Novel Proposal Writing Tips from Chip MacGregor Part 2

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If you had an opportunity to read my last post, we talked about Novel Proposal Writing basics - part 1.

Using Chip MacGregor's helpful tips, we covered the purpose of the proposal, hook, overview, and synopsis. Today we're going to discuss the latter section of the proposal that not only lets the proposal readers know about your story, but about YOU. :-)

1.  Genre - where does your book fit. Historical Romance? Contemporary or Southern Romance? Speculative Fiction? Young Adult Historical?

2. Audience: who might be interested in reading your book. For example, Demographics (your people group) and Psychographics (what makes it interesting).
Here are a few examples from one of mine.

If a reader wants to laugh at the plights of loveable characters and enjoy a wonderful clash of cultures, A Twist of Faith is a book for them. The Mitchell’s Crossroads series confirms Pepper’s tagline- Blue Ridge romance peppered with grace and humor. Its light-hearted feel with deep spiritual elements blends romantic tension, humor, and redemption in a tight braid of a heartwarming story. Expanding upon the unique and quirky Appalachian setting, this series showcases clashing cultures and gives a southern accent to classic tales.

Characteristics of the audience:

• female fiction readers from their 20’s to their 40’s (I’ve even had readers in their 50s and 60s enjoy this)
• buyers of fiction by Jenny B. Jones, Tamara Leigh, Janice Hanna Thompson, Laura Jensen Walker, Sandie Bricker, Denise Hunter, and Rachel Hauck.
• readers of historical romance, particularly medieval periods due to the historical subplot
• readers who enjoy humor and quirky characters
• people who enjoy romantic comedy/dramas like Kate & Leopold, Pride & Prejudice, Emma, No Reservations, Leap Year, While You Were Sleeping, and My Big Fat Greek Wedding. 
• readers who want to read about how God gives second chances and the healing power of forgiveness

3. Manuscript: how long is your work and is it complete? If you are unpublished, you must have a complete manuscript to be considered

 

4. Comparables: How is your book like what is already out there? It can be similar in voice, tone, theme, or style. You need to list 3-5 examples and describe how each one is similar.

Here are some examples:

 

Once Upon a Prince and Princess Ever After by Rachel Hauck, published by Zondervan (2013, 2014, respectively) -  ATOF is similar to Rachel’s books because of the sweet, endearing romance and culture clashes.

Meant to Be Mine by Becky Wade, published by Bethany House (2014) The romantic tension and deep spiritual thread of Becky Wade’s newest release is similar to A Twist of Faith’s storyline.

Made to Last by Melissa Tagg, published by Bethany House (2013) The locale of Asheville with its delicious small-town appeal is similar to my novel.

Weddings by Bella series by Janice Hanna Thompson published by Revell (2010)

This series takes the plight of a young woman’s infant wedding planning business and follows her romantic relationship – while including her quirky and loveable Italian family. The large and ‘intrusive’ family in Janice Thompson’s book is similar to the one in Here to Stay.

Love Starts with Elle by Rachel Hauck, published by Thomas Nelson (2008)

A small town girl struggles with feelings of insecurity from a previous relationship but finds an unexpected romance in Rachel Hauck’s sweet story – and this is similar to my heroine’s insecurities and unexpected romance.

 

5. Bio: who are you and why are you qualified to write this book? It's usually about a 1/2 of page and "if you're attractive include a picture" Chip says. Edie Melson had a great post on bio writing a few months ago, here.

 

6. Marketing Info: All your 'platform' stuff goes here. FB, Twitter followers, social media, blog, organizations...etc. It should be between a 1/2 page to a full page.

Here's an example:

 

The Author’s Tribes:

Facebook Friends: 1174

Twitter Followers: 937

Website and Blog: www.pepperdbasham.com

Words Seasoned With Salt has been a great blog to promote writing, host reviews, and inspire. I have an average of 200 visits per day. Many published authors have been guests on my blog – such as Julie Lessman, Mary Connealy, Rachel Hauck, Ruth Logan Herne, Siri Mitchell, and Janice Thompson.

