I should’ve known everything was going to fall into place when, Friday morning, my dryer finished drying my clothes at the same instant I unlocked my back door to leave for the Master Classes I’d registered for as part of this year’s James River Writers Annual Conference. (I don’t like the washer or dryer running when I’m not home.)
The James River, viewed here from Floodwall Park, is still high from the rain produced by Tropical Storm Matthew.
The James River, which gives the James River Writers its name, is still swollen today from Tropical Storm Matthew.
Actually, my first sign that the universe is in harmony came about a week earlier. When I registered for the conference back in September, one of the two Master Classes I wanted to attend (like, really, really wanted to attend) was full. Just a few days before the conference, though, I got an e-mail informing me a space had opened up, my refund hadn’t yet been processed, and I could attend the class after all. It was perfectly serendipitous.
I attended both of the Master Classes I had hoped to attend on Friday, and went home, thinking no more about it.
As with the Friday Master Class I had wanted to attend, every single literary agent with whom I had hoped to meet had been completely booked. My first stop upon arriving at the conference Saturday morning was the pitch table, where I wanted to add my name to a waiting list to pitch to an agent at some point during the weekend. I was hoping for a particular agent, but I was willing to meet with any agent who might have an opening, so long as I got to meet an agent and practice my pitch.
“Which agent’s waiting list do you want to be on?” the man behind the table asked me.
I hadn’t even finished saying her name before the woman behind me jumped to my side.
“Well this might help you out,” she said, and then turned to the man. “I’m actually here to cancel my 2:10 appointment with that same agent.”
And voila! Just like that, I had my spot.
“Get over the idea that other writers are your competition. All writers are your tribe.” —Laurie Gwen Shapiro
I should probably also mention that this particular agent was the same agent presenting at the Master Class that had originally been full, but in which a slot had seemingly magically opened up for me at the last minute. That was the same class during which I sat beside a man who happened to have the 2:00 appointment with the same agent with whom I had a 2:10 appointment the following day. When I sat down in the seat he had just vacated, I noticed he’d dropped something important. I picked it up, and what are the chances I would run into him in his car in the parking garage, pulling out of his spot at the exact instant I pulled past? I was able to get his attention and return his lost belonging.
To top it all off, driving home, I hit all but the last two lights on Broad Street, green. That. Never. Happens. In fact, it was the green-light experience on Broad Street that got me reflecting on all the other pleasant coincidences I’d experienced since the conference’s beginning the day before.
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That night, I experienced another coincidence, though this one belonged to someone else. My husband and I attended a good friend’s (also a writer) wedding, where we met the best man, whose name was Ryan. His girlfriend’s name? Also Ryan. What are the chances of that?
And that brings us to today.
Just as the dryer had finished its cycle right before I left for the day Friday, the eggs I was boiling on the stove top for my dogs (their staple treat isn’t Milkbones, but chunked up hardboiled eggs we call “egg bites”) this morning finished boiling at the exact instant that
Jack and Sadie at Pony Pasture Rapids in September, when the James River was cresting after Hurricane Florence.
I was pulling their leashes from the laundry room so we could take our morning walk. By now, of course, I was used to the universe playing directly into my plans, so I smiled to myself and carried on with my morning.
A few hours later, I found myself back at the conference, with hundreds of other writers. Now, what is the likelihood (and don’t actually tell me, because the math would ruin the magic) that, in a popular plenary session, I would sit down and look up to see that three seats away from me sat a former student of mine? Or that the only other woman who got lost trying to find the restroom in an empty hallway of the Greater Richmond Convention Center would be the wife of a woodworker my husband is dying to take a workshop with, who we’d met at Makers Fest last weekend? Small world, huh?
The James River Writers Annual Conference is held at the Greater Richmond Convention Center.
To top it all off, on my way home from the conference today, I turned on NPR. The Hidden Brain episode I heard promoted a few days ago, made a mental note to listen to, and then forgot the mental note, was airing. The topic? Coincidences.
(Don’t read too much into it.)
All that said, here are some pearls of wisdom from one of my favorite panels, Replenishing Your Creativity Toolkit.
