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SLO Chamber Mixer Review

MoTav

February 2013

As soon as you step into the establishment hosting the SLO Chamber Mixer, you are swept up into an atmosphere of friendliness, joviality, and anticipation of good food and libation. And February’s Mixer held at MoTav,  located at 725 Higuera, was no exception.

The place was jammed full to capacity on both levels and people even lined the stairs. It was easy to start conversations with the genial attendees. The flowing wine and beer added to the festivities.

The hors d'oeuvres were scrumptious…I especially enjoyed the savory meat filling in fried tortillas but the pita and hummus, miniature quesadillas, jalapeno poppers filled with cream cheese, house-made taco chips and dips were also delicious.

Mother’s Tavern provided the food, Tolosa Winery and Wild Horse Winery & Vineyard supplied the wine, and beer was provided by Tap It.

I learned that the owners are returning to their Mother’s Tavern moniker and preferred that for future mentions.

A good time was had by all! And we hope to see more NightWriters at the next SLO Chamber Mixer! Who knows:  You might even win the next generous baskets of goodies.…And you don’t even have to make a purchase. Your business card and good looks will grant you entry and a free raffle ticket!

By Honey French

Which vs. That

From:  Writer's Digest <writersdigest-newsletter@writers-community.com>

Q: I’ve been writing for a long time and always assumed which and that were interchangeable, but I’ve recently been told that isn’t the case. How do I make sure I’m using the right word? undefinedAnonymous

The battle over whether to use which or that is one many people struggle to get right. It’s a popular grammar question and most folks want a quick rule of thumb so they can get it right.

Here it is:

If the sentence doesn’t need the clause that the word in question is connecting, use which. If it does, use that. (Pretty easy to remember, isn’t it?) Let me explain with a couple of examples.

Our office, which has two lunchrooms, is located in Cincinnati.
Our office that has two lunchrooms is located in Cincinnati.

These sentences are not the same. The first sentence tells us that you have just one office, and it’s located in Cincinnati. The clause which has two lunchrooms gives us additional information, but it doesn’t change the meaning of the sentence. Remove the clause and the location of our one office would still be clear: Our office is located in Cincinnati.

The second sentence suggests that we have multiple offices, but the office with two lunchrooms is located in Cincinnati. The phrase that has two lunchrooms is known as a restrictive clause because another part of the sentence (our office) depends on it. You can’t remove that clause without changing the meaning of the sentence.

Let’s look at another example:

The time machine, which looked like a telephone booth, concerned Bill and Ted.
The time machine that looked like a telephone booth concerned Bill and Ted.

In the first sentence (thanks to the use of which), the time machine concerned Bill and Ted. It also happened to look like a telephone booth. In the second sentence (which uses the restrictive clause), Bill and Ted are concerned with the time machine that looks like a telephone booth. They aren’t concerned with the one that looks like a garden shed or the one that looks like a DeLorean (Marty McFly may have reservations about that one).

Now that you’ve learned the rule, let’s put it to a test:

1. The iPad (which/that) connects to the iCloud was created by Apple.
2. The issue of Writer’s Digest (which/that) has Brian A. Klems’ picture on the cover is my favorite.

The correct answers are:

1. The iPad, which connects to the iCloud, was created by Apple. (All iPads connect to the iCloud, so it’s unnecessary information.)

2. The issue of Writer’s Digest that has Brian A. Klems picture on the cover is my favorite. (Your favorite issue of Writer’s Digest isn’t just any issue, it’s the one with me on the cover.)

OK, so I’ve never been on the cover of Writer’s Digest, but that doesn’t change the fact that it’s necessary for you to understand the context of your clauses, a key covered in most grammar books. If the information is essential, use that. If it’s just additional information that’s useful but unnecessary, use which.

Ditch the Camera. Do This Instead

Beth Ann Erickson

Last time I talked about how much I dislike journaling. Just to

refresh your memory, I don't keep a journal. Never have, probably never will.

However, after a lively discussion on the blog, I came to

realize that I kinda do keep somewhat of a journal. You see, I

write daily on whatever project I've got going and when I travel I engage in what I call "verbal photography."

"Verbal Photography." Probably could use a definition.

When I engage in "verbal photography," this means instead of taking a snap shot of any particular view, I write about it.

