you both in terms of networking and developing new projects.
· This conference has an additional audience! Not only do you get to hang out with writers, authors, agents, editors, publishing professionals, &c, but you also get to meet and network with illustrators.
Now: I'm no expert on children's books, but from what I understand, it's the editor—not the author—who ultimately selects the illustrator(s) who will work on any given children's book project. Keep in mind, then, that you're not going to this conference to "pick" an illustrator, but it never hurts to network with them. Not only can you make some new friends, but it can help you immensely to have connections in your field (think recommendations, referrals, opportunities for collaboration, &c &c).
· There are a variety of regional events throughout the year in case you missed the last national conference or can't afford to go to the next one. With dozens of events being held in April alone and over 70 chapters in the United States (there are also international chapters!), there's bound to be something to interest you that's 1.) close to home and 2.) coming up soon.
The Cons
· As is virtually universally the case, national conferences cost a pretty penny. Registration for the winter 2011 conference ranged from $350 – $415 (depending on whether you were a member and whether you registered early), with optional pre-conference programming running an additional $200 – $225. Add to that the cost of travel and three nights' stay in New York City (over $200 per night, even with the SCBWI discounted room rate) and the whole shebang could easily set you back over $1,000.
· As mentioned above, the conference provides a great forum for authors and illustrators to meet and network. As also mentioned above, since editors generally pair authors and illustrators, it's unlikely you'll be able to use the conference as a way to find yourself an illustrator. By all means, if you really hit it off with an author/illustrator and want to pursue a side collaboration, go nuts, but don't expect to be able to sell the project to an agent or editor unless the two of you are already pretty well-known.
While I'm on the topic: for those of you who have experiences in this area, please post in the comments! I don't know as much about children's book publishing as I do about the adult side of the business.
· Because there are two conferences per year, most people will only attend one of them. Moreover, information about the subsequent conference (attending agents/editors, keynote speakers, and so on) probably won't be available while you're planning for the current one, so you'll invariably miss out on some events you'd like to attend/folks you'd like to meet. Again, switching up your venue (East Coast/West Coast) from year to year might be your best option (unless, of course, you've got the time and the cash to attend both each year).
Some DOs and DON'Ts
· DO network. It's why you're there! Don't be afraid to exchange contact information with other authors/illustrators, interested industry professionals, &c, &c.
· DON'T interrupt. Again, if you have a clear shot to briefly chat up an agent or editor, do go ahead, but don't interrupt them while they're engaged with someone else or while they're eating/otherwise occupied. It feels like a missed opportunity, I know, but trust me: it's much better to remain (temporarily) unknown than to make a bad impression.
· DO your homework. Read the SCBWI "Just Getting Started?" page, including their FAQ, as well as their official conference blog, which has invaluable information about past conferences. You can also look up the #NY11SCBWI hashtag on Twitter to review all the comments people made while they were actually in attendance.
· Finally, DON'T worry if you can't make/afford the national conference this year or next—as mentioned above, there are literally hundreds of regional events offered by the SCBWI year-round that you can take advantage of until you can go to nationals.
That's it for this installment, folks—questions and suggestions in the comments!
Monday, March 28, 2011
Better Know A Conference: RWA National
I've been reading your comments on last Wednesday's post, mes auteurs, and I'd like to kick off Better Know a Conference with a discussion of the RWA (Romance Writers of America) National Conference. (Don't worry—future installments will cover other genres, conventions/conferences of different sizes, &c, &c.)
Overview
Every summer, the Romance Writers of America host a conference in a major city for authors, fans, and industry professionals to participate in workshops, attend panel discussions, and listen to featured speakers discuss everything from their most recent novels to the state of the romance novel in today's publishing environment. The last few conferences have been held in Orlando, Washington, D.C., and San Fransisco; this year's conference is June 28th – July 1st in New York City.
The Pros
· You don't have to be a romance writer to attend, or even be a member of the RWA! (Membership dues run around $110/year.) Anyone with the cash for the registration fee can attend the conference (see below).
· Writers (published and un-) can make appointments to meet with agents and editors whose bread and butter is buying and selling romance titles. How cool is that?
· There are special events for non-authors (read: book signings), librarians, industry professionals, and so on, so even if you don't write romance novels, there will be something interesting for you to do. If you do write romance novels: you're in luck! There are workshops, receptions, and awards ceremonies galore.
· The networking opportunities are virtually endless. You'll get to meet unpublished writers, début authors, established authors, agents, editors, publicists, and more. There's no reason you should go home without having made at least one new connection.
· The RWA National Conference is HUGE. Take the time to explore as much as possible.
The Cons
· You do have to pay registration fees to attend, and non-members pay higher fees (though if you only want to go to meet authors, and not to network as an author yourself, the "Readers for Life" Literacy Autographing is free and open to the public).
As for those fees: the early member fee is $525, and non-members will have to shell out $600. After the "early" period ends in mid-May, registration fees go up.
· As you might imagine, those one-on-one sessions are hard to come by (priority goes to Golden Heart and RITA finalists), so while the networking opportunites at the conference are significant, don't expect to hang out with your dream agent/editor. My advice? Network with your fellow writers. You never know when a recommendation from a new friend might land you a contract.
· The networking opportunities are enormous because the sheer volume of people there is enormous—that is, it can be overwhelming for first-time attendees. This may not be the best romance convention for rookies to attend, and I'd recommend cutting your teeth on smaller, regional conferences before attempting this one.
· The RWA National Conference is HUGE. You can't explore all of it, so you'll have to prioritize when it comes to attending the various sessions. You'll inevitably want to attend two events that occur simultaneously, so be prepared to make some tough decisions.
