Questions with Literary Agent Michele Mortimer

Michele Mortimer is an agent at Darhansoff & Verrill Literary Agents, handling rights, scouting for new writers, and representing select projects of her own. The agency welcomes literary fiction, narrative nonfiction, sophisticated suspense, the occasional memoir, and children's books. For her own list, Michele is most interested in picture books (fun, whimsical, weird, easy on the lessons learned); young adult fiction (contemporary, voice-forward realism or moody, edgy mystery); adult literary fiction (contemporary, character-driven, descriptively-rich realism); and noir and detective lit (standalone or series). During the Missouri Writers Guild “Write Time! Write Place! Write Now!” Conference, Michele will be listening to pitches Saturday morning.

Sarah:  Michele, thank you for taking the time to answer some questions about agenting, querying and the upcoming conference. Hopefully, your answers will help attendees decide which projects are best suited for your review.

Michele: Thanks so much for inviting me, I’m happy to be a part of all this.

Sarah:  To get us started, how did you become an agent?

Michele:  Way back when, a writer friend of mine hooked me up with some freelance work at her agency—slush reading a few hours a week.   This was around 2000, 2001.   I’ve been with DVA since.  Slush reading led to manuscript reading which led to more serious editorial work which led to rights work which led to work as an agent proper.  Because we’re a small company, I never traded in one duty for another, I just added to the desk of responsibility. 

Sarah:  When you sign a client what are your expectations from the client?

Michele:  Even before the official commitment to work together—from the time I express serious interest in your work—I expect an honest and forthcoming dialogue.  Generally, throughout the duration of our working relationship, I ask for patience with the process.  I ask for expectations to be managed, to be tethered to the reality of this market.  I ask that you prepare yourself for all manner of responses to your work.  A related note: writers have access to so much information these days, thanks to the internet, message boards, and other social media, there’s a tendency for writers to tell us what our job is and how we should do it.  This, if it must be said, is super annoying.        

Sarah:  What do you think is the most difficult part of your job? Please explain.

Michele:  Plain and simple, not selling work.  Sometimes there are rational, sensible, intellectually comprehensible reasons for why something didn’t sell but such reasons don’t completely cushion the visceral blow of rejection.   And you spend a considerable amount of time fielding, parrying, examining, translating, and persevering through rejection.  It’s why we try, as best we can, to be kind and helpful when we’re delivering rejection to writers that seek us out.

Sarah:  Query tracker says you’ve read over 200 query letters and accepted about 9. Could you give us a more accurate estimate of how many query letters you receive, say in a month, and how many times you request partials and fulls?

Michele:  It varies, depending on the season, but the average is closer to 350 per month.  Last year, we requested about 200 manuscripts, so 16 or so per month.   In the era of digital files, I tend to request full manuscripts rather than partials.     

Sarah:  Having read that many query letters, makes you more than qualified to answer my next question. What is the most common mistake you see writers make in their query letters?

Michele:  Queries blatantly mass emailed to every agent under the sun; queries that are within a document attached to an email; queries that provide nothing but a link to an online excerpt—these earn demerits for being either impersonal or unwieldy.   When it comes to the pitch itself, I have a few pet peeves.   If a query is windy and rambling, then I assume your book is similarly insufferable.  If a query asserts lofty ambitions and themes and motifs, I will assume your book is similarly abstract and opaque.  Keep it short, simple, clear, persuasive.  Tell me just enough to rouse some curiosity for the story—listing every character and plot point just clutters up the query.  Tell me where this book would sit on the shelves and perhaps, without reaching, name some titles or authors you think are kin.  Tell me a little about yourself and your writing history.  I typically respond to unfussy, professional pitches, or those delivered with an unpretentious, natural voice.  So many queries we receive fall into two camps: flat and perfunctory or overwrought and self-important.  The middle ground is where real consideration begins.  

Sarah: What are three words that describe how you read your slush pile? Why did you pick those words?

Michele:  Quickly, intuitively, hopefully.  Okay, also, sometimes, begrudgingly, but that’s because of volume.  In one sample pile, there are always a number of queries that don’t match up to our agency and those are easy, immediate rejections.  Understand, too, interests are fluid—what we responded to last year is different than what we’re responding to now—personal tastes evolve, market trends change.  Then there are the queries that do match up to our interests but the writing indicates that the sender is probably best working with something other than sentences.  There are always a handful of queries that seem promising but betray a fatal flaw in the work—it’s indulgent, it’s flat, it’s plotless, it’s underdeveloped, it’s gimmicky, etcetera—we request these sometimes, just in case our instincts are wrong, and then we end up writing rejections saying it’s indulgent, it’s flat, it’s plotless, it’s underdeveloped, it’s gimmicky, etcetera.   Everything legitimately interesting is still a maybe.  I usually leave potential queries alone for a bit and then reread them fresh.  The thing about slush is that much of it, to be polite, is rubbish, and when you read though many in one sitting, your brain adapts to a lower standard; as a result, certain queries standout as relatively notable.   If, however, a query survives a second examination, then I request material.      

