After a Writing Conference

I recently did a post on the benefits of writers' conferences, especially in an era of tight budgets. As promised, here's a brief review of the conference I attended this past weekend: the LWC } NYC Literary Writers Conference New York City, co-sponsored by the New School graduate writing program and the Council of Literary Magazines and Presses, and partners.

As conferences go, this mostly held up to its press, offering a comprehensive soup-to-nuts approach to the navigating the book publishing and marketing process (not really for e-books or self-publishing). The conference had good proximity (a two-hour commute), knowledgeable speakers and some networking. Though there were no formal workshops on craft, the most useful part of the time for me was the opening session (there was no keynote), where literary agents asked participants (it was a small group) to read the first page of their novel, story or memoir.

As instructive as the agents' comments were, what I found most beneficial was the mind-expanding experience of listening to other people's work as part of a larger audience. When a piece worked, we could feel it, and most people agreed. The same was true when a piece didn't work. The experience offered an opportunity to hear what others are doing, and to experience your work from other people's perspectives, especially in New York. The opportunity sparked a number of ideas for a novel I'm working on.

The consensus: The first page is all-important, even more so the first five paragraphs, the first five sentences and the first five words.

Even in a virtual world, there's definitely much to be said for the irreplaceable human dynamic.

Resource: ShawGuides

Writing Well and the Writing Conference

Writers' conferences, seminars, retreats, workshops—I can't seem to let a year go by without one. But in this tough economy, a conference can be hard to justify. Still, cost doesn't have to be a deterrent. Libraries offer free workshops, and adult education courses are usually great buys; so are those at community colleges. The key points to ponder in deciding depends on what you're looking for:

• Conferences: Best for a soup-to-nuts approach to the writing world
• Workshops: Focus on one aspect of writing or the writing life
• Retreats: Offer a place to write
• Seminars: More business-oriented, and a how-to focus

One of the best conferences for me was the National Writers Workshop sponsored by the Hartford Courant and the Poynter Institute. I loved it (it's now offered in Florida) for lots of reasons:

• Proximity: Affordable hotel, within day commuting or a weekend stay, early arrival available
• Speakers: From the keynote to breakout session leaders, the speakers were topnotch. Examples include David Baldacci, Arthur Golden, Sebastian Junger and Morely Safer.
• Writing opportunities: We were given assignments onsite and looked them over there, too.
• Networking: There were tons of opportunities over the weekend to meet the writers and speakers.

Since we're pressed for time and funds, it's key to shop around and select what best fits gaps in your writing experience—craft, publishing, marketing, the pitch, blogging. Whatever you need, there's a venue for it. One caveat: The venues mentioned here aren't virtual; there's still something to be said for the irreplaceable human dynamic.

This year, I'm attending LWC } NYC, Literary Writers Conference New York City. It's co-sponsored by the New School graduate writing program and the Council of Literary Magazines and Presses, and partners with lots of places: Sobel Weber Associates, The National Book Foundation, Sterling Lord Literistic and Poets & Writers. It's two days for fiction, poetry and creative-nonfiction writers to meet other experts—writers, editors, agents, publicists and publishers. Participants include Publishers Weekly, Oxford University Press, Scribner, Hachette Book Group, Graywolf, the Poetry Society of America, Bloomsbury, Knopf, the Academy of American Poets and more.

The conference promises a lot—let's see if it delivers. I'll let you know in November—and pass along tips and resources.

Tips:
To make the most of any event—workshop, retreat, conference or seminar—think in three phases: before, during and after:

• Research the presenters' and sponsors' websites. Consider dropping a simple—and brief—e-mail to those of interest.
• Meet everyone you can, and bring items that represent you—business cards, bookmarks, brochures—e-versions are fine, but giveaways are great. Tailor what you offer to the type of contact.
• Follow up with thank-yous, invites to guest post, etc., Don't just go to get; go to give.

Resource: ShawGuides

"Inner" and "Outer" Story: With Award-Winning Author Mary Carroll Moore

Award-winning writer Mary Carroll Moore, author of Qualities of Light, concludes this week's insights on transitioning from nonfiction to fiction.

