Writers Write . . . and Confer
©2002 by Kris Wallace

Writers’ conferences energize me. I get to talk about reading and writing, I get to listen to other people talk about reading and writing, and I get to find out what other people do in their areas of publishing. It’s great.

This weekend I was invited to speak at the Louisville Writers’ Conference. The turnout was small, though I was impressed by the day’s schedule. The lone organizer was able to secure a published science fiction author, an award-winning poet/professor, an editor from a well-known New York house, a local arts reviewer, a nonfiction writing professor, a small press production director, and me.

There was an abundance of information and experience for writers, and myself, to tap into. Instead of agonizing over unknowns, attendees had the opportunity to speak with writing and publishing professionals in person. This is the most efficient and inexpensive way for writers to extract the advice of experts.

With writers’ conferences becoming more widespread, aspiring authors have no excuse for not knowing how to query an agent, what services to expect from an editor, or what publishing opportunities are available to them. This is valuable information. This is information that could make the difference between being published next year or never.

Most often writers want to know how to query and land an agent. Again, very important information. Not adhering to prevalent submission guidelines puts a writer at a great disadvantage. I admit that I barely pay attention to projects that do not follow submission guidelines. If a writer is not concerned with proper submission protocol, chances are she won’t be concerned with proper protocol in any other phase of the publishing game.

I need to know that a writer is dedicated to making her work the best it can be. I need to know that a writer is dedicated to making her work the center of her universe. Finding and following proper submission guidelines is the first step.

Plus, by knowing what is expected of her and her work in the publishing process, a writer is better prepared to concentrate on the important aspects of making her manuscript a book. She will be able to better communicate with her agent and editor and won’t be caught off guard by any unimportant details.

It’s a pleasure to talk to and work with writers who understand the tough business of publishing and who can appreciate the way the business operates.

Find and sign up for the next writers’ conference within a day’s drive from your home. It doesn’t matter what kind of writers’ conference, be it romance, science fiction, poetry, whatever. You will learn something valuable. You will learn at least one thing you never would have discovered had you stayed home in the comfort and safety and anonymity of your private space. And a publishing agreement won’t come looking for you there.

QUESTIONS FROM WRITERSMONTHLY.COM READERS

Laurie C: I wrote an article for CCOF, California Certified Organic Farmers, which is in this summer's issue. I was paid for my work and mileage...but not very much. That's OK.

My question is: Who owns my work? Can I send it to someone else? I sent them many photographs as an add on. They never paid me separately for them. They used one in the publication. What of the rest? Their president mentioned using one as a cover photo in the future. I actually want them "back" if possible. Can I write them and tell them that? How do I protect myself?

Kris: Laurie, it sounds like you were hired to research and write this specific article, in which case it was most likely a work-for-hire. When a writer is hired to write a specific story and given a deadline, or employed for the purpose of writing pieces for a specific publication, it is called a work-for-hire and the piece belongs to that publication.

When a freelance writer writes pieces on her own, without specific direction or a deadline from a publication, and then sells a piece for publication, the sale is typically for that one time specific use and remains the property of the freelance writer.

The photos may be your property if you used your own equipment and you were not specifically told to obtain photos to accompany the article. Please know this is a very general response to your question. Look into definitions of work-for-hire and independent contractors for more information. Check out this piece from the U. S. Copyright Office, or take a look at its web site. http://www.copyright.gov/circs/circ09.pdf

Bill B: What makes a killer cover letter and synopsis? How long should it be? What doyou include, what do you leave out? How do you get an agent interested in seeing the whole manuscript when your novel's target audience pretty much excludes those who watch "Oprah" every day?

Kris: Bill, typically a query letter should be no more than one page long. And it needs to grab the reader’s attention right away! Agent’s know why you’re writing to them - just like every other writer you have worked a long time on an amazing book that will surely be a bestseller. Tell them something they don’t know. Teach them something. Agents, or their staff, read hundreds of queries each week. Be outrageous - make them remember yours.

I don’t like reading synopses; it gives too much away. I don’t worry about the story if the writing doesn’t pull me in. The subject matter of a project is secondary to the writing.

Cristy S: There is glamour in fiction, respect in nonfiction, but how do I find representation if I write commentary? I know it may sound odd, but for someone with an overly analytical mind it is really the most fun. I can't help looking at the things we do, and wonder what we were thinking? But is there a market for this, and if so, what would you suggest?

Kris: Cristy, as I said above in my response to Bill, the subject matter of a project is secondary to the writing. If your writing is wonderful, then you should be able to make your work fun for the audience as well.