<@SLViehl> From the slush pile to the writer's conference -- what can you
expect?
<@SLViehl> RWA Nat'l Conference, the biggest in the US, will cost you
between $800 and $2000, depending on location.
<@SLViehl> Less if it's held in your home town.
<@SLViehl> Regional conferences go for about half of that, and local
(hometown) conference are even less.
<@SLViehl> What do you get for your money?
<@SLViehl> You get to listen to authors lecture.
<@SLViehl> You get to see how they promote their work. And brother, do they
promote.
<@SLViehl> You get -- maybe -- five minutes with an editor through reserving
an appt. Sometimes you can't get in to see the editor you want.
<@SLViehl> Is it worth it? If you've written a book you're convinced will
make it into print, yes.
<@SLViehl> But do yourself a favor -- try a local writer's conference first,
just to be sure.
<@SLViehl> Now you've got an appt. with an editor. What kind of first
impression will you make?
<@SLViehl> Editors do not want to work with someone who looks like they've
just scrubbed out the bathroom.
<@SLViehl> It shows a lack of professionalism because THEY'RE not dressed
like that.
<@SLViehl> Also a no-no -- dressing in outlandish or "costume" like garments
for an interview.
<@SLViehl> You may want to be Scarlett O'Hara, but keep the crinolines at
home. She's going to think you're nuts.
<@SLViehl> The pro author's "uniform" is very simple: a business suit or a
nice blouse and slacks, in conservative cut/style/pattern. Nothing too
tight and revealing. Treat this like a job interview, because it IS one.
<@SLViehl> Tone down the makeup and leave your ten pounds of jewelry at
home.
<@SLViehl> I dress like an attorney, and I carry a briefcase. Most people
usually think I'm an editor.
<@SLViehl> I know it may sound trivial but if you're on a equal footing,
dress-wise, the editor will relax more with you, and be more receptive to
you.
<@SLViehl> Keeping committments -- if you've promised an editor three
chapters and a synopsis, put them in the mail the day after you get home
from the conference. An interested editor = potential contract.
<@SLViehl> Remember to keep track of your submissions and politely follow-up
if you don't hear from the editor within the time specified.
<@SLViehl> I always recommend anyone who has an editor appt. have a business
card to give him/her, and should try to get a response time committment from
the editor.
<@SLViehl> Mention your appt. and the conference in your cover letter, they
see a lot of people and probably won't remember you.
<@SLViehl> And now . . . agents.
<@SLViehl> Good, bad, worse.
<@SLViehl> A good agent represents you for 15% of whatever he/she sells for
you. Nothing else.
<@SLViehl> They have contacts in the industry, a list of published
clientele, and maintain regular contact with you.
<@SLViehl> This is the agent you want. I have a whole list of names of good
agents I recommend to writers.
<@SLViehl> The bad agent.
<@SLViehl> this step-above the scam artist represents you, but charges you
fees. Reading, postage, phone calls, etc.
<@SLViehl> They have a huge list of clientele, and brag of their contacts
sometimes, but generally, make their money off your fees, not selling books.
<@SLViehl> This agent will contact you when he/she needs more money.
<@SLViehl> This is not the agent for you.
<@SLViehl> Then there is the WORSE agent, aka the scam artist.
<@SLViehl> They promise you the moon.
<@SLViehl> You'll get published, but we'll need a 1500.00 investment on your
part to see that you get in the right doors. . .
<@SLViehl> These people are not agents. They're criminals.
<@SLViehl> During the nine years I was pursuing a career, I encountered an
agent who referred me to a "literary consultant."
<@SLViehl> This man absolutely promised me I'd get into print. All I needed
to do was send him $1300.00 so he could get my manuscript "into shape"
<@SLViehl> He said all the right things
<@SLViehl> He was intelligent, articulate, and enthusiastic.
<@SLViehl> He played me perfectly, except for one thing.
<@SLViehl> I swore I'd never pay anyone to get published. They were going
to have to pay ME.
<@SLViehl> That man is currently serving ten years in a state prison.
<@SLViehl> And bilked other writers out of hundreds of thousands of dollars.
<@SLViehl> I, luckily, stuck to my rule and was not one of them . . . but
it was close.
<@SLViehl> When you meet one of these guys, you need to call the police.
