Even these days, where most conferences are being held online, you can gain a lot from the experience. But still, all good things must come to an end. When the last class has ended, the closing ceremony has inspired, and you pass out the last good-byes, then it’s back to the real world.

Enter the real world.

Time to get back to work. Only sometimes getting back to work after a writers conference is difficult or even impossible. Why? You learned so many new skills, you have so many new exercises to try on your WIP, you’re so inspired by the successes of the people you’ve met. But you can’t write.

Having all of this new awareness leads to over-thinking, to over-criticizing. Yes, you have notes on a new skill or ten, but you haven’t practiced them, haven’t internalized them. You haven’t made them your own. You look at this cool new skill and you go to use it—and you don’t know how. Yes, logically you know (you have notes!), but your writer’s intuition needs practice first.

You are not alone.

Believe it or not, this is a common occurrence. Basically, a writers conference increases your awareness of writing and the writing world very abruptly. Suddenly you have pages of notes of new skills, new goals, new aspirations. You’re aware of things you could be doing (or even ‘should’ be doing) with regards to your writing. And your writer’s intuition hasn’t had time to catch up.

For example, just because someone explains their own winning strategies for chess does not mean you simply go out and start winning games. It doesn’t even mean you would suddenly play better games. You would need to play many games of chess, and even do poorly, so you can improve your ‘chess intuition’. It’s the same thing with writing.

So what should you do?

First off, understand that you did not get worse at writing. Let me pause and say this again: you did not get worse at writing. You’re at the exact same level you were before the conference. It’s the sudden increase of awareness that makes you think you’ve gotten worse. The good news is that you now have the opportunity to grow into that new awareness. Since you’re aware of places you’re lacking, then you go to work training yourself. Try the exercises, poke at the skills, play with the advice, and forgive yourself for a lack of perfection.

And as you thank about what you learned from the writers conference, find the bits that work for you and throw away the rest. Don’t try and internalize everything. You are at the perfect point in your writing journey, and you can expand your writer’s intuition, but that doesn’t mean you need to (or should) take everything. Some of it will not work for your style, and some of it is not what you need to work on at this time. And that is perfectly alright.

What you want to do is go back to writing the way you always do, and work on incorporating the new skills where you can. You’ll make mistakes, and your writing might make you cringe. But remember: this is normal, you will get past it, and you will be a better writer for it. Growth and learning do not happen when things are beautiful and easy. You will get to a place where you are again happy with your writing. And then it will be time to go to another writers conference and the process will start all over again.

Laura Highcove has a degree in computer science, which is obviously why she is a fantasy writer. She is influenced by anime, video games, table-top gaming, programming, horses, and Norse mythology in no particular order. She currently lives in beautiful Blacksburg, Virginia with her computer, two cats, and husband. Her psychic abilities have not yet developed, but she remains hopeful. If you’d like to learn more about her, head over to her website and sign up for her newsletter (and get a free short story) here.

The post Why Does it Feel Like You Can’t Write After a Writers Conference? appeared first on DIY MFA.

The surprising part for some admirers may have been that Julia Child’s masterpiece wasn’t entirely her own doing. Two French writers and chefs she met while living in Paris brought Julia Child on to help them complete their masterpiece.

At the advice of a good friend and American author, Simone Beck and Louisette Bertholle were told to: Get an American who is crazy about French cooking to collaborate with; somebody who both knows French food and can still see and explain things with an American viewpoint in mind.

Enter Julia Child.

After Julia Child signed on, it was nine years before Mastering the Art of French Cooking would hit stores. While the trio knew the entire process would be a major commitment, most writers think it’ll be a few years, tops. Tell them it would take almost a decade like it did Beck, Bertholle and Child, and they’d throw in the towel. However, a few publishing lessons from their journey may help reframe your own and give you the inspiration to push ahead.

It’s Not Personal, It’s Business

Beck’s and Bertholle’s cookbook was 600 pages when they invited Child to be their partner, and they were swimming in overwhelm. A freelance editor had been working with the two for a few years with the goal of releasing a series of recipe pamphlets to build excitement about their full collection. He published a small version of the project without their permission and quickly disappeared — along with their publisher.

With no signed contract, the duo was left to complete “The Book”, as they called it, on their own. Which is why they needed Child more than ever. 

Through an unlikely series of events stemming from a Harper’s column and a set of knives, Child sent their chapter on sauces to Avis De Voto, the wife of a Houghton Mifflin published author. When Beck and Bertholle’s original publisher came back, Child was firm that they owed him nothing and should move on without him.

Houghton Mifflin bought the cookbook, but ultimately decided it was too long to publish in the end. Child and company had previously agreed to condense their work, but the completed work was a staggering 750 pages. However, their champion Mrs. De Voto believed she could have luck sending the manuscript to another publishing house, Knopf. 

Besides that, Houghton Mifflin broke down the cost, and it didn’t make sense on paper. They believed what the three women had accomplished was extraordinary, but they couldn’t justify getting behind such a large project at the moment. 