Group Blog: http://thewritersalleys.blogspot.com

I am the creator (and regular contributor) to The Writers Alley – a group writing blog hosted by 10 aspiring authors. It was created three years ago and have over 600 subscribers. The average hits is 1000 per day.

I am a regular contributor to Christian Fiction Online Magazine and have guest blogged on the popular writing blog, Seekerville. I have been published in ACFW’s Afictionado.

Though most of my presentations are about my profession in Speech-Language Pathology (and mostly related to Autism Spectrum Disorders), I have spoken at women’s conferences on various topics from God’s redemption throughout generations to God’s unique plan for our lives. I have also spoken for writers groups.

I have been a member of the Christian Fiction Blog Alliance for over four years, a Revell reviewer for three, and have developed a ‘following’ from my guest blog posts and these articles.

My first nonfiction article, Start Talking 101, was published in Momsense magazine in January 2010.

I am active on social media sites such as FaceBook, Twitter, and Pinterest.

7. Your writing. This is where the editor or agent will probably look first before viewing anything else. You'll include 40-50 pages of your manuscript.

 

Okay - what do you write best about this part of the proposal? Where do you struggle? Let's chat!

 

 

Proposal Writing Tips from Chip MacGregor (Part 1)

A few weeks ago I had the wonderful opportunity to attend The Blue Ridge Christian Writers Conference which takes place at the Ridgecrest Conference Center near Black Mountain, NC. It’s a different setting, and therefore atmosphere, than ACFW, but a great place to gain the high quality teaching and remarkable fellowship you're used to at ACFW but with a more relaxed 'retreat' feel.

Anyway, I took a proposal writing course by “Agent Extraordinaire” Chip MacGregor (who represents our very own Amy Leigh Simpson). Known for his excellent track record in publishing, his fantastic wit, and his occasional appearance in a kilt, Chip brings a wealth of knowledge to the proposal writing process.

There were 11 components to Chip’s Chat on Novel Proposal Writing, so I’m going to present Part 1 now and Part 2 next time (June 23).

Chip started with a ‘big picture’ view by getting us to think about the proposal this way:

-          What is the overarching purpose of the proposal?

-          Think in terms of “resume”

-          A proposal is seen by a small (and very select) audience

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So what are the bare-bones components of a proposal? (I’ve included examples from one of my proposals to help with definitions)

We’ll discuss the first 4 components today.

1.      Title (don’t get attached to it ;-) Of course, it's what you call your book (instead of 'that thing' or 'my baby')

2.      Hook – a summary of your story in one-two sentences (a summary which shows why your story is meaningful)

EXAMPLE:

Does true love have an accent?

A speech-language pathologist determined to move up the academic ladder and out of rural Appalachia makes a deal with her arrogant supervisor to change a thick-accented and big-hearted cattle farmer into corporate world material by Thanksgiving. An Appalachian twist to My Fair Lady                                             

3.      Overview – this short description introduces your main characters and gives the basics of your ‘core story’.

a.      9 sentences or less

b.      Can be seen as the ‘back cover blurb’ or even the elevator pitch (I’ll do another post about this as conference time draws nearer)

 

EXAMPLE:

Dr. Adelina Roseland feels confident she can correct anyone’s speech. Accent reduction is her specialty and she’s worked ten years in research with it to attain her dream job: Professor at the University of Virginia. Her dreams come to a full stop when she is sent to a tiny town in Appalachia to begin a new program for UVA’s satellite university there. Determined to prove herself, Adelina makes a daring wager with her arrogant supervisor: If she can pass Appalachian cow farmer, Reese Mitchell, off as a Harvard grad and help him with a job interview for a corporation in Chicago, then she can present her research at the National, launching her career to further heights and moving her as far away from Appalachia as possible.

