The Space Needle. Photo by Kate Ota 2021 One week has gone by since the end of the PNWA (Pacific Northwest Writer's Association) conference in SeaTac, WA, and I'm ready to discuss my experience.
Overview The conference went from Thursday September 21st through mid-day Sunday September 24th. It all took place within a hotel by the Seattle-Tacoma airport. The conference offered some master classes (for extra cost), seminars on various topics, quick 20 minute discussions, pitch sessions (speed-dating style and 1:1), dinners with some infotainment, a raffle, and a movie night (for extra cost). There were 4 publishers and 7 agents who took pitches, and many published authors, both traditional and indie/self-published who presented. My experience Food/Hotel I stayed at the hotel holding the conference and packed all my own food because little about the conference indicated any food was included (dinners were, as well as one brunch). My hotel room had no microwave or fridge though, so this became an ordeal. However, I do recommend packing your own lunches (and breakfasts if the hotel doesn't offer it) because the pre-ordered food was extremely expensive and the traffic around the airport made getting to or from a restaurant a daunting task. Food that was included with the conference was decent, no complaints. Classes/Seminars I didn't pay for any master classes, so I can't confirm or deny their value. Most of the seminars I attended were a little too basic for me, but I'm sure were great info for others. I took notes and did write down some great nuggets of info. Though I will say the two sessions about prepping pitches (one how-to and one practicing with others) contradicted each other often. One class that everyone raved about, taught by Damon Suede, I missed for my pitch session. There was also a great class about mystery taught by an ex-spy. Many presenters had their books in a mini-Barnes and Noble, and they were all happy to sign books. (Excellent for gift shopping!) Pitches One pitch session came free with conference registration, and you could select ahead of time which of four sessions to attend. The pitch session itself was crowded and required standing in line to pitch to who you wanted. I was able to pitch three people, since I was first in the room. Many people only had time to pitch two. I found this more chaotic than the format I've had at other conferences, where all the pitches are 1:1 and scheduled every five minutes. Eventually, there were 1:1 pitch sessions, and I stumbled into a free slot (they were supposed to cost extra). This was much smoother and removed the stress of wondering if or when I'd be able to pitch who I wanted. I got four requests from my four total pitches! People Like my experiences at other conferences, meeting new people was the most valuable part. I worked hard to make sure to small talk with anyone I ended up around--in lines, waiting to pitch, at meals, between classes. Everywhere. I'm not an extrovert, but I pretty much just pretended to be one. I met writers in my area and connected with so many people I want to keep in contact with. This is the truly most valuable part of any conference. Is It Worth It? I'm going to answer this question in two ways. First: is a writing conference in general worth the cost? Look at a couple items: what does the cost of admission include (example: food, pitch sessions, contests, how many days, are any big names going to be there, etc.)? What does it not include (example: hotel--although there may be a room block discount, food, master classes or special events)? What is the cost of travel to get there? Do that math and then ask yourself if that price is worth the experience on offer plus the people you'll meet. Second: is PNWA specifically worth the cost? Registration: $425, since I am a member and registered early. ($575 for non-members by the time the early-bird pricing ended) Hotel: over $800 for four nights (I checked in the night before to avoid commuter traffic heading toward Seattle.) Food: $0 (packed it) Movie night: $30, it was very entertaining and honestly on par with the price of a theater. Free snacks. Extra pitch slots: $0, though I lucked my way into a free one. Books: $50 at the mini-Barnes and Noble and got one signed What I got: lots of good notes, four requests for pages, and invaluable connections to local writers who I never would have met otherwise. (Struggle with finding friends as an adult? Go to a conference for your hobby/passion and you'll make some!) So is PNWA worth the cost? Will I go again next year (assuming life doesn't throw a wild curveball)? Yes! *Caveat: I realize those are some high prices. Boy am I glad I have a nice day job! If those prices are not worth it to you, please note that all of the agents and most of the publishers who were at the conference take cold queries. Most of the classes were from people who also teach online or have a book version of their class for much cheaper. If you want to network with other writers in your area but can't afford a conference, check out what critique groups might be meeting, or what free or lower cost events might be hosted by groups like PNWA. Attending a conference is not a requirement to get published! Did you attend PNWA or another conference this year? Want to tell other people to come to your conference, or warn them away? Let's discuss in the comments!
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Hello blog readers and people visiting this site after meeting me at PNWA 2023!