Sarah:  Are you more likely to request pages for a character driven story or a plot driven story? Why or why not?

Michele:  I request an even amount of both but I tend to be demanding of character no matter what kind of plot is at hand and demanding of plot no matter how great the character work.         

Sarah: It seems like when most agents are asked what they’re looking for in a submission, they answer, “good writing always stands out,” or something along those lines. That’s vague. Please name three contemporary authors who define “good writing” to you.

Michele:  I’m going to name more than three but will keep to those writers that suggest something about my professional taste rather than touch on all the idiosyncrasies of my personal library.  Literary folks: Dan Chaon, Sam Lipsyte, Richard Powers, Lionel Shriver, Sarah Waters.  Crime/Mystery: P.D. James, Robert Crais, Richard Price, Gillian Flynn.  YA: John Green, Laurie Halse Anderson, Michael Northrup. 

Sarah:  For my last question, I’m curious about your thoughts on pitching since you’ll be listening to them during our Saturday pitch sessions. Listening to pitches is obviously a bit different than reading query letters. So is their preparation. What are some tips writers should consider while preparing their pitches for you?

Michele:  I know the sessions are limited in time but don’t rush through the pitch.  Don’t worry about ums or you knows or other verbal tics.  Remember that I haven’t read every book ever published and may draw blanks at some references.  A sense of humor is welcome.   Forgive me if I interrupt.  Basically, talk to me like you’re talking to a fellow reader about a book you sincerely think I should read.  Finally, let’s make this a useful conversation even if we’re not a perfect match. 

Sarah:  Michele, thank you for taking the time to give us a glimpse into your daily life as an agent. I hope our readers will have found this interview a useful conversation, even if they aren’t attending this year’s conference.

Dear Readers, leave a comment, and you’ll be entered into a drawing to win a Missouri Writers' Guild Conference tote bag. Sharing this blog via Twitter, Facebook, or a blog post earns you additional chances to win. Just let us know in the comments.

Don’t forget to register! If you’ve learned something from reading this blog or are interested in pitching Michele, please consider attending the 2012 Missouri Writers Guild Annual writing conference. We would love to see you in April!

Register for the “Write Time! Write Place! Write Now!” Conference.

A Legal Minute with Intellectual Property Attorney Paul Lesko and a Giveaway

I should warn you. This next conference speaker has a knack for making one of the most boring subjects in the writing profession, interesting. Yes, copyright law can be interesting, especially when explained by Intellectual Property Attorney Paul Lesko. I’ve known Paul since I began work at Simmons Browder Gianaris Angelides & Barnerd LLC where he manages the firm’s Intellectual Property Department. With more than a decade of intellectual property litigation experience, Paul focuses on helping authors, artists, inventors and small businesses develop and maintain an equal footing in the marketplace by enforcing their copyright, patent and trademark rights against companies that infringe those rights.

Paul has obtained millions of dollars in settlements and verdicts on behalf of his clients and has litigated against some of the world’s largest companies including Google, Apple, Visa and Cisco. He blogs about IP topics and sports memorabilia for the online magazine Cardboard Connection and has provided expert legal analysis in national leading publications including The New York Times, PC World, American Legal Magazine and Chicago Lawyers Magazine.

Having previously attended a presentation given by Paul at a Saturday Writers meeting last year, I was ecstatic when I found out Tricia had asked him to present during the “Write Time! Write Place! Write Now!” Writing Conference.  His breakout session is called, “The Author’s Guide to Copyright and Fair Use.” He will review common questions have regarding copyrights, infringement, and the fair use doctrine. The session will conclude with a Q&A during which Paul will address individual copyright questions from the audience.

Sarah: Paul, thanks for taking the time to preview what you’ll be talking about during the Missouri Writers Guild Conference this spring.

Paul: Thanks for having me. I enjoy speaking about copyright issues, and especially enjoy talking with those who work in this industry.

Sarah: First, you’ve given a similar presentation at Saturday Writers, the St. Charles chapter of the guild. For anyone who attended, will you be covering anything new and what?

Paul: I definitely will. I had a great time meeting with the Saturday Writers, discussing how writers can best protect their works from infringers and also protect themselves from accusations of copyright infringement. Since then, there have been a lot of discussions about changes to the Copyright Statute through proposed legislation like SOPA and PIPA. So, this time I also want to explain how future legislative changes may affect the writing industry.

Sarah: Who will benefit from attending your breakout session?

Paul: Anyone involved in the writing industry. Writers will be able to take home a number of lessons on how to protect their work and themselves. Agents will be better able to spot issues their clients may need to deal with, thereby making those agents more valuable to their clients . And publishers also face potential exposure from their authors, so knowing how to identify and deal with some common concerns can only help them be more successful.

