The GLVWG Write Stuff Conference™ — The Grand Event

Tags

Ben Sobieck, Bob Mayer, Jane Cleland, Matt Betts, Richard White, Tabitha Lord, Writing, Writing Conferences, Writing Courses, Writing Craft

 

 

Day 3 Main Event on Saturday, March 24, includes 20 Workshops, Agent/Editor pitch sessions, Marketing Consults, plus lunch and Keynote address with Bob Mayer, Bookfair, Flash Literature Writing Contest, and Door Prizes.

PLEASE NOTE: The printed Presenter/Room Map you received at registration for Saturday has changed. The updated map is below. Each room will have a sign as well.  

 

Jane Cleland

Richard White

Ben Sobiek

Matt Betts

Tabitha Lord

 

Announcements in Lehigh Room 7:30 AM – 8:20 AM

Agent Pitches and Marketing Consults will run concurrent to workshops. Advance registration required. Please check you appointment times upon registration.

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Saturday, March 24, Overview 

Lunch with Keynote Address by Bob Mayer 

Book Fair, Flash Fiction Contest

Door Prizes announced during Book Fair (must be present to win)

 

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Morning Sessions Syllabus

 

8:30 – 9:30 AM

 

 

In the Muhlenberg Room

Agent Panel

Moderated by Suzanne Mattaboni

This slideshow requires JavaScript.

 

Agents will share insights, guidelines, and ideas for writers. These agents will also meet with participants to hear pre-scheduled pitches throughout the day.

 

In the Cedar Crest Room

Using Metaphors to Add Richness and Texture to Your Work

Jane Cleland

Metaphors are, according to Aristotle, a sign of genius. Certainly, they are more efficient and economical than ordinary language; they give maximum meaning with a minimum of words. In addition, metaphors are generous to readers by encouraging interpretation. In this workshop, we’ll put four approaches to creating metaphors to work—whether you write fiction, non-fiction, memoir, or poetry, you’ll develop rhetorically sound images that communicate emotion on a multi-layered level.

 

In the Lafayette Room

Make History with Your Writing!

Matt Betts

Learn about the exciting genre of alternate history and find out what it takes to change the world in your novel. Discover the importance of research, the consequences of toying with time, and how to foster believability. Then take those ideas to a practical level when we spin the “Wheel of History” during the session and ask attendees to re-imagine the outcome of actual events.

 

In the Moravian Room

E-Pub, POD and the Future of Publishing for the Writer

Bob Mayer

Publishing is changing exponentially, not linearly, and today’s writer must be aware of these changes to succeed. This workshop is designed to help authors navigate through the latest information on various forms of publishing options and the state of the industry. Traditional, ePublishing, Print on Demand, self-pub, vanity, and more. We will cover the advantages and disadvantages of these venues to help you, the writer, decide what’s the best choice for you and your work. This is not a nuts and bolts tech class, but a strategic concept of the future of publishing and what it means to writers. We will discuss numbers, royalties, formats, and lessons learned in all areas.

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9:45 – 10:45 AM

 

In the Cedar Crest Room

Tabitha Lord

So You Want to be an Indie Author

Independent publishing is no longer a path of last resort. For many authors, it’s a business decision, and an exciting one at that. As an independent author, you will be responsible for your story content, your brand and platform, and your marketing and sales. What makes a successful indie? For whom is this a viable choice? Let’s talk about the pros and cons of this path to publishing, and consider what your first year as an indie author might look like.

 

In the Muhlenberg Room

Writer Beware Part 1

Richard White

Publishing has never been so easy and so dangerous at the same time. This presentation will help writers identify what makes a publisher or an agent desirable or undesirable and help them identify the red flags that identify undesirable outcomes in the publishing industry. Part 1 will focus on traditional publishing.

 

In the Lafayette Room

Steampunk: Eveything Old is New Again

Matt Betts

Have you heard the word “Steampunk” thrown around for years, but never knew what it was? Now is your chance to get a quick and painless tutorial on gears, goggles, and giant airships. Find out how to use the genre to create your own unique worlds and enhance the excitement of your next story.

 

In the Moravian Room

The Military for Writers

Bob Mayer

An introduction to the military from conventional warfare, through Special Operations, the War on Terror, weapons of mass destruction and insight into the men and women who make up our armed forces—all tailored for the writer who might need research in this area.

