Pub Rants

Category: Conferences & Book Fairs

You Don’t Have To Be A Fashionista But…

by Kristin Nelson

STATUS: Just about to head out of the office and to the convention center for an afternoon at Worldcon

What’s playing on the iPod right now? LITTLE LIES by Fleetwood Mac

Last night I had a dinner for the NLA clients who are in town for Worldcon this week. This topic came up and I have to say that we were all in agreement. Sometimes conference attendees need to rethink their clothing choices when the desire is to meet industry professionals.

Now I’m no fashionista (as I prefer Tevas over high heels any day) but I do think there is a difference between attending a conference as a fan and attending a conference as an aspiring author looking to connect with agents, editors, or what have you.

If you’re a fan, hey, wear what you want and be comfortable. If you are there as an author looking to network, maybe the old t-shirt and shorts isn’t the best clothing decision.

And I don’t mean a person has to don a business suit. Heck, even I only wear business casual at any given conference (and I never wear nylons—she says while shuddering with horror). So I wouldn’t expect that of anyone. No tie is required here either. Still, I have to say it, if you’re an author looking for a prospective agent, appearance does count.

So don’t go with the t-shirt. Step up to a collared shirt or a nice blouse. Instead of shorts, choose pants (even a nice, clean pair of jeans is okay with me). Wear the skirt instead of shorts.

And for goodness sake, don’t wear sweatpants. (I haven’t seen it here at Worldcon but I have seen it at other conferences. I even had an author show up in them for her pitch appointment with me.) I want to be assured that any author I took on knows how to dress accordingly and that can start at the conference or pitch meeting.

And last but not least, unless you are at an evening party (where this would be appropriate), a costume isn’t what you really want to be wearing when meeting with an editor or agent.

Straight From A Reviewer’s Mouth

by Kristin Nelson

STATUS: Back to back conferences are a bit tough. On Sunday I flew back from San Francisco and RWA. Today, Worldcon began right here in Denver. On one hand, I didn’t have to travel to attend. On the other, I might be a little conferenced out but away we go.

What’s playing on the iPod right now? YOU’LL NEVER FIND ANOTHER LOVE LIKE MINE by Lou Rawls

As I mentioned above, Denvention 3 began this morning and I kicked it off with one of the opening sessions on how to create that perfect pitch paragraph in a query letter.

No, I’m not going to beat that almost dead horse again. All you blog readers are pretty much experts by this point.

But one of the session attendees was Jacqueline Lichtenberg, a writer and a reviewer. She added a comment to the panel mix that I thought was well worth repeating. She said that for her job as a reviewer, the back cover copy of any given published novel becomes absolutely essential in terms of deciding which books to actually review. Publishers send her so much that she has stacks and stacks of books just waiting for her attention.

A quick skim of the back cover copy makes her decision on which book to read and review. Go figure. The same technique applies when agents read query letters. If you make your pitch paragraph read like back cover copy, you’ll get attention. But that isn’t the tip I want to share.

From her position as reviewer, Jacqueline recommended that aspiring writers not wait to write their pitch paragraphs or what they would consider their own back cover copy for their novels. She suggested doing that even before the novel is complete. Even, dare I say it, before the novel gets written!

If you can write good back cover copy for the novel you have in mind, your writing will be forced to live up to the copy you’ve created.

I think this is a great idea—especially for writers who are kicking around several ideas and are contemplating which idea to pursue in terms of writing a novel.

Write the back cover copy (in the way it would look if the novel were actually be published) and that alone will force you to focus on that essential plot catalyst that will drive your story forward and force you to focus the novel.

Not a bad day’s work….

RWA Panel Extra (Bonus Material Blog Entry)

by Kristin Nelson

STATUS: Just doing all my post-RWA follow up.