Sarah: What is the answer to the most common question you get asked by writers?

Paul: The most common question-type I hear from writers runs along the lines of “How much of another’s work can I use?” Whether it’s a desire to use song lyrics to start a chapter, borrow quotes from another’s webpage or utilize a story a friend told you, the answer is always the same: “It depends.” (Laughs). I’m sure that’s not the answer you wanted, but every instance is so fact specific that no general answer can cover every situation…other than if you develop your own ideas, your own song lyrics and don’t borrow quotes or stories from anyone else, only then can you be reasonably sure of being bulletproof.

Sarah: What does a writer have to do to make sure her work is protected by copyright?

Paul: Once a writer writes or types her work, it’s protected by copyright, so that’s easy. In order to bring suit against a potential infringer, the copyright needs to be registered with the Copyright Office, which is a little more work (basically filling out a form, sending in a sample and enclosing the filing fee).

Sarah: What if that work is posted online, say on a blog or a newsmagazine? Does that make a difference?

Paul: It does not. Whatever form it’s in, so long as it is in a “tangible medium,” it’s protected.

Sarah: What is the difference between plagiarism and copyright infringement?

Paul: There’s no legal distinction between the two, but plagiarism to me implies an outright, willful copier who is trying to pass another’s work off as his or her own. Copyright infringement is broader, and covers situations smaller than plagiarism such as illegally downloading MP3s or videos for one’s own personal use or having a character in a book singing another’s song lyrics without permission of the song writer.

Sarah: There’s a lot of advice about copyright law on the Internet. How do I know if it’s credible or not?

Paul: It’s safest to assume that nothing on the Internet is credible not because the author is wrong or intends to mislead you, but because copyright issues a writer may face likely are unique to that author. Since there is no catch-all that covers every situation, it’s best if you need legal advice, speak with a lawyer.

Sarah: What is fair use? More specifically, why should writers care about it?

Paul: The Fair Use Doctrine is a defense that protects writers and artists from certain allegations of copyright infringement. For example, it may be a fair use for a news station to run a picture of a copyrighted painting if there is a news story about that painting. Or for an art history professor to show his art history class a picture of that same copyrighted painting. Writers should care about fair use for two reasons: 1) it may provide a defense against accusations of copyright infringement and 2) sometimes, others may be permitted to use the writer’s copyrighted work. Whether the fair use defense is available though is sometimes difficult to determine, so, as always, it’s best to get a lawyer to discuss that writer’s specific situation.

Sarah: Say, I’m writing a memoir and it gets published. Can other people, who come off not looking so good in the book, sue me?

Paul: Technically, this is not a copyright situation, but focuses on libel. Although the analysis is a little more complex, truth is normally an absolute defense to accusations of libel. The problem is, anyone can sue anyone for anything, so although a writer should be legally protected from a claim of libel, that does not mean the other party won’t file a frivolous lawsuit on the matter…especially when it concerns that person’s reputation. So, there are two things to think about: 1) are you legally protected and 2) what are the chances that the other person will fly off the handle, sue you anyway and subject you to a time-consuming headache until you can win at court?

Sarah: If I think I have a potential copyright or similar intellectual property case, how does that even work? I mean, isn’t it expensive to file lawsuits and hire an attorney?

Paul: If you can prove that someone accessed your work, and then copied it without your permission, you have a claim against that person for copyright infringement. Most lawyers bill for copyright infringement actions by the hour, so copyright suits can be expensive. Some law firms, like my firm, handle copyright infringement actions on a contingent fee basis where attorney fees only are paid out of settlements or verdicts received. To be accepted as a contingent fee cases, however, those cases need to be very strong.

Sarah: Finally, you write a regular legal column for Cardboard Connection. Do you write anything else?

Paul: I have two novels that I’ve been working on that are 75 percent complete, but, they’ve been 75 percent complete for years now no matter how many changes I make. (Laughs). The one I spend the most time on is called Gastric Bypass which is a dark comedy about an extremist group called Gastric Bypass that wages a war against the obese by kidnapping them and, against their will, giving them gastric bypasses. Since I’m a lawyer, I tell the story through deposition and trial transcripts starting from the founding of the group, until their trial. I hope to finish it prior to the convention, but family life with two boys under the age of five and a full caseload at the office will likely ensure it will still be 75% done by then.

Sarah: Paul, thank you for taking the time to talk about copyright issues writers commonly face. I’m looking forward to hearing you present again.

To learn more about Paul, you can read his articles at Cardboard Connection, visit his Bio on the Simmons Firm website, or follow him on Twitter @Paul_Lesko.

Please comment below, and you’ll be entered into a drawing to win a half hour consultation with Paul where you can pick his brain on copyrights. Sharing this blog via Twitter, Facebook, or a blog post earns you additional chances to win. Just make sure to mention that in your comment. 