I began doing this in high school when I traveled to Europe. One of my classmates broke his camera and was forced to record his memories by sketching everything he wanted to remember. I still remember watching him, pad in hand, quietly sketching away. (It didn't hurt matters that he was profoundly cute as well.)

I decided I wanted to look that gorgeous, mysterious, and intelligent as well. Problem was, I couldn't (and still can't)draw. So, I did the next best thing. I "painted" using words. My "paintings" eventually evolved into what I call "verbal photography."

Verbal photography is far more complex than a photograph. I'm sure you've heard the adage, "A picture's worth a thousand words." They aren't kidding. It can take thousands of words to simply describe even one, simple scene.

Here's how you engage in "verbal photography:"

1.Sit in a chair with your computer (or notebook) in your lap.

2.Study the view you're about to describe. 

3.Really soak in everything about the scene. 

4.What do you hear? What do you see? What do you smell? What do you feel? Do you taste anything? Engage all the senses.

5.After you've taken time to examine everything... and I mean

EVERYTHING... start writing. Create a complete description of the scene.

You can create as simple or complex a "photo" as you desire. You're the boss. The most important thing to do is have fun. If you make this work or you'll never do it again.

But here's where things really get interesting. You can use these "verbal photos" in your fiction, nonfiction, articles, whatever.

For example, I wrote copious verbal photos last time I was in Europe and dug many of them out as I wrote TGV. I actually rode on the TGV (high speed train) where the action takes place, I stayed in the Framaries Belgium apartments, I walked the streets of Paris and stood in the lobby of the Foundation Des Etats Unis, all vivid scenes in TGV because of the verbal photos I "shot" while traveling. 

Give verbal photography a whirl and start a journal of "verbal photos." You won't regret it. 

P.S. If you want to check out some of my verbal photos, here's the link to TGV: http://filbertbooks.com/TGV.html

 Writing Etc./Filbert Publishing News -  January 1, 2010

 Here are some idea from Beth's blog regarding software (NW is not recommending software, just sharing info.), and a few other resources.

  yWriter5 is a word processing software that breaks your novel into manageable scenes and chapters, which you can drag and drop as you wish. Chapters are automatically renumbered as you move them back and forth, so you don't have to worry about going back to manually rename each file. You can view word counts and readability reports for each chapter, and the program also keeps a log of your daily productivity rate so you can check your progress. Download the software, or read more details at

http://www.spacejock.com/yWriter5.html.

Jer's Novel Writer works along much the same lines as yWriter5, only it allows you to add margin notes so you can type down that thought that's nagging at you and concentrate on the scene you're working on. The software has a feature called an "automatic outline," which makes it easy for you to locate a particular scene or sentence (much better than opening file after file just to see what color a character's eyes are!) The outline grows automatically as you're writing the story -- hence the name automatic outline -- and you can modify it at any time by dragging outline elements around. Also, Jer's Novel Writer has a database function that can help you keep track of your characters, locations, names, and so forth. Download the software at:

http://jerssoftwarehut.com/jers-novel-writer/download-jers-novel-writer

Extreme Writing...

RightsofWriters.com

-------------------

This is a blog by a lawyer and writer on all aspects of law

relating to writers covering such matters as fair use, public

domain, copyright and whether or not you can use famous people,

brands etc in your work.  If you've got a legal question, check out

this blog.

http://www.rightsofwriters.com/

International Association of Conscious and Creative Writers

-----------------------------------------------------------

This association has a paid-for-membership site which offers lots of member benefits, but it is worthwhile signing up to their free fortnightly newsletter to receive a run-down of writing and publishing news plus helpful articles. If you sign up for the newsletter you also receive a report on how to find your authentic writing voice.

http://www.iaccw.com/8/free-resources

THIS MONTH'S AWESOME BLOG:

Query Shark, by Janet Reid

--------------------------

Wondering why your novel query has been rejected 22 times? A quick scan through literary agent Janet Reid's marvelous "Query Shark" blog will give you an idea of what works, what doesn't, and why -- and better yet, you can submit your own query for comments. (Brace yourself, though; the comments are likely to be barbed!) Just be sure you follow the instructions -- which, as Reid points out, is a vital skill whether you're submitting to her or to an actual editor or agent. Writers who can't follow instructions simply aren't going to succeed (gee, I may have pointed that out myself a few times...)

http://www.queryshark.blogspot.com/

DRAFT A QUERY LETTER

Unless you are on assignment, the idea is to sell your article to an editor, and a good query letter is key to doing so. A query letter parallels a sales call. It should have five parts, and,ideally, each is only one paragraph long. (Editors are bleary eyed from the amount of reading material in their in-boxes.)

