Choosing Who and Where?
This is perhaps the most basic decision a writer has to make: which conventions to attend and why. Literally hundreds of Science Fiction conventions are held every year. Beyond an interest in Science Fiction topics, they vary widely from a few dozen students in college clubs to major regions such as DeepSouthCon and Balticon, to massive shows such as Dragon Con and the World Science Fiction Convention. Many authors have made excellent use, often consciously, of conventions to further their writing careers. Back in the late 80s some marketing research was done that still is relevant today. It showed that about 80% of all science fiction books were purchased by just 20% of the book buyers. More than half of that 80% were purchased by the 5% that read two to three books a week. If you eliminate the books that are based on TV and movies, that 5% that buys a whole lot of books are also those who attend science fiction conventions.
A bit of a confession. The original intention was to write a long column full of check lists and wry observations. But then we asked for some comments from other authors whom we could quote. Considering the combined total writing talent of those from whom we asked for input, it became quickly apparent they were already saying it all too well to need to be rephrased.
Some conventions are “relaxacons” with small attendance and a relaxed, chatty atmosphere. Others are regional or larger local cons with hundreds of attendees and more regular programming. But these too can feature a widely different feel. To use just one example, let us look at the Chicago region. In the Windy City (named for its politicians, by the way, not its weather), you can find the largest, Windycon, with a traditional format and established committee, Duckon, with quirkier programming and emphasis on family-friendly programming and science; and Capricon, a good general con but that is also known for asking pros to pay to attend. There are also several smaller conventions such as MuseCon, a few media shows like Wizard Con and Chicago Comic Con. If that is the list for just one Midwestern city, how do you decide which conventions to attend and why? Rather than express our own opinions, we have asked a number of experienced professionals we have seen benefit from attending conventions three questions: What factors do you consider when deciding to attend a con, what would discourage you from attending a convention, does size matter, and why choose one convention over another?
First we asked the authors and editors to share what is the most important factor or factors that helps you to decide on whether to attend a convention?
We begin with Todd McCaffrey who, as the son of Anne McCaffrey, and now a best-selling author in his own right, has literally been attending conventions all of his life.
I suppose the biggest factor is how much people want to see me. If I’m going to a convention where it’s like “park him over in the field with the rest of the pros” then I’m a lot less likely to want to go than to a convention that says, “Ohmigosh! We’re so happy to have you, is there anything we can do to convince you to come? How can we make your stay more enjoyable?”
Rob Sawyer has won both a Hugo and Nebula awards, and his novel was made into the ABC-TV series FlashForward.
The convention’s focus. Setting aside giant cons, like Dragon Con and San Diego Comic-Con, where there’s plenty of room for everyone, if a smaller convention is mostly hyping its media or gaming aspects, I generally give it a miss. The fact is that there tend to be very few readers at such events, and although I sometimes do media-oriented panels, either on personal passions such as Planet of the Apes or on my experiences working on the TV adaptation of my novel FlashForward, for the most part there’s really no upside in trying to convince those who are more interested in actors who played security guards on Star Trek that they should read a book.
Janny Wurts has a different perspective, being both a talented author and artist.
If it looks like it will be fun, if it seems to center around our primary interests, if we feel we can contribute in a good way, and if it isn’t on top of dates we’ve already committed. We do check to be sure it has a good reputation, and that both guests and attendees are well treated.
Mike Resnick has more Hugo nominations (and awards) than most of us have books published. He is this year’s GoH at Chicon 7, and takes a more practical view.
I go to so many that, other than WorldCon and WFC, the operative question these days is: will they comp my room and travel expenses?
Lynn Abbey has been a creative force in Science Fiction who, among other accomplishments, co-created the shared world anthology, in the early 1980s with Thieves’ World. Like Mike Resnick and so many of us, she, too, takes a practical view.
Cost first, followed by distance, which is usually related to cost.
Chelsea Quinn Yarbro has been a top seller and has been writing one of the first vampire series, Saint-Germain, for over three decades. She has attended conventions for even longer from WorldCons to vampire literature gatherings in Romania.
The orientation of the convention is my primary factor; is the convention in any way addressing my professional strengths, and will I have a chance to display those strengths? For that reason, I probably wouldn’t attend a convention dedicated to Harry Potter or one focused on violent computer games, because I have almost nothing to contribute and no opportunity to make the most of what I’m known for. One of the reasons I find Dragon Con valuable is it gives me opportunities to play to more than one strength, and to be accessible to those readers and fans new to my work.
Kevin J. Anderson is one of the most successful and creative authors in our genre. He is best known for his Dune and Star Wars novels. Always a great guest, after being featured at literally dozens of shows he takes a personal view.
