Tipsday: Writerly Goodness found on the interwebz, Aug 15-21, 2021

You’ve made it through Monday! Reward yourself with some informal writerly learnings 🙂

Vaughn Roycroft is living with unpublished characters. Then, Barbara O’Neal is finding the particular. Barbara Linn Probst considers writing: is it an art, identity, or profession? Why not all three? Later in the week, Porter Anderson gets provocative about flights of self-censorship. Then, Kelsey Allagood explains how creation myths affect character motivation. Writer Unboxed

Princess Weekes explains how true crime reveals the corruption and failures of the legal system. Melina Pendulum

K.M. Weiland explains why you should always identify your characters, pronto. Helping Writers Become Authors

Jane (herself) says, the value of book distribution is often misunderstood by authors. Then, Tiffany Yates Martin shares the secret to a tight, propulsive plot: the want, the action, the shift. Sangeeta Mehta interviews agents Michelle Brower and Jennifer Chen Tran about whether you should publish with a small press. Jane Friedman

Related: E.J. Wenstrom shares what she’s learned in six years of small press publishing. Elizabeth Spann Craig

Story structures: In medias res. Reedsy

Melinda VanLone offers some advice for branding a series. Then, Lisa Norman lists seven things every author website needs. Miffie Seideman offers some helpful advice on writing about drugs: Fentanyl 101. Writers in the Storm

Andrea Turrentine shares two key factors in successfully outlining stories. Live, Write, Thrive

Rayne Hall lists 11 reasons you should submit your short stories to anthologies. Then, Janice Hardy wonders, why ask why? Because your readers will. Bonnie Randall considers the risks and rewards of uncommon narrative structures. Fiction University

Nathan Bransford advises what to cut when your book is too long. Nathan Bransford

Seven-point story structure. Reedsy

Ambre Dawn Lefler wants you to be a conference guru. Then, Susan Francis Morris explains how writing helped her live life after trauma. Later in the week, LA Bourgeois offers five ways to trick yourself into writing. DIY MFA

E.J. Wenstrom explains why we need ADHD representation in fiction. Terribleminds

Christina Delay is breaking free. Writers Helping Writers

Chris Winkle: what do writers need to describe? Then, Oren Ashkenazi analyzes five characters with the wrong skill set. Mythcreants

Why it’s time to write out the nag. The Take

Angie Hodapp introduces us to the trinity of premise, plot, and prose. What happens when one is missing? Then, Kristin Nelson shares 14 reasons why agenting is harder now than it was 20 years ago. Pub Rants

Nina Munteanu: to boldly go where no human has gone before ….

Rebecca Thomas explores Mi’kmaw language in poetry collection: I Place you into the Fire. CBC’s The Next Chapter

Vicky Qiao reports that Ojibway journalist and author Tanya Talaga to write three new nonfiction books. The first will be published in 2023. CBC

Thank you for taking the time to visit. I hope you took away something to support your current work in progress.

Until Thursday, be well and stay safe, my writerly friends!

Tipsday: Writerly Goodness found on the interwebz, March 7-13, 2021

We’re half-way through March and heading for the vernal equinox. Reward yourself with some informal writerly learnings.

K.M. Weiland continues her archetypal character arcs series with part five: the king arc. Helping Writers Become Authors

Janice Hardy shows you five places to find your novel’s theme. Then, Janice lists four steps for choosing what details to describe in a scene. Later in the week, Angela Ackerman recommends you do this one thing to write unforgettable characters. Fiction University

Princess Weekes: Lovecraft Country … was just not that good. Melina Pendulum

Lisa Cron returns: still crazy after all these years. Then, Jim Dempsey lists five reasons you need a professional editor. Juliet Marillier celebrates wild women. The Cailleach and Baba Yaga, two of my personal favourites! Later in the week, Kathryn Craft explains how authenticity builds a satisfying author career. Then, David Corbett looks at two approaches to dramatizing character change: Emma vs. Hamlet. Writer Unboxed