On Writer’s Block
“Start writing bad things right away until you hit on something good. Write the bad idea and see what happens.” —Lina Maria Ferreira Cabeza-Vanegas
“If it [writing] was easy, everyone would do it. The hard is what makes it good.” —Moe Ferrara
“You don’t get inspiration, really. Your inspiration comes from your dedication. If there is a muse, it’s you.” —Pavana Reddy
“You write. You read. You let others read what you write. That’s what you can control. Keep swinging the bat. You have control over how many times you swing. Even if your batting average is low, if you keep swinging, you’re gonna hit something.” –Lina Maria Ferreira Cabeza-Vanegas
On Creative Space and Process
“You have to be nice to yourself because no one else is going to be. You can’t sit down and tell your brain, ‘Write now or else!'” –Lina Maria Ferreira Cabeza-Vanegas
“If you’re really excited about your ending, write it. It’s probably your beginning.” –Lina Maria Ferreira Cabeza-Vanegas
“Write every day. There is no inspiration. You are the muse.” –Pavana Reddy
And one more pearl of wisdom from another favorite panel, Think Like a Word Entrepreneur:
On Writing Community
“Get over the idea that other writers are your competition. All writers are your tribe.”—Laurie Gwen Shapiro
Back in April, I attended a submissions workshop put on by the James River Writers and led by Dana Isokawa, Associate Editor of Poets & Writers Magazine. I’m sure I don’t need to tell you that being in the same room as Ms. Isokawa was a pretty surreal privilege, but I probably do need to tell you what I learned, which why I’m writing this blog post, as well as a follow-up later this month.
Why Submit
Submitting your writing–particularly your poetry, which can be deeply personal and painstakingly crafted–is scary, to say the least. You’re sending your work (AKA your soul) out into the world for all to see, and it’s probably going to get ignored (best-case rejection scenario) or bludgeoned (worst-case rejection scenario) for years before it ever finds its publication home (if it ever finds its publication home). Despite the vulnerability submitting your writing entails, there are many compelling reasons to put on your big-girl pants and start submitting. Here are a few:
Submitting your work helps get your work and your name out there.
Submitting your writing helps it–and you–find an audience, and once you find one, you can work to keep it.
Sending your writing out into the world, while it may open it up to abuse, is also one of the best ways to support your writing. You’re putting your stamp of approval–your faith–in its merit, and if you don’t believe in it, who will?
One of the most effective ways to network and build a writing community is through sending your work off.
Submitting your work such as poetry, essays, short stories, or articles can help lead to the accomplishment of larger publishing goals you may set–such as a book deal.
Sending your writing to contests, journals, and magazines can help motivate you to write, revise, and keep writing. Contest and submission deadlines, as well as the sense of validation you’ll feel when one of your pieces does get accepted, are excellent motivators.
Knowing When a Piece is Ready
Okay, so maybe I’ve convinced you of the worth of risking not only your ego, but also your sense of identity as a writer, in submitting your writing to publications. But how do you know when a piece is polished enough for potential publication? Here are some signs:
It has successfully undergone an editorial review
Other people–readers and fellow writers alike–have read it and liked it
You have set it aside for a while and you like it when you reread it–you impress yourself
Your sure your own skin is thick enough to handle potential rejection
You’re ready to share and prepared to have people read and react to it.
Finding the Right Journal or Contest for Your Writing
You can increase your chances of acceptance and decrease your chances of rejection by finding the right home for your writing before you send it off to knock on journal doors. Instead of just sending your writing off blindly, do some research first, and find the publications most likely to welcome your writing inside. Here are some things to keep in mind:
Know the publication. Be familiar with its style, layout/organization, types of work it tends to publish, sections, etc. Read it. Be familiar with its tone, voice, and subject matter. Make sure the work you plan to send aligns with these qualities in the publication.
Know your own genre, form, style, voice, and subject matter. Do they align?
Think categorically:
Consider your background as a writer and a person. Think about factors like your location, your career, or your religion, for example.
Look for publications that focus on specific themes or styles. For example, journals that focus on a certain place, on nature, on conservation, on sports or a particular sport, etc.
Consider your subject matter.
Submit to publications where you find writers you admire.
Consider your form (flash fiction, short story, poetry, long-form essay, etc.).
Consider your genre (sci-fi, speculative romance, crime, etc.).
Vetting Journals and Contests
While you may be eager for the sense of recognition, validation, and success an acceptance provides, don’t be so over-zealous that you miss important red flags. It’s best to avoid sending your work off if:
The contest of publication requires you to pay a high fee to submit your work
A high fee is required–and paired with comparatively low-value prize or award
The fee is over $10 and the contest of publication offers no payment
The contest or publication has no “about page” or masthead.
