Prepping for Killer Nashville: Top Tips for Attendees

By Chrissy Hicks

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This is your year! You’ve taken a tremendous leap to make writing a priority and take your author career seriously. You’re ready to step up your game and attend Killer Nashville—or any writer’s conference, for that matter. Whether this is your first or fifteenth conference, you may find some of the following tips a useful review of “do’s” and “dont’s” as you prepare for conference attendance. 

3+ Months BEFORE

1․ Set Attainable Goals

A simple yet not-so-simple task. What are your goals for the conference? (Hopefully, you have at least a couple in mind. If not, please don’t skip this section!) 

Does your list of goals look something like this? 

• Get a book deal! 

• Perfect my writing skills this weekend

• Get personal feedback on my manuscript from an attending author

• Pitch every agent and publisher

• Build a large following

You’ve got some great ideas, but they are more suited for long-term goals rather than something that can be achieved during a weekend conference. Think of those things within your control (you can’t control whether an agent will request your manuscript, but you can ask for feedback or attend a pitch session), and consider what you most want to learn, improve, or accomplish to build success. Just as a house is constructed one board and brick at a time, so is a writing career. 

A new writer might set goals such as these:

• Connect with peers to share support and advice

• Seek seasoned authors for possible mentoring

• Attend workshops designed to hone writing skills (character development, plot structure, building tension, etc.)

• Gain inspiration and motivation from keynote speakers

• Explore different genres and writing styles, and participate in discussions that might spark new ideas for your work

• Learn about writing contests, anthologies, and other opportunities to get your work published and recognized (consider submitting to the Killer Nashville Magazine, for example)

• Consider signing up as a volunteer and learn more about what it takes to make a large-scale event successful 

A writer who has written a book or two and is seeking publication might set goals such as these:

• Meet industry professionals to gain insights into the publishing world and establish professional contacts

• Gain industry knowledge through workshops and panel discussions to learn about current trends, marketing strategies, and the business side of writing

• Receive critiques and get feedback on your writing from experienced authors and peers, who can provide valuable perspectives and suggestions for improvement

• Take advantage of opportunities to pitch your manuscript or book ideas to agents and publishers

• Explore publishing options: Learn about traditional and self-publishing routes, including the pros and cons of each

• Meet with other writers and those in the business to build your professional network

A seasoned author may set goals such as these:

• Learn about effective ways to build your author brand, use social media, and market your books

• Develop or refine your elevator pitch, author bio, and other materials that present you as a professional writer

• Find collaboration opportunities: Look for potential co-authors, writing groups, or other collaborative projects

• Be present by offering to moderate a panel or present at the conference, actively take part in book signings, engage audience members and fellow writers

• Volunteer to judge contest entries, contribute to scholarships, or advertise your books or services on conference materials

By setting achievable goals, you can maximize the benefits of attending a writers’ conference, ensuring that you leave with valuable knowledge, connections, and inspiration to advance your writing career.

2․ Design and print your business card

Business cards, you say? Yes. Whether you’re published doesn’t matter. You are attending a conference because you are a serious writer. You are a professional. Professionals carry business cards. You need them to exchange with other writers. You need them to hand out to industry professionals. You need them. Grab yourself a nice business card holder (these cost little, you can find a decent one for under $20), then study sample business cards. If you’re new to marketing yourself, keep it simple. Often simpler is better anyway, whether you’re a new writer or seasoned author. 

Here’s a quick list of the essentials to include: your name, email, phone number, website, and social media. Optionally, you can add your face (I prefer this because I often forget names, but I don’t forget a face). You can also add a QR code that links to your email, website, or social media platform (LinkedIn, Facebook, Twitter X, Instagram). And if your name is the same across all platforms, you could simply put the icons for each platform on which you have a profile. There are many sites where you can create and order business cards for low cost—consider starting with 50. Think that’s too much? Probably not; you’d be surprised. You could print them up through your local print shop or UPS store, or use an online service such as Vistaprint, Canva, Shutterfly…there are many options, and often they have basic templates you can customize to make the job even easier. Compare reviews, costs (for both cards + shipping), and see what works best for you. It doesn’t need to cost you hundreds of dollars. As a personal example: my order of 100 cards on premium paper, plus a card holder (both with economy, free shipping) cost $35. Not bad for post-inflation. 