    * The first paragraph is your introduction. It tells the editor who you are, why you're writing, and the subject of your proposed article.

     * The second paragraph focuses on the editor's needs, and to write it you must know the general editorial policy of the

publication and the audience to whom it is directed.

     * Paragraph three briefly describes the content and

appropriateness of your article and why the publication's readers would want this information. 

    * The fourth paragraph explains why you are uniquely qualified to write this piece. What are your credentials? How much do you know about this subject? How well do you understand the aims of the publication?

     * The final paragraph is very short. It is your close, your action statement, in which you state what you will do next. Will you wait to hear from the editor (risky), or will you call to follow up and, if so, when? If you say you'll call at a certain time, do so.

see 2010 in the rear-view mirror.

Keep It Together With OneNote

by Helen Gallagher

Your stories, character sketches, and article ideas are written in a spiral notebook. Your desk is cluttered with samples from magazines you want to write for. Your computer groans under the weight of unsorted files and scattered folders. You’ve sent out queries and requested book reviews, but you don’t follow up because you’ve lost track. Too many important ideas are buried in unfiled e-mail messages.

For a robust alternative to storing, finding, and sharing documents the hard way, take a look at Microsoft Office OneNote. I use version 2007, but there is a new version in Office 2010. OneNote is a digital notebook that functions as a collaboration tool, as well as a lively tab-based organizer for project fragments and completed work. OneNote files reside on your computer, not on the Internet. Take OneNote files via a USB stick, and you can work anywhere.

If you can’t imagine how you’d use such a freeform notebook, think about tracking your book plotlines and the marketing potential for the tasks to come when you launch a new book.

MANAGING DATA

OneNote is a free-form structure in which you create a “notebook” for every major topic you wish to organize. Major notebook categories are listed down the left side of the OneNote screen.

 As your ideas grow, you can add sub-folders and create hyperlinks from one notebook to another, so you never have to hunt through files and folders. The sub-notes live in tabs across the top of each major category, are further indexed down the right side, and are fully searchable. Notes within each section contain pages and pages of data, in whatever manner you want to organize them.  If you’re writing a novel, you can create tabs for all major categories of information, all in one place: Manuscript, Bibliography, Research notes, Graphics. Gathering data for tasks like agent research and building a bibliography have never been easier. Need to capture a new idea or resource, or a tip from the latest SPAWN newsletter? Highlight it on your screen, move to a tab or create a new sub-tab, click anywhere and paste. The important piece of information is posted, along with a Web link to remind you where you found it.

Using OneNote’s framework, even the most disorganized writer can catalog all of his or her work: ideas, drafts, pitches, clips, research, guidelines, Web pages, audio files, video clips, marketing and social media sites, passwords, and bio information. OneNote handles any text format, Word, Excel, Web pages, e-mail, etc. OneNote eases your workload with drag & drop from any other document, uses tables to keep materials in line, and supports audio/video recording. If you’ve used Paint or SnagIt to capture screen shots, you can now do this within OneNote.

By default, OneNote files are kept in a OneNote folder within My Documents, by notebook name, and with separate files for each sub-notebook. All files are saved automatically when you close the program. You’ll have no fear of putting everything into one large program that you can’t later extract.

• Search within an open notebook or use the universal search feature to search across all notebooks.
• Highlight text on a Web site, then paste just the text, or include the whole Web page with live links. Copy other documents into OneNote, and it will link directly to the source, such as an e-mail or a Word document. Paste an Excel spreadsheet into OneNote and it remains in Excel format to use, update, and alter.

We’ve come a long way with technology as writers, and now with OneNote, we finally have one place for everything.