<@SLViehl> Why have an agent, then? Well, because most of them live in New
York City, and we don't.
<@SLViehl> It's their business to know what editors are buying -- unlike
you, who can't make the rounds.
<@SLViehl> They will protect you from bad contracts, because bad contracts
threaten their 15%
<@SLViehl> Be very clear, an agent does nothing except for that 15%.
<@SLViehl> You can have a career without an agent. Plenty of authors do.
<@SLViehl> But it requires more time investment on your part.
<@SLViehl> You have to negotiate, you have to read the contracts (you should
anyway, even with an agent)
<@SLViehl> So it's a judgement call.
<@SLViehl> QUESTIONS
<BlairB> When you say an agent get 15% and thats it. What about incidental
costs like telephone calls. Shipping of manuscripts etc. is it a shared
cost?
<@SLViehl> A good agent will not charge you for anything. If they say they
have to, they are not worth your time.
<BlairB> okay
<spring> How can we get your list of good agents? Do you have it online
somewhere?
<@SLViehl> I'll e-mail the list to whoever would like a copy, along with
contact information. These are the agents that I know of who do not scam
writers.
<BlairB> Are agents genre specific?
<June> Should we e-mail you with that reques?
<@SLViehl> Some agents are, Blair. Russ Galen, Holly's agent, for example,
does a lot of SF author deals. But he's not exclusive to that genre, rarely
are any of them.
<@SLViehl> Yes, my e-mail for the class is SLViehlworkshop@aol.com
<@SLViehl> My agent, Robin Rue, has mainly romance authors. On the other
hand, she's been an agent for over 20 years, so she's comfortable with many
genres.
<larkin> how did you get yours? are you with the one you started with?
<@SLViehl> I had the contract offer before I had the agent -- a fluke,
really. I have been with Robin since my first contract, and although it
hasn't been all wine and roses, we work together well.
<@SLViehl> I went to her with the contract in hand, and she read my novels
before she agreed to become my agent. That's how tough she is.
<June> Isn't it easier to get a good agent after you get that contract offer
call?
<@SLViehl> Absolutely. An agent is much more willing to take a walk-in deal
like that than someone who isn't published and has no offers . . . but --
<larkin> is anyone whose making a living working without an agent?
<@SLViehl> If you have writing credits, and write a convincing query letter,
a good agent may gamble and take you on.
<larkin> are writing credits essential?
<@SLViehl> There are a couple of pro authors who don't use agents. Not many
reach the bestseller list
<@SLViehl> Larkin, I think major writing credits can help a lot -- magazine
articles, newspaper articles, major contest wins.
<@SLViehl> Everything you've had in print since high school, though, no.
Just the major credits.
<@SLViehl> Okay, onto block 4 -- What's Selling and Why isn't it you?
<@SLViehl> The formula for a bestseller is NO FORMULA.
<@SLViehl> There are 2 kinds of bestsellers -- a novice author writes a book
so compelling and readable word of it spreads like wildfire
<@SLViehl> Or an established author is pushed by a publisher, judging
him/her to be at the right career point, and the volume print run and hype
sell a lot of books.
<@SLViehl> In between, there are authors who suddenly just "pop"
<@SLViehl> but it's usually one or the other.
<@SLViehl> Which author stays on the bestseller list? The one who wrote the
great story.
<@SLViehl> She/He wins readership.
<@SLViehl> The hyped author, while the book may be good, didn't earn it.
<@SLViehl> And you can't fool the readers with a lot of hype. Once, maybe.
Twice, nope.
<@SLViehl> So how do you get that great story? Keep it simple.
<@SLViehl> Go for universal romance themes to win those readers.
<@SLViehl> A man and woman fall in love, but then . . . . is the beginning
of a great romance.
<@SLViehl> Consider classic themes -- Beauty and the Beast. Snowbound
Strangers. Cinderella.
<@SLViehl> Take those classic story themes and give them your unique twist,
but stick to the theme.
<@SLViehl> Readers want new but familiar, if that makes sense.
<@SLViehl> You can't seriously pursue a writing career and not want success.
So how do you get it?
<@SLViehl> The time of the Faulkners and Hemingways are over.
