Interview with Bob
Bittner
Interview by Jenna Glatzer
Bob Bittner is a full-time freelancer who's written for Ladies' Home
Journal, Pages, Preservation, Family Circle, Meredith Custom Publications, The
Writer, American Profile, and others. He's also the author of four books,
the most recent of which is Your Perfect Job: A Guide for Discovering Your
Gifts, Following Your Passions, and Loving Your Work for the Rest of Your Life.
Bob is a member of the American Society of Journalists and Authors (ASJA),
an organization of nonfiction freelance writers. Potential members must apply
to the membership committee and prove that they have written for top magazines
or book publishers, and that they have a sustained career in writing.
Their annual conference, however, is open to all who want to attend.
You're the director of the ASJA conference this year. Why did you decide to do that?
It's because of the advice of several ASJA members that I was able to break out of my .20-.50/word rut and start selling to $1/word-and-up markets. And that's what made it possible for me to realize a very long-held goal of freelancing full-time. I feel a deep sense of gratitude to ASJA as an organization and, personally, to many of its members. Without them, I'd still be an employee with dreams of being a full-time freelancer. So ever since I joined ASJA back in 1999, I've tried to get involved -- serving on committees, serving on the board, and participating at the conference as a mentor and a moderator. But when our president, Lisa Collier Cool, called and asked if I'd consider chairing the conference, I was initially overwhelmed by the idea. Then I realized it would give me the chance to have a hand in shaping the kind of conference that would reflect the best of what ASJA had to offer -- that, maybe, I could play in part in helping hundreds of other writers find the information or the encouragement or the inspiration that would give them exactly what they need to realize their own writing goals. And that's pretty exciting stuff.
You don't have to be a member to attend, but members do get a discount and can come to the "Members Only" day. Am I right that anyone whose membership application is received by February 26th will have a decision in time for the conference, so they'll know if they're eligible for these benefits?
The Members Day is Friday. Both Saturday and Sunday are open to the public.
And, yes, if your application is received at the ASJA office by the end of the day on Thursday, February 26, it will be processed in time for folks to obtain the member discount on 2004 conference registration, assuming they qualify for membership.
Tell me what writers should expect from the conference. What goals are reasonable, and what goals aren't? (Should they come expecting to talk to many editors and walk away with assignments?)
I think everyone who attends can expect to come away with inside information about new markets and the specific interests and needs of the editors in attendance. They'll also get a lot of great information about taking their freelance careers to the next level -- whether that means learning ways to negotiate better contracts, break into better markets, manage your time more efficiently, or stretch your writing muscles by tackling longer projects or moving from articles to books. Personally, I think it's also next to impossible not to come away inspired and encouraged by being surrounded by so many writers -- in the panels and in the hallways -- who are successful at their craft.
Given the size of the conference -- about 700 attendees -- and the full schedule, though, it isn't reasonable for writers to come expecting much time for one-on-one conversations with editors. At most, you'll be able to introduce yourself, hand out and collect business cards, and, maybe, describe in a sentence or two a story you'd like to pitch in the future. But this contact has to happen in the hurried moments after a panel session or on a catch-as-catch-can basis in the hallways. In other words, you will need to be proactive about it.
And "proactivity" is something worth underscoring. I firmly believe that attendees will benefit from the conference in direct proportion to how much they invest themselves in it. If a panel turns out not to be meeting your needs, it's in your best interest to get up and go to a panel that
will be beneficial. If you can't attend a panel you'd love to hear, pick up the audiotape so you can still benefit from it. And don't wait around for the person sitting beside you to strike up a conversation:
At the luncheon, before the panels, make an effort to meet the writers beside you. Because while it's easy to feel shy or intimidated to be surrounded by strangers, these people are fellow writers with whom you have a great deal in common. And they are people who might well lead you to a great editorial relationship, to a valuable source, to your next big story. Step outside your comfort zone for the conference days, and you can be reaping the benefits for the next twelve months -- and beyond.
