Chip MacGregor .com

BOOK REPORT: What Sandra Learned This Summer

Okay, so summer isn't the vacation it used to be, is it? I'm still in denial about that. When my kid gets out of school in June, I'm still of the mindset that life should be should be all about popsicles, flip flops (I did not call them thongs, you'll note), searching for the perfect swimming hole, and lazing around in the hammock. Not only for him, but for me, too!

However, I think I work harder during the summer just to keep up than I do during the rest of the year. It's okay though. I love fall, too. Though the ubiquitous roar of leaf blowers (grrr... get a rake, people!) has replaced the more pleasant ka-chink wop-wop-wop of sprinklers, it's good to be back at work and thinking through what I learned this summer.

This summer I met editors and authors at conferences in Philadelphia, Oregon, Denver (twice), and Seattle. And I learned a lot. I think, though, I can distill my most important summer lesson into a quick three point report. Hopefully I'll get a good grade.

AUTHOR BE READY, BE WILLING, BE ABLE

Be Ready

If there ever really was one, the age of selling book ideas is practically over. Even well published authors are now having to work harder to get commitments from publishers than ever before. Considering this, if you have a semi-completed novel and are a first-time author, my advice to you is to not bother working on marketing it until it is complete, edited, and polished to a high gloss. Spend your energy doing the hardest thing first - finishing it! I talked with several authors over the summer who had great ideas for novels, but I can't sell ideas. Certainly not for first timers, and unfortunately, it's getting difficult to do for well established authors also.

The thing is, publishers (and therefore acquisition editors) are looking for a sure thing. Whether it's fiction or nonfiction, if they don't know you, nothing feels sure to them. If they have heard of you and you are represented by a well-known, reputable agent, it can help. BUT, the first question out of every editor's mouth these days is "What is the author's sales history?" The second question? "Is it finished?"

Be Willing

I'm working with a published novelist whose third book sold over 20,000 copies in the general market in the first six months. But when her agent went part-time, her editor left on maternity leave and decided not to come back, she and her book were more or less orphaned. When we started talking about a year ago, we decided it was best to keep her options open regarding her next project and try marketing it in both CBA and the general market. She reworked the proposal some, and I got to work pitching it, and her.

With her track record, writing experience, and work ethic, I thought it would be a slam dunk to find this author a new home. The proposed (finished) novel received lots of interesting feedback, but no commitments. After about six months of trying, we decided it was time to take a new approach. A year and at least six full-length synopses and dozens of sample chapters later, we have just received a commitment from a publisher. Given the current state of things in publishing, she may be looking at the smallest advance of her career, but this author understands the importance of keeping in the game for the long haul and she's willing to do what it takes to begin building her career again.

During the time we were looking for the right publisher to help her relaunch, she worked hard to respond to the suggestions and recommendations of several editors and was open to discussing other possibilities. Never once did she complain that she was too good (though I thought so), too busy (which I know she was), or too important to do what it took to get published. I don't like that I had to ask her to jump through so many hoops to get her here, but that is the reality and what it took in her case. The good news is that I'm certain her hard work and willingness will pay off.

Be Able

I see bad writing all the time. Given all the books, websites, conferences, lectures, and generous authors who lead critique groups and spend their time mentoring junior authors, there is simply no excuse for it.

After seeing lists and lists of workshops and classes offered at conferences, meeting successful authors who also freelance edit, hearing story after story of authors who spent years honing their craft before getting published, it's clear to me that while it may be more difficult for some than for others, writing is something which can be learned, practiced, honed, and constantly improved. I'll admit that the ability to write well is an innate talent for some. But, it is still hard work for every author. Some may say it comes naturally, or that not writing is not an option for them. But I don't think I've ever heard or read an author say "writing is easy". If so, I'd wonder who they were plagiarizing.

Being ready takes time. Being willing takes sacrifice. Being able requires resources. Becoming ready, willing, and able demands all three.

Perhaps now is a good time to head back to school in one area or another? Good news is, flip flops are optional.

Thinking about ACFW

Wow. You won't believe how LUCKY I am. In yesterday's mail, I received a query letter in which the author "guaranteed" me his book is "literally going to sell a billion books worldwide." Zowie! And he can back up such a wild promise with "1200 Bible verses synergistically harmonized by the Lord God Himself." Holy cow. (If you haven't received an answer to prayer lately, it's probably because God has been synergistically harmonizing this guy's verses.) He also noted he has "literally spent the last 13 years doing 14 hours of research per day," making me think he might need to bone up on the usage of the word "literally." He told me his book is both "the final word on the Trinity" and "the Suprascientific Theory of Everything." Yowzer. He then promised to make me "a hundred million dollars -- easy," and noted "this is the chance of a hundred lifetimes." He closed with a personal aside, saying, "I hope you're ready for the big time." I decided I'm not -- the whole suprascientific thing makes we shudder. I am not worthy!

And aren't I the lucky one? I also received a proposal for "104 prophetic poems that have been dictated to me" AND a "fiction novel" about portals between earth and heaven, that includes a "giant race of people living in the mountains of California," that the author notes is "based on historical fact and my own experiences." 

Wait, there's a lesson here. I wrote to each of these people, to tell them they need to research agents before querying, and that their writing needed help (I left off any notes about "and be sure to take your meds"). But in each case the author wrote me back a nasty note. So, yeah -- though these people can't write, and don't know how to approach an agent, they feel they know much more about the business than I do. I mention this because there are some great writing conferences coming up soon, and maybe if you're starting out, you'd find it helpful to attend. 

The American Christian Fiction Writers annual conference is happening next week in Denver. I'll be there -- I've long said ACFW is the best conference in the country for commercial fiction writers. Good speakers, good sessions, and a well-organized conference in a nice setting. If you're going to be there, make sure to say hello. Bestselling romance novelist Debbie Macomber is delivering the keynote, and there are a ton of workshops and breakout sessions. I'm doing a couple workshops (one on writers mentoring writers, the other on "the future of publishing"), and I always enjoy the social times at ACFW. Plus I get to wear my kilt at the annual awards banquet on Saturday night. (I'm doing the Blackwatch this year instead of the traditional MacGregor tartan -- so if you're coming, you now have another reason to go on living.)

