Rx for Writers

Transcripts

Thursday, June 8, 2000

MODERATOR is Kristi Holl, Web Editor for the Institute's web site. Kristi is author of 23 novels for middle graders and teens plus 100+ articles for children and adults. She also taught writing for children for 15 years.

Karen is Karen O'Connor, an award-winning author of over 36 books for children and adults, educational films and hundreds of magazine articles and curriculum materials. She is also a long-time instructor for correspondence and university writing courses and has been a guest speaker at various writing conferences, online chat rooms, and teleforums.

Kristi (in the second half) is also Kristi Holl, who will talk about writing conferences. Kristi is a frequent speaker at SCBWI conferences and taught at the week-long Highlights Foundation Writers Workshop in Chautauqua, New York.

Names color coded in blue are audience members who had questions.

Interviews are scheduled for Thursday evenings: 8 Eastern, 7 Central, 6 Mountain, and 5 Pacific.

MODERATOR: Good evening, everyone! It's great to be back tonight. As you've seen, our session on "Creative Journaling" had to be postponed until July. So tonight, my good friend Karen O'Connor is joining me to team up to discuss "Getting Your Money's Worth!" (a subject dear to every writer's heart.) This is how it will go tonight: for the first hour, Karen O'Connor will discuss getting your money's worth from all kinds of writing courses: online, correspondence, and university classes.

Then, for the second hour, I (your moderator, Kristi Holl) will discuss getting your money's worth from attending writer's conferences, including networking at conferences, getting your manuscripts critiqued, and how to find out about such conferences.

So after that long-winded introduction, let's get right into the meat of the first hour. First, welcome, Karen!

Karen: Thank you.

MODERATOR: Karen, first of all, have you (or did you) take any writing courses to get started?

Karen: Yes. I took a correspondence course, then began reading books, etc. to learn about the profession in detail.

MODERATOR: What's the difference between college, on-line, and correspondence courses?

Karen: College courses are in person...so you can't get as much individual help. On-line does not offer the critiquing most of us want, though you can get good tips. Correspondence is great for people who want to work at home at their speed and get individual help with their lessons.

MODERATOR: How does a person know what's best for him/her to take?

Karen: Depends on one's learning style and schedule. I like correspondence because of the critiquing of each manuscript I sent. I got to see my weak areas as well as my strengths. I didn't have to guess at what was right and wrong!!

MODERATOR: Are writing courses necessary? Can't you get what you need from a book?

Karen: I think writing courses are preferred because of the evaluation you get on your writing. Blue pencil marks help you see what you are doing.

MODERATOR: How can one be sure of the integrity of the course?

Karen: I suggest checking with the Better Business Bureau, the accreditation department of the state education department in the state the school is doing business, and asking to speak to grads so you can hear what real people think of the course.

SaraJ: My instructor's comments on my work doesn't agree with what my critique group says--are they all wrong and my instructor's right?

Karen: Depends. Different people see different things. Friends who are not yet professional are sometimes less able to see the fine details that a published writer can see. That's why it's good to be in a group with at least one professional.

colleen: Sometime I wish the response was faster when I send in my lesson. Comment?

Karen: I know what you mean. I was impatient too. I like to keep the momentum going. That is one drawback to correspondence, but you can fill the time with practice exercises and reading...so you keep on learning.

Ducky: Who do you classify as a professional?

Karen: Someone who is paid for his/her writing, who has been at it awhile and has some good published credits to refer to.

SaraJ: What kind of reading would you recommend filling the time with? Reviews or other books or what?

Karen: I read books on writing the kinds of things I was interested in, such as writing for children, writing for magazines, grammar books, etc.

MODERATOR: Does taking a course assure success as a writer?

Karen: I don't think any one thing can ASSURE success, but it can help us move in a positive direction toward our goal of writing for publication.

MODERATOR: What are the most valuable tools such courses offer?

Karen: To me, the value comes with personal evaluation, manuals and books that show rather than simply explain, and the chance to learn about different kinds of writing opportunities. For example, I wanted to write for children when I started 25 years ago, so I read kids' stories, books, attended conferences on writing, joined a critique group: all with the goal of reaching my objective...to get paid for my writing.

