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Last month, I attended Thrillerfest – an annual conference put on by International Thriller Writers – for the very first time.  The conference was held in New York City at the Grand Central Hyatt Hotel, July 6-9, 2011.

Thrillerfest is an event devoted to thriller writers and thriller enthusiasts.  Every year, bestselling authors such as R.L. Stine, Ken Follett, Jon Land, John Lescroart, Diana Gabaldon, Steve Berry, and more participate in the conference along with some of the top agents and editors in the industry.

The conference is divided into three parts:  Craftfest, Agentfest and Thrillerfest.  I attended Craftfest and Agentfest but did not stay for Thrillerfest.  Next year, I will be sure to rectify that.

Craftfest is a day and a half of writing seminars given by bestselling thriller writers on such interesting topics as forensics in fiction, writing suspense, how to keep relationships alive without killing the pace of your novel, point of view, psychic distance and passive voice., ways to make your thriller ring with emotion and how to write compelling and believable villains.  The seminars were interesting and informative and I learned new things in each of them.

The event that gave me the most bang for my money was Agentfest, which was held on Thursday, July 7, 2011.  Because the conference is held in New York, which is publishing Mecca, Agentfest offers unprecedented access to the most top-notch agents I have ever seen in a single setting.  More than fifty agents participated this year.

Agentfest is a version of speed dating with agents held over a two and a half hour period with a short break after the first hour (to allow the agents an opportunity to breathe).  Agents looking to sign up the next bestselling novelist are seated in alphabetical order in three large rooms.  Writers hoping to find an agent to represent them line up and then head into one of the three rooms to pitch their novels to the agents of their choice.

Since there are a lot of writers participating in the event and some agents are more popular than others, it helps to have a game plan.  Being the maniac that I am, I researched the agents participating in Agentfest beforehand.  By the time the event began, I had a chart in hand listing the agents I wanted to pitch and the book best suited to pitch to each particular agent.  I had to do that because not all agents would be interested in hearing about a romantic suspense novel.  So, I pitched my mainstream suspense novel to those agents and my romantic suspense novel to the agents who represented romance authors.

My plan of attack was to first pitch those agents on my list who had either no line or only a short line of writers waiting for them.  After I picked off the low hanging fruit, I got in line to see the agents I thought would be the perfect fit for me and my novels to the extent I hadn't already pitched to them.  I had time left over  after that, so I pitched two agents who were not on my list but who were available.  One very kind agent was even willing to hear my pitch after the event had officially ended.

It proved to be a wildly successful afternoon.  I was able to pitch to a total of fourteen agents and every single one of them asked me to send them anything from the first 25 pages and a synopsis to a full manuscript.   Many of my colleagues  did not enjoy the same measure of success.  Apparently, all of the preparation I had done for Agentfest paid off.  That preparation included evading the persistent advances of a fellow writer the night before Agentfest and returning to my hotel room alone to hone and practice my pitches.

Speaking of fellow writers, Thrillerfest offered great networking opportunities.  The night before Agentfest, I met a group of writers at a cocktail reception who invited me to have dinner with them afterwards.  That group included one of my personal idols, Jon Land.  He is the writer of amazing thriller novels featuring a hero named Blaine McCracken.  I followed that series avidly during my spy novel craze in the late 1980's and 1990's and devoured every single one of those books I could find.  He now writes great novels featuring a heroine named Caitlin Strong who is a female Texas ranger.  It was amazing to be able to meet him and tell him how much I enjoyed his work.  He turned out to be a very nice man who offered to help me with my pitch for Agentfest.

I missed the Thrillerfest part of the event which, according to the program, offers additional seminars on writing and publishing topics, including a bonus session given by the C.IA. on how to make your spy novels more realistic.  It also offers even more networking opportunities.

All in all, I had a great time, met some great people and had a very productive conference.  I will definitely attend Thrillerfest next year and stay for the entire event.  Maybe I'll see some of you there.

Peace

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To do, or not to do, Scriptfrenzy this year?  That is the question. For some of you, the question might be: “What the heck is Scriptfrenzy? ”  Scriptfrenzy is a wonderful event where writers all over the world sign up on a website – buy gabapentin online overnight delivery – and vow to write a 100 page script within 30 days from April 1 to April 30th. It could be a stage play, a movie script or a script of an episode of your favorite television show.  It's a great exercise for novelists and scriptwriters alike because it forces you to focus on dialogue and to plot out your story in three acts scene by scene.  I used it as a tool to plot out and visualize my third book and it was very useful.

