Later this week, the WD team will be in New York City for the 2019 Annual Writer’s Digest Conference. In addition to the Writer’s Digest staff, there will be many other familiar faces, including artist Bob Eckstein, who will be covering the event for LitHub.com.

Bob Eckstein is an award-winning bestselling author and illustrator and New Yorker cartoonist. In addition to covering the event, he will be signing copies of his new book, The Ultimate Cartoon Book of Book Cartoons by the World’s Greatest Cartoonists.

Here’s a quick Q&A with Eckstein about his previous experience with the conference, what his goals are this year, and how first timers can get the most out of their experience.

You’ll be returning to the Writer’s Digest Annual Conference in 2019. How many times will this be for you?

This will be only my second one. The first time I didn’t know what to expect and, besides, I was just focused on my job of live-drawing and reporting the event. But starting on the first day, a writing class with Jacob Kruger, I was so captivated I forgot why I was there and just soaked it in. I walked away thinking I want to rewrite everything I ever wrote up until that point. The conference, literally, pun intended, recharged my career.

I began a whole new aspect to my career, screenwriting, and it got me very excited about writing again. That’s why I begged to come back. I’m sorry I haven’t been coming for years. But I’m a very late bloomer.

(Click here to read the confessions of a late bloomer.)

What are you anticipating the most for the 2019 WD Conference?

In all honesty, my own book signing. I know that answer will sound bad but I am so flattered that my book is in the conference bookstore that this is a big deal for me and I don’t know what to expect yet from the classes. I know when it is all said and done one of the classes will be the highlight of the conference and set me off on new goals for my writing.

How do you plan to spend your time at the 2019 conference?

It will be a frantic conference for me, because I hop from class to class and try to capture the vibe everywhere and then tweet about it (follow hashtag #WDC19 and @WritersDigest), take notes and illustrate what I see.

I’m going to be drawing portraits of the speakers and the attendees and tweet quotes and jokes. I will try to mingle with people and use some of that, too. I have live-drawn ABAs, book fair, and other events and, on rare occasion, someone will get mad at me. This conference is as warm and supportive as any I’ve been to.

I will be signing books, enjoy the reception and observe Pitch Slam. Last year, I participated in Pitch Slam so I could really experience it. This year, I will not waste a spot realizing how important this is to others.

(Click here to see the editors and agents who will be at Pitch Slam.)

What’s your best advice for a first-time Writer’s Digest Conference attendee?

As for the Pitch Slam, let me add this is not the end all but a learning experience. Everyone at the conference is going to ask you, “What’s your book about?” Use that opening with complete strangers to practice the 10-second elevator pitch that you’ll need for Pitch Slam. Take a deep breath and start your exchange with the agents with a friendly greeting instead of diving in like a salesman. People want to work with people they like. There are people in this business who I know like me, and that’s that, in the same way I know there are some who don’t like me, and that happens. So make eye contact and a warm greeting is always smart.

Finally, enjoy the fact you are going to be part of a select group of people that are passionate about books and writing. Other than that no other advice is needed. Just soak it in. As I’ve told my writing friends, this is a conference I encourage all in this business to attend.

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A business card may seem like a stuffy networking construct for lawyers and other suits, but they can offer a lot of use to any author that wants to build a career. Still, many authors don’t keep these handy professional tools on them, and even more authors undermine their efforts by creating business cards that don’t reflect the quality of their actual writing.

What can author business cards do for you, and how do you make sure your card offers the best impression of your author brand? This author’s guide to business cards has everything you need to get started with confidence.

Why should authors have business cards?

The purpose of a business card is simple: To make the next steps of building a professional relationship after that first conversation as easy as possible. These are both important relationships for your authorial future. Which means business cards are not something to shrug off or create thoughtlessly. Put your best foot forward by designing them with care.

What should be on an author’s business card?

When deciding what information to include on your business card, focus on making followup connections as easy as possible, without overloading this tiny piece of real estate.

An author’s business card should include:

• Name: If you use a pseudonym for your writing, use that instead of your real name. If you have multiple pseudonyms, you might want a different card for each of them. Consider: How transparent are you with readers about your various alter egos? How much potential for crossover appeal is there? The answers should give you the information you need to make this decision.
• Email address: This is the simplest, most direct line to you for following contact.
• Website: Your website is your home base, and the number one place both readers and publishing pros will turn to learn more about you and your writing.
• Social media: For my business card I simply tagged my social media as “@ejwenstrom” because my handle is the same across all the major social networks. But if you are on several networks and your handles vary (avoid this if you can), you may want to prioritize a few where you’re the most engaged.

These few key pieces of information are really all your business card needs. Providing concise details help the recipient prioritize their next steps to engage with you, and ensures they are directed to the most important sources. Too much information can overwhelm, inhibit followup actions, and look sloppy.

What about a headshot?

I have never seen a headshot on a business card that looks good. Even a professionally shot image loses some of its panache when printed on a tiny card and then bandied about in someone’s pocket or bag. For this reason, I don’t like to see headshots on business cards. As soon as someone connects to you online, they’ll see your headshot on your website and social media anyway. (Right? Be sure to do this.)

But this is an area where I see some room for debate. Because while a headshot on your business card is not very polished, it is useful. Especially after a conference, when people are sorting through a large stack of cards and trying to remember who all these names are among their blur of remembered conversations.

So, it’s a judgment call. But if you’re going to do a photo, be sure it’s professionally shot and carefully placed in the layout.

What shouldn’t be on my business card?

Avoid anything time-sensitive, like the cover image of your most recent release or a book title. A business card should stand the test of time so it remains just as relevant as your body of work grows.

How should authors design their business cards?

If you want to go the extra mile, you can hire a freelance designer to customize a card design for you. If you have one who created a stellar brand for your website or other materials, this could help maintain consistency in your look and feel. But this is by no means necessary.

Online printing vendors like MOO and Vistaprint offer very nice templates that are easy to customize. Just choose a template that’s consistent with your author brand’s look and feel.

For size, square or standard dimensions are fine. This is a matter of personal taste, but I advise against oversized cards because this defeats the purpose somewhat. Business cards are designed to be easy to carry. An oversized card may stand out in the stack, but it also won’t fit as easily, which can make them the first to get dropped or lost.

How much do business cards cost?

Business cards don’t have to be expensive, but be careful not to go too “budget,” or they will feel and look cheap.

In addition to design-friendliness, MOO and Vistaprint are also very cost-friendly options that deliver quality cards. You can get 200 cards (which in my experience will last a good while) for a comfortable $70 or so.

I got my business cards. Now what?

