Conferences. Too Many? Too Few?

by Kaye George

I’m going to more conferences this year than I usually do. That’s because I have a new release in a new series coming out this year, in March. That’s what I tell myself.

Will going to more conferences help me sell more books? Will it help me get more name recognition? More readers?

As many writers have pointed out in the past, you never know what works and what doesn’t. There’s no way to quantify it. What I know, is that if I do nothing, no publicity at all, no conferences, no blogs, no guest blogs, my sales dwindle drastically. When I do everything, my books sell. If I only knew which things to do and which things I could let go! I doubt that will ever happen.

So this year, in addition to Malice Domestic, which I nearly always attend, I’m going to Left Coast Crime in San Diego (my third one), and to Killer Nashville (I think it’s my third one there, too.)

I’m doing as much as I can at each conference. The only one all set up so far is LCC and I was fortunate to be given two panels. I was also fortunate enough to have Maya Corrigan pair up with me for what they call an author-reader connection. This is new to me, but it’s going to be great fun, I predict. We’ll meet at a Greek restaurant and give out books and buy baklava for our guests. That ought to create fans, don’t you think? If it doesn’t, what will?

I’m not looking forward to spending all this money on the conferences, but I will try to forget all about that while I’m doing them. Hope to see a lot of you there!

To Confer or Not to Confer

by Kaye George

That is the question for so many writers. Especially those who have never attended a writers’ conference. They’re big, they’re complicated, and—worst of all—they are expensive. I’ll address only mystery cons here, because they are mostly what I have experience with.

  

The reasons to skip them and stay home are compelling for people who love to sit alone in a room and write for an unseen audience. Many of us are introverts who would rather listen in on conversations than participate in them. Hardly any of us make much money, so it’s hard to justify the expense if there are no benefits you can think of.

There are reasons to go, too, and I’m in the pro-conference camp.

First of all, know that there are two types of writerly gatherings: conferences and conventions. Or, in other words, fan conferences and writer conferences. At the former, many mystery fans show up and buy books. They are thrilled to meet the authors and get signatures in those books. They love to attend your panel discussions and see what you look like, how you sound.

My short story panel at Malice 2019

The writers’ conferences are aimed AT the writer. They include instructional and informative panels, useful stuff for us. They often offer a meeting with an agent or editor in some sort of pitch session.

The former are the big ones: Malice Domestic, Bouchercon, etc. The latter are smaller and often regional.

When I attended my first Malice Domestic, I was unpublished. I went to see what it was about, and to dream of being on one of those panels and sitting at one of those signing tables. I volunteered, so I would have something to do besides wandering aimlessly. That’s all it took for me, one time. I was hooked.

Where else can you enter the bar and sit with a complete stranger who is wearing the same conference badge that you’re wearing, and immediately strike up a conversation? Where else can you be sitting alone in the bar and have a complete stranger wearing that badge come sit with you? These are places where kindred souls can meet and discuss things we have to whisper about in polite company: advantages and disadvantages of various weapons and poisons, body decomposition, the particulars of dark personalities, ways to structure our crimes and our detection. We can also gripe about publishers and others involved in getting our books into print or hindering that process. The list goes on and on.

A bunch at the bar, Killer Nashville, 2014

I hope all writers know that you can deduct the cost of these, whether or not you’re published. If you are diligently working toward that goal and have records (time sheets, rejections), there is no IRS limitation on how many years it takes you to start earning money.

Some years my earnings cover my costs. Some years they don’t. But there’s nothing I’d rather do than write mysteries and hang around with others who write them.

Celebrating Readers and Writers

by Paula Gail Benson

KN Court Procedures Panel

The end of August and beginning of September turned out to be a banner time for indulging in my favorite activities -- travel and spending time with authors. Last year, at Killer Nashville, the wonderful Carol Wright proposed that a group of us, including Debra H. Goldstein, Bill Hopkins, and Carol’s husband, Bruce Murphy, present a panel about courtroom procedure at the next KN.

KN Thriller Panel

We all signed on and I planned to go a little early to spend some extra time in the area and have another chance to hear Jeffrey Deaver’s marvelous presentation about writing.