What’s playing on the iPod right now? TEQUILA by The Champs

On Saturday I moderated a panel called TAKE FIVE! Agents Reveal Their Top 5 Pearls of Wisdom for Career Success. Unfortunately, one of the panel members, Deidre Knight, got sick and couldn’t attend. She did, however, email me her top 5 pearls of wisdom and I get to share them with you as an added post-RWA bonus. I think they are definitely worth sharing (although these are just the framework and Deidre would have gone into more detail during the actual panel).

5 Ways That Another Author’s Career Can Sideline Yours–and we don’t mean because they’re more successful!

Here’s the big secret: the power for those authors to harm your career is all inside of YOU!

1) Don’t compare yourself to other authors. Every career, no matter if same agent, same editor, or same house, is unique. Comparison derails you with jealousy and can be toxic in a variety of ways

2) Looking at your friends careers and growing impatient. This is a long haul business and we have seen new authors who rush too hard to get projects out that should have been edited more. Don’t kneecap yourself by worrying about your friend’s recent deal.

3) Don’t decide your career is like anyone else’s. Your career is unique to you. A doctor can’t treat you based on a friend’s illness. Dig in, focus on what you need to do and forget everyone else. Write the books.

4) Soliciting advice from a committee of friends. If an Agent brings you an offer–make your decision with your agent. Don’t poll your pals about the contract, your cover, you name it. Don’t feel every facet of your career is for public consumption.

5) Be careful with your online presence. Don’t join in blog dramas or controversies. If authors are in feud, float above. Be careful how you choose industry friends and use your instincts about who might be toxic and who is not.

And for those of you who weren’t there, agent Lucienne Diver was also on the panel and she posted her topic’s Top 5 on her blog. Here’s the link.

If you were there and planned to share some of that panel info on your own blogs, don’t hesitate to put your link in the pubrants comment section. Some good stuff there so share away.

Story Behind The Sale (A Blog Extra)

by Kristin Nelson

STATUS: Back in the office after a wonderful RWA. A little sad though. Six terrific Rita nominations and one Golden Heart but alas, no wins on RITA night. Dems the Berries.

What’s playing on the iPod right now? GOT ME UNDER PRESSURE by ZZ Top

My author Ally Carter was out in San Fran for RWA (just for fun) and to do an event at Kepler’s Bookstore. While she was there, she told the real story behind how she ended up writing I’D TELL YOU I LOVE YOU BUT THEN I’D HAVE TO KILL YOU.

If you’ve ever been curious, here it is–straight from the author herself. Tomorrow I should have a post-RWA bonus entry for you.

Report From The Floor (RWA 2008)

by Kristin Nelson

STATUS: I’m finally back in my room before midnight and have the energy to blog.

What’s playing on the iPod right now? Nothing at the moment.

Best Quote of the Conference So far
“In paranormal and you’re not an already established published author, if it’s the same story about a hunky magical hero with the same beautiful mortal woman saving the world, it doesn’t matter if the world is defined by Shiva, vampires, Quetzalcoatl, or Merlin; that alone is not making the genre fresh.”
–Abby Zidle, S&S Pocket


Best RWA Random Moment


Marie Bostwick, Me, Brenda Novak are all wearing the same bracelet.

Best San Francisco Random Moment
While standing on the corner of Union Square in downtown while checking email messages on my iPhone, I looked up and around to figure out which way I needed to walk to find my street when a gentleman standing nearby caught my eye and said: “just in case you might have been wondering, you still have got it going on.”

Not quite sure how to reply (and I actually hadn’t been wondering), I went with the simple, “thank you.”

Can’t say that’s ever happened to me in Denver. Made me chuckle all the way to my lunch meeting.

Hottest RWA Moment
Ally Carter and I convince thriller writer Barry Eisler to proudly wear “I am a Gallagher Girl” pin.

Proudest RWA Moment so far: NLA’s Rita Nominees

Hank Phillippi Ryan

Kelly Parra

Linnea Sinclair

Simone Elkeles

All In A Day’s Work

by Kristin Nelson

STATUS: In San Fran for Romance Writers of America national conference. Even more alarming to me is that Worldcon will literally follow right on its heels. I’ve got a crazy two weeks ahead of me.