<@SLViehl> Being artistic is great, but I'm not an artist. I'm a
businesswoman and I produce a product.
<@SLViehl> I want my shot at the best seller list, so I produce a product
that has mass appeal.
<@SLViehl> Not very artistic, but I made enough money to quit my day job.
<@SLViehl> And I have a very good shot at the romance BSL because I studied
the market first.
<@SLViehl> There are three key focus point the veteran bestselling authors
concentrate on:
<@SLViehl> Story -- well written, effortless prose.
<@SLViehl> Pacing -- smooth, easy to fast pacing that doesn't drag the
reader down.
<@SLViehl> The thrill factor -- include unexpected plot twists.
<@SLViehl> What's the difference between my book and say, Diana Galbaldon's
latest?
<@SLViehl> About 600 pages.
<@SLViehl> Diana writes in almost her own sub-genre category of romance.
<@SLViehl> There isn't much room in the market for 1000 page monster reads
like hers.
<@SLViehl> On the other hand, there's plenty of room for the shorter, faster
read.
<@SLViehl> So consider carefully what you're writing, and write for the
market (When you're established, you can try your hand at those 1000 page
epics. Get in the door first)
<@SLViehl> QUESTIONS
<larkin> do you offer an ongoing workshop stage by stage?
<@SLViehl> I was going to suggest (since once again I've overshot my time
limit) we get back together on the second Friday night in October. Anyone
interested? Otherwise, I can e-mail you my notes on the remainder of the
outline and answer questions through e-mail.
<larkin> interested
<BlairB> Works for me
<Jehane> When you say shorter, are you talking about the Harlequin/MIlls and
BOon length?
<Paul> yes that would be great as it is now almost 4 am and I have a shift
at work at midday I need some rest ^_^
<June> I can come back. I'll be her for the first weekend continuation
anyway
<Gayle> yes...I would probably be there
<@SLViehl> Exactly, Jehane. Think between 75,000 to 100,000 words versus
300,000
<@SLViehl> Lord, Paul, go to bed!
<Paul> okay then I'll see you next week ^_^
<@SLViehl> I've also got a list of publishers submission guidelines
available to anyone who would like them.
<Gayle> bye paul
<@SLViehl> See you, Paul. Thanks for being here.
<BlairB> How important is it to actaully read the genre...I'm not really
interested in reading romance novels, but i know that being a hopless
romatic i've got stories to tell.
<Jehane> Are they US publishers only?
<@SLViehl> Blair, to get a feel for what readers want, I think you need to
read at least a few bestsellers, and see what's selling.
<@SLViehl> Jehane, I've got all the Harlequin publishers, who are based out
of England and Canada as well as the US, but the rest are pretty much US
<@SLViehl> You're in Australia, right?
<Jehane> Yep.
<Jehane> Do you know any Australian publishers?
<BlairB> can any of you recomend something for me to read then?
<Jehane> There are some Aussie writers for M&B, but otherwise have not seen
any Aussie romance writers
<@SLViehl> Anything by Susan Elizabeth Phillips, Linda Howard.
<June> Well, Blair, can you give me a general range? Contemporary?
Historical? What would most interest you?
<@SLViehl> We need more like Miranda Lee, she's one of yours, isn't she?
<BlairB> June - I'm not sure...if i'm going to write mainstream, i guess
thats where i should start.
<Jehane> Yes
<@SLViehl> Ms. Lee is very popular over here -- she's got a nice, fast
style, very contemporary.
<BlairB> really i'm coming at this with my eyes open for the first time.
<larkin> are there other writers with a style similar to anne stuart?
<@SLViehl> Kinda scary, isn't it? lol
<June> Then I'd go with those mentioned above: Susan Elizabeth Philliips
writes funny contemporaries. Linda Howard is much loved. Nora Roberts is
practially her own industry.
<Gayle> what about Sandra Brown?
<@SLViehl> Anne Stuart is sort of out there on her own. She really pushes
the envelope.
<@SLViehl> I think Sandra Brown has strayed away from romance, imho
<larkin> did she do that when she first started?
<June> There is a newer one out called 'Darkling I Listen' which I've been
hearing very good things about. Can't remember the author's name.
<@SLViehl> Anne has been gradually developing this -- what I call -- the
"serial killer" hero type. Sometimes her books scare me.