SaraJ: I love my instructor's support, but I sometimes wonder if she's being too nice and not critical enough. At least, that's what my husband thinks--it's to keep me from quitting. Is that true, do you think?

Karen: No, I don't. There is nothing to be gained from 'making nice'. Your instructor is paid to deliver the course the school promises and that is to help you attain your individual goal. There is nothing to be gained by white-washing you! Some students also have a hard time accepting praise. They feel they are not getting their money's worth unless they are being criticized. Something to look at.

SaraJ: Thank you!

Karen: You are very welcome!

colleen: If you are published in poetry anthologies (where you can buy the book after publishing), can these be used as a writing credit or do they pretty much publish everyone (such as Poetry.com)?

Karen: I do not like these companies. They take advantange of innocent people. They are basically in the business of printing books. You, the poet, must pay to have your work published. Not right. Real publishers pay you!

colleen: How many people are not accepted when they apply to study here, or do they accept anyone with the money?

Karen: They are very discerning for a very simple reason: the promise to help people realize their dream of getting published. Students are told that they will have two pieces of writing ready to submit to an editor by the time they graduate. That's quite a commitment. They cannot afford to take just anyone. In fact, a neighbor of mine some years ago sent in the aptitude test to 'test' the school. The joke was on him because he was turned down as not having the aptitude for the kind of writing the school teaches!!

janshltz: As a graduate of the beginning course and also the graduate course, I can offer nothing but praise for the instruction I received. The book I wrote in the graduate course was accepted by Carolrhoda and will be released August, 2001. I could not have done it without the course and my instructor.

Karen: Congrats! That is a real victory and a very distinguished children's publisher. I just had a new book myself released by Carolrhoda in '99. You're doing great!!

SaraJ: While we're still students, is it wiser not to show our stories to people who aren't that supportive? I feel a lot better about my writing when I keep it to myself. Is that normal?

Karen: Yes, it's normal. I always tell people to pick your support team. In fact, hand-pick it. Share your work ONLY with people who believe in your dream with you and who will cheer you on. Get professional help for the writing part, and good friends for the emotional part, and pray to the God of your understanding for the spiritual part. Then you can't go wrong.

MODERATOR: Can I expect to be published soon after completing a course?

Karen: I don't think anyone can EXPECT a particular result, but you will be a lot closer to publishing because you will have access to the tools that are necessary for getting published. For example, I learned how to write a good query, how to use a market guide correctly, how to look at my writing with a more professional eye, and I was willing to be corrected and challenged. I remember a time when I sent an article to Young Miss. It came back three times with suggestions for changes. I was schooled enough at that time to take the help the editor provided and apply it. And it resulted in a sale of that article...and many more followed. It is one of my favorite stories to tell students because it illustrates the value of taking a professional view of things...instead of a personal view.

colleen: What is a query?

Karen: A query is a letter where you write out what you plan to include in an article. You are, in effect, laying out a proposal so the editor can decide whether or not it's right for his or her magazine. There are books on this subject that you can get from the library or bookstore.

janshltz: How long does it generally take for a query to be answered? I know unsolicited manuscripts can take months.

Karen: It depends. It can take a couple of weeks or a couple of months. I'm now finding that I receive faster responses when I query by e-mail, but some editors prefer snail mail, so I do whatever the guidelines ask for. But in general, the way to beat the waiting game, is to have a lot of ideas circulating so you are not too focused on any one thing.

colleen: Will an editor answer a query from an unknown writer?

Karen: Yes. Most editors are more interested in a good idea than in one's popularity or status.

MODERATOR: You sort of answered this, but how have such courses impacted or influenced your career as a professional?

Karen: They have made an enormous difference. I felt like a pro long before I was one!! And I believe that is because my instructor was so personal toward me. He talked truth...pointed out weak areas, praised me for my strengths...and most of all challenged me. He saw my potential and he didn't let me slide by. I really appreciated him. I also feel that the courses I took helped me to learn about the business side of writing--something many new writers prefer to avoid. They want a by-line rather than to build a career, and that, to me, is a mistake. We must own our creativity in more than just the artisitic sense. We must learn to care for ourselves financially and professionally. Writers offer a great service to humanity, just like teachers do. We cannot afford to take crumbs from the table, but instead to value our work and to put it out there with pride...not arrogance...but healthy pride that calls for respect.