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11:00 AM – 12:00 Noon

In the Cedar Crest Room

A Marathon, Not a Sprint: Long-Term Marketing Strategies for Indies

Tabitha Lord

Indie authors have to think beyond their book’s release in order to implement an effective marketing and sales strategy. From platform-building to pre-orders, from back-lists to book tours, let’s talk best practices and creative strategy for getting your book into readers’ hands.

 

In the Muhlenberg Room

Writer Beware Part 2

Richard White

Publishing has never been so easy and so dangerous at the same time. Part 2 will focus on self-publishing and the cottage industry that has sprung up to separate the self-publisher from their cash. Remember, writing is an art – publishing is a business, so get to know both sides of the coin before launching your latest work into the world.

 

In the Lafayette Room

The Rhyming Dead: Horror Poetry

Matt Betts

Wait. Horror poetry is actually a thing? Yep. So is science fiction and fantasy poetry. Come get a brief history of speculative poetry, hear a few examples, and check out the markets that might even bite on your vampire, alien and zombie poems. Learn it all from an instructor who somehow made it into The New York Times with his zombie poetry.

 

In the Moravian Room

Weapons in Fiction

Ben Sobieck

Firearms, knives and other weapons play an outsized role in fiction. Critical plot points often hinge on the way characters use them. Unfortunately, much of what’s depicted in pop culture is misleading at best and flat out wrong at worst. Here are the shortcuts to getting these important story elements correct, the myths to avoid and top tips from the author of “The Writer’s Guide to Weapons: A Practical Reference for Using Firearms and Knives in Fiction.”

 

 

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12:00 – 12:45 PM      Banquet Lunch

12:50 – 1:30  PM      Dessert – Keynote Speaker – Bob Mayer 

I Will Make It Work

“Being an author requires a unique mindset; what other people label madness. I’m still standing after three decades and still quite mad and will share some techniques on how to sustain a writing career.”

 

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Afternoon Sessions Syllabus

 

1:30 – 2:30 PM

 

In the Cedar Crest Room

Editing: Soup to Nuts

Tabitha Lord

For many authors, the editing process is a daunting one. But a well edited manuscript can mean the difference between a book that’s ready for the world and a document that sits in a drawer collecting dust. Let’s talk about the different parts of the editing process, and how to successfully find and work with an editor. We’ll then spend some time discussing the goals of a developmental edit, and share techniques that will help make the editing process efficient, effective, and satisfying.

 

In the Muhlenberg Room

Enter The Hobbit: Writing Realistic Fight Scenes

Richard White

This presentation is designed to help writers design realistic fight scenes for inclusion in their stories. While there’s no substitute for the real thing, writers do not have to have multiple black belts to be able to make their audiences believe they know what they’re talking about. As with anything, a little experience, a knowledge of where to do your research, and a whole lot of imagination can take an author a long way. This workshop will provide authors of multiple genres ideas and resources to help add that little touch of reality into their fiction.

 

 

In the Lafayette Room

What is a Media Kit?          Why do I Need One?

Matt Betts

You want to create a buzz about your books, but the morning TV shows aren’t calling? Your publicity plan may be missing a crucial element. Explore the components of a media or press kit, find out how to put one together, and find out how to use it effectively.

 

In the Moravian Room

Writing Inside a Franchise

Ben Sobieck

In the era of digital publishing, collaboration is key. Writers can piggyback off of each other to provide the kind of synergy that once was reserved only for publishers and the well-connected. Franchising a series is a practical way to leverage self-publishing success so that one plus one equals three. Here’s how to do it.

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2:45 – 3:45 PM

 

In the Cedar Crest Room

Balancing the Busy:  A Crash Course on Time management

Tabitha Lord

As Indies, we’re responsible for all aspects of our project, from the first word on the page to a marketing and sales plan, and everything in between. Some of us are balancing family life and a day job as well! How do we stay productive, healthy, and inspired amidst all the business? How can we maximize our time and make sure we’re attending to our priorities first? Let’s talk about time management in a guilt-free, supportive environment.

