Okay, truth in advertising: My publisher sponsors the Possibilities Publishing Conference, held each year at the lovely historic Clark House in Falls Church, Virginia. So yeah, I’m not unbiased. I attended the kickoff conference last year and was super impressed with the sessions, the media room, the photographer and video offerings, and so much more.
This year I honestly went expecting it not to live up to the previous one. I mean, seriously, I felt like there was no way this little event—focused less on writing itself and more on getting your writing seen and read—could pack such power again.
I was SO wrong. Starting with the first session, Maggy Sterner, part branding maven, part life coach, part therapist, all business-savvy bulldog, handed participants a shovel (you know, metaphorically) and taught them to dig deep to find out what they and their writing are truly about. They dug, and unearthed what they didn’t even know they had, or needed, to build a distinct brand. There were tears, people. I mean it was that powerful and that effective.
Do you know the difference between an Instagram post, story, or highlight? Do you know how to best use Pinterest to promote your book—how to get the most from Facebook and Twitter, and how LinkedIn fits into it all? Children’s book author Lindsay Barry knows, and she has nearly 25,000 Instagram followers to prove it. Now Poss Pub’s biggest-selling author, Lindsay led attendees on an edge-of-their seats journey into all things social media. And man does she know how to sell. Her session ran long. Because questions. So many. And discussions, and aha moments, and all of it in breathless huffs because people were so fired up about this topic they couldn’t get enough. It could have gone on for days.
“The Truth Behind the Media” offered another deep dive into an author’s work and how it can be promoted through television, magazines, newspapers, and radio. Media booker Katie Riess took participants into the minds of journalists who can either choose to spotlight a writer’s work or not give it a second glance. What an author is thinking vs. what a media person is thinking are worlds apart, and she was able to map out the differences to help attendees pinpoint best practices for pitching their stories.
And more besides, including author Laura Di Franco, who led an inspiring workshop on building your author platform through blogging, and writer and publisher Keith Shovlin, who helped attendees learn to share their work with the world through podcasting.
The “Author Marketing Mastermind” session gave authors the chance to brainstorm marketing ideas with several of the above experts in a lively, yet intimate group setting. Participants received one-on-one attention and support to meet their goals, and were even provided with a second video meeting a month later to check in on their progress and receive additional feedback.
Between sessions, authors were encouraged to take selfies of themselves and their books in the Instagram Inspiration Room, which offered a lightbox and an abundance of props and decorations. And new this year was a podcast offering, where authors were interviewed about themselves and their work and walked away with professional podcasts for their own use.
Oh, and here are a couple of new resources I learned about while I was there. And you’re very welcome:
HARO, a.k.a., Help a Reporter Out, is a massive database that connects journalists with media sources and helps them pitch their stories.
Autocrit is an editing tool that helps you fine-tune your manuscript by analyzing your words and pointing out flaws, like poor dialogue, use of adverbs, repetitive words and phrases, and clichés. At only $10 for one month’s use, I can’t wait to try this one out.
At the day’s end, I heard so many people commenting on how much they’d gotten from this event, and every one of them said something to the effect of :
“You have GOT to tell more people about this.”
So—you’ve been told. Mark it down for next year (likely in early May), and tell your fellow writers. You won’t be disappointed!
The Association of Writers and Writing Programs (AWP) Conference happened a little over a month ago (February 8-11 in Washington, DC), and in addition to all the books, journals, and souvenirs I dragged home, I also took a ton of notes during the sessions and readings, and finally dug them out. Here are some of the best quotes, overheard remarks, and tips, most of them without attribution. Some are true gems, so please enjoy these takeaways from some great conversations about writing and publishing.
Turning Flash Pieces into a Novel, Novella, or Memoir (Panelists: Abigail Beckel, Kelcey Parker Ervick, Lex Williford, Tyrese Coleman, Tara Laskowski)
“Prioritize clarity over adherence to the form.”
“Flash eliminates all the boring parts.”
Try writing flash stories and connecting them together for a novella or novel. This retains the strength of voice and character, and the overall tension of the book will join them and progress the story forward. (Voldemort is the big tension, little problems along the way are the smaller ones.) Tara Laskowski recommends The Desert Places as a great example of a hybrid text novel.
We All Have to Start Somewhere: How Bad Writing Gets Good (Some raw language in this one. Oh, those bawdy writers.) (Panelists: Melissa Stein, Richard Bausch, Tayari Jones, Natalie Diaz, Nick Flynn)
“Fifty Shades of Gray reads like somebody shat it out.”
“Give yourself the freedom to suck.”
“You cannot fuck it up. You can’t ruin it. You can only make it necessary to do it again.”
“Your writing isn’t bad, it’s just off. Like a sweater buttoned the wrong way. Unbutton it. Rebutton it. It’s a perfectly fine sweater.”
Distinguished Editors Panel, featuring Nan Graham, Daniel Halpern, Jonathan Galassi, and Erroll McDonald
“The author/editor relationship is like an arranged marriage.”
