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また、ロレックス支持を高協と世界トップゴルフ大会機構の連絡、：サン・アンドリュースロイヤル古いゴルフクラブ（R&A）、アメリカPGA、女子プロゴルフ協会（LPGA）、アメリカゴルフ協会（USGA）、ヨーロッパツアー（Europeanツアー）、アメリカ名人戦（ザMaters）靑少年、アメリカゴルフ協会（AJGA）、PGAツアー（PGAツアー）を賛助中国ゴルフ協会と世界級のゴルフ大会組織と協力を含むエビアンマスターズ（Evianマスターズ）とエビアン靑少年マスターズ（ジュニアEvianマスターズ）。中国のゴルファーの訓练プロジェクトや靑少年の育成プロジェクトをロレックスの支持を得る。ロレックス_スーパーコピー時計サン・アンドリュースロイヤル古いゴルフクラブ（R&A）（美、カナダ、墨のほかにゴルフ競技の管理担当機関）に出版された『ゴルフルール』（RulesオブGolf）と言われるロブ運動の権威の典籍、本の中国語版の出版をロレックスまでの独占賛助。また、同項の戦略的協力のパートナー関係を深めると同じくきっと気ままなその後ロレックス国内トップゴルフ競技の関係を含む：例えば、ボルボオープン（Volvoチャイナの）、アジアアマチュア选手権（アジアンAmateur Championships）と世界選手権- HSBC选手権（WGC HSBC WorldGolf Championships）
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April 4, 2016, was a very exciting day for us. But all the action was happening half a world away in Bologna, Italy.
Our book, Feathers: Not Just for Flying (Charlesbridge, 2014), was on display at the Bologna Children’s Book Fair. Its Italian adventure began in January when Sarah opened an email announcing that the SCBWI was sponsoring a booth at the fair and books written and/or illustrated by PAL members from our New England Region (and eight other regions around the world) would be showcased.
Sarah was elated. It meant editors and art directors from countries all over the world would see her illustrations. Maybe some of them would like her artwork and hire her to illustrate a book.
Melissa was thrilled too. She knew that if publishers from other countries had a chance to see Feathers, they might want to purchase the foreign rights and translate it into their native language. This was a fantastic opportunity.
Our region has about seven hundred PAL members, so Sarah sent in the requested materials as quickly as she could, and we both crossed her fingers. Luckily, Feathers got one of the coveted first-come, first-served spots. Our book was going to Bologna.
Around 10:00 a.m. on April 4, Melissa received an email notification that she’d been tagged on Facebook by Kris Asselin, Assistant Regional Advisor and PAL Coordinator for SCBWI-New England. Kris’s post featured a photo of all the New England books on display in the SCBWI’s booth.
Melissa shared the photo on Facebook, tagging Sarah as well as Yolanda Scott, Charlesbridge’s Editorial Director, who was in Bologna. Yolanda spotted three other Charlesbridge titles in the photo and decided to head over the SCBWI booth.
After having her photograph taken with the four Charlesbridge books, Yolanda posted the image to Twitter and Facebook. Dozens of people shared and retweeted that photo. One of them was Jane Sutcliffe, author of Stone Giant: Michaelangelo’s David and How He Came to Be (Charlesbridge, 2014). In her tweet, she tagged the book’s illustrator, John Shelly, who lives in the United Kingdom.
Because Jane and John have collaborated on two books with strong international appeal, one of Jane’s Twitter followers is Just Imagine, a British company that assembles collections of related picture books and sells them to schools throughout the United Kingdom. Someone from Just Imagine spotted the photo and sent this tweet to Jane:
“Is Feathers available in UK? Looks interesting.”
Jane said she wasn’t sure, and tagged Melissa and Charlesbridge, so that we could follow up on the inquiry. Melissa sent Just Imagine a link to more information about Feathers, and Charlesbridge let them know that the title is distributed by Penguin Random House in the United Kingdom. The last we heard, Just Imagine was planning to place an order.
While we had high hopes for our book in Bologna, this is an outcome we hadn’t even considered. But thanks to the power of social media and a strong and caring international community united by a love of books, children all across the United Kingdom will soon be reading Feathers: Not Just for Flying. Now that’s a success story.