 

In the Muhlenberg Room

World Building 101

Richard White

This presentation is designed to help writers design and create realistic worlds and help them avoid common mistakes. Working from the premise of outside in, the participants in this presentation will help create a small island continent step by step.  Along the way, we’ll show how your initial drawings will shape terrain, governments, militaries, and the economy of your world. Presented by the author of Terra Incognito – A Guide to Building the Worlds of Your Imagination, World Building 101 should help fantasy, science fiction, alt-history, and even historical fiction authors create worlds people will believe could (or could have) existed.

 

In the Lafayette Room

The Art of Distraction:  Using Red Herrings to Create Suspense

Jane Cleland

A red herring is a “false clue,” used by writers the way magicians use sleight of hand—the goal is to distract readers from what’s really going on. When done well, red herrings add complexity to plots and intrigue to stories. Red herrings fall into three broad categories: Human Nature (including the halo and devil effects); Details (including the ones readers miss); and Expertise (including trusting those characters with specialized knowledge). You’ll learn how to weave red herrings into your narratives, allowing you to increase suspense as you create engaging and ingenious puzzles.

 

In the Moravian Room

Using WATTPAD to Build a Writing Career

Ben Sobieck

Reading is no longer an insulating experience. Social reading apps, such as Wattpad, are changing the way readers consume content. They’re also expanding opportunities for writers. This presentation will review how social reading works and the ways it can accelerate your writing career.

 

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3:45 – 5:00 PM

 

Socializing

Contest Winners, Door Prizes (Must be present to win)

Book Fair — All published GLVWG members are eligible to participate in the book fair, provided a reservation was made in advance with Book Fair coordinator, Jerry Waxler.  Detailed instructions for selling books at the Book Fair can be found HERE.

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5:00 PM — Conference closes

Check this website in the next couple of days, where we’ll post pictures of the conference and a special section highlighting the Flash Fiction contest winners.

 

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Article by DT Krippene – Social Media Chair

 

The GLVWG Write Stuff Conference™ – Day 2

Tags

Bob Mayer, DT Krippene, Jane Cleland, Writing, Writing Conference, Writing Craft

Day 2 of the Greater Lehigh Valley Writers Group Write Stuff Conference™ on Friday, March 23, will consist of half-day seminars with Bob Mayer and Jane Cleland, followed by the annual “Page Cuts Critique”, and a “Pinterest 101” by Dan Krippene.

7:00 a.m. Check-In table opens.  Pick up registration materials at the check-in table

Jane Cleland

Dan Krippene

 

 

Friday, March 23 Overview —  Two Half-Day Seminars: 

 Includes Lunch, Page Cuts Critique, Pinterest Workshop, and Welcome Reception

 

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Morning Session Syllabus

Bob Mayer – Write It Forward: From Writer to Successful Author

For fiction and non-fiction authors, an over-view workshop that educates writers how to be authors. Based on over a quarter century of experience in traditional, hybrid and indie publishing. Write It Forward is a holistic approach encompassing goals, intent, environment, personality, change, courage, communication and leadership that gives the writer a road map to become a successful author. Many writers become focused on either the writing or the business end; Write It Forward integrates the two, especially in the rapidly changing world of digital publishing.

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Afternoon Session Syllabus

Jane Cleland – Mastering Suspense, Structure & Plot

Jane Cleland’s Agatha-winning book, “Mastering Suspense, Structure & Plot” has been an Amazon bestseller in its category for more than a year.

By integrating these 13 thinking, writing, and revising tips into their writing processes, participants will write tighter, more polished first drafts. They’ll improve their story’s pace, while ratcheting up suspense. These tips serve both as a checklist and as a mandate. The tips relate to tightening a story’s structure, adding complexity to the plot, integrating back story, enhancing character motivation, choosing words for sensual specificity, balancing narrative with action and dialogue, and improving both productivity and professionalism.

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Page Cuts Critique Sessions – Advance registration required

6:30 – 8:30 PM

Page Cuts critique sessions are optional and included in the Friday session. Limited to 36 readings, participants who have been informed of their successful enrollment should bring to their session four copies of the first page of a longer work (fiction, creative nonfiction, or memoir) along with four copies of a 100-word overview of the entire work.

Participants will be assigned to a room headed by a team of publishing professionals who have been asked to provide off-the-cuff feedback. Your work will be read aloud by a room moderator and commented upon by our panelists. No names will be used, all works are COMPLETELY ANONYMOUS. Copies must be formatted. Double-spaced, 12 pt. “Times” font, 1-inch margins, Title & Genre at top of page. No names please. Print to start at the top of the page.