MODERATOR: Absolutely! Karen, marketing is part of the professional process; is this something I can learn from a course?

Karen: Yes. One of the great benefits of a correspondence course, unlike other courses, is that you learn about the marketplace, editors, queries, payment, who is buying what, submission policies, trends, changes, etc. This is so important to long-term success because without it, you will not have the tools to keep going when things change or become slow or discouraging. I keep myself abreast of market news and trends each week by reading Publishers Weekly, monthly magazines such as Writers Digest, online newsletters, publishers' web sites, etc.

SaraJ: Can you suggest any ways to take the intimidation out of marketing? There are so many places to look--market guides and online guidelines and catalogues--it's almost overwhelming. Any ideas?

Karen: It is overwhelming. And even more so now, than it was when I started. I recommend that you stick to a familiar guide and use that regularly until you get some articles or stories published. I'm a great believer in starting small. Avoid overwhelm by making a little plan such as: I will send for five magazines this month... I will study each one diligently... I will read the editors' guidelines and visit the web site... Then I will send in one article or story and move on to the next magazine...and so on. Do what feels good and comfortable and 'doable' to you at this particular season in your life. Some people have a higher tolerance than others for various activities; they can handle multi-tasking. If you can, great. It you can't, that's okay too. This is a very personal process...and each of us must find and do what is best suited to our station in life and to our unique personality.

janshltz: Beginning writers are advised to write magazine articles and get some publishing credits as a way to begin. Short stories were never my strong suit, so I went right to books, and it did take a long time to get published. What advice do you give on getting started in publishing?

Karen: I started with magazines and that's what I always advise. I think it's great that you got a book published. I wouldn't discourage someone who wanted to do a book, but the average person does best with a small first step. Magazines provide that by allowing us to write something short, get into print quickly, earn some money and a byline and thereby, begin to feel like a professional.

Casey: If a magazine's theme list lists a whole year, is it better to submit something when it's ready to go or wait until closer to the deadline?

Karen: I work for a magazine now on assignments. The editor sends the theme list in July for the following year. I send my list of ideas right away--to get ahead of the game--and then he assigns me the ones he likes and I'm then set up for the next year and can plan ahead. You might write to an editor and ask if you can work that way. That's what I did and he said, 'yes, great idea!'

Blue Phantom: I had a story accepted by a magazine, it should be printed sometime in the next six months--they plan a whole year in advance. Anyway, I havn't had an acceptance since then which was last October. Am I missing the boat or, are long blocks of time without acceptances normal?

Karen: I'm going through some slow times, myself, so yes, it's normal. However, it's also wise to keep yourself going by querying new magazines, trying new ideas on editors you've worked with before, reading sample issues again to get fresh insight and ideas. I find that I will strike it with an editor several times in a row, and then miss the boat the next few times. That's why it's so important to keep expanding your contacts and your markets. You can never count on just one source. You never know when an editor might leave or a magazine might close down.

colleen: Can we e-mail our individual instructor for a faster response?

Karen: No. The course is set up so that all correspondence goes through the main facility, in order for proper logging in, payment, quality assurance, etc. [Web Editor note: some students submit electronically to a small number of instructors who are set up to edit online. Check with Student Services to see if your instructor is one of those. Even with these, however, e-mail is routed through the school, I believe.]

MODERATOR: One final question for you, Karen: What advice do you have for a beginner regarding taking a course and making the most of it?

