5 writing conference takeaways

Writing conferences are important and beneficial for several reasons, whether you’re looking to network, improve your craft, browse new releases, get feedback, or even pitch a book. Here are five things I learned throughout the two-day LDSPMA 2023 conference that we attended in Orem, Utah.

I’m a huge fan of writing conferences. A weekend packed full with classes, presentations, keynote speakers, goodie bags, vendors, and opportunities for networking is always time that I consider well spent; after all, investing in our education as writers and readers can only benefit us.

While I was finishing my Editing & Publishing degree last year, I was introduced to the smaller LDSPMA conference hosted in Utah County. It was close to school and very affordable—and when I showed up, the speakers and classes were so phenomenal that I walked away with lots of inspiration for my novel project. At the time, my manuscript was only around 35,000 words and had a long way to go, but I had already decided I wanted to come back.

Fast forward one year later: I was back at the conference, saying hi to friends I met last year, finding some new ones, and enjoying the classes again. But this time I also represented A&F Editorial, andI pitched that (completed) novel manuscript for the first time. I’ll be writing separate articles on pitching and writing query letters, but here are five valuable things I learned from the various classes and interactive sessions I attended over the weekend.

1. Creativity takes hard work and a willingness to make sacrifices—to be disciplined.

When it comes to writing as a career, one of the biggest hurdles is simply finding the time. John Bytheway, a bestselling author of more than 30 books, kicked off the conference weekend by quoting this legendary poet:

“The heights by great men reached and kept were not attained by sudden flight, but they while their companions slept, were toiling upward in the night.”Henry Wadsworth Longfellow

Bytheway then shared in his keynote address how he made the decision to trade his least productive hours (10pm–midnight) for writing time in the early morning (6am–8am). On the days he showed up, he rewarded himself with a delicious glass of orange juice. This sacrifice is what gave him the time to draft and finish his manuscripts.

Writing careers don’t happen without the writing part first, and we must be willing to put in the hours to make it happen while embracing the risk of failure.

2. Creative ideas can come from many different places.

Bytheway’s keynote also shared some of the sources from which he draws inspiration for his stories. “Some content,” his presentation shared, “comes from hard times.” Imagine the bad days or lowest moments of your life—what sorts of stories can be pulled from them? What was it that helped you overcome those moments? Can those lessons be woven into new stories? Other ideas came to Bytheway through necessity. He was given a teaching position and needed to be able to teach his students some complex ideas in ways that “a mom talking to her college kid would understand,” as he put it. So he wrote a few short books to help meet those needs. As a father, Bytheway found some of his writing inspiration from trying to raise a family. The questions that his children asked him about life drove him to new stories. And of course, through his personal interest in aviation, Bytheway wrote stories about flying and collected real-life experiences of dozens of pilots to publish as a collection.

There are sources of inspiration all around us when we’re ready to look at life through the eyes of a storyteller.

3. Marketing your book properly requires nailing the Hook, the Book, and the Cook.

This idea was presented at a workshop about writing book pitches and proposals that get noticed. The three main components of the discussion—the Hook, the Book, and the Cook—address the key points that need to be made when writers are presenting their book to potential agents or publishers, but it can also apply to how a book is marketed in general.

The Hook needs to capture the story without giving it all away, generating curiosity and convincing the listener that they simply have to read on. It can be 1–2 sentences long, but remember: the shorter the better. Less is more when it comes to hooks.

The Book is the overarching description of your book, with a few more details than you can fit into your hook. It showcases how your story is unique and includes the statistical side of your manuscript: word count, genre, intended age of audience. Fiction writers need to make sure they include the Protagonist, Goal, Obstacles, and Stakes. Nonfiction writers need to present the Problem, the “Hero,” and the Theme.

Lastly, the Cook is the person behind it all: the writer. All pitches and proposals should include a bio of some kind that establishes credibility and shows the agent or publisher that the writer is reliable, educated, and dedicated to their craft.

For writers who are writing book proposals, be sure to include a Marketing Analysis and Marketing Plan (this element of the proposal is almost always missed). Analyze similar books, including your own comp titles, and answer these questions:

What made those books successful?
How does my book compare?
What makes my book different?

Include a brief description of your specific audience and your comp titles. (Comp titles should be similar in format, length, and audience, should explore similar themes/concepts, and should have been published within the past 3–5 years. These titles will help agents and publishers understand where your book would belong on a shelf in the bookstore; you don’t need a comp title that matches yours exactly.) A Marketing Plan simply shares what efforts the writer will make to sell their book, such as class visits, events, or interviews, their current social media presence, any existing website, blog, and/or email list, and any potentially notable endorsers for the book itself (for example, if you happen to have a personal connection to a very well-established author who would be willing to read and endorse your book, that’s good to include).

4. Approach writing with clear intention to connect to readers’ emotions.

Utilizing emotion in writing is one of the most crucial but challenging elements of writing a book. Each character needs to be deep but different, rational and capable but with realistic strengths and weaknesses. Some devices that can affect emotional writing include psychological distance, weather, actions, physically or externally-expressed emotions, metaphors (avoid the cliche), details (minimize your adjectives and flowery prose so that every descriptive word packs a punch and has a purpose), character thoughts (how they respond to trauma or elation), setting (the environment that echoes their feelings), and dialogue (powerful adverbs used sparingly).

5. Many myths surrounding self-publishing are actually pretty outdated.

Hybrid author Heather B. Moore has published both traditionally and independently. In her session on publishing, she reflected on the pros and cons of both paths, and busted some common myths surrounding publishing, such as:

“If you self-publish, an agent or publisher won’t pick up your book.” → MYTH. It is definitely possible for your self-published book to be noticed and picked up by a traditional publisher. Just make sure you read your rights and know what you’re agreeing to before you sign.
“You need to finish your book before you start querying.” → MYTH. You can query before your book is finished, but be aware of timeliness in the publishing world. If you get a quick response from a dream agent who wants to see your manuscript right away and it isn’t completed, that puts you in a stressful situation.
“It’s really easy to self-publish.” → TRUTH. With the tools available to writers today, it is technically easy to get your work published. However, it is not easy to self-publish well; this requires investment of time, funds, and gathering a team to produce a high quality book.
“A publisher will do all your marketing, so if you want to focus on writing, you should submit traditionally.” → MYTH. Publishers will look you up as they consider working with you on any sort of book deal, because authors published under their name represent their company. If your social media presence is nonexistent or primarily negative (such as rant accounts), they will be hesitant to work with you. On the flip side, if you’ve generated an audience for your book already, this will often pique a publisher’s interest.

If you’re considering attending a writing conference, I encourage you to go! The connections and resources you’ll find are so valuable. What’s more, you may also discover an opportunity to pitch your book, get feedback on your writing, or build a list of beta readers and critique partners.

Hannah L. Ackerman