Don’t forget to register. If you’ve learned something from reading this blog, please consider attending the 2012 Missouri Writers Guild Annual writing conference. We would love to see you in April!

Click here to register for the “Write Time! Write Place! Write Now!” Conference.

Meet Agent Ann Collette, Win a Query Letter Critique

Mystery, supernatural and women’s fiction writers will be interested in this next agent spotlight for the Missouri Writers Guild Conference.

Ann Collette has been an agent with the Rees Literary Agency in Boston for twelve years. Before that, she was a freelance writer and editor for fifteen years. As an agent, she's very open to working with new writers, particularly in the mystery, thriller, horror, suspense, and supernatural categories. She also represents upscale commercial women's fiction. Some of her clients include Carol Carr, Vicki Lane, Barbara Shapiro, Mark Russinovich, and Clay and Susan Griffith. She doesn't represent YA, children's, sci-fi, or high fantasy (Lord of the Rings-type books).

During the Missouri Writers Guild Conference, Ann will take pitches on Saturday in addition to presenting a breakout session with one of her authors, Carol Carr. The session, entitled “The Author/Agent Relationship,” will cover how the two women came to work together, what expectations they have of each other and what it takes for a successful author/agent relationship. Attendees may also glean insight into what an agent looks for in a query, the process of preparing a manuscript for publication and author/agent expectations once a book is published.

Sarah: Ann, welcome to the MWG Conference Notes blog. Thank you for taking time to answer a few questions about the upcoming conference. It’s hard to believe it’s only a couple months away.

Ann: I've never been to Missouri before, and am delighted my introduction will be as an attendee at the MWG Conference.

 Sarah: To get us started, your breakout topic seems very original. Could you talk about how you and Carol decided it would be a good subject to present? Also, please include in your answer how you decided to structure the session.

 Ann:   Over the twelve years I've been agenting, I've attended quite a few conferences. One of the most frequently asked questions I encounter is, "Once I get an agent, what should I expect from him or her?" Since Carol lives in Missouri, I thought this would be a perfect opportunity for both she and I, as agent and client, to talk about this very thing. We'll start off with Carol talking about her search for an agent, and what she did to find the right one. Then I'll talk about what, as an agent, I look for in a query, then later the manuscript. I'll talk about what excited me about Carol's submission, and how I went about offering representation. She'll talk about why she decided to work with me, and then together we'll talk about the submission process, and how involved the client is or isn't. 

We'll talk about critiquing and editing a manuscript before it's submitted, and how well informed an agent then keeps a client once the manuscript has been submitted. As Carol's agent, I'll talk about how I passed along news of any rejections she received, and Carol will talk about how she dealt with them. In this case, after a few rejections, I sold Carol's first book to Berkley, so we'll talk about what happened once the sale was made. From there, we'll trade back and forth how we established our ongoing business relationship, and its parameters.               

 Sarah: In the dozen or so years you’ve been an agent, what is the worst (or funniest) story you have to tell about receiving a pitch at a conference?

 Ann: Without a doubt, the worst is this man who fixated on me as an agent he thought he was working with. He both emailed and phoned me constantly, and no matter what I said, I wasn't able to deter him from thinking I was his agent, though we'd signed no agreement. My heart was really in my throat when I saw he signed up for a conference that I was attending that involved him traveling hundreds of miles. I was so nervous about this that I actually asked the people who were running the conference to keep an eye on him for me, just in case he crossed a line. I remember sitting in the ballroom searching the hundreds of faces that were looking at me as I sat up there on the dais, wondering which man this creep might be. I was sure I had him pegged when I found this scary looking guy who looked shifty and disheveled. 

When the panel was over, I waited for this guy to come up to me, but instead was approached by the real deal, who turned out to be someone genuinely ignorant of how any aspect of publishing worked, let alone what it means to sign with an agent. I was able to be brusque with him because I was due to appear on another panel, but that conference turned out to be both the best thing for both him and me as far as any "relationship" between us was concerned. It opened his eyes to what it really means to sign with an agent, or at least I think it did, because he never bothered me again. That was a few years ago, and I haven't heard from him since.

Looking back, I think he just didn't know any better. But being around other writers at a conference showed him the reality of a business he had no conception of. Still, his near-obsession scared me because he had so little understanding of boundaries.

 Sarah: Oh my! That is a great example of what not to do. Any advice or thoughts you’d like to share with the writers interested in pitching you during the MWG conference?

Ann: Keep your pitch terse. If you can't tell me what your book is about in a couple of sentences, then I'm going to feel you don't really have a grasp of your material. Expect me to ask you questions; I may even ask, "How does your book end?" Remember, I'm trying to evaluate if I can sell your book or not, so may need to know the answer to a question like that.

 Sarah:  That’s great advice. Thanks. You’ve tweeted often that you’re not interested in Civil War stories, in addition to not reading high fantasy or YA. Are there any other story subjects or genres that you don’t read of which we should be aware?

