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  1. How to prepare before sending queries to agents, e.g., utilize Publisher's Marketplace to intelligently narrow down the best possible candidates. Algonkian Writer Conferences reviews each step in turn. Here is our take on the smartest way to go about it. As a bonus, you learn a lot of insider knowledge about the business (like who is in "the club" and who is not--see below) along the way. You might also come to the realization that your ms is not yet ready. Such illumination is always a positive thing. Join Publisher's Marketplace and review it for at least a month (yes it costs a few bucks, but so what?). Search out the deals made during the past two years in your specific genre (or specific sub-niche in your genre). Why? Because it will clearly define who is in the club. Every genre has a club composed of favored publishers and literary agencies. This data mining is going to take a few hours at least, but it's worth it. Make certain the "deals" you review and mine are with major publishers, imprints, or well-regarded mid-sized presses. If your novel is more literary in nature, make certain the deals are at least with respected and traditional small presses. If you become desperate just to get your foot in the door, you might adjust expectations accordingly. With data in hand you'll know the top agencies making the most sales, and the top agents in those agencies. Now, put the top agents on hold for the time being, but choose at least a dozen agencies working in your genre based on the criteria above. And if you haven't already, make double certain you haven't made one of these top seven mistakes. Instead of the top agents, identify the "hungry agents" in these top agencies. Use other sources like MS Wish List if you must. Choose the agent minus a full belly, yes, but only those who have transcended their salad days. Why? Because they'll likely take more time with you, be more lenient, perhaps more open to your story idea, perhaps more willing to provide editorial notes? Perhaps? As for transcending salad days, make certain your picks have at least four to five sales to major publishers under their belts, and in this way, you'll know they've made their mark and are evolving, as opposed to showing signs of dropping out as so many do. It's a very high turnover business. VERY HIGH. Once the above is done, especially if you have not already done so, review your list on MS Wish List just to verify you've nailed the best people. When you query, note in the very beginning something like, "I saw you on Publisher's Marketplace..." because this will mark you as a professional. ________________ Once you've satisfied above, move on to writing the perfect query letter. A few other slivers of advice: Trying to cold-query superpowered agencies like CAA is utter futility. Agents with clients on social media who twitter forth with gushing comments is meaningless. Agents getting axed by grinders is equally meaningless. Personalities are such fragile creations subject to taste and circumstance. Focus rather on the eight steps above. Michael Neff Algonkian Writer Conferences ______________________
  2. Algonkian Writer Conferences reviews two of the most troll-heavy "reviews" ever encountered by its staff, or for that matter, humans still alive in the 21st century. Algonkian Park in Northern Virginia might be described as a lush and calming act of forest rubbing shoulders with the Potomac River, and it was here, twenty-two years ago, that Algonkian Writer Conferences began with a small workshop of five writers. Since then, the grand majority of my own experiences with many hundreds of my fellow writers have been rewarding, and I can truthfully say I've played a productive role in assisting many to secure both agent and publisher contracts. However, during this same time, as Algonkian evolved with new faculty (both agents and publishing house editors) and fresh-rooted into New York and California, the relatively benign flow of interactions could be compromised on rare occasion by something unexpected, and quite frankly, a bit lunatic. Below are a couple of meandering tales that unfortunately fit under the rubric of Algonkian Writer Conference reviews, and as such, are so incredibly bad I never would have believed them possible had I not lived them from first howl to final tantrum. ________________ A Mad Hatter Out for Blood Twelve years ago, in Marin County, I received a phone call at 3 AM on a weekday. Bleary and puzzled, I picked up the landline phone to hear the enraged voice of a popular author I knew in Faifax, Virginia. And what he said jolted me into a shocked awakening. "Who the f**k are they?" he began, yelling into the phone. "They're lying about me, about you... the bastards! Who the f**k are they?" Since I had zero idea who or what had launched him screaming from the silo, I finally calmed him enough to extract an unexpected and jaw-dropping explanation. He'd set up a Google alert to inform him any time his name was indexed and published by the search engine, and that morning at 6 AM EST, an alert led him to a particular thread on a certain writer chat board (remaining nameless due to my reluctance to provide said board with thousands more visitors). And what did this disguised floating blip say that could have turned a mature and regarded literary author and full-time MFA professor into a mad hatter out for blood? Within only a few minutes of reading what an anonymous poster had said about him on this thread, he was persuaded to contact me. And what did this disguised floating blip say that could have turned a mature and regarded literary author and full-time MFA professor into a mad hatter out for blood? But first, a little scene set. Picture your browser window filled with a dull, grey-white background and blocks of typed narrative in a small black font. To the top left of each posted block, residing in its own narrow column, you see the icon and alleged name of the poster, plus info like date joined, etc. Typical chat board layout. Now, for the one in question. You zoom in on the icon and witness a bubbly vibrating fairy. To the right, you read the blocks of text this fidgeting blip as typed. You see "Algonkian Writer Conferences" and something about an upcoming reveal that "will finally tell the truth about this organization stocked with literary frauds and flying sock monkeys!" Flying sock monkeys? It took over a year of investigation, but Algonkian staff discovered the identity of the primary abusers. They operated a competitor writer event in the northeast. No big surprise there. For starters, the primary instigator of this massive fraud, Michael Neff (who else?)--in order to make his workshops seem more credible--willfully assisted a local author and college professor to spread a huge lie about winning a certain national literary award for one of his books. Not only that, but the flying sock monkeys that ran Algonkian really didn't feature actual faculty. They were just "driven around in limousines" for a few hours, but never met with anyone. Also, our staff were "waiting at bus stops for dazed MFA grads" to arrive home so we could trick them into taking these workshops with limousine-lounging faculty. I'm not kidding. Not a bit. To make a long and ugly story short, the author noted above went on the chat board in question and began a roaring argument with the anonymous tribal members, most of whom resembled beasts or cyborgs. After a few days of wrangling and threats mixed with general acts of denigration and mockery on the part of all, the author finally produced evidence that indeed proved without doubt he had won said literary award, and no chicanery was involved in any way whatsoever. Despite his undeniable proof, the chat board owners refused to remove the post alleging his immoral act. Despite his undeniable proof, the chat board owners refused to remove the post alleging his immoral act. Following this, at least ten or so Algonkian writers who had learned of this ongoing farce via Facebook stormed the board and opened a new front to battle with the beasts and cyborgs. It must've lasted weeks, but at the conclusion, the chat board shills admitted no wrong and no mistakes. The accused were guilty, the evidence was irrelevant, and the lies multiplied even further. In truth, it was a precursor to the later cancel-culture mobs of Twitter. Regardless, the whole affair was exhausting, stupid, and pointless, only further serving to taint the integrity of the human race. It took over a year of investigation, but Algonkian staff discovered the identity of the primary abusers. They operated a competitor writer event in the northeast. No big surprise there. The surprise lay in the fact that the vibrating fantasy blip was actually a well-known editor at a major publishing house who loved playing a roving assassin on various chat boards, not just the one noted here. Also, one of the meanest of the board trolls who ran a close second to the aforementioned blip turned out to be a popular literary agent in New York who also ran a blog that worked 24/7 to insult and cancel everyone she didn't like. No surprise there either. And still, not kidding. To this day, none of them have ever apologized for intentionally lying about that author or for my alleged involvement. Both of these accusations, and more, were acts of per se defamation and therefore legally actionable in civil court, but given the locations of the parties, the cost involved, and additional fallout issues involving the blip's publisher, we let it go. I've often regretted that decision. ______________ The "Terrified One" Smears Far and Wide Unlike the case above, this one manifested like ash fall on Pompey prior to inundation. It began with incessant phone calls and messages to staff over the course of several weeks from just one person who we finally determined would never be satisfied with reality as it presented