Shaelin explains how to convey emotion in your writing. Shaelin Writes

Jane Friedman considers which is better for authors, blogging, or an email newsletter. Then, Lisa Cooper Ellison shares three traps that subvert our ability to receive feedback. Jane Friedman

C.S. Lakin explains how to face down writer fear. Live, Write, Thrive

The ice queen trope, explained. The Take

Kris Maze offers five dialogue quick tips for page-turning fiction. Later in the week, Piper Bayard and Jay Holmes list ten common bedroom object to use as weapons. In a pinch. Writers in the Storm

Jami Gold discusses setting as character. Later in the week, David Duhr wonders, do you focus on the doing or the having? Writing process vs. product. Writers Helping Writers

In defense of basic. What does it meme? The Take

Laura Highcove wonders, why does it feel like you can’t write after a writer’s conference? Then, Manuela Williams explains how to nurture your reader community. Later in the week, Elly Griffiths advises you to follow the feet. Then, Angyne Smith shares five things that saved her novel from oblivion. DIY MFA

Jenna Moreci shares her structuring method.

Lucy V. Hay offers a comprehensive guide of ALL. THE. STORY. STRUCTURES. Informative and somewhat overwhelming. Bang 2 Write

Chris Winkle explains why you should watch out for hindrance characters. Then, Oren Ashkenazi points out five problems with focusing on internal conflicts. Mythcreants

Kristen Lamb extols the art of embracing the suck: commitment matters.

Julian Lucas shows how Octavia Butler reimagines sex and survival. The New Yorker

Stephanie Burt: we live in the world of WandaVision. The New Yorker

Thanks for stopping by and I hope you found resources to support your current work in progress.

Until Thursday, be well and stay safe!

Tipsday: Writerly Goodness found on the interwebz, Jan 26-Feb 1, 2020

Welcome February, Imbolc, Groundhog Day, and the return of the light! We’ve made it through the better part of winter. Reward yourself with some informal writerly learnings.

Janice Hardy: things to consider when adding a point of view character. Fiction University

Jenny Hansen shares tips for Word’s track changes features, her favourite editing lifesaver. Kris Maze: when rejection becomes connection. Writers in the Storm

Kim Bullock: the benefits of sensory deprivation for writers. Ann Marie Nieves says, we need more of that. Writer Unboxed

The Take examines the smart girl trope.

Jami Gold helps you build a bridge from story beginning to main conflict. Writers Helping Writers

Over on her own site, Jami Gold wonders what calls for diversity mean for our writing.

Ellen Brock shares her theory of four types of writers (across two spectra). Very intriguing. I’m looking forward to the next videos in the series.

Nathan Bransford shares his plot framework. Then, he explains why protagonists need to be active.

Emily Wenstrom lists her top 2020 social media trends for authors. DIY MFA

Jane Friedman offers her guide to getting the most out of a writing conference.

Juliette Dunn lists six things writers should know about autistic people. Then, Oren Ashkenazi analyzes six overpowered characters and explains how to fix them. Mythcreants

The Lost Words Blessing – The Lost Words. Don’t think this belongs in tipsday? Listen. Just listen. You’ll understand.

Caught up in the details? Stop overthinking and just write. CBC Books

Thank you for visiting. I hope you take away some great supports for your current work in progress.

Until Thursday, be well!

Tipsday2019

Tipsday: Writerly Goodness found on the interwebz, Sept 15-21, 2019

Here we are, officially in the fall. Take the time to enjoy the turning leaves and the delicious smells of the season. And, of course, spoil yourself with some informal writerly learnings.

Vaughn Roycroft is using theme to leverage revision. Julie Carrick Dalton hopes no one will notice. Writer Unboxed

K.M. Weiland critiques another brave writer to demonstrate ten ways to write excellent dialogue. Helping Writers Become Authors

Susan de Freitas points out three things you won’t learn from an MFA program. Jane Friedman

Joanna Penn interviews James Scott Bell about writing unforgettable endings. Then, Harrison Demchick offers you four ideas to help authors revise a first draft. The Creative Penn

Chris Winkle returns with the fourth aspect of goal-oriented storytelling: satisfaction. Writers Helping Writers

Jenna Moreci offers her top ten tips on character arcs.

