Report from Writer's Weekend writer's conference

I did the world's first-ever "Flash Edit" workshop at the Writer's Weekend conference in Seattle Thursday night (the 9th). I'm pleased to say that it went well...and I had been concerned that it wouldn't.

The deal was that writers would send me the openings of their novels that would be edited during the workshop, thus "flash" (instant). I was concerned because only three writers had sent samples and I had an hour and a half to fill. More than that, this was the first time I've ever attempted this kind of workshop--who knew how it would go?

Turned out that three submissions was perfect. I passed out copies of a narrative to the audience, they read it, and then I asked for comments, edits, etc. from them. By the way, every member of the audience wrote fiction, and at least three-quarters had a novel in progress.

After discussing audience suggestions and ideas, I gave my own thoughts. I'd planned to do a line edit using a projector to show the process, but that seemed dull and I abandoned most of that, just doing bits here and there to show how to tighten up the narrative.

I later spoke with the three novelists who had submitted samples and they told me they were encouraged by the session and that they'd been helped a lot. Two of them may be contacting me for an edit when they're finished with their projects. It was a cool experience for me, to help these writers and the others in the audience through critical looks at narrative. Everybody learned something, including me.

And Karen Junker, the organizer of the conference, told me yesterday that, because of the feedback she got about my "Flash Edit" session, she wants me to come back next year. I enjoyed it, so that looks like a distinct possibility.

Friday morning I went to a session paneled by editors Melissa Singer and Anna Genoese of Tor Books along with agent Evan Fogelman. Their topic was "Size Counts" (which gave me no clue as to what they were going to talk about).

Turns out it was about credentials a writer might offer in a submission letter, specifically about self-published results. But the topic broadened into what credentials might have an impact on these two editors and the agent.

My notes on credentials for submissions by unpublished novelists:

• You lose points if you mention an MFA in creative writing.
• You gain points if your occupation relates to the novel/genre, i.e. a nurse writing a romance about a nurse or a physicist writing science fiction.
• Winning a top contest or two is good. Coming in third should not be mentioned.
• No bribes (candy, other gifts) (except for the occasional case of Scotch IF the editor is into it) (just kidding, the editor said).
• The agent said that his best single predictor for a successful genre novel was that the writer was also an avid reader of the genre.
• A published romance writer who wants to do fantasy might as well have no credentials because they don't carry over.
• At Tor, credentials only count AFTER they've bought your novel (to use to publicize, leverage buzz, etc.) because...
• Writers with no credentials get equal treatment because Tor editors look at everything that comes in.

The editors confirmed my thesis that rejections often happen on the basis of the first page. Every couple of weeks Tor gathers all the editors together and they work at clearing out the stacks of "slush" that have accrued. They work a couple of hours at it, and the editors emerge with small stacks that they'll read more of later because a cursory look showed promise, and then maybe ask for a complete manuscript.

Caution: ignore submission guidelines at your own peril. Submissions that do are one step closer to the rubbish bin, if not already in it.

Notes on the cover/query letter. At Tor, you don't need anything more than:

• What the genre is.
• Word count.
• Title.
• The agent would like a little about the story, too. The Tor editors agreed that was fine, but not really necessary.

That's because it's the work that counts with the Tor editors. But you'd better get it right from the first paragraph, 'cause they don't fool around.

Speaking of size, one writer asked what the word count of a novel ought to be. The answer from Tor is between 75,000 and 100,000 words. Over 100,000 and costs start to become a problem, and under 75,000 isn't enough length to support the desired cover price (for mass market paperbacks).

It's good to have insights from the insiders.

Later,

Ray

Free edit in exchange for posting permission. You send a sample that you have questions about and of which you'd like an edit. I won't post it without your permission.

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© 2005 Ray Rhamey

Comments

[Georganna Hancock]

Thanks for sharing your "Flash Edit" experience. It gave me something to consider, to risk, the next time I'm asked to perform, er, speak. 8-)

[Sharlene Apsega]

Hi Ray. I attended your "Flash Edit" workshop at WW. I can honestly say it was one of the best I attended that week. :)

I hope you decide to participate next year. I'll definately submit a page for the class. I took tons of notes and am already putting them to good use.

Thanks for the awesome info.

Shar

[Dee Stewart]

thanks.