Network
Smarter, Not Harder
by Tim Waggoner
It's not what
you know, it's who you know.
That bit of conventional
"wisdom" is often cited by writers to explain
everything from rejection letters to the lousy state of
publishing. It's not my fault, they think. It's
the publishing good-old-boy network keeping me out.
There's no denying
that networking is important -- perhaps even vital these
days -- in creating a writing career. But too many people
hold a narrow view of what networking is. They imagine standing
around at a publisher's party at a conference, free drink
in hand, schmoozing with editors and agents, regaling them
with wit and wowing them with a verbal description of their
latest (planned) 300 thousand word opus. But in its purest
sense, networking is simply about making connections, and
you don't have to be a mainstay of the New York publishing
scene to do it effectively.
One of the first
ways that writers can start making connections is by taking
classes. Creative writing classes are offered through colleges
and universities, of course, but they are also sponsored
by adult continuing education programs, libraries and local
arts organizations. Taking a creative writing class can
provide an excellent opportunity for feedback from a (hopefully)
skilled instructor, and from other student writers. But
it can also provide the beginnings of a writer's network.
Your instructor will be able to point you toward resources
-- reference books, writing programs and conferences in
your area -- which can, if nothing else, decrease you writing
career learning curve.
Your instructor
should be able to give you advice on publishing, perhaps
even provide you with some contacts. But the truth is that
many creative writing courses are staffed by instructors
who've published little, if at all. Always try to learn
something about an instructor's credentials if you can before
signing up for a class. Ask to see a bibliography of the
instructor's published works, and try to track down and
read some of them. Caveat emptor.
But even if the
instructor is far from a best-selling author, that doesn't
matter much. Because the most important networking opportunity
is the chance to hook up with your fellow students. From
creative writing classes, writers’ groups are born. Groups
which can continue providing feedback on your work long
after the class ends; groups which also can pool their knowledge
of marketing and submission strategies.
But what if there
aren't any creative writing classes offered in your area?
How can you establish a writers’ group then? By advertising,
naturally. Put up notices in libraries and bookstores. WANTED:
ONE WRITERS’ GROUP.
Author readings
and signings are other excellent networking opportunities.
You might be able to chat with the author for a bit and
ask questions. (Maybe even more than a bit since signings
and readings are notorious for being poorly attended. You
may well have the author all to yourself.) You can also
meet other beginning writers. Take a notebook with you and,
at an appropriate time, announce you’d like to form a writers’
group and pass the notebook around for interested parties
to write down their addresses and phone numbers. You can
also pass out business cards if you have some (and you should).
The Internet
has been a boon to writers. You can take classes online
and connect with other writers via newsgroups and chat rooms.
You can exchange stories for critique through e-mail and
of course share those all-important marketing tips.
Author web pages
are also wonderful resources. Not only do authors sometimes
post articles on how they got started or offering advice
to newcomers, often authors’ e-mail addresses are also provided.
Got a question or two? Go ahead and e-mail an author, though
don't be surprised if he or she's too busy to respond. And
don't bombard them with "where's my reply" follow-ups.
Annoying people is not an effective networking strategy.
Writers’ organizations
are also great networking resources. Often, you need to
have only one pro story sale under your belt to join as
an affiliate member. You won't be able to vote in officer
elections or for awards, but you’ll be entitled to receive
the organization’s publications, such as handbooks, newsletters,
even directories of members (with those handy e-mail addresses).
Even if you haven't made a pro sale yet and don't qualify
for membership, you can still often purchase and subscribe
to an organization’s publications.
Conferences and
conventions are prime networking opportunities. Not only
can you attend workshops and informative panels on writing,
but you can often speak with program participants -- authors,
editors and agents -- in the hall after a panel or at other
slow times during a conference. Come prepared with questions
and always bring along a manuscript or too. Never thrust
your work upon someone, though. Always wait to be asked.
You can also
become a program participant yourself with only a few sales
to your credit. I began sitting in on panels at Science
Fiction conventions after only having sold a handful of
stories. All I did was write the conference's director of
programming, introduce myself as a local writer, list my
credits, and relate my desire to be on a few panels.
My first convention
as a program participant made all the difference in my career.
Not only did the other writers see me more as a peer, I
was able to hook up with a writers’ group which counted
several published novelists among its members. I can't begin
to tell you how much I've learned from them, and far more
important, I made some great friends.
And that's what
networking is all about, really. Not cold-bloodedly using
other human beings to advance your career. But making connections,
making friends. I began this article with a bit of writing
wisdom. Let me close with another. Good writing happens
when good people get together.
Good careers
can happen too.
|