I go to a lot of conventions: some of them because I’ve attended previously, had a great time, and want to go back; others because they are in an area of the country I have not visited, so I get to meet (and hopefully make) a new set of fans. The schedule is also important, depending on whether I’m promoting a new book, or whether I’m exhausted from traveling. And friends, fans, con staff, all have an influence.
Kerrie Hughes has attended many shows both as an author and with her editor husband. So she looks at conventions from two directions.
Other than the theme of the convention in general, i.e. Sci-Fi, Steampunk, World Fantasy, it comes down to price, distance, hotel, access to professionals and fans, and when it’s scheduled.
John Helfers is an author who has written numerous genre and mainstream novels. He was also an editor for Tekno Books and over the last decade worked with almost every author in the field.
Whether I was attending as an editor for Tekno or as a freelance editor, my goal is still the same: to meet with editors and authors and find out what’s happening in publishing across the country. Therefore, the other attendees list is often the first thing I look at. Second is the programming list, both as a participant and attendee. Fresh, unusual programming is also a draw.
We also asked two well-known and established editors, Toni Weisskopf and Melissa Singer, for their insights. Their reasons and goals reflect their responsibilities.
Toni Weisskopf started as an editor at Baen Books in the mid-eighties and is now its publisher.
Guests of Honor—if there are Baen authors; or if a lot of my friends are going to go. Convention reputation is important. I also try to make sure I hit several regions of the country each year, and I look for new conventions that I haven’t yet attended.
Melissa Singer has been editing at TOR Books and representing them at conventions for more than two decades. Much in her comprehensive answer can apply to both an editor or an author.
Roughly in order of importance: If authors I am interested in will be attending—either authors I am working with or authors I would like to work with or just to get to know better. If agents I am interested in will be attending, especially if the convention is in a part of the country I don’t visit often; it can be a good way to meet a number of agents in one place at one time. If the convention has a theme or topic focus which aligns with books I am editing or in which I am personally interested (often the same thing, but not always). If I have personal reasons to want to visit the city in which the convention will take place (family or close friends in the area; college of interest to my teenager; something/someplace cool that I’ve always wanted to visit). Timing—it’s hard to go to events too close to the beginning or end of the school year, to major Jewish holidays, to standing family commitments, or to already-scheduled work events or other conferences/conventions.
One of the most important factors in deciding which convention to attend is what do you want from going? Is it to meet people, get feedback from a few fans, make a splash, or meet an editor? Going to a convention that can’t fulfill your needs can be an expensive and frustrating experience.
Todd McCaffrey
What I saw that worked best for me when I was fan was the panels where the authors made me laugh, where I got the impression “this is a nice person” and thought “I wonder what his/her books are like?”
So I hope to go and make a pleasant impression, and always go with the intention of meeting new people (and old friends).
It does change between conventions and here size matters. At Comic-Con, the biggest goal is not to get squished in the crowds. At Dragon Con, it’s a bit less like that. At Comic-Con, I concentrate more on having a good time than on getting noticed directly because there are so many huge names that I’m a very small (and humble) fish in their presence.
At Dragon Con, I have a slightly better presence in the “Anne McCaffrey’s Worlds” track and the group there has been coming to Dragon Con mostly since forever. It’s a tight-knit group and I’m less worried about being noticed and more interested in having a good time—and helping others to have a good time.
Rob Sawyer
Honestly, at this stage: just to have a good time. See old friends, make new ones, relax. Of course, WorldCon and World Fantasy are mostly about business—meetings with agents, editors, and so on.
Janny Wurts
First priority is to give back to the community, share knowledge and experience and meet new faces. The better this goal is achieved, the happier the attendees and the better the chances they will take the time to see what books or projects I have out. Publicity works best, I’ve found, when the needs of others are given precedence. Other conventions are done to make ends meet, and if there is a dealer table involved, the first priority, to please others, is split between manning the table and handling direct sales. Some conventions are attended for professional reasons, but those, increasingly, seem to be replaced by other venues.
Mike Resnick
At WorldCon, I line up my work for the following two years, meet new editors, meet foreign editors, learn who’s doing unadvertised anthologies, and visit with old friends. At regionals, I just go to enjoy myself and meet friends. If I like the ambiance, I try to return; if I don’t like it, it’s once and out.
Chelsea Quinn Yarbro
I hope for exposure to more potential readers, and a chance to give a push to my most recent publications. As a side-benefit, it’s a chance to get together with friends and colleagues. There is a degree of change that is part of publishing: for example, if Hotel Transylvania wins the special Stoker for The Most Significant Vampire Novel of the (20th) Century this coming weekend, I’d want to push that when discussing the series on any vampire or series-related panel or interview. And mentioning e-reprints is becoming increasingly important as more of the backlist becomes available. Taking the time to participate in a wide variety of appropriate panels and events increases visibility, which is usually worthwhile. The why is because such appearances can get the word out not only effectively but to readers and fans who are not usually in the immediate circle of fans and readers, all of which is beneficial.
