Category Archives: The Writing Life

Get Down to Business at the Superstars Writing Seminar

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The Superstars Writing Seminar focuses exclusively on the business of writing, so you won’t hear any writing craft lectures.

I’ve attended two of them so far, in Salt Lake City (2011) and Las Vegas (2012), and they were excellent, motivating, and provided great networking opportunities.

You get to hear best-selling authors talk about how they broke in and what publishers are looking for in an author. They take you through the details of real book contracts (Eric Flint’s to be exact) and royalty statements. You’ll hear in-depth discussion of the need (or not) for an agent, the many ways to exploit your copyrights through new media, TV, and film, and practical issues such as writing ergonomics and improving productivity.

That last point was the biggest take-away for me. Superstars reset my standard of productivity waaaaay higher. When Kevin J. Anderson projects a slide showing how many books he released in only one year, one gets the picture that making a living at writing, means writing a lot of content.

If you balk at the registration fee, be assured that the value of the seminar is very high. The days are packed, and the faculty is very accessible for questions and will often join attendees during lunch breaks (or a late beer with Kevin if you’re so inclined.)

The VIP dinner ($150 add-on) is an extraordinary experience. It’s truly a unique opportunity to pepper a best-selling author with questions while enjoying top notch cuisine. If you don’t leave stuffed and inspired, it’s your own fault. If you can swing it, don’t miss it.

Another great benefit of Superstars is the community of alumni. Once you’ve registered, you get access to the private Facebook group, which always has lively discussions. Writers post questions, ask for opinions on back cover copy and cover art, post news from the publishing world, and brag when something cool happens in their career.

The deets:

Who: Kevin J. Anderson, Rebecca Moesta, Dave Farland, Eric Flint
Guest Speakers: James A. Owen, Joan Johnston, Jim Minz (Baen), Mark Leslie LeFebvre (Kobo) | Read the faculty and guest speaker bios

What: Superstars Website | Cost: $849 before 28 Feb, $899 after (student and alumni rates available) | VIP Dinner: $150

When: May 14-16

Where: Colorado Springs, CO (Antlers Hilton, block room rates available)

Why: Because if you want to make a living with your writing, it’s time to get down to business.

Finding the Right Writing Seminar for You.

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Deciding what writing seminar to go to is a daunting task. If you Google or Bing search “writing seminars fiction” or “writing conferences fiction” you’ll get well over million hits between the two. For simplicity I’m going to use the terms seminar, conference and convention interchangeably. Even when you factor in duplicate or out of date entries and wrong responses, there are thousands of writing conventions you could attend on a local, state, national or international level every year.  Add to the vast array of choices the necessary limitations of time and money, and you’re faced with a conundrum. Whether you are only attending one or five conventions that year, you still need to winnow down your choices to the “best” convention.

Since all of us here at Fictorians are setting up our convention schedules, we thought we’d address this very important topic. All month we’re going to be featuring posts on particular convention to help you make the “right” decision. There are many factors that make a convention “right” for you. A lot of it, though, comes down to what your goals are.

So, here are some of the factors I take into account when I’m planning out my conference attendance for the year.

1.         Time, Money and the Intangible Costs. All conventions are trade-offs.  Most of us have families we leave when we attend a convention. Non-writing jobs limit our available time. Limited funds may dictate that certain conventions are out of reach, for now. Even when writing is your full time jobs, the time at the convention takes hours away from your ability to write. Recognizing the trade-offs will give you one measure of whether the cost of attending the convention is more than you are willing to pay.

            I’m a mommy, writer, and lawyer. When I make decisions about most courses of action, I balance the time away from my family, and work with the benefit of the proposed action. Would I love to attend a seminar a month? Yes. Is it feasible? Heck no. Remember, we all have multiple demands on our time and attention. Don’t (knowingly or unknowingly) sacrifice more than you are willing in one area of your life for another.

2.         Take into account the convention’s focus and your needs. Each convention has its own personality, and focus. Some conventions are skills-based, some are industry-based and some are fan-based. My first seminar was skills-based. At the time I had a mess of a manuscript, but at least it was finished. The focus of the convention was how show lawyers how they too could be the next Gresham and write legal thrillers. While I was writing fantasy, the basic skills being taught applied to every type of writing. Other seminars focus on the networking opportunities, while still others focus on the costumes and pageantry of a fan convention.

