Six Degrees of Separation

Make friends with your fellow writers.

Who, the people I’m competing against for publication contracts, agents’ attention, spots in magazines and anthologies?

Yes, them.

Why?  I need publishers, editors, reviewers and readers.  But I’m the writer.  Why do I need other writers?

Very few people are good at everything, and, particularly when you’re starting out, you can save a lot of time, money, and or mental strain by getting some advice from someone who’s done something before.  If you’re in a tough patch, a fellow writer may be more than a sympathetic ear:  they may actually know a coping strategy that worked for them.  And who will know your field better than a fellow writer?

I remember expressing frustration that I couldn’t take part in a book launch event because, at the time, my only publications had been in anthologies and the event was for novelists only.  If I’d been on my own, my aspirations might have ended there.  Instead, I vented to a writer friend of mine.

She said she knew two other writers in the same position as me, and maybe we should get together and do our own launch.  We could call it an “Author Launch” since the books we were in had multiple contributors.  I was in.

Where could we have it?  At the time, I was working for a Business Improvement organization.  One of our member businesses provided us a meeting space, free of charge, on the proviso that the invitees purchase a certain dollar amount worth of food and drink.

Another person knew a guy who specialized in film and photography.  Another person knew a bigger-name local author who agreed to be our master of ceremonies.  Another person designed and printed some posters, which we all helped to distribute.  The authors were invited to be on a radio program.  The local sci-fi community came on board.

We packed the room.  We sold books.  We had fun, and got our names out there.

I could never have pulled off that event all by myself.

Fellow writers can introduce you to key people:  agents, publishers, editors.  They can let you know about new markets, calls for submissions, convention events.  If you want to know who designed their web site, their book cover, their business cards:  you can ask them.

Going to a convention is a lot more affordable when there’s four people splitting the cost of  a hotel room and gas.  This blog is created by a group of writers who met via Superstars Writing Seminars and decided to start a blog together.  I certainly couldn’t maintain the demands of five blog posts a week all on my own!

One big caveat.  The idea is that writers help out other writers, but nobody wants to be friends with someone who is just using them for contacts.  If you take and take and never give back, people will notice.  If you only talk to someone when you want something, people will notice.

In order to benefit from the Six Degrees, you have to be willing to give back.

In every group you will find people you click with and people you don’t, and that’s okay.  If you spend time with people who have a common interest (writing), you will naturally gravitate towards some of them.  It’s likely you and they will have other interests and commonalities–the foundation of friendship.  Some people may not be interested in getting to know you, or may be too busy.  That’s okay too.  Let them go, and focus on the people who return your interest.

If you say you are going to do something for someone, do it unless an extreme circumstance arises.  Being hospitalized is an extreme circumstance.  Putting it off until you feel like it is not.  Most people will be understanding of an unexpected emergency, but if over time you develop a reputation for not making good on your word, it will be hard to shake.

Every writer has to strike a balancing act between writing (what we’re all here to do) and non-writing activities in support of our writing.  Some of those activities may include blogging, conventions, writers’ groups, and hanging out with our writing friends.  It’s your responsibility to decide how much socialization is important (because career-related discussion, venting, support and advice is very important) and how much is procrastination posing as time well spent.  You can’t volunteer for everything if you hope to get your writing done, so choose carefully what you’re going to do:  pick things that will support your career, allow you to give back to your fellow writers, and still leave you time for the writing itself.

Viral Marketing – Starting the Buzz with ReaderZero

We’ve all seen the contagion movies—a hideous, killing plague threatens to wipe out humanity unless the tireless doctors discover a cure before it’s too late. In order to develop the miracle serum, they have to trace the source of the disease. They have to find PatientZero, find out what he did, where he went, where he came from, who he met, what he ate, what brand of underwear he preferred, and what he read before contracting the virus.

