[From the Archive] Conventions
Seems appropriate after ConJour, to have this come up in rotation…
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It’s Convention Season – at least for me. Or what I consider Convention around this part of the US. The “season” will always depend on the writer/artist and their location. For me, it’s June – October – with at least one “pre-season” convention. In fact, Friday, June 5th starts it off for me. I’ll be at SoonerCon in Oklahoma City, and this year, I have July “off” though my husband does not – so that convention still counts, and NEXT YEAR, darn it! Next year!
Now, as a writer or artist – whether a talented amateur protecting their Olympic Eligibility (now THERE would be a contact sport), or a Pro (at any level), convention appearances are an important part of the business. When you’re looking at your calendar and your career you have to consider them on several economic levels.
• Can I Afford to Go – this is important. 90% of all writers have day jobs, mortgages, etc. We do not make a livable wage just writing – or at least not writing fiction. So budgets and money are something to look at – especially when travel is involved, hotel rooms, food, etc. If you’re moving out of your local region to go to a convention, those costs rise rapidly. Money becomes an issue. If money is not an issue, then, you’re a lucky SOB and PBBBBBBSSSTTTT.
• Can I Afford NOT to Go – this is equally important. Depending on Guests of Honor, prestige of the convention, other invited guests, location, etc. You have to ask the question, “Will it be beneficial to my career to go?” EVEN if monetarily, it’s a hit. Sometimes, the answer will surprise you. Though you have to be careful when you answer this question to yourself. I’ve seen writers say, “Oh, I’m working on ‘X’ now, and there’s no one at ‘Y’ Convention who can further my career.” In My OPINION, that’s short-sighted and a dangerous slope. Even if a major publisher, producer, etc, isn’t at that convention – there are people there the writer needs to get to know. Namely the fans. You know, those people who actually buy your books, stories, etc>/i>. If you don’t have them, how are you going to get a contract?
• Is it Worth my Time and Money – Unfortunately, you have to draw the line. You have to know your limits. If it’s a wonderful convention but suddenly you’re getting no programming, or it changes directions/themes/focuses so the people you need to reach are no longer coming, then it’s okay to say, “I don’t need to spend hundreds of dollars to do nothing.”
It is okay to say “no” to a convention invitation, but you need to make sure the reasons are good ones. If you can only go to 2 to 4 a year, pick the ones that are the most beneficial to you. If you have the chance to go to a MEGA-Convention, even knowing the first 2 to 5 years you’ll be begging, borrowing, and stealing programming or just looking like an orphan, but you know in the long-run it’s going to be good? Do it. My “Next Year, Darn it” convention is Comic Con International in San Diego. I’ve been once. I do “traveling table babe” duties for some artists in the exhibit hall – and I meet people like Raymond Feist, Joss Whedon, and a senior MAD Magazine editor. Dragon*Con was the same. But I’ve also had to stop going to a couple of regional conventions because it stopped being good for me.
So, now that I’ve spouted this, what conventions do I do?
• ConDFW – Dallas, TX – February
• SoonerCon – Oklahoma City, OK – June
• ApolloCon – Houston, TX – June
• San Diego Comic Con – San Diego, CA – July (NEXT YEAR DARN IT!)
• ArmadilloCon – Austin, TX – August
• FenCon – Dallas,TX – September
I’ve gone to RadCon in Pasco, WA and ConQuesT in Kansas City – and will consider any convention out of my “region” under the right conditions, because it’s important.