Opinions of workshop panelists are theirs alone and do not represent the opinions of GLVWG.

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Pinterest – What is it, and How to use it

7:00 – 8:00 PM

Session will run concurrent to Page Cuts Critique

 

Conceived as a virtual bulletin board, Pinterest has grown beyond its visual thematic platform of recipes, fashion, and kid’s crafts, and unlike other social media posts that quickly disappear in a blink, Pinterest postings have a longevity through re-pins that can go on for months.

For writers and authors, Pinterest is a great place for writer inspiration, and a way to connect to readers and other writers. It’s all about connecting with good pictures and a well thought out blurb. It’s also highly addictive.

The seminar will cover the basics of setup, creating a great writer profile, themed boards, keywords, search functionality, group boards, and tips from a few industry experts in how to utilize this fun platform to enhance your writer brand.

 

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Samuel Clemons in Residence

Welcome Reception

8:30 – 10:00 PM

Join us for hors d’oeuvres, cash bar, and the chance to network with agents, editors, presenters, and other conferees. Dress is business casual.

Reflections on 24 years of GLVWG with Peggy Adamczyk, Founding Member and former President.

Also, an appearance by guest presenter: ‘Samuel Clemens’

 

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Article by DT Krippene – Social Media Chair

The GLVWG Write Stuff Conference™ – Day 1

Tags

Bob Mayer, Cool Gus Publishing, GLVWG Program Speaker, Writing, Writing Conferences, Writing Craft

 

It’s finally here.  Day 1 of the Greater Lehigh Valley Writer’s Group Write Stuff Conference™ begins tomorrow Thursday, March 22. Starting us off is NYT bestselling author, Bob Mayer.

7:00 a.m. Check-In table opens.  Pick up registration materials at the check-in table

 

Thursday March 22 Session Overview

 Includes Lunch and Writers Café

 

Morning Session Syllabus

 

The Original Idea: The Heart of Your Story and Key to Selling Your Book

Can you say what your book is about in 25 words or less? This is essential to writing a tight book and then selling it.  We’ll discuss ways to find and state your original idea so that you stay on course while writing the book and an approach with which you can excite those you tell your idea to when trying to sell it. Conflict drives your story.  Not only must conflict escalate throughout the entire novel, every single scene must have conflict in it. The Conflict Box is an effective technique for focusing your story on the protagonist, antagonist, their goals and finding out if you have the necessary conflict lock.

Plot and Outline: The Events of Your Story Part 1

• Narrative structure is a baseline craft for a writer to understand.
• The creative process before the actual start of the book
• The elements of narrative structure with examples from film clips.
• The exciting opening that grabs the reader through the escalating conflict to the climactic scene and ending with the resolution
• Discussion with emphasis on hooks, the remote-control effect, building suspense, and having satisfying endings.

Plot and Outline:  The Events of Your Story Part 2 and Introduction to Character Part 1:

The most critical component of a novel is character.  How do you go from flat two-dimensional characters to vibrant three-dimensional ones? Templates to develop characters and the concept of character arc and change will be discussed. These include profiling, psychological frameworks to show character arc and change.

 

Afternoon Session Syllabus

 

Introduction to Character Part 2 (Continued from morning session)

Point of View, Setting, and Dialogue goes beyond just first person, third person and omniscient voices. The point of view you write in is your voice as a writer and often the issue lies deeper than simply a mechanical device. For example, voice dictates what you can say about your characters and what you can’t. It also sets you apart from others and makes you distinct. Setting is not just where, but also when, and can help set your story apart from others.

The Creative Process for Writers

Why do we write? How do we write? How do we create something out of just our minds? The longer I’ve been writing for a living, the more I’ve been focusing on process. It’s unique for every writer, but the most important aspect of what we do. We have to understand how our minds work, how we create, how we process idea, story and put them into our writing. A topic rarely covered, but I’ve found it’s the most fundamental thing a writer needs to understand.

Selling and Marketing Your Book

Should you go traditional or self-publish? Which is better for you? What should you do to succeed on either path? In the quickly changing world of publishing it’s often confusing to know what to do. The benefits of various paths will be discussed as well as ways to market books, regardless of path chosen.

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And don’t forget Writer’s Cafe at 7:00 PM, where you get an opportunity to practice your pitch, or share the first page of your story to others.