When I started networking as an author, I worried about being too pushy. My business cards sat in my purse and never saw the light of day. What a waste! Networking for your writing future is no time to let shyness or introverted impulses win.

Any time you talk about your writing, a card should work its way out of your pocket or bag and into the other person’s hand. When you’re done talking, say, “It’s been great talking with you! Let’s keep in touch!” It’s as easy as that.

You never know when you’ll end up talking to someone about your writing. Stuff a small pile of your business cards into your wallet and every bag you use so they’re always within reach to help you make your next connection—you’re well on your way to growing a thriving network of readers and publishing friends!

More articles by E.J. Wenstrom

Learn how to succeed at freelance writing in our online course, Pitch an Article: Write for Today’s Marketplace

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Still, the majority of writers who attend writers’ conferences tend to be straight, white, cis-gendered, and able-bodied. Those who don’t fall into this dominant group might find themselves having to explain their race or religion to fellow conference attendees, or having to be the voice for all those who share their gender identity. That is, writers’ conferences sometimes inadvertently “other” the very people they genuinely want to include.

Fortunately, there are writers’ conferences specifically geared toward marginalized writers, some of which are open exclusively to them. Here is a list of diversity-focused writers’ conferences, book fairs and festivals, summits and symposiums, retreats and intensives, expos and other events scheduled for 2019. It is by no means a complete list, and it doesn’t cover classes and workshops. If you know of a diversity-focused writers’ event taking place in 2019 that is at least one day long and isn’t mentioned below, please make a note of it in the comments section!

FEBRUARY

BAM Black Comix Expo

Website description: “Comic book nerds, graphic novel aficionados, fantasy lovers, and all-around fans of the art form are invited to the BAM Black Comix Expo. This fun-filled day—co-presented by BAM and the Black Comics Collective—is back for year two, celebrating comic writers, illustrators, and creators of color.”

Location: Multiple locations at the Brooklyn Academy of Music (BAM) in Brooklyn, NY

Date: February 10, 2019

Registration information: Admittance is on a first-come, first-served basis until capacity is reached. With the exception of the “VR Experience,” all events are free and open to all ages.

MARCH

The Native American Literature Symposium

Website description: “The Native American Literature Symposium is organized by an independent group of Indigenous scholars committed to making a place where Native voices can be heard. Since 2001, we have brought together some of the most influential voices in Native America to share our stories—in art, prose, poetry, film, religion, history, politics, music, philosophy, and science—from our worldview.”

Location: Mystic Lake Hotel & Casino in Prior Lake, MN

Date: March 7-9, 2019

Registration information: Registration forms are available both online and in print, and cancellations must be made by February 15, 2019.

National Black Writers Conference Biennial Symposium

Website description: “The 2019 National Black Writers Conference Biennial Symposium, ‘Playwrights and Screenwriters at the Crossroads,’ is a public gathering of writers, scholars, literary professionals, performers, students and the general public.”

Location: Medgar Evers College, CUNY in Brooklyn, NY

Date: March 23, 2019

Registration information: Registration is available online prior to the conference and on-site on a first come, first served basis.

Publishing in Color: A Publishing Conference for Under-Represented Spiritual Writers

Website description: “The conference is particularly focused on serving under-represented groups such as African Americans, Latinx Americans, Asian Americans, and Native Americans, however it is open to any prospective spiritual writer.”

Location: University of Southern California (USC) campus in Los Angeles, CA

Dates: March 25-26, 2019

Registration information: Early bird tuition runs until February 28, and regular price registration begins March 1, 2019.

How and Why to Pitch Agents at Pitching Events

APRIL

Kweli Color of Children’s Literature Conference

Website description: “Kweli’s spring conference is an excellent opportunity for Indigenous and POC writers and illustrators to learn, get inspired and network with others in the industry.” Note: This conference is open exclusively to children’s book writers and illustrators who meet this criteria.

Location: CUNY Graduate Center in New York, NY

Date: April 6, 2019

Registration information: Registration is open until March 31, 2019.

MAY

Festival of Literary Diversity (FOLD)

Website description: “The Festival of Literary Diversity includes over 20 authors and presenters and attracts more than 500 people to downtown Brampton to celebrate diverse Canadian authors, poets, and storytellers. We are passionate about celebrating established and emerging writers while creating new and exciting opportunities for aspiring writers and marginalized voices.”

Location: Various spaces in Brampton, Ontario, Canada

Date: May 2, 2019

Registration information: Registration information is not yet available on the FOLD website, but according to the organization’s Twitter handle, it opens on March 7, 2019.

Native Creators Summer Retreat

Website description: “With a focus on mentorship and polishing a manuscript for submission, this four-day retreat includes one-on-one critiques, roundtable feedback, and lectures.” Note: This retreat is open to “Native American book creators writing for and about children.”

Location: The Highlights Foundation’s Retreat Center in Boyds Mills, 10 miles from Honesdale, PA

Dates: June 27-30, 2019

Registration information: Registration is open, and a deadline is not indicated.

JUNE

Bronx Book Festival/Festival de Libros del Bronx

Website description: “The Bronx Book Festival aims to promote literacy and foster a love of reading among children, teens, and adults./ El Festival de Libros del Bronx tiene como objetivo promover él alfabetismo y fomentar el amor por la lectura entre niños, adolescentes y adultos.”

Location: Fordham Plaza in Bronx, NY

Date: June 7-8, 2019

Notes: Registration information is not yet available on the festival’s website, but this event was free and open to the public in 2018.

JULY

Harlem Book Fair

Website description: “The Harlem Book Fair is the United States’ largest African-American book fair and the nation’s flagship Black literary event. Held annually in Harlem, NY, the Harlem Book Fair features exhibition booths, panel discussions, book sales, and workshops.”

Location: West 135th Street between Malcolm X Boulevard & Adam Clayton Powell, Jr. Boulevard in Harlem, NY

Date: July 20, 2019

Registration information: Registration information is not yet available on the website, but admission to the exhibitor area has been free and open to the public in past years.

Golden Crown Literary Society Conference

Website description: “The Golden Crown Literary Society’s annual conference is the premier lesbian literary event for both authors andreaders. In a different city each year, the event brings together readers, fans, writers, editors and publishers to celebrate the best in lesbian literature.”

Location: Wyndham Grand Pittsburgh Downtown in Pittsburgh, PA

Dates: July 10-14, 2019

Registration information: Online registration is open until June 30, 2019.

AUGUST

Lambda Literary: The 2019 Writers Retreat for Emerging LGBTQ Voices

Website description: “The Writers Retreat for Emerging LGBTQ Voices offers intensive and sophisticated instruction to selected writers over a carefully designed one-week period. The Retreat provides writers access to industry professionals and the opportunity to advance in their craft and careers.”