If the publications you are considering pass the above tests, there are still a few items to consider. Make sure, for example, that the promised prize is actually awarded consistently by checking past winners’ page.
While there are red lights, there are also green lights that should encourage your submission to a given publication. Here are a few:
Your read the publication and like it.
You admire the work it offers.
It promotes its writers.
Its entry fees for novels cost more than those for poems.
There is not more than a $10-$20 fee for prize of $1000 or more.
If you are submitting a book or manuscript, a $40 fee or less for a prize up to $10,000 is appropriate.
Next Steps
If all this talk of publiation has you rearing and ready to submit some writing (and I hope it does), The Avocet, an online literary journal of nature poems, is currently and actively seeking submission. See their guidelines and several opportunities below.
Time to share a Summer-themed poem
Please read the guidelines before submitting
Please take a minute to pick a poem of your choice and send it to us.
Please send only one poem, per poet, per season.
Let’s do Summer-themed poetry for The Weekly Avocet.
Tomorrow is Thanksgiving, and following close on its heels is Black Friday. If we haven’t already done so, it’s time to start thinking about the thoughtful, meaningful gifts we can give to our loved ones–or perhaps the thoughtful, meaningful gifts we hope to get from them. Whether you’re focused on finding the perfect gift for someone else, or on crafting your own wish list, here are some ideas.
For Readers
Cicada Magazine
The first literary magazine I ever read was the result of a gift subscription from my aunt and uncle, who signed me up for Cicada Magazine, a young adult literary magazine put out by Cricket Media. Subscription costs range from $4.95-$59.95, depending on the duration of the subscription. This gift was of paramount importance in my writing life. Not only did it introduce me to the concept of what a literary magazine was, but it also led me to begin submitting my writing for publication. Cicada was the first non-school-related publication to which I ever sent work, and it was the first not only to publish several of my poems over the course of a few years, but also to pay me for them. I doubt when my aunt and uncle subscribed to this magazine for me, they could have imagined what an important role it would end up playing in my passion. The vindication I felt upon receiving my first acceptance letter and contract from Cicada was lasting and immense. Gifting a reader/writer with this magazine may open the door not only to memorable and fascinating works of literature, but also to her own opportunity for publication.
Gifting a loved one with this magazine may open the door not only to memorable and fascinating works of literature, but also to her own opportunity for publication.
One Story
My father, a fellow English teacher, was the person who first introduced me to OneStory, an aptly named and phenomenal little literary magazine. Each issue features only–you guessed it–one story. I love this magazine, because I am an exceptionally busy person whose time is always at a premium. I rarely have time to finish a novel during the course of the school year (though I devour them in the summer months). I do, however, have time for one story now and again. OneStory arrives once a month, so I know I always have about four weeks to finish the story, which can usually be read in one sitting (the challenge becomes finding time for the sitting!). A one-year subscription costs $21.
The best thing about OneStory is that even someone as busy as I am can usually find time to read just one story a month.
Games
If your loved one likes a little board game fun, I highly recommend you consider one of these family-friendly, literary, board-based competitions as a gift.
For Writers, in General
Personalized Pen
When I was about half-way through the first draft of my novel (I am now working on the seventh draft of my novel), my sister and brother-in-law gifted me with an engraved pen and pen case from Things Remembered. Not only is it elegant, beautiful, and practical, but it was also one of the most meaningful and thoughtful gifts I have ever received; it showed me that they believed in me and in my dream, and that vote of confidence in the form of this pen still motivates me today. Every time I see the case and open it to retrieve the pen, my faith in my dream is renewed, and my motivation to write is revived. I am reminded that someone thinks I can do it. The pen is a manifestation of their faith.
The engraved pen and case showed me that they believed in me and in my dream, and that vote of confidence in the form of this pen still motivates me today. Every time I see the case and open it to retrieve the pen, my faith in my dream is renewed, and my motivation to write is revived. I am reminded that someone thinks I can do it. The pen is a manifestation of their faith.
Engraved pens and cases run between $5 and $300 at Things Remembered. I recently spent just shy of $50 on a pen with both the pen and its case engraved, and the recipient, an aspiring children’s book author, loved it.
An engraved pen and pen case from Things Remembered is a highly personalized gift that shows a writer you support her passion, and believe in her ability.
