Category Archives: MichelleGagnon

Conference Words of Wisdom

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Conference and conventions can be an important part of a writer’s development, helping with craft, connecting with both readers and other authors, and recharging your creative batteries.

Last week my wife and I attended the 83rd World Science Fiction convention, held in Seattle this year. World Cons run for five days, and are packed with programming, including a writing and publishing track. Around 7700 people attended. I moderated a panel on crafting a sustainable writing career, and was also on the “Writers Workshops: The Good, the Bad, and the Ugly,” panel, and sat in the audience for a number of other panels, including an excellent one on the state of the science fiction magazine market in 2025 and another on British mysteries and what makes them different from American ones.

While I’ve been to numerous science fiction conventions and several writers conferences, my one mystery conference so far was Left Coast Crime 2024, also held in the Seattle area, which I found to be equally engaging. I had the privilege of moderating a panel and being on another one, and also met a number of fellow authors and also avid readers.

Today we revisit three posts by Michelle Gagnon, Laura Benedict and Terry Odell that provide advice on attending conferences. All three are worth reading in full and, as always, are linked from their respective dates.

  • What do I hope to get out of it? Mind you, I love hanging out with fellow writers and fans, but it’s hard to justify spending a thousand dollars over a weekend to do that (especially in this economy). So ideally, I hope to get on at least one good panel, and to network with people I haven’t met yet. There’s always a lot of debate on the lists about which conferences are worth attending, and I’m certain that everyone has a different experience. You might sell more books at smaller regional ones where you’re one of a handful of authors, whereas at larger conferences you might get lost in the shuffle. Yet at those big conferences there’s an opportunity to meet domestic and foreign editors, booksellers, and agents, and to get your name out to a larger cross-section of mystery fans.And sometimes the regional conferences are skewed toward local authors, so if you’re not from the area, you might find yourself relegated to the panel on bug detectives (not a well-attended one, in my experience). So it largely depends on what your career goals are at that given moment. Personally, I’m doing the same thing with conference attendance that I do with my financial portfolio: spreading it out between smaller conferences like Left Coast Crime (they had me at “Hawaii”) and big ones like Bouchercon (which I always seem to get a lot out of).
  • Is it a fan conference, or a writing one? Not that writers aren’t fans- we all are, obviously. But some conferences specialize in helping new authors hone their craft and pitch agents- which is invaluable for them, but I’ve discovered that at those conferences, I spend most of my time dodging requests to pass a manuscript on to my agent. I’d much rather go to a true fan conference, where most of the attendees are readers who want to meet their favorite bestselling authors, and who might be persuaded to try a new one as well.
  • Which genre does the conference emphasize? I’ve gone to a few romance conferences, and so far haven’t had much luck with those (although I know my friend Alex Sokoloff has had a much more positive experience). For me, going to RWA felt like starting over again; I didn’t know the lingo, and since romance isn’t a major component of my books, I drew a lot of blank stares. I’m considering giving Romantic Times a shot when it lands a bit closer to home, but flying to Orlando isn’t a possibility for me this April.

Michelle Gagnon—February 5, 2009

Here are some things to keep in mind if you decide to pop out of your writing cocoon and go to a conference or other gathering of industry folk:

Be confident.

This sounds difficult, I know. Sometimes you just have to fake it until you feel it. The NYT bestselling writer waiting in the coffee line ahead of you sits in front of the same blank page that you do every day, thinking, “What comes next?” You have that in common. You’re there for a reason, so act like it.

Be professional.

This is part of your job. Be sure you note the name of the person you’re talking to. It’s okay to ask, and asking is far preferable to ending up halfway through an impromptu lunch, petrified that you’ll be called on to perform introductions if someone else shows up. If small talk is required, talk about a panel or interview you just attended, or a book you recently read. Not your gallbladder, kids, or most recent tooth implant.

Be ready to learn.

Immerse yourself in the conference agenda. People who are interested in the same things you’re interested in put the panels and events together. It’s not all about networking.

Be curious.

Most people love to talk about themselves. Ask questions about their work, their pets, their hometown, their (professional) passions. Most wildly successful authors are good at making other people feel special in a short space of time. Really.

Be modest.