As much as the publishers had to do what was best for them, Beck, Bertholle and Child also had to keep their interests in mind. They were open to new opportunities and finding the best possible home for “The Book”, which led to their success.

Publishing is All in the Timing

Not everyone is going to like your work, and even if they do, it might not be the right for them at the time. It was 6 years between the time the book was sold to Houghlin Mifflin and when they decided to end the agreement. At the time, Houghlin Mifflin cookbooks were kitschy themed ones, rather than “serious” books for home cooks.

It brought up some valid questions for Child:

• Was it too late for a book of their caliber?
• With simpler cookbooks on the market, would home cooks want to master intricate details?
• Did Americans even care about French cooking?

Some books are breakout hits because they enter the market at the right moment. While others may be brilliant, but not what the public or publishing houses are looking for.

However, at Knopf, they didn’t have any cookbooks slated for release. The manuscript landed on the desk of editor Judith Jones, who brought The Diary of Anne Frank back to life from the slush pile. Jones made a few of “The Book’s” recipes and was hooked. She also had lived in Paris after World War II, so she shared the group’s passion for the project. Another editor who was behind The Joy of Cooking hopped on board too. Finally, the pieces were fitting together.

Timing is a tricky beast. It’s hard to remember when you’re not getting the answers or movement on your project. Knowing what’s happened for other authors though can give you some hope as you’re figuring out the timing.

Be Your Own Publicist

When you imagine your work on bookstore shelves, your dream probably also includes a press tour. You can’t wait to get on your favorite podcasts or local networks to gab about your book and why folks should pick it up. The hosts will find you charming, and the listeners will love it and you. So, let’s get on with it already!

What you probably aren’t imagining is that you should be prepared to make all the above happen — on your own. Depending on the project and contract, publishers may be able to put a solid publicity plan in place for you. However, publishers also want to know that you plan on helping with the marketing for your book. 

In fact, when Mastering the Art of French Cooking was released, Knopf ran some ads, but the rest of the publicity fell to Child and Beck (Bertholle had taken a smaller role by that point). They were clueless as to how to create a promotional tour. So, they bootstrapped their efforts for multi-city pop-up cooking classes and signings with help from friends in said cities. The power of a good network!

Within a month of the book’s release, a second printing was ordered. Yes, timing plays a role in every release, but you also don’t know who could see or share your work. 

This is why an author platform is a key to getting your book sold. As much as you love the craft of your work, book writing is a business. Learn to love promoting your work. Know how to talk about it and pitch it. The worst thing that could happen is someone tells you ‘no’.

Publishing is ever-evolving and can seem hard to pin down. It requires specific amounts of passion and detachment, which become elusive in a long process. Knowing expectations and having a positive mindset can be the difference between success and “failure”.

As Julia Child said best: “…all I know is this—nothing you ever learn is really wasted, and will some time be used.”

Amanda Polick is a writer and book coach for food and entertainment professionals based in Nashville, Tennessee. Her work has been featured by Cooking Light, Food & Wine and Time, and she’s currently working on her first novel. To connect with Amanda or to get weekly writing and life inspiration, you can find her at https://amandapolick.com. 

The post Publishing Lessons from Julia Child’s My Life in France appeared first on DIY MFA.

Before founding Xist Publishing, she had a broad range of professional experiences, from writing for a content mill while living outside Dublin, to writing medical copy from a village in Cyprus, and even to running a production company specializing in industry education videos. Calee has a BFA from NYU’s Tisch School of the Arts and an MA in English from California State University, Fullerton. She currently lives with her husband and two children in Orange County, California.

In this episode Calee Lee and I talk about:

• Small presses and what they add to the publishing marketplace.
• The process of digital-only publishing, and how it differs from print publishing.
• The children’s publishing market in the digital realm.
• The advantages of a small press for authors.
• And what submissions Xist is looking for right now.

Plus Calee’s #1 tip for writers.

Resources:

For more information about Xist Publishing, visit their website or follow them on Facebook, Pinterest, and Twitter.

If you’re interested in submitting your work for consideration at Xist publishing, please send them an email (submissions at xistpublishing dot com) with your first three chapters, or check out their submissions page for more details.

Link to Episode 51

(Right-click to download.)

If you liked this episode…

Head over to iTunes, leave a review, and subscribe so you’ll be first to know when new episodes are available. Also, if you know anyone who might enjoy this podcast, please share!

Until next week, keep writing and keep being awesome.

The post Episode 51: Interview with Calee Lee of Xist Publishing appeared first on DIY MFA.

If you haven’t already subscribed to Porter Anderson’s twitter feed, let me take a minute to explain why it’s one of the most important twitter accounts to follow in the publishing realm. Porter is certainly prolific–between 50 and a 100 tweets every day. He also live-tweets from several conferences each year, and following his Twitter feed can be the next-best-thing to being there yourself.