<larkin> some i don't care for..some i find darkly quirky and quite fun.
<@SLViehl> I think Anne started out traditionally, then just got very dark,
larkin.
<June> Anne Stuart is a cool lady -- met her at a conference once. But she
is 'one of a kind'
<@SLViehl> She's much loved in her own way, June.
<larkin> don't know if your interested in astrology. wonder if there have
been studies done relating the chart to the kind of romance one writes
<June> Oh, -I- adore her -- just agree that she's not for everyone
<larkin> listening to you i realize she has her own edge which imho she
sometimes goes over. i like her alot too thouogh.
<@SLViehl> I think polarities in romance are great, so most of my heroes and
heroines are astrological opposites (there, insider info into the mind of a
romance writer)
<larkin> merci
<@SLViehl> We like unique authors like Anne, but remember too, she's one
heck of a writer.
<@SLViehl> I'd love to read her grocery list.
<larkin> or her dreams
<@SLViehl> Kaelle, are you out there? Didn't see you join us.
<@SLViehl> And spring, too. Any questions?
<Kaelle> Hi. Yeah I just got here.
<@SLViehl> Well, it's detention for you, then.
<Kaelle> oops
<@SLViehl> just kidding.
<Kaelle> Hey detention with you might be um...interesting
<Anon_76> Sorry, computer crashed
<@SLViehl> No problem. For detention, I make you listen to Donald Maas.
<spring> still here. i will be emailing you for your guidelines and list of
agents. Thanks for the class.
<larkin> are you doing a romance series? thanks for a great class. really
appreciate that you do this.
<@SLViehl> Sure, spring, glad you could join us. Also, if anyone would like
to continue on, I'll schedule us on the calendar for the second Friday night
in October
<larkin> definitely
<June> Sure. I'll be there.
<spring> i'll be there
<@SLViehl> I've written a trilogy for Onyx, starting with Paradise Island.
Dream Mountain, the second novel is due out next month. Sun Valley in June
of 2002.
<Gayle> I'll probably be there
<BlairB> me three...though i'm kinda scared right now...:)
<June> Andi, btw, said sorry she couldn't make it -- major headache kicked
in and she couldn't look at a screen.
<@SLViehl> Don't be, Blair. This is a terrific genre and there are plenty
of opportunities to break in.
<@SLViehl> Oh, I'll have to send her an e-mail. Thanks for letting me know,
June.
<larkin> are there books you recommend?
<@SLViehl> as in how-to writing books, larkin? Or romance fiction?
<June> No problem. She'll grill me tomorrow (we're housemates)
<larkin> how to,
<larkin> step by step, though i'd rather do it with thyself
<@SLViehl> Deborah Dixon wrote a very famous book titled GMC that everyone
swears by.
<Jehane2> I read one by Valerie Parv once.
<@SLViehl> I must confess, I don't read how-to books. I just muddle through
on my own.
<@SLViehl> Does anyone have any recommendations for larkin?
<larkin> maybe I'll muddle too,
<Gayle> Rita Clay Estrada & Rita Gallagher have one "You can write a
Romance"
<June> Not really genre specific books, no, I can't think of any.
<June> To recommend, I mean.
<Gayle> Then there is one by Helene Schellenberg Barhart that's older called
"Writing Romance Fiction for love and money"
<June> Personally, I've found the 'how-to' books for Romance a touch too
'formulistic' -- but that could just be me.
<@SLViehl> Okay, folks, I'm going to close the session, any last questions?
My e-mail for the class is SLViehlworkshop@aol.com#
<@SLViehl> wait, delete that # at the end.
<larkin> thanks
<Jehane> Thanks for the class
<June> Thanks!
<Gayle> thank you
<@SLViehl> You all can stay and chat, I'm just old and have to crawl off to
bed. Thanks for letting me talk shop with you all. I really enjoyed it.
<BlairB> How would you like the transcript? attached? pasted into the
body?
<BlairB> same email address?
<@SLViehl> Pasted if you would, Blair. My attachments thing never works.
Would you send it to TheStarDoc@aol.com?
<@SLViehl> You can all reach me at either address, the workshop one is just
private, for you guys alone.
<BlairB> it'll be there right away.
end of part two