Category Archives: Networking

Networking: Friends with Benefits

In October during Marketing and Promotion month, we had a great post on networking by Kim May. There’s a lot of great advice here on how networking can help you reach and connect with your readers.

This month, I’d like to focus on how to network with industry professionals.

Few of us are lucky enough to have people in the entertainment industry – and yes, writing and publishing are part of the entertainment industry – as part of our circle of family and friends growing up, but it is possible.  Ironically, one of my friends-who-is-also-a-published-author started out as the roommate of another friend I met through my toy collecting hobby.  Looking back, I laugh at some of our earlier meetings when neither of us had any idea of the other’s interest in writing.

But let’s assume you don’t have a contact like that.  I didn’t for many years.  How do you meet people who are working where you would like to be someday?

You can read blogs, join newsgroups, “like” Facebook pages, and/or follow Twitter feeds.  The best part about these venues is that even if you live in an isolated rural area, and can’t afford to travel, as long as you have Internet access, you’ve got all you need.

First, reading blogs etc will give you a feel for what it’s like to work as a professional writer / in the entertainment industry.  You may find it’s not for you.  Or, when you reach that point yourself, you will have some idea of what to expect.  I’m eternally grateful for the advice from a writer, who is now also a friend, who put on her blog the importance of turning around correspondence for publishers as quickly as possible.  They’re people too, they’re on deadlines too, and keeping them waiting and wondering if they are going to hear from you or not is an undesirable situation.   As someone who used to submit things on the day they were due–and never before–I realized that holding on to my finished submission until the due date wasn’t doing me any favours.  And I would never have realized that without this advice.  It’s invaluable, and it’s free.

Comment when you have something useful to say.  Over time, people will recognize your name and, if applicable, your avatar.  Remember, though, that reputations can be bad as well as good – keep the drama off someone else’s site, or you will be remembered for all the wrong reasons.

Conventions, seminars, launch parties and book signings are great in-person venues if you’re lucky enough to be able to travel or live near a city.  Authors and editors will give panels, readings, room parties, and book signings.  Attending panels and readings gives you conversation starters when you go to the parties and signings:  introduce yourself by name, then ask a question, comment on something, or give constructive feedback.  Don’t hog the person’s time – they’ll be meeting a lot of other people at the event.  At subsequent events, you can then re-introduce yourself (“we met at Ad Astra this past April”, “I came to your book signing last year in Toronto.”)  Faces become familiar very quickly.  And I’d be amiss if I didn’t mention Superstars Writing Seminars, where I received great advice from professional writers and also met a number of fellow newcomers just starting out in the field.  Look how far we’ve all come!

I’m very fortunate to have a friend who is a New York Times bestselling author–the person who first recommended Superstars to me, despite not being part of it herself.  It was her assurance that Superstars was worth the money and time that got me here today.  I’m not going to drop her name here, because the purpose of this post is not me showing off how special I am because of who I know.  I mention it to illustrate that unfortunately, the following paragraph contains advice that still needs to be shared:

Don’t expect professional authors to become your new best friends.  They’re busy people, on lots of deadlines.  They have private lives they aren’t going to share with people they’ve just met.  They are not going to drop everything to reply to you immediately, and they don’t owe you anything.  Be courteous, be respectful, be appreciative, and be professional.  These writers are active online and at conventions to connect with their audience and, if they are generous and have time, to share some insight on their profession.  You will not become friends with everyone you say hello to, and you will not stay friends (or even acquaintances) if your sole purpose of communicating is to “get stuff,” whether that “stuff” be attention, information, free swag, or “awesome inside sources”.   Treat industry professionals as people, not as means to your goals.

When you are at conventions, do attend public events (book signings, autograph sessions, panels, public room parties and launch parties).  Do not try to crash private functions (ie author-only parties), follow people into the restroom to strike up conversations, or loiter outside people’s hotel suites waiting to pounce on them.  As on the Internet, being loud, drunk, promiscuous, smelly, obnoxiously persistent or rude gives you the wrong reputation very quickly.  And remember that alcohol makes all sorts of things seem like A Good Idea At The Time.