I am exhausted after PNWA's wonderful conference, so this is the tiny little blog post I can wring from my brain this week. Next week I will talk about if the cost of the conference is worth it to help you decide if it's something you'd like to attend next year. (Or even if a conference more local to you is something you'd like to attend!) Other upcoming posts I can currently tease: A review of Throne of Glass from a newbie to Sarah J. Maas: is the hype worth your time? Lessons from a Classic: Asimov's iRobot Lessons from my first (and so far only) DNF of 2023 I was also recommended some amazing writing resources at the conference, so I'll be reviewing those as well, including the one I'm most excited for, the Trope Thesaurus by Jennifer Hilt. Don't forget the Judging More than Just the Cover Book Club podcast is currently reading Fourth Wing. Get ready for my hot takes on the Murder College trope! See you here next week, readers! If you're here because we met at PNWA give a shout out in the comments! The Amazon cover for the book features the green classic monster, not as described in the book. Fall is spooky season and one of the main Halloween monsters is of course Frankenstein's monster, sometimes called Adam. Since it is a foundational text to scifi--the very first scifi, in fact--I decided to read the original Frankenstein by Mary Shelley. Rather than review it, I decided to write about what I learned about writing irom this classic novel (or really a novella, it was about 110 pages).
1) Don't be afraid of a unique story structure Frankenstein is actually a letter written by a sea captain to his sister about meeting Dr. Frankenstein and that man's story. So the meat of the book is "story within a story" since you know in the end things will circle back to that boat captain. At one point, the story becomes the monster's story being told to Dr. Frankenstein being told to the captain. Like Russian nesting dolls. However, this complicated structure was made very clear and even acted as foreshadowing of excitement when the start of Dr. Frankenstein's tale got a little dry. 2) Don't overdo the backstory While it may have been the style of the time, modern readers now don't need Dr. Frankenstein's life story to begin with his parents meeting. When I saw that was how the story began, I was dreading the rest. It didn't get interesting until Dr. Frankenstein left for college. So while it's good to read classics, keep in mind how very different the market is today, and don't accidentally pick up on very out of date style choices. 3) Build sympathy by showing what your characters wants most We were all a little afraid of Frankenstein's monster after his first kill, naturally, because he's not on the page much to defend himself. However, he makes it clear exactly what he wants: a lover. He is so intensely lonely and in need of contact that after he explains it, you can't avoid sympathy. There is even some sympathy for Dr. Frankenstein when he just wants to protect others. Get your readers to choose sides by showing a deep want and explaining why--and why they can't have it (yet). 4) Keep up with the latest innovations Mary Shelley was inspired by Galvanism and advances with electricity. If she'd only stayed aware of what was going on in the literary world, she wouldn't have run into the concepts that allowed her to conceive of Frankenstein. When looking for inspiration, look at innovations in fields that excite you: space, medicine, engineering, environmental science, oceanography, etc. Even keeping up with new historical finds in archaeology or anthropology, if you're more of a history/fantasy writer. You never know when you'll run into something that will inspire, so get out of your typical bubble. Those are my big takeaways from Frankenstein for writers. I will admit I was very surprised that a lot of classic Frankenstein tropes weren't in the original book--no castle, no Igor, no villagers with pitchforks and torches. He literally made his monster in his dorm room. (Try explaining that mess to your R.A.) I think he was even described as yellow, not green. So the Hollywood-ization of Frankenstein has clearly overshadowed the original for my entire experience. Kind of wild! Have you read Frankenstein? What were your writing (or reading) takeaways? What are some of your spooky season favorites? Let's discuss in the comments! I decided to read Starlet by Sophie Lark because I loved Lark's Anastasia, which I read earlier this year. I chose the stand alone Starlet, a historical mystery.
Starlet focuses on Alice, the sister of a 1940's Hollywood star named Clara Bloom. When Clara is murdered on set, look-alike Alice sets up to finish Clara's final movie while also investigating the cast and crew to find the killer. She teams up with Jack, a local police detective, and together they dive into the mysteries of old Hollywood and uncover far more than just a murderer. I liked plenty about this book. Lark's writing style is pretty invisible to me, allowing me to devour the book in about four sittings. I liked Alice and her motives and the details about how Hollywood operated. I liked the mystery too, with various twists and turns making it all the more interesting. However, I was very disappointed in the reveal of the killer. No spoilers about why, it just felt sad. I also felt like the ending after the reveal came out of nowhere. The romance between Alice and Jack wasn't as fleshed out as I wanted, and some of the characters needed a little more fleshing out. This book is for you if you like old Hollywood affairs like in The Seven Husbands of Evelyn Hugo, if you want a classic-feeling mystery, or if you want a quick/easy read. This book isn't for you if you want romance at the forefront, if you want a feeling of justified vindication at the reveal of the killer, or if you're looking for factual old Hollywood events. Have you read Starlet? Have you enjoyed Sophie Lark's other books? Let's discuss in the comments! This cover does so much to tell you about this story, and it's gorgeous. 10/10 The Mimicking of Known Successes by Malka Older is a scifi mystery novella. Older has an earlier award winning series of novels, the Centenal Cycle Trilogy, as well as other short works. The Mimicking of Known Successes has gotten a lot of buzz, including most anticipated book lists, so I figured it was worth looking into.