Nathan Bransford offers six ways to build intimacy between characters. Later in the week, he asks, are you creating a mystery, or are you just being vague?

Jenn Walton shares three ways to find inspiration at a writing conference (or any work event). DIY MFA

Jenny Hansen wants you to find and share your story’s theme. Writers in the Storm

Chuck Wendig explains how to be a professional author and not die screaming and starving in a lightless abyss. Terribleminds

Jami Gold helps you figure out how to build your story with chapters, scenes, or both. Then, Kris Kennedy returns with part four of her avoid infodumping by making backstory essential series.

Bunny discusses choosing a follow-up strategy for a popular story. Then, Oren Ashkenazi shares five ways to handle parents without killing them. Mythcreants

Robert Lee Brewer advises writers regarding spacing between sentences. Writer’s Digest

Daniel Ross Goodman shows us the haunting magic of Maurice Sendak. National Review

Thank you for visiting. I hope you found something you need to move your work in progress forward.

Until Thursday, be well!

Tipsday2019

Tipsday: Writerly Goodness found on the interwebz, June 9-15, 2019

Here we are, in mid-June, half-way through the year. Celebrate whatever you’ve accomplished and enjoy some informal writerly learnings 🙂

Arthur Klepchukov says, word count goals shouldn’t be your only goals. Jim Dempsey explains how to respond to criticism. Sarah Callender considers things she forgets to remember when she’s writing a novel: mood. Kathryn Craft: when something good incites story. Writer Unboxed

Julie Glover shares five tips for writing great dialogue from The Gilmour Girls. Barbara Linn Probst takes a fresh look at “writing what you know.” Writers in the Storm

Jenna Moreci returns with part three of her dialogue series: it’s all about tags.

K.M. Weiland lists six requirements for writing better character goals. Helping Writers Become Authors

Jami Gold: are story goals slowing your pace? Writers Helping Writers

Then, Jami follows up on her own blog: can passive goals ever be good for our stories?

Alexa Donne shares her magic editing hack that fixes pacing.

Nathan Bransford lists the most common mistakes writers make. Then he explains what it takes to write a good climax for a novel.

Leanne Sowul wants you to balance the supply and demand of the writing life. DIY MFA

Sarah McGuire explains how to guide a critique. Fiction University

Cat Rose explains how to survive a conference even if you’re an introvert. The Creative Penn

Bunny helps you select classical music to set any scene. Then, Oren Ashkenazi looks at four problematic tropes to drop and what you can do instead. Mythcreants

Jane van Koerverden reports on the $6K literary award to honour YA books written in an indigenous language. CBC

Thanks for stopping by and I hope you found something of value in the mix.

Until Thursday, be well. See you then 🙂

Tipsday2019

The next chapter: March 2016 update

In my 2015 year-end update, I said that 2016 would be the year of revision. To this point, I’d only ever revised the one novel, Initiate of Stone. I revised IoS eight times and I recently got a few ideas on how to improve it further as a result of my first run through of Apprentice of Wind.

In the first few days of March, I finished that first review of AoW. I’m going to return to it again, but this time, as I mentioned last month, I’m going to apply what I hope to be improvements to IoS and then move on to AoW.

My idea is to reinforce my voice over the two novels, which is quite different to the other novels I’ve drafted so far. Most of those are in a modern setting. Urban fantasy of various stripes. Though I’ve worked with IoS for so long, when it came to reviewing AoW, because I’d drafted the five other novels in between, I found I’d lost touch with the voice of the series and its characters.

We’ll see how that turns out, later in the year (I hope).

YTDProgress

Year Goals and Totals page

The current draft of AoW stands at 119,590 words. So 120K, which is reasonable for an epic fantasy.

