Archive for April, 2014

muse2014poster

(Originally posted on 4/30/13 with reference to Muse 2013)

In just over a week, on May 2nd, begins one of my favorite weekends of the year: that of the Muse and the Marketplace writing conference in Boston. Among the best in the country in caliber and professionalism, it attracts writers, editors, agents, PR specialists and many others connected to the craft and business of writing. (#Muse2014 for those of you active in social media.) After six years of attending this conference religiously–holding the weekend sacred and putting aside all other responsibilities of parenthood, teaching and freelancing–I have a few tips for anyone attending this, or any other, writing conference. (And this year, I will be presenting at it: a session on “partner publishing” with my agent, April Eberhardt.)

Wear something interesting. The dress code is casual but professional. No jeans, cut-offs, etc. But within that, be creative! You want to stand out, be noticed in a positive way. Everyone will be meeting hundreds of people. Don’t you want to be easily remembered? Keep your clothing appropriate, of course, but don’t be afraid to accessorize, or wear something that helps spark conversation. Even better if it relates to the type of writing you do. My historical novel is set in India, and I own some salwar kameez, the loose pants and tunic outfits that many women in India wear. Aside from the fact that they are remarkably comfortable, these colorful outfits invariably stand out from the sea of slacks and jackets, and often attract comments, which then naturally segue into a conversation about my writing.

Dress in layers. Writing conferences, like many types of conferences, often take place in large hotels. There are invariably fluctuations in the HVAC system that are beyond the control of conference organizers. One year, there was an Arctic gale blowing through some of the session rooms. Another year, some floors of the hotel were sweltering and oppressive. Dress in layers that can be removed or added as necessary.

Bring plenty of business cards. Like 30 or so for each day of the conference. These can be your “regular” business card that relates to your other, non-writerly (gasp!) life, if you have one, or cards made specifically for your writer avatar. (I use Zazzle.com for the latter.) Either way, have plenty on hand, and make sure that the information is up to date, and contains the URL of your web site or blog if you have one. Then, don’t be shy about handing out your card, although always do so in a respectful and understated manner.

Keep a pen on hand. Even if you are planning to take notes on a laptop or other electronic device, keep a pen handy, if only to jot down, on the back of each business card you receive, a few key words about the person whose card it is. After 2-3 days of conference-going, you will be glad for the reminder of who was who.

Follow up with the people you meet. Wait a day or two for people to travel back home and unwind from the conference, and then drop them a note to tell them how you enjoyed meeting them. Include some kind of reminder of who you are–a reference to your conversation, or something that will jog their memory.

Engage with fellow writers, not just editors and agents. Even if you are on a quest to snag an agent or land a book deal, do not neglect the vast and supportive and resource-full community of writers around you. Other writers are your allies, your support network, your source of encouragement, your creative sounding boards. I met every member of my writing group through Grub Street, and have made many additional friendships through the Muse.

When engaging with editors or agents, be mindful of their schedules. At these conferences, agents and editors have responsibilities beyond simply being at the conference. They may be leading sessions, or participating in manuscript consultations, and their free-to-mill-about time might not always coincide with that of writers. If you spot your dream agent at the bathroom sink two minutes before the start of a session, that is not the time to launch into your pitch, even if you’ve honed it down to a dazzling 30 seconds. Smile, perhaps make some remark that is appropriate or might make the agent laugh, and wait for another chance, when he or she will then notice and remember you for being someone likeable.

Do plenty of research in advance. Look up the bios and web sites of presenters and others before the conference (and bear in mind that this takes a good bit of time). I use an old-fashioned method of index cards, jotting down some key facts about the people I would like to speak with if I get a chance, and keeping the cards on me at the conference.

Begin conversations with topics other than your book. If you are in the lunch line behind an editor you’d like to connect with, begin a conversation about something from that person’s bio, or something relating to the conference, or even relating to the food. If you are engaging and pleasant, conversation will naturally lead to your writing. And if it doesn’t, you can then actively steer it that way, in an artful manner, of course.

If you have a web site or blog, make sure it is updated. People you meet with invariably look you up online. Everyone can be forgiven, of course, for having a somewhat outdated site, but it definitely makes you look more interesting and on top of things if your last post is not three months old.

Sit toward the front. I have never understood why people will shell out hundreds of dollars to attend writing conferences and get the chance to learn from and speak with accomplished authors, editors and agents, and then sit in the way back of the room. Go ahead and sit up front. I tend to favor the second row. The first can be a bit awkward, and there is nothing in front of you to hide your feet if you need to slip off your uncomfortable shoe for a minute (although–why are you wearing uncomfortable shoes?) or hide your phone if you need to check it to make sure there is not word from your sitter about a crisis at home. But in the second row, you are close enough to be seen by the speaker and make eye contact, and you can be among the first to go up to him or her to speak in person.

Reach out to people who look lost or shy. Attending a conference with 700 other people can be overwhelming, especially for some writers who are used to their solitary pursuit and may be singularly introverted. You can make a big difference in someone’s experience, and create a lasting impression, just by inviting him or her to join your lunch table, or simply smiling and being approachable. And you may end up making a connection that is meaningful for you as well.

