BookEnds Takes on #RWA15

For those who aren't a member of the romance community, RWA is the Romance Writers of America national convention. Each year it's in a new location and brings in close to 2000 writers, editors, agents and other industry pros. There are workshops, signings, appointments, cocktail parties and meet n' greets. The entire week wraps up with a giant awards ceremony.

Just typing that exhausted me.

This year RWA convenes in NYC and while that makes it more fun for the writers, it makes for more work for the rest of us. My week started on Monday and I have appointments and meetings through Saturday. It's exhausting, it's exhilarating and it's definitely productive. Like with any professional conference (Malice, Bouchercon, Thrillerfest, etc) I'll be leaving with a long to-do list.

All of BookEnds (including our intern James) will be traveling the halls of the Marriott. We'll be taking meetings, taking notes and posting a lot of what we're learning on Twitter, Instagram and Facebook. So keep an eye out to learn not just what's hot in romance, but what's hot in all of publishing.

If you see any of us, make sure to take a moment to say hi. If we have a spare moment we'd love the chance to pull up a stool and talk.

--jhf

A Writer's Guide to Being Pitch Perfect

It's July and that means pitches. Lots and lots of pitches.

This month I'll be attending both Thrillerfest and RWA and I'll be taking appointed pitches at both as well as, I hope and assume, I'll be meeting authors throughout the conference who might want to pitch their work. 

There are a ton of great places to find tips on pitching, including this blog, instead I'm just going to talk generally about pitch appointments. 

First things first, I think there is far too much emphasis placed on the pitch. I've been told by conference organizers that I have to take five hours (8 hours sometimes) of pitches because that's all the authors want. If that's really the case that's a shame, but I don't believe it's true. I think pitch appointments make it easy for conference organizers to fill time and not have to juggle workshop schedules for agents and editors.

Pitch appointments will not get you published. They are no different from a query letter except they are in person and will probably stress you out a whole lot more. In fact, most standard pitch appointments won't do you any good at all unless you take control of the pitch.

Of course every agent feels differently about how those 10 minutes (3 minutes sometimes) should be used, but since this is my blog I'm going to tell you how I think it should be used.

I think pitches are an opportunity for you to get to meet agents personally and see if they might be the right person for your book. I know I've told this story before, but one of my best pitch appointments was with author Shelley Coriell. Shelley sat down not to pitch her book, but to meet me. She told me this right away. She explained her goals for her career, talked briefly about her book and handed me a recipe for one of her favorite desserts (Blackberry Cobbler). She told me that since her book wasn't ready she would simply query me when the time came. In the 10 minutes we had Shelley made herself memorable. We chatted about a few things, her career, publishing in general and my philosophy as an agent (she did ask me questions as well as told me about herself). There was no point in Shelley pitching because she knew she could query me when the time was right.

All that being said, let's find a way to make pitches more enjoyable for both of us.

Relax. Don't think of me as the interviewer, think of yourself as the interviewer.

Have your pitch ready, but don't think of it as the only thing you're going to do. Also come prepared with some questions. Ask about me, the agency, publishing, or ask me my opinion on something that came up in an earlier panel or a discussion with other agents.

Listen. I will listen to your pitch and then I'm going to critique it. If I'm not asking for material I'm going to ask you questions that address my concerns. It could be that the hook feels slight or the plot feels overly complicated. Don't try to argue with me about why I'm wrong or how that's in there. If you need to take the full 10 minutes to explain your story there's a problem with your story. Even if I am asking for material I might ask some questions. Don't just defend your book, think of my questions as something you can use to hone your pitch and your query.

Enjoy. Conferences are a great way to feel energized about what you're doing. Pat yourself on the back for going to a pitch appointment in the first place. It's not easy and it's one more step toward publication.

--jhf

#CCWC and Other Terrific Writers Conferences

I read something recently in which the author said that agents should not give advice on how to find an agent because they don't know what they are talking about. While I disagree with that, I suppose the same could be said about agents giving advice on conferences. That being said, I'm going to throw out my opinion on writers conferences anyway.

Earlier this month I attended and spoke at the California Crime Writers Conference in not-as-sunny-as-I-would-like-it California. Now, before you dismiss my post because you're not a crime writer I think you need to know that I was so impressed by this conference that I think anyone who wants to become (or is) a professional writer should read this.

#CCWC was one of the best run conferences I've attended in a long time. It was organized beautifully with an impressive staff of volunteers and speakers. Some of the best of the best.

So what is it about #CCWC that made me love it so much? First and foremost was that there were very limited appointments (I had three). I've always thought there was too much emphasis on appointments at writers conferences and never understood why a conference would spend the money to pay the expenses of agents and editors only to lock them in a room for a day or two for appointments. I hear often that this is what writers want, but I can tell you right now it's not what writers need. Ten minutes one-on-one with an agent will not give the writer the same sort of experience as 60 minutes listening to a panel of agents debate the state of the industry, how to write a strong query or what makes a manuscript really tick for them. Think about it, 60 minutes asking questions of four different editors and agents versus 10 minutes of you talking at one editor about your book. The same agent or editor you could simply query because you shook her hand during breakfast or shared a drink during the conference cocktail hour.

#CCWC also broke the conference into different tracks. You had the option (and could switch depending on your mood) to attend marketing, career, or writing panels. They covered topics like the fear of writing, how to write a strong query letter, forensic investigations and marketing strategies. There was definitely something for everyone.

Most importantly though, #CCWC was well-run, extremely well organized, had great speakers, panelists and events that made it fun (move night anyone?). The people were open and friendly and I think everyone who attended felt it was well worth the money they spent.

Check this one out. It only comes around every two years so there's time to save your money.

--jhf

A Writers' Guide to Dressing for Success by Diane Vallere

I'm guessing we've all heard the advice to start building your brand the second you decide you want to write for profit. Many of us started a website before we finished the first draft of our first draft. Our online presences are carefully constructed works of art: the photo we chose after bypassing thousands we didn't like, the bio that hints at our platform and our voice, and the blurbs that tease better than a high class call girl. But what happens when we have to turn on the lights and step in front of the very people we've been asking to leave the price of an ebook on our bedside table?

