A query letter is part business letter, part creative writing exercise, part introduction, part death defying leap through a flaming hoop. (Don’t worry, you won’t catch fire and die during the query process, though it may feel precisely like that at times).

Nathan Bransford

In this post, we’ll cover some of the basic elements of a query letter, paying particular attention to the all-important blurb. You can have a dynamite opener, brilliant comps, and awards from everywhere, but if your story description falls flat, your query might get rejected.

The basics:

Query letters essentially consist of three parts:

• The housekeeping (title, age range, genre, word count, comparable books)
• The blurb (description of the book itself)
• The bio (a short section about the author).

The entire query letter should be no more than 300 words (350 at a pinch). And every word should count. Trim that extraneous fat, authors!

Keshe Chow

Opinions differ on the order of the parts. Some prefer to start with the hook (the character’s problem), others prefer to introduce themselves, emphasizing their unique understanding or experience that led to writing the book.

In its entirety, the query shouldn’t run more than 1 page, single spaced, if printed, or somewhere around 200 to 450 words. I recommend brevity, especially if you lack confidence. Brevity gets you in less trouble. The more you try to explain, the more you’ll squeeze the life out of your story. So: Get in, get out.

Jane Friedman

Checking out successful query letters (ones that led to the author getting an agent) can be helpful in tackling your own letter. Query Tracker has a searchable section where you can read some successful letters in your own genre. And if you’ve never visited the Query Shark blog, you’ll want to pore through it. It was created by a literary agent who has since passed away, but her brilliant analysis of submitted query letters is as educational as it is entertaining.

What if you’re self-publishing? You don’t need a query letter, but the essential work you do writing one will help you find your readers and promote your book. At the end of this post, you’ll find some excellent resources to get you started. As for how to find good comps, we’d better leave that for the next post!

For now, let’s talk about the blurb.

Lauren Kay has a great breakdown of the elements of the dreaded blurb. It’s all about character. Who is she, what does she want, what’s preventing her from getting it.

Lauren breaks it down with The Hook, The Old World, The New Plan, The Conflict and The Emotional Heartbreak. (She also has a free Query Letter Kit you can download).

Your blurb is NOT a synopsis. You do not have to reveal the ending. Focus on the character, the conflict that’s preventing her from... fill in the blank: finding the love of her life, solving her daughter’s murder, saving the world from total destruction (you get the idea).

What’s interesting about him, is he a doctor in a wheelchair, a politician with a secret, a teenager with photographic memory?

What are the stakes? Why do we care about what happens to the protagonist? It can help to think about what a reader might tell her best friend about your book. Would she give a blow-by-blow description of what literally happened, or would she gush about how the book made her feel? This is the key to getting an agent to want to know more and ask you for pages.

Here’s a blurb for Dan Brown’s The Da Vinci Code:

Robert Langdon is an American academic and an expert in the symbols of the ancient world. While on business in Paris, he’s summoned to the scene of a grisly murder in the Louvre where he’s the main suspect. He must race across Europe, one step ahead of the police chasing him, to solve the murder and prove his innocence. In the process, he uncovers arcane messages hidden in the world’s best-known artworks, solves ancient puzzles, and ultimately discovers secrets about Jesus that could bring down the Catholic Church.

That’s 89 words. It’s straightforward, and factual, which works well for the Thriller genre, but it would fall flat if the Da Vinci Code was a comedy/thriller. Your blurb should, if you will, sound like your book.

Consider the blurb for William Goldman’s The Princess Bride:

As Florin and Guilder teeter on the verge of war, the reluctant Princess Buttercup is devastated by the loss of her true love, kidnapped by a mercenary and his henchman, rescued by a pirate, forced to marry Prince Humperdinck, and rescued once again by the very crew who absconded with her in the first place. In the course of this dazzling adventure, she'll meet Vizzini—the criminal philosopher who'll do anything for a bag of gold; Fezzik—the gentle giant; Inigo—the Spaniard on a quest for revenge; and Count Rugen—the evil mastermind behind it all. Foiling all their plans and jumping into their stories is Westley, Princess Buttercup’s one true love and a very good friend of a very dangerous pirate.

You definitely get the “thriller” vibe, but it’s told in an amusing voice. Usually, you want to avoid naming too many characters (stick with your protagonist, side-kick and antagonist at most) but because the names are funny in this example, they work in this context. But in general, if you delete the names in the above example, you’ll get the idea without confusing the agent with unnecessary information.

Next time we’ll focus on finding the best comps. In the meantime, check out these links to learn more about writing a successful query letter.

Nathan Bransford: How to Write a Query Letter 

Jane Friedman The Complete Guide to Query Letters

Keshe Chow: Anatomy of a Query Letter

Lauren Kay How to Write a Query Letter: The Secret Sauce

QUERY SHARK

QUERY TRACKER SUCCESS STORIES

The best way to problem-solve your Sci Fi/Fantasy story is to come back to your basic storytelling building blocks. These wide-ranging genres about unfamiliar worlds with different scientific rules, strange social settings, and technical or magical features still need to be rooted in basic story-telling structures.

Having trouble presenting the world of your story without bogging the reader down with endless exposition?

Imagine your world as a dark and vast garden before you, lit only by a candle in your hands. While you can sense the immensity of the garden, what becomes imperative to your journey is the small circle of illumination right in front of you. Describe those things first, and then explore further.

Ryan LaSala

According to Kahina Necaise’s article, “The Five Biggest Challenges of Writing Fantasy and Science Fiction, and How to Overcome Them,” the main pitfalls are:

1) Choosing a central plot/premise

2) Worldbuilding

3) Avoiding rabbit holes or too much detail

4) Using authentic-feeling language

5) Bringing it all together for a satisfying ending

Necaise’s advice centers on the fact that while you’re creating a brave new world, it still should conform to certain reader’s expectations. Many Sci Fi/Fantasy authors learn from historical fiction, suspense, horror, and non-fiction for structure, character, language, science and philosophy.

If your main plot premise is too wide ranging or vague, Necaise recommends beginning with a character’s dilemma, and building out from there to discover the stakes of your story,

But perhaps one of the biggest is balancing originality, which stimulates readers’ minds and makes the world your own, with familiarity, which allows readers to see your world in their minds based on their previous experience.

Kahina Necaise

How technical should the language be in your Sci-Fi adventure? What about the terminology of your magical rules and powers? A good way to settle on your style is to be an expert in the sub-genre categories for Science Fiction and Fantasy.

Sci Fi Subgenres from Masterclass 

1. Dystopian fantasy
2.  High fantasy (or Epic)
3. Low fantasy
4. Magical realism
5. Sword and sorcery
6. Urban fantasy
7. Paranormal romance
8. Dark fantasy
9. Grimdark fantasy
10. Fables
11. Fairy Tales
12.  Superhero fantasy
13. Fantasy of manners
14. Crossworlds fantasy
15.  Steampunk fantasy
16. Arthurian fantasy
17. Sci-fi fantasy

PanMacMillan Fantasy Sub-Genres

1. Hard Sci-fi
2. Soft Sci-fi
3. Afrofuturism
4. Apocalyptic
5. Alternative History
6. Biopunk
7. Cyberpunk
8. Dystopian
9. Kaiju
10. Military
11. Parallel Universes
12. Sci Fi/Horror
13. Space Opera
14. Space Western
15. Time Travel

Still have questions? You’re in luck!

Pam Binder is offering a free workshop for PNWA members on The Do’s and Don’ts of Writing, Fantasy, Romantasy, Time Travel and Science Fiction tomorrow June 17 from 11:00-1:00 at the Writer’s Cottage and on Zoom.

Click here to sign up!

Not yet a PNWA Member? Join here.

More info on writing Sci Fi and Fantasy, try these sites:

Bang2Write: Top Five Science Fiction Mistakes Writers Make

Fabled Planet: The Five Biggest Challenges of Writing Fantasy and Science Fiction and How to Overcome Them 

Write the World: Writing Sci Fi/Fantasy

This isn't just about making something pretty; it's about crafting a strategic marketing tool that sells your book on sight.                                                                          Barker Books 

Self-published authors have more control over their cover design, so it’s vital to become an expert in the styles and trends in your genre. Writers who are traditionally published may not be afforded the choice of cover design, because they need to fit your cover in with the style of their other books. If you study the publisher’s catalog, you might be able to point out some of their covers that you found especially suited to your book. Can’t hurt to ask.

All good book covers should communicate the genre of the book, as well as some (but not all) of the following:

• Plot
• Main character(s)
• Setting
• Themes
• Tropes
• Atmosphere or tone
• Author’s personal brand
• Literary inspiration                                               Raul Gil, Reedsy

Your book cover must be legible even for readers scrolling through thumbnails, so try to be deliberate in the elements you choose. The title should be readable, colors should conform to the popular themes in your genre, imagery should be suggestive of your plot and characters. By researching comparable covers, notice the fonts and size of the typography, colors and visual effects. You don’t need to copy covers, but think about how your cover might stand up to the competition.

A common mistake that amateur designers make is trying to fill every inch of their book cover. In reality, you’ll find plenty of space on professional covers. 

Across all genres, I’ve noticed a rise in minimalist designs and large, bold type. Personally, I don’t think this trend will go away any time soon. As readers increasingly shop online, there is an urgent need for covers to remain attention-grabbing in smaller, thumbnail forms. This calls for larger text and simple images that are instantly recognizable at any size.
                                                                                                              Raul Gil, Reedsy 

If you’re handy with graphic design, you should be able to create a compelling cover for your book, but do your research. Your cover will be your “calling card” to the reader, promising a satisfying reading experience, fulfilling the promise of your book.

The stakes are incredibly high. Studies have shown that 57% of readers will buy a book based on the cover alone. Even more telling, a staggering 80% admit they'll skip a book entirely if the cover looks unprofessional or unappealing.                                             Barker Books 

If you aren’t confident with creating your own cover, you should still do as much research as possible, so you can show your artist of choice covers that contain the elements you need.

       Clarity beats clutter every time.   

Barker Books 

Lots more info in these links:

48 Hour Books How to Design a Book Cover

Reedsy Book Cover Design

Jane Friedman The Key Elements of Eye-Catching Book Cover Design 

Barker Books What Makes a Good Book Cover

Marketing... you must do it, no one is going to do it for you (even if you are traditionally published). But it doesn't have to overwhelm you if you take it step by step.

1. Make a calendar- Grab a calendar or make one in Excel and write down the specific marketing tasks you will do and when. Spread the tasks out. It's OK to start small - a Facebook post here, a Tweet there. The key is to start.

2. Website- this one goes without saying, but I'll say it anyway. Make an author website. Study other author websites. Take the time and money needed (and it doesn't have to be a lot) to make your website visually appealing and easy for the reader to navigate. Put your web address on absolutely everything you can - on your book jacket, on your business cards, on your LinkedIn profile, in your email signature.

“(On Amazon) make sure your book is tagged in the right genres/categories, and sub-categories. Check out successful titles similar to yours for examples of what to say.” 

Get the most out of Amazon and other platforms by writing an excellent logline and summary, using keywords (tropes, plots, settings, etc.) that relate to your book and that your readers will use as search terms for their next favorite read.

2. Social media- Writers today are lucky because free promotional opportunities are all around us. There's Facebook, Twitter, LinkedIn, Instagram and Pinterest just to name a few. So which ones do you use? The obvious place to start is with a Facebook page for your book, tweet when your book launches and update your LinkedIn profile. But don't stop there. Put your book cover up on Pinterest; load your book trailer on Instagram.

The key here is consistency of posting. That’s what the algorithm is looking for. Set up a schedule you can manage, and follow through regularly. Once you’ve established your pattern of posting, the platform will begin to share your posts to a wider audience than your current followers.

Follow other writers on your platforms. Interact with them, comment on their posts. This may lead to combined events that you can share with both groups of followers. If you see a post you really liked, let the author know, ask questions on how it was done. 

Don’t just “sell” on social media. Ask questions of your followers. Ask them to vote on their favorite character in one of your books or a series. Ask them to do something, like share another book they liked in your genre. Share more of the fun stuff for you, like the time when you came across an historical event in your research, or a scientific discovery that relates to your book, and how that intensified your writing. Write about the place your book is set in, how that impacted the plot for you. Readers don’t just want to be sold a book, they want to feel a relationship with the author. Social media makes that possible. You just have to put in the time and sweat equity.

Step back and think about what your book is about, what you like to write about, who you are...think big, think broad. Is your book set in an interesting place? Does it give the reader a peak into another world - the FBI, Mars, small town Iowa? These are elements of your book that can be the jumping off point for more conversation. Novel set in California wine country? Great - tell us all about it - how are grapes grown, what's involved in the wine-making process, what should we look for in a good wine. Does your hero like bike riding? Excellent - you can talk about types of bikes, bike rides, the health benefits of riding. Whatever it is, the point is to think about your book(s) in a broad way and start a dialog with your readers. And by dialog, I mean, they talk to you, too. Read their comments, answer their questions, acknowledge their feedback. That's what makes it social - it goes both ways.

3. Book signings- Book signings are a great way to connect with readers, even if only two turn up for the event. But how do you get a book signing when traditional publishers rarely grant them any more? You develop the “art of the ask.” Get comfortable picking up the phone or dropping by in person. Reach out to bookstores, coffee shops, book clubs, the Elks Lodge - anywhere that readers gather. Have your 30-second elevator pitch about your book down pat, and get out there and do it. Libraries are a great resource for reaching a new audience, but most libraries won’t allow you to sell books at an event. You can pass out your business card, though, to anyone who asks.

4. Podcasts: If you have the talent and energy, start an author podcast. If you’re not so inclined, reach out to other podcasters and ask them to interview you.

5. Enter your book in contests, both before publication and after. Every prize you win, every review you garner, is another reason to trumpet your book.

6. Write a screenplay of your book. The entertainment industry is always on the lookout for crossovers. Screenplay contests are going on all the time; if you win or place, that’s another avenue to market your story. If you started out with a screenplay, write the novel.

