I gave a brief, impromptu lecture this past weekend on avoiding the “nots” when discussing your writing. This took place at a Read & Critique. For those who may not be familiar, a Read & Critique is an on-the-spot evaluation of the opening of a novel or nonfiction work. The critiquers—three of us this time—do a blind read of a half page synopsis and 2-page opening of a work. The writers in the session listen while the critiquers offer their gut responses to these openings. Continue reading “What’s not to like about not?”
What is a Writers Conference?
A Writers Conference is a professional gathering of people involved in the publishing industry. Attendees run the range from writers, illustrators, editors, agents, publishers and techie people.
A year ago, in preparation for the Pennwriters conference, I did a post called Conferences–What to Bring, What to Leave Behind. That was a cheerleadery post meant to encourage writers not to be shy or commit faux pas. The advice remains relevant and true, as cheerleading is one of my specialties.
Today’s post will focus specifically on three conference-related opportunities: Pitches, Read & Critiques, and The Bar.
1 ~ How to Prepare for a Pitch:
A pitch is a short private session between a writer and an assigned editor or agent. A pitch is the author’s chance to sell his story. That’s the official version, the one that will make you crazy, keep you up at night, and make your palms sweat like it’s your first date/arrest/ prostate exam/time in the confessional. If you set the weight of your writing world on five minutes with another human being you believe holds the key to the universe, you’re going to be stressed out. I got stressed out just writing that sentence.
So look at it this way: A pitch is a conversation. You’re going to meet with someone and talk about your story. You love your story, right? You are thrilled to find someone who’ll listen to you discuss your story, right? Take that into your pitch. It’s a conversation.
If you are still nervous about what to talk about in your conversation, consider these three questions:
What are you writing? Why are you writing this story? Who do you think would buy this book?
Think about honest answers to these questions and prepare to chat about them for a few minutes. That’s all you have to do.
If it comforts you to have a memorized log line for your story, try this formula:
Name of story is a word count + genre about a main character who must Story Question before consequences if Story Question is not solved.
2 ~ How to Prepare for a Read & Critique
A Read & Critique is (usually) a round robin type session where a short piece of work is read aloud and verbally critiqued on the spot. Sometimes the feedback comes only from the editor/agent/combo assigned to the sessions. Sometimes other writers in the group chime in.
The best way to prepare for an R&Q session is, first, understand the critiquer is working with no advance look at your work and no time to be diplomatic in response. As a veteran of R&Q, I can tell you it’s difficult to process on the spot, especially work that is delivered orally when you’re accustomed to writing on the page. It feels very Johnny-on-the-spot. Cut the critiquers some slack if a nuance or two is missed.
Second, understand that feedback is subjective–but it’s intended to be an aid and make your work stronger. This translates to Don’t Argue. Don’t Argue doesn’t mean you have to agree with every comment, but defending your work defeats the purpose. Allowing for individual reading levels and styles, if you have to explain what’s on the page to every person in the group, it means what’s on the page isn’t explaining itself.
Third, to prepare for an R&Q session, follow the guidelines. If you are to turn in two pages, don’t turn in one, or three. Read it aloud yourself. If it sounds boring or convoluted to you, the author, guess what? It will sound dull or confusing to the critiquer. Select an opening or vivid scene that best reflects your work and that works in an oral setting. Don’t choose a piece from the middle of a story that includes a lot of pronouns–how can the critiquer know who “he” or “she” is if we haven’t yet met the characters?
Many R&Q sessions are done anonymously. If you have a positive reaction from the agent/editor, by all means seek out that person with a followup email after the conference, to express your appreciation for the helpful comments. Even if that person doesn’t accept work in your genre and you don’t see yourself working with them, it’s good to hear from this end that the session did some good. Likewise, if you have a constructive criticism about the session, I would listen to it–in an email after the conference, not button holed in the bathroom or while I’m attempting to enjoy my down time. Which leads me to….
3 ~ How to Work the Conference Bar
The Bar may not be the bar-bar, it may be the Hospitality Room, the meet-n-greet area, the foyer, or the actual bar. It’s the place where attendees gather between or after workshops.
Making contacts with editors, agents and publishers at a conference is fabulous. But on a day-to-day, practical level, it’s the contacts with your colleagues and fellow writers that will serve you best. Publishing is a small little world. We are like-minded individuals with similar goals and interests, even if we cross genres. The bar is the place to make friends. Contacts and networking aside, ask people who are repeat attendees at a conference and I’ll bet the majority will offer this as the primary reason for attending year after year: To see writer friends.
Sidle up to the bar, the bench, the pool or pull up a piece of carpet wherever your colleagues are gathering and jump in. Make some writer friends.
Tomorrow’s Topic: How to Stop Stalling