But Adelina didn’t plan for the faith and friction of single-dad Reese Mitchell or his chaotic family. Drawn into a culture she’d been trying to forget for the past fifteen years, Adelina finds the warmth of family, the hope of faith, and the joy of love melting away at the deep wounds of her past. But when Reese discovers that he’s been a mere pawn in her step up the corporate ladder, will he be able to forgive her deceit or will their miscommunication end in two broken lives. Will some good old-fashioned Appalachian grit from a meddling mother rescue this culturally-diverse couple in this modern day My Fair Lady story with an Appalachian Twist?

4.      Synopsis – more detailed (BUT STILL BRIEF) description of your story, without the ‘teasers’.

a.      Motivations of your main characters

b.      Story and character arcs

c.       Main plot points

d.      Answers the main questions posed in the beginning of your story through the end.

e.      About 2-2 ½ pages

f.        Present tense

g.      Single-spaced

h.      Plain font

i.        Clarity is key

j.        Shorter paragraphs than in your prose writing

To save on space, I won’t include an entire synopsis here – but perhaps we can write a post about it on the alley as conference season comes into full swing ;-)

So, of these first four what component of proposal writing do you find most daunting?

Making a Living as a Writer: Invaluable Tips from the MacGregor Literary Marketing Seminar

Okay, so last weekend I had the privilege of attending the annual MacLit Marketing seminar in Chicago. It was one day packet full of invaluable and applicable wisdom and I’ll do my best to post the highlights of my takeaway.

First:

If you want to make money as a writer, view your writing as a job, not just a hobby. 

Chip provided an example of a famous writer, I believe it was Cec Murphy, ((CORRECTION: TOM WOLFE)) who literally woke up early every day, put on a three piece suit, left his house, walked to the end of the drive way, turned around, went back inside and sat in his office to write. He would break for lunch and end at the same time every day. It was a priority. It was his job. And he took it seriously. He didn’t just lounge around in his jammies and wait for inspiration to strike. (How many of you know how well that works out!) But he put action to his dreams. Now it doesn’t have to be this regimented, especially for those who require less discipline. But this illustration really resonated with me. Whether part-time or full-time, give your craft the dedication it needs to thrive.

Second:

Start a writing calendar and a writing budget calendar.

Stay on track, establish a routine. In other words, be intentional. Make a plan. Which days can you dedicate to writing, which hours? If you think you’ll just fit it in, you’ll lose ground. And for the budget, if your goal is to make X amount of dollars a year to justify your time spent writing, how many books do you need to write that year to achieve that goal? How many months does it take you to write that book? Crunch the numbers. If you can assign a dollar amount to your weeks or even hours, you’ll start to see the value of your words and the time spent hunched over your art. And your progress will translate into building a career and a livelihood, not just penning a nice story in your spare time.

Third:

Determine your definition of success.

We don’t (and won’t) all need to be New York Time Bestsellers to reach our goals in writing. Our stories

can make an impact on a smaller scale and still serve their purpose. In order to gauge if you are making it as a writer, first decide what it is you need to accomplish to be a success. Maybe you just want to get published. Stay published. Maybe you’d like to hit a certain marker financially, or be able to quit your day job. If it’s not about money, what will help you feel successful in your endeavor? Defining this for yourself can make all the difference in how you view your writing. Your worth. And the cost of your time away from your family and other responsibilities.

Fourth:

No one can market your book like YOU can!

Dedicate two half days a week (dispersed however you like) on marketing. Even before you have a book that might mean blogging, social media interactions (be careful with this one—time suck), researching your audience and where you can reach them, doing reviews, or guest posts ect. The days of the reclusive writer holing up in a lakeside cabin and cranking out bestsellers are gone. With the internet and all the social media connection it is easier than ever to reach your readership. Easier than ever to find your target market. Do the leg work. Pound the pavement. It will pay off.

 

Fifth:

Have a three-legged stool.