Karen: Commitment. Commitment. Commitment. Treat it like the serious thing it is. You have money, time, energy, and emotion invested. Be sure to give yourself the time you need to really digest and use the information you acquire. My most successful students are those who keep their deadlines, make writing a priority, and remain willing and open to LEARNING, not simply reacting to an instructor's letters. I have had students who cannot stand any feedback that does not agree with their perception. They usually quit in a huff!! Others have gone on to success because they didn't let their egos get in the way. One sweet man I worked with for two years. He wasn't a bright star, by any means, but he was determined to learn to write for his profession...home construction...and I'm pleased to tell you that before he graduated he made his first sale to a home-builder's magazine. He was thrilled and so was I. He is a great example of someone who planted a seed within himself, watered and fed it through the course materials and went on to realize a harvest!! YOU all can do the same and I hope you will. Schooling is a precious time--make the most of it. Sorry if I sound like a preacher, but it hurts me to see people quit...or give up when they can have what they want if they simply buckle down and do what they are guided to do from people who already know because they have gone down the path before them. Amen!!

MODERATOR: I couldn't agree more with your advice! I'm afraid our time with Karen is up now, but I want to thank her for coming tonight. There are so many writing courses advertised these days that it gets confusing, and I think now we have a good idea of what to look for in a writing course. Thank you so much for helping out at the last minute, Karen!

Karen: I thoroughly enjoyed being with all of you.

MODERATOR: And now, for any late arrivals, let me explain our unusual format this evening. At this half-way point, our topic for the night is changing to "Getting your money's worth out of a writer's conference". Karen O'Connor just finished answering questions about writing courses, and during the second half of the interview, your moderator (me, Kristi Holl) will be discussing writers' conferences. I have a lot to cover in this hour, and it will all be in the transcripts tomorrow for you to print out.

Also, if there are unanswered questions in the moderator box when I'm finished, I will try to answer them later tonight and add them to the transcript. So if I don't get to your question tonight, look for it in the transcripts. And without further ado, let's talk about getting your money's worth from attending a writer's conference.

MODERATOR: What kinds of writing conferences are available?

Kristi: Writing conferences vary from the small local conference encompassing several towns in one area, to state-wide conferences (like Society of Children's Book Writers and Illustrators conferences), regional conferences (like the SCBWI Midwest Conference), national conferences (like SCBWI in California and Highlights Foundation Writers Workshop in NY), and international workshops often held in Europe.

MODERATOR: What exactly *is* a writer's conference anyway? Who goes to one?

Kristi: This is where writers, editors, agents, and teachers gather to share their expertise and experience with other writers.

MODERATOR: Why spend the time and money going to a writer's conference?

Kristi: Different people attend writer's conferences and for different reasons.

Beginning writers (those just starting out and those who've been writing for a while with little publishing success) can probably get the most out of these conferences. They can learn more about the craft of writing through lectures and classes, they can learn from professionals how to handle the many frustrations of being working writers, they can learn about the business side of writing (like taxes, legal contracts, etc.), they can make new friends and valuable contacts in the writing field, and they can find people for their own writers groups when they return home.

Seasoned writers need the morale boost of being around other writers as much as anyone else. There is always more to learn, more contacts you can make. After 95% of the writer's conferences I've attended, I've returned home pumped up and suddenly prolific! Seasoned writers can get worn down dealing with broken contracts, bad reviews, books not in the stores, etc. and can find comfort and encouragement from other writers at conferences. Maybe it's just that "misery loves company," but unless you happen to be married to a writer, it can be hard to find someone at home who *really* understands your problems as a writer.

Literary agents speak at conferences and often give consultations. That way they make contact with new and established writers. If they like your work, they can ask to see more of it. This saves time and money for everyone. The writer is saved the expense, time, and frustation of submitting to an agent who isn't right for the writer or the manuscript, and the agent is spared the time of sorting through hundreds of unacceptable submissions.

Editors attend writer's conferences to help educate new writers on the market and how to approach editors with their best foot forward. And if they do manuscript critiques or consultations, they have a chance to meet the author first and see if they "click" and could work together. Editors have an inside chance of getting the new writer's manuscript first, and they are always looking for new voices and new talent.

MODERATOR: Where do you find out about such writers' conferences?

Kristi: There are many sources of information. First, there are the writers' magazines like WRITER'S DIGEST and THE WRITER. Each year they give an extensive list early in the year of the writer's conferences around the country. I believe the WRITER'S DIGEST list is in their May issue.

There are special publications like CHILDREN'S WRITER GUIDE TO 2000 that has a section listing conferences of different types, like those entirely devoted to writing for children, those that just have some sessions for writing for children, and even religious writing conferences.