As usual, KN was a terrific experience. I always advise people, if you want to leave a conference with a boost to your writing, then go to Killer Nashville. The event is very open -- facilitating communication among the participants. The encouragement and support comes in welcome waves. The sharing of information about the publishing industry is invaluable as are the discussions about craft and the forensic presentations. I had the privilege of serving on three panels: (1) the court procedure one I mentioned, (2) a consideration of legal and political thrillers, and (3) a conversation among short story writers. Not only did I learn a lot, but I made and renewed some terrific friendships.

KN Short Stories Panel

Also, and I’ve admitted this to KN’s founder Clay Stafford and his lovely wife, Jacqueline, I did something I usually don’t do at a writing conference: I played hooky. On Saturday, I wasn’t scheduled for any panels, so I took the opportunity to explore nearby Franklin, Tennessee, and visit its farmers’ market. It was an amazing experience. Musicians entertained those who purchased their breakfast from food trucks. I met a lady who sold chess pies based on a family recipe. I also had some incredible seafood, fresh from the Gulf.

Franklin, TN, Famers' Market

In the evening, I had dinner at a wonderful French restaurant with Debra H. Goldstein, who I convinced to play hooky with me. Then, we went to Garth Brooks’ late show at the Grand Ole Opry. Watching the audience was as interesting as the performances. Garth was truly magnificent, returning to play a half hour encore.

Garth Brooks

I was preparing to leave Killer Nashville, thinking this has been a great trip, when I noticed that Madeline Miller was appearing at the Decatur Book Festival, a premiere event held each year on Labor Day weekend near Atlanta, Georgia. While the Dragon Con folks storm Georgia’s capitol city, the bibliophiles take over the smaller bedroom community. Between the heat and the crowds, you have to be resilient.

Madeleine Miller

But, if you’ve read Miller’s Song of Achilles and Circe (I blogged about them earlier this year), then you know why I couldn’t miss this opportunity to see my new writing hero.

I arrived early, and can you believe, Miller came into the venue right behind me. I stood gawking like a true fangirl as I heard the event coordinators talking with her about her leaving soon after the presentation to catch a flight. When they asked if she would like to sign books in advance, I spoke up, asking if I could follow, holding up my copies, then babbling, “You’re the reason I’ve come. I love your work!” The most gracious Ms. Miller offered to sign mine on the spot, so I was able to get a seat up front while she signed for others.

Later, I returned to the same venue to hear Karin Slaughter, who drew a crowd of about 400. I had not heard her speak before, but she was captivating and seeing her in Decatur made up for the fact that I wouldn’t be attending Bouchercon in St. Petersburg, Florida, where she was one of the honorees.

Karin Slaughter

Another great advantage to attending the Decatur Book Festival and Killer Nashville was seeing my friends from the Atlanta Chapter of Sisters in Crime. Their booth this year was featured with a listed schedule in the festival program. I also loved having time to catch up with Dorothy McFalls/Dorothy St. James (we always seem to meet outside our resident state) and new friend Roger Johns. Both of them have some great new books recently released. Also, while with Dorothy, I had the opportunity to see Nicole Seitz and hear about her new anthology of memories about Pat Conroy.

Then, on the way home, I got to spend time with two of my favorite retired booksellers, Fran and Don Bush. There’s no better way to enjoy time with readers and authors!

What conferences and festivals have you attended and which ones do you recommend?

 

Killer Nashville 2017

by Paula Gail Benson

Going to a writing conference is a wonderful experience. Each has its own personality and focus. For me, Malice Domestic, which occurs near Washington, D.C. at the end of April or beginning of May, is a warm family reunion of readers and writers, all relishing the strategies for puzzling out traditional mysteries. Bouchercon--taking place this year in Toronto, Canada--gathers together writers from all the mystery genres, from cozy to thriller, in a huge celebration of variety and skill.

Killer Nashville is the one conference I’ve attended that consistently has the effect of revving my writing engine. Although it welcomes both readers and writers, its primary focus is on the writing craft and criminal process. It features experts discussing developing characters, structure, and marketing as well as accurately portraying poisons, police procedure, and protocols. Each year, a member of the Tennessee Bureau of Investigation sets up a crime scene and participants try to solve who did it. The lucky winner receives a free registration to the next year’s conference.