Membership to a Local Writing Organization
Joining James River Writers was one of the best moves I ever made regarding my writing. In fact, it’s safe to say my novel would never have been finished had I not joined this group and begun participating in their many Writing Shows, events, and conferences. Membership to a local writing group yields many benefits, including reduced fees for workshops, events, and conferences; networking; exposure to agents and other literary professionals; motivation; regular newsletters; education–just to name a few. Paying for a loved one’s membership would no doubt be a welcomed gift.
Admission to a Conference or Workshop
Attending writing conferences is educational, motivational, inspirational, and informative. It is also costly. An excellent gift for a writer would be a contribution towards the fees to attend a conference or workshop. One I recently learned of and would love to attend is Bookish Retreats, taking place in North Carolina, Washington, DC, and New Orleans in 2017. Options in the Richmond, Virginia, area include various classes offered at the Virginia Museum of Fines Arts, a Life in 10 Minutes workshop, classes at the Visual Arts Center of Richmond, the James River Writers Annual Conference, or James River Writers Writing Shows.
Subscription to writeHackr Magazine
One of the newest digital magazines for writers, writeHackr Magagzine, features author interviews and information on writing, craft, branding, ideas, the writing industry, the publishing industry, etc. To get a feel for the magazine, check out their blog. You can also find them on Instagram. I subscribe myself, and have even written a few pieces for the publication. I highly recommend it for all writers!
For Poets
Membership to a Poetry Society or Organization
If you are local, buying a beloved poet membership to the Poetry Society of Virginia would be a practical, thoughtful, and meaningful gift. Benefits include a regular newsletter; reduced rates for attendance at the annual festival and other events; and participation in workshops, readings, and open mic events–to name just three. Other outcomes are motivation, inspiration, networking, and support.
Subscription to Poets and Writers Magazine
For years, I received a gift subscription to Poets and Writers Magazine.Its pages feature information on contests; writing tips; interviews; information on craft; and schedules for upcoming workshops, retreats, and conferences. Subscriptions cost $25.95 for two years, or $15.95 for one. Digital subscriptions are also available. For specific information on gift subscriptions, click here.
For Nonfiction Writers
Mary Karr’s The Art of Memoir
I recently heard an interview with the famed memoirist Mary Karr on NPR. In 2015, she came out with a new book called The Art of Memoir, on which the interview focused. Listening to the interview, I wanted not only to read the book (I myself have listed it on my own Christmas Wish List), but also to be her friend. She was so genuine, honest, and raw–things I am often afraid to be when writing nonfiction. I feel I could really learn something from her–and her book. She was painfully honest in the interview, as I expect most memoirists must learn to be, at some point or another–particularly about herself. She did not shy away from saying about people things that might upset them. She was unabashed. To listen to the captivating interview, click here.
For Writers Aspiring to be Published
Subscription to Writer’s Digest
Writer’s Digest purports to be the #1 magazine for writers, and features publishing tips, craft tips, information on techniques, etc. There are three subscription options: A one-year digital subscription costs $9.96; a one-year print subscription costs $19.96; both digital and print combined cost $21.96 for one year.
The 2017 Writer’s Market
There are lots of options concerning The Writer’s Market books, so you can really tailor your purchase to the writer you’re buying for. Options include, but are not limited to: Novels and Short Stories Writer’s Market, Writer’s Market Deluxe Edition, Writer’s Market 2017: The Most Trusted Guide to Getting Published, and Guide to Literary Agents. On Amazon, they range in price from $9.90 to a digital edition of Writer’s Market 2017: The Most Trusted Guide to Getting Published, to $34.79 for the print version of Writer’s Market Deluxe Edition. Writer’s Market books also exist for poets and children’s books authors and illustrators.
For Dog Lovers
Richmond Animal League 2017 Calendar
What animal lover wouldn’t like to greet each new month with the photograph of an adorable rescue dog or cat–and the knowledge that the purchase of that calendar helped to find forever homes for even more loving animals? Each year, Richmond Animal League (RAL), a no-kill shelter in Virginia, hosts a calendar contest as a fundraiser. Contestants compete to see who can raise the most money for the shelter. The top twelve fundraisers’ pets are then featured within the calendar’s pages. To raise even more money in support of homeless animals, RAL then sells the calendars for about $15 each. They make a great gift!