 Ann: I don't understand science fiction, and am not open to Middle Eastern terrorists, particularly any from Iran, Iraq, and Afghanistan. Editors have seen too many of those kinds of books, and aren't looking for any more, so I don't want to waste my time with such books.  

Sarah: Do you have a specific story that you’d like to see in your slush pile?

 Ann: I'm always on the lookout for a believable kickass female protagonist in either a thriller or mystery. I'd also love to come across something set in Southeast Asia.

 Sarah: What are three adjectives that describe you as an agent?

 Ann: Conscientious, honest, and thorough.

 Sarah: Why did you pick those three?

 Ann: Conscientious because as a writer myself, I understand how much is riding on this for everyone who queries me. Honest because I do an author a disservice if I'm not. Thorough because the business of publishing demands it.

 Sarah: Your tweets about queries you’ve rejected are eye-opening, to say the least. I’ve enjoyed them. Based on your own experience, do you think it’s important for prospective writers to be on Twitter? Why or why not?

 Ann: The number one advantage of being on Twitter is that you learn how to edit. I strongly encourage any budding writer to tweet, because limiting yourself to 140 characters really helps you learn how to use language precisely.

 Sarah:  Finally, what advice do you believe is overrated?

 Ann: Speaking personally, when an author sends me a query, I want to know what the book is about right off the bat. If the author must include personal information, I think it should come at the end of the query, and only be a few sentences. I've heard other agents say they like learning about the personality of the writer, but to be honest, if I'm not interested in your book, then I'm probably not going to be interested in you.

 Sarah: Thank you again for taking the time to answer my questions. I hope they will motivate attendees to pitch their best work and get the most out of the “Write Time! Write Place! Write Now!” Conference.

Leave a comment, and you’ll be entered into a drawing to win a one-page query critique from Ann. Sharing this blog via Twitter, Facebook, or a blog post earns you additional chances to win. Just let us know in the comments.

Don’t forget to register. If you’ve learned something from reading this blog, please consider attending the 2012 Missouri Writers Guild Annual writing conference. We would love to see you in April!

Click here to register for the “Write Time! Write Place! Write Now!” Conference.

A Short Commercial Break

We'll be back to the conference interviews next week.  In the meantime, just a few quick notes for conference attendees, potential conference attendees, guild members, and chapter members.

Volunteers still needed for shepherding speakers and manning (or womaning) the registration table.

We're also looking for companies to sponsor portions of the conference.

Sponsorships are available for as little as $500 and include these perks 

• Company logo/name on Missouri Writers’
Guild website
• Promo items/marketing materials
included in registration folder
• 1/4 page ad in the Conference Booklet
• Table in the tradeshow area of the
conference
• 1 conference admission

If your company is interested in sponsoring a portion of the conference, please contact Tricia Sanders mwgconferenceinfo@gmail.com

Other conference news:

• If you're planning to stay at the conference hotel (Doubletree Hotel and Conference Center in Chesterfield) the hotel is holding our block of rooms until March 29, 2012.  After that they will open the remaining rooms to the public.  You'll still get the conference rate, but only if they have rooms left. Here's a link to their site for booking your room for the conference Doubletree Hotel and Conference Center.
• For Missouri Writers' Guild members only --The President's Contest closes January 31st.  Here's a link to the guidelines President's Contest
• For anyone attending the conference, for any chapter member, or any MWG member, the chapter and sponsor contests close March 1, 2012. It's the same link as the President's Contest, just scroll down for the Chapter and Sponsor Guidelines.
• For anyone entering a contest, please read and follow the guidelines.

Oh, we'll have two additional editors hearing pitches. Details to be announced later.  The pitch appointments for these editors will be available and posted starting Friday of the conference and will be first come-first serve.

The Nuts & Bolts of the 2012 MWG Creative Writing Conference

Sarah Whitney, Publicity Chair

Tricia Sanders, VP and Conference Chair

It’s not uncommon for writers to attend a writing conference based on who will be speaking or taking pitches during the event. For the past few months, this blog has spotlighted the faculty of the 2012 “Write Time! Write Place! Write Now!” Annual Conference. I hope they’ve given you a sense of what to expect this coming April. Check the "Look Who's Talking" tab at the top of this page for feedback from previous conference attendees, former chapter presidents, former guild presidents, and former speakers.

Speakers, however, are only one part (albeit a big part) of planning a writing conference.

For this last couple of days, leading up to the deadline for early bird registration, I am providing a sneak peek behind the scenes of the making of this year’s “Write Time! Write Place! Write Now! Conference. When it comes to having the inside scoop, there’s no one better to interview than Conference Chair Tricia Sanders.

Tricia, Vice President of the Guild, has been working hard to plan this year’s conference since almost the minute last year’s event ended. She’s booked the hotel, lined up the speakers, found keynote speakers, made sure the conference content would appeal to writers of different experience levels, figured out networking events, and the list goes on.

