Attending a writers conference is a crucial step in your publishing journey, especially if you aim to be traditionally published. These events offer opportunities to meet agents, connect with editors, and learn extensively about the industry. However, they can be costly and time-consuming. The key to maximizing your experience at a writers conference is preparation.
How do you properly prepare for a writers conference to set yourself up for success?
I spoke with Rachelle Gardner, a literary agent representing fiction and nonfiction authors for more than 12 years. She’s worked with published authors since 1995 and has worked with two different publishing houses. Rachelle currently represents an impressive list of 75 bestselling and award-winning authors.
Thomas: As we record this conversation, it’s 2020. Do you think writers conferences will be around in 2030, or will the coronavirus permanently end them?
Rachelle: I think writers conferences will continue to happen. Some online writers conferences are happening now, so we may be going in that direction. But just three days ago, I was at a writers conference meeting with writers. I think conferences will continue to be a valuable part of a writer’s experience for quite some time.
Thomas: I agree. While you can easily and affordably gain knowledge online, there’s no substitute for the personal connection that comes from meeting people face to face. Looking someone in the eye and wondering, “Is this the next best-seller?” is an experience that simply can’t be replicated online.
How can an author prepare for their next writers conference?
Rachelle: First, you want to look on the conference website and get a good feel for who will be there.
- Who’s on the faculty?
- What agents and editors are you interested in meeting, whether through an appointment, at a meal, or in the hallway?
- What do you want to say to them if you meet with them?
As you prepare, try to become very familiar with your project or projects and get comfortable talking about them. It’s not just about memorizing an elevator pitch, although having one can certainly help. Try speaking naturally about your work.
At a recent writers conference I attended, I noticed many people were extremely nervous. I kept telling them, “Don’t worry about it. Just imagine we’re at a casual gathering, like a cocktail party, and I’ve asked you, ‘What’s your book about?'” The goal is to feel comfortable discussing your book in a relaxed way.
However, it’s important to practice this. Focus on identifying the essence of your book because you don’t want to end up rambling for two or three minutes without clearly conveying what it’s about. Preparation will help you communicate the heart of your story in just a few words while leaving time for the agent or editor to ask questions.
How can an author mitigate that nervous feeling of meeting with an agent or editor?
Thomas: The more research you do, the more you learn about the impressive resumes agents and editors have and the scarier they can become. What tips do you have to help authors connect with these folks as real people?
Rachelle: Understand that feeling nervous is normal. Many people will be nervous, and it’s okay. You’re nervous because the stakes feel high. This is something that really matters to you and that naturally creates anxiety.
I encourage people to remember that agents and editors are regular people. We wake up in the morning, take care of our kids, and go about our lives just like anyone else. More importantly, we’re on your side. We genuinely want to hear your best work and are very interested in who you are and what you’re writing. We’re not here to challenge or oppose you. We’re rooting for your success.
Another strategy that can help ease nerves at a conference is to shift your focus from yourself to others. Instead of fixating on how nervous you feel or who to talk to, look for someone else who seems anxious and approach them. You could say something like, “Hey, how are you doing? Have you been to this conference before? Are you nervous? I’m about to pitch and feeling a bit nervous myself. How about you?”
By checking in on others, you’ll create a connection and relieve some of your own nervousness. You can even strike up a casual conversation with an agent or editor by asking, “How’s your day going so far?” In doing so, you acknowledge them as a person and shift the focus away from yourself, which helps with the nerves.
Thomas: I love that advice to think about yourself less. This is a solid strategy for many aspects of life, including your blog and book. Don’t write about yourself; write about your readers because they want to read books about themselves. Even with a novel, readers want to feel like they can relate to at least one of your characters.
It’s helpful to remember that agents aren’t famous in everyday life; they’re only “famous” in the world of writers conferences. If you tell someone at church you’re a literary agent, they might respond with, “Oh, that’s nice. What does that mean?” It’s not like being a Hollywood celebrity or a famous musician with an entourage and bodyguards. Agents are just regular people, not presidents or dictators of some foreign country. Keep that in mind, and it might help ease your nerves when you talk to them.
Rachelle: And also, we’re really nice. We’re not mean people.
Thomas: Agents don’t go to the conference to reject people. They’re trying to find at least one person to say yes to. Agents only win when their clients win. To calm your nerves, remind yourself that agents and editors don’t feast on the broken dreams of authors at the faculty dinner.
What is a one-sheet?
