Getting Conference-Ready: 10 Conference Tips for the Introvert, Beginner, and Beginner Introvert

Whether you’re headed to your first conference or your fifth, you’re gonna want to plan ahead. Most writers are introverts, and panic at the thought of being in a room with strangers. Relax! You’re going to be fine. The children’s book industry is wonderfully welcoming and supportive. (I’ve attended and presented at conferences across the U.S., from local to international events, and never cease to be amazed at the kindness.) To help maximize your precious time, and all that coin you’ve already dropped on the event, here are some tips I’ve found most helpful:

image from luckylittlelearners

Conference tips:

  1. Have an overall goal in mind. This might change for every conference. Most people assume they are they are there to get published. But let’s not get ahead of ourselves. You’re not going to get a contract at the conference (seriously, toss that thought right now). Be realistic. Let’s assume you’re there to figure out how to get published. Try to break that down into measurable steps.
    • Maybe your goal for that one conference is to find an agent, or to find out how to get an agent, or simply bust out of your comfort zone. OK. Can you make it even more specific? If you’re looking for in an agent, for example, what qualities or skills are important to you? Figure that out before you go so you know what to look for in the agents that are there, and you’ll be able to better size up and decide if anyone there is right for you. No sense submitting to an agent you don’t want to work with, right? If you want to break out of your comfort zone, list out two or three specific actions–like initiate a conversation with two strangers, attend that awards banquet by yourself, and/or refuse to sit in your room doing email every night.
    • Center all your time/schedule decisions around that one overall goal. Attend only those sessions that fit your goal, for example. It will help you manage your time AND challenge yourself to achieve that specific goal. (Next conference you can attend the other sessions that sounded equally good–odds are you’ll have a difference goal by then.)
  2. Get ready to smile and say hey. I hate the slimy connotations of the word networking, but conferences are really about the people. Otherwise you’d stay at home. What I mean by that is don’t just focus on the workshop topics, look at who’s teaching them. Read their bios. Try to read the book of the keynote speaker and/or whoever you’re taking classes from beforehand, so you know their background and you’re not coming in cold. That’s how you feel like a insider! By doing your homework you’ll feel like you already have an edge. Odds are you’ll be eager to meet the presenters. When else will you have the chance to meet them, and see what they’re really like? You can take just about any class online these days, but meeting these professionals in person? That’s why you’re there.
  3. Have your “elevator pitch” ready! You’ll be using it throughout the conference, that is, if you’re taking the conference seriously and are out there meeting people. (Here’s a good primer to get yours shiny.)
  4. Pack with a theme in mind. Not as in 1800s or hippy, but something that is consistent. It not only helps make packing easier, but makes it much easier for people to find and remember you every day, as well as afterwards. “I’m the one in polka dots” or “I was the one with pink striped hair.” You won’t be in the same thing everyday but people will start to recognize you by how you dress.
  5. Get your class act together. Speaking of clothes…at writer’s conferences you don’t have to dress to impress, but c’mon, this isn’t your mom’s basement. Make an effort. Dress like you’re going out to eat, not like you just woke up. If you look like you’re taking this seriously–others will take you seriously too. (But skip the heels, ladies, that’s one fashion item that’s just silly at a conference.)
  6. A simple trick: stick business cards (people still use them!) in your badge holder, so they’re handy. Make sure your website and whatever social media handles/hashtags you use are included–if not, write them in with pen. Consider adding a QR code to your card that allows a cell phone to take people directly to your contact info, including your website URL, without them ever having to type a thing. https://www.youtube.com/watch?v=WS7jdYZomu0 tells you how to create a free vcard. https://blog.4colorprint.com/great-designs-for-business-card-layout-inspiration has ideas for unique looking biz cards. [Note: I have no affiliation with either of them whatsoever]
  7. You never know who you’ll be sitting next to so be nice to everyone you meet. Author and illustrator Debbie Ridpath Ohi has some great conference tips on “making the first move” – you need to suck it up and introduce yourself around! Remember the part abut people being the reason you’re there? [See more of Debbie’s advice, including charming comics about being an introvert, at her website here.] Since most of us will be attending the conference alone (even if we traveled with a friend), it can get nerve racking. Wracking even. Take some “survive attending a conference alone” tips from themuse.com here. [Again, no affiliation]
  8. Be open to learning. If you’ve attended a hundred conferences before and find yourself saying “I already know this” at every session/workshop, then you’re preventing yourself from learning anything new. I mean, if you already know everything, why are you there? (<— remind me of this one, ok? I’m always the one rolling my eyes saying I knew that, when, hmm, maybe I didn’t)
  9. Prepare ahead of time. Review the schedule. Figure out why the keynoters are keynoters and not session presenters. Plan your day(s). Choose your workshops carefully so it’s not a last-minute choice made in haste. (They need to support your goal, remember?)
  10. Speaking of preparing…if you’re a true beginner, and are looking for basic tips on writing your first children’s book so you don’t feel out of place at your first conference, check out a video I made for the beginning picture book writer. It’s fun. Really. https://bitsykemper.wordpress.com/2014/03/19/179/