 

Article by DT Krippene – Social Media Chair

 

How to Get the Most out of Your Conference Experience

Tags

Writing, Writing Conferences, Writing Craft

 

GLVWG’s Donna Brennan offers some advice for getting the most out of the  Write Stuff Conference™.

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No matter where you are in your writing journey, attending a writers conference is a good way to improve your craft and network with others interested in the publishing field, including editors, agents, and fellow writers.

Let’s face it, conferences can be expensive, and they take time away from family, other responsibilities, and of course, writing. The cost—in money, time, and travel—is usually a good investment. Here are some tips for getting the most out of that investment.

Choose Your Conference Wisely

There are a lot of conferences out there, and new ones seem to be added every year. But not all writer’s conferences are right for every writer.

Some things to consider when choosing which conference to attend:

• Focus/Genre: This one should be obvious, but it isn’t always. If you write in a specific genre, pay more attention to conferences with a focus on that genre. However, general writing conferences may have some workshops that would very beneficial to you, so don’t rule them out. Read descriptions of the sessions offered and find a conference that cover the topics and content important to you.
• Presenters/appointments: Check out who the presenters will be. Just because you haven’t heard of them doesn’t mean they aren’t good, but do your homework and google their names. What do they write? Do they speak often? Do they have a blog? Has anyone else blogged about attending a session by this person? Have they been interviewed?
• Appointments: Are agent or editor appointments available? Research who those agents and editors are. See if they represent or publish the type of things your write. What about marketing appointments? Go to those folks’ websites and see if they are someone you could learn from.
• Skill Level: Some conferences are geared toward beginner writers. Some are for the more seasoned writer. Many have a mixture, with sessions geared for different levels of experience or sessions that can benefit writers wherever they are along their writing path. Make sure the conference you attend isn’t way above or way below your skill level.
• Cost: This is more than just the cost of the conference; it includes the cost of getting to the conference and possibly staying at a hotel. Local conferences will have lower travel expenses, but if your ideal conference is on the other side of the country, it might be worth the trip.
• Timing: Not just when the conference is, but how many days. Maybe you can get away from work for one day, or maybe you can afford to take off a full week. Maybe you can only attend a weekend conference. Maybe you need to coordinate your schedule with your spouse to make sure someone is around to take care of the kids and get them to their activities. It may be hard, but definitely worth the effort if your writing is important to you.

 

 

Plan Ahead

Read the sessions descriptions. Decide ahead of time which ones you want to attend and plan your schedule. Write it down so you don’t forget. It so easy, in the whirl of activities at most conferences, to look at the names of the sessions and not remember the descriptions or why you had preferred one over another.

However, if you sit in a session earlier in the day and you enjoy a particular presenter’s style or message (or you don’t enjoy it), you might want to think about attending (or avoiding) another session given by the same speaker. As long as the conference permits it, allow yourself the freedom to change your plans.

If you have an agent or editor appointment, be certain to prepare for that meeting. An earlier blog post on this site will help you do just that.

For networking purposes, you might want to have business cards printed out. If you already have business cards, be sure to bring them with you.

Check the conference website to see if they have a recommended or required dress code. Most conferences seem to be business casual (or even just casual) dress, but many require dressing up for a banquet or other special event.

One things that’s often overlooked is getting enough rest before you attend a conference. You want your brain to be fully rested to take in as much new information as possible, and you want your body to be fully rested because some conferences have late evening and early morning sessions. You won’t want to miss attending anything important or fun, and you want to be able to be fully engaged.

 

What to Bring

Bring something to use to take notes. Paper and pen/pencil work well, but often at conference people bring small laptops or electronic notepads to take notes. The problem with that is some conferences have classroom style seating (with tables and chairs) and others have theater style seating (with rows of seats, and no tables). A paper notebook will work in both those settings, but it’s not as easy to use a keyboard on your lap—and some keypads make noise that might disturb those around you. Also, electronic devices have a limited battery supply, and there might not be available outlets near your seat.

Some conferences have stacks of magazine samples and submission guidelines. If you’re interested in taking some of these home, bring a tote bag to put them in. You can also keep your notebook and pens in there.

Most conferences have water or coffee stations, but you might want to bring a bottle of water just in case. You can keep that in your tote bag as well. A few hard candies or mints might come in handy in case your throat gets a little sore or raw. If you think you might get hungry, throw a small snack in your tote bag as well.