So, should I participate in Scriptfrenzy this year? You see, I have a nasty habit of starting new projects and finishing first drafts, but then not completing the editing necessary to get the projects ready for publication. On one hand, my participation in activities like Nanowrimo and Scriptfrenzy since 2007 have resulted in my having first drafts (and, in one case, a nice chunk of a second draft) of three novels and a movie script. On the other hand, none of those projects are complete enough to send out to agents and editors for review. I think the problem is that I love to get together with fellow writers during Nanowrimo and Scriptfrenzy in cafes to write and I do my best work under pressure. It has to do with having a set time parameter in which to complete a measurable task and doing it in a group setting with all of the attendant cheerleading, accountability and support endemic to such an exercise.

Writing is normally a solitary task and, although I am a solitary child, it's hard to self-motivate to complete a rewrite of something you've already “finished.” I put the word “finished” in quotation marks because a first draft of a novel or a script is usually far from finished and you rarely even finish a first draft in 30 days. This is especially true if you have a full-time job, gospel choir practice, a diet and exercise regime, a blog and maybe a husband and some kids (I don't have those last two items, but some do). Events like Scriptfrenzy and Nanowrimo get you fired up and motivated to get some writing done. Unfortunately though, they require you to work on new projects and not existing ones.

When I pitched to agents at the San Francisco Writers Conference, they were happy to hear that I had written three novels. Agents and editors want their writers to be prolific – the more product, the more sales.  However, they also want writers who timely complete their projects.

So, knowing that I have to finish editing my second novel and then complete the rewrite of my first book and the editing of my third book so that they are ready for Romance Writers of America's national conference in June and Thrillerfest in July, am I really going to throw myself into writing a new movie script in April? You bet I am! Why? Not only because I'm just crazy like that, but also, when I finish editing and selling (I'm claiming it) my other works, I'm going to need to have new projects in the pipeline. Moreover, I need an outlet for the new ideas rattling around in my brain. You wouldn't believe the things that rattle around writers' brains. I find it best to only express those thoughts with other writers for fear of being locked up in a loony bin.

If you have a story idea rattling around in your brain and you can see it play out on a stage or on a big or little screen, you may want to seriously consider participating in Scriptfrenzy.  If, like me the first year, you have no clue how a movie script should be formatted, invest in a copy of “Save the Cat! The Last Book on Screenwriting You'll Ever Need” by Blake Snyder.  It is fabulous and proved to be an invaluable resource for me.  Also, check out Scriptfrenzy's website (Gabapentin purchase online uk).  It will give  you leads on scriptwriting software (which formats scripts for you) and other great resources.  I used Celtx.  Also, download scripts of a couple of your favorite movies to see how they were done.

I have to go now.  I have a book to edit and a script to plot out.  Let me know if you decide to participate in Scriptfrenzy.  If you're in Miami maybe we can get together for write-ins.

Peace

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One of the reasons you haven't heard much from me lately is that I've been spending every second of my free time (some of my friends are laughing at those last three  words) editing my romance novel manuscript. Last week, I finally got the first three chapters to the point where I felt I could send it to the head of my writers group, the Grammar Divas and my readers for review and comment.

After editing a manuscript for so long, a writer can become what I call blind – unable to step back and see what needs to be done to make the manuscript better. That's where having readers, a critique partner and/or a writers group you trust comes in handy.  Having other sets of eyes, from different perspectives, take a look at your work is invaluable to making your manuscript the best it can be.

There are many benefits to having a critique partner.  A critique partner – usually another writer – can look at your manuscript with an editor's eye (an objective point of view) and lovingly point out the flaws both in your story and your writing. For example, they can point out areas where you may have repetitions of effect, pointless dialogue, dialogue that is too dense, characters that are too good to be true, or scenes that don't move the story along.  They can also identify passages that need to be cut or modified.  These passages may be beautifully written and grammatically correct, but nonetheless need to be excised or modified in the interests of flow, plot, story or pace.  As painful as it may be to hear that your “baby” needs more work after all the time and effort you may have already put into it, your novel will turn out even better in the long run.

The benefits of being a member of a writers group are endless.  Some of them include making new friends, being able to discuss your work with other writers, the ability to meet new critique partners, being able to assist with editing other members' manuscripts, and having buddies to write with both during events like Scriptfrenzy and Nanowrimo and throughout the year.  You can also share new ideas and information about writing contests, information and opportunities.

I want to thank the head of my writers group for taking the time to review and discuss my romance novel manuscript with me.  I also want to thank one of my readers for giving me some detailed insight (even if she did wake me up at 8:30a.m. on a Saturday morning to do it).  They both let know me what worked and what didn't.  They also gave me some great ideas for making my story more compelling.  I know that my book will be that much better for it.