Talk of the conference reminds me that I've had a number of letters from people asking about the value of conferences and workshops. I think writers' conferences are a wonderful way to meet people, get exposed to the industry, gain some helpful information, and remind yourself that you're not alone in this crazy business. It's also a great place to meet agents and editors face-to-face -- many experienced writers will tell you that the bulk of what they learned about the industry early in their careers came through attending writing conferences, where they met people, heard stories, and had a lot of basic information explained to them. I can tell you that a number of the authors I represent are people I first met at a conference. So if you have a chance to attend, by all means you should go. 

At the same time, I think the value of conferences can diminish for experienced authors. That's why I encourage people who have published to do three things... First, attend a conference as a mentor, not just as participant. Use a conference as a way to give back, to share your knowledge, and to encourage a fellow writer who isn't quite as far along the path. You probably had people invest in your writing career when you were starting out -- here's your chance to do the same with someone else. Second, find a mentor or writing partner. For an experienced writer, a critique group may not be quite as valuable as finding one person whose judgment you trust; who will read your material and give you straight answers about what works and what doesn't. Third, consider a more in-depth workshop or seminar to boost your knowledge. The fact that Donald Maass is doing a shortened version of his "Writing the Breakout Novel" seminar at ACFW this year is fabulous. If you're a published author, consider attending the full-blown version. Or maybe take in McKee's "Story" workshop. A good, advanced-level seminar can be extremely helpful for those who don't feel they're getting much out of the one-hour workshops at a conference. 

And yes, I have a reason for tell you that... I've been working with Jim Rubart, a longtime marketing consultant, to create an advanced marketing seminar just for novelists. We'll be announcing it at ACFW, but this fall and next summer we'll be hosting small groups of writers in a handful of cities for two days, focused exclusively on developing fiction marketing techniques that are specific to each author and their books. More on this in a later post. 

You can also find good info on the web, of course. Make sure to check out the popular  www.publishingperspectives.com . My friend Jason Ilian put me on to them recently, and I've become a big fan. Novelist Brandt Dodson introduced me to another good site:  www.bookbusinessmag.com . These folks have been on a roll -- great thoughts on the future of the industry. One blog I've become addicted to is LIsa Delay's www.lifeasprayer.wordpress.com , which I really enjoy. 

Um, in case you haven't heard, I hurt my back and neck. Patti and I are moving (we finally bought a place at the beach), and I celebrated by showing off my testosterone and wrestling the washing machine into the truck. Bad mistake. I wound up in the ER, and now I'm taking drugs and can't lift anything heavier than a pencil. It sucks, and I'm cranky, but more than anything I'm mad. Mad at myself for thinking my 150-lb body could wrangle a washer up a ramp and into a truck by myself. Mad at Sears for making such a heavy washing machine. Mad at Jerry Jenkins for not calling me and invited me to represent his latest million seller so I wouldn't have to even OWN a washing machine -- I could just toss my clothes into a corner and the laundry fairies would show up and magically make them shiny again. Anyway, if you can't tell, I'm on serious painkillers. So if you don't like anything in this post, blame it on the drugs. 

Make the Most Out of a Writers' Conference - Part Two

HOW TO MAXIMIZE THE VALUE OF A WRITERS' CONFERENCE

 

If you want to make the most out of a conference, you have to stay busy and get involved. Go to presentations; hang out at late-night fiction readings; and make sure to stay for the whole shebang. Sign up for pitch slams and meet the power players in attendance. A little face time can pay off down the line. If you're involved with the sponsoring organization, offer to volunteer. If you pick up an agent from the airport, for example, that's plenty of one-on-one time in the car to slip in a pitch or two.

 

Make sure you schmooze. When you sit down at the dinner banquet, ask people what they're working on. Networking can be as simple as "I'll pass your name on to so-and-so, and I'd be appreciative if you could give me a referral to such-and-such." If you don't have business cards, make some basic ones just so others can know your contact info.

 

An unfortunate truth about conferences is that they can be a hit on the wallet. Some are affordable ($100-200) while others not so much ($700+). It all depends on how long the conference is, what is included, the price the conference paid to fly in speakers, etc. I've spoken at conferences where the crowd gathered at a Days Inn, and another where the event was hosted in a posh San Francisco hotel. Can you guess which event cost more? In addition to the basic conference cost, you have to budget money for "extras." Sometimes, the little things at a conference, such as 10-minute pitch sessions with agents or an editor's personal critique of your work, will mean an additional cost. If you want to truly make the most of a conference, you will need to indulge in some extras. When all is said and done, you may have to take a day off work and spend a chunk of money on costs and hotels. Think of it as an annual writing vacation for you and budget money early in the year. If you gain contacts that lead to writing assignments down the line, the conference will pay for itself before you know it!

 

KNOW WHICH ONE IS RIGHT FOR YOU

 

With so many to choose from, how can you know which one is the best investment? Obviously, proximity will play a factor, as we can't all afford a ticket to the Maui Writers' Conference. Look for events in your area and start from there. Some locations, such as Tennessee and Colorado, have a surprisingly large number of gatherings each year.

Ask yourself: "What do I want to get out of this?" Is it simply to recharge your batteries and get motivated? Because a general goal like that can be accomplished by most conferences. Do you have a polished and ready manuscript that needs an agent? Look for conferences with not only agents in attendance, but agents (or acquiring editors, as they function basically the same) in attendance that handle your specific area of work, be it science fiction, medical nonfiction, or whatever else.

 

Conferences usually have either a general focus on all subjects of writing, or a more narrow purpose. With some looking, you can find conferences devoted to screenwriting, playwriting, romance, mysteries, fantasy, science fiction, medical thrillers, and more.

 

GET OUT THERE!

 

Now that you know the ins and outs of a writers' conference, all that's left is for you to hunt down an event and sign up for 2008 or 2009. Going to a gathering and pitching agents may seem intimidating, especially if you're going alone, but the payoff is definitely worth it, and you're likely to make several friends who can ensure you don't go to a conference alone again. At the very least, you'll get some tips on how to start the befuddling first chapter that never seems to click.

 

This article is one of many in the 2010 Guide to Literary Agents.

(hyperlink: http://www.writersdigestshop.com/product/2010-guide-to-literary-agents/)

 

CHUCK SAMBUCHINO is the editor of GLA as well as the editor of Screenwriter's & Playwright's Market and the assistant editor of Writer's Market. To read agent interviews, see query letters that worked, and much more, visit his blog at www.guidetoliteraryagents.com/blog.

Make the Most Out of a Writers' Conference - Part One

My friend Chuck Sambuchino is an editor with Writers Market, hosts the www.guidetoliteraryagents.com/blog and is the guy who puts together the GUIDE TO LITERARY AGENTS every year. He's a wealth of information, and in his most recent edition, he offered some thoughts about getting full value from a writing conference. I liked Chuck's words so much I asked him if he'd share something on my blog... 