Sometimes conference rooms can be too hot, other times they are too cold—often in the same day or even the same session. If you tend to get uncomfortable with uncertain or unstable room temperatures, it’s a good idea to wear a thin or short sleeved shirt and to bring a light jacket or sweater.

If you have an agent or editor appointment, bring a one-sheet and a bulleted list of topics to help you remember what you want to say.

And don’t forget to bring your business cards if you have them. Conferences are about networking; handing out and collecting cards makes the process easier.

 

While You’re There

Yes, you are at the conference to learn, but you should also take time to enjoy the event. Enjoy the sessions; enjoy the food; enjoy the people.

Writers have a reputation for being solitary beings living in our writing caves and rarely coming out to mingle with others. Honestly, many “normal” people don’t understand us writers. Be sure to take full advantage of being with other people who share many of the same fears, dreams, frustrations, and joys as you do. Be sure to hand out your cards to folks you’d like to keep in touch with, and ask them for theirs.

This might also be a good time to find folks for a critique group. If you meet others who write in a similar genre or with whom you get along, ask if they already belong to a critique group. If they do, maybe you can join. If they don’t, maybe you can start one up. If they live too far away for in person meetings, consider forming an online critique group.

Many presenters have handouts for their sessions. Many others don’t. In order to help you remember what you learn, it’s a good idea to take notes. But don’t be so busy taking notes that you miss much of what’s being said.

Some conferences or speakers sell recordings of their sessions. Consider buying these recordings if you find a session particularly helpful. If the conference isn’t selling recordings and you plan to make your own, you should ask permission first. Some speakers don’t want to be recorded while others don’t care. And in some states it’s illegal to record other people without their consent.

If you feel yourself getting stressed or overwhelmed, give yourself permission to take a break. All is not lost if you sit out a session or two. And the break may help you get that much more out of the next session.

Lots of conferences have book fairs—either the entire time or a certain day and time. Be sure to browse the tables for good books on craft. You can ask other writers which books helped them—and which books didn’t.

 

 

After You Leave

If you met with an agent or editor and they told you to send them something, be sure you send it!

If you met other writers and exchanged cards or emails, send them a little message saying how much you enjoyed meeting with them. If you planned to form a critique group, don’t put it off too long or it will never happen.

Read through your notes and the handouts while the conference and talks are still fresh in your mind. If you wait two months you might not remember what the things you wrote mean. In fact, as you read through your notes, if you remember something you didn’t write down, write it down now. If you have recording of the sessions, listen to those recordings with your notes in front of you, jotting down any additional details you wish to include.

If you bought books at the book fair, start reading those books. Take notes on the books too, if it helps.

But most important, get busy writing. And don’t forget to apply what you’ve just learned to your work in progress.

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Article written by Donna Brennan

Donna Brennan was a technical writer for over ten years before becoming a computer programmer. Since leaving the corporate world after her twins were born, she’s had numerous short stories, interviews, and nonfiction articles published online and in print magazines including Thriving Family, Encounter, Splickety, and Christian Fiction Online Magazine. She’s a member of American Christian Fiction Writers (ACFW) and the Greater Lehigh Valley Writers Group (GLVWG). She’s served in various capacities on the GLVWG board, including two terms as Conference Chair. She’s always looking for opportunities to encourage others and to share what she’s learned.

How to Prepare for that Editor or Agent Appointment

Tags

Editor Interviews, Elevator Pitch, Pitching Agents, Writing, Writing Conferences

A week away from the 2018 Write Stuff Conference™, GLVWG’s Donna Brennan offers some advice for attendees with scheduled agent interviews.

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When you go to a conference, you often have the opportunity to meet with an agent or editor and pitch your work. Depending on the conference, you may get one appointment or you may get several. The duration of the appointment varies too, typically ranging from five to fifteen minutes.

• How do you select which agent or editor to meet and pitch your work?
• How do you prepare for that meeting?
• What should you actually say at the meeting?

Here’s some advice addressing those questions.

 

 How to Select Which Agent or Editor to Meet With

The longer the list of available agents and editors, the more daunting the task may appear. But look at it as an opportunity to find the best fit for you and your work.