If you want writing to be your bread and butter try to have several sources of writing income. For example, in addition to writing your trade length novels, self-publish some novellas that branch off from your stories. Write articles. Visit blogs. The smartest way to make a living with this is to broaden your horizons and have multiple sources of income. Put it on your budget calendar. You get your quarterly advance, you’ll make say...roughly $300 for each article you put out, how much more do you need to sustain a living? Crank out those extra e-books to bridge the gap. Provide an editing service. Schedule a speaking engagement. Get creative. We know it’s in there!

Okay, so those are a few nibbles to get you started. I know it sounds busy, but as much as we have agents helping us plan our careers, and we are at the mercy of the publishers to see our potential, YOU have the power to make or break your success. Decide what your goals are and ….Get crackin’!

Check out Chip's blog for other great tips! here

What marketing ventures have proven successful for you? And how do you measure success in your writing, or in life?

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Amy Leigh Simpson writes Romantic Suspense that is heavy on the romance, unapologetically honest, laced with sass and humor, and full of the unfathomable Grace of God. She is the completely sleep deprived mama to two little tow-headed mischief makers and wife to her very own swoon-worthy hero. Represented by the oh-so-wise and dashing Chip MacGregor of MacGregor Literary Inc.

LIVE! From ACFW Indiana!

Greetings from Indianapolis! Your Alley Cats are late posting this morning since the festivities of the opening of the ACFW conference had us up wayyyyyy past our bedtimes last night. (Though Pepper was up promptly at 7 AM Eastern Time-- 6 my time!)

The lovely Mary Vee, Pepper Basham, and your's truly are sitting here having our morning cuppa and a bit of Panera before the conference jumps into full swing, but we wanted to fill you in--through pictures--on what we've been up to so far!

Ames meeting with her fabulous agent, Chip MacGregor.

                                                                                                 The first Alley Cat arrivals

Ran into the fantastic duo, Lindsay Harrell and Gab Meyer





  Cara Putman was brave enough to hang out with us for the whole evening.

Which involved a chopsticks war AND a pretty appropriate FORTUNE :-)










Jim Rubart ended our evening with his usual charm and wit!








And now...we're signing off to collect more pics. Sending lots of love to our AlleyPals both here and across the world

Amy and Pep brought you this post for today :-)

ICRS Through the Eyes of a Newbie

ICRS…. Hmm? What is that, exactly? Retail, my friends. More specifically the International Christian Retail Show.

It makes sense for those of you who are published writers, or perhaps an author up for a Christy Award to make attending ICRS a priority.

Being a newbie, and a relative nobody in the book biz, you might be wondering why I went. My lovely unpublished manuscripts were not on display, I most certainly wasn't up for any kind of prestigious award, and I often got these double takes at my ID badge, as if people were wondering… “Should I know who you are?”

Nope, not yet folks, but stay tuned. :)

All that said, my experience was amazing and I thought I’d share 7 reasons why I think going to these shows is an excellent use of your time and finances.

1.  Get the 411. Whether we are published or not, we (us writers) are in the book business. There is so much to explore. And what better place to do just that, than in the Booksellers Marketplace!

2. Swag! As in FREE books! How can you go wrong there!

3. Celebrity sightings. Not only do you get to geek out (love you Katie Ganshert) when you meet a #1 New York Times Bestselling Author, you can get an autographed copy of their book. Did I mention, for free? Let's face it, each of us are inspired by other great writers. It's always an honor to get to tell them how much their stories have blessed us.

4. Elbow rubbing. Since there are so many authors floating around you are bound to bump in to some you know or just admire. And since the atmosphere is so laid back, even more so I thought than conferences when it can feel pretty awkward or intimidating to walk up and interrupt an author, it is surprisingly easy to actually TALK with people at ICRS.

True story: I was lucky enough to walk the floor with Susan May Warren, one of my absolute favorite authors and a dear friend. Talk about a backstage pass! We ended up chatting with this well known screen writer and his buddy in the MOVIE biz! These are great connections to make. And yet, not the kind of people you bump into at a writers conference. (But don't skip the conference either! Oh, shoot, now I'll need to do another post. 10 Reasons Why You Should Attend a Writers Conference. Coming soon!)