Wheeling and Dealing

 

Make the Most Out of a Writers' Conference -- by Chuck Sambuchino

  

Writing is a solitary task. It means a lot of time sitting at the computer, researching facts online, checking your e-mail, and staring at that first chapter you've rewritten 18 times but still doesn't seem to work. If you want to be a writer, you're going to spend plenty of time alone, but at the same time, you need to understand the importance of networking and making friends who are fellow scribes. That's where writers' conferences come in.

 

Conferences are your rare and invaluable opportunities to simply get out there-to mingle, network, have fun, and meet new contacts that can help further your career. There are plenty of conferences all across the country and beyond. Now you just need to know how to maximize a conference's worth, and you'll be all set.

 

CONFERENCES: THE BASICS

 

Conferences are events where writers gather to meet one another and celebrate the craft and business of writing. Attendees listen to authors and publishing professionals who present on various topics of interest. Each day is filled with sessions regarding all aspects of writing, and attendees will likely have a choice of which sessions to attend. For example, you can attend the "Query Letter Writing" session versus other panels on "The Secrets of Mystery Writing" and "The Secrets of Successful Book Proposals" held at the same time. To find out what speakers and sessions will be included, check the event's official Web site or e-mail the coordinator.

 

Since they usually take place during a weekend, you may have to clear your Friday schedule to see all speakers. Also, conferences are not to be confused with retreats, which are longer outings that include a lot of writing assignments. Retreats typically have small attendance and cost more because of the personal attention.

 

Some conferences are longstanding, while others are brand new. Most are not out to make money-and few could, even if they wanted to. A regional writers group usually organizes them, and the organizers are likely all volunteers. For example, the Southeast Mystery Writers of America hosts Killer Nashville, while the Space Coast Writers' Guild organizes the Space Coast Writers' Conference in Cocoa Beach.

 

HOW DO YOU FIND CONFERENCES?

 

Conferences are all over the place. With approximately 200 per year in the U.S., you can find them in practically every state and area of the country-and then there are even more in Canada. Some areas are hotspots, such as New York, Texas and California, whereas other states may not have a lot of choices, but still have at least one annual event nearby.

To find a conference, you can use print directories, online directories or simply a search engine. This book--Guide to Literary Agents--lists a whole smorgasbord of conferences in its back section, while GLA's sister publications, such as Children's Writer's & Illustrator's Market, will list conferences specific to the book's target readers. Also, conferences advertise in magazines (such as Writer's Digest) and are featured in writing-related newsletters, such as Absolute Write and Writer Gazette. Subscribe to free newsletters to get conference alerts along with plenty of other helpful info.

 

Helpful online directories exist-especially for genre fiction writers. Look online for the Web sites of the Romance Writers of America, the Mystery Writers of America, or the Society of Children's Book Writers and Illustrators, and you will find lists of upcoming conferences that are great value to scribes of those categories.

 

Another option is to simply use Google. The results are usually incomplete, but helpful enough. Try searching for "writers conference (month and year)" and see what comes up. You won't find a ton of gatherings that way, but searches will provide a few promising leads. Since conferences sometimes pop up out of nowhere without a whole lot of hubbub, this can be a good way to find newer events.

 

No matter where you find a conference listing, you will want to immediate check out the conference Web site, where updated lists of speakers, time, dates and registration forms can be found.

 

WHO WILL YOU MEET?

 

Perhaps the most valuable aspect of a conference is writers' ability to meet the power players and decision makers in the publishing world. In addition, they can make contacts and form partnerships with their fellow writers. Here are three different types of people you will meet.

 

Peers and writers

This is where the schmoozing comes in. Besides classes and presentations, there are usually dinners as well as meet-and-greet opportunities, not to mention simply banding together at night and hitting the hotel lobby or nearby bar to relax and talk. Perhaps you didn't even know the regional writers' group in charge existed, and may be able get involved with the organization.

 

Editors

As an editor myself, I spend a lot of time at conferences meeting with writers one-on-one and essentially answering any and all questions that they have for me. Editors specialize in presenting sessions and workshops, teaching everything from craft and characters to book proposal writing and the basics of agents.

 

Agents

Perhaps the biggest draw, agents attend conferences for a specific reason: to find potential clients. They are bombarded with pitches and request writing samples from those attendees who dazzle them with a good idea or pitch. Short of an excellent referral, conferences are the best way to snag an agent, so take advantage of meeting one. (I found my literary agent at a conference. Trust me: They work.)

 

Usually it works like this: You will schedule a short amount of time to pitch your idea to an agent. Your "elevator pitch" should be relatively short, and then there's some time for the agent to ask questions. If the agent is interested in seeing some of your work, she will pass you a business card and request a "partial" (a sample of the manuscript, such as the first 30 pages or the first three chapters). If the agent is not interested, she will say so. When an agent requests your manuscript, you can send it in and put "Requested Material" on the envelope (or in the e-mail) so it gets past the slush pile.

 

While there are designated times to pitch agents, it should be said that agents are usually ready for pitches at all times from all sides. However, beware crossing the line into "annoying." Don't pitch agents in the restroom. Don't interrupt them if they're having a conversation. If an agent is sitting down with fellow agents and trying, for a brief moment, not to talk business, don't hover around waiting for eye contact so you can step in and pitch.

 

The simple fact that you're at a conference shows that you're dedicated and professional. That in itself is enough to get agents' attention. Though writers still find in-person pitching quite nerve-wracking, the good news is that agents are not the mean stereotypes you may have in mind. They are almost all friendly booklovers like you.

More to come from Chuck tomorrow!

 

CHUCK SAMBUCHINO is the editor of GLA as well as the editor of Screenwriter's & Playwright's Market and the assistant editor of Writer's Market. To read agent interviews, see query letters that worked, and much more, visit his blog at www.guidetoliteraryagents.com/blog.

Good News from a Trade Show

That was the heading of yesterday's email from PW Daily, a daily digested version of Publishers Weekly.

What? Good news? In publishing?

I'll admit that as I (Sandra, here) prepared for and traveled to ICRS this year, I was hoping for a more upbeat experience than last year's episode of gloom and doom.  Not expecting, necessarily, but hoping.