These are both good reasons, but the most important one is this: if you want current information from an objective source, then Porter Anderson is the person you need to follow. His tweets are about the world of publishing, and the future of publishing, but they’re written with a focus on writers, not industry folks. He tweets links to blog posts on writing, book release news, key conference information and much more.

He also shares where to find his own writing online, because his articles could be on any number of websites. And trust me, if you think his tweets are useful, you don’t want to miss his posts and articles. Reading them is like the online equivalent of sitting down with Porter over a glass of wine (or Campari) and having a smart–sometimes even heated–discussion about publishing.

Porter says his favorite part of his job “is keeping a constant stream of information going out–and by traveling and appearing at conferences and other events in many parts of the world in publishing–I’m able to synthesize a highly focused look at just what’s working, what isn’t, and who’s leading at any moment.” I’m so glad he does this job because when he shares this information in articles and on social media, we all win.

This is why, when I was looking for someone to speak about the publishing industry at Lit Loft, I knew it had to be Porter. I go to a lot of conferences and at each one I hear at least two or three talks about what’s new in our industry. The problem is that these talks are usually given editors, agents, publishers or other people who have a vested interest in the system. After all, wouldn’t these people have a stake in the matter that might lend a certain bias?

Porter Anderson navigates the industry without being of the industry. This means he can look at the issues from multiple angles and give a comprehensive perspective. And don’t get me wrong, Porter certainly shares his opinions from time to time, but what I love about his writing is that he presents the facts and lets the readers decide for themselves. And just because his reporting is detailed and evenhanded doesn’t mean it’s not entertaining too. Have you read either of the “Ethers” lately? Porter’s voice can make even the most complicated, head-spinning business topics (agency pricing anyone?) into a fun read.

For instance, his recent account of Franzenmania is not just smart and informative, it’s also hilarious. And the best part is that Porter always manages to relate even the most seemingly-removed topics to something that resonates with writers. The Franzen article isn’t just about Franzen, it’s about the crazy things writers will do when book sales are on the line. In fact, Porter’s quote at the top of this profile comes from that article.

So, what advice does Porter have for writers?

Slow down. The biggest mistake most writers are making is rushing to market simply because, thanks to digital, they can. Real writing and top-notch production take time. And the industry will get only better as the digital disruption works its way through publishing. Hang on if you can and don’t publish quickly or lightly. The market is glutted with books. We can wait until yours is truly ready.
–Porter Anderson

Patience is a trait we could all use a bit more of. But especially when it comes to writing it’s better to put your–and your book’s–best foot forward. I’m delighted that Porter Anderson will be speaking about the publishing industry at Lit Loft. He’ll be sharing insights and debunking some industry myths so you don’t want to miss this.

Porter Anderson will be speaking at LitLoft 2013.
Registration closes Thursday so sign up today!

The post What I Learned About the Publishing Industry from Porter Anderson appeared first on DIY MFA.

After several days of chaos and anxiety–worrying about and tracking down friends, family and colleagues–I finally ventured out into New York City to attend the Backspace Agent-Author Seminar. By some miracle, the hotel hosting the conference still had power (the blackout area started just a few blocks south). Despite many agents and attendees being unable to make it because of the storm, the conference was going forward.

Even though attendance was small, this was perhaps the most inspiring conference I have ever been to, and at this point in my career I’ve been to many. I’ve seen writers and industry professionals rally and pull together at these events before, but nothing compares to last week.

There’s been a lot of talk recently about how the end of publishing is nigh. Bookpocalypse, I call it. Will mergers make it impossible for writers to get book deals? Will the rise of self-publishing make agents and publishers obsolete? Will eBooks kill paper books? Will people stop reading forever? It feels like everyone in the book world is up in arms because publishing-as-we-know-it is on the brink of destruction.

Guess what: it’s not. At the Backspace Agent-Author Seminar, I saw evidence of this first-hand.

The publishing industry might be a business, but like any business it’s made up of people. As long as as these people work together and help each other, this industry will continue strong. I have a lot of hope for the book world, not because of the business itself but because of the people. And book people have a lot of heart.

Last week I saw agents who weren’t scheduled for sessions jump in and cover for others those who couldn’t make the conference. I saw writers encourage and support one another–no competitive attitudes there–and I saw them roll with the punches when things didn’t go as expected. I met industry professionals who biked in from areas of the city without power, writers from other continents who traveled for days to get there, and conference organizers who left home and family behind to run the event because they refused let people down.

We’ve heard many incredible stories surrounding the storm, and in no way do I mean to downplay the heroism of the first responders and volunteers who have helped so many get through this difficult week. But it’s easy to overlook the small acts of heroism, the moments of humanity and those everyday kindnesses that may not make a difference on a large scale but will mean the world to one person.

We hear about how publishing is full of rejection and disappointment, but this conference only reaffirmed why I love this industry and why I love my job. Events like this conference make me proud to be part of the book world and I am honored to have book people as colleagues and friends.

Writers, readers, agents and publishers: this week you are my heroes.

The post The Human Side of the Publishing Industry appeared first on DIY MFA.