Thanks so much to everyone at SCBWI for giving us and our book this wonderful opportunity.Add a Comment
The Society of Children's Book Writers and Illustrators is pleased to announce the recipients of its 2016 Merit Plaques and Honor Certificates for fiction, nonfiction, YA fiction/nonfiction, illustration and poetry, which appeared in magazines during the past year.
The Plaque recipients are Brad H. Robie for his fiction piece "Benjamin Troll’s Incredible Inventions”, which appeared in the December issue of Highlights, Lori McElrath Eslick for her illustration of “Strip of Blue” in the September issue of Cricket, in nonfiction to Patricia Nikolina Clark for “Gabbing About Gum” in the July issue of Highlights, in poetry to Neal Levin for “Cavemanners” in the November/December Spider, and in YA Fiction/Nonfiction to Lynn Vande Stouwe for “Winterim” in the January Young Adult Review Network (YARN).
2016 Honor Certificates will be awarded in fiction to Neal Levin for “Messy Messages” in the November Highlights, in nonfiction to Elizabeth Armstrong Hall for “Homecoming” in the July/August Spider, in illustration to Helena Bogosian for “Clay Secrets + Picture Puzzler” in the January Highlights, in YA fiction/nonfiction to Beth Grosart for “Two Truths and a Lie” in the May YARN, and in poetry to Diana Murray for “Baxter the Cleaning Dog”” in the April Highlights.
Additionally, the SCBWI sent Letters of Merit to the runners-up: in fiction, to Michael P. Spradlin, Sue Gagliardi and Michael Sullivan; in YA fiction/nonfiction to Jennifer Honeybourn, Megan Mikhail, and Nick Cross; in poetry to Christiane M. Andrews, Jody Jensen Shaffer and Jessica Shaw; in nonfiction to Robin A. Zimmerman, Sherri Rivers and Christy Mihaly; and in illustration to Merrill Rainey, Helen Bogosian and again, Merrill Rainey.
Our congratulations to the winners, and our thanks to the Awards Coordinator, Stephanie Gordon.
The 2017 competition (for articles published in 2016) is now underway. For rules, visit the Awards and Grants section.Add a Comment
Jessica Sinsheimer has been reading and campaigning for her favorite queries since 2004. Now an agent at the Sarah Jane Freymann Literary Agency, she’s known for #MSWL, ManuscriptWistList.com, #PubTalkTV—and for drinking far too much tea. Always on the lookout for new writers, she is most excited about finding picture books, YA, MG, upmarket genre fiction (especially women's/romance/erotica, thrillers, mysteries) and—on the nonfiction side—psychology, parenting, self-help, cookbooks, memoirs, and works that speak to life in the twenty-first century. She especially likes highbrow sentences with lowbrow content, smart/nerdy protagonists, vivid descriptions of food, picture books with non-human characters, and justified acts of bravery. You can follow her on Twitter at @JSinsheim.
How did you decide to become an agent?
It actually wasn’t one conscious choice. I’ve always loved reading, writing and editing—so when my college roommate finished her internship at an agency, and said they needed someone, I was curious enough to try it out. Much as the Very Professional (and Mad Men-esque) atmosphere of that office terrified me, I still loved the work so much that I looked forward to going in every day. After several internships—at a publishing house and a magazine—I had the ridiculously good luck of landing with Sarah Jane as her assistant.
I think what really propelled me forward was that I kept asking questions. I was always trying to see how every piece fit together, and how best to maneuver with that information, once I could see the big picture. Sarah Jane was always encouraging me to take on my own work—but I was scared, actually, of taking that step. I was so worried that I’d do something wrong and ruin an author’s life! But then in 2008 I read a manuscript—Falling Under by Gwen Hayes—that I loved so much, I couldn’t stay away. I HAD to have that book! The deal was pretty stressful as first deals go—two similar offers from two Big Five houses, negotiated over the phone. But I made it! And the book, even now, continues to sell—in seven countries and four languages.