“Voice and territory, more than structure, are the criteria by which I judge a book. Structure can be fixed. But you can’t fix writing that’s not fresh, that’s been done before.”
You know a story is done when others you show it to disagree about what needs to be changed. If they’re all telling you a character isn’t strong enough or the pacing is slow, for example, believe them and fix the problems. But if they’re all telling you something different, it’s probably finished.
A Novelist’s Job: The Realities, Joys, and Challenges (Panelists: Miranda Beverly-Whittemore, Nicole Dennis-Benn, Julia Fierro, Celeste Ng)
Being busy, working, having a job, makes you more productive in your writing.
Do not think about writing a successful book. Just “be true to the work.”
Do social media in an authentic way. Use it as a place of community. If you feed into that world, it will work for you too. Help other writers (with reviews, promotion, comments, etc.) and they’ll help you.
On creating more spaces/avenues for writing to exist: “We’re all fighting hard for a piece of pie, when actually there is no pie. Your job is not to get your piece, but to make more pie.” –Celeste Ng
Also try to post enough to stay connected with people, but don’t make it seem like a sales pitch. Tweet an overheard conversation. Do a daily task, like Ellis Avery who posts a haiku every day. Another writer posts dog pictures (often with a link to his book) every day.
Loose, Faithful, and Literal: Adaptation from Novel to Screen (Panelists: Christine Vachon, Neal Gabler, Magdalene Brandeis, Melissa Bank)
Screenplays make you focus on the narrative—how to bring character and plot into what can be seen and shown.
“In a movie, action is always character.”
One panelist says she tells her students not to call themselves “filmmakers” but “storytellers.” Because there are so many different forms (like streaming services) today to bring stories to life.
A movie is a “jolt,” whereas a TV show is a life. Characters grow incrementally, and that’s a “novelistic sense of life in real time.”
NO screenplay should be more than 110 pages!
By the time the Q&A rolled around, it was apparent everyone listening to this panel was there to ask the same question: How do you get your screenplay seen? Sadly, the answers were pretty vague.
“If you’ve written ‘trash’ like The Godfather, you may be lucky enough that someone will turn it into gold.” —Neal Gabler
Write a two-page summary of why this should be made into a film. Send it to a producer you think would be interested. A 20-something intern will likely read it, and will pass it along (or not) to the producer. Melissa Bank, author of Girls Guide to Hunting & Fishing, sent a story to Zoetrope. They put her in touch with Coppola.
Ask yourself who’s your dream director? Actress? Work on those connections. “I wrote this for you and here’s why.”
“Great works rise to the top. Books come to our attention through coverage, reviews, agencies, recommendations. It just happens.”
Um, yeah. But how do you get your screenplay seen?
“It’s difficult to get things read, and to work with and without an agent. The only sure way to do it is to make the film yourself.”
Kirkus Reviews was recommended as the primary route for movie companies to see synopses of stories that might intrigue them.
Foremothers: Southern Women Writers (Panelists: Charlotte Holmes, Cary Holladay, Lisa Parker, Lisa Roney, Adrienne Su)
A panelist talked about her mother, whose family moved from the south when she was young. The kids in her school couldn’t understand her because of her southern accent, so she stopped talking—for a year. She read books out loud, practicing in her bedroom, until she lost her accent.
One panelist recalled how Lee Smith studied at the Sorbonne and loved to let people there hear her talk. She could see them taking her IQ down about 20 or 30 points as she spoke. Then she would say something that would “take them out at the knees.”
Live outside the world of your past, but find your background. You have to get away from it to look back and find your voice.
The Ten-Year Novel: On why some novels take so long to write, and what writers can do to sustain themselves. (Panelists: Tova Mirvis, Rachel Cantor, Rachel Kadish, Joanna Rakoff, Sari Wilson)
“It’s the persistence that makes you a writer.”
“My sense is that publishing has changed to the point that, a few years ago, an agent might say this book isn’t quite where I want it to be, but I’ll work with the author a year or so and get it there. No more. Books today need to be as finished and polished as possible before they’re ever sent out.”
Such Mean Stories: Women Writers Get Gritty: Women writers of the south talk about “grit lit.” (Panelists: Luanne Smith, Jayne Anne Phillips, Vicki Hendricks, Stephanie Powell Watts, Jill McCorkle)
“If we think about the reader as we’re writing, we’re putting blinders on ourselves as writers.” –Jayne Anne Phillips
“There is true fear about the power of women.” –Watts
“In fiction, I love to have that alter ego character who rises up and defends herself.” –Jill McCorkle
“I’ve probably learned more from my characters than they’ve ever gotten from me.” –Jill McCorkle
On unlikeable characters:
By giving readers the history of unlikeable characters early on, they reveal a life, and it makes the characters human. So even if it doesn’t excuse their actions, it helps readers understand why they are the way they are.
Recommended story: “Lechery” by Jayne Anne Phillips