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As usual, I am trying to do way too much.  I'm working on editing my romance novel so that I can send a polished product to the editors and agents who have requested to see it.   I started drafting a science fiction script for Scriptfrenzy.  I'm working out and doing what I have to do to make sure I have healthy food choices available to me so that I can continue my weight loss journey.  I'm helping to plan a party for a friend.  I'm reading books on how to find time to write and 101 ways to improve my writing.  Oh, and did I mention that  I'm a lawyer who works full-time?  So all that other stuff takes place in my spare time.  The end result:  I am one tired chick.

On my doctor's advice, and in accordance with the book “Time to Write” by Kelly L. Stone, I decided to try to go to bed earlier so that I can wake up early in the morning to work out and then do an hour or two of writing.  But, instead of heeding the advice in the book and taking it one step at a time by setting my alarm clock five minutes earlier each day to gradually ease myself into a routine, I psychotically set it to wake me at 6:00a.m. on Monday morning. 

Since I have this thing about trying to get every second out of the  weekend and I usually watch Iron Chef America until 11:00p.m. on Sunday nights then putter around chopping fruit, brushing my teeth, washing my face, picking out my clothes, etc., I didn't get into bed until midnight and I didn't fall asleep until darn near 1:00a.m.   (I watched a re-run of NCIS I had saved on the DVR).

Needless to say, when the alarm went off the next morning, I swatted the snooze button ten times and woke up closer to 7:00a.m.  I dragged myself out of bed, worked out, edited my romance novel for half an hour, showered, dressed, packed my lunch and  headed off to work. 

When I got home that night, I was too brain dead to do anything more than have dinner and veg out in front of the television.

On Tuesday morning, I tried it again.   I got into bed at 11:30p.m. and laid there with my eyes wide open (but with the television off) until after midnight.  I then tossed and turned and barely slept because I was so expecting the alarm to go off at 6:00.m.  This time, I only hit the snooze button once. 

I dragged myself out of bed, worked out and edited my romance novel for an hour and forty minutes. 

By Thursday morning, I didn't have to hit the snooze button at all.  One of my favorite songs was playing on the radio: “Get up” by Mary Mary.  The song is really uplifting and all about waking up, doing what you've got to do and really living your life.  It was so appropriate that I hopped right out of bed. 

I've been doing this for two weeks now and I've made more progress with editing my romance novel than I have in ages. 

The early morning writing schedule isn't the only one that works, however.  According to the novelists quoted in Kelly L. Stone's book (many of whom are bestsellers), some writers who work full-time or who have small children write late at night when everyone else is asleep, on the train when commuting to work, at work before or after business hours, or in large chunks of time on the weekend.  Others write in ten and twenty minute increments or whenever they can find the time.  The key is to be flexible and creative and have a burning desire to write.

It really is possible to find time to write – even with a schedule as crazy as mine.

My Experience at the Silken Sands Writers Conference

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I've just returned from the Silken Sands Writers Conference in Pensacola, Florida.  The conference is held every other year (they alternate years with the Southern Magic Conference given by the Birmingham Chapter of Romance Writers of America). 

I had the most wonderful time at the conference and learned a great deal.  Although the Gulf Coast Chapter Romance Writers of America is a close-knit group, everyone at the conference was very friendly and made me feel welcome.

The conference was attended by heavy hitting industry professionals who made presentations and/or participated in agent/editor consultations.  I pitched my romantic suspense novel and received no less than three requests to see it – two from top publishers and one from a top agent. 

The seminars at the conference were very informative and wonderfully presented.  I learned the best way to create new worlds for science fiction and fantasy novels, how to self-edit my manuscripts so that they have the best chance of getting published, how to keep my muse happy, how to find time to write in my chaotic schedule, and so much more.  I'll be able to use what I learned at the conference right away since I now have to timely whip my manuscripts into shape and send them off the agents and editors who have requested to see them.  I also plan to write a fantasy novel for this year's National November Writing Month.

The best part of the weekend though was the chance to network and get to know industry professionals and writers in various stages of their careers – from the not yet published to bestsellers.  Talking with the other writers helped me to learn about resources that will take my writing to the next level and to make new friends.  I will definitely be back in 2012.

A Woman in Search of a Genre

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 I recently attended the San Francisco Writers Conference and one of the things I learned was that, in order to effectively pitch a novel to an agent or an editor, a writer must be able to specifically identify the genre of the book as well as the demographics of the audience who will want to purchase it. It is not enough to say: “I'm writing fiction and the book will appeal to everyone.”  It's not even enough to say: “I'm writing womens' fiction and my target audience is all women.”  You've got to be able to say something like: “I'm writing a romantic suspense novel that is similar in nature to those written by Nora Roberts and I am going after the women who buy her books.” 

