Why You Shouldn't Pitch Your Book at the Snack Table (A Socialising Tip for Authors)

As an author, there’s nothing more exciting (or nerve-wracking) than meeting someone important in the book world—a literary agent, editor, another author, or even a publisher. You might feel like it’s your big moment to talk about your work, but there’s an important lesson I’ve learned that I want to share: not every encounter is the right time for business.

I once had a chance encounter with a well-known literary agent at a book event. We were both at the snack table, caught up in the world of cupcakes and coffee during a break between seminars. I was struggling to find the dietary-friendly snacks and then navigate all the different codes to find the right one for me, and she was kindly helping out. This turned into a casual, friendly conversation about which agency she was from, the growth of the romantasy genre and how agencies in Australia are now taking more interest in it, the crazy life of an agent. It was a lighthearted, insightful exchange, and we both enjoyed discussing the new trends in publishing.

But as we spoke, I noticed something: our conversation kept getting interrupted. People who recognised her as the agent they’d been emailing about submissions came up with questions like, “Did you get my email?” and “Oh, I’m the author who submitted X manuscript to you.” Some even wanted to ask her why she’d rejected their work—right there, while she was just trying to grab a snack.

She looked overwhelmed, and I could tell she was frustrated. It wasn’t the time or place for that kind of conversation. As I watched this unfold, I felt uncomfortable for both of us. I'm not sure about her, but I know for sure I wanted the floor to open up and swallow me whole. It was clear those interruptions weren’t just awkward; they were damaging to any chance those authors had of building a positive relationship with her. It became a lesson that I wish more authors knew: not every moment is a business moment.

Chance Encounters Are for Chitchat

In Leil Lowndes’ book How to Talk to Anyone, she offers a great piece of advice: “Chance encounters are for chitchat.” In other words, when you bump into someone important in your field, like an agent or publisher, it’s not the time to pitch your book or follow up on an email.

It might be tempting, especially if you’ve been waiting to hear back about your submission. But if you catch them at a social event, in a queue, or even by chance in a bookstore or café, the best thing you can do is keep it light, friendly, and casual. You want to leave a good impression, not overwhelm them when they’re clearly off duty.

"Chance encounters are for chitchat."

Why It’s Important to Respect Personal Time

Think about it from their perspective: agents, editors, and publishers are people, too. Just like the rest of us, they need time to unwind, enjoy a snack, or engage in a conversation without being bombarded with pitches. When authors press them in social settings about business, it can create a negative association with the person or their work.

It’s crucial to respect their personal time. Grilling them about your submission at a party or event will likely frustrate them and make them less inclined to respond positively when they do get to your email. It’s always better to leave business matters for the business space.

In the moment, just enjoy yourself socially and talk about what we all love best. Books, favourite books, annoying character deaths, and which movie adaptations were the worst and which were actually not terrible, unexpectedly.

We have so many things to talk about.

How to Handle These Encounters

So, what should you do if you run into someone important in the book world? Here are some simple tips to keep things professional and respectful:

1. Be gracious and casual. If you happen to meet an agent or editor, greet them kindly and engage in light conversation. Maybe ask them about what they’re reading, their thoughts on a recent book trend, or even just how they’re enjoying the event. You can mention you’re a writer, but don’t push for a conversation about your book or submission.

   
   

2. Focus on building a connection. Instead of pitching your book, focus on building rapport. You can still make a good impression without diving into the details of your project. They’ll likely appreciate the break from work-related conversations, and you’ll come across as someone they’d enjoy talking to again in the future.

   
   

3. Leave business for later. If you really want to follow up on something business-related, wait until after the event and send a thoughtful email. You can always mention that you met them briefly at [X-named event] and enjoyed the conversation, but keep the business talk out of chance encounters.

   
   

4. Respect their boundaries. Pay attention to their cues. If they seem like they’re trying to enjoy a moment of downtime, it’s best to leave the conversation at that. The more you respect their personal time, the more positively they’ll remember you.

   
   

What Happens When You Don’t Follow This Advice?

I’ve seen firsthand what happens when authors don’t respect this boundary. At the event I mentioned, the agent was visibly frustrated, and those authors likely damaged their future chances with her. It wasn’t because their books were bad or because she didn’t want to talk to them—she just wasn’t in the right headspace for business at that moment. And I don't blame her.

By pressuring someone in a non-professional setting, you risk being remembered for the wrong reasons. Instead of having a productive conversation later on, you may have burned a bridge without even realising it. And in an industry that's already notoriously challenging to break into, you don't want to risk losing even one potential connection.

Stay Calm and Be Kind

The publishing world can feel daunting, and it’s natural to want to grab every opportunity to promote your work. But not every encounter is the right time to pitch. The next time you meet an important industry person outside of a formal business setting, remember: it’s okay to just have a friendly chat.

(And please, remember to smile. Be friendly.)

Let your professionalism and kindness leave a lasting impression, and save the business talk for when they’re in a business frame of mind. You’ll build stronger, more respectful connections—and that will benefit your career far more in the long run.

Make Time for Boredom: Creativity in the Idle Moments

In your busy day, do you make time for boredom?