Location: Otis College of Art & Design in Los Angeles, CA

Dates: August 4-11, 2019

Registration information: The application period closes on February 1, 2019.

SEPTEMBER

Jaipur Literature Festival

Website description: “Every year, the Festival brings together a diverse mix of the world’s greatest writers, thinkers, humanitarians, politicians, business leaders, sports people and entertainers on one stage to champion the freedom to express and engage in thoughtful debate and dialogue.”

Location: The main Zee Jaipur Literature Festival (JLF) takes place every January in Jaipur, Rajasthan, India, but JLF International is held in Boulder, Houston, and New York, among other locations.

Dates: September 20-22, 2019 for the Boulder location

Registration information: Registration information is not yet available on the JLF website, but please check back for updates.

OCTOBER

National Black Book Festival

Website description: “The National Black Book Festival (NBBF) is an annual event, sponsored by Cushcity.com, one of the largest online sources for African-American literature. The event attracts a wide array of authors, publishers, book clubs, libraries and individual readers from the Southwest U.S. and nationwide.”

Location: Fallbrook Church Brook Sports Facility in Houston, TX

Dates: October 24-26, 2019

Registration information: Admission to author exhibits and seminars is free and open to the public. Admission to special events is also open to the public, but advance ticket purchase is required. A small number of tickets may be available at the door.

Jack Jones Literary Arts Retreat

Website description: “As part of the retreat experience, Jack Jones is featuring daily Skype master classes with agents, editors and acclaimed women in publishing to promote networking, learning and engagement.” Note: This two-week retreat is open exclusively to women of color.

Location: Immaculate Heart of Mary Retreat Center in Santa Fe, NM

Dates: October 26-November 8, 2019

Registration information: Registration information is not yet available on the website, but in 2018, Jack Jones offered seventeen fully-funded fellowships and scholarships for which applications were due on April 1, 2018.

Also look out for:

Leimert Park Book Fair

Website description: “The Leimert Park Village Book Fair was inspired by a project…to present a ‘Festival of African American Authors’ at Los Angeles Southwest College. Its success in drawing 10 authors participating for an audience of 40 inspired the idea of creating an annual literary event.”

Notes: There is no information available yet for 2019, but last year’s festival was held on August 25 at the Baldwin Hills Crenshaw Plaza in Los Angeles, CA, and it was free and open to the public.

Well-Read Black Girl Festival

Website description: “A celebration of Black women readers and writers that seeks to initiate meaningful conversations within the literary arts.”

Notes: An announcement has not yet been made about a 2019 Well Read Black Girl Festival, but last year’s festival was held on November 18 at Pioneer Works in Brooklyn, NY. General admission and premium admission tickets were available online.

And it’s not too early to plan for 2020! Consider these events:

The Writing Barn Rainbow Weekend Intensive

Website description: “This event will be a weekend of lectures, connection and workshop designed for LGBTQIAP+ writers of young adult and middle grade.” Note: This intensive is open to exclusively to children’s book writers who are pre-published, published and/or agented identifying in the LGBTQIAP+ spectrum.

Notes: Rainbow Weekend 2019 is scheduled for April 11-April 14, 2019 in Austin, Texas. It has sold out, but the Writing Barn encourages anyone interested in the Rainbow Weekend 2020 to sign up for their email list to receive updates.

Kundiman Retreat

Website description: “Through this Retreat, Kundiman hopes to provide a safe and instructive environment that identifies and addresses the unique challenges faced by emerging Asian American writers.”

Notes: The 2019 retreat is being held June 19-23 at Fordham University’s Rose Hill Campus in Bronx, NY. The application period closed on January 15, and the application period for the 2020 retreat will likely open in December 2019 and close in mid-January 2020.

The Disability Intersectionality Summit

Website description: “The Disability & Intersectionality Summit (DIS) is a biennial one-day national conference that centers the multiple oppressions that shape the lived experiences of disabled individuals, as told by disabled people, in a setting organized by disabled activists.”

Notes: The 2018 national Disability Intersectionality Summit took place on October 13, 2018 in Cambridge, MA. A sister affiliate event was held on the same day in the Berkeley, CA. No information is available yet for 2020, but according to the DIS website, more information is forthcoming.

Click to continue.

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Then, if you choose, participants can pitch your novel via a query letter to a literary agent. he agent will provide you with a personalized critique of your query—and maybe ask to see more.

Here’s a sneak peek at a few of the things you can expect to learn from this year’s presenters—plus a little bit about each of them:

3 Key Novel Writing Tips

David Corbett on Character Development

In David Corbett’s presentation “The Character of Plot,” writers will learn the key elements of internal need and conflict necessary to generate complex characters who can generate a compelling story.

Corbettis the award-winning author of six novels, including 2015’s The Mercy of the Night and the upcoming The Long-Lost Love Letters of Doc Holliday, as well as the novella The Devil Prayed and Darkness Fell, the story collection Thirteen Confessions, and the writing guide The Art of Character. 

Check out some of his Writer’s Digest articles here:

• Changing the Face of Crime Fiction: 6 Writers of Color on Writing Mysteries, Crime Novels and Thrillers
• No More Mr. Nice Guys: How to Write Flawed Characters & Antiheroes
• The Differences Between a Crime Novel, Mystery Novel and Thriller Novel
• Emotion vs. Feeling: How to Evoke More From Readers

Erica Wright on Setting

In Erica Wright’s presentation, “Setting the Scene: Using Place to Advance Your Story,” writers will learn how to seamlessly incorporate setting in a way that advances their stories.

Erica is the author of Instructions for Killing the Jackal (Black Lawrence Press) and the poetry chapbook Silt (Dancing Girl Press). Her poems have appeared in Blackbird, Crazyhorse, Denver Quarterly, Drunken Boat, From the Fishouse, New Orleans Review, and elsewhere. She is the Poetry Editor at Guernica Magazine and teaches creative writing at Marymount Manhattan College. Check out an interview with her here.

Tee Morris on Writing Effective Dialogue

In Tee Morris’ presentation, “Talk to Me: Writing Effective Dialogue,” writers will learn how to write compelling dialogue that keeps the action moving and readers reading.

Morris has been writing science fiction, fantasy, horror, and nonfiction for over a decade. His first novel, MOREVI: The Chronciles of Rafe & Askana, became the first novel to be podcast in its entirety, ushering in a the podcasting age for authors. He authored the Ministry of Peculiar Occurrences series, penned with his wife, Pip Ballantine (who will also speak in the virtual conference). The series and its short fiction podcast, Tales From the Archives, has won several awards, including the 2014 Parsec Award for Best Science Fiction Anthology Podcast, the 2011 Airship Award for Best Steampunk Literature, and RT Reviews’ Choice Awards for Best Steampunk of 2014.