Assess where you are in your career and what you want to get from the convention. For fun, there are some great conventions. A word of caution though, keep in mind if you are attending as a fan, you may not watch to pitch your dream editor while you are wearing a superhero outfit.

If you are starting out your writing career, my suggestion would be to focus on the general skills-based seminars for your first conference.  As your writing skills increase, there are seminars that focus on particular elements of the writing process like outlining, editing and pitching your story to agents and editors. Seminars like Superstars will also give you a lot of insight as to how the industry works and what it means to be a professional writer.

When you have a work looking for a home, you’ll want to focus on conventions that will give you the opportunity to meet agents, editors and publishers. At this point, you make also want to go to some of the genre specific conventions like Romance Writers of America, World Fantasy Convention, ThrillerFest and the like.

3.         Who else is going? Pay attention to the speakers and attendees, if the list is available. Attending with friends is a good safety net. Having people to be with can help bolster your confidence. A friend can prod you to go back and talk to that editor who’s looking for the same type of stories you write. Just remember not to pack up to the exclusion of new connections.

More importantly, if your dream agent is on a panel or attending at a particular conference, that conference is one that should be high on your list. This is where doing your homework before the conference comes in. Research the convention speakers. Find out if they write, edit or publish in your genre. Knowing who is speaking may help you winnow down your choices.

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4.         Is the Content Useful?  Know what sessions will be offered, and if they sound helpful to your furthering your writing career.

There’s a caveat here. For the World Fantasy Convention and several other genre specific seminars, you will often need to sign up months, if not a year, before the sessions are announced.  The keynote speaker and often some of the other speakers or award recipients are often announced when the registration process starts. While this might be all right for the premiere genre seminars like WFC or ThrillerFest, since if you’ll want to attend them if you write in those genres, but try to avoid signing up for a conference when you don’t know what will be presented. It might be that that fine sounding seminar actually isn’t what you needed when you learn the details.

5.         Ask. If you’re reading this blog, you’ve already taken a positive step. You’re connecting with others in the industry. If you know Jane went to WorldCon, but Pete went to World Fantasy and you’re trying to decide between the two, ask Jane and Pete about their experiences. Contrary to the stereotype, writers tend to be a fairly gregarious bunch when we’re not at the keyboard. We’re happy to share insights and swap war stories. Asking people who have been what they liked or didn’t like and whether the seminar was useful is a great way to narrow the options to a manageable grouping.

6.         Have Faith.  Even after you’ve winnowed down the list by doing the above, you’re likely to have more choices than you can realistically attend. At that point, take a deep breath and pick the one that appeals most to you. With the right mindset, every convention can be a great one for you. And, you can always attend a different convention next year.

A final word on this subject: regardless of what type of convention you choose, you MUST network. The friendships you make are priceless.

fictorians at superstars

Dive In! The Water’s Nice

Sounds of the lunch rush washed over me as my heart sank. I fell back into the crinkly leather of my booth seat as the woman across from me reached into her bag and pulled out three full pages of elevator pitches. As for myself, I had travelled halfway across the country with nothing but a few changes of clothes and a mustard stain on my lapel. This is what it felt like to be grossly unprepared.

This was a mere two months ago, hours before the start of World Fantasy Convention 2012. I had arrived early in the morning before the Thursday sessions and was now eagerly catching lunch with a good friend of mine I hadn’t seen in over a year. To my surprise, my friend was more interested in talking shop than catching up on our personal lives. The only reason this surprised me is because we were on different pages. She had come to Toronto to make valuable connections and further her writing career. If I’m being completely honest, I had mostly come to socialize. Like I said: different pages.

And it was me who had to now make a series of furious, last-minute adjustments.

My friend, who’s been writing for many years, has an impressive body of work and a long list of ideas for future works in progress. She’s a big-idea, high-concept thinker… and she had come all this way with books to sell. That wasn’t her mentality; she was as much there to “buy” an agent or editor as anything, and I think that’s a healthy perspective. But however you look at it, WFC is a book market, and she had come with the correct mindset.

WFC is the only major con I’ve attended in the two and a half years since I decided to pursue my writing professionally, but I know for a fact that it’s not unique. Writers go to cons for many reasons, but primary among them is the great white hope of networking: to make that one perfect connection with someone who has the ability to make your wildest publishing dreams come true. WFC 2012 was crawling with those kinds of people. Best-selling authors, agents, and editors from all the major genre publishers were on the premises, and the hardest of hard-nosed genre writers were hunting them like Bugs Bunny at the height of rabbit season.