First, read the bios listed on the conference website, paying special attention to what their current needs are. Don’t pitch a fantasy to someone who is only interested in contemporary romance. Then, go to their websites (usually listed in the bio) for more information about them and their agency or publishing house, including titles of books they represent or publish. Read reviews and summaries of those books online. If you can, read the first few pages online, too.

Do they have a blog? Read that, too. That often helps you to get a feel for what kind of person they are. You want to make sure they are someone you would enjoy working with.

Pick your top choices, but also have some back-up choices. Appointments usually fill up quickly with folks who register for the conference early, getting first dibs on available time slots. So register as soon as you’re sure you’ll be attending.

A Few Questions with Sheree Bykofsky

Tags

Literary Agent, Sheree Bykofsky Associates, Writing, Writing Conferences

 

In the last of our series to introduce presenters and agents, GLVWG’s Dawn Sooy took a few moments to ask Sheree Bykofsky a few questions. Sheree will be taking pitches at the upcoming 2018 GLVWG Write Stuff Conference™, Saturday March 24 (advance registration required).

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Dawn – As an agent, you work with writers, hopefully, long-term, but who are strangers to you at first. Do you look at more than the work submitted to determine that relationship?

Sheree – Yes, I like to know I’m working with an author who knows what is expected of a professional author, even if this is their first book. I like authors who help me to help them so that each step of the way we both feel like we are on the same team. This professional relationship has made me feel genuine love for many, many of my authors. Ultimately, so many of them feel like they are friends and even family. Mutual appreciation makes this field so rewarding.

Dawn – Writers often say they became writers because they have to write. What drew you to becoming an agent?

Sheree – It is a perfect symbiosis of my skills. It involves my left and right brain in equal measure: assessing manuscripts, being empathetic to people, being the first to read the work of creative and brilliant minds, understanding the needs of publishers and searching for the perfect editor, negotiating contracts in the U.S. and around the world, educating authors. And when the result is a beautiful book and a happy, knowledgeable, appreciative author, what can be more rewarding than that?

Dawn – When you get a submission, how far into it do you get before you know this one is not for you?

Sheree – It varies, but it can be very quick. It isn’t hard to recognize a professional quality submission

Dawn – What trends in the publishing marketplace attract your attention? What genres are hot?

Sheree – For me the old standbys remain my favorite: prescriptive non-fiction: business, health, lifestyle, cooking, etc.

Dawn – I understand you are an exceptional poker player. Tell us a little about that; how did you start? Do you have an engaging story about a competition?

Sheree – I’m very excited that my 4th poker book THE KAIZEN OF POKER will be published in June, 2018. It is about improving your game, something everyone can do in all aspects of their life, at any level. I can’t wait to promote.

Here is a funny story. I was once playing poker at the Borgata. We discussed a rule, and I clearly said I knew the rule and they can trust me on it because I am the author of THE RULES OF POKER (now out of print). The stranger at the table, said, “How interesting that you are an author! Do you do anything else for a living?” I said, yes, I am a literary agent. He said, “Oh! Do you happen to know Sheree Bykofsky? That’s the only agent I know.” I told him I am Sheree Bykofsky and he didn’t believe me. Another man at the table confirmed it. The man said I had rejected his query a while back but had given him some guidance that he appreciated.

Dawn – I really appreciate this, Sheree See you at the conference.

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  Article submitted by Dawn Sooy

Dawn Sooy is a multitasker with the Greater Lehigh Valley Writers Group, fulfilling the duties of Secretary and Conference Chair for the 2018 GLVWG Write Stuff Conference™.

A native of Eastern Pennsylvania, and too full of energy to even consider a rocking chair, Dawn published six short stories, the most recent, “Love Knows No Boundaries,” featured in the 2016 GLVWG anthology, Write Here – Write Now. She is currently working on a full-length novel titled, “From The Darkness,” scheduled for publication in early 2018, with plans to publish a horror anthology later in the year.

You can find Dawn on her Facebook page:

https://www.facebook.com/DawnMSooyAuthor/

A Few Questions for Amara Hoshijo

Tags

Crime Fiction, Literary Agent, Soho Press, Writing, Writing Conferences, Young Adult

We introduced Amara Hoshijo, an agent of  Soho Press, with “Meet Amara” on January 31st. Amara will make a return visit to the GLVWG Write Stuff Conference™ on March 24, 2018, where she will be taking pitches (advanced registration is required).