We’ve all gotten the FB messages: “Hey, we’re friends now. Buy my book!” Every writer wants other people to know about their work. But don’t make that your main goal. Your goal is to learn things, make new friends, and reconnect with old friends. There’s always a good time to exchange cards or bookmarks or websites. Name-dropping is a bit gauche, but allowed in small doses if it’s relevant to the discussion—or makes a better story.

Be gracious.

Be as nice to the mid-list or self-published writer standing beside you as you are to the editor you would kill to have publish you. Chances are you’ll have far more contact with that writer in your career than you will the editor. Not everything is about getting ahead. It’s about being a decent human being. Few things are uglier than people who spend their professional lives sucking up and kicking down.

Be generous.

You didn’t get to where you are as a writer all by yourself. I guarantee that someone around you has less experience. Introduce yourself to someone who looks as uncomfortable as you feel. Make them feel special. It won’t cost you anything, and the benefits are precious.

Laura Benedict—September 21, 2016

Left Coast Crime is a reader-based conference, which means the focus is on connecting writers with readers. The panels will be aimed more at “tell us about your book” and they’re a great way to meet readers and let them know what you have to offer. In a writer’s conference, a workshop on setting would tell you how important it is, and would give you a “lesson” in how to develop setting in your book. At a reader’s conference, the panel will be a discussion of where each author sets his or her books, and why they chose that setting. Same goes for characters, or genre, or anything else.

This year, I’m on a “Romance in Mystery” panel and who knows where that one will go! Ultimately, the goal is to entice readers to pick up the books, and also to let them know you’re a real, live, person. It takes a different mind-set when you attend a conference like this as an author. You’re wearing a marketing hat, not a writing hat.

However, no matter what kind of a conference you attend, there are some “survival” techniques I’ve picked up over the years, listed in no order of importance.

  1. Have copies of your receipts. Nothing like finding out they’ve lost your registration or meal choices or room reservation to start things off on a stressful note. Better to have them and not need them than to need them and not have them.
  2. Bring your own tote if you have one.Although most conferences hand out tote bags, they all look alike. If you bring one from a different conference, you’re less likely to have it picked up by mistake. (I also bring my own badge holder—the kind with compartments from another conference, just in case they give you a simple plastic one. This way, I’ve got a secure place for my badge, meal tickets, a little cash and other vitals—like business cards or bookmarks.)
  3. Don’t be afraid to meet people.It’s not required that you travel with a glued-to-the-hip companion. Take an empty seat, smile, hand over your business card, bookmark, or simple swag, and introduce yourself. This is one place where there’s an immediate conversation starter: “What do you write?” Or, in the case of a readers’ conference ‘read’? On the flip side, be polite and invite people to join you, include them in conversations. There’s a popular author who ignored me at a conference lunch table, and I haven’t bought any more of his books. Another good way to “mingle” is to volunteer. Most conferences are always looking for help.
  4. Bring comfortable clothes, especially shoes.You’ll be doing a lot of sitting, and a lot of walking, depending on how far apart the meeting rooms are. Also, bring layers. Regardless of the outside temperatures, meeting rooms can be meat-locker cold or steamy hot.
  5. Pace yourself.You’re not obligated to participate in every single event. Take breaks. Hide in your room for an hour if you need to. I long ago stopped feeling guilty about crawling into bed with a book at a decent hour. A lot of action takes place in the bar, so think about leaving some time for a visit there. Prioritize. Returning home with “conference crud”, or these days, the nasty virus, isn’t the souvenir you want.

Terry Odell—March 15, 2023

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  1. Do you attend writing / genre conferences? Do you have a favorite?
  2. If you attend a conference, what do you hope to get out of it?
  3. Any advice on getting the most out of your conference?

To Read or Not To Read

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To Read or Not To Read? That is the question.

 We had some requests for specific authors’ posts during a recent Words of Wisdom discussion, so I have searched the archives and found three posts from those authors, on the same subject – reviews and feedback, and how to handle them. I hope you enjoy the discussion, add your own comments, and even respond to others’ comments. The livelier the better.

I’ve invited the original authors of the posts to join us. We hope they will stop by.