I’ve always cared more about finding the work that speaks to me than reading with a “Will it sell? Okay, how much is it worth?” mindset. Of course that’s important—but that’s not the reason why I’m here. I’m here because I want to connect with the work that reminds me how much I love reading. Being part of the creative process with an author—I actually LOVE editing! I love seeing a writer take my notes and run with them—is gratifying in a way nothing else is.
You started #MSWL. What prompted that?
It started because there were SO many things that I wanted in my inbox—but no one knew my interests until I’d already sold, and announced, something like it. I wanted a way to tell people that I wanted ALL THE BOOKS. And if I was having this problem, I figured, others would be, too.
So I emailed about twenty agents and editors on a Monday, suggesting that we all post our wishes on the #MSWL tag that Thursday—just as a fun, interesting thing to do. Most, of course, wrote back and said they were too busy. But when the day came, suddenly so many people were tweeting, the tag trended—and I ended up in Twitter jail (when they temporarily freeze your account because you send too many tweets per hour). I had no idea it would grow so quickly. There are a lot of ideas that never do. But I thought it would be useful and, therefore, worth a try.
We’ve since grown, and now have an amazing website, ManuscriptWishList.com. Each agent and editor can now log in and update his or her own profile, so everything remains current.
For writers, this is an amazing opportunity to look into the minds of agents and editors, and see what they want now—not what they wanted months or, likely, years ago, when they bought the book that just hit the shelves. The market moves too quickly for that. You can find people with niche interests that match your work—and get an insider’s view of the brains behind the industry. It’s the really specific #MSWL I love most—an Arsenic and Old Lace in orbit for YA? Awesome!
We seem to hear a success story every week or so—there have been so, so many matches because of #MSWL, and I’m thrilled to be a part of that.
What's on your manuscript wish list? What reels you in?
I’m always thrilled to find smart, active protagonists who know what they want and go for it—I’d love a spy novel (James Bond with a female protagonist would be amazing), a Dangerous Liaisons for teens, and/or a psychological thriller in a beautiful setting. I love the contrast of highbrow sentences with lowbrow content, beautiful settings and ugly motives—with a huge emotional range.
I’m also a huge fan of magical realism, especially for middle grade. Works that challenge our understanding of how the world works (adults always pretend we know exactly how everything works, even though we totally don’t!) are often compelling.
There is also such a need for characters with underrepresented viewpoints. I’d love to see a character like that in a position of power—and have things go well!
For picture books, I tend to prefer non-human characters, quirky/funny plotlines, and (if you’re a professional) gorgeous illustration. I’m not wholly opposed to rhyme, as long as it feels natural. I’m always fond of fractured fairytales, STEM elements woven in naturally, and biographies of lesser-known (but incredibly interesting) people.
What do you see your role as once you sign an author?
I see myself as something of a blend of editor, life coach, friend, lawyer, creative partner and someone who can see the big picture and help you navigate that. I’m a little bit of a benevolent control freak, but with a sense of humor. I completely overuse bitmoji when texting clients. I hear about their lives, their loves, their ideas, their passions—because all of that shapes who you are as a creative. I’m enormously fond of unusual marketing. One of my clients, Margot Harrison of The Killer in Me—coming out from Disney in July—wrote the most wonderful novel about a young woman on a road trip to stop a serial killer, and made postcards that say “Hi Mom…yes, I’m wearing sunscreen…drinking lots of coffee so I can stay up tonight and track a suspected serial killer”—which I immediately sent to my own mother, of course, with a note that PROMISES I’m safely at home, no serial killers in sight.
Of course I’m here to sell your book and get you the best possible deal. But there is so so SO much that goes into getting you to that point—and making sure everything goes well after. And I want to be there—to keep you as calm, happy, and informed as possible—every step of the way.
I think the very best creative partnerships come with absolute trust, and so I’m very selective as to who I let into that space. And I want to be sure that I can always make time for clients, should someone need something last-minute.
To submit work to Jessica, send her the query, with the first ten pages (in the body of the email) to Submissions@SarahJaneFreymann.com. For picture books, you are welcome to send the complete text—also in the email body. You can check your approximate wait time (she reads submissions from oldest to newest) on the hashtag #JSQueryStatus.
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How much handselling do you do? What in your opinion makes a best-selling book?