GET YOUR HANDS ON IT

Microsoft Office OneNote retails for $79 as a stand-alone product in the U.S. You can download a free trial of Microsoft Office OneNote at
http://office.microsoft.com/en-us/onenote/redir/FX101868838.aspx

Better still, you may already have OneNote on your computer. It is a standard component included in the Home/Student version of MS Office 2003 and 2007. The 2010 is included in both Home/Student and Professional versions.

While there is no Macintosh equivalent, you can run OneNote on a Macintosh by using Virtual PC and Microsoft Windows XP.

SPAWN member Helen Gallagher is the author of Release Your Writing: Book Publishing Your Way, and of Blog Power & Social Media Handbook. Contact her at Helen@spawn.org

Unusual Networking

by David Perkins ( david@davidmperkins.com / http://www.davidmperkins.com)

This could be of interest to any of you who happen to be Costco members. It may be an avenue for free publicity you hadn’t thought of.

A couple of months ago while flipping through the Costco Connection magazine, I noticed a monthly column called Member Connection, where Costco members who have interesting stories to tell are profiled.

One of the three profiles on this page was of a woman who had written a book. There was a picture of her holding the bookundefinedeven though it is not available at Costcoundefinedand a couple of paragraphs about how she came to write it.

I sat down and e-mailed Costco Connection a brief version of my press kit, explaining that I had written a book and why it might interest Costco members. This was in August. I got an e-mail from a Costco Connection reporter, who informed me that they liked my story and wanted to include me in the column in the February issue. We did a telephone interview and I e-mailed some photos to the magazine.

Good news all by itself, and I was thrilled. But, here’s the exciting partundefinedI decided, a few hours before the interview, to e-mail the reporter a PDF copy of my book, “in case you might find it useful” for interview prep.

When he called to conduct the interview, he was effusive about how much he loved the book, and asked if I would mind if he passed it on to the Costco book buyer. I, of course, said I would be most grateful for that, and mailed a couple of paperback copies to him to pass on and one to keep for himself.

Now, I realize that getting your book onto a Costco table is about as easy as getting it on Oprah, and I don’t hold out much hope that it will actually happen. But I do know that someone in the book-buying office will read it, and it won’t end up in that roomful of 100,000 books that never got opened.

And at the very least, Costco members nationwideundefinedand possibly in Canada and the UKundefinedwill be exposed to a couple of paragraphs about my book. I could not have purchased that kind of press.

Try your luck. “If you have a note, photo or story to share about Costco or Costco members, e-mail it to connection@costco.com with The Member Connection in the subject line or send it to The Member Connection, The Costco Connection, P.O. Box 34088, Seattle, WA 98124. Submissions cannot be acknowledged or returned.” connection@costco.com

How to Prepare for a More Successful Writers' Conference

by Patricia L. Fry

Have you thought about signing up for a writers’ conference? Or have you attended a conference and came away less than satisfied?

What makes a successful conference? It depends on the type of conference, your needs and expectations, and your level of participation.

There are basically two types of writers’ conferences.

• The author-friendly conference with seminars and workshops designed to teach hopeful and newbie authors how to find and work with a publisher or agent and how to market their books. This conference might also have sessions for freelance writers. Many of these conferences feature face-to-face meetings with publishers and/or agents.
• Writers’ conferences and retreats focused mainly on the craft of writing. These programs often feature workshops and other presentations by well-known authors.

Some conferences specialize, offering workshops within, for example, only the fiction realm or non-fiction, children’s, spiritual/inspirational, science fiction, mystery, or romance.

Conferences and retreats cost anywhere from $50 for a local evening event, up to a few thousand dollars for a week-long retreat at a resort. Most typically, a two- to seven-day conference will cost between $150 and $850, not including travel or hotel.

Learn about conferences within your realm of interest at http://writing.shawguides.com or http://www.allconferences.com or http://www.newpages.com/writing-conferences. To locate conferences near you or in an area you’d like to visit:

• Do a Google search. Type “writers conference” + “Los Angeles” or “writers conference” + “Virginia,” etc.
• Check with your local arts council or writers groups for conferences held in your area.
• Ask your librarian if he/she knows of an upcoming writers’ conference.
• Keep an eye on the arts section of your local newspaper.
• Subscribe to writing- and/or publishing-related magazines and newsletter.

