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SFWC 2018: Some Insight

The great thing—well, one of the great things—about this conference was the number of opportunities to talk to industry professionals and gain some insight. In particular, I was trying to figure out what to do with my YA novel Hamlette. I’ve sent it out to some agents, and there have been nibbles, but so far (barring one incident I’d rather not rehash) no real feedback that I could use. Here’s the little bit I have received:

  • One agent was “afraid to fall in love with it” because it was too close to something else on his wish list, and so if he took mine on he wouldn’t be able to take on that dream manuscript if it were to ever cross his desk.
  • One agent said she didn’t have time to read this manuscript but was intrigued by my description of planned follow-up manuscripts and said she’d like to read those if I didn’t find representation.
  • One said she thought it was “a crazy fun concept” but the way the narrator directly addresses the reader didn’t work for her.

That last one gave me pause, of course. She didn’t say, “If you change it, I’d love to see it again,” so I guess it wasn’t a revise and resubmit.

Okay, so I while at the conference I met with Rusty Shelton and asked him whether I should just scrap this blog and my existing author identity and start over. He said no. (I was honestly surprised by this!) He said, “You have a half-built house. Why start over and have to lay a whole new foundation?” When you put it that way . . . He and I brainstormed some ideas that I look forward to putting into practice soon.

Then I met with independent editor Amelia Beamer and poured out my story of woe. She was so kind to listen, and so sympathetic. I told her I just didn’t know whether to keep trying to find an agent for my manuscript, or if I should self-publish it, or maybe just trunk it entirely. I told her about the agent that didn’t like the one aspect of the manuscript. “I’ve received a number of rejections,” I told her, “but none have specified why. Maybe they all hate the direct address and just didn’t bother to tell me?” Amelia pointed out that that could be true. Or not. I could try to change the manuscript for this one agent, but as she didn’t ask for revisions, I should be sure I’d be changing it because I honestly thought it was good advice. (I’m still not sure about that.) Then she told me, “The publishing industry will take your little piglet that you’ve nurtured and turn it into sausage. So be sure you’re okay with that. Else, write something you’d be okay with seeing turned into sausage.” Which I thought was a very good and vivid metaphor.

Next I had a chance to speak with an agent who shall remain nameless. Sufficient to say she’s an agent who only handles children’s and YA. I laid out my dilemma, told her the feedback I’d had from other agents. I wasn’t trying to pitch her so much as understand what wasn’t being said, or what the market might be for my book. She pulled up her email and showed me that she had 11 queries in her inbox referencing Hamlet. In short, Hamlet is overdone. I mentioned that one of the agents (the one with the wish list) had suggested Merry Wives of Windsor, which I have in fact outlined as a potential project. This agent told me that might be a good way to go because it’s a much fresher, lesser-known play. “Sit on the one you have, and maybe it can be published later.” I asked if it would hurt my chances if I self-published this one. She said no, since the books I’m considering writing—these Shakespeare updates—aren’t really a series with the same characters throughout.

So now I’m really trying to decide what to do here. But I least I have a clearer view of my options.

This morning I went to a session about children’s book marketing and was flattered when Penny Warner remembered me. (She’s delightful btw.) She asked me what I was working on and I told her, then also told her what the agent had said about there being too many Hamlets. Naheed Senzai was sitting next to Penny and said, “Find another agent.” Penny pointed out that everyone in the room could write a version of Hamlet and they’d all be different. “Figure out what sets yours apart.” But I don’t know what sets mine apart since I don’t know what those other 11 manuscripts look like! Still, the encouragement was much appreciated.

Other takeaways included the idea that my paperback books should be made by IngramSpark while my ebooks should probably be Kindle exclusive. Many thanks to Penny Sansevieri for that.