7. Networking in the industry- Connecting with readers is only one half of marketing. The other half is connecting with your tribe made up of fellow writers, editors, agents, booksellers, etc. Having support from others that are walking the same path is invaluable and you may just find a marketing nugget that kicks your book sales into high gear. And there's no better place than the PNWA Conference to network (shameless plug intended).You can sign up HERE.

I avoided doing anything with Goodreads for years because it felt uncomfortable and clunky. But here’s the thing: Goodreads isn’t just for readers—it’s for you, the author, too. You need to know where to focus your time and energy.”

Bad Redhead Media

Goodreads starts with the premise that readers love books and want to engage with other readers, but also to find new authors for them to try. It is owned by Amazon, but provides a less “salesy” experience, where readers and authors can interact.

As an author, you can promote your work, provide an “Ask the Author” feature to your profile, do book release promotions and giveaways. It’s also a great place to find comp titles that are contemporary and popular in your genre.

Readers want to see your face, so be prepared to upload a professional headshot, and in your bio, use first person to describe not only your books, but why you write.

Some tips from the Goodreads blog

“• Always practice basic online etiquette, or "netiquette."

• Join groups that interest you. 

• Provide thoughtful, generous responses when answering questions from readers

• Pace yourself. Respond to one or two questions a day

• Review books. 

• Whatever you do, don't argue with reviewers or try to change their opinions of your book

By interacting with your readers, you can introduce yourself and share what titles you have available now, but also promote your next release with giveaways. Plan your giveaway far in advance of your release date, so you can post your campaign after you’ve built up a following of readership. Kindle giveaways are popular with both authors and readers because they are delivered quickly and less expensive for the author.

You can run more than one giveaway; one pre-release, and another a few months in. When a reader signs up for your giveaway, your book is automatically added to the reader’s Want to Read list and is shared in the reader’s newsfeed, expanding your reach to other potential readers. 

Goodreads is huge and hard to navigate sometimes. Like Amazon, it’s a behemoth that must be understood to get the most out of it. I started a Goodreads account in 2019, but failed to create my author page at that time. The “claiming” process didn’t work for me. There is supposed to be a link that says “Is this you?” in order to claim a book.

While writing this blog, I decided to contact Support to try to “claim” my published books. My name is not uncommon, so consequently, many books are listed on my Amazon pages that were NOT written by me. This time I plan to follow through to create my author page so I can interact with more readers, reminding myself to be patient with myself and the support staff to make sure all my questions are answered.

Final thought:

“Goodreads can feel overwhelming because it’s not built with authors in mind. It’s about readers and connecting with them. But with boundaries, strategy, and a clear goal—visibility, connection, credibility—you can turn it into a supportive tool rather than a source of stress.”

Bad Redhead Media

Here are some links for more info:

Insider Tips to Make Goodreads Work for You: A Smart Author’s Guide

Goodreads Author Guidelines 

Five Things to Remember When Engaging on Goodreads

How to Get the Most Out of Goodreads in Five Minutes a Day 

Five Tips for Running a Giveaway on Goodreads 

Getting Good at Goodreads

Genres are what readers use to decide what books to read or buy. Knowing what shelf your target readers go to is essential. Agents need to know your genre in order to find the right publisher for your book. And the best way to know your genre is to read books that are like yours. (It’s also handy when you need to come up with comparable titles.)

What if your book is more than one thing? It’s a romance, with paranormal characters? It’s a crime thriller told from the point of view of a mouse? It’s horror, but laugh-out-loud funny? If your book does cross categories, it’s not a deal-breaker, just be prepared to describe your story clearly so everything makes sense.

Avoid the notion that your book is for “everyone,” or that it doesn’t fit in a genre, because it will be very difficult for readers to find your book. Your book has tropes that will appeal to readers, that’s where you’ll find a genre that will work for you.

What about terms like “upmarket fiction,” “commercial fiction,” “book club fiction,” and other industry terms? If you describe your book with terms like these, be sure you know what you’re talking about.

Commercial Fiction: Fiction written to appeal to a large or mass-market audience, often with an emphasis on plot. Commercial fiction is typically thought of as including genres like mystery, romance, science fiction, and fantasy, although more recently there are more books considered literary in these genres. 

Literary Fiction: Fiction that appeals to a more intellectually minded, smaller audience. Literary fiction tends to have a stronger focus on writing, atmosphere, and style than commercial fiction might. Popular literary fiction authors include Toni Morrison, Cormac McCarthy, and Elizabeth Strout.

Upmarket Fiction: I consider this to be the baby of Literary and Commercial Fiction. Books tend to have a stronger focus on writing and plot together. They have a hook like commercial fiction, but more atmosphere similar to what is expected in literary fiction. Books and authors I consider to be upmarket are Melissa Payne, Kia Abdullah (upmarket suspense), Chemistry Lessons, and When Women Were Dragons.

Here’s a brief summary of genres from Reedsy:

• Fantasy: Features magical, supernatural, or mythological elements, ranging from high/epic fantasy (invented worlds) to urban fantasy (magic in the real world).
• Science Fiction (Sci-Fi): Speculative stories exploring futuristic technology, space travel, or dystopian societies, often broken down into hard sci-fi, cyberpunk, or space opera.
• Romance: Focuses on a central love story with an optimistic, emotionally satisfying ending, including subgenres like contemporary, historical, paranormal, and romantasy.
• Thriller & Suspense: Designed to create high tension and anxiety, often involving crime, psychological twists, or high-stakes action.
• Mystery/Crime: Centers on solving a crime, featuring subgenres like cozy mysteries, police procedurals, and hardboiled noir.
• Historical Fiction: Stories set in a real past, requiring research for accuracy, though characters and plots are generally invented.
• Young Adult (YA): Geared toward readers aged 13-17, often featuring coming-of-age themes across various genres like YA fantasy or YA romance.
• Nonfiction: Includes narrative nonfiction (like memoirs) and expository, fact-based books, as noted in Reedsy's guide to nonfiction. 

Here are some links to learn more about genre:

Bookends Literary: Defining Genre

BluePencil Agency: Newest Terms Used in Genre  

Rachelle Gardner: Identify Your Novel's Genre

Wikipedia: Genre Fiction

Agent Query: Genre Descriptions

Jericho Writers: What Genre is My Book?

At the very least, when you enter a contest, you stop and take a fresh look at the all-important opening of your manuscript, experiencing your presentation the way an agent or contest judge will see it, and more importantly, how your reader will feel about it. If you’ve been working hard writing the middle of your story, going back to the beginning can be a good check on whether you’re fulfilling the promise of the opening chapters. Writing a synopsis of your work-in-progress will help you focus on finishing your final draft.

On the downside, some contests can be costly and take time away from your other goals. You may have to delay publishing that manuscript or story until the contest is complete (maybe many months). Check out whether the contest rules demand exclusivity. Watch out for scams that take away your ownership rights.

Entering a contest is a good reminder that you’re human. While we strive for perfection, there’s always more we can learn. A reviewer is only one person, just like an agent. They have their own likes and dislikes, and they may be seeking something specific that your book doesn’t achieve. You don’t need to impress everyone; you need to find the right one. I often think writers are like actors auditioning for a play. You do everything you can to present yourself well, but if they’re looking for Pillars of the Earth, and you write WW II era stories, it’s no criticism of your writing. That being said, good writing does get noticed, and sometimes leads to landing an agent or getting published. If you don’t put your writing out there, you may never make that connection.

If you make the finals or win a contest, that’s a powerful accolade you can include in your query letter or your book cover.

Here’s what to expect when you enter PNWA’s Unpublished Writing Contest. Entries in Categories 1-10 require a synopsis plus opening pages (total not to exceed 3500 words). Categories 11 and 12 (Short Story and Children’s/Chapter book) do not require a synopsis and are limited to 3000 words. Standard formatting applies: Times New Roman 12 point font, double-spaced, with indented paragraphs and 1-inch margins all around. In the header, include the Category name, Title, and page number (example: Category 2 Historical, Gone With The Wind, 1) You name should not appear anywhere in your entry. If you write Memoir, you will need to create pseudonyms for your characters.

All entries will be read by two PNWA members and evaluated based on ten criteria: Synopsis (if applicable), Point of View, Characterization, Dialogue/Internal Narrative, Pacing/Tension, Plot, Setting, Show vs. Tell, Grammar/Punctuation, and Genre.

If you choose the option of receiving critiques, you will receive a 3-4 page critique of each of the above criteria. You do not need to be a member of PNWA to enter, and every entry is eligible to be a finalist or winner regardless of whether you choose to get critiques or not.

There are 12 categories you can enter: Mainstream/Literary, Historical, Romance, Women’s Fiction, Mystery/Thriller, Horror/Paranormal, Speculative Fiction/Fantasy, Middle Grade, Young Adult, Memoir/Non-Fiction, Short Story, Children’s/Chapter book. Only one entry per category, and the same piece cannot be entered in more than one category.

The top eight scoring entries in each category will be judged by an agent who represents that category. They will award 1^st, 2^nd, and 3^rd place winners.

The prizes are 3^rd place: $150, plus a badge for social media. 2^nd place: $350, plus a badge for social media. 1^st place: $500, a badge for social media, and an invitation to the after-party with agents and editors. All 1^st place winners will be eligible to win the Best in Show: $500, a badge for social media, and an invitation to the after-party with agents and editors.

The deadline to enter the PNWA Unpublished Writing Contest is April 30, 2026. Winners will be announced at the Awards Night Dinner at our Fall Conference. For more information about PNWA’s Unpublished Writing Contest, click here. If you have any questions, email pnwa@pnwa.org.

According to the NY Book Editor’s website, a storyboard can help you decide how to tell your story, whether chronologically or in a non-linear fashion. It’s a visual representation of your book, so you can always tell where you are and where you need to go.

But it’s not set in stone. You can adjust your storyboard as you go so you can tweak the pacing, adding content or action where needed. Plus, you can move things around, so the content has the best possible impact on the reader.

Storyboarding works very well for “plotters,” who like to outline their story before writing, but storyboarding will work for “pantsers” too. They might find it helpful to storyboard after they’ve written their first draft, for a visual representation of what they’ve created. There’s always time to play with the rhythm and pacing of a story when you can see its moving parts. And storyboarding can help in the editing process, tightening areas where the pacing slows down, or giving the reader time to digest a high-action sequence.

From the Self-Publishing School:

If you’re writing mystery or thriller, storyboarding can help you to seed your story with clues and red herrings. In romance, a storyboard can keep track of the rising attraction between characters. In science fiction/fantasy, it can help you keep track of the technology and mythology elements of your story. In historical fiction, your storyboard can keep track of the important calendar of events that affect your characters. For all other genres, including non-fiction, a storyboard can help you make sure the reader gets a smooth, well-constructed read.

When storyboarding, you can use colors (post it notes, or colored pens) to highlight each character’s journey, or to keep track of dates, character age, weather, and time of day of a scene. You can also target the basic structure of the story, such as the inciting incident and the “all-is-lost” moment before the big finale.

Click here for more info:

Take a Tip from James Cameron: Try Storyboarding Your Novel Before you Write It: The Writing Cooperative

How to Write a Storyboard: Self Publishing School

Why Should You Storyboard: NY Book Editors

The main difference between signing a contract with a traditional publisher and self-publishing your book is who owns the rights. If you sign with a traditional publisher, they will own the right to print and sell your book. Your contract may also give the publisher the rights to ebooks, audible books, foreign rights, and screenplay adaptations. If you self-publish, you retain all rights.

But beyond who owns the rights, there are various pros and cons for either path you choose.

THE PROS AND CONS

With traditional publishing, the publisher assumes all the financial risk, so the cost to you to get your book to market is very low. A publisher will give your book expert assistance in editing your book and designing your cover. Plus, you can take advantage of the publisher’s vast contacts to get attention for your book (reviewers, bloggers, mailing lists, elite contests, etc.), as well as getting your book into bookstores. Depending on your contract, you may receive an advance on your royalties before your book even hits the market.

Because the traditional publisher assumes all financial risk, the tradeoff is that the author may give up a certain amount of creative control. There can also be a long timeline from signing the contract to the ultimate book release, one to two years in some cases. Moreover, as the author, you will be expected to actively market your book once it comes out.

Some experts say that 1% of the authors who seek a contract with a traditional publisher actually achieve that goal. Competition is fierce, and what one publisher is looking for may not be what you have to offer. It takes a lot of determined effort to find the publisher who is excited about your unique manuscript. That’s why the option of self-publishing has appeal for many authors.

Self-publishing is growing by leaps and bounds thanks to the numerous and varied platforms available on the internet. If you decide to self-publish, you retain all creative control, and the timeline to release your book may be much shorter. Your portion of the cover price at the point of sale will be considerably higher than in traditional publishing.

However, you will assume all expenses, from the layout of your manuscript, to cover design, to professional editing and marketing costs. In the long run, a successful self-published book can bring you more money as an author, but only if you are willing to put in the work to create a high-quality book. Self-publishing is a business like any other. You’re the boss, but you’re also the employee doing all the work!

There are many good sources of advice on the differences between traditional publishing and self-publishing. Try some of these links:

Scribe Media Self-Publishing vs Traditional

Reedsy.com Self-Publishing vs Traditional Publishing: Pros and Cons

Writers Digest 17 Pros and Cons of Traditional Publishing vs. Self-Publishing

Mike Trigg: The Real Publishing Industry

Do you have a burning question about writing, publishing, or marketing your books? Let us know! Email your topics to judypnwa@gmail.com.

Historical Fiction delves into the past in an entertaining way. It’s fiction, so the story and the characters (whether real people or your invention) is paramount. The best historical fiction grounds the reader in a time period, making her feel like she’s ‘there’ without bogging her down with unnecessary detail.