I was relieved to find that my optimism was rewarded. Attendance on the floor seemed up from last year despite a report from PW of a 20% drop in attendance from 2008. Maybe it was because there were fewer exhibitors. Or maybe it was because the overall exhibit space was smaller. But, it at least gave the impression of increased activity and attendance. And at events such as this, impressions matter.

I recall a dismal scene from the show floor last year when I rounded a corner and saw one of CBA's most noted authors sitting at his signing table ... doodling.  I happened upon this scene at time when I was wandering the floor, seriously praying about the future of CBA, and wondering what had compelled me to enter the industry just as a tsunami was threatening to hit.

A good sign this year, though, was that signings seemed steady and well attended. There were lots of lines, a few even snaking around the aisle-ways. One of my authors was there at the invitation of her publisher and they had to pull books from the shelves to meet demand. One house intentionally held four signings at one time; one on each corner of their booth - an example of the kind of new thinking which probably helped in giving the show a more upbeat and positive feeling.

Most industry professionals I talked with sounded authentically hopeful about the show's survival - even in spite of lower retail customers in attendance. The handful of sales people I spoke with reported they were taking modest but steady orders. Lean times call for modest expectations, and I think, for the most part, this is how publishers approached the show. They sent fewer staff, kept their expenses down, brought less product with them in the first place.

As far as meetings with editors (always my favorite part of any industry event) most expressed that publishing spots are still fewer and pushed out, and that decisions are still taking longer to make with far more deliberation than ever before. But, a majority of the folks I met with said they are actively looking for fresh approaches to perennial topics and strong voices in fiction to lead the way by taking our message of hope and invitation into the general readership.

This is strictly from my gut (and I've not had breakfast yet at the time of writing this, so consider yourselves warned) but I think the tide of CBA is shifting away from being dominated by the Bible Belt sentiment of what's acceptable material for Christians and what's not.  (Please read carefully that I said Bible Belt, not Bible!)

This was perhaps forecasted by my agreement with a June 4th Newsweek article by Lisa Miller in which she noted "evangelical Christians are less willing to identify themselves as a coherent group embodying one set of values."

If that's the way the tide is turning, I'm glad I dived in. Hooray and Hallelujah! Change is coming and I, for one, think embracing it instead of fighting it always brings good news!

A Dozen Questions about Writing Conferences

I've been going over the questions people have sent me recently, and several have asked about writing conferences...

1. Dylan asked, "Are you a fan of writers' conferences?"

I'm a huge fan. I think writing conferences are a great place to network with other writers, learn about the craft, and meet people in the industry.

2. Sarah wants to know, "Is a writing conferernce worth the cost? What should I get out of it?"

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.

3. Veronica wrote this: "I'm planning to attend a conference in September, and they offer appointments with agents and editors. I'm not really ready for an agent -- should I sign up to meet some anyway?"

That depends on what your goals are. Sometimes you'll sign up with an editor just to let them see your work and get their perspective on it. 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 fifteen minutes. You might sign up to talk with an agent about the industry -- again, 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 two examples... 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 morons pitch me their sci-fi children's poetry crap during agent appointments. As though they expect I'm suddenly going to see the light, grasp their proposal, and shout, "Hallelujah! Poetry I love!" Geez. That's what you call "getting off on the wrong foot." 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 those 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." (And I was polite. I figure seriously stupid people require calmness in order to keep from getting violent.)

 4. Danny asked, "What do you say at a meeting with an agent?"

That depends on you and the agent. If you were meeting with an agent who was a longtime editor like Janet Grant, you might ask about the salability of your work, or talk about your craft. If you're talking with an agent who is known for industry stuff, like Steve Laube, you might ask about how your idea fit with publishing houses. If you were meeting with me, you might ask career questions. In other words, do your homework. Be ready to talk about yourself and your book. Be clear about what you're hoping to get out of the meeting. Allow the agent to respond to your questions. Don't push too hard. Understand that agents are just people doing their jobs, so they may not have fabulous answers to every question you ask. If you're serious about writing, then you have to treat a conference as a business trip, not just a mini-vacation.

5. Sally said this: "I've met you at conferences before, and you never seem to take material with you. Why don't you take proposals?"

It gets worse, Sharon... I usually don't even take business cards. Why? Because I don't want to have to fill my suitcase with piles of dead trees. If I find your idea interesting, I might ask you to email it to me. But understand that I frequently say "no thanks" to ideas pitched to me at conferences. (I feel a need to say that, since I find some editors are total weenies and seem to tell everyone to "send it to me." That way they can just reject stuff with a faceless email.) Look, if I'm not crazy about the idea, or it's not a fit, or I don't think the person can write, I've got no reason to take their proposal. Or their card or bookmark, for that matter. I see hundreds of proposals each year, and I might take on a handful of clients. Do the math.

6. Mike wrote: "At last year's conference, I had a bunch of people ask to see my proposal... but no one made me an offer. Am I wasting my time at conferences?"

Not the way I look at it. I figure having people say "send it to me" is better than having them say "get lost."  So it didn't sell -- at least it got looked at. Get some people to help you improve it, and show it to them again. (Or ditch the old idea and move on to something better.) Remember, for most people getting published is a process. You start out taking baby steps, and move toward learning how to write as an adult in the marketplace.

7. Sharon asked me, "Do you actually read the stuff you ask to see?"

Again, I don't ask to have something sent to me unless I actually find it salable and have some interest in the project. So yes, if I ask you to send it to me at a conference, I'll actually read it. (And, to be fair, all the legit agents I know treat writers this way.)

But this is a good place for me to interject one clarification: I will regularly have authors come up to me and say something like, "Dave Long from Bethany House INSISTED I send this to him" or "Shannon Marchese at Waterbook said I HAD to talk with you about this one!" The implication is always something like "you'd better get on board, MacGregor, because this train is heading out of the station." Invariably when I check out those comments, the truth is somewhat less compelling. Dave maybe said this one didn't suck as bad as the rest, and since he had to leave, he invited the author to send it to him later. Or Shannon was talking on her cel phone, and muttered something about the author needing an agent. Um... don't oversell me. Don't read messages into a comment. Just be truthful with me. One of my pet peeves is when an author will sort of threaten me -- "Wendy Lawton at Books-n-Such LOVES this one!" My answer is always to roll my eyes. I mean, good for you. Wendy is a fine agent. If she loves it, then by all means sign on with her. But don't use that as a threat, thinking that your telling me is somehow going to motivate me to immediately sign you as a client. Wendy and I have different client lists, and who she chooses to represent usually doesn't impact me very much.