I realize much of this relates specifically to me and my project, but it goes to show how key these conferences can be, how important. Here is information I would otherwise not have had. Here is fresh support. Here is new perspective. I still have many decisions to make, but it’s so nice to learn and connect and get a bigger picture. If you are an author and have an opportunity to attend a conference, I highly recommend you do so.

SFWC 2018: Making Your Work Rejection Proof

Well, the short answer is: you can’t.

This panel consisted of a number of independent editors: Amelia Beamer, Mary E. Knippel, C.S. Lakin, David Landau, Heather Lazare, Mary Rakow, Suzanne Sherman, Meghan Stevenson, Annie Tucker, Wendy Nelson Tokunaga, Monica Wesolowska, and Hannah Wood.

When asked what advice they’d give authors, Wendy said, “To go to conferences like this one and learn. And to embrace rewriting.”

Monica added, “Be able to deal with rejection. Sometimes it opens you to new perspectives and ways to improve.”

Annie said, “Rejection is less about talent and more about marketing yourself as an author. You need to know your goal going in. What do you want from this? You also need to go all in on a good editor, copy editor, and designer.”

According to Mary Rakow, “You should work with a great critique group and have high standards for your work. If the revisions aren’t making you feel better about the work, you’re making the wrong revisions.”

David Landau: “Writing is now a performing art. Authors are also public speakers. In order to be effective, you must (1) develop a passion for your subject matter, and (2) extend an unspoken invitation to the audience to share that passion.”

C.S. Lakin: “This is about maximizing your chances. What separates a good author from a great one is an attitude of professionalism. Invest time and money in your work. Commit to it.”

Otherwise, your writing is really just a hobby. You’ve got to look at it like a career.

Amelia: “You can’t just put up a site and be a writer. A real writer has self-doubt and continues learning, even after being successful.”

Suzanne: “Be resilient. A rejection of your manuscript is not a rejection of you.”

(Though sometimes it can feel that way. Most times, actually.)

Meghan: “Get a mug that says ‘author’ on it to make you feel validated. And always remember that your readers are your customers.”

Heather: “Invest in Publisher’s Marketplace. Stalk agents on Twitter.”

Question from the audience: “How do I determine my genre?”

Meghan: “Look at the bookstore or on Amazon for books like yours.”

Q: How long does editing take?

Annie: “It’s subjective, depending on the condition of the manuscript, whether it’s a deep edit. Many editors book in advance, so plan for that.”

Q: What are some good questions to ask potential editors?

Heather: “Ask for sample pages. Most editors will offer a free sample.”

Meghan: “It’s like a relationship, like dating—you need to find a good fit.”

San Francisco Writers Conference 2018: Self-Publishing Summit

So, as promised, I will now begin blogging about the various sessions I attend while at SFWC. The first one I went to was the self-publishing summit. (This was yesterday; sorry for delays in posting, but things move fast a furious during these conferences, and getting away is not always easy.)

This “summit” was a large panel that consisted of: Mark Coker of Smashwords; Robin Cutler of IngramSpark; Helen Sedwick; Andrew Burelson of BetaBooks; Brooke Warner of She Writes Press; Karla Olson of Book Studio; and Angela Bole of IBPA.

Karla Olson pointed out relatively early in the session that she dislikes the term “self-publishing.” She said, “We don’t call it ‘self-rock’ or ‘self-film,’ so why don’t we use ‘indie’ for writing, too?”

From there the session mainly opened to questions. One author who had published with Author House asked why he’d heard they were such a bad company, especially since he was very happy with the results? Helen Sedwick, with her legal savvy, pointed out that the contracts from Author House and Author Solutions and their subsidiaries are simply not very author friendly. Authors have difficulty getting their rights back and don’t own their ISBNs. Mark Coker said the Author House and its ilk overcharge for services and pressure authors to buy more and more expensive marketing packages.

So then the question naturally became: What sets a hybrid publisher apart from a vanity publisher?