Good historical fiction writers humanize the past, immersing their readers in a world that feels new and familiar at the same time. Historical fiction reminds us we’re not so different from other people after all. ProWritingAid

The best writers of historical fiction are themselves history nerds. They write historicals because they love research. There’s a balance in building a world for the story, without making the reader feel he’s reading a textbook. Your historical details should reveal what’s important about your story. If they don’t, edit those extraneous factoids out of your novel.

Remember that you are writing a story to entertain your reader. The story is paramount, the history is important, but it should not warp or dominate the narrative. If you are placing your fictional characters into real events, then you have undoubtedly done your research, but you should only show about 10% of this.                                                                        Writer's Digest

To get started with your research, follow your curiosity. Wikipedia is great for touching on historical events, but you need to delve much deeper into the resource material to be truly accurate.

The acronym PERSIA stands for political, economic, religious, social, intellectual, arts. Social refers to social structure and social norms. Intellectual deals with major achievements. A simpler form is PEGS, which is political, economic, geographic, social. Use these categories as an outline for your research.                                                    ProWritingAid

When you’ve gathered enough base information to begin to write your novel, it’s a good idea to start an Author’s Note document that you can add to in real time, to keep track of the ways in which you have altered the historical record to serve your story. When you’re deep in the drama of your novel, it’s easy to forget what really happened, and the choices you made to serve your story.

I usually take a year to write each of my novels and it’s impossible to remember everything as I go along. I use a spreadsheet with a summary of each chapter, the characters who appear in that chapter, the date, the main purpose of the chapter and a column marked “TO DO”—for lightbulb moments/reminders/comments from my editor. During edits, the information will change, but if you have recorded these details, they will be at your fingertips and hopefully you won’t get in a muddle. (Easily done.)
                                                                      Angela Petch, Writers Digest

Sometimes it’s necessary to compress real events or invent situations to serve your story, but your reader will trust you if you’re upfront about what changes you felt were necessary to serve the drama or your character’s motivations.

Unless you’re writing speculative historical fiction, avoid altering history in a major way. If your main character is female, it’s important to be accurate about what she is allowed to do within her society and time period.

Try not to choose sides. Both your protagonist and your antagonist are people, with complicated motivations and desires. As with any genre, let your reader decide who’s right and wrong.

Try to be fair. The people on both sides of every conflict are still human. You will distort history (and probably write a lousy story) if they are merely heroes or villains. If your medieval Crusaders are good guys and the Saracens are bad guys, then it's clear you have no idea of the history of the Crusades.                                                                      Masterclass 

Ken Follett once said in an interview that the best compliments he receives are when the reader tells him that his novel made her want to learn more about that time period.

For more great tips and techniques, try these links:

Pro Writing Aid: How to Write Historical Fiction

Edward Rutherford: Rules for Writing Historical Fiction

Master Class: How to Write Historical Fiction

Writers Digest: How to Write Engaging Historical Fiction

–Josh Malerman, author of Bird Box

Writing a good horror story often begins with what's normal (a picnic on a sunny day, someone reading a book by a cozy fireplace while snow falls outside the window, dropping your child off at kindergarten), then "normal" gets thrown out with the trash and we're off and running. The scariest stories begin with safe places, loving families, good things happening to good people. The dead body, or worse, a mangled deformed insane intruder provides the contrast, the surprise, the thrill that horror fans live for.

I equate scaring the reader with making them feel unsure, or unsafe. Fill a realistic, recognizable slice-of-life scene with characters that the reader empathizes (not sympathizes; there's a difference) with, and then have something happen that's off. The gradations of off, of course, are up to you; anything from a light knocking with no source, to a tomato-red wasp flitting in, to a giant atomic beastie that drools snarling three-headed dogs. Well, maybe not the last bit, but it's that dichotomy between the real and the off that makes for wonderful moments of anything-can-happen dread.

–Paul Tremblay, author of A Head Full of Ghosts

It’s the twist that grabs the reader, the unexpected. Not all villains are outwardly bad. Sometimes revealing the evil-doer's character traits can draw the reader in.

Shayla Raquel (Shivers in the Night) reminds us that any human being can become a monster. “Try taking a character who is loved by all—she volunteers at her local nonprofit, bakes goodies for her neighbors, dotes on her husband—and turn her into a walking nightmare.”

Horror fans are used to being scared, that’s why they buy those books, which means they know what to expect, so you have to do more to really freak them out. 

I guess it all boils down to dragging people out of their comfort zone and putting them in the kind of position they really don't want to be in. And the key for me is keeping them there just that little bit too long…

Find something you know your reader won't want to look at or even think about, then write so tightly that they can't look away.

–David Moody, author of Hater

Do horror stories ever have happy endings? Maybe. Sometimes there’s a sense of satisfaction at the end, they survived a terrible ordeal.

I think the horror audience is just as ready for hope as the romantic comedy audience. We’re just as willing to let a happy ending move us, so long as that happy ending is earned.

Stephen Graham Jones, author of My Heart is a Chainsaw

For more info:

Jane Friedman: 14 ways to Freaking Freak Out Your Horror Readers

Rutgers.edu How to write a Killer Horror Story

Nightmare Magazine: Horror Story Endings

But wait! Why not ask the experts yourself?

Join us this Wednesday 10-29-25 at 7:00 for our much awaited

Horror Panel of Experts!

October Critique Group Meeting, 10-23-25

• Workshop Wednesday: Trope on This: The Use and Subversion of Tropes Within the Horror Genre, 10-29-25

• Workshop Wednesday: How to Publish on Amazon Without Anyone's Permission, 11-5-25

• FREE FRIDAY: Write Your Story: Settings, 11-7-25

• Damon Suede Workshop: Character Conflict that Revs Your Writing (choose one), 11-8-25 and 11-9-25

• Speaker Meeting: Writing Memoir and Non-Fiction, 11-20-25

• Wednesday Workshop: Truth & Tale: Research-Driven Historical Fiction, 11-19-2

• Wednesday Workshop: Snowed In & Steamy: Writing Heat, Heart, and Holiday Tropes in Today’s Romances, 12-3-25

• FREE FRIDAY: Write Your Story: Dialogue, 12-5-25
• Speaker Meeting: Organizing your Author Business, 1-15-25
• Speaker Meeting: Nancy Pearl Best Book Winner Panel, 2-19-26
• Speaker Meeting: Are You Thinking of Becoming an Indie Author? 3-19-26
• Speaker Meeting: Speculative Fiction - What is it, and how do you write it? 4-16-26

“It was foul, and I loved it. I loved my own undoing.” 

What’s the difference between a memoir and an autobiography?

Both are basically true stories, but in a different way. How can truth be different? It’s how you tell the story.

A memoir usually covers a specific time, event or theme about your life, with an emphasis on how it felt and how you got through it. Autobiographies are more geared toward the factual history of your entire life.

Autobiographies are generally reserved for famous people, although anyone can write one and have it be a success.

The requirement for a strong autobiography is a life that’s out of the ordinary in some way, whereas a memoir can be about an ordinary existence told with profound insight.
                                                                                           NY Book Editors

Assuming you aren’t famous already, let’s dig into writing a memoir that will resonate with readers. Think about a pivotal time of your life, a challenge you endured. Identify the theme of your story. Be truthful. Show, don’t tell.

Ask yourself: What will readers take away from my story? What will they learn from reading it? Common themes in memoirs include lessons about accepting change, dealing with loss, overcoming addiction, surviving abuse, impressions from an era, valuing friendships and relationships.

                                                                                         Writers Write Blog

Transformation memoirs are written after an author has endured a great challenge. Celadon (same link as above)

Confessional memoirs are unapologetically bold. The author shares painful or difficult secrets about themselves or their family and how it has affected them.

Professional or celebrity memoirs cover important moments in the author’s rise to fame and success.

Travel memoirs let us escape with the author and learn about a time and place through their experiences. 

A memoir structure is not too different from a novel. You are the protagonist of your novel, so your voice and your experiences drive the story as you overcome adversity. The setting, the supporting characters and the dialogue bring your story to life. 

Take them on an emotional journey that motivates them to read the next chapter, wonder about you well after they finish the last page, and tell their friends and colleagues about your book. The best way to evoke these feelings in your readers is to connect your emotions, as the protagonist, with pivotal reflections and takeaways about the happening throughout your narrative arc.                                                                                                                                       The Write Life

In his book Fearless Writing, Bill Kenower shares that there are three narrative arcs to any story, but especially in memoir. The Physical Arc, basically the thing that happened, the Emotional Arc, how it affected you, and the Intentional Arc, why it matters. In your memoir, you choose to tell the story of an event or particular experience in your life. Who, what, when, where. Then you dig into the how, how did it happen that way, how did it make you feel? And finally, why is it important, why is it universal?

A writer can only write one autobiography, but there’s no limit to the number of memoirs he can write.

We will be offering four pitch blocks at the conference, two on Friday and two on Saturday. Here’s how the pitch blocks work:

On one side of the room are seated a group of 8-10 agents and editors (editors are acquiring projects, not selling editing services). Authors line up to speak to their top choice, then they can line up for their second choice, then third, etc. during that 90-minute session. Each pitch session will be four minutes long.

Yup. Four minutes. (And boy does that go by fast…)

And your pitch should be no longer than ninety seconds in order to leave room for questions.

Okay, how to sum up an 80K word manuscript that you’ve slaved over for ten years in 175 to 250 words?

By breaking it down into basics.

If you are pitching a non-fiction book, you don’t have to have a complete manuscript, but be prepared to submit an outline and a few sample chapters, if requested. In your pitch, emphasize your qualifications to write this book, your marketing plan, and why your book will be different from the competition. Include two comparable titles published in 2023 or later. Be prepared to talk about how your book offers something unique to what is out there already.

For fiction writers, your novel should be complete and fully workshopped. Introduce your lead character(s) and the main challenge. How will it be resolved? Keep the number of characters to a minimum in your pitch. Avoid details (this happened, then this happened). Imagine you just read a fantastic book. You want to tell your friends about it. You’re probably not going to list things that happen in the book, but rather how the story made you feel. Concentrate on the stakes: what’s preventing your character from getting what she wants, and how she overcomes the obstacles in her way.

It's not a book jacket, though. The agent definitely wants to know that you have a satisfying ending.

Include the title, genre and word count. Include two comps that have been published in 2023 or later. Avoid the big bestsellers and self-published books for your comps.

Since the pitch is so limited in terms of word count, you might want to consider using tropes to describe your story to save precious time and get to the point. PNWA President Pam Binder really helped me with my pitch with this advice. While you are expected to have good comps in your query letter, in the 60-90 seconds you have to interest the agent or editor in your project, it’s risky to mention titles that they may not immediately recognize. Whereas Enemies to Lovers, Hidden Treasure, Orphan Hero (fill in the blank) establishes your story in the agent’s mind without confusion.

It’s acceptable to read your pitch if you don’t want to memorize it. If you can memorize it, though, you’ll be able to look the agent in the eye, sharing your enthusiasm for your work. The benefit of pitching in person (rather than an online ‘cold query’) is that you are making a personal connection. Agents who come to our conference have said that just the fact that you’re at the conference shows you’re serious about your work.

Matt Rusin, Assistant Editor, Tor Publishing Group/Macmillan Publishers was kind enough to send a note to Pam Binder after last year’s conference:

"Hi Pam,
I hope you're well. I just wanted to say thank you, once again, for inviting me to the PNWA conference this year. I had an absolutely wonderful time. I also wanted to note that I've begun to review the manuscripts I requested while at the conference and I am very impressed by the overall quality of these stories. As you might presume, I do other conferences throughout the year, but I've never received conference submissions as consistently enjoyable as these from the PNWA. I do hope you will keep me in mind for next year. I would love to return."

Remember that the agent isn’t just looking for a book, they’re looking for authors they can represent for a whole career. (By the way, Mr. Rusin will be attending again this year, taking pitches and teaching!)

Be prepared to answer questions about your work: How long have you been working on this piece? What inspired you to write it? Have you been published before or won any awards? What else are you working on now? Do you have a degree in writing, or life/work experience related to the topic of your book?

To research the agents and editors and what they’re looking for right now, start with our website first, then go to their websites. Check out Manuscript Wish List, interviews, and podcasts. Publisher’s Marketplace is a great resource (costs $25/month, but you can do a lot of research in one month!) where you can not only find agents in your genre, but you can see the titles they represent (great source for comps).

Another excellent resource for finding comps is your local library. In King County Libraries, in their online resources, they have a link called Novelist (go to kcls.org, click Online Library>Databases>Novelist) where you can use search terms to find books with similar characteristics as your book.

Don’t bring anything to hand out to an agent, but do bring a notebook and pencil. If they are interested in your project, they will give you instructions on what you should email to them. Follow these instructions to the letter. They may ask for 10 pages, or three chapters, or the whole manuscript. They may or may not want a synopsis. Some will ask you to include the writing sample within the email, some will ask you to send it as an attachment. Some use a service like Query Tracker where you will fill out a form and upload your writing sample.

Don’t worry if your formatting goes away in an email or a form submission. Agents understand that.  

Many of the agents and editors will be teaching workshops at the conference in addition to taking pitches. That’s a chance for you to hear how they work (and their pet peeves). It’s also a great reminder that agents are readers, they love books, and they love authors. Read the online program here and keep checking back for updates.

And if you weren’t able to talk to all the agents or editors on your list at the conference, you can certainly mention that in a query letter afterward (include PNWA Conference in the subject line). 

Here are some resources to help you write that perfect pitch:

Jane Friedman: Tropes: the Good, the Bad, and the Ugly

Writers Digest: 60 Successful Book Pitches

Master Class: How to Pitch Your Book to an Agent

Penguin Books: How to Pitch Your Book to an Agent

Book Bub: 5 Steps for Writing a Killer Elevator Pitch

Writers SA: How to Pitch Your Book to Publishers

6 Successful Pitch Examples for Children’s Picture Books

Pablo Picasso

We are often told to avoid passive voice, (“The lasagna was eaten,” as opposed to, “My cat ate the lasagna.”) because it fails to bring the subject of the sentence (the doer of the action) to the fore. In fiction especially, we generally want to connect with the subject, the person (or cat) who is taking action, rather than stating that an action took place.