We handsell every day and all the time; that's very much part of what our customers expect of us and/or why they come back repeatedly to Bookbug: knowing that thoughtful/loved/well-matched books will be placed directly into their hands.
Criteria for a bestseller can be a moving target and dependent on so many different factors, including national buzz, local love and/or mass distribution (curriculum assignment) magic, but I can offer this statistical fact about our store: close to 90% of our bestsellers are books we are simply crazy passionate about and many of those do not show up on bigger bestseller lists, which I interpret as Bookbug doing its job to advocate for fantastic work that is otherwise falling under the radar of broader 'bestsellerhood' frenzy.
What would you like to see more of from authors/illustrators in terms of community involvement?
Not every author is an extrovert who wants to be (or perhaps even should be) the primary champion of her/his work, but each one has an obligation (I think) to understand the hard work (and many steps involved) in marketing, promoting and selling a book, and to build honest relationships with those that can help them. I realize I am biased here, but I do think, that in addition to building relationships with local librarians, teachers and other writers and illustrators, this means that authors/illustrators should get to know (really know) their nearest indie bookstore. Many authors assume this to mean that they should go in to their nearest indie, introduce themselves, and hard-pitch their work (or worse: email or cold call), but building an honest relationship is rarely achieved this way. A better bet always involves: browsing the store, discussing books and getting to know the actual people behind the actual counter (likely to be there every day in case of many stores) in order to build a true possible ally for your work and develop a longstanding mutually beneficial relationship.
Personal book recommendation?
Golly there are gobs, and without category guidance, my brain went to the most recent one I hand-sold (and genuinely love): The Bear and the Piano for its tender telling of a successful artist's relationship to his home.
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One of our May Draw This! winners, Vashti Harrison, was contacted by both indie and traditional publishers as soon as she was featured on our homepage, Twitter, and Facebook as a winner. She’s on her way to being published for the first time, and it was participating in an SCBWI contest that tipped the scales for her. We had just decided to end Draw This!, as we were beginning to see the numbers of participants dwindling, but upon hearing the great news from Vashti, we decided to bring it back. Helping launch our members’ careers is what we live for here at SCBWI so we’re thrilled to keep this feature going. Our next prompt is: Admire. Click here for Draw This! guidelines: http://www.scbwi.org/calling-all-illustrators-2/
4 Art Tips
There are many other ways that participating in SCBWI features, awards, grants, and contests can help get illustrator members the exposure you need to get discovered.
* When you submit your art to Art Spot and the Bulletin, you get the chance to be featured in the Bulletin, which is read by 25,000+ members, agents, art directors, and industry professionals. Click here for submission guidelines: http://www.scbwi.org/art-spot/
* When you submit your art to our contests, like the Tomie dePaola contest, grants, like the Don Freeman Grant, and awards, like the Bologna Illustration Gallery award, the winning art is featured prominently on our website and social media. Click here for grant and award information: http://www.scbwi.org/awards/grants/for-illustrators/
* When you upload your artwork to the SCBWI Illustrator Gallery, you have the opportunity to be viewed by art directors and editors searching for the illustrator for their next book. (http://www.scbwi.org/illustrator-gallery/)
* When you participate in both international and regional conferences and the portfolio showcases there, you are eligible for portfolio awards and your art is seen by art directors, editors and publishers. Click here for information on the Portfolio Awards: http://www.scbwi.org/awards/grants/portfolio-awards/
And, by participating in any of these features, you are greatly increasing your chances of being chosen as our monthly Featured Illustrator, promoted on our website and social media for a full month.
