Why Enter Contests?
Sherry Davis
April 2007
IMO, contests offer a valuable stepping stone for writers. It acts as a first step of faith for a writer to submit their work. Not everyone is ready to submit to an agent or editor.
While some writers are blessed with a great critique group to submit their work on a weekly basis, a lot of writers don't have that option. They live too far off the beaten path or don't have access to an online writers group. Many writers just aren't ready to commit to a critique group or to have their work critiqued on a regular basis.
In the beginning, and I'm speaking from experience, it's terrifying process to submit your work to other writers. You have to sit there and watch their faces and listen to their comments. Try not to turn the whole process into a defense for your work. It can be an emotional beating.
Let’s face it; not all critiques are friendly or professional. Relationships play into a face to face critique. Sometimes, the best part of entering a contest can be the anonymous factor.
Anonymous means the exchange is gratuitous. There’s no agenda for the judge to low-ball the score. They don’t get any kind of compensation for writing glowing comments on your entry. Judging in itself can be a tremendous opportunity to learn from the process. You as the writer have no obligation to receive the comments as gospel. Take it as you will. If you agree with the judge, use the information to make the story better. If not, don’t. They didn’t get it.
Anonymity means you can both walk away without hurting anyone's feelings.
But be honest with yourself. Remember, there’s no agenda on the judge’s side. They don’t know who you are. You don’t know who they are. In other words, if they took the time to write a comment, take a hard look before you discount it.
Contests, at least for me, offer something I can't get from my critique group. Fresh eyes.
It's invaluable to me to get that first impression of the work after I've polished it. I have a critique group of professional and friendly (and uber-talented) women I critique with. But after they’ve seen the same story month after month, they lose that freshness. They also know me so well they can fill in the "intention" of my writing. They "know" what I mean on the page.
(Some writers use beta-readers for this process. In fact, that’s what the term means. Published writers have their agent. I don't have that option. Yet!)
A contest judge has no clue of your intention. For that reason, their comments force me to work a little harder to make certain my intent is clear to everyone, not just my critique group.
So, the $25 fee isn't just to get my work in front of the final round agent or editor, or to place or win. It's to gain commentary on the overall submission. This is, after all, what will go out to the various editors and agents on my list.
That's why I always send my work out to contests before I submit it anywhere else.
Just my $.02 worth. Take it as you will.
Happy Writing,
Sherry
The Four P’s of Pitching at Conference
by Sherry Davis
April 2008 RWR
Why do some writers seem so calm and confident when pitching and others seem terrified? Is there some secret password? A clandestine ritual where they received the official handshake of success?
Pitching to an editor or agent at a major conference can be nerve-wracking, to the experienced and the untried alike. Even seasoned multi-published writers with years of pitching behind them get nervous and botch things up. But you can elevate your chances of a request if you do a few simple things.
1. Be prepared.
Know your major characters and plot points inside and out before you sit down with an editor or agent. If this means writing them down on note cards, taping them to the bathroom mirror or a tattoo on your arm, do it. Cut out pictures. Make a flash video. Whatever. Your story needs to be as close to a reflex action/muscle memory as possible.
Also, key words are helpful and central to a good pitch. If you get flustered or tangentially challenged at any time, a keyword can effectively get you back on track.
When asked what she thought was the most important thing was about a pitch, experienced writer Nikki Duncan had this to say: “That’s a tough question. Ultimately, I think confidence is key. Regardless of how nervous you are, I think if you’re confident that you’ve written and polished the best story you can then your appointment will go well.”
2. Practice with a buddy.
For some, this may not be possible until you actually arrive at the conference. If you don’t feel comfortable enlisting the help of a non-writing friend or family member, you’re not alone. But don’t let it stop you from practicing. Find or borrow a hand-held recorder or video tape yourself to find the sticking points in your pitch. Take a critical look at your speech patterns and body language. Don’t neglect your personal hygiene. Is your look updated and neat? If not, now is the time to fix it. Don’t wait until the day before the conference to try a new hairstyle that will only make you feel more self-conscious and uncomfortable in front of an editor or agent.
3. Be Polite.
Your mother was right. Good manners matter. Please and thank you really are magic words. Don’t talk so much you forget to listen. Ask a question or two. Part of finding the right agent or editor is to make a personal connection. Thank the editor for taking the time to meet with you.
Candace Havens, author of Like a Charm says: “Remember to stop talking. Give the short one minute pitch and then pause so the editor/agent can ask questions.”
4. Presence.
While most of us take this for granted, presence is a major factor in any interview. The way you walk into a room says a lot about you. And first impressions count. Yes, you’re a writer. You work in pajamas or comfy sweats you borrowed from your hubby or your college roomie. But they don’t need to show up in your editor/agent appointment.
Clothes say so much. They tell others how to treat you. If you don’t take yourself seriously and dress for success, the editor or agent won’t either. Sorry. That’s the hard truth. Plan ahead and buy/borrow appropriate professional/business clothing for your interview. You don’t have to spend a fortune. You do have to appear neat and organized. No hanging buttons or threads. No bare midriffs. Too many patterns or colors are a distraction to your audience. Tone it down (or kick it up!) to moderate jewelry and makeup.
Sit up straight. Smile, even if you don’t feel like it. You’re a writer. If you have to, fake it. Give the editor or agent a firm, brief handshake. Don’t be alarmed or put off if they politely refuse to shake hands due to a cold or other illness. Move on to the introduction, yours then the editor or agent. Have your business card ready. (I highly recommend simple business cards for networking purposes at conferences.) Next, the pitch.
Try to make your pitch more of a conversation between two interested parties instead of a one-sided regurgitation of facts.