Don’t Read Reviews

I know this is going to sound counter-intuitive, and for many authors, nearly impossible, but here’s my advice: don’t read your reviews, ever. Turn off that Google alert. Skip the Amazon reviews section. Ignore your Good Reads’ ratings. And if you must know what a blogger or traditional media reviewer is saying about your book, enlist someone you trust to skim the contents and give you the highlights.

This applies not only to negative reviews, but positive ones. Because here’s the thing. As we all know, a reader’s opinion of a book is enormously subjective. The way they approach a story can vary at different points in their lives, or even their day. They read things into it that you might never have intended–and they’re all going to have vastly different opinions about what worked and what didn’t. I’m always startled when I get feedback from beta readers–everyone always manages to come up with different favorite sections, and least favorites. So, when taking their advice, I usually try to find the commonalities, the issues everyone zeroed in on. In the end, much of what they say is taken with a serious grain of salt. – Michelle Gagnon (1/31/2013)

 

Writing Obstacles

4.) Listening to Naysayers – Everyone has advice on a topic they have no experience with. It’s rare that people who say “I’ve always wanted to write a novel” have actually even started one, much less finished one. Yet that doesn’t stop them from shelling out advice. Some advice I got was: write what you know, write a shorter story because it’s easier, write for a house that lists what they’re looking for in great detail (i.e., category romance) so you don’t have to think too hard. Surround yourself with positive people and those who support your writing endeavors.

5.) Putting Too Much into Writing Contest Feedback – Generally I found contests to be a good experience. They got me noticed and looked good on my writer resume, but you have to take them with a grain of salt.

As I studied the craft of writing, I entered various national writing competitions to see how my work stacked up. These were mainly through the Romance Writers of America (RWA) and their many opportunities to compete. There was a rush when I received word that my entries were named a finalist. Even my first entry had some success and the first time I entered the Golden Heart contest for aspiring authors in the RWA, I was a finalist. These things can go to your head and you have to stay focused on your objectives. Good feedback and negative feedback can have an effect on you, just as good or negative reviews can. Keep things in perspective.

In contests you get lots of judges’ comments and editor/agent comments when you final, but you have to take whatever works for you and disregard the rest. You must develop a sense of your voice as a writer and not chase every suggestion, otherwise you will lose your instincts by constantly needing reassurance you’re on the right track. – Jordan Dane (2/4/2016)

 

Writing Reviews

But I’m thinking I should change my ways. According to an article in the Economist, it’s the sheer volume of reviews–not whether they’re good or bad–that sells books.  People are much more likely to “click through” and buy a book if it has received lots of reviews, research indicates. Even when that volume includes a healthy slice of unfavorable reviews, the book still sells better. In fact, it’s better to have some negatives–readers mistrust books that have only favorable reviews.

In her MySpace blog, author Deb Baker discussed the importance of her reviews, and issued an appeal for more of them. She’s right on the money. When it comes to reviews in today’s online marketplace, volume counts.

So, I’m thinking we should join together and become an army of critics. We could post reviews of all the books we’ve read to get the numbers up. Or we could find a midlist writer who has, say, only 9 reviews, and bump him into the double digits (the threshold for boosting sales).  It doesn’t matter if you liked the book or not. Just post your review.  It would be our own version of crowdsource marketing.

Do you like to post reviews, and do you think writers should post reviews about other books online? Have online reviews played a role in your book’s success? – Kathryn Lilley Cheng (2/23/2010)

 

  1. How do you handle reviews and feedback?
  2. How do you think you should handle reviews and feedback?
  3. Any other comments on reviews and feedback?
  4. What do you think about Kathryn’s “army of critics” – “crowdsource marketing?” I’m ready to join. How about you?

Who needs to hang it up?

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by Michelle Gagnon

This is an ongoing discussion on one of the message boards I frequent, and I thought it was an interesting one. How long can a series continue before it sinks under its own weight?

When readers have latched on to a character or series, and whatever book follows in the progression is guaranteed to make the bestsellers’ lists, both publishers and authors are loathe to say Sayonara. But there are popular series out there that are starting to look a bit long in the tooth. And would those writers be better served by branching out into new territory? After all, if their name is established, wouldn’t most of their fan base follow them on whatever new venture they chose?