itself. Did people at conference workshops sit in circles? Did they sit in half-circles? Did they stand? Sit? Why sitting? Why not a theater-seating kind of arrangement? Why not this? That? And on and on. Then things got weird. Rejected and free of restraints, The Terrified One transmogrified into the hysterically raging one, and the world was her playground. One of our staff people was trying to help this individual and reaching wit's end. Towards the conclusion of these interactions, the staff person was accused of "terrifying her" with her communications. I looked over the mails and saw absolutely nothing to indicate a hostile or "terrifying" attitude, only a weary human being attempting to help someone desperately striving to acquire a new victim culture medal. A final email was sent by staff to The Terrified One: I offered to help you but you chose to become "terrified" though I did nothing to terrify you. Best to reconsider and perhaps some other time. It's not good to approach an event like this with fear and major doubts, and wondering whether or not people sit in circles, or whether you have to be a public speaker, etc. etc. It's just not worth it. Effectively disallowed from attending the actual event (because we all knew that an appearance by this person would certainly result in even more complaints and self-martyrdom) The Terrified One transmogrified into a Nemesis with a holy mission. The fact of this wasn't a shock, however, the sheer relentlessness of the retribution could not have been predicted. Rejected and free of restraints, The Terrified One transmogrified into the hysterically raging one, and the world was her playground. Nowadays, it's easier to quickly get a court order to force the social media source to divulge information about the user, thus enabling legal action, but back at the time, such action was far more laborious. The rest is a footnote of a footnote in history. TTO posted screeds of rage, alleging all manner of nefarious intent (nearly identical to the absurdities noted above, thus hinting at direct inspiration) and preposterously conceived fraud on several chat boards, Facebook, Twitter, you name it. Various childish identities were employed over the course of weeks, but the source was obvious. Nowadays, it's easier to quickly get a court order to force the social media source to divulge information about the user, thus enabling legal action, but back at the time, such action was far more laborious. Most of the offending revenge posts evaporated over time and one or two are left, rising and sinking in the SERPs depending on the nature of the algorithm. Damned if we did, and damned if we didn't. _____
  3. Dear Writers, For those in Paula Munier's group, please tell us what you experienced and how it changed your novel and pitch as well--assuming this was the case. Thank you! Admin
  4. This article covers the common symptoms of new and impatient novel writing. Algonkian Writer Conferences reviews this epidemic condition in a frank and direct manner. 1. NEOPHYTE SKILL SET AND A FAILURE TO COMPREHEND THE PROBLEM In the case of the former, we've found in our reviews that the prose itself fails to display the energy, creativity, suspense and cinema necessary to convince an agent to go deeper. This is perhaps the number one cause of failure, and the reason why veteran readers need not go further than a page or two of the manuscript. Usually, the writer is not aware of this condition--or at least, not sufficiently aware to enable productive change (another consequence of obtaining feedback from amateur writer groups. Perhaps this is a first stab at fiction, the aspiring author not realizing that tech or law or medical writing ill prepares one. Also, the writer does not know a truly experienced editor, or reader for that matter, and therefore reviews of their work are conducted without the benefit of nuanced and professional critique. Or perhaps an ego obstacle, a self-destructive narcissism is at play? Also, we have the "birthed baby" phenomenon: the writer has produced a passage, a character, or scene they can't possibly delete. It is sacred to them. So it remains, defacing the narrative like a major pothole, jolting agents and publishers alike each time they meet it. In the case of the storytelling issue, the writer may actually be accomplished at connecting the word dots, a decent if not accomplished prose stylist; however, the agent or publisher gives it a single review then backs off. Why? Well, the story goes nowhere. It is insufficiently interesting, too quiet, or perhaps even confusing. Just recently a fine writer handed us a sample of his ms. His prose skill kept us turning, but finally we bogged down on characters who spun endlessly in place, who never really took action or engaged in any reaction worth noting. ___________ NOTE: if you, the reader of this article, happen to be a year or two into the process of writing a first novel, strive to arrange a professional critique of your story premise and your first 50 pages at least. It shouldn't cost much and will be worth it in the long run. Do not rely on your writer group to provide the expertise necessary for a realistic evaluation. _____________ 2. FAILURE TO ADEQUATELY UNDERSTAND THE MARKET We are not talking about trend chasing... Virtually every time I speak with a student I discover that she or he has not sufficiently researched their market. In other words, they don't have a clue as to what types of first novels are currently being published in their chosen genre (assuming one is chosen). Why is this important? Because the first novels provide the writer with a concept of what the market is looking for. Also, it helps steer the writer away from starting a project that will be DOA on arrival due to being way too deja-vu or trope heavy. Far too many writers make the Tom Clancy mistake, i.e., they attempt to emulate a huge author, falsely believing it will get them published. They don't understand that author gods like TC could get away with terrible literary crimes in their old age and still become published. Instead, the writer must examine first novels published in their chosen genre over the past two years: investigate story types, settings, protagonists, etc. The research always yields productive results because first novels are the weathervane for where the market is going, and on more than one level. _____________ 3. NARCISSISM TIMES TEN EQUALS BOTTOM FEEDING The writer is puffed, living in a state of I-know-better. She or he is therefore incapable of successfully editing their work. Friends, relatives, or bad agents have told them their writing is good, and their story interesting (they dare not do otherwise!). Perhaps the writer is a big success in their other career, so why shouldn't they also know-it-all when it comes to writing? OMG. We once had a millionaire venture capitalist hand us their 15 page synopsis and the first few pages of their novel. The synopsis was absurdly long and unable to summarize the story in any coherent way; and the first couple of novel pages needed a good line editing because the prose was inadequate and one tended to speedbump over at least one awkward sentence per paragraph. Of course, these facts were unknown to the venture capitalist. He presented us the work with a grand TA DAH!, expecting a corroboration. Well, of course, irritation set in when we tactfully pointed out shortcomings. He also did not believe us when we explained that the vast majority of agents would not, repeat NOT read that 15 page synopsis regardless (and if they did, the novel was DOA). Later, he went on to self publish and sell a total of 136 copies at last count. _____________ 4. INCREDIBLY BAD ADVICE SPELLS DOOM Whether the source is an article, a friend, or a writer's conference, the writer has been told something that steered them wrong, or built a false expectation, or made them believe a man-bites-dog story will happen to them. For example, a writer with a manuscript in need of a good final editing told me, "Not to worry. The publishing house editor or the agent will complete the edit for me." I explained that would not happen--not for a first timer with zero track record. Another piece of incredibly bad advice often heard from egoistic writers or agents: "Writers are born, not made." This is simply not true. A clever, determined writer who shelves the ego and seeks to research and learn their craft will succeed. Tenacity wins. See our Top Ten Worst Pieces of Bad Writing Advice and follow up with The Top Worst of the "Worst Writer Advice." _____________ 5. THE COMING OF MORALE LOSS The most common form of morale loss occurs at such time the writer finally realizes their writing is not nearly as good as they suspected. The writer returns to a favorite slice of writing, seeking to admire, build confidence, only to discover their favorite slice has gone stale and offensive. So what happened? Writers who fail to understand that such realizations are necessary watersheds (and they happen to all writers!) and indicators of growth, become disillusioned. They quit. The second biggest cause of morale loss results from no success in selling an agent on your novel. It's been dragging on for years. The novel ms has been shopped around. No one is buying and feedback is confusing. Or perhaps the novel ms is resting like a one ton anchor on your desk (waiting for neck) eight years later and still not ready despite several restarts and who knows how many total drafts. If any of the above is the case, welcome to the club! Buy yourself a drink and get back to work. _____________ 6. IMPATIENCE EQUALS LOTS OF WASTED POSTAGE The story might even be pretty good, fairly original, and the writing likewise, however, the writer is impatient and sends the ms out too soon. Flaws exist in the plot, character development, and God knows what else. No one knew! The writer's crit group was mistaken! Agents and editors will stumble a few times before reaching for a rejection slip. Most likely, the writer will never know why. She or he will just keep sending out the same damaged ms again and again. _____________ 7. INSUFFICIENT CREDS TO PROVIDE COMPETITIVE EDGE Credentials, platform, prior publications--these things can matter, especially for literary/upmarket writers. The vast majority of first novel writers do not get work published in viable short fiction markets. This makes it even more difficult to land a good agent. Many agents will not look twice at a writer whose cover letter does not demonstrate a track record of some type. A publishing record, even a meager one, helps convince publishers and agents that you have what it takes. Even in the mystery/thriller and SF/F markets, you go to the top of the stack if you've published shorts in reputable journals. Contest wins, past mentors, certain types of nonfiction, and participation in writing programs can also matter, depending on the genre and marketing desires of the publishing house. Michael Neff Algonkian Writer Conferences ________________________________