Tricia: Thanks, Sarah. In some respects it feels like I’ve been working on this conference forever, but in others it seems like yesterday that I sat down and started the process. April will be here before we know it.

Sarah:  You’re right about that. It’s hard to believe 2012 is already here. To get us started, 

Tricia, could you give us a brief background on how you became involved with the Missouri Writers’ Guild and how you became the conference chair?

Tricia: I joined a local chapter (Saturday Writers) around 2003 and started hearing about the guild. Saturday Writers’ has had three members who eventually became presidents of MWG. I joined the guild in 2006, I think it was. Since then, I’ve been attending conferences and a couple of years ago I started wondering what kind of conference I would put together. Who would be the speakers? What would they talk about? I really dug in last year and helped Deb Marshall, so it was pretty much a given that I would do this year’s conference.

Sarah: When you found out you would be organizing this year’s conference, how did you react?

Tricia: Well, it is a volunteer position. No one twists your arm. (Not too much anyway ;) I was excited for the opportunity. It really has given me some great networking opportunities that I would never get by just attending the conference. Since June I’ve been constantly in contact with our speakers, so I feel like I know most of them.

Sarah: So what exactly goes into planning a writing event like this?

Tricia: If you take it in small bites and start early, it’s pretty amazing to watch it all come together. I did a lot of analyzing on which dates would be best to avoid other conferences and Easter. Once I secured the location, I started contacting agents and potential speakers. I have to admit that I had a few of the folks in mind long before I volunteered to put together the conference. Some of them had even been suggestions that I had written down on previous conference evaluations.

Sarah:  Why did you bill it as the “Write Time! Write Place! Write Now!” Conference?

Tricia:  So many times, we put off writing because we don’t have time or aren’t in “our writing place.” Most successful authors will tell you they write while they wait in line, are on hold on the phone, sitting in doctor’s offices or wherever they happen to be. In fact, one of our speakers, Claire Cook, wrote her first novel in a minivan while her daughter was in swim lessons, at five in the morning, no less. “Write Time! Write Now! Write Place!” is the motto I’ve adopted for myself. I’ve decided that wherever I’m at, whatever I’m doing, I’m going to carve out time for my writing.

Sarah: I think it’s a great motto to adopt – especially for the New Year. I’ve always struggled with getting my butt in chair to write as well. Speaking of struggles, what has been the most difficult/best part of being conference chair?

Tricia:  I’d have to say getting volunteers is the most difficult part. There’s a lot that goes on and it takes people who are willing to step up, take the responsibility, and run with it. So, that said if anyone wants to volunteer, email me at mwgconferenceinfo@gmail.com. I still need shepherds, folks willing to pick up our speakers and drop them off at the airport, registration table help, people to fill goodie bags, make name tags. The list is endless. The best part is getting to know the speakers. And if you’ve already volunteered, thank you so much. I’ll be getting with you about possible assignments.

Sarah: I can see how getting to know the speakers would be the best part. You’ve done a fabulous job building a first-rate list of conference faculty including Jane Friedman, Christina Katz, Claire Cooke, Christy Craig, Michelle Mortimer and more. How did you decide who you wanted to invite?

Tricia: Some of these folks have been on my radar for a while. I met Jane Friedman at a Writer’s Digest workshop, Christina Katz at another conference. Jane was there, too. A friend on Facebook posted about Karen Docter’s approach to plotting. For folks who don’t know, Claire Cook signed up to follow Sarah’s Twitter feed, so Sarah did some investigation, found out who she was and set up the initial contact. I met Patricia Lorenz over 20 years ago at a writing conference. I also wanted to showcase some of the local authorities and talent St. Louis has to offer like Susan McBride, Paul Lesko, Shawntelle Madison, and John C. McManus. When I started looking at agents, I made a list of genres and topics I wanted covered and used several online sources to seek agents who fit those needs. When I contact Ann Collette of the Rees Literary Agency she suggested her client Carol K. Carr who lives in Springfield, Mo. Finding a children's writer was difficult.  Several authors wanted to come but had schedule conflicts. I was ecstatic when I found Linda Gerber and she agreed to come. It’s like putting together a big puzzle, you just keep fitting the pieces together until you get what you want.

Sarah: It seems like who will be speaking at a writing conference is always the biggest puzzle piece, but what other areas have you found writers consider when deciding which conference to attend? How does this year’s MWG conference stack up in those areas?

Tricia:  I can’t speak for others, but for me, it’s always about the agents who will be taking pitch sessions. If there isn’t an agent who is looking for my genre, I usually will pass on the conference. That’s why I tried to cover a lot of subjects with the agents I chose. I also look for networking opportunities with other writers. Is there enough time to socialize without having to miss sessions? We have a built-in networking session on Saturday. We also introduced the Open Mic last year and it’s back this year as well as an expanded Agent Reads the Slushpile. I dispensed with the standard agent/editor panel this year in favor of an expanded Slushpile Read.  Our conference also has the in-depth master classes for those who want “a little more” and who aren’t quite ready to go home.

