Cage Escape Quest Dragons Home
/
Image by Gerhard G. from Pixabay
The Long Game is Built on Relationships
/
Hey y’all,
Much has changed in the world of publishing and self-publishing. This past weekend, I attended the Willamette Writers’ Conference in Portland, Oregon. This was my first Conference in several years.
About 10-12 years ago, I went to quite a few.
At that time, I was hungry for an agent or an editor or both because, like most of us who had been writing for many years, it was my dream to get published.
By my 3rd Conference, I was a pro at finding where the agents and editors would be, at angling for an opportune conversation where I could pitch my story that was not yet a novel.
I had an agenda.
So did every other writer who was at the same conference.
We were sharks circling a handful of meaty minnows. It was exhausting for us, and it was highly unpleasant for the agents and editors who attended these conferences. There wasn’t an agent or editor at any conference I went to who didn’t have some over-the-top stories of being stalked by 100’s of writers – some more overzealous than others.
One of the classes I went to this weekend taught me that my mindset back then had been a mistake.
Since I am committed to the self-published path, I hadn’t signed up for any pitches. I couldn’t care less about who the agents and editors were – unless they were freelance and good, because I need one. I went to this WW Conference because they had a lot of classes on self-publishing and marketing tips.
I was there for what I needed to learn.
Russell Nohelty taught most of the classes on self-publishing, building an audience, and making a profit. His core theme surprised me though. In his class on building an audience from scratch and on pitching, what he had to say came down to one thing. Connection.
“Publishing is a long game. And it is a game that is built on relationships.”
In his talk on building an audience, Russell said he spends about 10 hours a week communicating with some of his fan base. He asks questions about themselves, their lives, their favorite books, movies, shows, hobbies, and interests.
“Instead of treating them like a $20 bill, I find out who they are as 3-dimensional humans. Be a human treating somebody else like a human. Then go out and find other humans who have similar interests to the human who likes your stuff. Chances are you will find more.”
When I went to his pitch class, he said pretty much the same thing.
“Go into the pitch session and take a minute to find out what the agents like, and what they are looking for. Treat them like a human, not an opportunity. Even if they don’t want what you are looking for, you might have something like that later. And in the meantime, you’ve made a friend because you’ve treated them like a human. And if they can’t help you, they might direct you to somebody who could.”
And in that class is when Russell said.
“This is a long game. And it’s built on relationships. Chances are none of you will sell your book or your script from this conference. But you can make connections. From those connections, you could make some friends. That is what will serve you in the long game.”
As I listened, I cringed a little when I thought back to those early conferences, my sharp eyes, and restlessness that probably made the agent or editor very uneasy. I was not being a human trying to connect with another human. I was a predator looking for something to feast on. When I think back on those conferences, I’m pretty embarrassed.
My agenda mindset may have accounted for some less than fabulous perceptions I had ultimately of the publishing industry. Yet in defense of hungry writers stalking agents and editors for a chance, the Monolith of Traditional Publishing set it up that way when it became a business rather than a forum for the art of the written word.
Ours is an aggressive culture that is very focused on the outward trappings of success measured in tangible units like money, and less tangible ideals of elitism and exclusion. Something happens to creativity when the focus is on money, not the finished piece of art, whether this is writing or painting or music or theater or film or dance. When the focus is on getting in, getting up, and getting more, how can the creative juices flow? How can new ideas and fresh perspectives flourish when the pressure is on to make money, Money, MONEY?
To backtrack to the Conferences I had gone to more than a decade ago…
My journey through the Conferences started during my DIY booktour/roadtrip, an odyssey of self-publishing.
With the Beast filled with 100’s of my self-published copies of “Ella Bandita and other stories,” I went to the San Diego Writers’ Conference in the spring of 2006. Yet the advice given to me was: Do NOT bring attention to the fact that I had self-published.
There was a strong stigma to being a self-published author, and I was told that would be the kiss of death for anybody who was somebody in New York publishing.
Marla Miller, an editor and writer who had her non-fiction published, but still couldn’t get her fiction published, was very blunt in talking about how publishing was a tough business and we all had to play the game.
A lot of classes talked about all the rules and regulations, the have-to-do-this and the don’t-you-dare-do-that RULES TO LIVE BY, for any of us to have even a snowball’s chance in Hell of ever getting published.
Oh, and the market for fiction was shrinking faster than a receding glacier.
The pressure was on. Those who were in the Industry were all-powerful. Those who had been published in that Industry had oversized egos.
They were the cool kids and the writers (unpublished) were the outsiders. Of course, many of the cool kids were very nice people.
Most of them were quite reserved – obviously necessary for the sake of self-preservation with all the hungry writers stalking them. But it wasn’t long before I began to feel like the pathetic geek trying to get the cool kids to accept me.
That really sucked.