In non-fiction, in scientific papers, and in the legal world, where clarity is essential, it’s often beneficial to describe the legal case or the chemical reaction without emotion. Save your drama for your closing argument to the jury.

Look at the two sentences in the previous paragraph. In sentence #1, we don’t specify who is writing. Passive voice tends to leave out the subject, to make a larger point, or to avoid stating the obvious (that the writers of legal, scientific and non-fiction works are people with needs, emotions, or agendas). The second sentence acknowledges that the subject (us, in this case) has needs, a desire to persuade. We aren’t named, but we know who we are.

So passive voice can be used to good effect if we keep in mind what we want to emphasize. In passive voice, the object is more important than the subject. By removing the subject in a sentence, it can be more expansive.

Politicians sometimes make good use of passive voice when they talk of the evils of the world without personalizing or accusing the evil doers (the people whose support they need to do a hard thing like declare war, or raise taxes, or fight racism).

It is not enough to say “We must not wage war.” It is necessary to love peace and sacrifice for it.

Martin Luther King Jr.

Most people can agree that war is bad, but by putting the emphasis on love and peace, something universally understood to be a good thing, MLK Jr. persuaded people, without accusation, to put their hatred of war to positive use. He doesn’t point fingers at his audience, he uses passive voice to persuade his audience.

But in fiction, we want the story to have action, which injects energy into the narrative. Readers want to feel like we’re in the character’s shoes, facing the dangers or emotion along with our hero. Sometimes, when we slip back into passive voice, we lose that energy and connection with the reader.

Louise Tondeur, in her article, “How to Eliminate Passive Voice in Your Writing,” points out a common reason a writer may go passive. She calls it “Skip-itis,” when a writer avoids the character’s emotions in a scene because it’s too hard to write them. If you’re getting the note from your writing partners that they’re not connecting with your character, it may be that you’re summarizing his actions like a puppet master, rather than delving into the emotional aspect of a difficult scene. Her advice is to take the scene step by step, building tension and focusing on the emotional state of the character, leading him to take action or to change.

Another way to look at passive voice is when you want to surprise the writer. By withholding the name of the killer to the end of the sentence, the author builds excitement.

“This vile crime was committed by none other than one we thought was our dearest friend, Captain Charles.” This is a sentence that I envision in a reveal scene of a classic murder mystery. It’s something a master detective would declare after solving the case. It’s a climax, a scene founded on building and releasing tension. By using the passive voice, the writer is able to build anticipation by not naming perpetrator until very end of the sentence.

Amelia Winter 

Psychologically, we tend to remember the last part of a sentence the most, the first part of the sentence secondarily. Sometimes using passive voice can subtly change the emphasis in a sentence.

Let’s take the example, “my house was destroyed.” The emphasis here is squarely on the destruction. If you changed the sentence to, “my house was destroyed by the hurricane,” the emphasis is more on the power of the hurricane rather than the destruction. Then if you switch it to, “the hurricane destroyed my house,” the emphasis would primarily be on the house and secondarily be on the hurricane. All of these are subtle shifts in emphasis, but they still affect the tone in ways that we unconsciously process and understand. This is a very important function of the passive voice and why it’s so limiting to say you can never use it.

Amelia Winters 

Are you looking to expand your writing life? Your writing community? Your exposure to literary agents, editors, and publishers? Writers conferences can provide all of these potentially life-changing benefits and more.

At writers conferences members of the literary world come together to learn, educate, network, and celebrate the magic of writing. Writers, editors, publishers big and small, literary agents, and other assorted literary professionals congregate and discuss a wide range of subjects including: trends, market data, writing and revision techniques, problems and barriers in the industry, and how to improve your chances of getting published. 

Most will cover the widening world of publishing: traditional, hybrid, and self. Many will offer face-to-face pitch sessions with literary agents. Some conferences conduct master classes on specific aspects of writing – before the conference begins. These master classes are usually an additional fee but can be well worth the expense.

I’ve attended Writer’s Digest conferences in New York and Chicago, Pacific Northwest Writers Association (PNWA) conferences in Seattle, an Association of Writers & Writing Programs (AWP) conference in Los Angeles, and the Kauai Writers Conference in Lihue. I’ve always been inspired, learned new craft ideas, increased my industry knowledge (the industry is always evolving), and developed new writing and industry contacts. 

However, my greatest takeaway from my first conferences was the realization that I’d found my people. For a long time, as a writer I felt like I was on the outside looking in at the world of “real” writers. Once I made the decision to move closer to this world and attended a conference, I found I was more than closer. I was there–a member of a diverse community of individuals devoted to the craft of creative writing. 

All kinds of writers attend conferences. They are not just for emerging writers. I’ve met published writers with several books out and newbies and every kind of writer in between. All writers benefit from the inspiration, networking opportunities, and current industry insight conferences offer.  

At the 2019 Writer’s Digest conference in NYC, I had the exceptional experience of hearing talks by the brilliant and charismatic Min Jin Lee, Karin Slaughter, and  N.K. Jemisin. All three were captivating, and I was able to chat briefly with both Lee and Slaughter during an autograph session following their individual talks. This year, the Writer’s Digest conference, slated for July 24 to 27 in Baltimore, will feature the always inspiring, critically acclaimed, and internationally best-selling writer Jean Kwok as the keynote speaker.

As a Seattle-area resident, I’ve attended several PNWA conferences. It is undoubtedly the conference where I’ve made the most lasting connections and friendships with other writers and with literary agents who invited me to stay in touch. This year’s conference runs September 11 to 14 at the DoubleTree by Hilton Seattle Airport.

This past March, I attended my first AWP conference in Los Angeles. I was wowed with the depth and variety of sessions offered. As a person of mixed race, I truly appreciated the opportunity to attend the discussion, “All Mixed Up: The Experience of Writing Mixed Race/Ethnicity” delivered by a panel of mixed-race authors discussing their experiences. While I’ve attended sessions on diversity in writing, I’d never attended anything like this panel and loved hearing how they handled mix-race issues in writing. The 2026 AWP Conference and Bookfair will be held March 4 to 7 in Baltimore.

The most in-depth instruction I’ve ever received at a writers conference was at the 2024 Kauai Writers Conference due to two four-day master classes (taught by award-winning authors Jean Kwok and Jess Walter) that I attended before the actual conference began. This conference offers an “all-star” list of literary rockstars teaching the master classes and presenting at the conference. They also provide strong networking opportunities by making a breakfast and/or lunch meal plan available so that you can meet someone new every time you sit down to eat during the day. The 2025 Kauai Writers Conference will run November 10 – 16 at the Royal Sonesta Kauai Resort. 

When interviewed for this article, Jean Kwok, expressed her regret at not attending writers conferences when she was an unpublished writer. 

“I think it would have helped me tremendously. I was just so clueless and writing is such a solitary activity. I think many of us are introverted. We don’t want to face a large crowd, especially if we might not know anyone. However, I’ve found that writers are my favorite type of people and it’s a breeze to make friends who you truly connect with. Just asking, ‘So what are you working on now?’ works for any writer at any level. 

“Nowadays, I regularly go to festivals like AWP, the Tucson Festival of Books, the San Miguel Writers’ Conference, ThrillerFest, and the Kauai Writers Conference. I always learn so much about craft and the business of publishing, not to mention that I make new friends and reconnect with old ones every time. The most important thing is that I leave feeling inspired to go home to continue my solitary writing journey, and I know that I’m not truly alone.” 

NYT best-selling author Danielle Trussoni whose novels are international best sellers, has been attending conferences since early in her career and believes that conferences can be life changing. 

In particular, she recommends the San Miguel Writers’ Conference and Literary Festival where she serves as the director of programs. “The conference is a world-class tri-cultural literary event that brings together writers from Canada, Mexico, and the United States in a meaningful, collaborative way. The diversity and opportunities for cultural exchange, its bi-lingual aspect–all of the keynote speeches and panel discussions are simultaneously translated–and the beautiful location, make it special.” The next conference will take place February 11 to February 15, 2026.

Find the Right Conference

Writers conferences come in many varieties. It pays to research and seek conferences that offer sessions, panels, and workshops that address your individual needs, where you are in your writing career, and your particular genre.

Sara DiVello has been teaching at writing conferences since 2014 and strongly recommends them for all writers. “I’ve seen direct benefits for those who are looking to hone their craft, find an agent, broaden their industry connections, or take their careers to the next level.” 

For writers interested in the mystery and thriller genre, she suggests a genre-specific conference like ThrillerFest. “I attended my first ThrillerFest in 2022 as part of a special collaboration with my Mystery and Thriller Maven Series, an author interview series that I host in collaboration with woman-owned, independent bookstore, Murder by the Book. 

“I hosted a pop-up ‘Interrogation Room,’ where I ‘grilled’ authors about everything from craft to careers. I joined the staff of International Thriller Writers (ITW) later that summer and now run the Interrogation Room every year on-site, where I host all the on-site interviews.”

ThrillerFest also offers two days of one-hour workshops on all aspects of writing and publishing–from the art of the twist to the secret to a longstanding relationship with an agent–as well as masterclasses, panels, and more.

For those who aren’t quite ready to attend a writers conference, DiVello suggests they visit their nearest book festival. “While book festivals may not offer specific sessions on topics like the path to publication, they are still a great place to start to learn about the publishing industry and what it takes to begin–and sustain!–a career as an author.”

Co-chair and a board member of The Nantucket Book Festival, DiVello gives it high marks as “one of the top literary festivals in the world,” where the audience of readers and aspiring authors hears first-hand from authors about their books and their paths to publication. 

She also recommends the Boston Book Festival, the San Diego Writers Festival, and the Unbound Book Festival . 

Prepare Before You Go

Now that you are curious and hopefully excited to attend, before you go you must read “Jane’s Guide on How to Get the Most Out of a Writers Conference” by publishing industry expert Jane Friedman. Read it now and then again at least a couple weeks before you go. It’s full of practical suggestions such as researching the speakers you are interested in connecting with, studying the conference schedule ahead of time so you can know the sessions you want to attend, and essentials to take with you.

Based on my own experience, in addition to the items Jane mentions, I suggest you take a sweater, shawl, big scarf, or even a lap blanket for conference rooms that are too cold for comfort. I also carry water and Ricola cough drops or throat lozenges to avoid coughing during a presentation in case I get a dry throat. And you also may want to pack some easy snacks to sustain you if you don’t think you will have time to grab a bite between sessions. 

Embrace Yourself as a Writer!

Still feeling like you should wait to attend a writers conference until you are further along in your writing career? It’s time to get serious about it. In a blog post from NY Book Editors “Should You Attend a Writers’ Conference?” they propose that it is the serious writers who spend the money to invest in themselves. “By attending a conference,” they write, “you’ll give yourself permission to fully embrace yourself as a writer.”

The cost to attend varies from conference to conference and location will also play a factor. Local conferences may be easier on your wallet and are a good way to get your feet wet. 

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Margaret Speck Ogawa

 

Raised in Honolulu, Margaret holds a bachelor's degree from the University of Hawai'i, an MBA from Northwestern University, and a master's degree in creative writing and literature from Harvard University. She has enjoyed careers in marketing, product management, and fashion. She currently lives in the Seattle area and is working toward publishing her debut novel. She enjoys all forms of creative writing and likes to incorporate diverse characters and cultures into her stories. She believes in enrichment through diversity and is passionate about family, friends, writing, reading, and travel.

You’re getting ready to query a book that you’ve poured all your energy, time, and imagination into for a matter of years. You’re ready to sell it. You think it has potential, could be a successful novel, may have a broader than average audience. You believe Oprah, Reese, and Good Morning America are going to love it. You’re toying with terms like upmarket, book club, and commercial fiction to promote it to agents and publishers. Do they apply to and correctly describe your work?

Upmarket fiction is a relatively new term, used to describe books that are character-driven with a strong hook. It’s not a genre per se, it’s more of a marketing term that could apply to many different genres.

Books that make readers think about “What would I do in that situation?” or “What if that happened to me/my sister/my family?” are ways that readers are pulled into the book in a nuanced way that inspire deep thought about how the reader feels about the subject matter or character conflict and their own personal relationship to it.

Literary Agent Carly Watters 

Upmarket fiction can be described as a blending of Literary and Commercial fiction. Upmarket fiction can be considered literary, in that the writing stands out. Literary novels may focus more on writing style, delving into unusual or philosophical themes with unresolved conclusions. In Upmarket fiction, the writing must drive the story, grab the reader, and keep them turning the page, but generally stays grounded in style and plot, more like Commercial fiction.

In commercial fiction, the specifics of characters don’t matter. They are meat puppets being tossed around the mechanics of plot. They are one-dimensional.

John Warner 

Commercial fiction is a term that describes books like thrillers and mysteries with plots that are easy to understand, are fast-paced, and where character development is minimal. With Upmarket fiction, character development must be the primary focus.

Upmarket fiction refers to a combination of commercial and literary fiction; it is strongly plotted but the language is also carefully crafted. It may include complex plotting, such as multiple viewpoints.  

Louise Tondeur 

Book Club fiction dovetails well with Upmarket fiction if it leaves the reader thinking and can spark discussion and debate among its readers.

Book club fiction, which definitely overlaps with upmarket, is defined not just by its content but by its purpose—to stimulate discussion and thought among readers. These books tackle relevant and sometimes controversial themes; they present characters and situations that provoke reflection and debate. They are the kind of books that invite analysis and discussion.

David Griffen Brown, Darling Axe Editing 

If your book is character-driven, with a dynamic plot, that makes people think, you may fall under the category of Upmarket fiction. The best way to be sure is to read, read, read in your genre. When you pick up a book labeled Upmarket, ask yourself what aspects of the book appeal to you. If you are pitching an Upmarket novel, you’ll want to have some strong comps that will back you up.

