A while ago the Writing Excuses team asked me to record with them, and last Friday I got to do it and had a blast.
We recorded three episodes. In the first podcast we talk about putting and not putting ourselves in our writing and making characters who don’t all sound like the author. As usual, the guys had some great insights. Check it out: The Anti-Mary Sue Episode.
You want to meet editors and agents. But how? Where?
Writing Excuses recently held a great podcast listing the types of events aspiring authors might want to attend–conventions, conferences, workshops, expos, etc. But knowing the types still doesn’t tell you which events to go to.
If you’re looking to meet editors and agents, here’s a way to figure out precisely which events you should attend.
1. Instead of taking a random scatter-shot approach, get some laser precision. Do this by first identifying the specific editors and agents you’re interested in. Then find out which events they’re going to attend. Forget all the other events–these are the ones you want to go to.
These folks will often post their schedule on their websites. The workshops, conferences, and conventions will also often post guest lists. You can also query the agency or publisher itself and ask which cons so-and-so will attend (just contact the receptionist, you don’t need or want to contact the editor or agent specifically).
Now even if you don’t know exactly who you’re interested in, you can still narrow down your focus. Event X might at least have some agents or editors attending (even if they’re not in your genre) while event Y does not. So go and see if you can’t get tips from those agents or editors
2. Research each of the events. Some provide meetings with editors, some provide pitch sessions, some will require you to track the person down. Select the events that look the most promising to you.
3. If you feel a bit nervous or shy, develop a short script for what you’ll say and how you’ll approach these folks. Or make a list of potential talking points. Run it by some friends and other writers to make sure you don’t sound robotic, dweebish, pushy, or pleading.
You have to remember that agents and editors are looking for new talent constantly. If they don’t find new talent, their income stream soon dies. They want and expect people to find them. They WANT to talk to YOU. They just want to be approached in a friendly and business like way.
So you have your script, talking points, and plans and will probably end up deviating from them. However, just having that in your head when you go to the con and approach the person you want to talk to (even if it’s only two sentences) can go a long way to calming your nerves.
4. Attend the con and make adjustments to your plan as necessary.
5. Don’t miss unplanned opportunities. Writing is sometimes a lonely business. When I go to cons I have folks I want to meet and catch up on. But I also make sure I engage other con goers. I smile, I say hello, I ask things like “so are you here as a writer or a fanboy?” or “what did you think about panel?” or “Your Klingon ridge is looking mighty today.” We chat.
I do it because I learn a lot from others and its just plain interesting. And sometimes you make an acquaintance that can develop into a working relationship. For example, I met Larry Correia (new author with Baen) at a local con I just attended. He had a fascinating story about his breaking in. We chatted for a while. There was no ulterior business/network motive. Just a great conversation. A month or so later a business opportunity arose and I thought of Larry. He’s now going on tour with me and Dave Farland this fall.
Be flexible. I’ve been invited and have invited others to go do lunch or dinner. And those have always been great chats. And sometimes business ops have arisen later because of them. But even if they hadn’t, it just makes the experience so much better. Good conversation is its own reward.
6. If all of this is too scary, bring back up. Get a friend or family member to go with you. 🙂
And if you stumble a bit, maybe stutter, maybe even feel like you’ve made a fool of yourself, do not stress. It’s to be expected the first few times. No big deal. Most poeple are shy and will either give you a break or be so worried themselves they won’t notice. With a few tries you’ll learn. If yo do make a fool of yourself, the good thing is that editors and agents meet so many people that your face will soon be forgotten, and you’ll be able to reboot and approach them next year with a clean slate (just remember to not wear the same belly dancing costume).
Of course, this doesn’t tell you what to do and not to do when approaching these folks. But as far as deciding where to go, this is one method that works.
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Added 7/31/09
SFWA has some great articles on conventions and networking by Diana Rowland.
The artists were the wild cards with my delivery schedule. Now that I’ve secured the artist for all three books I want to release this fall, I can finally give some target dates. Here’s the schedule:
I want to get GLORY out sooner, but it’s going to be a big book, and I’m not going to rush the editing phase. I don’t want to release shoddy work. Furthermore, it’s almost the size of two normal 100,000k novels. I hope to significantly accelerate the schedules for both AWFUL INTENT and GLORY, but we’ll have to see if I can make the necessary arrangements.
After GLORY, I will publish another Frank Shaw novel. And then I begin the LORD OF BONES epic fantasy series which is going to be structured differently that much of what’s out there. The concept excites me and allows me to take the story in all sorts of directions. It’s going to be a blast.
Can’t wait to get these books out there and let them find their audience. Thanks to all of you who have hung with me, sending me emails or posting comments of support. It’s much appreciated!
EDIT: I keep the release schedule up-to-date on the Calendar page.
I’m happy to announce the release of Create Story Ideas that Beg to be Written, a new handbook to help make novel writing easier. It’s available now on Amazon.