Richmond Animal League Luminary
To honor the memory of a pet, or to celebrate the life of one still with you, as well as to help raise money for homeless pets, you can purchase in your loved one’s name (and/or their pet’s name) a luminary for the Richmond Animal League Operation Silent Night event. Luminaries start at only $20 and can be purchased here. Gifting an animal lover with a luminary not only honors him or her, as well as his or her beloved animals, but also helps provide hope for a homeless pet.
Training Classes
I have made some very meaningful memories and spent some high-quality bonding time with my dogs through training classes. My sweet beagle who, it turns out, hates “doggy school,” has still completed a basic training class, and my whippet-jack russell mix, who is quite the little scholar, has completed basic training and earned his Canine Good Citizen certificate at our local Petco. He and I have also participated in agility classes at levels A, B, and B/C at the Richmond SPCA. These classes not only enrich a dog’s life, but also strengthen and enhance the human-dog bond. When you gift someone with a training class, you are improving communication and understanding between the person and his dog; enriching the overall relationship; providing stimulation and, in some cases, as with agility, physical fitness for both dog and human, among other positive outcomes.
This photo was taken after Jack the Whippet completed one of his early basic training courses at the Petco down the street from our house. His beagle sister, Sadie, wasn’t a big fan of doggy school, but tagged along sometimes for moral support. Gifting a dog lover with training courses greatly enhances the human-dog bond.
Doggy Swimming Lessons
One wish-list item that appears on my personal Christmas list this year is swimming
Jelly (top) and Beans (bottom)–get it?!–often swim at Alpha Dog Club.
lessons with my whippet-jack russell, who, over the summer, discovered an absolute passion for swimming. He swam in the bay. He swam in the creek. He swam in the river. He swam in the sound. But it’s too cold to swim in the winter. Unless, that is, you enroll in lessons at Alpha Dog Club, or a similar organization near you, that has an indoor swimming facility for dogs. Swim sessions at Alpha Dog Club range from $25-$60 after a mandatory $60 introduction/evaluation session.
Safety Equipment
You can’t go wrong with light-up, reflective, or glow-in-dark doggy gear for safety. Many companies make collars, leashes, harnesses, vests, and collar charms that emit or reflect light so your canine companion is visible on those night-time or early morning jaunts.
Agility Equipment
Someone with a particularly energetic and agile dog, as well as a large enough yard, might find agility equipment, such as tunnels, ramps, teeters, and jumps, an excellent gift. Training on the equipment together is not only stimulating for the dog, but also good exercise for humans and dogs alike, and a great way for humans and dogs to bond.
Canine Life Vest
For those dog lovers and dogs who love to boat, fish, or swim, a doggy life jacket could be just the thing. It makes a dog’s aquatic adventures that much safer, and also assists him when he swims. You might also check out Ruff Wear‘s waterproof and wear-and-tear proof products. Click on the photographs below to enlarge them and read the captions.
Sadie’s swim is made easier with a canine flotation device.
Jack stands proudly on the bow of the speed boat, sporting his neon green life vest.
Safe in his canine life vest, Beans plays fetch in the waves.
Beans is king of the canoe in his canine life vest.
Donation in a Loved One’s Name
If you have a loved one who has no need of or want for anything, and whose pet is also already aptly provisioned, you might consider making a donation to an animal rescue organization in his or her name. Last year for Christmas, I donated to a bird rescue foundation as a gift for my dear friend who has always loved and kept birds. I was able to give him an information card on the bird species his gift was helping to support, as well as a few other mementoes to commemorate his gift.
Canine First Aid Certification Course
Just as with donating to an animal rescue organization, paying for a loved one’s enrollment in a Canine First Aid and CPR course could be a useful, practical, and life-saving gift. The hands-on, three- to four-hour course offered at Alpha Dog Club in Richmond, Virginia costs $75, a fee which then helps fund scholarships for shelter dogs who could benefit from the aquatic services offered at the facility. The certification lasts for the participant’s lifetime, and participants receive a canine first aid book to keep on-hand, as well as a few first aid supplies.
If any of these ideas helped you, please help me by sharing this post on Pinterest, or to your own social media accounts! In this season of thanksgiving and always, I will be very grateful. 😉 Happy Thanksgiving and gift-giving!
Still riding high from my positive experience at the James River WritersAnnual Conference last weekend, and preparing to participate in NaNoWriMo and attend The Tesseract: A Week of Experiments in Writing next month, it occurs to me to reflect on just why I so love writing conferences and workshops–and why you might want to attend some, too, if you haven’t already. Here are the six reasons I was able to distill from my general enthusiasm.