Practice your elevator pitch. It is essential that you be able to summarize your writing, especially book-length writing, in a succinct and engaging 2-3 sentences. You will be asked many, many times a variation on “So, tell me about your writing” and you need to be ready with a 30 second reply. Memorize it, and then practice how to say it without it sounding memorized. Perhaps have a couple of different versions, so you have multiple ideas in your mind, and you will be less likely to freeze if you forget a specific word. I worked on a book for ten years and still worry that I’ll sound like a bumbling idiot and won’t be able to tell an editor what it is about.

Did I miss anything crucial? Please chime in!

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(Third in a series on month-by-month preparations in the year before a book launch. In this case, the book launch is in October 2014. These are some of the things to think about, questions to ask oneself, issues to research in the course of this complex process which these days involves more and more of the author’s time and savvy. Previous posts are here and here.)

Ten months to go:

(I’ll be covering 2 months at a time for a couple of months in order to catch up with the reality of my actual launch.)

 

Woman Writing in an Interior, painting by Félix Emile-Jean Vallotton. Via Google Art Project.

Woman Writing in an Interior, painting by Félix Emile-Jean Vallotton. Via Google Art Project.

Final edits:
With the contract signed and the initial euphoria tempered with a good dose of trepidation, the time has come to send the final manuscript to the publisher. Don’t rush this stage, as tempting as it may well be to send the darn thing off and dust your hands of it. This is the last chance to make any significant edits. Beyond this, edits will be limited to proof-reading and small fixes as the manuscript begins its transformation into a book. In my case, the manuscript had already been through both a developmental edit and a line edit by a professional freelance editor.

I recommend doing a thorough re-read, out loud if you can stand it. Don’t be tempted to make any substantial changes, unless urged to do so by an editor. Changes you embark on due to some inner voice of yours will only cause you to wonder if you then need to go back and re-change other things to line up with the new changes, etc. It’s a horrible, churning vortex that you already managed to escape at least once. Why go there again?

Hit “send”. Push that baby out of the nest. Breathe. Have a drink.

Nine months to go:

Now that the manuscript is out of your hands, a torrent of tasks begins. Here’s what I tackled at this point. Bear in mind that each of these topics is worthy of a lengthy post of its own. My purpose here is simply to bring to light the things to be thinking about at this point.

  • Publicists: You probably want to give your book the best chance possible amid the ocean of other books out there, but figuring out what type of publicist to hire, how much to spend without any guarantee of sales, what elements to focus on (Blog tour? Radio interviews? Print reviews? Events? Local? National?) can spur some deep soul searching. It took me over two months to come to a decision. If you are thinking of hiring a publicist, this site provides a great list of publicists who will work directly with the author. Bear in mind that a publicist will likely come on board about 4-6 months before your launch. That means that they are planning out their work load at least a couple of months before THAT. So now is a good time to start the selection process.
  • Social media: There’s a lot of advice online on whether and how and where to hone your social media presence. I can’t claim any expertise here. But I do know that 9 months prior to the book launch is NOT too early to be thinking about these things. I purchased the URL with my book title, as well as this one with my own name, four years ago. Whatever stage you are at with your book, I recommend doing these things right away. Whether or not to blog, to Tweet, to have a Facebook author page, these are all things to be thinking about.
  • Endorsements: This is an awkward, humbling, painful process. You are asking for an endorsement, or “blurb,” from an established writer you most likely don’t know in person. This means coming straight out and asking a perfect stranger who is terribly busy with her own writing, promoting, possible other career, family, and more to take hours of her time to read a random book about which she knows nothing, and then either say something nice about it, or feel terrible for letting you know she doesn’t feel comfortable endorsing it. Putting yourself through this can mean receiving some wonderful quotes from writers you admire, bringing you to tears of gratitude, but it takes time. I recommend allowing a week for the author to get back to you via email, a week to send a hard copy of your manuscript to him, at least six weeks to allow him time to read it, and two additional weeks as a possible extension, all this before your galleys, or Advance Reader Copies, will be ready for printing, which itself can be five months before the actual launch date. So, starting this process at launch-minus-9-months is a good idea. Here’s some solid advice on asking for blurbs.
  • Cover design: At this point, the graphic artist and I got into the nitty gritty of the cover design. She started drawing up different ideas. I provided her with images which I sourced from various sites, including iStock and Shutterstock, two of the go-to sites for royalty-free images. I have been fortunate to be able to be significantly involved in this process, and I’m thrilled with the result. My earlier post provides some links to working smoothly with a graphic designer. (I also began work with an artist who drew me a wonderful map of the area in Rajasthan, India, where my story takes place.)

  • Events: Now is also a good time to start a list of events to attend once your book is out. These might be writing conferences, professional industry events in a field related to the topic of your book, cultural festivals, etc. Plan whether you will travel and where, what events are likely to provide you with the biggest reward (for example, can you speak on a panel? Sell your books?), what your budget is, etc. Some events require submissions of proposed sessions a full year in advance. I recommend creating a calendar of events that includes these deadlines. I’m excited to be speaking with my agent on “partner publishing” next month at Grub Street Writer’s annual conference in Boston.

muse2014poster

 

Okay. I suspect these activities will fill up any free time during months ten and nine. Please comment with any additional suggestions, and come visit on May 20th for more detail on publicists, as well as TIP sheets, galleys, how to stay organized, and more.

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