3․ Research

Do your homework before you go! Learn what agents are attending (agents and special guests like keynote speakers are often listed on a dedicated webpage such as the “Who’s Who”). See which agents might be appropriate for your book and check their websites, wish lists, and social media for any updates. Often, even agents that are closed will request manuscripts at a conference! If you find an agent or two (or five) that would be a perfect match for your project, add them to your notes, along with their website and wish list, and consider adding a manuscript critique and/or agent roundtable with them. They don’t bite—promise!

Don’t forget to look at the keynote speakers as well—are they authors you recognize? Have you read their books? If not, grab a book or two they’ve written. The reason for this is twofold: they’re a keynote speaker for a reason, and reading their works may inspire you and teach you something about the craft. Two, it will give you a chance to meet them “up close” during their book signing. Remember, you’re there to learn and they’re there to offer wisdom. This is a great time to ask that burning question about how did they do it! Other poignant questions you might ask are:

• What character did they relate to the most?

• Do they outline or pants it?

• What was the most challenging part of writing the book?

• How do you handle writers’ block or creative burnout?

• How do your personal experiences inspire your writing?

• What advice would you give an aspiring author?

You could ask a question like one of these at the book signing or at a panel the author might present at. Be sure to ask questions that will help everyone, not just something very specific to your own situation (which also may be difficult to answer). And don’t ask all six items in the bulleted list above! Keep it simple, be polite. Pick your top one (maybe two) burning questions, and move on. There are hundreds of other people in attendance, and often many will cram into panels with popular authors, thus, taking up loads of time and not giving others a chance to ask their questions is like cutting in line: it ain’t cool y’all. 

1 to 3 Months BEFORE

4․ Create Your Schedule

Most conferences will have a plethora of workshops and panels to choose from, with topics ranging from improving your skill set to the business side of writing. Killer Nashville is no different. Which means there are often multiple panels running concurrently. How do you choose when there are so many options—often hundreds of lectures—and you can only pick a handful? Here’s a handy guide to do just that:

A․ Set your goals (see #2). If your goals are to learn more about the craft, plan to focus most of your attention on that area. If it’s the business-side of writing, or a mix of both, then you’ll want to split your time accordingly.

B․ Print out the schedule (yes, even in the tech-fancy world we live in, I still print things because it’s easier to work with a printed version than a screen) OR copy/paste it into a Word document for editing digitally. 

C․ Go through each hour of each day and carefully review the panels and workshops. Highlight the ones that instantly resonate with you. Don’t worry about highlighting more than one that run at the same time. For now, just mark the ones you want to attend.

D․ Take a break, then go through the list again, this time remaining objective and keeping your goals in mind. If you’ve got three panels highlighted at the 9:00AM-9:45AM slot on Saturday morning, you know you can’t do all three (unless you’ve cloned yourself). Prioritize by selecting the top panel based on your writing goals, and what you think would benefit you most this year. Label your selections as #1, #2, #3, for first/second/third choice.

E․ A couple days before the conference, recheck the schedule online and see what, if anything, has shifted. There’s always a potential for speakers to cancel, panels to get switched, or topics to be deleted or added. Compare it to what you have (especially your top choices—ensure those still exist) and change your current selections if needed.

If possible, get a map of the hotel meeting rooms ahead of time so you know what’s where. By following the steps above, you can confidently walk into the conference on Day 1, prepared with a plan to attend the sessions that will help you grow in your career. Remember to be flexible: things can change in real time too! Sometimes, due to unforeseeable events, your top choice panel could wind up canceled. Hence why choosing more than one panel to attend is helpful. If the primary one disappeared, you’ve got an alternate ready. 