Lynn Abbey
What do you hope to accomplish by attending a convention? Does this change between conventions and why? Ideally, I hope to present myself positively to old and new readers. I also hope to have good conversations, often over meals, with people I don’t see regularly. The proportion of private v. public activity does change between conventions, but usually not because of the conventions themselves, but because of whatever professional activity I’ve been up to between the conventions.
Kevin J. Anderson
To raise awareness of a new book, and of me as an author. I hope to get my Star Wars or Dune readers to read my Seven Suns or Terra Incognita books, for example. I like meeting the fans, meeting fellow writers, meeting booksellers around the country, networking, and I also teach writing workshops, so I enjoy helping new writers. Some cons are primarily working/business trips for me and others are just fun, and some are both.
Kerrie Hughes
Sometimes it’s exposure, sometimes it’s pleasure, and often it’s for the electricity of creativity. I like all three to take place.
John Helfers
Promoting myself as an author, picking up news on possible openings at publishers or editors looking for new projects, and getting the latest publishing news.
Toni Weisskopf
At most conventions I am there to promote the Baen Books line, to meet authors and artists, and for the intellectual stimulation of good panels and good conversations. Sometimes the emphasis changes, depending on who is at the convention.
Melissa Singer
There are three reasons for me to attend conventions. Obviously, I’m there to carry the brand—to act as a representative of my publisher. That’s why we do spotlights and talk about the stuff we’re publishing in the next few months, why we sometimes throw parties and give things away. We’re there to interact with readers as well as writers and agents, and demonstrate that we have good books that people should want to buy and read. The other reason centers on author/agent relations: I might be there to support an author we’re already publishing, or to try to make a good impression on someone we’re not publishing but want to, or to connect with agents who work in a genre I’m interested in but don’t have a lot of contacts in, etc. I also like to share my knowledge and opinions, whether it’s about a genre, an author, or the art and craft of writing and publishing.
So what could keep these hard core convention-goers away? Experience has been a hard teacher and it seems that there are things we should all look for.
Todd McCaffrey
Discord, chaos, lack of planning. Any hint of financial impropriety and I’m out of there. Mum was once nearly saddled with the entire costs of a con because the chair was a sleazebag who decided to have a heart attack when the bill came due (and miraculously recovered shortly thereafter).
Rob Sawyer
It’s what I don’t hear in advance that drives me away. Literally moments before I got your email questions, Bill, I was looking at the websites for several of Canada’s annual SF conventions. One hasn’t set its date yet. Another hasn’t announced its author guest of honour. A third required me to phone the hotel to find out what the convention room rate was. When I see signs of disorganization or lack of planning, I stay away.
Janny Wurts
If a convention has EVER left a professional guest with outstanding bills they had promised to cover, or if there have been troubles with art show theft, or if there are warning flags or known dissent within the community, that definitely puts the damper on.
Mike Resnick
Endless blather about gaming and media guests and programming. There is nothing wrong with either, but they hold no interest for me.
Chelsea Quinn Yarbro
Poor management is off-putting, as is cliquishness among the committee. Also, if the facilities for the convention are awkward or inconvenient.
Lynn Abbey
It’s usually not minuses, but pluses that make a difference. If it’s a chance to have a reunion with friends, or to meet someone I’ve admired, or there’s something special about the programming or facility, or (especially) if I can combine it with other events/activities.
Kevin J Anderson
In some rare instances, I’ve heard fellow authors tell horror stories about con staff or how badly a con is run, so that definitely has an influence.
Kerrie Hughes
Not having E-pay to sign up with or a good website in general.
John Helfers
Stories of poor organization and not treating attendees (not just GoHs, but everyday attendees) properly is the biggest reason that makes me to decide to attend or not attend a convention.
Toni Weisskopf
Yes, that’s happened. If a convention treats an author badly or is poorly organized.
Melissa Singer
If an editor I work with had an unpleasant time at the same event the previous year, that can make me think twice about attending. Unpleasant: the editor did not make useful connections and/or did not feel that her or his time was utilized well by the convention organizers (we like to work and be helpful); the convention didn’t run smoothly/on time.
So Does Size Matter? Should you just go to smaller cons where you will always be noticed? Perhaps big shows with a larger audience will provide more benefits?
Todd McCaffrey
Yes. At the end of the day, attending a convention for a professional is a marketing/public relations operation. You’re there to be seen, (hopefully) liked, and to promote your works.