Mette Harrison wrote a blog about how various authors respond when they read a book, don’t like it, and then the book’s author asks them directly what they thought of the book.
Here’s my response.
As an author when I ask someone, especially another author, about their experience with my story, I’m looking for a data point to see how the book’s working or to get some insight. I realize others might be looking for validation. And, of course, I hope that everyone who reads my stuff finds nirvana even if I know that is not going to be the case. But I don’t ask unless I want data. And so I would hope they would report their experience accurately. I also hope they do it in friendly and helpful manner.
So because that’s what I want, that’s what I try to do for others. And the sandwich+ method has been one good way for me to do that.
1. State something specific that works for me, e.g. “I love your character Bill because he’s so outrageous.”
2. State the key thing that’s giving me trouble. For example, I might say, “I am having a hard time with the pacing.” But then I ALWAYS want to give the context of me as reader when it applies to my reaction, e.g. I’m a terribly impatient reader, I like to feel hope in what I read and know I don’t like as much despair as many other readers do, I can’t stand clowns (this is true: clowns are some of the scariest creatures out there, second only to crocodiles). The author should know these readerly things when they apply so the author can understand where the comments are coming from.
If the book’s in pro shape and I think the issue is mostly my tastes, then it’s also useful to compare their work to another successful piece or author that had the same issue for me, e.g. “This reminds me of Twilight; I know people love it, but I just couldn’t get into that book either for the same reason.”
I don’t think this is fluff. I think it’s part of being accurate. Our reality is what we focus on. And if I make a statement that leaves an author thinking I think the work is bad, then that’s not accurate because the truth is I think I’m not in the audience.
If I think it’s a craft issue, then I highlight the main thing I think is causing the problem. A laundry list is usually useless. But thoughtful focus on the key issue can be very helpful. If I can’t tell whether it’s a taste issue or a craft issue, I admit it.
3. State something else that’s working for me, e.g. “While I just couldn’t get past all those clowns freaking me out, I did think your chapter openers were compelling. I always wanted to read more, but then, alas, clowns.”
4. The + is not just leaving statements hanging. Asking some sincere questions after demonstrates my genuine interest. And I am interested. If the book is unpublished, I might ask about their plans for the book, are they going to be doing another draft or shopping it, or if my reaction is common. If it’s published I might ask how it’s being received, what others are liking about it, and what’s next. Maybe they tell me about another project they’re working on that sounds fascinating.
This is what I’d want an author to do for me–be accurate, interested, and friendly. In such a context, someone having issues with a story is not such a big deal. It really isn’t.
I don’t know how it’s possible to aruge that media does not influence our decisions. The evidience is simply overwhelming. Here’s another report of a study linking media sexuality to teenage decisions about sexuality.
“CHICAGO — Groundbreaking research suggests that pregnancy rates are much higher among teens who watch a lot of TV with sexual dialogue and behavior than among those who have tamer viewing tastes.” Full article here.
The study shows that while teenage pregnancies have dropped overall, those teens watching racey shows had, not just a small incremental risk, but TWICE the risk of getting pregnant.
Now, I know this article by the Guttmacher Institute focuses on the 1990’s, but it still is enlightening. It discusses the reasons for the dropping teenage pregnancy rates during those years. It’s conclusion is that both abstinence and usage of more effective contraception are the main factors for the drop in teenage pregnancies.
When I put the two articles together, it makes me wonder if the racey shows are encouraging more sex among the teens who watch them or the use of less-effective contraception or both. My guess is that the shows are influencing a decision for more sexuality.
Either way, what does this mean for a writer?
To me, it means that while I’m never responsible for someone’s actions nor in 100% control of what people take from my writing, I AM responsible for those things I know are highly likely to influence folks one way or another. I hope my works provide a wonderfully entertaining experience, but also avoid influencing people into decisions that will lead them down paths that will limit their happiness.
And, Dude! Will ya look at this thing.
Read FROM THE CLAY OF HIS HEART at Orson Scott Card’s Intergalatic Medicine Show.
Read the story behind the story on Side-Show Freaks in the coming month.
Then read more about Scott Altmann, the marvelous illustrator.
Born on Long Island, New York, Scott was never far from a drawing tool and a surface to make a mark. The early years consisted of funny-looking beasts and asymmetrical faces. Years later Scott attended the School of Visual Arts in Manhattan and graduated from the Illustration Department with his BFA.
He enjoys sushi, cerebral spelunking, playing guitar and painting in oils. He draws to escape, and tries to escape to draw. All other times he can be found with his wife and son, in Long Island, New York — laughing uncontrollably and causing mischief.
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John, do you have a schedule of book signings? I’m eager to get my copy signed!
Hezekiah,
Click on the recently added Events page at the top 🙂
Ah, perhaps I will have you sign the book at World Fantasy, then.