Making the Most of Writers’ Conferences

I was recently asked an excellent question via this blog:

 

“... I’m a newbie writer to long-form fiction, about halfway through a first draft. I did sign up for a 30-minute critique session (at the upcoming YA author conference in Austin).  Do you have any advice for how to get the most out this event in general, (as well as) the critique session specifically?”

 

This is an issue for all writers, whether one has a polished manuscript, a great idea for a story, or is somewhere in between in the drafting process. Before posting a reply, I decided to ask some pals in the writing world to share their advice – in order to get a variety of viewpoints from writers, agents, editors, organizers, and veteran conference attendees.

 

 

Says agent extraordinaire Erin Murphy of Erin Murphy Literary Agency:  “The main thing I’d say about critique sessions is that the best thing a writer can do is be prepared to really listen – and to ask questions for clarification so she really understands what the critiquer is saying. And don’t argue! A lot of times the first response is to disagree, but you can do that away from the critique and work through it on your own or with your writing buddies. The critiquer is there to offer her best advice based on her experience and expertise—it could be off base, sure, but it’s worth giving all due consideration to. And even if it’s clear that it was a poor match of critiquer and writer, and the critiquer didn’t have the right expertise or tastes to give you strong, helpful feedback, you can find something useful from the session if you ask good questions.

 

“Occasionally I find that one of the first things I say is exactly the nugget a writer was on the edge of finding on her own, so there’s such an ‘a-ha!’ moment that the writer is practically ready to walk away and start writing down ideas. It’s perfectly fine to talk it out with the critiquer to solidify your ideas, or to ask if you can have a moment to make a clear note to yourself so you don’t lose the train of thought and can go on to make use of all the time in your session.”

 

 

Editor Stephanie Elliott (formerly with Random House/Delacorte Press, now with Sparknotes) echoes several of these suggestions.  Says Stephanie:  “My advice would be, first, be ready to be critiqued, which would seem obvious but is harder than it sounds. If it’s possible to get practice with a writing partner or objective reader, it’s a good idea. Second, as an editor, I feel like the most common theme in critiques—especially for newbies—is that the writing might have potential, but the plot is too simple, or too familiar, or just not marketable. All of which can have the effect of stopping the conversation flat. So I’d also advise authors to be ready with lots of questions, in case the critiquer isn’t interested or gets through his or her critique quickly. Is the idea salvageable at all? What would make it more interesting? What YA authors would the critiquer suggest checking out as a point of contrast? Finally, if the author can handle it, advise the critiquer to be frank. It’s hard to critique someone’s work—especially for thirty minutes!—and I think editors can sometimes sugarcoat things so as to avoid an incredibly uncomfortable meeting. But if the author is serious about publishing her stuff, the unvarnished truth is what she needs.”

 

 

Says writer, founding member, and former regional advisor of the Austin SCBWI chapter Meredith Davis:  “If the critique is with an editor or agent, I think it’s helpful to think about the time as a chance to see how this person works. Just as important as the feedback on the manuscript is how the person delivers that feedback. Getting a feel for their energy level regarding the premise of your story, whether or not they seem engaged, eye contact, all these things help me decide whether or not this person would be someone I’d want to work with.

 

“It’s really hard to get good feedback on an entire book based on ten pages, but the other real value in these sorts of critiques is the first impression. The fresh eye is so valuable. You may have worn out your critique group, your friends, and yourself with those first ten pages. You no longer have perspective on whether or not they are working. You have paid for a fresh eye, and it’s valuable! That editor/agent/writer will be able to tell you their first impressions. If they don’t, that’s something you should ask. Basically, did they want to read more? And if not, was it because of my writing, or because the story wasn't being told the right way, yet, or because they’ve just recently published or represented a book about just that thing. If it’s the writing, then I know I need to go back and work on craft. If it’s the story itself, I know I need to revise. If it’s that the story just isn’t right for their house, but they like my writing, I put that person on my list for the next story.