You already know not to write the boring parts of a story. Now it's time to apply the same thought process to your conference wardrobe. A conference lets you become a hyper-version of you. You are a walking representation of your brand. How you conduct yourself—and how you look—are important elements to your success. You want to get noticed, but not for the wrong reasons. Here are a few tips how:

Red light district or blue light special?  

Color can be your best friend. Are you promoting a book? If so, is there a predominant color palette to the cover? Consider your ARC or your personal copy to be an accessory to your outfit and dress to match it. If your book is purple, make purple your signature color for the conference. Maybe a purple dress on day one, purple scarf day two, purple shoes day three. People will notice you the first day. They'll come talk to you on day two and three.

Rely on the kindness of strangers. 

You might have the most awesome network of close, personal friends who want nothing more than to see you succeed, but they might not know how to tell you they always thought your obsession with beige was unhealthy. Shopping with a friend rarely works. Why not? You see each other the way you've always seen each other. While this is one of the most awesome things about friendship, it's not so good when it comes to trying something new. You might never try on the perfect dress because it looks like nothing on the hanger and your friend tells you not to try it. These are the kinds of things professionals are there for, and the best thing is that you get their advice for free.

Learn to trust pins and needles. 

If your clothes are too tight, too baggy, too short, or too long, people will notice. Check how your clothes look from the front and the back. If your skirt rides up in the back, it's not the right skirt for you. If your pants are so tight they're on the brink of bursting at the seams, consider how it would look if they did burst at the seams. In front of your dream agent. Right after you gave a fantastic pitch. Ask yourself what they'll remember: your pitch or your pooch? That's right. Most dry cleaners will do alterations for you for a low cost, and most can easily tell what needs to be done simply by seeing you in the clothes. Getting your clothes to fit right is well worth the money.

It's what's on the inside that counts.  

You probably know if you are a woman, you need a bra. But that's not the only undergarment you should think about. Panty lines and excessive jiggle are not good. There's a reason the inventor of Spanx is now on the Forbes Rich List. Her unmentionables make clothes look better on without forcing you to trade your diet of cupcakes for celery stalks.

Comfort is best left for ice cream and stuffed animals. 

There's not a person among us who isn't more comfortable in stretchy pants and a soft T-shirt, but going to a writer's convention is not about comfort. While I'm not suggesting you get yourself strapped into a corset for the event, I do think it's a good idea to think about structure. A blazer, twinset, or cardigan is going to look better than a sweatshirt with cats on the front, even if you write cat-fiction. You can change into your cat sweatshirt when it's time to retire to your room. Unless you have a roommate.

Don't mistake "appropriate" for "boring" 

I convinced you to leave your cat sweatshirt in a drawer at home, but that doesn't mean you should abandon your sense of whimsy in the drawer with it. Me? I’m all about whimsy. Find what represents YOU and make it part of your conference look. Maybe you love chandelier earrings. Maybe you love shoes. Make that one category your signature for the conference. "Great earrings!" you'll hear on day one. "Another pair of great earrings!" you might hear on day two. And guess what people will be thinking about on day three? "I wonder what kind of earrings she'll have on today?"

When the opportunity for marketing through social media exploded, the first thing we all learned (either through the grapevine or by experience) was to NOT talk about our books. Twasn't easy, we found, but nothing good in life really is. We had to figure out how to make people notice us and like us for who we were and what we represented, so when they picked up our works, they’d find an extension of our online persona. Our  conference clothing can do the same thing for us. The goal? To look interesting enough that people want to know more about what we write. Don't let poor clothing choices take away from your empire. Pimp your style and let your wardrobe work for you.

After two decades working for a top luxury retailer, Diane Vallere traded fashion accessories for accessories to murder. SUEDE TO REST, the first book in the bestselling Material Witness Cozy Mystery Series, was a Lefty/ Best Humorous Mystery nominee. CRUSHED VELVET, book two, comes out August 4. Diane is the current president of Sisters in Crime Los Angeles, and co-chair of the 2015 California Crime Writers Conference. She also writes the Mad for Mod Mysteries and the Style & Error Mystery Series. Diane started her own detective agency at age ten and has maintained a passion for shoes, clues, and clothes ever since.

Facebook: DianeVallereAuthor

Twitter: @dianevallere

Pinterest: DianeVallere

Meeting an Agent at a Conference

This question came through on a blog post I did about preparing a nonfiction manuscript:

I have a meeting with a publisher at a conference at the end of the month. I will be presenting them several chapters and a proposal. Do you have any recommendations on how I should present it to them (bound, in a folder, loose, etc.)?

Please do NOT present a written proposal. I definitely recommend having your material with you, especially electronically, on the off chance an agent does want to see it while she's traveling, but I do not recommend showing up at a conference, proposal in hand, thinking you're simply going to hand it over to an agent. A pitch appointment is not an opportunity to hand-deliver your material. A pitch appointment is about verbally pitching your book and getting to know the agent and a little more about the industry. It's also the agent's chance to get to know you and to see if you're the kind of person she would like to work with. Honestly, I've had pitch appointments in which I've passed on material only because I found the author so abrasive I knew it wasn't someone I wanted to work with.

When you do prepare your proposal, never bind it. A folder is fine, but typically, if the agent is still accepting paper submissions, it's loose.

Jessica

Meeting an Agent at a Conference

Will you be presenting any workshops at the RWA conference this summer?

If I saw you there and if (Big BIG IF) I had the confidance to approach you, can you give any do's and don'ts? (I imagine squeeling and pointing are a big no no.)

Can you recommend an opening line we could offer you to get the dialogue going?