In addition to these three presenters, the 2019 Virtual Conference for novelists will include:

• Handling Conflict in Fiction By Jeffrey Wilson
• Crafting Characters Your Readers Will Love By Philippa Ballantine
• and Supercharge Your Plot by Elizabeth Sims

Don’t miss this exciting virtual event! Learn more and register here.

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I’m beyond delighted to make three exciting announcements about our 2019 Writer’s Digest Annual Conference.

WDC19 Open for Registration

Join us at our exciting annual conference! This inspiring event will give you the tools, resources and knowledge you need to improve your writing, get published, get an agent or self-publish your work, be more productive and manage your career. Gain invaluable tips to improve your craft, explore publishing options and learn how to establish a sustainable career—all while being inspired by successful authors and your fellow attendees.

Plus, don’t miss our annual Pitch Slam, which gives you the opportunity to pitch to literary agents face-to-face.

N.K. Jemisin to Present Opening Keynote at WDC19

We’re thrilled to announce that author N.K. Jemisin will present the opening keynote at the conference! As you may be aware, Jemisin is the first and only author to win three Hugos in a row for her Broken Earth trilogy, one of many speculative fiction stories and novels she has penned. This prolific career has also earned her a Nebula Award, two Locus Awards, and many other honors.You can explore her short fiction online (like this quick but impactful read from Popular Science) and in an anthology from Orbit Books.

In addition to writing, she has been a counseling psychologist and educator (specializing in career counseling and student development), a hiker and biker, and a political/feminist/anti-racist blogger. Although she no longer pens the New York Times Book Review science fiction column called “Otherworldly” (which she covered for 3 years), she still writes occasional long-form reviews for the NY Times.

WDC19 Now Accepting Proposals

In addition to this exciting news, we’re now accepting proposals for speakers and sessions for our 2019 Annual Conference. The conference will held at the the Hilton Midtown in New York City from August 23-25, 2019.

Diversity is important to us and we are looking to develop an inclusive program that represents all genres and publishing preferences, and invites participation from people of all races, ethnicities, genders, ages, abilities, religions and sexual orientation. All are encouraged to submit proposals, and please feel free to share this opportunity within your own networks to help expand our reach.

We cover travel costs and hotel stay during the conference for our presenters, as well as the opportunity to promote relevant books and services to attendees through a variety of channels, including an on-site bookstore.

Learn more at writersdigestconference.com.

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Here, she discusses addressing complex topics in children’s fiction, starting her own imprint, Rosetta Press, and what she’ll address at indieLAB, the all-new writing conference for entrepreneurial authors and writers.

The range and volume of work you have produced is incredibly impressive. As an author, a poet, a playwright, an essayist (and more), which form do you primarily prefer working in and why?

To be honest, I don’t have a preferred form. Writing across genres is fun and empowering—and liberating! Because when a story idea comes to me, or I hear a particular character’s voice speaking to me, I know I have a range of options—is this a script? For stage or screen? Could I tell a story more effectively in verse?

I have a collection of poems coming out next year with Hyperion: Say Her Name. I wanted to represent the challenges and triumphs of Black girls and women, but I don’t primarily identify as a poet; trying new formats helps me grow as a writer and it better serves my characters and my readers, I think. That book of poems will be illustrated, and most of my books for young readers also feature full-color illustrations. I prefer to work alone most of the time, but I like choosing collaborators and have learned a lot from the artists and designers I’ve met.

What elements are essential to creating compelling children’s fiction?

Illustrations are important, but they really only enhance a story that’s already engaging. All good stories are about voice, I think. Kids like action, and humor, and a tale that’s thrilling, but first they need to care about the characters. I learned about a decade ago that it’s possible to be a good writer but not a very good storyteller. I was putting a lot of energy into crafting exquisite sentences, but kids don’t really care about that; it’s not their priority, at least.

Telling a good story requires a different kind of focus, and I can’t really begin until I have a clear sense of who my characters are—what challenges they face, their strengths and limitations, their likely allies. I teach creative writing to kids as well, and having to break down the elements of good storytelling is a useful exercise for me as well. Kids need to invest in the protagonist’s motives if they’re going to cheer for them. I’ve often been told my stories are “too sad” but I think kids appreciate realistic narratives—and almost all kids have faced difficult situations in their lives. They need tools to navigate their own circumstances, and sometimes stories can provide them.

What led you to launch Rosetta Press, and what have you learned from that experience?

Technically I don’t run a press, but CreateSpace allows you to list an imprint and so I developed a set of objectives for Rosetta Press. I don’t publish the work of other writers, but my own work tries to achieve these goals:

1. To generate culturally relevant stories that center children who have been marginalized, misrepresented, and/or rendered invisible in children’s literature.
2. To produce affordable, high-quality books so that families—regardless of income—can build home libraries that will enhance their children’s academic success.
3. To produce a steady supply of compelling, diverse stories that will nourish the imagination and excite even reluctant readers.

Self-publishing has taught me to trust my voice. When editors reject your work over and over again, it’s easy to think there’s something wrong with the way you see the world. But my indie titles have been embraced and valued by so many readers, and educators, and librarians—one was even selected by the Scripps National Spelling Bee! Your work can’t circulate and enrich others’ lives if it’s in your drawer or sitting on the hard drive. Give it a chance to live in the world.

How do you think the publishing industry has changed recently? In what ways is taking an entrepreneurial approach to a writing career beneficial in today’s publishing environment?

I don’t think the industry has changed at all. True transformation isn’t likely to happen without a drastic change in publishing personnel. The current industry gatekeepers don’t come from my community and don’t know much about my culture, so it doesn’t make sense for me to pursue only that path to publication. I have sixteen picture book manuscripts and my agent keeps sending them out, but I’m always prepared to go the self-publishing route if editors don’t share my sense of urgency about a story.

My priority isn’t making money, and as an entrepreneur I can put people first. I decided long ago not to rely on royalties to pay my rent, and that frees me to publish whatever I want. I earn a living through a combination of royalties/advances and speaking fees from conferences, campus talks, and school visits. By not putting all my eggs in one basket, I’m free to take risks and make choices based on my own particular priorities.

What are you working on right now?

Too many things! I just finished a writing guide for educators that I plan to self-publish in September. We’re revising the poetry collection, and I’ve got two picture books in development. My middle grade fantasy novel Dragons in a Bag comes out in October and we’re finishing the revisions on its sequel, The Dragon Thief.