How to Get the Most for Your Conference Buck

A major aspect of most writers’ conferences is the opportunity to sit in on numerous workshops presented by experts and other professionals within the industry. I frequently travel to writers’ conferences and speak or teach on topics such as how to write a more successful book proposal, self-publishing, how to become a freelance article-writer, how to prepare yourself to become a published author, book promotion, and so forth. Some conferences provide courses on fleshing out characters, writing effectively in first-person, how to organize the how-to book, and memoir-writing.

What makes for a successful writers’ conference? YOU!! Here are my tips for conference success:

• Choose the right conference for your particular needs.
• Select the workshops you will likely benefit from most.
• Participate fully with an open mind.
• Show up at all workshops and other presentations alert and on time.
• Open your mind, especially to concepts that might seem a little uncomfortable at first.
• Take notes.
• Follow up with questions during networking sessions and/or contact presenters via e-mail, if they invite you to do so. I always issue this invitation. I want to make sure my students have all of their questions satisfied.

Whether you’re about to enroll in your first writers’ conference or your 101st, use this guide and your conference experience will be more successful.

Patricia Fry is the executive director of SPAWN. She is the author of 32 books--most of them related to publishing and book marketing. She frequently speaks at conferences throughout the U.S. http://www.patriciafry.com / http://www.matilijapress.com

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Learn more about SPAWN at the Website

li

Written by Patricia Fry

You've probably heard the word platform. It is commonly used within publishing circles to indicate an author's following (who would buy a book by this author?), connections (who can he count on to help him reach his audience?) and way of attracting readers (the author's popularity, expertise and/or credibility in the topic or genre).

There are numerous ways to establish your author's platform and to build on it. Basically, it's a matter of becoming known in your field or genre. You are strides ahead of the competition if you enter into the publishing realm with a solid platform. One way to do this is through public speaking and other activities that put you in front of your audience.

Why build a platform before your book is a book? For one thing, this would go a long way toward impressing a publisher. Traditional publishers are interested in an author's marketing plan, and a solid platform can be a deal maker. If experience and exposure as a public speaker is part of that platform, all the better.

Additionally, no matter your publishing choice, once your book is launched, if you've established yourself as a speaker on your topic or in your genre, you already have a reputation and credentials. You know how to talk to people about your book, and there are at least a few people who trust your expertise in your field or appreciate your skill as a writer in your genre.

Conducting workshops and/or getting out and speaking on your topic before your book is a book will help immensely with name recognition. People are more willing to purchase your book if they already know who you are. If you also provide a signup sheet where you speak, you'll have a leg up when it comes to promoting your book. Depending on when you start the process, you could conceivably collect the names and contact information for hundreds of people who are interested in reading your book. You will have a following even before you have a book to sell.

Note: If you are new to publishing, you may not know how difficult it is to promote and sell books and how much time and effort it takes on the author's part. Believe me (and other publishing professionals) it is hugely time and energy-consuming. Anything you can do during the writing process of your project toward establishing and building on your platform, the greater chances you'll have of success.

Patricia Fry is the author of 35 books, including her latest two from Allworth Press, Publish Your Book, Proven Strategies and Resources for the Enterprising Author and Promote Your Book, Over 250 Proven, Low-Cost Tips and Techniques for the Enterprising Author. Both are available at amazon.com in print and Kindle and at the author's website:

http://www.matilijapress.com.

Patricia Fry's Author/Publishing Services Website is at:

http://www.patriciafry.com/

Written by Anne Schroeder, SLO NightWriters Publicity Director, and author of Branches on the Conejo: Leaving The Soil After Five Generations, Ordinary Aphrodite, and Scent of Cedars

Please be sure to visit Anne on her popular blog site at: anneschroederauthor.blogspot.com.

“Therapy can be as close as your smartphone,” writes Benedict Carey in the New York Times and reprinted in the February 14th edition of the San Luis Obispo Tribune. A promising idea: playing games to relieve depression and anxiety. Great for those who find it helpful, but writing can be just as beneficial.

Suppose for a minute you’re an anxious writer. Ask yourself: What would happen if people listened -- really listened -- to what you have to say? Imagine eight people hanging onto your every word. No one coughs. No one even moves as you read your poem, short story, essay, travel piece or memoir. At the end, all eight nod and smile, still gripped in the mood you’ve created. You feel -- empowered.