Alright, so maybe I stretched that a little. They never checked his drawers. But the concept of a single spark igniting a fire that spreads from person to person through contact is extremely interesting. Word of mouth is still the best promotion out there. Readers talk, and not just to the world through their formal reviews on Amazon or their blog posts, but to their co-workers, their family members, and their friends. Each person they talk to is a potential reader. And each person they talk to is a potential reader. It’s an expanding universe of potentiality that could start with a single spark, a conversation with a person in your own neighborhood, igniting a viral explosion that doesn’t kill the chain, but introduces them to a great new story that captivates hearts.

Readers are everywhere. They don’t just cluster together wherever books are sold, or in coffee shops. No. They are everywhere. Supermarkets, hair salons, doctor’s offices, etc. Find them. Talk to them. Spread the word. Find ReaderZero.

Before you open your front door and step outside, make sure you have your business cards in your pocket. Business cards are not only for corporate drones. They are a branding tool, an informational souvenir of your meeting. If you want people to take you seriously and also have something to remember you by, hand them a business card. They are cheap and simple. Here’s mine:

business_card

It’s got my symbol, title, and contact information. Neat, attractive, and uncluttered. You can make them yourself or order 250 online for less than $20. Do it.

Like I said, readers are everywhere. So when I say take your cards with you when you step outside your door, I mean it. Take them everywhere. Here are three recent, personal examples to illustrate why this is important.

I went to the dentist yesterday. Yuck, right? Damn straight. It wasn’t a six month cleaning, either. It was crowning/filling nastiness totally devoid of Awesome…until the end of the procedure. The dentist was cool. The Licensed Dental Assistant was super nice. The numbing, drilling, and molding sucked, but wasn’t horrific. As I got ready to leave, the Licensed Dental Assistant picked up the book I’m currently reading, Wool, by Hugh Howey, and checked it out. She asked if it was any good. Of course I told her it was. She skimmed the back cover and said she was looking for something new to read.

This, my friends, is what’s called a perfect setup.

I told her Wool was good (Actually it’s really, really good), but she should try my book.

That’s when I got the wide-eyed stare. “You’re book!?” Yep. I whipped out a card, and gave her the elevator pitch. By the time we reached the payment desk, she assured me she’d buy my book. What started out as a mundane trip to the house of horrors ended on a wonderful note.

Something similar happened at the Veterinarian’s office (the doghouse of horror?) I took my dog in for her semi-annual exam. In between the “She’s so cute”s and the “You’re such a good girl”s, the Vet asked if I had been doing anything fun. Well, yeah, kinda. Now that you ask…boom! I whipped out a card, and gave her my elevator speech. As it turned out she was also writing a book. We talked about the craft for a few minutes then she said she’d buy a copy for all the people working in the office. Not too bad for a trip to the vet.

While the prior examples had direct setups, sometimes you have to give Fate a swift kick in the butt to make things happen. Develop your own opportunities.

I coach bowling. I’m there for the kids, but when I see someone reading, I have to know what it is. At practice the other day, one of the bowling moms sat by herself reading a book. I asked her a simple question, “So…whatcha readin’?” The answer led to a conversation where I could, without sounding pompous or overbearing, pitch my book and win over another reader, several readers as it turns out. Other parents listened in and participated in the conversation.

Anyone of these readers could turn into ReaderZero, the one who spreads the word, the one who ignites the fire, the one who starts the viral chain.

Be open. Be ready. Be bold.

Style As Your Fingerprint

There’s not a lot out there about developing one’s writing style. Because it’s supposed to be yours, right? No one is supposed to help you shape that:  it’s uniquely yours. YOUR voice. But how far, exactly, can you go with that? When does style obstruct grammar rules? When does style turn off potential editors and publishers? Unfortunately, there is no right answer.

Let me explain.

Over the years, I have heard various editors from Baen, Harper Collins, Shadow Mountain, and other publishing houses on panels explain, “I want something new. I don’t want the next Stephen King. I don’t want the next Stephanie Meyer. I want you. I want your unique style and your unique voice.” One might be thrilled to hear this call for individualism. “Then I’ll send in my personal style where I don’t use quotations, and don’t capitalize anything!” I want to say that takes it too far. But then again, there’s James Frey. Munch on this little excerpt from his break out novel A Million Little Pieces.

