Attending YALC this year was a last minute decision, by which I mean I bought my ticket on the Wednesday and went on the Saturday. I thought it might be nice to visit as a reader, because it’s this heart-warming day of bookish people who are really friendly and polite talking about books with other bookish people who are friendly and polite. It’s also a great place to pick up books on the cheap without resorting to Amazon or ripping off any authors, which I think justifies the train fare and ticket entry. You also rub shoulders with those authors, who are also bookish and friendly and polite. Everyone is just… there for books. IT’S HEAVEN.
(Side note Jason Mamoa was there on Saturday. Not as a guest, apparently he just wandered through on the way to Comic Con downstairs. That is why you should go to YALC.)
I also went to do some work for The Princess and the Dragon and Other Stories About Unlikely Heroes, and by work I mean ‘hand out some hastily-designed business cards to the cool indie publishing houses and sit in on the agents’ arena talks’. This was probably less successful, as a) even most indie publishers won’t take unsolicited manuscripts even if they did look up the project, and b) by putting the book on Patreon myself I might have accidentally harmed my chances of it getting picked up by an agent. It was really good to hear more about getting an agent from agents, because it highlighted what I could do if I were to pitch The Princess and the Dragon a second time around. Possibly I should have pitched it as YA, not middle grade, a thought that did not occur to me until I was doing the second big round of edits and realised that it’s not really a middle grade book. Possibly my cover letter could have been stronger. Possibly the agents I pitched to just didn’t, you know, vibe with my weird angry princess and her strangely Catalan-esque kingdom. It’s hard to know for sure when they’re too busy to provide feedback.
Basically, pitching to an agent is as soul destroying as applying for a job, except the process is even slower.
That being said, I learnt a lot and I met approximately 473638 different booksellers and agents and publicists. Everyone is so genuinely friendly that even if an agent says something you’re not happy to hear, like ‘the market is kind of saturated with fairy tale retellings’ or ‘if you re-pitch your book, you could just not mention your Patreon’, you don’t particularly mind. Even if I was writing The Princess and the Dragon before all those retellings came out and I’ve never even read any and even if I’ve put more effort into my Patreon than I did most of my GCSEs. But let’s not dwell on that.
I popped downstairs to Comic Con for a bit while I was there. It was way too hot and crowded but does have a very cool artists’ alley that’s also probably worth the ticket price. I met a handful of artists I would kill to commission Princess and the Dragon art from. There were a few cosplayers I would commission clothes from. The talent floating around these conventions is intense. If I were genuinely wealthy and needed some artwork made for my house or something, I’d just hang around Comic Con all weekend. Life goals, huh.