And frankly, I think the dynamic of in-group vs. outcast is grossly inappropriate.
Writers are, as a general rule, odd and eccentric people.
Most of us were not in popular crowds in high school, college, or even adulthood. We were the introverts, the watchers, the geeks, and the freaks.
Chuck Palahniuk (Fight Club) said in a fantastic speech: “I believe writers became writers because we were the ones who were never invited to the party.”
This was at the last Willamette Writers Conference I went to several years ago. Of course, this pithy line was part of a hilarious story he shared about an exclusive yacht party he’d been invited to because he was now “THE Chuck Palahniuk, Famous Author.”
But he was so right it hurt. A publishing industry constructed on popularity dynamics becomes an environment where the creative minds of voyeuristic screwballs cannot and will not thrive.
I remember many of the agents and editors wanted something that was “a lot like Jodi Picoult.” A lot were looking for Urban Fantasy, which was really hot at that time. One agent suggested I rewrite my pre-Industrial Revolution fairy tale of Ella Bandita into an Urban Fantasy, and maybe she’d be interested.
What did I write that was a lot like what somebody else had written? We were encouraged to define ourselves as effective copycats of somebody else who had already succeeded.
They were looking for the next hot book to be the next runaway bestseller. It was all about money.
The world was addicted to self-help. A non-fiction book on how to lose 100 pounds in 6 months or less, or how to get rich in 3 years, would have a shot. But the fiction market was shriveling up.
I’m not saying there’s anything wrong with ambition, wanting to do a good job, wanting to be successful, or even wanting to make a profit. But there has to be a limit and there has to be balance.
And if the publishing houses want profitable stories, they need to nourish and support the weirdoes who will be the ones to bring them something different – that might actually become that next runaway bestseller. But you have to support them, not choke them. Creative minds don’t flourish under pressure like that.
Also, the upstart Amazon was stirring things up at this time.
With the burgeoning ebook market, Amazon was coming out with guns blazing and suddenly, there was an endless vista of possibility for self-published authors.
Many agents and editors expressed nervousness about what was happening, because of course, Amazon was totally undercutting the Monolith of New York Publishing and their overpriced books.
One agent compared Amazon and the state of publishing as the Wild West where anything goes because it was lawless.
In other words, New York Publishing was no longer all-powerful and invincible. What was going on at that time would change the world forever, when it came to publishing and even better, doing away with the stigma of self-publishing.
Now, it’s a badge of courage to claim yourself as an Indie Author. It also sounds more rock star.
Of course, publishing and those who played in that arena have adapted to the changing market and what needs to be done. The Big 6 publishers are still going strong.
But there are now hybrid authors who do both traditional and self-publishing. Even those with Big Publishing Houses behind them still have to do all the promotion that Indie Author has to.
Back to this past weekend…
Since I didn’t go to any of the panels with agents and editors lined up like ducks in a row, I have no idea the current attitude of the players from the Big Publishing World. So there’s no way to compare then and now.
It was refreshing to go to a Conference, and not give a hoot who the agents and editors were - unless they were freelance editors, but stalking was not necessary. I can simply hire one.
I’m sure there were writers stalking agents, but none of those sharks was me.
Instead I focused on the classes geared towards Indie Authors, what I could learn, and the only thing I kept an eye out for were other writers who needed a writers’ group.
I found them too. In the classes geared towards Indie Authors. Our first meeting is at the end of the month.
So, in this long game built on relationships, perhaps now, I’m on the right path.
Thanks for reading!
Peace,
Montgomery
How to Use NaNoWriMo to Write a Novel You Can Actually Publish
/NaNoWriMo was established in 1999 to help writers get the damn words out. One of our biggest hurdles as writers is to simply write. So a bunch of people got together and said, you know what? This November is going to be the month where we get all those words out. One month, 50,000 words.
The thing is, if you participate in NaNoWriMo and you manage to eke out 20-50k words, what then? What do you do in December? January? How do you turn those words into a draft you can actually tolerate to read?
Because when you’re writing for NaNoWriMo, quality doesn’t matter. Just the word count. And on one hand that’s a valuable practice for a writer….I mean, you should be paying attention to quality, but at a certain point it becomes more important to get words out so you can test your ideas, your characters, plot...make sure all of that’s working reasonably well before you start fine-tuning the language.
Plus, NaNoWriMo helps you get in the habit of writing every day. Which is a practice that is essential to being a writer. Writing isn’t something you do when you’re inspired. It’s the job you show up to day after day, getting your work done.
So that’s the great part about NaNoWriMo. But here’s the clincher. A lot of writers find that once they’ve finished their 50k words, they have a novel. Without revising. Without letting those words sit in a cold dark drawer for months and months collecting dust, to be brushed off at some future date when your brain is clear from the wash of excitement and sweat and can actually be a little more objective when going through for an edit.