5. Face time. What better way to remind those wonderful editors that you are still breathing, and yes, still checking your inbox regularly than to see them in person. Introduce yourself. Put a face with a name. Better yet to put a personality behind that name and become someone they can recall, or even see themselves working with. (Manners and appropriate conduct are a given.)

6. Fellowship. One of my favorite things about ACFW is that I get to meet up with all my amazing writer friends and spend some time with people who actually understand my crazy writer brain. ICRS is like adding another playdate. We even had a prayer room this year, led by the fabulous Rachel Hauck, myself, and an awesome local worship leader and close friend, Alyssa Schweich.

Did I mention that agents tend to frequent these types of shows? It’s always nice to get to have a coffee with your agent and catch up in person. It was one of my favorite things about ICRS this year. And I even got a highly coveted kilt shot to treasure forever. :)

7. Dressed and pressed in your Christy's best. It’s like the Oscars of Christian Fiction. Yes, I suppose when I walked in and saw all the tables were reserved for specific publishing houses (all of which I have no affiliation) I may have, for a few panicked moments, felt like a the new kid cruising the lunch room for a spot for a stray. But what an amazing experience to get to see a heavy hitter in the industry, Lee Hough, given the Lifetime Achievement Award. Get to hear my agent give a beautiful and charming keynote address about the power of story. Get to see my friends and their outstanding books receive recognition. I loved every minute of it!

There is an old saying, something like… Surround yourself with Greatness to achieve Greatness.

Go to ICRS. Put the cart before the horse and map out the steps ahead on your journey to publication, and bestseller lists, and awards. Go. See. Dream. You won’t regret it!

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Amy Leigh Simpson writes Romantic Suspense that is heavy on the romance, unapologetically honest, laced with sass and humor, and full of the unfathomable Grace of God. She is the completely sleep deprived mama to two little mischief makers and would challenge anyone to a cutest family contest. Represented by Chip MacGregor of MacGregor Literary Inc.

Preparing the Perfect Pitch

Be honest. In the middle of the night, during conference season, you've had nightmares of Chip MacGregor telling you he thinks your concept is totally dull and an impossible sell. Nooooo....

Face-to-face rejection. It's every writer's worst nightmare.

I vividly remember my first pitch. It was the 2010 ACFW conference, and I had an appointment with Ami McConnell. Yes, I've always had lofty aspirations. My appointment was the first one after lunch, and I made a point to leave lunch early to join the line of other panic-striken writers. Suddenly the ability to even remember your name had become an asset. "What do you write?" One of us would ask each other. "Who are you pitching to?" The answers were different, but the look in the eyes was (and is) always the same. I like to describe it as that feeling you got waiting outside the principal's office. Even if you knew you had done nothing wrong, he would find something. The assumption was, these people are waiting for us to fail.

That's problem #1.

Editors and agents do not want to see you mentally and socially flailing. Well, at least most of them don't. Just kidding! Remember that these people are in the book business. And the book business doesn't work too well without authors. There's no reason to be afraid. You're looking to enter into a partnership. That's all there is to it. I know it feels like they have your every dream in the palm of their hands, but really, those are in God's. And He has a much better idea who your book will best fit with anyway.

With that in mind, I've created three lists of three things that should help you get your pitch prepared for conference season. I hope you find them helpful!

3 Things to Do Before You Leave Home:

• Research. Nothing is more embarrassing than pitching your YA manuscript to a publishing house that is currently only buying Amish historicals. And believe me, editors don't like this. If you were them, would you? Do research on your target editors and agents before you leave so that your pitch comes across as intentional. Even just browsing through a publishing house's website and reading a couple of their books can go a long way.
• Practice in front of a mirror. Yes, I know this makes you feel silly. You will feel even more ridiculous if the first time you pitch is in front of your dream editor.
• Reread your book. If the appointment goes well, an editor or agent is likely to ask you more about the story, but there's no way to really predict what they will ask. In order to keep your answers as natural and eloquent-sounding as possible, before you leave, take note of your major plot points. If someone were to ask you about the major conflicts in the novel, the dark moment, or the character arc, would you be able to answer? What if they asked you what you ultimately hope readers will get out of your book? Why you are a good fit for their publishing house? If you are prepared, your answers to these questions can make you seem golden. 