8. Elizabeth wants to know, "How do you feel about people writing you ahead of the conference, to set up appointments with you?"

Um... Okay, truth be told, I'm not crazy about it.  I figure I'm there, giving my time just to talk to authors (and anyone who has worked with me at a conference will tell you that I go out of my way to make time talking with authors). I have appontment times set up at every conference I go to, and I expect people to make appointments with me in those timeslots. Yeah, occasionally an author will not get a meeting with me, but I honestly try to make lots of times available, since I understand people have paid a thousand dollars to attend. Sometimes it won't work, and the two of us just won't be able to meet and talk. Um... that's life. But I make every effort to talk to people at meetings, at meals, in hallways, during down times. The only thing I ask is that people (1) keep it short, (2) keep it polite, and (3) not interrupt me when it's late at night and I'm clearly relaxing by drinking a glass of wine with friends.

This points to the weirdo factor, which happens at conferences. Sometimes Mr Strangeways will show up at a conference and act like a stalker. He'll insist on following me, or spend a half-hour regaling everyone at the table with his cool novel idea. (Remember the episode of Seinfeld where every time Jerry turned around, there was this guy standing right behind him?) It's joked about in the industry, but I really did once have a guy slide his proposal in front of my face while I was standing at the urnial. (No, I'm not joking. It was at a conference at Seattle Pacific University a few years ago, and I actually shouted at the guy. Had I been thinking, I'd have turned toward him and told him how excited I was.) You're not ever going to get an agent if you come across as Dr Weirdness and the Children of Doom.

9. James asked, "Can you pitch more than one idea at a conference?"

Sure you can. Just make sure you're ready to talk about all of the ideas you bring. Nothing seems more lame than an author who mentions a really cool idea, but when I ask for details, he starts mumbling about "um... well... I don't know... I haven't actually written anything on that one..."

10. Deborah asked, "How will I know when I've actually met the right agent?"

Beats me. Maybe you'll hear angels singing, or there will be a holy glow emanating from the agent's chair. You could speak in tongues, for all I know. But my guess is it'll all feel right -- there will have been some good conversation, you'll both feel comfortable with each other, and there will be enough trust built up that you'll both feel good about partnering on books.

11. Several people have written to ask me what the best writing conferences are.

There's no easy answer. The Calvin Festival of Faith and Writing takes place every other year on the campus of Calvin College, and in my opinion it's the best gathering of writers and thinkers we have. Some people swear by the Iowa Writers Workshop, or Sewanee, or the Bread Loaf Conference. I think the ACFW conference that happens every September is as good as a conference can be. It's in Denver this year, always seems to be at a nice hotel, has superb faculty, and offers good craft info as well as great networking. I always think it's the best value for the money. The Write-to-Publish conference takes place on the campus of Wheaton College each summer, and it's also a fine general conference. Very good meetings, well organized, great food, easy to get to, and a reasonable cost (the only downside is that you sleep in college dorm rooms, which may bring back bad memories involving crepe paper, beer, and getting turned down for  dances). The Blue Ridge conference under Al Gansky has turned into a major league gathering for Christian writers, and has great accomodations in the wonderful setting of Asheville (the only downside being that Asheville is expensive to get to, and the food is apparently cooked by guilt-ridden Southern Baptists). But all three of those would be on my "A" list for Christian writing conferences.

RWA puts on a fine, though pricey, conference that usually has the most industry professionals. The Colorado Christian conference takes place in gorgeous Estes Park, and Marlene Bagnull always seems to gather a solid faculty, which makes up for the fact that the rooms and food leave something to be desired. On the other hand, her conference in Philly has fine rooms and food, they're just a distance from the actual conference. Mount Hermon is a big conference with lots of industry professionals that consistently has excellent class and workshop options -- it just costs an arm and leg between conference fees and travel, and sucks up an entire week. And there are other conferences around the country that might surprise you. Next month I'll be at the University of Georgia for the Harriette Austin conference, for example. Numerous college and regional retreats are very good -- Sante Fe, Jackson Hole, Stony Brook, etc.  I know there are conferences from Delaware to Southern California, from Florida to Washington State. In late July the Oregon Christian Writers are putting on a conference that has a great faculty lineup at a good value, even though it may seem a bit out of the way.

If you're a Christian writer who regularly visits this blog, check out some of the general market conferences in your area. If you're just starting out, consider attending one of ACW's two-day writing conferences, which Reg Foder runs in about 30 cities each year. They're a fine introduction to the business, at a very low cost.

12. I've had more than a dozen write to ask, "Which writing conferences will you be at this summer?"

I've been showing up at numerous writers' conferences this year -- Colorado, Blue Ridge, Write-to-Publish. I'll be at Write Canada next week, then at the University of Georgia and the Oregon conference in July. Come September I'll be meeting with authors at the ACFW gathering in Denver. I'm trying to get to see people and talk with them about the industry as much as possible because... well, it's coming to an end for me. I've done well over 100 writing conferences the past few years, and I've decided to hang it up for a while. I feel as though I've said what needs to be said, and I've got authors who really need my full attention. I might still make it to ACFW each fall, since I have so many authors attending most years, but I don't see myself continuing on the conference trail very much.

Hope you find all this conference info helpful. If you have other questions, feel free to run them by me.

A twisty little story from Sandra about the writing journey ...

Recently I was driving to work thinking about my day when two words caught my eye... ESTATE SALE.

Figuring it was a sign (okay, it was a sign) I convinced myself I could take a few minutes out of my day to do something different. I'm not a collector of stuff just to have it, but I was suddenly in the mood to hunt for treasure.  An old typewriter whose parts I could turn into the shadow box collage I keep envisioning on my office wall. An old ink bottle to contain posies. Or an old blanket for our new dog's basket. You know. The kinds of things you never go shopping for ...

I arrived and saw people walking away empty handed - not a good sign. But, I'd spent the time and gas getting there, so figured what the heck and pulled to the curb.

On my way up the sidewalk I overheard two people talking about getting their names on the list. There's a list? I passed by them, smiling and waving, then felt their stares on my back as I turned toward the front door.

That should have been my first clue, but thoughts of discovering an old Underwood or Olivetti pulled me along and I walked through the front door like I belonged there.

I. DID. NOT. BELONG. THERE.

I was barely a step inside the door when I heard the quick pace of heels on hardwood followed by scolding from a beehived, aproned woman shouting "NOT UNTIL NINE! DIDN'T YOU SEE THE LIST?"