SCBWI at http://www.scbwi.org is another great source. Once you're a member, you'll get mailings detailing writing conferences for children's writers. The bi-monthly newsletter has a section called "Regional News," listing all the children's writing conferences for each state. SCBWI also sends out special mailings for their National Conference, which is July 28-3l in Los Angeles this summer. Most states have newsletters too. The SCBWI newsletter for Iowa is called "Inside Story," and this month's had a registration form for the state's fall conference.

Other sources, like the Highlights Foundation, mails out their yearly Chautauqua Workshop report, a 40-page book with condensed reports and writing sessions to whet your appetite for the next year's conference, which is always the third full week of July.

Also, there are many online sources for writers' conferences. Some are: Writer's Roundtable Conferences at: http://wrc-online.com/ ShawGuides to over 700 writers' conferences and workshops at: http://www.writingshawguides.com and Writer's Conferences and Festivals at: http://www.gmu.edu/departments/awp/wcf/wcfmembers.html

MODERATOR: The lists of conferences are extensive. How do you choose the conference that's right for you?

Kristi: First, choose the conference that fits your general requirements. For children's writers, that usually means children's writing conferences, such as those sponsored by SCBWI.

Second, look at the costs. Some of it will depend on how far away the conference is--and your travel costs. Sit down and figure out what you can afford, including registration fee, travel, lodging, and meals. Costs can range from $50 for attending a conference at a college campus within easy driving distance to a couple thousand dollars for a week away, including flying. Scholarships can help off-set this huge amount, but you have to inquire EARLY about them. Often scholarships aren't advertised either, so when registering early, ask if they have scholarships available. That's how I got to go to Chautauqua the first time. Volunteering at the conference can sometimes reduce your registration by half, or on the state level, can get you in free. But again, volunteer early.

Third, what time is involved? Will you need to take vacation time from work or is it on the weekend? Can you be away from home that long (from small children especially)?

Fourth, what travel is involved? Can you drive and have your car available? Or would it be more trouble than it was worth? Will there be money spent on planes, trains, cabs, and buses to get you to your conference destination?

Fifth, what are the lodging choices? Inexpensive dorm rooms shared with other writers, with one bathroom for four people? Fancy high-rise hotel with cost to match? Can you commute and sleep at home, or stay with a friend in a nearby city? If you're attending a large conference, you will want to reserve your lodging early.

Sixth, what are the facilities? A classroom, a huge conference hall, a mountain retreat cabin? Will the lodging have a desk for your laptap? If you're handicapped at all, find out about the stairs, the levels you'll be on, the available elevators, wheelchair accessibiity, and the interval between workshop classes for getting from place to place. Are there designated nonsmoking rooms? How big are the sessions (intimate groups of ten or halls of hundreds?) Are meals included, and can they accommodate special food needs?

Take ALL these things into account when choosing a conference. Do some digging first!

MODERATOR: How can you prepare for a conference ahead of time so that you get the most for your money?

Kristi: First, read everything you can about the conference and save all the brochures and mailings. Read about the speakers and editors who will be there. If you can, read at least one book by each author who will be teaching a session you want to attend.

Second, give some thought to your goals and how they can best be met at the conference. Is your goal to make contacts? Then think and plan ahead on how to do that (including printing up business cards). Is your goal to learn more about writing? Then zero in on the classes you know you need, the ones that match your weaknesses.

Third, try to match your needs to who's available, rather than taking "pot luck." For example, after I applied to attend the Chautauqua conference (as a conferee, not a speaker), I studied the brochure and bios of everyone who was to be there. I knew that we would be assigned both a Manuscript Critique Person and a Personal Mentor (encourager) to meet with during the week. There were several authors and editors that I felt would be "just right" for me based on what they wrote and published. (I was interested in middle grade mysteries and Christian writing.) So when I sent in my application fee and was accepted, I sent a letter to the conference chairperson, asking for a specific person for my mentor and for my critique person. Actually, I gave a list of three for each choice, numbered from 1 to 3. When I got to the conference, I had been assigned to my #1 choice of mentor and my #2 choice of editor. Both were EXTREMELY helpful to me, and I credit them with selling the book I was writing then, which later became a series. Had I just taken "pot luck" as most people do, I could have ended up with very nice people who published science fiction and were illustrators, neither of which I was interested in.