As someone who rarely drinks alcohol in public I strongly recommend a glass of pop, soda or juice carried around a room party or nursed at a convention bar if you are a non-drinker or if you have reached your drinking limit.  People will think it is a drink (thereby saving yourself the need to constantly turn down offers of drinks) and you will both appear sociable and remain in control of how you are presenting yourself.  (I also note that if you are a non-drinker, after seven or eight Dr Peppers you will feel like bugs are crawling all over you, so go easy on the caffeine-as-alcohol-substitute.  Lessons from Ad Astra 2013–bad decisions made so you don’t have to!)

The best thing about networking is that it builds its own momentum.  Once you know one person, they will introduce you to other people.  Soon you’ll find yourself in contact with all kinds of people who are working in, or working towards, your chosen profession.

Get on the Train

Train3I have a few different fingers in the publishing pie. I wouldn’t be writing for the Fictorians if I wasn’t a writer, but that’s not the aspect of publishing that dominates my time. I’m also a professional editor, something I don’t often talk about in my Fictorian blog posts. In addition, I am a typesetter. Occasionally I’ve even served as a slush pile reader, though that torturous (and tortuous) experience hasn’t always been a high point.

Recently, while on an afternoon walk through my neighbourhood, I realized that I’m kind of unemployable in the “real world.” I’ve been a full-time, self-employed contract worker since the age of twenty-four, and all of my skills are in publishing. Sure, I could wait tables and wash dishes, but I am pointedly leaving those items off my resume. To say the least, I’m firmly enmeshed in the business of publishing.

This is a pretty surprising career development, at least from the perspective of ten-years-ago me, who didn’t set out a specific goal to get to where I am today.

However, I wouldn’t go so far as to call it accidental. Rather, I started making choices that allowed me to follow my publishing dream, and those choices led to opportunities, and those opportunities, when seized, led to my current reality. In short, I got on the train.

But I’m getting ahead of myself.

The watershed moment happened in Pasadena, California in the winter of 2010—the first annual Superstars Writing Seminar, which we’ve devoted a lot of digital ink to on this blog. Over the course of the next couple of years, I went from trying really hard to be a writer in a hostile world to being surrounded by writers all the time. The world doesn’t seem so hostile now. The proportion of my Facebook friends who are writers is truly out of control. I used to read my newsfeed for updates from old high school buddies. I can hardly do that anymore, because the newsfeed has gradually been swallowed up by publishing business.

I call it business, because that’s what it is. Every day, my friends are asking for advice, providing advice (because some of my friends are seasoned pros), posting articles from trade magazines and blogs, providing sneak peeks of cover art, hunting for beta readers, and on and on and on. This level of immersion, I think, is crucial in a writer’s life because it marks the point when education becomes continuous—and almost automatic. I live and breathe this stuff.

The first conventions and seminars I went to were all about learning new things. Attending Superstars in Pasadena was an overwhelming experience, because ninety-five percent of what I heard there was totally brand-new information. I came home with over forty pages of notes. The notes were important, but the forty friends I picked up were actually much more helpful, because they got the ball rolling. Instead of cramming years’ worth of learning into one weekend in a convention centre meeting room, I started getting it piecemeal every day of my life.

This last spring, I went back to Superstars for the first time in four years. In 2010, attending Superstars was like attending a computer programmer’s convention without any computing knowledge beyond how to boot up Windows. I could barely follow along half the time; I hung out at the fringes of conversations, snatching up scraps like a hungry dog beneath the family dinner table. I was hopelessly lost. This time, I was the guy talking contract terms, market trends, and business practices. It’s impossible to pinpoint where and when it happened, but I came to speak the language.

The information at Superstars 2013 had changed probably sixty percent from the first year—because that’s how quickly this industry is shifting under our very feet—but I went from forty pages of notes to four. Maybe fewer. It’s not that the information wasn’t timely and valuable, and yet I absorbed very little that I didn’t already know—well, that’s not true; there was plenty that I didn’t know, but I was so well primed for it this time around. The benefit was not all of the advice and new-fangled information. It was having so many of my business friends and contacts in the same place at the same time.

That’s what will happen once you start down this track. You don’t need to have a step-by-step plan for how you’re going to succeed. The industry changes too fast for step-by-step plans to be practical, anyway.

Think of the publishing industry as a train. One day, it motors past your station, so you hop aboard. At first, you don’t know any of your fellow passengers and you don’t have the context to understand their insider conversations. But there are only so many people on this moving train, so unless you hide in your cabin all day and refuse to talk to anyone, it’s only a matter of time before you’re caught up in the hustle and bustle of daily train life.

So just get on the train.