On mid-far future Jupiter, platforms serve as "land" since the planet is a gas giant, and the platforms are all connected by trains. When a man goes missing at the end of a train line, investigator Mossa is tasked with finding out what happened. She turns to her college ex, Pleiti, who studies ancient earth ecosystems in the hope of developing one to help repopulate the earth, when the time comes. The missing man is an unpopular colleague of Pleiti, so she helps Mossa navigate the university's politics in the search. However, as they keep digging, the find far more than they bargained for. In the mystery, and in their relationship. This novella was packed full of worldbuilding, though it never felt like too much and was always relevant to the investigation. Though there wasn't much time for deep dives into the characters, I still got a good sense of who they were and their history. Mossa was Holmes-y, making connections quickly but lacking in social awareness, though not as rude as Holmes is often portrayed. I found the concept of Pleiti's job interesting and the mystery also kept my attention. I do have one big quarrel, which is that I found the solution to the mystery unsatisfying. I won't spoil it here, but part of a good mystery to me is feeling satisfied at the end that the entire explanation makes sense and was right in front of you if you'd just been as clever as the detective. I didn't get that. This book is for you if you were ever a Holmes/Watson shipper, if you're looking for genre blending between mystery and sci-fi, and if you're looking for a sapphic subplot. It's not for you if you want a novel-length read, if you need to be able to solve the mystery about the same time the detective does to be satisfied, or if you're looking for a more real-world mystery. Have you read The Mimicking of Known Successes? What did you think of that ending? Let's discuss in the comments! The Terraformers by Annalee Newitz (they/them) is a far-future sci-fi focused on the people making a distant planet more earthlike over a long period of time. It came across my radar when I was searching for Newitz's older book, Autonomous, but the library had this one instead. Newitz has three novels, several short stories, and non-fiction books and articles, many with a climate or cli-fi theme. They have been nominated for and/or won several prestigious awards.
The book focuses on members of the ERT, a cross between park rangers, scientists, and colonists who are in charge of the terraforming process. There are essentially three novellas in the book. In the first, Destry, a member of the ERT, accidentally discovers a hidden city on the planet and must find balance between her corporate overlords and the people who should be extinct. In the second, Sulfur deals with the fallout of Destry's choices while also planning public transit. In the third, a sentient train must help with a disaster that shapes the planet's destiny. This book had a lot of ideas in it, to say the least. It certainly didn't have any slow pacing, which kept me from being bored. I liked that the environmental group had so much power and the science was well written. On the other hand, this book's pacing was killer. I felt like I barely got to know characters before their time was up, and there were so many names I got lost often. There was also a huge helping of weird, with things like talking, flying moose and a train falling in love with a cat. It got to be a too much for me. Overall, this book is for you if you want three related novellas, if you like weird sci-fi/talking animals, and if you are looking for far-future cli-fi. It's not for you if you want a single novel with the same characters throughout, if you do not like talking animals, or if you don't want sex scenes. Have you read The Terraformers? What about Newitz's other novels? Let's discuss in the comments! The cover of Love, Theoretically Love, Theoretically by Ali Hazelwood is a STEM romcom, which is Hazelwood's signature subgenre. It's been heavily advertised to me because I read two of her other books (The Love Hypothesis and Love on the Brain.) Her other book is a trio of novellas collectively titled Loathe to Love You and she has a YA coming out later this year called Check & Mate.
Love, Theoretically focuses on recent PhD grad Elsie's hunt for a job in academia as a theoretical physics professor. She has three adjunct positions and no health insurance, and with her glitchy insulin pod, time is of the essence to find stability. Let's not forget her side hustle as a girlfriend-for-hire (not for sex.) She's invited to interview at MIT but upon arrival learns the tricky politics involved in filling the position. One of the interviewers is Jack, an infamous theoretical physics critic who Elsie has hated for about a decade. Will they be able to get over their rivalry in order to get together or at least get Elsie the job? Find out. I enjoyed the way Hazelwood calls out the bullshit in academia (as she does in every book) this time focusing on the way department politics can cost applicants time and money, the horrible adjunct system (why yes, I was also an adjunct and no, I didn't get health insurance either), and the way that PhD advisors have way too much power over their students' lives. I liked Elsie's growth as a character--in fact, if you're a writer struggling with writing character arcs, Elsie is a super easy study because you can see her flaw from miles away and it's easy to keep an eye on how that flaw changes with the story beats. Alas, I didn't enjoy the book as much as I wanted to. I think Jack was too much like Adam and Levi (the male leads from the other two novels by Hazelwood) and he felt very flat. The dynamic of the couple was also too similar--giant quiet man, farther in his career and considered more successful than the female MC, is accused of hating the female MC so she hates him and is also small and quirky. After the second or third chapter I correctly predicted every "twist" in the book because it was so similar to the others. This book is for you if you loved The Love Hypothesis/Love on the Brain/Loathe to Love You and want more of the same, if you want an MC who is in physics or has diabetes, or if you want an academic-HEA (happily ever after) for an adjunct. It's not for you if you don't enjoy enemies/rivals-to-lovers, if you didn't enjoy Hazelwood's other books or want something new, or if you are not in the mental space to read about someone's academic job hunt. Have you read Love, Theoretically or any of Ali Hazelwood's other books? What do you think? Which STEM career do you hope her next MC has? Let's discuss in the comments! If you're friends with any writers, there may come a time when you're asked to beta read their book. Maybe you're a writer yourself, maybe not, but either way beta reading is different from reading a typical book. If you've never beta read before and don't know how, this post is for you! Here are five steps for how to beta read.