Welcome to a SLO NightWriters critique group.

Wait -- stay with us! Agreed, critique is a technical word that sounds like criticism, and who needs that? But group collaboration can build skills and self-esteem if done with respect. SLO NightWriters is announcing a How-To Critique Workshop as a way of launching new critique groups. With the help of experienced mentors, new members will learn to listen and evaluate in a non-threatening manner.

Here’s one way a critique group might work.

Week One: All new members introduce themselves to the group. Each reads something they’ve written to give other members an idea of their style, voice, genre and skill level. Others in the group do nothing more than sit and listen attentively.

Week Two: Each member reads for five minutes while the others offer what they like about the piece.

Week Three: Each member reads for a timed period and each of the others offers critique in a single area, like character development.

Starting slowly allows the group to build trust in each other. It helps build confidence as members share their words aloud, possibly for the first time and gain skills in listening and critiquing.

The Home Page of this website contains a link to information about the 2012 SLO NightWriter Short Story/Poetry Contest. Entering your work is another way to build self-confidence. It puts your work out there with the possibility of winning peer recognition. It provides you with a goal. A piece written for the contest, even if it doesn’t win, is a flash-fiction piece ready for submission to one of thousands of on-line or print markets (Examples: www.duotrope.com or www.poetrytodayonline.com.)

SLO Nightwriters is a nonprofit service organization dedicated to identifying, nurturing and building the writing community. The organization will also be offering a series of writing clinics based on Susan Tuttle’s “Write it Right” a popular series previously available only through e-books. This workshop will be open to the public. Information on these and other NightWriter events is available here at www.slonightwriters.org.

It doesn't matter whether a writer is writing on a regular basis or not. A supportive community will nurture every level of talent. SLO NightWriters recognizes that for a lot of people disillusionment is the new Breakfast of Champions. Our members range from retired technical writers looking for fun as novelists or poets, to multi-published authors, both traditionally and e-published, to bloggers who aren't interested in the publishing process, to people who feel they have a book or story in them and aren't sure how to take the next step.

We invite you to join us on the second Tuesday of each month at the PG&E Education Center on Ontario Road in San Luis Obispo, CA.

Written by Anne Schroeder, SLO NightWriters Publicity Director, and author of Branches on the Conejo: Leaving The Soil After Five Generations, Ordinary Aphrodite, and Scent of Cedars

Please be sure to visit Anne on her popular blog site at: anneschroederauthor.blogspot.com.

The second Tuesday of each month is NightWriter night.

It's crunch time. You're weighing the comfort of your living room, your TV and a brand new bag of sea-salt potato chips versus gassing up the car and driving all the way to Avila Beach. Your significant other points at the door and you decide to tough it out.

You arrive at the meeting, but the speaker is obviously an alien from some distant planet who doesn’t have a clue. You go home and the next month, same routine, only this time you're ecstatic about the program.

What happens when speakers fail to meet our needs? Maybe the problem is with perception.

The NightWriter Board considers the diversity of our membership seriously. In an effort to create meaningful meetings we use several criteria for our programs. If we’ve overlooked anything, we have a suggestion box for members to suggest programs.

• 1.  Member experts -- Team teachers who present a specific theme.
• 2.  Two mini-programs in one meeting.
• 3.  Workshops on critique, creativity, poetry.
• 4.  Outside speakers from the Central Coast Writer’s Conference.
• 5.  Community experts on topics important to writers.

Written by, and reprinted here with the permission of, Anne Schroeder, SLO NightWriters Publicity Director, and author of Branches on the Conejo: Leaving The Soil After Five Generations, Ordinary Aphrodite, and Scent of Cedars

This article was originally posted by Anne on her popular blog at: anneschroederauthor.blogspot.com.

It's the day after the WWW Women Writing the West Conference in Seattle and I’m packing up. In my folder are business cards from an agent and two publishers who each want to see both novel manuscripts I pitched them.

It was a great conference, but it wasn't all luck that brought me to this serendipitous place. I’m lucky -- I’m not shy and that helps a lot in this industry. I just really love to connect with people.

If you went home feeling like you missed something, here’s a few suggestions for next time. They're not my ideas. Most of these are points that agents and publishers make all the time. But sometimes it helps to see them written out so you can strategize for your next conference.