I joke about lotion-ing up so you’re not remembered as the hand shaker with the rough skin. But bottom line: do your homework. And get ready to smile. You’re going to have a great time!

He’s following me, isn’t he?



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Do you Want to Write For Hire? Take This Quiz to Decide

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You may have wondered if Work For Hire is right for you. If you’re considering writing in the children’s book industry, I’ve created a quiz that might help. It’s based on my personal experiences as well as several colleagues I interviewed. [To give you some perspective on collective experience that I’m drawing from: I’ve written 16 kidlit titles for hire so far; picture books, chapter books, and YA–most of them as part of an existing series where the other titles were written by several other people. The fellow writers I talked to have authored close to 100 for-hire titles total.] We’ve all written for different editors and publishers, on different topics, in different genres, with different parameters. Every contract was in some way unique. But generally speaking, Work For Hire has similarities that differ from traditional publishing.

It’s not for everyone.

Is it for you?

First, a definition. “Writing for Hire” means a contract from a publisher or third party—usually from an outline, writing samples, or pitch—to write a book as assigned. For them. It

—might have pre-established characters and settings

—might be ghostwritten under someone else’s name

—might include a “tie-in” or “media-related” connection to an existing product, entity or trademark, such as a movie, comic book, game (typically referred to as intellectual property rights, or i/p)

Lawyers define it as “an exception to the general rule that the person who creates the work owns the copyright. If a work is made by an employee within the scope of their employment or if it was a specially commissioned contribution…it may be a work-for-hire. The employer or hiring party is considered to be the author and thus the copyright owner. A work-for-hire agreement must be signed by both parties before the creation of the commissioned work.” (emphasis mine)

Sometimes you work directly for a publisher. Sometimes you work for a middleman, called a book packager or book producer, who in turn works for the publisher. The book or series might be your idea, but is more likely their in-house idea that they are hiring out for–usually part of a series such as early readers featuring popular TV characters like Spongebob or a history series for K-3rd grade.

Bottom line is: you write it, they own it.

Quiz time:

  • Do you prefer innovation over purely-from-scratch invention? (More like, say, creating a collage than painting)
  • Can you work with a pre-existing format, one you didn’t create?
  • Can you write in someone else’s voice, and/or match the general tone/voice and target age range of an existing series?
  • Are you okay handing over your work and having someone else do whatever they want to before going to print–even though it (probably) has your name on it?Do you take direction well? (See earlier reference to pre-existing format and matching voice)
  • Are you good at research, note taking, keeping files of resources and interviews?
  • Can you handle rewrites without arguing? (See all of the above)
  • Are you good with deadlines–possibly short ones? (Typically in the six-eight month range, start to finish)
  • Can you handle someone else telling you exactly what needs to be done, then possibly changing gears midstream?
  • Are you okay getting a flat fee, with no royalties? (Note: there is a chance you’ll come out ahead this way. Slim chance, sure, but a chance.)
  • Are you okay with the fact that even though it has YOUR name on it, the contents and everything about it may not have been your preference or decision?