I’m collaborating with a friend on a chapter book series, and still writing poems as they come to me. And I just moved to Philly with several story ideas already plotted. My Viking novel keeps getting pushed back but I hope to make it over to Sweden next year to conduct research.

Is there a book or author that inspired you to be a writer or has had a particular influence on your work?

It was a person rather than a book—my high school English teacher, Nancy Vichert, encouraged me to become a writer when I was thirteen. Up until then I’d been writing for school assignments, and I was always a voracious reader, but I didn’t know you could just decide to write and make it your profession. Once I gave myself permission to write for myself and stopped looking to others for approval, everything opened up. I didn’t have access to writers of color when I was growing up, so discovering Toni Morrison and Jamaica Kincaid in college was a revelation. I started seeking out more books by Black authors and then understood I was part of a tradition of Black women writing about their world.

Quotes on Writing: 19 Classic and Contemporary Lessons from Black American Writers

Can you give us a brief idea of what you’ll talk about in your keynote at indieLAB?

I want to encourage people to think of storytelling as much more than a way to make money. Sharing your story can be therapeutic, empowering, educational—it isn’t always about selling thousands of books. In most cultures, stories are meant to connect people; it’s a way of building and maintaining community. So when I look at the current industry and consider all the voices that are being excluded, I have to wonder what that does to our ability to relate to one another. This is a nation of dreamers and I think our communities would be stronger if more of us found the courage to share our unique stories.

Learn more about Zetta Elliott at zettaelliott.com, and join us at indieLAB September 29–30 in Cincinnati to hear her enthralling keynote.

The post Zetta Elliott on Starting Her Own Imprint & Character Development in Children’s Fiction appeared first on Writer's Digest.

Join us this September at indieLAB, an all-new event from Writer’s Digest. indieLAB is designed for:

• published authors looking to grow your readership, improve your marketing or start publishing other authors
• aspiring novelists who want to explore self-publishing options
• current and aspiring freelance writers looking for ways to turn your expertise and social media following into a steady living, learn more about the publishing industry, or self-publish your own book
• small and independent publishers who want to grow your readership, explore alternative revenue models, or expand into print and/or physical bookstore/library distribution

The publishing industry has evolved dramatically over the past decade. While it’s easier than ever to publish a book—traditionally or DIY—that’s just the starting point for managing a successful writing career in the long term.

indieLAB’s two-day program has been curated especially for entrepreneurial authors seeking to develop a publishing strategy, build a platform, grow an audience and get paid for their work.

Featuring successful authors like Tobias Buckell, Zetta Elliott and Sophie Littlefield (aka, Sofia Grant), plus intensive LABs that dive deep into specific challenges—Email is Not Dead with Jane Friedman; Discover Your Readers with Amy Collins; Know Your Worth with Ilise Benun—you will leave with the inspiration, tools and resources you need to advance your writing career, no matter which path you choose to pursue.

If you’re ready to get smarter about publishing and build a sustainable writing career, reserve your spot by August 28 and save $50—and then start counting down to Sept. 29–30 for an insightful weekend of innovative strategies, actionable insights and invaluable networking!

The post indieLAB—a New Event for Entrepreneurial Writers appeared first on Writer's Digest.

The 2018 Writer’s Digest Annual Conference was a roaring success. Literary agents, veteran and debut authors, editors, publishers and more shared their greatest writing tips on improving your craft, getting published, and building your writing career.

In case you didn’t make it, or you didn’t manage to catch a session you were dying to attend, we’ve selected 100 of the greatest writing tips, quotes and publishing snippets—and even narrowing it down to 100 was a serious challenge!—from the speakers who graced us with their knowledge and experiences. Please share any of these that resonate with you with the hashtag #WDC18 on Twitter and Instagram. (Extra special thanks to Lucas Horn, Jack A. Ori, Bob Eckstein and Porter Anderson for helping document the conference in real time on social media!)

Wish you had been there? Join us at Writer’s Digest Annual Conference this August:

Writer’s Digest Annual Conference

The Writer’s Digest Annual Conference offers everything you need to advance your writing career creatively and professionally. Gain invaluable tips to improve your craft, explore publishing options and learn how to establish a sustainable career—all while being inspired by successful authors and your fellow attendees. Join us in New York City August 23–35, 2019.

And without further ado, let’s get to learning! Note: The following tips include some that have been paraphrased. Those are listed without quotations.

100 Writing Tips from Authors, Agents and Editors at the 2018 Writer’s Digest Annual Conference

Motivational & Inspirational Quotes for Writers

“Everyone told me I would spend a lot of time writing, but no one told me how much time I’d spend learning.” – Cassandra Clare

“Write without restraint. It’s important to not censor yourself. People will censor the sh*t out of you… and there’s more truth in fiction than there is in nonfiction. You have to be committed to that truth.” – Walter Mosley

“The way the author’s imagination merges with the real world makes the reader see it in a different light. … What are you drawn to again and again? What seems to have a deeper meaning, in life as well as in fiction?” – Jeff Vandermeer

“Everyone’s first pages are awful. Just hold your nose and write. Today’s sh*t is tomorrow’s compost.” – Hallie Ephron

“One of the most crucial pieces of advice I give to authors is to care less. … The problem is, if you think about any one thing very hard, it gets difficult. … Writers put too much of themselves into that first book.” – Chuck Wendig

“We will never become that perfect idea [of a writer]. … The writer we imagine ourselves is somewhat less wonderful than the author that we can become.” – Walter Mosley

“A writer’s imagination can enter into any world and recall a variety of emotional experiences. –William Kenower

“Do the things you love as much as you can, as long as you can. Respect your imagination, respect the idea of a writing life, and make it your own.” – Jeff Vandermeer

“Every time a novel is read, it’s a different book.” – Walter Mosley

“Storytelling is forever an act of disrupting the status quo.” – Chuck Wendig

“If you approach your novel with confidence and humility, it might even teach you something.” – Walter Mosley

“Rage against mediocrity.” – Steven James

“A writer’s imagination can enter into any world and recall a variety of emotional experiences.” – William Kenower

72 of the Best Quotes About Writing

Writing Process Tips

“Never get up from your computer until you’ve made a note about what you want to write next. That way you can slide right back in.” – Jane K. Cleland

You should aspire to write every day, but you have to give yourself permission to not write if it isn’t productive or sustainable for you sometimes. Not writing every day doesn’t mean you don’t have passion. – Jeff Somers

“Treat your writing like a relationship and not a job.” – Jessica Strawser

“Don’t let research be an excuse for not writing, but do use it to enrich your work.” – Chris Stollar

“Outlining is done through the conscious mind. Your conscious mind is not designed for creativity. It’s designed for order. It’s the navigator. All the great writing happens in the subconscious mind—the unfiltered child.” – Jacob Krueger