Again with the list.  I backed out, pulled the door closed, then noticed it. Flapping in the breeze at my feet was a sheet of paper clipped to a board, filled with two columns of names. Ah. 

I started to bend over to see what I'd missed when a small throng barreled toward me. "Did you just walk right in?" Asked one woman who looked like she needed to go back to bed and start over.

"Yeah," I said. Obviously, was what I wanted to say, didn't you just watch me do so?

"BUT THERE'S A LIST!" she shouted, pointing at my feet. Pointing out my offense.

Another woman complained, eyes bulging, "I drove all the way across town this morning and I've been here since 6:30. You CAN'T just walk in there."

Clearly I was on someone else's turf and didn't know the rules. I felt like maybe if I just snapped my heels together ...

Instead, I muttered "sorry" and dug my keys from my pocket to signal my imminent departure.

"You're leaving? Don't you want to put your name on THE LIST?"

Uh, no, lady. You and your wild monkeys have succeeded in scaring me away. I picked up my pace and retreated to the safety of my car.

I drove away reckoning that that was one of the more bizarre experiences I'd ever had. But once the green fog started lifting from my head, I decided there must be some unwritten Estate Sale Rule Book I'd never been privy to. Then I wondered -- if I'd known there were rules, standards, expectations ... would I have bothered?

All day long I couldn't shake the absurdity of my great estate sale blunder. And it got me thinking about how many people start, innocently enough, on the writing journey deciding it's worth a try; just an easy side trip along their way to somewhere else.

Based on the queries and submissions we receive, I'm sad to say there is a staggering amount of evidence that tons of folks don't bother figuring out the rules of the writing road. Don't think to read between the signs along the way and think about what they're getting into. They see the promise of treasure and plunge ahead, ignoring guidelines, books on craft, the market.

I often contend that the “rules” may not be obvious, but that they are not that hard to figure out. Still, I have to believe there are writers who are earnest in their mission, but who are genuinely innocent in their ignorance. It's those people I thought about as I tried to learn from my misguided quest. 

How many of us, pointy hats or not, don't bother stopping people in their tracks as they skip innocently (yes, sometimes stupidly) along the yellow brick road, to say "hey you, the one with the manuscript in the basket ... uh, let me give you a couple hints how this whole process works."

If you're one who figured it out for yourself, the temptation might be to respond "Yeah, well, I did it the hard way. No one saved me from embarrassment and ridicule. They'll learn. Besides, if I help them, they may just get what I'm after ..."

I'll spare you the continued analogy. The likening of Christians to the Munchkins and those freaky Lollipop Kids. Glenda to the Holy Spirit. How the Wizard (should that really be capitalized?) we serve expects us to help each other. How the wicked witch and her crafty minions ... oh, I said I'd spare you. Sorry.

Okay, anyway, here's my point. With conference season upon us, I'd like to challenge you -- especially now as the road is twistier and harder than ever to tread upon - to please look out for one another. Seek opportunities to help new writers figure out the unspoken rules. Step a little out of your way to gently correct folks if you see them unknowingly blundering their way with visions of emeralds dancing in their heads.

Look for chances to pull someone aside and say "hey, this is where you start, this is how it works. Yes it's hard and twisty, and you will meet many perils and face fearful things along the way. But, if you pay attention, you'll learn much along the way."

Who knows. In the end, your help may be just the thing to keep the house from falling down upon you both.

Making Money, Attending Conferences, Creating Books

A heapin' hunk o' questions came in while I was on vacation, so let me catch up with them.

Mike wrote to ask, "Could we talk about making money through publishing in ways other than writing books? Like manuscript critique, reading submissions for publishers, writing reviews, etc. Do you think there's value in these sidelines?"

There's certainly value in these endeavors, Mike, but in most of them there's not much money. Let's put these publishing activities into two categories: the EXPERIENCE group, and the INCOME group...

In the EXPERIENCE group, an author finds ways to get more involved with the industry, learn about the craft, and make connections. To that end, he or she can write book reviews, create a column in a local newspaper, review movies or restaurants, read submissions for an agent or editor, participate in a blog, send an e-zine, regularly post articles on a web site, and send in a short piece for a book of collected essays (like the Chicken Soup or God Allows U-Turns books). All of those are great ways to get some experience and exposure. None of them will pay much.

In the INCOME group, a writer can set up an editorial service, offer to critique manuscripts for a fee, do copy editing for publishers (who are always looking for good copy editors), create magazine articles, do some collaborative writing, help authors strengthen their proposals, do contract evaluations (if you know what you're doing), or take a job with a publishing-related company. That could mean working part-time doing office work for an agent, or helping a marketing company with author tours, or even taking a job at Barnes & Noble. When I was a free-lance writer, I wrote study guides for people. I have a friend who works for a travel company and writes traveler-related stories. Another friend puts together a newsletter for one of America's largest home builders, another is paid to write articles on local businesses for the Chamber of Commerce, still another edits the trade journal for concrete workers. I was talking with an author yesterday who edits web content for one of the largest tele-com firms in the country. It's all word-related, so you're working on the craft, and it all helps pay the bills. It's tough to make a living at writing. For most real-world writers, this is how they help put food on the table.

Gail wrote wanting to know, "I see you're going to speak at a writers' conference later this summer. How often do agents typically attend conferences? Once a month? Once per quarter?"

It depends on the agent. Some agents don't like talking in front of groups or being approached by a bunch of newbies. They find other ways to invest their time. But I enjoy speaking and hanging out with a bunch of writers -- probably because I remember being one of those people sitting in the back row, not knowing anybody. People in the industry have been very good to me, and while I can't represent everybody, this is one way of giving back. Still, it's a sacrifice. I'm not paid much, they work me long hours, and it's a couple days away from my real job, which is running a literary agency.

I'll be at the Philadelphia writers' conference in August (writehisanswer.com), and I was just asked to pinch-hit for another agent who had to drop out of the Oregon Christian Writers' conference (a good regional conference in the Pacific Northwest, I had to do it, since I'm an Oregon native -- Go Ducks!). The only other conference I'll attend this year is the ACFW conference, happening in mid-September. The American Christian Fiction Writers conference moves around, but is in Minneapolis this year, and I'll tell you right now it's the best annual Christian writers' conference going. Great instruction, superbly organized, a wonderful group of people attending, and their awards are beginning to gain some recognition in the industry. Oh, and they'll be doing their author signing this year at the Mall of America! Check them out at ACFW.com. (They also have started a blog that talks about things like "how to get the most out of a writing conference," so I suggest you take a look, even if you're not attending ACFW.)

