So what makes Algonkian Writer Conferences newsworthy and a bit unique compared to other writer conferences and workshops?
Founder of the Algonkian Writer Conferences (AWC) Michael Neff has a conference philosophy: From the heart, but smart. He believes in a pragmatic approach, working with professionals to present market realities while training writers in craft skills learned from the best authors, playwrights, and fiction writers. Writers also develop their project pitching skills, improve their novel in the process and make industry connections, and unlike most writer workshops, they hear feedback only from professionals in the business, not from beginners in their group.
Since 2001, Neff has offered conferences in Algonkian Park in Virginia (hence the name), New York City, and San Francisco. Depending on the event, conference attendees receive, among other things:
- a 12-part syllabus (extremely unusual for writer conferences)
- a comprehensive 86-page novel-and-fiction study guide to hone structural and narrative craft skills
- pre-conference assignments and readings to prepare attendees
- a pre-event manuscript analysis (SF Write and Pitch)
How the Writer Conferences Work
To be selected for the workshops and the New York events, a writer must first apply and demonstrate seriousness about their calling, as well as suitable writing skills. Attendees should keep in mind they will be told the truth about their novel, novel premise, prose and pitch. These conferences are not for writers who oppose massive changes to their manuscript or a total rewriting of the manuscript itself.
Often times, the pitch is not working because the novel is not working. AWC uses the pitch as a diagnostic tool for examining the major fictional elements that propel and sell a novel. The bright side is workshop leaders will help writers fix whatever needs to be fixed and get writers ready and confident for their pitch sessions to agents and editors.
How to Pitch a Novel
For an aspiring author to be competitive in today's book publishing industry, it is essential for a writer to “pitch” the novel, or to put it more simply, communicate to an agent or editor, by mail or in person, what makes this particular novel a project that will be interesting, unique, and marketable enough to sell in the commercial marketplace.
But what happens if the writer doesn’t know how to pitch?
Many writers want to pitch their novels, but simply don’t know how to do so. That’s where AWC come in and why they are so unique compared to standard conferences, which for the most part do not teach writers how to properly pitch to professionals—and if a writer can't do that, s/he doesn’t have a chance. What many new writers don’t understand about the publishing industry is having a good pitch is crucial for getting an agent or editor interested in their book. In fact, AWC faculty member Gordon Warnock, Senior Agent at Andrea Hurst Literary Management, says:
“A well-crafted pitch is essential in getting your work to rise above the sea of submissions and really grab my attention. It is the first, and all too often the only impression I get of your manuscript. Logistically, I simply cannot read every manuscript that is pitched to me. And I am certain that I have turned away many top-notch manuscripts because the authors were unable to articulate themselves effectively in the pitch or the query. With all the time you have spent perfecting your manuscript, you owe it to yourself to take the time and learn how to craft a worthy pitch.”
How to Pitch An Agent
The most exciting part of the conference is pitching. Attendees pitch to agents from major literary agencies such as International Creative Management (ICM), Sandra Dijkstra and Andrea Hurst. They also pitch to editors from publishing houses such as Penguin, Random House and Grand Central. For both the agents and editors, they look forward to listening to the pitches of AWC because:
Tina Wexler, Literary Agent at ICM, says, "Every time I attend the NYC Pitch & Shop, I am impressed with what I hear. The pitches are smart and well-crafted, succinct and engaging. I've yet to leave without requesting manuscript pages from participants. What's more, the manuscripts deliver. I recently signed and sold Gina Damico's YA fantasy in a two book deal to Houghton Mifflin Harcourt after hearing her project pitched at the conference. Serving on the AWC faculty has also been tremendously gratifying. Not only does the conference attract a wide variety of writers working in many different genres, it also has a great vibe--supportive, friendly, fun. I highly recommend it."
Zack Wagman, Editor at The Crown Publishing Group (a division of Random House) says, "I like the NYC Pitch & Shop conference because of its focus on the pitch. A lot of writers who wish to be published are at a loss when it comes to how to talk about their book to editors, agents, etc. Algonkian helps them to speak the language of publishers, which will ultimately help them in the long run."
At the San Francisco Write and Pitch, attendees have the bonus opportunity to pitch film producer Ken Atchity of AEI Productions. Atchity has set up and produced films with major studios such as “Life or Something Like It” (Fox, Angelina Jolie), “Gospel Hill” (Fox, Danny Glover) and a forthcoming film starring Jim Carrey entitled “Ripley’s Believe-It-Or-Not!”
Writer Success Stories
Do writers get published from these conferences? The answer is yes.
Take a look at the writers who’ve received agents and editors for their novels due to AWC:
- On Maggie’s Watch by Ann Wertz Garvin, Berkley Books
- Lipstick in Afghanistan by Roberta Gately, Simon & Schuster
- In Malice, Quite Close by Brandi Lynn Ryder, Viking (placed in Amazon Breakthrough Novel Contest)
These are only three examples, so here is a full list of Algonkian success stories.
The rate of success is completely dependent on the writer. If the writer takes the advice given at AWC and applies it to her/his novel then s/he has a better shot of becoming published. It is the writer’s responsibility to send the agent and/or editor the requested manuscript when it is 100 percent ready. Many writers make the amateur mistake of sending their manuscript too soon, thus getting rejected. Therefore, AWC can guide attendees to publication, but they cannot control writers’ work ethic, tenacity, patience to submit and professional behavior after the conference is done. Simply put, it’s up to the writer.
Should an aspiring novelist attend the Algonkian Writers Conferences? The answer is a resounding yes according to these two AWC successful authors:
"Michael Neff was one of the first people to believe in me. He introduced me to the woman who became my editor at Berkley Penguin in one weekend. Michael's careful advice, connections, and publishing savvy made all the difference. It’s true that you don’t have to live in NYC to make an impact in the publishing world, if you get the right advice and learn how to network. Algonkian Conferences gave me that." ~Ann Wertz Garvin, author of On Maggie's Watch
"Algonkian offered me the opportunity to be part of a real writers group where my ideas and evolving characters were first introduced to other writer and potential readers. That critique allowed me to tweak my characters and storyline to perfection. Algonkian's approach in fine tuning my pitch helped me to tighten my manuscript as well. As a result, my manuscript sold to the very first publisher who saw it!" ~Roberta Gately, author of Lipstick in Afghanistan
Jennifer Ciotta - Jennifer Ciotta is the author of I, Putin (Vladimir Putin novel): http://vladimirputinnovel.com.
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