At the Conference

5․ Show Up

This seems like a no brainer. But “showing up” means more than simply being physically present. You need to show up with the right attitude to be both physically and mentally present. If your attitude is “I better get an agent at this conference or else…”, or “If I don’t win something, this was all a waste,” then you may need to step back and consider why you’re attending in the first place. Where do your thoughts settle? Do you find yourself focused on the past and what you could’ve/should’ve/didn’t do? Or are you constantly in the future—what needs to be done, what you will do, what your hopes are? A focus on the past or future isn’t inherently wrong or unhealthy. We all need time to reflect on the past for self-discovery and learning, and we need to consider the future to visualize our goals. But when attending a big event like Killer Nashville, focusing on the present is going to keep you grounded and be the most helpful as you navigate panels, listen to speakers, meet with authors, speak with agents, and network with fellow writers. 

There will be a lot going on at once, and a mind that remains in the past or the future will miss the moment and recall it only as a blur. It may still feel like a blur, no matter how “in the present” you keep yourself, but you’ll recall much more and experience it better if you keep yourself in the moment. 

Finally, don’t forget to breathe. Remember why you’re here. Take a minute to catch your breath now and then, between panels, take a walk or sit in a quiet place if you need to. This is an exhilarating time, so if you’re not enjoying yourself, take a “time out” to reassess, and get back into it.

6․ R.E.S.P.E.C.T

You made it, and so did your favorite author. They’re signing books and there’s a line out the door. Now it’s your turn! Don’t be “that” guy. You know, the one that holds up the line because they want to ask several questions about the characters and plot choices and how the author started and who’s their agent and…. There’s nothing wrong with wanting to ask questions, but remember to be considerate of others’ time (both the authors/speakers and other conference attendees). Always be respectful to industry professionals too—do not corner an agent in the bathroom or stalk them to their room or car. It’s one thing to ask an agent if they don’t mind hearing your 30-second pitch (assuming you’ve researched them and ensured they’re an appropriate fit for your project), it’s another to shove a paper copy of your full manuscript in their direction, or attempt to hold them ‘hostage’ in a conversation.

7․ Dress professionally comfortable

Typical attire for a conference will vary, but it’s always safe to assume business casual. Other tidbits of advice: check the weather ahead of time, and even if it doesn’t look like rain, it can’t hurt to pack a raincoat! Bring a light jacket, blazer, or cardigan: sometimes meeting rooms can be chilly. And have deodorant and breath mints at the ready (in your purse or the canvas bags often provided during registration). You never know when you might need a touch up or a breath refresher—especially before a pitch session! Now is not the time for crocs and beach shorts, nor do you need to dress in a tux.

For men: polos, button-downs, sweaters, or even a conference-related t-shirt, khakis, chinos, dress slacks or dark jeans. Shoes could be loafers or stylish sneakers.

For women: blouses, sweaters, or other nice tops, including a conference-related t-shirt, slacks, skirts, dress pants or dark jeans. Unless you’re comfortable in high-heels for long periods of time, flats, low heels or stylish boots are a good go-to.

Remember: there will often be frequent walking, standing, and sitting, so comfortable shoes and clothes are a must! Dressing in layers can help with fluctuating temperatures inside and out. Accessories should be simple and functional—though at Killer Nashville, you’ll likely get a stylish tote bag at registration to keep your notebook, pens, pencils, and business cards.

Though the atmosphere at Killer Nashville, and any writers’ conference, is relaxed and welcoming, having a professional and polished look can make a good impression on peers and industry professionals. 

About 2 Weeks Post-Conference 

8․ Follow-ups and Thank yous

The conference is such an exciting event, and you’ll likely meet countless people—agents, editors, new writers, seasoned authors, career professionals with unique expertise (retired FBI agents, doctors, forensics experts, etc.) When you have friendly conversations and make connections, you want to keep those folks in your network. You do that by following-up. About two weeks after the conference, email the people who’ve provided you business cards. If you need to, write something memorable in your notebook or on the card itself so you can remember why you exchanged business cards or to spark your memory about your conversation and questions you may have had for them. You won’t have time (and neither will most attendees) to ask all the questions or plan a writers’ meet up. Save that for later, and do so in the follow-up.