If most answers are Yeses, you might be on the right track.

If most questions made you clench, well, relax. Before you get too nervous, know that the publisher isn’t out to screw you. They don’t want to mess up your work on purpose. Their goal–like yours–is to get the best possible product in the hands of their customer/reader; but the main caveat is it’s usually the best product possible created in the shortest amount of time. You might disagree on what the best product ultimately looks/reads like. (It doesn’t matter though. They have final say. On everything.) Just know they really do have the best interest of the customer in mind. They want to sell books! This is their business! They fully understand a crappy book won’t sell as well as a well-written one. They don’t want to put their reputation on the line for shoddy quality. They have your back; their name is on the cover, too.

There are feel-good questions to ask yourself about Work For Hire too:

  • Would you like a shorter time to market? (That is–getting your book on the shelf faster? Most WFH is on the shelf within a year, vs up to potentially 2 to 5 or even 7 years later going the traditional route.)
  • Would you like getting paid in a timely manner? (Many pay half the fee upon acceptance of contract and the other half upon submission/completion of the work)
  • If the project is cancelled, would you still like to get paid some of the contracted amount? (Make sure you’ve got a “kill fee” in your contract!)
  • Do you like direct feedback on how to make your assigned work better?
  • Do you like taking an idea and running with it? (Assuming you are okay when they need to rein you back in)
  • Do you like a clean set of rules, with a detailed schedule, giving you less time to goof off online and on social media? [Maybe that’s just me, lol]
  • Do you like being in control of which projects you agree to and which you decline? (It’s always okay to say no thanks)
  • Do you like researching and choosing which publishers and packagers you work with?
  • Do you like having a built-in opportunity to work with the same WFH people again? (Assuming you’re not a jerk to work with…)
  • Do you like learning about new topics you may have never considered writing about?

And most importantly:

  • Do you want to get published?!

If you took this quiz and are a yes (wo)man, then Writing For Hire is for you! Give it a try!

How to go about finding Writing For Hire opportunities will be the topic of my next blog… Hint: it takes just as much effort as pitching your current manuscripts! But worth it.

If you’ve had experiences similar or in contrast to these Quiz questions, tell me about in in the comments. I love hearing anecdotal WFH stories.

Shopping at IKEA

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I dreamt that I was in IKEA, looking for a replacement piece for something from my kid’s room. I look all over the warehouse, up and down every aisle. You know how big that place is! Had people helping, looking part numbers up on the computer, nothing. Two hours. I’m out of options, on the ground floor near the register, when I decide to look a little closer, turn it upside down…and… It’s a Lego piece.

Isn’t that how writing is sometimes? You exhaust every option trying to figure out a story arc or plot point or character tic, get nowhere, only to one day–usually in the middle of the night when you have no pen and paper nearby–look at it from a different angle, and realize all this time you’ve been shopping at IKEA for a Lego piece.

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Sometimes the hardest thing to do is STEP AWAY. We think we need to WORK THRU IT. We can do this. MARCH ON. We got this. MAKE IT WORK, DANG IT. We won’t be defeated!

And yet, by powering on, we might be getting in our own way. We are so focused on fixing the problem–the FIX–that we aren’t examining THE PROBLEM. We aren’t holding it in our hands, placing it up to the light, looking at it from different angles. If our eyes are only set on the finish line, we can’t see the road we’re on, or we forget WHY we’re on the road in the first place. And we’ll stumble and fall and make all kinds of messes, not to mention waste all that time (ours as well as other people’s).

So how about this: the next time you’re struggling with something, set it down. Don’t think about it.