I then moved onto Figments, my YA urban fantasy. It’s considerably shorter, nineteen chapters, and 53,536 words. I know I’ll have to punch that up a bit, but I have a number of ideas to make that happen.

Both of these novels were drafted, let to sit, printed out, read through, mapped, let to sit again, read through again, and then reviewed. I just changed some of the major things, POV, character deletion, consistency over the novels (in the case of AoW), and notes for future revision.

I don’t think I’ll need as many drafts of either AoW or Figments as I needed with IoS to finish them to my satisfaction.

I’m trying something different with Marushka, which I moved on to in the last few days of March.

My revision plan so far has been to review a chapter a day, which was challenging for AoW and Figments, because a number of the chapters of both were several thousand words long. I often found myself up until midnight on a weekday trying to get my work finished before I went to bed.

Marushka was the first novel I drafted using Scrivener and it really changed the way I drafted. The chapters are comparatively tiny (1000 to 1500 words so far) but there are a lot more of them (54).

I didn’t print Marushka out. I didn’t read it through or map it. As I review each chapter, I’m reading it through for the first time and mapping it as I go.

We’ll see if this is more or less productive than printing the draft out, and reading and mapping it out prior to my first run through.

I’m approaching this year of revision as an opportunity to experiment. My process is in continual evolution and, as I learn, from both success and failure, I’m seeing improvement in my process and in my writing overall.

I’m not looking for short cuts as much as efficiencies. I’m not doing any less work, I’m just doing it differently.

Again, we’ll see how it goes.

So here’s how the month breaks down.

MarchProgress

MarchProgress1

Want your own Writing and Revision Tracker? Visit http://jamieraintree.com/writing-revision-tracker

  • AoW – 7,334 words revised
  • Figments – 53,536 words revised
  • Marushka – 4,737 words revised
  • Blog – 8,436 words written.

I achieved 141% of my writing goal and 177% of my revision goal.

At this rate, I’ll finish the first run through on Marushka part way through May and move onto Reality Bomb and finally, Gerod and the Lions. Once I’ve got everything reviewed once, I’m going to take a break (which I tend to need in the summer months) and work on my outline for Mistress of Waves, the third book in my Ascension series and NaNo 2016 project 🙂

Then I’ll get back to deeper revisions until November arrives. I may not be able to conquer more than IoS/AoW. Maybe I make it as far as Figments.

Querying continues. I’ve not devoted much time to short fiction recently, though.

As far as conferences and conventions, I’m hitting Ad Astra (April 29-May 1), The Canadian Writers’ Summit (June 15-19, though I’ll only be attending June 17-19), and WorldCon, AKA MidAmericon II (August 17-21). I have paid my fees and reserved accommodation, but it’s all pending leave approval.

I’m holding my breath until I know it’s approved. Once it is, I’ll be able to book my flight to Kansas City.

My employer asks us to apply for leave every six months. We apply in March for the first half of the fiscal year, April to September, and in September for October through March. Approval is subject to seniority and operational demands (peak seasons).

I should know whether this first round of leave requests has been approved by the end of April.

My plans for fall and winter will have to wait on the approval of the second round of leave in October.

I’ll save those potential plans for a later update.

For the remainder of this month, I’ll be offering some Series discoveries posts (fall season, part two, mid-season follies, and anime) and at least one book review (Jane Ann McLachlan’s second Kia novel, The Salarian Desert Game).

As of Ad Astra, the convention reportage will resume.

So there’s lots of Writerly Goodness to look forward to, and of course, Tipsday and Thoughty Thursday curations will continue through the week.

In the meantime, break a bunch of pencils, you wonderful, creative people.

The Next Chapter

The Next Chapter: December 2014 update and a year in the writerly life

Janus has two heads so he can look back and ahead. Plus, you really can’t make meaningful progress unless you take some time to reflect on your accomplishments and understand where your journey has brought you to this point.

Let’s start with December, shall we?