Hey, Buddy.
His voice is deep and dark.
Hey, Buddy.
Tracks crisscross his forearms.
I’m talking to you.
Scars run the length of his wrists.
I’m talking to you.
I look in his eyes. They’re blank.
What?
He points.
That’s my chair.
I turn back to the television.

Did that blow your mind? It should. Most manuscripts that stylized do seem to make it past the slush pile… across the desk and into the trash can.

“Perhaps I’ll send in my manuscript of one-liners that play around a semblance of a plot!” Again, I’m hesitant to negate this, too. Behold the king of one-liners, Oscar Wilde.

“How about my hard-to-follow stream of consciousness novel?” I must hold back from rolling my eyes and sighing, as this is what James Joyce is famous for.

“Ah, but my extremely lengthy novel filled with citations!” I would say that would be

This is DFW's annotations on Don De Lillo's Players, for crying out loud. Imagine what Infinite Jest is like.
These are DFW’s annotations in Don De Lillo’s Players. Now imagine what Infinite Jest is like.

boring, but then again, David Foster Wallace’s Infinite Jest is on almost every bookshelf of every English major in America.

A very wise editor and friend, Joshua Essoe, once told me something along the lines of: “Prove you know what the rules are before you go and break them.” I think this is fantastic advice for new writers. Editors and publishers need to trust that you know what you’re doing. Slowly injecting your style as you go is the way to job security.

At the same time, I can’t help but wonder: what if the authors I’ve mentioned above had done the same? Maybe if they hadn’t boldly stepped out into the world with their styles fully realized, style wouldn’t be as important as it is today. Maybe we should be so bold as to say, “Yes, I know my style is unique, but just read it, and let me know if it doesn’t just knock your socks off.” Because chances are, if your story is solid and engaging, your style will only add to it.

About Kristin Luna:
Kristin Luna copyKristin Luna has been making up stories and getting in trouble for them since elementary school. She writes book reviews for Urban Fantasy Magazine, contributes to the blog The Fictorians, and her short story “The Greggs Family Zoo of Odd and Marvelous Creatures” was featured in the anthology One Horn to Rule Them All alongside Peter S. Beagle and Todd McCaffrey. Her short story “Fog” recently appeared on Pseudopod. Kristin lives in San Diego with her husband Nic.

Convention Panels for Newbies

Most professional authors have attended conventions as a fan before they were bitten by their muse. Some attend to sell books, sit on panels, and even do a reading or two. I’ve been asked numerous times how a new author can learn the secret handshake to get behind the table or podium instead of getting stuck in the back row of a crowded room.

The answer is: It depends on the convention.

Getting panel time is easier for the local conventions, and it is a good place to start. The budget for a 150-attendee convention can’t sustain bringing in a lot of headliners, so they usually focus on a big name or two to draw the crowds. This leaves plenty of room for a newly published author to get in front of an audience and polish their presentation. Smaller cons can also allow you to interact with folks who inspire you as a writer. When I started going to conventions again after a 23-year gap, I found myself sitting next to luminaries like Kevin J. Anderson, Connie Willis, Peter J. Wacks, C.J. Henderson, Carrie Vaughn, and Eytan Kollin.

Your attitude will help determine how far you’ll get. Approach a potential panel opportunity from the perspective that you will be glad to help the Con Panel Chair in any capacity. Never act like you’re doing the convention a favor by appearing in their midst. If you sold one pro short story or over fifty novels, remain humble and helpful.