I’ll preface this by saying that I’m playing devil’s advocate here. I’m a huge John Sandford fan, and if he were to suddenly announce that Lucas Davenport was vanishing into the ether, I would be disappointed. Same with Jack Reacher, but for different reasons. What I like about Sandford’s books is that he has managed to keep them freash and interesting by varying the plots: some are more like spy novels, other focus on heists or serial killers. Plus, Lucas Davenport is one of the rare series characters who has actually evolved. I liked him at the beginning, but by allowing him to age and learn from life experience, I’m far more invested in him than I would be otherwise.

Paradoxically, the opposite holds true for Jack Reacher. He never changes. Thirteen books in, he still travels with nothing but the clothing on his back and a fold up toothbrush. And apparently he’s discovered that mythical fountain of youth, since he can still destroy pretty much anyone in a fight regardless of the fact that he must be approaching fifty by now. And yet, I don’t care. (I will say, however, that I secretly hope Lee Child someday branches off into a side series featuring Frances Neagley. Particularly after Bad Luck and Trouble, I want to know more about her and that company she runs). It’s the reason the Law and Order franchise is so consistently successful: you know what to expect, and Child always delivers it. He has the added liberty of being able to take Reacher anywhere in the world, from small towns to metropolises, and there’s no reason for him not to be there since he’s not locked into a job, tied to anyone or anything.

Others, however, have not been as fortunate. There are series whose books I devoured for five, ten, even fifteen books. But they gradually devolved into something that was either implausible or just plain silly. How long can you maintain a love triangle that never gets resolved? And for series set in small towns, how are we supposed to swallow the fact that their homicide rate rivals Detroit’s? I loved Karin Slaughter’s Grant County series, but after six books it was starting to suffer from Cabot Cove Syndrome: how could so many terrible things happen in a rural Georgia county? Who would ever move there with that level of crime? Property values must have been in the basement after the third serial killer in as many years passed through. Moving the series to Atlanta and combining it with her other series revitalized it for me.

So let’s hear it: who needs to hang it up? And what series have defied the odds and held your interest?

Reason to kill?

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By P.D. Martin

Today TKZ is thrilled to have a tremendous writer from the land down under join us, author PD Martin. In her latest release, Fan Mail, Aussie FBI profiler Sophie Anderson is working a case where fiction has become fatal. A popular crime writer is murdered and posed just like the crime scene in the dead author’s last book.

Could crime fiction incite someone to kill? This is a question I’m often asked, and it’s one of the themes I explore in my third book, Fan Mail.

Having done lots of research on murder and criminal psychology, my belief is that if someone is going to take another human being’s life, reading fictional accounts of murder is not going to push them over the edge. Having said that, we do live in a world where we’re increasingly exposed to violence and graphic crime-scene depictions.

Take the many successful (and entertaining) shows on TV: CSI, Bones, Law & Order: SVU…and then, of course, there’s Dexter. But have we really been desensitized?

A few years ago, after lots of meticulous research into horrific and violent crimes, I honestly believed I was desensitized, almost in a similar way to a cop. I’d imagined some horrible situations and written about them in detail. I was tough!

Or so I thought, until I met Victoria Police’s profiler, who gave me a list of law-enforcement text books to help with my research. I ordered them online and was so excited when they arrived; and the timing couldn’t have been better because I was packing for a week-long writing retreat. I threw the books in my luggage and headed down to the beach.

The first thing I did when I arrived was to unpack the books and start flipping through one…and then I saw it. The first page the book opened to was a photo from a crime-scene in which a woman had been raped then murdered. The killer had tied her down and posed her in a disturbingly revealing way. Next photo: a dead woman with both of her breasts cut off. Next photo: a decomposing body. Next photo…I think you get the picture. In that instant I realised my so-called desensitization wasn’t real. They say a picture tells a thousand words and in the case of crime-scene photographs, it’s certainly true. The new set of books disturbed me, but they also made me understand my character, Aussie FBI profiler Sophie Anderson, so much more intensely – to be faced with these photos every day and go on….it’s definitely one of the hardest jobs in the world.

I’m thankful that I write fiction because I can make stuff up and no matter how graphic and horrific, I know it’s not real. And this is also a large part of why I don’t think crime fiction can, or would, incite someone to kill. It is fiction, and no matter how descriptive or well written we know it’s not real. Law-enforcement text books on the other hand…they could be very scary in the wrong hands.
So I’m curious: what do you think? Could reading crime fiction serve as the catalyst for actual crimes?