Here are some quick tips for writing upmarket fiction: 

1. Read plenty of examples of upmarket fiction to get a sense of the balance between literary fiction-type language and commercial fiction-type plotting. 
2. Create a strong premise: can you sum the book up in a couple of sentences? Practice doing this with examples of upmarket fiction first. You don’t have to do it in advance.  
3. Once you have the premise, use it to write a blurb. Both of these will help you to sell the book to others and to clarify your ideas for yourself.
   

Jerico Writers

Joining a writing group is a great way to get started. Have you ever noticed in the opening credits of a book, how many writers thank their critique partners? They know how much help a long-term writing group has given them on the long, long road to publication. The benefits of joining a writing group are that you develop trusting relationships by helping each other.

Before getting published, a book has a lot of “fermenting” to do. You’re trying new things, stretching your imagination. Let’s face it, until your book is published, only a handful of people have stuck with you for the whole ride, from beginning to end. Your writing partners see you through the rough spots and the triumphs.

At some point, you may need to put your work ‘out there’ to get new insights. Entering a contest (especially one that offers critique) or joining an online group like The Critique Circle can put you in touch with new writers who can give fresh eyes to your work. Taking a writing class is another great way to connect with new writers who share your interests and writing style. And when you’re ready, you may want to get the help of a professional editor.

Meanwhile, don’t forget the PNWA monthly Critique Group Meetings. These are for members-only. We generally read aloud 3 double-spaced pages of our work in a small breakout room, where each person can share and get feedback from the group. Sometimes we focus on getting ready to pitch our books prior to the conference. We even try out our query letters, getting the wording just right. It doesn’t matter what genre you’re writing, all are welcome.

Give it a try. Our next member critique group zoom meeting is Thursday 5-29-25 at 7:00 PM (Pacific).

Here are some more resources:

International Writers Collective: Do’s and Don’ts of Critiquing

Writers Helping Writers: The Ultimate Guide for Giving and Receiving Feedback

Ann R. Allen: Ten Do’s and Don’ts for Giving Helpful Critiques 

Fox Print Editorial: How to Effectively Give Critique

The more you write, the more creative you become.

“At its heart, blogging is about sharing your knowledge with the world. Writing about things that you are passionate about makes the process of starting a successful blog so much easier. As long as you are writing about things that you are genuinely interested in, your passion will shine through and keep your visitors interested.” The Blog Starter

As you work away at your novel, memoir, short story, poetry, non-fiction book or article, you are gathering ideas and facing challenges that other writers can benefit from. If you’re curious about something, there’s a good bet someone else out there is, too.

When you blog, you receive immediate feedback from your readers. You can develop a relationship with your readers, even if you aren’t published yet. That will come in handy when your book comes out.

Writing is a solitary activity. Even if you are published, it’s rare to get feedback from your readers. Getting a “like” to a blog post can be a little endorphin kick. Even negative comments can help you to improve your writing process.

Once you’ve established yourself as a blogger, you may get offers to write for magazines and newspapers or be invited to speak on your topic. And if you don’t already have an author website, this would be a great time to create one where readers can buy your books.

If you think it can wait until you’ve published your book, you’re already too late. Anyone can post a blog, but getting the attention of the world (all the people you don’t currently call “Mom”) is something else. It’s something you can build, something that can grow. Every mighty oak started with a humble acorn.

Getting Started

It’s a good idea to start by following other people’s blogs in a similar category. Notice how they use images and video, how broad or detailed their topic is in that post, how often they post, where on social media they promote their blogs. Ask them questions. Ask to interview them for your blog (maybe they will reciprocate).

There are many user-friendly, free blog hosting companies such as Wordpress, Squarespace, Blogger, Wix, and many more. It’s a good idea to decide ahead of time how often you will post. Maybe you don’t have time to write a new blog post every week, but how about once a month? Be sure to connect your posts to your social media accounts to bring in new readers.

Encourage your followers to comment. The more you can engage with your audience, the more faithful they will be to your message. Time to plant that tree!

You will find there’s lots of crucial information that can be overlooked if you don’t know why they have such a particular structure.

There are three main building blocks that you will use over and over while writing your story, and the better you understand what the studios and agents need to know within these blocks, the better your screenplay will be received.

The three most common tools are sluglines (scene headings), scene descriptions (sometimes called action) and dialogue.

In a “spec” script (one that no one is paying you to write), we don’t number our scenes, and avoid any indication of camera work, fade in/fade out, close-ups, etc. Those features get added in later by the production team after you sell your script!

A slugline (not to be confused with a logline - also not to be confused with the slimy creature that eats your garden vegetables) is the heading for every scene. A slugline contains three (and a half) things.

1. Interior or Exterior (INT. or EXT.)
2. The place
3. DAY or NIGHT

The slugline contains essential information that indicates the budget and scheduling for your movie. Interior scenes, for the most part, are cheaper to shoot because the environment can be controlled. Exterior scenes cost more because the whole crew, lighting, cameras, and craft services have to be moved to the site. It may also require a permit and need traffic control, and the weather may not be conducive on the day, causing delays in the shooting schedule. Have you ever noticed how many low-budget indie films take place inside the character’s home or apartment?

The Place: Sometimes you only need one descriptive, such as THE BEACH, THE TREEHOUSE, etc. More often, though, you’ll need a little more (thus the extra “half”), such as MARY’S HOUSE – KITCHEN. When you are using the same location many times in the story, be consistent in how you name it. So, if Mary Johnson lives there, don’t accidentally call it THE JOHNSONS – KITCHEN.

With DAY/NIGHT, you can only choose one of these (not “later that day” or “3:00 in the morning”). If you need to specify something about the time, you can put that information in the scene description below the slugline. There is only one other thing that can replace DAY/NIGHT, and that is CONTINUOUS.

Let’s say the first scene is in Mary’s kitchen, getting her daughter off to school. Here you would use DAY in the slugline. But if in the next scene, Mary is walking down the path to her car right after the previous scene, then she is still wearing the same clothing and hairstyle. If she is arguing with her boyfriend, who is clean-shaven in some parts of the story, but not in others, this all really matters! It all affects the budget and scheduling. So, in this case, the slugline for the second scene in the sequence would read:

EXT. – MARY’S HOUSE – PATHWAY – CONTINUOUS

Then, suppose she gets in her car and drives to work immediately. She’s driving her car, crying her eyes out. While she is in the car, the slugline would read:

INT. – MARY’S CAR - CONTINUOUS

Now you can see that the person reading your script will be evaluating it for cost and scheduling before they’ve read a single line of dialogue.

Getting your sluglines right may be the difference between your script being read or being tossed onto the slush pile. Perhaps the name came from a ‘slug,’ like a bullet. It’s fast, accurate, and it hits its target.

When you choose slugline (or scene heading, depending on the software), you’ll notice the cursor starts on the left side of the page (so you don’t have to guess). Then when you hit return, you choose your next block, usually action (or scene description). Notice again, the cursor stays on the left side of the page.

The scene description should be limited to what can be seen. If it’s Mary’s kitchen, tell us something we need to know about it that’s visual. Maybe the dishes are piled up in the sink, or there are cobwebs everywhere, or it’s wall-to-wall gleaming chrome. Avoid telling us that Mary is worried about her mother. Instead, use action: “Mary stares out the window, her lower lip trembling.” It’s all Show, no Tell.

The action or scene description is written in present tense. The first time any character appears in your script, the name is in all caps, followed by age in parentheses. After that, the name appears normally. This is another thing that the studio reader needs to know, so they see how large the cast will be.

Scene descriptions are written in paragraphs (single spaced by the software). They should be no more than three sentences per paragraph. If you need to say more, click return and keep going with your description.

Okay, you’re done with your scene description. Click return, and in the scene elements list, choose Character. This time, you’ll notice the cursor moves close to the center of the page. When you type the character’s name, it will automatically be in CAPS. Then when you hit return, the cursor will jump to the middle third of the page. Dialogue is a narrow column that fills only the center third of the page.

There is a tool for inserting a parenthetical in the dialogue (ex. angrily), but this should be avoided unless the speech will not be understood without it. If the character is angry, try adjusting the dialogue with short, clipped, declarative sentences.

Also, a parenthetical takes up one whole precious line on the page, so only use one if you absolutely have to. Let your character’s speech indicate the emotion. There are only 54 lines maximum on a page, so you learn pretty quickly not to waste the space.

There are lots of other scene elements you can use, and special formatting for other effects. Do your research so you’re not guessing. If you are trying to write a montage, or a telephone call where only one person is on screen, or when you want to put words on the screen (ONE YEAR LATER), there is a format for everything! The Screenwriters Bible (David Trottier) has a handy index in the back where you can find out the correct way to write any special effect.

The studio representative who is reading your script will appreciate your expertise and respect for the formatting, so they can concentrate on falling in love with your characters and plot!

Sources:

Final Draft software

Fade In Software 

Arc Studio Pro

Celtx Software

A staggering 70% of the top-grossing films worldwide are adaptations. That’s right—Hollywood loves a good story, especially one with a built-in audience. Films adapted from books generate 53% more revenue than original screenplays.
www.newbookreommendation.com

Are you writing a book that you think would make a great movie? That’s a real plus when you’re querying agents and publishers. A popular book can greatly affect a film’s success, and the film may turn around and drive sales of the book. Usually, a film studio will hire their own screenwriter to do the adaptation, but more and more, the novelist can get involved in the creative process as well.

“The odds are better today than they were 10 or 20 years ago because we have so many streaming services, and because book adaptations have become so successful.”
Agent Jennifer Weltz, Jean V. Naggar Literary

Kim Hornsby is a PNWA member who has written award-winning novels and screenplays, including the Dream Jumper book series (film in development), The Moody Ghost book series, Braving Rapids film (in post production), Secret Life of My Other Wife (TV movie), Chat (a short film), and numerous screenplays for the Hallmark Channel. If you ever get a chance to take a workshop from Kim, don’t pass it up!

The author’s job is to write a fantastic, cinematic story. If they can picture it as a TV series or movie, they’re doing something right. But if they’re interested in screenwriting, they will need a spec script, and adapting their own book is the easiest way to do that. That’s something they should discuss with the film co-agent much further down the line, however.
Agent Allison Hunter, Trellis Literary Management

An author can sell their film rights at any stage in the life of the book. A movie might be produced soon after the release of the book, or many decades later.

The television adaptation of Margaret Atwood's The Handmaid's Tale was no doubt responsible for the boost in sales of the dystopian novel in 2017, the same year Hulu debuted the popular series.
Forbes Magazine

It's important to look for an agent who has experience and connections in the film industry if you believe your book has potential to be turned into a movie or series. While there’s no guarantee that a screenplay of your story will be exactly what you envisioned, having a good “feel” for the filmmaking industry will strengthen your story and increase your chances of selling your film rights.

These deals don’t appear to be limited to a particular genre or category. Streaming services and film producers are expressing an interest in a wide range of book properties—fiction and nonfiction for both adult and children’s audiences. And from the outset, it looks as though they are inviting authors—bestselling and debut—to take part in the adaptation process, at least to an extent.
Jane Friedman

Good dialogue is an escalating joust between characters with competing interests
Nathan Bransford

Dialogue in fiction is like the gas pedal of your story. It does double and triple-duty, revealing character, igniting conflict, introducing backstory, reacting to the environment, digging into motivations, and more. Well-placed dialogue draws the reader in and makes them want to know more.

Some Basics to Consider

In every scene, there must be conflict (even if the people are in accord). There are usually competing ideas for each character. One person wants to accomplish one thing (make love), the other wants something different (get back to the dinner party). If you are writing a scene where people are talking, but they’re in total agreement, it’s not moving your story forward. Even friends, comrades, and lovers disagree or want different things, that’s where the sparks fly in a scene. It’s best to save dialogue for those times when you need to reveal something about the plot, your character’s motivations, and sometimes, outside challenges or influences.

Enter Late, Leave Early

Most writers come to realize (usually after a few drafts—or novels) that it’s what is left unsaid that frequently gives characters emotional dimension.
TheNovelry.com

Notice that when we speak, especially when we are engaged in an argument, we often go off in non-sequiturs, because each character is focused on his own needs. People will often fail to answer a question if it makes them uncomfortable. It’s the jagged nature of dialogue that reveals the most about our characters. It’s not just what they say, it’s how they respond.

Avoid chit chat or small talk; (“Hello Sam, how are you today?” “I’m fine, Marcia, how are you?”) cut to the chase with dialogue (“I can’t find my insulin, Sam. Where did you put it?” “Damn, I left it on the kitchen counter!”).

Include gestures and tone of voice to reveal character and conflict. (“I can’t find my insulin, Sam,” Marcia said with her arms wrapped around her torso. “Where did you put it?” With an evil grin, Sam shrugs.)

Avoid info-dumping. (“Sally, remember when we went to that Hitchcock movie and the usher called the police because we were having a popcorn fight like a couple of kids?”) People who’ve known one another for years rarely enumerate their shared experience. Maybe instead, try, “This isn’t a popcorn fight, Mark. This is serious!” That will reveal they had a shared experience, but still keep us in the moment.

In a good dialogue exchange, the plot has advanced in some way, so save your dialogue for the times when you really need it.

Give each of your characters their own way of speaking. Some characters carefully elaborate their thoughts, others speak short declarative statements. Make your dialogue distinct, so the reader has a sense of who is speaking even without dialogue tags. It’s a good idea to read the scene aloud without tags. Can you tell who is speaking without them?

Is your character a foreigner? Don’t get bogged down with phonetic spelling, try to focus on the unusual word placement of the line (“Do you go to the cinema?” as  opposed to “Are you going to the movies?”), or include a native word now and then (“I hate politics, capisce?”)