GLVWG had a few questions for Amara about what she’ll be looking for, with some advice for writers.

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GLVWG: How many authors do you sign in a one-year period?

Amara:  A rough average for me is 6-8 titles per year for the crime list and 1-2 for the literary list. As a company, Soho takes on around 30 crime titles, 10 literary titles, and 10 YA titles annually.

GLVWG:  What are you currently looking for?

Amara:  The Soho Crime mandate is focused on both international and heavily regional US crime fiction. I’m looking for atmospheric, literary mysteries and thrillers with an unusual twist, whether that be in terms of plot or character.

GLVWG:  What is the latest trend in teen books?

Amara:  I don’t edit YA, but I occasionally discuss this with our Soho Teen editorial director, Dan Ehrenhaft. I’ve noticed that realistic, issue-focused teen fiction has made a huge comeback, from work by Jay Asher to Angie Thomas. #OwnVoices writing has also taken strong roots in the genre, although I hope that’s much more than just a trend.

GLVWG:  Do you write?

Amara:  It’s funny—I’m asked this almost every time I tell someone what I do. To be honest, I don’t write much. I really prefer to edit, working with an author on how to refine what’s there in order to best express their ideas. When I do write, it’s more of an exercise just for me.

GLVWG:  Tell us about your life outside the office: family, activities, causes you support.

Amara:  I’m very active in the Japanese American Citizens League, the oldest Asian American social justice nonprofit in the country. As Vice President of the New York chapter, my goal is to bring more young people into the organization. My family is back in Hawaii, where I was born and raised, so I go back to visit every year or two!

GLVWG:  Favorite Manhattan spots?

Amara:  This is a tough one, since there’s so much here! I suppose it depends on my mood. I enjoy a good burger at The Spotted Pig every now and then, and have always found it worth the wait. I also have a borderline-problematic sweet tooth. When I want dessert for breakfast, I stop at my neighborhood Doughnut Plant. For after-dinner dessert (or dessert for dinner), Chikalicious in the East Village is really special.

GLVWG:  Advice to crime writers:

Amara:  Don’t fall into formula! This can be so, so difficult, especially for genre buffs who worship specific crime fiction authors and schools. But it’s not about reinventing the wheel, it’s about taking that literary foundation and going a step further to differentiate your story.

GLVWG:  Advice to YA writers:

Amara:  Write from the heart instead of following trends. YA readers can tell when you’re faking it! Imaginative, thorough world-building is also a thread I’ve noticed in successful YA. This is such a fun, rich genre that seems to always be changing.

You can find Amara at Soho Press, contact her at ahoshijo@sohopress.com, and follow her on Twitter.

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An Interview with Noah Ballard

Tags

Curtis Brown Literary Agency, Literary Agent, Pitching Agents, Writing, Writing Conferences

Noah Ballard is an agent at Curtis Brown, Ltd. He received his BA in English from the University of Nebraska–Lincoln and began his career in publishing at Emma Sweeney Agency where he sold foreign rights for the agency in addition to building his own client list.

Noah specializes in literary debuts, upmarket thrillers, and narrative nonfiction, and he is always on the look-out for honest and provocative new writers.

David A. Miller, III had a few questions for Noah on how he works with new writers and speaks about trends in the publishing market.

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David:  As an agent, you work with writers, hopefully, long-term, but who are strangers to you at first. Do you look at more than the work submitted to determine that relationship?

Noah:       When I’m meeting writers in person, I look for a positive rapport and a willingness to collaborate. Once a manuscript is sent off to an agent, it is no longer the writer’s alone, and an interest in working with me (and inevitably a publisher) on making the book as strong as possible is often equally as important as the talent on the page. It is that meeting of the minds that leads to a productive relationship together beyond the debut work.

David:  Writers often say they became writers because they have to write. What drew you to becoming an agent?

Noah:       I became an agent almost accidentally. I was working on a novel at the end of college and had signed with Emma Sweeney Agency. Ultimately nothing came of that novel, but it was my introduction to Emma. When I graduated and returned to the NYC-area, she knew me and my taste, and when a job opened up, she offered it to me. While I still do write from time to time, my passion now is using the experiences I’ve accrued to help other writers accomplish their goals—while keeping in mind what it was like to be on the other end of that relationship.