  5. THE FOLLOWING COLLECTION OF REVIEWS, CONTRACT NEWS, AND GENERAL COMMENTARY INVOLVES ALGONKIAN WRITER CONFERENCE EVENTS OVER THE PAST SEVERAL YEARS. THESE ARE AN ESTIMATED 20-25% OF THE TOTAL MAILS, INTERNET POSTINGS, AND OTHER COMMUNICATIONS SENT TO US. WE APOLOGIZE TO THOSE WHOSE REPORTS AND OBSERVATIONS HAVE NOT BEEN INCLUDED HERE. PLEASE KNOW WE ARE GRATEFUL FOR YOUR COMMUNICATIONS. __________________ The Corviserio Literary Agency just signed Melissa Mohalla's SFF, SYMPHONY OF CHAINS, for representation after meeting at the Algonkian NYWP. Congrats to all those who made a new six-figures-in-auction possible! Fingers X'd for a great novel. A Life-Changing Experience - Leading to a Book Deal. If I could capture my experience at the New York Write to Pitch Conference in a single word, it would be "transformative." It's a unique blend of a supportive writing community and insightful mentorship that sparked a revolution in my writing approach. The preparatory reading assignments alone were worth their weight in gold. They stretched my understanding of narrative structure and character development, reshaping my own work. I can't emphasize enough the value they added to my writing journey. - Crystal Rivera The Cindy Bullard Agency as recently signed three new clients from Algonkian events, including A DEADLY GAME by Gayle Brown, and new novels by Scott Fleuter and author Nina Smith. Congrats to Gayle, Scott, Nina, and Cindy! Assignments sent out the weeks preceding the event are a priceless expedition through your own story... By the time you get to your destination–be it Monterey or New York–you know the lingo, you have attempted a pitch (which they help to perfect) and you have a much deeper understanding of the story you’re trying to tell. - Mindy Halleck Moveable Type Managment has signed several NYWP and Algonkian authors since 2022 for commercial publication. Among them are Gregory Carpini Jr. and his historical novel SHINEY POWDERED FACES; Jennifer Ericson and her cozy mystery series CURIOSITY RESCUED THE DATE; Jody Gerbig's postpartum horror novel TAKE CARE; and Gerri Lewis' obituary writer mystery THE LAST WORD sold to Tara Gavin at Crooked Lane. Just wanted to let you know I signed with Bob Diforio from D4EO literary with the novel we workshopped! You guys really helped me boost the concept to the next level, and btw, thanks again for the great new title, SECRET OF KILCHULLEN HOLLOWS." - Samantha Schinder We just learned a pleasant surprise on the fly, namely that Talcott-Notch agency's Amy Collins has signed a total of five writers from Algonkian events over the past three years, most recently Joseph Hall's SF novel, STEEL HOUND, now making the rounds at major imprints. On the other side of the city, Algonkian writer Shola Adedji was signed by Blackstone Publishing to write a new SFF series called SHADOWMAN. He and his editor, Brendan Deneen, met at the NYWP. You guys have clearly worked very hard to develop a terrific event for upcoming writers. It's exactly what people need: support in producing a commercial idea, plus contacts to help sell it.... It was brilliant, and great to get to know you and Audrey too. I'm so glad I flew over from England or it. - Harper Collins Author, Annabel Kantaria I know three people who've attended [New York Pitch]. I went to one of the after parties with one of those people. It's definitely worth doing. One of those people got a six-figure book deal out of it, the other two got very serious offers. Prepare yourself to have to rewrite the book, though. The people there will tell you what edits you'll need to make in order to sell the book to them. - Eleanor Konik A Sample of Twitter Posts ______________________________ I received a contract from Harper Collins in 2021 as a result of an agent I met at the NY Pitch Greatest Show on Earth circus. I say "circus" not in a derogatory way, but as a good metaphor to utilize when describing the creative and delightful social chaos of the event itself. The studios are the equivalent of circus rings, each with their own culture, ringmasters, and applause. The hallways brim with entertainment art like a maze between the tents, echoing with the sounds of audition. Mouths are open, eyes are big, tears and laughter are real, and I'm going again, even if just to watch. And on top of everything else, I learned more about good fiction writing than in three years of groping for an MFA. - Marion Clark (Bestseller3) J.R. Roessl, who attended the 2020 St. Augustine Author-Mentor Novel Retreat, was recently signed by a faculty agent at the retreat. The PM announcement as follows: "Former model J.R. Roessl's HERITAGE, the 1960s-era coming-of-age story of the author raised on a boat built by her father and christened Heritage, where the family dynamics were just as treacherous as the pirates and stormy seas, to Rick Rinehart at Lyons Press, for publication in spring 2023, by Adam Chromy at Movable Type Management (NA). Audio rights to Addi Wright at Blackstone Audio." Bombarded with offers from agents at the New York Pitch Conference in 2022, Nan McCann finally agreed that agent extraordinare, Paula Munier, should be the right one to represent A MAN OF TWISTED WORDS. Congrats to all! Agent Amy Collins of the famous Talcott Notch agency just signed SFF writer Sandra Kruse to a two book deal. According to Amy in a note to us, "My first time at the New York pitch as an agent and I was blown away by the quality of talent assembled there, and I signed not one, but two authors. I can't believe it." And it was actually Sandra's second visit to the event. As she says in an email, "I learned so much the first time that I came back six years later with a different book and, this time, came away with an awesome agent. Thank you! Thank you!" Randy Denmon's new nonfiction about rediscovering the other side of America in an old Ford truck was just signed by NY faculty member, literary agent Barbara Zitwer following a meeting between the two. Randy's novels and nonfiction have won the Western Writers of America Spur Award, the Faulkner-Wisdom Award, and he has been a finalist for the Ben Franklin Award. He is also the author of THE FORGOTTEN TRAIL TO APPOMATTOX. A couple of big projects at the NYPC were recently signed by the renowned literary agency, Moveable Type Management (MTM), for representation to both book and film markets. These include the WW II historical fiction pitched at the 03/21 NYPC, THE LAST AIRMAN by Roy Qualls, and A MILLION MILES TO DAISY by Sam Nahins, a novel about an assasination drone pilot out of Vegas seeking redemption by struggling to save his mother from a corrupt and brutal nursing home. NEWS : NEW YORK PITCH ONLINE At recent New York Pitch events held online via high-tech video conferencing, upwards of 67 projects were chosen for professional consideration by NY Pitch faculty for both book and TV/film markets. Agents, publishing house editors, and producers in attendance included agent Amy Stapp from Wolfson Literary, editor Hannah O'Grady from St. Martins, film producer Ken Atchity of AEI/Story Merchant, senior agent Michelle Richter of Fuse Literary, editor Elle Keck from Harper Collins, editor Miranda Hill from Penguin-Random House, editor Chris Morgan from Tor/Forge, editor April Osborn from Harper Collins, film/tv executive Brendan Deneen from Assemble Media, senior agent Paula Munier of Talcott Notch, and editor Gwen Hawkes from St. Martins. Novels selected from multiple genres included SHOUTING AT LEAVES, WAR GODS OF AFRICA, ALL THE GIFTED, GOD OF THE FALLEN, THE GIRL WHO SOLD DEATH, THE WASTELAND CREW, RESURRECTION ARC, LAST SORCERESS OF ROME, AMERICAN CALIPHATE, THE RULES OF HAUNTING, A MILLION MILES TO DAISY, THE SIFTING, WOUND SOWER, GETTING RID OF DAVION, A DEATH OF ANGELS, THE DARK RESISTANCE, and THE GREATEST ELECTRICAL SCIENTIST. Melanie Bacon's DRAGON RIPPER, a spin-off of Sherlock Holmes starring his sister and Jack the Ripper's daughter, was published by Del Sol Press after being streamlined by Algonkian workshops and edited by Algonkian editors. Talcott Notch represented the author. Accolades from best selling author, Hallie Ephron. Congrats all around! Women's fiction author, Joani Elliot, just informed her workshop leader, Susan Breen, that an offer from Jennifer Weis Agency was forthcoming following the NYC Pitch and that the NYC Pitch played a major role in sealing the deal. No surprise there! Congrats to Joani... Update: Joani has signed with a major affiliate of Simon and Schuster. Attending the Algonkian Author-Mentor Workshop in St. Augustine was a most excellent experience. By far, it was the best investment I could have made in my progress as a fiction writer. Knowing what editors, agents, and publishers are looking for helped me refine my approach. There was a strong sense of camaraderie among our group as we openly shared our