NaNoWriMo is valuable for helping you to develop your work ethic. NaNoWriMo is helpful for testing out your ideas and pushing through the hard moments of plot failure, character tweaks, and communication issues. It’s a caffeine fueled binge for your craft.
But you need to remember that you’re practicing a craft. A cabinet maker doesn’t just slap some wood together in the shape of a cabinet and call it good. There are all of the other elements involved: the glue and clamps and perfectly fitted joints, hours of sanding and finishing and sanding and finishing again. There are the finishing touches, the carefully picked out brackets and handles. No aspect of the work gets ignored.
Which means that NaNoWriMo is your time to get the words out, and the following months are used to hone the other parts of the craft: learning how to let it sit, revision, accepting critique, and editing.
These other aspects are instrumental in growing your abilities as a writer, and if you’re planning on shipping your manuscript off to an agent once you’re done, you’d better be sure you’ve followed through on these other steps.
NaNoWriMo Calendar to Get You a Bonafide Novel by June
December: READ other books
Reading is paramount for your success as a writer. It’s Stephen King, one of the highest grossing authors and a man who produces an insane amount of national best-selling books, who famously said, “If you want to be a writer you must do two things above all else. Write a lot and read a lot.”
If you’ve been grinding down to write your entire novel in the month of November, take December to catch up on your reading. Go as crazy as you did for NaNoWriMo. Set a goal, say, 10 books, and tear through them this month.
Reading other books will help inform your own writing. You’ll get ideas for how to revise your own novel. When you’re reading a well-regarded novel, you’re actually learning about writing from a master. So use this as a means to make your own writing better.
This month is also a time to let your manuscript sit in a dark drawer, away from prying eyes. You don’t get to read it. You don’t get to show it to other people...not yet. Distance yourself from your work (and from the rigor of the work) and let it simmer until you come back to it next month, in January, when you can read it over with perspective and a fresh set of eyes.
January: Revision
Your first phase of revision is your own. You still haven’t introduced your manuscript to other readers. Keep this round for yourself. Your head should be full of other people’s novels, so when you turn to your own you may better be able to hear rough patches or finicky plot twists.
February: Readers
NOW you get to show your work to some people whose opinion you respect. Ask them to read your novel and give you notes -- not edits; you’re not into the nitty gritty fine-tuning yet; you don’t care if you’ve misplaced a comma or if you have a tense out of place here or there. Just get broad notes on characterization, plot, language, dialogue, scenes, sense, etc.
Collect all your feedback and consider it. Many writers I’ve come across have a hard time taking in their reader’s feedback, feeling like their work is too precious, or the reader just doesn’t “get” the work, or any number of reasons.
But the truth is, as a writer, you’re not writing for yourself, you’re writing for them, for your readers. So if your readers are struggling with something, take a step back and pull your ego out of it and change the damn thing.
You’re supposed to pick writers whose opinions you trust, so there’s no reason why you should back out of that trust once you get their feedback.
March: Revision
Round 2 of revisions! Now that you have reader feedback it’s time to make those changes. Run through and fix what your readers have asked of you (as long as you agree, and you’ve taken your ego out of it!) and then run through it one more time reading your entire manuscript out loud.
Reading aloud lets you actually hear how things are sounding outside of your head, instead of locking you inside your own brain where things generally sound better and make more sense.
April: READ!
You’re almost done! So put your manuscript down and let it sit again in that dark drawer that’s becoming more comfortable and friendly by now. Read more books and learn more so that when the time next month for critique and final edits, you have more knowledge and more writers in your head to help you error correct.
May: Edits and Critique
This is your final round of edits, so instead of finding readers among your friend group, send this round off to people who are actual writers or editors. If you don’t know someone who is a professional writer or editor, hire somebody. You’ve just spent MONTHS working on a novel that you want to actually be able to publish? Spend some cash to get it professionally edited! If you believe in your work you’re making a worthy investment. If you don’t believe in your work, that dark drawer will be happy to hold onto your manuscript until you’re ready to grow a pair and make it good.
Make your final edits per your editor’s notes, give it a final read through, and accept that it’s not going to be or do everything you wanted. I remember Zadie Smith saying something like, “the best time to revise a novel is several months after it’s published.” You’re never going to catch everything; you’re not going to be 100% satisfied.
And hey, you’re still probably not done. Next month you’re going to send it off to agents and publishing houses and you’re going to get rejection letter after rejection letter. It’s likely going to take several months for an agent to want to pick up your work. Stick to it; learn from rejection. If you’re lucky enough to get feedback, incorporate that into your revisions and keep on sending.
If you're going the route of independent publishing, you can be sure that your work is ready for the public at this stage.
Following these steps may not seem as romantic as churning out 50k words for NaNoWriMo but they’re going to give you a manuscript you can be proud of, knowing you actually put in the work.