3 Things to Do During Your Appointment:

• Be professional. Oh my goodness, I am always amazed by how many people ignore this one. You should treat your appointments as if they are a job interview, because--let's face it, they are. That means even if the appointment does not go as you'd hoped, you still have an opportunity to leave a good impression. Next year's conference might seem like a long time away now, but next year, you'll wish you hadn't burned a bridge.
• Take a deep breath and introduce yourself. Jumping into your pitch and rattling it off like a 10th grade oral book report project is not a good strategy. You want your appointment to be a conversation, a chance to get to know an editor or agent. Slow down, introduce yourself and maybe even tell them what you write or offer a one sheet before you jump into your longer pitch. Otherwise it's too much for them to process.
• Take cues from the editor or agent with whom you are speaking. Have you ever had a conversation with someone and politely tried to end it with nonverbal cues, only to have that person continue talking about themselves with no end in sight? Don't be that person in your appointments. Give the editor or agent a chance to think and ask you questions. Remember that your book idea is new to them. They need at least a few seconds to process it.

3 Things Your Pitch Should Include:

• Goals/forward motion. This can be anything from a new job to a heroic quest to save a princess, but it should be clear what your main character is working toward.
• Conflict. Conflict is usually the most interesting part of the story, so this is your chance to really "pack a punch" so to speak, with your pitch. Be sure you are very clear what your character has working against her, and don't shy away from using external conflict. "She feels hesitant about dating him," is not a strong enough conflict to sustain a book-long project. "He put a restraining order against her because he thinks she's stalking his children" is a different story. Got your attention, didn't it? (Side note: if any of you have written stalker romances, my apologies.)
• A compelling hook, using your writing voice. You need a wham! moment to stand out amongst the hundreds of other pitches these people have to hear throughout the day. Sometimes using a question works well. Other times it's just in the phrasing. I would recommend having someone you trust, like your critique partner, work with you on this. Ideally, you want your wham! moment to correspond with your biggest source of conflict. And even beyond that, be sure it reflects your voice. This is the first chance you get to showcase your writing voice, so make it memorable.

You also want to remember to keep these short. It's a good idea to develop both a short pitch and a longer pitch. And when I say "short pitch," I mean short. We're talking, 7 words, ideally. Your longer pitch should be around 3 or 4 sentences. The short pitch should be just long enough to really catch their attention, and then the longer pitch develops the main conflict a bit more. But even the long pitch should not tell your whole story.

What you want to happen in an ideal situation is for your short pitch to lead to your long pitch, which then leads to a one sheet or even a proposal request, and then to your book.

A note on pitching etiquette: Sometimes it can be hard to determine when it is and is not socially acceptable to pitch. Generally, most people tend toward one side or the other. If you're an introvert, you might have to get a little out of your comfort zone. If you are an extravert, you may need to tone it down a little. Remember that editors and agents are human, which means they all have different preferences and moods. If someone is on their cell phone engrossed in what looks like a very serious conversation, or an agent is having a one-on-one with one of their authors, please do not interrupt them. It's considered rude and will really work against you in the end.

That said, on the other hand, agents and editors know you have come to the conference to pitch to them, and some will deliberately hang out in public areas so they can get to know potential authors and clients. In some cases, it can bode well if you recognize your dream editor or agent because it shows you have done your research. You've paid a lot of money and put a lot of effort to come to this conference, so if a good opportunity presents itself and seems like it may even be a God-thing (i.e. you end up on the elevator at the same time), it may be best to seize the chance while you have it.