Unfortunately I was not chosen to present workshops this year, which is a bummer for me because I LOVE presenting workshops. However, I will be at RWA and wandering around the hotel, and I always look forward to meeting authors, readers, and other industry professionals.

Here are some of my tips on how to approach agents, editors, or even other authors in a conference setting.

1. Do introduce yourself. Remember, we're all people too and love meeting authors, fans, readers, and generally other people. There's nothing to be nervous about.

2. Don't interrupt a conversation, especially if the agent, author, etc., is sitting down clearly talking with someone. Recently I was at a conference where people regularly came up to interrupt agent/author meetings. It was shocking really. One woman even wanted to sit at the table with us and became angry when we explained we were having a meeting.

3. Do feel free to wait for the agent to finish the conversation.

4. Don't hover. If you choose to wait, wait far, far back. Sit at another table or move to the side, but don't stand and stare. Just be patient.

5. Do just walk up and introduce yourself. Say hello, ask how the conference is going, discuss the author's latest release, or your favorite book. Discuss the agent's most recent blog post or a client you're a fan of. Or just ask how the conference is going.

6. Don't pitch. You can make a lot more headway by just talking to an agent, having a conversation, than you can pitching. At the end ask if the agent would mind if you send your material, but don't turn every introduction into a pitch. It starts to make us feel like machines and we like being people.

7. Do have fun. Because that's what it's all about.


Jessica

Five Don’ts for Pitching Books and Manuscripts

Author Name: Krista Davis
Title of Book: The Diva Haunts the House
Publisher: Berkley Prime Crime
Pub Date: Coming September 6th
Agent: Jessica Faust

Author Web/Blog links:
http://divamysteries.com
http://mysteryloverskitchen.com
http://www.killercharacters.com

Malice Domestic Convention (http://www.malicedomestic.org/)


Mystery authors are about to descend on Bethesda, Maryland, for the annual Malice Domestic Convention, which celebrates traditional and cozy mysteries. Right about now, everyone is practicing their elevator pitches for Malice Go Round. It’s their opportunity to sit at a table with readers and sell their books. But there’s a catch -- they only have two minutes! There are twenty tables in the room with two authors seated at each table of readers. When the cue is given, each author has two minutes to talk about his or her books. Then the authors rise and switch tables. It’s exhausting but it’s also a lot of fun. I’m no pro, but I have picked up on a few mistakes that authors make. (I’ve made them, too!) Last year, when Jessica and I spoke about it, she noted that many are the same mistakes that writers make when sending her queries. Don’t let these happen to you.

1. Don’t bore them with structure.

“I based The Quintessential Murder on the hero’s journey.”

Are you bored yet? Me, too. If you’re a writer, you might enjoy discussing the structure of a book, but it doesn’t spark interest in a book for most people.


2. Don’t waste time with the obvious.

“My books are about the relationships between people and how they react to a murder in their midst.”

Doesn’t that apply to most mysteries? If you’re a New York Times Bestselling author, you could get away with this. Then again, your audience would be just as thrilled if you leaned toward them and asked if your mascara had smeared.


3. Don’t overload them with names.

“John and Mary have a complicated relationship. That’s because of Sam, who never liked his mother, Imelda, who is a difficult woman at best. So when Arthur and Hugo enter the picture . . . .”

Lost yet? Limit yourself to two or three names. Other people can be identified by tags, like “Sam’s mother,” to simplify things for the reader or listener. And be specific. How is the relationship complicated? How does that impact the plot? Who is the book about?


4. Don’t tell them the story behind the story.

“In this book I wanted to explore the dynamics of a troubled marriage in the computer age. There are so many changes in our lives now that we’re available 24/7. We’re never without our smart phones anymore.”

But what’s the story about?


5. Don’t digress to subplots.

“Amy Pierson’s sister disappears two days before her wedding. The window to her bedroom had been broken from the outside, and a red feather was left in the middle of the floor. Then Amy’s brother announces his engagement, but his fiancee is a ditz whom no one likes and she drives to Scranton to see her ex-husband who runs a video arcade.”

Wait, wait! This one starts out well, but slides right into a side plot. Stick to the primary story. What about the sister who disappeared? That’s far more interesting than the brother’s little problem. Whether you’re querying BookEnds or pitching under pressure at Malice Go Round, remember that it’s all about telling a great story. Good luck!


Krista Davis writes the Domestic Diva Mystery series for Berkley Prime Crime. Her first book, THE DIVA RUNS OUT OF THYME, was nominated for an Agatha. Krista's most recent release is THE DIVA COOKS A GOOSE, and she's looking forward to September 6th, when her Halloween-themed mystery, THE DIVA HAUNTS THE HOUSE, will be available.

Visit Krista at her website DivaMysteries.com. Krista blogs at MysteryLoversKitchen.com, where mystery writers cook up crime . . . and recipes, and at www.KillerCharacters.com, where the characters do the blogging!

RWA 2010

Jessica rushed off to a breakfast meeting this morning, so I thought I'd pop on here and say hello from the Romance Writers of America conference in hot, sticky Walt Disney World.

Most of our days have been spent meeting clients to catch up and talk career strategy, speaking on workshop panels (I'm presenting today with St. Martin's editor, Rose Hilliard, and my client Christie Craig and her writing partner Faye Hughes about "Surviving, Overcoming, and Learning the Truth about Rejection'), and attending various cocktail parties to network with authors and other industry professionals.

Obviously, the highlight of the RWA conference came Wednesday night at the BookEnds party. ;) I coerced Jessica into holding it at a sushi/karaoke bar in the hotel. And well, I just didn't think it would be very sporting of us to host a party there without getting up on stage and belting out a little number, ourselves. We felt it was pretty reasonable to assume the place would have the "Mickey Mouse Club" Song in their system, but I thought it would be more fun to change up the lyrics a bit. Here's the BookEnds version:

Who's the best agency
With books for all to read?
B-O-O-K-E-N-D-S-L-I-T

Hey there, Hi there, Ho there
Come share a drink with me
B-O-O-K-E-N-D-S-L-I-T

BookEnds Lit! Read our blog!
BookEnds Lit! Read our books!
Forever let us hold our authors high!
High! High! High!