So remember, take advantage of the many ways SCBWI can help you get more exposure and put your work out there!Add a Comment
The SCBWI is excited to announce the winners of the 2016 Crystal Kite Member Choice Awards for our fifteen regional divisions:
Atlantic (Pennsylvania/Delaware/New Jersey/Wash DC/Virginia/West Virginia/Maryland)
Laurie Wallmark, illustrated by April Chu - Ada Byron Lovelace and the Thinking Machine (Creston Books)
Frané Lessac - A is for Australia (Walker Books Australia) and Peter Carnavas - Blue Whale Blues (New Frontier Publishing/Scholastic Australia)
Stacey Lee – Under a Painted Sky (Penguin BFYR)
Margriet Ruurs - A Brush Full of Colour (Pajama Press)
Angela Cerrito – The Safest Lie (Holiday House)
Stephanie Bearce –Top secret Files of History – WWII (Prufrock Press)
Melanie Lee, illustrated by David Liew – The Adventures of Squirky the Alien #3: Who is the Red Commander? (MPH Group Publishing)
Pat Zietlow Miller, illustrated by Eliza Wheeler – Wherever You Go (Little, Brown)
New England (Maine/Vermont/New Hampshire/Connecticut/
Lynda Mullaly Hunt – Fish in a Tree (Nancy Paulsen Books)
Kat Yeh – The Truth About Twinkie Pie (Little, Brown)
Southeast (Florida/Georgia/South Carolina/North Carolina/Alabama)
Rob Sanders, illustrated by Brian Won - Outer Space Bedtime Race (Random House)
Melanie Crowder – Audacity (Philomel Books)
Don Tate –Poet: The Remarkable Story of George Moses Horton (Peachtree Publishers)
Teri Terry – Mind Games (Orchard Books)
Elise Parsley – If You Ever Want to Bring an Alligator to School, DON’T! (Little, Brown)
About the Crystal Kite Awards
The Crystal Kite Awards are given by the Society of Children’s Book Writers and Illustrators to recognize great books from the seventy SCBWI regions around the world. Along with the SCBWI Golden Kite Awards, the Crystal Kite Awards are chosen by other children’s book writers and illustrators, making them the only peer-given awards in publishing for young readers.
Founded in 1971, the Society of Children’s Book Writers and Illustrators is one of the largest existing writers’ and illustrators’ organizations, with over 22,000 members worldwide. It is the only organization specifically for those working in the fields of children’s literature, magazines, film, television, and multimedia. The organization was founded by Stephen Mooser (President) and Lin Oliver (Executive Director), both of whom are well-published children’s book authors and leaders in the world of children’s literature. For more information about the Crystal Kite Award, please visit www.scbwi.org, and click “Awards & Grants.”
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Kate McKean joined the Howard Morhaim Literary Agency in 2006. She earned her Master’s degree in Fiction Writing at the University of Southern Mississippi and began her publishing career at the University Press of Florida. She is proud to work with New York Times best-selling authors in a wide variety of genres including Mallory Ortberg’s Texts From Jane Eyre, Madeleine Roux’s YA horror series Asylum, and Brittany Gibbons’ memoir Fat Girl Walking.
What path led you to becoming an agent?
I started, like many, as an English major. My genius sister suggested I get an internship at the university press at my school, and I did and that lead to a full time job as an editorial assistant after graduation. After working there a year, I went to graduate school for my MA in Fiction Writing and after having just about all I could take of being a student, I packed my things and drove to New York to become a literary agent. I knew it would suit my outgoing personality. That was almost thirteen years ago.
When you are reading a submission, what are the key elements it has to have to make you want to sign a client?
I first want to forget I'm reading a submission. I want to feel like I'm reading a full-blown book. That usually means I'm immersed in a world so much I forget what's going on around me. I want a submission to call to me, even when I have to do other things. It's hard, or near impossible, for an author to plan on that, but it boils down to writing an unforgettable book.
Off the page, I look for clients who are hardworking, realistic, who will roll with the punches, and who understand that publishing is a team effort.
Once you take on an author, what are your next steps for submission?
Every book is different. If I feel it needs a lot of editorial work, I'll discuss that with the author upfront and we'll devise a plan. I often don't know if I'll be line editing something or just writing an editorial letter until I'm knee deep in the book, but we figure out what the book needs and move toward that. Sometimes there can be more than one round of edits, but as my client list grows, I take on fewer and fewer projects that need that much work from the get-go.
When the project is ship shape, I create a submission list and discuss it with my client and I take their input and discuss any questions they might have. Then I write a pitch letter and start making calls and sending emails. Hopefully, it's not too long a wait until we have good news!
What’s on your manuscript wish list?