In the wake of NaNoWriMo, I needed a wee respite from the purely creative writing. I kept up with my regular blog posts and caught up on a few things that happened in November that I had set aside posting about because of the aforementioned NaNo.

I returned to Marushka after a few days, though, because the force is strong in this one 😉 Also, I have to finish my shit (Wendigism).

Toward the end of the month, though, I wanted to get another short fiction submission revised and sent.

December 2014 writing progress

So at the end of the month, I’d written a total of 15,167 words, 8,812 of them on the blog, 6,234 on Marushka, and 121 on the short story.

What about 2014?

It was a good year, I think.

Since it was the first year I tracked my writerly output, I really have nothing to compare it to, but I know I’ve written more words in this year than I did in 2013 or any year before that.

The highlights:

“The Broken Places” was published in Bastion Science Fiction Magazine in its June issue.

“On the Ferry” won second place in the In Places Between contest.

“Downtime” will be in the fall 2014 issue of On Spec Magazine. The issue hasn’t come out yet (long story short—please subscribe or support them on their Patreon page), but I’m still pleased as punch.

I have writerly income to report on my tax return for the second year in a row!

I’ve put “The Broken Places” and “Downtime” in the short story category in the Auroras. It’s my first year doing this kind of thing, so we’ll see how it goes.

Overall, I submitted six short stories for publication. This is fewer than in past years, but given my greater focus on my larger projects, I’m happy with this.

I attended Ad Astra, CanWrite!, and When Words Collide conferences, and workshops by Brian Henry and The Humber School for Writers.

In 2014, I have written:

  • 110,361 words on this blog
  • 34,589 words on Marushka
  • 21,464 words on Gerod and the Lions
  • 3,521 words of short fiction
  • 3,161 words on Apprentice of Wind
  • 2,384 words on Figments
  • Total: 175,480

2014 Summary

That’s a fuckload of words. Sorry. I felt the profanity appropriate.

Plus, I mapped out and reverse engineered both IoS and Figments, and revised some of IoS.

I am still eternally grateful to Jamie Raintree for her wonderful Excel spreadsheet. This year’s has enough project slots that I don’t have to modify it 🙂 Also, it appears to have a way to track drafting and revisions. I’m excited to see how it works out.

For the second year in a row, the most popular posts on my blog have been those I wrote back in 2012. Dress for Success has been consistently popular. I didn’t think a post about writing in my pyjamas would have been so compelling. Go figure.

Eight Metaphors for Persistence . . . is also a heavily viewed post. I appreciate that a bit more because it was the first post on this iteration of the blog and spoke to how I picked up the pieces after being hacked.

Still, I would like to see some of my book reviews, or conference reportage posts, rank higher.

My overall views on the blog went down from last year. In 2013 I filled the Sydney Opera House five times. In 2014 I only filled it four times.

I take all this with a grain of salt, however, as the number of my followers through WordPress has only grown and at 373, I’m closing in on 400 followers. That’s not bad for three years of blogging when I don’t have a book to sell.

Those who receive my posts via email, or who can read them through WordPress may not be counted because they haven’t actually visited the site.

Personally, as long as you’re enjoying what you read, I’m good. I’m a fan of the slow build.

What’s ahead for 2015?

I’ve you’ve read me for any length of time, you’ll know I don’t go in for resolutions. I set goals and manage my projects on an ongoing basis, sometimes re-evaluating and adjusting my goals to account for the dreaded scope creep 🙂

That’s all stuff I learned from the project management I have to do for work. It’s also similar to the dreaded underwear creep (damnit, not another wedgie).

In all seriousness, I intend to revise and submit several more short stories throughout the year. I also intend to write a few new ones.

I intend to finish my first drafts of Marushka (goal length approximately 76,000 words) and GatL (goal length approximately 50,000 words). I can manage this at a pace of about 5,000 words a month. I’ll finish Marushka first, because it’s where my head is at the moment, and then return to work on GatL afterward.