Come along and write a book
And join the agency!
B-O-O-K-E-N-D-S-L-I-T

Frankly, our performance wasn't exactly seamless. Simon Cowell would NOT have approved. And I'm not sure our clients could even discern my clever, cutesy little lyrics. But we truly had a blast. And we're pretty sure our clients got a kick out of us making fools out of ourselves. But that's half the fun, right?

Now to brainstorm how to top it with next year's bash!

Have a great weekend!

Kim

Mastering the Elevator Pitch

Anyone who is a member of RWA knows that today kicks off the RWA National conference in Orlando, and, as always, I will be in attendance. Unfortunately, due to time constraints, I will be doing things a little differently this year. This year, I have not signed up to hold author pitch appointments. I’m already participating in two workshops and at least one agent panel. Adding in appointments would severely cut into the time I have with clients, and since that’s why I’m really there, it just didn’t make sense for me this year.

So what do you do if you were hoping to pitch to me and are disappointed I’m not taking pitches, or what if you planned to pitch to another agent but didn’t get a slot with her? Why, the elevator pitch, of course. Or the bar pitch, the breakfast pitch, the lobby pitch. Just whatever you do, don’t try the bathroom pitch or the gym pitch.

Every agent will have a different suggestion for how to pitch agents outside of a traditional pitch appointment. What’s mine? Toss the pitch altogether. I hate the feeling that the only reason an author is talking to me is for the opportunity to pitch a story. That being said, I love to talk about this business. If you happen to catch me at the bar by myself or enjoying a cup of coffee in the corner, don’t hesitate to approach me. It’s almost guaranteed that I’ll be reading something, but if I’m in public I’m expecting to talk to people. If I want a break I’ll sneak out of the hotel for a walk or up to my room for a nap.

How do you approach? Walk right up, say excuse me and ask if I would mind if you joined me for a minute or if you could talk to me. I like to think I’m a pretty friendly person and I don’t think I’ve ever turned anyone down. I might tell you I only have a few minutes, but since it’s National I always only have a few minutes.

What to say? Come with some questions, some comments, or compliment me on my brilliant shoe choice that day. In other words, have a conversation with me. It’s almost guaranteed that I’ll ask you about your writing at some point, but if not, what you’re doing is making an impression. Listen, I accept queries from everyone. Getting a query to me isn’t the point. Making yourself memorable is. If you have questions about the business, want a professional’s advice on your book idea, or just want to sit down and take a load off for a minute, this is the time for that. If our time is cut short and you haven’t pitched, I think that’s fine. In fact, it’s great. I’m usually tired of the pitches and networking is about far more than pitches. And this way, when you query (which is often a more comfortable way to pitch anyway) you can say that we enjoyed a nice talk in the corner of Starbucks right before my meeting with Sally MacKenzie. I’m sure to remember you and that’s what networking is all about. As to whether or not it means I’ll request your work: A verbal pitch won’t do that either, but it might give your work that extra little push if I’m on the fence.

Can’t wait to meet you.

Jessica

Conference Suggestions

I’m frequently asked which conferences I would recommend authors attend, and while I’ve been to many, there are just as many more I have yet to be invited to. In addition, what I look for in a successful conference might be different from what authors look for. I’d also need to know what you are writing, at what level you’re writing, and what exactly you’re looking to learn. And then of course you need to take into account the volunteers for that year and the faculty they’ve been able to bring in. Sometimes I think a conference is fantastic one year because they’ve brought in fantastic agents and editors. The next year they might not have the same luck.

Since this is a question I frequently receive, I’d like to hear from the writers. What conferences, and I’m not talking the big nationals like Bouchercon, RWA-National, or Worldcon, have you had success at or enjoyed? Which did you find were the most educational and informative? And which would you recommend to authors looking to network and learn about both writing and publishing?

Jessica

Category Romance Authors and Agents

I am yet unpublished, but I am targeting a few Harlequin/Silhouette lines. I have done some research on the submission guidelines for H/S and have read that the response time for unpublished and published authors can be similar, and also that most H/S authors do not need agents as H/S contracts are somewhat “boilerplate.” After reading all of this, I am curious about the benefits a category romance author receives from being agented.

You know, I’ve touched on this topic a number of times and mentioned it in other blog posts, but until now I’m not sure I’ve ever done an entire post on category romance, so I’m glad you asked this question.

For those not familiar with the romance genre, category romance is best described as those romances published by Harlequin/Silhouette under their romance lines. This does not include imprints like Mira or HQN, but lines like Silhouette Desire, Harlequin Superromance, Silhouette Special Edition or Harlequin American. Obviously there are many, many others, but hopefully that gives you a sense of the difference. Writing for an H/S line typically means following the very specific guidelines on their web site, including types of characters, level of sensuality, types of story lines and word count.

I’ve always said that authors targeting H/S do not need agents. As you said in your question, this is a company that accepts and quickly responds to unagented material and has a contract that is more or less boilerplate and doesn’t allow much room for negotiation. If you are currently unpublished and looking to break in through H/S, my suggestion is that you skip the agent (and the time that takes) and go directly to the source. By the way, this is the only case, or I guess one of the very rare cases, when I would ever suggest you skip an agent and go directly to the publisher. If you are looking to submit to Mira, HQN, Spice or any of the H/S single title imprints, I would strongly urge you to find an agent first.

Okay, finally, on to your actual question, and that’s what benefits an author can actually receive from being agented if you’re primarily writing for H/S? To really answer that I’m hoping some of our H/S authors chime in or H/S authors with other agents give their opinions. Because while I can certainly give my opinion, the best opinions will come from authors who have been there.