Don’t go overboard in avoiding ‘said.’ Basically, ‘said’ is the default for dialogue, and a good thing, too; it’s an invisible word that doesn’t draw attention to itself.
—Diana Gabaldon

For dialogue tags, ‘he said’ and ‘she said’ are usually your best choice, because they seldom distract the reader. You don’t need them on every line if it’s only a two-person scene, but they are vital when you have three or more speaking parts. Sometimes you can say more by using body language or tone of voice to reveal who is speaking, or make it clear how they say the words.

“I never want to see you again.” Before he could answer, Judy jumped off the bridge.

Or

“I never want to see you again,” Judy whispered.

• (Dialogue) must move the story forward. After each conversation or exchange, the reader should be one step closer to either the climax or the conclusion of your story.
• It should reveal relevant information about the character. The right dialogue will give the reader insight into how the character feels, and what motivates him or her to act.
• It must help the reader understand the relationship between the characters.

If your dialogue doesn’t accomplish all of the above, it is a waste of words.
NY Book Editors

Know When do Use Dialogue

There are times when dialogue by itself won’t get the drama across. At those times, within a scene, you can go into the character’s inner thoughts and reactions, then go back into the conversation. This switch from fast (dialogue) to slow (narration) can heighten the emotion of a scene. If you’re writing comedy, on the other hand, dialogue tends to be fast back-and-forth with little narration to interrupt the pace.

• Scenes meant to reveal or develop character or relationships may come to life more vividly in dialogue rather than just narrative description. Introspective “processing” scenes may benefit from more narrative exploration of the characters’ inner lives, context, or situation.
• Fast-paced, active scenes may move at a stronger clip if they incorporate lean, snappy dialogue amid the action (and thus create more white space on the page); slower, more reflective scenes might be better suited to narrative description.
• Lighter or humorous scenes generally benefit from more dialogue; serious or dark scenes might be better conveyed through more narrative.
  

Jane Friedman

One Last Tip

Always remember whose scene it is. If you write a scene from the wife’s point of view, and it doesn’t seem to be working, try switching the POV to the husband. The dialogue may be the same, but which character makes the best narrator?

Good dialogue is an escalating joust between characters with competing interests
Nathan Bransford

Dialogue in fiction is like the gas pedal of your story. It does double and triple-duty, revealing character, igniting conflict, introducing backstory, reacting to the environment, digging into motivations, and more. Well-placed dialogue draws the reader in and makes them want to know more.

Some Basics to Consider

In every scene, there must be conflict (even if the people are in accord). There are usually competing ideas for each character. One person wants to accomplish one thing (make love), the other wants something different (get back to the dinner party). If you are writing a scene where people are talking, but they’re in total agreement, it’s not moving your story forward. Even friends, comrades, and lovers disagree or want different things, that’s where the sparks fly in a scene. It’s best to save dialogue for those times when you need to reveal something about the plot, your character’s motivations, and sometimes, outside challenges or influences.

Enter Late, Leave Early

Most writers come to realize (usually after a few drafts—or novels) that it’s what is left unsaid that frequently gives characters emotional dimension.
TheNovelry.com

Notice that when we speak, especially when we are engaged in an argument, we often go off in non-sequiturs, because each character is focused on his own needs. People will often fail to answer a question if it makes them uncomfortable. It’s the jagged nature of dialogue that reveals the most about our characters. It’s not just what they say, it’s how they respond.

Avoid chit chat or small talk; (“Hello Sam, how are you today?” “I’m fine, Marcia, how are you?”) cut to the chase with dialogue (“I can’t find my insulin, Sam. Where did you put it?” “Damn, I left it on the kitchen counter!”).

Include gestures and tone of voice to reveal character and conflict. (“I can’t find my insulin, Sam,” Marcia said with her arms wrapped around her torso. “Where did you put it?” With an evil grin, Sam shrugs.)

Avoid info-dumping. (“Sally, remember when we went to that Hitchcock movie and the usher called the police because we were having a popcorn fight like a couple of kids?”) People who’ve known one another for years rarely enumerate their shared experience. Maybe instead, try, “This isn’t a popcorn fight, Mark. This is serious!” That will reveal they had a shared experience, but still keep us in the moment.

In a good dialogue exchange, the plot has advanced in some way, so save your dialogue for the times when you really need it.

Give each of your characters their own way of speaking. Some characters carefully elaborate their thoughts, others speak short declarative statements. Make your dialogue distinct, so the reader has a sense of who is speaking even without dialogue tags. It’s a good idea to read the scene aloud without tags. Can you tell who is speaking without them?

Is your character a foreigner? Don’t get bogged down with phonetic spelling, try to focus on the unusual word placement of the line (“Do you go to the cinema?” as  opposed to “Are you going to the movies?”), or include a native word now and then (“I hate politics, capisce?”)

Don’t go overboard in avoiding ‘said.’ Basically, ‘said’ is the default for dialogue, and a good thing, too; it’s an invisible word that doesn’t draw attention to itself.
—Diana Gabaldon

For dialogue tags, ‘he said’ and ‘she said’ are usually your best choice, because they seldom distract the reader. You don’t need them on every line if it’s only a two-person scene, but they are vital when you have three or more speaking parts. Sometimes you can say more by using body language or tone of voice to reveal who is speaking, or make it clear how they say the words.

“I never want to see you again.” Before he could answer, Judy jumped off the bridge.

Or

“I never want to see you again,” Judy whispered.

• (Dialogue) must move the story forward. After each conversation or exchange, the reader should be one step closer to either the climax or the conclusion of your story.
• It should reveal relevant information about the character. The right dialogue will give the reader insight into how the character feels, and what motivates him or her to act.
• It must help the reader understand the relationship between the characters.

If your dialogue doesn’t accomplish all of the above, it is a waste of words.
NY Book Editors

Know When do Use Dialogue

There are times when dialogue by itself won’t get the drama across. At those times, within a scene, you can go into the character’s inner thoughts and reactions, then go back into the conversation. This switch from fast (dialogue) to slow (narration) can heighten the emotion of a scene. If you’re writing comedy, on the other hand, dialogue tends to be fast back-and-forth with little narration to interrupt the pace.

• Scenes meant to reveal or develop character or relationships may come to life more vividly in dialogue rather than just narrative description. Introspective “processing” scenes may benefit from more narrative exploration of the characters’ inner lives, context, or situation.
• Fast-paced, active scenes may move at a stronger clip if they incorporate lean, snappy dialogue amid the action (and thus create more white space on the page); slower, more reflective scenes might be better suited to narrative description.
• Lighter or humorous scenes generally benefit from more dialogue; serious or dark scenes might be better conveyed through more narrative.
  

Jane Friedman

One Last Tip

Always remember whose scene it is. If you write a scene from the wife’s point of view, and it doesn’t seem to be working, try switching the POV to the husband. The dialogue may be the same, but which character makes the best narrator?

The deadline to enter the PNWA Unpublished Writing Contest and the Nancy Pearl Book Award Contest is March 15, 2025.

Our unpublished writing contest is unique in that every entry receives feedback on ten criteria:

Synopsis, Viewpoint, Characterization, Dialogue/Narrative, Conflict/Tension/Pacing/Hooks,

Plot, Settings/Transitions, Showing vs. Telling, Mechanics, and Genre.

Every entry will receive two scores, but you can also add 2 critiques (usually 3-4 pages of written feedback). Consequently, people enter our contest year after year for the feedback! Many go on to become finalists and winners.

For the Unpublished Writing Contest, we have 12 categories:

Mainstream
Historical
Romance
Women’s Fiction
Mystery/Thriller
Horror/Paranormal
Speculative Fiction/Fantasy
Middle Grade
Young Adult
Non-Fiction/Memoir
Short Story
Childrens

Member price: $45 (scores only), $75 (2 scores plus 2 critiques)

Non-member price: $55 (scores only), $85 (2 scores plus 2 critiques)

Click here for rules and prizes.

Nancy Pearl Book Award
This contest is for fiction (Mainstream, Genre, and Young Adult) published by PNWA Members during 2024. Prize Winners of Best Book in each category: $1000.00 each

Click here for more information.

As an art form, Speculative Fiction has been around at least since Ancient Greece. Some people use the term as a substitute for Science Fiction, but that’s not quite right. In today’s writing world, it can include Sci-fi, Fantasy, and Horror, but not all Sci-fi, Fantasy and Horror is considered Speculative Fiction.

The main focus of Speculative Fiction is speculation; books that ask, “What if?”

“What if human history took a different course in a certain situation?”

“What if humans had special abilities or powers?”

“What if science allowed us to bring the dead back to life?”

Speculative Fiction blends the real with elements that are not possible in today’s world. Robert A. Heinlein defined the term this way: “Narratives concerned not so much with science or technology as with human actions in response to a new situation created by science or technology, speculative fiction highlights a human rather than a technical problem.”

Margaret Atwood wrote the Handmaid’s Tale in response to the rise of the Women’s Movement in the 60’s and 70’s. There was a cultural backlash at the time from people who wanted to prevent progress, to go back to a time when women could be controlled, so in her book, Atwood asked the question, “What if the opposition got their way? How would they enact their vision of a ‘better world’?”

In Horror, if the story involves interaction with worlds or beings that are not real, that could be Speculative Fiction. However, if the story takes place in the real world, and the perpetrator has normal human abilities, it’s just plain old Horror.

The Speculative Literature Foundation  is a non-profit organization for writers interested in the genre. It’s a great place to learn more about the terminology and to find support and resources. They define Spec Fiction as, “a catch-all term meant to inclusively span the breadth of fantastic literature, encompassing literature ranging from hard science fiction to epic fantasy to ghost stories to horror to folk and fairy tales to slipstream to magical realism to modern myth-making — and more. Any piece of literature containing a fabulist or speculative element would fall under our aegis and would potentially be work that we would be interested in supporting.”

Book Riot tackles the definition of the term as well as includes some examples of Spec Fiction today. You’ll find more suggested titles at epicreads.com.

All this may seem academic, until you’re trying to describe your book to an agent or publisher. Then it is vital to understand which terms best describe your writing.

The Master Class has produced a detailed list of terms for Speculative Fiction sub-genres, including definitions for Sci-fi, Sci-fi Fantasy, Supernatural, Space Opera, Urban Fantasy, Dystopian, Apocalyptic, Post-Apocalyptic, Alternate History and Superhero fiction.

Here’s an interesting factoid from Wikipedia:

According to publisher statistics, men outnumber women about two to one among English-language speculative fiction writers aiming for professional publication. However, the percentages vary considerably by genre, with women outnumbering men in the fields of urban fantasy, paranormal romance and young adult fiction.^[36]

Click on the link to learn more about the session and to sign up!

February 26, 2025
10:00-11:30 AM (Pacific)

The Query Letter

How to build your bio and author platform and make yourself more marketable. 

Presenter: Katie Reed is a senior literary agent and developmental editor with Andrea Hurst Literary Management.

Cost: PNWA Members: $60.00  Non-PNWA Members: $85.00

February 26, 2025
1:00-2:30 PM (Pacific)

Writing Dialogue That Sounds Real

Presenter: William Kenower, author of Fearless Writing: How to Create Boldly and Write With Confidence.

Cost: PNWA Members: $45.00.  Non-PNWA Members: $70.00

March 5, 2025
Time: 1:00 p.m. - 2:30 p.m. Pacific Time

How to Listen to Your Muse

Presenter: William Kenower, author of Fearless Writing: How to Create Boldly and Write With Confidence.

Cost: PNWA Member: $45.00 – Non-PNWA Member: $70.00

March 5, 2025

6:30 p.m. - 7:30 p.m. Pacific Time

Practical Advice for Promoting Your Books

Presenter: Lindsay Schopfer is an instructor and writes fantasy/sci-fi and short stories.

Cost: PNWA Member: $40.00 – Non-PNWA Member: $60.00

March 12, 2025
Time: 1:00 p.m. - 2:30 p.m. Pacific Time

Stranger Than Fiction: How to Apply the Rules of Memoir to Novels and Short Stories

Presenter: William Kenower, author of Fearless Writing: How to Create Boldly and Write With Confidence.

Cost: PNWA Member: $45.00 – Non-PNWA Member: $70.00

March 12, 2025
Time: 6:30 p.m. - 7:30 p.m. Pacific Time

Investing in Your Writing Career

Presenter: Lindsay Schopfer is an instructor and writes fantasy/sci-fi and short stories.

Cost: PNWA Member: $40.00 – Non-PNWA Member: $60.00

March 19, 2025
Time: 1:00 p.m. - 2:30 p.m. Pacific Time

Descriptions That Bring Your Story to Life

Presenter: William Kenower, author of Fearless Writing: How to Create Boldly and Write With Confidence.

Cost: PNWA Member: $45.00 --- Non-PNWA Member: $70.00

March 19, 2025
Time: 6:30 p.m. - 7:30 p.m. Pacific Time

Engaging with Readers and Fans

Presenter: Lindsay Schopfer is an instructor and writes fantasy/sci-fi and short stories.

Cost: PNWA Member: $40.00 – Non-PNWA Member: $60.00

There are many pros and cons to entering writing contests. One of the benefits of entering a contest is that it takes you out of your comfort zone. It can be helpful to challenge yourself to meet a deadline, or to master the particular rules and parameters of the contest. You could win a prize or make the finals, or your work may be published as a result of the competition. Entrants to a contest may attract the attention of agents and publishers, even movie producers. Some contests offer detailed feedback on your work (like the PNWA Unpublished Writing Contest!).

At the very least, when you enter a contest, you stop and take a fresh look at the opening of your manuscript, experiencing your presentation the way an agent or contest judge will see it. If you’ve been working hard writing the middle of your story, going back to the beginning can be a good check on whether you’re fulfilling the promise of the opening chapters. Maybe writing a synopsis of your work-in-progress will help you focus on finishing your final draft. 

On the downside, some contests can be costly and take time away from your other goals. You may have to delay publishing that manuscript or story until the contest is complete (maybe many months). Check out whether the contest rules demand exclusivity. Watch out for scams that take away your ownership rights.