I remember days that stretched on forever as a child, where I felt I ran out of things to do and lay on the floor staring at the ceiling, tracing patterns in the paintwork with my eyes and feeling like time would never end.

Those days, I daydreamed about so much, and I played make-believe with so many ideas my current writer self would envy.

I wondered how I had so much creativity back then, and it was only in reading advice to embrace boredom—to even create time for boredom—that I realised perhaps this was it.

One evening, instead of meditating (my mind was too chattery), I lay on my floor like a star and stared up at my ceiling.

I traced the cracks in the paintwork with my eyes, and looked at the different patches of white.

I let my mind wander as I stared, and I let the emptiness of the moment take over.

Embracing boredom.

If anyone ever told me lying on my floor and staring at the ceiling would be of benefit to me, I’d have raised a brow and stared at them as if they were odd.

But really, it was brilliant.

My mind chattered itself out.

Ideas returned.

My inner dialogue mulled over many things, including ideas for books, blogs, work I could be doing for my coaching.

People I wanted to speak with. Interviews I wanted to hold.

It reminds me of the advice Neil Gaiman shared in an interview with Tim Ferriss, about how his routine was to sit at his desk. He’d either stare at the wall, or he’d write.

“You don’t have to write. You have permission to not write, but you don’t have permission to do anything else.”—Neil Gaiman

He said at some point it got boring staring at the wall and so he’d end up writing.

“You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we’re doing it.”—Neil Gaiman

But do you give yourself that time to daydream, to be bored, to let ideas flow?

This is your sign. Your permission slip.

It’s not wasting time to embrace boredom.

To stare at the ceiling or the wall. Or lie on the grass and stare at the sky as the clouds scud past?

You don’t need to have a grand plan to create ideas and enhance your writing.

You just need to give yourself permission to be bored, and let your mind chatter away to itself.

And if an idea hits, let it keep running away with itself.

Perhaps keep a pen and paper beside you, just in case!

On Show, Don't Tell

Ever found yourself lost in a book, feeling like you're right there in the thick of the action? That's the magic of 'showing' in writing. Instead of simply telling readers what's happening, it's about painting vivid scenes, evoking emotions, and letting readers experience the story for themselves.

Well-meaning writing advice givers often tell us to 'show, don't tell' in the hopes it will help us make our writing better. But no-one really tells us what that means or how to do it.

Today Storycraft Gateway is going to guide you on the how of showing, not telling. To help enhance you're writing and give your readers the best immersive reading experience we know you want to give them.

Here's how you can master the art of 'show, don't tell' in your writing

Sensory experiences

Transport your readers to another world by appealing to their senses. Think sound, smell, touch, the elements of the senses we often miss out in writing.

Let your readers feel the chill of the wind, hear the crunch of footsteps on snow, and smell the aroma of freshly baked bread. It'll paint a whole new picture for your readers than just telling them what things look like.

Actions and reactions

Actions speak louder than words. Show characters' emotions through their gestures, expressions, and movements. Let their reactions speak volumes about their inner turmoil or joy.

Instead of saying 'Elemere was angry', show us how she's angry by having her stomp through the streets, bumping carelessly into passers by, and turning to give her friend a scowl before throwing her door open and slamming it behind her.

Show emotions through actions. Slouching against walls, kicking stones ... how you can 'show, not tell' how your characters are feeling?

Dialogue

Dialogue isn't just about what characters say; it's about how they say it. Use tone, pacing, and choice of words to convey emotions, relationships, and conflicts with subtlety and depth. Do they speak through gritted teeth? Do they yawn and struggle to finish their sentence and trail off? Do they speak really kindly to one person but then really stonily to another?

Think about conversations you have and those you hear around you. How do people speak with each other? When they're tired? Upset? When they're distracted? When they're talking with someone they love vs someone they dislike?

Character growth through choices

Actions define characters. Show their development through the decisions they make in challenging situations. Let readers witness their courage, resilience, and growth firsthand.

A character who started off quite cowardly and unwilling to get involved in the main action might show their development through the story by starting to chip into conversations, offering to help with collecting resources, and then in their big climax moment, they jump in and save someone else in a fight they'd ordinarily run away from.

Metaphors and similes

Turn the ordinary into the extraordinary with vivid imagery. Use metaphors and similes to infuse your writing with richness and depth, inviting readers to see the world through a new lens.Instead of explaining that a character feels lost, you could say they felt like 'a ship without a rudder, drifting aimlessly'.

The challenge with this though is using too many clichés. It's all well and good to use metaphors and similes, but over using them can frustrate the readers, especially when they're all from the same old list we see everywhere!

Environments with meaning

The world around your characters isn't just background noise; it's a reflection of their inner worlds. Use their interactions with the environment to reveal their emotions, fears, and desires.If a character is nervous, you could describe them fidgeting with objects, knocking things over, or repeatedly tapping their foot. These subtle cues allow readers to infer the character's emotions through their interactions with the surroundings, and paints the scene more wholly for your readers.

It works for joy too. Splashing in puddles, kicking sand ... show your characters engaging with their surroundings.