Here's a normal way to have that conversation: "Hi, I'm Delilah Dopplerfritz. Aren't you _______?" "Yes, I am. Are you enjoying the conference?" "Yes. I'm glad to run into you because I was hoping to have a chance to pitch to you this weekend. Do you have a minute to hear about my book, or are you in a hurry?" "Sure, tell me about it. But make it quick." (Insert pitch.)

It's always a good idea to ask if they have time to hear your pitch if you're not in a formal setting like an appointment or their appointed lunch table. And if they say they don't have time, don't be offended. It's not you. They are busy people!

Above all else, be yourself. You are selling yourself as an author just as much as you are selling your book. Remember that, and it will be easier. 

Your turn! Do you have any pitching advice or funny stories to share? Do you have a pitch you would like input on? Feel free to share it and get the group's feedback!

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Ashley Clark writes romantic comedy with southern grace. She's dreamed of being a writer ever since the thumbprint-cookie-days of library story hour. Ashley has an M.A. in English and enjoys teaching literature courses at her local university. She's an active member of ACFW and runs their newcomer's loop. When she's not writing, Ashley's usually busy rescuing stray animals and finding charming new towns. You can find Ashley on her personal blog, Facebook,Pinterest, and Twitter. She is represented by Karen Solem.

My Guest: Chip MacGregor, Literary Agent: Five Reasons to Attend a Writing Conference

I've sat in Chip MacGregor's class and listened to his recorded sessions from writer's conferences. It took a nano second to see his enthusiasm, professionalism, gift for communication, and genuine desire to help authors create great books.

Chip is a renowned Literary Agent. He's secured more than 1,000 book deals for authors with every major publisher. This is an agent who can answer my question :

From an editor/publisher/agent's point of view, why should writers invest their time and money to attend a writing conference?

Here is his take:

 
As a writer, you probably spend a lot of time sitting at your desk, banging out words, pondering your story. You do some research online, write a chapter, do some revising. Sure, you waste some time emailing friends to try and see what else everyone is up to, but for the most part the things you do as a writer are done alone. Writing is a solitary job. Every successful writer I know spends a lot of time alone with their thoughts, sitting at a computer, creating worlds and conversations in their head. 

If you're a novelist, that's exactly why you need to think about coming to a good writing conference. Because all of those solitary writers out there also have a need to meet with other people who love books and words, instead of always sitting by themselves at home. A writing conference is a chance to connect, to learn, to network, to hear about opportunities, to see old friends, and to make new ones. Let me suggest five benefits to attending a good writing conference...

First, it's a chance to LEARN. Just take a look at some of the workshops being taught at this year's conferences – I’ll bet you find information on creating strong proposals, on developing better characters, on using humor, on writing to specific niche audiences (there's sure to be a workshop on "how to write Amish"). There will probably be a couple dozen workshops you can attend, and many are taught by published novelists or experienced industry professionals (for example, I’m going to be at a conference this fall where participants get to listen to the editorial team from a major publishing house talk through what an editorial meeting is like – what a great way to learn about the industry). 

Second, it's a chance to POLISH. Most conferences offer continuing sessions, where you'll be able to get in-depth on a specific topic. Multi-selling authors will be there to talk about crafting novels. Famous writing instructors will be explaining symbolism and structure. Bestselling novelists will be helping you craft better scenes. A publicist or marketing guru is sure to offer ideas and experience to help you know how to market your books. And there will doubtless be editors and agents who have much to share about the industry. 

So have your proposal and sample writings as polished as possible before you attend, then use your time at the conference to see how you can make it even better. That's easier said than done, of course, but that should be the goal. A great idea, expressed through great writing, in a great proposal, preferably by an author with a great platform. All of those things take time and talent. 