Another important tip rarely mentioned because, for most of us, this is a given: Be enthusiastic about your subject matter. Let the editor/agent know what makes this work stand out from all the others. Then shut up. (No offense.) Listen. Ask a question. You’re done. Breathe. Relax.
When the editor/agent hands you their business card, take out your pen and write exactly what they requested on the back of their card. (Trust me. You’ll be glad you did.) Put the card in a safe place. Shake the editor or agent’s hand and thank them, again, for taking the time to meet with you. That’s it. You did it!
Writer Dawn McClure has this to say about her first experience: “The most important thing to me? Relax! I was so nervous and stressed out I stuttered over my pitch. When all was said and done, the very first thing that popped into my head was, "I stressed for weeks over a three minute pitch?" What a waste of energy. If I ever pitch again I won’t make such a big deal about it. It's not worth that much stress.”
Good luck!
Sherry A. Davis
RWA PRO Liaison
Editor/Agent Requests: Are They All the Same?
By Sherry Davis
August 2008 RWR
You’re back from the National Conference, armed with requests from your editor or agent appointments. Your mind is on overload and your emotions are running the gamut from excitement to trepidation. You have every intention of sending out your multiple requests as soon as you get back to your computer and click the print icon.
Conferences are great for making connections and networking. Chances are your formal appointment with your target editor or agent wasn’t the only opportunity where you received a request to submit. Maybe you ran into an editor or agent at the bar, in the elevator or during a workshop and were invited to submit. Maybe your mentor or critique partner introduced you to their editor or agent and you received an invite. The opportunities are endless at a large conference.
That’s great. But somewhere between waving farewell to your friends, the long drive or flight back home and unpacking your bags to begin your regularly scheduled week, exhaustion will set in. Questions and doubts will begin to bubble up like Ole Faithful. It’s time to assess the situation because not all requests are the same.
Requests are great but they’re not the goal. Getting the right work in front of the right house and the right editor who can offer you a contract is the goal. Getting your work represented by the right agent is the goal.
With that in mind, take a moment to shuffle through the business cards you received during the conference. Write down everything you remember about the particular agent or editor you met, where you met, whether it was formal or informal, group appointment, workshop free-for-all or one-on-one. If you’ve already done your research on the agent/agency or editor/house, you’re set. For those of you who haven’t, now is the time for research.
If you favor the scatter method of throwing everything at the wall to see what sticks; stop reading. For those of you who prefer a more targeted approach to finding the right editor or agent; read on.
Believe it or not, there are any number of reasons why you may want to disregard a request to submit. You may not have experienced the spark of enthusiasm you wanted when you pitched your manuscript. Or you might have learned this particular senior agent/editor has a full roster and the request is a shot in the dark to find the next Nora. Maybe the junior agent is a little too new or they are getting married at the end of the month, having a baby, going through a divorce, whatever. These are all considerations for the writer as much as they are for the agent/editor. This isn’t personal; it’s business.
Here are a few quick tips on assessing your appointments:
One-on-One Appointments: These are easy. It might be helpful to make a list of the things you liked or didn’t. Write out questions you didn’t ask but would like answered. If you are in doubt about anything the agent/editor said, use their business card and contact them by email or phone for clarification.
Group Appointments: More than likely, you had sixty seconds or less to pitch your book. Chances are everyone received a request to send a partial. If so, you may want to rethink this one. If you felt the editor or agent was specific enough with what she’s looking for and you know your manuscript will be a good fit, send it.
Workshop Free-for-All: These are harder. You probably sat quietly while a panel of editors laid out the needs of each specific line of the house. This will most likely land your manuscript in the slush pile. Don’t expect any quick turn-arounds. On the upside, by sitting through this workshop, you’ve targeted the specific editor who likes what you write. Send it. If they specifically requested no vampires and your manuscript has one; don’t. Even if your vampire is different from all the others; don’t.
The Chance Encounter or Introduction: These are the best. You’ve connected enough on a personal level that the agent or editor has taken a moment to personally invite you to submit. She knows what she wants and she wants you! Congratulations.
On to the big questions: Do I send now or take the opportunity to revise it one more time? How much is a partial? First three chapters? First fifty pages? Do I double it if she requested a “chunk”? Triple it if she requested “a good chunk”?
Patience is the key. Give yourself a chance to breathe and think critically after a big conference. If the manuscript is polished and ready to go, then send it. If not, take the time to get it right. Send it to a beta-reader or through a trusted critique partner. The agent or editor won’t mind waiting for the polished version. They will mind slogging through an error-filled rough draft, no matter how enthusiastic they seemed about the project when they requested it. And if you’re uncertain about how much to send then call and ask.
Always send the editor or agent exactly what they requested. This is a professional relationship. Show them you can follow directions. Keep track of what you’ve sent out and mark off the responses as they come in.
After you’ve chosen which requests to honor and sent them off, do yourself a favor and start on the next project. Not only is it a distraction from obsessing over the mailbox but it will keep you moving forward. Waiting is a big part of the process and it always pays to have something else to submit when you receive an offer or a rejection.
Lastly, hold onto those requests you didn’t send. Your manuscript may not have been a perfect fit at that particular moment but your next project may be exactly what they’re looking for during the next conference cycle. Remember, conferences are about networking and you’ve just added a contact. This will give you a reason to walk up and shake their hand or say hello at the next conference, right?
Editors and agents are no different than the rest of us. They feel the same overwhelming enormity of a big conference. Yours may be the friendly face they pick out in a crowd. Whether they rejected your manuscript or not; it’s nice to see a familiar face and, perhaps, pick up another request to submit your next manuscript.