What’s playing on the iPod right now? WALK ON THE WILD SIDE by Lou Reed

After I got here, I realized the one thing I forgot to pack. A jacket. Dang it’s chilly here in San Fran. With several weeks of 95+ degree weather in Denver, I just plum forgot.

So what has happened to me today?

1. While boarding my plane, I ran into a children’s book publicist I knew and we spent the flight chatting about the biz (well, amongst other things).

2. Had a lovely afternoon tea with said publicist.

3. Checked into my hotel room (which took blessedly only about 5 minutes or so). I don’t think that’s ever happened to me before at RWA. Lines are usually long.

4. Wrestled with the hotel internet connection. I’m happy to announce that I was victorious.

5. My dinner plans were derailed but happily an agent friend took pity on me and invited to me to her agency dinner instead.

6. Had a blast talking with her clients—one of which mentioned that she didn’t know that agents could be friends with each other (and she didn’t ask in a bad way—she was just surprised). Yes, agents are often friends with each other and we celebrate each other’s success.

7. Authors are so loquacious when wine is involved. I heard some great stories this evening (but client confidential—even if they weren’t my authors!).

8. Some writers are coming from as far away as England and New Zealand for this conference (waves to all the Kiwis I hung out with last August—be sure to say hello).

9. Checked email. Frightful amount I might add. Still lots of it is last minute planning that needs to be accomplished for the week to kick off right.

Tomorrow morning I’m having coffee with an editor from MacAdam/Cage (and no, they don’t do romance at all but they are based here in San Fran and I love to connect when possible).

I’ve got lunch with an editor. Afternoon tea with a client. Literacy Signing and then the evening parties begin.

This year’s RWA is especially exciting as the agency has 6 RITA nominations for 4 authors:
Linnea Sinclair
Hank Ryan
Kelly Parra
Simone Elkeles

And to top off the excitement, I also have a new client who is a Golden Heart nominee:
Courtney Milan

Boy am I going to be on pins and needles come Saturday evening when the Awards ceremony takes place.

Building The Pitch Paragraph (Part Six Redux: Ysabel)

by Kristin Nelson

STATUS: I’m beat. I just can’t stay up until after midnight without consequences. Makes you wonder how we did it in college all those eons ago.

What’s playing on the iPod right now? CANDY EVERYBODY WANTS by 10,000 Maniacs

I think I can officially call my work done here. You guys don’t need any more lessons on pitch paragraphs. You’ve got this nailed. It’s so easy—until it’s your own work, right?

Step One: Find the plot Catalyst
It’s pretty easy to spot in this one. It’s in the second paragraph when Ned & Kate surprise an intruder with a knife in a place he should not be. Cryptic warning ensues!

Step Two: Identify what method is being used to build the paragraphs in the cover copy?
Paragraph one is mostly back story (why they are living in Aix-en-Provence) and a little bit of hint in terms of Ned’s character with the reference to inheriting his mom’s courage.

Paragraph two highlights opening plot elements and then the catalyst.

Paragraph three is setting actually. Not something I’ve really talked about much in relation to pitch paragraphs. Here, setting the mood is rather important to the story so the copywriter juxtaposed the modern with the old to capture that this story has a timeless element to it.

Paragraph four is about how the setting relates to the other plot elements that will unfold. We are in a place where the border between the living and the dead is suspect. This means something from the past is going to be able to come into the present and if this copy is any guide, that’s not going to be a happy thing.

Step Three: Analyze the copy as a whole.
So this copy is 8 sentences. A lot going on in those 8 sentences. You can see where it pays to chose wisely the details to include.

Building The Pitch Paragraph (Part Six: Ysabel)

by Kristin Nelson

STATUS: So it’s after midnight, which should tell you how my day went. And is this Tuesday’s entry or Wednesday’s?