Third, it's a chance to NETWORK. You'll see hundreds of other writers there -- people who love books and words as much as you do, and who want to explore how to get better at what they do. There will be editors there, representing a wide variety of publishing houses. You'll probably be able to set up one-on-one appointments, just to talk with them about your manuscript. There's likely a chance to talk with several agents -- in fact, a writing conference is one of the few place you can go and connect with literary agents these days. Between sessions, at meals, during the social times, and in the hallways, you'll be surrounded by industry professionals. Make sure to use those opportunities to meet people and get to know other writers. 

Of course, the focus of those meetings depends on what your goals are. Sometimes you'll talk with an editor just to let them see your work and offer their perspectives. If you're looking for direction in your writing, make that clear at the outset, so that you can get the most out of your conversation. If you sign up to talk with an agent, give them some sense of your expectation in the meeting. But be aware -- sometimes an editor or agent will have limited times available, and we hate it when somebody is clearly wasting our time. I'll offer an example... I don't represent children's books, poetry, or sci-fi novels. Ten minutes of research would reveal that to a prospective author. Yet I regularly have authors pitch me their sci-fi children's poetry idea during agent appointments. As though they expect I'm suddenly going to see the light, grasp their proposal, and shout, "Hallelujah! Poetry I love!"

A couple years ago, at a conference I did as a favor to the director, I could only be there for an afternoon. They made a big point of stating "Chip is here just for a couple hours, and we'd appreciate it if you would leave his appointment times for experienced writers." So who was my first appointment? A woman with her fourteen-year-old daughter, who began by saying, "I don't really have anything to talk with you about, I just wanted my teenage daughter to meet you." (I was polite. I figure seriously stupid people require calmness, in order to keep them from getting upset.)

Fourth, it's a chance to CONNECT with friends. You'll see some people you know, and be introduced to some folks you've read but never met. There will be an opportunity to link up with a critique group, or to simply meet other writers from your area. When I was a young writer, I went to a conference and introduced myself to people. I made friends that helped me get connected with the local writing scene, and that led to my first paid book-writing gig. 

If you are connecting with an agent who was a longtime editor, you might ask about the saleability of your work, or talk about your craft. If you're talking with an agent who is known for industry stuff, you might ask how your idea fits with publishing houses. If you were meeting with me, you might ask career questions. Do your homework. Be ready to talk about yourself and your book. Be clear about what you're hoping to get out of your meetings. Allow the editor or agent to respond to your questions. Don't push too hard. Understand these are just people doing their jobs, so they may not have fabulous answers to every question you ask. And when connecting with friends, talk about what you’ve learned each day, so you can retain some of it after you get home. If you're serious about writing, then you have to treat a conference as a business trip, not just a mini-vacation.

Fifth, it's a chance to REFLECT. There will be time to think, time to talk, and time to learn. Part of the value of being away at a conference is that it forces you to get out of your normal routine -- so you can use that to think through what you'd like to be writing, and how you'd like to approach it. You can join a small group for a quiet night of discussion, or you can grab friends and sit laughing in the lobby until all hours of the night. 

The value of a conference depends on your expectations. If you're going to meet people in the industry and get connected, you'll probably find it worthwhile. But if you're going with the thought that "an agent will have a ten-minute conversation and want to sign me" or "an editor will take one look at my proposal and offer me a contract," you're probably going to be disappointed. I suggest an author sit down and look at the list of faculty and the list of workshops being offered. If you need craft help, go to a conference with really strong craft seminars. If you are most in need of talking with agents, look for one with a long lineup of literary agents. With travel, meals, hotel, and the registration fee, you could be spending more than a thousand bucks on a big conference -- that's a lot of money, especially if you're a writer who isn't making a thousand dollars a year via writing. So you've got to think about what your expectations are and how well the conference meets them. A little research can go a long way.

I'm a huge fan of the writing conference experience. I’ll be at a couple this fall, meeting with authors and appreciating friends and trying to think of something to say in a one-on-one appointment that doesn't sound trite and shallow.

Thank you, Chip. Your insights and encouragement are sure to prepare us for our conference adventure. We appreciate the time you shared with us today.

Reader, do you have any questions Writer's Alley can address before your conference?