Go for a walk. Nietzsche said “All truly great thoughts are conceived by walking.” A Stanford University study confirmed it. Walking boosts the creative formation of ideas, both in real time and shortly after (“Give Your Ideas Some Legs: The Positive Effect of Walking on Creative Thinking” by Marily Oppezzo and Daniel L. Schwartz, American Psychological Association, 2014). Neuroscientists say exercise, even mild forms like a walk around the block, releases dopamine, which helps us feel relaxed and all around in a better mood. That makes the chances of having great ideas more likely. Ditto for taking a shower, hopping on a bike, or going for a drive.

Work on something else. Set your work down for a while. Literally place it in a file and don’t plan to look at it for two months. OK, fine, six weeks. What’s the rush? Ben Baldwin, who created a company that helps predict who will succeed at which job and why, points to the benefits of freeing your mind for a bit. “The subconscious mind runs in the background, silently affecting the outcome of many thoughts. So, take a break and smell the flowers, because while you’re out doing that, your mind may very well solve the problem that you are trying to solve or spark a solution to a problem you hadn’t considered before,” he said in a WSJ article packed with advice from entrepreneurs about creating ideas.

Force connections. Just for fun, force your main character to do something, well, out of character. Place them in a situation they shouldn’t be in, in a predicament they would hate, or trapped in a room with the person they dislike the most. Writer’s Digest suggests “forcing your character into a corner,” among other creative tips. See what happens. You don’t have to keep the scene, but you may find a side of the character you didn’t notice before. Maybe there is a descriptive part of the location–a balcony or city–that you can keep and use elsewhere. Even if you use none of it, you’ve forced your own creative brain out of its comfort zone. Odds are, your brain needed that push!

The point is, when faced with a challenge, the answer isn’t always to power through. Sometime it’s better to let go, just for a little while, to get a better look at the situation. Maybe you’ve been barking up the wrong tree.

Don’t waste your time at IKEA when what you really need is a Lego piece.

Author Platform: Maximizing Social Media

Social Media

slick image from jsums.edu

Last post we defined Author Platforms. So tell me, what is an Author Platform, do you remember? It’s how you show your unique qualities that “brand” you as a writer or artist…with the ultimate goal of leading to book sales. It’s a long term goal, not a RIGHT NOW CLICK HERE goal. No one likes the CLICK HERE RIGHT NOW guy, amiright?

Social media is one of the main ways you create your brand. Since most of your readers will never meet you in person, it’s how most of your readers get to know you. This post is gonna look at ways to maximize social media so you can give yourself the best platform. We’ll talk through some real examples, screenshotted below.

If you need to take a step back and get a basic primer on Twitter, check out https://bitsykemper.wordpress.com/2014/07/15/twitter-101-the-basics-for-writers/

General social media tips to support your Author Platform:

  1. Be you, all the time.
  2. Have fun! Every tweet/post doesn’t have to have something to do with writing or illustrating, but each one should still reflect who you are and what you stand for. Remember the part about the real you needing to shine through?
  3. Sorry to say this, but people are people. And by that, I mean selfish. I’m not judging. It’s fact. We are always asking ourselves WIIFM? As in, What’s In It For Me? No one has time, and we make decisions in a snap. You need to do whatever you can to convince me, quickly, that what you have to say will benefit me. And then come through. So don’t just tell me your book trailer is finished and give me a link. Tell me what the trailer is about, what I’ll see, why it’s worth watching. I need to know WIIFM or I’m not going to click. Even if I like you. I just don’t have time.
  4. Other people are selfish–but you need to be giving. Stop talking about how great your product is. Let us figure that out on our own. Your book really should be able to speak for itself…or at least let others do the talking. A tweet like”Another great review, my work is profiled yet again! Click to see the latest url.2937y5/iji…” gives me no incentive to click. It’s blatant bragging. But what about “What an honor to be included in this roundup, check out the other Best 2016 Reads by Buzzfeed at url.8724r34r/…” or “Thanks for the kind review, Donna, it was nice being your guest blogger this month. I bet no one can guess how many puppies were harmed in the making of that video! [link to Donna’s website].” Do you see the difference? One is “Look at me!!” Another–the preferred method–is “There’s something in this for you, have a look.” You want to be of service. Your book or link or review just happens to be one way to help. [See #6, below.] Continue reading