I think the biggest reason an H/S author gets an agent is to help manage breaking into single title. Another reason, however, is that it’s sometimes nice to have someone in your court to nag your editor about submissions, due dates, contracts, money and scheduling. That’s my job, and I think for many H/S authors, over time, it’s nice to have someone else take on those tasks rather than doing it themselves.

If you’re planning a career in H/S you can certainly write for years without an agent and, honestly, I don’t think you need one. However, there might come a day when you simply decide that it would be nice to have someone else there on your team and you’ll know when that times comes. For now, though, as an unpublished author, I would continue pursuing publication with H/S on your own. I think you’ll find it’s more efficient.

Jessica

Most Interesting Conference Experiences

I can’t even begin to count the number of conferences I’ve been to. Since starting the agency ten years ago I have attended anywhere from five to ten each year, and prior to that I attended a number as an editor. Needless to say, I’ve had more than my share of interesting experiences. I’ve had terrific moments where I met future clients. I’ve had horrible moments where organizers were anything but and attendees spent more time worrying about the color of the envelope they were submitting in than they did their writing, and I’ve had the truly scary times where groups of agents and editors fled after hearing some truly threatening remarks made by a seemingly unstable attendee.

While I’ve certainly given a great deal of advice about conferences, one of the things I don’t think I’ve ever done is share some of the more interesting or rewarding experiences I have. These are typically conference workshops that were different from anything else I’ve ever done before and that I found refreshing and fun from my side of things and hopefully useful for authors.

At one conference they had critique sessions, and I have to admit I was dreading it, unsure of how authors were going to take my face-to-face feedback. The way the session worked meant I received eight to ten samples before the conference. The samples included the first ten or so pages of each book and a one-page synopsis. Everyone taking the workshop (they kept it to a small number, about 10) received the same material. On my flight to the conference I read the material and made my comments. Then the entire group got together and went around the circle to discuss the pages we received. I would start by giving my feedback and suggestions and then open the floor to everyone else at the table. I have no doubt that it was a little painful and very difficult for the authors, and I give anyone who participated a lot of credit. However, I think hearing an agent’s feedback, as well as feedback from other authors, on your own work and on the work of others can help you learn a lot. It felt very productive to me.

At two different conferences I did a workshop the conference came up with that allowed attendees to get a sneak peek into what it must be like to read the slush pile. One conference focused on queries only, while the other on the first two pages of the manuscript. All material was submitted anonymously by brave writers. A reader read the material aloud, and when the agents on the panel reached the point where we would have stopped reading we simply said stop. Once all agents were in agreement we went on to explain further why we stopped. In some cases it was a simple phrase that sat wrong with an agent, in other cases it was simply unclear writing, and in other cases it was entirely personal. We tried to be nice, but I do think authors were really given insight into how subjective the business is as well as what goes through an agent’s mind when considering new material.

One conference held “take a speaker to lunch” days. Instead of hosting a lunch, they encouraged attendees to invite one of the speakers out to lunch. I’m sure there are a lot of agents who might groan at this possibility, but I enjoyed it. There were no rules (other than that the attendees were encouraged to pay for the lunch) so an entire writing group could ask one agent or an individual could ask. It allowed me a little downtime to discuss one of my favorite topics (publishing) and learn a little about the area I was visiting, and it certainly allowed brave attendees to get easy quality time with an agent and really learn about the business rather than pitch a book in ten minutes. Oh, now that I think about it, pitching might have been discouraged for these lunches.

I’m sure there are other conference events that stood out for me, but these were different and fun for me to participate in. What about you as conference attendees? Have there been any different “activities” or workshops that you think more conferences could benefit from?

Jessica

When You're Ready to Hear It

Years ago I was standing in the crowded lobby during an RWA National conference talking to an author about her career. She was reminding me of something I had said to her a few years earlier, and while she thought it made sense at the time, it hadn’t really clicked until recently. And when it did, suddenly, everything seemed to make sense and a book deal soon followed. One of the things we were talking about is how much you can hear and read and learn and how it can all make sense, but not necessarily click; that somehow, you have to be ready to hear, really hear, what people are saying, and when you do it’s like magic.

I think about this conversation often and remind myself when I’m giving advice, whether it’s to my clients, at a conference, or through the blog, that not everyone is always ready to hear the words I’m saying, but when they do it will be like magic. I remind myself of this when I think of my own career too, how age and experience have made me wiser and yet how much more I still expect to learn. How things people said to me in my younger days may not have made as much sense at the time, but boy do I rely on those words now.

So continue to absorb all the information you’re getting, continue to learn and study, and continue to write and I swear, I really do, when your subconscious decides you are ready to really hear what someone is saying, you too will feel the magic.

Jessica

Obtaining Cover Blurbs

Any published writer knows that writing the book, querying, and finding an agent is the easy part of your publishing career. Once you find a publisher the real work begins, and part of that work is obtaining cover blurbs for your book—you know, those quotes from other authors praising your work and you as a new up-and-coming star author.

But whose job is it to get those quotes? Is it the author, the author’s agent, the publisher? One reader was recently told by her publisher that it’s best if she stay out of it and let the publisher handle the blurbs. This publisher felt that established authors don't always like blurb requests directly from the author (harder to turn down, criticize, etc.), but the author wanted to know if it was okay to go ahead and approach a few contacts anyway.

And this is why I can’t stress enough how attending conferences and being part of writing groups can pay off: it’s just as much about building those author relationships as it is about meeting editors and agents. If all goes well, your publisher, or your editor, will approach a select number of authors requesting blurbs on your behalf, but of course there is no guarantee that everything will go well. Certainly I’ve been in situations with publishers who have put 100% of the burden of obtaining blurbs on the author, and this is where all that networking comes in. Now it’s up to you to get in touch with those bestselling authors and request that they read your book.

Networking is important in this business, as it is in any business, but I know some of you are going to wonder what you can do in a situation like that if you have no opportunities to meet bestselling authors. Well, cold calling (or emailing) is certainly an option, but I would do it carefully and to only a few. I think your best bet, in a situation like that, is to discuss options and possibilities with your agent and see what she can come up with. Remember, agents have connections with authors far outside of just who we represent and might be able to help out more than you realize.