stories. We've even formed our own online group so we can stay in touch, and continue to support each other in the coming months and years. Thank you for all you do to encourage, educate, and guide aspiring writers to succeed. I personally benefitted from the valuable insights and feedback I received from you, Paula, Lissa, Hallie, Adam, and Bob. - Sheree Richnow Author Linda Rosen just wrote and said: "You were so generous in helping me create a better title for my book... THE DISHARMONY OF SILENCE. Thank you so much! I want you to know, though the novel wasn't picked up from an editor at the conference, after several revisions later, and based in part on your editorial review, the novel is now coming out from Black Rose... I wanted you to know of the book's success so far and my sincere appreciation for all your help." Pitch Playlist: We've just learned from Loretta Marion, NYC alum, that thanks to the conference her career is flourishing. Congrats to Marion! "Awarded an Honorable Mention by the New England Book Festival and the Gold Book Award from Hungry Monster Literary Awards, Loretta Marion's debut novel is a twisty tale of mystery and suspense with whispers of romance." [ in her own words ] We've just learned from Rebecca Fujikawa that she has signed with the prestigious Seymour Agency after acquiring the necessary knowledge and editor leverage at the New York Pitch conference in 2017. She wrote workshop leader Susan Breen to tell her the good news. Congrats to Rebecca! [ in her own words ] A BORROWING OF BONES by Paula Munier, NYC senior faculty member and literary agent par excellence, will be out from Minotaur books in September. Lee Child calls it, "A compelling mix of hard edges and easy charm..." Paula is also the author of the bestselling PLOT PERFECT, THE WRITER'S GUIDE TO BEGINNINGS, WRITTING WITH QUIET HANDS, and FIXING FREDDIE: A True Story of a Boy, a Mom, and a Very, Very Bad Beagle. I recommend attending the conference if you're open-minded about your work and, most importantly, willing to change it. The four-day event is an emotional rollercoaster. Be prepared for honest feedback. Comments about your novel will not be sugarcoated. You may be asked to add characters, ditch a point-of-view, or even switch genres... You'll be peppered with questions. Don't defend. Rather, listen to ideas from those in the industry. - Tracey Kathryn The insights and learnings from the Algonkian conference that I attended were instrumental in helping me find a top literary agent (Red Ink) and resulted in the publication of the very book that I arrived at the conference with. This book, now titled VICTIMS FOR SALE, was published and released worldwide by HarperCollins in 2018 and has recently been long-listed for the Bombay Film Festival awards. - Nish Amarnath MURDERABILIA By Carl Vonderau will be published by Midnight Ink Publishing come July, 2019. The Algonkian New York event honed his story and pitch so perfectly that he snagged an agent at the San Francisco Writers Conference. The agent turned out to be Michelle Richter of Fuse Literary, a frequent contributor to the aforementioned event in NYC. Michelle provided him with excellent representation and an eventual sale to a terrific publisher. The Flapper, the Scientist, and the Saboteur by Charlene Dietz is now available on Amazon. Char wrote to tell us, "I want you to know how those five days at the Monterey Writer Retreat impacted my writing adventure. Paula Munier shoveled lots of stuff my way, helping shape my soon to be debut novel: put another murder right up front, don't kill a main characters while still on stage, be sure to have a USP, change the length, change the pacing, pay attention to where act one, act two, and act three happen... The Retreat helped choreograph my novel to the point that when I delved back into the revision process real magic happened. Thought you might enjoy reading these Kirkus starred reviews for my debut mystery novel (2016) and also for its prequel (2017). Thank you for the Monterey adventure!" I just wanted to share my amazing news with you. I attended your workshop in September '15, and earlier this month, sold my YA novel and a sequel to Delacorte/Random House. I just wanted to say thank you for the great advice and tough critique you and the editors shared with me... I'm incredibly grateful. - Kelly Coon TELL ME LIES by Carola Lovering will be published by Simon & Schuster (Atria Books) . Carola owes a significant portion of "getting over the top" to the NY Pitch, not to mention the fact that editor interest gave her needed "query leverage when querying agents at several top agencies" including Janklow & Nesbit, who later provided her with great representation. Carola Lovering comments. RIGHT OF ANSWER by Hilary Llewellyn-Thomas, a historical fiction about the first woman imprisoned in the Tower of London (who was the author's ancestor) was signed in contract to Trident Media literary agency, to be represented by Mark Gottlieb. Hilary Llewellyn-Thomas comments. - Kelly Coon The weekend I spent at this conference was transformational for me, and one of the best experiences of my life. It challenged my thinking, improved my craft, and helped me as a writer. Best of all, it made me feel like a writer for the first time in my life, and introduced me to a community of fellow writers with whom I am still friends today. If you ever had the desire to write professionally, and if you're willing to hear hard truths and do some serious work, I highly recommend it. - Ben Keller With Susan Breen as my workshop leader, our group was collaborative and supportive. Hearing how other writers in the group improved their pitches was inspiring. Because the conference participants are screened, editors know they are not wasting their time. Each editor I pitched listened carefully, giving suggestions and asking questions that improved my pitch. Susan followed up, interpreting the editors' feedback to be sure each writer got the most out of the encounter. Whether or not my manuscript had been requested, I would have learned if my novel had commercial appeal and how to best pitch it. Leaving the conference, I felt confident that my novel did have potential and that I could effectively query an agent or editor. I got lucky. My novel was requested by four of the five editors I pitched. Tessa Woodward at Harper Collins quickly made an offer for it, and Paula Munier, who had read my first page at the conference, represented me to negotiate a contract. After getting Tessa's notes, I am now working on a significant re-write that will expand and improve my novel more than I ever could have on my own... Just so you know, I spent five years researching and writing my novel before I went to the Algonkian Pitch Conference. For the past year, I had been querying agents and submitting to small presses. One agent requested it then didn't even bother to email back to reject it. Two other small presses rejected it and all other agents and presses didn't even reply. I owned a copy of Writer's Market, I had written what I thought was a good pitch, I researched each agent and press so I could tailor my query. Still, nothing was happening. Attending the Algonkian event was an investment in my career as a writer. For me, it paid off beyond my wildest dreams. No matter what, though, it would have been worth it for what I learned. - Kim Van Alkemade, signed by Harper Collins The very first day, I was told I needed to rethink the plot of my novel, and work through quite a different story from the one I wrote. I was initially devastated, but intent on keeping an open mind. I returned home wiser about the publishing industry and had to go through the stages of grief over the loss of my 400 -page baby. This was not a conference for writers with thin skin. It is a conference for those interested in the almost impossible goal of publication with a major publisher. - Gregory Renz Over the course of a week at the St. Augustine Author-Mentor, you pitch, rewrite your novel, hone your presentation with some of the best credentialed pros in both publishing and Hollywood. Course materials help you see where you are as a writer, and what your need to work on. You get to know your fellow writers and realize that you are not alone in the confusion of today's fast changing markets for fiction and non-fiction. And as a bonus, you are in a huge suite overlooking the Atlantic and one of the biggest beaches in Florida. - Author Catherine Clark I got two invaluable things out of the recent Algonkian Writers Conference. One was the repeated admonition to utilize all the tools of the craft. Even those of us who've written for a living forever can always use this reminder. A carpenter wouldn't attempt to frame a house without tools and neither should a writer ever sit down without his or her full arsenal at hand... Secondly, The Algonkian Writers Conference is a no-nonsense primer on all that needs be done to prepare a manuscript for presentation. Agents are deluged with thousands of MS yearly and only a few are ever advanced to a publisher. Hence, a pitch, a log line and a synopsis must be absolutely sensational to garner even the slightest attention. In that regard, this is not a feel-good seminar. Some hearts were broken and some treasured ideas were trashed by the agents who attended. But from the first hour of the first day, faculty emphasized the cold facts and discouraging numbers of the trade, urging us to beat the odds by avoiding the errors and pitfalls of the amateurs. Now, there is some unavoidable tedium associated with such a gathering, when people are working on projects that seem silly or meaningless to you, but I found it helpful to pay attention to everyone's presentation in order to hone mine to a better polish. In doing so I discovered that the focus of my project needed to be compressed and a new angle of attack implemented. - Burr Snider, Algonkian Veteran Although I had a strong