1. Study the conference flyer. That’s why it's sent out in advance. Research every agent and publisher who is attending. Go to their websites. See what genres they represent and which books they acquire. Also study the other agents at their agency.

2. Make an appointment for a one-on-one while the time-slot selection is good.

3. Arrive early to the conference -- the night before is perfect. At the Embassy Suites breakfast, I noticed a woman sitting alone. Even though I was finished eating, I introduced myself. Turns out she was an acquisitions editor. We had a delightful chat that had nothing to do with books or writing. During the conference we found other opportunities to talk. On Monday she emailed me to express her pleasure at having met me. And invited me to submit.

4. Don’t assume someone isn't "your type." The YA agent who buys vampire books turned out to be a new friend. We sat together at the awards dinner and she quizzed me to see if I had anything she could take a look at. Turns out, I have a novel that she’s interested in if I change the protagonist's age. I wasn’t pitching her -- she was interested in me as a person and the offer just fell into place.

5. Enter the conference contest. I found a short-story from a few years ago and entered it in the LAURA Awards. I didn't win top place, but my third-place earned me a surprised glance from a publisher I had pitched earlier. As I returned to my table with my award and some flattering remarks about my writing ability, I watched her make the connection, face to pitch, and I know she'll remember me.

6. Make a point to speak to every faculty member. Ask questions of them. Establish a relationship and don’t obsess about your elevator pitch. If your conversation makes the pitch feel awkward right then, wait for a better time. The key is to be authentic.

7. Dress for success. I always wear a brightly colored dress or black. I try to look professional and successful. No jeans for me at a conference -- ever. After all, the presenters are all dressed professionally. It helps them to see me as one of them.

8. Volunteer to introduce a speaker, moderate a panel, make an announcement or wrap raffle items. Anything to get your name mentioned. Ask pertinent questions at the Q & A. A writer is a speaker. Demonstrate your poise. Make your name stand out. It all helps.

9. Buy a lot of books. Buy your fellow attendees’ books. Buy the presenters' books. But be authentic about it. Talk up your common interests. Make friends. The conference is as much about face time as it is about learning new skills.

10. Write thank you notes as soon as you return home. Work to perfect the novel you plan to submit. Mention the conference in your submission letter, but don’t assume liberties because you shared a Bloody Mary with an agent on Sunday morning.

Writers: How A Little Patience Goes A Long Way Toward Success

Writers Relief Staff On April 16, 2009

What is the secret to a long, successful career in publishing -- full of many book publications, collections of poems and short stories, awards, and accolades for your creative writing?

While a select few folks get lucky -- scoring major book deals with little or no writing technique or background -- others must toil for years before finding success.

We writers take classes, go to workshops, shell out money for writing conferences, sit alone at our computers for hours, and make countless sacrifices all in the name of achieving The Dream. We wonder: How much longer can we keep going? How much more can we give before we burn out? When -- if ever -- will we get a payout?

At the end of the day, one virtue may be the most responsible for the long-term success of life as a creative writer: patience. The publishing industry is notoriously slow. Gradually, the industry seems to be speeding up as technology improves. But right now there’s no overnight, surefire way to build a career as a writer at a traditional publishing house. Some writers will self-publish or go to online-only publications to speed up the process a bit, but in the world of big, national publishing markets, slow and steady wins the race.

At Writer’s Relief we make it our goal to help you increase your acceptance rate and build your publishing credentials as efficiently as possible, yet we think there’s a lot to be said for a writer who is prepared to go the distance.

Here are a few reasons that patience is a top virtue of creative writers. If publishing with a major traditional publisher or even a small press is your goal, you’ll need patience:

When you’re crafting your creative writing. First, you’ll need patience to learn the techniques of good writing. And you’ll need patience when it’s time to decide whether or not your work is “done.” Many professional writers will shelve a project for weeks, months, or years before seeking publication, so that when they return to the project down the line, they’ll be able to see it with new eyes.

When you’re putting your submissions together. Patience is necessary to get through all the tedious hours of researching the best agents and editors for your writing and for preparing submissions. Lack of patience leads to shoddy submissions -- and that, as everyone knows, leads to rejection letters. If you’re frustrated by (or just need help with) your writing submissions, Writer’s Relief can help.