The important thing to remember in all of this is that no matter who you, your editor, or your agent approach, that author has every right to say no and that’s okay. An author’s schedule can be insane between writing the next book, revisions, edits, and yes, a large number of requests for blurbs. How that’s handled is up to the author. I know some who refuse to give blurbs, while others limit themselves to only a certain number a year. One thing that I stress to all my clients is that, no matter what, you should only blurb a book that you truly feel you can get behind. You don’t need to tell the author you didn’t like it, you can always just say you didn’t have time.

Jessica

RWA--Friday--Publishing News

Yesterday I told you about my panel with Abby Zidle from Pocket, agent Kevan Lyon, Deb Werksman from Sourcebooks, Tracy Ferrell from Harlequin and agent Emmanuelle Alspaugh (today I corrected all spellings. ouch.) and mentioned that the one common theme I’m hearing at the conference, from editors and agents alike, is that publishing is struggling these days. In fact, in my conversations yesterday with colleagues many were saying the same things.

My advice during this time is to continue what you are doing and that means continue to submit, continue to write, and keep moving forward. Many of you asked why? What are agents doing during this time and why doesn’t it make sense to wait a year until the economy recovers?

As usual I can only speak for one agent and what she’s doing and that’s me, but here are my thoughts on the subject. Publishing is in a huge period of transition and change and sure some of it is based on the economy and some of it is based on the success of e-readers like the Kindle, but the truth is that some of this has been coming for a long time. Changes have been needed and expected and while everyone has her own theory on what needs to be done and what will become of publishing over the next five to ten years the truth is that no one really knows. What I do think we can all agree on is that the book as a creative art form is here to stay, but how readers read and obtain books and how books are published is changing.

So why do I suggest you continue submitting and not wait a year until the economy rights itself? IBecause there’s no guarantee that the economy will right itself in a year, but more importantly, we don’t know that just because the economy starts an upswing publishing will too. In addition, what you’re writing today is for today’s market and tomorrow’s market might change. Most importantly though, I don't think it makes sense for anyone to put a career on hold because of situations you can't control.

You also asked what I’m doing and I’ll tell you about a conversation I had with a new client this weekend and yes, I said new client. I’m continuing forward almost as if the publishing world is in the same shape it was a year ago or even two years ago, I’m controlling what I can control. This client and I discussed the importance of time and how frequently agents might say that sometimes timing counts and while that’s true what’s the even more important is quality. I’m still actively submitting, I’m still actively taking on new clients, but I’m pickier. I’m working my clients hard and sometimes proposals and manuscripts are going through one, two or even three or more rounds of revisions before we even consider pitching publishers. I’m demanding that books we submit aren’t just perfect, but one step above perfect. And personally, I’m taking on more nonfiction these days since I’ve found that nonfiction is easier to judge (for many publishers), it’s less subjective and easier to compare a nonfiction project to a currently published book and get a feel for numbers and finally, I’m not worrying about something I can’t control, but instead focusing on those things I can.

Despite blog posts like this I see myself as a Pollyanna. I hear lots of people complaining about the economy and how it’s effecting them and while I can’t hide from the numbers (there’s no doubt book sales are down and bookstores are in trouble) I think it’s about change and frankly, I’m not scared. It means we all have to work harder, but the truth is we all love books and books have been around for a really, really long time. That’s not going to change. The stories you write are always going to be wanted and needed and (hopefully) someone to support you through whatever the publishing process is will be needed too. If not, maybe I could become a shoe salesman.

Kim would like to point out here that before I become a shoe salesman I need to learn to walk in my shoes. See, this is why I typically don’t share my blog posts until they’re posted [wink].

So other then the bad news what did I see yesterday at RWA? I saw thousands of people flocking to a book signing to meet and buy from their favorite writers (okay that was Wednesday night). I saw authors who were enthusiastic and confident about their careers. In fact, I met a young agent yesterday from another agency who really buoyed my confidence in the writing community. At one of the many awards events (this one served chocolate fondue which was to die for) this agent came to introduce herself to me because she is a daily reader of the blog which I so appreciate. You know for a long time I pretended I blogged in a bubble and that only aspiring writers read my words. Ha! I think I’ve been outed. What was really neat about this agent was the enthusiasm she had. She was literally bouncing out of her seat at the excitement of being an agent and meeting the authors she has admired and loved for years. It was sweet, it was inspiring and I think I might love her. Because this is what it’s all about and this is why we’re all here, at the conference and reading this blog. We love books and we love what we do and in the end that’s what makes it all worthwhile.

And as if this blog post wasn't long enough already I thought I'd leave you with one final conference tale. All day yesterday I wore these rocking red patten leather pumps. I mean rockin'. After a full day of running through the gigantic hotel and a few walks outside to various restaurants my feet were a little tired and while I'd like to blame this experience on the shoes or maybe even Kim, I suspect it was all me. While heading to dinner last night Kim and I were walking down Connecticut Ave chatting when all of a sudden, out of the blue, I found myself on my hands and knees on the sidewalk in front of a very crowded outdoor dining area. I'm pretty sure my skirt stayed down this time and I flashed no one, but if in fact I did, I apologize. I'm seeing a common theme here and it's making me a little nervous about how today might play out.

--Jessica

RWA--Thursday--Publishing News

It's never any good to start your first full day of a conference exhausted. Kim is mainlining coffee as we speak. Apparently we were given the loudest room in the hotel. There's something outside of our window that sounds like a train or a large box truck that "drives by" every three minutes and sometime in the middle of the night there was a lot of banging of doors outside our room. At least I imagine that tonight we'll both be so exhausted we'll sleep through even a fire alarm.