If an agent requested materials (woohoo!), take a second look at your manuscript. Do not send anything that’s not 100% ready. I wish I could tell you they’re dying to read what you’ve got and are sitting by their empty inbox waiting for it to come through. Sadly, this isn’t the case. There’s nothing wrong with waiting a couple more months to get your materials in order and as close to perfect as possible, then send it to them with a reminder that you met at the conference (following their guidelines, of course).

Send thank yous to agents you’ve met who took time to chat with you. Send the authors and keynote speakers a “thank you.” There are probably a hundred people you could thank, but sending it to the people who you connected with or did something meaningful should be adequate. Be sure to be as specific as possible (what is it they said or did that made you grateful enough to reach out?). 

Often, the lifelong connections are formed in these follow-ups. (Maybe not always with agents, but certainly possible with other writers!). Connections don’t happen overnight, and relationships don’t forge over a weekend, but they can certainly start there.

Whatever your goals, whatever your stage in the writing journey, I hope you make it out to Killer Nashville this year! If you’re attending the conference, I’d love to meet you! 

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Chrissy’s work has appeared in three consecutive issues of Bridgewater State University’s “Embracing Writing” book for first-year freshmen. Her writing portfolio also includes publications in The Broadkill Review, SUSIE Mag, The Storyteller, and informative pieces for a local online newspaper. One of her unpublished novels, Foul Play, was a Suspense Finalist for the 2022 Claymore Award, and an excerpt from her unpublished novel Overshadow won Top Three Finalist of the 2024 Thomas Mabry Creative Writing Award. Though her background is in counseling, having earned a master’s degree in this field, when it comes to the art of writing, she’s an autodidact. She studies books she loves and enjoys completing various creative writing classes online, and attending writer’s conferences whenever she can; Killer Nashville is one of her favorites. Additionally, she’s volunteered since 2023 as a general editor for the Killer Nashville Magazine. She resides in Tennessee with her family, their talkative Husky, and a frenetic cat. You can find her online here: https://chrissyhicks.wordpress.com/ where she occasionally blogs about the writing life and reviews craft books.

Feedback

By Dale T Phillips

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As a writer, your work is always up for critique—I call it showing your homework for correction to the world. And it will be critiqued, so much better to have it ripped apart and made better before it’s published, right? There are a number of ways to get valuable feedback before the work goes to an editor, and before it goes out to the world of readers.

A good critique writing group can give various levels of usable feedback. Even if they’re not perfect, they can catch a lot of stupid mistakes. For my first few novels, my local group was invaluable in finding the dumb stuff before the editors did. They bluntly told me when some passage of writing did not work for them. It wasn’t pleasant to hear, but it was necessary. We always told people we’d give honest feedback, not just say nice things about all the work. Some writers came in and expected everyone to tell them how wonderful the piece was. When they heard the slightest criticism, they strenuously objected. They didn’t last long, and most likely never got published.

Many of these groups have a regular meeting schedule. Usually, someone reads a section of their work (sent in advance, or read cold on the spot), and then the members of the group offer feedback on what they heard. Though the quality may vary, it’s good to hear others read your work aloud, because it alerts you to things that might not sound quite right. And offering feedback to others makes you a better writer, as you must think about the words and the story, and how they’re presented.

When offering feedback, be constructive. Let them know when something works particularly well and help them make their writing better. Many times, you’ll get feedback on your writing that tells you something doesn’t work. Usually, they cannot specify exactly how to fix it because that’s up to you. Specifics are for the author, but if the same thing doesn’t ring true for more than one person, they might be on to something. You may sometimes get feedback that’s flat wrong, so always consider the source, and see if you can get confirmation from others. Advice from someone with multiple, successful publications may be more useful than a tip from someone with few or no publications. 

Finding a Group

How does one find a feedback group? 

• Check local libraries and bookstores to see if any already exist. 

• Check online for information about potential groups. 

• Check with writing organizations to see if they know of any in your area. 

• Go on social media to discover existing groups. 

• If you can’t find a group in your area, you may be able to work with an online group. 