Angela Bole noted that IBPA is working to standardize a criteria for hybrid publishers, but the key difference is that a hybrid publisher will still have a submission process and standards for what it published. Vanity presses accept any and all content regardless of how good it is. So long as the author is willing to pay, they’ll print it.

Moderator Carla King pointed out that authors should always own their own ISBNs. Buy them from Bowker, or IngramSpark will also sell you an ISBN that you will own. DON’T take the free ISBN from Amazon/CreateSpace.

If a vendor refuses to use your ISBN, that’s a red flag. Always look at the vendor and its motivations.

Mark Coker said, “Anyone can publish a book, but do they help you sell it?” In other words, their money should come from selling books, not selling services to authors.

The next question that cropped up: What is hybrid publishing?

As co-founder of hybrid press She Writes Press, Brooke Warner responded that hybrid presses usually have a mission of some kind, that they vet the content (that is, there is a submission process), and they offer distribution of some kind that sells to the market.

Not to be confused with the term “hybrid author,” which is an author who has published some books traditionally and some independently. (I’m a hybrid author.)

An author asked which path was best for those who want to control their content.

Mark Coker replied, “The most successful authors on Smashwords are control freaks.”

In truth, if you want control over your work, you probably want to self-publish. But remember that having control means also having full responsibility for marketing and every other aspect of publishing. The wonderful thing about being an author in this day and age is that you can write a book and 100% be sure that it can be published. Maybe not by the publisher you’re hoping for, but there is a path to publishing no matter what—if you want to take that path.

There came a question about BetaBooks. This is a new site that allows authors to see the progress their beta readers are making on their manuscripts, which can help pinpoint engagement. It also helps the authors compile the feedback and act on it. This ultimately allows authors to find fans and build “street teams” for their books.

How to find a publisher or know whether the publisher is any good?

Helen Sedwick said to:

  • look at the books themselves
  • ask authors that have worked with the publisher
  • look at Amazon rankings
  • do your homework and research

Then it was time to address the elephant in the room: What about Amazon?

Mark Coker noted that Amazon is the largest retailer in the world, and authors do need to be on there. However, authors shouldn’t be dependent on Amazon; it shouldn’t be their only revenue stream.

Brook Warner said not to use CreateSpace for your print books because then many bookstores won’t stock your book. (I can second this since I’ve run into this problem myself.)

“Know your endgame,” said Karla Olson. “Know what your goal is and plan accordingly. If all you want is a book on Amazon, that’s fine. But if you want your book in stores, then you have to plan differently.”

Is there still a stigma attached to self- (or indie) publishing?

Brook Warner admitted to how infuriating those notions can be. Though the overall feeling toward indie and hybrid publishing is changing, there are still many associations that will bar self-published authors from membership, many prizes that only consider traditionally published books. Karla Olson said, “Books should be evaluated on their content, not their production method.”

How does an author find readers?

Angela Bole pointed out that marketing is publishing. You can’t just make content available and hope for the best. (Well, you can, but don’t expect to sell any books that way.)

A good publisher will create a plan with you. Distribution is also something you want to look for in a publisher. With 1.5 million books being published every year, discoverability is incredibly difficult.

So there it is, you’re first correspondence course in this year’s writing conference. Questions? Comments? Let’s hear ’em!

Did I Hear That Right?

There are some words and phrases that, because I was a precocious reader as a child, I understood out of context but didn’t truly comprehend. One that comes to mind is: “bleeding like a stuck pig.”

I don’t know where I first read or heard this phrase, but for the longest time I had a mental image of a piglet that was stuck trying to get under a fence. I didn’t quite understand where the bleeding came in. Was the fence sharp? Maybe it was made of barbed wire? Who puts a barbed-wire fence around a pig sty?

Only years later did I stop and think, Maybe not “stuck” as in, you know, stuck. Maybe “stuck” as in “stabbed”? Stuck with a knife?

Then I wondered for a while why anyone would stab a pig. To butcher it?