“Write in 10-minute increments: Write a paragraph, revise and write another. Then you have a page.” – Jane K. Cleland

“The challenge is keeping the balance between writing and knowing that your writing will be read (and critiqued) by others.” – William Kenower

Writing Tips on Craft & Writing Better

“The description of sensations and emotions should as often as possible be based in the physicality of the person experiencing these sensations and emotions. Because we all experience things differently. … The novel is more experiential than it is informational. Most of what [readers] discover is through the filters of what’s shown.” – Walter Mosley

“We must navigate a multiplatform world. Story worlds need to be resonant, expansive, engaging, aspirational and unique.” – Jeff Gomez

“Suspense is ‘I’m afraid to look away,’ while horror is ‘I’m afraid to look.'” – Steven James

“Allow yourself more flexibility than ‘Write what you know’—instead, write what you want to know.” – Jeff Somers

“The purpose of your novel is to show by intention how deeply you can go into your mind.” –Walter Mosley

“A thing is seen best against its odds. If you’re marketing a book about possibility, you have to show how things are impossible first.” – William Kenower

“Know more about your world than you reveal to your characters.” – Ann Vandermeer

“Comedy is truth that no one has noticed yet.” – Steven James

When writing in third person POV:

• Stick to third person limited—meaning you’re in their head.
• Only use one POV per scene.
• Try to limit yourself to five POV’s per book.
• Your main protagonist should be the main POV character.

Note: You can break the rules but BE READY and know what you’re doing!

– Paula Munier

[When doing research for fiction,] start by identifying subject matter experts and do your best to get an interview w with them—it’s a fun way to research and get real info. (And make sure you introduce yourself honestly. It can take courage and self-confidence, but it makes sure everything is above board.) – Chris Stollar

Character Development Tips

“You want your characters to be learning, and struggling, and growing.” – Jordan Rosenfeld

“Have your character make tough choices they would rather ignore. We don’t know a character’s true personality until the sh*t hits the fan.” – Whitney Davis

“You risk undermining reader engagement by killing off a point of view character in the first chapter.” – Steven James

“In memoir, you are the hero and the narrator. You must demonstrate how you have changed throughout the story, much like a fictional character arc.” – Rachael Herron

“If you find yourself creating extra characters, ask yourself why? Are you filling in issues for other characters? Or is the new character accomplishing something?” – Jeff Somers

“Add conflict between allies too, not just with antagonist. Happy characters with happy lives are boring.” – Jordan Rosenfeld

“Characters poop plot. The say and do things to fix their problems and, in turn, excrete plot.” – Chuck Wendig

“Ground emotional experiences in your character’s body—for example, sensory experiences—when character is afraid.” – Jordan Rosenfeld

“Why do we like stories? Why do we care about stories? … Characters are why we come to a story and stay in a story. … You give every character a problem. The best thing you can do with that problem is make it totally relatable.” – Chuck Wendig

Online Course – Character Development: Creating Memorable Characters

Storytelling, Plot & Pacing

“Think of external conflict as a DRAGON (seen, heard, felt) and internal conflict as a DEMON (worry, doubt, fear). Incorporate both in your manuscript, especially in the middle to liven up the pacing.” – Whitney Davis

“Keeping narrative time—understanding a reader’s perception of time in a story—is vital when working with multiple points of view.” – Steven James

“The writer creates herself by telling us a story about someone else.” – Walter Mosley

“Does [the plot] force your character to choose or leave something behind? If your protagonist can easily go back to the life they lived before it isn’t strong enough.” – Jordan Rosenfeld

Consider ending chapters with forward movement—a discovery, a decision or a revelation—instead of relying on a cliffhanger that de-escalates when the scene resumes. – Steven James

“Flashbacks immediately put the story in reverse. Watch that you don’t overdo it.” – Paula Munier

Theresa “Soni” Guzman Stokes from Historical Writers cited advice for when you get stuck from George R.R. Martin: “Throw in another dragon.” That is, toss in something unexpected and see what it does to your story.

“Story is what happens. Plot is the structure of revelation.” – Walter Mosley

“On page 280, I’m bored. So I burn someone’s condo down.” – Jane K. Cleland

The Anatomy of Plot Twists using TRDs (twist, reversal, dangerous moment):

• Take an incident in unexpected direction
• Take it in the opposite direction
• Add a tense or dangerous moment

– Jane K. Cleland

“If readers can think of a believable way that things can get worse and they don’t, they will be disappointed.” – Steven James

“You are the maze maker. The character wants a straight hallway, it’s a writer’s job to set up the walls. … When the protagonist’s problems and the other characters’ problems overlap in the maze, that’s conflict.” – Chuck Wendig

Revision & Editing Tips

Six cycles of revision:

• 1st draft: Get the story down on the page
• 2nd draft: Deep dive—review for story idea, structure, character, narrative thrust
• 3rd draft: Revise for continuity
• 4th draft: Revise for voice
• 5th draft: Revise for language
• 6th draft: Revise for grammar, spelling, and punctuation

– Paula Munier

How do you know what you’re reading is any good?

1. Strong characters
2. Fascinating plot
3. Compelling conflict

– Ann Vandermeer

Working with Editors & Designers

“Sometimes, an editor notices an issue, but they won’t be able to tell you how to fix it. Sometimes, you’re going to have to disagree with your editor, but that’s OK. However, don’t waste your time on editors who are rejecting your writing.” – Anne Vandermeer

“When working with a designer:

1. Send them examples of designs in your genre & images you like, but
2. Let them do their work, and
3. Expect to go through several rounds of edits. Don’t settle on a design you don’t like: you’re the publisher.”