This wasn’t the fun, laidback reunion with friends I had hoped it would be. In retrospect, it was a hundred times better.

Let me get personal for a minute and explain that I hate networking-or maybe I just hate the word. The idea of walking up to perfect strangers and making small talk, all with the agenda of finding out whether or not they’re useful to me or not… well, it’s fair to say that rubs strongly against my grain. Of course, ardent professional networkers probably wouldn’t describe their skillset quite that way, but it’s the way I have always perceived it. You would therefore expect that a con like WFC was a cesspool of human ugliness from which I would instinctively want to run screaming.

But fortunately, it was too late to do that by the time I sat across from my friend over a burger and fries and that long list of elevator pitches. Thank goodness for that, because WFC was a game-changer for me. And my fervent hope is that one of 2013’s many excellent conventions will be a game-changer for you, too.

In the month of January, you will hear stories from many con- and workshop-goers, our hope being that these experiences and tips will prepare you to take the leap and jump into the professional pool, perhaps for the first time. You’ll learn many things. Like, what’s an elevator pitch? Why is the hotel bar the most important location at a convention? How do you meet other professionals without coming across as desperate and needy? I learned all this and more. Oh, and guess what? I changed my mind about networking. It’s not the dirty word I thought it was.

Welcome to 2013, the year to take big steps. Bold steps. Game-changing steps.

Revise Unto Death or Quit?

The last post of 2012. Oh, the pressure!

This makes me think of endings… and beginnings. These ideas fortuitously play into the topic at hand – when should a writer abandon a scene/plot/character/work that just isn’t working rather than rewriting for the fiftieth time?

My story, A Guardian’s Destiny, was a work in process for sixteen months, give or take.  I wrote, rewrote, edited, revised, rewrote and on and on for what was longer than was good for me or it. I was halfway through rewrites that added a major character when I couldn’t take it any more.  I knew it needed fixed, but  I couldn’t figure out what the fix might be.  Frustration didn’t begin to cover how I felt.  When I stepped back and looked at it with some small measure of objectivity, I could see it had “Edit Face.”  Not pretty. So, I put it in a virtual drawer and began something else.

When do you make that call?  End one thing, begin another?

That is a personal decision, but here are some things to consider.

  • Time – How long have you worked on your scene/plot/character/work?  Think about Return on Investment or Lost Opportunity Costs.  Yes, we want our writing to be its best, but it will never be perfect and we need to recognize the tipping point where we have gone beyond productive effort.  If you could have written a multitude of other scenes/plots/characters/works in the time you’ve spent on this particular one, then maybe it’s time to let it go and move on.
  • Sanity – Is it making you crazy?  My story was.  That’s not constructive and it’s stressful.
  • Distance – Sometimes, it isn’t that you need to completely abandon your scene/plot/character/work, it’s that you need some distance from it.  Your muse may need time to gel. Time to work out exactly what the problem is and how to fix it.  It may be weeks, months, years or never.  You just never know.
  • Perspective – It’s just a story.  We’re not curing cancer. Don’t marry your scene/plot/character/work.  You need to have some perspective.  Sometimes, things just aren’t working and you need to stop.  If it helps, save all the drafts or put any deleted text into a different document.  Then it isn’t really gone, just not where it isn’t working.

A Guardian’s Destiny has been tucked away for six to ten months.  My critique partner asked to read it anyway despite my protestations that it seemed hopeless.  After all this time and with her help, I think it may be time to take it back out and finish it. With a second set of eyes and ideas, it may yet be salvageable, but I know now that if it isn’t complete in a reasonable amount of time (not months on end), then back in the drawer it goes.

Here are some sayings that I keep in mind to help me.

A certain amount of opposition is a great help to man.  Kites rise against, not with, the wind……  John Neal

It’s only a book.  If nothing is happening – hit delete and start over. …..  I don’t remember where I heard this, sorry.

When your moment of truth comes, remind yourself: They told me it would be hard. This is what hard feels like. I can do this. …..  Rachelle Gardner, Literary Agent

What do y’all think?  I’d love more great quotes and/or tales of death, birth and maybe rebirth of your scene/plot/character/work.