A really small convention may not be worth it. It costs a lot to go to a con and, no matter how much we *all* wish it would be different, very few pros are earning so much money that they can afford to indulge their whims.
So a really small convention is less likely to be attractive than a larger one simply because I can’t quite justify the (nearly identical) expense compared to the disparity in potential sales.
On the other hand, some small cons can be very intimate and are worth it just for the other side of con attendance—which I call soul replenishing. Writing is mostly a solitary task and at conventions we authors get a chance to hear that what we’re doing makes a difference—and that makes going back to our caves, slitting our veins wide, and pouring our souls out seem worth it.
Rob Sawyer
It actually doesn’t. I often enjoy EerieCon in Niagara Falls, New York, and in a good year it gets maybe a hundred warm bodies. I think I mostly prefer cons in the 300- to 500-person range—you get to see the people you want to see; at bigger cons, you miss seeing some people you’d hope to, and that can be very frustrating
Janny Wurts
Size is seldom a factor, because many of the very small conventions tend to appreciate their guests the most!
Mike Resnick
Not to me, no.
Chelsea Quinn Yarbro
Size does matter, and in various ways. Again, one of the nice things about Dragon Con is that since it is huge, I can take occasional short time-outs, which isn’t possible in cons of less than 2,500. Also, in a large con, though it demands more “being on” than some, the pay-off in exposure is worth it. Small cons can have many chances to give face-to-face time with fans and readers—which is not always pleasant—and it can provide chances to delve into certain special interest topics in a way that a larger convention cannot reasonably accommodate.
Lynn Abbey
Big conventions (I’m thinking, say, Dragon Con) are spectacles, small conventions are great for meeting new people, and they all have their own personalities.
Kevin J Anderson
My calendar is very full, and I often look forward just to having a few nights in my own bed. Traveling to conventions eats up a lot of writing time, and so I have to weigh the time spent at a con with the time lost on a writing deadline. I enjoy the small, intimate cons and have been to plenty of them, but if I’m going to give up 4-5 writing days, I need to see as many people as possible.
Kerrie Hughes
Yes, when it’s too big, handicapped pros/fans find it nearly impossible to attend. It can be anything from wheelchair access to the availability of water and chairs. Often the older professionals are overwhelmed by distances and a lack of help. Some with hidden handicaps, like diabetes or glaucoma, find themselves at a disadvantage because food and signage aren’t close or accessible. Too small can be a problem because there isn’t enough professional and fan access to make it worthwhile.
John Helfers
Yes, both ways. A large convention has much more chance of attracting the authors/editors you’d like to meet with, but the size can mean that it may be hard to connect with them. A small convention is more intimate, and may lead to more face time with authors and editors, but the smaller attendance limits the networking pool.
Toni Weisskopf
I prefer conventions in the 500-1200 range—big enough to meet new people, small enough to find them. But I also attend both smaller and larger ones.
Melissa Singer
Yes and no. A well-organized large convention can be a more pleasant and worthwhile experience than a poorly-organized small convention. Good programming can make a difference here as well—sometimes a big convention can set up a whole track of programming about the kinds of books I work on, where a small convention might only have one or two panel items that really apply to me. On the other hand, a smaller convention can be entirely focused on areas I work in, whereas some larger conventions can be trying to cover so many areas that they wind up with only one or two things I’m interested in. Whatever the size of the convention, places and ways for people to hang out are important. A small convention where everyone goes to the same bar can be a winner, as can a larger convention with a good Green Room/guest suite.
We asked a couple more authors for recommendations on conventions that they enjoy, and why.
Seanan McGuire won the John W. Campbell award in 2010. She writes fantasy and science fiction novels, filks, cartoons, and has experience in con-running (she ran BayCon for several years). She strongly recommends that if you have never attended a convention, to give it a try. She goes to San Diego Comic-Con every year, and finds it restorative. Authors who attend SDCC and sit in the Authors’ Row section of the dealers’ hall are mobbed by fans.
Martha Wells is a fantasy and nonfiction author, who has published a dozen well-received fantasy novels. She regularly attends Texas conventions, including AggieCon, ArmadilloCon, ApolloCon and ConDFW. She splurges on one big out-of-state convention per year. Of those she has attended, she likes Norwescon, Boskone and Readercon, for the opportunity to interact with fans. If large crowds overwhelm you, try smaller conventions to start with. If you don’t enjoy being at conventions, the fans will see your reaction. There isn’t enough of a benefit if you can’t bring yourself to relax and have fun. But try. At conventions, you are among your people, those who genuinely understand where you are coming from.
So there you have it, why to go, what to consider, and what to watch out for from the pens of those who have been there (mostly in the bars). What conventions you choose to attend will be a combination of both what you enjoy and what you want to accomplish.