Rachelle: A one-sheet is exactly what it sounds like. It’s a single page that captures the essence of your book. It’s a physical document you can bring to meetings with agents or editors and easily slide across the table. Typically, it’s nicely designed, featuring an image that evokes the theme of your book. It includes a brief blurb, similar to back cover copy, that summarizes your story, along with a short author bio and usually a small photo of yourself. The book’s title is prominently displayed, and it all works together to present your book on a single page.
People often bring one-sheets to conferences to give to agents or editors. Sometimes, if an author is really nervous and struggling with their pitch, the agent or editor might just say, “Let me take a look at your one-sheet,” and that’s perfectly fine. However, while there’s a lot of focus on one-sheets and many authors stress over them, they’re not the most important part of the process. It’s great to have one, but it’s not essential. Even if your one-sheet looks amazing, that alone won’t sell your book. A visually pleasing design is nice, but what truly matters is our conversation. I’m more interested in learning about your book through our discussion than from a piece of paper.
I might look at your one-sheet during our meeting, but I may or may not want to take it with me. Some agents like to take them because it helps them remember which projects caught their interest and which authors were pitching what. That can be helpful. However, many of us are moving towards doing everything electronically. For instance, I take notes on my iPad. If your one-sheet stands out, I might snap a picture to keep with my notes. While it’s nice to have one, I don’t think it warrants the level of focus and stress that people often give it.
In fact, I typically attend a few general market writers conferences every year, and at those events, no one has even heard of a one-sheet. Not once has anyone given me a one-sheet at a non-Christian conference. This has developed within the CBA (Christian Booksellers Association) world and become a popular trend, but it’s not the most important thing.
Thomas: One-sheets are a relatively recent trend. When I started in this industry, they weren’t around. While they can be a useful tool, they’re not essential. If you’re frantically printing a one-sheet in the hotel business office at a writers conference, you’re doing it wrong.
Rachelle: In the writing life, especially because writing and pitching are hard, and meeting with agents and editors can be nerve-wracking, it’s easy to focus on things that feel less intimidating. This may be an unpopular opinion, but I suspect we feel that a one-sheet is something we can control, so we pour all our energy into making it perfect as a way to avoid thinking about the more stressful parts of the conference. I think that’s why one-sheets have become so popular; they’re a distraction from the tough stuff. But no one will ever say, “I had to acquire that book because the one-sheet was amazing.” That’s just not how it works.
Thomas: A one-sheet is like a seasoning for cooking. It’s useful in certain situations, but it’s not essential for a great dish. If it’s all you’ve got on the plate, no one’s buying that meal because it lacks substance. If you’re scrambling to finish it at the hotel, you’re missing valuable time you could be spending connecting with other authors, agents, or editors or simply listening and learning from conversations around you.
You can learn a lot from the sessions at the conference, but you can also pick up valuable insights in conversations around a table, in the coffee shop, or during networking moments. Industry trends and behind-the-scenes knowledge often come up in informal chats. If you’re busy tweaking the margins on your one-sheet, you’re putting the cart before the horse.
What should an author prepare to bring to the conference?
Rachelle: Many conferences actually tell writers not to bring anything. For example, at the conference I attended last weekend, there were moments when an author struggled with their pitch, and I’d ask if they brought a proposal, one-sheet, or query letter to help guide the conversation. Several of them said, “Oh, no, they told me not to bring anything.”
Conference guidelines can vary, so it’s important to follow the specific instructions provided. Often, the conference will clarify what’s expected, and the bios of agents or editors you’re meeting with might also give clues. Some may prefer to see a few pages, a proposal, or even a one-sheet.
Go ahead and bring your one-sheet if you have one. If you have a proposal or first chapter, bring it along, and if someone wants to see it, you’ll have it available. But you’re not necessarily pushing it across the table and saying, “Here’s my stuff. Take a look.”
With fiction, experienced agents or editors can often tell a lot just by reading the first page or two of your novel. So, it’s helpful to have those pages ready in case they ask to see them during your conversation. Some conferences offer 15-minute meetings, which, from an agent’s perspective, is a long time. Having those pages on hand can make the most of that time if needed.
Thomas: An agent typically knows whether they’re interested after the first five minutes, which makes the rest of the appointment a pain.
Rachelle: Exactly. It can be hard to figure out what to talk about, especially if the writer is nervous and the conversation isn’t flowing. Sometimes, a proposal or chapter allows me to learn more about your work and use our meeting time productively by reviewing your written materials. However, at conferences with shorter meeting times, you won’t have the time to pull out any written materials.
