Tag / DFWCon

by Matthew

The Call of the Writing Conference

Thinking about attending a writing conference? Here’s what you can expect!

Well I’m mostly recovered from my respiratory infection, so it’s time to talk Writing Conferences! The above photo is from the Hurst Conference Center, which is the site of the DFW Writer’s Conference (aka, DFWCon). After missing 2020 and being online-only last year, DFWCon is going in-person again October 8-9, 2022. Check it out here if you’re in the area and interested. I plan to be there! Favor the online thing? Check out Writing Day Workshops‘ online events, they do one every month (though they will resume in-person at some point in the future).

The 3 Sides to Every Writing Conference

Listed in order of importance (my opinion): Pitching, Classes, Networking

PITCHING

One of the two big reasons to go to a writing conference is the opportunity to pitch to agents. As I have discussed previously in my Lessons from Querying posts (1, 2, 3), getting representation from a literary agent is difficult. Like hitting a 100-mph fastball difficult. So finding any avenue to help you through that process will greatly increase your chances, and there is no better way to do that than in-person pitch sessions with an agent.

Why? Well in that 8 to 10-minute window, you’re given the opportunity to cross several agent hurdles at once:

  • Did you write something that is of interest to the agent?
  • Are you passionate about writing and what you’ve written in particular?
  • Did you throw your story together, or put some real effort into the crafting of it?
  • Are you a one-and-done author, or do you have a long-term writing career goal?
  • Are you rude, insensitive, bigoted, or possess other personality flaws that might prevent you from crossing the finish line with a publisher?
  • Do you seem like someone that would be fun/easy to work with?

The wrong answer to any of those is an easy reject for the agent, so it also helps them skip to the ultimate end in the event you pass the first hurdle that would have gotten you past the slush pile into deeper review.

I’ve had way more success in getting agent interest in at least reading my material from pitches than I have through cold querying. I imagine practically anyone would have the same experience, unless they’re failing one of the sanity checks in the list above.

So here’s the downside to pitches: they’re expensive. Some conferences give you a pitch as part of your conference fee, others don’t. They’ll all let you buy more, which can range from $10-$30 per session. Want to talk to ten agents? $300. That’s more than many conference fees. And you’re going to want to go to several conferences. The cost will add up fast. Why talk to that many? Because you’re still up against the odds of numbers that even if you talk to the single-most-likely agent to want to represent your work, if the timing isn’t right (list is full, they rep a similar manuscript already, they don’t have a publisher resource that would want it), you won’t have success in getting representation. A wide net is required.

And I’m gonna reveal the elephant in the room: not all agents you talk to at a conference are there to take on another author. Some of them are there simply for the additional paycheck. It’s an unfortunate side-effect of the machine of the publishing world. Agents don’t get paid for all the up-front effort they go through in scouring the planet for works to represent. They get paid for the fraction of those works that actually get published. And they’ve got to pay the bills like anyone else, so they’ll come to these conferences, go through a bunch of pitch sessions, not actually request materials from anyone, and just collect a check in the end.

Now to be fair, most agents are there to find new authors to rep. I’ve only come across a couple of these bad-faith agents in the dozens of pitch sessions I’ve done, but they’re easy to identify. They don’t ask questions about you or your work, but instead go straight into a planned spiel about the effectiveness of your pitch and ways to improve it. Sometimes they won’t even say that they aren’t interested. I just smile and take whatever feedback they deign to provide and move on.

What to Expect During a Pitch Session

Depending on your conference, pitch sessions last 8 to 10 minutes. You’re going to know who you’re pitching to ahead of time (because you’ve requested/paid to pitch to that particular agent), so you’ve already done your research. You requested that particular agent because they said they rep the kind of thing you wrote. You know their manuscript wishlist, which is typically listed on the conference website, but can also be found elsewhere on the Internet (#MSWL on Twitter, manuscriptwishlist.com, Publisher’s Marketplace, or the agent’s agency website).