Are the panels mostly meant for audience members to listen and take notes, or is there a lot of audience participation and Q&A?
Saturday's sessions tend to follow a similar pattern: a panel presentation -- featuring senior-level assigning editors and full-time freelancers with expertise in the subject matter -- followed by at least 10 minutes for audience Q&A. Sunday's sessions, which have been completely restructured this year, are built more around a workshop model that encourages a much higher level of audience participation.
Is it appropriate for writers to bring business cards, clips, resumes, and/or have oral pitches prepared?
Business cards are definitely important; attendees will want to hand them out to other writers -- lots of valuable networking happens at the conference -- as well as to the participating editors. Clips and resumes are best left at home. Some writers may have the chance to pitch a story idea, but it'll need to be summed up in a sentence or two -- and you'll definitely need to follow up with a post-conference query.
There's one exception to this: The optional one-on-one mentoring sessions on Saturday. If you sign up to be personally mentored by an ASJA member, it would certainly be appropriate to bring a couple of finished queries or, if appropriate, a resume or a list of recent publications. Or just feel free to come armed with questions.
Tell me why you feel it's even more beneficial for writers to network with other writers than it is to try to corner the editors who'll be there.
From a practical standpoint, you simply won't have time to "corner the editors." And editorial contacts can always be followed up on after the conference. Instead, I'd recommend that attendees take time to meet a wide range of other writers and also spend time at the Idea Marketplace (sort of a "trade show of story leads and PR contacts"); those experiences cannot be duplicated anywhere else.
How should writers dress for the conference, and what should they bring? I assume a notebook and pen, but are they allowed to bring a tape recorder? Drinks/snacks? A folder for handouts?
Dress is anything from t-shirts/jeans to ties/jackets, but the majority of attendees probably wear "business casual." As for what to bring, the only absolute essential would be business cards. Attendees will get a folder, schedule, pen, bag, etc. at registration. We'll be starting Saturday with coffee/tea and bagels/pastries, and drinking water will be provided throughout the conference. Since the conference is right at Grand Central Station -- which is well-supplied with restaurants, snack shops, and a Starbucks -- it's not unusual for folks to bring their own refreshments to panel sessions. So far, we haven't restricted tape
recording... but that might change if everyone started bringing their own recorders.<g> On the other hand, be assured that we record all of the panel sessions. So if you find that there are two or more panels happening at the same time that you'd like to attend, you'll be able to purchase audiotapes and CDs of any session you missed.
How does this conference differ from other writers' conferences you've attended?
The only other writers' conference I've attended is the Writers and Editors One-on-One conference held each summer in Chicago. One-on-One is a great conference, and one I plan to return to as often as possible. But it's a much smaller conference, focused almost exclusively on introducing attendees to the editors and the editorial needs of a half-dozen or so major magazine markets. After extended editor presentations, participants can arrange individual, one-on-one meetings with the editors, during which you're expected to pitch specific article ideas, introduce yourself, or learn more about the markets. Participants must apply for the One-on-One conference, and attendance is limited to the first 65 or 70 qualified applicants.
The ASJA conference, on the other hand, is open to anyone who is interested in attending. And it is more focused on general professional development for nonfiction writers -- negotiating contracts, improving your research, moving from articles to books, breaking into goal markets, writing better queries, working with agents, shifting specialties, increasing income, etc. -- and on a much broader range of markets.
Anything else you'd like to add?
This year, we're introducing a separate track of panels that are specifically designed for those who are just starting to publish their work -- or who maybe haven't yet broken into print. While participants are free to go to any panel they want, this track will focus on some of the basics of building a successful freelance career, from tracking down great ideas and understanding contract language to selling your first article, choosing a specialty (or not), and finding and managing sources.
Visit the ASJA site at http://www.asja.org/
and the conference page at http://www.asja.org/wc/wc.php.