PD Martin – Phillipa Deanne Martin – is an Australian author with a background in psychology. She has written four novels featuring Aussie FBI profiler Sophie Anderson, of which the first three are currently available in North America – Body Count, The Murderers’ Club and Fan Mail. See www.pdmartin.com.au for more information.

The Elusive Fifty Percent

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by Michelle Gagnon

There’s an old adage in marketing: fifty percent of your advertising will work. The kicker is that you’ll probably never know which fifty percent.
Large companies spend a lot of time and money trying to figure out which of their campaigns succeeded through surveys. But the little people (myself included) don’t have access to that option.

Which leads me to this week’s conundrum: trying to figure out how to divide my marketing money for The Gatekeeper. I would hate to eliminate an effort that made a difference last time- the trouble is, I have no idea which aspect of my marketing campaign impacted sales.

In an effort to narrow it down, I asked for help from the MIRA marketing team. Was there anywhere in particular where Boneyard posted more sales? In the Northeast, perhaps, or even in specific stores and chains?

Nope, they said. At least, not as far as they could determine- the best information they had to go on (which, as we’ve discussed in earlier posts, is limited at best) came from Bookscan, and the numbers appeared to be divided equally nationwide.

For other products, there are more options. You could try online ads one month, then print ads the next: if your sales showed more of a bump in the first month, the next time around you could focus more energy online.

Unfortunately, authors don’t have that luxury. Our books have a very limited shelf life. At least with my publisher, the first six weeks count most. Just one month after The Gatekeeper’s release date, many of the copies will already have been taken off the shelves. Hardcovers and trade paperbacks hang in there a bit longer, but for all of us, the next wave of releases knock us off the front racks and back to the stacks (or, worse yet, to the remaindering pile).

Which means that all of my marketing efforts are focused on that six week window. Which results in a madcap book tour, and thousands of dollars scattered in a dozen different directions. Let’s call it the “buckshot” approach to book marketing – throw out everything you can afford in every direction imaginable, and keep your fingers crossed.

I know what didn’t work with my first book. A mass mailing to over a hundred bookstores, which cost a third of my budget and hours of time, most likely ended up in the trash/recycling bin at most of them. Elaine Petrocelli of Book Passage illustrated this at a conference by holding up an enormous trash can filled to the brim with promotional materials from authors and publishers. All collected in ONE WEEK.
Obviously, the next time around I skipped that option.
Even ARCs end up in stacks in the booksellers’ backrooms, most never touched by a single staff member.

Advertising online has some advantages. On sites like Facebook, you pay per click – but whether or not those clicks actually turn into sales remains a big question mark. Some people even run strange programs to make fake clicks for these, meaning that it’s super important to invest in something like click guardian to keep your finances sound. It’s a bit of a minefield otherwise, and without the backing of a big agency individual authors can really risk a sizable amount of revenue just on making sure no one abuses those adverts on the platform. This is why some people choose to use some other method to utilize this system, with places like KlientBoost and other pay per click advertising agencies that could assist your business with pay per click marketing services.

The blog tour I did last time around had an added advantage in that it cost nothing but time- a lot of it, however. By the end of the thirty stop tour, I’d written more than 33,000 words, a full third of a book. And did that help sales? Impossible to know.

I doubt I’m alone in wondering if there might not be a better way. Now that the full burden of marketing has fallen on most authors’ shoulders, couldn’t publishers help by providing more feedback on where they see sales happening? Wouldn’t it behoove them to come up with a more accurate measure than Bookscan? If I knew, for example, that a significant chink of my sales were happening in Kroger’s stores in Arkansas, I’d make a personal effort to connect with those retailers.

Anyway, that’s my rant for the day. I’ve decided to create bookmarks, chapbooks, and magnets per usual- they don’t cost much, and are easy to pass out. I’ll probably do a more limited book tour this time around, and will focus my actual tour on visiting some stores I was forced to skip last year. Aside from that, I’m still at a loss, staring at my Boneyard marketing spreadsheet, wondering what else to include and what to cut. Any and all suggestions are welcome- what’s worked for you in the past? Has anything in particular compelled you to buy a book you might not have known about otherwise?