Now that you’ve been invited to the other side of the table, here are a few things I’ve learned:

  • Be on time. You can be fashionably late when you’ve won a Bram Stoker Award®, an Edgar®, and a Hugo® or two. If you’ve won those awards, you’d probably be too professional to be late anyway.
  • Look the part. Be clean, wear reasonably decent clothes, and try to avoid the controversial t-shirts. If it’s part of your persona to be a smelly bum with less than three square feet of ripped t-shirt covering a beer gut, understand you won’t be looked upon with favor for the next convention.
  • Pay attention. When another author is talking, follow the conversation so you can contribute without repeating points others have made five minutes ago. When an audience member is talking, look at them and nod your understanding of their question. When a luminary is talking, pay close attention to how they interact with the audience. They’ve been doing the panel gig for a while, and you can learn quite a bit just by using your senses instead of using your smartphone to update your Facebook status.
  • Panels are not a competition. There is no need to one-up the previous panelist, and you are not getting paid by how many seconds you can keep the microphone in your hot little hands. Share with others, allow the other panelists to complete their thoughts or stories, and don’t forget to keep yourself on the topic of the moment.
  • Be appreciative. Always thank the other panelists and, most especially, the audience. Remember, the folks who are buying the books are the ones you want to make a good impression on, and you want to be remembered.
  • Be prepared. Unless you’re a last-minute addition to the panel, you should at least know who the other panelists are, what they’ve written, and you should make yourself familiar with the topic. Don’t forget to memorize a quick blurb about yourself for your introduction. I also like to bring a nameplate, some cards or treats, several pens, and a few copies of my latest work.
  • Be positive. Unless you have the funniest goth schtick going, you want to be remembered as someone who is fun, someone who compliments others, and an author who is professional. If you can contribute something funny, do so unless it is at someone else’s expense. Above all, never insult an audience member or the guest of honor.
  • Be yourself. Relax (as best as you can.) I like to imagine I invited a bunch of friends over to my back yard for a barbecue. If you have a phobia about public speaking, I would suggest taking a class, joining Toastmasters, or just focusing everything down to the person you are talking to and ignoring the rest. I find that making eye contact and smiling works best for both my nerves and the audience member stammering out a question.

Eventually, word of mouth will spread that you “give good panel”, and you will be asked to come back next year. Since there are usually several conventions in a geographic region every year, you may find yourself talking to volunteers from other events. For example, I attended Constellation Nebraska one year, and I met the chairwoman for a larger convention in Omaha. I was invited to attend OSFest, and they asked me to bring a few more authors from the Denver area. Along with Promethius Award winner Eytan Kollin, Peter Wacks, and Quincy Allen, I ended up on 13 panels, met two artists who I hired to do some book covers, and I made a lot of new friends.

If you are attending a convention as an audience member, take the time to seek out the panel chairperson. Let them know who you are, give them a professional business card with links for further information, and tell them that you are available if there are any last-minute panel cancellations. Make sure you give them your cell phone number and keep your phone with you (on vibrate only during events, of course!) I was on three panels at MileHiCon in Denver, and I made sure to tell the panel chair I was available for more if needed. Sure enough, an author had to cancel and I was the person she called to fill the open slot. They remembered I was accomodating, professional, polite, and that I helped them out of a jam. I was invited back the following year.

As for the larger conventions, it may take a while to get your foot in the door. It helps if you were on panels with solid authors who remember you in a positive light. Send in a request for a reading or panel suggestions to the panel chairperson, along with your writing credentials and group affiliations. I usually include a link to the panels I sat on within the last year (http://guyanthonydemarco.com/panels/), and note the name-brand authors who were on some of the panels. If you keep in touch with other panelists, you can always ask if there are any open slots for upcoming panels. Sometimes it takes one person to remember you so you can get your foot in the door. Thanks to Peter Wacks and David Boop, two gents from the Colorado writing scene, I was able to get on panels at StarFest in Denver, which is a notoriously difficult con to crack.

The more panels and readings you do, the more people will remember your name and your face. If they enjoyed your events, they are more prone to read your latest book, especially if they can get it signed. That’s the difficult task…getting something published that shows off your talent. If you did your writing job well, the rest will follow.

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a speculative fiction author; a Graphic Novel Bram Stoker Award®; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at WikipediaGuyAndTonya.com, and GuyAnthonyDeMarco.com.