manuscript already, the Algonkian Writer Conference played a crucial role in helping me develop commercially viable marketing materials. During the conference, I wrote a much more coherent hook, changed the title of my manuscript, and composed a much more agent-friendly query letter. I also learned how to structure the plot for commercial fiction, which will benefit me in subsequent books. The result? In less than three months, I accepted an offer of representation from Mark Gottlieb, one of the top ten literary agents in my genre, which is fantasy. - J.P. Gownder The New York Pitch Conference focused attention on a fairly major gap in the early versions of The African Groundnut Scheme which was the lack of a strong female character to help carry the story. The follow up Algonkian conferences helped focus attention on the necessity of making sure every scene in the book is part of the seamless plot. The Algonkian conferences also pointed out the need to structure the story more clearly along the lines of a classic three act play with an opening, middle and conclusion. There is a Greek myth about the god Hermes boring a giant to death with an endless story that is all middle with no beginning or end. So this is not a small matter. Also, the New York Pitch Conference and Algonkian showed me how to present a book to agents. The technique is somewhat arcane and unsatisfactory, but, hey, that's the system we've got. If you don't know it, it is hard to get off ground zero. - Interview with Alex Keto I recently attended the Algonkian Writers Conference and found the experience to be invaluable. Michael Neff led the conference with ethics and integrity. He clearly explained the tools needed to successfully write and publish including reviewing tension, plot outline, character development, dialogue, and perfecting a pitch and synopsis. Michael Neff carefully and relentlessly worked with each writer to assist them in polishing their pitch for agents and troubleshooting the novel in general. This was exactly where I needed to be. Some of the feedback was, indeed, sobering, but I wasn't promised the conference would be a string of feelgood sessions. The work we accomplished was real and the feedback was real. I concur with the review submitted by Burr Synder. My thanks goes to Michael Neff for his patience and attention to detail in designing a writer's conference that was truly meaningful. - Author Sally Henry I've been to three of these Algonkian Writing Conferences, including both writing conferences and a Pitch Your Book session in New York City and on the whole they provide good education for a reasonable price... As the publishing business gets more and more difficult, I'm not convinced agents and editors have the time to read queries very easily. Being in front of them is a definite way to improve your odds of at least getting decent feedback. The Agonkian Writing Conferences provide, IMHO, far better value than some of the 'bigger' conferences where the interactions are increasingly staged and short-lived. - Veteran Writer John Arnold Robin Stewart's techno-thriller, "Kill Signal," was pitched at the March 2016 and soon signed by Talcott Notch Agency--represented at the New York Pitch event by agent Paula Munier. The ms is now undergoing edits with Algonkian staff. Congrats to Robin. This thriller is going to be a bestseller, we're certain! We love you Robin!!! From Publishers Marketplace: Sandi Ward's "The Astonishing Thing" pitched as "The Art of Racing in the Rain" meets "The Curious Incident of the Dog in the Night-Time" to John Scognamiglio at Kensington, in a two-book deal, by Stacy Testa at Writers House. Congrats you old pitch conference! [more by Sandi] Amanda Greenfield says, "Because of your conference I had 2 editors, one being Tessa Woodward, ask for my MS and/or pages and another forward my info to one of her associate editors at St. Martins. I was able to cross reference that with information on Publishers Marketplace and sent a query to an agent that worked with Tessa Woodward at Harper Collins. I sent her the first 50 pages and she was really excited about my work. She read the rest of it the next day and immediately sent me a contract. [more] Roger Johns, an alumnus of the New York Pitch Conference, wrote and told us: "Just wanted to let you know that Paula Munier, my group leader from the conference, took me on as a client and negotiated a deal for my book - DARK RIVER - with St. Martins. Announced tonight on Publishers Marketplace. Thanks for a wonderful experience. The conference was superb. I'm spreading the word among my critique groups in Atlanta." Algonkian alums Tracee Hahn (on left) and Britt Tisdale (right) signed recent contracts as a result of attendance at the New York Pitch Conference. Tracee's novel, SWISS VENDETTA, was edited and sold by Algonkian NYC agent faculty to Elizabeth Lacks at St. Martins. Britt's women's fiction novel, DAUGHTERS OF ROSA LA ROUGE, found home with Marsal Lyon Literary Agency: "I re-vamped my pitch, also revised the book to reflect new emphasis. 18 agents requested the ms..." [more] At last count, an estimated 51 total manuscripts are currently in the process of being reviewed by publishing house editors. More than 63% of total ms presented and discussed at length at our last events were requested, and 75% of all ms requested were requested by more than one editor. This high percentage is a result of intelligent project screening, great projects, attentive editors, and liberal applications of superb pitch craft. -Annette Stanley "My novel was requested by four of the five editors I pitched. Tessa Woodward at Harper Collins quickly made an offer for it, and Paula Munier, who had read my first page at the conference, represented me to negotiate a contract. After getting Tessa's notes, I am now working on a significant re-write that will expand and improve my novel more than I ever could have on my own." Kim Van Alkemade, Author of ORPHAN 8 275 queries later, I attended the New York Pitch and by lunch of the first day I knew exactly why my novel had failed. By the end of the day, I had changed the title, made editorial changes to the story, and later, when time came to query, I employed the strategy recommended at the conference: research agents on Publisher's Marketplace and use the editors from the conference who requested manuscripts as leverage. Within one hour I received an email requesting a full manuscript from an agent at Trident Media. Six days later I received another email about my novel, THE ENIGMATOLOGIST, and requesting to discuss representation. Using what I learned at the conference, I was able to do in what week what I couldn't do in three years. I'm absolutely convinced that everything I learned at the conference is responsible for my success. - Benjamin Adams, signed by Trident Media Agency Cate Holahan's DARK TURNS pitched at the NYC in Paula Munier's NYC mystery/thriller workshop and sold to Matt Martz at Crooked Lane, the new crime fiction imprint of Bookspan--two book deal. Publication set for 2015. Paula Munier, NYC faculty, representing Cate and DARK TURNS. Cate Holahan's DARK TURNS Algonkian helped me develop a discipline around the creative process, enabling me to write with a clear intention to publish. It has been a year since the program and I continue to refer to the workshop material. From the story analyses I learned to examine my own work with rigor. - Sheela Sukumaran, PEN USA Emerging Voices Fellow "I went to an Algonkian writers workshop in the heart of the Berkshires at a pivotal time in my pre-career. I'd been trying to get published for five years, and was stuck. The Algonkian instructors offered sage advice and exposure to the industry so that I came away with a much more realistic understanding. But even more than that, the Algonkian experience brought together writers in a close knit environment that has continued to inspire me eleven years later. Now with my third novel about to come out, I credit my time in the Algonkian woods with helping me get here." Jenny Milchman, Mary Higgins Clark Award Winner Algonkian Author Salon's Kate Cox has signed with JENNIFER LYONS AGENCY, and we couldn't be more pleased. Kate has attended several Algonkian events, been a member of AAS, and has worked periodically with Algonkian director Michael Neff on her novel, THROUGH CHAGALL'S WINDOW. Her new agent, Jennifer Lyons (the third agent she queried), represents numerous big name authors. - Algonkian Author Salon "Understand, before that I had never taken a writing class, attended a seminar or workshop, I didn't even have a writer's group. The beauty of this conference was that they had editors from major houses coming to listen to our pitches and to give us feedback, and even to ask for our manuscripts if they were interested. And I was one of the lucky ones. Two editors asked to see a partial. I started querying about September 20, and my agent, Sally Wofford-Girand of Brick House Literary Agents, made an offer of representation." Sujatha Hampton, Author of AS IT WAS WRITTEN The pitch conference gets tons of credit for my pending publication. Plus, your advice on querying to only a few agents at a time, and Caitlin's editing all contributed to my good news. Publication set for early 2016! Thanks for putting it on and for encouraging scared newcomers like me. - Angela Pisel, novel sold by Jill Marsal to Putnam "I must confess that it surprised me when folks at the New York Pitch Conference fastened on Thomas Edison's dark side as the most interesting aspect of the novel ... Once you define the book as being about the struggle between the Weisses and Thomas Edison's Motion Picture Patent Company, however, a lot of diffuse stuff falls into line. Then I came home from the recent Algonkian conference at Harpers Ferry, reread the manuscript, and realized I had thrown away a great opportunity in the second-to-the-last chapter to resolve the Edison/Weiss