Exposure to Agents
Because of my attendance at the James River Writers Annual Conference, I have had the opportunity to pitch my novel on two different occasions, to two different agents. I was woefully under-prepared (or perhaps completely unprepared is more accurate) the first time, but this second time I came equipped with a few workshops and practice queries and pitches under my belt, and my pitch went much better. Instead of feeling incurably anxious, I felt hopeful and excited. And those feelings continued when, at the close of my seven minutes with an agent who I had a lot of fun taking with, she asked me to go ahead and send her the first 20 pages of my manuscript. I don’t know where things will go from here, but that was a small step in the right direction, and it would not have been possible without the Annual Conference.
In addition to taking advantage of the chance to talk with an agent one-on-one, I have heard valuable advice from a variety of agents, which can help me improve the marketability of my novel, my writing in general, and my query letter and pitch.
Networking
When you attend conferences and participate in workshops, you meet fellow writers, editors, and bibliophiles who can help guide you on your writing journey. What we can learn from each other is amazing. I feel so fortunate to have met people like Kris Spisak, Valley Haggard, Judy Witt, and Mary-Chris Escobar, who have helped me with writing activities as diverse as author interviews, workshop experiences, advising the high school literary magazine and creative writing club, and participating in a critique group that has been immeasurably helpful.
Inspiration
In 2014, I attended my first Master Class as part of the James River Writers Annual Conference. I do not recall the name of the two or three classes I attended, but one of them focused on helping writers compose synopses of their novels or memoirs, in preparation for writing query letters or pitching. I am a naturally verbose person, so the task of squeezing something as large as a novel into something as succinct as a synopsis was (is) daunting–made even more daunting by the fact that at the time, I didn’t even have a novel or memoir in the works. The closest thing I had to a novel in the works was a piece I had started (and stopped) writing in a Composition notebook four years prior, in 2010.
After some instruction and examples, the instructor gave us some time to quietly craft our synopses. Because I didn’t have anything about which to write a synopsis, I harkened back to the book I had begun writing four years before, even though I hadn’t added a single word to it in all that time, and truth be told, didn’t even know where the Composition book was.
Because I didn’t have anything about which to write a synopsis, I harkened back to the book I had begun writing four years before, even though I hadn’t added a single word to it in all that time, and truth be told, didn’t even know where the Composition book was.
When most of us were finished–or as finished as we were going to be–the instructor asked for volunteers to read what they had written, opening themselves up for feedback from both her and our fellow writers in the class. I did not volunteer at first, desiring to hear a few examples and learn whether or not I had been on the right track. After listening to maybe three or four volunteers, I raised my hand, and read my synopsis. The response I got was so overwhelmingly positive, that I felt inspired to go home and tear my house apart in search of the Composition book. When, after surprisingly little effort, I found it, I set to typing up what I had already written. From there, I continued the story, and now, two years, three Annual Conferences, and six drafts later, I have something like a finished product.
When we attend a conference, we are surrounded by people who not only share a dream similar to ours, but who also share a love of writing, and who take us seriously as writers. This atmosphere of support and encouragement can remind us first, that we are not alone in our goal, and second, that other people believe in us.
Had I not attended that 2014 Annual Conference, I would never have finished my novel, a source of great pride and pleasure for me.
One more thought on inspiration: We writers (at least, I speak for myself) experience much more rejection of our work than we do acceptance and publication. It can be easy to feel discouraged at times, to ask: Why am I doing this? Am I really good enough? Can I even call myself a writer? But when we attend a conference, we are surrounded by people who not only share a dream similar to ours, but who also share a love of writing, and who take us seriously as writers. This atmosphere of support and encouragement can remind us first, that we are not alone in our goal, and second, that other people believe in us.
Ideas
In addition to feeling inspired to complete works in progress, attending workshops and conferences often inspires new ideas, potentially leading you to write pieces that later develop into submittable work. For weeks after attending The Poetry Society of Virginia‘s 2016 Annual Poetry Festival and Conference in May, I was composing haiku in my head everywhere I went, dictating them into my phone for transcription later on. I have submitted several to various publications. I had a similar experience with the Life in 10 Minutes workshop I participated in during January and February of this year, though in that case, I was writing short slices of life in the form of somewhat sparse, stream-of-consciousness prose.