 

“If you can find someone you’d love to work with, you should be excited, regardless of whether or not that particular story worked with them. It’s embarrassing but true that every time I step in that room, I have this dream that they’ll have a contract waiting on the table. I try to have more realistic expectations, and get excited about the small stuff.”

 

 

Says author/presenter Dorothy Love:  “As one who conducts paid critiques fairly frequently at writers’ conferences and such, I’d advise attendees to at least have a polished synopsis ready when meeting with a critiquer. It is difficult to evaluate whether or not a story is working based upon a few pages. The critiquer won’t have time to read the synopsis during the short appointment, but it’s helpful to have on hand in case he or she asks a question about how a plot thread is resolved, for instance. It’s better to be able to refer to the synopsis and provide a cogent and well-thought out response, rather than being caught off guard and trying to summarize if off the cuff. As a critiquer, the most important thing for me to know in order to help a writer is to understand the story structure.  Is there a defined beginning, middle, and end? Are there identifiable turning points in the story?  Is the resolution satisfying and believable?  Are the premise and theme firmly established and woven throughout the story?  Other issues such as characterization, use of dialogue, etc, can be fixed more easily than can a wobbly premise or poorly-designed story structure.  A writer who goes to an appointment having a firm grasp on his/her story structure...what the book is ABOUT is, in my opinion, much better positioned to take advantage of the critiquer’s comments.

 

“As to the event in general: twenty years ago when I started out in this business I got a great piece of advice: Always go to a conference with an agenda. Maybe it’s to meet certain other writers who are attending. Maybe it’s to connect with a specific agent or editor. Maybe it’s to attend the editors’ ‘what I am looking for’ sessions in order to target future submissions. A conference should be considered an investment in your career. Don’t waste your money or your time going to an event without knowing how your attendance there will help you achieve your short-term or long-term goals.”

 

 

Cyndi Hughes, executive director of the Writers’ League of Texas and the brainpower behind the YA to Z Conference, also suggests bringing along a synopsis:  “If you’re still working on your first draft, I would include a one-page synopsis (around 250 words) as one of your pages and then ask for feedback on three things: your overall concept for the book, the beginning of your book (assuming you’ll be submitting the beginning), and your writing style. Overall, I’d plan to use the critique as feedback that you can use to improve your writing and your book concept as you complete your draft. Listen carefully to whoever’s critiquing your work—in fact, put the emphasis on LISTENING. Resist the temptation to explain anything about your book, unless you’re asked to do so. But do feel free to ask questions of your critiquer to make sure you understand his or her response to your concept, your writing, and your beginning. That’s what you want to leave with.”

 

And here are Cyndi’s three rules for how to best take advantage of the conference:

n      “Do your best imitation of a sponge and prepare to soak up every bit of information you possibly can!

n      Talk to as many authors, editors, agents, and fellow attendees as possible throughout the weekend. This is a great opportunity to meet some of the top talent in the business. And you’ll never know what new lifelong friends or writing partners you might make among your fellow attendees.

n      Most of all, celebrate where you are as a writer right now. Don’t compare yourself to others; just take what ideas truly inspire you and apply them when you get back home and start back in on your book. Wherever you are is perfect!

For more tips on how to approach YA A to Z Conference as an attendee, please visit the conference FAQs at http://writersleague.org/events/YA-FAQ-2011.htm ”

 

 

Lastly, I would like to commend those of you who take that step and sign up for conferences.  It can be daunting, I know, but with some preparation and a few realistic goals it can end up being an invaluable and fun experience.  It can contribute to your knowledge not only about the industry, but also about yourself – clarifying the reasons why you are compelled to write.  I know that when I find myself in a group of writers and book lovers, I always come away with a sense of affirmation, hope, connectedness and community.

 

Thank you, Kathleen, for coming to me with your question!  Here’s hoping you come away with greater insight into your manuscript and/or your writing process, as well as meet some wonderful people. 

 

Happy writing and conferencing!