• You may have to start one if there are none in your area.

The best feedback comes from workshopping—really intense editing by people who are writers and willing to share solid criticism with each other. For this, three to four people are about right. Best is when you’re all at similar ability levels in your writing. Send out good chunks of work, 25 pages from each person, and meet once a month, with the marked-up manuscript edits on all work in hand. Then drill down to the nitty-gritty and discuss what works and what doesn’t in the story, and possible fixes. At that rate, you can go through a book length in a year. You’ll raise each other’s level as well, getting better at spotting bad writing, both in their work and your own. 

Beta readers are those who’ve agreed to read your entire work in draft format, and give you feedback, one-on-one. For brutally honest feedback, don’t ask friends—rather, get someone who doesn’t care about telling you like it is. Friends will usually take pains not to hurt your feelings. And this person just has to be a reader, not necessarily a writer, and so much better if they understand the genre. You want them to tell you what didn’t work in the book. Though some will read for nothing, many times the people work out a swap, each critiquing the work of the other. You can find people for this using similar methods to finding a group. Use as many Beta readers as you like and are comfortable with.

Some people post their draft work online for public critique. Andy Weir’s The Martian did this, with excellent results. I prefer to not use this method, but there are sites that provide an opportunity for people who like this. If it works for you, go for it. 

Reviews 

After a work is published, the public starts in to tell the writer what they thought. Some writers choose not to read reviews for various reasons. If you get 99 good reviews, but one bad one, you might focus on the bad instead of accepting the good. With the entire world as potential critiquers, there will always be someone who doesn’t like what you’ve written. Don’t wind up second-guessing yourself because of one opinion by one reader. However, if several reviews point out similar things that didn’t work for them, consider if their feedback has merit. 

Reviews are harder to get for everyone these days, but especially for Indie writers. Many established venues will not review Indie-written books, although some of those are changing. You can now purchase a pricey review from Kirkus and Publisher’s Weekly if you think it’s worth it. There is no guarantee if you’ll get a good one or not, but if you’ve got money and want to gamble, hey, it’s your funds. I have one data point from an Indie writer who got lucky and received a positive review after going this route, and he says it helps when approaching libraries and bookstores, about the last people who read those industry publications.

While traditionally published writers get almost automatic glowing reviews from their publishing-house mates, in a logrolling way, Amazon tends to remove posted reviews written by people with any provable (mostly via social media) connection to the Indie writer—who are the very people the Indies start getting reviews from! 

Your best bet (again, more work) is to research the many places that still review Indie books, and request one. Usually, you’ll send them a copy (electronic is best—no cost), and they have to acknowledge this fact when they review. I’ve had success doing this and received many great reviews I can use for promotion. Keep a list of where and when you send requests with the results.

Sending print copies out for review is expensive (especially overseas), so make sure it’s worth it. Many places accept e-book versions, and there are a growing number of places that review audiobooks—these are terrific because most book reviewers are busy many months ahead, but an audiobook might get reviewed much quicker. 

Bad Reviews and Rejection

Always remember that no matter how good your work is, there are people in the world that will not like or appreciate what you have created. Ignore them, they do not matter. Many writers feel personally rejected when their work is rejected in some fashion, and their self-esteem suffers as a result. Dean Wesley Smith has a great post on this. Imagine getting five thousand rejections, as he did. That would sink many writers. He just kept going and selling. For the win! Any number of yesses is worth more than all the nos.

With traditional publishing, writers get rejections more often than they’re accepted. I still get stories turned down by some venues. When that happens, it quickly goes out to the next market, and so on, until it gets sold or put into a collection. By doing this, you tend not to focus on the rejection, but on getting it to the next person and making the sale. Back when rejections were sent by mail, I would save the printed form in a binder, and note when the magazine went out of business before I did. I finally stopped, because many of my stories were selling more often, and I preferred not to print out rejection emails. But it’s a great reminder when you’re down to look back at what someone didn’t want, which sold somewhere else.

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Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime. He's traveled to all 50 states, Mexico, Canada, and through Europe.