Some DOs and DON'Ts
· DO be professional. Wear business casual attire (except for appointments, which are business attire, and the awards night, which is formal). That old adage of "be friendly, but not familiar" is probably not a bad idea, especially when speaking with editors or agents. That said: don't be afraid to make friends, especially with other authors/attendees! Network, network, network.
· DON'T bring your manuscript to the conference. Do you hear me? DO NOT do this. There is no chance an editor or agent will accept it at this venue. Best case scenario: you'll exchange contact information and that agent/editor will follow up with you. Most likely scenario: you send them a query after the conference and mention how great it was meeting them.
· DO have a game plan. If you don't have a semblance of an itinerary when you arrive, you'll probably miss out on a bunch of stuff you would have liked to see. Figure out what kinds of workshops, readings, panel discussions, &c you want to attend ahead of time.
· DON'T be too aggressive. It's sometimes very hard not to jump on an opportunity to network when Fancy McDreamAgent or Awesome CoolAuthorson is standing ahead of you in line for the restroom or lunch, but remember: authors, agents, and industry insiders attend these conferences chiefly to interact with each other, and they will not take kindly to being harangued or interrupted. If they're not busy and you just want to chat them up, feel free, but don't take the opportunity to pitch your book.
· DO your homework. Take the time to learn a bit about the authors who are signing, the editors making keynote addresses, &c &c. After all, you want people at this conference to take an interest in you and your work, don't you?
· DON'T forget to go sight-seeing. Yes, the conference is about romance novels and the people who write them, but it's also about getting to experience a new city. If there's a night with fewer events or an afternoon when you're relatively free, take the time to be a tourist for awhile.
· Finally, DO follow up with people you meet/exchange contact information with. Again: you never know when a connection will come in handy.
That's all for now, folks. Questions, &c in the comments!
Overview
Every summer, the Romance Writers of America host a conference in a major city for authors, fans, and industry professionals to participate in workshops, attend panel discussions, and listen to featured speakers discuss everything from their most recent novels to the state of the romance novel in today's publishing environment. The last few conferences have been held in Orlando, Washington, D.C., and San Fransisco; this year's conference is June 28th – July 1st in New York City.
The Pros
· You don't have to be a romance writer to attend, or even be a member of the RWA! (Membership dues run around $110/year.) Anyone with the cash for the registration fee can attend the conference (see below).
· Writers (published and un-) can make appointments to meet with agents and editors whose bread and butter is buying and selling romance titles. How cool is that?
· There are special events for non-authors (read: book signings), librarians, industry professionals, and so on, so even if you don't write romance novels, there will be something interesting for you to do. If you do write romance novels: you're in luck! There are workshops, receptions, and awards ceremonies galore.
· The networking opportunities are virtually endless. You'll get to meet unpublished writers, début authors, established authors, agents, editors, publicists, and more. There's no reason you should go home without having made at least one new connection.
· The RWA National Conference is HUGE. Take the time to explore as much as possible.
The Cons
· You do have to pay registration fees to attend, and non-members pay higher fees (though if you only want to go to meet authors, and not to network as an author yourself, the "Readers for Life" Literacy Autographing is free and open to the public).
As for those fees: the early member fee is $525, and non-members will have to shell out $600. After the "early" period ends in mid-May, registration fees go up.
· As you might imagine, those one-on-one sessions are hard to come by (priority goes to Golden Heart and RITA finalists), so while the networking opportunites at the conference are significant, don't expect to hang out with your dream agent/editor. My advice? Network with your fellow writers. You never know when a recommendation from a new friend might land you a contract.
· The networking opportunities are enormous because the sheer volume of people there is enormous—that is, it can be overwhelming for first-time attendees. This may not be the best romance convention for rookies to attend, and I'd recommend cutting your teeth on smaller, regional conferences before attempting this one.
· The RWA National Conference is HUGE. You can't explore all of it, so you'll have to prioritize when it comes to attending the various sessions. You'll inevitably want to attend two events that occur simultaneously, so be prepared to make some tough decisions.
Some DOs and DON'Ts
· DO be professional. Wear business casual attire (except for appointments, which are business attire, and the awards night, which is formal). That old adage of "be friendly, but not familiar" is probably not a bad idea, especially when speaking with editors or agents. That said: don't be afraid to make friends, especially with other authors/attendees! Network, network, network.
· DON'T bring your manuscript to the conference. Do you hear me? DO NOT do this. There is no chance an editor or agent will accept it at this venue. Best case scenario: you'll exchange contact information and that agent/editor will follow up with you. Most likely scenario: you send them a query after the conference and mention how great it was meeting them.
· DO have a game plan. If you don't have a semblance of an itinerary when you arrive, you'll probably miss out on a bunch of stuff you would have liked to see. Figure out what kinds of workshops, readings, panel discussions, &c you want to attend ahead of time.
· DON'T be too aggressive. It's sometimes very hard not to jump on an opportunity to network when Fancy McDreamAgent or Awesome CoolAuthorson is standing ahead of you in line for the restroom or lunch, but remember: authors, agents, and industry insiders attend these conferences chiefly to interact with each other, and they will not take kindly to being harangued or interrupted. If they're not busy and you just want to chat them up, feel free, but don't take the opportunity to pitch your book.
· DO your homework. Take the time to learn a bit about the authors who are signing, the editors making keynote addresses, &c &c. After all, you want people at this conference to take an interest in you and your work, don't you?
· DON'T forget to go sight-seeing. Yes, the conference is about romance novels and the people who write them, but it's also about getting to experience a new city. If there's a night with fewer events or an afternoon when you're relatively free, take the time to be a tourist for awhile.
· Finally, DO follow up with people you meet/exchange contact information with. Again: you never know when a connection will come in handy.
That's all for now, folks. Questions, &c in the comments!
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