– Chris Stollar

“When you’re self publishing, you need an objective editor. Do not pay your mom, do not pay your friends. Work with someone who is reputable and known.” – Chris Stollar

“Every time I receive a submission, I treat it like a first date. I give it the benefit of the doubt. I want to connect. And it all has to do with the character.” – Ann VanderMeer

Tips for Querying & Pitching Your Work

“I want to know if there’s something awesome about you that’s relevant about you.” Are you a scifi author who worked for NASA? Include that in your pitch. – Chantelle Aimée

“When pitching, don’t say there’s nothing out there like it. Embrace your comp titles. Know where you go on the shelf.” – Paula Munier

“A pass can be demoralizing, but that just means that wasn’t the right agent for you. Just keep kissing more frogs.” – Jeanne V. Bowerman

“If you can’t figure out what your character needs, it’s not a problem with the query, it’s a problem with the plot. … Getting plot on the page is the single biggest problem I see in query letters. What does your protagonist want, and what’s keeping her from getting what she wants?” – Janet Reid

“Don’t pitch or follow up with agents on social media unless they’re specifically looking for Twitter pitches (like #dvpit, etc).” – Tiffany D. Jackson

“If you disagree with your agent’s feedback, explain why you disagree and ask them to explain their rationale. Sometimes it will come down to sales or experience that you may not have.” – Jeff Somers

“Start your query with your protagonist’s name and what they want. Do that and you’ll be a cut above the rest.” – Janet Reid

Writing Community & Collaboration Advice

“People join writing organizations for community, survival and security, affiliation, leadership, achievement.” – Theresa “Soni” Guzman Stokes from the Historical Writers trade association

“Be a great collaborator if you are working with a designer. Knowing what you want helps you determine whether you like the design you get and work with the designer to achieve a shared objective.” – Carol Van Den Hende

“Find your community. We all want each other to succeed because it raises the profession up.” – Christina Frey from the Editorial Freelancers Association

“Many writers belong to multiple organizations based on their individual needs and goals. Different organizations offer different benefits, tangible and intangible. Do your research.” –Christina Frey from the Editorial Freelancers Association

Exploring Different Writing Markets & Forms

SHORT AND FLASH FICTION

“Short stories have to have a beginning, middle and end. A flash piece is about this moment right now, and is left on a resonant tone. … Flash fiction is an urgent message and not a throw away. It doesn’t have a story arc, it’s a meaningful moment… about emotion, movement, and resonance (a mic-drop moment).” – Windy Lynn Harris

“If you’re writing a novel, try writing a 100-word version to get at essence of story and you may be able to sell as microfiction.” – Windy Lynn Harris

Know your word counts:

• Microfiction = 100 words or less
• Flash = 100–1,000 words
• Short = 1.000–20,000 words

– Windy Lynn Harris

PERSONAL ESSAYS

“The first step to marketing personal essay is to be honest with yourself. Make sure there is an internal story no matter how much you like the external story you are telling.” – Windy Lynn Harris

FREELANCE ARTICLES & COPYWRITING

“There are over 7,000 magazines in print in the US alone. Check out niche publications for writing opportunities.” – Kerrie Flanagan

“Organizations and marketing agencies are good sources for freelance copywriters. Also consider online networks but be careful of offers for super cheap work—make sure you are accepting offers where you are paid what you are worth.” – E.J. Wenstrom

“Hands-on exposure will bring you the maximum amount of detail, if you feel that you’re up to it.” – Lisa Gardner, via Chris Stollar

Freelance copywriting is the self-publishing of the business world. You are responsible for all aspects of your business. Consider this when deciding if this is for you. – E.J. Wenstrom

SCREENWRITING

“Go easy on ‘stage directions.’ Your screenplay is just the canvas, though it’s your story. The show’s team is going to create the work. This is part of what makes it so different from novel writing.” – Jeanne V. Bowerman

“Draft One is the ‘me’ draft. Dismiss the audience. Only care about you and your character. Is this something that makes you believe in it? Am I allowing character to make choices? Do NOT let your conscious mind in. Let go of all fear.” – Joseph Krueger

“A screenplay is a canvas for others to paint on. Let go of control. Directors, actors, costume designers, cinematographers and more will ‘touch’ your story. Let them. Collaboration brings out details you never imagined were there. Success in screenwriting hinges on building relationships and leaving your ego behind.” – Jeanne V. Bowerman

COMICS

“Find an artist via social media—particularly Instagram and DeviantArt. That artist is your co-creator; be prepared to share all rights.” – Joseph P. Illidge

“Assume your first comic will be self-published. Counter ‘No one knows who you are, you have no following’ with an original voice and idea.” – Alex De Campi

When breaking into comics, develop your own series bible. Start a webcomic—create one to two pages per week and develop a complete first issue before launching. – Joseph P. Illidge

“The comics industry needs new voices. If comics are to remain on the cutting edge, they have to reflect societal changes.”– Joseph P. Illidge

If a comics editor believes in your work and they become an advocate, that’s the beginning of a mutually beneficial relationship. It takes time to develop. “Editors want people who can tell amazing stories, deliver on schedule, are willing to do rewrites.” – Joseph P. Illidge

“Comics is a visual medium. Learning that visual language (cinematography) is critical. It’s the artists’ responsibility to determine the layouts, etc, but the writer has to understand that language when writing the script.” – Joseph P. Illidge

Writing Career, Platform & Business Tips

“Once you’ve done 2-3 interviews, put a media page on your website and link to the podcast episodes, guest posts, and interviews you’ve done.” – Gabriela Pereira and Marielle Orff

“The more perspectives you can have of book culture and the book business, the more perspectives you’ll have of your writing career.” – Jeff Vandermeer

“You chose a subjective profession. If you want a right and wrong, stop and leave and be an accountant. But you’re never going to get a fan letter about doing a great tax return.” – Chantelle Aimée

“There’s the creative aspect of writing and the business aspect of writing. If your first book does well, be prepared for a series [especially as a sci-fi or fantasy author].” – Jenn Brissett

“Goals and plans in life are the most helpful to the most wildly eclectic among us. This kind of approach also takes away the distress of decision-making. ‘Do I veer off toward Z or stay focused on A?'” – Jeff Vandermeer

“Short story publication is a great way to build platform esp if you want to sell novel later.” –Windy Lynn Harris

When pitching podcasters to get [interviewed] on their show, cite recent interviews (to demonstrate that you know the show), explain what makes you different, and discuss what you’d like to talk about. – Gabriela Pereira and Marielle Orff

Navigating the Publishing Industry

“Librarians have become the new advocates of graphic novels. They’ve embraced them as a gateway to get younger readers into reading.” – Joseph P. Illidge

“Transmedia is not storytelling by committee. It is the process of conveying story through the artful and well planned use of multiple-media platforms.” – Jeff Gomez

“Publishers are scouting webcomics with audiences & unique stories to publish as graphic novels.” – Joseph P. Illidge

“Editors at [publishing] houses want you to write from your heart, not from the trends. Write what you love.” – Ann VanderMeer

And finally: “Writing advice is bullsh*t… but on the other hand, bullsh*t fertilizes.” – Chuck Wendig

The post 100 Writing & Publishing Tips from the 2018 Writer’s Digest Annual Conference appeared first on Writer's Digest.

One session that I’m particularly looking forward to is the panel 4,3,2,1 Finding Balance through a Writing Group, in which a thriving writing group will discuss the benefits of working together on writing projects. Featuring the wisdom of Kimmery Martin, Bess Kercher, Trish Rohr and Tracy Curtis, this high-energy session will show attendees how the power of connection can propel your writing career, and the role a writing group can play in your journey. Knee deep in the genres of women’s fiction, creative nonfiction, middle grade fiction, and humor, these four engaging women will lay bare their ups and downs on the path to publishing, with concrete advice on how to find, nurture, and benefit from a writing group.