Conventions as Marketing, Part II, or Every Day is An Interview

I wanted to follow-up on Quincy Allen’s great post of October 15, 2013 about the value of active convention attendance on your marketing plan. The post is particularly timely as I’m packing my bag for World Fantasy which will be held in Brighton, England from October 31 – November 2. Quincy shared how his career had been enhanced by his decision to attend conferences. Like Quincy my successes in writing can be traced back to my decision to attend a conference. But that’s only a part of the story. Showing the is the easiest part. What Quincy did, and I recommend you do, is he was an active participant in the conferences.

Taking a convention from being a fun event to being a professional marketing tool is hard work. We attend writers’ conferences or seminars, to market our writing, and to meet other writers, agents, publishers and editors. For ease of reference, I’ll refer to agents, publishers and editors collectively as “agents.” You cannot sit in the seminars and only interact with the group of people you came if you are marketing.  Every day of a convention is an interview. Every moment of every day is an opportunity for you to help or hurt your career. So how do you ramp up your marketing potential at a Con?

Before the Con: do your homework.

One of the things I love about World Fantasy is it posts a list of attendees or “members” so I can see if my dream editor or agent is going to attend. This year WFC also has a separate list of attending publishers so if you don’t know that Jane Doe is with XY Literary you can see that XY Literary is attending and investigate further. Conventions are often crowded. Decide in advance who you’d like to make a connection with, why, and how.

I wanted to talk to Peter Beagle because I love his stories and since he was a Guest of Honor that year . How was I going to meet to him? Because he was scheduled for a reading, an interview session, and to attend the banquet I knew where and when I could find him, but I also asked my friends if anyone knew him. One of the founding Fictorians did and she introduced me. Ask your friends and colleagues if they know the person you want to meet. Chances are that one of them does. A personal introduction will usually take you a lot further than cold calling on someone. If the person you want to speak with is not giving a lecture or otherwise booked to be in a specific place be prepared to check the Con Bar – regularly.

If you are planning to pitch a story make sure it’s finished. “Finished” does not mean the first draft is complete. It means you have done everything you can to make the story as compelling and as free from typos as you can. Prepare your pitches. Ace Jordyn attended last year’s WFC with a list of the people she wanted to meet, and pitches prepared for each work and each person. Amazing, really.

At the Con:  Be professional and bold.

I’ve written about this before so I’m not going to delve too deeply here. Appearances matter. If you want to be taken as a professional be dressed as one. Does that mean you have to wear a suit? No – unless that’s your brand. Look at just about any New York Times best-selling author’s website and you’ll see what I mean. Lisa Scottoline, a retired lawyer and writer of legal thrillers, wears suits. She wore one when she was instructing at the Seak, Legal Fiction for Lawyers convention where I met her. Because of who she is and what she writes the suit is part of her brand. Neil Gaiman and Brandon Sanderson don’t wear suits.  In fact, I would guess that the bulk of professional writers don’t wear suits. Still, they all look professional. You should too.

Act professional. Don’t interrupt, don’t be rude. Enough said about that.

Go boldly.  Follow-up on your plans. Go to the places the people you are looking for are likely to be. Talk to them when you find them. If you can’t find them, ask other people if they might know where Jane Doe is. You must approach strangers at a convention. You must ask friends to introduce you to people you don’t know, but want to. At least one agent has said that she only signs people she’s met at a convention, and the agent doesn’t wear a name tag. She, like every other agent, wants to see you’ve done your research and that you’re passionate about your work. After all, if you’re not excited about and willing to sell your work, why should she be? Sitting in a corner watching the con go by will not result in publication.

Strike while the iron is hot. If you are engaged in a genuine conversation and someone asks what you are working on. Tell them.

After the Con: Follow-up.

Oh lucky day! You spent three hours talking to your dream editor at the Con Bar. So, now what? Follow-up with that person just like you would do at any other networking event. Send her an e-mail saying you enjoyed meeting her at the Con. Make the e-mail specific so that if you drinking a purple girly drink remind the editor so she, who met hundreds of people at the Con, has the opportunity to place you. If you were asked to submit to the editor do so now. It not, just thank her for her time. At minimum, follow the editor’s twitter feed or friend her on Facebook. Comment honestly on posts. If she posts something you find interesting you should comment on it. If not, you shouldn’t. You are trying to maintain and forge a genuine connection with her.