I cannot emphasize enough how much information one can take away from a conference or workshop–about craft, about the field, about publishing, about upcoming opportunities, about submissions, about other local writers, and about oneself. I have learned how to hone my vocabulary; how to write a query letter; how to craft a pitch; how to let go and really write, uninhibited–just to name a few valuable lessons. I have also learned about new tools and technologies, like dictation apps, and programs like Scribner (neither of which I use yet–but both of which I now know about, and knowledge is power). In addition, I have picked up little tips about things I never thought to do, but that prove helpful, such as tracking my daily word count (which was just suggested to me last Friday, and which I admittedly have not yet begun to do–but will). Finally, I have learned about valuable, supportive, and helpful Facebook groups, like For Love or Money (as in, do you write for the love of writing, or to make a living–and how does either impact your writing?).
In his essay “Why Soldiers Won’t Talk,” John Steinbeck surmises that one reason a soldier can return to battle despite the traumas of war, and a woman can bear more than one child despite the ravages of labor and delivery, is simply because neither can
Every October, James River Writers puts on their Annual Conference at the Greater Richmond Convention Center.
remember what the experience was like, rendering both incapable of experiencing the fear that might prevent them from entering into a similar experience again. “Perhaps,” he writes, “all experience which is beyond bearing is that way–the system provides the shield and removes the memory.” I think there is some validity to Steinbeck’s hypothesis. I see it evidenced in my own life, in at least two areas. The first is my husband’s willingness–eagerness, even–to engage in DIY home projects over and over again, despite the stress and anxiety they inevitably cause him. Not long after completing one painful project, he starts to get antsy for another–to the extent that we just purchased a second home, in part to help satisfy his craving for projects (and he is now completely embroiled in the pangs of a plethora of home projects). The second is my own experience with writing conferences, my favorite and the most accessible one to me being the James River WritersAnnual Conference. I look forward to this three-day event with an enthusiasm approaching that of a young child’s at Christmas. But some years, I leave feeling defeated and discouraged: There are so many writers out there with so many stellar ideas, and we are all in competition for an agent, a publisher, a paycheck. I look around at the sheer number of writers in attendance at the conference and think: How can I possibly stand a chance against so many competitors? Frankly, it’s deflating.
We come together as a community of writers to support each other, encourage each other, help each other. We have not gathered in the spirit of competition; we have gathered in the spirit of community.
But at Friday’s pre-conference Master Class, “How to Hook an Agent–From the Query Letter Through the Opening Pages,” literary agent Michael Carr said something that helped me realize at least one reason (there are many) I look forward to the conference every year: “It’s important to get motivation from events like this.” He went on to explain that so much of a writer’s work is done in isolation. And when we finish a piece we are really proud of, we send it off–most of the time only to face rejection after rejection. And yes, of course, that is a very defeating experience. But at a writing conference, we crawl out of our writing caves and come together. We are among people who take us seriously as writers. We convene as a community of writers to support each other, encourage each other, help each other. We have not gathered in the spirit of competition; we have gathered in the spirit of community. And it is in that spirit of the writer’s community that I share with you just a handful of highlights and takeaways from this weekend’s James River Writers Annual Conference.
For reference and in an effort to give credit where credit is due, here is a list of the sessions I attended:
Be sure to vary your sentence structure. Reusing the same sentence structure can pull the reader out of your narrative, or, as Michael Carr explains it, can “wake him up from the fictive dream.” Two structures that Carr says are frequently overused, particularly by amateur writers are: 1) “Doing this, she did this” or 2) its inverse: “She did this, doing this.”
So much of a writer’s work is done in isolation. And when we finish a piece we are really proud of, we send it off–most of the time only to face rejection after rejection. And yes, of course, that is a very defeating experience. But at a writing conference, we crawl out of our writing caves and come together.
Tension
Each scene of a novel needs tension to hold a reader’s interest. Some ways to introduce tension can include giving the character a goal–and creating a character who actively engages in reaching this goal, as opposed to passively waiting for things to happen to him. Secondly, there must be some opposition regarding the goal. Something must impede the character’s achieving the goal he has set. Another tool in the writer’s belt is dramatic irony. The reader’s experience of knowing more than the characters about which she is reading is a powerful means of creating tension. Finally, be sure to ask yourself if there is enough at stake. What will the consequences be if the character achieves his goal versus if he does not achieve his goal?