While identifying the genre and the market for my romantic suspense novel was relatively easy, I struggled with identifying the genre and the market for my second book.  I thought it was enough to say that I was writing womens' fiction and then to describe the storyline. I was wrong.  At the conference, I attended a “Talk to the Pros” roundtable session.  That's where ten writers sit at a table with an editor (most likely from a major publishing house) and pitch their novels.  The editor then provides feedback to each author in front of the others so that they can all benefit from it. 

When I pitched my second novel to one of the editors, she said that it sounded like a good story.  She asked me to identify the genre that the novel fit into. I said that it was womens' fiction.  She asked me to identify which category of womens' fiction.  I didn't know.  I didn't even know that womens' fiction was broken out into categories.  She asked me what other writers had written similar books. I didn't know that either.  You see, although I am an avid reader, I don't typically read what I had written (I read spy novels and romance novels).  I also hadn't done my research prior to attending the conference. 

My second book is about a young African  American woman who gets involved with the wrong guy (the head of a burglary crew) and ends up going to jail as a result.  In fear for her life, she never gives him up to the authorities.  She also keeps the fact that she is pregnant with their child a secret.  She has the child while in prison, but doesn't tell him.  When she gets out, she is determined to make a better life for herself and her son.  However, that gets threatened when her ex-boyfriend sues for full custody of their son.  In a desperate effort to keep her son, she decides to turn state's evidence against her ex-boyfriend.  The question is: will he let her live long enough to do that? 

Upon hearing the storyline, the editor opined that I was writing gritty urban street fiction and suggested that I read books written by authors who write in that genre. One of the authors she named as an example was an author named Honey Bee.  After the session, I went back to my hotel room, fired up my laptop and did some research.  I looked up Honey Bee and other authors who were known for writing gritty urban street fiction.  After reading snippets of their books on Amazon.com, I decided that the editor was wrong.  While the storylines of those books were compelling, and some of them had done quite well in sales, they were written in street vernacular with lots of slang and “cuss” words and were set in the projects.  My book was not. 

I figured that the editor had stereotyped the genre due to the storyline and the fact that the main characters were African American. When I got back from the conference, however, I did more research and discovered that she was right. I found two books in the urban fiction category whose main characters had recently been released from prison and were trying to turn over a new leaf when their pasts caught up with them.  The books were written in plain English too (as opposed to street vernacular).  While my book wouldn't be characterized as gritty urban street fiction, it could be characterized as urban fiction and be compared to those two books, among others.

I am attending another writers conference soon and, armed with this new knowledge, I should be able to more effectively pitch my books to agents and editors. I can also search for and target agents wo have successfully represented authors who write urban fiction.   Who knows, I may not have to search for an agent much longer.

Peace.

The Benefits of Attending a Writers Conference

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A couple of weeks ago,  I attended the San Francisco Writers Conference.  It was a great experience.  I had been to the Maui Writers Conference several times before.  I always came  back from those trips refreshed and renewed and having learned a lot about the craft of writing.  

I didn't have high expectations for the San Francisco Writers Conference.  I doubted that  it would be able to compete with the wonderful experiences I had in Hawaii.  Boy was I wrong.  I don't know if its because I have now written three novels and I am at a different stage in my writing  journey (the godforsaken land of  editing), but  I got so much out of the San Francisco Writers Conference that I came back fired up and with an action plan that I have already started to set in motion. 

I learned about the need to have a platform (an audience who would look forward to reading your work) and how to go about developing one.  I learned how to best to pitch my work to agents and editors.  I learned how to find the agents and editors who would be most receptive to the type of books I write.  I even learned that my romance novel would be difficult to place because it is short (57,000 words) and that if I want it to have a greater chance of getting published, I need to expand it to at least 75,000 and preferably 90,000 words. 

I got very helpful feedback on the first few pages of my suspense novel – Dreams Deferred – from an independent editor and invitations from six well-known and respected agents to send them my manuscripts for consideration.  Now if I could just finish editing the darn things and get them out the door . . .  But that is a topic for another day.

The point is, there are numerous benefits to attending a well run, well attended and very well put together writers conference – from the writing seminars to the ability to consult with independent editors to the ability to network with and pitch to top agents and editors, to the fellowship and inspiration one gets from mingling with other creative minds.   I will definitely be back next year – not to find an agent, but to learn more from the seminars and to pitch my next book.

Peace.

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