On a related note, Ed wants to know, "Do agents go to conferences on their own dime in hopes of snagging a new client?"

Occasionally they will, especially when an agent is at the starting stage of his or her career. But for an established agent, the conference will usually fly them in, ask them to meet with 15-to-25 writers, speak at a couple of workshops, maybe participate on a panel or lead an ongoing class, and then pay them about $300. That's just not much money for a couple days of my life (put into real-world terms, I'd only have to do one $2000 contract to earn that sort of money). It's the one-on-one appointments that really wear on you -- especially when you face an over-eager wannabe author with a bad idea who doesn't want to listen to your ideas for improving his work. Still, I enjoy the give-and-take with most writers, it often gives me a chance to visit with authors I represent who live in the area, and you're right -- there's always the possibility that I'll see a dynamite idea or meet a great writer at a conference. In fact, let me offer some examples...

Mark Bertrand is a guy I'd read online for months before meeting him a couple years ago at ACFW. He was clearly a good writer, and MUCH smarter than me, so I was looking forward to shaking his hand at the conference. We met, I discovered he's a great guy (the type of person I wished lived closer so we could hang out together), and we started working together. Mark just signed a three-book deal with Bethany House. Susan Meissner is one of the best novelists in CBA. My wife was a fan before I was, and introduced me to her work. I loved her voice and stories, and I was thrilled to meet her at a writing conference. We ended up standing next to each other in the security line at LAX, started talking, and... she just signed a two-book deal with Random House. Susan Page Davis is one of the busiest writers in the business -- she currently has four or five different publishing houses asking to work with her. And Susan just walked up and introduced herself to me at a writers' conference a couple years ago. I could see immediately that she could write, and she's been a joy to represent. And let me use one unpublished author -- Gina Holmes runs the very popular Novel Journey web site (noveljourney.blogspot.com, interviewing incredible writers... but I warn you: if you visit once, you'll be hooked for life). We met at a conference in North Carolina several years ago. She walked up, introduced herself, and we started talking. She's funny, charming, and her knowledge of the craft is scary good. Gina is also a fine writer. She isn't published yet, but she's got the gift, and will be soon enough. These are just four examples of the benefit I get from attending a conference. 

Dom wrote to ask, "What is BEA? I heard it just happened in LA."

Correct. BEA is Book Expo America, and is the big book show of the year. It just took place at the LA Convention Center. Lots of industry events, all the publishers showing off what's new, huge discussions about the changes happening in the industry (more on that in my next post), and the usual amount of hand-wringing about the economy, Borders, indies going under, the cost of paper, etc. If you really want to know "what's now" in the world of publishing, BEA is one of the best things you can attend all year.

And that leads me to this question from Donna: "How many books get published each year?"

I'm going to use some info that was just released at BEA to answer this question. Bowker announced that in 2007 there were 276,649 NEW titles released last year, up about two thousand from the previous year. They also noted there were 134,773 short-run and publish-on-demand titles created last year, so there were a total of 411,422 books published last year. That means 2007 offered the most new titles in the history of publishing. (Stop and read that sentence again.)

The Zogby people also did a study. According to Publisher's Weekly, Random House commissioned them to survey the book-buying habits of 8000 American adult readers. What they found was interesting: 14% buy more than twenty books per year, about half buy fewer than ten books per year, and more people buy online (43%) than anywhere else. There were a number of fascinating little tidbits in the report (for example, NPR is the biggest single influencer of book-buyers, and Jon Stewart influences more decisions than Oprah Winfrey), and you can get the whole thing on the Zogby site (www.Zogby.com).

Hey, and may I close by tooting my own horn? The folks at Seekerville have presented me with an "Award for Excellence" for my blog. Woo-hoo! Thanks very much.

If you've got a publishing question, bung it along and I'll respond.

On Conferences and Ideas

I just got back from the best writing conference I've ever attended -- the Calvin Conference on Faith and Writing. It took place at Calvin College in Grand Rapids, and featured bestselling authors such as Haven Kimmel, Kathleen Norris, Yann Martel, Phyllis Tickle, Rob Bell, Francine Rivers, and T. Davis Bunn. Pulitzer Prize winners Michael Chabon and Edward P. Jones spoke, as did Pulitzer nominee Robert Finch, and National Book Award winner Katherine Paterson. And (probably due to a clerical error) me.

There were fascinating presentations, all done by smart people with really big titles. Mary Louise Bringle spoke on "From Despair to Healing: Theological Insights from Fiction," and others did things like "Graphalogia" and "Writing as Catechesis" and "How I Learned to Draw God." Meanwhile, I did my usual "the right way to sharpen a pencil." I also gave people tips on saving money by using toilet paper instead of kleenex. In case there were charismatics in the audience, I pretended to speak in tongues and heal somebody.

Anyway, they do this every other year at Calvin. One of the reasons I like it so much is because of the quality of writer they get. Haven Kimmel is one of my heroes, so the fact that we got a chance to sit down and yack was special. (Her most recent book, She Got Up Off the Couch, is about her mother, who rose from poor roots to become an English professor. So when I got to sit and have a conversation with her mom, I was thrilled. And charmed.) Davis Bunn proved once again to be the nicest Southern Gentleman still living. Phyllis Tickle is always nice to me, though I have no idea why. So is the poet Luci Shaw, even though I'm never smart enough to figure out what she's saying. Being able to chat up very smart people is always nice, though they generally just stand there and wonder how I wrangled an invitation. This year I took my wife's advice and wore a clean shirt.

Being able to listen to great writers is a gift. I got to go to dinner with three novelists I admire -- Lisa Samson (whose novel Quaker Summer was just named novel of the year by Christianity Today), Claudia Mair Burney (an up-and-coming Simon & Schuster writer), and Mark Bertrand (who just signed a multi-book deal with Bethany House). Now that was fun. They seem to speak naturally using great images. Someday, when I'm old, I'd like to be as smart as them. 