And finally: Maybe “pig” in the derogatory sense? Like slang for a police officer?

Well, it made more sense than an actual pig stuck under a fence anyway.

I still don’t know if that’s actually what that phrase is referring to, and maybe it doesn’t matter. I know what it means in use, if not its extrapolation. (And sure, I could look it up, but where’s the fun in that?)

Okay, I have eight paperback copies of The K-Pro to give away. To enter to receive one, simply tell me in the comments about a word or phrase you misunderstood and how you came to learn the truth. Please keep it clean. I don’t mind hearing how you learned about a sexual innuendo so long as you don’t get graphic about it. If more than eight people comment, I’ll use a randomizer to select winners. Entries accepted through 10:00 p.m. PST, Monday 19 February. I look forward to hearing your stories!

Coming Soon: SFWC Coverage

I’ll be attending the San Francisco Writers Conference this coming weekend, and you know what that means: I’ll be posting summaries of the various sessions I attend so that YOU can do a kind of vicarious “correspondence course” of the conference. Tune in and get the latest on the writing and publishing world!

The conference starts on Thursday, and I’ll update whenever I can grab the time. Keep checking back!

IWSG: Genre Love

It’s time again for the Insecure Writer’s Support Group! Posts go up the first Wednesday of each month. Read more posts and/or join in here.

I’m insecure about no one wanting my words. I’m tired of being invisible. People keep telling me to “take a break,” but I haven’t written in over a month. Never mind a break, I think I’m flat-out broken.

Question of the Month: What do you love about the genre you write most often?

I’m not sure I have a genre I write most often. I write a lot of different things, and none of them any more than the rest. Well, let’s say it’s an even split between mystery and fantasy (but there’s more historical romance coming!). But really, no matter what I’m writing, I love two things: (a) the characters, and (b) the world building.

I’m a character writer, no question. I really do fall a little bit in love with each of mine. As for world building, I just love the craft. There’s something so satisfying about creating a whole world—even if it’s not a fantasy world. Even if it’s just another time period or a made-up town, I enjoy the work immensely.

Why I Cheered for the Eagles

I lived in Boston for six years, then in the suburbs for another six, and I used to love the Patriots. (Still love Bill Belichick; man knows the proper way to make PB&J. I don’t love raisin bread or crunchy peanut butter, but he’s 100% right about making a pocket of peanut butter for the jelly.) So why was I hoping for the Panthers to win, and when that didn’t happen, for the Eagles to best the Pats?

Well, it seemed to me that with every win, Tom Brady [and many of the team’s fans] became increasingly arrogant and smug and insufferable. And that felt like bad sportsmanship.

This isn’t sour grapes. I liked the team. But the more they won, the less likable they became.

We moved to California, and I quit watching football as much. I think I would have watched more if I could have formed a connection with a team here, or if the team I’d left behind hadn’t left a bitter taste in my mouth.

That said, if the Pats—and Brady—could show a little humility, and if their fans could stop with the “they hate us cuz they ain’t us,” that would go a long way to winning me back. (Not that they care whether I like them or not.)

As for Bill, I’d cheer for any team he coached. Except, at the moment, this one.

A Memory

Almost twenty years ago, I made my first trip to London. My hotel was in Russell Square, and desperate to stay upright and not give in to jet lag, I walked myself over to the British Museum. Then I promptly got lost inside.

I had gone with the intent of seeing the Egyptian artifacts, which I did. But one room led to another and another—the Museum is very different now than it was then—and I couldn’t find my way out!

Then a gentleman—I want to say he was older, but at that time in my life, everyone was older—noticed my distress and asked if I needed help.

And—I kid you not—he was wearing a Derby. (Or, if you prefer, a bowler.)

I remember thinking: They really do exist!

Seriously, it was like seeing a unicorn. This British gentleman in his hat and suit. Or maybe that’s how guardian angels dress in London.