Sarah: Could you explain how the agent pitch sessions work?

Tricia:  Sure, when you register for the conference you can choose up to three agents to pitch your manuscript to. Just because you choose them doesn’t mean you are guaranteed to get one of the agents, but the earlier you register, the better your chances are to get your first choice. It also doesn’t mean you are guaranteed to get three pitch sessions. We ask for three choices in case your first or second choice is not available. There are only so many hours in the day and we are limited in the number of pitches each agent/editor can take. This year our agents/editors taking pitches are Debra Hess from Highlights for Children, Rhonda Penders from The Wild Rose Press, Sarah LaPolla from Curtis Brown LTD, Ann Collette from the Rees Literary Agency, Ann Behar from Scovil Galen Ghosh Literary Agency, Michelle Mortimer from Darhansoff & Verrill, Kristina Makansi from Blank Slate Press, and Katharine Sands from Sarah Jane Freymann Literary Agency.

Basically, if you get a pitch session you have 7 minutes to tell the agent about your work, sell them the idea and allow them an opportunity to ask questions. It’s a good idea to practice in advance. Do some digging on the web for what an agent wants to hear in a pitch session. Many agents have blogs where they give advice on how to pitch them at conference. Follow their advice!! 

If you are pitching fiction, be sure your manuscript is finished. Most agents don’t want to hear about a project unless it is finished and ready to go.

If it is non-fiction, it’s usually okay that it’s not finished. You’re typically presenting an idea, but the agent will still probably want an outline and sample chapters finished.

A little do and don’t advice-

Don’t expect an agent or editor to take your full manuscript with them.

Do bring a first chapter, just in case they ask.

Don’t take up more than your allotted time. When you’re asked to leave, leave.

Do treat it as a business proposition. Dress and act the part.

Don’t track down agents and ask them to look at your work.

Do hang out in the bar and offer to buy an agent a drink. In this case, don’t bring up your work unless they ask. They will.

Do be polite, even if you get a rejection.

Don’t be upset if you aren’t asked to send your work. There are plenty of agents to query.

Do send your work promptly, if pages are requested.

Do remember that our agents and editors are our guests. Please respect their privacy. If they are on the phone or talking to another conference attendee, do not interrupt them.

Sarah: That is all great info. Thank you for sharing it. So, what kind of networking opportunities will there be outside of the regular breakout sessions?

Tricia:  There are always opportunities between sessions, the networking social on Saturday, the luncheon and banquet, our Open Mic. Last year I was asked to provide a list of attendees and their contact information to all attendees. I didn’t feel right doing that without asking everyone’s permission. This year I’m going to have some sort of voluntary list. In other words, if you want your information shared, sign the list and we’ll share it. If you don’t want your information shared, don’t sign it.

And bring plenty of business cards to hand out. They are cheap to make on your home computer or you can order them at vistaprints.com. I always come back from a conference with tons of business cards.

Sarah:  Last year, Agent Kristin Nelson did a breakout session called an “Agent Reads the Slush Pile.” Attendees submitted the first two pages of their MS and she read through them, just as if she were reading her slush pile. It was very popular. You mentioned that you’re bringing it back this year? Can you give us any more details?

Tricia:  Yes, everyone loved that. It’s back in an expanded format this year. Most of our agents will be participating. I don’t have it all ironed out yet, but we’ll have a great time and plenty of room for everyone to attend.

Sarah: Multiple agents? Sounds great! Hopefully that will mean more chances for your pages to be read. So, I have to ask about our Keynote Speakers. Why did you select Christina Katz and Claire Cook? What makes them so good?

Tricia:  I’ve been a fan of Christina for several years. When I first started talking to her about being a keynote speaker, I told her I wanted to end the conference on a high note. A lot of times we hear gloom and doom about publishing at conferences or how few people really get the big contract. When Christina told me she had a keynote about “Never a Better Time to be a Writer,” I was sold. I want our attendees to walk out the door on a positive note, ready to go back home and make it the “Write Time and Write Place to Write Now.”

Claire was a no-brainer. She wrote and published her first book at 45. I’m a bit past that age, but it gives me hope that I can do it to. I’ve read all of Claire’s novels and they all carry the theme of reinvention. I’ve found myself thinking, “what if…” a lot. What if I had written my novel 20 years ago or what if I had enrolled in that MFA program instead of the MBA program. We can second guess ourselves, but unless we do something about it, what’s the point? It’s my hope that the folks my age who listen to Claire come away with the fact that it’s not too late and the younger group will come away with the fact that they can live their dream now.