I will revise IoS and finally (FINALLY) start querying. This is so long overdue, I can’t even. Can’t. Even.

I will move onto revisions of Figments once I start querying IoS.

I will map and reverse engineer AoW and probably Marushka.

I don’t think I’ll be able to manage much more than that for the bulk of the year.

I will again engage in the NaNoWriMo Challenge, even though I will be working through the month of November. I was very pleased with the 2014 results, even though it wasn’t a “win,” per se.

For financial reasons, I’m going to stay close to home this year with conferences and conventions. Most likely Ad Astra and Can-Con.

My big expense, professional development-wise, will be a writing retreat in the summer (if I can swing the leave from work—summer’s a peak time and it’s always a big deal), also local.

I’m facilitating my first writing workshop in years in February. You know I’ll be blogging that one 🙂

And the rest will be based on opportunities as they come my way.

I like preparing my Tipsday and Thoughty Thursday curation posts on the weekend for easier distribution (and more writing time) through the week.

Aside from that, the bloggage will come out of my writerly life, as it usually does.

I have one more post to go before the night is over.

See you shortly 🙂

The Next Chapter

Caturday Quickie: Calgary, I am in you

I’ve been waiting to say that for a long time. I’m such a nerd.

To be brief:

Thursday afternoon, Phil and I went to see Guardians of the Galaxy. I may have to post a Mel’s Movie Madness about it. For the future. I enjoyed it thoroughly, however.

Yesterday (Friday), I got up at the ungodly hour of 4 am so I could get out to the airport by 5-ish and catch my 5:55 am flight.

All went well, caught my connection, watched the second Hunger Games en route, and arrived at 10:18 am, on the dot, in Calgary.

My friend, Sharon, offered to pick me up and we went out to lunch before I checked in at the Carriage House Inn and started my marathon of sessions.

I attended 5 of those yesterday, plus the keynote speakers in the evening. I also met, in person, several people I’d only known to this point virtually: Angela Ackerman, Diane Walton, Tim Reynolds, and I reconnected with some fellow writers and publishers: Mark Leslie, Ron Hore, Swati Chavda, and Avery Olive.

I had dinner and lovely conversation with Nina Munteanu, and met a few other writers and editors hanging around outside the hotel. I also saw the wonderful Jack Whyte again, and met Brandon Sanderson in the flesh. Brandon was my fangirl moment of When Words Collide so far.

I’ll be in sessions from 10 am to 6 pm today, and then there is the mass autograph session this evening.

It has been a jam-packed conference so far, but I’m having a blast. Prepare for much bloggage coming out of this 🙂

Also got to see the 2014 In Places Between anthology chapbook. The readings and judging take place tomorrow morning. Will let you know (of course) how “On the Ferry” fares.

I think this may be my only post this weekend, just because WWC is proving to be a very fast-paced event.

In the meantime, I shall wish much you all much Writerly Goodness.

Caturday Quickies

CanWrite! 2014 wrap post

It’s been a month and a bit of me posting on the weekends, but here we are, at last, at the end of the CanWrite! run.

The CAA Literary Awards Gala

This was held the night of Saturday, June 21st.

The night previous, we’d heard several of the nominees read from their works. All were excellent.

Here’s a post about the award winners.

Mariatu Kamara and Susan McClellandThe highlight of the evening was Keynote speaker, Mariatu Kamara, who, along with Susan McClelland, wrote her harrowing story of survival, resilience, and hope.

Of course, I picked up a copy of the book, The Bite of the Mango, and got it signed by the authors.

It was a night of wonderful stories shared and writerly camaraderie.

Other stuff that happened

The CanWrite! conferences are set up with all sorts of interesting activities.

On Thursday, Friday, and Saturday mornings, there were meditation sessions (which I did not attend), yoga sessions (which I did), and writers’ circles in fiction, poetry, and non-fiction (which I attended last year, but not this), pitch sessions (which I did not participate in), photo sessions (which I participated in last year, but not this), and walking tours (which I opted out of).