AMA: Can you explain the concept of "outer story"?

MCM: If you imagine "outer story" as what happens, where it happens, who it happens to—the great newspaper reporter's questions—"inner story" explores why and what it means. In newspaper writing, we left that up to the reader, many times. We just reported the facts. Now, I was learning to weave meaning (the story behind the situation) into my writing. As soon as I began incorporating "inner story," a few of my short stories were published, even won awards. It took five more years of learning about "inner story" and listening carefully to three of my most interesting characters before I could evolve into long-form fiction. My novel, Qualities of Light, was published last year and has been nominated for a PEN/Faulkner award.

AMA: What about "inner story"?

MCM: The element of "inner story" is what I love most in my writing; it's what lingers long after all action subsides. My journey into a new genre taught me that meaning—in life and in writing—can't be outlined or plotted. Meaning seeps in when we're not looking or planning anything. All we can do is listen for it and be ready to pay attention.

For more information, visit Mary Carroll Moore and her blog, How to Plan, Write and Develop a Book.

For a great upcoming writer's conference, visit CAPA University. Keynote speakers are doctors Henry Lee and Jerry Labriola on "Writing True Crime."

Learning the Inner Story, With Mary Carroll Moore: A Journey from Nonfiction to Novels

Mary Carroll Moore is an award-winning author, novelist, artist and teacher whose work has appeared over 200 publications. Her latest novel is Qualities of Light. Mary has a particular gift for helping writers find the emotional truth in their work to make it the best it can be. This week, she shares insights on transitions and the writing life.

AMA: What aspects of writing do you find most exciting, especially going from one genre to another?

MCM: An exciting aspect of the writing life, to me, is the option of skating into a new genre. I used to think my twelve years as a newspaper columnist, my twelve nonfiction books, would create a smooth transition to fiction. Was I ever wrong.

AMA: How did you transition from nonfiction to fiction?

MCM: I started writing short stories 10 years ago. Not so distant in form from a compact and focused newspaper column, the short story also has a beginning, middle, and end. But that's where the similarities stop. Not knowing this, I outlined a couple of story ideas, turned on the creative imagination, and waited for miracles. But my characters were flat as if they'd emerged from badly written sitcoms. They moved, they faced conflict, but essentially the story had no meaning. There was more to learning this new genre than I expected.

For more information, visit Mary Carroll Moore and her insightful blog, How to Plan, Write and Develop a Book.

For one the most well-known writing challenges, also visit National Novel Writing Month One, voted one of Writer's Digest's 101 best writing websites.

For information on the seventh-annual CAPA University writers' conference on May 8 in Hartford, CT, visit CAPA-U for more information. Keynote speakers are doctors Henry Lee and Jerry Labriola on "Writing True Crime."

Heart and Mind: Engaging the Reader

Beth Bruno is a columnist, author and book editor. Her first book, Wild Tulips, was published in 2001 and went into a second printing in 2002. Beth is on the board of the Connecticut Authors and Publishers Association (CAPA) and has worked with numerous literary agents and publishers. Based on her referrals, several authors whose manuscripts she edited have seen mainstream publication. Her eclectic interests have given her broad experience in editing, and she shares two key insights here.

AA: What aspect of the writer-editor relationship is key to the success of working together?

BB: After completing a sample edit, the author and I shape the focus of the editing together. Providing feedback during the process is an integral part of our collaboration.

AA: What do feel is the most important requirement for a book, fiction or nonfiction, to be published?

BB: If the author doesn't effectively engage the mind and heart of the reader, the work probably won't find its way to publication.

Visit Beth Bruno at Book Editing Associates. Also visit Preditors and Editors, a trusted guide for information on publishers and writing services for serious writers.

Visit CAPA University for information on the seventh-annual writers conference on May 8 in Hartford, CT. Keynote speakers are doctors Henry Lee and Jerry Labriola on “Writing True Crime."