Step 1: Upfront Questions Before you agree to beta read, ask the writer some key questions. Your goal is to determine if you're the right audience for this book. Ask for: genre, age group, word count, brief pitch.
Step 2: Set Expectations After you agree to beta read, ask the writer what their expectations are.
Step 3: The Read Now you're ready to read.
Step 4: Summary After your finish reading, you may have some overall thoughts to put together in a summary.
Step 5: Letting Go
Ready to go beta read? Have more advice for beta readers out there? Let's discuss in the comments! Clue as a dragon. Photo by Kate Ota 2023 Putting the Fact in Fantasy is a collection of essays by subject matter experts about various topics that are often portrayed poorly in fantasy books, movies, and TV. The collection was edited by Dan Koboldt. I came across this book in an Indie bookstore and thought it would probably be helpful for my adult fantasy WIP.
Overview The fifty essays cover topics such as history as inspiration (female professions in medieval Europe, feudal nobility), languages and culture (realistic translation, developing a culture), worldbuilding (magic academies, money, political systems), weapons (archery, soldiers, martial arts), horses (so many horses), and adventure (hiking, castles and ruins). Pretty large variety! Most entries are less than ten pages, and the entire book is only 332 in paperback. My Experience There is a large skew toward European information, but some sections specifically call out non-Western information, like the feudal nobility section which included Middle Eastern titles. Very few sections are focused solely on non-Western information. Most of the historical info is also medieval or even Renaissance, with very little historical focus on more recent time periods. Some essays in the worldbuilding section are less about time period and more about making you think more deeply about your world, which was very helpful. I marked many sections I want to return to, including one about plants. I will say, the horse section went on a bit too long. Is It Worth It? I paid $20 at an indie bookstore for a paperback copy. The ebook is slightly cheaper ($14.99) but if you want to highlight or bookmark sections that you want to think about later, a physical copy is a good investment. This book could be worth it if you're writing a historical fantasy or secondary world fantasy. If you're writing urban fantasy, magical realism, or contemporary fantasy, this book will not be as valuable to you. (Unless you're writing about horses and know nothing about horses.) This book may also be useful for other writers who are writing secondary worlds, since the worldbuilding section is pretty flexible. Bonus, there's also a section about Westerns! Overall, it was worth the price to me. Have you read Putting the Fact in Fantasy? What about the other anthology edited by Dan Koboldt, Putting the Science in Fiction? Let's discuss in the comments! Tower of Babel, cat tower, same thing, right? Photo by Kate Ota 2023 The Power of Babel: A Natural History of Language by John McWhorter was published in the very early 2000s and discusses how languages arise, evolve, split, and go extinct. Why am I writing this as an "Is It Worth It" and not a book review? Well, I realized early in the book that if I was going to create a fantasy or scifi language, this book included a lot of information about how to make a fake language feel real and not just some made up words in an English grammar scheme.
Overview This book covers a lot of ground in 303 pages, including discussing different grammatical boxes in which languages can be categorized and how languages tend to morph words (because there are reliable patterns). A lot of space is also dedicated to discussing dialects and creole languages. My Experience I enjoyed many of the interesting facts in the book, and learned so much about language in general that I'd never considered. In fact, one of the facts I read was tweeted by Merriam Webster while I was reading. What are the odds? However, it was a little dry and spent a long time explaining things. There were also a lot of Bill Clinton jokes. Is It Worth It? I got this paperback book from an indie bookstore for $17.99. If I was trying to build a language for a story, I think it would be a huge resource to get started with the basic concepts of how the language would operate. However, if you're just a linguistics nerd, or someone who got excited by the etymology in R.F. Kuang's Babel, then this is probably not the book you are hoping it is. Have you ever tried to create a language for a project? What sources did you find helpful? Let's discuss in the comments! |
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