In the evenings on Thursday and Friday, there were readings with open mic segments. I read at both, but since the reading time was capped at three minutes, I did not read much 😉

There were workshops on Wednesday, one on fiction, one on poetry, and one on non-fiction. I had initially signed up for the fiction one, but the facilitator had to cancel.

On Wednesday night, there was a wine and cheese reception.

There were also two to four other sessions or workshops held each of Thursday, Friday, and Saturday afternoons which I could not attend without benefit of a time turner 🙂

Finally, there was the book fair. You know what I did there, don’t you?

CanWrite! book purchases

It’s an addiction

Thoughts on conferences and conventions

This brings me to preparing to attend a conference.

First, as with everything else that has to do with writing, you have to do your research.

What kind of conference or convention is it? I’ve attended three CanWrite! Conferences, an Algonkian Pitch conference, the Surrey International Writers’ Conference, an Ad Astra convention, and will be attending When Words Collide next weekend. All of them have been different.

Some conferences are set up as a kind of writers’ retreat with swaths of time for independent writing, group work (by genre – and here I’m talking poetry, fiction, non-fiction, and plays/screenplays), individual assessment (usually by the group facilitator), and social/networking opportunities (dinners, readings, etc.).

Pitch conferences focus almost exclusively on the pitch sessions, with all other workshops serving to prepare the pitchers and their pitches for their sessions.

Most conferences are set up with one-hour or two-hour sessions throughout the day and evening with short breaks in between to address biological imperatives like bathroom visitations and snack purchases. Each time slot will have multiple options for the attendee and reviewing the program ahead of time is of paramount importance. These conferences will also have pitch sessions (for an extra cost), blue pencil sessions (for an extra cost), photo sessions (extra cost), readings, and other social events. There will often be some kind of buffet, or gala dinner. Keynote speakers will be featured after meals, and there will be book launches/signings, after-hours parties, book fairs, and so forth. These are the writerly smorgasbords/marathons that you will have to navigate carefully to avoid utter exhaustion.

Conventions take the conference model and add even more geekery to the mix with LEGO salons, costume balls/masquerades, anime theatres, arts lounges, vendors, astronomy sessions, readings, and karaoke. The convention sessions are primarily panels, however, and not focused workshops, though workshops may be offered for an extra cost. The big reception or gala/keynote dinner will often also be an extra cost.

Conferences are usually expensive, with a fee in the hundreds of dollars. Conventions are nominally priced, but all the extras are on a pay per participate basis. Accommodation and transportation are always additional costs.

Mel’s tips for travel and accommodation: use hotel and travel rewards programs to lessen these expenses, where possible.

So, do your research, decide what you want to do, and go prepared. Most conferences and conventions will have their programs online months in advance, so you can plan what to attend and budget for the experience.

So, CanWrite! is a wrap, just in time for WWC 🙂

Today’s second post will have to be deferred until next weekend. I’m heading out to my sister-in-law’s shortly for a family BBQ.

Have a fabulous weekend, everyone!

CanWrite! 2014: How to get published with Halli Villegas, June 21

There was no panel discussion on Saturday and at breakfast, one of the organizers asked me if I’d host Halli’s workshop in the afternoon. I said sure, but I was a bit nervous. I even asked Halli how she wanted her name pronounced, and then promptly messed it up anyway. Sorry about that, Halli.

Halli VillegasFor your information, it’s Vee-yay-ges 🙂

Please note: This is a transcript of my hand-written notes. Halli, or anyone else who may have been present, if I’ve gotten any of the details wrong, please feel free to correct me. I will fix it post-hasty.

To the workshop (allons-y).

 


 

The title of this workshop might be misleading. I’m not going to publish you. We could have called it The Business of Writing. Now there’s a sexy title.

We’re going to talk about what happens when you get published. I can give you my perspective on that, but I’m looking more toward a sharing of expertise. I don’t have a grounded knowledge in self-publishing, or publishing with a micropress, or with a major publisher, but some of you may, so I’m looking forward to bringing out the knowledge in this room.