The Opening Lines
Bill Blume moderated the First Page panel Sunday morning. During this session, several writers’ page-ones are read allowed and critiqued by three literary agents.
At least three different experts at the conference exaggerated the importance of starting in the right place, which could be as simple as deleting the first line or first paragraph, or as complicated as rearranging the order in which your chapters appear–as was the case with my novel. Initially, Goodbye For Now opened with Marissa Donnoway working at The Beanery, serving a difficult customer. Several people mentioned that the book started a bit too slowly. In response, I wrote a new scene, one in which two brothers are looking out over Lake Huron. Still too slow. I deleted that scene, and opened the book with the emergency room scene. That didn’t work logistically, and the book currently begins with Scott Wilder’s suicide.
Feedback
If your published book receives a bad review, it’s not because your book was bad; it’s because the reader expected one thing, but got another.
Keep in mind that when beta readers, critique partners, critique groups, or other readers offer feedback, you are not obligated to take it–but deciding when and if you should follow someone’s advice can be tricky, and sometimes, so can not getting our feelings hurt. I thought Michael Carr’s comments regarding this issue were an insightful reframing of how to look at criticism. He essentially suggested that when someone responds critically to your work, it simply means he woke up from the fictive dream and didn’t “believe you.” It is not personal. It means you might want to revisit that part of your piece and consider how you can strengthen it. Sometimes, a reader might suggest a specific change to improve a piece–a change you disagree with. It’s important to keep in mind that you do not have to act on specific advice, but you would likely be wise to address the issue in some way, even if it is not the way your critic suggested. Carr also advised, “If the feedback resonates with you, address it. If it doesn’t, don’t.” Specific feedback itself might not be worth following, but reexamining each part about which a reader makes suggestions is worthwhile. In my case, the people who told me my book started too slowly only confirmed what I had suspected all along–so I addressed that issue (many times…).
I also appreciated what Natasha Sass of Busstop Press said about feedback: If your published book receives a bad review, it’s not because your book was bad; it’s because the reader expected one thing, but got another. More on this, in the context of tropes, below.
On Writing to Market and Finding Your Audience
Master Class “Writing Smarter, Faster, and to Market,” led by Natasha Sass, delivered on its promise, living up to its title.
Perhaps I should be embarrassed to admit it, but until attending Friday’s Master Class,
“Writing Smarter, Faster, and to Market: Game-Changing Tips for Indie Authors (and Writers who Want to Up Their Game NOW!”, I was unfamiliar with the term “trope.” Now I know a trope is essentially an expected element of a genre or subgenre. Tropes can include point of view, format, character types, themes, settings, plot devices, pacing, etc. In order to engage your audience, your writing has to deliver the promised tropes of your genre. The tricky part is that tropes change over time, so reading within your genre and subgenre can be an important way to keep up with what tropes are currently desirable in your area.
What does your audience want? What do they expect?
A trope is essentially an expected element of a genre or subgenre. Tropes can include point of view, format, character types, themes, settings, plot devices, pacing, etc. In order to engage your audience, your writing has to deliver the promised tropes of your genre.
On Inspiration
Two important notions occurred to me as I sat in a session today, the final day of this year’s Annual Conference. The first was that this year was quite possibly my favorite Annual Conference thus far (though they have all been wonderful). The second was that I would likely have never finished my novel, Goodbye For Now, had it not been for the 2014 James River Writers Annual Conference. The idea for my novel was born in 2006, when I was studying abroad in Germany–an ocean away from my then-fiance (now, husband). I began actually writing the novel in 2010 (I think) in a black-and-white Composition book. After a few weeks, I got busy and just stopped writing. I even lost the Composition book. Four years later, at a Master Class that was part of the 2014 Annual Conference, I read aloud the synopsis I composed in the workshop that day. The response I got from the instructor and my fellow attendees was so supportive, I came home and dug through my attic space until I found the Composition book. My desire to write the novel was reinvigorated, but it would likely have remained dormant, safely stored away in my mental attic, had I never attended the conference. Now, two years later, the sixth draft of my novel is complete, and I feel equally excited, motivated, inspired, and encouraged. And I already can’t wait until next year’s conference.
When I returned home from the third and final day of the conference this afternoon, I spent over an hour nestled in my backyard hammock, snuggling with my whippet and reflecting on all I had learned–only the tiniest fraction of which I had the time to relate in this blog post.
Back in April, I attended a submissions workshop put on by the 