Don’t forget your friends. Remember all those people who helped you research and introduced you around? Thank them as well.

Conventions are one of our most powerful marketing tools if used correctly. Meeting someone at a convention may make the difference between a polite “no, thank you” and a sale. Treat every convention like an extended job interview because that’s what it is. Your primary goal is to form honest and lasting connections with the people you meet. Succeeding at that goal leads to success.

 

Working the Convention Circuit

This is one of those “you should” blogs that, if you know me, you know I generally hate. But I’m going to do it anyway because I’m willing to take the heat for being a hypocrite for a topic I believe is worth the sacrifice. So here goes, and it’s a bit of a daisy chain, so bear with me.

If you’re a new writer, with at least a handful of published short stories to your name or even a novel or two, then you should give serious consideration to working the convention circuit.

Back in July of 2009, I got laid off from an IT gig and decided to chase a writing career. The first thing I did was write some short stories and submit them. I also wrote a novel—the less-than-well-known Chemical Burn. Over the past four years, these efforts have borne fruit. However, if they were all I accomplished in that time, the odds are I wouldn’t be writing this blog right now for the simple reason that the folks at The Fictorians wouldn’t know who I am.

Let me explain.

In October of 2009, I attended MileHiCon, a local and well-established genre and writing convention with a strong author-track. As a result of my participation, a number of wheels were set in motion. MileHiCon is where I met Kronda Seibert and the “heart” of the local steampunk population. As a result of that meeting, I was able to write three episodes of a steampunk Internet radio show and laid the foundation for the Penny Dread Tales anthology series. I wouldn’t be writing steampunk if it weren’t for that convention.

At MileHiCon I also met Sara Megibow of the Nelson Literary Agency (which had benefits later) as well as David Boop who has introduced me to much of the Front Range writing community in one way or another. This also led to my involvement with the Broadway Book Mall.

At a convention in 2010 I met Peter J. Wacks, which opened the door to a contract for Steampelstiltskin with Fairy Punk Studios and laid the groundwork for a relationship with an international best-selling author (more on that later). I also started picking up a fan-base and found a home with the steampunk community. As a result of that, I established a recurring attendance invite with AnomalyCon and locked in “premiering” each new Penny Dread Tales (PDT) anthology at the convention. PDT has now become a staple at the con, with a growing list of “bigger-name” contributors as a result of its growing exposure. It was in this cycle of cons that I also met Guy De Marco for the first time, and that relationship opened up even more doors.

2011 was more of the same, and in 2012, I extended my reach a little and—thanks to Guy—hit OsFest in Omaha Nebraska. That’s where I met Travis Heermann. It was also in the 2012 con season that I met Angie Hodapp (also of the Nelson Literary Agency), and that opened doors to making a proposal to the Rocky Mountain Fiction Writers Board of Directors  as well as teaching a seminar on writing action scenes (with Travis Heermann) at the Colorado Gold Conference this year.

2013 saw my reach deepen into the writing community. I’ve met writers, agents and publishers. I’ve got a growing list of contacts, fans, and even editors asking for my work. My relationship with Angie Hodapp and Sara Megibow over at the Nelson Agency opened the door for me to submit a query directly to Sara, and while she didn’t accept that manuscript, the door is open for me to submit directly to her when I finish my next manuscript.

On top of it all, at CoSine in Colorado Springs this year, I met for the first time Kevin J. Anderson. You may know that name. As a result, I now do book designs and eBook conversions for Word Fire Press, and as a result of that chain of events, I’ve been able to work on books by authors like Frank Herbert, Brian Herbert, Kevin J. Anderson and, coming soon, Alan Drury. I even did a WordFire Press version of the eBook for Clockwork Angels. My work with Anderson also got me into Superstars, which led to me being invited to become a Fictorian.

The daisy chain goes on and on, so what’s the message here?

That if you’re planning a career in the writing biz, you should start meeting, greeting, and carousing with people in the writing biz. That’s how you make contacts. It’s how you open doors. That’s how you create opportunities for your writing projects.

Most people think the writing business is all about getting “picked up”… about writing  a manuscript in solitude, submitting a query, and finding out six months later that you’ve been offered a contract by an agent or even one of the “Big 5.” I won’t deny that this method works… but you’d have as much a chance trying to get struck by lightning in a thunderstorm.

The odds are against you, so how do you up the odds?

You hit the convention circuit, plain and simple.

 

Q