Speaking of fire alarms, some of our long time readers might remember our conference two years ago when we had to run out in the middle of the night for a fire alarm. Needless to say, traveling with Kim and me always results in an adventure. While I never profess to be a humor writer I will attempt to share how our trip started out yesterday. Pulling into the parking lot at the train station, Kim and I knew we were cutting our time close. We had only about 5-10 minutes to get to our train, but we were in the parking garage so how hard could it be? Well, apparently a parking garage at a commuter train station on a Wednesday morning is a little full and a little crowded (obviously I've been out of the commuter world for quite some time). It took 5-10 minutes to park the car. Once we found our space, we grabbed our bags and hustled down six flights of stairs. The minute we hit the sidewalk outside we saw our train pull in. Figuring we missed it, we went straight to the ticket counter thinking we were going to simply change our tickets for the next train. Nope, according to the nice ticketman we still had time. Run!!!!! I dashed off first, ticket in hand, yelling back to Kim that I wouldn't get on board until she was there. Dashing through the tunnel, dragging my gigantic shoe-filled suitcase behind me, I flew up two flights of stairs and made it to the platform and train door just as the conductor announced to stand clear of the closing doors so what do I do? What any New Yorker would do? I threw my suitcase into the train vestibule and stood right in front of the closing door. At that point I saw Kim's head pop up the staircase at which time I proceeded to hollar, "hurry, hurry" and Kim, moving as fast as she could (although it looked a little like a slow-motion scene in a movie) ran for the train, the doors banging against my back in an attempt to close. Finally, Kim made it to the door. I grabbed her bag, tossed it inside with Kim pushing inside behind it, knocking me over in the process. I flew over the two bags landing on top of them in the train vestibule. As I glanced up to see if anyone noticed (how could they not) I could see heads popping out from behind seats to see what the commotion was. Needless to say, other then a bruise on the shin, we made it on the train in two pieces. Although I'm not sure Amtrak is going to want us back.

Okay, on to real publishing news. Yesterday was busy of course. I spoke on a terrific panel for the Golden Network with Abby Zidle from Pocket, agent Kevan Lyons, Deb Werksman from Sourcebooks, Tracy Ferrell from Harlequin and agent Emmanual Alspath (I know I got spellings wrong and sincerely apologize. I'll try to correct later, but I'm blasting this out before getting to a breakfast meeting and won't be back until this evening). In a nutshell, publishing news is not pretty these days. Agents have gotten pickier and editors are having a really, really difficult time getting projects through. In other words, buying a new book or even an option book is hard these days. Sales are down, bookstores are in trouble and everyone, from buyers to publishers, are cautious with their money. So what does that mean? Do you delay submissions for now? I don't think so. I think it simply means you have to make sure your book is even better then your best work.

The literacy signing was chaotic and full of people which is fabulous. Kim and I made a quick entrance, but it was hot and crowded so we choose to spend out time chatting with authors in the bar instead.

And from there we headed to the Bookseller's Best Awards where BookEnds authors Elizabeth Amber, Terry McLaughlin, Sally MacKenzie, and Stacey Kayne were all finalists. Congrats to them!

I'm off for a full day of appointments with clients and will be back soon with more news. Sorry, for the brief report and any and all typos and errors today, but I'm really trying to run out the door

--Jessica

The Romance of the Train

As you read this Kim and I are boarding Amtrak for Washington, D.C.’s, Union Station. Today is the start of the RWA National conference and I love that I get to take the most romantic form of transportation to get there. There’s something about a train that just calms, relaxes, and excites me. Have you ever noticed that nearly all children, at some point or another, fall in love with trains? Amazing since so few actually get to ride or even see them regularly. Well, I for one have never outgrown that fascination.

Like trains, I think books hold their own form of romance and I think that for many, the hesitation toward ebooks, ereaders, and epublishing is the loss of romance. Will a book still hold the same fascination when 90% of what we’re reading comes electronically? Or will ebooks be the air travel of today? No more peanuts, no more toothbrush, and no more waving to friends and family from the jetway, just serving the purpose we need them to serve? There’s no way of knowing for sure what is going to happen to books. Only time will tell, right? The one thing I do know is that for those of us involved in publishing (and that means those of you who read the blog too), no matter what happens our romantic fascination with reading and the written word will never go away. In fact, I’m not even convinced that the bound paper book we know today will go away. Just like trains, those paper books will have their problems, but hopefully, at least for the romance of it all, they’ll stick around in some fashion or another, because, while I love my Kindle, nothing beats the smell, feel, and versatility of paper.

For the next two days (three if you’re lucky) I’ll be posting directly from the conference. For those of you who are not part of the romance community, or have no interest in it, I will try to make sure my posts cross genre lines as much as possible. For now, though, I’m going to sit back and enjoy the clickety-click of the train as we head through the cities and countryside of the Northeastern United States.

Jessica

An Agent's Passion

Earlier this month I attended the Northern Colorado Writers Conference in Fort Collins, Colorado (and followed it up with some much-needed vacation). The conference immediately followed my post on Agentfail, so I was feeling a little bruised, battered and unsure if I had done the right thing. Obviously this post sticks with me since I can’t seem to let it go.

One of the things that struck me about this conference was how much agents really, truly love our jobs. The first night there, conference director Kerrie Flanagan took agents Jeffrey McGraw, Jon Sternfeld, and me out to dinner. I felt a little bad for Kerrie because immediately upon getting three agents together all we did was talk shop. We shared stories of how we handle submissions we love, how we handle those we’re on the fence over, and what we do when we think a submission needs too much work to offer representation on, but we love it anyway. We shared client horror stories and experiences on how to deal with difficult clients as well as discussed what makes a great client. We talked about publishing news and gossip, and we offered advice to each other. Good grief, we just talked and talked and talked shop. Dinner lasted an hour, but since we weren’t even close to done, we moved to an amazing chocolate café for dessert. Poor Kerrie.