I'd like some fun YA romance and more contemporary YA of all stripes. I'd also like serious, literary middle grade that will break my heart into a million pieces. I am also desperate for nonfiction of all kinds for YA and MG audiences! Send me your nonfiction!
Three tips when querying an agent:
DO YOUR HOMEWORK. Submission guidelines are there to help you.
In your query letter, tell me what happens in your book!
Avoid all self-deprecating, cutesy, goofy, or sarcastic remarks about querying or publishing in your queries.
You can query Kate for the month of June email@example.com
Follow her on Twitter @kate_mckean
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Marietta Zacker was named a partner of the Nancy Gallt Literary Agency, prompting an immediate name change. Now known as the Gallt and Zacker Literary Agency, the organization will be jointly overseen by Zacker and Nancy Gallt, who founded the agency in 2000. Zacker joined in 2008, bringing “passion and hard work” to her job as a senior agent, and representing such clients as Sophie Blackall and Rick Riordan. In an article for PW, Gallt called her “an integral part of the Nancy Gallt Literary Agency – adding wonderful new clients, developing a great rapport with existing ones, expanding relationships within the industry, and bringing her expertise in and knowledge of the literary world.” This week, the agency also sees the promotion of Erin Casey from intern to junior agent, and the introduction of new intern Jessica Harold.Add a Comment
Do I need to sign up for each breakout workshop individually?
No. You're free to attend the workshop you wish. As you study the schedule, look to what draws you and peaks your interest the most. We know how hard it can be to choose.
Can I bring someone to the Gala and/or the Golden Kite Reception if I pay extra?
NO. There is only a certain amount of space we have and it is reserved for attendees only. Please do not put us in the uncomfortable position of having to turn someone away by trying to bring them in!
How do I make the most of the conference?
This will be the major focus of the First Time Attendees Orientation mentioned above. Hopefully during our brief time together we'll all get a great start to what should be an amazing weekend. Arrive ready to soak it all in.
The most popular question: What should I wear? Are jeans okay?
Think business casual, and know jeans are just fine. That said, we all know there is a spectrum of denim wear. The type you don in the garden is out, but a dressed-up pair is in. I've sported a pair of jeans to many conferences. Truly, you should wear something you are comfortable in, and I don't say that in a way that means physical comfort (although you should take that into consideration), but dress up your own personal style. What people choose to wear will vary greatly. A good rule of thumb: Wear something that you would feel comfortable in if you had the opportunity to say hello to an editor or agent, in which case you would want your clothing to say, "I take this opportunity seriously."
My other recommendation is to dress in layers. You never know if the hotel-conference room will be too hot, too cold, or just right (and it's different for every body and every room). You're also likely to find a drastic temperature change if you leave the Biltmore (California heat outside, air-conditioning inside).
Will people really dress up for the Red Carpet Gala on Saturday night?
YES! People will definitely be decked out in costume for this fabulous party. The Saturday night gala is a highlight of the conference, but also probably one of the scariest parts for those attending for the first time. I encourage everyone to attend. That all said, you don't have to play along with the theme, but you can feel safe knowing the majority do, and you'll see everything from A to Z. Come in something that works for your own comfort level. Oh, and bring your dancing shoes.
What options are available for food – especially during conference hours – and what should we expect as far as prices go?
There are actually quite a few options for food. In the hotel, there are several restaurants, as well as a coffee shop and smaller food outlets. During lunch breaks there will be outlets with reasonable prices. There are also many restaurants within walking distance. Grab a downtown LA map from the hotel for nearby quick lunches. We try to be sensitive to food alergies, but we cannot please everyone. If you have special food requirements you might want to bring extra snacks that you know you can eat. We will be as accomodating as we can, but it's always good to be prepared.
Also, don't forget there is a Friday night dinner and buffet dinner during the Saturday night gala all included in your conference tuition.
I have been told that I probably won't get hired from the get-go, but I want to get the most out of this. This is my dream.
That is correct. Work your way through the event with realistic goals, of which there can be many. Conferences are not a place to get a contract or to be hired, instead they are an avenue to learn more about the industry, improve your craft, and create connections that can lead you to finding the success you're looking for. This is most certainly an industry that requires a great deal of patience and perseverance, but if it's your dream, you'll surely be willing to put in the time and energy. It is possible!