<We then went around the room and introduced ourselves and shared a little bit about our experience, or lack thereof, with publishing.>

Tightrope Books is a small, or indie press. We’re also called a boutique publisher, because we cater to a specific writer and reader. We tend to the literary, but we’re not publishing so much poetry as we used to. We now have an annual anthology of the year’s best poetry, with guest editors.

You don’t want to compete with yourself.

I worked for five years with Guernica and when it came time to think about starting my own press, my idea was to make it author-centric. That core idea had to evolve, though. It had to become a business.

Always read and follow the submission guidelines. What does the press publish? Does your work fit?

Be professional. Fill out your writing C.V.

Some publishers will have set reading periods. Some have particular niches. ChiZine Publications, for example, focuses on horror and dark fiction.

There’s also the Writers’ Reserve. It’s a fund that provides money to publishers to publish professional writers offered by the Ontario Arts Council (OAC). That reading period is from September to February. Tightrope will receive maybe three hundred submissions under the Writers’ Reserve. We might look more seriously at twenty manuscripts. How many of those we publish varies from year to year.

<Halli discussed the Writers’ Reserve in more detail in the Tightrope Books context. Here’s the link for the Writers’ Reserve if you’d like more information.>

Do your research. Is there a house style guide? If not, the Chicago Manual of Style is the default reference.

Poets generally aren’t agented.

Networking is a great way to make contacts. Conferences like CanWrite! and events like Word on the Street (WotS). WotS used to have a festival atmosphere. Now it’s more commercial. Small press fairs are much the same. All are great places to make connections.

Determination plus persistence equals success.

What happens once your submission is accepted?

You will go through what’s called a substantive edit with an editor. This takes at least two months and is a process of shaping that manuscript.

Next is the line edit. This phase of editing focuses on details and continuity in the manuscript. That leads to the copy edit, which delves into spelling and grammar.

Once your book is accepted, it’s usually about two years to publication.

The fall season is the big publishing season. Spring is a second big season, but you’ll see more beach reading and other, lighter fare.

Typesetting is an art. It’s not as simple as it looks. It’s really about capturing the spirit of the book in a tangible form.

Similarly, your cover design, and therefore your cover designer, is important.

Even the back cover copy is tailored to the book.

Most publishers dictate typesetting, cover, and back cover copy.

Simultaneous submissions are frowned upon.

Response times run anywhere from three months to a year. It depends on the volume of submissions. Responses often can’t be personalized. There’s no time.

The launch is your champagne moment. Make sure you have review copies and copies set aside for contests, major media, etc.

With respect to marketing, print ads aren’t worth it. Budgets have decreased across the board. Grants are disappearing. Sometimes we have to go begging for reviews. There’s no money to send the writer on a book tour. We can’t pay for flights.

Initial sales can be between six weeks and six months. It depends on the profile and popularity of the book. This is the main sales drive.

In a cooperative arrangement, the publisher pays for preferential placement of your books. Even if the publisher pays, however, you should check.

Engage in guerrilla marketing. Go into the bookstore and rearrange the books on the shelf to better display your books.

A bestseller in Canada is about 5,000 copies. A poetry bestseller is between 200 and 300 copies. In the American market, you have to sell at least 35,000 copies to even crack the lists.

I’ve given you in your package a copy of the Tightrope Books contract. It was based on the Writers’ Union of Canada (WUC) contract. Let’s have a look . . .


 

Since I’m not going to share Halli’s contract, I’m going to end here.

I will offer you the link to the Writers’ Union of Canada’s contract information page. If you’re not a member, you may have to pay a nominal fee, but their resources are well worth the cost.

Halli gave us a load of handouts that was very informative. 10 pointers to help you get published; a list of resources for writers; a list of Canadian literary magazines; The Tightrope Books house style guide; and a copy of her contract.

Next weekend: The CAA Literary Awards Gala and wrap post.