What’s playing on the iPod right now? DESERT ROSE by Sting

Okay so we didn’t have much luck analyzing the cover copy of THEN WE CAME TO THE END as we couldn’t find it online. Tonight (or this morning), let’s try a title where the commenter provided the cover copy for me. What can I say? I get lazy when I’m tired.

Are you ready? This one has elements of many genres so it should be fun.


From Guy Gavriel Kay’s YSABEL:

Ned Marriner is spending springtime with his father in Provence, where the celebrated photographer is shooting images for a glossy coffee-table book. Both father and son fear for Ned’s mother, a physician for Doctors Without Borders, currently assigned to the civil war-torn regions of Sudan. Ned has inherited her courage, and perhaps more than that.

While his father photographs the cathedral of Aix-en-Provence, Ned explores the shadowy interior with Kate Wenger, an American exchange student who has a deep knowledge of the area’s history. They surprise an intruder in a place where he should not be: “I think you ought to go now,” he tells them, drawing a knife. “You have blundered into a corner of a very old story.”

In a modern world of iPods, cellphones, and SUVs whipping along roads walked by Celtic tribes and Roman legions, a centuries-old saga seems to be beginning again.

In this sublime and ancient corner of the world, where borders between the living and the long-dead are most vulnerable, Ned and those close to him are about to be drawn into a haunted tale, as mythic figures from conflicts of long ago erupt into the present, changing and claiming lives.

Step One: Find the plot Catalyst

Step Two: Identify what method is being used to build the paragraphs in the cover copy?
* Back story?
* Other plot elements?
* Character?
* Combo?

Step Three: Analyze the copy as a whole.
How many sentences is it? What elements make up each individual paragraph? What seemed effective and why?

I’ll check back in tomorrow (or today) so we can discuss.

Report From BEA (Part Two)

by Kristin Nelson

STATUS: It’s always a crush when I’ve been out of the office for a week. I’m proud to say I’m now finally seeing open spots on the desktop for the first time today.

What’s playing on the iPod right now? BACK HOME AGAIN by John Denver

Here’s how I can sum up my BEA. With the exception of the Graphic Novel Author Breakfast on Saturday morning, any event I had planned to attend was a bust—real snoozers.

And the one panel that was a spontaneous choice was the one I enjoyed the most—and that was the panel discussion on Hardcover versus original trade paperback for a debut novel.

Basically there was no consensus on whether it helps or hurts an author. Several examples were given for both—of how a trade price point really helped to break out an author and how an author got sunk by the hardcover pub with the higher price point.

There was even mention of my larger concern about not getting the audio deal and foreign rights for an original trade pb (although I have to say that foreign publishers seem very flexible with what they buy and the format doesn’t seem to impact too much).

My hope was that the discussion could veer into new territories, like setting up the possibility of rethinking how original trade paperbacks are bought, their marketing/promo plans (because let’s face it, as agents we are mostly worried about original trades not getting the love from pr and marketing and the reviews needed to really succeed as those aspects have been slow to evolve), and perhaps discuss new trade original royalty structures if more and more books are pubbed as original trades and not hardcovers. Those percentages haven’t changed in a hefty while

I don’t care if something is going to pub in trade pb if I know I can get the support, the backing, and that my author could earn as much via that medium than through hardcover as the original format.

Lots about pubbing original trade make sense and yet, there’s still those possible issues that make it hard not to be hesitant. Still, I see it’s where the industry seems to be leaning so I’d just like to see some other aspects about this format embraced.

But back to the Graphic novel breakfast.


From left: Jeff Smith (author of Bone), Jeph Loeb (producer of Heroes and currently writing Hulk for Marvel), Mike Mignola (Hellboy), and Art Spiegelman (Pulitzer Prize-winner of Maus)

Here’s what I learned. Folks who write and illustrate comic books are passionate about them and a lot of writers have been doing this for some time—long before it was popular.