Entering a contest is a good reminder that you are human. While we strive for perfection, there’s always more we can learn. A judge is only one person, just like an agent. They have their own likes and dislikes, and they may be seeking something specific that your book doesn’t achieve. You don’t need to impress everyone; you need to find the right one.

I often think writers are a like actors. You do everything you can to present yourself well, but if they’re looking for Pillars of the Earth, and you write WW II era stories, it’s no criticism of your writing. That being said, good writing does get noticed, and sometimes leads to landing an agent or getting published. If you don’t put your writing out there, you may never make that connection.

At the PNWA Unpublished Writing Contest, you can choose to receive two scores, or two scores plus two critiques. The finalists in each category will be judged by agents who represent that category. You will receive feedback on the following criteria:

Synopsis
Viewpoint
Characterization
Dialogue/Narrative
Conflict/Tension/Pacing/Hooks
Plot
Settings/Transitions
Showing vs. Telling
Mechanics
Genre/Category

Many people enter our contest year after year and continue to improve their writing. Agents and editors look for winners and finalists when you query your work.

We extended our deadline to enter the contest to March 15, 2025, so why not enter?

The Query Letter, an Author's First Impression: Hook. Book. Cook.

Presenter: Katie Reed

Katie Reed is a senior literary agent and developmental editor with Andrea Hurst Literary Management. 

Start: February February 12, 2025

Time: 10:00 a.m. - 11:30 a.m. Pacific Time.

Cost: PNWA Member cost, $60.00 per workshop or $150.00 for all three. 

     Non-PNWA Member cost: $85.00 per workshop, or $175.00 for all three.

Week One, February 12: Hook. An in depth examination of your book's hook, including, comps, logline, title, word count, and genre. 

Week Two, February 19: Book. How to describe and define your book's central conflict, and determine what to include in the query and synopsis, and how to pare it down to the essentials. 

Week Three, February 26: Cook: How to build your bio and author platform and make yourself more marketable. 

Click here to sign up

One of the most challenging aspects of writing memoir and personal essay comes from how our memories work. In our minds, the past is comprised of feelings, images, and tiny moments. What it is almost never filled with are scenes, which are sequences of continuous actions. Yet the scenes are what allows your readers to experience something close to what you did as you lived it. In this class, we'll look at both the importance of scenes, as well as how to create something that reads with the power and immediacy of fiction but is rooted entirely in the truth.

Click here to sign up

/ˌpäməˈdôrō/

adjective

1. denoting a sauce made from tomatoes, typically served with pasta.

As any Italian chef will tell you, you can’t rush the sauce. It takes time to prepare the ingredients and simmer it to perfection. If you allow yourself to be distracted during the cooking time, the sauce may burn and turn bitter.

Sometimes it’s a challenge to find the time to write. We live lives that are fraught with distractions, (phone ringing, television, social media, kids, life!). The Pomodoro Technique makes it possible to break down our writing time into easy-to-manage sessions. We can set aside time to work on our writing, while still living our busy lives. Good news, there’s an app for that. 

Install the app on your phone or laptop. Click the start button, and the timer will gently ping when you’ve gone 25 minutes. Just write. Tell yourself that it’s okay to let your phone go to voicemail. Hit the start button again, and you’ll get five minutes to stretch, get a cup of coffee, or send off an email. When you hear the gentle ping again, you’re back in the chair for another 25-minute session of writing.

The Pomodoro Technique was created by Francesco Cirillo, who was inspired by the tomato-shaped kitchen timer he used as a university student.

Here’s a handy YouTube video on making the most out of the Pomodoro Technique.

In other news:

Sign up for our Special Speaker Meeting, 2-6-25 and hear from winners and finalists in our Unpublished Writing Contest

Join us for our Member Speaker Meeting: What's Love Got to Do With It? with Lynne Pearson

Get feedback on your work and find new writing partners at our February Critique Group Meeting, 2-27-25

“It’s probably the single most despised document you might be asked to prepare: the synopsis.”
Jane Friedman

In her blog, Jane Friedman suggests that you avoid describing the plot of your story, instead emphasize why it matters (EMOTIONS and REACTIONS) To illustrate this concept, Friedman asks which football game would you rather watch?

“Well, the Patriots scored. And then the Giants scored. Then the Patriots scored twice in a row.”

OR

“The Patriots scored a touchdown after more than one hour of a no-score game, and the underdog of the team led the play. The crowd went wild.”

A well-written synopsis may be your key to getting an agent and selling your book to a publisher, but bear in mind, it will never be seen by the general reading public. It is a business document and as such, has different rules and parameters than your novel or non-fiction writing style.

Synopsis DO’s and DON’Ts:

Some agents don’t even ask for a synopsis, but some will, so it’s important to start working on yours now. A synopsis should be 500-1000 words, written in third person and present tense. It is not the same as the blurb on the book jacket. You must include the ending (no cliffhangers). A good synopsis will give the agent an idea of the kind of book you’re writing, whether your story holds together and is believable, and whether it culminates in a satisfying conclusion.

Your synopsis should focus not on the plot of your story, but on its emotional arc (what prevents your character from achieving her goal, and what must she do to overcome the obstacle).

Be brief and clear in your synopsis. Friedman illustrates the technique with this comparison:

“At work, Elizabeth searches for Peter all over the office and finally finds him in the supply room, where she tells him she resents the remarks he made about her in the staff meeting.” (wordy)

“At work, Elizabeth confronts Peter about his remarks at the staff meeting.” (tight)

Avoid including more than two or three named characters in your synopsis. If you are writing science fiction, historical, or fantasy, avoid jargon the reader will not understand. If it’s vital to the story, then try to explain the person or concept in today’s language. A good rule of thumb: if the story won’t make sense without including the character, scientific concept, or historical reference, then try to present them so they are easy to understand.

Avoid describing the theme of the story, asking rhetorical questions, and if at all possible, avoid including dialogue.

Share your synopsis-in-progress with your writing partners. Check out the opportunities online for getting feedback, like our monthly Critique Group meetings. Enter your novel or non-fiction book in PNWA’s Unpublished Writing Contest (deadline to enter: February 15, 2025) and get feedback on your synopsis plus those do-or-die first pages of your book!

If you are lucky enough to have finished your novel, polished and perfected, and you’re poised to release it to the world, hold on. Don’t leave your marketing plan to the last minute! There’s no mystery as to why publishers wait a year or more to release a book. It takes time and a specialized approach to promote every work of fiction or non-fiction.

Pauline Wiles (brilliantauthor.com) has some down-to-earth advice on mistakes you can avoid when marketing your book. Here are some of the highlights:

Key book marketing mistakes that you can avoid

1. Lack of authentic, realistic goals

2. Publishing first, marketing after

3. Over-estimating how excited everyone else should be!

4. Not investing the time, tools, and effort that book marketing really needs, over a long horizon

5. Asking the wrong questions (in the wrong places) about book marketing

6. Trying to sell your book in the wrong places

“Getting traction for your book is not a piece of cake. It never was, and it certainly isn’t now.”

Whether you are traditionally published or self-published, the biggest lift on the promotion strategy will be on your shoulders. A traditional publisher will be key to your launch, but for the life of that book, you will be the main promoter.

Not everyone who has written a beautiful book has the skill to market it. Many reach out to marketing professionals who can use their expertise and contacts to target your audience. Take the time to research these marketing groups. Ask for references, especially past clients who write books in your genre. How were their sales? Were they worth the fees?

Check out PNWA member Jennifer Nilsen’s post: How to Avoid Book Marketing Scams

If you’re planning on pitching your book to an agent at our fall conference, you need to get started now.

We will be offering two formats for writers to pitch to agents and editors at our fall conference: pitch blocks and one-on-one pitch sessions. The one-on-one sessions are self-explanatory, but if you’ve never done a pitch block, here’s how that works:

On one side of the room are seated a group of 10-15 agents and editors.* Authors line up to speak to their top choice, then they can line up for their second choice, then third, etc. during that 90-minute session. Whether you are pitching a one-on-one or at our 90-minute pitch blocks, each pitch session will be four minutes long.

Yup. Four minutes. (And boy does that go by fast…)

And your pitch should be no longer than ninety seconds in order to leave room for questions.

Okay, how to sum up an 80K word manuscript that you’ve slaved over for ten years in 200 to 250 words?

By breaking it down into basics.

If you are pitching a non-fiction book, you don’t have to have a complete manuscript, but be prepared to submit an outline and a few sample chapters, if requested. In your pitch, emphasize your qualifications to write this book, your marketing plan, and why your book will be different from the competition. Include two comparable titles published in the last three years.

For fiction writers, your novel should be complete and fully workshopped. Introduce your lead character(s) and the main challenge. How will it be resolved? Keep the number of characters to a minimum in your pitch. Include the title, genre and word count. Include two comps that have been published in the last three years.

It’s acceptable to read your pitch if you don’t want to memorize it. If you can memorize it, though, you’ll be able to look the agent in the eye, sharing your enthusiasm for your work. The benefit of pitching in person (rather than an online ‘cold query’) is that you are making a personal connection. Agents who come to our conference have said that just the fact that you’re at the conference shows you’re serious about your work. Remember that the agent isn’t just looking for a book, they’re looking for authors they can represent for a whole career.

Be prepared to answer questions about your work: How long have you been working on this piece? What inspired you to write it? Have you been published before or won any awards? What else are you working on now? Do you have a degree in writing, or life/work experience related to the topic of your book?

To research the agents and editors and what they’re looking for right now, start with their websites first, then Manuscript Wish List, interviews, and podcasts. Publisher’s Marketplace is a great resource (costs $25/month, but you can do a lot of research in one month!) where you can not only find agents in your genre, but you can see the titles they represent (great source for comps).

Another excellent resource for finding comps is your local library. In King County Libraries, in their online resources, they have a link called Novelist (go to kcls.org, click Online Library>Databases>Novelist) where you can use search terms to find books with similar characteristics as your book.

Don’t bring anything to hand out to an agent, but do bring a notebook and pencil. If they are interested in your project, they will give you instructions on what you should email to them. Follow these instructions to the letter. They may ask for 10 pages, or three chapters, or the whole manuscript. They may or may not want a synopsis. Some will ask you to include the writing sample within the email, some will ask you to send it as an attachment. Some use a service like Manuscript Wish List where you will fill out a form and upload your writing sample.

Don’t worry if your formatting goes away in an email or a form submission. Agents understand that.  

Many of the agents and editors will be teaching workshops at the conference in addition to taking pitches. That’s a great chance for you to hear from them what they’re looking for (and their pet peeves). It’s also a great reminder that agents are readers, they love books, and they love authors.

And if you weren’t able to talk to all the agents or editors on your list at the conference, you can certainly mention that in a query letter afterward (include PNWA Conference in the subject line). 

At the conference, be sure to take advantage of our Pitch Fest where writers can try out their pitch and receive feedback. Whether you're pitching fiction or non-fiction, you'll be able to connect with other authors so you're ready to pitch your book.

*Note: the editors who are coming to our conference and taking pitches are seeking to publish your book, not to offer to edit your book! In every literary agency, editors are among the top decision-makers as to who gets published, so be sure to research the many editors who are coming to our conference.

Click on the links below for some resources to help you write that perfect pitch:

Writers Digest: 60 Successful Book Pitches

For query advice (the letter version of your pitch): Query Shark

Master Class: How to Pitch Your Book to an Agent

Penguin Books: How to Pitch Your Book to an Agent

Book Bub: 5 Steps for Writing a Killer Elevator Pitch

Writers SA: How to Pitch Your Book to Publishers

6 Successful Pitch Examples for Children’s Picture Books

by Jennifer Nilsen

So, you've published your first book. Congratulations! That in itself is quite an accomplishment, and I commend you for taking it to the finish line. It's a challenging feat!

If you're like me, the launch day was full of mixed emotions. I was scared and excited all at the same time, and I felt a certain sense of empowerment. I was ready to market my book and share my story with the world. I was active on social media, set up a blog, wrote many articles, sent out press and book releases, and set up book signings and speaking engagements. I was on a mission to get my words into the hands of as many readers (and grievers) as possible.

I wasn't able (and still am not) to hire outside marketing help, but that didn't stop me from being curious. As a new author, I had much to learn about book publishing. It can be flattering when your inbox and DM's start filling up with book marketing agencies contacting you with claims they can help make you the next bestseller. They say all the right things, and when you've been doing it all on your own, it can be very tempting to want to hire an expert to help.

BUT BEWARE! Let me share a story with you.

I recently received a LinkedIn message from the CEO of a book marketing/publishing company who said (in short) that their team had reviewed my book and they could help bring it to the next level. The message seemed legitimate enough, but I decided to conduct a little research before responding, and almost immediately, red flags started to appear.

First, I wasn't very impressed by the CEO's incomplete LinkedIn profile. Then, I reviewed the company's LinkedIn page, which needed some improvement. This is not necessarily a deal breaker, but the doorway to a first impression is essential for me. It's an opportunity for the business to set the tone for the level of service they will provide. If the sign on the door says, "Incomplete," then I will hesitate to knock.

Then, I visited their social media pages. They had a small following, and the content was okay. There were a few typos and grammatical errors, though, which, as a potential client, made me hesitate about my confidence in their abilities and made me ask, "Do they have professional editors?"

However, the big red flags appeared when I visited their website.

All over the website were cover photos of recognizable bestselling books. However, the images were blurry or fuzzy and not high-resolution, as one would expect if you had permission to use images of books of New York Times bestselling authors. Many of these books were published by top publishers in the world.

The detective in me decided to dig even deeper, and I looked up some of the books on online retailers and found that there were book cover images that didn't match up or even exist. It was as if this company had stolen book titles and mocked up different cover art to place on their site.

I worked in digital marketing for three years prior to publishing my book, and one of the most important, if not the most important, practices I learned about is reputation management and the importance of reviews (Which, by the way, I can't tell you how many times I've received messages from people asking if they can review my book for a fee, which is entirely unethical.).