Sarah:  It sounds like you’ve made some excellent choices, but I’m sure planning everything hasn’t been all roses and candy. Do you have any cool stories or unusual missives regarding conference planning that you could share?

Tricia:  Oh boy, I could get myself in trouble, but I’ll take the high road. It’s been a great journey. 

One I would not have wanted to miss. I’ve met some great folks in the writing business and hope to maintain the friendships that I’ve gained through the experience. I think probably the coolest thing is reconnecting with someone I met over 20 years ago at a writers’ conference.

As far as unusual, well, publish your email address on the Internet and in a major magazine and you can just imagine the kinds of emails I’ve received.

Sarah:  Oh my. I can only imagine. Your inbox and spam folder must be an adventure all of their own. So, next question. As a writer organizing a writer’s conference, what have you done to make sure writers of all genres and skill levels will benefit from this year’s conference?

Tricia:  One of my main goals was to have as many different genres and/or writing-related topics as possible. It took bringing in a lot of speakers, but I think I’ve done it. We have several writing technique sessions such as plotting, researching, character motivation, evaluating your first page. I’ve also worked hard to cover poetry, non-fiction, children’s writing, humor, women’s fiction. Then I made sure I to include the business-side with copyright, crafting the non-fiction query, synopsis creation, writer to speaker, the impact of Google/Amazon/Apple on your career and many more.

Sarah: I agree. I would think that any writer should have something they’d be interested in learning more about in that list. I bet you still get a lot of questions though. What is the answer to the most common question you get asked about the conference?

Tricia:  The question I’ve been asked the most if do we have a one-day registration? Unfortunately, the answer to that is no. Since the registration fee covers 1 ½ days, it would be extremely difficult to offer either a half day session on Friday or a full day session on Saturday. We also have contractual issues with the hotel in order to get our meeting rooms at a discounted price. If we offered the conference in increments, it would be very difficult to meet those obligations and that would raise the price of the conference for all attendees.

Sarah: That makes sense. Last year’s conference chair Deb Marshall hosted a wonderful and well received event. When you reviewed the conference feedback forms, what was the most common comment? If it raised a concern, how did you address it this year?

Tricia:  Great question. Deb and I looked at every evaluation that we received and paid close attention to what folks said. The feedback was extremely positive. Most of the concerns were for things we had no control over, like the way the conference was split between the hotel and the conference center last year, the temperature in the rooms, etc.

The biggie that we saw several times was about why we didn’t provide refreshments like soda, coffee and cookies during the morning and afternoon. Some even said they would be willing to pay $5 more on the registration fee for a soda and cookie in the afternoon. Believe it or not, it is much cheaper for attendees to bring their own drinks or buy them from a machine, even if the machine costs $2.50. Setting up a one hour break with soda, coffee and tea costs $10.98 per person.  And that’s just for one break and NO cookies. If we add cookies it goes to $14.64 per person. If we had two breaks on Saturday it would raise the registration fee almost $15 per person.

With the economy the way it is, I wanted to keep our prices as close to last year’s as possible. As it turned out, the price of meals has gone up considerably, so that is reflected in the registration price and the banquet price. Probably more than you wanted to know, but that’s the long answer for why we don’t provide beverages. 

This year we are looking for sponsors to sponsor a break or two, so if you know of a business willing to donate the price of a break for the conference, please ask them to contact me at mwgconferenceinfo@gmail.com.  We have a several different sponsorship levels with perks for the donor.

Sarah:  I do love my coffee, but I understand keeping costs low is important. Hopefully, we’ll find a sponsor and get the best of both worlds.  My final question is what are the top five reasons this year’s conference is going to be awesome?

Tricia: Location, location, location. That’s three, right? We’re in a great neighborhood with lots of things to see and do before and after the conference.

We have an amazing lineup of speakers. Where can you see Christina Katz, Jane Friedman, Claire Cook, Christie Craig, Katharine Sands, Michele Mortimer, Missouri’s first poet laureate Walter Bargen and many more all in the same place?

Our price is still great considering the number of speakers, the number of breakout sessions, and two early arrival seminars.

We have David Lucas and Brad Cook hosting our Open Mic.

Again this year, our banquet will highlight the accomplishments of our members, as well as recognizing the talented winners of our conference contests.

And we’re doing Nightcaps again this year.

Sarah: The Nightcaps last year were so much fun and a great networking event. What a good thought to end the interview on. Tricia, thank you for taking the time to give us an insight into the planning of a writing conference that potentially helps so many writers. If anyone has any follow up questions or additional thoughts to add, please share in the comments.

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Don’t forget to register. This week is the last week to take advantage of early bird rates for the “Write Time! Write Place! Write Now” Conference. Starting Sunday, rates will increase to regular pricing. If you’ve learned something from reading this blog, please consider attending the 2012 Missouri Writers Guild Annual writing conference. We would love to see you there.

Click here to learn more about the Missouri Writers Guild 2012 Conference or to register!