What has been your most effective ice-breaker when approaching an agent or editor? Or do you have any pointers on asking if you can send them a query letter?
This is a critical topic. The good news is, most of the editors and agents will open their doors to submissions or query letters for a period of time after the conference just because you are at the conference. Our advice would be to focus on learning about the editors and agents while at the conference, and then only submit to those who seem to be a good fit for you and your work after (and only if your work is ready). If you do get the chance to speak with an editor or agent, there's no need to tell them about your work (unless they ask), instead ask them questions that give you more insight into their personal interests and tastes. It's highly likely the conversation will turn to your work.
The one suggestion we have for everyone right now is to be able to answer these two questions in one sentence each. 1) What do you do? 2) What are you working on?
How is pitching to agents/editors handled at this conference? Is there any formalized time during the conference to meet with agents/editors? I didn't see any place in the agenda where one could sign up for a one-on-one; do we just do hallway/elevator pitching?
There are no formal pitching sessions, except the Pitch Session intensives on Monday for an additional $225 for the day. While they remained, attendees could sign up for consultations, which were the only formal opportunity to sit down with an editor, agent, or other industry professional.
Please do not pitch to the editors or agents in the hallways, at lunch, between sessions, in the elevator, or anywhere in between. As mentioned in the previous answer, editors and agents greatly appreciate questions that allow you (and others) to get to know them and their house/agency better so that you can submit to or query them once the conference is over, if they are a potential fit.
Is there any way to know when my consultation is scheduled prior to the beginning day of the conference? What should I bring with me to the consultation?
You'll receive your consultation information (consultant, day, and time) when you pick up your conference materials. It's great to have a copy of your submitted manuscript pages, as it gives you something to take notes on. But if not, do bring a notebook.
What should I bring? If I have materials (stories, etc) completed, should I bring copies? Of a novel, entire manuscripts or just first three chapters? Or just cover/query letters? Or none of the above?
Most likely, none of the above.
The only work related materials you should bring will be for your own use. (If you're attending the Post-Conference Intensives, you've been directed on what to bring, if required.) If you're having a consultation, as mentioned above, bring an extra copy of your work to take notes on while you listen to the feedback you are receiving. The conference is not the place to pass on your work to an editor or agent. Many of them will ask to see attendee work, but they will not want it then and there. They will want it to be submitted formally, as per their guidelines.
That all said, the great part of attending a conference is that most editors and agents (even those with closed-submission policies) open their doors to conference-goers.
Do bring a notebook/journal (I often like to have one that is only for the conference). You may also want a separate notebook/journal related to your work projects. It's amazing how many ideas come to you about your particular project as you listen to a speaker. It's nice to jot those things down, because as much as we think we'll remember, we often don't.
You might also consider bringing business cards. If one of your goals is to network with other writers and illustrators attending the conference, sharing your card and collecting them from others is a great way to do so.
Can I bring postcards or business cards?
Postcards and business cards are great things for illustrators to bring and fun to exchange with fellow conference attendees. If you would also like to bring your portfolio there are informal opportunities like Twitter meet-ups and the Illustrators' get-together for sharing your portfolio with other attendees.
Also, consider bringing a few easy-to-transport art supplies for sketching during the workshops, just in case you get a burst of inspiration.
Do I need to bring copies for the Peer Group Critique session?
You don't need to bring copies for the Peer Group Critique (organized by genre), but you most certainly could. Many people appreciate being able to read and listen. That said, the number of people you share with, and the amount of time you have to share, will depend on who shows up. If you plan to participate, bring something you can share, and if you want to have additional copies, great!
Can I bring a laptop?
You can bring a laptop. That said, there are some things you might want to consider when deciding to bring it or not. If you choose to take notes on a laptop during sessions it can often be quite distracting to those around you, so please be considerate when making a seating choice. Also, there will be limited options for plugging into a power source. A notebook is probably your best choice for taking notes.
Is there a way to find a roommate?
If you are a member of SCBWI, you can get on the boards on the SCBWI website. There is a section called "Conference Connections" that you can post on.
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