I always use reviews, recommendations, and testimonials as barometers for any situation where I am investing money or seeking help for something personal. So, I read their testimonials and looked up the authors and business professionals who provided them. I couldn't find one author or book they wrote that existed anywhere. Not one.

At this point, I was pretty sure this company was sketchy at best, but to confirm, I thought I would contact the agents and publishers of some of the bestselling books the company claimed to have helped launch and ask them for their candid reviews of working with them. Sure enough, within a couple of hours, I received a response from the Director of Publicity for a major publishing house, who confirmed that this company had absolutely nothing to do with publishing their books.

I may be a detective at heart and tend to go down the rabbit hole a bit, but I would rather be diligent and do my research than give my money to a scammer. By sharing my story, I hope to shed some light on scams in the book publishing world and protect independent authors from being taken by companies that, on a high level, may look like they know what they are doing but are completely dishonest scammers.

Best of luck to all of you independent authors out there. I genuinely wish you the best and hope your books are wildly successful.

Writing Conference Checklist: 13 Essentials for Your Next Writers Conference

When you arrive at a writing conference, you will likely encounter three types of people:

1. People who prepared months in advance, who carefully planned out their outfits, reserved a hotel room at the reduced conference rate, refined their pitch, and coordinated meetups with fellow writers attending
   
   
2. People who prepared when PNWA sent that “last chance” email two weeks ago, who scrambled to make business cards, found in-laws in the area willing to let them stay on their sofa, and had just enough time to squeeze in a therapy session to ease their anxiety.
3. People who prepared the night before, who are winging it, may or may not be pitching, and are having a great time.

Frankly, as long as you show up, you’re already leaps and bounds ahead of the game. You’ve committed time, money, and effort into advancing your writing career, and you deserve a gosh darn medal for it. Here, for you:

This year l fell into the Type 2 of conference goer. Just prepared enough to feel okay about the whole thing, but not so prepared that I didn’t walk in thinking “I hope I didn’t forget anything important…”

Oddly enough, I forgot the one thing I hadn’t planned on needing. My recorder. On the final day of the PNWA 2023 Conference, I decided to run around and interview as many agents, editors, and writers as I could find. My phone did the trick, but I’m an old-hat journalist who loves a recorder, so I felt a bit disappointed for not being better prepared for a wholly unexpected adventure.

The outcome was a massive Writers Conference Guide , which I encourage you to check out if you’re looking for advice on why you should attend a writing conference, what to expect, and how to best pitch your story to agents.

Whatever kind of prepper you are, whether you’re going to your first or hundredth writing conference, it never hurts to have a checklist. Here’s a simple one to make sure you don’t leave home without the essentials:

Positive Attitude

Don’t be a jerk. Just don’t. Writing conferences are fantastic places filled with wonderful people, all of them excited to be there. Bring your best self and respect the community you’re helping create.

Business Cards

While it’s somewhat of a faux pas to give agents your business card after pitching, you’ll want to have plenty of them on hand for networking. You’re going to meet TONS of people, and you’ll want to stay in touch with many of them. For the greatest number of options and lowest cost, you’ll want to order business cards at least two weeks in advance. If it’s the day before the conference, you can have some made same-day at FedEx.

Medication

Whatever you need to get through the day, make sure you have it. I personally always keep a few ibuprofen and an allergy pill tucked into my bag, just in case, but I ran into a couple of people this year dealing with pretty severe anxiety who didn’t have their usual treatment on hand.

Layers

Day one of a conference tends to be supremely chilly. Day two overcorrects and tends to be a heatwave. Layer accordingly.

Notebook

Some writing conferences will provide you with a legal pad of paper, but I find that to be too bulky for the quick note-taking I typically do. Bring a journal of your own if you’re a creature of habit.

Pen / Pencil

Bring a few! You’ll likely pick up a free pen or two at the conference, but nothing’s worse than having a conversation with an agent and not having something to quickly jot down their request with.

Protein Bar / Easy Snacks

There’s food available at most conferences, but the lines can be long, and if you’re scheduled to be at a pitch block when your stomach starts growling… Well, you’re a creative person. I’m sure you can see where this is going.

Hand Sanitizer

While the conference space is kept tidy, germs are everywhere, and there are A LOT of people attending. In this era of plagues, it’s best to be prepared and do what you can to stay healthy.

Comfortable Shoes

Writing conferences are a marathon in their own way. Dress appropriately. If you can comfortably rock 8+ hours of networking and pitching in stilettos, you are a queen. I tried that at my first writing conference and regretted the heck out of it.

Water Bottle

Did you know that nearly 80% of people don’t drink enough water? Dehydration can lead to fatigue, dizziness, and confusion, which are the last things you need in the middle of a writing conference. There will be water stations where you can refill your bottle throughout the event.

Cough Drops

Conference spaces tend to be crowded, and if you’re like me, your allergies pick weird days to act up. Having a few cough drops on hand is a good idea. If not for yourself, then maybe someone else who’s having a rough day.

Tissues

Again, if you have allergies, just do yourself a favor and bring a pack of tissues. You can run to the restroom and grab a handful of toilet paper - heck, you might even run into an agent like I did - but it’s better to be prepared.

Charging Cable

Whether you’re bringing your laptop or your phone, odds are you’re going to burn through the battery. There are plenty of places to recharge, but only if you have the right cables with you!

Bonus Items

These are just a few little nice-to-have items that I like to bring. I’m my least anxious when I’m my most comfortable, and these items help me bring my best self to any writing conference:

• Chapstick
• Mints or gum
• Glasses cloths
• Eyedrops
• Headphones
• Fun socks

“But How Else Should I Prepare?!”

Ultimately, you don’t need to bring much. A pitch? Sure, that’s important, but that’s an entirely different checklist. Lots of writers attend conferences without any intention of pitching at all. They’re there for the networking, whether to find critique groups or promote work they’ve published. As long as you go in with the essentials listed above - ESPECIALLY a positive attitude - you’re going to have an amazing time.

Want to learn more about how to survive and thrive at a writing conference? Click the link below for a treasure trove of advice from agents, editors, writers, and members of the PNWA board on what to expect from your next writing conference!

Learn more!

I’ve been talking for the last few days about rejection factors that are beyond your control, ones you would be well advised not to take personally. However, if after you have sent out dozens (or even hundreds) of query letters, you are receiving only rejections, form or not, it may be time to reexamine what you are sending out.

If you are not getting the responses you want, but are occasionally being asked to send the first fifty pages or a book proposal, chances are, your initial query is pretty good. You may not have focused your agent search tightly enough, but you’re exciting interest. If, however, you have sent out twenty or thirty queries and NO ONE has asked to see more, it’s worth taking the time to look at your query and synopsis through professional eyes, to figure out why.

You need not wade through that many rejections, of course, before you check your submissions for some of the red flags below. However, for most writers, it takes quite a bit of rejection to open their eyes to the possibility that their work needs, well, work. Unfortunately, these writers all too often automatically assume that it’s the idea of the book being rejected, rather than a styleless querying letter or a limp synopsis. Or, still worse, they decide that somehow the rejecting agents are seeing past the initial packet to the book itself, decreeing from afar that the book's writing is not worth reading -- and thus, by extension, that the writer should not be writing. It’s contrary to the evidence, of course, but this particular fear leaps like a lion onto many fledgling writers, dragging them off the path to future efforts: it is the first cousin that dangerous, self-hating myth that afflicts too many writers, leading to despair, the notion that if one is REALLY talented, the first draft, the first query, and the first book will automatically traject one to stardom.

It almost never works like that: writing is work. Instead of listening to the growls of the self-doubt lion, consider the far more likely possibility that it is your marketing materials, not the chapters that the agents in question have not yet seen, that is conducive to rejection. Use that moment of worry to your advantage: I have found in my years as a freelance editor that having the edges of the faith that good writing always finds a home blunted a bit often makes a writer more receptive to constructive criticism. So go ahead and subject your marketing materials to serious critique.

Read over your query letter, synopsis, and first chapter; better still, read them over AND have someone you trust read it over as well, checking for logical holes and grammatical problems. The best choice for this is another writer, ideally one who has successfully traversed the perils of the agent-finding ravine. As much as you may love your mother, your spouse, and your best friend, they are, generally speaking not the best judges of your writing. Look to them for support and encouragement, not for technical feedback. Find someone whose opinion you trust – such as, say, a great writer you met at a conference – and blandish her into giving your query letter and synopsis a solid reading.

(Lest you think I am casting unwarranted aspersions upon your mother, your spouse, or your best friend, let me add that my own fabulous mother spent her twenties editing the work of Philip K. Dick; she is one of the best line editors I have ever seen, in my professional opinion, but as she is my mother, I would never dream of using her as my only, or indeed even my primary feedback source. That doesn’t stop her from line editing while she reads my work, as I do for hers -- years of professional editing causes a particular type of myopia that prevents one from ever reading again without brandishing a vicious pen that attacks margins with the intensity a charging rhinoceros -- but I respect my work enough to want first reader feedback from someone who was NOT there when I took my first toddling steps.)

As I mentioned yesterday, make sure that you read everything in hard copy, not just on a computer screen. Proofreading is far easier in hard copy. Once you have done this, and made sure your submission pieces say what you thought they were saying (you’d be surprised how many don’t), sit down with yourself and/or that trusted first reader and ask yourself the following questions.

(1) Is the opening paragraph of my query letter polite?

You’d be amazed at how often people use the query letter as a forum for blaming the agent addressed for conditions in the industry: my personal favorite began, "Since you agents have set yourself up as the guardians of the gates of the publishing world, I suppose I need to appeal to you first.” A close second: "I know that challenging books seldom get published these days, but I’m hoping you’ll be smart enough to see that mine…”

My friends, agents have to interact their clients quite a bit throughout the process; do make sure that you’re coming across as someone with whom it will not be painful to associate.

(2) Does the opening paragraph of my query letter make me sound competent and professional, or as if I have little confidence in the work? Do I sound as though I know what I’m doing, or does it read as though I’m apologizing for querying at all?

While it is a nice touch to thank the agent at the end of the query for taking the time to consider your work, doing so in the first paragraph of the query and/or repeatedly in the body of the letter comes across as obsequious. Begging tends not to be helpful in this situation. Remember, reading your query is the agent’s (or, more likely, the agent’s assistant’s) job, not a personal favor to you.

(3) In the opening paragraph of my query letter, does my book come across as marketable, or does it read as though I’m boasting?

I have literally never met an agent who could not, if asked, launch into a medley of annoyingly pushy, self-aggrandizing query letter openings. Trust me, they’ve already seen their share of, "This is the greatest work ever written!”, "My book is the next bestseller!”, and "Don’t miss your opportunity to represent this book!”

It doesn’t work.

(4) Do I make it clear in the first paragraph of my query letter why I am writing to this particular agent -- or does it read as though I could be addressing any agent in North America?

Agents complain vociferously and often about queries that read as though the writer simply used a mail merge to address letters to every agent listed on a particular website or in a given guide. There are hundreds and hundreds of literary agents -- why did you choose this one, out of all others, to query?

Most agents are proud of their work: if you want to get on their good side, show a little appreciation for what they have done in the past. If the agent you are querying has represented something similar to your work in the past, definitely mention that in your query letter. (As in, "Since you so ably represented X’s book, I believe you may be interested in my novel…”)

There are many ways to find out what an agent has represented. Check the acknowledgments of books you like (authors often thank their agents), or check the agency’s website to see whom the agent represents. There are several online search engines that will permit you to enter an author’s name and find out who represents him; I use Publishers Weekly, as it is so up-to-date on just-breaking sales news. If all else fails, call the book’s publisher, ask for the publicity department, and ask who the agent of record was. I once had a charming conversation with an editor at a small Midwestern press, who confided to me that when she had acquired the book about which I was inquiring, the author did not yet have an agent. Sensing an opportunity, I promptly pitched my book to her -- and she asked me to send her the first fifty pages right away.

Alternatively, if you have heard the agent speak at a conference, read an article she has written in a writer’s magazine, or even just noticed that your favorite author thanked her in the acknowledgments of a book you liked, mention that upfront. If you have no such personal reason, be polite enough to give a general one: "Since you represent literary fiction, I hope you will be interested in my novel…”

You may have noticed a theme here. I have dwelt extensively upon the first paragraph, not only because it is the first piece of your writing that any agent will ever see, but also because -- oh, it pains me to be the one to tell you this, if you did not already know -- countless query letters are discarded by agents every day based upon the first paragraph alone. Think about it: if you had to get through 200 queries before the end of the afternoon, would you keep reading if the first paragraph were not promising?

Oh, yes, you SAY you would. But honestly, would you? Take a good, hard look at your first paragraph, and make sure it is one that will make the agent want keep reading.

Of course, there are many good query letters that do not contain the information listed above in the first paragraph. A probing rhetorical question, for instance, is often a good way to start a non-fiction query. (As in, "What would you do if...?) However, this is a risky practice: to an agent in a hurry, the answer to the question you pose may well be, "I don't care what I'd do" or "I'll never be in that situation, so get out of my face." (See my explanation of the grapefruit rule in yesterday's post.)

Again, it is really in your interest to adhere to the prevailing manners of the publishing world, and for all intents and purposes, it is considered rather impolite to make a busy agent (or assistant) read the entire cover letter in order to find out what you want. All too often, when writers do not make their intentions clear up front, the letter simply gets tossed aside after the first paragraph. (This is the reason I advise against e-mail queries, incidentally, except in the case of agents who specifically prefer them: it’s too easy to delete an e-mail after reading only a line of it.)

Tomorrow, I shall deal with the questions you should ask about subsequent portions of your query letter -- and yes, I know that it seems impossibly nit-picky to concentrate this hard upon a page of text that isn’t even in your book. I’m just trying to save you some time, and some misery -- and a whole lot of rejection.

keep up the good work!

-- Anne Mini