I have a lot of gratitude for Killer Nashville because it gave me the opportunity to be in the anthology Killer Nashville Noir: Cold Blooded (for “A Matter of Honor” written with Robert Dugoni) among such fabulous talents as Jeffrey Deaver, Anne Perry, and Catriona McPherson. This year, I delighted in being introduced by Guest of Honor Chris Grabenstein to publicly read the opening of the story.

Reading from "A Matter of Honor"

Clay Stafford, the founder and creative genius behind Killer Nashville, gives those attending lots of opportunities to serve on panels. This practice helps authors to develop their confidence in appearing before their peers and also helps panel members to meet and bond. I felt very fortunate this year to participate on four panels.

Subplots Panel

Creating and Weaving Subplots was moderated by Kelly Oliver (who won the Silver Falchion for Best Attending Author) and included Mary Davidsaver, Susan Page Davis, Tracee de Hahn, and Rick Helms (whose extensive work with the South Eastern Chapter of the Mystery Writers of America was recognized with the Magnolia Award). Catherine Dilts did a great job in providing a panel summary in her blog.

Writing Medical and Legal Thrillers, moderated by Charley Pearson and featuring Claire Applewhite, Judith Lucci, Linda Petrilli, and Doug Woodward all with medical backgrounds (I was the sole representative for the legal field), had a fascinating discussion about how reality and imagination can develop truly riveting stories that carefully adhere to medical or legal principles.

Medical/Legal Thriller Panel

I always love talking about writing short stories. Our panel moderated by Jenean McBrearty was a particularly fun group, including my pals Debra Goldstein and Robert Mangeot and new friends Warren Moore (who teaches at Newberry College in South Carolina) and Kathryn Lane (whose novel Waking Up in Medellin won the Silver Falchion for Best Fiction Adult Suspense). Again, Catherine Dilts provided a terrific summary.

Short Story Panel

My final panel, about writing with a collaborator, had just one person attending, but led by our moderator Mike Rubin, we went forward and enjoyed a lively discussion. Barbara Collins, Max Allan Collins (another Guest of Honor), and Susan Page Davis were the other panelists.

Being at Killer Nashville led me to become involved with the board of SEMWA. We have an enthusiastic organization. Our president Maggie Toussaint is a dynamo and board members Stacy Allen, Nancy Sartor, Susan M. Boyer, Phil Hardwick, and John Gordon work diligently to organize programs and retreats to benefit our members. Past President Beth Terrell continues to provide us with wise counsel, and we were very proud and celebrating with her when she was honored with the Builder’s Award at this year’s Killer Nashville. 

Over the years, those who have come as Guests of Honor or attendees have enjoyed the experience so much that they have created four scholarships to enable other writers to attend. Past scholarship holder and a Claymore finalist this year (and a writer to be watched), Kathleen Donnelly, spoke about what the opportunity to attend Killer Nashville had meant for her writing career. Her speech is published on The Stiletto Gang blog.

If you have an interest in a smaller conference that concentrates on writing skills and expert procedural information, please consider coming to Killer Nashville. I think you’ll find a place where you’ll want to return.

How do conferences enrich your writing?

A Special Killer Nashville

Killer Nashville, formerly held in August and now scheduled in October, bills itself as “A Place for Thriller, Suspense, Mystery Writers and Literature Lovers” and offers the array of talent found at Malice Domestic and Bouchercon along with a sincere effort to provide writers with the skills, knowledge, and contacts to progress in the writing business.

This year, I learned a great deal from the two panels I moderated.

Michael Rubin, Robert Rotstein, Douglas Jones, & PGB

“Ask an Attorney: Belly up to the Bar and Ask your Questions about Legal Procedure” featured Douglas Jones, Robert Rotstein, and Michael Rubin as panelists. Our topics included courtroom procedure, copyright, defamation, and planning for your literary estate.

In “Double-Duty Dialogue: How to Write Dialogue That’s More Than Just Talk,” Earl G. Fisher, Linda Fisher, Rae James, Joseph Terrell, and I launched into a rousing discussion with our audience about what to include and exclude from dialogue exchanges, and how to use dialogue for multiple purposes, particularly advancing plot and developing character.