Thomas: It’s better to have those written materials in your bag and not need them. The conference staff isn’t checking your bag, so there’s no reason not to have a printed copy, just in case. Sometimes, agents get really excited and want to read your book on the plane. It doesn’t happen often, and most agents don’t want the weight in their carry-on luggage, but some do. You want to strike when the iron is hot.
What mistakes do writers make when preparing for a conference?
Rachelle: I sometimes see a bit of overreliance on the memorized word-for-word pitch, which often comes out stilted. That makes it hard to have a conversation. On the other end of the spectrum, sometimes people have difficulty coming up with just a few sentences to tell me about their book, so they ramble. At some point, I lose the thread of what’s happening and wish they could capture the essence of the book in a concise way.
Maybe the mistake is underestimating the amount of time you should give to prepping for those meetings. Preparation can make a huge difference in your experience during that meeting. Before you arrive, explore different ways to talk about your project. Write down some potential questions you might be asked about your plot, characters, or ending. Then, practice answering those questions. It doesn’t have to be memorized but try to get comfortable casually discussing your project.
Thomas: Practice this conversation with real human beings if possible. Practice with your mastermind group, critique group, or a friend, and allow them to ask questions. Even one practice conversation can dramatically reduce your nerves and increase your ability to pitch your book. It even decreases the amount of “ums” you say, and if you have a three-minute appointment, you don’t have time for “ums.”
Rachelle: One of the best ways to prepare for a conference is to connect with online or in-person friends who will also be attending. Reach out ahead of time and suggest a Zoom call or phone call to practice your pitches together. Connecting with other writers is a great way to mentally prepare and get yourself ready to make the most of the conference.
Thomas: It’s always nice to know you have a friend at the conference. A common trend now is that many conferences create Facebook groups specifically for registered attendees. This gives you the chance to connect with other authors before the event. While faculty members aren’t usually very active in those groups, online groups are still a great way to meet fellow authors.
You can easily post something like, “Hey, who wants to practice pitches?” and start building connections. Over time, you get to know each other and learn about each other’s books and lives. Then, when you arrive at the conference, you can greet familiar faces, which helps ease your nerves. Having one or two friends there can make a big difference, especially if you’re attending in a new state, at a new location, surrounded by strangers. If your very first conversation is with an agent, that’s a recipe for serious nervousness. Connecting with others ahead of time can go a long way toward making the experience easier.
Rachelle: Another good reason to go to a conference is to make friends with other writers. One of the most important parts of a writer’s life, especially early in the writing journey, is to make friends through conferences, critique groups, or Facebook. Many writers are already on Facebook groups with other writers. Those friends can be by your side throughout your journey. Most of my published authors are still with critique groups or partners they have been working with since long before they were published.
Thomas: I couldn’t agree more. Everyone needs a team. Writing is done in community. You need other authors, beta readers, and honest colleagues who will tell you that your book needs work so that you can fix it.
What advice would you have for shy authors?
Thomas: Some people are listening to this, and they are just shaking. They’re so terrified. What would you tell that person?
Rachelle: This actually goes back to taking the focus off yourself. I wrote a blog post titled An Introvert at a Writer’s Conference, and it really addresses these issues.
Volunteer
One of the best ways to take the focus off yourself is to contact the conference ahead of time and volunteer. You might be assigned to work a table, keep time in the agent and editor meeting rooms, or help at the registration desk—whatever the conference needs. By volunteering, you’ll naturally interact with people and might even meet a few to hang out with during the event. This shifts your focus away from your own nerves and helps you feel like a part of the conference. Helping out can really boost your confidence.
Care for Others
Another helpful approach is simply asking others, “How are you doing?” I often have people sit down for a meeting and start by asking, “Are you okay? Can I get you a glass of water?” I always appreciate the kindness and recognize it as a way for them to shift their focus from their own nerves to someone else. If you’re feeling shy, finding ways to focus on others can be a great way to ease your anxiety.
Focus on Your Project
Rachelle: I always tell people, “Love your reader.” When you’re working on book promotion or building your platform, the moment you start thinking of it as self-promotion, you’re headed in the wrong direction. But if you focus on loving those people you’re sharing with and offering something valuable to them, you’re on the right path.
How can an author prepare for the follow-up?
Thomas: The conference is of no value for most authors unless they follow up with people they met. How can an author prepare for the follow-up ahead of time?
