If you want to try your hand at screenplays and take Hollywood by storm, attending a writers' conference on the west coast is probably worth the money. Agents, script managers and producers are the power players out west, and they attend conferences to keep an eye out for new talent.

There's two types of conferences for your consideration: traditional writers' conferences that have a number of good scriptwriting professionals (such as the Maui Writers' Conference and Willamette Writers' Conference). And then there are gatherings specifically devoted to screenwriting. Concerning the latter, no conference is more well known than the Creative Screenwriting Expo in Los Angeles. It's the biggest such conference, and widely hailed as a great event.

I got word today that the 2007 dates are locked down: Oct. 25-28, 2007.

Some Expo basics:

• "Golden Pitch Sessions" allow writers to pitch executives
• Sessions and panels are everywhere, with plenty of writers and producers discussing trends, craft, business and more
• I haven't checked out the prices, and I'm guessing it's not cheap—but it promises to be a Mecca of scriptwriting talent, and could be worth your while. Check out the Web site to learn more.

At conferences, attendees always (always) ask about self-publishing, and they ask a lot of questions—which is why I'm titling this post "Part 1," because more will follow. These attendees, some of which have already self-published, invariably inquire about whether or not agents will consider representing an author's book even if that author has already self-published said book.

So will they? The answer's complicated, but usually leans toward "No."

First of all, if you self-publish a book, it has to sell well to get the attention of an agent. How many copies, you ask? I've heard some agents say 8,000, while others say 30,000. Let's compromise at 15,000. That's no easy task, my friends. You're selling every copy yourself, peddling your wares every day. Yes, you may get distribution in a few local bookstores, but then again, that's just a few local bookstores. 
      Also, good sales can actually be a deterrent to a publisher if your book is very regional. Let's say you self-publish a book called Oklahoma's Rodeo Champions and tour the state, selling it at small events and out of your car trunk. Maybe you sell 9,500 copies—a notable feat. Then, when you present your work to an agent or a traditional publisher, they may think that everyone who will likely buy the book has already bought the book.

Agents want to find undiscovered gems. If your book is self-published and, perhaps, some of it is available online for free, an agent will likely pass on your work. The basic thinking is: If the book was so good, why self-publish in the first place? Why not just sign with an agent and sell the book to a traditional publisher?

There are success stories concerning this. At a recent conference in Tennessee, I met motivational speaker Tama J. Kieves, author of This Time I Dance: Creating the Work You Love. Her self-published book was of much higher quality than most self-published works, and word-of-mouth praise boosted sales enough for her to sign a deal with Tarcher/Penguin-Putnam for them to publish/distribute the book. Now, she's a successful author with another book on the way. So: It can happen, but you have to sell a lot of copies, and that's extremely difficult.

More to come on agents and self-publishing...

In less than a month, I'll be at the Harriette Austin Writers' Conference in Athens, Ga. The conference has a great list of speakers and agents lined up—and one such agent is Cherry Weiner of the Cherry Weiner Literary Agency. That's why Cherry is the newest featured agent for "Agent Advice," a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing and just about anything else.

GLA: What’s the most recent thing you’ve sold? 

CW: A very nice three-book deal—hopefully the start of an ongoing series—to HarperCollins. The overall series title is "Skinner" and it is a modern urban fantasy. The author is Marcus Pelegrimas, also known for his terrific Western books as Marcus Galloway.
    
GLA: You'll be at the Harriette Austin Writers’ Conference. When an author sits down to pitch you, what is some advice you can give them?

CW: One word: Relax. If you're relaxed, you can pitch your story a lot better than if you're in a panic, or scared of the big bad agent sitting in front of you. And I will want to know three things before getting into the story line:
      1. Is it finished? 
      2. How many words? 
      3. What is the genre?
Then give me about three sentences on the story. And, if you can, tell me what makes your book different from all the others out there of the same ilk—and don't tell me your voice because I know this—all voices are different. I want to know if you have a different hook.     
 
GLA: What subjects or genres are you actively seeking at this time?

CW: Actually, I'm not "actively seeking" any specific genre. If I talk to an author who impresses me and whose story line sounds interesting, you can be sure I'll ask for it.   I do handle all the fiction genres, and some nonfiction but not a lot. I handle very little YA and very little children's as well as no poetry.
 
GLA: Will you be speaking in Georgia?

CW: I don't speak at conferences. I do a three-minute (presentation) to give you information and help you understand publishing. Then I host a large Q&A where you ask and I will answer. I throw the whole time open to any kind and every kind of question the audience members want to ask.
 
GLA: You request that writers not cold query you, but instead meet you at a conference before querying—why?

CW: I have been in the business for 30 years now, and I am not a new agency looking for authors. I have my established ones, but leave room for new people that I meet at conferences. By talking to the author first, I get a sense of the person and if we can work together. More importantly, though, I think that an author should meet the agent that is going to handle their "baby." I do tell the authors to try and meet all the agents that are at a conference, get a sense of them as agents and people, and then decide who they would like to work with, and then contact them. 

Cherry Weiner of the Cherry Weiner Literary Agency.