Linda Fisher, Rae James, PGB, Earl G. Fisher, & Joseph Terrell

Robert Dugoni

A special reason that I attended this year’s Killer Nashville was the launch of its first anthology, Killer Nashville Noir: Cold-Blooded. When Robert Dugoni was approached to contribute a “southern” story, he kindly asked a mere novice he met at the South Carolina Book Festival to collaborate and help make the story authentic. Through his generosity, I received not only a personalized master class, but also a writing credit with a New York Times bestselling author in a collection featuring notables of the mystery, suspense, and thriller genres. Our story, “A Matter of Honor,” takes place in the South Carolina Statehouse and has agent B.A. Azevedo investigating the murder of a legislative aide who may have been killed by a senator’s daughter.

Clay Stafford

Clay Stafford, founder of Killer Nashville as well as editor and contributor to the anthology, said his intention was to gather together a group of good stories. I believe he met his goal. Each tale captures the imagination with intricate plots, diverse characters, and fascinating settings. It’s a great honor to be part of this collection.

Here are just a few tidbits to peak your curiosity about the other stories:

Jefferson Bass’ “In Plain Sight” -- The writing team of Jon Jefferson and Dr. Bill Bass speculate on how an extra body might find its way onto the University of Tennessee’s renowned Body Farm.

Catriona McPherson’s “Kissin’ Don’t Kill” -- An elderly widow’s final goodbye to her husband may not be as grief-stricken as it appears.

Baron R. Britcher’s “Ripple” -- A former LA cop living in Hawaii helps his buddy, an ex-Seal and current NSA officer, recover evidence of State secrets, including a manuscript hidden by a boy being pursued by murderous agents.

Donald Bain’s “The Hunt for ‘Skippy’ Walker” -- Can a defendant be exonerated for a murder committed by his imaginary friend?

C. Hope Clark’s “Rich Talk” -- While a defense attorney tries to figure out how to deal with his cheating wife and law partner, his butler carries out instructions to the letter.

PGB, C. Hope Clark, & Daco

Jonathan Stone’s “Mailman” -- George Waite reacts as only a mailman can to a mysterious new neighbor in the community where he has made deliveries for 35 years.

Maggie Toussaint’s “High Noon at Dollar Central” -- Toussaint’s Dreamwalker protagonist investigates burglaries where special crocheted angels have been left at each scene.

Daco, Maggie Toussaint, & PGB

Jeffrey Deaver’s “Repressed” -- A professor’s discovery of his repressed memories leads to an unexpected change in his life circumstances.

Blake Fontenay’s “The Coal Torpedo” -- Allan Pinkerton tells President Andrew Johnson the background story of a perceived historical accident that actually was a planned mass murder.

Jon Jefferson’s “Giving Blood” -- A grieving widower finds that his habit of donating blood might be the perfect means of extracting revenge.

Anne Perry’s “Shutter Speed” -- After WWI, a female photographer aiming for pictures of Wallis Simpson could have captured the image of a killer in a nighttime brawl with a peace group.

Heywood Gould’s “He’ll Kill Again” -- A janitor tries to warn a police officer about a serial killer. Will the officer listen?

Dana Chamblee Carpenter’s “Lullabies and Lightning Storms” -- The people of Gideon, a small town, are both attracted to and repelled by a bubble girl who tells their futures through song lyrics.

Mary Burton’s “The Keepsake” -- A cold case is resolved through forensic evidence in the Nashville bar where the murder took place.

Jaden Terrell’s “Peace, Sometimes” -- On a visit to a psychiatrist’s office, a convicted rapist and murderer escapes with his new lawyer as hostage. Or, is that only how it seems?

Eyre Price’s “Sad Like a Country Song” -- When a struggling country artist kills for what he knows to be the perfect song, he learns he’s intruded upon a deal made by the devil.

Steven James’ “Second Thoughts” -- A boyfriend seeking revenge for his girlfriend’s rape begins to wonder if his victims deserve his vengeance.

Daco’s “The Virgo Affair” -- When Agent Jordan Jakes is assigned to get close to an inventor who owns a DC bar, she finds the situation complicated and potentially lethal.

Clay Stafford’s “Savage Gulf” -- A high school reunion leads to unexpected complications from several hidden love triangles.

I hope you might check out Killer Nashville Noir: Cold-Blooded. Haven’t you been looking for a few really good short stories? What other short story anthologies would you recommend?