conflict in a meaty and dramatic way. In a word, it was lame." Irene Fleming [aka Kathleen Gallison], Author of THE EDGE OF RUIN The Algonkian Park workshop was one of the most useful and stimulating classes I've taken lately (OK, ever). The topics are very useful in themselves; most creative people tend to hide from the business aspects of what they're doing, and most workshops barely touch on this. (Also, thanks for telling us the truth and not coddling us.) And naturally the feedback of the agents was invaluable in its concrete, one-person's-point-of-view way. But also, the writing exercises and your methodology (e.g., PDQ) were right on. Frankly, I felt that I was floundering the whole time and didn't produce very good stuff. But, oddly, that didn't really bother me. - Helene ("L.N.") Sproules "I met with an editor from Plume, pitched the idea and she liked it and after several weeks, and rounds of discussion and so forth, she made an offer. Meantime, Michael Neff helped to set me up with my agent, who is a lovely person at Trident Media. So I can honestly say that going to that conference changed my life. Everything turned out so much better than I had dreamed. I did sell my novel--not right at that moment, because there is a process. But I did sell it because I went to Algonkian's New York Pitch Conference." Susan Breen, Author of THE FICTION CLASS I want to say a little something about Algonkian Conferences here, because it was the tough-love teaching method of Michael Neff that made me a much stronger writer. And it was through his Algonkian Author Salon that I connected with Carla Norton... The other wonderful (and surprising) thing that came out of my association with AAS is that I've discovered another passion -- editing. - Lois Gordon, Algonkian Passions "You may remember me participating then: I was in Charles' group - the cloak and dagger brigade - and my pitch was about a mystery set in WWII Sarajevo. I made a couple of successful pitches, one of them to Tom Colgan at Penguin, and I thought you'd like to know that I've since been offered a two-book deal with them. The first book should be coming out in June next year. I thought it important to write to you because, without the opportunity afforded by the conference, I wouldn't have made the contacts I did." Luke McCallin, Author of THE MAN FROM BERLIN I had already sent my novel to an agent from Prospect Agency, telling her I was accepted into Algonkian and this was the ms I was pitching. When I returned, I was able to tell her I knew the novel needed a re-write (thanks to you) and that three publishing house editors were interested in seeing it when it's ready (also thanks to you). So she offered me representation! She's going to work with me on it over the next few months, and when she thinks it's ready, send it off. - Jane Ann McLachlan, Signed by the Prospect Agency "I'm writing to say a long-overdue thank you! Now that I'm getting into the more tangible aspects - copyediting, cover designs, etc. - it's feeling more and more that this is real and it's actually happening, and really, I have you and your workshop to thank for getting the whole ball rolling ... And even now, all this time later, I'm still using the pitch that I wrote and worked on that weekend - a large portion of the cover copy is based on it." Gina Damico, Author of CROAK It was tremendously effective to receive training in specific writing-enhancing techniques immediately followed by exercises that cemented that training. Ditto the pitch development; if we had developed the pitch but hadn't presented it repeatedly to both colleagues and the agents, the effect would not have been so transforming. I appreciated the intense focus of the conference; we did not waste time. - Author Julie Kaewert "At the workshop we read sections of classics and contemporary works demonstrating craft concepts, we wrote vigorously, brainstormed and critiqued sections of our works in progress, meditated, had readings, and got one on one editorial attention. Many of the connections I made at the conference remain with me to this day. Whether you've just completed a first draft of a novel or a tenth draft, the Algonkian Novel Workshop could be just the step you need to take your writing public." Erika Robuck, Author of HEMINGWAY'S GIRL I attended your Algonkian Writer's Conference at San Francisco's Fort Mason back in May of 2010. I thought you'd be happy to know that after a year of sending off query letters and partial and full manuscripts, I finally found representation with Sam Stoloff of the Frances Goldin Literary Agency in New York. I'm very happy. Sam is great! We submit my YA manuscript to publishers this September. Thanks so much for all the information I learned from your conference! It was very helpful and worthwhile. How have you been and how are your conferences going? Any other success stories? - Writer Michael Hagan, signed by Frances Goldin Literary Agency "Several weeks ago, I attended the Algonkian Write to Market Conference, north of San Francisco. I met amazing people, made friends with wonderful fellow writers, participated in some of the best live pitch critiques you'll hear on the West Coast, and on the first evening was ceremoniously sacrificed at the altar of upmarket fiction with two fellow authors as witnesses and a horse-size cobb salad to bury my face in. I emerged re-born..." Author Birgitte Rasine I just wanted to let you know that the conference did me a world of good. I had not spent time with literary people in 12 years, since I left the world of journalism. I had never before been to a writer's conference of any kind ... I believe that once I make the recommended changes to these projects I'll be onto something. I always thought I could write well, but the peripherals of the publishing business were daunting to me and I had lost contact with them. Thanks for helping to bring me back in touch. James Crawford ____________________________ I was beginning to get discouraged in the "find an agent game." I'd managed to wrack up a more than a few rejections on the queries I'd sent out. Then at the conference, with the help of an amazing workshop leader, I was able to improve my pitch. Three out of four editors at the conference requested my manuscript! That and the enthusiasm of my fellow attendees gave me heart. With an improved pitch and the editor interest to back me, I jumped back into the fray, Now, a few months later, I've signed with Emily Sylvan Kim of the Prospect Agency. Amy Ester Fischer ____________________________ Despite my many years as a journalist and non-fiction author, the transition into writing good fiction was difficult for me. Upon taking the Algonkian workshop, it all came into focus. For the first time, I am aware of the techniques and craft it takes to write a competitive manuscript. Dusko Doder, Author and Former Moscow Bureau Chief for the Washington Post ____________________________ The Algonkian conference was pivotal in moving my career forward. While I went there thinking it was just a really cool way to meet publishing editors, it turned out to be a portal into so many other avenues of the publishing business. Because of the conference, I've signed with the agent of my dreams! - Dave McMenamin, Signed by Talcott Notch Literary Agency I've yet to leave without requesting manuscript pages from participants. What's more, the manuscripts deliver. I recently signed and sold Gina Damico's YA fantasy in a two book deal to Houghton Mifflin Harcourt after hearing her project pitched at the conference. Serving on the Algonkian faculty has also been tremendously gratifying. Not only does the conference attract a wide variety of writers working in many different genres, it also has a great vibe--supportive, friendly, fun. I highly recommend it. - Tina Wexler, agent at ICM Algonkian Workshops take one's work to the next level. With an intimate, supportive, focused atmosphere and rigorous schedule, writers can set realistic goals and get projects to the place they need to be to take them to a wider market. As an agent, I appreciate that Algonkian writers have an established sense of what works and what doesn't. Their projects are a cut above the rest. - Elise Capron, agent at Sandra Dijkstra Agency "So pleased to share this news with you and extend my thanks once again for the career boost from the pitch conference: "Rosemary DiBattista's (writing as Rosie Genova) MURDER MARINARA, first in a new mystery series featuring a quirky Italian-American family and their restaurant on the Jersey Shore, to Sandy Harding at NAL, at auction, in a three-book deal, by Kim Lionetti at BookEnds." Rosemary DiBattista, author of MURDER AND MARINARA I wanted to pass along the good news that I signed with Writers House this week, and they'll be representing my novel TINY DANCER. I'm certain that I would not have gained their attention were it not for the vastly improved novel and pitch I crafted at the NY conference in June. - Kelly McNeil, signed by Writers House "I attended Algonkian conferences in NYC and San Francisco in 2009 and 2010. They were among the best experiences in my writing life. I met some of the most powerful people in the publishing industry, both major publishers and agents ... I was offered a publishing contract by Harper Collins UK soon after my last visit to an Algonkian conference. I am now translated into 10 languages." Laurence O'Bryan, Author of THE MANHATTAN PUZZLE Two of the four editors I met with asked to see my work and the other two were very interested ... I credit the reception of all four editors to the pitch. It generated questions which helped me explain in more detail the vision of the project. - Pam Binder, Best Selling Author "Algonkian offered me the opportunity to be part of a real writers group where my ideas and evolving characters were first introduced to other writers and potential readers. That critique allowed me to tweak my characters