1. They all were slightly amused by the term graphic novelists.
2. They are, and always will be, comic book writers, thank you very much.
3. They are all slightly amused to be considered “cool” now as well.

The tipping point for comic books happened, for some reason, about 4 or 5 years ago and they knew it when librarians started coming to them with “no need to sell me on the format, I get it but what should I be buying? What’s Good?” That’s when the format had arrived into the mainstream. It’s also not just about comic book publishers anymore. Many traditional publishing imprints (like S&S and Random House) are buying comic books and positioning them like traditional books (for lack of a better word).

I found the whole breakfast, and especially Spiegelman’s visual presentation about the history and the how and why of how he go into it, particularly fascinating.

I certainly can’t say that I’ve been a long-time fan or anything like that but I’m interested. I certainly had a bunch of comic books when I was growing up (boy did this bring back memories) and many of my college buddies wrote, illustrated, and collected comic books so I was certainly exposed to the medium. Now I just need to get back in touch with those guys and say, “hey, your time has come. Maybe we need to dig out those works.”

Last but not least, I thought you’d get a kick out of seeing the author autographing stalls. One author called it horse racing in reverse. It does rather mimic that!


Reporting From The Floor

by Kristin Nelson

STATUS: Tired and my feet are a bit sore.

What’s playing on the iPod right now? Nothing on at the moment.

Today was my first day at the BEA so I haven’t had anything to report until now. Last night I went to a Hollywood party but for the life of me I couldn’t think of anything to blog about except that I had met so-n-so and so-n-so and I had a glass of wine.

Rather boring. But today I actually did stuff—like walked the floor, attended some interesting panels (and some not so interesting panels), and chatted with a bunch of editors I knew.

So as promised, here are some pics from the floor via my iPhone. The LA convention center is divided into 2 halls—the south and the west.

The South Hall being the main floor. So here’s a pic of entering the main floor—literally right after exiting the escalator. Obviously the Hachette Goup (otherwise known as Grand Central Publishing and before that known as Warner Books) has some prime real estate.


This second pic was taken at my first panel for the day, which was the Editors Buzz. This panel is hosted by Sara Nelson of Publishers Weekly. PW chooses 6 editors to buzz what they hope will be the next big books for the fall season (or books they feel deserve special attention).

From left: Sara Nelson (at podium), Richard Nash (Soft Skull), Megan Lynch (Riverhead), Jonathan Glusman (Harmony/Crown), Sarah Knight (Henry Holt), Reagan Arthur (Little Brown), and Laurie Chittenden (William Morrow).


Now, if I were a good reporter, I would have written down the titles of all 6 books mentioned at the panel! But I’m not; I’m a lazy BEA attendee who couldn’t type fast enough into my iPhone notes section so if anyone was there and can provide the other titles, please do so in the comments section.

At the end of the panel I only snagged two galleys—THE HERETIC’S DAUGHTER (Which Reagan discussed) and THE LACE READER (which Laurie mentioned). Noticed they were at the far right and therefore went last on the panel, which is also after my chai latte had kicked in. (This panel was excruciatingly early in the day…)

This last photo is from an afternoon session. As you can tell, I was a bit far back in the room but this is Jeff Bezos from Amazon talking. And what a snoozer. I’m as evangelical for the Kindle as any good consumer can be but the first 30 minutes of his “talk” was basically a commercial for the Kindle. Yawn. Things got a lot more interesting when interviewer Chris Anderson (author of THE LONG TAIL) did the spontaneous interview. Mr. Bezos, however, still managed to sidestep the question regarding Amazon and the controversy generated by their recent Booksurge decision (where Amazon would only allow easy access to POD books generated by their Booksurge arm).

Ends up that I was sitting right next to Ellen Archer, Publisher of Hyperion (and of Chris’s book) so we had a fun chat.


Off to bed so I can do it all again tomorrow. If I see some fun shots, I’ll snap and post.