Creating an Author Platform

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Quick quiz: You’re told you need to work on your “Author Platform.” You:

  1. Smile politely, then go back to searching online for cute cat outfits
  2. Nod, smile, then furiously Google “Writers’ d” hoping you’re not the last to know what the heck that is
  3. Think “Oh, yeah it really is time I update my Facebook, Twitter, blog and website,” then dig right in
  4. B or C but definitely not A (unless it was a really good sale)

Correct answer: D.

What is an Author Platform? And why do you need to care?

Let’s break it down. Author. Platform. It’s like a compound word. (Author Platforms or Writer Platforms, no matter what you call it, are the same thing, don’t get hung up on author vs writer. For the sake of ease, we’ll use the terms synonymously here. I’m also capitalizing the words here for effect, which is unnecessary elsewhere.) A writer or an author is someone who has written something. A platform is a raised surface, something you’d stand on for better visibility. Like a stage. Put the words together and you’ve got an image of a writer standing on a, well, platform, a little taller than everyone around them. They stand out; you can spot them in a crowd.

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That’s the writer you want to be.

You want to be the writer/author that people can find easily or can recognize…the one that stands out. And you’ll need a platform on order to do it.

“Author Platform: your visibility as an author, utilizing your personal ability to sell books through who you are, the connections you have, and the media outlets you use.” –Writer’s Digest

I think of the term as a less-commercial way of saying “author branding.” It means how you present yourself to the public, and how you are seen/viewed by readers, agents, editors, fellow writers/artists and anyone else paying attention. It’s a way of showing your unique qualities that “brand” you as a person, as a writer, or artist…with the ultimate goal of leading to book sales.

Don’t confuse it with image. Image implies something perceived. You’ll be putting the real, flawed you out there, just like you do for your main characters. An Author Platform should be based on truth. You’re not an actor hiring a publicity agent to get media attention. You’re you, showing who you are, with the ultimate goal that the likeable you is worthy of following or noting or reading or acknowledging, and it will at some point lead to book sales. Isn’t that why school visits, book signings, special promotions, launch parties and all that exist, to sell books? Well you’re the in-person version of that, the walking billboard, the neon sign, open 24/7. Except when you’re asleep. Or whatever. You know what I mean.

You are NOT shaking hands and asking people to buy your book all th
e time, oh no, you’re missing the point. No one is going to follow or buy the book from a guy that’s sending pestering Tweets or spamming Facebook posts or always standing up in groups asking people to buy their books after the meeting. Boy is that annoying or what? I hate that guy. What I’m saying is you are your brand. You represent you. So be respectable. Make me like you. Make me WANT to buy your book. If you do it right, you will probably never have to say the words “Buy my book.” I’ll decide I want to on my own.

 

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Note this is a Writer Platform, not a book platform. This is about you, not your book. Why?
Because you’re more than one book. If you brand yourself too closely with one title, on the next book you’ll have to do it all over again. That confuses people. They can handle lots of books, but they only want one you. Brand yourself correctly and all your books will easily fall under that one umbrella…you!

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Everything you post online becomes a part of your brand. Your Tweets, your FB posts, your blog updates. Your forwards, your shares, your likes. It all shapes the person people see. Those who have never met you can only form an opinion based on what they see. And that’s based on what you do. How you reply to comments. What you post or repost. It’s not always what you say, but how you say it. Continue reading

How Many Pages Should Your Manuscript or Book Be?

Sometimes it’s easier to see than explain:

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