and storyline to perfection. Algonkian's approach in fine tuning my pitch helped me to tighten my manuscript as well. As a result, my manuscript sold to the very first publisher who saw it." Roberta Gately, author of LIPSTICK IN AFGHANISTAN I am arrogant, manipulative and intelligent, but not unrealistic. The New York Pitch Conference was exactly what I needed - a reality check. I learned what publishers look for and shy away from, and gained a deeper understanding of the unlikely odds of becoming one of the few that get published. I walked away with a lot of work to do - reworking parts of my novel and studying my genre. - Terri-Lynne Smiles "My workshop leader at the NYC Pitch and Shop Conference, Michael Neff, believed in me. The careful advice, connections, and publishing savvy I received there made all the difference. Because of that conference, I was introduced to the woman who became my editor at Berkley Penguin, and later to the woman who became my agent." Ann Garvin, author of ON MAGGIE'S WATCH Agent Jill Grosjean requested to read my manuscript, ESCAPE TO LORELEI, one month ago. And today, I'm proud and excited to tell you that she is my agent ... Jill made a point of addressing the well written pitch and I was quick to mention the Algonkian event ... I'm grateful that I had the opportunity to participate in the NYC Pitch conference. What I learned from the experience was invaluable. - Loretta Marion "The Algonkian Pitch Conference helped me constructively in channeling the information into a focused pitch, which I used successfully, and as a consequence, my novel, JERUSALEM MAIDEN, was published by HarperCollins!" Talia Carner, Author of JERUSALEM MAIDEN The Algonkian Conference assignments helped me to refine the organization of my novel, and see it in context of the actual market. The intensive pitch workshops were brilliant for learning to see work from the publisher's point of view. The agents were very generous with their time and gave thoughtful feedback to everyone. I also attended the New York Pitch Conference and can say that these two conferences have filled in the blank left by my MFA: how to actually get published. - Kari Pilgrim "This conference helped me TREMENDOUSLY. Tremendously. I changed the title of my manuscript after it was clear that our group didn't really care for it, and the title change helped me realize some of the book's themes; I was asked to submit my manuscript to an editor at Penguin (something I put on my query letters); and I tightened my query to the point where I was 90% successful in terms of agents asking for partials or fulls. I also met some good writers there. Three of the writers in the group I was in have made deals. I'm with Shaye Areheart; another writer is with Plume; another is with Knopf." Will Lavender, Author of OBEDIENCE Most effective for me was learning how to write (and rewrite) the pitch based on feedback from those in my group, and the editors. In the process, I really dug into the book - what it was about, what I was trying to say, what the strengths and weaknesses were - discovering elements of it that I hadn't noticed before. - Writer and editor Chris Stewart "The New York Pitch Conference offered direct access to major publishing houses, great mentors, and a community of supportive writers ... The intensive workshops force you to crystalize the appeal of your manuscript. That helps greatly in the pitch sessions, but also -- maybe more importantly -- in drafting query letters and in editing the novel itself. It's no coincidence that such a large proportion of our small group found publishing success." John Ford, Author of THE MORGUE AND ME If they just gave you what you paid for at the New York Pitch and Shop conference - face time with serious decision-makers from the top publishing houses - it would be worth 10x what they charge. But they go further; personal guidance, encouragement, and honest evaluations of your novel. - Ginger Lombardo My weekend at the New York Pitch Conference was one of the few highlights in my beginning writing career. The tutoring from the workshop leaders, the support and encouragement of my fellow writers, and especially the feedback from the editors was well worth my time and money. Three of my children attend private universities and three others are enrolled in expensive athletic programs- (that's right- six children, one husband, a mortgage and a whopping grocery bill) pennies are precious, my spare minutes are few, but I considered the conference invaluable. I shopped conferences extensively before choosing the New York Pitch Conference. Because I've a finished manuscript that has been extensively work-shopped, I wanted a conference where I received personal evaluation and critique by professionals who are top in their league. I got what I wanted and more. - Kristine Tate I went to the most recent conference worrying how to juggle four editors all wanting my well-written, professionally-edited, much revised story. That was not a problem, however. I learned that my masterpiece is going to rot until I learn how to pitch and market the theme (a.k.a. premise). At another writer's conference, I had 15 minutes each with an agent and editor who, having previously read some of the manuscript, told me my writing was excellent, the humor great, etc. But they weren't interested. At the NYC Pitch & Shop conference, I learned why. If you cannot sell your novel idea within the first two minutes, the remaining time is for polite chat. That's the real world. - Greg Bascom The New York Pitch Conference, as rumored, is cool, and like someone said, a little like American Idol. Writers are real tense and anxious about their meetings and the responses they are getting. Some of them cry and others storm around, but the pitch staff calm them down. They have too much stake in the process and want to quit their day jobs. I don't blame them, but ya gotta have perspective. One of the coolest things about the New York Pitch Conference is the venue at Ripley-Greer. Lots of art and cool theater people and ooooh la-la dancers of both sexes mingling and rubbing shoulders with the writers. Never seen anything like it, really. - David O'Keefe I attended the most recent New York Pitch Conference and as a currently unpublished author found it to be well worth the time and expense. I travelled from North Carolina, paid for a NY hotel (at a reduced rate thanks to the conference sponsor) plus airfare. Not only was I able to refine my pitch and present it to interested publishers, but participants were able to sit in on early pitch sessions and benefit from the professional critique of other pitches. Oh, and by the way, an executive editor who has worked with the likes of Tom Clancy is currently considering my mystery-thriller manuscript for publication. How much is that worth? - Guy Forcucci Before attending the conference, one ought to do one's research. From what I was led to understand, there were no guarantees. It was not advertised to be anything more than a conference for pitching to editors - face to face. I did not expect editorial help, except as related to the pitch, and I was given more than I expected. I was also given a peep-hole into the current state of affairs in fiction, and I saw what kind of a crapshoot it is - not just for writers but for editors, as well. I saw that editors who were known for taking a certain kind of fiction could be on the lookout for other kinds, so long as it met this nebulous criteria of seeming marketability. When I parted with my $500, I knew from outset that there was a chance that none of the editors might want to see my work, and even if they all wished to see it, that there was no guarantee any of them would take it. It was difficult, but it was an experience I'm grateful for. It was informative, as well as being a reality check, it was helpful in providing editorial contacts, and it was an opportunity for bonding with other writers. The people in my group and our facilitator were first rate human beings. - Alice B. I attended in March. Before applying, I studied the website. I made sure I was the kind of writer who might find the experience -- and hence the expenditure -- worthwhile. It was obvious that there were no promises made regarding contracts, fame, or fortune. What you were promised was face time with 4 editors, and what was promised was ABSOLUTELY delivered. On the first day, participants were aided in developing their pitches -- a very different animal from the standard query letter -- and during the following days, we pitched and honed accordingly, all the while aided by the conference organizers and presenters. Personally, I came away with more than I initially expected. 