When the pitch begins, spend 30-60 seconds talking to the agent as if they’re a human being. Ask how they’re doing, mention a shared hobby or pets or their Twitter feed, or a book they liked on their MWSL that you’ve also read. Be sociable. This helps check boxes from the list above. They’ll probably invite you in short order to talk about your manuscript. I won’t go into the what’s and how’s to pitch your manuscript here, but spend 4-5 minutes talking about your story, then leave the rest of the time for the agent to ask questions.

If they like you and what you’ve discussed, they’ll request pages. Some will have you send it through regular query channels. Most will have a dedicated means for you to skip ahead of the slush pile line (these are the agents that are taking the pitch sessions most seriously), usually a special Query Manager link or separate email.

If they pass, and some will because you will inevitably find yourself barking up the wrong tree on occasion, graciously accept any feedback they provide and then get yourself ready for your next pitch. Because you’re not going to pitch to just one agent, are you?

CLASSES

Anyone who has yet to become a represented and published author still probably has a thing or two to learn about writing stories and/or the publishing industry. The second big draw of a writing conference is all the various breakout room classes you can attend to drink from the proverbial author firehose. Here’s a sampling of various sessions you can expect:

  • Query letters
  • Query dos and don’ts
  • Hooking readers with your opening pages
  • Compelling dialogue
  • Crafting believable characters
  • Avoiding the “mushy middle”
  • World building
  • Author platforms and social media
  • The life of a literary agent
  • Self-publishing vs. traditional
  • Non-fiction book proposals
  • Workshops where you read your first chapter or query letter and receive feedback
  • Agent Q&A panels
  • Agent “First Page Gong Show” panels

Large conferences like DFWCon will typically also have a keynote speaker (usually a known published author) in a big audience space like the picture above. The rest of the classes will be in small, 20-30 person breakout rooms.

Most conferences will have some variation of the above. Depending on the size they’ll have some, all, or even more than the above to choose from (like genre-specific workshops for say thrillers or romance). Once you’ve gone to a few conferences, you’ll find the vast majority of the advice inside any one of the sessions is the same, so the return you’ll get from these classes will diminish over time because you will presumably have already been taking the lessons to heart and applying what you’ve learned to your craft and your queries.

The “Gong Show” panels are where a handful of agents will sit and listen as a moderator reads an anonymously submitted first page from a conference attendee (submit yours if you’re brave!). Each agent raises their hand at the point when they would have stopped reading and rejected the query, and if enough agents raise their hand, the moderator will stop reading and then discussion will ensue. These panels are the most useful conference session to me (having attended many conferences in the past few years), as they provide insight from a handful of agents as to what the publishing world is looking for right at that very second. It also reveals the sheer subjectivity of the matter when an agent starts reading a prospective manuscript. Very easy to identify flaws in your own approach to the first page when the agents are all raising their hands at the point when they would have stopped reading. Usually in an hour, the panel will get through 10-12 submissions, and typically only one or two make it through the full page read without most or all of the agents raising their hand and the moderator stopping early.

NETWORKING

Here’s where the online and in-person conferences diverge, as there is limited-to-no networking taking place during online conferences. If you’re like me and find it hard to walk up to random strangers and start making small talk, you won’t find this a huge loss. Online conferences usually lean on social media as the forum for attendees to talk to each other (with limited to middling results).

Big conferences like DFWCon have networking time in the evenings where authors, agents, and others can meet and mingle. Adult beverages will be on offer. The prospect of having time to talk to agents outside of a short pitch session is attractive, but in my experience the opportunities for this are few. Most agents don’t attend the networking hours, and those that do are mobbed. There are hundreds to thousands of writers at these conferences and maybe a couple dozen agents tops. The numbers are not in your favor to get quality alone time with an agent, much less the one that you really want to talk to that reps what you wrote. If you have a positive pitch session with an agent and can arrange to meet with them at the networking event ahead of time, then great. But don’t count on it.

What can you expect to get out of the networking time? You’ll find a few freelance editors and cover art designers milling about, handing out business cards and looking for prospective clients. If you’re in the market for such services, avail yourself. But the vast majority of people there are writers, just like you. If you don’t have a solid group of writers you work with for feedback and accountability, then this could be a good chance for you to find some new peeps.