I laughed and blushed and said that I was lost, and this man put his hand on the small of my back (it seems forward now but felt reassuring at the time) and guided me to the exit.

Of course then I had to walk around and try to remember which direction my hotel was but, to paraphrase Dr. Grant, at least I was out of the museum. I spent some time in Russell Square . . . bought a soda from a stand there, as I recall . . . And eventually found my way back to my hotel and collapsed.

Not sure what made me think of that today.

A Scene

“Toya is ‘special’ to Yukito.”

. . . Well, until he heard it from Yuki directly . . .

Toya didn’t distrust Yue, exactly—if he had, would he have given Yue his power?

Yes. To stop Yuki from disappearing, yes. Yue, it seemed, was part of the deal.


As though on cue, Yuki’s voice rang out, and Toya stopped walking long enough for his friend to catch up. Out of breath but smiling, Yukito halted beside Toya. “You have work today?”

“No,” Toya said. He studied Yuki for a sign that what Yue had told him was true. Was he special to Yukito?

Yuki’s smile faltered under the scrutiny. “Is something wrong?”

“No,” Toya repeated. He started walking again and Yuki kept pace beside him. “You seem more energetic lately.”

The smile returned in full force. “Yes! I was beginning to worry, but I feel much better now, ever since . . .”

Toya found he couldn’t look at Yuki. He stared straight ahead instead. “Since?”

“Toya, I . . .”

Something in Yuki’s tone brought Toya to a halt. He looked into Yukito’s eyes and wondered whether Yue was watching through them.

Yuki’s brow furrowed. He placed a hand on his breastbone as though to clutch—or shield—his heart.

“What is it, Yuki?” Toya asked.

Suddenly Yuki smiled again. “Nothing! I thought I’d forgotten my homework is all.”

Toya eyed him. Everything with Yuki was a negotiation. Toya constantly had to decide when to pursue and when to let go. This time . . .

He reached out and placed a hand on Yuki’s cheek. “Yuki. Whatever is troubling you, you can tell me.”

Yuki’s smile went slack and his eyes shimmered as though he might cry. “Toya . . .”

Toya waited. Why, oh why, did every interaction have to feel like being balanced on a knife blade? It was so exhausting. And yet there was still no one else Toya would rather spend time with.

Toya was about to relent, say something glib and continue walking, when Yuki pushed his cheek further against Toya’s hand. “Toya, I . . . like you.”

The words so startled him, Toya nearly dropped his hand. But that would have sent the wrong message, so Toya quickly overcame the impulse. “I like you, too, Yuki.”

“Really?” The eyes were so wide and searching, so hopeful, it pained Toya, even though the moment was a happy one.

“Really,” Toya confirmed. He felt a tightness release with him, a tension he hadn’t realized he’d been carrying. The hard edges of the world had softened.

Whatever else might happen, everything would be all right.

Toya dropped his hand. “Yuki . . .”


Did you forget your homework?”


“Come on, then. Maybe Sakura has made something to eat.”


click here for video

I started my online life as Yukitouya. By which I mean, that was one of my first ever email addresses back in the late 90s. The name is a combination of Yukito + Touya (often also Romanized at Toya, but I used the “u”). Yukito and Touya are characters in Cardcaptor Sakura by CLAMP and probably remain one of my favorite all-time couples. In fact, it only just now occurred to me that their love triangle may have subconsciously influenced the Cee/Marcus/Diodoric triangle in Changers.

I don’t still have the Yukitouya email address; the site it was on folded ages ago. And honestly, I hadn’t thought about Yukito and Touya in years either. But when Cardcaptor Sakura recently returned, well, I began to fall in love all over again. I’ve been showing the first series to my kids and eagerly watching Clear Card each week on Crunchyroll. And now I’ve had “Groovy” (as heard in the video above) stuck in my head for days. But it IS a catchy little number, and one can’t help but be a little buoyed by it, so I won’t complain.