On Friday we had pitch appointments and I have to say, this was one of the best-prepared groups I had ever met with. Every single author I met with came in prepared to give a pitch and talk about themselves. More important, though, every author had a list of questions prepared in case the pitch ended early and there was time to just chat. Kudos to Kerrie, who revealed later that she had offered a three-hour pitch workshop. It really showed, she needs to take that workshop on the road. I heard some great pitches and was, hopefully, able to give some constructive advice. One author, at the suggestion of another agent at the conference, asked my advice on how to handle a difficult situation with her agent, while others wanted to know my thoughts on what genre they should be targeting or looking into (not based on trends, but based on the description of the story). I found that, throughout the conference, the writers were warm, engaging and intelligent. The questions they asked were great and the conversations were always lively.

Friday night after dinner, and I really have to shake my head, Jon Sternfeld and I dragged a group of writers into the bar where, yes, we could just talk and talk and talk some more about publishing. It’s a little embarrassing really and makes me wonder, do we just love to hear ourselves talk? I swear, if I get a captive audience (hello, blog readers) I can really talk forever about publishing. I love sharing my knowledge and experiences and I think most other agents do too. The truth is we want to see publishing success whether we’re part of the journey or not, and the more we can do to help authors along the way the happier we are. I remember sitting there and thinking how much fun Jon and I were having. We had never met before, but our common love of publishing created an instant connection. We were in our element. It was great!

I was asked during the cocktail party why I do conferences; the author wanted to know if it was for the pay. LOL. Newsflash, except in very, very, very rare instances, agents do not get paid to attend writer’s conferences. Typically hotel, conference fees, and airfare are covered, but we still need to somehow get to and from the airport, pay for meals that aren’t included and cover any other incidentals we might need (Internet access at the hotel, for example). I don’t do conferences expecting to sign new clients and I certainly don’t do them for money. I’m not going to pretend I’m a saint and attendance at conferences is completely altruistic. Sure, I never know who I will meet or what that will lead to, but primarily I speak at conferences because I love being surrounded by others who have a passion for books, who love to write and who really, truly want to learn more about publishing.

Jessica

Pitch Appointments

While traveling to a conference recently I got to thinking about pitch appointments. For those who haven’t yet had the opportunity to attend a conference, pitch appointments are brief, 10-minute assigned meetings between an author and an agent or an editor. Typically to have a pitch appointment you need to have signed up ahead of time and you need to have a completed manuscript.

My thoughts aren’t so much about how authors could better conduct themselves in these appointments, but how they’re often handled from the perspective of conference coordinators. Should pitch appointments be a perk or should they be something that you ensure every attendee is able to get? I can only imagine the headache that goes into handling pitch appointments. I would imagine it’s probably one of the more difficult jobs of volunteer organizers and I have always done my best to respect those who planned the appointments as well as those who manned the desks during my appointments.

Now I know that every author who attends a conference is going to feel that with the money they are paying they should all get appointments with as many of the agents and editors as they want. I disagree. I think organizers should plan ahead of time how many appointments each agent and editor will take (and I do not think anyone should be required to take more than two hours of appointments in a day) and from there you’ll need to figure out how appointments get assigned. I can’t even begin to tell you how many times I have spent up to eight straight hours in a room taking appointment after appointment because organizers wanted to make sure that everyone who wanted an appointment got one. In fact, I’ve even been told by conference organizers that they brought me in to work me and that’s fully what they intend to do. I realize that the agents, the editors and the bestselling authors are usually the draw for conference attendees. I also ask organizers to remember that agents and editors talk too, and you’ll find it more and more difficult to find attendees when we tell others how hard we were worked.

Pitch appointments are useless if the agents are so tired they can’t see straight, let alone listen. If instead of looking at the next author as a potential client we’re looking for the door, a pillow, and a quiet room where no one knows us, you’re in trouble. Pitch appointments are exhausting for the agents and I think by now you’ve all come to realize that they are probably my least favorite part of conferences. So when scheduling appointments and trying hard to please all the authors who want an appointment with a certain agent, please don’t forget the agent and that the best thing you can do for everyone is give her a break too.

Jessica

What Are Conferences Really About

It’s conference season. At least for me it is. For the next few weeks I’m going to be very busy literally jetting around the country attending and speaking at various writers conferences, which, along with a reader’s question, has me thinking about the way we think of conferences.

Why do we go to conferences? I would bet that nearly all of you answered that question by saying that you go to meet editors and agents. Wrong! We go to conferences to network, and editors and agents are just a small sampling of the people we can network with. Do you know that networking with other writers can be just as important as networking with agents?

A reader recently wrote in to tell me that he is planning to attend two conferences this spring and wants to know whether or not he should hold off on querying until after the conference. Why? His feeling is that if he gets an agent before his conferences then he would feel like he wasted his money.

Really? You have an agent. Who cares when it happens? Isn’t getting an agent your goal, or is it feeling like you didn’t waste money? Listen, there are roughly 400 conference attendees trying to get the attention of, maybe, four exhausted, overworked and chatted-out agents. Out in the big cold query world there are hundreds of agents all snug at their desks looking for a talented writer with a great book. So what if you get an agent before you go to the conference? Then doesn’t that take the pressure off? Now you’re allowed to relax, sit back, enjoy yourself and network with other authors because, frankly, you’re going to need them. You’re going to need them when your editor asks if you know of anyone who might be able to give you a quote. You’re going to need them when your editor or agent sends back painful revisions. You’re going to need them when you’re the featured speaker at a conference and just want to see a familiar face. You’re going to need that reviewer you shared a drink with and that bookseller you chatted with at breakfast.

Conferences are all about networking, they are not about getting an agent. Sure, getting an agent at or through a conference would be thrilling and certainly it would make life easier, but you can’t go into it thinking that’s your plan. You need to go into the conference with a more global career outlook. You need to build contacts—agents, editors, other writers, bookstore owners, reviewers, and those who plan future conferences. You need to look at the conference as a path, not one stepping-stone.

Jessica