Attend, rinse, repeat.

There you have it. Now all you gotta do is find a writing conference to attend and get your butt in the chair. Hope to see you there! M

by Matthew

Lessons from Querying #2

Hello again. Gonna attempt to make this blog a twice-a-week habit. Should be easy enough with the lessons from querying series. There are plenty to share.

Today, we shall discuss the very first thing I learned from the very first literary agent I ever pitched, which was at the DFW Writer’s Convention (aka DFWCon) in 2018, before the world went nuts. Since that point, I’ve heard this same advice from agents a zillion times, so you can take this one as written in stone (with a few exceptions mentioned toward the end).

When pitching/querying a novel, especially a debut novel, you must have a standalone story. It must have a beginning, middle, and end. The goals of the protagonist and threats of the antagonist must be resolved. In short:

You shouldn’t pitch/query the first book of a planned trilogy, or first volume of an open-ended series.

Here’s why:

Publishers are far less likely to be interested in an open-ended work of an unproven author. It’s simple risk/reward math to them. They don’t know if your story will sell. And if you don’t have an established track record of productivity, they don’t know they can count on you to produce sequels in the timeframe they want. Subsequently, agents are far less likely to be interested in representing said work.

“But Matt, I’ve already written the whole trilogy. Won’t that save them a lot of time?” Time, perhaps. But publishers think with their checkbooks first. They don’t want to buy three books when they don’t know if the first book will sell or not.

In addition, as a traditional publishing hopeful wanting to be productive with your writing time, you don’t to spend time writing sequels to books that don’t go anywhere with a publisher or agent. Write three entirely different stories and query them all. Yes, querying sucks at your soul, but your odds are better (very, very low x3 > practically nil x1).

If you plan to self-publish said series if you don’t get anywhere with an agent, then the advice is generally reversed. You want to have a series of books queued up for planned release at Amazon or wherever, as that tends to boost your sales. Lining up multiple books takes advantage of the “You may like…” and “Other readers purchased…” marketing algorithms online booksellers employ. And you want to take advantage of those, because they are time-limited. My focus (at the moment) remains with traditional publishing, so we’ll leave the advice on self-publishing at that for now.

Back to writing standalone stories vs. a series. It is entirely fine and, in some genres encouraged, to leave elements in your worldbuilding and subplots that can turn a standalone novel into the first of a larger story. If you do happen to have a successful debut novel, your publisher will most definitely be interested in your follow-on stories with a now-established audience.

Exceptions? Of course. If you have a million followers somewhere. If you’re a celebrity or known politician. If you write like Amanda Gorman. If you check all the boxes of a publisher’s flavor-of-the-month acquisitions binge. If you happen to query the exactly right agent at the right time that happens to have a great relationship with exactly the right editor and that editor’s publishing house’s cards all line up for you at exactly the right time. Long odds to line up all of those ducks in a row.

Success in traditional publishing has long odds already. As writers we must do what we can to improve our chances. Don’t make it easy for an agent to say no to you in the slushpile phase.

“So Matt, what happened with that first pitch session?” It was a polite decline. She gave no further reason than I had admittedly written the first book of a trilogy. The quality of the plot or characters or worldbuilding didn’t matter. I didn’t pass that first hurdle. I learned that lesson quickly and altered my pitch to the other three agents I met at the conference that weekend. All three requested materials. When I got home, I spent a furious week fixing the story before submitting my queries to those agents. I adjusted the ending, tweaked the goals, the antagonist, and trimmed the various subplots that were intended to further the story into books 2 and 3. I never got any further with an agent than the initial requests for materials from those pitches, or from unsolicited queries (which usually provide zero actionable feedback), so it’s entirely possible I didn’t de-trilogy it enough.

That manuscript is now on the shelf, biding its time. I still love the story. It’s the one that got me into the passion of writing in the first place. It’ll get attention again some day. Now that I’ve completed two more manuscripts (both entirely different stories), I suspect the quality of the writing wasn’t where it needed to be to catch an agent’s eye. We’ll talk more about that in an upcoming post.

Keep writing! M