Rachelle: Ideally, if you’re meeting with an agent or editor, you are pitching a project that you are pretty much ready to send out if they should ask for it. Now, that’s not always the case. Sometimes, the timing of the conference is such that your project isn’t quite ready yet, and that’s fine. But ideally, if you’re writing nonfiction, you want to have that proposal pretty much ready to go. The entire goal of sitting down for that meeting is to get the agent or editor to say, “I’d really like to see your proposal. Can you send it to me?”
If you are pitching a novel and you are a debut author, they’re going to need a completed novel. They might not ask you to send the whole thing, but they won’t be able to consider you unless you have a completed novel. Ideally, you should be ready to send that out the next week.
I request things from people all the time at conferences, and I have people that send it to me that night when I’m still at the conference. That’s maybe a little too overeager. I’ve also had people send me something from six months up to two years later.
I typically don’t mind if someone follows up later, even if it’s been a while. If they say, “Hey, I met you at ACFW in 2018, and we talked about my project. You asked for it, and now I’m sending it to you,” that’s fine. It doesn’t matter to me that it was completed a long time ago; I’ll still take a look. Ideally, you should aim to send something out within a week or two after the conference, but most of us will say it’s okay if it takes six months. We’ll still remember meeting you and will take a look at your submission.
Thomas: You’ll still get past the gatekeeper if you wait six months or a year, but the agent’s excitement will have worn off after two years. They may only vaguely remember being interested. However, it’s easier to remember the idea you heard last week.
Strike while the iron is hot, but also remember it’s never too late to send it. Better to send it now than a year from now.
Rachelle: At the last conference, one pitch stood out, and I was incredibly excited about this writer’s book. I’ve been checking my email daily and waiting for her to send it. I’m sure that excitement will fade after a couple of weeks, but right now, I’m really hoping she follows through and sends it soon.
How can you prepare for the weeks after the conference?
Thomas: Plan to schedule downtime or recovery time after the conference and schedule it before the conference starts. You may have an 18-hour day at a conference. At the last conference I attended, I was on my feet, answering questions and engaging for 18 hours each day. That’s a lot of people time, especially for an introvert. Give yourself permission to recover afterward, as many authors and faculty do.
Schedule a “Recovery Day” in your Google Calendar or Outlook, followed by a “Follow-Up Day” the day after. This gives you time to recover from the long days and excitement of the conference and ensures you stay on top of any follow-ups. Without planning, it’s easy to come home excited, crash, and then find yourself in a two-week slump, trying to recover from “conference brain.” If you prepare correctly, that doesn’t have to happen.
Rachelle: I have to schedule recovery time, and I fight it because I’m really busy. But a lot of times, conferences have kept me working all weekend. So, I haven’t had a weekend, and I’m exhausted from giving all that time and emotional energy. My post-conference week always suffers if I don’t build in some downtime.
Thomas: After my most recent conference, I went to the park with my wife and two kids, and I kept my phone in my pocket most of the time. I did take a few photos of the kids, but it was the best way to recover. When I was single, I used to just veg out on Netflix, but I’d still feel tired afterward. Now, getting out in nature and spending time with my family is a much better way to recharge, especially since my 16-month-old daughter doesn’t understand why I was gone for three days. She needs that time with me, and I want to be there with them. It’s important to give yourself permission to do that. It’s not just for you. It’s for your pets. It’s for your family. It’s for the world.
Do you have any final tips or encouragement about preparing for writers conferences?
Rachelle: If investing in a writers conference is doable for you, it’s a fantastic opportunity. Writing can be a solitary activity, and attending conferences helps you realize you’re part of something bigger. You’re not just a lone person working in isolation. Many other writers are on the same journey, and they’re rooting for you. Conferences provide a chance to meet other authors and make industry connections, which can be crucial for support and collaboration. You’re not alone on this path, and it’s important to feel that sense of community.
Preparation is key. If you don’t prepare or push yourself outside your comfort zone, the experience may not feel as valuable. Stepping out of your comfort zone is often necessary to make the conference a truly valuable experience for you.
Thomas: Perhaps the best way to prepare for a writers conference is by having already attended one. So, don’t feel like your first conference is your only shot. You’ll learn a lot from that experience. When you attend the next conference or return to the same one, you’ll be less nervous, know what to expect, and feel more prepared. Each conference builds on the last, making future ones even more valuable.
Persistence is key, and that should help you take a deep breath and remember this isn’t your only chance. Plenty of agents and publishers are out there, and each conference offers a different mix of them. Take it easy on yourself, relax, and try to enjoy the experience. Believe it or not, spending time with other authors can be a lot of fun!
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