Fourth, determine which of the conference leaders you'd like to meet during the conference and mark on your schedule where they are likely to be and when. This way you can plan to attend any informal pre-dinner gatherings or late night gatherings they will be hosting.

MODERATOR: What should you take to a conference?

Kristi: Take comfortable clothes and shoes for walking! Take business cards you can exchange with other writers. If you welcome email from them, be sure your email address is printed on the card too. Take plenty of cheap pens that don't leak, paper for note-taking (like steno pads or small legal pads, and a clipboard (you'll be amazed how often you end up trying to take notes out in a hallway, when talking to someone in the lunch line, or outdoors). Laptops are nice, but I found them more helpful back in the room than when actually trying to take notes. A briefcase or book bag is a must in my opinion. In it goes all the stuff you don't want to juggle as you walk around: paper, pens, books, lunch tickets, wallets, sunglasses, etc. Also, be sure to take your proof of registration with you, and anything showing your housing reservations.

MODERATOR: We're told to "network" at conferences. What exactly is networking?

Kristi: Networking is creating business opportunities by being in the right place to make the contact. Because I had always HATED the idea of networking at anything, I bought a book before my first writer's conference called NETWORKING AT WRITER'S CONFERENCES (I'll give the publisher's information at the end.) That book helped me to realize that networking was really just making friends, something which I already enjoyed, and pooling information with other writers, editors, etc. With the emphasis on making friends first, and business contacts later, it made the conference l00% easier.

MODERATOR: What opportunities for networking are there at conferences?

Kristi: This will occur most often during your free time: in the halls between sessions, at the snack bar, the hotel lobby or lounge, cafeteria. Or long lines at the restroom! Strike up conversations with people, asking where they're from, what they write, what they thought of the last session, or whatever. If you see one of the main speakers talking with a group of attendees (not in a quiet private one-on-one discussion), then move close and eavesdrop or hang on the fringe or join the group. Remember to be a friendly person first. For example, the year I met Jane Yolen, I didn't know who she was. I just saw a woman struggling with a suitcase on the stairs because she was on crutches with a sprain. I carried her suitcase to her room and said goodbye, but I didn't realize who she was till I attended her keynote speech. But we had a chance to talk later when she saw me again and remembered me. So again, just emphasize being friendly, and you never know what will happen. A note of caution though: Don't be rude or pushy to get attention, and never join in with a group who is bad-mouthing the conference or its leaders or speakers. Don't be associated with them.

MODERATOR: How do you choose the sessions you want to attend? You can't sign up for them all!

Kristi: For most conferences, you will find concurrently running sessions, so you'll have to choose which to attend. At the larger conferences, like Chautauqua, the sessions are offered more than once, but there are still choices to make. Don't choose sessions based on where your friends are going. In fact, if you attend with a friend, try to sign up for different sessions, then pool your notes later. You'll get double for your money that way.

Choose the sessions that you know will benefit your writing the most. Before you go, have a good solid idea of your writing strengths and weaknesses. If you're in a writing class, ask your instructor for an honest opinion about this. If you belong to a critique group, ask your group. In order to sign up for the most beneficial sessions, you must first know your weaknesses. For example, if your critique group and/or instructor says your dialogue is weak and unrealistic, then look for workshops on dialogue. When the sessions are a choice between "Writing Snappy Dialogue" and "Journaling Your Dreams," you sign up for the dialogue session no matter how much you love to journal. If you write beautifully but have no business sense, you may have to choose more sessions dealing with organization and taxes and promotion. Sure, you can sign up for sessions that just look like fun. I always do! But to get your money's worth, be sure you first target the sessions that will beef up your weak writing areas.

MODERATOR: Is signing up for a manuscript critique a good idea?