When you’re waiting for agents’ responses. Almost anyone who’s serious about submissions has a story to tell about receiving a rejection letter years after a given work was sent. Literary agents can get hundreds of submissions each week, and it takes time to read through all those letters.

When you’re waiting for an editor’s response. If you’re submitting a book, by now you’ve waited years to write your manuscript, months (or years) to get an agent, and now you’re supposed to wait again while your publishing house deliberates. Then, if your book is selected for publication, it can take months to draw up and agree upon a contract, then weeks for the accounting department to write your check (which goes to your agent, who must process it before you see it). It’s a long, slow slogging toward publication (and payment). Better sit tight.

While you’re waiting to be published. Small literary magazines and journals -- as well as big publishing houses -- often have a schedule for publishing poetry, stories, essays, and books. Once you’ve signed your contract, your project will be in “take a number” mode. Some publishers stipulate that they have up to two years to publish a project from the date a contract is signed.

Patient writers are successful writers. Patience isn’t necessarily passive -- that is, it’s not just about sitting on your butt and waiting for something good to happen. Patience can be a very active, demanding task -- one that many writers must master.

Remember, you don’t need to hit The New York Times list tomorrow (and you probably won’t). Enjoy the journey of being a writer. You’ve earned the right to enjoy it by all your hard work and perseverance. With the right amount of patience, focus, and talent, success is within your grasp.

This is re-printed with permission from Writers Relief

Written by Anne Schroeder, SLO NightWriters Publicity Director, and author of Branches on the Conejo: Leaving The Soil After Five Generations, Ordinary Aphrodite, and Scent of Cedars

No Time For The Blues, Blues

XXX’s and OOO’s. Who’s gonna love me when nobody loves me? Oh, my achy-breaky heart! Why don’t you come home, Bill Bailey?

I’m sitting here alone in the early hours, waiting for a call, but my beloved Muse, you’re gone. I want to call you back and beg forgiveness for all the times I treated you badly. But it’s (sob) too late for us.

It was me, I know it, always whining, wanting more. I forgot how to be playful, how to smile at your jokes. I forgot, my darling Muse, that you like foot rubs and fancy words.

So what went wrong with us? I was doing everything you asked. I booted up my computer every morning. I blogged. Posted my innermost thoughts on Facebook, Twitter and Linked In. I thought that’s what you wanted. Now you say I’m boring.

You say I don’t deserve you. You no-good, rotten Muse -- if I weren’t such a sport, I’d get my gun and hunt you down for the dirty rotten two-timer you are!

Wait -- I can change! I WILL change. I’ll be the girl you once loved. I mean, I once loved. I’ll walk every day. Every other day. Three times a week! I’ll remember what I used to be -- and I’ll do something every single day that brings a smile to my cheeks and a rose to my lips. No wait, that’s --!

I’ll buy tickets for a guitar workshop at the Cal Poly Center, and a play at the Clark Center, even if it means eating beans for a week. I love beans! I’ll cook a gourmet batch of navy bean soup.

I’ll wake at dawn and drive to the ocean. I’ll get in the car tonight and drive east to watch the harvest moon rise over the Shandon hills. I’ll stroll the boardwalk at Oso Flaco, I’ll follow Teri Bayus' recommendation next time she posts a review in the Tolosa Press about a movie and a restaurant. I’ll watch a French subtitled film at the Palm and eat the whole $1 bag of popcorn, myself.

I’ll do the Art Walk and put an artist’s painting on my Christmas wish list. I’ll invite three friends over to talk and laugh. I’ll spend an evening at the next free SLO Film Festival showing and volunteer for next season. I’ll see "The Clean House" at the Brickyard Theater.

I’ll use my sewing machine for the first time in 20 years and sew a dress. Mend. I’ll mend. I’ll color my hair. Call my mom. Call his mom. I’ll do whatever it takes to make my head clear again.

Wait and see, Muse. I’ll be so happy that you won’t bear to stay away. You’ll come whimpering back, filled with regret for ever having doubted me.

And I’ll be so glad to see you that we’ll let bygones be bygones.

See you soon, my dearest. I’ll leave a light on.

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