In advance of the session, I asked each one of the panelists to share their favorite thing or something they’ve learned as a part of this close-knit group.

Left to right: Bess Kercher, Tracy Curtis, Trish Rohr, Kimmery Martin

Tracy Curtis

I’m a former humor columnist trying to write a funny novel, so I can’t afford to lose my sense of humor—which anyone who’s ever tried to write a book knows can happen right around Chapter One, Chardonnay Two. My scribe tribe not only brings the emotional support, motivation and accountability, they bring the FUNNY. I mean, what’s funnier than four moms trying to write the novel that their school system picks as required summer reading?

Kimmery Martin

If you took away my writing group you’d sap my will to live, let alone my will to keep writing. They’re my everything. We formed serendipitously through a variety of chance encounters, but we’ve managed to create a multifaceted entity where we do it all: critiquing, proofreading, idea-generating, and every possible kind of crisis management. [Read more from Kimmery Martin here.]

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Bess Kercher

I’m infinitely grateful for my writing group. They understand the challenges of creating (and of mid-life) and want only good things for me and for my stories. This manifests in honest feedback combined with unwavering emotional and practical support. Their encouragement mitigates the intimidating aspects of putting my work out into the world. I adore these women. They inspire me and they make me brave.

Trish Rohr

Writing is HARD. Finding three women who share my passion for writing and the written word is such a stroke of luck. I have heard before that misery loves company. Writing certainly checks the misery box many days, but luckily for me the company I keep in my writing journey is nothing short of a life saver. Without them, I have no doubt I would have pushed this passion further and further down my never ending to-do list. They show up every day. They write. They revise. They find success after failure. Every time we get together I feel a renewed passion and spark to keep moving forward with my own writing, no matter how slow the process may be for me. I would never even consider calling myself a writer without them.

The post 4 Benefits of Joining a Writing Group appeared first on Writer's Digest.

This July, 2,000 romance writers from all over the country descended on Denver for the annual Romance Writers of America (RWA) conference. For 38 years this event has served as a way for those writing in the romance genre to get together to learn more about the craft, meet industry professionals, pitch to editors/agents and connect with other writers.

Since the conference took place in my home state, and because I recently took up writing romance books with a co-author (under the pen name C.K. Wiles), it was time for me to see what this 4-day conference was all about. From the moment I walked through the doors of the immense Sheraton Downtown, I could feel it. A strong sense of community and support permeated the atmosphere and became stronger over the course of the event. Made up of around 90% women (my unofficial math), the attendees were friendly, helped each other navigate the hotel spread out between two buildings, introduced themselves before sessions and it didn’t matter if you had been published or not, everyone was welcoming.

Each day provided opportunities to learn about marketing, the craft of writing romance, and the business of publishing through the 100+ sessions being offered. In addition, publishers were there to highlight their authors with book signings and lots of free books (yes, free books). Agents and editors were on hand to listen to pitches. Industry professionals from companies like Findaway Voices (audiobooks), IngramSpark, Kindle Direct Publishing (KDP), Hallmark Publishing and ACX (audiobooks) held office hours to answer questions. On Saturday evening everyone wore beautiful gowns and dresses for the awards ceremony honoring the RITA® and Golden Heart winners. The event culminated with a fundraising book signing with hundreds of authors that was open to the public and raised over $38,000 for Pro Literacy and The Literacy Coalition of Colorado.

Don’t miss Kerrie Flanagan’s sessions on magazine article writing and ghostwriting at the Writer’s Digest Annual Conference, August 10-12, 2018!

RWA values different publishing models. I was pleased to see the support for self-published independent authors. The special book signing devoted to this group drew a big crowd and four of the thirteen RITA winners were self-published. Sessions with topics geared for indies could be found each day.

For 10 years I organized my own writing conference for about 150 people. I know the amount of work that went into those and I can’t imagine putting on one the size of RWA. I was so impressed with how efficiently it ran. Registration was easy, sessions stayed on time, meals went smoothly, and I could always find someone to answer a question when needed. The handy phone app made it easy to navigate and sort through the many sessions and events happening each day.

I enjoyed the personal touches and fun additions to the event. During registration you could add a wide array of colorful horizontal ribbons to your name tag that shared something about you like, Pantser, Plotter, First-Timer, Suspense, Local, etc. Most people added at least five to their name tag. The Goody Room became a favorite place to visit at least once a day. Here, any author attending the event could put out freebies on the many tables set up in the room. I found cute bookmarks with fun strings and beadwork, chocolates, cards with free book downloads, brightly colored jewelry bags filled with different items, pencils, water bottles… so many great things. One morning I enjoyed sipping a mimosa during the Carina Press book signing and one afternoon, they offered free glasses of wine for us.

At the end of the four days, my brain was full, my shoulders ached from carrying around all my free books, I met amazing writers, I talked with industry professionals, I felt enlightened about the romance industry, and I left happy knowing that RWA and this conference exist.

Here are some of my takeaways from the conference. (You can also see more of my notes on my twitter feed @Kerrie_Flanagan with the hashtag #RWA18.)

• Harlequin has 23 separate lines of books ranging from their wholesome Love Inspired line to their super steamy Dare line. The publisher accepts un-agented submissions.
• Over the past few years, diversity and inclusion continue to be an important conversation in the world of romance books. Avon Books, on behalf of romance author Beverly Jenkins is sponsoring a diverse voice entrant in the RITA and/or Golden Heart Competitions and covering expenses for this author to attend an upcoming RWA conference. This is a way to encourage Own Voices writers (protagonist and the author share a marginalized identity) to be more fully represented at the RWA annual conference,
• Romance is one genre that gets singled out as being formulaic. But as Sonali Dev pointed out during her session, every genre has a formula. There are certain conventions and promises in the structure of every genre that readers expect.
• Whether traditional or independently published, marketing is essential to success. Mark Dawson, along with other authors, mentioned the importance of having an email newsletter to stay in touch with your readers.
• Audiobooks continue to grow, especially in the romance genre, and there are now more options than ever for indie authors or traditionally published authors who retained their audio rights, to create and distribute high quality audiobooks through companies like Findaway Voices.

With over 9,000 members, RWA is a great resource and community for romance writers. There are 120 local chapters all over the country where you can connect with the writers in your area. The 2019 annual conference is July 24-27th at the New York Marriott Marquis in New York City. I hope to see you there!

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