Kristi: In general, you'll have the opportunity for two types of manuscript critiques at writer's conferences. The first one is free, usually critiques by your peers. Often ahead of time, manuscripts are exchanged, each person reads and marks their comments on the manuscripts, and they meet to discuss each person's writing. This can be a great way to meet other writers, but I must caution you: you get what you pay for generally. If you're being critiqued by other writers who haven't sold anything either, ow reliable is their criticism? Only you can be the judge. I personally don't participate in these groups anymore unless it's with trusted friends. I've seen too many new writers get terrible advice or nasty critiques, and it can be very crushing.

The second type of manuscript critique may give you better results. Conferences often provide critiquing services to their attendees, either included in the registration fee or for a small additional charge. Generally you will meet with the writer or editor who did the critique, meetings which last l5 or 20 minutes. Again, WHO is performing the critique will have a lot to do with whether it's of any real value to you and your writing. Some are done by the conference speakers/editors, while at other places they are "farmed out" for critiquing. Ask ahead of time who will critique your story. A critique is only as good as the person doing it. If you want to sell fiction, a critique by someone who writes for her local church newsletter may be no good at all to you...and a waste of your conference money.

MODERATOR: Sometimes personal consultations are available with established writers and editors. What are they and how can I make the most of one?

Kristi: Personal consultations, or one-on-one meetings between you and an editor or writer, are sometimes available for a separate fee, or included in the price of the registration. For example, the Highlights Conference calls it "mentoring," and your mentor sessions are about 20 minutes, where you can ask any questions you want, get advice, etc. My first time at Chautauqua, I was an attendee, and the second time a teacher who did mentoring for other writers. From experiencing it from BOTH sides, I think I can offer some useful advice on how to get the very most from that 20 minutes of personal time.

First, decide exactly what information you want to come away with. What is your goal for this meeting?

Second, write down every single question you can imagine wanting to ask this person. Give yourself a week or so to think of questions. Cross off every question you can find the answer to yourself from another source (a market listing, the conference brochure, etc.) Come up with five or six good questions and write them down. (Trust me--you WON'T remember the questions when you sit down.)

Third, arrive a few minutes early and wear a watch so you don't overstay your time. Introduce yourself, shake hands, sit down and SMILE. A minute of personal chitchat is nice, but then bring the subject around to your questions and begin. If you're planning to ask the editor or agent to look at your work, be prepared with a concise statement describing your work. If your mentor shows interest and asks, "What's your book about?" you don't want to stumble around trying to figure out the theme or plot or remember your heroine's name! Have a good one-liner ready to describe your project. Then thank them for their time, whether or not they wish to see your work.

Before we have to stop for the evening, I want to recommend a book I read before attending the Highlights Chautauqua Workshop that was *extremely* helpful to me. I'm sure that it helped me get more than double my money's worth. It's called NETWORKING AT WRITER'S CONFERENCES: FROM CONTACTS TO CONTRACTS by Steven D. Spratt and Lee G. Spratt and published by John Wiley and Sons.

MODERATOR: And now, next week, come back here for another "Open Forum" with me, Kristi Holl. I've combined teaching for fifteen years and raising six children with my writing, and I welcome your questions on time management, getting started, writer's block, marketing, or anything else you'd like to discuss. Bring your QUESTIONS and OPINIONS to this moderated open forum next Thursday night, June l5! And now, good night, everyone!

Return to Transcripts

93 Long Ridge Road, West Redding, CT 06896 Phone: (203) 792-8600 (800) 243-9645 Fax: (203) 792-8406 E-Mail: WebEditor@institutechildrenslit.com

Home | Writing Course | Short Story  | Full Story | Aptitude Test 
 Send Me Info | Enroll | Our Instructors | Our Credentials | Sample Lesson
College Credits | Tax Deductibility | From Overseas | Writer's Bookstore 
Newsletter | Writing Contests | Write for Adults | Free Writer's News
 Rx for Writers | Chat Room | Open Forum | Writing Tips  | Scheduled Events | Transcripts
Writer's Retreat | Writer's Support  | Student  Center |  Privacy Policy | Web Editor | Comments

Copyright © The Institute, Inc., 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008
No part of the electronic transmission to which this notice is appended may be reproduced or redistributed in any form or manner without the express written permission of The Institute, Inc.