Many of the writers' conferences may not be able to afford to bring in quite so many famous writers, but there are a couple things they could emulate: Have more public conversations with writers. Don't feel you've got to ask a novelist to give a workshop -- many of us would prefer the chance to just sit and listen to them talk, so ask a good interviewer to chat them up in front of an audience. Have more public readings. One of the time-tested events at writing conferences is to have an author show up and read passages from his or her novel or nonfiction book. Why so many contemporary conferences have moved away from this practice is a mystery. Ask academics to participate. There were a number of English professors at this conference, and it raises the level of discussion at a conference. I've been teaching a couple classes in the Professional Writing Program at Taylor University this year, and I've been reminded that profs love the chance to share their materials with someone besides colleagues and students. Use films and music to supplement the lectures. The Calvin conference filled their evenings with four films, three open-mike poetry gatherings, two concerts, a jazz verspers service, and a worship service led by a pastor/author. They also presented a play one afternoon. It wouldn't be too hard to schedule a variety of these types of things at a writing conference that takes place at a college or in a larger city.

Okay, I've got a bunch of publishing questions to catch up on -- which I'll do tomorrow, as soon as I've reviewed my notes from the conference so as to sound smarter than I am.

Resources for Writers

I've got a bunch of notes and questions regarding writer resources, so let me try to get to several of them today...

On MONEY: Patricia wrote to say, "Thanks for your recent blog post about earning money. So if a book doesn't 'earn out' its advance, is the balance applied against the next book?"

It is if your contract is cross-collateralized -- that is, if all your various book advances are "basketed" into one deal. If not -- if each book is on a separate contract -- then no, your advance cannot be applied to your next book. 

On REMAINDERS: DeeAnn wrote me to ask, "What does it mean to 'remainder' a book?"

That's when the publisher sells the remaining copies of your book to a book wholesaler for less than the cost of printing. It commonly happens when your book is going out of print, or when they're down to the last 1000 copies or so, and the publisher wants to be rid of them. The books might have cost $2 to print, but they'll sell them for $1 apiece to somebody who will buy the entire remaining stock, just to get them out of the warehouse.   

On SELF-PUBLISHING: Gene wants to note, "The latest issue of Writers Digest is filled with ads for self-publishing. I'm on my second agent, still trying to get  published, but it takes SOOOO long. How can you convince me not to go to lulu.com and have my book for sale on Amazon tomorrow morning? When will the traditionalists speed up the process?"

You're right -- there are a ton of self-publishing companies. Some are good, some are not. Be careful. The problem with self-publishing is not the speed, it's the sales. If you write a book, you have to make sure the book is good (and if publishers are all turning you down, there could be a message there, Gene). You also want to ensure the cover is good, the editing is good, the title is good, and that you know how to sell it. The biggest problem with self-pubbing is that usually the author doesn't know how to market and sell his own book. Listing it on Amazon isn't really a marketing strategy -- there are two million books on Amazon. If you can't market and sell your self-pubbed book, don't go that route -- you'll lose a lot of money. As for the speed of traditional publishing, it's not the production side that is slow -- it's the retail side. It's March as I write this, and right now book sales people are walking into bookstores to show everyone the coming Christmas titles. The catalogs they're using were put together a couple months ago, so they could be used as sales tools, so that stores could order the books and get them in time for Christmas, AND the marketing people can begin their push before the book actually arrive. All that takes time. Publishing is a slow business.

On PROPOSALS: Martha wrote, "I've been told it's customary for a nonfiction proposal to include two sample chapters. So why has a publisher asked me to send all the material I have finished? I've sent 9 of the 12 chapters and have still not heard a decision."

It's true that a standard nonfiction proposal generally included a thorough description of the project, table of contents, author bio, and two sample chapters. But standards can change. In these competitive times, we're often seeing publishers ask for more of the writing. They want to see if you have enough to say, if your message can carry a manuscript, and if you're close to being done. The fact that a publisher has asked to see more of your work is a good sign, Martha. There's certainly a risk that you could complete the work and the publisher still says no -- but that's true with any book. In fact, if you're so close to being done, I'd probably encourage you to finish the book so that you have the added selling point of being able to tell publishers, "The manuscript is complete."

On CONFERENCES: Lee Ann wrote and asked, "What are the best Christian writers' conferences?"

Christian writers these days have a plethora of great conferences they can attend, and I'm a big fan of them. I think conferences are a great place to network with other writers, hear from experts, and get face-to-face with editors and agents. My favorite conference is probably the one put on by the American Christian Fiction Writers (ACFW). It floats, but this September will be in Minneapolis. The Write-to-Publish conference at Wheaton College is a good choice -- it takes place the first week of June (and though the ads say I'll be there, I had to cancel due to my daughter's college graduation). Other good options include the Blue Ridge Writers' Conference in Asheville, NC, and the Colorado Christian Writers Conference up in scenic Estes Park -- both of these take place in May, and both offer excellent speakers in beautiful settings. There are a bunch of other big ones with good opportunities to learn and network -- Florida, Philadelphia, Oregon, Glorieta (NM). Jerry Jenkins' Christian Writers Guild puts on a conference that I'm told is very strong (though pricey), but I've never attended. The Mount Hermon conference in California is coming up in a week, and, though expensive, is one of the good ones. Reg Forder's American Christian Writers organization puts on smaller one-day conferences in cities around the nation, and many colleges will have excellent writing conferences in the summer (I'm speaking at the Harriette Austin Writer's Conference at the University of Georgia this summer, for example).  There are also many excellent general conferences not focused on CBA, and a couple of speciality conferences to consider. Next month Calvin College will be hosting their bi-annual Festival of Faith and Writing, and ACT ONE out in Hollywood offers a special conference for Christian screenwriters. Finally, there are retreats and smaller gatherings going on all the time. There's really no reason for a writer to not find a conference where he or she can learn, network, and get inspired.

On NON-CONFERENCE RESOURCES: Bev wrote to ask, "Aside from a writing conference, what sort of other resources can you recommend to those of us who want to learn more about writing and marketing?'

I encourage you to check out Randy Ingermanson's material at www.AdvancedFictionWriting.com. He has some great things to say about writing articles to promote your books, and offers a teleseminar on how to promote your writing through speaking. And a newer site to visit is www.wannabepublished.blogspot.com, created by my friend Mary DeMuth. Some good stuff for those looking to break into the business. If you're looking to network with other writers, novelists should connect with the afore-mentioned ACFW, and many writers would appreciate a yahoo group called "The Writers View." You'll probably want to be reading Publisher's Weekly to find out about the industry, and the web-based Publisher's Lunch and Publisher's Marketplace are two sources I cannot live without. If you really want to stay on top of the CBA market, you should be looking at Christian Retailing magazine and buying a copy of Sally Stuart's excellent book with Random House, Christian Writers Market Guide. Finally, consider Writer's Digest Magazine, and especially their annual Writers Market, which tells you everything you probably need to know about book publishers. Hope this helps.