3 of the 4 editors asked for partials and/or the entire manuscript. My novel is still under consideration by an editor I never would've reached via the slush pile. Other participants had similar success, while others still received a much needed reality check, or simply insight as to how the publishing world works. There were disappointments to be sure, but it wasn't due to the conference, it was due to the individual manuscripts. Writing is a subjective art form, like love, and like love, not everybody found a match during our "speed dating" sessions with the editors. However, everyone in my group -- regardless of their success level -- found the experience worthwhile. Most importantly, I met a lot of great people who do what I do and are at the same place in their literary pursuits. I live in the Midwest. I don't come across many people who are aspiring authors. Writing is a solitary endeavor and to have met a few colleagues, as well as another writer with whom I now exchange work and have a real and lasting friendship is, as the Mastercard ad says, priceless. - Amy Hanson Like others, I came from quite a distance and found the workshop to be more than I had been able to imagine, because I had no idea that what we were going to learn was so labor intensive. I couldn't imagine how it could take three full days to perfect a one to three minute pitch. I can now, and really have a grasp of what I've taken on. This line of work--writing fiction--is no where near an easy task. Sometimes I wonder if I'm off the deep end, but I love the writing and so am willing to keep trying. I appreciated the fact that there were no punches pulled. The Shop staff were almost brutally honest when it came to my writing and that is exactly what I wanted. And, I was told what was wrong and what road to take to fix it. Again, exactly what I wanted. I was told from the first that only a certain level of writing was accepted at this 'conference', and I found that to be true. It was scary exciting and intimidating, as well as motivating to participate in this workshop. Like anything, no one thing works for everyone. - Lisa Buie-Collard I came from Canada, another from the Cayman Island, others widely from across the USA. The conference offered training in how to "pitch" one's manuscript, and it offered a face-to-face opportunity to pitch to four editors. It delivered. There were days of discussion on improving the pitch, rehearsal sessions, opportunities to discuss one's work and whatever else one pleased with fellow 'wannabees.' Reduced cost hotel accommodation across the street was also arranged. I did not personally get a contract. Penguin did look at my book and rejected it -- I can't believe that was for any reason other than it didn't match their requirements. Anyone signing up for this workshop should feel comfortable that they will get what they are told -- however, a guarantee of publication is NOT PART OF THE OFFER. - Michael Hall I attended the latest pitch and shop and found it to be tremendously helpful. If you have honed your craft and written a saleable product you should have no problem attracting an editor's attention. You learn how to pitch in one minute. I didn't understand how that was done. I do now, and I do it very well. I recommend it highly. It was the the best writing conference I've experienced. - William Holland These are my experiences with the Pitch Conference. I suppose in the back of my mind I went in hoping for some miraculous discover me at the soda fountain Hollywood story. This didn't happen but then I'm no Lana Turner. The meat of the conference was preparing the pitch. This meant giving the pitch to others in a group of about fifteen writers and listening to their pitches. This helped me focus on two things: what was my novel really about and how could I communicate that effectively in as few words as possible? These may seem like simple matters but to watch fellow writers struggle to make a compelling summary of their works was fascinating and instructional. This process was repeated and the improvement in the presentations was apparent. The pitches were presented more confidently and they were worded more confidently. We had a good group. I respected them as writers. Members of our group actively rooted for one another and we have kept in touch since. All of the ones I have communicated with shared positive stories. There are several I am hoping to see in print come some day. I saw four editors. My pitch lasted two minutes followed by the editors asking about three minutes of to-the-point questions. One asked for my manuscript. After a couple of months of mulling it over, it was ultimately rejected. The NYC Pitch Conference was an excellent experience for me. In a short time I learned how to see through an editor's eyes. I understand now how to present my creation in that one page query letter that seemingly every agent requires. Worth the money? Not if you are only hoping for that Lana Turner type moment. But it taught me what I needed to know to bridge the gap between art and business. I would consider doing it again - especially if I knew I was to have as enjoyable and affirming group as I had my first time. If I were to drop something in their suggestion box I would have the team create a conference for graduates of the first conference. If I were to return, a lot of the basics I would be learning would be redundant. BTW - the Lana Turner story is a myth anyhow. - Martin Hill Ortiz I attended the June New York Pitch Conference and found it to be an amazing experience. Right off the bat there were no promises of publishing contracts. There were promises of a reality check, help in perfecting our pitches and face time with four reputable editors from major houses. They delivered 100% and then some. Our group leader, an established writer and teacher, took the time to work with us to hone our pitch, making himself available before our morning session began and it the afternoons. He sat in with us when we pitched to the editors. Our face time with the editors was not one minute, it was anywhere from five to fifteen minutes. The editors also provided helpful critiques. An executive editor from Penguin requested my ms, I would not have had the opportunity to pitch to him if I wasn't at the conference and my pitch would not have been perfect if it wasn't for the guidance I received by my group leader. Although not everyone was asked to submit their ms, we all gained valuable advice and critiques to better our work. No one in my group found the conference to be a waste of money. I also agree the conference reminds me of American Idol. We were all very nervous and very tense, but we bonded together to cheer and support each other. Most of us still keep in touch and have gotten together post conference. I've made valuable friendships and have the support of other writers and that's priceless! - Robin Tauber ____________________________ Dear Michael and Charles, Some encouraging news since my return from our workshop, I've managed to garner a blast of new agent interest in reading my manuscript, a development I attribute to having fine-tuned my pitch there with you. The following agencies received my new pitch via email queries and are now reading the entire MS: Levine Greenberg The Rights Factory (Toronto) Trident Media Imprint Agency Folio Literary As to the chat forum, I did take some advice about smoothing out the first few pages, it can only help...but left my opening essentially as it was. I can see the value of mass response but a few of us are emailing each other with larger chunks of ms which answers my needs better right now. Finally, the workshop was a good experience for me. I benefitted from hearing the refining process go on for others' work as well as my own. It was overall a great group of people and your own leadership was terrific. Thanks again. Victoria Costello ____________________________ I'm a children's writer hoping to break into the historical novel market. The Algonkian Workshop surpassed every other conference I've been to. It wasn't "rah-rah" pep talks that do little more than leave an unpublished writer frustrated. It was four days of intensive, down-to-business training and face-to-face contact with agents and authors who told us what we really need to know--and do--to get published. And the agents invited us to send our book proposals to them, first. That's more than worth the price of admission. Kathryn Dahlstrom, Author of The Good News Club series ____________________________ Algonkian Workshop is an intensive nuts and bolts primer in learning and examining the techniques of storytelling and dialogue. It gets the writer focused on the ingredients that bring a story or a novel to life. Of the six workshops I have done in the past four years, Algonkian is by far the best. Michael B. Miller, Translator, Virginia ____________________________ The motto and approach, 'write from the heart, but smart,' is pure genius. If you're serious about writing and getting published, an Algonkian conference is the way to go. Peter Eichstaedt, Newspaper Journalist and Author of If You Poison Us ____________________________ I have returned to writing after a 20 year hiatus. The Algonkian workshop was instrumental in helping me focus and clarify my characters and story. The small size of the workshop encouraged interaction between attendees and with the facilitator. We all got a lot of specific feedback on our work; the feedback was constructive and specific. I highly recommend the Algonkian Novel workshop for anyone looking for new insights on his/her work. Amy Roeder, California ____________________________ From H. Scott Dalton (attendee at New York Pitch Conference) Since the conference, three of our group, including Will, have been offered contracts for the books they pitched (I, unfortunately, have not had an offer yet). All three say the coaching they received at the conference helped them shop their books more effectively by tightening and targeting their queries. For myself, I decided to attend for a few reasons: It gave me a chance to meet other writers, folks serious about this craft, including some from the Big Bad Industry. It gave me an opportunity to get a reality check on my writing and my book, and help me figure out how to market it to maximize my chances. It might get me struck by lightning, get picked up and avoid the frustrating query-and-rejection cycle I'm in now (please note, though, I did not go thinking I was guaranteed a contract). Hell, it was a chance to go to New York. As it happens, all but the struck-by-lightning thing worked out. I'm still in contact with several of the folks I met there, one of them Will, and we all continue to learn from each other. Personally, I find it useful to be able to put names and faces to my fellow rookies, and have at least one common experience to look back on. And meeting one-on-one with four real live editors helped me gain a little perspective on this business; the four of them, and all the rest of you, are much more human to me now than before. For me, the conference was worth the price tag. tradition2.jpg comic.png
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